ಸಿನಿಮಾ ಒಂದು ಕಲೆಯೇ?

ನಮ್ಮ ಕನ್ನಡದ ಬ್ಲಾಗ್ ನಲ್ಲಿ ಲಭ್ಯವಿರುವ ಲೇಖನಗಳನ್ನು ಇಲ್ಲೂ ಇನ್ನು ಮುಂದೆ ಪ್ರಕಟಗೊಳ್ಳಲಿವೆ. ಬ್ಲಾಗ್ ಸ್ಪಾಟ್ ನ ಓದುಗರಿಗೂ ಲಭ್ಯವಾಗಲೆಂಬ ದೃಷ್ಟಿಯಿಂದ ಈ ಕ್ರಮ. ದಯವಿಟ್ಟು ಸಹಕರಿಸಿ.

ಸಂ

ಡಾ. ಕೆ. ಶಿವರಾಮಕಾರಂತರು ಎಲ್ಲ ಕ್ಷೇತ್ರಗಳ ಬಗ್ಗೆಯೂ ತಮ್ಮ ನೋಟವನ್ನು ಹರಿಸಿದ್ದಾರೆ. ಅವರ ಆಸಕ್ತಿಯೇ ದಿಗಲು ಹುಟ್ಟಿಸುವಂಥದ್ದು. ಸಿನಿಮಾ ಕುರಿತು ಅವರು ಬರೆದ ಒಂದು ಲೇಖನ ನಮ್ಮನ್ನು ಹಲವು ದಿಕ್ಕುಗಳೆಡೆಗೆ ಆಲೋಚನಾಮುಖಿಯಾಗಲು ಪ್ರಚೋದಿಸುತ್ತದೆ. ಈ ನಿಟ್ಟಿನಲ್ಲಿ ಮಂಗಳೂರು ವಿಶ್ವವಿದ್ಯಾಲಯ ಪ್ರಕಟಿಸಿದ “ಕಲಾ ಪ್ರಬಂಧಗಳು” ಕುರಿತಾದ ಕೃತಿಯಿಂದ ಆಯ್ದದ್ದು ಇಲ್ಲಿ ಪ್ರಕಟಿಸಲಾಗುತ್ತಿದೆ. ಎಲ್ಲರೂ ಓದಿ ಅಭಿಪ್ರಾಯಿಸಿ.

ನಾವು ಬಯಸಲಿ ಬಯಸದಿರಲಿ, ಚಲನಚಿತ್ರ ಪ್ರದರ್ಶನ ಇಂದು ಜಗತ್ತಿನ ಉದ್ದಕ್ಕೂ ಪ್ರಚಾರಕ್ಕೆ ಬಂದಿದೆ. ಪೂರ್ವದಿಂದಲೂ ನಮ್ಮ ಸಂಸ್ಕೃತಿ ಯೊಡನೆ ಬೆರೆತು ಬಂದ ಕೆಲವು ಲಲಿತಕಲೆ ಗಳಷ್ಟೇ, ಎಷ್ಟೋ ಕಡೆ ಅವಕ್ಕಿಂತ ಅಡಕವಾದ ವ್ಯಾಮೋಹವನ್ನು ಅದು ನಮ್ಮಲ್ಲಿ ಉಂಟು ಮಾಡಿದೆ. ನಗರವಾಸಿಗಳಿಗೆ, ಚಲನಚಿತ್ರಗಳನ್ನು ಆಗಾಗ ನೋಡುವ ಚಟ ನಿತ್ಯಜೀವನದ ಒಂದು ಅಂಗವಾಗಿ ಪರಿಣಮಿಸಿದೆ. ನಿತ್ಯವೂ ವರ್ತಮಾನ ಪತ್ರಗಳನ್ನು ಓದುವ ಚಾಳಿಯಂತೆ, ಚಲನಚಿತ್ರ ಪ್ರೇಕ್ಷಣೆ ಒಂದು ಚಾಳಿಯಾಗಿದೆ. ಪಾಶ್ಚಾತ್ಯ ದೇಶಗಳಲ್ಲಿ ಹಳ್ಳಿಗಳಿಗೂ ಇದು ಪಸರಿಸಿದೆ. ರಷ್ಯಾ ದೇಶದಲ್ಲಿ ಇದರ ಪ್ರಚಾರ ಕಂಡುಬಂದಷ್ಟು ಇನ್ನೆಲ್ಲಿಯೂ ಕಂಡುಬರುವುದಿಲ್ಲ. ಊಟ ಶಾರೀರಕ ಆಹಾರವಾಗಿರುವಂತೆ ಹಲವರ ಪಾಲಿಗೆ ಇದು ಮಾನಸಿಕ ಆಹಾರವಾಗಿದೆ. ಕಾವ್ಯ, ಕಾದಂಬರಿಗಳಷ್ಟೇ ಪ್ರಾಮುಖ್ಯ ಸ್ಥಾನವನ್ನು ಇದು ವಹಿಸಿದೆ. ಹಲವೊಂದು ಕಾವ್ಯ ಕಾದಂಬರಿಗಳಲ್ಲಿ ಅಯೋಗ್ಯ ವಿಷಯಗಳಿವೆ ಎಂಬ ಕಾರಣದಿಂದ, ಕಾವ್ಯ ವರ್ಗವನ್ನೇ ಹೇಗೆ ದೂರಲು ಬರಲಾರದೋ, ಹಾಗೆಯೇ ಇಂದು ಕಂಡುಬರುವ ಅಯೋಗ್ಯ, ಅಸಭ್ಯ ಚಿತ್ರಗಳ ದೆಸೆಯಿಂದಲೇ, ಅವುಗಳನ್ನು ಹಳಿಯಲು ಬರಲಾರದು. ವೇಶ್ಯೆಯರ ಕೈಯಲ್ಲಿ ಗಾನನರ್ತನಗಳು ಕಾಮಸಾಧನೆಗಾಗಿ ಉಪಯೋಗಿಸಲ್ಪಡುತ್ತವೆಂದು ನಾವು ಗಾನ ನರ್ತನಗಳನ್ನೇ ದೂರಬಹುದೇ ! ಕಲೆಗಳು ಮನುಷ್ಯರ ಜೀವನಕ್ಕೆ ಅತಿ ಅವಶ್ಯ. ಶ್ರೇಷ್ಠ ಸಂಸ್ಕೃತಿಯು ಶ್ರೇಷ್ಠ ಕಲೆಗಳಿಲ್ಲದೆ ಬದುಕದು.

ಹೀಗೆಂದಾಗ- ಈ ಮಾತುಗಳು ಗಾನ, ನರ್ತನಗಳಂತಹ ಲಲಿತಕಲೆಗಳಿಗೆ ಅನ್ವಯಿಸಬಲ್ಲುವೇ ಹೊರತು, ಚಲನಚಿತ್ರದಂತಹ ಮಾನಸಿಕ ಮದ್ಯಪಾನಕ್ಕೆ ಅನ್ವಯಿಸಲಾರದೆಂಬ ಉತ್ತರ ಬರ ಬಹುದು. ಇತ್ತ, ಈ ಚಿತ್ರಗಳ ಕಡೆಗೆ ಹಲವರು ತೋರುತ್ತಿರುವ ಆಸಕ್ತಿ-ಹೆಂಡದ ಕಡೆಗೆ ಮದ್ಯಪಾನಿ ತೋರುವ ಹಂಬಲದಂತಿದೆ- ಎಂಬ ಮಾತನ್ನೂ ಹೇಳುವಂತಿಲ್ಲ. ಆ ಒಂದೇ ಕಾರಣದಿಂದ ಚಲನಚಿತ್ರವನ್ನು ತಳ್ಳಿಬಿಡುವಲ್ಲಿ, ಅದೇ ರೀತಿಯ ಮೋಹಕ ಶಕ್ತಿಯುಳ್ಳ, ಯಾವತ್ತು ಲಲಿತಕಲೆಗಳನ್ನೂ ತಳ್ಳಬೇಕಾದೀತು. ಅದು ತೀರ ನವೀನವೆಂಬುದರಿಂದಲೂ ನಾವು ಅದನ್ನು ಅಲ್ಲಗಳೆಯುವುದೂ ಸರಿಯಲ್ಲ. ಆದಿವಾಸಿಗಳ ಜೀವನದಲ್ಲಿ ಮೊದಲು ತಲೆದೋರಿದ ಕಲೆ ಎಂಬುದೇ ನರ್ತನ; ಹಿಂದೆ ಅದೂ ನವೀನ ಎನಿಸಿತ್ತು. ಮುಂದೆ ಗಾಯನ ಕಲೆ ಬಂದಿತು. ಆಗ, ಅದೂ ನವೀನವೆನಿಸಿತ್ತು. ತರುವಾಯ ಶಿಲ್ಪ, ಚಿತ್ರಕಲೆಗಳು ಬಂದುವು. ಆಗ, ಅವೂ ನವೀನವೆನಿಸಿದುವು. ಮಾನವನ ಸಂಸ್ಕೃತಿ ಇನ್ನೂ ಮುಂದೆ ಹೋದಂತೆ, ವಾಸ್ತುಶಿಲ್ಪ ಬಂದಿತು. ಅದೂ, ಆ ಕಾಲಕ್ಕೆ ನವೀನವೇ. ಆದರೆ, ಈ ಕಾಲಕ್ಕೆ ಅವೆಲ್ಲ ಪ್ರಾಚೀನವಾದುವು. ಆದುದರಿಂದ, ಚಲನಚಿತ್ರವು ಈಗ ನಮಗೆ ನವೀನವಾಗಿದೆ ಎಂಬುದರಿಂದ ಅದನ್ನು ಹಳಿಯದೆ, ಅದರಲ್ಲಿ ಕಲಾ ಲಕ್ಷಣಗಳಿವೆಯೇ- ಎಂಬುದನ್ನು ಪರಿಶೀಲಿಸುವುದು ನಮ್ಮ ಕರ್ತವ್ಯ.

