When total population of Bangalore was just around 19-lacs there were over a 100 theatres and quite a few of them were considered posh. Bangaloreans are traditionally known as genuine Cinema-lovers and recognized as such. The immortal RAJ KAPOOR had made it a point to release his movies in Bangalore first. Many other successful producers of his time also followed suit and over a period of time it was established as a practice. That was the Golden Era for Film Industry in Bangalore.
It might sound paradoxical but nevertheless true that the quality of majority of films produced here in Kannada over the years have failed to measure up to the high standard and expectations of the film-buffs of Bangalore who are known for their discriminatory taste for CINEMA. While other language films have been doing brisk business here our own films are seen languishing despite official props from the State Government by way of tax-concessions and subsidy.
The truth of the matter is, even to this day we Bangaloreans aren’t so much influenced by language considerations, as is the case with our counterparts in Tamilnadu. What we look for, is value for money. Language is secondary. A well-made movie is always welcome. Success of a movie essentially depends on the word-of-mouth publicity it is able to command. And this, needless to say, only a well-made movie can accomplish. More and more Producers/Directors should realize this truth.
QUALITY OF FILMS
CINEMA is essentially a Director’s medium. But then unlike a PAINTER or an AUTHOR, Director of a movie needs the support of a good team. But the peculiar situation obtaining in our Kannada Film Industry has relegated him to the background and made the position of HERO all-important to the exclusion of everything else. And every successful HERO has for his shadow an image. This accounts for the stereo type subjects offered by the industry.
In the sixties, Kannada films, however well made, were finding it extremely difficult to get any decent theatres. If the situation is not much different today, once again it is the same old reason namely ‘stiff competition offered, by other language films like Tamil, Telugu, Hindi and English.’ To what extent this reason is true let us examine.
But then how does this affect the fortunes of the Kannada Film Industry?
When one thinks of this a spate of questions crop up that need to be discussed threadbare as follows:
a. Is it a level-playing field for the players?
b. What remedial steps need to be taken in order to provide the much-needed succor to Producers of Kannada Films?
c. Have some of the rules framed earlier become redundant?
d. What steps are required to be taken to bring about a qualitative improvement in the kind of films cranked by the industry? So on and so forth…
In reality the problem is too deep-rooted and reminds one of an old Kannada proverb viz., maduve aagade huchu bidadu, huchu bidade maduve aagadu [As long as madness lasts marriage isn't possible and unless married madness wouldn't go].
IT ISN’T A LEVEL-PLAYING FIELD
The crux of the problem happens to be the fact, it isn’t a level-playing field for Producers of Kannada films. This point seems to escape the print-media as also many other film critics who are otherwise well informed. The kind of stiff competition faced by the industry is verily unparalleled. In neighboring Tamilnadu and Andhra Pradesh there is virtually no competition from films other than English and Hindi. In case a Kannada Film is to be commercially exploited in those states the only way open is to dub the same into Tamil/Telugu.
Here in Karnataka Chamber-Rules do not permit dubbing of other-language films into Kannada. This rule had been formulated in order to protect the interests of our own artists/technicians besides supporting the cause of Kannada Language. Fine! Prima facie, nothing seems to be wrong with it. After all, it is a rule framed with the best of interests of our own artistes/technicians at heart. How could that be wrong?
Now let us examine its ramifications.
Whereas a highly successful Kannada film YEJAMANA was seen in Tamilnadu/Andhra Pradesh in its dubbed form into Tamil/Telugu, if at all, original versions of Tamil film ROJA or Telugu film SAGARA SANGAMAM (for that matter every successful other-language-film) were shown here in Karnataka. In other words, those who would have otherwise had to be content with watching dubbed version of these movies in Kannada are enabled to watch original version of these great movies ROJA and SAGARA SANGAMAM in their pristine glory! In what manner interests of our artistes/technicians stand protected by this RULE of the Film Chamber is not clear.
CINEMA basically being an extremely powerful medium of communication, a well-made movie fails to confine itself to the narrow limitations of any particular language. Of all forms of publicity word-of-mouth mode is the best and most effective.
In other words, the second reason advanced for disallowing dubbing of other language films into Kannada that of serving Kannada cause has hardly any punch in it. A language grows from strength to strength through literary effort alone and certainly not through films. After all in which language was the film PUSHPAK VIMAN shot?
In short the ban on dubbing of other language films into Kannada, in the name of protecting the interests of Kannada artistes and technicians has proved counter-productive. On the other hand, this rule has willy-nilly resulted in providing a protected market to producers of Tamil/Telugu films for whom traditionally, Metropolitan City of Bangalore is clearly a territory in itself!
ON ORIGINALITY OF A SUBJECT
The imitation aspect is the sine qua non of any work of art. On the other hand if a subject has no semblance to reality, it fails to be appreciated by janata-Janardhan – the public. A theme is born in the mind of the author inspired by what one has consciously or unconsciously seen in life.
Whilst on the subject another very relevant question comes to the fore. When a thought/idea occurs does it happen in any particular language? Certainly not!! A thought appears in the form of an impulse. one needs to couch it words in order to put it across to others. Sathya Sai’s words in this regard carry conviction: Quote: Creation is Divine; Imitation is Art.
In fact even a so called original subject for all we know, the author may have been inspired by something he had seen or heard in real life. This being the case, a subject ought not to carry any language tag. Is it not therefore ridiculous to brand a subject as original Kannada or Tamil or any language for that matter?