He deserted this world unwept, unsung and un-honoured. His canvas was vast. He visualised the intricate weaving of Ge ejagana Goodu (Nest of the weaver bird) to the flight of Giddh (vulture) in the prime of his career. His eyesight was as sharp as the eagle’s and could visualize his narratives from top angle unlike many of his contemporary filmmakers. Though he did only three films in his four decade film career, he played a significant role in the New Wave Kannada film and theatre movement of the 70s by assisting stalwarts of Indian theatre and cinema -- Girish Karnad, B.V. Karanth, Chandrashekara Kambar and P. Lankesh in honing their classics. He was among the most sensitive film makers country has seen. He was described as total introvert and stayed aloof for long before deserting this mortal world on April 8. Tragically his death went unnoticed.
RANGA T S
Ranga left this world quietly. People, who were close to him till his death -- Nagabharana, Sundarraj, H.G. Somashekar (Somanna), Dattanna -- shed tears silently.
“He was ailing for long and developed a kind of animosity with the outer world in recent years,” remembers actor Sundarraj, Ranga’s friend of four decades. Ranga, Nagabharana and Sundarraj were part of almost all the parallel films made and landmark plays directed by Karanth during the 70s. “In fact, Ranga was closer to Karanth than Bharana and me,” admits Sundarraj, without mincing words.
Though coming from a family of political and social service background, Ranga chose theatre and cinema, as his medium of expression. Ranga’s first independent directorial venture is Geejagana Goodu (1978). He powerfully visualized the short story by Krishna Alanahalli, who carved a niche for himself in the Kannada literary world. He even penned the dialogues for the film. Geejagana Goodu starring Aarathi Muddayya, M.K. Shankar, H.G. Somashekar, Sundarraj, Ashok Badaradinni and Lakshmi Nataraj received rave reviews and appreciation at that time. the film was screened in Panorama Section of International Film Festival of India. According to Bharana, Ranga planned a film called Pooje based on the work of the noted writer M. Vyasa in 1975-76, but for financial reasons the project did not take off.
His second venture was Savithri (1979) based on a Kannada novel by Ram. Sha. Lokapura. Chandrashekara Kambara wrote songs for this film. Besides being screened in various international film festivals, the film got Karnataka State Film award in 1980.
It was Giddh starring Nana Patekar, Smitha Patil, and Om Puri which brought fame for Ranga. Critics still rate performance of Om Puri in Giddh as the best in his (Om Puri) career. While Giddh dealt with a variety of issues around prostitution, it was not a simple condemnation of the Devadasi system. Ranga approached the issue from both the sides and offered a balanced outlook. Giddh is being described as one of the best Indian films dealing with poverty and the social evils it breeds.
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After making Giddh , Ranga had planned to make a film on Gramayana, a great classic of modern Indian fiction by Rao Bahadur. He even kept the script ready and was searching for a sensitive producer to realize his dream. But the film did not take off for various reasons. “Never did Ranga go in search of a producer. He was shy by nature. He used to spend a lot of time reading and writing at his NR colony residence. Though he did only three films, you can see his impact atleast on 30 films of those times. He used to say, ‘if any producer with genuine interest takes up the project he would do this film and won’t sacrifice project of this huge canvas simply for those, who expect money from it,” says Sundar with pain.
Sundar and Ranga essayed the role of Kapila in Hayavadana directed by Karanth for Benaka. They were like two bodies with single soul. Even when he was busy with films, Ranga continued to work in theatre. He was in a way “right hand” to Karnath in every theatre and film production. But he mostly restricted himself to backstage and Karanth used to respect him for his perfectionist attitude. Ranga played an important role in founding and taking forward Benaka. Being an actor, Ranga acted in few films of G.V. Iyer and plays by Karnath. He dubbed for the voice of Lankesh in Pallavi . He had an uncanny talent of finding soul of literary work. His documentary on the Gandhian H. Narasimahaiah is still being considered as classics in the documentary making. Being a perfectionist in screenplay writing, Ranga served in script committee of National Film Development Corporation (NFDC)
In fact like Bharana and Sundar, Ranga did not have schooling either in theatre or in films. They were the students of Karanth Gurukula University.
“Ranga was self-taught and Karnath was guru for all of us since 70s. We were working together in Benaka. When I planned to make Grahana based on the story by Kodihalli Shivaram, Ranga joined his hands. Likewise, I worked for Savithri and Giddh like a production manager,” said Bharana, recalling his four decade old association with Ranga.
Bharana is all praise for the scripting style of Ranga. “We worked together for Karnath’s Chomanadudi and Kaadu in various capacities. In fact, it was Ranga who suggested me to do Aakasmika for Rajkumar. I used to talk and consult him, whenever a new film was planned. Before going to shoot Kanoorayana, I met him. He was ailing, but with a warm smile he wished me the best. That was the last I saw him”, said Bharana.
“On the face of it he looked like introvert and serious. But, he used to talk all sorts of things in a close circle. In fact he was my teacher first and later my dearest friend,” says actor Sundarraj.
“He was my mentor both in theatre and cinema. He was well read and had his say on everything connected to cinema. Besides Karanth, he was equally inspired by Satyajit Ray. In seventies, without studying in film institute, he was speaking authoritatively on all the classics. His insights about films and narratives are brilliant. It was a feast to listen stories from him. During the making of Kaadu , Bharana assisted Karnad, I served as a clap boy besides essaying a role. Ranga was the production manager and there was no possibility of things going wrong, ” recalls Sundar.
“I can’t forget the way he prepared the script with different coloured pens, pencils. His was a memorable handwriting. He had a wonderful voice, which was the contribution of theatre to him. Karanth used to tell me to learn diction from Ranga. Actually, he wanted to become an actor, but ended up as director. Even before making Geejagana Gudu , Ranga had planned to do Paalu , based on work of Vydehi of Mysuru. He had finished the script. Even shot few parts. But he could not complete the film for financial reasons. He was enamoured by the strong message in the film. I promised to that. With Ranga deserting this mortal world, I will produce and direct the film in memory of Ranga. It will be my gift to my guru and mentor,” Sundar said, choking up.