ಮೊಟ್ಟಮೊದಲು ಕಲೆಯೆಂದರೇನೆಂದು ವಿಚಾರ ಮಾಡುವ. ತನಗುಂಟಾಗುವ ಭಾವ ವಿಶೇಷಗಳನ್ನು ಒಂದು ವಾಹಕ ((medium) ದ ಮೂಲಕ ಪರಿರಿಗುಂಟಾಗುವಂತೆ ಮಾಡುವ ಸಾಧನೆಯೇ ಕಲೆ. ಪೆಟ್ಟು ತಿಂದಾಗ ಮಗು ಅಳುವುದು; ಅದನ್ನು ಕಂಡು ಇತರರಿಗೂ ದುಃಖವುಂಟಾಗುವುದು. ಇದೊಂದು ಕಲೆಯೇ ? ಅಲ್ಲ. ಕಾರಣ, ನೋವಾದವನು ತನಗುಂಟಾಗುವ ವ್ಯಥೆಯನ್ನು ಅಳುವಿನ ಮೂಲಕ ಪ್ರಕಟಗೊಳಿಸುವುದು ಹುಟ್ಟು ಗುಣ. ಆದರೆ, ಕಲೆಯು ನಮ್ಮ ಜೀವನದ ಹುಟ್ಟು ಗುಣ ಇಲ್ಲವೆ ಸ್ವಭಾವವಲ್ಲ, ದುಃಖ ಬಂದಾಗ ಅಳುವುದು, ಹರುಷವಾದಾಗ ನಗುವುದು, ಸಿಟ್ಟು ಬಂದಾಗ ಉದ್ರೇಕಗೊಳ್ಳುವುದು-ಈ ಕ್ರಿಯೆಗಳು ಯಥಾವತ್ತಾಗಿ ಪರರನ್ನು ದುಃಖ, ಹರುಷ, ಕೋಪದಲ್ಲಿ ಮುಳುಗಿಸಬಹುದಾದರೂ, ಅವನ್ನು ಕಲೆಯೆನ್ನಲು ಸಾಧ್ಯವಿಲ್ಲ. ಕಲೆಯಲ್ಲೂ ಕೆಟ್ಟ ಗುಣವಿರಬಹುದು. ಆದರೆ, ಅವೆಲ್ಲ ನಮ್ಮ ಸ್ವಾಭಾವಿಕ ಗುಣಗಳಲ್ಲ, ಅದು ಯಾವುದೇ ಸ್ವಭಾವ ಗುಣದ ತಾದ್ರೂಪಿಕ(Realistic)ಅನುಕರಣೆಯೂ ಅಲ್ಲ. ಇನ್ನೊಬ್ಬ ಅತ್ತಂತೆ ಅನುಕರಿಸುವುದು ಕಲೆಯಲ್ಲ. ಕಲೆ ಕೆಲವು ವಿಷಯಗಳಲ್ಲಿ, ಇದ್ದಕ್ಕಿದ್ದಂತೆ ಅನುಕರಿಸುವ ಸ್ವಭಾವದ್ದಾಗಿ ಕಾಣಿಸಿದರೂ, ಕೆಲವೊಂದು ವಿಷಯಗಳಲ್ಲಿ ಅದು ಅಮೂರ್ತ ರೂಪದ್ದು. ಅಮೂರ್ತ ವಿಚಾರ ಊಹಾ ರಾಜ್ಯದ ಉತ್ಪತ್ತಿ; ಮೂರ್ತಿಮಂತವಾಗಿ ಕಾಣಸಿಗದ ವಸ್ತು. ಇವೆರಡನ್ನು ಕೂಡಿ ಉಂಟಾಗುವ ಸೃಷ್ಟಿಯೇ ಕಲೆ. ನಾವು ಯಾವ ಸೃಷ್ಟಿಯನ್ನು ಮಾಡಬೇಕಾದರೂ, ನಮ್ಮ ಇದಿರು ಮೂರ್ತ ವಸ್ತುಗಳು ಬೇಕೆ ಬೇಕು. ಹಾಗೆಯೇ, ಕಣ್ಣಿಗೆ ಕಾಣಿಸುವ ಕ್ರಿಯೆಗಳೂ ಬೇಕು. ಕೇವಲ ಇಷ್ಟನ್ನೇ ಉಪಯೋಗಿಸಿಕೊಂಡರೆ ಅದು ಸೃಷ್ಟಿ-ಕಲೆಯೆನಿಸಲಾರದು. ‘ಒಂದು ವಸ್ತು-ಹೊರಗಿನ ಆಕಾರ, ಅಳತೆ ಮೊದಲಾದವುಗಳ ದೃಷ್ಟಿಯಿಂದ ಎಷ್ಟೇ ಯಥಾವತ್ತಾಗಿದ್ದರೂ, ಅದಕ್ಕೆ ಕಾರಣವಾದ ಮೂಲವಸ್ತು ಕೊಡಬಲ್ಲ ಭಾವಾನಂದಗಳನ್ನು ಕೊಡಲಾರದು. ಒಬ್ಬನ ರೂಪಬಿಂಬ ಆ ಮನುಷ್ಯನ ಸ್ಥಾನವನ್ನು ಎಂದೂ ನಿರ್ವಹಿಸದು. (Paul Rotha P. 40)

ನಾವೀಗ ಗಾನಸೃಷ್ಟಿಯ ಒಂದು ಚಿಕ್ಕ ಪ್ರಬಂಧ(Composition) ವನ್ನು ಕುರಿತು ಯೋಚಿಸುವ. ಸಪ್ತಸ್ವರಗಳಿಂದ ಅದರ ರಚನೆ ಉಂಟಾಯಿತು. ಈ ಸಪ್ತಸ್ವರಗಳು ನಿಸರ್ಗದಲ್ಲಿ ಕೇಳಸಿಗುವ ಕೆಲವು ಸ್ವರಗಳಂತೆಯೇ ಇವೆ. ಸ್ವರಗಳೇ ಆ ಹಾಡಿನ ವಸ್ತು. ಆದರೆ, ಅದು ಹೊರಗೆ ನಿಸರ್ಗದಲ್ಲಿ ಆಗಾಗ ಕೇಳಿಸುವ ಸ್ವರ ಸಮೂಹವಲ್ಲ. ಸ್ವರಗಳನ್ನು ಕೂಡಿಕೊಂಡ ಅದರ ಒಂದೊಂದು ತುಣುಕೂ ನಿಸರ್ಗದಲ್ಲಿ ಕೇಳಿಬರುವ ಸ್ವರಕುಂಜವಾಗಿರಬಹುದು. ಉದಾ: ಆ ಹಾಡಿನ ಒಂದು ತುಣುಕು ಕೋಗಿಲೆಯ ಕೂಗಿನಂತೆ ಕೇಳಿಸಬಹುದು. ಇನ್ನಿತರ ತುಣುಕುಗಳು ಬೇರೆ, ಬೇರೆ ಪ್ರಾಣಿಗಳು ಹೊರಡಿಸುವ ಧ್ವನಿಗಳಂತಿರಬಹುದು. ಅವುಗಳಿಂದ ಹಾಡಿನ ಸೃಷ್ಟಿ ಅಮೂರ್ತ ವಾದೊಂದು ಭಾವನೆಯನ್ನು ಪ್ರೇರಿಸಬಲ್ಲ ಗುಣವನ್ನು ಪಡೆಯಲು ಬಂದೀತು.

ಈಗ, ಒಂದು ಚಿತ್ರದ ಉದಾಹರಣೆಯನ್ನು ಎತ್ತಿಕೊಳ್ಳುವ. ಆ ಚಿತ್ರದ ಬಣ್ಣಗಳು ನಿಸರ್ಗದಲ್ಲಿ ಕಾಣಸಿಗುವವುಗಳೇ. ಅಲ್ಲಿ- ಚಿತ್ರದಲ್ಲಿ ಬರೆದ ಮನುಷ್ಯ, ಪಶು, ನದಿ ಮೊದಲಾದ ವಸ್ತುಗಳ ಅಂಗೋಪಾಂಗಗಳು ಬಹುಮಟ್ಟಿಗೆ ತಾದ್ರೂಪಿಕವಾಗಿರಬಹುದು. ಆದರೆ, ಆ ಚಿತ್ರ ನಮ್ಮಲ್ಲಿ ಪ್ರೇರಿಸುವ ಭಾವ ತೀರ ನವೀನವಾಗಿದ್ದು, ನಿಸರ್ಗದಲ್ಲಿ ಕಾಣಸಿಗದ ಅಮೂರ್ತರೂಪದ್ದೂ ಆಗಿರಲು ಶಕ್ಯವಿದೆ. ಇದೇ ರೀತಿ, ನರ್ತನದ ಅಂಗಭಾಗಗಳನ್ನು ಕುರಿತು ಆಡಬಹುದು.

