Imagine a film about two thugs in the underbelly of
The story and screenplay of “Aa Dinagalu” is by Sreedhar and Girish. That takes care of a major responsibility. What does that leave you with as a director?
Well, one was to recreate the period. It’s easy to write the story or screenplay. How one realises that on screen makes the big difference. Sreedhar understands cinema very well. You know what Girish can do in terms of structure.
It was supposed to be a Kotwal versus Jairaj story. I wanted it to be from the hero, Chetan’s eyes because he’s someone like me. He’s someone who’s sucked into the underworld. We live near violence but if it enters your house what happens is a better story.
That’s something I wanted and everyone agreed. In terms of treatment, there’s enough scope for violence and for the actors to be stylish. I decided on who would suit which role. The rest of the credit goes entirely to Sreedhar.
How much freedom did you have? 
Absolute freedom. Sreedhar came to the spot only on four days. He was particular about the look of the film. He would act out how Kotwal would move nervously or how Jairaj always felt and acted like a monarch. I wouldn’t have known all that. He only insisted on Sharath as Kotwal. The rest I cast.
You also have Venu behind the camera and Ilaiyaraja scoring the music. Being new did they respect your inputs?
When I started, people did tell me that Venu never listens to the director but it was never like that. If they realise that you know your job they’ll start respecting you. The whole image that Ilaiyaraja never listens to anyone is wrong. I was silent the first few days but he asked me for my suggestions. He liked the fact that I wanted silence instead of music when Kotwal is being killed. The most important contribution in this film which has gone unnoticed is the editing. Hariraj who edited my documentaries did the final cut. With very little action, the pace was very important.
You have totally eschewed violence and avoided gimmicky camerawork. Even the acting is never over the top. Were these decisions taken during the discussion stage?
You’re right. We also planned the transition between scenes. Ilaiyaraja felt that no particular department should stand out. It should all work in tandem for the film to succeed. That’s what we’ve tried.
Was the producer happy since there’s absolutely no commercial element?
Yes he was. In fact it was his brief to me. He wanted to demystify the underworld. This is just a small portion from Sreedhar’s “Dadagirya Dinagalu”.
Actually you can make about 22 films based on that book. There’s this guy called ‘Razor’ Vasu who hailed from an orthodox Iyengar family.
When he’s being hacked in front of his house his mother refuses to open the door and waits for him to die. That itself can be made into one film. Then there’s this guy called ‘Slum’ Bala. What we have taken is just ten pages.
How real is this hero Chetan’s character? Is he for real?
He stays near my house. He’s married and has two children.
I found the climax where the trusted lieutenant suddenly wants to kill his boss Kotwal straight out of Mario Puzo’s “Sicilian”. Did that really happen?
It did. Seetaram Shetty was a cook. When a goonda of those days threatened him he sought Kotwal’s help. Kotwal took him because he was well built. Shetty helped in making crucial decisions but Kotwal treated everyone like minions.
He didn’t help when once Shetty’s girlfriend got into trouble with the cops. Things like this disturbed Shetty.
Even though it’s not too long ago, the recreation of the 80’s must have been difficult.
That was a nightmare. I was apprehensive about it but when I mentioned it to Sreedhar he was offended. ‘It’s just ’86. Am I a relic?’ he asked. Maruthi was just then on the roads but today we can’t find that model. The face of
How’s the feedback?
The collections are very good. The good thing is that it’s doing well in places like
S. SHIVA KUMAR
