News,Gossips,Reviews By Shiva Kumar

Fans and distributors alike are livid that Kuselan was marketed as a full-fledged Rajnikant starrer

2008-08-22T02:19:00.000-07:00

Duniya Suri is undoubtedly one of the most talented filmmakers here. He’s one of the few technicians who treats cinema like a visual medium and takes care of the aesthetics on-screen. “Duniya”, a run of the mill tale struck a chord thanks to his interesting characterisation and narrative. Today the film has a cult following and it’s proven in the fact that when fans meet him they don’t mention his second film, “Inthi Ninna Preethiya” but rave about “Duniya”. His second film too had a promising premise and the first half was riveting. It was all downhill in the second when the hero who loses the girl he loves starts worshipping Bacchus and never recovers. It was self indulgent with Suri borrowing generously from his personal experiences. The film was a disaster but the industry bigwigs did not lose hope. Rockline Venkatesh’s faith in Suri’s abilities is unshakable. “I’ve seen plenty of newcomers but this guy has the ability to take Kannada cinema places,” says Rockline Venkatesh, who’d signed Suri immediately after watching “Duniya”. Rockline’s muhurath’s are never a grand affair so Suri has quietly started the shooting the film titled “Junglee”. The chirpy Aindrita is the heroine. The ubiquitous but gifted Rangayana Raghu of course plays a key character. Vijay whose career nosedived after “Duniya” thanks to indiscreet choice of films desperately needs a hit too.
“Kuselan” is a con job and as predicted is a box-office disaster. Fans and distributors alike are livid with the director for marketing the film as a full-fledged Rajnikant starrer. The superstar right from the beginning had been reiterating that his was just a guest appearance but nobody was in the mood to listen. Distributors in Tamil Nadu have banned Kavithalaya pictures, the producers, till they are compensated. They have urged Rajni to intervene and arrive at a settlement. I call it a con job because the film with a budget of less than ten crore rupees was sold for a whopping sixty crore. The main culprit is the director P. Vasu who shouted himself hoarse claiming the film would have all the ingredients of a usual Rajni film. Theatres wore a deserted look on the second day. Fans were disappointed with Rajni contradicting himself about his political ambitions. Rajni requested the director to cut the offending portions but it was too late. Now the ball is in the superstar’s court. Large hearted that he is he’ll probably forego his remuneration in a bid to compensate the aggrieved.
On the other hand, the distributors ought to be taught a lesson by making them realise that it’s their greed that’s led to their downfall. The unrepentant director Vasu still lives in a world of his own with statements claiming that “Kuselan” should have been called ’Kuberan’ but distributors I’m sure would love to rechristen him “Kamsan”.

S. SHIVA KUMAR
sshivu@yahoo.com

Moggina Manasu shifts between the sensible and the banal

2008-08-07T02:13:00.000-07:00

The most disappointing film in recent times is “Minchina Ota” mainly because of the expectations thanks to the tall claims of director Ramesh. The best of technology cannot help an inept plot. Sadly, even the technology is not used properly. That the use of a ‘Super 35’ camera cannot enhance the quality of the cinematography is displayed here. Veteran Rajan’s work behind the camera leaves a lot to be desired. Ultimately the entire blame for the monumental waste of money lies on Ramesh. It leaves you wondering if he’s the same director who made “Cyanide”. The climax inspired by Spielberg’s “Duel” is a damp squib. For once even the gifted Rangayana Raghu who brings to life the most inane of characters looks numbed.
It’s difficult to make up your mind about “Moggina Manasu”. By the way is it a co-incidence or superstition that the title sounds similar to producer Krishnappa’s monster success “Mungaru Maley”? Anyway the film vacillates wildly between the sensible and the banal. For a change you get to watch a film from the female point of view. It’s about four girls taking wobbly steps into the world of adulthood, passing through a phase of muddled minds and the urge to impress males with surging testosterones. You could call it the female version of Shanker’s “Boys”. Making a film with four female protagonists and trying to give them equal screen space is a writer’s nightmare, but director Shashank manages pretty well. The positive point is that the preaching is subtle and not in your face except for a professor who lectures about the difference between love and infatuation. There’s the village belle who transforms overnight into a city slicker and even acquires an accent. She’s seduced and deserted driving her to suicide. Then there’s the lass who uses and discards men because someone cheated her sister. The third has a control freak for a father. She leaves her home to live in with her boyfriend only to discover his insecurities. Last but not the least is our heroine who desperately seeks love but gets entangled with a jealous and possessive lover. This and the experiences of her friends put her off love permanently or so you feel till a persistent suitor appears.
The flow in the narrative suffers only because director Shashank does not have enough confidence in his abilities.
The film looks disjointed because the censors have chopped off chunks including a song. The so-called comedy track involving Sharan is as pathetic as the puerile sms jokes that are circulated and has nothing to do with the plot. The heroine’s possessive lover swears he’ll spoil her peace of mind when she walks out but strangely disappears from the film. On the positive side, the performances of the female protagonists especially Radhika Pandit is first rate. She uses her eyes eloquently and never goes over the top though she gets ample opportunities. Her underplaying is even more surprising considering her sitcom background. Here’s another actress who proves that it’s only if you need oomph you have to import actresses but for meaningful performances there’s enough local talent. Shuba Punja is endearing.
The male performers are terrible except for Yash who’s good but aping Ganesh’s ‘mouthful of marbles’ dialogue delivery, which will take him nowhere.
S. SHIVA KUMAR
sshivu@yahoo.com

Aindrita Ray is the new kid on the block. This Bengali girl brought up in Bangalore, surprised with her performance in Meravanige

2008-07-28T02:58:00.000-07:00

She’s the best thing in an otherwise indifferently made film. “Meravanige” has not done too well but Aindrita Ray is like candy to someone who’s bitten a chilli. Audiences have loved her and producers are pursuing her. You are welcomed to her cosy apartment by her menacing looking but docile bulldog, Zorro. Andrita, clad casually makes you feel comfortable with her disarming smile and cheerful chatter. She has pictures taken with Zorro who poses like a pro. She answers in a sort of rehearsed monotone, like she’s said it before and will do so many times in the future.

The interview:

Are you new to Bangalore?

My dad is a dentist and mom a child psychologist. I’m studying BDS at Ambedkar Dental College. We are Bengalis and settled in Bangalore for the past 19 years. My dad was in the Air Force but took a premature retirement.

I know Mahesh Babu searched far and wide for a girl who fit the role. How did you get it?

I have done some ad campaigns and he loved the one I did for TVS Scooty. He approached my agent in Mumbai who somehow told him that I wasn’t interested in Kannada films. Mahesh was livid because he thought here’s a girl who lives in Bangalore and doesn’t want to work in Kannada films. He then approached me through an agent in Bangalore. I was initially hesitant because I had scant knowledge about Kannada cinema. Mahesh made me watch “Arasu” and I really liked the film.

Did you hire these coordinators just for your ads or were you looking at cinema too?

Initially it was only for ads but I’ve always loved acting. Agents help because as newcomers we are lost. I would meet the people my agent asked me to. I definitely wanted to act in movies.

What do you mean when you say I always loved acting?

Well even as a kid I was good at imitating. I did a bit of theatre while in school.

Do ads help you get camera friendly?

To a certain extent yes… Were your apprehensions about Kannada cinema because of the language?

Not really. I’ve lived here all my life and love the place and the people. It’s just that I hardly watched any South Indian movies. For that matter I’ve hardly watched any Bengali movies either.

Cinema is a totally different ballgame. You looked lost at the muhurath of “Meravanige”.

I was really lost (laughs). I didn’t know what was happening. It made me realise that it’s serious business.

It’s very important especially for heroines to have supportive parents.

My parents are extremely supportive. My dad wanted me to finish dentistry, join the army and become a Captain and then a Colonel.

But they were thrilled when they first watched me on TV and they still are when I appear on TV.

Are you taking a break right now to write your exams?

No. I’m doing three films in Kannada and one in Telugu. My exams are in December so I’ll probably take a month off.

So is it goodbye to dentistry?

No it’s still on but I like to go with the flow of things.

One of the things that made Mahesh choose you was that you suit Prajwal.

He told me that I suited the character. He told me that he saw a lot of girls but had me fixed in his head. He wanted me for the film no matter what. I’m really lucky to have worked with him. He’s fabulous and fun to work with.

Another good thing is that you have as much screen time as Prajwal does.

That’s true. Hhit or a flop I wouldn’t have chosen any other movie for my debut.

How did you feel when you watched your performance?

I’m my worst critic. I didn’t like myself in a lot of scenes but I’ll definitely improve.

Kannada films like Bengali have a limited audience. Are you ready to spread your wings and fly elsewhere?

Language is no bar. I do agree that the audiences are limited which curtails huge spending, but I like the simplicity here.

You won’t be able to read what’s written about you in Kannada.

(Laughs) There were rumours about me and Prajwal. His mom called and told me about it. I laughed because he’s my first hero so imagine how many people I’ll be linked to in ten years.

Cyanide Ramesh is back with Minchina Ota, which is a complete package. The auteur, by the way, is miffed with Ramgopal Varma

2008-07-08T23:43:00.000-07:00

Cyanide Ramesh after a long hiatus is ready with his next offering “Minchina Ota” a title that described the late Shankar Nag’s personality perfectly. It will hit the theatres on July 10. There was more excitement than anxiety in his voice which speaks of his confidence in his offering. The film stars the brothers Murali and Vijay and Lakshmi Rai is the heroine.

What’s the film about?

It’s about a chase, a pursuit. For the first time in the history of Kannada cinema, the climax sequence lasts for 40 minutes. It’s about whether the heroes attain what they want and reach their destination.

What makes it different from the regular commercial film?

We’ve used a Super 35 camera and some exotic locations. We’ve also designed a car and truck for the chase like they do in Hollywood.
They are so strong that we had the car ramming into a running train and the heroes emerge unscathed. You’ve seen cars skidding but here you’ll watch a huge truck skidding.

What difference does a Super 35 camera make to the quality of a film?

The clarity and sharpness of image is unmatched. They used Super 35 for ‘Sivaji’.
Was ‘Gaali Pata’ also shot in Super 35?
Yes, but they didn’t use the lens we used for the action scenes. We spent nearly two crore rupees just for the cameras and raw stock.
Is it difficult for a person who made ‘Cyanide’ to make such a film?
I love all kinds of films from Kurosawa to Rajnikanth. I don’t want to be slotted as someone who can make only one kind of films. I want to make films in all genres.

Weren’t you tempted to sign big stars?

My previous films which won State awards had new actors. I know that my heroes films have not done well but that was to my advantage. Stars will not fit in because my characters are normal kids.
But your producer will not be satisfied if you just get a State award for this film.
You’re right. People in Gandhinagar feel I can make only good films but not successful films. This film is to prove them wrong. It has every ingredient necessary to make a film successful. The audience will not regret the money they’ve paid. My heroine wears the Yakshagana costume and make-up which is very difficult and it’s awesome on-screen.
You say your next film will be about Veerappan, but Ramgopal Verma has announced he’s making a film about the bandit. If I remember right you were supposed to direct that film for him.
I pity him. I had told him I was making the film and had given him the outline too. It’s nothing but back-stabbing. We’d discussed so many things and he’d asked me to direct the film. He’s changed. He had asked me to meet Muthulakshmi but now he’s gone ahead and met her. I feel cheated.

Are you going ahead with your project?

Of course. Let him do what he’s capable of and I’ll show my talent. I had told him the script. He hasn’t had the decency to talk to me.

sshivu@yahoo.com

S. SHIVA KUMAR

INDEBTEd Rangayana Raghu: ‘My whole outlook towards life changed thanks to B.V. Karanth

2008-02-28T12:49:00.000-08:00

The biggest of stars and the best of performers need a worthy foil to create moments of acting magic on screen. It keeps them on their toes because an actor of Rangayana Raghu’s calibre can walk away with the briefest of scenes with his body language and dialogue delivery. He has filled a long standing void in Kannada cinema. He belongs to that rare breed who can terrify you as easily as they can make you chuckle. “Duniya” has made him indispensable. He’s a welcome relief from the expressionless hulks from Bombay and AP. There’s something ethereal about him and his Kannada is music to the ears even when he’s swearing.

It’s a rare day off and I’m invited to his modest apartment. Photographs of his guru B.V. Karanth adorn the walls. This actor’s – much younger than most of the characters he plays on-screen – eyes sparkle when he talks about him. Our photographer clicks away as Raghu answers animatedly.

How did your acting journey start?

Prasanna’s play “Thadroopi” was the deciding factor. Till then I was a casual performer and mimicry artiste in college. My father and uncle were performers in our village. My father donned the role of ‘Devi’ in many a play. My father was keen that I become a lawyer but academics never attracted me. I was averse to the idea of studying for one whole year, writing an exam in three hours and then working in a field which had nothing to do with what we studied. I wanted to stay in our village and look after our farm. My village attracted me but my friends asked me to try out Rangayana. Chadrashekar Kambhar encouraged me. Rangayana was a revelation. If we practice the same sense of camaraderie and discipline in real life it will be Utopian. My whole outlook towards life changed thanks to B.V. Karanth. The six years of training was amazing. It disciplined our body and mind. We learnt everything from Yoga and martial arts to enunciation and music.

Did you also have a condescending attitude towards cinema?

Definitely. Karanth was not like that but we looked down upon mainstream cinema. I realise it was a pseudo attitude but we wanted to do something realistic. We were also exposed to books by Breckht and Bernard Shaw which gave us a feeling of superiority.

When does the disillusionment with theatre usually start?

In theatre art comes first but in cinema marketability is the foremost factor. Initially Karanth was keen we kept Rangayana afloat but later he wanted us to try other mediums be it films or street plays.

Your friends say it took a lot of coaxing for you to try films.

Hamsalekha saw me onstage and signed me for “Suggi”. He was very impressed with my attitude but the film never got released. I did 13 films but got no recognition. I visited various offices but no one bothered about my training. You can’t blame them but producers only recognise success. I was fed up. I was staying with Arun Sagar who’s helped me a lot and also Mandya Ramesh. Arun used to pester the producers telling them about my stage exploits and performances abroad. M.S. Ramesh launched “Dum”.Ramesh had a bad experience with an actor from theatre and didn’t want another bitter experience. But he happened to watch me in the serial “Swathi Muthu” and changed his mind. I was at my wit’s end and ready to return but it was Arun’s perseverance that I owe everything to. Even after the success of “Dum” people kept asking if I was from a neighbouring State. But it kindled an interest in the industry.

In theatre even if you are an actor you have to do all the odd jobs while in cinema you just have to perform and leave. Was that strange?

Right. Initially I would try to help out on the sets but a spot boy put me in my place. He sternly told me I should stick to my job of acting or I would deprive him of his wages. Now I just wait for my shot.

Today you’ve become as indispensable. (laughs)That took some time. It happened gradually with “Ranga SSLC” and “Sriram” in which I played a Balakrishna type of character. It was during the making of “Mani” that I met Suri. I liked the working pattern of Yograj and Suri. It’s close to theatre. ‘Duniya’ changed everything. When I was shooting in Anekal I met people who don’t speak Kannada but have watched it several times.

