Chitra Varga

Many say that a bad system will foil a good person’s plans every time . So too, a crooked politician in power will spoil a good system every time. That is telling like it is…without mincing words! “ ಕಳ್ಳರ ಸಂತೆ ” (‘ Kallara Santhe ’, which means: ‘ Thieves’ Fair ’) is a 2009 Kannada film, which revolves around systemic degeneracy. Based on a story that Agni Sridhar has penned, the drama has for its theme the disenchantment of citizenry with corruption and the political class. It found favour with movie buffs, who poured piles of positive reviews on it…so too, its appreciative audiences. Somu (Yash) is a young unemployed man, who holds a MA degree in Kannada literature having passed with flying colours. He has difficulty landing attractive job offers because of his average abilities with English and inability to give bribes. So he tries his hand at several odd jobs, before finally ending up as a burglar. Somu saves Roopa (Haripriya), a lady who’s rejected numerous matrimonial pr...

To paraphrase the American columnist and humorist, Molly Ivins, s atire is the weapon of the powerless against the powerful . That weapon is portrayed with patent potency in “ ಚಿತೆಗೂ ಚಿಂತೆ ” (‘ Chitegu Chinte ’, which translates somewhat nebulously to ‘ Distress Too of (the) Funeral Pyre ’), a 1978 Kannada comedy. The allegorical masterpiece won critical acclaim. The satirical flick is set on a fictional island, Gajadweepa. The male protagonist, Gajasimha (CR Simha), is a pretty pedestrian actor; yet, he is popular among his ardent fans. Boss, a gangster, power-broker and political master, pulls strings from a hospital bed inside a blind home. He ropes in Gajasimha to enhance his party’s poll prospects. Gajasimha takes to politics like fish to water. The new avatar only caters to his narcissistic desires. Gajasimha, however, wins the election and is sworn into the government. In due course, he becomes too big for his boots and turns against his mentor, who entrusts Malini (Manjul...

“ My imagination is a monastery; and, I am its monk,” wrote the English poet extraordinaire, John Keats. That imagination on occasion manifests in movie about a monastery though. " ಮಠ " (' Matha ', the term for ' Hindu denominational monastery ') is a 2006 Kannada film, which was a commercial success. The black comedy received thumbs-up from fans and critics alike; it won a few awards too. It has a theme that provokes thought and forces introspection in the audience. Little wonder then that the path-breaking flick has become an inflection point in mainstream movie-making; over time, it has assumed the status of a cult classic. The story revolves around the monkey business in a monastery; and, the waggishness of its monks. The film’s male lead, Venkatesha, alias Upakathe Govindu (Jaggesh), a taxi-driver, gives an account of past occurrences at a monastery, which runs an orphanage for differently-abled children. Unable to desist from worldly pleasures, t...

They say: “ Faith can move mountains; doubt can create them ”. Indeed, faith helps overcome fear. But, when that faith goes blind, failure follows. More so in a social milieu that has a weak moral compass. “ ಉದ್ಭವ ” (' Udbhava ', which means: ' emergence '), a 1990 Kannada film, won laurels for its satirical examination of blind beliefs woven into social mores. Based on BV Vaikuntaraju's novel, the movie, a parody drama, lampoons the superstitious and a system that embraces blind belief. The male protagonist, Ranganna (Anant Nag) has no job, no income; he has a wife (Mamta Rao) and two kids on top. Yet, he is high on hope, cheer and optimism. Most vital, he is slick, shrewd and streetsmart. Endowed with gift of the gab, he knows how to play the wheels-within-wheels of the system, while posing as a social activist. One day, Ranganna floats a rumour that the government intends to acquire land for widening the main road of the area. This ruffles the feathers of ...

“ Poverty is like punishment for a crime you didn't commit ,”  said the insightful English writer, Eli Khamarov. And, when ill-health conjoins and c ompounds poverty, it is perhaps like punishment for a life you didn't want. But, what if unsought publicity is added to the blend? Director P. Sheshadri takes on that theme for his Kannada movie, " ಡಿಸೆಂಬರ್ -1 " (“ December-1 ”) and delivers, as only he can. H e packs quite a punch in the film with his brand of satire– comprising of tongue-in-cheek sarcasm, yet never short of down-to-earth realism. The flick is about a phyically-challenged mill worker, Madevappa, who ekes out a simple, bare-bones existence in Basupura, a tiny, remote village. H is wife, Devakka sells “ roti s (bread)” to supplement the family income. One fine day they get news that the Chief Minister of the State plans to stay overnight with them on December 1. A bolt from the blue for the rural folks, suddenly now in the limelight! The official machi...

India is a country of stark contrasts and contradictions– as is evident from the disparity between the have's and have-not's. That is the topical exploration film-maker P. Sheshadri ventures out on in his National Award-winning movie: Beru  (' ಬೇರು' meaning ' root'). He pits the weak 'n frail of society against the stout 'n strong in our “system” to produce this “helpless versus heartless” flick! The result: A heady cocktail of creative genius ! The film uses satire as a potent weapon to portray the interplay of the powerless against the powerful. The ridicule is subtle , not aggressive; sarcasm nuanced , not abrasive. A delicate and perfect balance is struck between irony and humour! Sheshadri features an exquisite blend of exaggeration and juxtaposition to parody the inefficiencies and inadequacies of our government. He depicts its flaws– corruption and indifference not excepted– and exposes the apathetic abuse of the law-abiding fringe... b...