Puneeth Rajkumar’s “Yuvarathnaa” was poised to be a blockbuster family drama until the second wave of the pandemic halted its promising theatrical run. Tragically, the Kannada superstar passed away a few months later. Since his untimely demise, the Kannada film industry has seen only a few family dramas anchored by A-list stars.
A family drama is a film that captivates audiences of all ages within a family unit, especially drawing interest from women. The recently released Darshan starrer “Kaatera,” which delves into the plight of farmers, received a positive reception from women in various small towns across Karnataka. Director Tharun Sudhir redefined the traditional family drama template with compelling storytelling, making “Kaatera” appealing to younger audiences seeking a modern twist on the commercial pot-boiler formula.
A bygone era?
The success of “Kaatera” partially revitalizes a genre facing an uncertain future. Kannada cinema stars are either exploring experimental territory or leveraging the pan-India trend. It prompts reflection on whether the industry perceives the traditional family drama as outdated, evident from the upcoming lineup of Kannada stars in the coming years.
Following his roles in two period action dramas, “Bhajarangi 2” and “Vedha,” veteran actor Shivarajkumar starred in MG Srinivas’ heist film “Ghost.” Shivarajkumar’s cameo in Rajinikanth’s “Jailer” led to him gradually embracing opportunities from other industries. Yash, after the massive success of the KGF films, faced high expectations, resulting in a longer wait before announcing his next project, “Toxic,” a crime-action drama directed by Geetu Mohandas. Sudeep’s upcoming film is “Max,” an action-packed venture, followed by his return to directing after a decade with “KK,” although the genre remains undisclosed.
In contrast to the unpredictability of today’s choices from actors and filmmakers, the past era operated with more systematic patterns. During the 1970s and 80s, renowned production houses were recognized for specializing in specific film genres. Abhay Naidu emerged as a trailblazer in producing family dramas, while M.P. Shankar’s Bharani Chitra focused on films centered around animal and environmental welfare. Dwarkish’s ambitious production company, Dwarakish Chitra, was renowned for producing grand-scale action-adventure movies.
Renowned actors in Kannada cinema often carved niches within specific genres. Ambareesh became synonymous with political-action dramas through films like “Antha” and “New Delhi,” while Shankar Nag gained popularity in action movies featuring martial arts, earning him the nickname ‘Karate King’. However, it was Dr. Rajkumar who excelled across all genres, seamlessly transitioning from mythological epics such as “Bhakta Prahalda” to detective thrillers like “Operation Diamond Racket,” and from historical sagas like “Ranadheera Kanteerava” to poignant relationship dramas like “Naa Ninna Mareyalare.” Another versatile actor was Dr. Vishnuvardhan, who initially garnered acclaim for his portrayals of benevolent seniors or brotherly figures, as seen in films like “Yajamana” and “Hrudayavantha,” before establishing himself as a champion of the family drama genre in the early 2000s. Ananth Nag also left a mark with his comedic performances, particularly in family-oriented dramas that resonated with audiences.
Reviving a genre
Vishnuvardhan’s demise dealt a significant blow to the family drama genre in Kannada cinema. Following Kaashinath’s groundbreaking adult comedies in the late 80s, Upendra’s “Om” ushered in an era dominated by gangster movies. Moreover, the surge in remakes relegated family dramas to the sidelines. Occasionally, Ravichandran succeeded in rekindling familial sentiments on the big screen with his remakes of popular films like “Ramachaari” and “Kanasugara,” bringing audiences together in cinema halls.
The dawn of the new millennium witnessed a transition of the old guard, with veteran stars passing the torch to a new generation of actors. Dr. Rajkumar’s legacy found a worthy successor in his youngest son, Puneeth Rajkumar. Puneeth emerged as the emblem of the family drama genre, curating a repertoire of films that resonated with audiences of all ages. Even in his ventures into unconventional cinema, Puneeth maintained a steadfast commitment to preserving the family-friendly essence of the narratives.
A significant shift occurred when Ramesh Aravind, known for his poignant romantic dramas, paved the path for Ganesh. Through memorable films like “Mungaru Male,” “Gaalipata,” and “Maleyali Jotheyali,” Ganesh emerged as the epitome of the gentlemanly hero, evoking laughter and tears in equal measure, thereby crafting the ideal blend of entertainment suitable for family audiences. However, despite his initial success, Ganesh’s career hit a plateau due to his subpar selection of scripts and the industry’s struggle to offer him innovative roles.
Having solidified his stardom, Sudeep opted for ensemble-led family dramas like “Maanikya” and “Ranna” before venturing into the pan-Indian arena. Meanwhile, Darshan, revered as the beloved star of the working-class audience for his ‘mass’ action films, revitalized his career not once, but twice. He took daring leaps by embracing a historical drama and a mythological film, both of which resonated with diverse audiences, further solidifying his appeal.
Throughout his journey to becoming a major box office attraction, Shivarajkumar gifted audiences with timeless family drama classics like “Janumada Jodi” and “Nammoora Mandara Hoove.” However, his career trajectory took a turn towards gangster movies following the monumental success of “Jogi,” leading to him being typecast in such roles.
In the midst of the new-generation wave that brought forth groundbreaking films in Kannada cinema, the family drama genre found brief moments of glory. Dhananjaya, known for his resonance with the middle-class audience, headlined two successful family entertainers, “Badava Rascal” and “Rathnan Prapancha.” Additionally, the Rs of Kannada cinema—Rakshit Shetty, Rishab Shetty, and Raj B. Shetty—captivated audiences with “777 Charlie,” “Kantara,” and “Ondu Motteya Kathe,” respectively.
These three films demonstrated the potency of universal themes in cinema. “777 Charlie” benefitted from the endearing presence of a talented canine, captivating audiences. “Kantara” enthralled viewers with its incorporation of divine elements into its narrative. Meanwhile, “Ondu Motteya Kathe” garnered widespread acclaim for its wholesome humor. The fervor surrounding these movies evoked memories of the enduring success of “Apthamithra,” which attracted audiences of all ages with its captivating horror elements, leading to multiple viewings on the big screen.
The triumph of “Kaatera” underscores the value of a well-crafted family drama, both for fans and industry insiders alike. Skeptics need only look back at history to reaffirm this notion. However, it’s essential for filmmakers to infuse fresh perspectives into familiar themes, effectively serving “old wine in a new bottle,” as they navigate the ever-evolving landscape of storytelling.
