Rukmini’s character in ‘Oru Thekkan Thallu Case’ is well-rounded: Padmapriya

Actor Padmapriya who returns to Malayalam cinema after a hiatus speaks about what drew her to Rukmini’s character in ‘Oru Thekkan Thallu Case’

Actor Padmapriya who returns to Malayalam cinema after a hiatus speaks about what drew her to Rukmini’s character in ‘Oru Thekkan Thallu Case’

One of many elements that drew actor Padmapriya to Oru Thekkan Thallu Casewas her character within the movie, Rukmini. A well-rounded feminine character is a rarity, particularly when the character’s arc is explored outdoors the context of their relationship with the hero and there’s a nuanced exploration of the connection between the 2 ladies characters – Rukmini and Vasanthi (Nimisha Sajayan) – within the backdrop of anger and combating. 

Oru Thekkan…, directed by Sreejith N , is her first Malayalam movie shortly. Iyyobinte Pusthakam (2014) was one of many final Malayalam movies she did, which had a distinguished position. A lot of the characters she has essayed thus far, like most feminine characters in Malayalam industrial movies, have seldom reached their potential, the event really fizzling out sooner or later within the plot growth. 

“Rukmini is an attention-grabbing character, she is Ammini Pillai’s (Biju Menon) spouse however, as a personality, she has her individuality. She is robust and daring, however there’s a vulnerability within the feminine friendship area the place she is defending her youthful pal Vasanthi. There are particular traces [to other female characters] that I’ve not mentioned [in other films] earlier than,” says the actor, praising the writing. 

That is the form of movie she wish to watch in a theatre; “The sound, artwork, the characters… all would make for a theatrical expertise, the movie is a real entertainer.” She confesses to initially not understanding the story as a result of the narrative was “with out the peaks and troughs of an everyday movie.” Seeing the Nineteen Eighties – culturally, socially and politically – from the context of 2022 added to the expertise.   

Being a part of the movie was attention-grabbing as she watched a first-time filmmaker create on an enormous, visible canvas with out compromises and cost-cutting. “Each director and producer had been taking an opportunity – economically and creatively – in telling this story.” 

Returning to the seen area of movies after some years of being within the ‘invisible area’ of doing work not associated to movies is making her nervous.

The years she has been away had saved her busy along with her work first with the Centre for Coverage Analysis after which with Sahapedia, each partaking totally different features of her curiosity. 

She calls her determination to take a break from her movie profession when it was at its peak, ‘bravado’. Counting administrators Adoor Gopalakrishnan, Anjali Menon and Ram among the many few who’ve pulled it off in India, she says, “It [bravado] is the sort that comes from eager to be true to one thing one does.” 

Non-traditional vocations afford such breaks, she emphasises. It [the break] was ‘attention-grabbing’, particularly with the “shelf lifetime of an actor” query. However for her, performing has been greater than about creating wealth. “I used to be not discovering myself related in what I used to be doing [in films]; it made little sense to proceed and there have been different areas for me — the 2 non-profits.”  She has been lively along with her work for Girls in Cinema Collective (WCC) as properly.

In  2019-2020, nevertheless, she revisited her determination to take a break from movies, and Oru Thekkan… was one of many tasks that materialised. An element that labored in its favour was that it aligned with the form of work she was on the lookout for.  

The pandemic might have modified what leisure is when it comes to enterprise and aesthetic/style, “There are various tales in Malayalam, which revolve round male characters of a particular age group. Marathi, Bengali, and Tamil content material, for instance, is extraordinary. I don’t see too many attention-grabbing feminine characters in Malayalam.”   

Jeo Child’s title comes up on this context, and The Nice Indian Kitchen, with its nuanced portrayal of a feminine character. Padmapriya admits to not having watched the movie however has examine it and is aware of Jeo’s work; her favorite is Kunju Deivam

Nimisha Sajayan, who impressed in Thondimuthalum Driksakshiyum. and by the way acted in The Nice Indian Kitchen, was an actor she needed to behave with. She seemed ahead to working along with her as Vasanthi. “It was enjoyable to do the feminine pal position and discover her as an actor!”       

She has a number of different tasks lined up in Malayalam and Tamil, however can’t discuss them but. 

So, how is she selecting tasks? Is it a let’s wait-and-see strategy?  “There is no such thing as a wait and see. You seize if you get a very good venture, particularly with good feminine characters!” she says. 

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