vetrimaran institute

Vetri Maaran to head filmmaking course to create socially responsible directors 

Filmmaker Vetri Maaran has announced a one-year filmmaking postgraduate diploma course that will encourage young directors to make films that promote social equality. The course is a residential program conducted by Vetri's International Institute of Film and Culture and it aims to take in students from economically weaker sections of society. 

Apart from teaching the students the creative and technological aspects of a film, the institute aims to encourage them to incorporate elements like commercial acumen, cultural rootedness, ecological sensitivity, and social responsibility.

The students will be given a complete scholarship if they clear the initial screening, written test, academic interview, professional interview, and home verification. It is mandatory that the student must be from Tamil Nadu and the IIFC aims to admit one student from each district of the state. 

Meanwhile, Vetri Maaran is currently working on his untitled film with Soori and Vijay Sethupathi. He also has Vaadi Vaasal with Suriya, a web series, Vada Chennai prequel series, and a potential film with Vijay in the pipeline. 

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Why Vetrimaaran is the most interesting director in Tamil films today

Vetrimaaran is arguably among the most interesting filmmaker working in the tamil film industry. here’s documenting his rise and what it takes to be a talent like him..

His production house’s name, Grass Root Film Company, is a clear pointer to Vetrimaaran’s worldview. This Deepavali’s biggest release in Tamil Nadu is, arguably, Kodi (Flag), a political thriller he has produced that stars Dhanush in his first double role, as twin brothers. The twins may be identical but their natures are mutually exclusive. Refreshingly, Kodi casts Trisha as a feisty woman politico, giving Dhanush’s eponymous hero a run for his money.

“For a hero movie, it’s pretty decently written,” pronounces Baradwaj Rangan, film critic and associate editor at The Hindu. “There’s a conflict, there are surprises and even within a commercial film, it’s properly written and directed. It’s not some random moments strung together to get people whistling.”

The film’s premise is how politics and political interests shape communities and the quality of their life. In this case, it involves skullduggery surrounding a factory emitting toxic effluents. It could be happening not too far away from our backyards.

At the Oscars

Vetrimaaran himself, however, was conspicuous by his absence during Kodi’s promos. He has a bigger task on hand. Visaaranai (Interrogation), the part-docudrama, part-crime thriller he directed, is India’s official entry to the 89th Academy Awards in the Best Foreign Language Film category. So he is in the US persuading jurors take note of his film, which has some truly hairy torture scenes. The last Tamil film that made it to the Oscars was 16 years back: Hey Ram starring Kamal Haasan.

Usually, the choice of any film to represent the country at the Oscars polarises critics, but Visaaranai remains largely unchallenged. Rangan agrees. “Visaaranai was a fantastic film.”

It tells the story of innocent migrant labourers picked up and tortured by the police to extract a false confession for a fatal robbery at an influential man’s house. How the film, shot in 42 days on a Rs 2-crore budget and eventually wining three National Film Awards, got made is interesting. After his Aadukalam in 2011, Vetrimaaran had busied himself with his production ventures, Udhayam NH4, Poriyaalan and Kaaka Muttai. When he was prepared to shoot his next, the script he picked was Soodhadi, a story on gambling, proposing Dhanush in the lead role. However, the actor had to take time off to work in Balki’s Shamitabh, being shot in Mumbai.

Vetrimaaran was mooting a book adaptation when director Balu Mahendra’s assistant serendipitously presented him with Lock Up, a riveting, partly autobiographical book written by M Chandrakumar, a former autorickshaw driver. The book, which took five years to write and another four to publish, narrates his harrowing experience while in jail in (then) Andhra Pradesh.

“When I pitched the story to Dhanush, who later produced the film, I said I can only guarantee you a three-day weekend run at the box office. But it’s a low-budget venture; you’ll get your investment back,” Vetrimaaran laughs. “Dhanush was amused, but agreed to fund the project. [I thought] it’s the kind of film that would not bring in repeat audiences. I was proved wrong and it got a good three-week run.”