ಹೀಗೆ, ಮೂರ್ತ ಇಲ್ಲವೆ ದೃಗ್ಗೋಚರ (Realistic)ಒಡವೆಗಳ ಸಹಾಯದಿಂದ ಭಾವಪ್ರೇರಕ ಅಮೂರ್ತ ಕಲ್ಪನೆಯನ್ನು ಸೃಷ್ಟಿಸುವುದೇ ಕಲೆಯ ಗುರಿ. ಇಂಥ ಸೃಷ್ಟಿಗಳಲ್ಲಿ ತಾದ್ರೂಪಿಕತೆ ಮತ್ತು ಅಮೂರ್ತತೆಗಳು ಯಾವ ಪ್ರಮಾಣದಲ್ಲಿ ಸೇರಬಹುದು ಎಂಬುದು ಆಯಾಯ ಕಲೆಗಳ ಮಾಧ್ಯಮವನ್ನು ಹೊಂದಿಕೊಂಡಿದೆ. ಚಾರ್ಲ್ಸ ಮೇರಿಯಟ್ ಎಂಬವನು ಈ ವಿಷಯದಲ್ಲಿ ಹೀಗೆ ಹೇಳಿದ್ದಾನೆ: ‘ಕಲೆಯ ಸ್ವರೂಪ ಅದರ ಮಾಧ್ಯಮವನ್ನು ಹೊಂದಿದೆ. ನಿಸರ್ಗದ ತಾದ್ರೂಪಿಕ ಅನುಕರಣೆಗೂ, ಅಮೂರ್ತ ಸ್ವರೂಪಕ್ಕೂ ಇರುವ ಮೇಳವೇ ಕಲೆ. ಇದರಲ್ಲಿ ಅಮೂರ್ತತೆಯೆಷ್ಟಿರಬೇಕು, ತಾದ್ರೂಪ್ಯ ಎಷ್ಟಿರಬೇಕು ಎಂಬುದು ನಾವು ಬಳಸುವ ಮಾಧ್ಯಮವನ್ನು ಹೊಂದಿದೆ ಈಗ ನರ್ತನವನ್ನು ಉದಾಹರಣೆ ಗಾಗಿ ಪರಿಶೀಲಿಸುವ. ಇದರಲ್ಲಿ ನೈಸರ್ಗಿಕ ಅನುಕರಣೆ ಕಡಿಮೆ. ನರ್ತನ ಕಾಲದಲ್ಲಿ ತೋರಿಸುವ ಹಾವಗಳೂ (Gestures), ಕುಣಿತದ ತೆರತೆರನ ಅಂಗವಿನ್ಯಾಸಗಳೂ ನಿಸರ್ಗದಲ್ಲಿ ಕಂಡುಬರುವುದಿಲ್ಲ. ಅದರಲ್ಲಿ ಹೆಚ್ಚಿನ ಅಮೂರ್ತತೆಯಿದೆ. ಶಿಲ್ಪ, ಚಿತ್ರಕಲೆಗಳಲ್ಲಿ ಅನುಕರಣೆಯ ಅಂಶ ಅಧಿಕ ಪ್ರಮಾಣದಲ್ಲಿದೆ.

ಇದೇ ತೆರನ ಯೋಗ್ಯತೆ ಚಲನಚಿತ್ರದಲ್ಲಿ ಇದೆಯೇ- ಎಂದು ವಿಚಾರ ಮಾಡಿದಲ್ಲಿ, ಅಹುದೆಂದು ನಮಗೆ ಹೊಳೆದೀತು. ಈಗ ನಮ್ಮಲ್ಲಿಗೆ ಬರುವ ಚಿತ್ರಗಳಲ್ಲಿ ಹೆಚ್ಚಿನವು ತಾದ್ರೂಪಿಕವಾಗಿದ್ದರೂ, ನಿಜವಾದ ಚಲನಚಿತ್ರ ಇದಕ್ಕಿಂತ ಹೆಚ್ಚಿನ ಅಮೂರ್ತತೆ ತೋರಿಸುವ ನವಸೃಷ್ಟಿಯನ್ನು ರಚಿಸಲು ಸಾಧ್ಯವಿದೆ. ಅದು ಕೇವಲ ವಾಸ್ತವಿಕವಾಗಿರುವ ಬದಲು, ಸೃಜನಶೀಲತೆಯಿಂದ ಸತ್ಯಾತ್ಮಿಕವಾಗಿರಬಹುದು. ‘ಅದಕ್ಕಿರುವ ಪ್ರಬಲ ಕ್ರಿಯಾತ್ಮಕ ಶಕ್ತಿಯೂ, ಭಾವ ಪ್ರೇರಣೆಯ ಬಲವೂ ಇನ್ಯಾವ ಕಲೆಗೂ ಇಲ್ಲ ಎನ್ನಬಹುದು. (Paul Rotha 1 bid p. 45)

ಚಾರ್ಲಿ ಚಾಪ್ಲಿನ್‌ನೆನ್ನುವಂತೆ- ‘ನಮ್ಮ ಊಹಾಶಕ್ತಿಯನ್ನೂ, ತರಂಗಿತತೆ (rythm) ಮತ್ತು ಬಣ್ಣಗಳಿಗೆ ಇಂದ್ರಿಯಗಳನ್ನು ಉದ್ರೇಕಗೊಳಿಸುವ ಶಕ್ತಿ ಚಲನಚಿತ್ರಗಳಿಗಿದೆ. ಇದರಿಂದಾಗಿ, ಚಲನಚಿತ್ರ ಉದ್ಯಮ ಅಷ್ಟೊಂದು ಭವ್ಯ ಮತ್ತು ಆಕರ್ಷಕ ಸ್ಥಾನವನ್ನು ಗಳಿಸಿದೆ. ಈ ಅದ್ಭುತ ಶಕ್ತಿಯ ರಾಕ್ಷಸನನ್ನು ನಾವು ಸಾಕುತ್ತಿದ್ದೇವೆ. ಆದರೆ, ಅದನ್ನು ತೆಗೆದುಕೊಂಡು ಏನು ಮಾಡಬೇಕೆಂಬ ಅರಿವು ನಮಗೆ ಇದೆಯೇ?

ಯಾವುದೇ ಕಲೆಯು ಸೃಷ್ಟಿಯಾಗಲು, ಕಲಾವಿದನ ಭಾವಸೃಷ್ಟಿಗೆ ಅನುಕೂಲವಾದ ಮಾಧ್ಯಮ ಬೇಕೇ ಬೇಕು. ನಮ್ಮ ವಿಚಾರಶಕ್ತಿಯನ್ನು ಎಚ್ಚರಗೊಳಿಸಿ, ಭಾವನೆಗಳನ್ನು ಉದ್ರೇಕಗೊಳಿಸುವ ಶಕ್ತಿ ಆ ಮಾಧ್ಯಮಕ್ಕೆ ಇರಬೇಕಷ್ಟೆ. ಚಲನಚಿತ್ರದಲ್ಲಿ ಅಂಥ ಶಕ್ತಿ ಇದೆಯೇ ? ನಿಜಕ್ಕೂ ಧಾರಾಳವಾಗಿದೆ. ಇಲ್ಲಿ, ಅದರ ಮಾಧ್ಯಮ- ಚಿತ್ರಪಟಲದ (film) ತುಣುಕುಗಳು. ಅವುಗಳ ಮೇಲೆ ಸ್ಥಿರ ಮತ್ತು ಚರವಸ್ತುಗಳ ತಾದ್ರೂಪಿಕ ಬಿಂಬಗಳಿರುತ್ತವೆ. ಇವನ್ನು ಜೋಡಿಸಿ, ಭಾವಸೃಷ್ಟಿಗೆ ಬೇಕಾದ ವಸ್ತುಗಳನ್ನು ಸುಲಭದಲ್ಲಿ ನಿರ್ಮಿಸಬಹುದು. ರಷ್ಯಾ ದೇಶದ ಕುಶಲೆವ್ ಎಂಬ ಚಲನಚಿತ್ರ ನಿರ್ದೇಶಕ ಹೀಗೆನ್ನುತ್ತಾನೆ – ‘ಪ್ರತಿ ಕಲೆಯೂ, ಮೂಲತಃ ಒಂದಲ್ಲ ಒಂದು ವಸ್ತು (material) ವಿನಿಂದ ಕೂಡಿದ್ದು, ಆ ವಸ್ತುಗಳ ಸ್ವಭಾವಕ್ಕೆ ಅನುಗುಣವಾಗಿ ಅವನ್ನು ಜೋಡಿಸುವುದರಿಂದ ಅವಕ್ಕೆ ಶಕ್ತಿ ಬರುತ್ತದೆ. ಚಲನಚಿತ್ರದಲ್ಲಿ ಬೆಳಕು ನಿರ್ಮಿಸಿಕೊಡುವ ಬಿಂಬಗಳನ್ನು ಹೊತ್ತಿರುವ ಪಟಲವೇ ಅಲ್ಲಿನ ವಸ್ತು; ಪಟಲದ ಬೇರೆ ಬೇರೆ ತುಣುಕುಗಳನ್ನು ಉದ್ದೇಶಕ್ಕೆ ಸರಿಯಾಗಿ ಜೋಡಿಸಿ ತೋರಿಸುವ ಕೆಲಸವೇ ಅದರ ಸಂಯೋಜನೆ.

