Maruti 800
From Wikipedia, the free encyclopedia
Maruti 800 is a city car manufactured by Maruti Suzuki in India. It is a rebadged version of an old model of the Suzuki Alto. Over 2.5 million Maruti 800′s have been sold since its launch in 1983.[3] The same car is sold in Pakistan as the Suzuki Mehran with a much older 1980s era Suzuki SS80 carburetor based engine.[4]
History
Maruti 800 DX of the first generation
It used to be the best selling car in Indiauntil 2004; upon its launch the Maruti Alto[5] took that title. It is also exported to a number of countries in South Asia including Nepal, Bangladesh and Sri Lanka, and to some South American markets (as Chile, sold as Suzuki Maruti), and was available in selected European markets between 1988 and 1992, sold as the Suzuki Maruti. In Morocco it is currently sold as Suzuki Maruti (as of March 2008). The car comes in different versions including one with air conditioning and one without. It was launched in December 1984 with almost 100% imported components. The first car to be sold in India was purchased by Harpal Singh, an Indian Airlines employee from New Delhi, who won the ownership rights to the car competing against other prospective owners, through a lucky draw and was handed over the keys of his dream machine by the then Prime Minister Mrs. Indira Gandhi. The original 800 was based on the SS80 Suzuki Fronte, but a modernized version using the body of the second generation Alto (SB308) was presented in 1986.
Proposed phasing out
Maruti Suzuki is planning a phase out of Maruti 800 beginning in April 2010. Maruti Suzuki does not have plans to upgrade it to Euro IV or BS IV emission norms. Starting April 2010, Maruti will stop selling the car in 13 major cities – the four metros and 9 other cities including Kanpur, Bangalore, Hyderabad, Pune, Ahmedabad, Agra and Surat, where the law made it mandatory for the vehicles sold to be Euro IV compliant. Maruti 800 will be sold in other cities until 2015–16.
To Munsiyari in a Maruti, Uttarakhand Himalayas
Another reason cited is the model’s declining sales. Maruti 800 sales are down by 3.7% in the month of April 2010, when compared with April 2009. In April 2009, the total sales was 2345 and this year, it had gone to 2258. Total sales of Maruti 800 is 33028 for the period April 2009 to March 2010 [7] The Indian Automobile industry is the seventh largest in the world with an annual production of over 11 million vehicles and exports of about 1.5 million.[8] In 2009, India emerged as Asia‘s fourth largest exporter of automobiles, behind Japan, South Korea and Thailand.[9] In October 2009, the sales of Maruti 800 were 3,124; they declined to 2,631 units in October of the following year.[10]
Changes
First Maruti 800 DX
After a full model change in 1986, the 800 has undergone some minor face lifts but overall it still remains the same as it was on introduction. The car has reported slipping sales in recent times, mainly due to the introduction of the Alto at a comparable price. The car produces approximately 37 bhp (28 kW; 38 PS) of power and runs on 12 inch wheels. Curb weight is 650 kg (1,433 lb) and 4 passengers (including the driver) fit in. Top speed is in the region of 125 km/h (78 mph) and the car is known[who?] to deliver fuel economy better than 20 km/l (47 mpg)[clarification needed] on clear and plain roads.[citation needed] Maruti Suzuki had earlier launched a version with a 4 valves per cylinder engine producing 45 bhp (34 kW; 46 PS) coupled with a 5-speed manual transmission (currently found in the Suzuki Alto) but discontinued it after a couple of years.
