'Rangamarthanda' is slated to hit the cinemas in the middle of August. In this exclusive chit-chat with Ragalahari, the talented director Krishna Vamsi talks about the film, what made take up a heavy subject, his outlook in life, and more. The acclaimed director, who made path-breaking movies in the 1990s and later, also takes stock of his career so far. He also talks about his next feature film 'Annam', a grand OTT project whose budget could be Rs 300 Cr, and more.
Read on to know what is going on in his mind...
On 'Rangamarthanda':
'Rangamarthanda' is the remake of 'Natasamrat' (Marathi), which was based on a play. It has been a hugely successful play in the Marathi theatre segment since the late 1960s. People buy tickets to watch Marathi plays. Many in the Hindi film industry had tried to adapt that play into a feature film. Only Mahesh Manjrekar could pull it off, finally. He convinced Nana Patekar to essay the lead role and they both did a film in Marathi.
When I watched 'Natasamrat', I was moved to tears 7-8 times without my knowledge. Soon after the film, I decided to remake it because it is about families, parents, children, it's about the generational gap, it's about the invasion of money on our sanity, it is about how we are losing ourselves, how we are ruining Nature, and society. Prakash Raj first wanted to direct it himself but he asked me to wield the megaphone because it would be cumbersome for him to play the lead role and direct the movie. He felt that I am good at dealing with such emotions. So, I decided to take the plunge.
I used to watch stage plays as a child during festivals in my village. The plays introduced me to mythological stories. Sometimes, the whole night would pass watching them! I remember a number of plays by their names to this day. Stage plays were surely a part of my childhood. But this nostalgia didn't kindle me to make 'Rangamarthanda'. I was moved more by the male protagonist's intimate feelings as a husband, a father... After his retirement as a stage-artist, he has a rude awakening in life. He realizes that everyone around him is a greater actor than him! The dialogues are going to move you...
Every artist has been chosen because they fit the role perfectly. Anasuya Bharadwaj, Shivatmika Rajasekhar, Rahul Sipligunj, Adarsh Balakrishna, everyone has a purpose... Brahmanandam garu has got a first-of-its-kind part. I have known him since my days as an Assistant Director. After I became a director, I got to work with him on 4-5 movies. He has got extraordinary command on our culture, literature.. He is also a painter! His outlook on life is fabulous. He is rooted in the philosophy of great Indian scholars. He didn't watch 'Natasamrat'. He didn't even listen to the story of 'Rangamarthanda'. He just came on board keeping blind faith in me. You are going to see a new Brahmanandam garu. The universe gifts you if you search for something with full focus.
To me, Maestro Ilaiyaraaja garu is a god, not just a musician. He is a God-send! I approach him like a devotee, not a filmmaker. When you go to a temple, you don't demand what should be given as 'prasadam'. You accept what is given. The same way, I accept what Maestro gives me. He is beyond our imagination, like lyricist Sirivennela. The Marathi original had just one song. I have infused a lot of songs to make the film a musical drama. This is not to say that I have commercialized the product. Everything is there for a reason.
Ramya Krishna is a great actress is what I realized for the first time. My complaint is that only a few films like 'Baahubali' have utilized her talent. You are going to see her emote through her eyes and speak very less in 'Rangamarthanda'. She is like a ticking bomb waiting to explode!
Prakash Raj has long reached the zenith. His character is multi-dimensional in the film. He is dominant, vulnerable, emotional, cheerful, mellow and a lot of other things in the movie.
Chiranjeevi garu has lent his voice. There is a story behind his entry. What would an actor say about himself when you ask him to talk about himself? I asked my writer Lakshmi Bhupal to write the answer in the form of a poem. Ilaiyaraaja garu had given me the freedom to tinker with it as I wanted. I wanted the poem to be delivered like a rendition. Chiranjeevi garu liked the idea and came on board.
This is only my second remake. I have stayed away from remakes in general. When you are sincere, the audience will recognize it. I believe that there is no success formula as such.
His journey so far:
I never wanted to become a director in the first place. Working under Ramu garu was a golden phase for me. I just wanted to be with him. He prodded me to wield the megaphone. It was on his orders that I became a director. I have been lucky to be as I want. I have always been like this. I don't fit into any mechanism or convention. I watch films as an audience member. I enjoy chases, action, melodrama, glamoru, colours... I try to recreate those elements in the light of my own imagination.
Let me say that only five of my films are family dramas/entertainers. People get connected with the family genre easily. That's why they identify me with the genre.
My films are an extension of my personality. They are nothing beyond. I don't force-fit anything. I don't force myself to think in particular ways. Everything has to be organic. My personal experiences find their way into the script naturally.
His idea of entertainment:
Entertainment is not just comedy. To me, entertainment is engaging the audience. You have to engage the audience as much as possible. Cinema reflects society. If social standards fall, the quality of cinema deteriorates.
Change is inevitable. The technological advances in cinema have brought in their wake some inescapable changes. During a transition, quality-related problems are only to be expected. With time, the quality improves.
Going with the flow:
I don't know how to define my journey. I don't take myself too seriously to have an opinion about myself. I don't compliment myself. The universe has given me a job and I am doing it.
There has been a long gap for obvious reasons. 'Nakshatram' was a disaster, 'Paisaa' was a disaster. 'Govindudu Andarivadele' was an average movie. After such experiences, producers would naturally think twice about investing in me! I have faced the issue of a lack of producers willing to work with me.
Criticism has to be expected:
I don't feel bitter when social media users mock my flops. I feel happy when they compliment me. I don't take their trolling personally. It's your work that is scrutinized by the audience; they are not attacking you personally.
Working on ideas:
Most of the stories are borne in my mind. If an idea survives for months together, it is a sign that I have to consider it for expansion. If an idea doesn't die and comes back to me repeatedly, I take it up. I am inspired by ideas that are socially useful and purposive. An idea shouldn't be negative or low-brow; it shouldn't corrupt anybody. The idea must talk about our country, culture, or heritage. It should trigger something pleasant/nice in a person. Let it be a small thought but it should be beautiful. Whether you shoot it in Hyderabad or Switzerland, the visual should be nice. The music should be pleasant.
When I did 'Ninne Pelladatha', I was worried about the fading away of large families and the emergence of nuclear families. 'Khadgam' and 'Mahatma', too, were the result of conceptual thinking. The story was developed around a pre-existent thought.
Upcoming projects:
Yes, I am doing an OTT project. Its content is high-octane. It's true that its budget might be Rs 300 Cr. The story has been firmed up but we need to firm up the project.
'Annam' will be launched soon. It's about the pervasive ruin that the food mafia has inflicted on the food ecosystem. Natural resources have been hijacked by this mafia. The film will be a blasting one like 'Mahatma', 'Antahpuram' and 'Sindhooram'. Probably, it will go on the floors in August. It's a big-scale movie.
