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In an exclusive interview, Rishab Shetty speaks about how ‘Kantara’ came to be, how he trained for the now-iconic Bhoota Kola performance, and more
In an exclusive interview, Rishab Shetty speaks about how ‘Kantara’ came to be, how he trained for the now-iconic Bhoota Kola performance, and more
“The more rooted a story, the more universal it can become,” says actor, writer, and director Rishab Shetty, on how films like his recent hit mystical-mystery Kantarastill work for audiences who may not be aware of its cultural and regional roots. In Kantara, Rishab goes back to his roots in coastal Karnataka to tell a story that unifies nature, humanity, and the divine. Folklore, traditional practices, and regional beliefs take centre-stage, and Rishab’s performance as a man possessed by demi-gods Panjurli and Guliga has become a talking point. Interestingly, the actor believes that even the reason for the film’s existence and success goes to these divine beings.
The reception to Kantara has been such, that even before the release of the dubbed versions of the film in Hindi, Telugu, Tamil and Malayalam, the title became the highest-rated Indian film on the platform IMDb, surpassing the likes of KGF: Chapter 2 and RRR. Excerpts from a chat with the actor, who was in Chennai recently:
Congratulations on the success of ‘Kantara’ Where did the idea for this project germinate from?
I always believe that a film makes itself and that we are just tools. During the second lockdown, I thought about a real incident that had happened between an agriculturalist and a forest officer; it was not a mere clash of egos, as they represented two different things. A forest officer representing nature — who became the character played by Kishore — and a man from the village in the forest representing humanity, who is our protagonist Shiva. The latter is someone who doesn’t care about the rules of the forest department because he is only concerned about the livelihood of his people, which is based on agriculture.
This man hails from my homeland in coastal Karnataka, where the ritual of Daivaradhane and religious practices surrounding demi-gods are prominent. There, we believe that the land has a certain divine energy. I started thinking about how such beliefs about demigods are prevalent across the country. For instance, in Tamil Nadu, these gods are called ‘Kaaval Deivangal’. I believe that the more rooted a story is, the more universal it can become, and so anyone can relate this story to ideas from their local beliefs and milieus. Bringing all this together, I wanted to tell a story about co-habitation, and how such demigods are a bridge between nature and humanity.
Rishab Shetty as Shiva in ‘Kantara’
| Photo Credit: Special Arrangement
Do you agree that films with religious themes should be made in a certain way to attract the younger crop of audiences? ‘Kantara’ is a commercial entertainer, and not an arthouse film, per se…
Yes, because an audience pays and watches films only to be entertained for two and a half hours. Creators can say whatever they want as long as they provide entertainment too. Even if you tell a serious story, you have to ensure that you bring the audience to the edge of their seats.
These topics that are rooted in culture might sometimes overwhelm audiences. How important is to strike a certain balance between what to tell, and what not to tell?
Yes, that’s true. You should have something in your film that will make audiences think. That’s how you create a discussion outside the theatres. At the same time, a layman should also understand what you are trying to tell, and if not, the reach of the film will be limited.
Moreover, it is also important to understand that you are not smarter than the audience because they are more updated about the art than you are. We are already telling old stories; I mean, the idea behind this film itself is a year old and I’m showing that story on the big screen only after a year. That is also why I go for rooted stories because they are not easily accessible to everyone.
Kannada films like ‘Kantara’ and ‘Garuda Gamana Vrishabha Vahana’ have been well-received by audiences in other states as well. What do you attribute to this post-’Baahubali’ resurgence of south Indian films’ popularity across the country?
Earlier, cinema was the only source of entertainment for people. Even after television entered the picture, theatres retained some power, but now we are also talking about streaming platforms. Since audiences now have more options for entertainment — which need not be a film, but something as simple as a viral YouTube video — the stories should be universal and should cater to all.
But that doesn’t mean the film should be made to such international standards. It should also be rooted and that is a major reason why southern Indian content is now popular up north. Since Bollywood is now following a set pattern, churning out a specific type of commercial entertainer, films from the south that are rooted in their culture are being appreciated.
Writing a screenplay like ‘Kantara’ needs a certain conviction because even though we know what’s awaiting us at the end, it shocks you. In another film, we would have gotten red herrings to throw us off-course. Where did you get that confidence?
I believe in the divine energy that exists in nature, which I think is the purest form. So, my conviction in what I do comes from my conviction on the subject. We know that the demi-god will possess Shiva; it even appears and warns him every time he makes a mistake. But the lead-up to that should be organically set up. The prophecy the demi-god makes, in the beginning, is a tool that helps in this, but what happened later was not in my hands. The only thing that wasn’t on paper was the climax sequence that people are raving about. It existed only in my head. I started it, and then the gods took it to the end.
Your histrionics during the Bhoota Kola performance is getting a lot of appreciation, be it the expressions or that unique scream. How did you train for that?
We had a Bhoota Kola performer guide us throughout the filming, and I also watched videos of the performances. I visited the place where they perform the Kola, and I observed how they do it there. This is a sensitive topic and so it was important to get it right.
A still from ‘Kantara’
| Photo Credit: Special Arrangement
The music is a huge backbone of the film. How did you get such tunes out of music composer Ajaneesh Loknath?
Even when I was writing the film, I was clear that we should bring folk music to the fore. We brought real folk artists for the recordings. In fact, we recorded all the songs in an open-air theatre in Mangalore where music groups that play folk instruments like Koraga’s Dollu, Huli Kunitha Dollu, Thase, Nadaswaram and Chanda usually perform. We captured the tiniest of details, and then programmed it along with western instruments to create a fusion that would elevate the cinematic experience.
‘Kantara’ has a lot of Tulu-language dialogues in it; have you every thought about making a straight Tulu film?
Yes, I don’t have any qualms about making such a film. For now, I want to make Kannada movies because it is the Kannada film industry that gave me this life. But Tulu is also another language that is spoken within my state, and it is also the language of the land I hail from. So, if the opportunity presents itself, I’ll make a Tulu film.
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