Will it find its mark?
K.N. VENKATASUBBA RAO
|
Production house M.S. Ramaiah Chitralaya, the new entrant to the Kannada film industry, takes to the arena with the mega-budget historical, Kumara Rama. However, within the industry, speculation is rife on whether it will work
|
Photo: Bhagya Prakash K.
RIDDEN WITH RISKS Kannada filmdom feels that Kumara Rama will be a commercial misadventure.
Even as the making of the film on the legendary Kumara Rama is nearing completion, it has become a topic of discussion in the film industry circles, from both its historical and commercial perspectives.
For the fledgling M. S. Ramaiah Chitralaya, the entertainment wing of the M.S. Ramaiah group of educational institutions and hospitals, the film is more an effort at strengthening the Kannada cinema industry with original themes relevant to the State, and thereby salvaging the lost glory of Kannada films.
On the contrary, for the faction-ridden Kannada cinema industry, the production cost of Kumara Rama estimated at Rs. 8 crore, is a matter of commercial concern as it fears it would bring a radical change in the 73-year-old marketing pattern, steeped as it is in tradition.
Many in the industry feel Kumara Rama will be more of a commercial misadventure than a quality film on the anvil, considering the money involved in the making of historical extravaganzas and the telling consequences such ventures have had in the past. Going by the calculations of the industry, the chances of getting befitting returns for the huge investment are bleak. Of the 900 cinema halls, including makeshift and semi-permanent cinemas, hardly 300 cinemas in the State can withstand the vagaries of the Kannada cinema business. Even meticulously planned releases may not ensure immediate returns and the delay in returns may tilt the economics of the industry.
However, while experts in the industry, choose to keep their lips sealed about the relevance of a theme as in Kumara Rama, they attribute the huge box-office success of Anna Tangi and Jogi to their commercially relevant subjects. On the one hand you have a highly speculative film industry, on the other you have management expert and educationist, M. R. Pattabhiram making some interesting observations. "Film making should not be equated with the routine theory of demand and supply. Confidence in the product and the conviction with which it is produced is also key to commerce. It is my conviction that we need to constantly experiment with historical themes. It is a propelling agent that initiates exploring new areas and prompts a fresh outlook. I have a passion for historical themes. Any theme that is devoid of a sense of history fails to project a vision of life and ends up as a lifeless drama. For me cinema is not just sowing cents and reaping dollars kind of business. It is a culture that should be measured in terms of endurance of social and human values and commerce is only an essential balancing factor."
Photo: Bhagya Prakash K.
M.R. Pattabhiram
Kannada film buffs, he says, have been tirelessly waiting for fresh themes: decent and relevant. There is no dearth for fresh themes in Kannada literature.
"I admit I am new to the technique of filmmaking and as an onlooker I am familiar with the rivalry within the industry and also the highly competitive economics. Infighting within the Kannada cinema industry, I think, is the mother of all problems. The remake culture will never augur well with Kannada cinema. Fresh, original, decent, entertaining and enlightening themes that can draw families to cinema halls hold the future of Kannada cinema."
True to its source material, drawn heavily from the "Kumara Rama Sangathya" (escapade) of the ancient poet Nanjunada Kavi and the late Dr. Varadaraja Rao's doctoral thesis (1960) "Kumararamana Sangathyagalu" the film has attempted to project Kumara Rama as a genuine nationalist, a hero who has transcended parochial considerations. There are some thin but significant references to Kumara Rama by some early English historians to that effect. It has drawn dramatic elements from a well-researched novel authored by Su. Rudramurthy Sastry, he notes.
On his next venture, "Bharatesha Vaibhava that has caught the industry both by surprise and shock," Pattabhiram says that it was his responsibility as a filmmaker and a "son like" friend to fulfil the last wishes of Rajkumar.
Rajkumar was deeply influenced by 16th century poet Rathnakaravarni's colossal work. Even though it is the seeming tale of two ambitious brothers warring to establish supremacy over the kingdom. After bequeathing half of the wealth of his father, Bharata becomes obsessed with the ambition of becoming the supreme ruler. He launches successful wars with all those who question his authority. Eventually, he is forced to face the challenges from his younger brother Bahubali. The duo, not willing to shed the blood of innocent soldiers agrees to fight a three-component duel — jala yuddha, drishti yuddha and malla yuddha. The vanquished is Bharata and the victor is Bahubali. But in his hour of glory, he realises the true value of war and peace and renounces his kingdom. With Shivrajkumar playing Bharata and Puneet Rajkumar playing Bahubali, the film will be treated at a philosophical plane as it explores the inherent contradictions of basic human nature, the co-existence of the mundane and the metaphysical, expounding the tenets of humanity.
Says Pattabhiram: "Religion is last of Chitralaya's concerns. It will be seen as the story of humanity."
* * *
A dream fulfilled
Caught in a crossfire of myth and history, the theme of Kumara Rama has been much talked about in Kannada filmdom, if not in cultural and literary circles, for over 30 years now. Despite ventures by many veteran filmmakers with the thespian Rajkumar in the lead role, the project did not take off as the theme was deemed sensitive. It is said that the well-known director, the late Hunsur Krishnamurthy, was the first to propose the theme but was forced to withdraw from its making as Rajkumar too had reportedly expressed his reservations about incorporating certain situations, including the one that borders on the Phaedra complex (the difficult and incestuous relationship which can arise between a parent and a step child).
The legend and history of Kumara Rama, a revered figure in the cultural history of the Kummata Durga fiefdom (1290-1320), deals with a cult figure who fought against the mighty invaders and the coterie of ambitious and insidious insiders, prior to the establishment of the Vijayanagar Empire.
Of the many ventures in the genre of historical films, R. Nagendra Rao's Vijayanagarada Veera Putra, G.K.Venkatesh's Immadi Pulikeshi, B.R.Pantulu's Kittur Chennmma and Sri Krishnadevaraya made efforts to recreate the past with an emphasis on Kannada consciousness and pageantry. But, owing to commercial interests, it overlooked history. Despite such challenges, MSR Chitralaya's Kumara Rama is in the final stages of its making. The film is slated for an August 4 release.
Printer friendly
page
Send this article to Friends by
E-Mail
Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