Maruti 800 in Nainital hill
A Euro III emission compliant version of the car was released in 2005 to meet Indian emissions regulations. An LPG version of the vehicle was also released in 2008. As of September 2009, the company has yet to reach a decision regarding the manufacture of a Euro IV compliant version of the vehicle due because it would increase the retail price. However even stricter emissions regulations which come into effect by April 2010, would mandate Euro IV compliance in major Indian cities including Delhi, Mumbai, Hyderabad and Bangalore and 2015–2016 for the remainder of the country.The car was to be phased out during 2010[11][12] but it still on sale in October 2011. Its main competitor is the cheaper Tata Nano (123,000 compared to 184,641 Rupees) which has an 8 percent smaller exterior size and a 23 percent larger interior space.[13][14][15]
Technical specifications
Dimensions and weights
- Overall Length 3,340 mm (131.5 in)
- Overall Width 1,440 mm (56.7 in)
- Overall Height 1,405 mm (55.3 in)
- Wheel Base 2,175 mm (85.6 in)
- Ground Clearance 170 mm (6.7 in)
- Curb Weight 650 kg (1,433 lb)
- Gross Vehicle Weight 1,000 kg (2,205 lb)
Fuel Economy
- Mileage Highway (km/liter) 29.7 km/L (3.37 L/100 km; 70 mpg-US)
- MileageCity(km/litre) 16.1 km/L (6.21 L/100 km; 38 mpg-US)
- Mileage Overall (km/litre) 18.22 km/L (5.488 L/100 km; 42.9 mpg-US)
Capacities
- Seating capacity (person) 4
- Fuel tank capacity (liter) 28
Performance
Maximum speed 145 km/h (90 mph
He was the perfect visual representation of Malgudi’s Swami. Till then — this was the eighties — child actor Manjunath was a familiar face only to Kannada film watchers. It was actor-director Shankar Nag’s television serial Malgudi Days, based on R K Narayan’s novel, that made Manju a familiar face all over India. Malgudi Days also happened to be the first Hindi serial to be made in southIndia.
Manju’s slightly husky child voice and impish smile etched itself on the memories of serial watchers and movie goers the world over. Nag’s full-length movie version of Narayan’s Swami And Friends went on to bring Manju half-a-dozen international awards.
Today, Manju leads a life far removed from his tinsel days. He is the project leader of onlinebangalore.com, a website on the city of Bangalore, and is about to switch jobs. “I quit acting about five years ago, Now, I am completely focused on my career in managing content for Net publications,” he says, talking to rediff.com at his mother’s tiny house in Yeshwantpur, where he had come for a quick lunch in the middle of a busy day. “I belong to an era where the kind of films being made were solid, good and truly entertaining. I don’t want to depend on the kind of cinema being made now for my living. I would prefer to be able to choose particular roles that appeal to me. But, as of now, I am going to have no time whatsoever for cinema or television acting; my career is taking all my time and energy.”
Though the face has matured, Manju’s sparkling eyes and gamine grin remain unchanged. Always a rather short child, Manju has grown into a not-very-tall young man. Married last year to a woman in his current profession, he lives in Koramangala. Yet, all you need to do is go toTriveni Main Roadin Yeshwantpur and ask for the house of ‘Master Manjunath,’ which was his screen name, and anyone will show you the tiny house built long ago with Manju’s own earnings.
“I had the privilege of meeting R K Narayan just a couple of times when I was shooting for Malgudi Days,” says Manju now, a faraway look in his eyes. “I did not interact much with him because we were in the middle of hectic shooting schedules. I was just introduced to him and he patted me on the back and said good show or something like that.
“However, I will never forget one thing that he said to me: after the movie and the serial based on Malgudi Days became a great hit, there was a small celebration party at Woodlands Hotel. Mr Narayan was also there. It was then that he paid me the biggest compliment I have ever received in my whole life. He said, ‘Manju, you acted exactly as I imagined Swami to be.’ This statement meant more to me than all the international awards I got.
“Mr Narayan was a great person. He was not well on that day. His brother, Mr (the famed cartoonist R K) Laxman was also there. It was nice gathering of people. I did not get the opportunity to talk much with Mr Narayan but, even with the little that I did, I learnt a lot from him. I was already familiar with his writing as I had studied one of his short stories in school. Later, I went on to study English literature and got to know his writing even more. That was when my respect for him really grew.”
Interestingly, Manju had never read Swami And Friends before he enacted the role of Swami so perfectly on screen. In fact, he did not even know the outline of every story in advance. All he did was to think about the scenes to be enacted on any given day and try his best to bring them to life. “That’s how it should be,” insists Manju. “If I had known in advance what the conclusion of a story was going to be, I might have played my scenes differently.”
