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In the initial era, when the regional centres were doing small business and did not have enough talented composers, borrowing tunes from others was understandable. This is because when a Hindi film is remade, some of the songs are also copied ditto, in tune and in verse too. Of course some songs are from Kannada to Hindi too. Simply for this reason, there are many, in fact too many musical tunes in Kannada films which are copied from Hindi films. Some Kannada films were also remade into other languages. If one visits the IMDB site and looks for lists of remade films, he will find a list of more than 2500 remade films in one list alone. When I sat to make a list of remade Kannada films, the list became so long that I simply gave up the idea. The point being made here is that right from the beginning till today, Kannada films depended heavily on remakes and dubbed films from Tamil, Telugu and Hindi. The star line was followed by Narsimha Raju, Uday Kumar, Kalyan Kumar etc. Raajkumar acted in 206 films and he never worked in any other language film – unlike other southern stars – excepting in ONE Telugu film Kalhasti Mahatmyam. He was discovered by G V Iyer, standing in a bus queue in Bangalore. In the 50s he had 8 films made with him in the lead. In the decade of the 50s, Raajkumar appeared on the scene and he changed the face of Kannada films in later years. In the 30s only 15 films were made (11 out of them by outsiders like Tamil and Telugu producers). The production of Kannada films was very slow in the initial years. Raaj Kumar, Leelavathy and most of the early hits like Bedara Kannappa (1953). It also provided the leading stars like Dr. They provided all the first directors like H L N Simha (H.Laxmi Nar Simha), B R Panthulu and G V Iyer. or Veeranna’s Sri Chennabasaweshwara Krupa Poshit Natak Sangh and other groups established themselves first as Drama Companies and then dominated the films. (It is said that when a lion roared in the film, half of the audience ran out of the theatre and many fainted with fear in the theatre itself). ( Note: The thumbnail in this article is from the film ‘Sati Sulochana’.) It was shot near Kolhapur and was produced and directed by a Tamilian, Y.V.Rao. Almost 40 silent films were made here from 1928 to 1932 when Talkie films started dominating.Īccording to some historians, the first talkie film in Kannada was Sati Sulochana (1932). was established in Bangalore by Dave brothers. These films were mainly either the dubbed films or remakes of other languages. People were fed with this.įor a long time Kannada films were made and processed in Madras as there were no studios in Karnataka. Initially only dubbed films from Tamil, Telugu and Hindi were shown in Kannada. This attitude actually delayed the development of Kannada film industry. These films had a larger market and more profits.
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This was because financiers and producers wanted to invest money in more profitable languages like Tamil, Telugu and Hindi. In Karnataka, cinema started from the silent era, but the production was too small to be an entity here. Out of the four South Indian languages, Kannada films lagged behind not only in numbers but also in original productions till the 70s, comparatively. Not only that but Kannada film industry had a very slow development. But Kannada and Malayalam had very late beginnings. You will observe that while Telugu and Tamil films competed with Hindi films, Marathi and Gujarati films were closely following these three.
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Kannada – Bhakta Dhruva/Sati Sulochana (1934)
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With love of common people and the royal patronage, it was not a wonder that ALL talkie films in ALL languages had songs in it. This stressed two points, one – India did not lag behind in technology, and two – music was an integral part of our lives, including entertainment.įrom historical and even mythological times all kings – big or small had their “Court-Singers”. As expected even the first talking film was singing too! It had 7 songs. The First Talkie in 1931 was the beginning of a revolution in Filmdom. Now I know whom to approach for Santhali, Chhatisgarhi, Dogri or Manipuri languages, but I am sure Arunji will never cease to surprise us! After his excellent piece on Hindi-Marathi, please enjoy another highly educative article on the history of Kannada films, and their linkages with Hindi and other languages. While I was still struggling if I knew anyone who could write about Kannada, out of the blue, Arunji made an offer to write on similar songs in Hindi and Kannada. ( When I mentioned that Arunji is a living encyclopaedia, I was thinking of Hindi, Marathi, and perhaps Telugu films because of his early association with Hyderabad.