The Hindu Business Line : Making value-based films

When veteran director K. Vishwanath undertakes a film, it ceases to be attributed to the production house or its cast — it is simply branded as Vishwanath's film.

He took up direction after a hiatus and out came Swarabhishekam bagging two national awards for its music and another as the best regional film. Going by the film's dismal box-office results, the award came as a `very pleasant surprise' to its director, K. Vishwanath. For, when the veteran director undertakes a film it ceases to be attributed to the production house or its cast. It simply gets branded as Vishwanath's film.

What is it that made Swarabhishekam click with the jury, even though it was not a commercial hit? Says Vishwanath, "The theme is universal with an all-time appeal. I took up the subject of joint family, its inherent strengths and induced weaknesses. I can quote many instances of two brothers torn asunder by circumstances. The trauma of a break-up takes time to heal, but it scars all the same. I chose a musical canvas to put my viewpoint across. Music served an underlying cause too, with its therapeutic utility in today's stress-induced ailments."

He says the most sensitive spot in the film's script is the inner void in the younger brother at the absence of an all-pervading energy (the elder brother), which can be felt more than seen. "When creativity is snapped from within, it can be suicidal for the artist. And it is a third force that tends to break a bond, forged from blood and birth. Human relationships have always intrigued me and art held an everlasting appeal for me."

His movies, be it Sankarabharanam, Sagara Sangamam or Swathi Muthyam, were musicals, striking a fine balance between classical and light music or dance traditions. Without being overt, he has, over the years, developed a knack of nudging audiences towards the rich Indian heritage in fine arts.

On today's film-making trends the director says, "Commercial viability of the product is the principal criterion for films today. Hence films take the direction of maximum returns on investment. So, how do we classify a film as good? Is it directly proportionate to its box-office status or for the values it upholds and depicts? It rests entirely on the viewer's perception of good and bad with certain universal norms on what constitutes good. It throws up a whole lot of moral and ethical questions. For my part, I like to steer clear of this unending classification and do my bit — give value-based films."

The gentle exterior conceals the no-nonsense director on the sets. Leading South Indian actors vie to be cast in his films even if it means a `slim' remuneration.

Vishwanath has literally made artistes of novices who knew nothing of acting. And there are some who have retired from films rather than take up flimsy roles to keep going, after acting in this ace director's film.

Picture by Mohammed Yousuf

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