Since the online release of the teaser for “Salaar: Part 1 – Ceasefire” in July, the period action drama has been subject to comparisons with the KGF film series. As Salaar is part of the team behind KGF: Chapter 1 and KGF: Chapter 2, it’s natural for viewers to draw parallels, but cinematographer Bhuvan Gowda emphasizes that outright comparison is unjust.
“You cannot show the entire film in a teaser or a trailer. It’s too early to say Salaar looks like the KGF films. When we were shooting for KGF: Chapter 1, we had a limited budget for the film. But for Salaar, there were no budget restrictions. So, our first aim was to increase the scale of the film; we have made it bigger than the KGF franchise,” says Bhuvan.
Directed by Prashanth Neel and produced by Hombale Films, Salaar, starring Prabhas and Prithviraj Sukumaran, is a tale of friendship set in the fictional empire of Khansaar. Bhuvan explains how they crafted the world of Khansaar.
“Prashanth sir and I don’t emphasize much on CGI. After listening to his narration, I sat down with the production designer to get the designs drawn. We bought a 100-acre space at the Ramoji Film City and named it Ramoji 2, and the entire film was shot there. Once we created the geography as per Prashanth sir’s vision, we built the sets,” he says.
While some similarities exist in the lighting and color tones, Bhuvan dismisses the comparisons. “If you feel the tone is similar to KGF, then it means it’s my signature,” he says. “In an intense or raw scene, I opt for contrast lighting. I don’t care for the crores of money they have spent on the sets. I will highlight my subject (the main performers) and ensure that people’s attention doesn’t go to the background, and remains firmly on the actor.”
The promotional videos suggest Salaar has significant action set pieces. “I love fights when they look natural on-screen, but fans also want to see people flying in the air in action sequences. So we have to cater to that and yet hold on to realism in fights,” says Bhuvan.
He reveals that the interval fight sequence was the toughest to shoot in Salaar. “This scene involved 200 people. When a hero takes on so many people, it has to stand out from the rest of the fights. It was physically draining to shoot the massive sequence in hot conditions. I shot it completely hand-held. At times, I would get irritated when the director would call for multiple takes,” says Bhuvan. “We took ten days to complete it,” he adds.
Salaar is a ‘mass’ film, and Bhuvan emphasizes capturing the charisma of the lead star is crucial for such scenes. “The second most important thing is framing. Ever since my photography days, I wanted my frames to stand out from the rest. Even in my films, the elevation and ‘mass’ scenes are propelled by my unique framing.”
Bhuvan expresses gratitude to Prashanth for playing a significant role in his journey. Having come to Bengaluru from a small village in Mandya, Bhuvan did odd jobs before picking up photography. Working as a still photographer in Prashanth’s debut “Ugramm” (2014) was the turning point for Bhuvan, who had lost hopes of surviving in the industry.
“Ravi Varman sir (Ponniyin Selvan, Indian 2) was the cinematographer, but he walked out of the project midway due to some reasons. Impressed with my work, Prashanth sir asked if I could do the cinematography for the film. Our friendship began with a similar taste for lighting and framing. We both learned filmmaking as we made Ugramm. In a way, Ugramm was like a school that taught us the tricks of the trade. Prashanth sir is a democratic director. Anybody on the sets has the right to suggest a change. He will consider it if it convinces him; that’s my favorite quality in him,” he concludes.