I think you were lucky to do “Cyanide” before all this.

You are right. I was not recognised then. I would do all kinds of characters and get a couple of pats on the back. In “Cyanide” my character was much internalised. I played a character torn between wife, country and love for mother tongue. I had to show the internal torment purely with facial expressions. Till then I was playing caricature like roles. People expected me to be manic on screen.

In the last couple of your films I’ve noticed that you’ve improvised even during dubbing adding smart one-liners.

(Laughs) There’s no end to improvisation. It’s just a spur of the moment thing. Even after I’ve finished everything I wish I could change some things.

Top stars are averse to sharing screen space with character actors who constantly walk away with the applause.

Thankfully I’ve never encountered this. Everyone from Vishnuvardhan, Shivraj Kumar to Sudeep has been very encouraging. Ganesh and Vijay egg me on. In fact, Vishnu and Shivanna urge producers to sign me instead of Bombay actors.

So what stage have you reached now?

I really don’t know. I’m getting stagnated and am in search of something new. That has started with “Inthi Ninna Preethiya”. Suri is responsible.

I was reluctant about audience acceptance but Suri gave me the confidence. I’m still a child where acting is concerned. Vajramuni’s popularity rivaled that of top heroes. Balakrishna is one actor I adore. His characters were funny, yet sinister.

Karanth once told us not to observe others during a funeral but react to the situation ourselves. I have won top awards but am in the process of learning.

Even the best of singers have to practice in the morning. Success happens. We cannot plan it. We just have to keep honing our skills.

ROOTED Chetan: ‘I learnt to read and write Kannada at home before I learnt English. It’s about priorities’

2008-02-19T02:08:00.000-08:00

Salman Rushdie would call him the perfect example of a ‘translated man’. He was born and lived all his life in the US but has imbibed the best of both worlds. This is evident when his ‘shuddha’ Kannada is replaced by a Yankee twang with effortless ease. He’s Chetan, the hero of “Aa Dinagalu”. ‘Agni’ Sreedhar realised he’d found his protagonist as soon as he met Chetan. “There’s a striking physical resemblance and he has not disappointed,” says Sreedhar.

A chiselled body, sharp features and large eloquent eyes make him perfect mainstream hero material. Success is still seeping in but he wants it entirely on his terms. He’s prepared to wait for projects that appeal to and excite him. He’s animated and expansive while talking but is apprehensive when our photographer appears. “I look dishevelled,” he moans, scratching his stubble but relaxes when we assure him he looks great.

The interview:

Do you believe in destiny?

What do you mean?

Well I don’t think films were in your scheme of things?

Well sometimes things happen that are not predicted or expected. But I was on the path. I was in the performance arts which is something I’ve been doing for over twenty years. When I came to India it was to act in plays and understand it. I don’t think this was an out of the way jump for me. I came to study theatre and this is also acting which is where my interest is.

But you wanted to delve into theatre more….

I wanted to delve into performance arts. Cinema is theatre aided by technology. That’s what I believe. There are a lot of people in Bangalore who dabble in cinema and theatre. There are stalwarts in Hindi like Shabana and Naseer and here there’s Anant Nag.

You say you’ve been performing for over 20 years. Is it in your DNA structure?

Professionally both my parents are physicians but they have always been performing onstage. Sometimes our interests lie in one place but we go elsewhere for various reasons. My mom sings and dad has acted. Basically, they’ve allowed me to do what I enjoy. I started doing one act plays when I was about five years old. I play the saxophone and enjoy dancing too.

You chose this as your profession too.

They gave me the chance to express myself. This is something I’ve enjoyed and would have continued even if I had taken up another profession. I think it helps. Like if you are a physician who understands human psychology it makes you a better physician. That’s where a liberal arts education helps.

Tell me about this Fullbright scholarship that brought you to India.

After I completed Yale I received this scholarship to study Kannada rangabhoomi… It’s about how society has been, can be and is presently altered by performance arts. My interest is basically in bayalu nataka. I would go to remote places where week long theatre festivals are held. It was a kind of journey, a search for me. I got to interact and interview a lot of people. I was associated with NSD, Bangalore. I also teach at a village school near Mysore. It’s only when you go outside your natural habitat that you get to learn.

How did your parents manage to keep you rooted to our culture?

It wasn’t easy. It’s a very big commitment. So many parents realise it should have been made into priority when it’s too late. The formative years are the most important. That’s the foresight my parents had. I remember when I was about five years old I felt an unease speaking Kannada. People would mock us. My parents reasoned with me about the importance of our roots. We made it a point to visit India regularly. I learnt to read and write Kannada at home before I learnt English. It’s about priorities. We were not coerced into anything. Now our culture is a passion for us.

Did you need a scholarship to come here?

I would have come here irrespective of that and indulged in my passion that’s theatre.

Were you circumspect or did you grab ‘Aa Dinagalu’?

Well I had offers to act in films. One film I didn’t do has done well. I loved the story of “Aa Dinagalu”. I wanted to do something that brought me a lot of joy. After I had the opportunity to interact with Mr. Sreedhar who’s intellectually inclined, thoughtful and socially conscious, I decided it would be an enriching experience. Chaitanya, our director is an amazing talent with a lot of insight. I did not dream of becoming a hero. I wanted to become a very good actor. You also ended up with people of similar sensibilities.

You’re right. That’s where I got lucky. It wasn’t about making money.

It was about making a standout film. I’m very happy that the Kannada audiences are continuing to watch and have only good things to say about the movie and me.

Did you have any apprehensions about the character?

No. He’s young and impetuous. He swings sides like a pendulum. I have met and can understand the psychology of this boy and his wanting to eliminate Kotwal. As the story goes along he loses perspective because of his immaturity. It happens to most of us at a young age.

What next?

I’m doing a film with Harsha the director of “Gelaya”. I have taken a few months because the character needs preparation. For me it’s the journey that’s giving me the maximum joy.

Where does this leave your theatre aspirations?

I still want to perform. I think theatre will help hone my acting skills. Theatre is more fulfilling but I want to be part of good cinema.

Are you apprehensive about mainstream cinema?

There are many films with plausible storylines and good performances. I enjoyed the film, “Duniya”.

Ramya is forever in the middle of controversies. One wonders how she manages it with such amazing consistency

2008-02-09T14:45:00.000-08:00

Controversy courts Ramya ceaselessly and effortlessly or is it vice versa? Rajendra Singh Babu accuses her of deliberately not attending the crucial shoot for a song featuring the cream of Kannada stars. “I'm tired of explaining my actions to all and sundry. Come on, I'm a professional and know my responsibilities. I agreed to shoot on that day even though it was a second Sunday but I genuinely fell ill. It was definitely not intentional,” says the star who's burst a vein in her eye but is still on her way to shoot with Ganesh for Rockline Venkatesh's film. So what else is happening? “Well I'm excited about *Mussanjeya Mathu' with Sudeep. The film is being directed by a youngster and I have positive vibes about the film. An artiste can sense how things are proceeding and I'm very happy. In fact, people who've watched the rushes are gushing about me and the film.” Ganesh played a small role in “Amruthadhaare” but this is the first time Ramya is starring opposite him. “He's come a long way and it's always nice to see people achieve success through sheer hard work,” says Ramya. Two of her long-pending Tamil films are due for release. *Thoondil' with Shaam has been languishing in the cans for a long time thanks to production hassles and then there's Gautam Menon's *Vaaranam Aayiram'. “I have a couple of days shooting. That's a film worth waiting for,” says the star. Ramya bears the troublesome tag but that doesn't stop the top producers from signing her because her name adds value to the product. “Troublesome is a synonym for professionalism in the film industry,” sighs the star.“Beladhingalagi Baa” is full of twists and predictable turns. A goon's son falling for a cop's daughter is just one of them. There's the upright father, the wayward son and our hero the grandson who doesn't know he's Don's son. Instead of being fast paced the plot plods on with the director giving importance to mundane scenes. There's a wedding scene that's so long you wish you had a remote to fast forward the scene. Everyone is enamoured by cinema and Chandrashekar Kambar is no exception. He's stiff and delivers his dialogues in a monotone. Sobhraj is good but yet again it's Rangayana Raghu who steals the scene effortlessly. Here's a gifted performer who can lift the most ordinary of scenes with his dialogue delivery and attention to detail. If “BB” is watchable it's only when this man appears on-screen.The Tamil film industry is going through a lull. All the Pongal releases have crashed at the box-office. The much delayed but eagerly awaited “Bheema” is a dud. Linguswamy the talented director who gave us “Anandam” and “Run” has run out of ideas. He churns out a film full of endless fights and little else. The film is technically slick but found wanting in the content department. Silambarasan who calls himself the little superstar does the usual stuff in “Kaalai” where a major portion of the budget seems to have been spent on Ketchup. There's a scene where a young girl severs a head and drives two swords through the bodies of two others. The censors obviously forgot to carry their scissors.

S. SHIVA KUMAR

sshivu@yahoo.com

As a section of the press rips apart Gaali Pata, director Yograj Bhat takes recourse to carrot juice and ayurvedic rejuvenation

2008-02-02T04:05:00.000-08:00

Success is strange. The same people who act as stepping stones try to push you down when you reach the pinnacle. A section of the regional language press has launched a venomous attack on Yograj Bhat and his “Gaali Pata”. A local daily tore the film to shreds on the front page and the tabloids have gone into a tizzy. Yograj is unfazed. The fact that he’s not retaliating has added fuel to the fire. “I’ve never claimed that my films are great works of art,” says the reticent director. The film incidentally is a huge hit.

Teenagers are swarming the theatres and enjoying Ganesh’s banter. It’s an unpretentious, feel good film. At least the screen’s not bathed in blood and there are no scenes to make you squirm in your seat. Yograj hopes that families who wait for the euphoria to die start streaming in too. Right now the director, along with his wife, is at an ayurvedic rejuvenation centre. “You feel like fleeing this place,” says Yograj after four days of just carrot juice. “You tend to sleep well thanks to the tiredness, but God save you if you wake up in the middle of the night.” What’s saved him is the stack of DVDs he’s carried along. “Some of the foreign language films I watched were fascinating,” sighs the director who’s still clueless about what he’s going to do next. Hopefully a clean body and a clear mind will inspire him to make a film that’ll see him flying high again.

*** “Duniya” Vijay wanted to do something significant on his birthday instead of partying and promptly helped a young girl suffering from a major heart problem. He heard about the kid’s condition when he went to attend a function at Udupi and volunteered to help. She’s recuperating well and Vijay is beaming.

He’s already financially adopted a kid whose hands were severed in an accident.

His fans, though, could not be stopped from taking a massive cake to the sets of his controversial film being directed by Ravi Belagere. He had his face smeared and his mouth stuffed by enthusiastic fans. Vijay starts work on “Slum Bala”, another slice from ‘Agni’ Sreedhar’s tome “Dadagiriya Dinagalu”. It’s about a rowdy who helps the people inhabiting his slum.

Then there’s “Putta” directed by Om Prakash in which he plays an auto driver.

*** Charisma is an enigma. The reasons cannot be explained or dissected. You don’t know whether it’s the persona or the characters he portrays. I’m talking about ‘Golden Star’ Ganesh. Here’s a short, squat guy with a perpetual stubble and mane that hasn’t met a comb. No bulging biceps or pumped up pectorals but the girls have taken to him like he’s the last of the male species. You can waste words trying to explain or question his success but the fact is that today he’s a phenomenon. He just has to realise that it’s ephemeral, keep his head firmly on his shoulder and savour it till it lasts.

S. SHIVA KUMAR

sshivu@yahoo.com

Unity is strength : Wish Prem knew that gaining the public's confidence is very difficult, and losing it is very easy

2008-01-05T04:15:00.000-08:00

The size of a creative person's ego is immeasurable especially when his work is appreciated and he's forced to share the success with someone he feels is less deserving. In cinema everyone wants a slice of the spotlight even if it scalds their skin. It's also one of the few places where you don't have to be formally trained in any department. Directors sometimes feel left out when the success of their film is attributed to the presence of a star. Every director worth his megaphone cultivates a claque who eggs him on to don grease paint too. "Yavan Yavano hero agthane nimagen saar kammi" you hear them saying. Good cinema is the creation of collective talent. Mano Murthy may have written a brilliant tune but he needed a Jayant Kaikini and a Sonu Nigam to make it memorable.

This is the point Prem probably missed when he hastily agreed to face the camera. Actors can make good directors but the reverse is seldom true. Now I personally feel his "Jogi" was a terrible film but you don't argue with success. I was not disappointed with "Preethi Yeke Bhoomi Melidhe" because I had nil expectations. It's the arrogance and the sheer audacity to try and make a film without even a whiff of a plot that's disturbing. Never ever take the paying public for fools. I can't remember the last time I saw audiences stretch and yawn ten minutes into a film. Every character suffers from acute verbal diarrhoea and it doesn't help that the outpourings are sheer nonsense. The plot about the protagonists waiting for destiny to make them meet is puerile.

The so-called mother sentiment that was said to be one of the reasons for the success of Jogi success is overdone with the talented Archana reduced to a hysterical heap. Prem the actor is as expressive as a mannequin. The only plus in the film is a long drawn out fight sequence captured with a steadycam. It's raw, sans stunts and done in a single shot. Every experience is a lesson. I hope Prem learns from this one. He has to realise that gaining the public's confidence is very difficult. Losing it is very easy.

It's already four days into another eventful year. Fans have a veritable feast in store. The most awaited film is defi- nitely "Gaali Pata" which was slated for release today but has been pushed to the January 18. The reticent Ratnaja's "Honganasu" is also getting released on the same day. Incidentally, the songs of these two films are fighting it out where audio sales are concerned. There's Kavita Lankesh's "Avva" starring Vijay. Ramesh is wrapping up "Accident" and hopes to release the film by the end of March. "Duniya" Suri has quietly finished his next film produced by Yograj Bhat. You would have noticed that none of the major stars movies figure here. Well the audiences are tired of the same faces performing the same stunts and spewing rhetoric. Kannada audiences are embracing fresh talent bursting with ideas. The stars are losing their sheen.

S. SHIVA KUMAR

sshivu@yahoo.com

TWISTS AND TURNS Ganesh deserves the Golden Star title, with Duniya Vijay close on his heels. Puneet’s Arasu was an average grosse

2007-12-28T07:52:00.000-08:00

It’s time for another annual round-up. While it has been a fairly good year for the Kannada industry, it has had its share of washouts

It’s that time of the year again. Time to rewind and take stock of the hits, misses and the turkeys. See if the industry has taken a step forward technically, content wise and financially. The year that has whizzed past has been a landmark one thanks to “Mungaru Maley” a simple film with a refreshing narrative and music that did not puncture your eardrums. Technically the film was released at the fag end of 2006 but it was word of mouth publicity at the beginning of this year that started drawing crowds to the theatres. It turned Ganesh into ‘Golden Star’ overnight. Yograj Bhatt was the most sought after director and Mano Murthy had to find ways of saying no to producers. “MM” will complete a one-year run at PVR cinemas, a record.

