I never saw this as a man’s world: Jayamala

Sipping on her favourite bellada (jaggery) tea, veteran actor and producer Jayamala — who returns as president of the Karnataka Film Chamber of commerce for a second term — speaks about her favourite subjects: cinema, her vision in her role as president of the film chamber, and her dream of seeing Kannada cinema receive a fitting tribute as it approaches its centenary in 2034. ‘In my second term as Film Chamber president, the landscape of cinema has changed dramatically’In my second term as the president of the film chamber, I find that the landscape of cinema has changed dramatically. The last time I held this post (2008–2010), things were very different. Today, social media has transformed the game, satellite television has expanded, and the number of channels has multiplied, making competition far more intense. Even print, though under pressure, has held its ground.The economics of filmmaking have become daunting. What once needed a modest budget now demands crores, with publicity costs sometimes matching production. For small filmmakers, this is a growing concern. I was shocked to learn that a hero’s remuneration took up half a film’s budget, raising a key question: how will investments be recovered? It brings to mind Dr Rajkumar, whose films ran for weeks, yet he never pushed for higher pay. The real question is: Are people truly valuing cinema today?‘I’m the first woman to walk the precincts of the Chamber’I’ve been part of the film chamber since 1992 — as an office-bearer, treasurer, vice-president, and now president for a second term. I’ve never seen it as ‘a woman in a man’s world’. I was fortunate to be guided by stalwarts like R Lakshman and CVN Shastri early on. I learnt how the institution functions and the responsibility the role demands. For me, this position is about giving back to the craft that shaped me. With added political experience, I return with a clearer understanding of the industry’s needs. My advice to young women: stay fearless and focused.‘Kannada cinema’s biggest challenge is the lack of a strong second and third line of heroes’Beyond our top stars, there’s a clear gap in the next generation of actors. Earlier, Kannada cinema thrived on a wealth of talent —Dr Rajkumar, Vishnuvardhan, Ambareesh, Shankar Nag, Anant Nag — and strong female actors like Lakshmi and Kalpana. It was a golden era, also marked by a vibrant parallel cinema movement led by voices like P Lankesh, Chandrashekar Kambar, Girish Kasaravalli and Girish Karnad. One often-overlooked reason for today’s challenges is the shift from Madras to Bengaluru, which meant rebuilding the industry from scratch. The cross-industry exchange and experimentation we once enjoyed gradually diminished.The larger concern is infrastructure. We still lack a film city, a dedicated institute, and advanced animation or graphics hubs. Adapting to evolving technology and building stronger systems is key to becoming a self-sustaining industry.‘We’ve made a mark on a pan-India level’Filmmaking is a collective effort — we need to support one another instead of pulling each other down. Perceptions have changed, with films like KGF, Kantara and Sapta Sagaradaache Ello putting Kannada cinema on the national and global map. Artistes like Yash and the larger South film fraternity have brought renewed respect to the industry. What we need now is consistency and collaboration to sustain that momentum. Karnataka has immense cultural and literary richness, and I hope young filmmakers tap into it to tell strong, rooted stories.‘The need of the hour is to preserve our films’We do have an academy, but we must be far more proactive in preservation. Kannada’s first film, Sati Sulochana, is largely lost — in fact, even my own Tulu film survives only in four stills. We must document the journeys of our achievers in books, so future generations can learn from them. ‘I have great plans for the centenary year of Kannada cinema’Previously, I had the opportunity to helm the Amruthamahotsava celebrations. In a few years, we will mark 100 years of Sati Sulochana, and we must build a meaningful run-up to that milestone. It cannot be limited to a single annual film festival. We need festivals across districts to cultivate a film culture—introducing audiences to world cinema and films from across languages. I also envision mini theatres with cafés across cities, making cinema more accessible. This will give smaller filmmakers a platform to showcase their work. These are the small but significant steps that contribute to building a stronger industry.