The author, Chandrakumar, was incarcerated for a fortnight way back in 1983. “Yet his experiences are relevant even today,” points out Vetrimaaran. “Visaaranai reflects a stark reality from which you cannot shut yourself out: that is its success. It was challenging to find the right kind of actors and locations. We employed real stuntmen who could exercise restraint while beating up the actors.”

“What was unique was that there were a lot of first-time actors in the film; that added rawness to it,” says K Hariharan, filmmaker and critic. “Actors like Samuthirakkani and Kishore were entirely on the sidelines. That made it an interesting watch.”

Astutely, the team decided to send it to international film fests right away, confident it would work with foreign audiences. Visaaranai premiered at the Orrizonti section of the 72nd Venice Film Festival, a first for a Tamil film, and won the Amnesty International Italia Award. Crucially, the European audience was exposed to a hitherto unexplored form of Tamil cinema that dealt with grim reality in a non-dramatic but powerful way.

“Europeans have a different policing system. They found my narrative a bit harsh, though they were moved,” explains Vetrimaaran.

A rooted voice

It is Vetrimaaran’s preoccupation with sometimes gritty, sometimes heartwarming reality that makes this 41-year-old one of the best filmmakers of our times.

“The best thing about the regional filmmakers is that they bring in a very ‘native’ feel,” says Rangan. “Like if I watch Nagraj Manjule’s Sairat for instance, I find [elements] that remind me of Vetrimaaran. But that’s more because these filmmakers do these ‘rooted’ things very well. They give you the sense of the atmosphere, the rhythms of life in that particular environment, they take care to bring them alive.”

His critically acclaimed debut venture, Polladhavan (Ruthless Man) in 2007, followed a lower middle-class young man’s search for his stolen bike, an exercise that takes him through the seamy underworld. Four years later came Aadukalam (Arena), a Pongal release that raked in six National Film Awards. The cockfight arena was where love, ego, honour, friendship and betrayal were played out in the rustic backdrop of Madurai.

Says Manimaran, long-time friend and assistant, “Vetri used to like watching cockfights in the neighbourhood in our hometown. So he thought we could develop a story around them.”

There was no doubt about who would play the lead. “I wrote Aadukalam keeping Dhanush in mind,” says Vetrimaaran. “As an actor, he delivers exactly what I need and sometimes more. As a producer, he offers me complete freedom and does not interfere at all. He trusts me completely.”

Rangan explains the Vetrimaaran touch, “There is a world of difference in the way he uses the song and dance elements in Polladhavan and Aadukalam. They have become more organic and rooted; they’re not fantasy elements.”

“I personally prefer Aadukalam to Visaaranai, but it’s like comparing apples and oranges,” says Hariharan. “Aadukalam had a certain kind of warmth and spontaneity. Visaaranai, to me, looked rather staged.”

He explains, “Visaaranai’s [appeal across the world] is that for the first time in Tamil cinema, you see this kind of brute reality without the director taking recourse to a love story or family drama. It’s also interesting that a country like India allowed such a strongly critical film on the system. There’s no doubt that Vetrimaaran is a bold filmmaker.”

Vetrimaaran’s productive chemistry with Dhanush has paid rich dividends. The two went on to produce Kaaka Muttai (Crow’s Egg) in 2015, a subversive film poking fun at what is regarded as cool - pizzas, in this case. This little gem, premiering at the Toronto International Film Festival, tracks two brothers from a Chennai slum dying to taste a pizza. Directed by M Manikandan with wit, not once is the children’s dignity compromised. Their family struggles in a heartless and corrupt city and soon we find ourselves cheering for our little heroes. Kaaka Muttai pocketed two National Film Awards.

“There is a stamp of quality that people have begun to associate with Vetrimaaran, because even the films he produces are pretty decent,” says Rangan, adding that he looks for, and gets, that certain quality.

