GIRISH KASARAVALLI'S
CURRENT OBSESSION

The story extends from the pre-independence era to the 70s, the epic dimensions being heightened by historical landmarks being related to domestic situations. Thus when the declaration of Independence is made, we see Inamdar Appa Saheba (Suresh Heblikar) returning to his wadi, but staying with his concubine Chandri. On August 15, 1947, he invites a purohit home, but he does not say for what, whether for a midnight ceremony to hoist the national flag, or to mourn Mahatma Gandhi’s assassination. In Girish’s hands, events from history books coincide with domestic events as well. Through such images and Jayamala’s restrained performance as Narmada Thai Saheba, we are offered a detailed glimpse of the period.

Director Girish Kasaravalli and producer Jayamala arranged an exclusive preview of the film for Screen, and spoke about their magnum opus, Thai Saheba...

No compromises, ever
Basically, I am not against working with stars, as long as they don’t let ego come in the way. Jayamala has been asking me to direct a film for her since 1983. I had dismissed the request as an aberration, and it was only after I was convinced that she was serious about producing such a film, that I agreed. In fact, I did not reveal the story to her till we’d finalised the location and sets.

Since Jayamala wanted to play the heroine in the film too, I looked for a story with a woman as the main focus, as in my Thabarana Kathe, where you would see her in almost every frame. Jayamala’s has been a tremendous performance. So too, is Shivaram’s, who has gotten over his comedian image to give us a sensitive performance in a serious role.

Of course, people have been saying that Jayamala will not be able to carry off the role, but she’s going to make them eat their words. Just as during the making of Thabarana Kathe, critics said that Charu Haasan will not live up to the role, but he proved them all wrong.

Deviating from the script
Though I selected Ram Shah’s novel for the film, I have deviated from the main story on several counts. In fact, only a few incidents have been borrowed from the novel. The second wife, Narmada, is a passive character in the novel, whereas in the film she is the pivot around which the entire story revolves. Shivaram’s character, Venkobaraya, is a man full of vices in the novel. In the film, we have given him a measure of dignity. That Thai Saheba helped her foster son marry the concubine’s daughter is the only point we have borrowed from the novel.

The perfect locale
We zeroed in on a wadi near Jhamkhandi, which gave us a wonderful backdrop so essential to the film. But not before we had to face several anxious moments, as the owners of the wadi had their own fights to settle first. But the place was well worth the wait.

Giving women their due
My film, Thai Saheba makes two distinct statements. One, the political identity of our nationalists has been lost for ever. They fought the British, only to find the zamindars ready to fight them in the post-independence period. Later, many movements have only made them drift towards this and that political faction, but their identity has been lost. Second, and most important, womenfolk are at the centre of this entire political movement. I am of the firm conviction that only when the national policies reach the kitchen, as they invariably do, does the thought of changing them arise.

I have always believed in straight narration. But as discerning people have noticed, even with such a framework, you can have several layers of narrative. For instance, the mourning of the Mahatma’s death, the constant references to jail and the images of personal freedom being restricted by some means or the other.

New men in the crew
The cinematographer, Ramachandra, is a debutant. The FTII-trained cameraman has been an assistant to Nagabharana. I must say he has been brilliant, though initially there were some anxious moments when things were delayed. But he’s been a quick learner.

Similarly, the music director is also new. I’d warned him that I’d change the music director mid-way through the making of the film, if the music didn’t meet my expectations. He gave me no reason to. Although I rejected classical music, I’ve established the period feel of the scenes through a low-audition of a track with period tracks.

Selling isn’t a problem
Jayamala herself is looking after the distribution. Unless we take such films to the theatre, they’d remain high-brow stuff, which they are not. In fact in the 70s, the Kannada audiences have clearly demonstrated their preference for such films, so I don’t see any difficulty in getting the audience’s approval.

On his future plans
There’s good news and bad. Producers have been approaching me to direct films for them. But one of them backed out when he realised that DD has taken off the afternoon slots for regional films, as he felt the loss of Rs 8 lakh would affect the project’s viability. People are in no doubt about the saleability of such films, yet for whatever reasons, they do not step forward to produce them. It is indeed a piquant situation.

Jayamala has played a pivotal role in Thai Saheba in more ways than one — she plays Narmada Thai Saheba, around whom the film’s story has been etched. And she is also the producer...

Look who’s directing!
Producing a film is nothing new, for my banner, Soundarya Films, has produced three films before this one. What’s new is that it’s directed by Girish Kasaravalli. I’m a big fan of his, and I’ve been asking him to direct a film for me for 15 years. But it’s been well worth the wait in the end.

Like I said, I’m a big Girish Kasaravalli fan. I had so much of confidence in him that I did not even ask for the details of the story till the location was finalised. He is very clear about what he wants and will not rest till he has extracted the best. Just by the look in his eyes, you can tell if he’s happy with the scene. If the glimmer isn’t there in his eye’s you know you’re in for another retake. He’s a stickler for perfection and I’m proud to be associated with him.

Tying the inevitable knot
It just happened. We were working on location for Thai Saheba. And on completion of the project, we (cinematographer Ramachandra and she) realised we couldn’t live without each other. So we tied the knot.

Taking on another mantle
I do not foresee any difficulty. People are looking for a change. It is a pity that they are not being given what they want. I am taking up the responsibility of getting the film exhibited in theatres myself. I am sure the film will find favour with the audience.

More in the pipeline
We have made a film of international quality. In fact, my aim was to bring our culture, our nativity and our roots to light. Thanks to Girish, I’ve been able to do that. If awards come, we will be happy. But apart from awards, we have the satisfaction of having made something good and meaningful. I made three films for the commercial circuit, successful ones. I have spent as much on this film as on my other productions. There was no compromise. My aim was to give a different kind of film. I hope this film goes places, and also takes me places. I can assure you that this is no flash in the pan, I will continue making such films, at least one every year.