Around 92 films were released this year including the long delayed but much awaited “Preethi Yeke Bhoomi Melidhe” that’s hitting the theatres today. The expectations are thanks to the super success of Prem’s “Jogi”. By Kannada standards Prem has taken too much time finishing the film and has gone over budget. The music has not really caught on but the ace up his sleeve is the presence of Mallika Sherawat.

The super hits but nowhere in the league of “MM” are “Duniya”, “Cheluvina Chitthara”, “Milana”, “Arasu” and “Chanda”. “Yuga” was an average grosser. “Cheluvina Chitthara” released without much fanfare was a huge hit in the interiors. “Duniya” introduced the talented director Suri and Vijay who’s considered next only to Ganesh. “Milana” was an effort by Puneet to veer away from his action image and he succeeded.

Around 200 films went on the floor during the year. Producing films is considered a safe passage to converting ‘black’ money and thanks to the spiralling cost of land, developer’s ploughed money into the industry. The course of the year will show how many of these projects will get completed.

Ganesh definitely deserved the tag, ‘Golden Star’. His films “MM”, “Cheluvina Chitthara”, “Hudugaata” and “Krishna” which is marching towards the 100-day mark have collected around Rs. 100 crore which has never happened with any other hero. At the premiere of “Hudugaata” the humble star remarked that just a couple of years back he could not afford a Reliance phone but was now their brand ambassador. His remuneration today is a little more than one crore rupees. “Duniya” Vijay is right behind him. Pooja Gandhi was the numero uno among heroines. Ramya had only one average hit “Arasu”. Her much touted “Meera Madhava Raghava” was a disaster. The usually bankable marquee names like Vishnuvardhan, Shivaraj Kumar, Upendra, Darshan and Sudeep had a terrible year. Vishnu’s “Ekadantha”, a comedy directed by Sachin sunk without a trace. The much peddled “Kshana Kshana”, a so-called comeback vehicle for the highly over-rated Sunil Kumar Desai failed and the pretentious “Mathad Mathad Mallige” directed by Nagathihalli Chnadrashekar vanished in a jiffy from the theatres. Shivanna’s “Thayiya Madilu”, “Gandana Mane”, “Santha” and “Lava Kusha” at the fag end of the year flopped. Uppi’s list of flops include “Parodi”, “Masthi” and “Lava Kusha” again. Two so-called superstars couldn’t save “Lava Kusha” reiterating the fact that content is king and stars are just pawns. Sudeep is still wondering why his second directorial venture “73 Shanti Nivas” failed to bring in the crowds. Well audiences don’t want to be lectured on how to lead their lives especially by stars!

Puneet again stood tall among the ruins with two hits, “Arasu” and “Milana”. Ramesh’s “Satyavan Savitri” was amusing but did not have you rolling in the aisles like “Rama Shama Bhama” did. Aditya is good looking and fairly talented but has failed to make an impact after “Deadly Soma”. Prajwal the baby faced son of Devraj made a confident debut with “Sixer” and followed it up with an average grosser, “Gelaya”.

S. Narayan was as usual embroiled in controversies but was the most successful director with two hits, “Cheluvina Chitthara” and “Chanda” and one flop, “Thayiya Madilu”. Chaitanya, an associate of Girish Karnad, gave us his bloodless take on the underworld, “Aa Dinagalu” making the discernible look up and take notice. The stars favourite, Sai Prakash continued to churn out tripe in the name of entertainment.

The amount that was an average Kannada film’s budget has become remuneration now. Yograj Bhat was reportedly paid one and a half crore rupees to direct “Gaali Pata”. Puneet Raj Kumar has been signed by a corporate for 1.3 crores with Ganesh and Vijay snapping at his heels.

What is the film industry without controversies? Narayan and Vijay took their fight to the streets with the actor accusing the director of not keeping his word. Narayan won and the film, “Chanda” is doing well too. Daisy Bopanna accused Indrajith Lankesh of giving too much importance to Deepika Padukone in “Aishwarya” who incidentally is the first Kannada star to conquer Bollywood. Starlet Radhika was raided by income tax and her liaison with a politician was much talked about and is even the subject of a film.

Rakshita hung up her make-up kit and married the harried Prem. Vijay Raghavendra tied the knot too.

On a somber note the industry lost Prema Karanth, camera man Mapakshi and Maruthi Shivaram who directed “Parasangadha Gende Thimma”. If Prem’s “Preethi Yeke…” succeeds it’ll be the icing on the cake for Kannada cinema. We don’t want audiences asking “Prem yake Boomimeliddhare”?

Happy place Ramya: ‘I don’t have to sign every project that comes my way

2007-12-14T04:35:00.001-08:00

Puneet Rajkumar may have been thrust with the title of ‘Power Star’ by enthusiastic fans thanks to his daredevil stunts but the actor in him is hungry for diverse characters. “I don’t like too much violence and try to shun remakes as much as possible,” says the star. He’s the highest paid Kannada actor and has a responsibility towards his fans and producers, which makes it difficult for him to veer away from the oft-trodden path. He has done a couple of mediocre films but doesn’t sign too many projects and waits for a script that’s intriguing. One such film is “Milana” directed by his cousin, Prakash who showed promise with “Rishi”. “Milana” had mixed reports as they say in filmi trade parlance but settled down to be a steady earner. Mano Murthy has again come up with a couple of hummable tunes and Puneet is being appreciated. Sivaji Ganesan’s son’s close family friends had approached Puneet to do a film they wanted to produce. Prathap Pothen flew down and narrated a couple of story ideas but the project fell through. Now things are finalized and P. Vasu will direct the project. “I like to work with youngsters because their ideas are fresh and they have a passion to prove themselves.” says the star about Prakash.

You can determine Ramya’s mood by the way she says ‘Hi’. If it’s shrill, breathless and nearly endless as it was this time, then she’s in fine fettle and in her best elements. “My phone was switched off and I had a blast,” she says about her annual pilgrimage of pleasure to Goa with her posse of pals on her birthday. Well, professionally too she can’t ask for more. Her Diwali Tamil release “Polladhavan” is a big hit and though she doesn’t have much to do by way of scenes she’s there in all the songs and it’s good to be part of a successful film. With rumours flowing that she’s deserted Kannada cinema in search of greener pastures, she’s signed three films here. “People must understand that I’ve reached a stage where I don’t have to sign every project that comes my way,” says the star. Her enthusiasm hasn’t waned about the seemingly endless delay in finishing Gautam Menon’s “Vaaranam Aayiram”. That’s one film she says is worth waiting for because her character ages from school girl to a woman. “I’ve worked hard and the rest is up to the audience,” says the star who’s been invited to Dubai, courtesy Emirates Airlines, where her short film about AIDS directed by Santosh Sivan is being screened.

Filmmakers are old hands at arousing the curiosity of audiences by slipping bits of intriguing nuggets about behind-the-scenes activities, be it the lead pair getting warm at a cold outdoor shoot or a couple of sleazy scenes. Kavita Lankesh has finished “Avva” and the first tid-bit was that there was a kissing scene between the lead pair. Now we learn that there are some intimate scenes too.

The film will be released early next year but this has aroused enough curiosity to guarantee a decent opening.

The much touted Ramya- Rakshitha on-screen face-off fizzled in her last venture so lets hope a couple of sizzling scenes help “Avva”.

S. SHIVA KUMAR

sshivu@yahoo.com

Will it hit the skies? : Still soaking in the success of Mungaaru Maley, Yograj Bhatt is all set to release Gaali Pata

2007-12-07T03:40:00.001-08:00

“I just finished editing the film and thought I’ll give you a call,” said Yograj Bhat from Chennai, with a sense of relief, anxiety and excitement. Exactly one year ago he must have felt the same because his “Mungaaru Maley” was due for release. Even the most sought after soothsayer would not have predicted the kind of success the film has enjoyed. It was not a path-breaking film by any standards but there was simplicity in the narration that struck a chord. The songs are still being hummed and emanate from every other cell phone. The cast and crew are still basking in the glory. Many directors who give mega successes are scared to move on to their next venture, thanks to the overwhelming expectations but not Yograj. Just as “MM” completes a record one year run in the multiplexes as well as regular theaters “Gaali Pata” is nearing completion. “The film is a visual treat. Ratnavelu is at the peak of his aesthetic and creative powers,” says Yograj.

There are computer graphics since a wild boar plays a major part in the film. Yograj is off to Mysore and its surroundings to shoot a song that involves a horde of Yakshagana dancers. “I have shown a rough cut to people close to me and they are excited,” says the delighted director. I wonder aloud if he’s cultivated a claque. “Oh no they are the kind of friends who are brutally frank,” says Bhat. “I think if I had made this film before ‘MM’ it would have done as well if not better than that.” Let’s hope “Gaali Pata” meets the expectations of fans and results in a rain of big bucks at the box-office.

Dhanush is delighted but as usual his voice doesn’t change. He’s like Kamal Hassan. Expressionless and affable to the extent of sounding inaudible, making you wonder about his performing abilities. But his performance in “Polladhavan” is to be seen to be believed. He’s brilliant in the light scenes as well as those that demand intensity. His dialogue delivery has improved by leaps and bounds. “I told you it’s easy to make a successful film,” says Dhanush not out of arrogance but with confidence in his abilities . I tell him I’m not entirely convinced, though I can’t argue with success. “Believe me, my next film ‘Yaradi Nee Mohini’ will be a minimum guarantee film,” says the star. The svelte Nayantara is his co-star.

“Polladhavan” is taut even though it’s just another take on an innocent being sucked into the cesspool of crime. The atmosphere is authentic and performances realistic. Some of the songs are badly placed. “I know, but they are a necessary evil when you go beyond the city,” says Dhanush. I ask him about the director Vetri Maran. “He’s Balu Mahendra’s assistant and I’ll be working with him again next year.” Shouldn’t he keep away from films about rowdyism, “I agree. This film will be totally different. I cannot tell you anything now but you’ll be surprised,” says the confident star. He’s also doing a film with Ram, another Balu protégé who directed the intensely internalised film, ‘Katradhu Tamizh’. “I think our collaboration will work. He’s gifted but has to be told where he went wrong,” says Dhanush, sounding smug but believe me his head is firmly on his frail shoulders.

sshivu@yahoo.com

S. SHIVA KUMAR

MUSICAL CALL Director Ratnaja believes the songs of Honganasu are like an invitation card

2007-11-30T00:19:00.000-08:00

With “Nenapirali” still fresh in the memory of filmgoers, director Ratnaja, after a prolonged hibernation, has finished “Honganasu”. The delay in making his second film was thanks to a project starring Shivrajkumar and produce d by Hamsalekha, which had to be shelved at the last minute because the hero backed out.

“Nenapirali” was appreciated by critics and cinema fans for its hummable music, neat narration and emotional strength. It also turned Prem, a daily-wage worker, into a star overnight. Prem shops for his clothes abroad now. Well, Ratnaja went back to the storyboard, polished the script of his dream project “Honganasu” and got his buddy Ajay Gowda to start the film, pronto. Ajay was also the producer of “Nenapirali”.

So what’s his second film about? “Well I’m tempted to use the word different but will desist. All I’ll say is that a particular segment in the film is unique; never seen before,” says a confident Ratnaja. “The story starts in the middle and goes back and forth. I’m happy with the narration. Prem has performed superbly and as usual my guru Hamsalekha’s lyrics and tunes challenged my abilities to picturise the songs.” The film has two new heroines —Anuradha Mehta and Anjali. When “Nenapirali” was released, producer Ajaywas a novice, new to the wayward ways of the film industry. The film did well thanks to word-of-mouth publicity. “The music is like an invitation card. It can entice or put off audiences. I’m confident the songs of ‘Honganasu’ will arouse curiosity,” says Ratnaja. The film is slated for release in the last week of December.

*** The ban has been lifted and Vijay is back to donning the grease-paint. “I’ve learnt my lessons. The film industry is a ruthless place, and if you are weak-willed, then God save you. You have to realise that the warmth and smiles are synthetic and will last only till you are successful,” says the bitter star.

Tabloids are full of his off-screen exploits and turbulent family life. “My family has been dragged into this and I’m very hurt. I wanted to keep them out of the spotlight but now I see pictures of my family in shady publications. It doesn’t take a genius to realise who’s behind all this slander,” says Vijay.

He’s shooting for ‘CM In Love’ being made by Ravi Belagere. The film is supposed to be based on the political and personal life of Kumaraswamy. While Loknath plays Deve Gowda, Bhavna is a starlet. Vijay has also agreed to do a film for Agni Sreedhar and one for Rockline Venkatesh.

*** Upendra is enchanted by Kashmir. He’s just shot two films there and can’t stop raving about the place. “I can’t understand why people have stopped shooting there,” he says even as he’s stranded at Delhi airport on his way back. “It’s heaven on earth. We go all the way abroad when we haven’t shown our audiences how many beautiful places we have here,” says the star. When I suggested that fear of security was one of the factors, Upendra even insisted it was safe. “We didn’t have a single problem. No sounds of gunfire…and it’s so relaxing.” So if producers want Uppi’s dates on a priority basis they should throw in a schedule in Kashmir.

S. SHIVA KUMAR

sshivu@yahoo.com

Cheery nostalgia : Two new films have names of the late Shankar Nag starrers. Telugu film Happy Days is a big hit

2007-11-25T00:41:00.000-08:00

The one personality who was in the process of taking Kannada cinema to a higher level was Shankar Nag. He was one of those rare people who was adored by the public and respected by his colleagues. The man was in a tearing hurry probably having a prem onition that death was awaiting him round the corner. His brain was ever bursting with ideas even while swiftly executing the backlog. Articulate, warm and intelligent, Shankar’s films reflected his sense of aesthetics. He made you think even while never deviating from the popular format and making sure you were entertained with lilting music and pleasant photography.

Take “Accident” for instance. It was way ahead of its times. The plot was about the son of a minister, driving in an inebriated state and running over slum-dwellers sleeping on the sidewalk and then trying to walk away scot-free. Recollect how many rich brats have done this in the recent past. He was not a great actor by any standards but had an undeniable charm, a casual style which endeared him to the masses. I remember Kamal Hassan telling me he had recommended Shankar for a role in “Utsav” which he could not do. These ramblings about one of my favourite personalities is because two films being made by talented filmmakers like Ramesh and AMR Ramesh are using the titles “Accident” and “Minchina Ota” respectively. The plots are not the same. While the former is a murder mystery, the latter is a thriller. The directors have to remember they will be watched by Shankar’s restless spirit.

The dust has settled. S. Narayan may have won the battle of wits and had his way but has lost it at the box-office. “Chanda”, terribly made like most of his other offerings is a dud. The fact is that nobody has gained from this episode. Vijay has to claw his way back with two of his releases after “Duniya” failing. People are already accusing him of doing the same thing over and over. Vijay has to realise that he’s only as good as his last release. Narayan has humiliated Ambarish by not heeding his unofficial diktat. Would this have happened if Raj Kumar was alive? Every family does need an authoritative patriarch I suppose.

