2022 has been a great year for Kannada films as several Sandalwood movies like KGF 2, Vikrant Rona, James and 777 Charlie garnered pan-India success. And the latest film to join the list is actor-director Rishab Shetty’s Kantara. After garnering humongous success in its original language, the makers recently released the film in Hindi dubbed version due to demand from the non-Kannada public.
As the Hindi version is garnering praises in the north-Indian markets, in an exclusive conversation with Firstpost, Rishab Shetty spoke about the concept of Bhoota Kola and the toughest part while shooting Kantara. Excerpts from the interview:
With such kind of unique subject and grand scale, did you expect that Kantara will become a global phenomenon?
No, earlier, when I came up with the concept, I always thought that the conflict between humans and nature is a universal conflict. I always think and say that ‘more regional is more universal’. So, this folklore, which narrates the story of agricultural land, shows the universal conflict between two lead characters, Shiva (representative of nature) and Murali (reflection of humans) and added the layers with Bhoota Kola and Devaragni, which is the bridge between human and nature. This belief or ritual is not only in Karnataka but in all corners of the country but with different procedures and sentiments but the core is the same. So, I had that confidence it will have a universal appeal but didn’t imagine that it would go that big and huge. The film has become big because of Kannada people and their love towards the film. They also took their non-Kannadiga friends with them for the film and I am really grateful for their support. In fact, the shows of the film are even increasing in the markets of USA, UAE and Australia.
How did the idea of Bhoota Kola come to your mind as it was never shown like this on the big screen?
In Tulu films, makers have tried Bhoota Kola but it has been shown in a complete art form. Filmmakers are quite scared to touch this theme as there are people’s sentiments attached to it and they don’t want to land in trouble by unknowingly hurting them. But I came from a family, where these rituals are performed with utmost belief and dedication. In fact, while making this film I took the guidance of the experts, who perform this ritual.
What kind of discussions you had with your DoP regarding the colour & style of shooting in the pre-production stage as the cinematography looked like the most important aspect of the film, especially the Kambala festival & the night sequences which looked very natural and lit by fire in that era?
There were lot of discussions but it didn’t take much time. This idea got a strike on April 27 and within four months I finished the pre-production and parallelly did the scripting, dialogues and tuning of the screenplay. I shot the complete film at my native place because all the elements including the traditional buffalo race ‘Kambala’ and I have come from a family who does Kambala and we do that every year. So, I had the clarity and since I’ve seen all the locations from my childhood, so there wasn’t any difficulty while shooting. So, by September, we wrapped up the pre-production of the film. Undoubtedly, DoP was the backbone of the film and first time when I told him the story, I reached the location of the tree fall, which is there at the interval block at midnight and video called him. While the approach was realistic at the same time Kantara is a fictional world so had to make sure that all mystery and thrill, especially during the night sequences, transforms the audience into another era.
Apart from camera work, the art and music department including BGM were key highlights of the film
Talking about art, the houses shown in the film from the 90s are made up of mud and gross. I seen that kind of houses in my childhood. In fact, my house was also like that. So as per the sequence in the film, we arranged the houses. Dharani Gange Putra (production designer) was heading the team with 3-4 youngsters, who used to work as set boys in my earlier films and for Kantara, I made them art directors (laughs). We made sure that from any angle, it doesn’t look like a set. And the fact I had seen every element needed for the film during my childhood, so there was no brainstorming, it was just recreation of that.
Coming to music, since it is folklore, apart from giving cinematic experience to the audience, I wanted to blend the folk music of Coastal Karnataka smoothly into the film. So, in the film, you will notice that during the action sequences and crucial scenes, folk music plays in the background, which gives you a very daunting and thrilling effect. So, for two days I booked a place and with technicians, I recorded this music in the open air and then in the studio, we programmed it with western instruments.
Was it tough for you to manage the film as a director and actor?
No, because I don’t think much and just go with the thought I have to do it. Because if I think like that then I won’t be able to do this work. My task was to make sure that work happens in a swift space. I didn’t have to concentrate on my acting because I had written my own character and dialogues. I had all the clarity. In fact, I directed the complete film being in the character Shiva.
You make sure to put important aspects and elements of Mangalore culture in the film, but was it your intentional decision to skip Pili dance?
It is there but we intentionally cut that part because we had shown it in our previous films Garuda Gamana Vrishabha Vahana and Ulidavaru Kandanthe. We became bored by showing it again and again (laughs). So, obviously, it wouldn’t have been anything new for the audience.
What was the toughest part for you to shoot Kantara as an actor and director?
That’s what I was saying earlier I don’t think that much. But now you have asked this question, so I am thinking about it. My task was the increasing budget of the film. I had discussed a budget with Hombale Films (producer) and it was going more than double. So, that was the worrying part for me that even the per day charge was going over budget. But producer Vijay Kiragandur was on my side and convinced that generally film of this scale takes at least 120 to 150 days to complete but you completed it in 96 days, which is commendable. I was worried about that because we have a typical middle-class mindset since we do more low-budget and mid-budget films. So, this was the first big-scale film for me and was the only pressure.
What’s next in the store?
I don’t know (laugh). Abhi mein chhuti le raha hu. After working for so many years and being a part of Kantara, I really feel blessed that this film chose me. So, now I am taking a small break and will enjoy vacations with family. I want to forget this success.
Expectations and excitement will be there for your projects
Two things you should remember. Never keep expectations and new get excited (laughs). I follow these two things because it helps me to lead a peaceful life. I always go with the flow.
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