Sonalee Kulkarni On Doing Malaikottai Vaaliban: Cautious About Stepping Out Of Marathi Film Industry | Exclusive

Renowned Marathi film actress Sonalee Kulkarni recently featured in Mohanlal starrer Malaikottai Vaaliban. A Malayalam film directed by Lijo Jose Pellissery, the period drama was released in theatres on January 25, ahead of Republic Day. The movie features Sonalee as Rangapattinam Rangarani, while Mohanlal plays Vaaliban, the mighty warrior with immense strength. Now, in an exclusive interaction with Zoom, Sonalee who is known for her work in the film Natarang, discussed making her debut with Malaikottai Vaaliban, working with Mohanlal, director Lijo Jose Pellissery on the sets and more!

I received a call from the casting team while shooting for Mughalmardini Chhatrapati Tararani, my upcoming Marathi film. Initially, I was surprised that a Malayalam film with Mohanlal Sir and Lijo Jose Pellissery would be interested in casting me. The authenticity of the offer was confirmed through multiple calls, including one from Siddharth Menon, a friend and actor from the Marathi industry. After going through the synopsis and meeting the producers, I felt the gravity of the situation. It's indeed overwhelming to be part of such a colossal project, featuring one of the biggest names in Malayalam cinema and a renowned director.

In this fantasy drama set in an unspecified period, I play Rangapattinam Rangarani, a vibrant and dramatic performer travelling with a troop. Lijo wanted to blend elements from various Indian folk cultures, creating a unique look. My character interacts playfully with Mohanlal's protagonist, Valivaan. The biggest challenge was learning Malayalam, a language I hadn't worked with before. We had workshops and on-set language coaching to ensure correct pronunciation and expression. The character's look is a fusion of Marathi, Rajasthani, and South Indian influences, adding a colourful touch to the film.

There was quite a bit of pressure, especially with learning Malayalam, considered one of the most challenging languages globally after Chinese. Mastering it in a short time seemed impossible, so we focused on the dialogue and script during workshops in Kochi in December. Shooting began in January and February, and having a dialect coach on set was crucial. Non-Mallu actors, including myself, were constantly checked for pronunciation, punctuation, and expressions. Language is a significant tool for actors; it's the foundation for improvisation and nuanced performances. Reflecting on my start in Marathi cinema, where I wasn't initially comfortable with the language due to my cosmopolitan background, feels like going back 15 years. I used to memorise scripts to ensure language proficiency, allowing me to concentrate on acting nuances. Despite my nervousness, I'm aware of the expectations from my Marathi audience. As an actor, comfortability is key when working in different industries. The character's importance to the screenplay matters most. If the character adds value, I'm on board, even if it means stepping out of my Marathi comfort zone.

Collaborating with Mohanlal sir was an immersion into the realm of cinematic brilliance and unparalleled dedication. From the very first encounter on the sets in Jaisalmer, his warm welcome set the tone for an extraordinary journey. During his action sequence shoot, amidst the cold desert winds, his immediate concern for my comfort epitomised his generosity and camaraderie. It was during this shoot that I witnessed firsthand his commitment to perfection in every action sequence, a testament to his enduring passion for his craft.

He not only recognised my work but also expressed genuine curiosity about the nuances of my recent popular songs. His childlike enthusiasm in discussing his favourite action sequences from Lucifer or demonstrating dance steps between takes was both delightful and enlightening. It's not every day that a legendary actor, with a plethora of accolades and accomplishments, exhibits such humility and genuine interest in others' work.

Being a part of Lijo Jose Pellissery's cinematic universe is like embarking on a thrilling rollercoaster ride, where the unexpected becomes the norm. Working with him is an exhilarating experience, filled with spontaneity and surprises.

My journey into Lijo's world began unexpectedly, much like the twists in his narratives. I never imagined working in a

Malayalam film under his direction, but here I am, living a dream I never saw coming. His visionary approach to filmmaking, demonstrated in masterpieces like Jallikattu and Angamaly Diaries, drew me into a world of storytelling that defies conventions.