ಆದರೆ, ಪಾಲ್‌ರೋತನೆನ್ನುವಂತೆ ಈ ಚಲನಚಿತ್ರ ನಿರ್ಮಾಣಕ್ಕೆ ಬೇಕಾಗುವಷ್ಟು ವಿವಿಧ ಶಾಸ್ತ್ರಗಳ ಪರಿಚಯ ಇನ್ಯಾವ ಭಾವವಾಹಕಕ್ಕೂ ಬೇಕಾಗುವುದಿಲ್ಲ. ಅದೇಕೆಂದು ಮುಂದೆ ತಿಳಿಯುವಿರಿ- ‘ಚಲನಚಿತ್ರ ಮೂಲತಃ ನಿಸರ್ಗದಿಂದ ಪಡೆಯುವ ವಿವಿಧ ರೀತಿಯ ಬಿಂಬಗಳ ಸಮ್ಮೇಳನದಿಂದ ಪಡೆಯುವ ಒಂದು ಸೃಷ್ಟಿ. (ಈ ಕೆಲಸಕ್ಕಾಗಿ ಉಪಯೋಗಿಸುವ ವಸ್ತುಗಳು ನೈಸರ್ಗಿಕವಾಗಿರಬಹುದು.) ಇಲ್ಲಿನ ಚಿತ್ರಬಿಂಬಗಳೆಲ್ಲವೂ ಬೆಳಕಿನ ಉಪಯೋಗದಿಂದಲೂ, ಚಲನೆಯ ದೃಷ್ಟಿಯಿಂದಲೂ ಪಡೆಯುವ ದೃಶ್ಯಬಿಂಬಗಳ ಮಾಲೆ ಕೇವಲ ಮನಃಶಾಸ್ತ್ರದ ದೃಷ್ಟಿಯಿಂದ ಅಳೆಯುವಂಥದಲ್ಲ. ಕಾಲ್ಪನಿಕ ಬಿಂಬಗಳನ್ನು ಸೃಷ್ಟಿಸಿಯೂ, ಚಲನಚಿತ್ರ ನಿರ್ಮಿಸಲು ಬಂದೀತು.

ಇನ್ನು, ನಾವು ಈ ಹೊಸ ಮಾಧ್ಯಮದ ಚಿತ್ರಪಟಲದ ಲಕ್ಷಣಗಳನ್ನು ಪರಿಶೀಲಿ ಸುವ. ಅದಕ್ಕಿಂತ ಮೊದಲು, ನಮಗೆ ಈಗಾಗಲೇ ಪರಿಚಿತವೆನಿಸುವ ಚಿತ್ರ, ಶಿಲ್ಪ, ವಾಸ್ತುಶಿಲ್ಪ, ಸಂಗೀತ, ನರ್ತನ ಮೊದಲಾದುವುಗಳಲ್ಲಿನ ವಾಹಕಗಳು ಯಾವ ತೆರನಲ್ಲಿ ಭಾವಸೃಷ್ಟಿಗೆ ಒದಗುತ್ತವೆ-ಎಂಬುದನ್ನು ಪರಿಶೀಲಿಸುವ, ಇವುಗಳಲ್ಲಿ ಚಿತ್ರಕಲೆ, ಶಿಲ್ಪ, ವಾಸ್ತುಗಳು ಸ್ಥಿತ(static) ರೂಪದವು. ಅವು ದೀರ್ಘಕಾಲ ಉಳಿಯಬಲ್ಲವು. ಸಂಗೀತ, ನರ್ತನ, ನಾಟಕಗಳು ಕಾಲಗತಿ ಹೊಂದಿದವು. ಆದರೆ, ಅವುಗಳ ಜೀವನ ತಾತ್ಕಾಲಿಕ. ಒಂದು ಸ್ಥಿತ ಕಲೆಯಲ್ಲಿ ಅಮೂರ್ತ ವಿಷಯಕ್ಕೆ ರೂಪವನ್ನು ಕೊಡಬಲ್ಲ ವಸ್ತುಗಳು: ರೇಖಾ ಪ್ರವಾಹಗಳು, ಸಾಮರಸ್ಯದಿಂದ ಬರೆಯುವ ಇಲ್ಲವೆ ಇರಿಸಲ್ಪಡುವ ಆಕಾರಗಳು ಮತ್ತು ಚಿತ್ರಗತ ಬಿಂಬಗಳು ಸೂಚಿಸುವ ಚಲನೆಗಳು. ಉದಾ: ಚಿತ್ರದಲ್ಲಿ ಕಾಣಿಸುವ ಸಮತಳ (horizontal) ರೇಖೆಗಳು ಶಾಂತಿ, ವಿಶ್ರಾಂತಿ, ಮೊದಲಾದ ಭಾವಗಳನ್ನು ಪ್ರೇರಿಸುತ್ತವೆ. ನೆಟ್ಟಗೆ ನಿಂತ ಲಂಬ (vertical) ರೇಖೆಗಳು- ಗಾಂಭೀರ್ಯ, ಬಲ, ಮೊದಲಾದ ಲಕ್ಷಣ ಸೂಚಿಸುತ್ತವೆ. ಅಲ್ಲಿನ ವಕ್ರರೇಖೆ(curves) ಗಳು ಲಾಲಿತ್ಯ,ಕೋಮಲತೆ,ಆನಂದ ಮೊದಲಾದ ಲಕ್ಷಣಗಳನ್ನು ಪ್ರೇರಿಸುತ್ತವೆ. ಹಾಗೆಯೇ, ಒಂದು ಚಿತ್ರದಲ್ಲಿ ಛಾಯೆಯೇ ಅಧಿಕವಾಗಿದ್ದು, ಬೆಳಗಿದ ಭಾಗ ಕಡಿಮೆಯಾಗಿದ್ದರೆ ಅದು ದುಃಖ ಸೂಚಿಸೀತು; ತೇಜವೇ ಅಧಿಕವಾಗಿದ್ದರೆ ಹರ್ಷ ಕಾಣಿಸೀತು.

ಇತ್ತ, ಅಲ್ಪ ಕಾಲ ಉಳಿಯುವ ಸಂಗೀತ, ನರ್ತನಗಳಲ್ಲಿ- ತಾಳ, ಲಯ, ಗತಿ, ಸಾಮರಸ್ಯ ಮೊದಲಾದ ಲಕ್ಷಣಗಳು ನಮ್ಮಲ್ಲಿ ಆನಂದ, ದುಃಖ, ಶಾಂತಿ, ತಲ್ಲಣ ಮೊದಲಾದಭಾವಗಳನ್ನು ಮೂಡಿಸಬಲ್ಲುವು.
ಈ ಎರಡು ವರ್ಗದ ಕಲೆಗಳಿಗಿರುವ ಶಕ್ತಿಗಳು ಚಲನಚಿತ್ರವೊಂದರಲ್ಲಿಯೇ ಸೇರುತ್ತವೆ. ಪ್ರತಿಯೊಂದು ಚಿತ್ರವೂ ತನ್ನ ರೇಖಾವಿನ್ಯಾಸದಿಂದ ಭಾವವನ್ನು ಪ್ರೇರಿಸೀತು. ಅದರಲ್ಲಿನ ಛಾಯಾತೇಜಗಳ ಸಮ್ಮೇಳನ ಅದೇ ಕೆಲಸವನ್ನು ಮಾಡಬಲ್ಲುದು. ಹಾಗೆಯೇ, ನರ್ತನ, ತಾಲ, ಗತಿಗಳ ಸಹಾಯದಿಂದ ಭಾವೋದ್ರೇಕ ಕೊಡಬಲ್ಲುದು. ಚಿತ್ರಗತ ವ್ಯಕ್ತಿ ಇಲ್ಲವೆ ವಸ್ತುಗಳ ವಿಭಿನ್ನ ರೀತಿಯ ಚಲನೆಗಳೂ, ಕೆಮರಾ ಒಡವೆಗಳ ಕಡೆಗೆ ಇಲ್ಲವೆ ಅವುಗಳಿಂದ ದೂರ ಸರಿಯುವ ಚಲನೆಗಳೂ, ವಸ್ತುಗಳನ್ನು ವಿಭಿನ್ನ ಕೋನಗಳಿಂದ ಕಾಣುವಾಗ ಉಂಟಾಗುವ ಸ್ಪಂದನೆಗಳೂ ಭಾವಗಳನ್ನು ಹುಟ್ಟಿಸಬಲ್ಲುವು. ಇದಲ್ಲದೆ, ಚಿತ್ರಪಟಲವು ಚಲಿಸುವುದರಿಂದ ಅದರ ಶಕ್ತಿ ಬೇರೆಯೇ ಇದೆ ! ಸ್ಥಿರ ವಸ್ತುಗಳ ಚಿತ್ರಗಳನ್ನು ಸಹ, ಯೋಗ್ಯ ರೀತಿ ಯಿಂದ ಲಯಬದ್ಧವಾಗಿ, ಒಂದರ ಬಳಿಕಿನ್ನೊಂದನ್ನು ಪ್ರದರ್ಶಿಸುವುದರಿಂದ ಭಾವಗಳನ್ನು ಪ್ರೇರಿಸಬಹುದು. (ಅಂಥ ಕೊನೆಯ ಕ್ರಮದಿಂದ ಭಾವಪ್ರೇರಣೆಯುಂಟಾಗುವ ಬಗೆಯನ್ನು ಕುರಿತು ಮುಂದೆ ಇನ್ನಷ್ಟು ತಿಳಿಸುತ್ತೇವೆ) ಇಷ್ಟೆಲ್ಲ ಅದ್ಭುತ ಸಾಮರ್ಥ್ಯವುಳ್ಳ ಕಲಾ ಮಾಧ್ಯಮವನ್ನು ಕುರಿತು ಚಾರ್ಲಿ ಚೆಪಲೀನನು ‘ಅದ್ಭುತ ರಾಕ್ಷಸ ಎಂದು ಕರೆದುದರಲ್ಲಿ ಆಶ್ಚರ್ಯವಿಲ್ಲ.