Vetrimaaran’s genius lies in shining a light on people we would not even glance at in our rat race. His films show us that ordinary people often lead extraordinary lives if only we stop to talk to them.

Smitten by cinema

Born in Cuddalore near Puducherry and raised in Ranipet, a suburban town in Vellore district, two and a half hours from Chennai, Vetrimaaran was smitten by cinema even as a child. His mother, a writer, ran a school in the area, while his father was a veterinarian. Friends remember him as a film buff who watched every movie that came to town.

“He would bunk classes and watch them, each three or four times. Then he would come to the school ground where we used to hang out until 7:30 in the evening and would retell the whole story to us. My friends and I have actually walked out of the theatre at times because the film was nowhere as good as his narration. He still has that quality,” says Manimaran, his assistant.

Vetrimaaran was in his second year of Masters in English Literature in 1999 when the now-deceased filmmaker Balu Mahendra was invited to judge a short film contest at the Loyola College, Chennai. Shortly afterwards, he attended a seminar conducted by the director and was inspired enough to assist him in Julie Ganapathy, Athu Oru Kanaa Kaalam and the television series Kadhai Neram.

Athu Oru Kanaa Kaalam cemented his friendship with the lead actor, Dhanush, whom he describes as his best friend. While still assisting Balu Mahendra, Vetrimaaran pitched the story of Desiya Nedunchalai, and the actor readily agreed to play the lead.

Recalls Manimaran, “Producers were not hard to come by because we had Dhanush. But a few had misgivings about how Vetri would handle the project as a newcomer. So we tossed aside that script, which I later made into Udhayam NH4.”

The initial years proved to be rough. “I was pitching different scripts to different people for three years and it was the sixth producer who okayed Polladhavan,” says Vetrimaaran on his directorial debut.

Adds Manimaran, who assisted him in the project, “After the film was edited, we were really scared to show it to the producer. We kept stalling the screening telling him it may not have come out as he expected. Finally, when he saw it, he was satisfied. We were relieved and gradually grew confident.”

Pushing for excellence

When Manimaran himself forayed into direction with Udhayam NH4 in 2013, Vetrimaaran returned the favour by stepping in as producer under his banner, Grass Root Film Company. As he puts it, “I want my production house to be a platform for good, interesting ideas. I can find a producer for my films, but others, who may be first-time filmmakers, might have innovative scripts that mainstream producers might not understand. Like Kaaka Muttai for instance.

“I produce films in partnership as I may not be able to afford the entire budget. Dhanush ends up co-producing some of them as our tastes are similar. None of my producers ever ask me for the budget. I always make sure it is within their means and I can give the desired returns.”

For someone who has been successful both commercially as critically, Vetrimaaran has directed only three films in nine years. “For me, every film is a learning process. After each, I take time to unlearn. Then I find new content, learn it completely and then execute it.”

Manimaran describes his working process thus, “Many directors make changes to the script on the spot. But Vetrimaaran is different because he pays attention to detail. He puts in a lot of effort, so there may be last-minute adjustments with lighting and locations. Unlike working with other directors, you need to be available 24 hours.”

Outside of work, the father of two, who met his wife Aarthi while at college, likes to race pigeons, pretty much like the characters he portrays. His rootedness has also led him to voice the germ of an idea: setting up an organic farm eventually.

Rangan describes grit as the definitive quality of Vetrimaaran’s films, and praises his skill in animating the atmosphere in terms of the integrity of the characters, the plot, and the texture. “The way he shapes the characters and writes them, you feel that these are not [just] individual people; you get a sense of where they come from, where they belong. [They’re] not just some random characters floating around.”

His fans are already talking about his fourth film, Vada Chennai (North Chennai), an ambitious gangster trilogy he has been planning since 2003. After undergoing several changes of scripts and stars, Dhanush, Vijay Sethupathi, Amala Paul and Samuthirakkani are among those confirmed on the project that is currently under way. Slated for release next year, Vada Chennai is also bound to have the by-now classic Vetrimaaran stamp.