The turning point arrived when I was finally slated to shoot my first dialogue portion, a crucial scene with Mohanlal Sir. However, just a few hours before the shoot, Lijo decided to rewrite the scene, leaving me in shock. A sudden change in script and a completely new scene was thrown at me just an hour before shooting—panic set in. Miraculously, the scene unfolded seamlessly in a single take, becoming one of my favourite moments in the film.

This incident encapsulates the essence of working with Lijo Jose Pellissery—a director who thrives on unpredictability, pushing actors to embrace the unexpected. With him, every moment is a unique adventure, a testament to his genius and the electrifying magic he brings to the canvas of cinema.

It's a topic we touched upon earlier, and yes, regional actors often find it challenging to make their mark in different language industries or pan-India films. Personally, I wasn't sceptical or nervous, but rather cautious about stepping out of the Marathi film industry. For me, it's not just about who the protagonist is; it's about what value I bring to the project. As an actor, I want to uphold the love and respect I've received from my home industry. If a project aligns with that expectation, there's no nervous energy. Balancing this struggle is something regional actors face, but I'm not desperate to take on projects that don't resonate with my values and the audience's expectations. It's a fantastic time for Indian cinema post-COVID, with regional actors breaking barriers and working in various languages. So, I see it as a positive, embracing the best times in the Indian film industry, regardless of the region.

In recent years, there's been a positive shift in how Indian filmmakers view regional cinema. Marathi films, known for their rich content, have earned nationwide respect. Local filmmakers are now stepping beyond Marathi boundaries, venturing into pan-Indian and Hindi films. Names like Aditya Sarpotdar, Sameer Vidwans, and Ravi Jadhav are making their mark, with Aditya even directing Hindi films with Maddock. Filmmakers like Nikhil Mahajan, a national award winner, and actors like Amruta Subhash, Sai Tamhankar, and Amay Wagh are actively participating in pan-India projects. Marathi filmmakers are breaking barriers, bringing their content expertise to a larger scale. Names like Laxman Utekar, a Maharashtrian technician turned filmmaker, are contributing to this shift, working on large-scale projects with renowned actors like Vicky Kaushal. It's a far cry from the days when Marathi filmmakers were confined to a certain scale.

I've been a judge on Marathi dance reality shows for over a decade, and I'm still actively involved in television. The small screen industry, be it Marathi, Hindi, or any other regional sector, needs a fresh start. The rise of OTT platforms has drawn away a significant audience, especially youth and housewives, with the convenience OTT offers. To reclaim viewership, the focus must shift to content. We need to identify what makes television unique compared to OTT or cinema, whether in fiction or reality shows. Every medium has its phases of rise, fall, and struggle. After the initial fear during COVID that cinema might vanish, we adapted, creating films like Malaikottai Vaaliban, meant for the big screen experience. Television, currently facing a steep phase, needs creators to adapt to changing times for a resurgence.

One of my most anticipated projects is Mughalmardini Chhatrapati Tararani, a Marathi historical drama releasing on March 22. The film narrates the story of a Maratha warrior queen who bravely fought against Aurangzeb for seven years. It's a tale of resilience and victory against all odds, highlighting the strength of an unsung hero. Produced by Planet Marathi and Golden Ratio, I play the role of this warrior queen, marking my first venture into the lineage of Chhatrapati Shivaji Maharaj.

Another exciting project is Rao Saheb, an ensemble-cast film directed by Nikhil Mahajan, a recent Golden Lotus national award winner. Set in contemporary times, the film explores the conflicts in Chandrapur, Nagpur, touching upon human-animal conflicts and issues related to coal mines. I portray a character with a unique look, offering a fresh challenge and experience.

This year holds special significance for me, as I've had the privilege of working with two exceptional directors. Lijo Jose Pellissery, who directed Malaikottai Valliban, and Nikhil Mahajan, the visionary behind Rao Saheb, were both Silver Peacock Award winners at IFFI. It's truly a fantastic time to collaborate with such creative minds.

In a nutshell, 2024 promises to be a year filled with diverse and exciting projects, offering audiences a glimpse into untold stories and unexplored characters.