A film that has captured the hearts of teenagers and elders alike, without making much noise is young Shekar Kammula’s “Happy Days”. The only stars in the film are the superb story and screenplay. It’s about the angst, uncertainties, infatuation and dreams of a group of teenagers. Each of the characters gets to share equal screen space. There’s not a single scene where things are over done. The performances by newcomers are to be seen to be believed. The trepidation about taking the right decisions is brilliantly brought out. It’s the best film I’ve seen in recent times. While filmmakers are running behind over-rated stars here’s someone who believes in the inherent strength of his screenplay. “I’m off to the US for ten days. The film is the biggest grosser amongst Telugu films ever there,” says a cool Shekar. His other films are “Godavari” and “Anand” both starring the lovely Kamalinee Mukherjee. “I make one film a year so I haven’t even thought about my next film,” says the still unassuming director. It’s rumoured that top stars like Mahesh Babu are after him to direct a film. If you want a dose of nostalgia about the best days of your life rush to the nearest theatre showing “Happy Days”. It’s popular cinema at its best.

sshivu@yahoo.com

S. SHIVA KUMAR

‘Aa Dinagalu’ is déjà vu. : Atul Kulkarni is as good as ever

2007-11-20T12:54:00.000-08:00

Its set in the mid 80’s when politicians used goons like pawns and set one against the other in their quest to wrest and retain power. Kotwal Ramachandra and Jairaj were arch rivals battling for underworld supremacy. Caught in this cross-fire is the young son of an industrialist who’s in love. The rich father disapproves and hires Kotwal to separate the pair. The rest of the film is about how the disgruntled son worms his way into goon land with the help of Sreedhar and hatches a plot to eliminate Kotwal.

Based on former underworld don, Sreedhar’s autobiographical tome, ‘Dadagiriya Dinagalu’ you can call this a ‘coming of age’ film in Kannada about rowdyism. We’ve been subjected to rowdies being portrayed as mindless beasts maiming and killing innocents. There’s not a single scene showing blood or gore here. Their activities are not justified but it’s more about how they’re used and instigated by vested interests. The screenplay by Sreedhar and Girish Karnad unfolds seamlessly making the job of the editor easy. There’s no action or violence but director Chaitanya has a vice-like, unwavering grip over the narrative. The underlying tension is subtle yet palpable. He has a fine eye for details and has to be lauded for recreating the period authentically. Nothing is overdone and the performances by the ensemble are standout. Sharath Lohitaswa as Kotwal is outstanding. Even Ashish Vidyarthi who’s usually over the top is effective as Jairaj. Atul Kulkarni is as good as ever.

Chaitanya is ably aided by Venu’s superb cinematography who thankfully avoids gimmickry. Nagendra Urs’s editing is sharp and there’s Ilayaraja whose use of silence is as resonant as his score.

‘Aa Dinagalu’ is déjà vu.

S.Shiva Kumar

This ‘Chirutha’ is swift but directionless.

2007-11-20T12:50:00.000-08:00

His father tries to save an upright journalist from goons and has his throat slit. His mother is grievously injured but he doesn’t have the money for treatment. He’s still a child but takes the blame for a crime committed by a teenage delinquent for money. He emerges from a lengthy incarceration and goes in search of his mother but is told she’s dead. Hero is wild but revenge takes a back seat when he chances upon this shrieking, pouting scantily clad lass. She doesn’t give him a second glance but he’s smitten.

Cut to Bangkok. Hero’s landed a job as a tourist guide!! Now for someone who’s been in jail most of his life he wouldn’t be familiar with Hyderabad’s topography but then this is a film you see. Ok, now guess who plans a sight-seeing trip to Bangkok. Yup, it’s heroine with her entourage of giggling gals. Heroine hires hero. She raves and rants and throws tantrums galore but hero has a knowing smile on his face. Well fate has the pair getting stranded on an island and the tables are turned. Heroine suddenly turns subservient. Enter heroine’s possessive papa who’s so powerful he even orders the Thai police around. Heroine is in love but papa is livid. Then there’s the guy who killed hero’s papa.He’s now an international goon and has to be taken care of. The rest is as old as yesterday’s newspaper.

The expectations were sky high. Another superstar’s son was set to rise. Ram Charan, is megastar Chiranjeevi’s son and ‘Chiruth’s was to showcase all his skills. The kid is well built and lithe like his dad. To give him his due he doesn’t try too hard to impress and never once goes overboard. It’s just that he’s chosen the wrong launch vehicle. The pressure on director Puri Jagannath is understandable but he tries to pack in every known trick in the commercial manual. The non-existent plot has as many loose ends as a plate of noodles. He’s also guilty of wasting the talents of actors like Sayaji Shinde, Prakash Raj and Bramhanandam. The songs are ill-inserted and the fights endless.

This ‘Chirutha’ is swift but directionless.

S.Shiva Kumar

Om Shanti Om is the Khan’s humble hallelujah to the Kapoors and the Khannas

2007-11-20T12:46:00.000-08:00

It’s the swinging seventies. He’s the typical struggler with stardust in his eyes dreaming of stardom, a mansion, linen sheets and minions to slip slippers onto his feet when he wakes up. That’s when he’s not fantasizing about the top female star, a South Indian. He acts in real life too spewing filmi rhetoric and flailing his limbs melodramatically. She’s the prima Donna, desired by millions but in a messy affair with a ruthless producer. Struggler mistakes care and concern for love and is devastated when he realizes the truth. Ruthless producer is shooting a magnum opus with lady love as heroine but is shocked when she reveals she’s pregnant. He seethes with rage and decides to burn down an opulent set along with the heroine. Struggler tries to help but is beaten up by goons and run over by a superstar’s car. Struggler succumbs just as superstar’s wife delivers a baby boy.

Cut to the present. Superstar’s son who looks exactly like struggler is the current rage in Bollywood with unkempt hair and six pack abs. He keeps clutching his crotch when he’s not being kissed by skimpily clad gals. Superstar keeps getting vague visions from his past life and when he realizes his past decides to take revenge.

The greatest tragedy of Bollywood is the reluctance to deviate from the oft trodden path. Thankfully Farah Khan has the talent and the chutzpah to do so. There’s a fine line between paying tribute and mockery. Farah walks it with the ease of a trapeze artiste. OSO is a tribute to the seventies and also Subhash Ghai’s ‘Karz’ and Manmohan Desai’s mindless entertainers. She has a whacky sense of humour(now you know where Sajid gets it from) but if you are not familiar with the films and personalities of the seventies you are bound to miss some first rate gags. The structure of the screenplay is complicated but doesn’t deter an easy flow. It’s an unpretentious film but definitely not silly.

The film is technically brilliant. Manikandan’s cinematography is easy on the eye be it a low, wide angle shot or a brilliantly lit close-up. The sets by Sabu Cyril are opulent but never gaudy. Shirish Kunder’s editing is sharp. The one liners are brilliant too. Farah also makes sure to show all those who’ve worked behind the scenes when the title card rolls in the end which is touching.

Sharukh is his usual effortless self in the light scenes but still grapples for expressions in the emotional ones. Deepika Padukone is a revelation especially after a disastrous debut in Indrajit Lankesh’s idiotic film ‘Aishwarya’. Statuesque with large expressive eyes she doesn’t falter in a single scene. Unlike Aishwarya Rai whom she’s being touted to replace there’s nothing synthetic in her expressions. She proves that there’s more to models than being mannequins. Shreyas Talpade is his usual natural self. Bindu makes a nice cameo.

Om Shanti Om is the Khan’s humble hallelujah to the Kapoors and the Khannas.

S.Shiva Kumar

Breach of trust? Vijay is upset that Narayan has gone back on his promise

2007-11-11T07:42:00.000-08:00

So where has the Vijay - Narayan imbroglio reached? The producer’s council reached a unilateral decision and ordered Vijay to dub for “Chanda” opining that star’s did not have a say regarding the release date of their film.

Vijay is understandably peeved at Narayan going back on his word that he’d release “Chanda” only after “Yuga”, Vijay’s next release had completed fifty days.

“Chandru, the director of ‘Yuga’ is making his debut and I’m concerned about the fact that if ‘Chanda’ affects the film he may not get any more offers. I have no problems because I’ve already signed five films. Ultimately if you see I’ll be the least affected but that’s not the point. The sad thing is that even Narayan is not going to gain from releasing his film with only a week’s gap,” says Vijay.

Meanwhile, he has kept away from dubbing citing health problems. The producer’s council has threatened to ban Vijay for two years. Narayan has also sought protection fearing harm from the star’s fans.

Total indifference

Vijay is also disappointed that none from the actor’s fraternity has come to his support. “I have a long way to go but the amount of grime behind the glamour is unbelievable,” says a philosophical Vijay.

On the career front he’s signed “CM In Love”, produced by Ravi Belagere. He’s grown a moustache and is expected to put on weight for the role in which he impersonates H.D. Kumaraswamy. Then there’s Agni Sreedhar’s next film, based on another extract from his “Dadagiriya Dinagalu” about a youngster from an orthodox Brahmin family turning into a rowdy. His “Yuga” is releasing today.

It’s flabbergasting. Who are these people given the authority to decide which Indian film will represent the country at the Oscars? Are there any guidelines? What is the yardstick? How can an ennui inducing effort like “Ekalavya” which was panned by critics and shunned by the paying public be selected?

There’s not a single thing going for the film in terms of content and if technical finesse was the only factor then why not “Shivaji”? Okay, if it had to be a Hindi film like it is most of the time then why did “Chak De” a superbly crafted film lose out.

It’s a wrong and misplaced notion that the films sent to the Oscars should reflect our ethos and culture. I cannot think of any film in the past year that would have won the coveted statuette but compared to “Ekalavya” I can think of one hundred other better films.

Reluctance

I remember when “Nayagan” was selected Mani Ratnam did not jump in joy but was reluctant. “I’m very clear that it’s a film made for our audiences,” said Mani. In fact, when the films’ producer G.Venkateshwaran and Kamal were on a promotional tour to the USA I called Mani and asked why he was not with them.

“I have work to do,” was Mani’s answer in his usual incisive style.

S. SHIVA KUMAR

sshivu@yahoo.com

The dark stories: Chaitanya has made his mark as a filmmaker with Aa Dinagalu, a film on the underbelly of Bangalore

2007-11-04T11:41:00.000-08:00

Imagine a film about two thugs in the underbelly of Bangalore without absolutely any bloodshed yet managing to keep you on the edge of your seats and you have “Aa Dinagalu”. It’s based on an extract from Agni Sreedhar’s autobiographical tome “Dadagiriya Dinagalu”. There’s nothing overt. We get to see the vulnerable side of the seemingly bionic beasts we are used to watching on-screen. The photography is sans gimmicks and the background score uses silence remarkably to enhance scenes. The acting is brilliant with Sharath Lohitashwa shining in every scene. Of course, the credit for the fluidity in the narration and the authentic recreation of the Eighties goes to the young director, Chaitanya who’s from the Girish Karnad school of filmmaking. He has a Master’s in communication and has made documentaries for BBC. He was working on a tele-series when he had an offer he could not refuse.

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 Bangalore has changed so much after liberalisation.

How’s the feedback?

The collections are very good. The good thing is that it’s doing well in places like Mysore, Mangalore and Shimoga. It’ll be good if it works for the common man.

S. SHIVA KUMAR

sshivu@yahoo.com

Winning moves: Young girls find Ganesh irresistible, despite his unconventional, not-so-handsome looks

2007-10-28T00:19:00.000-07:00

I was taken aback. Had I strayed into the classroom of a girl’s college? Would I be assaulted and handed over to the cops? I shook my head and realised I had bought a ticket to watch the Golden Star Ganesh starrer, “Krishna”. It was a morning show on a weekday and the balcony was full of squealing girls with a backpack full of books eating out of ‘tiffin’ carriers lovingly packed by ignorant mothers.

Ganesh is the darling of today’s teenage girls. There’s a vulnerability in the characters he’s chosen which seems to have struck a chord. He’s neither handsome with unkempt hair and stubble nor well built but then fame always enhances physical appearance. “Krishna” borrows generously from a Tamil film starring Surya. Ganesh plays himself, the famous host of a TV show. The plot about a girl choosing a rich suitor to help her parents but wanting the hero back is narrated neatly.

The climax where the hero chooses the girl who loves him rather than the girl he loves is thankfully sans hysterics. Ganesh is efficient with his hallmark casual style of dialogue delivery. Pooja Gandhi looks jaded but Sharmila Mandre does a neat job. It’s an intelligent plot with the usual twists to suit Ganesh’s character. If he realises his limitations and makes prudent choices Ganesh can prolong this golden run.

The wild child of Kannada cinema Ramya being replaced in a film is not new, but we never get to hear her side of the story. “That’s because I’ve stopped trying to explain. The impression is always that I’m at fault,” says the diminutive star. Sso why was she dropped from Sudeep’s film directed by Gurudutt?

“I had told them that I could not give them dates at a stretch because I had to finish my Tamil films. Suddenly Sudeep was in a hurry and they pestered me for bulk dates. I opted out but they started saying I had shot for a day in Mysore which is a lie. I’ve returned their advance too. I agreed to do the film only because Gurudutt requested me as a friend. The film is the remake of a Tamil film in which the heroine has precious little to do. Anyway everything happens for the good,” says the star who’s in Kashmir shooting with Uppi for Rajendra Singh Babu’s film.

Dhanush, her co-star in ‘Polladhavan’ feels that with a little hardwork she will be recognised as a very good actress. “We’ve managed to extract an excellent performance from her,” says the star.

A film to be launched shortly by the editor of a weekly and host of a popular crime show on TV will be about a political family. The father is a former Prime Minister and the son is the current Chief Minister. The film is not about political intrigue, but dissects the CM’s dalliance with a starlet. No prizes for guessing who the protagonists are. Is this the masterstroke of political opponents or just a slice of sleaze?

S. SHIVA KUMAR

sshivu@yahoo.com

A Life full of surprises: Chance run Dhanush: ‘I never wanted to become an actor. I always wanted to become a marine engineer

2007-10-19T00:23:00.000-07:00

He was the scrawny teenager with a ‘born loser’ look on his face in his first two films. Girls wanted to mother him and the boys felt no threat. It’s with the super success of “Thiruda Thirudi” that his stock shot up. Th ere were a couple of turkeys like ‘Sullan’ but typical of today’s youngsters he doesn’t mind taking on dark characters. He was outstanding in “Pudhupettai” a stark, unwavering look into Chennai’s underbelly. The film flopped but will be rated as a classic in the years to come.

He’s in Bangalore on the way to Chikmagalur for the final schedule of his next film, “Polladhavan”. His co-star is Ramya. The hallmark of today’s young stars is humility. He’s affable to the extent of sounding inaudible. No false airs or bravado. Here’s a candid chat with the soft spoken Dhanush.

Are you an actor by choice or by chance?

By chance. I never wanted to become an actor. I always wanted to become a marine engineer. My father had launched a film about three boys and two girls. One boy dropped out at the last minute and I was forced to take the role.

Your father’s career as a director had plummeted after great success and this was a sort of last ditch effort. Did you look at it as a way of helping him out?

No not in my first film. Maybe after that. I was cursing him during the first film. I hated this field to be very frank. I never visited my father’s shooting spot. I was not interested in meeting stars when they dropped by. It was destiny. My brother was launched as director and he wanted me to play the hero because he felt I would suit the role. I did a lot of homework for that role and started realising I like playing someone else.

