AVARICE DEMEANS CARE AND SACRIFICE

The Nobel laureate, Alexis Carrel said: "Life leaps like a geyser for those who drill through the rock of inertia." Inspiring words those are! Wonders are possible when assiduity and tenacity act in tandem. 

“ಬಂಗಾರದ ಮನುಷ್ಯ” (‘Bangaarada Manushya’, or, ‘Golden Man’), a 1972 Kannada film, is based on TK Rama Rao's novel of the same name. The drama serves such a heady cocktail of emotions that it strikes a chord with its audience. An all-time, unrivaled blockbuster, it altered the course of Kannada mainstream cinema. It was remade in Telugu (Devudulanti Manishi). 

The plot revolves around the male protagonist, Rajeeva (Dr. Rajkumar), a well-educated young man, who saves his sister, Sharada’s (Advani Lakshmi Devi) family from financial doom after the death of his brother-in-law and sole bread-winner of the family. He takes up the duty of supporting the bereaved family.

An embodiment of simplicity and sacrifice, Rajeeva gets his two nephews, Chakrapani (Srinath) and Keshava (Vajramuni); and, his niece, Saraswati (Kala) to settle down in life. Lakshmi (Bharati), a neighbor, is Rajeeva’s romantic interest.

Rajeeva borrows money from the village head and well-wisher, Rachutappa (Balakrishna), to start farming on his brother-in-law's land. Soon he increases the land-holding manifold by purchasing barren land. He discharges the debt eventually and becomes a respected man in the community.

But, a feud brews in the family; Keshava suspects Rajeeva of being in an adulterous relationship in another city with Sharavathi (Aarathi). He accuses Rajeeva of usurping the property and demands his share.

So, how does distressed, disappointed Rajeeva respond?

That is the rest of the exhilarating film.

The film had a deep social impact on people; it extolled the contributions of the middle-class and the blue-collared, the backbone of the nation. The narrative dissipated information on vital topics like the cooperative movement, modern agricultural practices, social unity, rural development, honesty, hard work and brotherhood. It inspired migrant workers to return to villages and take to farming.

Siddalingaiah, a master at portraying rural life, has directed this   trend-setting landmark. He has MASTERFULLY used moments from everyday life to weave drama and suspense into his screenplay. Flaws and traits given to characters add to the richness and intensity of the story-telling. While using powerful dialogues to portray tension and friction in the film, he’s not gone berserk with either phony tear-jerking or puerile jollies in his sequences― an allure of this film.

The music is composed by the prodigious, one and only, GK Venkatesh. All the tracks― set to compositions penned by the great lyricists, Hunsur Krishnamurthy, Vijaya Narasimha, RN Jayagopal and Chi. Udaya Shankar― are chart-busting, musical megahits. Other technical elements too are superb.

Eyes, it is said, are windows to one’s mind, and emotions too. The late thespian, Dr. Rajkumar had mastered the art of using his gaze, eyelids and eye movements to portray myriad, nuanced emotions. Gifted with a body chiseled like a Greek God, not to mention a soulful voice, he was the quintessential superstar. This movie confirmed his demigod status in ‘Sandalwood’, the epithet for the film industry of Karnataka. He, of course, deserved his Mr. Kannada status every bit!

Bharati is AMAZING in the lead female role of a shy, traditional Kannadiga beauty; she gives you the warm fuzzies with her rendition. Every member of the supporting cast― it has veterans like, Srinath, Aarathi, MP Shankar, Advani Lakshmi Devi, Balakrishna, Loknath, Dwarakish, Vajramuni, BV Radha and Kala― has resplendently displayed his or her copious talents on the silver screen.

In short the movie reminds you of what a Latin writer penned: “Avarice is as destitute of what it has, as poverty of what it has not.”

I rate this domestic drama, an evergreen classic: 9.0 on 10!