A CASESTUDY OF DR. RAJKUMAR S MOVIES

Transcription

1 CHAPTER - V A CASESTUDY OF DR. RAJKUMAR S MOVIES Keeping in mind the huge number of movies Dr. Rajkumar acted, here some of the important movies will be discussed so as to outline the variety of characters which the legendary actor enacted showcasing acting talent and his contribution towards the growth of Kannada film industry. It is an irony that an individual who relied on acting to satisfy his hunger went on grow into an industry himself. To make it easier to read and comprehend, keeping in mind the sheer number of 207 movies, the movies have been categorized under, Mythological films, Historical films, Devotional films, Legends and Folklore based films, Films based on Kannada Novels, Social theme films, Bond style films. DEVOTIONAL MOVIES Bedara Kannappa(1954) was a landmark in Kannada film history and benchmark film in the annals of devotional theme films as already discussed. In Bhakta Vijaya (1956) one sees him enacting the role of Santoba, the devotee of lord Vittala. The core theme of the movie was how God sets several tests and tribulations upon his devotee, who eventually triumphs and becomes a much hardened devotee. This movie had numerous memorable songs celebrating devotion. It won the president s medal. Rajkumar and Pandari Bai, the lead actress both won the Film fare awards for the same. Ohileshwara (1956), revolves around a Prince who gives up his kingdom and riches as he is unable to overcome the miseries of those poor and unfortunate. He gives 132

2 up all worldly pleasures to serve the lepers and hence is called Ohila. This film was special for incorporating several Vachanas ( sayings) of the 12 th century saints. Dharmavijaya ( 1959), was about the triumph of righteousness above all else. Being an honest and upright person he rejects superstition and blind belief for which he is exiled by the King. After several miseries and acts of oppression, the King realizes his folly. Bhakta Kanakadasa( 1960) is a movie detailing the life of Karnataka s very own dasa poet. It traces as to how from a warrior, he becomes a mendicant in the process of a competition going sour and despising in seeking the affection of the woman whom he loves. He soon becomes the disciple of Vyasa Raya and becomes Haribhakta Kanakadasa. His composition are so rich and vast that they gained a classic status which are popular even today. According to popular legend seeking Keshava the lord, Kanakadasa reaches Udupi, where he is denied entry for having been born a Kuruba (Shepherd), a low caste. But his utter devotion prompts the Lord Krishna to turn around and create a hole in the wall of the temple, so that Kanakadasa gets to see the Lord. This hole is still present and is called Kanakana Kindi. Many of Kanakadasa s compositions are sung in the film. These composition are relevant even today, what with him imploring for greater stress on knowledge, breaking caste and communal barrier, espousing oneness of mankind etc. Kaiwara Mahatme 1961) is about Narayanappa from Kaiwara in Kolar, one who could predict the future. Having several miracles to his credit he is considered a legend. Bhakta Cheta (1961), was a movie about a cobbler who makes slippers for the poor brahmins who cannot afford them. Despite his service, poverty and hunger reigns large at his own home. This movie was quite rebellious in nature as the protagonist does 133

3 not willingly accept his humiliating and oppressive situation. He questions the restrictions placed by a brahminical order and the sovereign. He questions the oppressive and exploitative social controls. Interestingly his wife too questions the discrimination and injustice on the part of religious institutions and the King. Swarnagowri ( 1962) is a mythological film about Kalinga who sings in the court of Lord Shiva in Mount Kailasa. He is falsely accused by the celestial dancer Malini for which he is exiled to the earth. But the vindictive Malini seeks vengeance on earth too. But eventually the persistence and determination of his wife pays off and he is saved. Mahatma Kabir (1962) is about the poet- saint of India. Who is claimed by both Hindus and Muslims as belonging to their religion. Being a devotee of Lord Rama, his couplets (Dohas) reflect universal brotherhood. Incorporating Kabir s own 22 couplets, this movies sends across the message of oneness of religion, futility of claiming superiority of one religion over the other. Among the leading saints in the poet-saint category Santa Tukaram ( 1963) staunch devotion towards Lord Vittalla is deftly brought out by the mazing enactment of the same by Rajkumar. The poet saint belonged to Maharashtra. This has some soulful devotional songs. Continuing with the trend of playing the role of Dasa poets, Rajkumar comes up trumps in his performance of Purandaradasa in Navakoti Narayana ( 1964 ). The film graphically details the life of the distinguished poet saint of Karnataka, whose compositions have gained classic status in classical Carnatic music. The movie is about miserly Sreenivasa Nayaka known for his stingy ways. After divine intervention he realizes the folly of his approach towards life, poor and the lord. He then gives up 134

4 materialistic world, embraces austerity and moves from place to place singing hymns in the praise of the lord and philosophy of life in common man s language. Aadaddella Olithe aayithu ( All that has happened has happened for good), Manava Janma Doddadu being born a human is the best thing. Rajkumar plays the role of an atheist prince in Shivaratri Mahatme (1964). Blinded by his attraction to a danseuse he banishes his own parents and wife to the forest. The wife through her chasteness and devotion towards Lord Shiva makes him realize his mistakes, but by then he would have suffered enough miseries and lost his vision. Shivagange Mahatme (1964) is all about palace treachery by a corrupt minister, who gets the King played by Rajkumar married to a magical creature after having the queen and her infant prince banished to the jungles. The little prince Ashoka grows with the blessings and guidance of Shivagange and sets out to set things in order to regain his lost wealth and Kingdom. Mantralaya Mahatme (1966) is a movie where Rajkumar is at his best playing the role of the saint of whom he is an ardent devotee in real life too. This real life devotion is reflected overwhelmingly in reel- on screen life too. The movie is based on Swamy Raghavendra s life before he became a monk and subsequently a saint. Rajkumar was so much involved in the making of the movie that he lived a life of austerity, discipline and spirituality. He lived a satwik life throughout the making of the movie. Some of the songs, which are actually hymns have gained iconic status even today. For eg., Indu engae Govinda, where the devotee is beseeching the lord to permit him to worship him. This movie added a spiritual aura to the cine star s personality. The influence of the 135

5 movie was such that many of his fans believed Rajkuamr to be a manifestation of the saint himself and a messenger of God. Sati Sukanya (1967) revolves around young princess Sukanya who weds Sage Chyavana to rectify her mistake. The older sage s role is enacted by Rajkumar. The young princess during one of her sojourns in the forest accidently blinds the venerable sage, when she a pokes a twig into an ant hill, without realizing that inside the ant hill is the venerated sage himself deep in meditation. Feeling remorse she marries him to offer herself in service of her husband. Pleased by her dedication and faith the gods grant notonly his eyesight but also eternal youth. Bhakta Kumbara (1974) is another milestone in Rajkumar s film career as it is the first movie to be shot in colour. A role tailor made for Rajkumar is about Gora, a potter by profession, who happens to be an ardent of devotee of lord Panduranga. Perhaps the true devotee in him reflects on screen every time he performs the role of a devotee. His involvement has been so deep that one starts identifying himself with the real character he plays out. Such as been his emotional and spiritual display. Many hearts broke and many eyes go moist even today, particularly while watching him trample his own son unknowingly, when he is kneading the clay with his feet. Fortunately for him and the engrossed audience lord Panduranga blesses his devotee, after numerous tests. Interestingly after 15 years after the release of Bhakta Kumbara, Rajkumar acted again in a film based on Bedara Kannappa. But he enacted the role of Lord Shiva, And it was his son Shivraj Kumar who acted as Bedara Kannappa in Shiva Mechchida Kannappa (1988). 136

6 These above mentioned films belong to genre of Bhakti or devotion. His deep involvement in the roles brought out genuine devotion in front of the camera. As a result Bedara Kannappa, Bhakta Cheta, Bhakta Kumbara, Bhakta Kanakadasa, Raghavendra Swamy, Santa Tukaram are still etched in the cultural memory of Karnataka. LEGENDS AND FOLKLORE BASED MOVIES Folklores and legends give an enormous liberty to the story teller in capturing the imagination of the listener and watcher of the story. It is a surreal real world of imagination, colour, fantasy, magic, intrigue, witchcraft, sorcery, evil and the good. Though folklores are verbal narration of the local belief and culture there is plenty of opportunities for weaving a world of fantasy as it involves incidents bordering on miracles and supernatural. These genre movies have always indulged the fascinations of young and old. Sodari( 1955) was a story of brother and sister. Younger sister Hemavathi is married to the King of Devagiri, She returns to her brother, when their kingdom is struck by a famine, only to be harassed and troubled by her sister in-law. After few years she is finds freedom from her misery when her brother returns back after a prolonged battle. Rajkumar performed the role of the hapless king. Sati Nalayini (1955) is a regressive story of a devout wife who goes great lengths to nurse and cure her husband suffering from leprosy. The role of Nalayini was brought out by Pandari Bai and that of her leper husband Kaushikha was played by Rajkumar. Later she brings home a danseuse, who is smitten by her husband, to please him. Much later he is cursed by a furious sage to be beheaded before sunrise, the loyal wife goes out all the way through her devotion to stall the sunrise itself. 137

7 Rani Honnamma (1960), this is a total fantasy lore full of magic, witchcraft and evil magician. The hero goes through several weird incidents and as such the film fancies the young and children much more than anybody. Asha Sundari (1960) is again a fantasy ride with quite a few hair-raising special effects to showcase the element of magic. Gunasheela, a young man enacted by Rajkumar is in love with Hemavathi. But their happy life is turned topsy turvy when a celestial women, ( Gandharva Kanya) unleashes her magical power to bring untold misery in their life. Devasundari ( 1962), This movie again revolves around celestial beings and love. Rajkumar plays the role of Shankhapala a celestial being residing in the gods world, who falls in love with Devasundari another celestial being or Apsara. But unfortunately there is competition for Shankhapala in the guise of another young man who is in love with Devasundari. With numerous twists the movies ends on a happy note, with the underlying message that when it comes to respect and regard for divinity, the earthly beings have much more than the divine have for their own clan. Vidhivilasa released in 1962 has Rajkumar playing the role of Madhava Simha, who happens to be the son of an army general. The movie is all about how destiny plays the greater role rather the ultimate role even when pitched against magic and wizardry. Holathikote a short story penned by Govindamurthy Desai, which was published in Karmaveera, a weekly magazine much popular in North Karnataka, was made into a movie called Tejaswini in It is a beautiful love story highlighting caste issues. Rajkumar palys the role of Shivappa Nayaka in love with Ranganayaki, who belongs to a low caste. The couple in love go against the existing social order and walk into wedded 138

8 bliss. But their marriage which has upset caste structure raises a furore. Eventually Ranganayaki seeks the help of Nagaraja, the snake god to prove that caste and birth is not important but the character of the person is what matters. B Vittalacharya, who was very popular for magical and mythological movies, came out with another one in 1963, known as Veerakesari in It has Rajkumar has Narasimha, who raises an army to fight and expose the misdeeds of Shoorasena, the actions of whom has resulted in chaos in the kingdom. This movie has some melodious songs which are hummed even today. Enacting the role of Prachanda, a sage, Rajkumar dons the grease paint as the lead in Chandrakumara in It is a fatalistic movie, whose theme is all about destiny playing the main role in one s life. Here as Prachanda, rajkumar defies the astrological predictions of the astrologer Marthanda in numerous ways. But in the end he accepts that he cannot fight his fate or his destiny and accepts what is in store for him. Satishakti (1963) sees the thespian in dual roles. Rajkumar plays the role of identical twins, one a hermit another a magician, an evil one to boot. This fast paced movie is all about how the evil magician is taught a lesson by the devout woman. Nagapuja (1965) sees Rajkumar, a serpent prince born as a human. It is a story of love, rejection, revenge and triumph of good over evil. This movie stood out for the fact that for the first time the script revolved around a snake, who takes a human form to pursue the one whom she loves. The Nagakanya when spurned off love from the Naga prince enacted by Rajkumar, creates havoc in the lives of the two. But as in a large number of Indian films the movie ends on a happy note. 139

