Director Kamalakannan talks about making ‘Kurangu Pedal,’ produced by Sivakarthikeyan

‘Kurangu Pedal’, produced by Sivakarthikeyan, premiered in the Indian Panorama section at the 53rd International Film Festival of India

Kamalakannan’s cinematic vision isn’t forged by the spectacle of superhero movies or the vast expanse of space operas. His inspiration seems closer home, in the whirring efficiency of a ceiling fan or the comforting hiss of a kerosene stove. These mundane machines held a profound magic for him. He felt they silently shaped our lives. Bicycles, in particular, captured his imagination. They embodied freedom, the promise of escape, and the ability to propel oneself beyond the confines of the familiar. This fascination probably led him to Cycle, a short story by filmmaker Rasi Azhagappan, 15 years ago.

“Even as I was reading it, I felt it had the right elements to be made into a film: a bicycle, childhood, a summer setting, a father-son bond, and was set in the 1970s. I had no idea who Rasi Azhagappan was back then, but I later discovered he was part of my social circle. So, I approached him, and luckily, he let me adapt it into a film,” recalls Kamalakannan.

It almost became his debut film. He even did a three-day test shoot. “But during those days, it hit me – this story with children at the centre wasn’t the right fit for a first-time filmmaker. Honestly, I lacked the experience and patience it demanded. So, I shelved it,” he says. He went on to make Madhu Banakadai in 2012 and Vattam in 2022.

But Cycle stayed with him. He narrated it to everyone he met, and everyone’s response was positive. Finally, a decade later, having gathered the experience and found the confidence, Kamalakannan made it into a film, Kurangu Pedal, which premiered in the Indian Panorama section at the 53rd International Film Festival of India (IFFI) in 2022. The film, produced and presented by actor Sivakarthikeyan, is slated for a theatrical release on May 3.

Cycle underwent some changes to become Kurangu Pedal. “Translating a short story directly into a film, word-for-word, just doesn’t work. It’s just the core emotion we capture,” says the filmmaker. This meant shifting the time frame from the 1970s to the 1980s, changing the location from northern Tamil Nadu to the Kongu region, and fleshing out the world around the narrative. While Azhagappan’s short story focuses on two characters, the film introduces supporting roles for added depth.

Recreating a bygone era devoid of ubiquitous technology like phones and YouTube proved the biggest challenge. The makers had to meticulously craft a world rich in that time’s language, people, and essence, ensuring it resonated with viewers. The building blocks were Prabhakar Shanmugam’s dialogues, SuMee Baskaran’s camera work, Ghibran’s music, and Antony Ruban’s sound design.

“One of our biggest challenges was helping the young actors, who are the film’s fulcrum, understand the period. Growing up in this digital age, they constantly ask questions like ‘How did people navigate without Google Maps?’. It’s a world entirely alien to them. So, for viewers of this generation, the film will offer a glimpse into a very different era,” says Kamalakannan.