Shaji: The Outstanding Auteur And Cinematographer Of The World Cinema

Farewell to Shaji N Karun, the storyteller of human misery.

I always addressed him as ‘Shaji Sir’, and as I write this tribute to him, I can only address him as ‘Shaji Sir’. My tryst with cinema has a lot of influence from him, and I’m deeply indebted to him for that. For me it is a huge personal loss.

In his films, a poignant exploration of unspoken sorrow unfolds, capturing the essence of fathers lingering in hopeless anticipation as voices gradually dissolve into silence. Here, art emerges as the final sanctuary, offering solace amidst the relentless harshness of history.

Death signifies an end, a final chapter in the narrative of life. This marks the conclusion of a life story, transitioning into a narrative structure that unfolds with a clear beginning, middle, and end. For an artist, death signifies the end of a vibrant creative journey—a tapestry woven with highs and lows, pauses and progressions, quiet moments and echoes. In this final chapter, their work takes on a newfound clarity, inviting reflection and appreciation. The artist’s inspirations and concerns, which have long been woven into their body of work, emerge with striking clarity and intensity.

As we reflect on the cinematic journey of Shaji N. Karun (1952-2025), an array of recurring themes, profound human concerns, and distinctive stylistic choices unfolds, gaining even greater significance in today’s world. Consider, for example, two poignant scenes from his cinematic repertoire: one from his inaugural film, Piravi (The Birth, 1989), and the other from his sole Hindi feature, Nishad (Octave, 2002).

For those who have experienced the poignant storytelling of Piravi, the unforgettable sight of the elderly father, portrayed with remarkable depth by the legendary Premji—whose performance earned him the prestigious Bharat Award—sitting on a log by the roadside at the village junction lingers in the memory long after the credits roll. Anticipation fills the air as he awaits the arrival of his son, who has been immersed in his studies in the bustling city. The late evening bus, the sole lifeline connecting their village to the wider world, is expected to bring him home soon. As he disembarks from the boat that carries him across the shimmering river, he navigates the damp, muddy riverside path, making his way towards the bustling junction ahead. As the sky dons a cloak of grey, distant rumbles of thunder echo ominously, heralding the approach of a much-anticipated rain. The old father’s vigil stretches on, a seemingly eternal wait, for his son is destined never to return. The police have inflicted a brutal fate upon him, leading to his tragic demise. In a troubling twist of fate, the authorities not only dismiss the truth but also shroud it in deception, leaving the old man’s faith in the world hanging by a thread.

At the heart of Nishad lies the poignant story of an ageing doctor dedicated to his role at the local government hospital, alongside his wife, a devoted teacher at the Tibetan monastery school. Their lives intertwine in a tapestry of service and commitment, reflecting the essence of community and compassion. Nestled in the heart of the Himalayas, they call a secluded village their home. With anticipation, this couple counts down the minutes to their weekly call at 8 o’clock sharp from their only son, proudly serving in the Air Force. Yet, the call everyone has been anticipating remains elusive. In a surprising twist, the phone rings again, this time revealing the innocent voice of a child. With a touch of longing, the little one asks for “Gomati Ma,” adding a layer of unexpected emotion to the moment. As the days pass, an anonymous call continues to ring through, casting a shadow of unease. The haunting voice of a child, pleading for his mother, echoes in their minds, leaving them in a state of desperation as they struggle to trace the source of the call and provide the help that is so urgently needed. In a poignant conclusion, the narrative unfolds with both the child and the couple’s son meeting their tragic fate, never having the chance to reunite with their beloved family members.

The parallels between these two films are undeniably compelling, as both unfold against the backdrop of tumultuous periods in the nation’s past. Piravi unfolds against the backdrop of the tumultuous era of the Emergency, a time marked by political unrest and societal upheaval. The narrative draws its inspiration from a harrowing true event that unfolded in Kerala, where an engineering student tragically lost his life after enduring severe torture while in custody. In the face of intense media scrutiny and a protracted legal struggle led by his father, the outcome remained unchanged. His body remains a mystery, with its location shrouded in secrecy, never to be uncovered. Nishad unfolds against the backdrop of 1971, a time when the shadows of the Indo-Pak war begin to gather ominously on the horizon.

