The Hindu : Karnataka News : The glory and fall of Kannada cinema

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Tuesday, Aug 14, 2007
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Karnataka

Karnataka

The glory and fall of Kannada cinema

K.N. Venkatasubba Rao

Complacency and indifference have hit Kannada cinema industry hard

Bangalore: Kannada cinema has reflected the struggles, sacrifices and achievements of the State in the social, political and cultural spheres. From 1924 to 1960, several stalwarts of Kannada films struggled to establish Kannada cinema that was not dependent on studios in the then Madras and Bombay. They included the doyen of Kannada professional theatre Gubbi Veeranna, the Jnanpith award winner K. Shivaram Karanth, Devudu Narasimha Shastry, H.L.N. Simha, R. Nagendra Rao, M.V. Subbaiah Naidu, the writer Bellave Narahari Shastri, B.R.Panthulu, Y.V.Rao, M.V.Rajamama, T.P. Kailasam and K. Hirannaiah. Even traders like Sha Chamanmal and Bhoormal Chamanmalji contributed to this.

The first step in this direction was taken with the establishment of Navajyothi Studio in Mysore by the transport company owner G.R. Ramaiah in 1946. Although the studio did not last long, a young and obscure artiste by name Muthuraj faced the camera under the arch lights for the first time in this studio. He metamorphosed into Rajkumar with the launch of Bedara Kannappa in 1954, and held the mantle of Kannada consciousness until his death.

There followed a swift expansion of studios. In 1954, the Mysore-based M.N. Basavarajaiah established Premier Studios. In 1970, the former Minister for Education K. Shankare Gowda, Gubbi Veeranna, and T.S. Karibasavaiah established Sree Kanteerava Studios through inviting public shares.

The frontal attack by A.N. Krishna Rao, chairman of the 42nd Akhila Bharata Kannada Sahitya Sammelan in 1960 against the Union Government for not providing employment to Kannada-speaking people in government, had its echo in Kannada cinema as well. In a span of three years after his speech, hundreds of Kannada associations were born.The Karnataka Samyukta Ranga, a federation of 60 associations, formed in 1961 soon became the symbol of Kannada pride. It was supported by frontline writers like A. Na. Kru, Ta. Ra. Su., Ti. Ta. Sharma, B. Chi. and Nadigera Krishna Rao.

Some politically sensitive producers and writers exploited this opportunity to mobilise Kannada consciousness and project Kannadiga heroes for political purposes. Rajkumar became an unparallel force of Kannada culture during the Gokak agitation in 1983, a position he held till his death although remaining out of formal politics.

In response to the plight of Kannada cinema, the then Minister for Finance Ramakrishna Hegde announced a subsidy of Rs. 50, 000 for all Kannada films produced in the State in his 1966-67 budget. Today, the Government gives a subsidy of Rs. 10 lakh for 20 qualified films in addition to other incentives such as 100 per cent rebate on entertainment tax and annual awards with handsome cash prizes.

There was a purple patch between the early 1970s and 1980s for commercial and new wave cinema.

During this period, Kannada literature had given birth to a new realist literary tradition, Navya, with which a team of young film-makers and writers identified themselves. They boldly experimented with themes that tried to expose social hierarchies with focus on women’s issues and social justice.

Jnanpith award winner U.R. Ananthamurthy’s “Samskara” and S.L. Byrappa’s “Vamshavriksha” marked the advent of the new wave cinema in Kannada at the hands of Pattabhirama Reddy, and Girish Karnad and B.V. Karanth respectively.

Many new wave films such as K. Shankarappa’s “Maadi Madidavaru,” B.V. Karanth’s “Chomana Dudi,” P. Lankesh’s “Pallavi” and Mr. Girish Karnad’s “Kaadu” to mention a few belong to this genre.

Between 1990 and 2005, Kannada cinema industry became complacent and indifferent to the need for original and relevant themes. Having lost confidence, a majority of producers took to remaking films. As a consequence the quality of cinema reached its nadir.

The industry has become a den of unethical investments, even witnessing the brutal murder of producer Chidambara Shetty.

Kannada cinema is caught between the conflicting interests of commerce and culture. Barring a handful of commercially successful films, Kannada cinema has become a problem-prone house. But for an occasional winner, Kannada cinema has been groping in the dark for its salvation.

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