9 Rajkuamr plays Prince Chandrahasa and Leelavathi plays the role of Vishaya, the daughter of the evil minister Dushtabuddhi in the movie Chandrahasa, released in The movie is all about palace intrigues and manipulations which involves the murder of the King Medhavi by the evil minister Dushtabudhdhi. This leads to the young prince escape to the forest and grows up to be a young and valiant prince, enacted by Rajkumar, who woos the daughter Vishaya, the daughter of the wicked minister and marries her. In the end he regains his lost kingdom. In Katariveera (1966), we see Rajkumar playing the role of a brave young man, who saves the kingdom from the hands of an evil minister, who has been plotting to kill the king all the while. Here in the process of saving the kingdom the hero charms the princess too. It is interesting to note that the hero and a set number of people are believers in communist principles and claim the establishment of a regime based on communist ideology as panacea to all the evils the kingdom and the subjects are facing. We come across spells, enchantments, magic and curses in Balanagamma in Rajkumar plays the role of Balanagamma s husband, the King Karyavardhiraju. Karyavardhiraju s consort played by Kalpana is kidnappad by the evil minister Mayala Marathi Mantrika. Yes, as the name itself sounds the movie is all about magical world, the clash of evil and good and lastly the triumph of good over evil. The King is rendered into a stone when he tries saving his queen. As the story goes, numerous tests and tribulations which the king and queen go through results in a happy ending, with the king and queen ultimately getting back with each other. This movie is still a good example of how within a limited budget one could bring out the best special effects. 140

10 One beautiful maiden being sought by three young men becomes the crux of Madhumalathi, which was released in Madhumalathi, played by Bharati, is derived from Betala Panchavimashti, a 11 th century Sanskrit work consisting of 25 tales within a story about a fictional king, Raja Vikramaditya, written by Somadeva. Three men who are magician, an astrologer and a brave young man respectively seek the hands of Madhumalathi. Rajkumar dons the role of Trivikramasena, the role of a brave young man. A song composed by Rashtrakavi Kauvempu is one of the highlights of this movie. Rajashekhara (1967), is a sensitive portrayal of loyalty and fidelity above all else. Here Rajkumar enacts the role of a farmer, whose land is encroached upon by the princess of a neighbouring kingdom. Initially the hero is unable to identify the encroacher as she is in disguise of a man. When he realizes that it is a woman in disguise of a man, he treats her with outmost care and respect and plays up being a good host. Attracted and smitten by his chivalry and sensitivity the princess seeks his hand in marriage. But being the gentleman Rajkumar stands by the woman of his class and strata to whom he is already engaged. Rajadurgada Rahasya (1967) features Rajkumar again in a dual role. The legendary actor plays the role of identical twins who are princes. One wicked man s criminal game plans against the royal household brings in untold miseries on the royal family. But the twin princes go through lengths, fight against the evil person and his villanious plots to restore peace in the kingdom and restore the dignity of the royal family. In Devara Gedda Manava (1967), we see Rajkumar as a supernatural genius, who happens to defeat God in a game of dice and causes many supernatural things to occur. 141

11 Bhagyadevathe is a movie based on folklore on folk- goddess Kaadusiddamma. Rajkumar plays the role of a King, Chaduranga, who is married to Siddamma. The king is weak enough to be trapped into the palace intrigues and games of other queens, who plot against Siddamma, who happens to be his youngest consort. The youngest queen is banished to the forests. The children of Chaduranga and Siddamma eventually unite the parents when they grow up. Simhaswapna (1968) is the tale of two kings who are brothers ruling two different kingdoms, Dharmapuri and Simhapuri. The kings Dharmasimha and Rudrasimha are poles apart in nature, while Dharmasimha is an ideal king, who follows the values of justice and fairness, the latter is a vile king who is easy on the pleasures and luxuries of life. Rajkumar palys the role of a spy by name Manohara, who brings about the unity between the two brothers. Bahadur Gandu (1976) is a special filmas it is the first movie in the folklore genre to be picturised in colour. It is the tale of valour and bravery, where Rajkumar performing as Panju tames the arrogant and tyrannical princess Kamaladevi and her brother a prince, who would have terrorized the kingdom by they are tyrannical ruling. The tyrannical brother sister duo are upto treating their subjects like filth. Upon the intervention of Panju, the citizens heave a breath of relief and the prince and the princess are taught a fitting lesson. Two songs of this film are immensely popular even to this day and they are hummed on many celebrations and in many stage shows. Muthinantha maathondu gottenamma and Manavanaguveya illa danavanaguveya. Kavirathna Kalidasa ( 1983), is an extremely popular film of the acting legend. In this movie one gets to see the transformation of the actor from an unlettered, worldly 142

12 unwise, innocent shepherd boy to a great learned Sanskrit poet of his times, who happened to pen the historically famous poetic drama titled Abhijnana Shankunthala. Though the movie deviates from the original story, nevertheless it keeps the audience mesmerized with numerous twists in the plot and several hummable songs which are melodious and lilting. Conned into marrying a well- educated princess, who is told that the innocent shepherd man is an extremely well read and intelligent person. Upon knowing his true illiterate and ignorant ways she is heartbroken. Kalidasa played by Rajkumar, goes on to seek the boon of knowledge and intelligence through his deep and unshaking devotion towards goddess Saraswathi. Later he joins the court of king Bhoja and authors several poems and literary works. The movie is centered around the concept of play within a play, where we see the plot of Shakuntala also unfolding in front of us. Rajkumar plays both the role of Kalidasa who scripted the literary work of Abhijana Shankunthala and the lead character in the same play of that of Dushyanata. KANNADA LITERARY WORKS / NOVELS BASED FILMS Karuneye Kutumbada Kannu (1962) and Kulavadhu (1963), were based on novels Dharmadevathe and Kulavadhu respectively both written by Krishnamurthy Puranik. Tejaswini a movie released in 1962 was based on short story published in a monthly magazine called Karmaveera. Chandavalliya Thota (1964) was based on the novel written by T. R. Subba Rao or Tha.Ra.Su as he was popularly known, Toogudeepa (1966) was based on Sharathchandra Chatterji s novel. Sandhya Raga (1966) was based on A.N. Krishna Rao s work, the immensely popular Kannada writer, who is credited with the inception of progressive movement in Kannada literature. Arasukumar s play was adapted to a movie by name Bangarada Hoovu (1967). Chakratheertha (1967) again was penned by Tha.Ra.Su. Sarvamangala (1968) was written by Chaduranga. Noted 143

13 Kannada writer Triveni s novel was adapted into Hannele Chiguridaga (1968). Mallamma Pavada (1968) was based on B. Puttaswamaiah s novel. In 1969 there was Punarjanma, based on Tha. Ra.Su s novel. Uyyale (1969) was based on Chaduranga s work. M.N. Murthy and Meena s novel was made into Devara Makkalu in N. Pankaja s Barale Innu Yamune was adapted into its silver screen version and was named Sepayi Ramu (1972). The super hit Bangarada Manushya was the work of popular writer T. K. Rama Rao in M.N. Murthy s Swayamvara was based on M.N. Murthy s novel and was released in Popular writer Vani s novel formed the base of Eradu Kanasu (1974). Sampathige Sawal (1974) was based the play written by B.P. Dhuttaragi. A short story written by Ananda titled, Naanu Neenu Jodi was made into the popular movie Naa Ninna Mareyalare in Bharatisuta s novel was created on screen as Giri Kanye itself in Krishnamurthy Puranik s work was adapted into Sanadi Appanna in Writer Vani s novel Hosa Belaku was turned into a movie of the same name in Ashwini and Mrigathrishna s literary work was taken for cinematic presention as Kamanabillu in Chitralekha s Samayada Gombe came out in Vijay Sasnur novel was adapted into the movie Jwalamukhi in Again another novel by Vijay Sasnur was made into a movie by name Dhruvathare in H.R. Radhadevi s novel based film Anuragha Aralithu was released in Palaku Palaku Olavu written by Kumuda came out in screen avatar under the title of Shruti Seride in In 1992 was the year for Jeevana Chaitra based on the novel written by Vishalakshi Dakshinamurthy. Three novels of Tha. Ra.Su became the source for the storyline of Akasmika which was released in Shabdavedi released in the year 2000 was based on the novel written by Vijay Sasnur. Karuneye Kutumbada Kannu( 1962), is a movie about the stereotyped Indian wife who is always ever sacrificing and devoted to her husband and family. Due to her 144

14 unending martyrdom at the altar of righteousness, she becomes the symbol of Goddess of righteousness or Dharmadevathe. The role of a undeserving husband who loses his eyesight due to his erring ways and vices is essayed by Rajkumar and that of his devout wife, who nurses him back to health, enlightenment and his vision is played by actress Leelavathi Krishnamurthy Puranik s novel Kulavadhu was made into a movie in This movie is all about how a daughter-in-law is constantly harassed by her miserly and mean father-in-law for dowry. The daughter-in-law is eventually thrown out of the house. Post that the girl is determined enough to seek a college education and gain employment as a teacher. Later she becomes capable enough to clear her father s debt towards her dowry. This not only shames her father-in-law but also opens his eyes. This movie was inspiring on many fronts. It talked about the evils of dowry upfront, while at the same time it raised awareness about girl education and women empowerment. It has beautiful songs penned by noted writers of Kannada literature. V Seetharamaiah s poem, Bendre s ever popular poem on Ugadi, the Kannada new year and another of Govinda Pai s poem of Kannada comparing her to Mother goddess. Another immensely popular film of the cine star was Chandavalliya Thota, which was released in T. R Subbarao s work which was made into a movie has become a case study of clash of modernity and traditional society. The story set in Chandavalli, a village and is about the disintegration of a prominent joint family headed by Shivananje Gowda. His two children intend to go separate ways seeking division of assets and property. This leads to further discord casting a shadow over the future generations too, eventually disintegrating the whole family. 145

15 Sharathchandra Chatterji s novel was adapted into the famous Kannada movie Toogudeepa in An orphan boy falling in love with the daughter of the family which shelters him forms the core of the movie. Here the two lead characters, the male enacted by Rajkumar and the female character essayed by Leelavathi defy their elders to marry. As expected they have to face not only their family s wrath but also the society s. But in the end all ends well. This movie saw the debut of K.S.L. Swamy as the film s director and Srinivas, who essayed numerous negative and supporting roles after his launch, having become popular by the screen name of Toogudeepa as his first name. Sandhyaraga (1966), a beautiful films as its title itself suggests is a fantastic blend of cinematography, music and memorable acting. It is one of the best works of popular writer Anantha Krishna Murthy or A.Na.Kru as was his pen name. It brought many legends together. Purandaradasa s, G.V. Iyer s, R.N. Jayagopal s beautiful verses are sung by the stalwarts of Indian classical music such as Bhimsen Joshi and Balamuralikrishna, with the latter composing the music for the songs with classical background. The movie brought great laurels to the cast and crew in the form of state awards. Rajkumar got his first state award for best actor setting the stage for more such milestones to be set. The movie revolves around the life of two brothers, with one deeply in love with music and other brother who completely detests music. Music would have rendered the music affecionado brother pauper and incapable of saving his wife for want of medical treatment. Though, later in life, he scales greater heights in the music scene, he dies fully disappointed for not having his wife around despite the riches. Bangarada Hoovu (1967) was a fabulous movie regarding creating awareness about leprosy. Rajkumar dons the role of Anand, a boy belonging to an affluent family who sets out to the village after getting a government job. Here in the village he falls in 146

16 love with the innocent village belle Seetha, enacted by Kalpana. Their marriage hopes are shattered when Seetha is diagonised with leprosy. But the hero stands steadfast by his lady love and marries her after she is cured of leprosy. It surely worked towards demystifying superstitions and blind belief in leprosy and its ills. This movie was based on B.A Arasukumar s play of the same name. Tha.Ra.Su s novel is picked up again to deliver another beautiful movie, with the writer himself making his presence felt as an introducer of the cinema s plot in the beginning of the same. Rajkumar s performance is stupendous with the story happening between two families, with one being rich and the other being poor. How they face the problems and troubles which comes visiting the families is beautifully and deftly handled. This movie titled Chakratheertha was released in M Subramanyaraje Arasu popularly known as Chaduranga did an amazing job of adapting his novel into a movie titled Sarvamangala in He not only diected the movie but also penned the dialogues for it. It also has the noted poet K.S. Narasimhaswamy s poem as a song. Natraja, essayed by Rajkumar falls in love with his maternal uncle s daughter Sarvamangala. Upon being drafted into the army and posted to fight for the country during a war, Sarvamangala s greedy and miserly father marries her off to an old but extremely rich person. After the battle Nataraja comes back suffering from Tuberculosis, Sarvamangala nurses him back to health only to die of pneumonia. Triveni s popular novel Hannele Chiguridaga (1968 )was made into a movie of the same name. The movie is all about clash of generations, between a conservative elder order and progressive younger order within a family. Interestingly the movie highlights issues of widow remarriage, seeking respect for acting profession, which is 147

