ರಾಜಕೀಯ ಪರಿಹಾರಗಳನ್ನು ದೂರ ಇಟ್ಟ ಕಾಸರವಳ್ಳಿ

ಕನ್ನಡ ಚಿತ್ರರಂಗಕ್ಕೆ ಸೃಜನಶೀಲತೆಯ ಕಿರೀಟ ತೊಡಿಸಿದವರಲ್ಲಿ ಕಾಸರವಳ್ಳಿ ಒಬ್ಬರು.ಮನುಷ್ಯನ ಅಂತರಂಗದ ಮಾತುಗಳನ್ನು ಪಿಸುಮಾತುಗಳು ಎಷ್ಟು ನಾಜೂಕಾಗಿ ಬರಹಗಳು, ಕವಿತೆಗಳು, ಕಥೆಗಳು, ಕಾದಂಬರಿಗಳು ತೆರೆದಿಡುತ್ತದೋ, ಅದನ್ನೇ ಚಲನಚಿತ್ರಗಳಾಗಿ ಮೂಡಿಸುವಲ್ಲಿ ಕಾಸರವಳ್ಳಿ ಒಂದು ಅಧ್ಯಾಯವಾಗುತ್ತಾರೆ. ಮಲಯಾಳಂನ ಅಡೂರು ಗೋಪಾಲಕೃಷ್ಣನ್‍ ಅವರ ಛಾಯೆ ಎಂದರೆ ಒಪ್ಪಿತವೆ. ಉತ್ತಮ ಲೇಖನ ಮೂಡಿಬಂದಿತು.ಧನ್ಯವಾದಗಳು.

I dont understand what writer likes to say here. Kasarvalli is universal acclaimed director and I dont think he is following any other director. More over this writeup doesnt say anything about movie and there is no connection between title and article.. huh....

ಈ ಪ್ರತಿಕ್ರಿಯೆ ನಾನು ಬರೆದ ಿಇಂಗ್ಲಿಷ್ ಪ್ರತಿಕ್ರಿಯೆಯ ಅಸಮರ್ಪಕ ಅನುವಾದ. ಅದರೊಂದಿಗೆ ಕನ್ನಡದ ಅವತರಣಿಕೆಯನ್ನು ಹೋಲಿಸಿದರೆ ನನ್ನ ಅಭಿಪ್ರಾಯ ಸ್ಪಷ್ಟವಾಗಬಹುದು. ಸದುದ್ದೇಶದಿಂದ ಅನುವಾದ ಮಾಡಿಕಳಿಸಿದ ಶ್ರೀ ನಾರಾಯಣಸ್ವಾಮಿಯವರಿಗೂ, ಪ್ರಕಟಿಸಿದ ಸಂವಾದಕ್ಕೂ ಕೃತಜ್ಞತೆಯನ್ನು ಮಾತ್ರ ಹೇಳಬಲ್ಲೆ. ಮೂಲ ಬರಹ ಹೀಗಿದೆ: A Cerebral Dream of a Seasoned Craftsman Girish Kasaravalli is perhaps the only film maker in karnataka who employs cinematic idiom exclusively to create narratives based on literary works. His recent film Riding the Stallion of a Dream is another example of his ability to employ cinematic craft. Girish has contrived a film out of carefully chosen visuals which are charged more with cerebral ideas and obviously less with emotional experience. Using the back drop of globalisation, and the land issues kicked off by the SEZ in remote villages the film tries to portray viable alternatives thrown open to the villagers cutting accross caste and class, faith and philosophy. The specrtum of life colouring the haves and the have nots presents an’ intellectual dream’ of life and death interwoven. Girish Kasaravalli borrows subconsciously from veteran masters of world cinema in perceiving characters and situations of this film while trying to be original and regional in conceiving rituals and responses, ofcourse, drawn from the literary text which the film is based on. The poverty stricken grave digger and the imaginative peasants have a strange paradoxical act in common namely digging the earth to destroy and to create. The nomadic Sudugadu Siddha, being an ethnic symbol of both death and life simultaneously helps the grave digger to realise his dream of planting life though he is condemned to make a living by facilitating burial of the dead. Girish like in his other films picks up socio-cultural issues to portray and to suggest cultural waysout but unlike his lot in other Indian languages steadfastly avoids being political in his perception. As a deliberate film maker, heavily depending on literary works in kannada he betrays his weakness for borrowed talent though his strength of cinematic craft is unassailable from any corner of the regional film factory. His latest film suffers greatly from this. The absence of experiential emotional content in the film makes it a contrived cerebral dream. V.N.Laxminarayana, Mysore