The first schedule of shooting was to be in Mysore Palace. Those scenes when Padmini loses her husband, struggles alone to make both ends meet, and is sexually exploited in the low paid jobs that she takes up, so finally resorts to flesh trade and gives up her daughter in adoption to a Christian convent were being shot.M and Adithya had not much role to play. They hung around on the sets watching Padmini perform her legendary tear jerking scenes with astounding finesse. Her face was moulded to the camera and the make up was her second skin, meant to emote. Every facial crease emoting like a poem. Those small eyes came alive with the lights, looking enormous expanding with the gief demanded by the situation. Her overweight body looked light, because of the ease with which she carried herself, cooperative gestures were easy, uninhibited.The willingness to pretend happened with certain emptiness within.
This willing demeanour somehow made even her acts of pretended shyness, resistance to sexual overtures look powerfully palpable and convincing. Madhu sensed the profundity of Seena’s words “Only when the shyness vanishes, you will look shy”. To depict shyness one needed to be brazen. Like the essence of all humour was in someone else’s fall, the divine comedy in our own fall. The backdrop of heavy silky vibrant colours of the palace blended with the scenes, completing the frames. She received the attention that art invariably seduces out of even a common man. M‘s mood was one of inspired awe.