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Actor Vijay Sethupathi’s 50th film, ‘Maharaja’, directed by Nithilan Swaminathan, has emerged as one of the biggest hits in Tamil Nadu and the #1 streaming film on various platforms. Since its release, the movie has captivated audiences and critics alike, earning over 100 crores in less than three weeks. The film’s success can be attributed to many factors, not least of which is the stunning cinematography by Dinesh Purushothaman. Known for his work on projects like ‘Love Today’ and the web series ‘Vilangu’, Dinesh has once again demonstrated his exceptional talent behind the camera.
Dinesh Purushothaman recalls the beginning of his journey with ‘Maharaja’. “The director, Nithilan Swaminathan, narrated the story to me four years ago on a terrace,” he says. “I was so curious about the non-linear storyline that I kept interrupting him. Eventually, he asked me to stop, and as he continued with the second act, the plot revelation left me speechless. From that moment, I was eager to shoot this film. I couldn’t stop thinking about the plot and visuals.”
On January 18, 2023, Dinesh was informed that the movie was ready to roll, with shooting set to begin on January 30. “The very next day, I started planning,” he shares. “I tested the Sony Venice 2 and Arri LF cameras with Cooke 7/i lenses and Master Primes. Ultimately, I chose the Arri LF because it captured more details in the highlights, particularly in the whites. The images from the Cooke 7/i lenses gave me confidence in the visual narrative for Maharaja. The shallow depth of field provided fantastic definition and tonal separation, which was crucial for my vision.”
Dinesh’s experience with Cooke lenses dates back to his time as an operative cameraman for Cinematographer Balasubramaniem. “Out of the ten films we worked on together, nine were shot with Cooke lenses,” he recalls. “This extensive experience allowed me to visualize exactly how Cooke lenses would render images in various lighting conditions.”
One of the key sequences in ‘Maharaja’ was set in a police station. “We shot this on location with slight adjustments made by Art Director Selvakumar,” Dinesh explains. “As the story progresses through different times of the day, I created the feel of morning with specular light at 8:30 AM. For midday, I bounced light off the ground, and for midnight scenes, I used intermittent flickering lights. Composition-wise, I’m particularly fond of mid shots, believing they convey the actor’s mood and body language in combination with the environment. Cooke lenses proved to be excellent for this because of their smooth colour and tonal separation.”
In post-production, Dinesh aimed to keep the images as natural as possible, with minimal alteration during DI, merely deepening the blacks slightly. “My colorist, Suresh Ravi, provided valuable input on image manipulation, especially in bloodshed sequences, by adjusting the red values,” he notes.
Dinesh Purushothaman is thrilled that ‘Maharaja’ is considered a blockbuster. “I’m grateful to Director Nithilan Swaminathan, a powerful storyteller. This film is a revenge saga infused with redemption,” he says. He also acknowledges Cinematographer Balasubramaniem, with whom he assisted on ten films and was introduced to Cooke lenses. With its OTT release, ‘Maharaja’ has gained recognition from a wider audience across the country, and Dinesh is delighted by its success.
In conclusion, Dinesh Purushothaman’s journey with ‘Maharaja’ is a testament to his dedication and skill as a cinematographer. His thoughtful approach to the film’s visual narrative, combined with his extensive experience with Cooke lenses, has contributed significantly to the film’s acclaim and box office success.