17 largely looked down upon and compared on par with flesh trade at times, especially if the person of focus happen to be an actress. Kuvempu s ever inspiring lines towards reaching one s aim, goals no matter what the obstacles found a wider audience when incorporated as a song, Nade Munde Nade Munde Nuggi Nade Munde ( Keeping walking, keep walking on to your goals) in Margadarshi (1969 ). The movie based on a novel penned by Tha.Ra.Su has Rajkumar performing the role of village boy who returns to his roots after completing his college education. When denied his fair share in property due to the mechanisms of his uncle, he surrenders himself towards the development of his village. This in turn makes him a role model not only on screen but in real life too it inspired many a youths not to look away from their rural roots but to stay on or return back and strive towards progress and development. In the end the scheming uncle realizes his folly and restores the property to the hero. Due to its inspiring theme and message which was and is still the need of the hour, and the riveting performances of the actors the movie won several awards. Noted director S.R. Puttanna Kanagal directed the legendary actor for the first time in Mallammana Pavada, which was released in (1969 ). This movie was based on a novel written by well -known novelist B. Puttaswamaiah. This movie saw the debut of Vajramuni, a wonderful actor who was largely stereotyped into playing villainous character throughout his career. The movie revolves around two protagonists a daughterin-law and mother-in-law, rather stepmother-in-law. It is all about how the stepmotherin-law, who happens to be the younger daughter of a village zamindar who constantly harasses her step son and his wife, and even declares him insane. Whereas she lets loose her own wicked son to torture the hapless, poor villagers. In the end the daughter-in-law 148

18 sets everything right, including the wayward son. The role of the abused son was performed by Rajkumar. Punarjanma ( 1969), another movie based on Tha.Ra.Su s novel, starred Rajkumar as a village Patel Chenna, who along with his wife are ever helpful to their village brethren. But the family goes through severe miseries due to continuous scheming of the village priest who is extremely jealous of their fortune and their popularity. But as it is in all Indian movies, the movie ends on a happy note with everything being restored in order. Besides, the novelist penned the dialogues for the movie too. Uyyale (1969) is categorized in the genre of experimental cinema. This movie was directed by N. Lakshminarayana, who had earlier directed Nandi which went on to win national awards. Rajkumar s performance was highly appreciated. And the movie also won awards. The story is about a young woman who confused by all the glamour, dazzle of the life of the rich people and their socializing and partying ways. She is confused between the high life and the normal regular life after the lime lights are out. Seeking to break loose from her orthodox upbringing she confuses the free materialistic life as liberty and liberating. Only the constant tugs of conscience and the negatives of a fast life keeps her introspecting. M.N. Murthy s novel Meena was adapted into Devara Makkalu, which was released in This movie is about two brothers, who are orphans, who are separated by twist of fate. It is all about how one grows up to be a young man of sound moral values and other a thief, an antisocial element. All ends well in the end when they are united. 149

19 Barale Innu Yamune a novel penned by N. Pankaja was made into a movie titled Sepayi Ramu( 1972), there are several first to this movie. It was the first Kannada movie to be shot in Chambal valley which was dreaded for being inhabited by the dreaded dacoits. It was the first of the literary works based movie of Rajkumar to be shot in colour. The story is a about a brave Indian soldier who is decorated with the highest gallantry award Param Vir Chakra only to transform into a criminal. Upon his return Ramu played by Rajkumar is devasted to find his younger sister dead after being raped. Before he seeks vengeance for his sister s death he is slapped with false murder charges. This lands him in jail as a convict. In the prison he comes across the dreaded Chambal dacoits. He joins hands with them and travels to Chambal only to lead them out of their criminal ways and reform them. Ultimately he has his revenge and surrenders himself before the law. Bangarada Manushya (1972)was a movie based on T.K. Rama Rao s novel. This was no simple movie. It created such a record that no other Kannada movie has been able to break it. The performance of Rajkumar is seen to be believed and cherished. And so are the movie songs which inspires the youth of Karnataka even today. Perhaps, it was one of a kind movie which brought out the elements of native India beautifully. The cinematic presentation of the rural side, the travails of being a poor farmer dependent on rain fed fortunes or misfortunes, the earthiness of a country life, the lilting songs which went on to inspire thousands if not millions of youth to look at farming and agriculture with respect and dignity, which westernization and urbanization had snatched away makes it an overwhelming experience, which no other Kannada movie has come closer to match in content or concept. 150

20 The story is about Rajiv, brilliantly essayed by Rajkumar, so much so that it makes one believe it was his own story on screen. Such was his involvement and dedication towards the role. When he arrives at his sister s village to save her family from poverty and deprivation, what he finds is a vast expanse of barren lands. Instead of giving up and moving on he stays put only to strive and struggle hard to turn the barren lands into green lands generating gold. But he runs short of his luck when his own nephews turn against him eyeing the now rich fertile lands generating huge revenue. Adding to his woes is the death of the girl whom he is in love with. Eventually he turns his back on the ungrateful relatives and leaves the village. This movie created cinematic history when it ran successfully for two long years. And has found pride of place among Kannadigas and Kannada film industry. It has infused confidence and self-esteem among numerous youth, especially the rural youth to hold the plough as amatter of pride and not as shame. The songs have amazing character of their own and have become part of Kannada culture. Aagadu endu, Kailaagadu endu( If ones says it is not possible and throws up one s hand in vain, nothing can happen). Nagu nagutha nali nali ene aagali( No matterwhat happens be positive, be happy and keep smiling). Hani hani goodidhare halla( little drops of water make a mighty ocean). Swayamvara (1973), was another deftly handled cinema of Rajkumar and actress Bharati. The story of the movie is derived by the novel of the same name written by M.N.Murthy. The movie was dedicated to Gubbi Veeranna. Rajkumar plays the role of a wrongly sentenced convict who is sentenced to death. Barathi, daughter of a rich man marries him out of convenience for want of property. The lead female character has no love lost for men, she resents them so much that she does not want to have anything to do with them. But her father s will makes it mandatory for her to marry or be deprived of her 151

21 inheritance. Though it is an eye wash wherein she marries Rajkumar who is sentenced to death, gradually she learns of his innocence and falls in love with him. The rest of the movie is all about how the hero is proved innocent eventually and they living a happily married life. Vani s beautiful drama was made into an extremely successful box office hit Earadu Kanasu in The film had all the right ingredients towards creating cinematic magic on screen. A fabulous cast including Rajkumar, Manjula, Kalpana, Ashwath, Avadani Lakshmi Devi, Jayashree etc. Directed by Dorai- Bhagawan duo, the movie is about Rajkumar who marries a woman of his parents choice suppressing his own love for another woman. Unable to consummate his marriage as he still yearns for his first lady love, neither he nor his wife are happy. Though the wife ties her best to win his heart, the hero comes around to accept hard reality when he is witness to his former lover leading a happy contented life with her husband and children. This jolts him out of his imaginary world to realize how cruel and hurting he was towards his loving and devout wife. The movie has some lovely romantic duets and numbers along with very memorable devotional songs. Here in this movie Rajkumar is found dressed in suits playing the role of a university professor. B.P. Duttaragi s, a well-known playwright from northern Karnataka, literary work was made into an immensely popular movie Sampaththige Saval in This movie had Rajkumar displaying his singing skills much to the delight of his ever growing fans. The song Yaare Koogadali oore horadali nanna nemmadige bangavilla ( Let anybody shout, scream, let the whole village fight me, that would not affect my peace of mind)and its picturisation sent the audience into raptures. The movie is about how a youngman 152

22 challenges his village s tyrannical landlord. In the process the arrogant landlord s daughter falls in love with the man who is up against his father. A young lover boy who unites with lost lady love, amazing scenic locales capturing the tea plantations, soulful songs with beautiful lyrics and lilting music score, racy motor cycle race against a fast speeding train, scary stunts not much seen in Kannada movies was brought in the movie Naa Ninna Mareyalaare based on V.R. Anand s short story titled Naanu Neenu Jodi. Released in 1976, the movie starred Rajkumar along with actress Lakshmi belonging to different strata of society. The young man belonging to a lower middle class is rejected by the affluent girl s mother. Much against the wishes the girl is married off to another rich guy only to be widowed in a short span. Much later when the young hero comes across a dejected, depressed and lifeless widow whom he once desired to marry is devastated. Much to the chargin of the society he goes all the way to convince her to marry him. After much pain and hurt the couple unite in the end. Again apart from a wonderful caste and acting there are wonderful songs which are popular even today. Bharatisuta s novel Girikanye was made into a movie which was released in Shot among the scenic locales of a tea estate, the movie revolves around the exploitation of the tea estate workers. Rajkumar dons the role of a an estate manager who arrives only to find the labourers being exploited and lady labourers being abused by a motley bunch of villains, who take undue advantage of the kind hearted owner of the tea plantation. The hero sets everything in order by exposing the villanious deeds and also stands by the labourer woman with whom he is in love. Gradually over the years with numerous films under the kitty one notices the music becoming another attraction point of all Rajkumar films. 153

23 Krishnamurthy Puranik s Sanadi Appanna when made into film saw another gem glistening in the form of Rajkumar s exemplary acting skills. Rajkumar rendered great justice to a poignant piece of literary work. Rajkumar essayed the role of Appanna with such elan that one is mesmerized to believe that in real life too he could play the Sanadi- Shehnai. This is beautiful movie about how society treats artistes who bring so much joy, but the social conditioning lets the people treat them with contempt. It is indeed an irony that people who give so much joy to others live such life of misery and sadness. As the title suggests Appanna is an exponent of Sanadi and falls in love with a danseuse enacted by actress Jayaprada. As he grows successful there are as many people who are jealous of him as much as there are who admire him. The couple are publicly humiliated for their inter-caste marriage, which results in his wife ending her life. Totally destroyed and hurt Appanna brings up his son single handedly without letting the shadow his dead wife s caste effect his son. But the son grows up into successful young man only to detest his father s profession and hide it. Eventually he starts ill-treating his father for his profession. A dejected Appanna walks away from home. In the end happiness come seeking him in the form of his grandson who loves both sanadi and his grandfather. The other plus point of the film other than Rajkumar s acting is the legendary Bismillah Khan s composition and rendering of the cinema s music. Rajkumar performs the role of a young man in love with his elder sister s step daughter, who is ill-treated by her step mother and the rest of the family. The hero s arrival and his affection instills a ray of hope in the harassed girl s life. The storyline of the movie Hosabelaku which saw the light of the day in 1982, was based on a novel of the same name written by noted writer Vani. As his earlier movies this movie too has wonderful music, notable is one of the popular numbers created around Rashtra Kavi 154

24 Kuvempu s poem, Teredide Mane O Ba Athithi, ( Oh my dear guest, please come in my house is open for you..) and other popular songs. A fast paced movie with numerous twists and turns, keeping the audeince on the edge was Jwalamukhi, movie based on Vijay Sasnur s novel in which Rajkumar performed convincingly as an investigative journalist. As a socially committed journalist the lead actor is out there to expose the evils and exploitation of the downtrodden and the marginalized. In return he is pursued by another woman journalist for her own professional growth and in turn she turns out be a police officer in disguise. A beautiful rendition of Kuvempu spoem Negila hidida holadolu hadutha uluva yogia nodalli ( Look at the saint who sings along while he ploughs the land!) by C Ashwath was one of the highlights of Kamanabillu ( A Rainbow), a movie derived from a novel named Mrigathrishna ( A Mirage) penned by Ashwini. The movie as Rajkumar rendering the role of Suri, a well educated village boy who returns to his roots and picks up farming. Though an equally well educated daughter of the zamindar of the same village falls in love with him, the hero chooses to marry a physically handicapped sister of his friend to lighten his burden and give a new life of hope. Chitralekha s novel was adapted into the movie Samyada Gombe, wherein we have Rajkumar essaying the role of a young boy who leaves home only to return, later, after many years in a different guise wherein he does not reveal his true identity. How this hidden fact leads to a series of mistaken identity forms the crux of the story. Vijay Sasnur s novel Dhruvathare when made into movie had the legendary actor in the role of a do-gooder who fights against society s injustice and evils. A self-taught artist Rajkumar essays the role of a principled young man who takes upon himself to 155

