P. Sheshadri interview: How watching Karunam at IFFI shaped a visionary Kannada filmmaker

Sheshadri holds the distinction of being the first director to win a National Film Award eight times consecutively. His 2014 film December 1 received the National Film Award for Best Feature Film in Kannada and Best Screenplay. Counted among the most celebrated filmmakers in India, Sheshadri is known for tackling subjects that resonate across social strata. His films are marked by a deep representation of native culture, practices, and human emotions; they blend thematic depth with a masterful interplay of visuals that span diachronic and synchronic storytelling.

The Suchitra Film Festival is showcasing eight of Sheshadri’s landmark films, including his debut Munnudi (A Preface), Bettada Jeeva (based on a work by Jnanpith recipient Dr. K. Shivaram Karanth), Vimukthi (Liberation), Bharath Stores, Mohanadasa (it explores Gandhi’s formative years), Mookajjiya Kanasugalu (also based on a Dr. K. Shivaram Karanth novel), December 1, and Beti. The four-day festival, which began on November 21, concludes on Sunday (November 24).

In addition to film screenings, the festival features a panel discussion on Sheshadri’s films, with participation from eminent film personalities such as filmmaker Girish Kasaravalli, N. Vidyashankar (film theoretician and artistic director of the Bengaluru International Film Festival), T.S. Nagabharana, S.V. Rajendra Singh Babu, T.N. Seetharam, and B. Jayashree, among others. To mark the occasion, four volumes chronicling Sheshadri’s cinematic journey — Chitra Manthana, Kannu Kanda Kshanagalu, Dakkiddu Mikkiddu, and Frames of Conscience — three in Kannada and one in English, will be released on Sunday. Additionally, an English-language book edited by N. Manu Chakravarthy is in the process of completion.

Munnudi: A preface to his celluloid journey

Sheshadri began his career in both big and small screens by writing scripts and assisting Kannada filmmaker T.S. Nagabharana. In the late 1990s, he turned to directing television serials to earn a livelihood. His first television serial, Inchara, premiered in 1995, followed by Kamanabillu and Kathegara in 1996, and Mayamruga in 1999. 

He made history in Kannada cinema, which spans over nine decades, by winning National Awards eight times. He is credited with rejuvenating the cooperative filmmaking movement in Kannada and demonstrating its viability even today. His cinematic journey began with Munnudi (A Preface) at the start of the new millennium. The film is based on Muttuchera, a short story by Kendra Sahitya Akademi award-winning writer Bolwar Mohamad Kunhi. Munnudi won the National Award for Best Film on Social Issues, while actor H.G. Dattatreya received the award for Best Supporting Actor. Additionally, the film earned Sheshadri the 10th Aravindan Puraskaram in 2001.

The inspiration of Karunam

In a conversation with The Federal, Sheshadri discussed the role of IFFI in shaping his journey as a filmmaker. He shared, “I was exposed to world cinema during the 15th edition of IFFI held in Bengaluru in 1992. Since then, attending IFFI has become a custom for me — a ten-day pilgrimage to watch films, often accompanied by T.N. Seetharam, Nagendra Shah, and others. The films I watched over eight years inspired me to pursue something meaningful in the medium of celluloid,” he said.

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“By this time, my experience in the film industry had taught me an important lesson: choosing filmmaking as a career to satisfy creative urges is one thing, but earning a livelihood from it is another essential aspect of life. I faced a dilemma: should I make commercial films to sustain myself, or focus on art films to fulfil my creative aspirations? Fortunately, Doordarshan was a strong platform at the time, and the remuneration I received for my work there allowed me to make a decent living. The desire to create a film to satiate my creative urge found its spark after watching Karunam. During a conversation, Jayaraj revealed that Karunam was made on a shoestring budget of Rs 10 lakh and went on to win the Golden Peacock for Best Film. It’s a simple story that explores the loneliness of an old couple. This experiment gave me the confidence that a film could be made with minimal resources,” he added.

Visuals formed during train journey

“Throughout my journey from Delhi to Bengaluru, I kept meditating on the film Karunam and asked myself, ‘Why not explore the Karunam model?’ It was during this time that Muttuchera — a short story by Bolwar Mohammad Kunhi, which I had first read in the mid-1980s — took on a vivid visual form in my mind. In fact, I had proofread Muttuchera for its inclusion in a collection published by Navakarnataka Publications and had been completely captivated by its content and visual possibilities. I revisited Muttuchera in 1996 while working on the Kathegara series for Doordarshan in collaboration with T.N. Seetharam and Nagendra Shah,” said Sheshadri. 

