‘My film doesn’t give moral lessons’

The Kannada director Mansore says his latest ‘19.20.21’ reflects the cruelty perpetrated by the system

Mansore

In less than a decade, Kannada film director Manjunatha Somashekara Reddy, better known as Mansore, has made four feature films. His debut film Harivu (2014) and the second Nathicharami (2018) bagged the National Film Award. His third film Act 1978 was released during the pandemic. His latest, with the intriguing title 19.20.21 hit the screens on March 3.

The 39-year-old who studied Fine Arts and began his film career as an art director is known for his realistic and thought-provoking films that explore social and political themes.

’19.20.21’ is based on the real-life story of Vittal Malekudiya, wrongly accused under UAPA and eventually acquitted after a nine-year battle for justice. The film also portrays the painful struggle of the tribals in the Western Ghats for their land rights and livelihoods.

It is barely a week since the release of 19.20.21. How is the initial response?

The response is mixed. About 60 percent who watched it liked it very much; about 20 percent felt it was the first time they were watching this kind of a docu-drama movie, a non-linear narration, something rare in Kannada cinema these days. Some others were disappointed because they expected entertainment, humour, songs etc and some seemed confused by the screenplay.

What if the film doesn’t pull in the audience?

It is not that kind of film with many popular faces and a story to pull in audiences. In the first week, usually, not many viewers come but those who watched it have written positively on social media and are spreading it by word of mouth. This kind of publicity is happening and I’m waiting to see the turnout. If they don’t come, I will release it on OTT.

How did you hit upon the story of Vittal Malekudiya? Any influences, perhaps the Tamil film Jai Bheem?

I’ve been following this case since 2012 on social media and through writings of this case. It was when the final verdict on Vittala came out in 2021, I thought I would do a movie on his story.

I admired Jai Bheem but not any influences. It is my own making.

Is the film based wholly on Vittala’s story or have you infused fictional elements?

Almost 85 percent is real and based on Vittala’s story; only 15 percent is my own innovation or addition, mainly for narration and the concluding parts where the lawyer gives a copy of the Constitution to a young girl and ensuring the protagonist, Manju, doesn’t talk after coming out of the court.

What was the aim of making this movie based on a real-life story?

Basically, I wanted to drive home two messages. One, that there is a community called Malekudiyas who live in Karnataka and are struggling for the last many years.

The second is motivational, that every ordinary man can fight the system, can fight for justice and with courage just like the tribal boy in the film who, after being wrongly accused, got bail within 90 days and fought to win his case.

Do you think you’ve achieved your aim?

Yes, going by the feedback I’m getting every day.

Some critics felt the film was a bit didactic. Comment?

I’m not giving any moral lessons; I’m just showing it right. A movie is like a painting, each one views it in a different way. I am happy the film is providing different perspectives and everybody is entitled to their viewpoint.

The custodial interrogation and torture scenes were brutal, very graphic. Some opined the police could have been humanized a bit?

The cop is not the problem, the system is the problem and that’s the message to take. The hierarchy is the problem; whoever is within the system, will commit such atrocities. For example, look at the transformation of the police officer. While in service, he doesn’t allow the accused, Manju, to sleep inside the cell by torturing him. After retirement, while travelling in a bus and having a loud conversation with his grand-daughter, some passengers complain they cannot sleep. He apologises. That’s because he is not a cop anymore, he is a simple human being, he is soft. I wanted to portray the character as such – when he wears the uniform, he becomes evil but when he does not have power, he is also human.

Do you think film-makers have a responsibility to society?

There should be some kind of responsibility. Films are a business, films are for entertainment, but films should not influence society to commit wrongs, to harm others; films shouldn’t glorify violence and such things.

Do film-makers here enjoy enough creative freedom today?

No. Today, we have to first bear in mind that we don’t have the open place to explore everything; there are issues one cannot address, there is a boycott culture, there’s censorship, even clothing causes controversy (Pathan). If there is fear, it curbs creative minds.

Unlike the past, why aren’t there Kannada films that explore social and political themes, systemic oppression etc these days?

That’s a long story. It is all about commercial success. When films depend on songs to become a hit, they concentrate on songs, not the story. Nowadays, cinema teams start composing music even before writing the film script. They think even if two songs become hits, the movie will be a success without giving importance to good content, social responsibility etc. The film industry has changed the viewing sense of the audience, they’ve made the audience believe these are the films, this is what you have to view.

Who are some of the filmmakers who have influenced or inspired you?

There are so many. From Kannada – Siddalingaiah, Shankar Nag; from Tamil – Vetrimaaran and Bala. From world cinema mainly Akira Kurosawa, Majid Majidi, Spielberg. Werner Herzog. I learn a lot from their films.

Have you started on your next film? Will you explore new themes or stick to your usual trajectory?

Not yet. Post 19.20.21, I’ve thought of many subjects and have marked four or five stories but not finalized yet. I don’t know how many movies I will make because there’s a lot of competition, new directors are coming, and technology is changing every two years. I want to explore new themes and address different kinds of issues, different genres.