The Kannada Renaissance Man

By Shiva Kumar
On November 16, 2000, returning from his 108-day ordeal in the forest, Dr Rajkumar touched the Karnataka soil in reverence. The image encapsulated the man's organic relationship with the land and its people. The metamorphosis of `Muthuraj' to `Rajkumar' to ` Annavru' is the tale of over five decades. The period also coincides with the growth of Kannada nationalism and statehood.
When Bedara Kannappa was released in 1954, Karnataka was still Mysore, with the unification movement at its peak. Two years later, an expanded state was born and Muthuraj had become Rajkumar (the prince). The Tamil nationalist movement was also consolidating, with the film fraternity led by MGR playing a pro-active role. In neighbouring Andhra Pradesh, NT Rama Rao was espousing ` Andhra pride.' Though there was a craving for Kannada identity and resurgence, it wasn't easy . The state's multiple linguistic and cultural identities were an obstacle. The literary world, especially poet-laureate Kuvempu, was providing philosophical and intellectual imagination for Kannada-conscious ness. In the charged atmosphere, films, a powerful medium, united people. Characters played by Rajkumar reflected changes in society . And Rajku mar represented and conveyed to the mass es, in simple and ac c e s s i b l e w ay s, what the poets had envisioned.
W h e n drought hit the state in 1961, the film fraternity jumped in.
They held music programmes to collect money and provide moral support, and this helped strengthen the bond between people and cinema.
“Till 1961, the Kannada industry had produced just 113 films. A decade later, the figure was 370. Rajkumar, who had acted in 17 films in seven years, had worked in 121 films a decade later. One out of every two films had Rajkumar in the lead. In 1968, 16 films starring Rajkumar were released,'' says Dr K Puttaswamy , author of a National Award-win ning book Cinema Yaana.
Rajkumar's films presented mythologies and populist versions of the state's past rulers and dynasties, including the Vijayanagar empire and the Mysore Wadiyars, before moving to contemporary stories and thrillers.
“The rise in the number of films shows people had accepted him as their cultural icon. Unconsciously ,a community chooses its cultural hero who gives shape to their inner aspirations,'' says Dr K Puttaswamy .
Rajkumar's image, on and offscreen, connected him with people. He was unbelievably humble for a superstar. His simple lifestyle, humility, the liberal humanism in his films, abstention from alcohol and tobacco on screen struck a chord with the people.Added to this, he turned down offers to act in other language films, re-affirming his commitment to Kannada.A simple man, he never craved attention or power, refusing to enter politics despite tremendous pressure.
“Besides being an icon for Kannada consciousness, Rajkumar strengthened the roots of democracy with his characters. Social conditions of marginalized communities in the 1950s and 60s were pathetic. Due to isolation in the public domain, oppressed classes suffered from an inferiority complex. Cinema diminished the physical distance between people. By playing characters representing alienated communities ­ a hunter in Bedara Kannappa, a shepherd in Bangarada Panjara, a barber in Sanadi Appanna and a blacksmith in Doorada Betta ­ he helped socially marginalized gain confidence and respect. Those who were insulting them became the audience.This helped in a mental shift,'' argues writer Dr KY Narayanaswamy , winner of the state Sahitya Academy award.
The early 1980s were a crucial period in the struggle for Kannada identity. Upset with the importance to Sanskrit and neglect of Kannada, writers led by former vice-chancellor VK Gokak began an agitation in 1982.Their demand was for primacy to Kannada in administration and education, and Kannada as the first language. The movement, in which writers, intellectuals and students participated, got a huge boost after Rajkumar joined, and eventually the then Gundu Rao government accepted their demands. The actor had turned into an unparalleled linguistic and cultural ambassador.
An unpleasant incident in Ooty during a shoot after the Gokak movement made him leave Madras and settle in Bengaluru, which helped in deeper engagement with the people.He supported the state farmers' demand over Cauvery water, but always suggested a peaceful solution. The Dadasaheb Phalke-awardee was not parochial. When violence broke out between Kannadigas and Tamilians after the interim award of the Cauvery Water Disputes' Tribunal, he appealed for peace. “He didn't restrict himself to just acting, but stood by people whether it was over language, literature or water,'' says AN Prahlad Rao, author of Bangarada Manushya.
Muthuraj-aka-Rajkumar was ` Annavru' for his fans. For him, fans were `Abhimani Devaru' (God in the form of fans). Probably , this best explains why Bengaluru convulsed, violently, when he died on April 12, 2006.