Being a superstar’s son can be daunting yet exciting. The constant comparisons can make one claustrophobic but the surname opens doors that others have to bang on for a mere glance. The advantage of being the son of a demigod like Rajkumar is that nobody expects you to be anything like your father simply because they know you cannot. It’s also not as if fans of the father shift allegiance. The son has to woo, nurture and constantly try to please a whole new generation.
The growth of a child is captured by doting parents using a camera but Puneeth must be the only star whose entire life, save the few awkward pubescent years, has been chronicled by cinema. He was all of six months when he made his screen debut in Premada Kanike sitting in a stroller and serenaded by his father. He appeared on-screen often for the next decade, even winning a National Award for his performance in Bettadha Hoov u. Puneeth dabbled in business before deciding to don grease paint at the age of twenty seven which probably shows he was not too keen. The family think tank sifted through stories and names of directors before zeroing in on Puri Jagannath. They were wise enough to realise that they were catering to a different generation and so Appu was a college romance with action. The film was a runaway success and another star son was shining. The father’s fans would have watched the film out of sheer curiosity but youngsters took to Puneeth. He remained the undisputed superstar till a few years ago.
I’ve known Puneeth since the time B.C. Gowrishanker called him and fixed an appointment for an interview. A good acquaintance is how I would describe our relationship best. He’s warm, friendly and down to earth. I judge a star by the way he treats his staff and Puneeth emerges with flying colours. After a long outdoor schedule abroad, he distributed a small fortune amongst the entire crew at Dubai airport and gently advised them to buy anything but liquor and cigarettes. He doesn’t throw his weight around and makes sure they are not short-changed by producers. He will patiently talk to fans and pose for keepsakes. There’s a gaggle of good friends, not groupies with whom he likes to spend time during breaks. Extremely conscious of physical fitness you’ll find him devouring sprouts and fruits while sipping on protein shakes. Gastronomic indulgences are rare. On Suriya’s advice, a trainer now accompanies him everywhere. He will not miss his exercise routine for anything.
Puneeth’s taste in cinema is intriguing. It may not match yours always but some of his choices either way are surprising. He has this urge to try something, not drastic but different. If he likes a performance, he will not think twice before calling and congratulating the actor whether he knows them or not. He once called Chetan ( Aa Dinagalu ) and heaped praise on his looks in a two-minute guest appearance. I remember receiving a call from him when in Chennai. He had just watched Nandalala and raved about the direction. By some strange co-incidence, I was with Mysskin and handed over the phone. Puneeth, after praising the film offered to work with the director even if it was a miniscule role. Mysskin was moved to tears.
It is in this context that I’m worried about his recent choice of films. There’s an air of professional hara kiri . I know it’s not intentional but the aura is fading, the hysteria is muted and fans are fuming. No star chooses a bad film intentionally. You either have implicit faith in a director like Puneeth has in Soori or an exciting idea is not translated into celluloid convincingly. When there’s a lack of interesting content, remaking a hit is the easiest option. Sadly, Puneeth is the only star I can think of who has bet his luck on two box-office turkeys. Yare Koogadali was as badly made as the original Poraai . It was claimed that scenes were changed for the better but sadly it was not noticeable either content wise or from the film’s fate at the box-office. His latest Chakravyuha is again based on a flop, Ivan Veramathiri. The content has been tinkered with but only for the worse. It’s like a student who has failed writing the supplementary exam. The director Saravanan has failed again but returns to Chennai richer. Now why would you choose a role where you have to constantly scowl even when you’re with your lady love and a film that’s neither entertaining nor emotionally moving? I can understand remaking a bad film that succeeded but tripe that also failed at the box-office? That’s flabbergasting.
It’s not as if producers have deserted him or there’s a discount on his price tag but Puneeth has to think of his faithful fans that are showing signs of frustration. It all boils down to Dod Mane Huduga, Puneeth’s next release directed by his favourite technician, Soori with an ensemble cast. The film has been in the making for well over two years and the verdict will be out in August. The fate at the box-office will prove if the film’s title is befitting.
sshivu@yahoo.com