The times that Narayan actually came on the sets, he would be busy talking to Nag. “He would come to meet Shankar Nag and they would discuss scripting changes,” saysManju. “At that time, he would speak to me very informally and in a particularly friendly manner. It was only at that memorable party that we had a long conversation. Later, I met him at some award functions. But I cannot say that I was very close to him. He knew me probably only as the boy who played Swami, nothing more.”
How did Manju come to play Swami? “Shankar Nag suddenly called me up one day, said he was sending a car to pick me up,” recalls Manju. “There was a role he wanted me to try out for. I went to Woodlands, where there was a small casting room with a lot of kids. He asked me whether I could speak Hindi. I told him I did not know one word of that language! But Shankar knew me and knew that I could master anything quickly.
“He got me to try on a couple of costumes. And that was it! I have no idea why he chose me over all the others.” One clue could lie in the fact that Shankar and Manju had, by then, done a number of films together. Manju had even won a state award for his role in Shankar’s home production Parameshi Prema Prasanga. He was a particularly successful and popular child actor, known for his versatility and professionalism.
Initially, Manju did one episode titled Hero for the first block of 13 episodes of Malgudi Days. This story went down so well with the viewers that Shankar decided to devote the next 13 episodes entirely to Swami And Friends, with Manju in the title role.
The serial was simultaneously shot in two languages, Hindi and English. The episodes were also linked into a tightly made film, which won international acclaim. “Till today, I have never read the book Swami And Friends,” confesses Manju. “I have acted it out, so I know every line. I don’t feel able to read it now. At that time, I was going to full day school and I was also in the middle of a hectic career as a child star. I had no time to read books or do anything other than cope with my hectic schedules.”
Manju still considers Malgudi Days one of his toughest assignments ever. “I did not know a word of Hindi,” he explains. “I had to learn and dub for my own lines. It was like doing two films simultaneously, as we were doing it in two languages. We had a gruelling, three month schedule in the hilly region of Agumbe (on the South Karnataka coast). It was tremendously hot and I worked almost 14 hours a day. In a way, it was a unique experience. Shankar and the whole team were fantastic.”
Shankar, in fact, was a close family friend who kept popping in and out of Manju’s house. So there was no question of Manju not doing the role of Swami, once it was offered to him. “Doing a Hindi film was by itself a fantastic opportunity. Also, it would be aired on DD1, which was the only television channel those days,” Manju says. “I never looked at it as a chance to enact a literary masterpiece. Now, I’m glad I didn’t. There might have been too much pressure on me if I had!”
Manju admits all of them were basically working for Shankar Nag, and not for Malgudi Days or a Narayan serial. “We all trusted, loved and cared for him,” he says softly, speaking with a great-remembered fondness for Shankar, who died in a car accident 10 years ago. “We were all one close family. So much so, the person in charge of the food would offer advice on lighting! None of us kids and unit hands knew Mr Narayan. We were all there just for a Shankar Nag project and we worked out of love for him.”
Still, when Narayan passed on, Manju felt great regret. “I second Khushwant Singh’s suggestion that an Indian village should be named Malgudi in his memory,” he says. “I propose that Agumbe which, because of our film and serial, was immortalised in public memory as Malgudi should be chosen for that honour. That will be the most fitting tribute to Mr Narayan, and Shankar, and the greatest celebration of our best performance
Malgudi Days is an Indian television series based on the works of R.K. Narayan. The series was directed by the late Kannada actor and director, Shankar Nag and Carnatic musician L. Vaidyanathan composed the score. R. K Narayan’s brother and acclaimed cartoonist R. K. Laxman was the sketch artist.[1] The series was made in 1986 by film producer T. S. Narasimhan with Anant Nag as the lead actor.[2]
Thirty-nine episodes of Malgudi Days were telecast on Doordarshan. Subsequently, it was re-telecast on Doordarshan and later on Sony Entertainment Television, and Maa Television in Telugu. This television series was shot entirely near Agumbe in Shimoga District, Karnataka.[3][4]
In 2004, the project was revived with film-maker Kavitha Lankesh replacing the late Shankar Nag as director.[1] The new series was telecast from April 26, 2006 on Doordarshan.[5]
Plot
Most of the stories in the series are one episode long. The stories are from the books A Horse and Two Goats, Malgudi Days, Swami and Friends and The Vendor Of Sweets.
