Stories after stories poured in from the veteran actor Srinath as the evening showers pattered against the windowpanes of his sylvan Basavanagudi home. A trained orator blessed with a distinctive voice, spoke unfalteringly of his five decades in cinema and more than six decades of association with theatre. Known for his ‘all-time-cheerful’ nature, even at 73, he is ebullient and enthusiastic.
We have heard of your childhood and adolescent stories that depict your inclination towards the world of cinema. The way you were astonished by a cinema poster and the manner in which Bollywood actress Asha Parekh dragged you to Mumbai... portray your unwavering love for films.
My dad knew of my interests and at the same time, was aware of my craze as I had run away from home at the age of 16 wishing to become an actor. He asked me if I was sure about pursuing cinema. Without an iota of doubt I nodded my head. He asked me to state my second preference. As I did not have any alternative, I blurted out what I had seen in the newspaper that morning. “Navy,” I said, as another option for my career. Thinking that my first option would suit me better than the second, my father got me admitted to the only available cinematography course in Bangalore. I had the interest, true, but my father took care of the practicalities. To make sure of stability in my work, he thought even if I fail in acting, I could somehow make a career in cinematography.
How were your initial years in cinema?
An actor for the role of manmatha was needed for the film, Lagna Patrike. I got to know of it from actor Shivaram. I was happy to just act in films, be it any role. That’s how I appeared on the big-screen in 1967.
Were you confident that you would get lead roles in ‘67?
(Laughing) Attraction towards Asha Parekh had made me a hero when I was a teenager. Since then I had believed that I was a hero. There was no looking back ten years later.
It is said that during 73-74 you were in a dilemma whether to continue in the field of cinema or not. By then you were not only co-acting with other veterans like Raj Kumar, you had also become a hero in a few films which was your initial dream. Why did you think of taking a different route after diving into cinema?
Yes, I thought of applying for a job during that period. It is also true that the number of films I used to get were very few. As I had just married, I worried if I could meet the ends with what I earned from films. The confusion and doubt was financial and not from the kind of roles I was getting. What made me stay back in cinema during that difficult phase was the strength provided by three people. Raj Kumar with whom I used to act the most during that time. Director Ravi whom I fondly call “anna”, and my wife Geetha. If Raj Kumar encouraged me to wait for six months more, my wife assured me that she would take care of our everyday life, but it was Ravi anna who struck a deal with Puttanna Kanagal so that he agreed to try me for his next film.
Puttanna used to prefer casting new faces for his films. And so was he reluctant to choose me as I had acted in 30 films by then. But when he found I was cooperative without any fixed notions about acting, he scripted Shubhamangala.
Puttanna used to call you Anna which itself suggests the fondness he had towards you. Tell us more about your relationship with him.
Later, when I was looking desperately for a different role, it was Puttanna who came to my rescue in 1981. In fact, we had dedicated Manasa Sarovara to each other. By then, as our relationship was mature and solid, I began to discuss with him of the other possibilities of taking a shot. When I felt dissatisfied with my acting and wanted to add more flavours to it or had to intensify the emotion, he was willing to listen. He gave me the liberty to try, and further strengthened it with his inputs. I have followed what he taught me both in cinema and in personal life. I can say, Puttana not just directed my films but my life as well.
You have said more than once in the past that the women who shared screen space with you are hugely responsible for your stardom....
What actors they were! Kalpana, Manjula, Bharathi, Arathi, Lakshmi, Jayanti.... so many of them, and such strong and unique personalities. If I have received the title ‘Pranayaraja’ it is because of them. Without them could I think of earning this title? It was because of the cooperation and understanding they provided, I earned my stardom.
Do you think we have lost that entire breed of actors and all those remarkable directors?
They were certainly good times -- fine directors, technicians, actors, great stories etc. But it is perhaps wrong to glorify the past. Times have changed, people are different, so if I lament it maybe an indulgence. Once, when I casually mentioned to director G.V. Iyer about the beauty of that era which saw cinema at its best... great lyricists, amazing songs... he immediately said, ‘praising only the past is in a away escaping from what is present. Do not sit in the well of time. That might limit you from expressing yourself.’ That’s so true, isn’t it? Every period in time has its own taste.
Politics has been another feather in your hat. How has that experience been for you?
I joined politics as I got inspired from Vajpayee. But I do feel I am not fit for politics as my nature does not match the political arena. I continue to stay in that sphere though.
Aadarsha Dampathigalu that you anchored, the first reality television series in Kannada was so popular and you became a household name with it. What did it mean to you?
Some experiences make a huge impact and it was my interaction with the common people for Aadarsha Dampathigalu. I wish to tell you an anecdote from the days of the reality show. While touring North Karnataka one of the questions I asked an aged couple was about ‘sacrifice’. I asked the old lady what she had sacrificed for the sake of her husband. She was silent for a couple of minutes. I, in my arrogance, thought she did not make sense of the question. But when she did give me an answer, I was astounded. ‘Sacrifice comes with pain. But when you let go of something for the sake of love, it is a matter of satisfaction, and automatically fails to be categorised as sacrifice.’ It was a lesson in humility for me. That entire journey of Adarsha Dampathigalu changed the way I looked at life.
After having such an illustrious journey, what was your motivation behind Suli ?
After Manasa Sarovara my soul was searching for yet another role that would showcase the undiscovered actor in me. The character of Budensaab, the protagonist of Suli , embodied what I had looked for all these years. So I readily accepted P.H. Vishwanath’s offer. I came to cinema to act. Acting is my primal need.
Were you part of theatre before you started acting for films?
Acting was central to me and cinema was a means to that end. It all began when my father decided to knit together a skit for the twenty-odd boys playing on the road then. I was eight and my brother C.R. Simha was nine and a half, when we played Ishwara and Vishnu respectively. It not just initiated both of us into theatre, it made me realize what is required of an actor. During this play, I forgot my dialogue. My grandfather prompted the lines from the side wings, and I, most naturally, had said from the stage : “Got it ajja ...I am going to say it rightaway.” The audience loved my innocence and showered me with applause. This was a turning point in my life. From then onwards, I started completely getting immersed in my role which naturally led to good delivery of dialogues.
Drama provided a range of roles from villain to old man which provided a strong canvas of experience for my career in film.
What is your advice for young aspirants?
For the stars of today I want to repeat what Puttanna told me. No artist should follow his image. This is like chasing your shadow, which will distort the way you walk.