When did you start taking acting seriously?

It’s after I played the character Vinod in “Kaadhal Kondein”. You probably wouldn’t believe it but I would sleep on the floor between shots even though I was the producer’s son. One day when the shot was ready the cinematographer picked up the megaphone and called, ‘Dhanush, Dhanush.’ I was fast asleep and woke up only when he said, ‘Vinod’. I became that character. It was also my biggest success ever. My interest was awakened.

From Vinod you suddenly got this Bruce Lee kind of image. How did that happen?

I really don’t know. My brother always wanted me to be known as a great actor. He wanted me to do off-beat films. ‘Thiruda Thirudi’ was a massive success but a couple of films close to my heart flopped. So I either have to satisfy myself or the fans.

One can see the amount of hard work that went into making ‘Pudhupettai’. What happens when such a film flops?

We were prepared for such a reaction. It was ‘the’ film of my career. I can never ever perform like that again. The entire credit goes to my brother, Selva. When he casts me he’s a hard taskmaster. Yes, we did work very, very hard. When my father-in-law watched the film he first mentioned the same point. We wanted the movie to do well to help us take more creative risks but that didn’t happen. We didn’t know what to do next. I did a ‘pucca’ commercial film in Tamil and my brother did a ‘pucca’ commercial film in Telugu. Both succeeded. We decided to give a gap before working together again.

‘Thiruvilayadal’ came at a time when people were saying Dhanush needs his brother as director. Was that one of the reasons for not working together?

The level of my performance goes up when he’s the director. Other than him only Balu Mahendra has given me a fantastic role. The big directors have their set of actors and I’m working with the rest. “Thiruvilayadal” is a ‘Dhanush badly needs a hit’ film.

When you say you plan a hit are you saying you are involved in the script and other departments?

Yes. If I feel the screenplay needs changes and they’re prepared to do it I agree. I am particular about certain factors being there in my film.

So you will be the third director from your family shortly.

Very soon. I’m eleven films old. Right after my fifth film I wanted to direct. It’ll be sooner than you expect.

Fame, marriage and a child. Has life suddenly moved in ‘fast forward’ for you?

It’s scary. You’re right everything’s happening so soon. It’s weird. Till my third film I didn’t know anything.

Were you a little scared that Aishwarya was Rajnikant’s daughter?

Even that happened very fast. Rajni Sir wanted to meet me after watching “Kadhal Kondein” as a gesture of appreciation and encouragement. At that time I had no idea what the future held. I’m sure he would have asked around. It was more an arranged marriage; she’s very close to my sister.

I’m sure people are curious about the equation you share with Rajni after marriage.

It’s normal. I don’t take any help from him nor does he want me to. Every single penny I earn should be from my work. Call it ego or self respect. That’s what I am.

Thanks to your father-in-law you have a Bangalore connection. Have you tried to visit the places he grew up in?

No. I’ve really not had the time to do so. I plan to come with my wife who should be able to take me. I did visit the place she grew up in thanks to a delayed flight.

Who’s the actor you admire?

Al Pacino. I adore him. A guy called Cameroon Bailey who selects films for the Toronto film festival told The Hindu that I remind him of Pacino. That’s the ultimate compliment I’ve received. I’m a fanatic of Rajnikant too.

S. SHIVA KUMAR

Backbiting aplenty : LITTLE CHEETAH The Telugu film Chiruta does not live up to its title

2007-10-16T23:45:00.000-07:00

Ganesh is on a roll. “Cheluvina Chittaara” is a massive hit and still going strong. In fact it’s the biggest success after “Mungaru Maley” and “Duniya”. His “Hudugata” did not do well but the prod ucers let it run in theatres just to give the impression that it was a success too.

The 100th day function of “Cheluvina Chittaara” was celebrated on a massive scale, befitting its success but a discordant note was struck when the director, S. Narayan took veiled swipes at actor Vijay who stars in his next film “Chanda”. Narayan accused the star (without naming him) of indiscipline and getting too big for his boots. . The film is now complete and ready for release but Narayan has got the dubbing done by someone else. “That man surprises me,” says Vijay. “He was all praise for my behaviour and discipline just last week in a Kannada weekly and suddenly I’m the villain. I was good till I refused to dub till ‘Yuga’ was complete. In fact I had told him that I would start ‘Chanda’ only after ‘Yuga’ was complete but Narayan coaxed me, promising me that his film would be released only after ‘Yuga’ had completed 50 days. I accepted only because he was a senior and was sure he would keep his word. Please ask the unit if I ever arrived late for shooting,” says a hurt Vijay. Ultimately the result of such spats is that it affects the product adversely. One hopes that doesn’t happen to “Chanda”. What about the Rockline production he’s supposed to do with Ramya and to be directed by Narayan?

“I have given the dates to Rockline Venkatesh but if the director is Narayan they can count me out,” says the defiant youngster.

*** Another star son rises. This time it’s superstar Chiranjeevi’s son Ram Charan. The film is “Chiruta”, directed by Telugu cinema’s blue eyed boy, Puri Jagannath.

The film does not live up to its title. It doesn’t move swiftly at all. The director is obviously weighed down by all the expectations and tries to pack in too many gimmicks. The plot is over-stuffed with popular ingredients but fails to hold your interest. Ram Charan has taken after his dad in the fights and dance department. He lacks his father’s charm but has a casual acting style that’s endearing. The film is not doing too well and should be a lesson to the youngster about the importance of a plausible plot.

*** Dev (the saab makes him sound old) writing his autobiography? I thought only retired people did that and Dev has a long way to go.

Bangalore is one of his favourite cities and the trip here must have been nostalgic. I interviewed him more than a quarter of a century ago when he was shooting at Bangalore Palace.

His restlessness left me dumbstruck. He’s a blur of activity — and this when he was running high temperature. I was floored when he wanted a Polaroid picture taken with me.

He’s the only star who wrote down his address and insisted I visit him whenever I was in Bombay. He may not have directed many classics, but his self belief and noble intentions are unquestionable.

I can’t wait to read his colourful memoirs and can assure you of a sequel a few decades from now.

S. SHIVA KUMAR
sshivu@yahoo.com

A bevy of wishes:IT’S NO CAKE WALK Going through the birthday routine

2007-09-21T03:23:00.001-07:00

To savour success you ought to have scaled a slippery ladder and Upendra has done it against all odds. He’s one of the most down to earth stars I’ve met. One of his strong points is that he takes criticism in his stride. “I dance to the tunes of my fans,” Amithabh Bachchan once said and Uppi is doing just that since the morning of his birthday, September 18.

Fans from afar have thronged his residence and there’s a mild lathi charge too but their idol doesn’t disappoint them. “He’s like a puppet with invisible strings,” says Vidya, the SMS contest winner who’s to spend the day with him. “He does everything they tell him to.”

Uppi is weary by the time he boards the chopper taking us to his resort, Ruppis. The pilot takes a circuitous route giving us a bird’s eyeview of the shrinking greenery in Bangalore. “I hope the pilot knows my resort because we can’t even ask for directions,” jokes Uppi. The chopper hovers over the resort where bus loads of lucky listeners, transport courtesy Big 92.7, wave in enthusiasm. It’s a day long programme on the station and fans are being asked why they like Uppi.

The sight of his fans seems to energise the star as he’s greeted with a loud roar. Groups of fans garland him, adorn him with a crown, stuff his mouth with cake and some even plant wet kisses on his cheeks. “Your wish is my command,” says the star earnestly to a roar of applause.

A few singers are belting out hits from his films like “Preethse”. The crowd is not satisfied and Uppi obliges by singing, dancing and interacting with the ecstatic fans. The local language press is peeved that the press handouts are not in Kannada and it takes the combined convincing powers of Uppi and the top brass of 92.7 to smoothen ruffled feathers.

Fans try to barge into the enclosure reserved for the press and Uppi is forced to go out again. The fans just can’t get enough of him but time is running out.

Uppi is visibly tired and keen that the crowds are cleared. He needs a little rest before hosting a party for his industry pals. The fans board the buses reluctantly.

The road to the resort is treacherous and you look at the sky wishing the chopper would appear to take you back.

S.Shiva Kumar

Upendra’s performance in Anatharu, a remake of the Tamil film Pithamagan, has fetched him tremendous appreciation

2007-09-21T00:05:00.000-07:00

It’s the cozy lounge of the Jakkur aerodrome. Big 92.7, the new entrant in the air waves war is flying birthday boy Upendra who also happens to be their brand ambassador to his resort by chopper and I seem the only journo invited to fly with th em. Uppi arrives with RJs Kiran and Harsha and the excited winner of an SMS contest, Vidya who’ll also fly with us. She’s a bundle of excitement and nervousness.

Uppi looks haggard. “I haven’t slept at all with fans thronging my house since midnight,” says the star. That doesn’t stop him from patiently posing with each and everyone who wants a picture taken with him. “It’s amazing to watch him interact with his fans,” says Vidya who’s been with the star since morning. “Where will I be without them?” sighs the star in response.

You turn 39 today. Do you think you have achieved a lot or do you have a lot more to do?

I have a lot of things to achieve and do.

But ten years back did you imagine you would have done so much?

(sighs) Actually, I had planned a lot more. I think I’ve slowed down.

You are being praised for your performance in “Anatharu”. How long did you take to accept?

Oh, I took more than a month to say yes.

Why?

It’s a very complex character. You need a lot of dedication. I could not sign any other project till it was completed. Since two big heroes were involved, matching dates was a problem. I was apprehensive about audience response. Well-wishers goaded me and gave me the confidence.

Were you also concerned that the character is contrary to your image?

No, I like that. I don’t believe in an image. I was fascinated by the character.

The getup was a little like the one in “Raktha Kanneer” but the lack of dialogues probably made it difficult.

You are right. I was a bit nervous in the beginning but settled down as I got used to the getup.

Did you think of interpreting the role differently?

No. My expressions are a little different, but I loved Vikram’s body language and tried doing it the same way.

Like other heroes you too are building your body, but have stopped exercising your brains..

(Laughs) That’s because I’m a hero now. I know what you are getting at. I hope to start my directorial venture in 2008. When you want to direct you have to dedicate one year for a film. I cannot be acting in someone’s film while directing my own venture. I also have to be very sure about my product.

Is it also because acting is easier? You don’t have to take the blame for a bad product.

(Laughs) Not really. Yes, it’s easier in a way. Even when I’m acting I imagine how I would have executed the shot. My next directorial venture has to be something extraordinary, technically and narration wise.

To start a venture you have to first stop giving dates as a hero.

That’s right. I’m committed till December. I’m very eager to start from January 2008. I just hope I don’t get an exciting role as a hero to tempt me. It’ll take something as good as “Anatharu” to tempt me.

Have you zeroed in on what your next film will be about?

I have but to develop that I have to go away to a secluded place for about a month. There should be absolutely no disturbance. I like to left alone and lose track of the place and time when I’m writing.

What is the feedback for your performance in “Anatharu”?

It’s fantastic. They have liked the film and also my performance. It’s creating records in places like Hubli and Davangere. They have increased the number of shows in a day.

So it doesn’t look like you will direct in the near future.

(Laughs loudly) I’ve met some 10,000 fans today and most of them want me to direct and I will. It’ll come as a surprise. The pressure is mounting and the expectations are frightening.

Are directors wary of the fact that you are a director too?

Not really. My suggestions are only during the time of narration. I know that every director has his own vision.

Is it because of the safety factor that you are doing a lot of remakes?

That is a factor yes, because you know it’s a proven product.

Most directors are not able to do what they narrate. The problem with Kannada cinema is that there is lack of good story writers and directors. Most directors come armed with a DVD.

That’s because talented directors are donning grease paint.

(Laughs) Actually I can direct even when I’m 80 years old. How long can I act? There are a lot many reasons for my acting.

Tell us one.

You will find out as time goes by.

Any birthday resolutions?

I’m going to be very careful in selecting films. I’ve done films for emotional reasons too.

Today, I’ve decided not to take any chances. I can suggest anything till I agree to do a film but once I sign on the dotted line I’m a servant. I think that’s fair because it is somebody’s money at stake. I’m going to be very careful and a little cold in saying no.

An effort recognised: A Tamil film made by Bangaloreans has bagged Tamil Nadu State award

2007-09-14T03:02:00.000-07:00

Kaadhale En Kaadhale” a triangular love story made by a few young and enthusiastic Bangaloreans has won a special jury award given by the Tamil Nadu State. The citation says it’s for portraying womanhood in good light. PC Shekar, the director and Naveen both hailing from Bangalore are elated. “KEK” was a competently made film but sunk purely because of lack of publicity. It’s not enough to make a good film and wait for the public to flock the theatres, especially when your cast and crew is full of newcomers. Arousing curiosity among cine-goers is an art and the only way of generating positive word of mouth. Anyway, Shekar and Naveen have moved on and having learnt their lessons, they are launching “Karma”. It’s about what excess power and pelf can do to a human being. Naveen again plays the hero. A slightly elder female protagonist has a powerful role and Shekar is hopeful of signing either Nandita Das or Shobana. ‘Karma’ could change the destiny of this Bangalore duo.

BANAL Ramgopal Verma’s film Aag has sunk badly

Nagathihalli Chandrashekar is elated at the response his film has evoked. Everyone, he says is talking about ‘Mathad Mathad Mallige’. A rally was organised by activists to protest the land grabbing of nearly 3,000 acres of forest land for the Chamalapura thermal project. I asked the director if there was a Hooviah in Mysore akin to the protagonist in his film. “Incidentally, I asked them the same question,” laughed Nagathihalli. “I guess this was organised by like-minded activists. In fact, some youngsters have made a documentary called ‘Swargadhamele Smashana’ and are using footage from my film.” Has he got negative feelers from the Government? “No they are mum but some MNCs were keen on buying the film with the sole purpose of destroying it. We really didn’t bother,” says the director. “What I’m happy about is that it’s evoked a sort of movement and a debate. Religious heads all over the State are recommending the film to farmers.” Nagathihalli is in Chennai sub-titling the film to be shown at the international film festival. What next? “I wish I could tell you. I’m exhausted,” sighed Nagathihalli.

Ramgopal Verma’s humble hallelujah to “Sholay” has sunk and rightly so. Not because he dared to try the unthinkable but because he cooked up something banal. You can’t even update “Sholay” technically because the film was way ahead of it’s times and Ramu has missed the emotional crux of the film. “Sholay” is one film that can be watched repeatedly which can be said of very few films. It was inspired by the Kurosawa classic,

‘The Seven Samurai’ and adapted beautifully. It’s a film that just happens once in a while because even Ramesh Sippy could not churn out anything close to the classic after that. It was a film with superbly etched characters and a near flawless screenplay including the insertion of the songs. In fact, it’s one of those rare films that’ll never look dated. Ramu, I’m sure has enough creative juices flowing to make a few more classics like “Company”. If it’s your favourite film watch it. It’s blasphemous trying to match it.

sshivu@yahoo.com

S. SHIVA KUMAR

The mute jasmines : The intentions of Maathad Maathad Mallige are noble, but along the way it lost itself to commercial compulsions

2007-09-03T07:48:00.000-07:00

LOST EFFORT Vishnuvardhan’s performance is sincere

“Maathad Maathad Mallige” is a letdown. Nagathihalli’s conviction about the core issue is not strong enough and he goes off tangent. When you set off to make a film about an issue you can’t afford to be frivolou s. The director probably started with noble intentions but he has to safeguard the producers investment too so a raunchy song is inserted. The foreigners out to usurp the villagers land come across as cheap exploiters and the protagonist’s personal woes overtake his concern for his people and their problems. The step motherly treatment meted out to an uneducated girl by her parents and her siblings is jarring. Also, the way the daughters fall in love and walk out on their doting father is most unconvincing. Vishnuvardhan carries the film on his frail shoulders with a sincere performance. Suhasini hams. “MMM” speaks very little about the problems it deals with.

