Shaji approached cinema rationally

Shaji came to meet me only twice in his lifetime. The first time was several decades ago when he was a student and the second, just three weeks ago!. That first meeting happened soon after he graduated from University College. He had come seeking advice on how to gain admission to the Pune Film Institute.

Shaji was a neighbour of Mukundan, who was then the manager of Chithralekha (studio). He visited the office with Mukundan and brought along a few photographs he had taken. I gave him a copy of the Chithralekha film souvenir, which I had edited with authentic and detailed information on cinema. I advised him to study it carefully to prepare for the film institute’s entrance exam.

I also wrote letters of recommendation to a few teachers at the institute, requesting their support for Shaji. After securing admission in Pune, he sent me a letter expressing his gratitude. Shaji would go on to prove that a cinematographer with a deep understanding of the camera can also become an exceptional director. 

He worked behind the lens for several landmark Malayalam films. As a director, his debut Piravi marked a remarkable beginning. Shaji was a filmmaker who never compromised. He followed his inner convictions and never inserted anything superfluous into his films just to lure crowds into theatres. His approach to cinema was thoughtful and rational.

We worked together on various committees over the years. During the International Film Festival of Kerala held in Kochi, which Shaji led, I served as the jury chairman.

The last time he came to see me was just earlier this month. I was recovering from a leg surgery following a fall. He looked visibly tired. That visit, for me, came as a surprise. It was during that visit that Shaji first revealed the details of his illness to me. When he said that he would recover soon, I too felt reassured. I had no idea the condition was so serious—that his departure was so near. Malayalam cinema has lost one of its most significant filmmakers. His passing is an irreparable loss to our film industry.