Shaji Ann Karun’s residence in Thiruvananthapuram is hanging on ‘Pirvi’. This was the place where autobiography and Ace Cinematographer met fans from all areas of life. This is the place where he conceptualized all his works, including documentaries and short films. This is where I met Shaji as a part of my course as a student of journalism more than three decades ago. He shared that this was the idea of ​​his wife Ausuya Warrier at his house ‘Pirvi’.
Shaji spent a lot of time while talking to a miscreant reporter while discussing his first film Pirvi (1988), his second film Swaham (1994) and his student’s days in Pune. Pirvi A great success was about the story of a father’s fruitless discovery for his son, which the police have raised. During the Emergency, the film survived excesses in a poignant way. It won the National Award for Best Director with Camera D’Or and many other honors from all over the world at the Cannes Film Festival in 1989. Swaham (1994) was also shown in the ear.
Kashi Art Cafe, Shaji N. Karun , Photo Credit: Mahesh Harilal
This was Shaji’s attraction for images painted by Prakash who took him to cinematography. After graduating in Physics from University College, he selected to join the Film and Television Institute of India in Pune. He came out with a gold medal in cinematography.
Shaji always spoke emotionally about the magic and mood of the tropical sun. He will enthusiast with enthusiasm and capture Hughes and direction. His focus on expansion was amazing.
His simplicity was contrary to the world seen through the lens. Since he lived in the neighborhood of my mother’s house, I have often seen him walking quietly with the road. He was then the President of the Kerala State Chalitra Academy. He was also the Executive Chairman of the International Film Festival of Kerala (IFFK). He was able to get the best of filmmakers and technicians for these festivals due to his personal equation.
Over the years, I have had the opportunity to talk to him many times. Each time, I was left with a sense of surprise on the filmmaker’s ability, which was engrossed in various subjects scheduled in different times. Shaji was not a vigilant director. He took time to shape a story or a subject and then spent some more time, in which it was seen in a language and idiom that was all of him.
Of the many awards that Shaji won, he especially presented the Sir Charlie Chaplin Award, designed to celebrate the birth centenary of The Legendary Comic actor (1989) at the Edinburgh Film Festival. “When I rode in my flight to India, Flight Attendants announced that I have won this prestigious award and passengers have given me a permanent ovation,” they heard during an interview Hindu,
In the release of the documentary, artist Nambothiri and filmmaker Shaji N Karun, Verood Clapathy
Photo Credit: Thulasi Kakkat
Shaji’s deep affinity for music and painting was clear in all his films. His bond with artist Nambothiri results in the documentary Neruvara On later life. Moving Focus – A Tour Artist captured the visit to KG Subramaniam. Free-flowing lines and strokes were beautifully translated by Shaji on the screen.
He stepped into the world of cinema by crank camera for KP Kumaran Lakshmi Vijayam (1976). But this si. He had a long relationship with Arvindan which marked his cinematographic aure. Sita (1977), Thump (1978), Kummetti (1979), Estapan (1979), Pokuveville (1981), Chidambaram, Oridathu And Unnasy All were shot by him. He had a supernatural ability to understand what Arvinda had done in his mind. Shaji was able to convert Arvindan’s abstract ideas into a fully built frame. “Aravindon’s screenplay was often very brief. ThumpFor example, there were only four pages, “he remembered during the screening of the restored version of the film in the ear.
He drank. He also worked with other great directors like Padmarajan, Mount Vasudevan Nair, KG George and Lenin Rajendran. He was the cinematographer of writer-director Padmarajan QuadevidIn which actor Suhasini started in Malayalam films.
While paying tribute to Shaji, Suhasini shared on Instagram: “Remembering Shaji Karun. Some people what we meet is evergreen and eternal. He was a cinematographer for my first film Kudwide. I was his Subhadra in Vanaprasthyam.
Mohanlal in Vanaprastham, Which isShaji’s timeless classics. Photo Credit: Special Arrangement
In Vanaprasthham (19), Shaji’s third feature film, Mohanlal came up with award -winning performances as a poverty -stricken Kathakali artist and his internal struggle as an artist and man.
Kutti Srik (2010) is one of the most complex films of Shaji. It discovered the previous life of a dead Chavitunatakan artist and various memories that he left behind in places he lived. Staining the reality and imagination, Shaji’s story in a sense was also the story of the arrival of some regions of the state and the arrival of various religions and belief systems. Mamoti easily played Kutti Srik’s three avatars and three women with three women.
Shaji once said that Mohanlal’s big expressive eyes were his biggest advantage, while Mammooty was so beautiful that it was difficult to mask her good look. “Even if someone smells his face with soil, it will be difficult to hide his characteristics.”
From the film Swapamam.
Photo Credit: Hindu Archives
after Dawn And OluShaji’s heartfelt desire was to direct a music. He had said that when a top actor, who had received several awards for his work in Shaji’s films, he was so disappointed, he came with all kinds of excuses not to work in music. It was a mega Indo-European project.
With Shaji’s death, Malayalam cinema has lost a director and technician, which has brought it to global standards. I saw recently Vanaprasthham On television and focused on meditative speed, on which Shaji’s camera captured every nuance of spirit. This reflected Shaji’s outlook for life – to calm and enjoy every moment.
Published – May 01, 2025 12:26 pm IST