Yograj Bhat and his unit are back after a gruelling schedule, drenched but thrilled with the results. Rain seems to follow him.” We had a great time. I was surprised with the performances of the youngsters, especially Ganesh. Of course, I don’t have to tell you about Anant Nag. There were on the spot improvisations,” says the satisfied director. For cinematographer Ratnavelu who’s still wondering why he missed out on the State award it was a satisfying and challenging experience. “Usually film units shooting in forests choose safe terrain, but we shot in the wilderness. There were snakes and leeches to deal with. We shot the climax at Shivanasamudram and I can assure you we got a couple of breathtaking shots,” says the talented youngster. The stakes are high for “Gaali Pata” and the expectations are unbelievable.

“Duniya” Vijay called from Mysore where he’s shooting for S. Narayan’s film just to assure me that he had not changed. “I’ve been working day and night for the past couple of months. I know a few friends are miffed that I’ve not called back, but if they mistake that for arrogance then they are not friends,” said the star. With “Duniya” collecting a fortune, Vijay is hot property. He’s been offered a little less than one crore rupees by a big time producer. “When the producer is able to sell the film for a fancy price because of my presence then I think they’ve got their calculations right,” he says. “It’s very tempting but I’ll have to like the script.” Vijay’s duniya has changed.

I’m not a Shahrukh Khan fan, but Shimit Amin has to get a standing ovation for doing “Chak De”. The mark of a true superstar is when he can do what is least expected of him and emerge victor. The only other actor who constantly does it is Kamal Hassan but then he’s in a different league. “Chak De” is a warm, no frills film, exquisitely shot and totally in focus. The characterisation is brilliant and there’s not a single dull moment. The girls steal the show but Shahrukh sans his idiosyncrasies is very convincing. Ultimately, all the credit for this wonderful effort should go to the director.

S. SHIVA KUMAR

SSHIVU@YAHOO.COM

The second and concluding part of the interview on Kamal Hassan, the master of masquerade

2007-08-28T02:18:00.000-07:00

Part - II interview by S Shiva Kumar

Is it difficult directing yourself? Is it frustrating not being able to watch yourself perform?

No, because everything was being shot on video. No shot is okayed without a replay. Both Jekyll and Hyde are on the sets.

Did you get what you expected from Hey! Ram?

I expected from Hey! Ram whatever I expected from all my other films -- success.

There is another catch to it. If Hey! Ram had succeeded, it would have changed the face of Tamil cinema. That's for sure.

I am not talking through my hat. Even if someone else had made the film, it would have meant the same.

Films like that have done it before. The thrust was five years, like an election campaign. I expected Hey! Ram to do that. It had that quality, and not because it was my film.

What was the genesis of the film? How did you hit upon Saket Ram? Was it just to hold a contrary view to evoke reaction?

It starts from a little joke when a little girl browsing through her parents' wedding pictures asks, "Where was I?"

I asked myself, what would have I done had I been there? Would I have been any wiser or would I have been sucked into the vortex? Actually, I would have been as naïve and as stupid as the people of that time. People were captives of the situation.

The one person who rose above it was Gandhi. So he was alone.

I felt it was high time someone at least felt sorry instead of licking their tongue like a Farex baby at the situation. That's neither mamta (affection) nor sympathy.

That's the kind of kindness we've been showing Gandhiji and that's the kind of neglect we've shown to one of our notorious crimes. It's a combined sanction. Somewhere in our minds, we sanctioned it. It was not one man.

In a country of millions, a political act is not one man's act. I wanted to address these people and found a section of them.

But did you start off thinking it was a one-man act? One allegation is that it started off as an anti-Gandhi film but turned ambiguous.

No, no. If at all I am a closet anything, I am a closet Gandhi fan. Nobody knows that, though. I kept it a secret because as a teenager, I have said unfavourable things about Gandhiji. So you feel ashamed to turn back on what you've said.

It's not chic to be a Gandhi fan. And it is clichéd to say Gandhi is a good man because it has been said a million times before. He is even on a damn rupee note. It is as boring as a non-detailed lesson. You are never going to get the moral of it till you get a detailed story.

So I was interested in (Nathuram) Godse's point of view. I wanted to get into the psyche. You may say that The Day Of The Jackal was an inspiration, but no. The Jackal was unrepentant. Here, the killer is a confused man, but not a fool."

Did you toy with the idea of Godse as the central character?

No. I was very clear that here was a man who was sucked in.

My themes are very repetitive. All filmmakers have one theme, like the Samurai theme for Kurosawa and the suspense theme for Hitchcock.

Mine is a man's suffering and his struggle to rise above it. If you look at it, however compliant he may have been to the whole thing, Godse is responsible for the act and has to redeem himself. It's not about crime and punishment. It's about realisation and redemption.

Today, Hey! Ram is a lesson at Iowa University. The professor who teaches it, an American, is a Ramayana expert and a Hey! Ram supporter. He likes Gandhi and is not a fascist. I wanted to walk through that period, talk to the characters and come out.

It's a very dangerous experiment and that's why I called it 'an experiment with truth'.

Rumour is that you are deep in debt and that's why you're on this signing spree.

Could be. Yeah. Not fully true but the debt is one's own definition. Well, Rs 120 to Rs 150 million is a lot of money. I have to get it back and I am smiling. There's no panic.

What is it that keeps you going if it's no longer the money?

I have something to do, which I haven't. We have to show that we're capable of good films too. I was just talking to Mani Ratnam.

We were saying, 'What are we doing?' Finally, we were talking about various stories that will work here.

Are we talking about that or yet another compromise and failing and taking insults from an audience whom mentally we're not making a film for?

So we are not willing to be the courtesans they expect us to be. Or, if marriage proposed, we are not professing that we'll take celibacy. So, we were trying to seek direction, trying to see 'whether he can see horizon better than I can'.

Rumours are rife that Mani and you are getting together again.

Ya, we're talking about it. Depends on what we arrive at.

Do you think your old favourites like K Balachander and Bharathi Raja have failed to adapt to the times?

This is something I fail to understand because Kurosawa kept pace till he died. There'll always be the young Turks who will say he's a bloody old man. That will happen to me and Mani too. But Satyajit Ray was at it till the last moment.

Why talk about dead men? Let's talk about Benegal Saab (Shyam) or Govind Nihalani.

But you are talking about a section which was very clear. They never wavered.

Well, Mani and I never wavered. Especially Mani. I was astounded by him. I sort of vacillate sometimes. He never did. It's probably that business management training. He's very clear.

I'd say the same of Balachander. By default or by choice, I don't know. He never got out of the middle-class milieu. He was very clear about his audience.

In a way, I can't do that. Probably wisdom will set in, later.

Chaplin (Charlie) was comfortable with what he did till he was 60. Never complained and then he did Limelight. Till then he was a willing clown.

The only man I admire who transgressed is Spielberg. That must have been from (Francis Ford) Coppola, who must have been a great inspiration. Coppola was another who, when he was finished with the mafia saga, made Rumble Fish. Astounding.

We all come from the same family with Coppola as the elder brother and Kurosawa as the father figure.

You have come to a stage where you shoot one film at a time. Do you think it would enhance your performance if you shot in a chronological order?

Sometimes it does help. With Abhay, we're shooting one character at a stretch. We're trying. It's not a method.

For that matter, Thevar Magan was shot in that chronology. Hey! Ram was jumping chronology but I was going through it every time.

Is it an advantage or a disadvantage?

It is a disadvantage as far as production planning is concerned.

I'm talking about the flow in the film.

No, that you have to work out at the script stage. Like when I explain a scene to some good writers, they pooh-pooh it and you have to really stick on and show it on screen. Without a second thought, they say, brilliant. Which means it was not their ego.

They had not seen that scene at all. It's some sort of unicameral vision they go into. It's a parallax error there.

Now this character in your next film Abhay has many shades of Hannibal Lector of Silence Of The Lambs.

Abhay is based on a novel written by me. Nandu is Hannibal Lector and was conceived much before Thomas Harris conceived the character. He wrote it in 1989 while my book came out in 1983. Nobody wanted to make it into a film them. Now the time has come.

There was the young Kamal in the 1980s constantly seeking variety and even playing elderly characters. Kamal in 2000s is seen prancing around with young actresses...

The 1980s' Kamal was also prancing around. This dancing and prancing around and romancing heroines is on request. It comes absolutely from the audience. They want one dance and the request comes from someone in Silicon Valley.

Do not blame me because I keep giving them variety.

A Mrinal Sen as well as a David Dhawan appreciates and wants to work with you. But you don't seem to want to play. Why haven't you worked with Mrinalda or Benegal?

It hasn't worked. When I was in the thick of Thevar Magan, Mrinalda wanted me, but I couldn't go. He was angry and I could understand.

I tried working with Govind, but things haven't worked out.

I am constantly in touch with Benegal because he's my inspiration for Marudanayagam. He saw the script and his excitement was contagious. He thinks it is colossal and gave his suggestions. He's a young man with a bald head. His spirit is great.

In fact, Govind and Manmohan Shetty, after Hey! Ram took a nosedive, had a small party, quietly and kept saying good things about the film. It was a touching gesture.

How do you rate the present crop of directors in the South?

There are talented youngsters strewn all over, but all this talk about Madras creating the best technicians is humbug. We have great cinematographers. We have genius but so do Bombay and Bengal.

There seems to be something stopping these youngsters from approaching you.

Tell me who they are. They all come to me but probably when they're wiser. They don't have anything striking to offer.

Even Mani and I are still talking. It's not just Kamal to be fed. We have to feel the spirit that's kindled when we hear something. Success and failure don't matter. Nobody knows anyway.

Have you seen any good film of late?

Plenty. All of them are good for various reasons. Saw a series of Roberto Benigni's films. Life Is Beautiful and Seeking Asylum.

I recently saw a 25-year-old film. I was floored. It was shown on HBO and the film is Godfather. Absolutely classic. There are no two ways about it. I said it then and I am saying it now.

Performances do not have to be the latest when you're looking at the greatest. What control! The credit goes completely to Coppola. I haven't seen any Indian films. Very few are inviting.

You are at a crossroads. In the sense that you may have to play character roles in a couple of years. Would that wound your ego?

I may not act at all. That's what I tell people, but nobody takes me seriously. I might slip behind the camera. It would have happened if Hey! Ram had succeeded.

Don't tell me you're going to hang up your makeup kit?

No, I might appear in one scene. I've relied too much on the star now. I am not complaining. I'm just saying I might take that route. I'm not committing.

Where does Kamal Hassan go from here?

Anything. It could be John Wayne for all you know.

S. SHIVA KUMAR
sshivu@yahoo.com

His handshake is not firm. The smile never reaches the eyes and he's affable to the extent of sounding inaudible :Kamal Hassan

2007-08-27T23:55:00.000-07:00

Part I of a two-part interview by S Shiva Kumar:

It is as if he is conserving all his energy, emotions and expressions. It is as if he is always waiting for that magical command, 'Action'. That's when the body undulates and the eyes light up. That's when the actor transforms into the character.

Meet Kamal Hassan, the master of masquerade.

He has come along way. He has traversed the length and breadth of the land, breaking linguistic barriers and leaving audiences incredulous at his repertoire and his seemingly inexhaustible bag of tricks. He has seen it all.

His careergraph, as a stock market analyst would put it, is full of higher tops and lower bottoms. But the fundamentals are strong. He is the trapeze artiste who walks the tight rope between art and commerce. He has faltered but never fallen.

The press has fawned and frowned upon him depending on their personal equation with the man. Like the well-known critic who would rate any Kamal Hassan film as a classic till a personal spat. After that, Hey! Ram was an exercise in self-indulgence and Govinda was suddenly a better actor.

As an actor, there's none to match him in contemporary Indian cinema save Mohanlal, to a certain extent. It's not as if Kamal is incapable of bad performances. He has hammed in most of his Hindi films, including Saagar.

Even in his latest release, Thenali, his performance is theatrical. His problem is that audiences yearn for something different and spectacular each time he appears on screen.

That is the kind of unique niche he has carved for himself, unlike superstars like Amitabh and Rajnikant, who are prisoners of their images and whose fans will not tolerate variety.

I meet Kamal at his office on a day when he seems relaxed. He is dressed in jeans and a tight black T-shirt that shows off his newly developed pectorals and biceps that even Popeye would envy. His face shows sings of ageing, but his body is fit and his mind as sharp as ever.

Part I of a two-part interview by S Shiva Kumar:

Do you feel, as an actor, you've reached your peak?

No. I thought I had crossed the peak, and after that, it was all going to be a race downhill.

So, I was thinking how I should stop the momentum and all my efforts were concentrated towards stopping the momentum and not to rise. Now, I don't know again. So it seems to be an undulated terrain. You can't call anything a peak as such.

Whenever I ask myself what stage of career I'm in right now, I don't really know the answer. It's very confusing. Ten years ago, I thought I was racing very fast, downhill. I thought I'll have to change route, find another profession.

You took up direction after a long time. But in the interim, you've always been called a closet director. Any film that wasn't directed by the top liners like Mani Ratnam or K Balachander, it was assumed that you were wielding the megaphone.

That is, in a way, true and in a way, false. Because I feel no cinema is a single man's effort.

People like Akira Kurosawa did give you that feeling, but there are so many contributing factors. You cannot control that, especially the way it is done here. You can't be alone even to supervise your ideas.

There are so many inputs and there are so many undeserving, as well as humble contributors. Some don't contribute at all and those people I call undeserving. There are some who really contribute and walk away without even asking for applause.

Even if you say I made Hey! Ram, it wouldn't be completely right. It is not possible to do it alone. My cameraman, my art director and my costume department are equally important. I could sleep well at night because I had this crew.

I don't say this out of humility. I'm confident I would have made Hey! Ram without the Thirus and Sarikas, but that's an arrogant way of looking at it. It would have moved away inch by inch from whatever little perfection we've achieved.

About this closet direction, no. Mine was a glass case. Everyone knew.

At what point did the director in you start taking over?

I have been doing this right from the beginning. I never wanted to be an actor. I love my crew. I want to be with them, not rise above them. Rising above them is easy. You become a tyrant, a genius or an eccentric. You rise above them and they give you a misnomer. They'll call you a tyrant, a genius and vice versa.

Mediocrity has been the standard and the easiest thing to achieve. To rise above mediocrity is about the best thing for any man who seeks excellence. But I am not even rising above mediocrity. I am mediocre and have kept myself that way."