Swami and Friends revolves around the everyday life of ten-year old Swaminathan, or Swami as he is known by other characters. Swami portrays the growing up pangs of a boy who despises school, as he makes excuses and roams around Malgudi with his friends. Swami’s father works in a government office and his mother is a housewife. At home, Swami shares his adventures with his aged granny, who lovingly addresses him as “Chamy.” Swami also has two close friends: Mani and the son of the Police Chief Superintendent, Rajam. Swami’s character was portrayed by Manjunath, a regular actor in many of Shankar Nag’s productions.
The Vendor Of Sweets narrates the story of a sweet vendor, Jagan, his business and confrontation with his son who had returned from abroad. The title role was played by Kannada actor and director Anant Nag, and most of the actors cast in this serial were from Kannada film Industry. It was directed by Anand Lal Das.[citation needed]
Episode 1 titled Swami – Swami is a young child living in Malgudi with his parents and grandmother. Once while reading the newspaper, his father reads an article about the bravery shown by an 8-year old boy and feels that Swami should do something similar. Swami has the habit of sleeping with his grandmother after listening to a story told by her. This irritates Swami’s father. Swami’s father then challenges, or rather forces, him to sleep in his office. When Swami tells his friends of the ordeal, his friends warn him about a ghost living near the office. When Swami sleeps in his father’s office he has nightmares about the ghost and wakes up with a start. At the same time, Swami spots an intruder breaking into the office. Mistaking him for the ghost, Swami grabs the intruder’s leg and yells for help. The rest of the villagers rush inside the office and catch the intruder. The police tell Swami that the intruder was a thief wanted by the police and congratulate him. The incident is published in the Malgudi Times but little Swami is so scared after the incident that he starts sleeping with his grandmother again.
Episode 2 titled A Horse and Two Goats – Muni is a very poor man living in Malgudi with his wife. Every day, he takes his two goats to graze near an old statue of a horse outside. One day Muni’s wife requests him to buy some food but Muni doesn’t have any money. He goes to the grocer only to get kicked out because he had not settled previous debts. The same night, his wife tells him about a body found near the well and is afraid to go out for fear of the police. The next day, when Muni takes his goats out to graze, he spots a motor car. Out of the car comes a white man fromNew York who starts talking with Muni but he does not understand a word of it. He thinks that he is a policeman who has come for the body and starts telling his suspicions about other people. The conversation carries on with both persons not understanding each other. The tourist then examines the statue of the horse and makes an offer to buy it. Muni misunderstands it as an offer for his goats and is reluctant but when the American offers a hundred rupees, Muni relents. When he gets home he surprises his wife with the money and tells her that he sold off the goats. When they hear the bleating of their goats outside they find the goats in their yard with the statue gone.
Episode 3 – Thanappa is the village mailman who knows everyone and knows everyone’s business by virtue of reading out to the recipients the mail he delivers. Over the years he becomes good friends with Ramanujam and his family. He watches Ramanujam’s daughter Kamashi grow up and meets Ramanujam’s brother. When Kamakshi comes of age, Thanappa helps the family find a suitable match by telling them about a failed matchmaking attempt involving another family in Malgudi. The young suitor and Kamakshi are compatible and the wedding is arranged for the 20th, the last day before the young man leaves for two years of training. If the wedding isn’t held by that date, it won’t take place at all. Two days before the wedding, Thanappa is given an urgent letter to deliver to Ramanujam informing him of his brother’s serious illness. Thanappa goes to the house, but amidst the gaiety of the wedding preparation, decides not to deliver the letter. The next day a telegram arrives informing Ramanujam of his brother’s death. Thanappa again delays delivering the message. The wedding proceeds. Two days later Thanappa delivers the bad news to Ramanujam, with his sincere apologies.