25 expose the evils of the villain Kalinga who in the guise of gentleman would be conning innocent villagers by trapping them in a never ending debt trap. How he successfully exposes Kalinga, despite being sent to jail on false charges makes up for the rest of the story. Anuraga Anthapura a novel written by H.G. Radhadevi was made into a movie titled Anuraga Aralithu in We see Rajkumar performing the role of a generous, good Samaritan ever willing to help the needy. Here upon saving the life of a rich man he is offered employment in the rich man s factory. Once settled he is uncomfortable with the pathetic conditions of the labourers and workers of the factory. Much to the chargin of the Fcatory owner s arrogant and strong headed daughter he sets to demand justice on behalf of the oppressed labourers. She plots a scheme wherein she expresses her desire to marry only to seek vengeance and humiliation of him. But at the end she falls for his honesty and integrity and the film ends on happy note. Aakasmika, Aparadhi and Parinama, these three novels of Tha.Ra.Su formed the base of one movie titled Aakasmika starring Geetha, Madhavi and Rajkumar which has the super hit song Huttidare Kannada Nadalli Hutta beku, mettidahare Kannada manna mettabeku ( If one is born, the land should be Kannada land, if one steps on soil that should be Kannada soil..). A song which no Rajyothsava celebration misses all over Karnataka. The movie as the title suggests has accidental incidents playing a significant role throughout. Donning the role of apolice officer who accidently encounters a mysterious woman, who disappears before he marries her. Much later the woman he marries passes away in an accident. Ironically he comes across the first lady love who disappeared mysteriously quite accidently again. How he rescues her from her tormentors makes up for the remaining story. 156

26 SPY FICTION GENRE OR BOND FILMS In the days of mythological, historical and social films a new genre or rather alien genre to the Kannada movie audience was offered. These movies were largely western themed films based on spies, espionage, suspense, murder, crime and mystery as the underlying theme. It introduced a whole new whole world of western sophistication in terms of storyline, costumes, body language and dialogue delivery. They were racy thrillers with Rajkumar sending his fans on adrenaline high. These genre movies in which Rajkumar acted showed how easily the legendary actor could take to characters which were alien to his culture and language. With him mouthing English dialogues in some scenes made him an wholesome actor for the Kannada audience. For all the above reasons Jedarabale (1968) is considered a landmark in Kannada film history. Rajkumar s character in spy fiction genre movies are largely based on the ever popular Hollywood character James Bond. After Jedarabale, there was Bangalore Mail in Followed by Dhumaketu in 1968, Goadalli CID 999 in 1968, Operation Jackpotnalli CID 999 in 1969, CID Rajanna in 1970, Operation Daimond Racket in There are movies in which Rajkumar the lead actor unravels the mystery, they are Trimurthy in 1975, Shankarguru in 1976 and Yarivanu in Except last three movies mentioned in this genre rest were in black and white. The first suspense film of Kannada film industry was Jedarabale, which came to be rightfully categorized under spy-fiction genre or Bond film genre as is commonly known. Never the one to hesitate to take upon a new characters, the ease at which Rajkumar sunk in the character wholly based on western films, dapperly dressed, using the latest weapons, driving fancy cars, wooing glamorous girls, cabaret dance numbers 157

27 was unthinkable for the kind of roles he was essaying till then, which mostly revolved around devotional, mythological, historical or social dramas. In Jedarabale or The spider s web, Rajkumar for the first time essayed the role of secret service agent working for the government of India. Known by the name of CID 999 he is assigned the task of unraveling the case of counterfeiting currency notes. With the help of his lady assistant Baby, agent CID 999 sets out to resolve the kidnapping of a retired police officer working at the Nasik mint by a gang of counterfeiters. It is no easy task as the criminals organization is a very complex system comparable to that of a spider s web. But the agent being exceptionally clever, intelligent and brave brings the culprits to book. Bhavanarayana s story forms the backdrop for another intense thriller Bangalore Mail. In this suspense thriller Rajkumar dons the role of a detective Shyamsundar and Narasimha Raju as his friend Balu. During the course of travelling in a train, Bangalore Mail, a murder occurs and Balu gets kidnapped by the ones responsible for the murder as he is a witness to it. Finding his kidnapped friend and solving the murder becomes the focus for detective Shyamsundar. This movie was shot in several other languages and released simultaneously. Dhoomaketu has Rajkumar donning the role of a detective again, who is assigned with the task of solving a murder case. But what happens enroute while resolving the case surprises the detective opening a can of worms. In the course of investigation he stumbles across various issues and incidents, all interconnected which exposes many a so called dignitaries and upright citizens, who are in fact criminals and antisocial elements, involved in smuggling and other illegal activities. 158

28 Goadalli CID 999 a sequel to the first saw the debut of talented actress Lakshmi. The story revolves around a genius scientist who has invented a rocket missile which has the capability to travel a distance of 200 kilometers. Enemies of the country kill the scientist and steal the rocket missile. They put a ransom demand, failure to be met is threatened with an attack on the national capital. CID 999 enters the scene when the earlier detectives sent to investigate the case are murdered. As is with the spy fiction movie, this movie too has a happy ending. Rajkumar comes back again as CID 999 in Operation Jackpot. This movie was a debut film of an actress of whom the nation is still in awe of- Rekha, daughter of popular Tamil actor Gemini Ganeshan started her movie career in Kannada film industry. An unusual story about a special binoculars sets the movie in motion. It is an unusual plot with the kidnapping of the scientist who invented this binoculars, which can actually identify winning horses in horse racing. Unscrupulous elements indulge in large scale rigging of the horse races with they being able to bet on winning horses and cheating thousands of people in the process. The government gets wind of this and sends a team of detectives to investigate only to find them murdered by the emboldened criminals. Of course Rajkamar as CID 999 is the last resort to resolve the issue. CID Rajanna is all about how an agent is successful in busting a gang of robbers and cold blooded murderers. A police inspector, a hippie, a servant, these are the numerous characters the thespian actor gets into unravel a murder mystery in Trimurthy which was released in

29 Shankarguru offers the legendary actor in triple role, as father and twin sons. The story is all about a mysterious disappearance of an upright police officer and the separation of his twin sons. Though not an out and out suspense film it was successful in keeping the viewers on edge, what with one twin enacting a character of a cheat and debauch man and the other as an honest and brave police officer. Some of the songs sent the younger audience into raptures. Continuing with their spy fiction genre Dorai- Bhagwan duo offered another detective lore after, Jedarabale, Goadalli CID 999, Operation Jackpot, titled Operation Daimond Racket. Here we find Rajkumar essaying the role of a detective who exposes those involved in black marketing at the cost of the poor hapless citizens. M.D. Sundar s story became the plot for Yaarivanu, which was shot entirely in Ooty. And the directors, of course, were the Dorai Bhagwan duo. This movie had Rajkumar s real son, Master Puneeth essaying the role of his reel son. The movie revolves around Rajkumar investigating the case of a heir being murdered to usurp his property. To unravel the truth and bring the culprits to book, the detective risks the life of his own son. But all ends well in the end, with murderers and cheats behind bars. SOCIAL THEME FILMS With acceptance of the cinema as means of communication on the part of the audience, the film makers gradually started experimenting with socially relevant themes. Questions about, societal values, structure, blind faith, superstition, discriminatory and oppressive social structure, corruption, the evils of dowry, alcoholism, environmental degradation were raised and left the audience disturbed. These movies upheld the importance of joint family, family values and bond in the crumbling times of modernity, 160

30 urbanization, industrialization and the deep impact they caused on rural population and their displacement. The clash between capitalistic industrial system and the organic rural system was brought out deftly. Here Rajkumar performing various roles was an education in being the ideal self, the ethical self. Rayara Sose (The daughter-in-law of a noble man,1957), Anna Tangi ( Brother and Sister, 1958), Abba Aa Hudugi ( Oh! What A girl!, 1959), Kantheredu Nodu ( Open your eyes and See, 1961), Galigopura ( Castle in the air,1962), Bhoodana ( The Gift of Land, 1962), Nandadeepa (1963), Anna Tangi (Brother and Sister, 1958) was about the deep bond shared between a brother and sister and the trials, tribulations, sacrifices and joys they share and go through in life. The story of Abba Aa Hudugi( Oh! What A girl!, 1959) was derived from two sources, primarily Shakespeare s Taming of the Shrew and popular drama Samsaranouke. The movie revolves around how an arrogant and hot headed girl is brought around by the acts and deeds of the hero in the movie. Kantheredu Nodu( Open your eyes and See, 1961) is a touching story of blind poet and his struggles. Rajkumar poignantly performed the role of a blind poet who pens beautiful soulful verses. A young woman falls in love with him and nurses him back to regain his vision. But once he is able to see the big bad world he is devastated to know that his poetry has already been published as works of someone else. The rest of the story is about how the plagiarist is found and ends on a happy note. Galigopura (Castle in the air,1962), is about a character named Govindaiah who gains riches and fortunes after his best friend s death. Enjoying the new found affluence he ignores the son of his dead friend and over indulges his own son, spoiling him in the 161

31 process. His castle built in the air comes crashing down when his own spoilt son ignores him and his friend s son, whom he had ignored and discriminated all along rescues him. Bhoodana (The Gift of Land, 1962), Three stalwarts of Kannada cinema of the 60s Rajkumar, Kalyan Kumar and Udaykumar come together for the first time with equal footage. This was, perhaps, one of a kind movie which paid an ode to Vinobha Bhave s Bhoodan movement. This movie held a harsh mirror to existing social order which could not be set right despite constitutional provisions regarding land reform. Feudal India saw to it that vast stretches of land were owned by a few people setting of an imbalance between landless labourers and land owners in country which then had more than 70% of its population dependent on agriculture for a living. Rajkumar essayed the role of Dasanna a poor landless agricultural labourer who dreams of owning his own land. He sees his dreams turning into a reality when the land reforms are set in motion. The village Zamindar s land is identified to be distributed among the landless. Dasanna s happiness knows no bounds when he becomes a beneficiary of the policy. His entire family puts their sweat and blood into raising a good harvest. But, happy times end there when the cunning Zamindar snatches back the land right at the time of harvest. This turn of events transforms Dasanna into a mental wreck and his children walking the path of religious conversion. This movie brought out the best of Rajkumar s acting as a marginalized, invisible labour force of the country. It also threw up the issue of religious conversion as a means of a better life in a rigid stratified society which proved less mobile for the population making up the lower order on the basis of the caste they were born into. Nandadeepa (The Eternal Lamp, 1963) this was special film for having won the president s special award. It also saw M.R. Vittal making a debut as a director for the first time with this movie. 162

32 Saakumagalu(The Foster Daughter, 1963) was based on E.R. Shanmugam s story about the sacrifices a foster daughter makes for the betterment of the family. Rajkumar plays the role of a happy go lucky man who is least bothered about anybody or anything in his life. It takes the sacrifices of his foster sister and the love of a another young woman to make him realize his folly. He gives up his fast and self-centered life for one that of a responsible and concerned brother. This movie was the debut of actress Kalpana as the foster sister around whom the entire movie revolves. Gowri (1963), saw the compositions of the legends of Kannada literature Kuvempu and K.S. Narasimhaswamy turned into memorable songs. The movie is about Gowri who sacrifices her family s happiness for the sake of another family s happiness. Adding to her miseries is her husband doubting her fidelity for her actions towards saving another family. But all ends well when he makes amends to rectify his grave mistakes. Kanyarathna (Gem of a Woman, 1963) was a complete package for female audience with beautiful songs with a story about two sisters who are all alone, having lost their parents. The crux of the movie is how they face the world with their head held high. Jeevana Taranga (The Ripple of Life, 1963) is all about how life brings one at different situations and circumstances in the life of three brothers. Malli Maduve ( The marriage of Malli, 1963). The story of this movie is how Rajkumar essays a role of person who teaches the local wily, cheating and wicked zamindar a lesson. Kalitharu Henne (Though Educated, she still a Woman, 1963) is a about welleducated woman who seeks happiness with her less educated husband, bowing before prevailing culture and traditions. The movie comes out with the underlying message that no matter how much educated a woman or how well employed she is, her place is always 163