Aren't you being too modest?

No, I'm not. I am mediocre because that is my audience. It is not that I am generalising. The daily collection report says that my general audience is mediocre. The minorities who talk as cleverly as I do don't matter because they can have a private conversation with me.

It's said that when you make suggestions, they seem to enhance your character but do not contribute to the general flow in the film. Is that a rather selfish approach?

As an actor, if you will take my suggestion, well, that's what I'll do. That's what even Marlon Brando would do.

I'm not going to tell him how to place the shot. If he asks me how to place the shot, it might improve the general film itself but nobody does that. I wouldn't.

Girish Karnad worked in my film. I will never go and ask him how to do a certain scene. But I would take his suggestion and analyse it.

Right from the beginning, I've been working as an assistant director to all my directors. Even now, for me, the making of the film is more important. It doesn't matter who gets the title. I can afford to say that because I have my face printed on celluloid.

Isn't it also because you have more at stake than anyone else?

For the last 15 years, it's my neck on the line every time. Nobody has the audacity to talk about personal losses, if at all there is any.

Well, aesthetics does not have a price. But if at all anybody's neck is on the line, it's mine. And I bear it every time with minimum pain to others.

That's why I don't try a Apoorva Sahodarargal (Appu Raja in Hindi) for others. Well, when it succeeds, it's okay but when it doesn't, it becomes a Hey! Ram. But the pain is similar and enormous. I cannot dump it on somebody.

When I do it for others, I see to it that it's something as simple as a Guna or a Mahanadhi. Even if something goes wrong, the investment is minimal. Or, for that matter, even Thenali. It is quite a compact film and won't crunch into their bank account.

Talking about a mediocre audience, do you call them so because they don't seem to like what you do?

It's not that. It's the general attitude to look at the human. Vendors are now deciding what the editorial will be in a newspaper. The downfall is not the people. When the vendor decides, then the newspaper is gone.

So who calls the shots in the film industry?

The middleman, always. When they call the shots, that's the end of the film.

Even where a Kamal Hassan is concerned?

Everybody. I am talking about the whole industry. From the time the studios and their distribution network failed, the middlemen emerged. They have nothing to lose.

But that doesn't seem to have stopped you from experimenting. Are you the rebel then?

I keep trying because I'm a student of cinema and a film buff. That's why for the last ten years, I've not done a single day's work. It's a continuous paid holiday for me. I don't care.

I am worried when people don't appreciate work. But the minority has been so kind to me. That's why I won't insult them. As a matter of fact, my survival comes from the minority, who go around like propagandists telling others how good my films are. But the purpose is not served.

My kind of films mature and I've already sold the wine. Somebody else matures that drink, not me. I lose. But mediocrity comes from training. It's not a DNA structure.

Do you feel you're unique because the common man likes you as much as the cognoscenti?

That's because I've humbled myself. I am not reluctant to shake hands with the common man. I used to be a common man and all that I've achieved is not real. It's all piled on to me; it's acquired.

The core is the same, simple man. That is why I see the difference. But you can't segregate the two genres and cater simply to one.

That way, you are risking the market saleability factor. I'm the brand, so I can't have a Lifebuoy and a Surf. It's not a filter cigarette versus a non-filter cigarette, produced by the same company.

So what are you trying to do? Raise the audience's taste?

No, no. Just trying to walk the tightrope and hope for applause.

And what happens when an underrated classic (like Mahanadhi) flops?

For me, Mahanadhi is a very important film. It's going to the Rotterdam festival -- pretty late, I know, six years since its release. But now Mahanadhi, Kurudhippunal, Hey! Ram, Nayakan and Pushpak are going to the festival.

It is called Focus On A Filmmaker, and focuses on a filmmaker who has a mulit-dimensional contribution to films. So one film will promote me as an actor, one a director, another as a writer and one as a participant who creates on the spot.

I have no complaints.

S. SHIVA KUMAR
sshivu@yahoo.com

Will it be a boon: Ashok Patil, who made the thriller Shaapa, is back to make another film.

2007-08-24T00:38:00.000-07:00

Ashok Patil has quietly slipped into town and launched his third directorial effort produced by his brother B.C. Patil. Ashok, if you remember made that taut thriller, “Shapa” starring Ramesh. “Shaapa” came at a time when Kann ada cinema was meandering in mediocrity. It was not a great film but showed the director’s flair for the medium. A portion of the film was inspired by a short story penned by Fredrick Forsyth. Ashok has studied filmmaking in the US and has a masters degree in fine arts. The youngster was disappointed with the response to his maiden effort and quietly flew back to America before returning to make “Joke Falls” inspired by “Chupke Chupke”. The film did pretty well, but Ashok disappeared again. Training abroad is only a technical qualification. At the end of the day what matters is whether the filmmaker is able to connect to local sensibilities. It’s boom time for Kannada cinema and Ashok must have found the time just right for a return.

It’s boom-time for Kannada cinema but the fallout is that youngsters are being lured by producers offering them big bucks for priority dates. Duniya Vijay, it’s rumoured has been offered a mind boggling sum by Ramu for his next venture to be directed by Om Prakash Rao. Old friends are complaining that the lure of the lucre has changed this down to earth lad. I haven’t met him recently because he’s been away in Mysore, shooting for over a month. I did warn him film industry would change him, but Vijay had assured me he was an exception. Hope his friends are wrong.

The dream run for Nenapirali Prem has ended with “Savi Savi Nenapu” leaving bad memories in the minds of viewers. The film is technically tacky and the narrative convoluted. Prem’s new look hasn’t helped in luring female audiences. Now Prem will have to depend on his mentor Ratnaja’s second venture, “Honganasu” to revive his career. “Honganasu” anyway was supposed to be Ratnaja’s second venture but when his ‘Guru’, Hamsalekha offered him a film, he jumped at the offer. It was to star Shivraj Kumar and Ramya, but Shivanna dropped out just before the launch.

After “Sivaji” the media is turning the spotlight on the other superstar, Kamal Hassan’s “Dashavatharam” in which the maverick appears in 10 different avatars. “It is a gimmick,” admits Kamal with candour, but adds that they’re seeing to it that the narrative is seamlessly sewn. For the first time Kamal has not spoken about the film. Fans are building up a slow frenzy.

Friends who’ve visited the sets have been astonished the character sitting next to them was the great actor himself. No expense has been spared in trying to make this film into an unforgettable cinematic experience. “I want audiences to watch it again and again out of sheer curiosity,” says Kamal. If not for the content, at least for this great actor’s untiring efforts to break away from the beaten path, let’s hope the applause touches a deafening crescendo in the movie halls.

S. SHIVA KUMAR

sshivu@yahoo.com

Changing Lanes- Sandalwood is abuzz with activity. Plenty of new ventures and finishing touches for many more

2007-08-15T03:49:00.000-07:00

Shivraj Kumar and Puneet are back on the sets after an unforeseen hiatus. Shivanna's much-publicised venture is Santha another `long versus law' tale. Santha is actually Santosh and yes, Shivanna plays a rowdy. Another highlight is that he's pitted against real life cop, Sangliana, who'll play himself, more dramatically though. This is not the first time Shivanna is playing goon with the golden heart so you'll have to wait and see what made him do this film. Then there's Thayiya Madilu which should have the faithful female audiences wringing their tear-drenched pallus. The bad news for the industry is that the lavishly mounted Gandugali Kumara Rama is not doing too well. Comparisons are odious but obvious for audiences used to the regal screen presence of Dr. Raj. Shivanna has worked hard on his dialogue delivery and body language but the whole package leaves you cold.

Puneet will face the camera again in September for Arasu which was the last muhurath Dr. Raj attended. There has been some reshuffling as far as the cast is concerned. "We had signed newcomers but decided that we needed seasoned performers since it's a triangle," says Mahesh who has to prove that Akash was not a fluke. Puneet plays a NRI. Coming to the women Meera Jasmine was signed first. She's already acted with Puneet. For the other role Rakshita was considered, but her impending marriage made the production zero in on Ramya who's shooting in London. Ramya took a day before giving her assent. After the first schedule the unit will shoot the songs in USA and Canada. "It's the last script Appaji discussed with his brother Vardanna. They both loved it so we have to live up to their expectations," sighs Puneet.

Actor Ramesh is itching to get behind the camera. He knows he cannot rest on the tremendous success of his directorial debut, Rama Shama Bhama. He's busy shooting for Tenali Rama a rollicking comedy with Jaggesh for co-star. It's about the misadventures of two guys who're conned continuously.

His other ventures, Soundarya and Ekadantha have been wrapped up save some patchwork and dubbing. There are portions of one song in Soundarya which was shot without Sakshi Shivanand in Switzerland. Ramesh is excited about a story he's written which has lots of intrigue and adventure. "I'm looking for a producer with deep pockets," says the actor who cannot conceal his enthusiasm.

S. SHIVA KUMAR
sshivu@yahoo.com

MOST UNASSUMING Rajnikant has just taken an advance of Rs. 1,000 for the film Sivaji

2007-08-15T03:43:00.000-07:00

No one has probably waited for the Boss as much as the people of Tamil Nadu and countless fans elsewhere have. His arrival was to be on April 14 but was postponed to May 17. Now the final date is supposed to be May 26. Yes, I’m talking about Rajnikant in and as “Sivaji”. Last heard there was still a lot of computer graphics pending and then there’s the maverick, Rahman who takes his own sweet time for re-recording. But the fanatics are not worried b ecause they expect delectable fare thanks to the chefs involved. They know that director Shanker is a meticulous man and will not release the film till it meets his stringent standards. In fact Shanker reportedly had a showdown with producer AVM Saravanan for jumping the gun and announcing April 14th as the release date even though the film was incomplete. There are rumours that tickets will cost a fortune in the first couple of weeks because of the exorbitant price paid by distributors.

The story is a well guarded secret and you can take your guess whether “thalaivar” plays a vigilante or a messiah.

The music is a big hit with every second cell phone in Chennai playing “Sivaji” caller tunes. Shanker has never written a great script but you can rest assured that the packaging will more than make up for the loose holes in the plot. Gangaraju who’s bought the distribution rights for Karnataka must be a jittery man with the Kannada Rakshana Vedike threatening to stop screenings in Bangalore. Saravanan has confessed that the superstar has accepted only 1001 rupees till now. “Let it make money first,” Rajni reportedly said. Easily the most humble star that I’ve met after Raj Kumar, Rajni rarely disappoints, on-screen and off it.***

Love is in the air, again. With the stupendous success of “Mungaaru Maley” the “macchus” will rust and gather dust for some time. Production activity has increased and films are being announced like cinema will go out of fashion. The titles are predictable like “Hani Hani”, “Gunavantha” and “Ninnusire Nannusiru”. The onus is back on newcomers and music and understandably Mano Murthy is much in demand. The more mature filmmakers confess that successes like “Mungaaru Maley” can’t be made. They just happen. There are a million reasons being bandied for the film’s success but the director himself confesses he will not be able to replicate it. S.Narayan is remaking the Tamil super hit “Kaadhal” with Golden Star Ganesh and Sanjana.

A sensitively told tale based on a real story “Kaadhal” was brilliant. One hopes Narayan succeeds in retaining the basic essence. Of course the Santa’s and the Banta’s with blood smeared on them are being made but with reluctance. It’s all a cycle.

Just one more “Jogi” will turn love to hatred and the silver screens now drenched in rain will be bathed in blood, again.

S. SHIVA KUMAR
sshivu@yahoo.com

Breaking records : Mano Murthy may well become the first Kannada music director to score music for a Hindi film

2007-08-11T10:51:00.000-07:00

Mano Murthy is torn, emotionally but is on a roll, career-wise. It’s like old times because he seems to spend more time with his parents here. “I’ve got used to the travelling but miss my wife and kids,” he says wistfully. The most successful music director is still his humble self. He advanced his visit here by a day to receive the Filmfare award at Hyderabad. His “Cheluvina Chitthara” is a surprise hit and the feedback about the songs in “Mathad Mathad Mallige” is excellent. Did he know that “CC” was a remake? “I agreed to do the film because I loved the Tamil version but I made it clear that the tunes would be original. It’s only later that the director insisted I copy one song. I made sure that Josua Sridher was given due credit in the CDs,” says the principled music director.
Was he disappointed that Yograj Bhat did not sign him for “Gali Pata”? “Well, I was surprised that he would think of someone else, but he’s promised that we’ll work together on his next project.” His tally will be six releases this year. He’s still keen on making a foray into Hindi films. Considering the fact that “Mungaru Maley” songs are a rage among people who don’t know Kannada and that Sonu Nigam makes it a point to sing the title song at every concert Mano Murthy may well become the first Kannada music director to score music for a Hindi film.
Yograj Bhat and ‘Duniya’ Suri have joined hands and started a production company called Suri Talkies. Their first offering will be “Inthi Ninna Preethiya” to be directed by Suri. Srinagar Kitti is the hero while make-up Ramakrishna’s daughter, Sonu will be the heroine. Suri is a little cagey about the subject. “It’s about an ordinary guy who goes through the usual passages of pain and pleasure that we all do,” says the director. “I had to opt for a new face because a star with an image will not be able to do this role. Even if he does his fans may not like it,” says Suri adding an element of mystery to the plot.
Suri was not a part of the team which wrote ‘Gali Pata’ because he feels Yograj’s thinking is a class-oriented while his is more ethereal. Suri has no complaints about his friends’ film winning more awards but feels Satya Hegde should have got the award for cinematography. “I think the Jimmy Gyp deserved the award in ‘MM’ and was the reason why the locations looked spectacular,” says Suri tongue firmly stuck in his cheek. About his next film, “There are a few small problems to be solved but my film is being launched on the 19th of this month.” One only hopes the spark Suri showed in ‘Duniya’ lights up into a resplendent flame.

S. SHIVA KUMAR
sshivu@yahoo.com

It’s All calm ’&’ quiet : BORING NARRATIVE Meera Madhava Raghava is a sitcom on celluloid

2007-08-03T04:51:00.000-07:00

There is a lull at the box-office as far as Kannada films are concerned. After “Mungaaru Maley” and “Duniya”, the surprise hit is “Cheluvina Chittaara”, the Ganesh-starrer which is a remake of the Tamil classic, &# 8220;Kaadhal”. Based on a real life story of a school-girl falling in love and eloping with a mechanic, the original had class but the Kannada version is crude. S. Narayan, as usual misses the essence of the story and fails to extract convincing performances from his protagonists but the audiences in the B and C centres are lapping it up. “CC” may bring in the big bucks, but again proves that direction is not Narayan’s forte.

“Satyavan Savithri”, planned and executed with corporate precision is doing reasonably well. “The collections are lack lustre during the week days, but it’s running to packed houses on Saturday and Sundays. The film has recovered its cost and we should get a decent overflow,” opines Ramesh. He’s planning to launch his next film later this month to be produced by a corporate house. Ramesh is also going back to the medium that made him famous, TV. He will be producing a serial for the Chief Minister’s channel, Kasturi called “Detective Drona”, which will star the suave Anant Nag. Ananth, after a long time is excited, creatively. Ramesh has hired a team of software engineers who’re wannabe writers. He’ll also host a talk show in which he’ll chat casually with his guests. If the special episode he did for Jaya TV a couple of years back in which he got Kamal Hassan and S.P. Balasubramaniam is anything to go by it should be a big hit with viewers.

