There is very little doubt that it is indeed a season of firsts in the Kannada film industry of late. This week, Suneel Raghavendra’s Puta Tirugisi Nodi will be released across screens in Karnataka. Puta Tirugisi Nodi , roughly translated as ‘please turn the page’, is a film that charts the life of a cricket player who is forced to retire and goes on to become a school teacher in Bangalore.
The film, which created a flutter of excitement when it was screened at the 8th Bangalore International Film Festival (BIFFES), will release alongside Shivarajkumar’s Santheyalli Nintha Kabira and hopes the mighty Kabali will make some space for it too. Excerpts from an interview with Suneel:
Was it difficult to get a release date?
Generally, the capital for the release is put in by the distributor and so based on that it is decided when the film can be released. In my case, I put up the ‘release capital.’ The liability is mine and therefore the decision was mine. The delays in the release had to do more with the technical and procedural aspects.
Also, I was trying not to cross paths with Rajinikanth.
After BIFFES, are you happy with the response to the film?
At BIFFES, while the majority of the feedback was quite positive, my team and I took into consideration the criticisms we received and we have actually implemented a few changes. The film is now 11 minutes shorter. I think we now have a better film, especially on an aesthetic level. I’m anxious to see how and whether people respond to it.
How did filmmaking happen to you?
I wanted to make a film from the time I was three. Of course, back then, I wanted to make films like the ones that Shankar Nag starred in. Engineering was a distraction and I did that because my family wanted me to. Once it was done and it was clear that I was not suited for that, it was easier for me to make the transition into filmmaking, which was something I’ve always wanted to do.
How would you describe the film for those who haven’t seen it at BIFFES?
I’ve never identified with the Bangalorean shown in mainstream Kannada cinema. In that sense, this is my depiction of what my Bangalore is. Of course it is not an exhaustive picture of the city because Bangalore has many facets. This is one among them.
How did you arrive at the title of the film?
It was suggested to me by Jayant Kaikini, the lyricist and writer. Originally, the film was called Makkalaata or child’s play. The intent of that title was to subvert the meaning of child’s play. In urban cities and spaces, the lack of playing area is a serious issue and I feel this is partly because we don’t consider children to be serious citizens of the country. The idea of the film was to show that children’s play is not something to be taken lightly. But no one liked the title. Even the late writer, Prof. U.R. Ananthamurthy, when he read my script, had said I should change the title. What the film ultimately talks about is moving on in life and looking at better things, and hence Kaikini said that Puta Tirugisi Nodi would be an apt title.
