Thug Life: Cinematographer Ravi K Chandran Discusses His Vision with Mani Ratnam

Cinematography Insights from Thug Life

What was your direction from Mani Ratnam regarding the cinematography of Thug Life?

Mani Ratnam expressed a desire to adopt a classic approach, aiming for a cinematic feel. He emphasized the importance of high contrast, with deeper shadows and bright sunlight. The wedding sequence was designed to showcase dynamic interactions among characters, featuring warm hues in the first half and transitioning to cooler, grey tones in the latter part subtly.

How did it feel to reunite with Mani Ratnam after so many years?

Reconnecting with him felt like returning home. My journey began as an assistant on his second film, Unaroo, in Malayalam back in 1984, which was shot by my brother Ramachandra Bab. This marks a forty-year-long relationship, and I was eager to witness the legendary director's creative process on set.

How does this experience compare to your previous collaboration on Yuva?

Yuva had its unique essence, characterized by three distinct colors and styles tailored for each character. In Thug Life, we utilized anamorphic lenses for the first half and spherical lenses for the latter, giving the visuals a unique texture.

It seems you adopted different styles for action and dramatic scenes.

Indeed, the film features a cinematic look in terms of blocking and lensing. With talented actors, I was able to use wider lenses for close-ups and light them in varied ways. The film includes numerous wide close-ups, which have garnered positive feedback from fellow cinematographers who appreciated the film-like appearance. My colorist Ashirwaad from Prime Focus did an excellent job during the color grading process, and the production and costume designers contributed significantly to achieving this aesthetic.

What do you think contributed to the mixed reception of Thug Life?

Every film has its own journey once released. It seems audiences anticipated a film like Nayakan rather than an action-oriented project from Mani Ratnam and Kamal Haasan.

Do you believe the subtleties of your cinematography will be lost on OTT platforms?

Yes, I think so. I recently viewed the film on an IMAX screen, and the large visuals were breathtaking, providing a new dimension to the lensing. Watching films on OTT has become a norm, and while it offers convenience, the impact is undoubtedly different.