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Poignant Moment: Dr Rajkumar as Bedara Kannappa</td></tr>
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Truth shall prevail: Dr Rajkumar and Shankar in Satya Harishchandra</td></tr>
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Path breaker: Jennifer Kotwal, Shivrajkumar and Yana</td></tr>
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Trendsetter: Ganesh and Pooja Gandhi</td></tr></tbody></table>
<h4>Hotchpotch remakes and the run-of-the-mill underworld flicks sound the death knell for Kannada films</h4>The Kannada film industry has entered its diamond jubilee year.u00a0 The industry, facing tough competition from other language films, has seen a lot of ups and downs during the past seven decades. From the first talkie film, Sati Sulochana, to the latest offering, the industry has grown by leaps and bounds in terms of budget and volume of business. But the quality of films has taken a beating. Quick flashback The journey of the industry started with Sati Sulochana, the first talkie film, released in the year 1934. In the inception and early years, Kannada films were usually based on historical and mythological subjects.u00a0 It was in the late 50s that the industry started moving towards social phenomena. Legendary filmmaker B R Panthulu's School Master marked the beginning of the movies based on socially relevant themes. Then began the era of Kannada thespian, Dr Rajkumar, who along with other legends catapulted the industry to a different league altogether. The 60s were considered the golden era of the Kannada industry. Another prominent film-maker, who played a vital role in giving the industry some of its biggest hits ever, was Puttanna Kanagal. His movies were like a breath of fresh air. His films, devoid of glamour or masala, were appreciated by the masses, the classes and discerning critics as well. He was the first one to intensify the interaction between literature and cinema. He was the first director to use steady camera and the first to direct an English song (???). The industry was at its zenith during the 70s and the early 80s, thanks to Girish Karnad (Kaadu), B V Karanth (Chomana Dudi), and Girish Kasaravalli (Ghata Shraddha), who spearheaded the Kannada parallel cinema.u00a0 Fading glory But Sandalwood's fragrance and sparkle began to fade in the late 80s. In the late 80s and early 90s, the industry was forced to accommodate tailor-made stories for non-professional purposes with the estrangement of learned writers from the industry and the advent of business-oriented financiers. In the process, the industry gradually started losing its quality and credibility. Interference of financiers made a telling impact on the growth. It soured the business relationship between the producer and distributor and the ethics of the industry. The remake syndrome caught up with industry and even today filmmakers consider remakes a safe bet.u00a0u00a0u00a0 Films based on crime and underworld, barring a very few exceptions, have become the order of the day. A large section of mainstream Kannada cinema today is typically marked by violence and sickle-brandishing goons chasing each other - and storylines that spurt blood at every turn.u00a0 Time for introspection Now is the time for introspection. It is high time producers, who patronise remakes and the run-of-the-mill underworld flicks, realise the value of original films. They should try to look for fresh ideas and innovative narration that would give a new fillip to the Kannada film industry. Both director and producer must shoulder the responsibility of choosing the subject and conforming to the standards of cinema making and reclaim the glory of Sandalwood.

Hotchpotch remakes and the run-of-the-mill underworld flicks sound the death knell for Kannada films

End of an era

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End of an era

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