ಆದರೆ, ಈ ಅಪಾರ ಶಕ್ತಿಯ ರಹಸ್ಯ ಅರಿತವರು ಬೇಕು. ಅದರಿಂದ, ನಮ್ಮ ಜನ ಜೀವನದಲ್ಲಿ ಅದ್ಭುತ ಕ್ರಾಂತಿಯನ್ನೇ ಉಂಟು ಮಾಡಲು ಸಾಧ್ಯವಿದೆ. ಕಲೆಗಳಿಗಿರುವ ಹಿರಿಮೆ- ಎಂಬುದು ಅಂಥ ಸಾಮರ್ಥ್ಯವನ್ನು ಹೊಂದಿದೆ. ಆದುದರಿಂದ, ಕಲೆಯ ಪ್ರವಾಹವನ್ನು ತಡೆಯುವುದು ಕಷ್ಟ. ನಿತ್ಯದ ನಮ್ಮ ಎಚ್ಚರವನ್ನೇ ಅದು ನಮ್ಮಿಂದ ತಪ್ಪಿಸಿ, ನಮ್ಮಲ್ಲಿ ಹೊಸ ಭಾವನೆಗಳನ್ನು ಪ್ರೇರಿಸುವ ಶಕ್ತಿ ಅದಕ್ಕಿರುವುದರಿಂದ, ಇಂದಿನ ದಿನಗಳಲ್ಲಿ ಅದರ ಸಾಧನೆಗಳನ್ನು ಕುರಿತು ಅಲಕ್ಷ್ಯ ತೋರಿಸುವಂತಿಲ್ಲ.

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The quiet gentleman

Muralidhara khajane

K.S. Ashwath, among Kannada cinema's real actors, is no more. Sadly, this "star-driven" industry made no exceptions to even a phenomenal actor like Ashwath. He, who lent a new dimension to every role that he played, Ashwath was truly someone who expanded the horizon of the supporting actor. How is it possible for any Kannada film lover to forget the role of Chamaiah Meshtru in the pathbreaking film, "Nagarahavu". It's more than a mere coincidence that both Chamaiah Meshtru and Ramachari, played by Vishnuvardhan, passed away within a gap of less than three weeks. In fact, close friends have said how Ashwath was heart broken when he heard Vishnuvardhan was no more. Struck by the character and its portrayal, director Shantharam made "Karnana Sampattu" in which he reimaged Chamaiah Meshtru.

Ashwath entered Kannada films as a hero in "Streerathna" (1954), but could not retain his position as hero for long. That, however, did not deter him from continuing his career in cinema. He opted for strong supporting roles and created a niche for himself. "Our film makers should realise that films are much more than the glorified heroism," he would often say underlining the role supporting actors had in the making of a good film.

Karaganahalli Subbaraya Ashwathanarayana, originally from Holenarsipura taluk was born in Mysore in 1925. His formal education came to an end at the intermediate level when he joined the freedom struggle in 1942. Two years later, he got a job as a Food Inspector. He later became a steno in the Deputy Commissioner's office. He spent ten years in Government service.

His acting career began, when he started participating in radio plays produced by Mysore All India Radio. His friendship with theatre people took him on stage too. He etched major roles in the plays of A.N. Murthy Rao, Parvathavani and others. Film director K. Subrahmanyam, who saw him in one of these plays, selected him for a role in "Streerathna". Unmindful of the family's stiff opposition, Ashwath gave up his government job and took the plunge. Of course, he was not flooded with offers. As fate would have it, his third child died of liver problem, just when he had made this difficult choice. With a heavy heart, Ashwath left for Madras, the seat of cinema in those days in search of work. There after, on his occasional visits to Karnataka he toured the districts with the drama troupes of his friends.

In 1960, he played the role of a Swamiji in "Kittur Chennamma" with B. Saroja Devi in the lead role. The same year he played Narada in the hit "Bhakta Prahlada". His role in "Gali Gopura" gave him an edge and helped shape his career as an artiste of immense calibre. Ashwath then got a role in the English film "Seven Wonders of the World' and even became the first Kannada actor in a colour film.

Several of his films became big hits. He won three national awards and several awards for being the best supporting actor. "I put everything into my roles and acting gave me a certain satisfaction. But if the roles I essayed didn't look natural, I would shrink in embarrassment," he would often say. Film critics who have studied Ashwath and his enormous contribution to Kannada cinema, were of the opinion that even when the main narrative of a film revolved around false social details, it was Ashwath who created a sub-text of authenticity, genuineness.

Among his best roles are "Nagarahavu", "Nandadeepa", "Gejjepuje", "Sharapanjara" "Jenugudu", "Nyayave Devaru" and "Belli Moda". Ashwath is the only one in "Sharapanjara" who sympathises with his daughter (Kalpana), who suffers from hallucinations. Similarly he is the only person (Chamayya Meshtru) to support and defend the angry young man Ramacharai (Vishnuvardhan), while society accuses and blames him. In "Gejje Puje" the anguish of protagonist gets soothing touch only because of Ashwath. A strict disciplinarian, his was the sane voice in most films that dealt with serious social issues.

After acting in nearly 300 films, he stopped acting a few years ago, because he was not happy the way Kannada industry was functioning. It was due to the insistence of his dear friend and fellow actor, Rajkumar that he changed his decision. He acted with the Kannada icon in "Shabdavedi". Regardless of his age, he acted in "Bhoopathi" and "Sirivantha" recently.

Ashwath who was suffering from Vetebro Basilar inefficiency, a disorder caused by high blood pressure, was going through difficult times. He was finding it hard to meet medical expenses. Despite his hardships, not once did he ask for help. However, Government, cine artists and social organisations came forward to help him.

The gentleman Ashwath who kept a low profile always, is no more. In him, we have not only lost a great actor but it is also the end of an era and a value system. "Lifestyle is changing, generation gap is widening. We have to gracefully accept the change," he would quietly say.

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Departure of “Apta Mitra”

Muralidhara Khajane writes about great cine actor vishnuvardhan

Another glorious chapter in Kannada cinema has closed with the Kannada matinee idol Vishnuvardhan passing awa

y in the wee hours of December 30 following a cardiac arrest. His sudden departure is not only a loss to Kannada film industry but also for Tamil, Telugu, Malayalam and Hindi, as he acted in films made in these languages.

Vishnuvardhan was staying in Kings’s Kourt hotel in Mysore. A team of doctors was rushed to the hotel, when actor complained discomfort around 2.30 am on December 30. The doctors tried to resuscitates him with available procedures. When it did not work, he was immediately rushed to the hospital, but the actor breathed his last before he was brought to the hospital.

* * *

Vishnuvardhan who was considered as an icon of the Kannada masses following departure of thespian Dr. Rajkumar in 2006. Although Dr. Raj Kumar is the undisputed king of Kannada cinema, Vishnuvardhan who burst on to the scene 37 years after Rajkumar quietly proved to the move goers and the film makers that he is the new box-office God.

He who starred with Dr. Rajkumar only once in “Gandhada Gudi”, “happily” accepted to play under the shadow of the gigantic Dr. Rajkumar. A man of talent and enormous charm, he had proved time and again his ability to woo the masses in to the dark cinema halls. Labelled as “Sahasasihma”, “Abhinava Bhargava” and many other titles, Vishnuvardhan was wasthe he-man on the screen rescuing every one Bharathi, Arati to Suhasini and Bhavya.

Because of pressure from his huge fan following, who did not want Vishnuvardhan to deviate from his “Star Value” and “Image”, he continued to don the roles of macho hero and the ideal lover husband.

This is not to say that he excelled only in packing a mean punch. Although he was dubbed in an action-hero after the super success of “Nagarahavu” directed by the late Puttanna Kanagal,, nevertheless he had a few challenging roles along the way and “Bhootayyana Maga Ayyu” “Hombisilu” and “Bandhana” provided him with the kind of change he was looking for. “Bandhana” “Malaya Maruta”, “Harakeya Kuri”, “Suprabhata”, “Muttinahara”, “Matte Haaditu Kogile”, “Yajamana”, “Apta Mitra”, “Matad, Matad Mallige”, “Laali” showed what a volcano of talent he was. These films brought him bouquets from the discerning audience and critics for his sensitive portrayal of his characters.

