JOIN USThe name Girish Kasaravalli is not one that is unfamiliar. The director has, over a period of time, carved a niche for himself in the Kannada film industry, even as the space between commercial and parallel cinema reduces. A journey that began in 1977, with an adaptation of UR Ananthamurthy’s ‘Ghatashraddha’, has gained momentum and is far from slowing down.
Known for witty but hard-hitting scripts that come with a tinge of irony and a flavourful helping of reality, he says that his films are only a medium to instigate free-thinking, and are hardly instruments of change.
Talking at the ‘Girish Kasaravalli Film Festival’, which is on till July 29 at Bharathiya Vidya Bhavan, he says, “A theme that is seen in most of my works is the growing violence – not in terms of physical violence but the kind of pain we inflict on an individual in the name of religion, order, state and more. I inspect different aspects of that – the growing
isolation of the individual. All my films address current issues, with changing situations.”
According to him, if a film is capable of changing people instantly, it ceases to be a film and instead becomes a fascist tool. “A film should work on a subliminal level, not provoke you to act. Art should make you think, that way on a subtle level it affects us and makes a change. When you see certain problems you should reflect on them on your own, and each one of us will come up with our own answer. Otherwise, we are providing them with answers, like mugging from a textbook.”
He adds that films should work on an individual level and act as a dialogue with the mind. “Films can sensitise people and that’s what’s needed now. We have become so immune and insensitive to things around us that we take it as the norm. This casual attitude should change.”
Although the process of filmmaking has changed drastically over the years, Girish says that the technology is not that important. “I don’t care much about the technology because cinema is not just about that, it’s also about the technique. It is a director’s responsibility to distinguish between the two and convert technique into a film.”
From the four heavyweights – ‘Ghatashraddha’, ‘Tabarane Kathe’, ‘Thaayi Saheba’ and ‘Dweepa’, which have received The Golden Lotus award – to ‘Gulabi Talkies’, ‘Krauya’ and ‘Hasina’, 10 of his works will be screened.
His latest documentary, ‘Images/Reflections: A Journey into the Imagery of Adoor Gopalakrishnan’, will be showcased on July 29.
Many gathered to watch the screenings, including actress Malavika Avinash, who starred in his tele-series ‘Grihabhanga’.
She proclaimed herself a “Girish Kasaravalli fan”, and went on to narrate how she got to know the soft-spoken director. “I would visit their house because I was working with Vaishali (Kasaravalli), and Girish, who doesn’t talk much, would say ‘hi’ and leave us. I’ve always wanted to work with him and when I got a call, asking if I wanted to work on ‘Grihabhanga’, I said yes immediately. Unlike most other actors, who spend a few months with him, I got the opportunity to work with him for two years. There is so much to learn from him – Girish as the director, on the sets, and him outside work.”
There is also a photo exhibit, which shows Girish at work on his various projects. They narrate small anecdotes of his life. One such talks about the start of his career – for his final examination at the Film and Television Institute of India, he submitted a script based on UR Ananthamurthy’s novella ‘Ghatashraddha’, but because of his poor English language skills he was failed by Oxford-bred Girish Karnad and Nabyendu Ghosh, an English professor. Despite not getting his degree, he went on to make the film, which still stands as one of his best.
There will be screenings at 3.30 pm and 6 pm. Entry is free.