As the film unfolds, the airwaves are filled with radio broadcasts that delve into the complex and tumultuous relationship between India and Pakistan, particularly in the context of the liberation struggle in Bangladesh and the looming threat of war. Much like the haunting atmosphere of Piravi, the opening sequence of Nishad captivates with the foreboding sounds of thunder rumbling in the distance. As the scene unfolds, the haunting melody of “Sāre Jahān Se Achchā…” plays softly in the background, creating an atmosphere charged with emotion. The lights dance and flicker, building anticipation until they ultimately fade into darkness following a brilliant flare.

The political landscapes and human tragedies depicted in both films resonate profoundly in today’s world. They highlight the vulnerability of the everyday individual against the sinister machinations of authority, as well as the cunning methods employed to obscure the truth. Moreover, they poignantly capture the relentless cries for assistance from suffering children that tragically go unheard. The echoes of endless, futile waits and the haunting silence of desperate, unanswered rescue calls resonate more profoundly today than ever before.

Witnessing the depths of the suffering

The essence of human suffering is intricately woven into the fabric of Shaji N. Karun’s cinematic works. In the realm of storytelling, the protagonists often emerge as artists, infusing the narrative with a profound layer of tragic drama. These individuals, despite facing relentless injustice, wield the remarkable ability to channel their suffering and struggles into their art, transforming their agonies into powerful expressions of resilience and creativity.

Making his mark in 1989 with the film Piravi, Shaji N. Karun emerges as a prominent figure in the post-New Wave era of Malayalam cinema. As the clock struck noon, the golden era of art cinema began to fade, making way for the burgeoning dominance of television. Shaji Sir has established himself as a prominent cinematographer, leaving an indelible impression with a series of Aravindan films that are celebrated for their stunning visual quality. Shaji Sir’s remarkable journey in the film industry is highlighted by his collaboration with Aravindan on nearly all of his feature films, with the exception of the first and last. Their partnership includes a series of iconic works: Kanchana Sita (1977), Thampu (1978), Kummatty (1979), Esthappan (1980), Pokkuveyil (1981), Chidambaram (1985), Oridathu (1986), and Marattam (1988). Each film stands as a testament to their creative synergy and the lasting impact they made on cinema.

With great anticipation, the audience eagerly awaited Shaji Sir’s foray into direction. Piravi not only fulfilled those expectations but also showcased the emergence of a unique style. In a remarkable turn of events, an Indian film has once again captured the spotlight at the prestigious Cannes Film Festival, clinching the coveted Camera d’Or award after many decades.

The films crafted in the subsequent decades showcase the rise of an auteur deeply engaged with fundamental themes, all while honing a distinctive visual and narrative approach that sets them apart in the cinematic landscape. In his poignant second film, Swaham (One’s Own, 1994), the narrative unfolds around a mother grappling with the weight of solitude as she strives to support her family. The heart-wrenching tale takes a devastating turn when she loses her only son, the beacon of hope in her otherwise challenging existence. Shaji Sir’s upcoming cinematic masterpiece, Vanaprastham (The Last Dance, 1999), showcases the talents of one of Malayalam cinema’s most revered actors, Mohanlal, in the role of Kunhikuttan, a dedicated Kathakali artist. With an undeniable talent that captures the spotlight, Kunhikuttan rises to fame, yet the seductive charm of his artistry pulls him off course. He finds himself captivated by a dominant-caste admirer, someone who is enchanted by the noble persona he embodies on stage, oblivious to the reality of the lower-caste man he truly is. Struggling to balance the complexities of his life as an actor, husband, father, and lover, he finds himself unravelling. His final performance, Subhadraharanam, serves as a poignant swan song, leaving a lasting impression. In a captivating performance, he brings to life the tale of Arjuna and Subhadra, a narrative crafted by his muse. Taking on the role of Arjuna himself, he is joined by his daughter, who embodies the character of Subhadra, creating a poignant and personal retelling of this timeless story.

Following the success of the Hindi film Nishad, Shaji Sir’s subsequent project, Kutty Srank (The Sailor of Hearts, 2010), featured the illustrious Mammootty, another titan of Malayalam cinema. Mammootty takes on the challenge of portraying three distinct characters, their stories intricately woven through the memories of three women. Each woman embodies a unique time and place in his life, creating a rich tapestry of experiences and emotions. Swapanam (The Voiding Soul, 2014) delves into the intricate dynamics between a Chenda percussionist and his wife, a talented Mohiniyattam dancer, exploring the tensions that arise within their artistic lives.