33 in the family beside her husband. This movie was regressive but nevertheless turned out be a commercial success as it supported the prevailing societal norms. A father refuses to send his married daughter to her husband s home as he is less educated in comparison to his daughter. But it is his daughter who gives importance to socially accepted norms and customs and defies her father to move in with her husband Manamechchida Madadi ( The Beloved Wife, 1963), Here Rajkumar enacts the role of a village boy who goes to the city for a better and higher education and comes back to his roots after completing the same. He returns along with a urban wife, who admires him for his values and integrity and supports him in his cause of developing his village. The beautiful state anthem of Karnataka, penned by Rashtrakavi Kuvempu, Jaya Bharatha Jananiya Thanujathe, Jayaye Karnataka Mathe ( invoking the mother goddess of Karntaka) was incorporated as song for the first time in Kannada movies through this film In Thumbida Koda( The Perfect Person, 1964), Rajkumar essays the role of Ramachandra who is a medical student due to the goodwill of his father s best friend s generosity. Ramachandra father s best friend, a rich but very generous man seeks Ramachandra s hand in marriage with his own daughter Uma. He sponsors Ramchandra s expensive medical education hoping to have a son-in-law who is a doctor. But destiny holds something else when Ramachandra falls in love with his batch mate and marries her without informing his elders. Rest of the story is all about how Uma sacrifices her own happiness and lets Ramchandra lead a happy life with his wife. Muriyada Mane (The Unbroken House,1964), was a remake of successful Tamil movie Bhagapirivanai. It is about a large joint family were happiness reigns supreme but 164

34 for the sad fact that there is a member who is physically handicapped. But enters a woman who loves the same man despite his handicap and goes on to marry him and adds to the joy and happiness of the family. Prathigne (The Vow, 1964) sees Rajkumar essaying the role of doctor who serves poor and needy of his village and the surrounding villages. With tremendous sacrifices on the part of his parents results in Rajkumar becoming a doctor. But he forgets al the troubles and pain of his parents and happily settles down to wedded bliss in the city itself. Adding to the misery is the scheming mother-in-law of Rajkumar who manipulates the situation in her daughter s family, so much so that the lead actor is not in the know of how is father passes away for want of medical care and support. Circumstances force his own mother to work as a maid in his own house. That is when Rajkumar realizes the grave mistakes he has committed all along and sets down to rectify them. He moves base along with his mother and wife to his native village and sets up shop to provide medical service for the poor and needy. Naandi (The Beginning, 1964) was perhaps one of the finest and best performances of Rajkumar as an actor. This role went beyond his mythological, historical, devotional or bond roles. To understand the nuances of playing a husband to a deaf and dumb wife and a deaf son Rajkumar spent time in a school for the deaf and dumb before he went under the arch lights. A very poignant performance from Rajkumar, Kalpana, Harini, beautifully crafted by director N. Lakshminarayan touched the chords of normal and physically handicapped people. It won the national award and was the first south Indian film to be featured in London s Commonwealth Film Festival and Belgium film festival. 165

35 N. Lakshminarayan was no ordinary director, prior to Naandi he had directed a movie called Bliss. An experimental film seeking to find happiness in daily routine life, it was a silent movie and critically acclaimed. It was presented in San Francisco International Film festival in After Bliss and Naandi, he came out with Uyyale (swing), Abachurina Post office, a movie based on K.P. Poornachandra Tejaswi s short story of how the setting up of a post office in an obscure and isolated village brings about change and upheavals. Bettada Hoovu (Flower of the Mountain) etc. When foreign locales was the norm N.Lakshminarayan shot in real schools in and around Nandi Hills in Bangalore. An expert in sign language from Belgium Mary Baup was sought. N Lakshminarayan s imagination found form in the exemplary performance of Rajkumar, Kalpana and Harini. All long when the deaf and mute characters were mocked at, used as props for comic situations this movie was a real and genuine effort in bringing out the everyday living, struggles, trials and tribulations of differently challenged people in a sensitive manner. Naandi is a simple story with a deep and powerful impact on the senses of normal people and their very abnormal world. It would not be an irony if one were to say that it gave a voice to a silent community and it gave an opportunity to be heard. Naandi is a story of a common school teacher living blissfully with his family until tragedy strikes them in the form of his wife s death during child birth. His infant son is declared deaf. He remarries again, this time his wife is both deaf and dumb. Tragedy awaits them when his wife is unable to hear her son get accidently killed due to severe burns. To communicate with his wife and son Rajkumar would have taught them sign language and he also learns the same. Deeply heartbroken but undaunted by the death of 166

36 their son the determined couple decide to establish a school for the deaf and dumb children. Naandi, Kamoshi and Black are perhaps the only films which sensitively portray the everyday life of those differently challenged and the insensitiveness of the so called normal people and their social structures. Annapurna (1964), centered around a woman character played by the movie s producer Pandari Bai s sister Mynavathi. It is all about how the lead character faces the trial and struggles of her life in a determined way to find happiness ultimately. Vatsalya ( Affection, 1965), it was a remake of a hit movie in Tamil, Pasamalar which won the National award for best feature film in Tamil in This movie is about the deep bonding shared between a brother and sister. Rajkumar essays the role of an older brother who becomes everything for his sister after the death of their parents. After losing his job, reluctantly he takes up the money saved by his sister, who had earned it by making dolls, to start a business of his won. Later he is joined by his good friend seeking employment. But is aghast when he finds out that his friend and his sister are in love with each other. Finally he comes around to get them married and sets the tone for further casualities to come in the form of his friend s scheming aunt, who creates and widens the rift between brother and sister. Matters reach such an end that the brother and sister s families file litigations against each other. Years later when Rajkumar s wife moves abroad for further studies in medical sciences, he goes to see his sister only to lose his eyesight, when trying to save his niece. Only later his sister realizes the schemes of people around and tries to nurse her brother back to health, but by then her brother dies of a broken heart. 167

37 Ide Mahasudina (This is the most Auspicious Day, 1965), the movie is about how our actions determine our life, good actions beget good results and vice versa. The story revolves around how rich but arrogant finally pay for the negative actions. Bettada Huli (The Tiger of the Hills, 1965), the movie is centered around father and son, where the father is a bureaucrat of sound values and the son happens to a thief who actually joins of gang of thugs who operate in hilly terrains. For the first time a tiger named, Kamala, was used in the film. Maduve Maadi Nodu( Conduct a Marriage and then experience, 1965), A tear jerker which raises the issue of the evils of dowry system. The story revolves around a protagonist who goes through a lot of trouble to get her younger sister married as she is unable to meet the spiraling dowry demands. In Pathivratha (The Devout Wife, 1965) we have the cast led by Rajkumar and Harini bringing forth for the issue of prostitution and its evils. Living together in a joint family, misunderstandings and lastly resolution form the backdrop of Premamayi (The Loving Wife, 1966). Here we see how a brotherin-law adores and respects his elder brother s wife just as his own mother, but the arrival of his wife leads to the family s disintegration, with the brothers choosing to part ways. But all ends well with the numerous misunderstandings sorted out. Emme Thammanna (The Muff, 1966) is a movie about young men and the numerous funny situations and circumstances they find themselves as one is educated and the other is illiterate. A fully entertaining movie is Kiladi Ranga (The Smart Ranga, 1966). Here are two look a likes, one a thief and the other a prince. The theif f attempts to rob the palace on the day the wicked minister has plotted to have the prince murdered to usurp the kingdom. But the prince and the thief join hands and teach the Durjaya, the wicked minister a fitting lesson. 168

38 Lagnapatrike ( The Wedding Invitation, 1967), this hilarious movie has Rajkumar donning the role of a bachelor, who forms his band of brotherhood made up of bachelors who wow to remain single. They perceive marriage as an entrapment and rather be wedded to social service. But their conviction is shaken when their default leader Rajkumar falls for a woman while travelling in a train. Rest of the story follows as to how pre conceived notions are sorted out. Beedi Basavanna( Road Romeo, 1967) has Rajkumar as a way ward boy who does not care about anybody except himself. This changes when his parents are wronged by a rich but conceited man. He not only seeks revenge but also weds his daughter. Gandhinagar (1968), supposedly belongs among the best performance category of Rajkumar. Here he performs the role of one who is tested by a rich landlord, for he would be inheriting the latter s property. Manasakshi ( The Conscience, 1968) is all about how the main character enacted by Rajkumar turns a new leaf after his encounter with an innocent young girl, Gouri, who comes to the big bad city in search of her brother, but in the process gets robbed off all her money by Rajkumar. When he releases his mistake, along with the young girl s honest approach he wows to turn into a new person. But accidently he happens to be the cause of her brother s death because of which she is totally shattered. Post this development he takes upon himself to avenge her brother s death and happily settles into marital bliss later. The hundredth film in Dr. Rajkumar s career was Bhagyada Bagilu (The Doors of Fortune, 1968). So naturally this movie sent his fans into raptures all across the state. This movie was incidental in the making of the documentary, Natasaarvabhowma (Emperor among Actors) showcasing the life and times of the legendary actor. This 169

39 movie was about two young women who are in love with the same man. How such a situation leads to numerous twists and turns culminating in a happy climax forms the story line of the entire movie. Rajkumar dons the role of teacher,ranga, who comes to a village in Rowdy Ranganna ( (1968). He is a man of strong values and in fact turns out to be an upright citizen. But he is resented by many in the village, who are upset with positive changes occurring due to Ranga s efforts. As Ranga is not the one to tolerate injustice and nonsense and gives the anti-social elements in their coin, he is termed by the villainous men as Rowdy Ranga. Trying to find a good match for his sister, he is jailed on false charges. But this does not deter Ranga, instead his resolve becomes stronger to fight for justice, and this is exactly what he does after his release from the prison. All ends well with his sister getting married and she settling down happily. Directed by B.R. Panthulu, another gem of Kannada film industry, Amma ( Mother, 1968) is about how the main lead essayed by Rajkumar is torn between his own mother and his foster mother. The emotional turmoil he goes through, the dilemma he faces when he has to choose between the two is delicately portrayed by the thespian. After Mannina Maga ( The Son of the Soil), a movie about son of the soil which was released in 1968, we see a series of movies hitting the theatres all over Karnataka, they are Gandondu Hennaru ( One Man and six women), Choori Chikkanna ( Chikkanna, a dangerous man), Bhaleraja, (A wonderful man),chikkamma ( The Paternal Aunt) and Mayor Muthanna. Mayor Muthanna was a movie which showcased the acting caliber of Rajkumar once gain. Young unpretentious, hardworking and a honest village youth was Rajkumar 170

40 in the movie, who is banished from the village on false charges of stealing from the temple s offering locker. He lands up in the city only to find it tough and difficult to survive. As his is wont he fights for justice and against those who are anti-social elements. From a village youth to the saviour of the poor and feeble and on to becoming the Mayor of the city, Muthanna s character is deftly sketched and brought out beautiful, with both the mix of rural and urban life. This movie was the first directorial venture of Siddalingaiah and a first as a producer for actor Dwarkish. In 1970 we see eight films of the thespian being released. They are Karulina Kare ( The Call of the Soul), Hasiru Thorana ( The Green Bunting), Bhupatriranga ( The Clever One), Mister Rajkumar, Bhalejodi ( Ah! Wonderful Pair) here Rajkumar takes on a double role. Nanna Thamma (My Younger Brother), Baalu Belagithu. In Paropakari ( He Who Helps Others), Rajkumar shines as the eternal do gooder with the film s message and his value based character becoming extremely popular and influential. In fact in Nadina Bhagya ( Fortune of the Nation)we see Rajkumar not hesitating to make a guest appearance as a CBI officer. Among the nine movies released in 1971 Kasturi Nivasa, and Sakshatkara ( The Realization) stand out for outstanding work. Kasturi Nivasa stands out for its beautiful story line, memorable songs with lovely lyrics, excellent star cast and exemplary treatment of the storyline. The movie s excellence is understood in the fact that in 2014 when its digitally coloured version using a special digital enhancement technique, a first of its kind in India, was released it ran into packed houses in Karnataka. It was also very well accepted in United States of America. 171