An excellent actor who had played remarkable variety of roles right from the day he made his entry as a leading man in "Nagarahavu”. Interestingly, he was the art cinema movement’s abiding gift to the mainstream cinema, where he had carved a powerful slot for himself, whether his films run well or not. If most of his films have scored by their macho image and his screen fights were also normally extra fisty, there were also bridge films.

In popular films he had distinguished himself as a seeker of glamour and glitter and had been responsible for the largest number of heroines being imported from Chennai and Mumbai to act with him. He had a very professional approach to his career and did not accept more than one assignment at a time. Known for the punctuality and involvement even in the films which he did not himself produce, Vishnu had also popularized a rather unique producer-star-pair with Bhargava, one of the most successful directors in Kannada cinema.

He had also produced and distributed movies and the first leading man in Kannada to make a big budget film in Hindi “Inspector Dhanush” (co-starred with Akshay Kumar) and digested the challege.

With a keen sense of humour, Vishnuvardhan was an extremely friendly person. He married actress Bharathi in 1975. He had started singing in movies occasionally in movies and of late he was singing devotional songs for albums too. The first song he sang was in the movie “Nagarahole” (“Eee Notake”). His song “Tuttu Anna tinnoke…” of Jimmigallu made him popular too. He also sang “Sahasa Simha”, “Siritanakke Saval” and “Sididedda Sahodara”,

Besides honorary doctorate conferred on him by Bangalore University, he won Film Fare awards for best performance for seven times and seven state awards in the best actor category. He had also received Film Fare award for his life time achievement in 2004 and Dr. Rajkumar award in 2009. His “Suprabhata created record of sorts in 1988 by bagging 8 different awards and was the first Kannada cinema to do so.

Coincidence:

It might be sheer coincidence. Film Industry lost talented artist, Soundarya before the release of “Apta Mitra” a super-duper hit of actor, Vishnuvardhan. It lost Vishnuvardhan before the release “Apta Rakshaka”, which incidentally said to be 200^th film of stalwart of Kannada film industry.

Spiritualism and friendship…..

In recent years, Dr. Vishnuvardhan was seen more inclined towards spiritualism. According to his close friends sufferings in his career spanning 37 years forced him to take solace in philosophy. It was difficult for the media to get a straight answer for any question in recent years, as he used to speak in almost an abstract language.

He used to exchange thoughts on matters relating to metaphysics with erudite scholar Prof. Bannanje Govindacharya. He used to visit Bannanje’s house often. According to Prof. Bannanje, actor was inviting him for all religious functions and latter never discussed about films at any point of time. Vishnuvardhan often expressed his desire to withdraw from films. Vishnuvardhan was like his own brother and treated him as his spiritual guru. In fact Vishnuvardhan had collected a full set of Compact Disks of Prof. Bannanje’s discourses. Vishnu according to him had grown spiritually within.

It is a known fact that Vishnuvardhan had undergone lot of tension and suffering throughout his career. An untoward incident during the filming of “Gandhada Gudi” led to many scandals. The actor was under tremendous pressure for a long time. However, he withstood test of time.

Vishnuvardhan was prepared to fight for the cause of Kannada and Kannadigas. He took active role in Gokak agitation which was launched to get first language status to Kannada in Karnataka and lend shoulder to Dr. Rajkumar, who led the agitation.

To follow footsteps of Dr. Rajkumar, he refused to enter in to politics, despite pressure from various quarters. However, he campaigned for his close friend, actor turned politician, Ambarish, when ever he contested for elections.

The friendship between Ambarish and Vishnuvardhan was a model to any friendship. Both of them entered the film industry through “Nagarahavu” of Puttanna Kanagal. While Vishnuvardhan excelled in the role of “rebel” Ramachari, Ambarish drew attention of one and all as Jaleel in the film.

To model their friendship D. Rajendra Babu directed “Diggajaru”, where song “Kuchchikoo” celebrated friendship between the two. It is said that stubborn Ambarish was listening only to Vishnuvardhan.

Similarly Vishnuvardhan had a wonderful chemistry with Dwarakish. Both of them churned out many block busters. However their relation was strained for the reason best known to both of them.

Dwarakish, who undergone loss and facing problem decided to remake Malayalam’s “Manichitrataazh” as “Apta Mitra” in Kannada. He approached Vishnuvardhan for the lead role of psychiatrist in the film. Forgetting differences latter accepted the role and the film was a box office hit. But relation was again strained again, when there were too many claimants for the success.

Despite being temperamental, Vishnuvardhan was a great friend and a sensitive human being. It will be difficult to fill the void created by the actor.

* * *

An unfulfilled desire

Actor Vishnuvardhan, who departed from the mortal world on Wednesday decided to shift to Mysore, where he was born and spend a quiet life, far from the maddening crowd of Bangalore. But destiny decided otherwise and snatched him rather prematurely.

According to Ambika and Alwin, his close friends in Mysore, Vishnuvardhan and Bharathi have decided to settle in his home town because of his health condition. According to doctors of Vikram Hospital, actor was takeing good care of his health and regularly undergoing health checks at the hospital in Yadavagiri from the past five years.

Vishnuvardhan was injured during the shooting of “Apta Rakshaka”, which is to be released shortly. He had visited the hospital to get it dressed and for physiotherapy recently. Druing his visits, he was staying in Room No. 334 and 335 of Kings Kourt Hotel in Mysore. However, to feel at home in Mysore, he had taken a flat in an apartment in Yadavagiri near Vikram Hospital as it would be easy for him to take treatment.

It is said that, he had decided to shift to his new home on Wednesday along with his family and all necessary preparations had been completed. Vishnuvardhan had also got a gas connection for his new home.

Deputy Director, Department of Food and Civil Supplies says that, actor had applied for a gas connection under VIP Special Quota stating his intention to reside in Mysore. “We have cleared the application and directed the local gas supplier to complete the process immediately. Following Direction, Siddalingeshwara Gas Agency in Gokulam III Stage provided him gas connection”, he says.

The proprietor, Siddalingeshwara Gas Service Nagesh says that, he had been instructed to offer a gas connection to the actor on priority. The process completed in a matter of few minutes. Vishnuvardhan and Bharathi arrived at the Gas agency at about 7.30 pm on December 29 in a car. Though he invited him inside, actor pleaded his inability to get down. “When I asked to sign on application form and consumer card, he signed at two columns in Kannada and smiled at me”, he recalls.

He also says that, when his daughter Kshiti came running to wish him, actor took her in his arms and offered a chocolate to her. When requested, he posed for a photograph too. “That might be last photograph of Vishnu” he says with regret.

“When my office staff informed me about the death of the actor in the early morning, I was really shocked. Had everything gone right as intended, actor would have shifted to the new apartment on Wednesday. But destiny decided otherwise. His intention to return to native remained unfulfilled”, he said with a moist eyes.

It is a sheer coincidence that Vishnuvardhan died in the place, where he was born.

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It took 14 years for him to release the film

MURALIDHARA KHAJANE

In Sandalwood (Kannada film land) releasing a ‘original’ Kannada film is really challenge, as it has now become domain of those involved in canning remakes and claiming subsidy

for the same. To understand how difficult it is to release a ‘original’ Kannada film, one has to meet veteran film director and lyricist C.V. Shivashankar, who kept his ambitious film ‘Kannada Kuvara’ in cans for nearly 14 years.

However, 75-year old Shivashankar, who has a passion for Kannada, is now happy person as his ‘Kannada Kuvara’-which delineates plight of a Kannada teacher is getting released in December. Thanks to a distributor from Mysore, who has taken interest in releasing the film in Mysore, Mandya, Hassan and Kodagu districts.

Mr. Shivashankar has directed over 15 Kannada films, written lyrics and dialogues for more than 60 films in a span of 55 years. He has also produced and directed films including “Mane Katti Nodu”, “Mahadiya Mane”, “Mahatapaswi”, “Namm Ooru” and acted in several Kannada films along with matinee idol Dr. Rajkumar including “Bhakta Kanakadasa”, “Santa Tukaram”. He was trained under noted theatre personality Subbaiah Naidu and assisted noted film director Hunsur Krishnamurthy. He introduced quite a few talents to the film industry like Dwarakish, Kalpana, Tugudeepa Srinivas, Shaktiprasad, Rajesh, Manjunla and many more. He has several awards to his credit including Singanallur Puttasamaiah award.

Despite these credentials, he has waited long to release “Kannada Kuvara”, which he made by investing all his efforts. Speaking to “The Hindu” Mr. Shivashankar said that, “Kannada Kuvara” with Hemanth Kumar, late Balakrishna and Rajanand in the cast was produced in 1993 could not be released, as none of the distributors or exhibitors came forward to distribute the film. However, now Devadatta of Datta Bhushan Enterprises of Mysore has finally come forward to release the film.

He recalls the year 1993, when the then Chief Minister, Veerappa Moily declared “Kannada Jagruthi Varsha” (Kannada awareness year). Inspired by the call given by Mr. Moily, he set out with the subject “Kannada Kuvara” where a young Kannada teacher who goes to villages educating young and old alike about Kannada. Late Balakrishna, popularly known as Balanna in Kannada filmdom has played the role of English teacher in the movie, which is incidentally the last film he acted.

