How the chairman of the Karnataka Chalanachitra Academy hopes to doc the movie trade’s 85-year-old historical past
The Chairman of the Karnataka Chalanachitra Academy (KCA), Suneel Puranik, has been within the Kannada movie trade for over three many years. A well-liked title in showbiz, Puranik has labored in each department of film-making.
Almost a yr and a half after he took over as KCA chairman, (he took cost on January 2, 2020) Puranik seems again at what aspired to and the way a lot he was in a position to obtain.
“The first thing I did when I took over was to create a road map for myself and the team. There is more to an academy than conducting film festivals. We need to create projects, reach out to younger filmmakers and create a more dynamic and academic approach so that they get to study the history of the Kannada film industry. In my three-year tenure, we set certain targets and we are happy to have made some progress in that direction.”
Puranik’s first problem as KCA chairman was the Bengaluru International Film Festival (BIFFes). “The preparations for the 12th edition of BIFFes was already in progress. I picked up from where it was left off and had 48 days to create an event on par with international standards. Credit also goes to Vidya Shankar, the artistic director of BIFFes, who was instrumental in making the festival a success.”
The first lockdown adopted shut on the heels of the pageant. “We were so thankful that we missed the pandemic by a hairline. BIFFes ended on March 4, by March 5 all the guests had left, and we heard of the first case on March 8.”
The lockdown gave Puranik some respiration area. “The team and I decided to create an archive for Kannada films. We created a committee comprising Vidya shankar, Suresh Moona (art historian), Arun Sagar (art director), Ashok Kashyap (cinematographer) and Muralidhara Khajane (journalist who worked with The Hindu). We travelled to the Film Institute in Pune to study the film archive there and how it functions. We then prepared a project report including all their successes. We have already started collecting songs, films, and original prints for our archive.”
Puranik has plans to create a Kannada movie museum and library on the KCA constructing within the subsequent six months. “We want to guard 85 year-old historical past of Kannada cinema. We will even digitise it in order that the entry can be simpler to college students in addition to anybody involved in cinema.
Puranik’s directorial debut, Gurukula, targeted on the traditional schooling system of India and gained the State Award within the Best Children’s Movie class. He didn’t make one other movie. “I am particular about content, both as an actor and director. That has kept me away from doing films or serials just for monetary gains. I have lost on quite a few films simply because I refused to compromise on content or execution of the ideas.”
He has stored himself occupied with making movies on historic figures of Karanataka for tv. “The one on Sangolli Rayanna, was said to be the very first daily soap on Star in Kannada.”
Puranik has travelled the size and breadth of Karnataka learning dying artwork and folks varieties. “I am now in a position to help revive those dying art forms too. During my travels, I realised the dire financial state that these artisans live in. A simple folk dance like Kolatta is dying.”
Future plans embrace a Film Institute in Karnataka and a syllabus to encourage ladies in film-making. “With this programme, we aim to reach out to women in rural areas too.”