![]() ![]() Ashwath would often play these characters. Educated people like doctors and teachers will be connoted as Brahmin. There are markers, like the kind of Kannada they speak. Usually, only Brahmin was denoted through GV Iyer as a hypocritical priest (Bedara Kannappa) but indirect reading was possible. Likewise, when it comes to portraying Dalits, one should be sensitive to such details even if you are not from their community.”ĭirect indication of caste in Kannada popular cinema is rare but is still there, much more than in Hindi cinema. An assistant director had to explain to him how an orthodox Brahmin eats a banana. Mansore notes that the current crop of Kannada filmmakers don’t have the reading or the academic grounding to understand sociology, and tell stories about caste oppression.Ĭhaitanya drives this point home with an example, “In ‘Samskara’, Girish Karnad played the role of an orthodox Brahmin. That they have delivered seven or eight hit films in the past won’t matter,” says Giriraj, known for critically acclaimed films such as ‘Maithri', and 'Jatta'. No one will come forward to invest if a director’s last film fails. But it works differently in the case of directors. ![]() This means, there will always be someone to invest in him. “We often say that the lifespan of an actor is 20 movies. That’s why producers aren’t putting their money into such projects, he says. “Social conflict stories are not embraced by our people and that is evident from how films like ‘Hemavati’ and ‘Huliya’ have fared in the past,” he says. People expect exaggeration from our movies,” says Mansore.įilmmaker Giriraj B M also feels the Kannada audiences aren’t keen on such narratives. #Youtube drama kannada movie movieA movie was made on the ‘Kambalapalli’ outrage, in which seven Dalits were burnt to death by upper-caste men. “We have very few instances when such movies have succeeded. The box office response to 'bold' films has not been too encouraging, Kannada filmmakers say. “We have many organisations fighting against caste-related incidents but these don’t aggregate,” he says. ![]() ![]() Mansore, director of the award-winning 'Nathicharami' and the hostage drama Act 1978, echoes Chaitanya’s thoughts. Karnataka witnessed a socialist movement in the mid-20th century but did not take up a fight against caste discrimination, says Chaitanya. That could be because Tamil Nadu’s politics has emerged from a long fight against caste oppression,” he reasons.Īlthough Basavanna set the tone for a protest and self-respect movement in the 12th century, Karnataka has not seen its reemergence in recent decades. “We see more Dalit themes in Tamil because they have more directors from the Dalit community. “They all felt it was risky.” Chaitanya, however, directed ‘Aa Dinagalu,’ a story about the 1980s’ world of Bengaluru gangsters. In Kannada, Chaitanya K M wanted to adapt Dalit ideologue Devanuru Mahadeva’s story ‘Odalaala’ for the big screen but had to drop the idea because he could not find a producer. Pa Ranjith’s 'Attakathi, 'Madras' and ‘Kaala’, Mari Selvaraj’s ‘Pariyerum Perumal’ and 'Karnan' and Vetrimaaran’s ‘Asuran’ are driving the anti-caste movement forward in Tamil cinema. On the other hand, Tamil cinema is increasingly telling bold stories about marginalised communities. The Kannada film industry, which took up daring themes in the 1970s and 80s, has in recent decades kept away from making films on caste conflict. ![]()
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