Lighting up ‘Ponniyin Selvan’ characters the Ravi Varman way

Cinematographer Ravi Varman discusses the visual landscape of Mani Ratnam’s ‘Ponniyin Selvan’ and how he attempted to give a contemporary treatment to a historical period drama

Cinematographer Ravi Varman’s first brush with a period set-up was a brief 12th century portion in Kamal Haasan’s Dasavathaaram (2008). Since then, he was eager to work on a full-fledged period drama. After filming director Sanjay Leela Bhansali’s Goliyon ki Raasleela-Ram Leela, he was all set to team up with the director again for Bajirao Mastani. However, that did not materialise for him. Years later, he got the opportunity to film Mani Ratnam’s magnum opus Ponniyin Selvan and dove right in. Currently basking in the appreciation he has been receiving for the film’s visual canvas, Ravi Varman sounds relieved when he begins this interview: “For all of us, completing the film itself was a huge success. It was not easy to pull off a film of this magnitude during the pandemic.”

Part 1 and 2 of Ponniyin Selvan were filmed at a stretch, he says, in about 137 days. “We set it up like a historical project and filmed it in a contemporary manner to make it stand out from other history-based Indian films.” 

Born in a village near Thanjavur and being aware of the Chola dynasty, Ravi says Varman was not a surname given by his parents, whom he lost at a young age. “I chose the name Varman, inspired by Chola kings such as Arunmozhi Varman (Raja Raja Cholan) and Kulothunga Varman; the name Varman was bestowed on them for their valour. When I began working, people made fun of me asking if I fancied myself to be Ravi Varma, the painter.”

Ravi Varman, whose impressive filmography includes Anniyan, Tamasha, Jagga Jasoos and Barfi!, began analysing the work of renowned painters as his interest in photography and cinematography grew in his formative years. “I like the colour tones of Rembrandt and the composition of (Pablo) Picasso.”

He had worked with Mani Ratnam for Kaatru Veliyidai and when the director called him for Ponniyin Selvan, he was ready for the task. “I had already read Kalki’s Ponniyin Selvan and was familiar with the characters.” 

During the initial discussions, the director and Ravi had decided to give the historical setting a contemporary visual treatment and Ravi pointed towards Mel Gibson’s Braveheart as an example. “We wanted the colour tones to look realistic, while the costumes, jewellery and the sets complete the period look.”

Ravi credits Mani Ratnam for giving him ample freedom and says, “He wants his DoPs (director of photography) to contribute in a big way. Many times we would have visited locations twice to thrice before finalising how to film and when to film. A simple palm tree in Pollachi looks magnificent, with a hint of rainbow colours in the sky, in the Ponni Nadhi song. We got lucky in such cases; the sunrise and light intensity is different on different days.”