41 The story, though simple, follows the ups and downs of an extremely affluent and generous man s downfall brings out the clash of tradition and modernity very subtly. RajKumar essays the role of Ravi Verma, who owns a match factory and is a widower, who has lost his child too. He identifies another young man, Chandru, who works in his factory for his talent and funds his education and training abroad. Upon his return Chandru suggests changing the way things are working, seeking to bring in modern elements of management and marketing. Ravi Verma strongly resents it. Chandru then opens his own factory, which results in the gradual downfall of Ravi Verma s factory and fortune. For the latter is also generous and philanthropist to the core. Besides Chandru has also married Ravi Verma s former secretary adding to his personal woes as he too loves her ut which he would not have expressed. When his finances start going down south his house is put for up auction, which Chandru wants to buy back for his mentor but Ravi Verma refuses. He dies of a broken heart when Chandru s little daughter yearns for Ravi Verma s dove, which he has already sold for want of money. The thought of not being in a position to provide for someone hits him hard and he breathes his last. Rajkumar s outstanding performance shadowed that of Sanjeev Kumar s in its hindi version,shandaar and Shivaji Ganeshan s in the Tamil version of Avanthan Manithan. Talking about Sakshathkara, it was coming together of a great director Puttanna Kanagal and the legendary actor Rajkumar which made it one among the best of the thought provoking movies. This movie had another special element to its credit, legendary Hindi actor Prithvi Raj Kapoor performed in the film too. The film highlights the negatives of superstitions and blind beliefs. It sensitively brings out the nuances of human psychology and behavior towards irrationality, especially when it comes to the issue of marriage and the subsequent tragic consequences which awaits those who believe and practice the same. 172

42 Bala Bandhana (The Bonds of Life), Kulagaurava ( The Honour of the Clan), Thaayidevaru (Divine Mother), Prathidwani ( The echo), Namma Samsara (Our Family), Kaasiddare Kailasa ( Money is God), Nyayave Devaru ( Justice is God ). Nyayave Devaru, directed by Siddalingaiah, has Rajkumar and B. Saroja Devi essaying the role of the main characters. The story revolves around how a former judge takes up a case for which he delivered the sentence years ago. When he realizes that his sentence has resulted in grave injustice by convicting an innocent woman, he sets out to correct his mistake and fight for the innocent woman saw six films of Rajkumar essaying different characters and emotions being released, they are as follows; Janmarahasya ( The birth-secret), Hrudayasangama ( The confluence of hearts), Kranthiveera ( The Revolutionary), Bhale Huchcha (Ah! The Mad Guy), Nandagokula (The Heavenly family). Devaru Kotta Thangi( God gifted sister), Bidugade (Freedom), Doorada Betta ( Distant hill), Gandhada Gudi ( The Temple of Sandalwood), these four films were released in Gandhada Gudi was a film which was fabulously grand and rich in scale showcasing the acting skills of two legends of Kannada cinema in the form of Rajkumar and Vishnuvardhan. It was also the thespian s 150 th movie. If Rajkumar was an established star already, Vishnuvardhan had already created waves with his debut movie Naagarahaavu. Gandhada Gudi was his third movie in which he essayed a negative character. The movie was a visual treat with excellent cinematography around Bandipur and Nagarhole national park. 173

43 The story revolves around Kumar ( Rajkumar ) who is posted as a Range forest officer, who upholds the cause of environment and natural resources, and is pitted against a poacher ( Vishnuvardhan). If one stands for protection of natural resources, the other stands by its decimation and destruction. Unknown to Kumar is the fact that the poacher Anand is his own brother, who has been kidnapped by his father s foe to seek revenge. Under the shadow of his wicked foster father Anand grows up as the very anti thesis to Kumar s ideals and values. Only in the end does both the brothers realize that they are brothers and Anand dies saving his mother. Never before was Karnataka s lush, virgin forest captured so beautifully. Power packed performances supported by powerful dialogues and superb songs make this an eternally popular film. Navaduva nudiye Kannada nudi, nudi chinnada nudi, sirigannada nudi, Naviruva thanave gandhada gudi andhada gudi chandhada gudi is one beautiful song which is an ode to Karnataka, its land, its heritage, its beauty and its language. Probably no other song captures Karnataka and its essence as beautifully as this song, which is still finds its pride of place when somebody thinks of Kannada. Bangarada Panjara ( The golden cage, 1974), Here once again we see amazing acting in two different modes of the super star one of a village bumpkin and the other of that of a sophisticated urban youth. Rajkumar as an infant is advised goat s milk for genetic disorder inherited through his mother. This results in him being raised by a shepherd couple in a far flung isolate village. Unkown to the ways of the city and urban living the young boy is taken in by his own family as a grown up young man. This results in major upheavals in the existing life of the both the son who is unable to adjust in his new environs and his family who had not expected to have a child totally opposite in sync with ways of their own. Not to talk of the pain his foster parents have to go through 174

44 for letting go of their only child. In the process of adjusting many an instance of inhuman behavior on the part of his siblings and relatives come to the fore. Though the treatment is comic, the movie subtly brings out the nuances of human behaviour and the underlying self-centeredness and greed in comparison to the collective approach and mutual love and respect for their brethren in the rural side. Daari tappida maga( The Prodigal son, 1975) is about the return of the prodigal son with Rajkumar enacting the role of both the father and son. In 1976 we see Premada Kanike (Gift of Love) and Raja Namma Raja ( Raja, Our own Raja). In Bhagyavantharu ( The Fortunate Ones, 1977) we see Rajkumar not hesitating to play father to grown up children, infact adults. A full family entertainer, Rajkumar dons the role of an extremely strict father who is high on discipline towards his children. But even then each child turns out be misguided by their scheming maternal grandaunt and other relatives who are ekeing a living by being parasites. He distances himself from the way ward children much against the wishes of his wife. But being the loving husband he gives in to her wishes of having her children close by when he learns that she is terminally ill. Olavu Geluvu ( Love s victory, 1977), Thaayige Thakka Maga ( The Worthy Son of a Proud Mother, 1978), Naanobba Kalla ( I am a thief, 1979). Ravichandra and Vasantha Geetha( The Song of the Spring, 1980), Haavina Hede ( The Serpent s Hood), Nee Nanna Gellalare ( You cannot win over me), Bhagyavantha ( The fortunate one), Keralida Simha (The enraged lion) in 1981are his other movies. In 1982 we see Haalu Jenu ( Milk and Honey), Chalisuva Modagalu (The Moving Clouds), the latter about a lawyer couple who find themselves at the wrong side of a legal argument where the 175

45 husband defends his former lady love who is in the dock as she is accused of murdering her husband. How the particular murder case and its prosecution creates a rift between husband and wife forms the rest of the story. In 1984 we see the release of Apoorva Sangama ( Unique Meeting), Sharavana Banthu ( The Month of Sharavana is here), Ade Kannu (The same eyes, 1985), Bhagyada Lakshmi Baramma ( Goddess of Fortune please come) and Guri (Aim) in 1986, Ondu Muthina Kathe ( The story of a pearl, 1987), Devathamanushya ( The Divine Person, 1988), Parashuram (1989). In 1994 we see the coming together of Ambareesh and Rajkumar in Oda Huttidavaru( The One s Born Together). Sharavana Banthu was a box office hit in 1984 starring Rajkumar, Srinath and actress Urvashi. The movie was a romantic melodrama with reincarnation as the main theme. The lead actors are born again to fall in love again as they have been killed in their previous life for defying their elders. The songs of the same are still extremely popular. Special mention is mandatory about Shankar Nag s directorial venture, Ondu Muthina Kathe ( The Story of a Pearl, 1987) for this movie achieved cult classic status in the history of Kannada cinema. It was the first Indian movie to be shot underwater in Maldives***. The storyline largely derived from John Steinbeck s The Pearl was a made into a brilliant movie by its equally brilliant director Shankar Nag. This movie stood out for its technical brilliance and technical superiority among the movies shot in the 1980s. Though not a commercial success as Rajkumar s other movies, the thespian s brilliant performance put to shame many young actors, as the role was extremely demanding due it being physically daunting and taxing. 176

46 Devathamanushya (1988) showcased Rajkumar as a humble driver Krishna, working for a business tycoon. He is then falsely accused of stealing a golden statue of a goddess. The rest of the movie is about how he works towards clearing his name by bringing the real culprits to book. The thespian won the state award for best actor. Odahuttidavaru was released in 1994 brought two veteran stalwarts of Kannada cinema, Dr. Rajkumar and Ambareesh. This movie again won him another State award for best actor. A story of two brothers belonging to a land owning family brought out the joys and pains of living in an undivided family. One mentions pain, as there is lot of hurt, agony and pain caused by external factors who enjoy the rift between the two godly brothers. The rest of the movie is all about how the misunderstandings are cleared and they are back to living together under the same roof. This movie was super hit for it struck a chord both among the urban Kannadigas and the largely rural Kannadigas, for it was an earthy movie set in the rural surroundings, with farming as the core occupation. FILMS BASED ON MYTHOLOGIES In Bhookailasa (1958) Rajkumar essayed the role of lord Ravana so convincingly that for once people were able to see beyond the manufactured stereotype of a demon king who has always been portrayed as a barbaric, brutal, womanizing and tyrant king. Ravana was supposedly an extremely intelligent and able king. In fact his eleven heads symbolize intelligence and intellect and not some barbaric physical deformity. Bhookailasa stood out for its treatment and performances. Many a people were so enamoured by the thespian s acting that they had a relook at the projection of Ravana throughout mythology and history. They were able to admire certain qualities in him. The 177

47 story is how Ravana pleases lord Shiva so as to be blessed by an atmalinga from the lord himself for Ravana s mother. Shri Krishna Gaarudi (1958) is based on the relationship between two mythological but popular characters in India, Bhima and Arjuna. The movie was based on the story written by Bellave Narasimha Shastry. B.N.Shastry had written the script for Kannada s first movie Sati Sulochana. Rajkumar essayed the role of Arjuna, in a story where both brothers Bhima and Arjuna boost their respective egos to such an extent that they forget they are brothers and noble men. Lord Krishna is forced to intervene to manage and stabilize the situation between great and powerful men in Indian mythological history. Mahishasuramardini (1959), having been drilled and trained in the art of melodrama Rajkumar excelled in mythological roles. This movie celebrates the eternal theme of triumph of truth and justice. Rajkumar essayed the role of the demon king Mahisha with great elan. Due to his devoted penance lord Brahma grants him a divine boon which makes him a much ruthless monster creating terror both on earth and in the celestial world. Unable to manage such a reckless monster who is drunk in his own power, the trinity Hindu religion, Brahma, Vishnu and Maheshwara create a reincarnation of Goddess Shakti in the form of Chamundeshwari. Chamundeshwari becomes the nemesis of the demon king and saves the whole world. In Dashavatara ( 1960) we see Rajkumar essaying the role of three different demon kings- Hiranyakashipu, Ravana and Shishupala. The story is about the ten incarnations the lord Vishnu takes on for the good and betterment of the world. 178

