S L Bhyrappa remarked thus on this phenomenon of compromised filmmaking:ĭon’t make films with the assumption that the tastes of the audience are of a low standard. The same attitude operates in the courage he exhibits by choosing and glorifying classical themes with zero compromise: by excluding the typical elements in commercial cinema. Indeed, “honesty” is the operative word because as we’ve seen in the earlier episodes of this series, K Viswanath is never apologetic about the way he depicts the ideal of Indian womanhood or the differences of Jati or other societal corruptions and similar negative elements. When this cultural honesty is rendered on screen, it produces such classics. The reason they have enduring and universal appeal transcending linguistic and other barriers is because they’re deeply immersed in what’s known as Bharateeyata (the translation “Indianness” doesn’t do justice to this term).
This statement holds equally true for K Viswanath’s movies. S L Bhyrappa remarks that although the story in his novel unfolds in rural Karnataka, it can as well unfold in any village in Bharata. In the preface to his classic Tabbaliyu Neenaade Magane (My Son, You are Orphaned), Dr.
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