Exclusive Interview with : Director Hemanth M. Rao, first time writer and filmmaker tells us he is happy, but not elated
Updated on: 17 Jun 2016
The theatres are running full, no tickets for 'Godhi Banna Sadharana Mykattu'.
Make way. The youngsters are here. They dare to dream and have the courage to convert them into celluloid. The star in their films is not the kind whose gigantic cardboard cut-outs are sprayed with milk but the story. The refreshing fact is that they don't have a condescending attitude and respect the maturity of the paying public. The keyword in the films they are churning out is not different but sensible.
'Godhi Banna, Sadharana Mykattu' directed by Hemanth M. Rao is a collage of fascinating characters caught in a cauldron of conflicting emotions. His writing is near flawless and the cast headed by the redoubtable Anant Nag contributes in enriching the experience. For once the quality of a film matches Anant Nag's performance. I met the articulate youngster outside a temple to get a sense of how his mind works. The streak of holy ash on his forehead showed he had prayed hard. He's 'Godhi Banna' but as a filmmaker, definitely not 'Sadharana'.
The director you choose to train under also reflects your cinematic sensibilities. Not everybody approaches Girish Kasarvalli.
After my engineering, I really wanted to pursue filmmaking and I did consider going the film school way but I'm someone who's never done very well in academics. It was the rebellious phase so I felt going to school I'd end up the same way. I felt it was essential to train and understand the craft. I primarily identify myself as a writer and then a filmmaker so grammar is very important when you're expressing emotions. I felt I had to work with someone who's understood that. I should be thankful that he took me onboard.
Then you shifted to Jacob Varghese.
Yes. I worked in 'Gulabi Talkies' with Girish sir. I felt it was very relevant. What I could see is that the film was not reaching the relevant people. I feel a film should be commercially viable and reach as many people as possible. It has a life of its own after that. I met Jacob who'd just completed a short film called 'Andhyam' about a hangman and the trauma he undergoes. I did a short film with him about a seven-year-old girl who's never seen rain. Then 'Savari' and 'Prithvi' happened. Jacob comes from a school which believes in marrying art with commerce. It was very good to work with both schools.
You have arrived at a comfortable phase when directors like Pawan and Anup have paved the way. Did they give you confidence?