A Meera Madhave Raghava has been much talked about and actor Ramesh is doing a show for the Chief Minister’s television channel, Kasturi .

The “Gaali Pata” unit is shooting in an estate in Sakleshpur before shifting to Shivanasamudra to shoot the climax. Yograj’s unit ironically is being chased by rains and when they stop the director gets uneasy and orders for sprinklers. About 25 per cent of the film has been canned and the director is happy with the progress. Its cameraman Ratnavelu who’s very disappointed at missing out on the State award for “Cyanide” and rightly so. It’s his brilliant lighting in cramped rooms that lent a realistic touch and literally simulated the claustrophobic feeling the cast experienced. “I did not do the film for money. It’s things like this that make you feel like an outsider. Creativity should never have linguistic boundaries. After all visuals speak for themselves,” says the talented cinematographer. Appreciation is fine but awards are an acknowledgement and stimulate creativity. One only hopes the disappointment doesn’t affect his work in “Gaali Pata”.

Just because you’re invited to grace an occasion doesn’t mean you have to heap praises. Sure, Seetharam held families captive with his serials, but Ravi Belagere put his foot in his garrulous mouth by comparing him to Putanna Kanagal and the proof is “Meera Madhava Raghava”, which is a sitcom on celluloid. Technically tardy with a narrative that’s ennui inducing, the film has surprisingly shoddy work by cinematographer Ramachandra. Seetharam has to realise that the paying public is not as lenient as couch potatoes.

S. SHIVA KUMAR
sshivu@yahoo.com

The Expected Route : Ramya spends most of her time in airplanes : Ramya says she’s hardly disappointed.

2007-07-26T23:50:00.000-07:00

Ramya spends most of her time in airplanes these days and whenever you call her she’s commuting to or from an airport. She sounded anything but disappointed when I spoke to her after the State awards were announced. “I’m definitely not disheartened about not winning, especially when I know that reasons other than the performance influence the decision. I’ve got used to being ignored. In fact a leading daily misquoted me and made me sound grumpy. Let me tell you I’ve won a prestigious award given by a leading publication which is selected by the public. That gives me more satisfaction.” Meanwhile she’s busy shooting in Chennai and Hyderabad for her Telugu and Tamil films. Gautam Menon’s “Vaaranam Aayiram” is fast nearing completion contrary to reports and the sought after director may sign her for his next film too. Back home her heroine-oriented starrer, “Meera, Madhava, Raghava” is slated for release today. Sneak preview viewers are gushing about the film and her performance. While prominent personalities are prematurely comparing director Seetharam to the one and only Putanna Kanagal, others are raving about Ramya’s acting and her looking radiant in cool cotton sarees.

None of the big stars figure prominently in the list of winners this year. That “Mungaaru Maley” would sweep the main awards was a foregone conclusion. It was refreshing to see Vijay winning the award for best actor for “Duniya”. It shows that the jury was not swayed by the craze generated by Ganesh.

I feel Satya Hegde’s cinematography in “Duniya” was superior to that of Krishna’s in “MM”. It’s a case of great locations being mistaken for good photography. In fact, the award should have gone to Ratnavelu for his brilliant work in “Cyanide”. On the whole there are not too many complaints and anyway no jury can be expected to satisfy everybody.

It was heartening to see Dwarkish being recognized. He was not a great comedian by any standards but has to be lauded for putting back all his hard-earned money into production. He won some and lost plenty, but had the last laugh with “Apthamitra”. Then there’s the genial Singeetham Srinivasa Rao who directed some good Rajkumar starrers and also gave us the inimitable “Pushpaka Vimana”. The jury has to be lauded for not considering him an outsider.

With “Sivaji” still going strong everywhere, it’s the turn of Chiranjeevi fans waiting with bated breath for their boss.

“‘Sivaji’ is doing well only because of the unprecedented media hype. Our boss needs no such help,” reiterates Boja, a die-hard Chiru fan who can rattle off mind boggling figures about his idol’s films. He’s already booked tickets for the first day, first show. The anxiety ends today with the release of the sequel to “Shanker Dada MBBS”.

Chiru has had a checkered success rate of late. The superstar seems to be preoccupied with his son’s imminent debut in an action thriller directed by Puri Jagannath. The surprise element in the superstar’s latest film is his sharing screen space with his sibling Pawan Kalyan. So is it “Shanker Dada” versus “Sivaji”?

Incidentally Rajnikant was a couple of years senior to Chiru in the film institute and both are the best of friends with mutual admiration and respect.

S.SHIVA KUMAR
sshivu@yahoo.com

Light and Fluffy : Ramesh Aravind’s Satyavan Savitri was a pointer to the actor-director’s immense popularity

2007-07-05T23:52:00.000-07:00

I have been interacting and writing about film personalities for more than a quarter of a century and the only star about whom I’m yet to hear even murmurs of a minor misdemeanour is Ramesh. Even the tabloids have failed to conjure stories abou t his escapades. He’s affable, accessible and devoid of all airs. “For him everyone is good and so he’s good to everybody,” is Vishnuvardhan’s wise observation about his favorite co-star. His popularity was palpable at the premiere of his second directorial venture, “Satyavan Savitri”.

Many celebrities were seen standing in the aisles for want of seats but nobody walked away in a huff. “There are no seats even if Daisy Bopanna, the heroine, comes,” said a crew member. Puneet was one of the first to walk the red carpet.

“I try to spend as much time as I can with my kids when not shooting,” said the star while posing with fans for mobile memories. There was the omnipresent artiste Raghava with his soon-to-be-bride, Netra who appears in a cameo in the film. Sumalatha arrived with her son. Jennifer Kotwal polished off bars of chocolate when not posing for the innumerable cameras.

Confidence in one’s capabilities and craft is very important for a creative person and Ramesh exhibits plenty of it. The film “pays tribute” to an old French comedy, but Ramesh retains the flavour of the original while adding native spice. The film about a harmless flirt who is commitment phobic and takes time to settle. The smiles turn to guffaws in no time. It is light, fluffy and reminds you of the Basu Chatterjee genre. There are plenty of characters and each one has well-written roles. Ramesh makes sure he doesn’t hog screen space.

Anirudh as a fashion photographer is excellent. But the surprise packet is Daisy Bopanna. She’s a revelation in a role that’s well-nuanced. Komal and Mohan add to the fun. The dialogues are peppered with subtle word play. There are a couple of sequences that could have been handled better, but you can’t complain since the rest of the film more than makes up for it. The good news is that the jingle at the cash registers is getting louder thanks to word-of-mouth publicity. But Ramesh should be careful about getting branded as just a rib tickler.

Ganesh is currently the hot flavour in Kannada cinema. His popularity has to be seen to be believed. A few weeks ago I was surprised at the frenzy his appearance whipped up at the premiere of “Hudugaata” at Aparna theatre. There were girls whistling and shouting “I love you” when he appeared on-screen.

There was a mini riot when the hero was to interact with the press, with the crowd jostling around and shouting slogans. Ganesh was humility personified, recalling the days he gawked at the hoardings of his idols in front of theatres.

“There was a time I could not afford a Reliance mobile but today I endorse their products. It’s surreal,” said the star. I hope he’s not just a shooting star. An indiscriminate choice of films could make him one.

S. SHIVA KUMAR

sshivu@yahoo.com

COLOURING THE SKY : The film is all about ambition of three youngsters Yograj Bhat has launched his next film Gaalipata

2007-07-04T04:36:00.000-07:00

Yograj Bhat has moved on after getting drenched in the sweet success of “Mungaaru Maley”. With expectations sky high and producers clamouring to sign him Yograj signed on the dotted line to direct a film co-produced by A.M. Ratnam. The re muneration he’s received is nearly as much as the budget of a Kannada film a couple of years ago. In a last minute change Puneet pulled out and “Golden Star” Ganesh replaced him. The other heroes are Diganth and the singer Rajesh Krishnan. “It’s about three youngsters , their angst and ambitions. They meet and fall for girls diametrically opposite in temperament and tastes,” says the director who had a narration for his cast and crew and invited them to be frank in their opinions. The Muhurath of the film was held at Kanteerava stadium earlier this week. Director Linguswamy played clapper boy while Sudeep directed the first shot. A brief shot of the title song was canned with the three heroes shaking a leg. Ganesh was besieged by autograph hunters and the media. Nikita, who’s acted in a few Tamil and Malayalam films is Ganesh’s heroine. Loud applause awaited Preetam who co-wrote “Mungaaru Maley”. The stage was crowded with luminaries. Everyone wished the director more success than his last film. Sa.Ra. Govindu struck a discordant note complaining that Yograj was making a film for outsiders with technicians from neighbouring states. Someone should remind Mr. Govindu that most of the films he produced were remakes of hits in other languages. Linguistic chauvinism should never act as a constraint in an artistic endeavour.

Yograj Bhat has launched his next film Gaalipata

With the month of Ashada around the corner there’s a dearth of auspicious days and films are being launched in a hurry. Director Mahesh, after “Aakash” and “Arasu” has signed Prajwal and a medical student, Andita Raj. The Ganesha Temple on Bull Temple road is a favourite among filmmakers for muhuraths and there was a throng inside the sanctum sanctorum. Prajwal is still recovering from a fractured ankle and was seen limping around. The petite heroine who’s featured in plenty of advertisements sported a nervous smile. Mahesh, unlike others, admits that it’s the usual love story with lots of entertainment. Candour is a rarity among film directors. Mahesh was supposed to direct Prajwal’s launch vehicle but was busy with “Aakash”. Prajwal, by the way is a die-hard fan of Puneet. Mahesh, for a change had invited the wives of the three sons of Raj Kumar to do the honours. Only Raghavendra Raj Kumar was there to wish the director among the males. Shooting starts next month after Prajwal recovers and finishes “Gelaya”.

S.SHIVA KUMAR

sshivu@yahoo.com

An actor by accident - Vishnuvardhan he is still remembered as the fiery rebel Ramachari in “Nagara Haavu”.

2007-07-04T01:21:00.000-07:00

He’s acted in more than 200 films in various languages over a span of 30 years but is still remembered as the fiery rebel Ramachari in “Nagara Haavu”. Every other character he’s played since pales, but his versatility is unquestionable; be it comedy, action or the emotional stuff. Vishnuvardhan is the only actor who probably succeeded in standing up to the larger than life status of the iconic Raj Kumar. Vishnuvardhan has weathered personal and prof essional tsunamis but has not budged from the niche he’s carved for himself.

Interview By S.Shivakumar

It’s 35 years since you entered the industry. Raj Kumar was already a superstar then and there were meaningful films being made by talented directors.
You are right. I was telling this to a friend the other day. We were able to enjoy our work and success. It was also a time when films were the major form of entertainment. We were the tail-enders. My contemporaries and I were probably the last set of actors to enjoy the magic of cinema and working with good directors. Technology has taken over today. In my case, films just happened. I was neither passionate nor hardworking. My guru Puttanna Kanagal was searching for a suitable actor and I fitted. I was at the right place at right time.
Did you ever ask him what he saw in you?
No. I always believe that a film just happens. Even when you plan to the last detail there are unexplainable factors that take over. I am not from the industry. I was not even an avid filmgoer. My mother had made it clear that I should not talk about cinema at home.
After working with Puttanna in your first film did it become difficult to work with others?
I don’t think so. He inspired me. I sometimes wonder how I’ve survived so many years. Acting needs a lot of imagination and passion. My roots were strong. My first film became my reference point.
It’s strange you never worked with him again.
Well, he never made a film like that again. I remember I asked him the same question and he said after “Nagara Haavu” he had not made a hero oriented film at all. The kind of success I enjoyed with that one film is amazing. Stars from all over the country would watch the film and make it a point to meet me. I met actors whom I longed to meet. What more could I ask for?
When did you start taking your career seriously?
I never did. If my film had flopped I would have probably become a cop. I hate being answerable to people. But of late, I’ve become sensitive and insecure. I used to do films for the sake of friendships. In retrospect, I feel I’ve invested my emotions on unworthy people. I was exploited.
Are you referring to Dwarkish?
It’s not any one person. At that point I valued the person more than my profession.
Your easy-going attitude reflected in your choice of movies too. You are 100 per cent right. If I was interested in buying a car and a producer offered it to me I would sign the film. I have made many a blunder. I don’t know whet her to call it innocence, ignorance or arrogance. But I’ve always been a harmless guy.
One thing I cannot understand is why you played the villain in “Gandhada Gudi” when you were an established hero?
I grabbed the opportunity because I had watched Raj Kumar from the age of seven. I was to play his brother and I never bothered about the footage.
Let’s clear that gunshot controversy. What really happened? Why were you blacklisted?
It was because of certain people. I was even present when it took place. The shot was between Balakrishna and Raj Kumar. We were watching. The loaded rifle was given to Balakrishna in a hurry because they wanted to wrap up shooting. Luckily, the safety lock was closed. It was only after twelve takes that they realised the damn thing was not working. It was MP Shankar’s rifle but he was attending to something else.
So why did they involve you?
That’s a mystery to me. This went on for a long time and I was victimised for no fault of mine. Of late I have realised that if a person is going through a bad patch he has to suffer whether he’s the Kanchi Acharya or Vishnuvardhan.
Did this affect your relationship with Raj Kumar?
Not at all. He told me to be calm and said any reaction would only add fuel to the fire. I know some of the people who were responsible. They are no more.I underwent a lot of humiliation. But I would love to know is what the perpetrators gained out of it.
Why are you known as a difficult person?
I don’t know. Nothing makes me happy or sometimes everything makes me happy. I don’t watch myself or like to get photographed. I hate myself. I am very difficult to deal with. Hats off to the people who’ve tolerated and served me for all these years, be it my staff or family.
You have done all kinds of roles but at one stage you got branded as “Sahasa Simha”.
It was the era of Bruce Lee. The only two artistes who learnt martial arts were Kamal Hasan and myself. The stunt masters utilised our talent. The audiences lapped it up. I never took these titles seriously.
You did do a cameo in the shelved “Marudhanayakam” directed by Kamal.
I played Wajid Khan. It was a pleasure because we entered the industry together. He respects me and his passion for cinema is amazing.
Filmmakers say Vishnu still does not want to play his age.
It’s not me. It’s the fans. When I do an “Ekadanta” they are not satisfied. They want more of me. There are certain expectations from a Vishnuvardhan starrer.
You suddenly turned towards spirituality and philosophy.
Don’t you think that’s the truth? I don’t know when or how it happened, but it was for the better.
People expect you to fill the void left by Raj Kumar where solving the industry’s problems are concerned.
Nobody can solve these problems. I used to call Raj Kumar an avadhootha. Nobody knows, but I talk to him when I’m in a trance. I’ve had these experiences over the last year. He was a man who never pretended. I was affect ed physically by these experiences. I underwent emotional trauma. There was a sweet way he used to address me. I miss him terribly. We have been culturally orphaned by his demise.

S.SHIVA KUMAR

sshivu@yahoo.com