Episode 4 – Charu is the village miser who cares more about money than his own family. He never spends a rupee when he doesn’t have to. One day in an indulgent mood he decides to take his grandson to see a movie. He won’t spend money on sweets, telling the boy they are not good for him. While Gopinath finds the movie entertaining, the boy is bored and finally sneaks out of the theater and sets off to meet his friends to play cricket. Gopinath eventually realizes the boy is missing and goes in search of him. Suddenly his money is of no benefit, as he searches fruitlessly for the boy. He buys a packet of sweets for the boy, and even pays homage to the gods, promising to offer a whole coconut if the boy is found. When darkness falls, he makes his way back to his daughter’s house, and struggles to find the words to explain the situation to her. Just as he is about to admit his mistake, his grandson comes bouncing into the house joyous at having won his gulli danda match.
Episode 5 titled The Jug Spirit – Seth is a merchant and a grocer who also owns a boarding house filled with tenants who constantly complain about his tight-fisted ways. One of his tenants, an exorcist makes a living by removing evil spells and spirits from afflicted individuals. Merchandise is disappearing from Seth’s shop, and while Seth suspects a thief, the trap he sets up reveals that the shop is overrun with rats. The exorcist suggests that Seth get a cat to stop the thievery. One night Seth is aroused from his sleep by a tremendous racket caused by a brass jug flying around the shop. Seth pleads with the exorcist for help. When the exorcist diagnoses a jug spirit as the source for the problems and enters the darkened shop to rid it of the demon, he is struck by the jug, which lands on the floor and releases a cat that was caught inside. As the cat and the exorcist emerge from the shop, Seth ridicules the exorcist that only a cat was in the jug. The exorcist acknowledges that a cat was in the jug, but then asks, “But what was in the cat?”
Episode 6 – Leela is a little girl. Leela’s mother Kamala works hard around the home. When she complains to her husband to find domestic help, Sidda overhears it and offers to work as their servant. Leela instantly takes a liking for Sidda and begs her parents to hire him. He works hard and becomes a favorite of Leela. One day Kamala sends Sidda to the market, and Leela begs to go along. When they return, Kamala notices that Leela’s necklace is missing. She questions Sidda, who does not answer her accusations but instead leaves the home. Kamala tells her husband, who reports the incident to the police. The police locate Sidda and take him to Leela’s house, where Kamala and her husband again confront him. Sidda maintains his innocence, but is taken away by the police for questioning. Later, Kamala finds the necklace in a jar in the kitchen. Leela’s father decides that Leela must not be given any more jewelry to wear, and decides to let the police know about the discovery the next day. Meanwhile, the police continue to beat up Sidda to extract a confession.
Characters
- Swami’s grand mother – B Jayashree
- Muniya (Muni) – Kanti Madiya
- Muniya’s wife – B Jayashree
- American (New Yorktourist) – Teddy White
Actors
- Dada (Episodes 30 and 31)
Posted by Roshmi Sinha Sunday, February 20, 2011
I guess blogging came about when folks moved away from their ‘Dear Diary’ moments onto the web. I wish Anne Frank had lived to see this day.
I read somewhere that if you own a blog, it better be something special. I have also read that if one is not putting up something useful or interesting, they are not blogging, they are ‘blagging’. Needless to say, I have no intention of doing the latter! Who would want to read about boring and sub-standard stuff? Not me, for sure. I feel that’s a criminal misuse of sacred space.
But, this being my blog post, I will write about things/events/situations that affected me.
I want to write about ‘Malgudi Days’ today.
In 2008, Sir Jeffrey Archer, the well-known English novelist, playwright and short story writer was on a trip toIndiato promote his latest book ‘A Prisoner of Birth’. During one of his interactions with the press and public, he mentioned about his regret for not having read R.K. Narayan’s works before. I am sure he must be doing everything within his powers to get himself acquainted with the same, including the classic ‘Malgudi Days’.
