Taking the first step in K Vishwanath’s residence, one cannot help remembering the scene of child actor Tulasi’s experience of feeling the sapta swaras resonating within the walls of Sankara Sastri’s house in the 1979 release, Sankarabharanam . K.Viswanath describes his five decade long journey in films since Aatma Gowravam starring ANR Aatma Gowravam as “ Naa dhyasa sarvasvam sangeetham, nrutyam painenandi. Aa paaraniki, aa gajjela savvadiki nenu sada mukthunni. ”
Even as he tasted success dabbling social issues quite early in his career with Kaalam Marindi, O Seetha Kadha, Sarada, Neramu Siksha, Siri Siri Muvva and Seethamalakshmi , he acknowledges the fact that people look at his career, or even film history, as a phase before and after Sankarabharanam . “That was a demarcation line from many perspectives. People still remember my films prior to that but the impact of the landmark was such,” he says with a gleam in his eyes.
Was the landmark film planned as an ode to Thyagaraja, given they get their deserved due so late in their lives? He doesn’t quite feel so. “But as a sprout thought, both of them sing for the almighty themselves. Even as Somayajulu is in dire straits monetarily, he says, Enaadiethe nenu paadaleno aanaade naaku daridram occhinattu . A true artiste will never crave for recognition,” he adds.
About his cinema beginnings in the sound department for Todi Kadallu , he recollects, “It taught me to balance between melody, orchestra levels and the elements that please the senses more. It gave me a foundation. My ears must have been trained to hear melodious music. That must have played a key role, even subconsciously in the music of my films.”
In most of his works, be it a Sagarasangamam, Swatimutyam, Sirivennela or even an Apadbandhavudu , there have been protagonists who consistently meet an unfortunate end to their lives. Was the intent to give them an emotional high? “This is not an effort or a sentiment to use it as a symbol. It is only a coincidence. Generally, I don’t like morbidity and you don’t see me stretching such sequences for long,” the thespian replies.
His association with the owner of Purnodaya Productions, Edida Nageswara Rao has been quite a critical one for his ideas to translate into potential classics. However, he feels no producer in his journey has ever forced him to do projects. “Be it monetarily or creatively, barely any of them interfered with my subjects. It’s just that things click with certain people and it won't with others,” he clarifies.
An aspect to take note with most of his films is that of the story not taking a backseat irrespective of the cast, whether it is a Kamal Haasan, Chiranjeevi or even a Chandra Mohan. He quips, "I've never started casting actors during the scripting stages. It's based on their willingness and availability that they've gone on to do my films. Story by itself is an entity and we put someone who fits the slot."
He has an interesting point to make about the humour in his films and their seamless flow into the narrative. He says, it’s the comic timing of the lead actor that brings about a balance. “It’s not humorous if the story can work without that particular sequence. So, in most cases, if the actor is capable enough, the integration of humour won’t be a roadblock,” he says.
The multiplicity of different professions in his film, say the life through the eyes of a caterer in Subhalekha , a cobbler in Swayamkrushi , about Haridasulu in Sutradharulu , was his bid to capture fading traditions, given the onset of urban lifestyles. “I'm not trying to facilitate their revival through this. It’s also a bid to add variety to the characters you see,” he explains.
His films survive the longevity test also for not letting his love for art overpower the emotional content of the story. Continuing to be ever so articulate, he says, “The canvas and the backdrop are different from a painting. They help the images stand. Poola mala kattettappudu, daaram kanapadakudadu ( When stringing a garland of flowers, the string shouldn’t be seen ) .”
Second and third runs of popular films were a sure rage until the mid 80s, but does an example like Mayabazar convince him to re-release his earlier films now? “A lot of first-timers who make films on shoestring budgets with great difficulty are yet to see daylight. I’m satisfied when I get calls after films like Sarada, Jeevanajyothi are screened on television. The small screen does the job,” he avers.
These are times, when many crafts associated with a film too get rapt attention, sometimes, even more than the product. How does that work out? With a no-nuisance glimpse, he chips in, "It's an achievement only if you say it's a good film followed by the finer details. You see a frame featuring a lady first, say it's beautiful, and then you talk about the forehead, the eyes, the nose and the personality. He, otherwise, also understands that the perspective of every watcher does vary. A cobbler on the pavement doesn't look at the dress, but has an eye on your footwear."
Ask him whether he’s planning to direct a film in the near future and he smiles as he states, “I’ve faced the irony of a producer coming to me who insisted I do his films, regardless of what happens to my health later. My family doesn’t want me to work anymore. My family was earlier in Chennai. I used to be in Amaravati for a span of 45 days or so for shoots. Except for phone calls, there wasn't any medium to be in touch. I broke my leg during Sargam shoot and my family knew of it very late. When a director commits to a project, five years of his life are gone.”