48 Shrishaila Mahatme ( The sacred saga of Shrishaila, 1961) is a saga of Parvathi, who takes birth on earth as she cursed by the furious sage Durvasa. The seemingly endless torture and harassment which is supposedly part of the curse make Parvathi s life a living hell on the earth. Adding to her woes his her foster father, who lusts for her. To escape from all the human misery she turns to lord Shiva, upon which see is free of her curse. Nagarjuna (The brave son of Arjuna, 1961) is a wonderful saga of the clash between father and son. Deriving the concept from Mahabharatha the great Indian epic, the story revolves around Arjuna who is banished to the forest for interrupting the privacy the of his elder brother Yudhishtira and Draupadi. As a mark of repentance Arjuna spends considerable time living in the forests where he falls in love with the Naga princess Uloochi. Once he returns back to civilization he forgets his wife, who is left to take care of her son Nagarjuna. Nagarjuna grows up seeking justice for himself and his mother only to be slain by his own father, when both of them have a face off. This movie was directed by Y.V. Murhty, who had also directed Kannada s first movie Sati Sulochana. The hunter who turned a new leaf to become a sage and who penned, perhaps, India s first epic in Sanskrit forms the background of Valmiki which was released in Rajkumar essayed the role of sage Valmiki. Shri Ramanjaneya Yuddha ( The battle of Sri Rama and Anjaneya, 1963) as the title suggests the movie is about celestial clash between lord Rama and lord Anjaneya. Rajkumar essayed the role of lord Rama. 179

49 For Kannadigas or anybody who watch Kannada movies when the topic of Satya Harishchandra is raised the image which passes in front of them is that of Rajkumar. Such was the performance, influence and impact of the role that even today after five decades after its release Rajkumar has become synonymous with the character. In Satya Harishchandra (1965) Rajkumar essayed the role of king Harishchandra Rajkumar essayed the role of Narada in Mahasati Anasuya (1965). He takes on the role of an arbitrator when an argument ensues between the consorts of the Trinity, the three lords in Hindu religion- Brahma, Vishnu and Maheshwara. Saraswathi, Lakshmi and Parvathi end up in a serious argument among themselves as to who among them is the most chaste wife. They are unwilling to accept that none of them are, as an earthling by name Anasuya is supposedly the most chaste woman. Hearing this all three goddesses come down to earth to verify it themselves. They are forced to accept defeat when they realize that they are no match to Anasuya. In Sati Savitri ( 1965), we have Rajkumar enacting the role of Satyavan, the husband of a devout and chaste woman Savithri. It is a story of how a pious wife fights destiny and fights the god of death to seek back the life of her young husband. Savithri s husband is destined to die very young but the determined Savithri brings back her husband from the very doors of Lord Yama, The god of death and is in turn blessed by him. Mohini Bhasmasura (1966) showcases Rajkumar in the role of Bhasmasura. Bhasmasura is a demon king who by his sheer penance and devotion is blessed with the boon from lord Shiva, wherein just by a mere placing of his hand on anybody s head he could reduce them to ashes. Once blessed and armoured with this boon Bhasmasura 180

50 becomes reckless and creates utter chaos and terror. Finally he is subdued by his own method. Lord Vishnu takes the form of Mohini an enchantress to seduce the demon king. Mohini uses the same method as the demon king and reduces him to ashes by placing her hand on his head. As usual Rajkumar delivered a fabulous performance. In Sri Kannikaparameshwari kathe ( The story of Sri Kannika Parameshwari, 1967) Rajkumar and Kalpana essay the role of lead characters, with the latter being goddess Parvathi in human form. When she is lusted after by a wicked man, she seeks to die by fire rather than being violated. Parvati Kalyana (The Wedding of Parvati (1967) is all about the slaying of the evil kings Daksha, Tarakasura and lord Ganesha s birth. Along with actresses Bharati and Leelavathi essaying the role of Ganga and Gowri, Rajkumar essayed the role of lord Shiva in Gange Gowri (1967). When the gods realize that piety, devotion, faith etc have been largely ignored and neglected over the years. They decide to walk the earth, so as to revive, awaken and enlighten the humans from their mundane and self- centered existence towards a life of religious piety and spirituality. The story is how the trio go about their task. In Mahasathi Arundhati (1968) Rajkumar plays the role of sage Vashishta. The story is about sage Vashishta and his wife Arudhathi and their approach towards untouchability. Shri Krishna Rukmini Stayabhama (1971) here Rajkumar enacts the role of Lord Krishna sought by two wives, Radha and Satyambhama. Ultimately it is Ruknini who wins over Krishna. The story of Mooruvare Vajragalu (1973) is derived from Vishnupurana centered around Duryodhana, Bheema and Kritivarma. Rajkumar essays two roles, one that of lord Krishna and the other that of Narada. 181

51 The first mythological movie to be shot in colour was Sri Sirnivasa Kalyana( Lord Srinivasa s wedding,1974). The story is about Lord Vishnu who descends to earth settle his debts which he had incurred during his time as Lord Rama. Lord Rama is considered one among the ten avatars or reincarnations of lord Vishnu, the creator in Hindu pantheon. Next is his marriage with Padmavathi, which upsets his another wife Goddess Lakshmi, but eventually all ends well. In Babruvahana ( 1977) Rajkumar essays the dual role of both Arjuna and his son Babruvahana here. It is a tale of conflict between Arjuna and yet another son of a wife forgotten. During his exile while he spent time in the forests of Manipura Arjuna marries the princess of Manipura, Chitrangada. After he is back to his kingdom he forgets his wife and son. When Arjuna follows the chosen horse or Ashwa under the Ashwamedha yaga, it is stopped by Babruvahana, the prince of Manipura. Thus unknown to both of them that they are father and son a duel ensues between the two and the son slays his father with an arrow. Upon realizing the true identity of Arjuna, with the help of lord Krishna Babruvahana brings his father back to life. The performance of the thespian both as father and son is exemplary. Bhakta Prahlada( DevoteePrahlada, 1983) is lovely narration of the clash between father and son. Father Hiranyakashipu is a demon king has an intense hatred for lord Vishnu as he was the cause of his brother Hiranyaksha s death. He desires to seek vengeance by gaining immortality by deep penance. Lord Brahma refuses the boon but grants him another boon, which renders Hiranyakashipu almost immortal. For as per his wish, he can neither be killed inside or outside the house, neither by an animal nor human, nor during the day nor night, can neither be killed in the sky or on earth. Upon been granted the boon, there is no competition for the asura king and his tyranny reigns. 182

52 But unknown to him, his own son grows up to be an ardent devotee of lord Vishnu. His son Prahalada grows up under the shadow of sage Narada, as he would have sheltered his mother when the gods would have invaded Hiranyakshipu s kingdom during his absence owing to his penance. Growing up under the watchful eyeof the godly Narada has a deep influence and devotes himself to Vishnu. With utter disdain towards his son for his immense faith in lord Vishnu, the king tries in numerous ways to have his son killed for his son refuses to acknowledge him as the supreme being. The rest of the narrative is all about how the tyrant and arrogant demon king is slain by the lord himself. HISTORICAL THEME MOVIES The historical theme based movies, though eight in number, have created history moving beyond the numbers. Jagajyothi Basaveshwara ( The Light of the World Basaveshwara), Ranadheera Kanteerava ( The Brave King Kanteerava, 1960), Kitturu Chennamma ( Chennamma, The Queen of Kittur, 1961), Sarvagnamurthi ( Sarvgna, 1965), Immadi Pulakeshi ( Pulakeshi II, 1967), Sri Krishna Devaraya ( King Krishnadevaraya 1970), Mayura (1975) and lastly Huliya Haalina Mevu ( The food of Tiger s milk, 1979). In Jagajyothi Basaveshwara Rajkumar played king Bijjala whereas Honnappa Bhagawathar essayed the role of Basavanna. He performed the role of the king who shelters the 11 th century social reformer Basavanna, who questions the rigid caste based discriminatory social structure and the then prevailing religious institutions which upheld discrimination and marginalization of a large section of society. Ranadheera Kanteerava (1960) was no ordinary movie. The ailing film industry received a tremendous boost with this cinematic venture. Besides this was a movie in 183

53 which Rajkumar essayed the role of a full-fledged lead actor in a historical film as he played the role of the title character. The story of this movie was a derived from the life of real king Narasaraja Wodeyar, popularly known by the title Ranadheera Kanteerava. Though there are instances of cinematic liberty at work, never the less the movie finds a pride of place for glorifying the cause of Karnataka history and heritage. How he battles the sultan of Bijapur, Ranamalla Khan, how he defeats Tiruchirapally s wrestling icon, the role of the beautiful danseuse Doddi, the unsuccessful conspiracy to get him murdered makes for a rich canvas of moving images creating dramatic presentation of one aspect of Karnataka s history. Though B Saroja Devi gave a stupendous performance as the queen of Kittur, Chennamma, in Kitturu Chennamma (1961), Rajkumar performed no less as the king Mallasarja. The regality with which Rajkumar performed still makes this movie one of the popular ones in this genre. The thespian performed the role of Sarvagna with great elan in Sarvagnamurthi ( Sarvgna, 1965). Sarvagna was a poet in the medieval times, known for his vachanas, a form of writing which is about philosophy, spirituality and life in triplets. He is called so for there is no field or sector upon which Sarvagna has not dwelled upon. Several of Sarvagna s vachanas have been included in this movie. Immadi Pulakeshi (1967) saw the legendary star enacting the role of the Chalukyan king, Immadi Pulakeshi or Pulakeshi II. The movie revolves around Pulakeshi II and his younger brother Vishnuvardhana and the misunderstandings created by their uncles for personal gains, which results in the brothers parting ways. But eventually they come around due to maturity and the magnanimity of the king. Rest of the movie is all 184

54 about the numerous conquests and defeats he inflicts on the Kadambas, Mauryas, king Harshavardhana leading to massive expansion of the land of Kannada. Sri Krishnadevaraya was the first Kannada movie to be shot in colour. It was also the first Kannada movie to be shot on a very grand scale for they had to recreate the era of the Vijyanagara kingdom, which in recorded history was a kingdom with its capital s streets paved with precious gems and stones. Rajkumar s sterling performance as Sri Krishnadevara added much to the glory of Vijayanagara empire. This movie added more to the pride of Karnataka and its history. The movie Mayura is an amazing visual treat with its grand settings, opulence, epic battle scenes and intense drama. The movie is largely based on Devudu Narasimha Shastri s novel,was successful in recreating the rich history of Karnataka during the reign of Kadambas. The movie traces the life and times of Mayura, who as a baby is smuggled out of the palace with his mother when he father is killed due to conspiracy staged by a Pallava prince with the help of treacherous elements in the palace. To protect him the young prince, his identity is hidden and is brought up as a Brahmin boy. On learning his true identity Mayura sets out to claim his kingdom and destiny by defeating the Pallavas. The movie s palace scenes were largely shot in the famous Mysore palace. And the famous song Naaniruvude nimagagi ( I am there only for you all) addressing his subjects has gained cult status among his diehard fans. It s impact is such that the fans believe it is their star communicating to them rather than a king to his subjects in the movie. And lastly Huliya Haalina Mevu (1979). Here Rajkumar essays the role of Changumani, the bodyguard of Kodava king Dodda Veerappa Prabhu. Here the movie 185

55 revolves around the exploits of the brave and daring Changumani and his romantic encounters with two beautiful ladies. The above list of movies in which Dr. Rajkumar has performed showcases the versatility of the actor in enacting varied roles covering all genres. There are criticisms about the issue of the thespian s transformation into a superstar due to lack of formidable competition from other actors. Competition or no competition we need to understand as an actor he was able to do justice for the diverse roles he was offered. Starting with Bedara Kannappa in 1954, it was another six years where he was able to perform as the important lead of a movie. Films being extensions of stage plays all the characters were given equal importance irrespective of who essayed the role of the King, queen soldier or attendant. The story and content was important. Actors were assigned roles as per their looks, physique, acting skills and signing talents. The dramas and plays in turn were an extension of mythology, history, folklore and ballads, one had to have the skills to memorize long dialogues and sing many a songs and poems live. The actors on stage and backstage artists were to work in in tandem and with sync. Unlike cinema industry which was based on technology, specialization and compartmentalization became the norm. Besides passion was being replaced by economics of profit and loss. So from an ensemble cast, the movies went on to become male lead actor centric and by the 1980s the movies became star centric, i.e., the movies were tailor made keeping in mind the image of an actor as a super star. Ranadheera Kanteerava was the first in 1960 which had Dr. Rajkumar has the focus of the movie. Everybody else, every character played subordinate to the lead actor. This was the beginning of the making of the super star. And it was not that he grew into an star over night with his first release which was a stupendous hit, changing the course 186