(Published in arrangement with GRIST Media.)

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Ace Director Vetrimaran's IIFC signs MoU With Producer Ishari K Ganesh's Vels University

Updated May 4, 2024, 13:46 IST

Producer Ishari K Ganesh With Director Vetrimaran

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Vetrimaaran: ‘More than Oscar, making others accept our local mainstream films is real development’

Vetrimaaran explains why south indian film industries are creating pan-indian content while other industries are failing to catch up..

Vetrimaaran was part of the second edition of the CII Daksin Summit, the largest media and entertainment summit in South India. The National Award-winning director spoke about the reason why South Indian films are transcending borders. “They say art doesn’t need language and border, but art has its own language and culture,” he began.

The Polladavan director cited the pandemic and the lockdown as the reason for the shift in the way people started consuming films. “We have been talking about the so-called Pan-Indian film; the films that are made for a wider audience. But what I really respect about the films that became nationwide success is that they were not made to appease or manipulate the larger audiences who are beyond the place of origin of the films. Be it KGF or RRR or Kantara… if it is a Kannada film, it was not made with a Kannada hero, Tamil comedian, and a father or mother from the North.”

He added, “Earlier, there was a generic approach in films like if there’s a wedding, it was very generic so it can be relatable to all kinds of audience. However, now, these filmmakers are making films for their audience, about their culture, and in their style. That’s why it becomes a hit universally. We should tell our stories, but emotions become universal. Earlier, we tried to tell larger stories and universal themes, which we failed in a way. In these recent years, that’s the change that has come out.”

“More than getting an Oscar, I think taking our mainstream films that are made for our people… taking those films and making it a success across the world is the real development and evolution. South Indian films have created an impact in terms of revenue generation because we are telling our stories, for our people, with our people. Other industries are not able to do that because they are trying to cater to everybody,” he said.

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Dr. Ishari K. Ganesh

M.com., mba., m.l., m.phil., ph.d..

Dr. Ishari K. Ganesh, an educationist, philanthropist, and business magnate, is popularly known for his innovative business ventures around the world. With a modest beginning as a humble educationist, he started the Vaels Educational Trust in 1992 with 36 students

FOUNDER AND CHANCELLOR

VELS University, Chennai (Vels Institute of Science Technology and Advanced Studies – VISTAS)

Vels Group of Institutions (India, Singapore and United Kingdom)

Tamil Nadu Olympic Association and Taekwondo Federation of India

Hindi Advisory Committee, Ministry of Women and Child Development, Government of India

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'It does not matter if I hold the post of chairman and chancellor. I wish to be a student all my life'

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Mikhail Lomonosov

Born: Denisovka, Archangelsk Province - 19 November 1711 Died: St. Petersburg - 15 April 1765

Mikhail Lomonosov was the great polymath of the Russian Enlightenment. Born in the deepest provinces of Northern Russia, he managed to gain a first-class education through a combination of natural intelligence and sheer force of will, and went on to make significant advances in several fields of science, as well as writing one of the first Russian grammars, several volumes of history, and a great quantity of poetry. In short, he was instrumental in pulling Russia further into the modern world, and in helping to make St. Petersburg a centre of learning as great as almost any in Europe.

Lomonosov was born in the village of Denisovka (now Lomonosovo), a village about 100 kilometers south-east of Arkhangelsk on the Severnaya Dvina river. His father was a peasant fisherman who had grown rich transporting goods from Arkhangelsk to settlements in the far north. His mother, the daughter of a deacon, died when he was very young, but not before she had taught him to read. From the age of ten, he accompanied his father on voyages to learn the business.

In 1730, however, determined to study, he ran away from home and walked over 1 000 kilometers to Moscow. Claiming to be the son of a provincial priest, he was able to enroll in the Slavic Greek Latin Academy, where he studied for five years before being sent on to St. Petersburg's Academic University. The following year (1736), he was a select group of outstanding students sponsored by the Academy of Sciences to study mathematics, chemistry, physics, philosophy and metallurgy in Western Europe. Lomonosov spent three years at the University of Marburg as a personal student of the philosopher Christian Wolff, then a year studying mining and metallurgy in Saxony, and a further year travelling in Germany and the Low Countries. While in Marburg, he fell in love with and married his landlady's daughter, Elizabeth Christine Zilch.

