Meet Subbiah Nallamuthu: The Wildlife Director Who 'Framed' Ranthambore's Legend

Machli was a famous character even before I started filming her. No one had documented a prime tiger until its death before. It is relatively easy to document a young mother with cubs and put together the story of her life with her growing cubs. However, Machli was the first tiger documented from prime to death. In wildlife filmmaking, what works best is capturing behaviour never seen before and documenting it for the first time on camera. In Machli’s case, I captured both.

I documented the behaviour of a tiger after she was thrown out by her daughter and son, living with her old mate, and finally dying alone. This is also the first time a tiger’s natural death was documented on camera. It took almost five years of work to put together a film that tells the entire dynasty of the tiger family.

The idea of following Machli was compelling because she was famous, tourist-friendly and the most photographed tiger worldwide. Her story has a human connection, making it a character story that every person can relate to. As a great mother, her genetic pool has created 50 tigers and shaped a forest.

Today, Ranthambore is synonymous with Machli and her gene pool, which have significantly contributed to the local economy, forest conservation, and tourism in Rajasthan. Her legacy continues. Machli’s descendants were translocated to Sariska after it was declared a no-tiger zone, and now there are over 30 tigers there, all thanks to Machli. The locals have a strong connection to her because their livelihoods have improved as a result.

As long as big cats create livelihoods, there is no conflict. However, when a tiger attacks and kills, the entire story and connection change. This needs to be addressed through education and by creating positive stories. I have tried to tell positive, emotional stories that connect with people and help them understand the challenges tigers face, presented in an emotionally engaging way in the local language.

That is why I try to add emotion to my stories, whether through character-driven narratives, music, or songs. Now, I am planning to tell a longer story in Bollywood to deeply engage the grassroots audience. This feature-length Hindi film will use real tiger footage instead of artificial graphics, making it more relatable and believable. It will be a unique compilation of real footage from all over India, presenting the truth about the world of tigers.

There have been no bad encounters in my decade of filming tigers. They are the safest animals, always avoiding conflicts. If you still try to intrude into their space, they will give you a warning. Only when one persistently invades their territory, they attack to safeguard themselves. This does not mean they are inherently dangerous.

There have been many emotional encounters, witnessing how tigers survive against all odds. Despite these challenges, they manage to adapt and survive, which is a great achievement for tigers. We humans have done little to save them. In many ways, they have saved themselves from all the adversities. They consistently overcome these hurdles and, at the end of the day, they emerge as winners.

Ranthambhore, with its backdrop of forests and tigers, is visually stunning. The ruined fort and hunting grounds add a royal and historical feel, enhancing the pride associated with India’s national animal. The visibility of tigers in Ranthambore is a significant advantage for visitors. This is because the tourism routes follow the regular and shortest paths used by tigers for generations, guided by their genetic memory. These routes are also determined by the availability of water and prey, making tiger sightings frequent and predictable for guides and tourists.

However, this predictability can detract from the thrill of tracking and hunting for tigers in the wild, which is still present in other parks. Considering the expense of safaris, Ranthambhore is a good choice because tourists are likely to see tigers within a few safaris. Some visitors prefer the adventure of searching for tigers in the wilderness, which is different from the more commercialised experience in Ranthambore.

As filmmakers, the cost of commercial fees, which can be INR 15,000 to 20,000 a day, adds up significantly when following a tiger over years. While visually stunning images are essential, creating a compelling story requires more than just beautiful footage of tigers. We need to capture movements that have never been seen before—something extraordinary to truly wow the audience beyond the charismatic appearance of the tigers. This is the challenge in today’s time.

The days of postcard images and making coffee table books are gone. Nowadays, everyone has access to good photographs. Shots that used to take years to capture can now be taken quickly, even by someone travelling on a bike inside the park. However, these images are often seen by everyone and quickly flipped through on mobile devices. What we need now are great storytellers.

In the past, conservationists and self-imposed wildlife experts used to laugh at me for personalising my stories and criticised the way I made films in 2007. But now, these personal stories about wildlife are winning Oscars. All my films are self-funded; no one could fund them, even after winning numerous awards and making several films.

Being an Indian filmmaker, I had no option but to approach international broadcasters, as there was no platform in our country to tell our own stories. The risky route I took was to tell my own story with my own financing and then sell it. I wouldn’t recommend this path to everyone.

Today, anyone can tell a story through any medium. There is no need to rely on broadcasters. You can tell your own story in your own language, making it more authentic and relatable to your audience.