The film was completed with a modest budget of Rs.45-lakh in just six months in 1993. But to no avail, Mr. Shivashankar had to run from pillar to post to get a suitable distributor. The breather here was the film succeeded in getting a subsidy of Rs.3.5-lakh after continuous efforts in 1995. Mr. Shivashankar who had borrowed from his relatives besides investing from his own pocket decided to get rid off the loan and he even succeeded in it. But the film remained in the cans.

His adrenaline shoots up the very moment you speak to him about the language of his existence-Kannada. His eyes shine with the lace of tears suffice to say enough of his unlimited love and compassion towards the language. Truly, his commitment for ‘Chaluva Kannada Nadu’ has made him pen most of the hit songs enriching the language relentlessly. He is well known for his songs, especially patriotic songs. Few of songs such as “Sirivantanadaru Kannada Naadalle Mereve” and “Beladide Noda Bengaluru Nagara” are still relished by Kannadigas.

“The film was made to spread the significance of Kannada and good familial values, when the industry was dominated by films with double meaning dialogues. “If Kannadigas doesn’t watch the movie, it is a great loss to them not for the producer. In fact Dr. Rajkumar had watched the movie thrice and acknowledged me for my love for Kannada and appreciated dialogues of the movie”, he beams with pride. Interestingly crossing the boundary the film was released in Mumbai where it ran for four weeks an achievement, Shivashakar claims.

He regrets that his contribution to Kannada film industry has not been recognized both by Kannadigas and the government. On the present state of Kannada films he says that the situation in Kannada film industry has changed over the years and producers were busy in remaking and dubbing the other language films instead of producing and directing native as well as original Kannada films. Though film industry grew technologically lacks in depth and content, he notes.

He laments that producers and distributors have polluted the environment by offering huge money to exhibitors to release movies. It is time for them to introspect in view of the controversy surrounding the old method of charging theatre rentals on the percentage basis in place of existing weekly rentals, he says.

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His third eye

Muralidhara Khajane thrown light on Cinematographer G..S.BHASKAR's third eye.

This was in 1992. Noted film-maker Sai Paranjape was preparing to shoot her film “Papeeha” in Nagpur forest along with her crew members. Unfortunately, the equipment van which had to reach the forest, met with an accident and there was no possibility of making an alternative arrangement. As it was a small budget film about the plight of a tribal community, Paranajape wanted to raise funds after shooting a part of the film. She told her young cameraman to shoot with whatever equipment he had and also reminded him that, she would drop the project itself if he pleads his helplessness. There were only two options before the cinematographer; either to shoot risking his career or allow the director to shelve the project. That young and enthusiastic product of Film and Television Institute (FTI) decided to take risk. With one baby light and some thermocol pieces he started canning film. He used patches of light in the forest and bounced them with the help of thermocol to shoot day light effects. When, he was about to shoot a three level shot, one baby light, which was his lone saviour, blew up. Undeterred by the obstacles in his way, he used petromax lights and completed the shooting.

The film received rave reviews from critics, especially that particular shot. The cinematographer who dared to risk his career was G.S. Bhaskar, who later worked for “Saaz” and “Disha” directed by Sai Paranjape.

Now Bhaskar is the darling of both experimental and commercial film makers. He has worked with Nagesh Kukanoor (“Hyderabad Blues”), Girish Kasaravalli (“Bannada Vesha”, “Tabarana Kathe”), Sadanand Suvarna (“Kubi Mattu Iyala”), T.S. Nagabharana (“Nagamandala” and “Neela”), M.S. Sathyu (“Ghalige” and “Ijjodu”) and Ramesh (“Accident”). He assisted A.K. Bir as second unit cameraman for Richard Attenborough’s “Gandhi”.

Bhaskar, who recently completed shooting of “Ijjodu” is engaged in improving visual literacy among the young generation. He was in Mysore recently to conduct a workshop on “Appreciating Cinematography” for the Mysore Film Society to educate the youngsters on the role of the cinematographer and introducing basic concepts of cinematography. It was the cultural environment of the 70s Bangalore which helped him choose cinematography as his career, says Bhaskar, disciple of K.K. Mahajan. “It was in the 70s that I met Girish Kasaravalli who was assisting B.V. Karanth for “Chomana Dudi” and it is he who introduced me to real movie camera. Observing my keenness in cinematography, he suggested me to join FTI and guided me in joining the Institute. Subrato Mitra, K.K. Mahajan and A.K. Bir who conducted workshops in the Institute influenced me a lot. After completing my course I decided to work with K.K. Mahajan and approached him too. But at that point he had many assistants and asked me to wait for some time, and I returned to Bangalore. When I decided to assist Devadhar (of Shankarnag’s “Accident” fame) for his new assignment, Bir sent word for me. I was assigned to work as second unit cameraman for Attenborough’s ‘Gandhi’ It was my first exposure to real shooting and my “real” learning commenced then”, recalls Bhaskar.

Though Bhaskar works for both art and commercial films, he sees greater challenge in the latter. “Realism is my forte. Is it necessary that we glamourise? he asks. Given an opportunity between the colour and black and white, Bhaskar definitely prefers black and white. “Colour is attractive. It has an energy in itself. I am comfortable with black and white for two reasons; I have learnt art of black and white as a student. Colour is still new to me. In my opinion, we have not seen even 20 per cent of the possibility of colour. To bring higher meaning for the shot it is necessary to understand metaphysical meaning of colour” he elaborates.

When asked about the ideal relationship between director and cinematographer, he compared that to “good marriage”. “Fortunately, every director with whom I worked provides the script without grumbling. I need the script to assess my lighting requirement and to plan lighting scheme,” he notes.

While every cinematographer aspires to become director, Bhaskar is averse to the idea. “As a practitioner of cinematography, I have become a technician. You have to grow beyond this role to understand the nuances of film making,” he reasons. Though Bhaskar worked in the most adverse situations, he cites first schedule of “Papeeha” as his most challenging job. “During shooting of ‘Bannada Vesha’ Girish wanted a surreal sequence to capture the sublime image of protagonist Shambu. Despite my commitment to realistic school, I kept the light in front of camera for the first time. That shot propelled me 10 years ahead,” he recalls. He explained similar challenge he faced while shooting for “Nagamandala”. “We were supposed to shoot the love making sequence of Naga and Rani. A slight mistake would have made the scene obscene. Both Bharana and I, postponed this scene till the last day of the shooting. It was art director Shashidhara Adapa, who came to our rescue and things easy for me. His detailing of the scene made things less complicated,” says Bhaskar, still breaking into a sweat when he thinks of the scene. Bhaskar has great regret for the treatment meted out to still photographers in the film Industry. “But I had real experience what a still photographer can do while shooting for “Ijjodu”. For my fortune Nimai Ghosh, official photographer of Satyajit Ray was the still photographer for the film. Instead of asking the artists to freeze, he used to take stills from the angle; I shot the film, by asking the actors to enact the scene again. That is Nimai Ghosh,” says Bhaskar, metaphorically doffing his hat. (pic courtesy : THE HINDU)

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Delayed, but not ‘too’ late Phalke to Manna Dey

No doubt, Mannadey is a versatile singer in Indian cinema, now Dadasaheb Phalke awardee. Moviebuff Muralidhara Khajane skeches mannadey in a diffrent view.

Before it was too late, Union Government has honoured one of the greatest singers Indian cinema has ever known, Manna Dey with Dada Saheb Phalke Award- the country’s highest award for outstanding individual contribution to Cinema for the year 2007.

The award is always given late but for someone like Manna Dey it has come really late, as he is like an institution of music offering every subject, be it comedy, passionate songs, sad, romantic or classical. This award was overdue may be he should have got it much earlier because he is one of those musicians who had learnt classical music very seriously and made it palatable for the common man.

Considered to be one of the greatest playback singers of Indian cinema, Manna Dey ruled the music scene from the 1950s to the 1970s with his versatile voice, singing more than 3,500 songs in many languages including Bengali and Malayalm. His songs “Pucho Na Kaise Maine Rain Bitaye”, “Ae Mere Watan, Ae Mere Bichade Chaman” “Pyar Hua, Ikarar Hua”, “Laaga Chunari Mein Daag”, “Ae Meri Zoharazabi”, “Ae Mere Pyare Watan” “Aaja Sanam Madhura Chandni Me Hum”, “Dil Ka Haal Suna Dilwale”, “Ye Raat Bhigi Bhigi, Ye Mast Fizayen”, “Jhanak Jhanak Teri Bhaje Pehaliya”, “Tu Pyar Ka Sagar Hai”,“Zindagi Kaisi Hai Paheli” and “Yaari Hi Iman Mera” from the film “Zanzeer” are among favorites of not only his fans but also many music composers of his time, who considers him as the “Dronacharya” of Indian music.

Manna Dey sang duet, “Ketaki Gulab Juhi” with classicist Bhimsen Joshi. He also sang duets with different genres with Kishore Kumar such as “Yeh Dosti, Hum Nahi Todenge” of Sholey and “Ek Chatur Naar” of Padosn. With Kishore Kumar

No wonder, for three decades Manna Dey held his own against all time greats like Mohammed Rafi, Mukesh, Kishore Kumar and Talat Mohamood. Even in films in which both Rafi and Manna De sang, though there was a domination of Rafi’s songs, Manna Dey’s songs stood out. There is no denying fact that Manna Dey is a great singer. Even a genius like the late Kishore Kumar held him in great esteem. It is said that, when Kalyanji-Anandji approached Kishore Kumar to sing “Kasme Waade Pyar Wafa Sab Batein Hein” in Manoj Kumar’s “Upkar”, the great singer was said to have backed out and told Kalyanji that only Manna Dey can do justice to that song.

