Filmmaker Girish Kasaravalli
Credit: TPML Photo/ M S MANJUNATH
A book slated for release on March 24 provides insights into the work of auteur Girish Kasaravalli.
Co-authored by Kasaravalli and novelist Gopalakrishna Pai, the book, in Kannada, is titled ‘Bimba Bimbana’ (Image and Reflections).
The book features conversations about Kasaravalli’s films, several of which are regarded as classics.
Published by Veeraloka, the book throws the spotlight on 15 feature films, and Kasaravalli’s diploma film, ‘Avashesh’.
Showtime brings you passages from the book discussing films that won top national and international awards.
Ghatashraddha (The Ritual, 1977)
Yamunakka and Nani in 'Ghatashraddha' (1977).
Credit: Special Arrangement
Plotline: A Vedic school student befriends his teacher’s daughter who is a pregnant widow. He tries to conceal this information but fails.
Pai: When U R Ananthamurthy’s short story collection, ‘Prashne’ was published, it created a stir in the world of Kannada letters. The significance of ‘Ghatashraddha’, a story from the collection, is widely known. What cinematic aspects did you see in the story?
Kasaravalli: When I choose to adapt a literary piece, I make sure the story can branch out and grow at its own pace. I found multiple threads in ‘Ghatashraddha’. The protagonists, Nani and Yamunakka, are reflections of the same problem. While Yamunakka is trapped by crude traditions, Nani is trapped on a personal level. Yamunakka is a mother figure for Nani and Yamunakka looks at him as her own child. She rescues Nani, who is bullied by his peers. In the second half, when Yamunakka is cast out of the village, Nani stands by her.
As Yamunakka’s character goes on the decline, Nani’s character sees unnatural progress. I say unnatural because there is a difference between maturing under pressure and maturing naturally on the strength of one’s own awareness, right? Nani’s character sees a tragic development because he matures under stress.
Different relationships are explored in the story, mainly, the relationship between the widowed Yamunakka and her lover, the school teacher. In the eyes of society, it is an illicit affair. A proposal for Udupa to remarry, although unethical, is something society approves of. Untouchability comes in the way of the relationship between Nani and Kateera, which is one of inequality. Society does not want to correct it either. A relationship of envy exists between Yamunakka and Godakka. Although both are widowed, Godakka is jealous of Yamunakka’s courage to defy social dogmas. Multiple aspects inform a single situation, and the story is a tragic mosaic. There is no rush to narrate a story here. The structure is so cinematic that it would have been a remarkable film irrespective of who adapted it.
Tabarana Kathe (Tabara’s Tale, 1987)
Appi and her adopted son Babu in 'Tabarana Kathe' (1986).
Credit: Special Arrangement
Plotline: The film follows the story of Tabara, who does not receive his pension money after retirement.
Pai: The original story by Poornachandra Tejaswi talks about the failures of the government, but some say your film does not address it. You suggest a world of new possibilities is opening up on the other side of the failed system.
Kasaravalli: In cinema, which is a performing art, a narration without a contrapuntal plot leads to a simple conclusion of right and wrong. A plot that closes doors to opportunities and moves towards doom has always seemed problematic to me. When a story like this is adapted to film, it takes the form of a melodrama. So I thought, if it is given a contrapuntal or polyphonic form, this danger could be avoided. This structural device that one sees in Western classical music brings a distinct energy to cinema. This is what made me add Tabara’s adopted son, Babu, to the narrative. While Tabara and Appi’s lives take a tragic turn, Babu’s story moves towards the possibility of a new life. The dynamite used to explode the rocky terrain to make roads heralds the death of Tabara’s wife, Appi. I added a twist to show how the same incident releases Babu from his shackles. His story of finding an escape becomes a counter narrative to ‘Tabara’s story’ (Tabarana Kathe), in which there is no way out.
Thaayi Saheba (Mother Saheba, 1997)
Jayamala in 'Thaayi Saheba' (1997).
Credit: Special Arrangement
Plotline: Set in the year of India’s independence, a couple faces multiple challenges after adopting their relative’s son.
Pai: Normally, you don’t choose to make period dramas, and this has nothing to do with budget constraints. Your films discuss contemporary ideas. But why did you choose ‘Thaayi Saheba’ set in the year India got Independence?
Kasaravalli: I decided to make ‘Thaayi Saheba’ in 1997. Fifty years after Independence, what were we thinking? Some questions were being discussed at the time. The administration was handed over to us. Did we also get equality, fraternity, equal opportunities? Did we rise above class, caste and region? Like poet Siddalingaiah says in one of his poems, “For whom and where did the freedom of ’47 come?” Wasn’t this a question many were asking? I felt ‘Thaayi Saheba’ could be about those confined to the kitchen, those pushed to the margins of society, and those seeking answers about the coming of independence. The film’s vision — a woman finding her identity in a society in transition — is contemporary and timeless.
Dweepa (The Island, 2002)
Nagi (Soundarya) in 'Dweepa' (2002).
Credit: Special Arrangement
The construction of a dam threatens the livelihood and homes of villagers. Nagi who is the pillar of her family of four, tries to save her family.
Pai: Along with the four characters in the film, the rain is a character too. It lends many twists and turns.
Kasaravalli: In most of our films, rain is mostly used as a backdrop for song and dance and fight sequences. Rain as a character is less explored. The emphasis is on the glossy look it brings to the screen. We instead wanted rain to become a character. Rain controls the central characters in the second half of the film. Rain is the reason Duggaja’s family moves to Heramba’s house. Krishna and Ganapa get into a conflict because of the rain. Also, rain plays a role in Duggaja’s death, and in Ganapa developing an inferiority complex, Krishna escaping, and Nagi finding relief from all the chaos. I wrote the screenplay keeping in mind the story of five characters — Duggaja, Nagi, Ganapa, Krishna and the rain.
(Translated from Kannada by Pranati A S)
‘Bimba Bimbana’ Rs 350, Veeraloka Prakashana
About Girish Kasaravalli
A gold medalist from FTII, Pune, Girish Kasaravalli (b 1950) has directed 15 feature films in Kannada. Known as one of the pioneers of parallel cinema in India, he has received 14 National awards out of which four of his films won the Golden Lotus for best feature film. His ‘Ghatashraddha’ is currently being restored by Martin Scorsese’s World Cinema Project, George Lucas’s Lucas Family Foundation and the Film Heritage Foundation, Mumbai.