I have taken a review of Kannada Films and gathered few interesting news about this industry. I will post it in phase by phase as it has long story behind. This R&D started all beacuse of Prasad,Anil(AR) & Siddappa. Sorry to Prasad where We( Tamil CSC) used to crack jokes on Kannada Movies.
Let we start from 60's
In the 60’s and 70’s, of course the films were different and indeed look refreshing even if watched now. This is because they contain evergreen stories, thoroughly prepared screenplays, extraordinary lyrics to songs, excellent & committed performances by the artistes & technicians. Hence, one can detect very few flaws in those films.
In the 80’s, it started showing the monotony. Most of the films contained one famous formula: A hero, who initially is easy-going with few romances with his girl, continues enjoying his life. Suddenly there is a flashback which enlightens him about the story of maybe his parents attacked and tortured by the villains. In the meantime hero himself experiences bitter moments with these villains. Few songs, a rape scene, few ugly comedy scenes etc. to complete the masala. And towards the end, the villains create the ultimate trouble by kidnapping someone that hero is fondly attached with. And then, there is that lengthy climax which enhances the glory of hero over villains. Usually the film would end with a happy-note, maybe a bit of sentiment with somebody sacrificing their life.
In 90s, another trend emerged. An easy-going hero falls in love with the heroine through mere eye-contact. He conveys it to her; she hesitates initially and finally succumbs. Few hiccups due to either families, economic-communal differences or some other villains. So hero does all the heroics to come out of this. Heroine is just a glam-doll through out the film. And finally the film ends with the superlative message like, “namma preethige jaya” or sometimes, “premigalu sattharoo preethige saavilla”.
So people can’t find stories for films, can’t even make considerable alterations in screenplays or at least change the narration-style.
In the late 90s and 20th century, they got a so-called fresh concept. It was indeed fresh when it was all started by Sunil Kumar Desai in “Beladhingala Bale”. This is the concept where, the hero and heroine love unknowing each other. A telephone, letter, email or even a piano or violin would be the mediator for them. And some times they even know each other, but mistake some body else as their lover who comes in their way—maybe one among the three would be playing the game.
OK, at least here there is a fair share for both hero and heroine to perform. But how long can we tolerate this concept. To name few of the films which followed this trend are: Yaare Neenu Cheluve, Kushalave Kshemave, Heart beats, Jodi, Chora chittha chora, Ninagaagi, Kanasugaara, Excuse me, Romeo matthu Juliet, etc. etc. (Know there are far too many films other than these and most of them are remakes too).
There is something called creativity in any ART and one needs to enjoy the work of film-making. Of course, few of would argue that this is the story of any other Indian language films too. But there are other reasons too for which Kannadiga's are struggling this way.