Due to lack of funds to support his young family, Lomonosov returned to St. Petersburg at the end of 1741, and was immediately appointed adjunct to the physics class at the Academy of Sciences. In 1745 he became the Academy's first Russian-born Professor of Chemistry, and in 1748 the first chemical research laboratory in Russia was built for him.

Throughout his career at the Academy, Lomonosov was a passionate advocate for making education in Russia more accessible to the lower ranks of Russian society. He campaigned to give public lectures in Russian and for the translation into Russian of more scientific texts. In this, he found himself in conflict with one of the founders of the Academy, the German ethnologist Gerhard Friedrich Miller (whose views on the importance of Scandinavians and Germans in Russian history Lomonosov also hotly disputed). By composing and presenting at an official Assembly of the Academy in 1749 his ode to the Empress Elizaveta Petrovna, Lomonosov gained considerable favour at court and a powerful ally in his pedagogical endeavours in the form of Elizaveta's lover, Count Ivan Shuvalov. Together, Lomonosov and Shuvalov founded Moscow University in 1755. It was also thanks to Shuvalov's influence that the Empress granted Lomonosov a manor and four surrounding villages at Ust-Ruditsa, where he was able to implement his plan to open a mosaic and glass factory, the first outside Italy to produce stained glass mosaics.

By 1758, Lomonosov's responsibilities included overseeing the Academy's Geography Department, Historical Assembly, University and Gymnasium, the latter of which he again insisted on making open to lowborn Russians. In 1760, he was appointed a foreign member of the Swedish Royal Academy of Sciences, and in 1764 he was similarly honoured by the Academy of Sciences of the Institute of Bologna. The same year, he was granted by Elizaveta Petrovna the rank of Secretary of State. He died 4 April 1765, and was buried in the Lazarev Cemetery of St. Petersburg's Alexander Nevsky Monastery.

Much of Lomonosov's work was unknown outside Russia until many years after his death, and even now it is more the extraordinary breadth of his inquiry and understanding, rather than any specific grand advancements in a particular field, that make him such a seminal figure in Russian science. Among the highlights of his academic career were his discovery of an atmosphere around Venus, his assertion of the Law of Conservation of Mass (nearly two decades before Antoine Lavoisier), and his development of a prototype of the Herschelian telescope. In 1764, he arranged the expedition along the northern coast of Siberia that discovered the Northeast Passage between the Atlantic and Pacific Oceans. His works also contained intuitions of the wave theory of light and the theory of continental drift. He made improvements to navigational instruments and demonstrated the organic origin of soil, peat, coal, petroleum and amber. Without knowledge of Da Vinci's work, he developed a working prototype of a helicopter.

He wrote the first guide to rhetoric in the Russian language, and his Russian Grammar was among the first to codify the language. His Ancient Russian History compared the development of Russia to the development of the Roman Empire, a theme that would become increasingly popular in the 19th century. His poetry was much praised during his lifetime, although it has been largely ignored by posterity.

Lomonosov is remembered in central St. Petersburg in the names of Ulitsa Lomonosova ("Lomonosov Street"), Ploshchad Lomonosova ("Lomonosov Square") and the adjacent bridge across the Fontanka River. During the Soviet Period, his name was given to the Imperial Porcelain Manufactory, and hence to the nearby metro station, Lomonosovskaya. The Soviets also renamed the suburban town of Oranienburg as Lomonosovo. In 1986, a magnificent monument to Lomonosov was unveiled in front of the Twelve Colleges, the main campus of St. Petersburg State University, acknowledging the enormous debt that institution owes the great polymath who is rightfully considered the father of Russian science.

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