Exploring Childhood in Anoop Lokkur's Debut Film 'Don't Tell Mother'

A Unique Take on Childhood

Anoop Lokkur’s first Kannada feature film, Don’t Tell Mother, derives its title from a secret understanding shared between siblings. The narrative follows Aakash (Siddarth Swaroop) and Adi (Anirudh L Keserker), who navigate various challenges, particularly Aakash, believing they can manage everything on their own.

Set against the backdrop of 1990s Bengaluru, this charming observational drama captures the essence of an era filled with cathode-ray televisions, Walkmans, and the excitement of Jurassic Park. The boys’ mother (Aishwarya Dinesh) tries to maintain her fitness by following aerobics videos whenever she finds a rare moment for herself.

Overwhelmed by household responsibilities and parenting, the boys’ father (Karthik Nagarajan) is often away for work, creating a loving yet somewhat stifling environment for their mother.

Rather than adhering to a conventional narrative structure, Lokkur’s screenplay unfolds through a series of vignettes that illustrate the relationships among the boys, their parents, and extended family members. The grandparents live nearby, and the film features family holidays, cricket games, and the everyday struggles of school life, highlighted by Aakash’s poignant remark, “When you are a kid, they give you sweets. When you grow up, they give you beatings.”

A Nostalgic Reflection

In Don’t Tell Mother, childhood is depicted as both enchanting and harsh, with adult-like challenges lurking beneath the surface. Lokkur, drawing from his own childhood experiences, notes that while the film evokes nostalgia, the memories are subjective and vary from person to person.

“Memory is complex – when I discussed certain events with my family, we each recalled different aspects,” Lokkur explained. “What we remember from our past is as unique as our fingerprints. As children, we cherish the joyful moments, but revisiting those times as adults reveals the underlying pain.”

Originally intending to create a short film in 2019, Lokkur pivoted to developing a feature script during the Covid pandemic in 2020. Don’t Tell Mother premiered in September at the recent Busan International Film Festival.

The story primarily unfolds through the eyes of nine-year-old Aakash and his mother, capturing the things children shouldn’t witness, such as parental disputes and unfulfilled aspirations.

Balancing Perspectives

“It was crucial for me to portray both sides in the film – the innocence and warmth, alongside the frustrations and challenges,” Lokkur remarked. “I aimed to encapsulate the entirety of life, as that reflects reality.”

Initially, the script focused solely on Aakash’s perspective. However, after discussions with his wife and producer Mikayla, along with the director of photography, Matthew Jenkins, Lokkur recognized the need to include the mother’s narrative.

The film’s leisurely pace emphasizes the passage of time, reflecting the relaxed atmosphere of Bengaluru in the 1990s. Lokkur reminisced, “It was a wonderful time to be a child. The city felt more laid-back, with lakes and trees, and life moved at a slower pace. I remember playing outside with friends, visiting my grandmother, and collecting stamps and WWE cards. I aimed to infuse as much of that world into the film as possible.”

Production Challenges and Authentic Performances

One of the production hurdles was avoiding modern elements in the film’s outdoor scenes. Lokkur recalled, “The most challenging aspect was keeping contemporary vehicles out of the shots, as so much of the city has transformed.”

The young actors portraying the brothers deliver remarkably authentic performances. Siddarth Swaroop embodies the caring Aakash, while Anirudh L Keserker plays the often-sleepy Adi, creating a genuine sibling dynamic. There are moments when the boys appear to be asleep on camera.

Lokkur cited films like Pather Panchali, Summer 1993, The Florida Project, and Nobody Knows as inspirations for capturing childhood innocence. He aimed to replicate that essence in his own film, guiding the child actors to react as they would with their own families.

“The boys naturally exhibited a brotherly bond, which was fortunate. Their real-life experiences with siblings likely contributed to this dynamic,” Lokkur noted. “Siddarth, in particular, displayed a protective instinct towards Anirudh, which was heartwarming and beneficial for the film. In many scenes where they appeared to be sleeping, they actually were.”

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