The Life Behind the Lens: Asia's First Woman Cinematographer

B. R. Vijayalakshmi, recognized as Asia's First Woman Cinematographer, defied gender norms and carved her path in the male-dominated field of filmmaking. Her inspiring journey showcases passion, ambition, and perseverance, capturing her remarkable achievements along the way.

B.R. Vijayalakshmi; Image Source - Twitter

"I always wanted to be behind the camera rather than in front of it." - B.R. Vijayalakshmi

History is replete with stories of women challenging stereotypes and turning their dreams into reality in male-dominated fields. One such extraordinary tale belongs to a woman who shattered the glass ceiling in the realm of cinematography. B. R. Vijayalakshmi, recognized as Asia's First Woman Cinematographer, is a trailblazer in her field.

Between 1985 and 1995, Vijayalakshmi worked on over 30 films while also making her mark as a screenwriter and director in both film and television. During this era, the domains of filmmaking and television were predominantly male-dominated, making her achievements even more remarkable.

Vijayalakshmi's childhood story is nothing short of cinematic. Born into a family of cinema legends, her father was B. R. Panthulu, a veteran film director and producer known for acclaimed films such as Veerapandiya Kattabomman, Karnan, and Kappalottiya Thamizhan. Her brother, B.R. Ravishankar, also ventured into filmmaking in the Kannada cinema industry.

Growing up, Vijayalakshmi had the privilege of observing her father's work on film sets. "I have learnt a lot from my father; he taught me to be honest, sincere, and humble,” says Vijayalakshmi. It was during this time that her passion for cinema developed, beginning at a young age.

Within the vast realm of cinema which encompasses various roles such as videography, lighting, and sound design, Vijayalakshmi found her true calling in the field of cinematography. Opting for this path was bold, considering the prevalent male dominance. Nevertheless, inspired by her father's work, she chose to pursue a career in cinematography after his passing. Interestingly, she initially studied interior design before venturing into the world of films.

Vijayalakshmi embarked on her journey by assisting Ashok Kumar, renowned for his cinematography in the 1969 Malayalam film Janmabhoomi, for which he received the Kerala State Film Award for Best Cinematography. It was Kumar who persuaded her to forgo film school and work alongside him as a camera assistant—a decision she readily embraced.

Janmabhoomi movie poster; Image source - imdb.com

Her collaboration with Kumar began with the 1980 Tamil film Nenjathai Killathe*,* leading to her involvement in nearly 30 films over the next three years-an astonishing average of 10 movies per year.

Five years later, Vijayalakshmi gained her breakthrough. She made her debut as a cinematographer in 1985 Tamil film Chinna Veedu, directed by K. Bhagyaraj. Throughout her career, she collaborated with esteemed directors such as C.V. Sridhar and G.M. Kumarcontributing to successful films like Aruvadai Naal, Sirai Paravai, and En Purushanthaan Enakku Mattumthaan.

Destiny had more in store for her as she secured the title of Asia's First Woman Cinematographer.

"Creating mood and telling story."; Image Source - TheHindu

"Cinematography is not just about lighting or framing; it is about creating a mood and telling a story." This philosophy encapsulates Vijayalakshmi's approach to her craft.

Fascinatingly, she possesses not only the skills of a cinematographer but also those of a director and screenwriter. Her versatility and talent extend beyond films, as she left an indelible mark in the television industry as well.

In addition to her work in Tamil cinema, Vijayalakshmi ventured into work in Malayalam films. For instance, she wrote the script for Sangeeth Sivan's Malayalam film Daddy (1992).  “That is because I am married to a Malayali, Sunil Shree Nair,” she says when asked about her decision to make Malayalam films.

In 1995, she made her directorial debut with Paattu Padava*,* where she not only directed but also handled the cinematography and wrote the script. The film was screened at the International Film Festival of Indiain 1996 and gained recognition for its remarkable songs composed by Ilaiyaraaja.

Pattu Pavada movie poster; Image source - imdb.com

Aside from her film endeavours, Vijayalakshmi worked on numerous television series including My Dear Boodham, Raja Rajeswari, Athipookkal, and Valli.

If the title of Asia’s first women cinematographer didn't sufficiently highlight her achievements, there is another notable accomplishment under her belt. Vijayalakshmi introduced computer graphics to Tamil TV shows, establishing a groundbreaking precedent.

Subsequently, she became the creative head and later the business head of Saregama, an Indian music company.

B.R. Vijayalakshmi is an inspiration to aspiring women cinematographers who seek to pursue their dreams and make their mark in the industry.

"I don't believe in gender barriers; I believe in talent and skill," she often asserts.

Through her passion, dedication, and hard work, she has proven that nothing is impossible, not even overcoming prejudice and social stereotypes.