“We had visualised around 200 classic Kannada short stories for Doordarshan back then, ranging from Kamalapurada Hotel by Panje Mangesh Rao to Halu Kudida Huduga by Abdul Rasheed. Though we wanted to adapt Muttuchera at the time, we ultimately dropped the idea due to its expansive canvas. However, by the time I reached Bengaluru from Delhi, I had resolved to make Muttuchera my debut film. When I narrated the story to a few producers and promised to complete the film on a modest budget of ₹10 lakh — at a time when commercial films typically cost around ₹1 crore — they ridiculed the idea and discouraged me from experimenting. Some even warned me about the potential repercussions of making a film about the Muslim community, particularly one addressing sensitive issues like Shariat — the laws governing nikah and talaq. It was at this juncture that the idea of producing the film through a cooperative model struck me,” he added.

Dr Rajkumar and cooperative filmmaking

In fact, the first cooperative model of filmmaking in Kannada cinema was experimented with in 1960 through Ranadheera Kanteerava, starring Dr. Rajkumar. This film was released during a severe financial crisis in the Kannada film industry. It was produced by a cooperative forum called the Kannada Chalanachitra Kalavidara Sangha, formed by actors Rajkumar, Balakrishna, Narasimharaju, and acclaimed writer-filmmaker G.V. Iyer. This venture also marked Rajkumar’s debut as a producer.

“I learned the art of budgeting during the making of Kathegara,” Sheshadri shared. “I discussed my idea with friends from Kannada cinema — actors, editors, and cinematographers — who were willing to collaborate. Over ten friends contributed Rs 1 lakh each, and we launched Nava Chitra Combines to produce Munnudi. Of course, the film faced hurdles with the Central Board of Film Certification due to its sensitive religious themes. Releasing a film in a theatre on Kempe Gowda Road in Bengaluru was the norm, but we chose to debut Munnudi in Mangaluru. Our crew personally went around the city, pasting posters on walls and encouraging people to watch it. We even made special arrangements for women in burqas to attend,” he added.

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“The film picked up momentum at Prabhat Theatre after three days and ran for nearly 90 days. With its success in the coastal city, we released the film in Bengaluru, where it received an overwhelming response. My calculations didn’t fail — besides recovering our investment, we earned a total profit of Rs 10 lakh. With this, we funded our next film, Athithi, the following year. In total, we have made four films using the cooperative model,” Sheshadri said with a smile.

His celluloid journey has evolved over the decades, making a switch from traditional filmmaking to the digital medium. His oeuvre culminated in Mohanadasa, a trilingual biopic exploring Gandhi’s childhood. Over the past 25 years, Sheshadri has directed 11 films, including Munnudi, Athithi, Beru, Thuthuri, Vimukti, Bettada Jeeva, Bharat Stores, December 1, Vidaaya, Mookajjiya Kanasugalu, and Mohanadasa. As a sensitive filmmaker, he continues to strive for meaningful and impactful visuals.

Vidaya: A reflection of personal agony

In Vidaaya (The Farewell), Sheshadri boldly addressed the deeply debated and emotionally charged issue of passive euthanasia. The film, in many ways, reflects a personal experience that profoundly impacted him. Sheshadri, a man of few words yet unafraid to tackle provocative subjects, hesitantly shared the personal ordeal that inspired him to make the film a decade ago. He strongly believes in making films that not only touch people’s hearts but also compel them to think deeply.

“My father was hale and hearty until he was struck by Parkinson’s disease. He suffered immensely, and I witnessed his pain and struggle firsthand. This experience pushed me to explore the possibility of allowing passive euthanasia for people in similar circumstances. It could, at the very least, bring an end to their suffering,” Sheshadri explained.

He candidly admitted his inner conflict about taking a definitive stance on the issue. “I was in a dilemma — I could neither fully advocate for passive euthanasia nor outright reject it. I tried to remain as neutral as possible and left it to the audience to decide for themselves,” he said. At this point, Sheshadri fell silent, lost in memories of his late father.

The Suchitra Film Festival provides a platform for film enthusiasts, researchers, and cinephiles to delve into Sheshadri’s 25-year cinematic journey — a journey aptly described as Frames of Conscience.