Now when the rest of giants have gone, when the new generation has yet to find its voice, Government did right thing by honouring him prestigious Phalke Award.

* * *

Prabodh Chandra Dey, who later become idol of music world by his nickname Manna Dey born on May 1, 1919. As a boy he has painted the wall of his mind with music. That is why walls of his home could not hold him for long. Besides his parents, his young paternal uncle Krishna Chandra Dey (K.C. Dey) inspired and influenced him to a greater extent. He used to call K.C. Dey as “Babu Kaka”. During his youth days at Scottish Church College, he used to sing to entertain his classmates. He learnt music from K.C. Dey and Ustad Dabir Khan.

Manna Dey found it difficult to choose between a bright career as barrister or a playback singer after graduating from Vidyasagar College, Culcutta. Before life could trap him in a mould, Manna Dey broke free and set out to look for his rainbow. He was looking for a dream city, a place where he could open and let all the notes fly out. There he would build his very own dream castle, where music would dominate each room, as it ruled his mind later. The search was successful.

Manna De, who was under mesmeric spell of his uncle K.C. Dey- a well known singer and a popular star, could not resist temptation of joining him. K.C. Dey took his nephew under his wings and the result was the birth of Mann De, who enthralled millions for five decades with his lilting songs that refuse to age with time.

Young Manna Dey grew up to the soft strains of Baul songs, Rabeendra Sangeet and Qayyal. His uncle put him through the paces acquainting with the subtleties of tappa, thumri, bhajan and qawwali. It is significant that Manna Dey did not stop learning music even after becoming independent music director. He continued to take music lessons in Hindustani classical music from Ustad Aman Ali Khan and Ustad Abdul Rehman Khan.

With the disintegration of the New Theatres in 1940, where he was working, K.C. Dey left for the then Bombay in search of fresh pastures. Manna De joined his uncle in Bombay and he (K.C. Dey) gave him distinct direction, a new form so that it could be more appealing and presentable. It was under his music direction that Manna Dey got his first break as singer way in 1942 with a film called “Tamanna” and Suraiya was introduced along with him. It is now history that although, she soon made it big as a singing actress star, Manna Dey had to languish in anonymity for many years. Patience has been the key word in his life. For, he had to take respite in being a second assistant or first assistant to senior music directors. Once it is said that he had made up his mind to return Calcutta and practice law.

But Manna Dey’s talent did not need much peddling. His first break came a year later when he recorded song for the character Valmiki in Vijay Bhatt’s “Ram Rajya”, then a solo in “Mashaal”-and every one knew a voice had arrived. Manna Dey quickly made a name for himself. His was the voice music directors turned to when they wanted a classical rendition; the timbre of his voice, its peculiar resonance lent itself so well to classical tunes and besides there was Manna Dey’s own self confessed love of such music.

Yet, it seems music directors took a little while to understand strength of Manna Dey. But they did discover another truth about the young singer who had entered the scene. They understood that his voice could go beyond classical that it could lend itself to folksy tunes just as well, to fast racy numbers. In fact Manna Dey could do anything with his voice. But by the time the music directors realized this truth, it was too late for Manna Dey. It is being argued that he is most under-rated singer compared to his contemporaries and it is often said that, his own modesty, shy nature and hesitating attitude prevented him from peddling his talent. While he hesitated, newer, fresher, younger surpassed him, which was a distinct loss to the connoisseurs of good music.

But Manna Dey does not acknowledge the argument. In one of the discussions with this correspondent some time ago, Manna Dey refused to agree with this perception. He said that, he was good and capable of making a good song, come alive, but Rafi and Kishore were equally capable of doing so, however on the contrary “he could not do what they could”. This was the real reason for his being assigned a back seat in playback singing. Manna Dey is still a fan of Kishore Kumar. According to him Kishore was a performer and his voice was the best, quality was unique and he deserved the position he reached. Rafi’s style of singing according to him was a clincher, his range was unsurpassable. His (Manna Dey) voice could not scale such heights. . Can we say Manna Dey is too modest?

A versatile genius Manna Dey won the Filmfare award for his toe-tapping number “Ae Bhai Zara Dekh Ke Chalo” from “Mera Naam Joker” of Rajkapoor. The song happens to be one of the most intricate compositions of Shankar- Jaikishen, and it was the genius of Manna De that made it sound so simple and fluent.

Yet the career graph of this great singer never soared dizzy heights during his time. His deep voice was said to be unsuited for young heroes. He was arguably the most talented among his contemporaries, but he could never occupy the top slot. His gentle low-key approach never matched the pomp and pettiness of filmdom.

It is also argued that, luck too played a hand in Manna Dey being assigned to a back seat in play back singing. Though Shankar-Jaikishan made him sing all important songs of “Shri 420”, Manna Dey proved himself more than capable of carrying the film on his voice. Shankar-Jaikishan themselves were impressed. But, bowing to public taste they made Mukesh to sing “Mera Jootha Hai Japani”, which was instant big hit and the duo switched back to him for their next film. And of course the well known penchant Rajkapoor had for Mukesh’s voice ensured that Manna Dey was left out, almost completely from R.K. Films. However, Manna Dey proved his mettle even with the younger generation of music directors like R.D. Burman, who’s “Aayo Kahan Se Ghanashyam”, which is considered to be one of the composer’s best creation.

With the advent of modernity and when classical music considered to be old fashioned, Manna Dey who is primarily a classicist, Rafi, Mukesh, and later Kishore Kumar, who were ‘singers’ like Manna Dey lived for music entered the scene and they had zest and flamboyance that Manna Dey did have. Why others? His own uncle K.C. Dey was himself impressed by them. One event made it clear to Manna Dey that he would never be No. 1. At that time Manna Dey was very much involved in helping his uncle. On one morning K.C. Dey told him to call Rafi over to sing one of the songs. Of course, Manna Dey was hurt, as he was waiting for big chance and his uncle was calling an outsider. Mustering all courage he asked the reason behind rejecting him. K.C. Dey who gave a patient hearing explained to him that he (K.C.Dey) felt the song was more suited to Rafi’s voice than Manna Dey’s. Later as he heard Rafi sing he realized that his uncle was perfectly right, as in those days music directors used to set a tune first and then decide whose voice would suit it best and Rafi’s voice had a quality that Manna Dey could not quite hope to match.

Of course, there were songs that Manna Dey could sing best. It is to Manna’s credit that those tunes have become immortal. “Dekha Kabir Roya” of “Basant Bahar” is the finest example for this. “Chori Chori of Shankar-Jaikishan, Roshan’s “Barsat Ki Raat”, S.D. Burman’s “Meri Surat Teri Ankhen”, are now part of musical history and collector’s delight.

When music directors like Anil Biswas and Salil Choudhary who had favoured him in the past, faded away, and Rafi and later Kishore began to eclipse every other talent from Hemanth Kumar to Talat Mohamood, Manna Dey found himself almost neglected.

Undeterred by the development, Manna Dey continued to practice singing and occasionally compose. He tried to keep up with the times. He started singing Bhajans.

* * *

In “Memories Come Alive: An Autobiography” Manna Dey takes a nostalgic trip down memory lane. Besides recalling his struggle to carve a niche as a playback singer in Hindi films, competing with stalwarts like Rafi, Mukesh and Kishore Kumar, he also discusses at length his foray in to the world of Bengali film and non-film music where he came to be regarded as undisputed kind of melody.

Though he is accomplished singer and recipient of prestigious awards including Padmashree, Padmabhusan, Alluddin Khan, Lata Mangeshkar, National Film awards in the last forty years, Union Government delayed in identifying his contribution to the field of music and honour him with Phalke award. However, it is better late than never, the Centre finally woke up from its deep slumber and honored with Phalke.

* * *

P.S. Apart from singing for numerous Hindi, Bengali and Malayalam films, Manna Dey also sang for Kannada films including “Kalavathi” (Kuhu Kuhu), “Margadarshi” (Kannillaveno, Nelakanadeno) and “Kalpavriksha” (Jayate, Jayate).

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He lights up the screeen

Journalist and Moviebuff Muralidhara Khajane Writes about Prakash rai (Raj) in a diffrenet view.

Metamorphosis reminds one of two things: the biological process that most animals undergo – including the caterpillar that transforms into a beautiful butterfly. The other is Franz Kafka’s stunning piece of fiction, the protagonist becoming a beetle.

In this case, it’s the former – the case of the luminous butterfly. Going a little further, I would extend this metamorphosis to Prakash Raj, the much-loved actor of the South, who has bagged his fourth National Award as Best Actor for his brilliant performance in Priyadarshan’s “Kanchivaram”. He has acted in more than 250 films and has even produced films in Tamil. Now he is directing “Naanu Mattu Nanna Kanasu” in Kannada (a remake of his famous “Abhiyum Naanum”)

In “Kanchivaram” Prakash plays the role of a weaver, who dreams about a silk sari for his daughter’s marriage. What sounds like a simple dream is far too complex to be in the ambit of one’s imagination. Keep reading

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