“It was my eyes that lifted me to stardom,” says S.K. Padma Devi, the oldest surviving woman theatre artist of Karnataka. Padma Devi started working in Kannada amateur theatre in 1930. She also acted in the first Kannada film, “Bhakta Dhruva” (1934), and played the lead in the first social film in Kannada, “Samsara Nouka” (1936), adapted from a play by Chandrakala Nataka Mandali.
She was active in Kannada professional theatre till 1960, not only performing but also scripting and directing plays and running her theatre company. She then joined All India Radio and worked there for more than two decades on radio plays and other programmes. In all, her professional career spans over 70 years. At 90, Padma Devi is hale and hearty. “Except for hearing loss, she is very active and does not sit idle for even a single moment,” says her daughter-in-law Shobhana. “My children fondly address her as tunti .”
Padma Devi remembers what happened eight decades ago as if it took place yesterday. Her father, S. Krishna Iyengar from Srirangapatna, was fond of theatre. Her mother, Seethamma from Madhugiri, was an exponent in veena, violin and harmonium.
“My great grandfather owned Janamanollasini Sabha, a professional theatre company,” she says. “But it was closed down because of his unprofessional handling,” she laughs.
Her father divided his loyalty between teaching and acting. Padma could not help but choose theatre, as all her siblings were in theatre. “Though my father encouraged me to act, my mother sternly opposed it,” she recalls. “Finally she reconciled herself after watching my success. Even my husband was against acting after my marriage.” She married Padmanabha Rao, a theatre artist.
She played her first role in “Bhakta Prahlada”. “My appearance as Bhoodevi was an instant success. I was nine years old then and the legendary Kanakalakshmamma of Mysore tied the sari for me and decked me with jewels.” Padma Devi sang four songs in the play. It was H.K. Sheshagiri who trained her to sing, and in a reminiscent mood she sings an old song. “In theatre, the rapport between the actor and audience was immediate through medium of songs. The theatre of those days offered entertainment. The play was a peg for music.”
She has acted opposite the top male stars of the theatre — G. Nagesha Rao, M. Subba Rao, M.G. Mari Rao, B.S. Raja Iyengar, R. Nagendrarayaru, M.N. Gangadhara Rao, Kotturappa, Dikki Madhava Rao and others. Her salary of Rs. 200 was considered generous at that time.
It was her haunting eyes that brought her to the attention of noted filmmaker B.R. Panthulu and into the world of cinema. Padma Devi was 11 years old when she acted in “Bhakta Dhruva” and vividly remembers her experience. “When Kanakalakshmamma of Varadachar Memorial Association decided to produce ‘Bhakta Dhruva', I was asked to act in a small role. I readily agreed. The film was shot in Mumbai and all the artists were put up in a small house. Tin sheets were used then to reflect the sunlight and the film was shot only in daylight.”
The response for the film was overwhelming. People thronged the cinema hall. “I was really delighted when I saw moving image of mine on the screen and heard my voice.”
Though production of “Bhakta Dhruva” commenced much earlier than work on “Sati Sulochana”, the latter was released first. This still bothers Padma Devi. “Had ‘Bhakta Dhruva' released first, I would have got the credit of acting in the first Kannada talkie,” she says with an impish smile.
She went on to act in “Vasantasena” and “Jaatakaphala” directed by R. Nagendra Rao, and “Bhakta Sudhama” by Kalaivani. The song “Yadukulanandanane” she sang in “Bhakta Sudhama” became a craze at that time. Besides Kannada films, Padmadevi has also acted in Telugu (“Sathyabhama” and “Haravilasa” directed by Y.V. Rao) and Tamil (“Gangavatarana” by Savyasachi) films.
She has great regard for her co-stars, though she does find fault with a few. “The hero of ‘Vasantasena' was not good-looking,” she smiles naughtily. “Had the hero been handsome I would have performed still better!”
