BR Vijaylakshmi: I didn’t know I was breaking barriers; I was just following my passion

BR Vijaylakshmi, daughter of legendary filmmaker BR Panthulu, and Asia’s first woman cinematographer, is now venturing into Hindi television as a writer and co-producer with Maana Ke Hum Yaar Nahi (MKHYN). Talking about the show, she says, “I narrated two stories, and the channel chose MKHYN, which is a fresh, youthful love story. It is both contemporary and emotionally layered, something that will resonate with the audience. They wanted a slightly more progressive story, a romance with family drama, and this one fitted the bill.” ‘The remark “I don’t think a woman can shoot a film alone” pushed me to prove otherwise’Vijaylakshmi has had an interesting journey in showbiz. She began as a cinematographer in a male-dominated industry, breaking barriers with every frame. She recalls, “In 1980, I studied interior design, which was new and didn’t promise much. Around that time, renowned DOP Ashok Kumar suggested I join him as an assistant. Within a year, I realised I was passionate about cinematography. I never really noticed that there were no women around except actresses and hairdressers, and certainly no female cinematographers.” Challenges arose early. She shares, “Four years in, a renowned producer casually remarked, ‘Vijji, I don’t think a woman can shoot a film alone.’ It hit me hard, but I kept working. Soon, I substituted for my guru, Ashokji, in a Rajinikanth film. Rajni sir treated it as completely normal for a woman to shoot his stunt. That’s when I realised there are men who encourage women. After that, things became easier, and gradually I started shooting films independently, working on 22 films till 1996.” She admits the work was demanding. “There were times I worked 36 hours straight,” she says. “I would tell myself I would drop only after the director did. Until then, I would not say I was tired.” ‘I still don’t take the titles bestowed upon me seriously’On being hailed as India’s first woman cinematographer, she laughs, “The producer of my first film credited me as India’s first woman cinematographer. I thought, ‘Why would he do this?’ and felt embarrassed. It made me feel singled out from men, and I didn’t like it. However, the producer told me, ‘Vijji, you may not understand the value of this today, but 30 years down the line, it will matter.’ He was very wise. I never realised I was breaking barriers; I was simply doing what I loved. I still don’t take these titles seriously.”