In a narrative reminiscent of Vanaprastham, the protagonist finds their existence profoundly affected by the haunting spectres of history and a myriad of intoxicating experiences. In his latest cinematic endeavour, Olu (She, 2019), Shaji Sir transports audiences to a secluded island where a young painter navigates the delicate balance between artistry and commerce, replicating renowned masterpieces to entice visiting tourists. He comes face to face with his muse—a girl whose tragic fate involved being raped, murdered, and discarded in the depths of a lake—now hauntingly residing beneath its shimmering surface. Her presence ignites his imagination and fuels his unique artistic voice. In a captivating twist, he succumbs to the allure of the art market, ultimately choosing fame and wealth over loyalty. As the realisation of his error dawns upon him, he finds himself in a situation where the opportunity for correction has slipped away.

Shaji N Karun made a striking entrance into the world of cinema with his debut film, Piravi, released in 1989. This poignant narrative draws inspiration from a harrowing true incident that unfolded during the Emergency period, capturing the heart-wrenching story of a father anxiously awaiting the return of his son, who tragically fell victim to police brutality. In a captivating portrayal, thespian Premji delivers an award-winning performance as a grieving father who bravely confronts the harsh realities of institutional injustice.

The profound impact of Buddhist philosophies can be seen in various aspects of life, from art and architecture to mindfulness practices. This ancient tradition, rooted in the teachings of Siddhartha Gautama, emphasises the importance of inner peace and compassion. As more individuals seek spiritual fulfilment in today’s fast-paced world, the principles of Buddhism resonate deeply, offering a pathway to tranquillity and enlightenment. The integration of these teachings into modern lifestyles reflects a growing appreciation for the wisdom of this time-honoured belief system.

In his cinematic universe, characters are often depicted as inherently good, empathetic, or talented individuals who ultimately face tragedy. Their journeys are marked by moments of deviation from their true selves, whether it be through the intoxicating allure of love, fame, or wealth, or through the harsh realities of defeat and betrayal by the very systems meant to support them. Whether it’s destiny at play, the intricate workings of the government, a steadfast commitment to one’s responsibilities, or the pull of affection, the forces at work are undeniably compelling.

In the intricate tapestry of storytelling, numerous protagonists grapple with the shadows of their lineage and the weight of paternity. Their fervent passions often create a chasm, distancing them from the very essence of love and the vibrancy of life itself. Art stands as a unique gateway to transcendence, yet it requires a profound level of selflessness from those who seek its depths. In moments when the self undermines the essence of art, both the artist and the individual find themselves devoid of substance. In the grand tapestry of existence, it is the rare and fleeting insights into the meaning of life that illuminate our paths, providing us with transformative moments filled with hope. The dialogues between the teacher and the Buddhist monk in Nishad delve into profound existential enquiries. In a poignant moment, she enquires about the weight of carrying another’s suffering. The monk, with wisdom, reframes her question, suggesting that perhaps this burden is, in reality, a profound blessing.

While these films grapple with unsettling enquiries regarding the essence of existence, the role of creativity, the sacredness of connections, and the inequities of society, they refrain from providing straightforward answers or neat conclusions. In many tales, the protagonists and their families find themselves shattered, ensnared in the throes of crisis or tragedy, wrestling with lingering uncertainties: What leads to such calamities striking the righteous and virtuous? Is it possible to rise above societal norms through the transformative power of art or the depth of love? Is it possible to cleanse oneself of sins through acts of kindness and virtue? Could it be that both virtuous and sinful actions are inherently karmic, existing beyond the realm of human intervention in this lifetime?

This may explain the abundance of Buddhist references found in Shaji Sir’s films. Nishad unfolds its narrative within the serene confines of a Tibetan monastery, while Kutty Srank weaves a tale of a Sri Lankan Buddhist monk who journeys to the lush landscapes of Kerala. Additionally, the temple featured in Olu is thought to have once served as a Buddhist vihara, adding layers of historical intrigue to the story. This could explain why his films frequently open and close with poignant quotations drawn from the Upanishads, Buddhist texts, and timeless epics. The quotes serve as more than mere narrative brackets; they act as an invitation from the filmmaker, beckoning viewers to delve into timeless, existential enquiries.

Shaji Sir’s passing marks a significant loss for Malayalam cinema, as the industry bids farewell to a director and technician who played a pivotal role in elevating its stature to global standards. Recently, I had the opportunity to watch Vanaprastham on television, where I was immersed in the meditative pace that Shaji Sir’s camera expertly captured, revealing every subtle nuance of emotion. Shaji Sir’s philosophy of life is beautifully encapsulated in his ability to observe and savour each moment with a sense of serene appreciation.