56 of Kannada film industry. The movies after Bedara Kannappa had him performing the role of the brother, king etc who were not pivotal to the story line. And he was not showered with roles. Coming from the humble and stage background, acting being the source of bread and butter he did not hesitate to perform any role that was offered. It took two decades for the actor to be considered as a star, as star material who could bring in profits and generate profits. Despite not being representative of Karnataka as a whole, The movies of Rajkumar did boost and consolidate unification movement. A movement without continuous reference factors, representative factors, identifying factors cannot sustain itself in the long run. Kannada films became a point of reference, it became representative solely on the basis of language. Cinema being the most powerful medium brought the people together and he with his diverse roles was able to convey what the poets and laureates had envisioned for Karnataka. Besides Dr. Rajkumar did not allow himself to be stereotyped, instead he played numerous roles representing different phases, situations of life. Unlike many other contemporaries he did not resort to gimmicks or patented gestures and body language. His simple, humble, no vices on screen was just an extension of his real life persona. This helped in his growth and acceptance as a cultural representative and icon when there was none. It is interesting to note that when it came to gender, in his later decades as a super star, his role largely turns paternalistic even with his onscreen female partner, either a girlfriend, fiancée or wife. He reprimands them as would a father. Thus upholding and consolidating the culture and values of a patriarchal society, especially in the realm of gender relations.. At the same time he was part of the change in the mental shift of the society when he performed roles of the marginalized, as a Dalit farmer, as a shepherd, as a blacksmith, as hunter, as a fisherman. Those who mocked and 187

57 looked down upon them became the audience along with those who mocked at. Thus questioning and opening up minds and creating grounds for discourse on discriminations. Kannada, the idea of Kannada, symbols of Kannada and Karnataka as in the sandalwood, the different regions, the rivers, especially Cauvery, Kannada-ness, Kannada as a characteristic, Kannada as a mother have found repeat recollective value in the form of songs. When the movies cannot be watched, the songs, which are part of heard memories, helps retain and repeat the images. As a consolidating and sustaining factor songs have a lasting impact. The following few, but immensely popular songs on Kannada nationalism illustrates this very factor. 1. Nannee Pranadane intha nelava nakaane, Nanna Kannada seve ade guri ennuve, Ee dina maja kandenu nija adenu raja (Devaramakkalu) I swear on my life, I have not seen such a land, My goal is to serve Kannada, I have found pleasure today, Its true Raja 2. Shri Gandha seemeya tangaliyante / Bangara bhoomiya hombalinante / punya purushara ithihasadanthe / Kannada Janara Oudharyadhante / Janma janmada anubandha hridaya hridayagala premanubandha (Sakshathkara) Like the cool breeze from the borders of sandalwood trees, like the bright life of the land of gold, like the history of pious men, like the magnanimity of the Kannada people, is our bond of love, the bond of hearts over many births 3. Ee malenadina bhuramai shringara / Cheluvina Oluvina Sakshathkara (Sakshathkara) 188

58 The beautiful decoration of the land of Malenadu, The realization of beauty and love 4 Kashmirada Giniye neeballeyene/ Kannada nadinda bandavanu nane/ Nanado nudi ella saviyada jene/ Nammura jana chanda / nammura Nudi Chanda/ Nammura Nudi You parrot from Kashmir do you know/ I have come from the land of Kannada/ all words I speak are as sweet as honey/ The people of my land are good/ the language of my land is good/ the language of my land is good 5. Nadinolage nadu cheluva kannada nadu / belli bangara belithava sutha kadu/sharavathi kannada nada Bhagirathi ( Jeevana Chaithra) Among all the lands, the beautiful land is ours/ the forests around grow gold and silver/ Sharavathi is the Bhagirathi of Kannada land. 6. Huttidhare Kannada nadalli Huttabeku / Mettidhare Kannada manna Metta Beku /. Kavyakke Kalpa idu / Shilpakke Talpa idu / Natyakke Naadi Idu / Nadantharangavidu / kuvempu bendreinda Karanth Masati inda dhanyavee Kannada / Kasturi Kannada..( Aksmika) If one is born, the land should be Kannada land, if one steps on soil that should be Kannada soil It is the muse of for poetry/ It is the boon for sculpture / It is the nerve for dance / It is the inner voice/ Kannada, the fragrant Kannada is blessed by Kevempu, Bendre, Karanth, Masti. 7. Jenina holeyo haalina maleyo Sudheyo Kannada savi nudiyo / Vaniya veeneya swara madhuryavo sumadhura sundhara nudiyo /..Kavinudi kogile hadidha hage savinudi thannane galiya hage / olivine mathugaladuthiralu/ mallige hoogalu 189

59 aralida hage / makkalu nudidhare sakkarayenthe / Akkare nudigalu muththugalanthe / preethiya neethiya mathugalella sumudhara sundara nudiyo/ (Chelisuva Modagalu) The Kannada language is as sweet as a stream of honey, as a shower of milk/ The language is like as melodious as goddess Vani s (Saraswathi) Veena s rhythm, beautiful and very beautiful language/ As beautiful as a poetry sung by the nightingale, as cool as a lovely breeze/ words of love/ like the blossoming of jasmine flowers/ when children speak it is like sugar/ affectionate words sound like pearls/ all the words of love, morals is very beautiful and sweet. 8. Ah Aha E Ee Kannada akshara maale / Amma yembude Kandana karulina kareyole /..Onde thayiya makkalu navu ondugudabeku/ odalu kalitu deshada sevege nillabeku / A Ah E Ee Kannada alphabets/ Amma (mother) is a child s call from the bottom of the heart We are children of one mother we should all unite/ we should get education and surrender ourself for the service of the nation. 9. Mysuru Dasara yeshtondu sundara chellide nageya panneera / Kannada janatege mangala aarti..mane mane belaguva shubharatri.. ( Karulina Kare) The Dasara Mysore is so beautiful, It has spilled the laughter like rose water.for the people of Kannada it is an auspicious night brightening up the homes 10. Mayor Mutthanna movie s, Badukali yene barali oggattalli nambike irali / Kannadathana bednemba chalaviralu manadhalli /.. 190

60 Whatever we come across in life let us believe in unity/ Let us mentally resolve that we live not give up Kannadaness Yaru enu maduvaru / nanagenu kedu maduvaru / sathyada haadiyalliruvaga / dharmve rakshisuthiruvaga/ Ee Nadige nade hinduruvaga/ Kannada nanna usiragiruvaga / (Krantiveera) Who will do anything to me/ who will harm me/ when I am on the path of truth/ when truth is protecting me/ When the whole land is behind me/ when I Kannada is my breath. 12. Sharanu kaveri tayi / Siriye karunada jeevnadiye / Taye sharanu kaveri taye / (Kannteredu Nodu) I bow to you mother Kaveri / You are the wealth, the life line of Karunadu (Karnataka)/ Mother Kaveri I bow to you 13. Kaveriyanu hariyalu bittu Vishweshwaraiah shrama padadhidhare / Kanambadiya kattadhidhare / bangara beleva honnadu / aguthiththe ee naadu / Kannada sirinadu / Namma Kannada Sirinadu ( Bangarada Manushya) If Vishweshwaraiah did not work hard to control the flow of Cauvery / Had he not built the Kanambadi ( Krishnaraja sagara dam) / Would our rich Kannada land be able to grow gold/ our rich Kannada land 14. Kaveri Tayi Nanna / Baa yendu koogi Ninna / Needidhalu balige belakagalu / Aa Devi aane neene sangathi kele jaane / neduvenu bhasheya/ bidu chintheya /..(Huliya Haalina Mevu) 191

61 My mother cauvery called out to you so that you would be the light of my life/ listen you clever girl, I swear on the goddess you are my companion / stop worrying 15. Kannadada kula tilaka parameshwara / kanmaniye chalukya mukuteshwara..in praise of the famous Kannada emperor Pulakeshi (Immadi Pulakeshi) The pride of Kannada clan/ apple of the eyes/ the holder of Chalukyan crown.in praise of the famous Kannada emperor Pulakeshi 16. Sarwagnya matthomme Hutti ba / Kannadada nadu nudi bedhagala chedisalu / Sarwagnya matthomme huttiba / Abaluuralavatharisi mane maneya mathade/ Jaatigala miri kannadada jyothi neenade / Ninna marethavarella kannadigare alla? Samabhava Samashouryaabhimana belesu baa /..(Sarwagnya Murthy) Sarwagnya take birth again/ to erase the divisive/ discriminatory elements in the land and the language of Kannada / Your words are part of every households/ you grew beyond the castes and became the light of Kannada/ Those who forget you are not Kannadigas at all/ come at grow the sense of equality/ courage. 17. Kannadada makkalella ondagi banni thaynada jayabheri naavadevenni / Gelethanada varada hast needi banni / molethiruva bhedhagala bittu banni / Oondu thayiya makkalu madila makkallenni / ondu thayi nudiya nudivevenni / keelu naavennuvavara kann thereyirenni / Beelu naavembuvara bay muchchi banni /( Kann Theredu Nodu) The children of Kannada unite and say we are the triumph of our motherland/offer the hand of friendship which is a boon/ leave behind the differences which are taking form/ Say we are the children of one mother/ Say we 192

62 will speak the language of one mother/ Ask those who say they are inferior to open their eyes/ Ask those who are arrogant to be quiet/. 18. Naane rajakumara / kannadathayiya premadakuvara / ( Bhagyada Bagilu) I am Rajakumara ( Prince)/ The lovely son of mother Kannada/ 19. Nijavanne heluve nanau / Sathyava nudiva kannadadavanu / Sullenu helodilla Bhayavanthu goththe illa / idakella kannada thayi pada sakshi / Bala Bandhana Yentha Tayi nadu / Swarga illi nodu / Illi januma bedu / sada sukhi nee padu /.. (Devaramakkalu) I speak the truth/ I am the Kannadiga who speaks the truth/ I do not lie nor do I know what is fear/ The witness to all this is the feet of Mother Kannada/ what a mother land this bond of life/ See the heaven here/ Beg for a birth here/ be happy always/ Chandrakanthiya chimmida hadu / mai maresi nagiso hadu / mumbalveya munnade hadu / thayi devi harasida hadu / janmada punyada hadu / kannadambe kalisida hadu / ide hosa hadu /.. (Nanna Tamma) The song sprung from moonlight/ the song which you laugh after forgetting oneself/ the song to move on for the life ahead/ this song is blessed by the mother goddess/ the song of a blessed life/ the song which has been taught by mother Kannada/ this is the new song/. 21. Kanndathi nammodathi / Kannutheredu nodu / Nee namage varava needu / Kai mugive Bhoomithayiye / Ninna manna makkallannu nenu kaye /. 193

63 The Kannada lady is our master/ open your eyes/ give us the boon/ I fold my hands in reverence to mother earth / safeguard the children of your soil/ 22. Yelladaru iru entadharu iru endendigu nee Kannadavagiru.. Kannadave Sathya- (Collection of Kannada songs) Where ever you stay/ however you stay be a Kannadiga forever../ Kannada is truth/ Kannada is eternal../ 23. Kannadave thaynudiyu Karunadu Thaynadu Kannadiganu Neenemba Abhimanavirali Kannada is your mother tongue/ Take pride in Karnataka being your mother land, in you being a Kannadiga The song which summates the peak of idolization and iconization of Annavaru and which the huge fan base keep going back repeatedly is from the film Immadi Pulakeshi.For camerawork of the song is such that when he lip syncs it he faces the audiences. It is as though the super star is addressing his audience, his fans personally. Naaniruvude Nimagagi Kanneereke bisiyusireke.. baaluvirella haayagi/..onde naadina makkalu sodaranthe novella, nimmodanindu nondu/ mididha kambani harilla/ bharavase needuve indu naa nimmodane iruvenu na endu Thayiya aane nimmanu kadisuva vairiya ulisolla 194

64 My existence is for you, Why the tears, why the sighs, We are children of one land, we are like brothers, I can understand your pain, I feel the pain, My tears are not yet dry, I assure today that I will be with you all forever, I swear on my mother I will kill those enemies who trouble you ** Most of the movies have been watched in DVD formats and on YouTube. *** know-/ondumuttina-kathe-is-the-first-indian-movie-to-be-shot-under- water/articleshow/ cms 195