The ‘creator’ of ‘Malgudi Days’ – R. K. Narayan (October 10, 1906 – May 13, 2001) shortened from Rasipuram Krishnaswami Ayyar Narayanaswami at the behest of Graham Greene, was one of the best-known and widely read Indo-English writers. He created the imaginary town ofMalgudi, located on the banks of the river Sarayu and surrounded by the Mempi Hills, where realistic characters in a typically Indian setting lived amid unpredictable events. These characters have proved to be timeless. ‘Malgudi Days’ was my introduction to R.K. Narayan… and I love this classic author! I really enjoyed this collection… they are the kind of stories that will stay with you for several days after reading them.
There is a saying ‘Don’t judge a book by its movie’ or for that matter, serial, if I may say so. ‘Malgudi Days’ proved to be an exception. The serial was directed by the late Kannada actor/director, Shankar Nag in 1987, and was shot entirely near Agumbe in Shimoga district of Karnataka. Who can forget the famous ‘Ta na na tana na na naaaaaaaa’… the title song/melody (by L. Vaidyanathan) of the serial? It was as popular, if not more, than the stories dramatized by the serials themselves. One could almost feel the aroma of the lyrics!
Here is the link to this evergreen song: http://in.youtube.com/watch?v=bEq0tC3djcg&feature=related
Although television had arrived inIndiain the 1950′s, albeit in its black and white avatar, it wasn’t a mass media due to its high cost, logistics and other technical issues. The Government of India undertook several steps to popularize the medium. The 1970s and 1980s saw a boom in television programming. The Ministry of I & B – Government ofIndia… invited independent producers and directors to shoot TV serials on a regular basis. ‘Hum log’, ‘Buniyaad’, ‘Neem ka ped’, ‘Waghle ki duniya’, ‘Mungerilal ke haseen sapne’, ‘Nukkad’, ‘Karamchand Jasoos’, ‘Byomkesh Bakshi’, ‘Office Office’, etc., were some of the memorable serials of this era. These serials have eluded the calls of father time. ‘Malgudi Days’ was also one such TV serial which left an indelible mark on the Indian television scenario.
The stories revolve around the protagonist, ten-year old Swaminathan. ‘Swami’… to his friends and family. Swami portrays the growing pangs of a boy who despises school, as he makes excuses and roams around Malgudi with his friends, playing cricket and day dreaming along the way. Swami’s father works in a government office (of the British Raj era) and his mother is a housewife. At home, Swami shares his adventures with his aged granny, who lovingly addresses him as ‘Chamy’. Swami also has two close friends – the hotheaded Mani and the son of the Police Superintendent, Rajam – a cocky, brash, rich kid. Master Manjunath enacted Swami’s character while the sketches for the serial were done by R.K. Narayan’s younger brother and acclaimed cartoonist, R.K. Laxman. There were about 39 episodes in all. ‘Swami and Friends’, ‘Vendor of Sweets’, ‘The Undelivered Mail’, ‘A Hero’, ‘The Hoard’, ‘Leela’s Friend’, to name a few. No one has captured the essence of ruralIndialike R.K. Narayan and ‘Malgudi Days’ is a glittering example. Each story stands out for its simplicity, innocence and Indian ness. A must and a thoroughly enjoyable read. The TV series of the same name… has done complete justice to the original book.
Following is the link to these episodes for everyone who would love to relive their happy childhood and keep it for posterity: http://in.youtube.com/watch?v=R7xvU95eXLk
‘Malgudi Days’ has been an integral part of my growing up years. I still remember the excitement and the scramble to grab vantage spots in front of the television every time the serial came on air. As they say… ‘Old is gold’. Does that mean ‘New is silver’ or ‘new is bronze’ or ‘new is brass’ or ‘new is carbon?’… Hmmm. Food for thought. What say?
After the liberalization of the economy, with the advent of the cable TV, we were flooded with channels and thought we would be spoilt for choice! Since a mere DD telecasted so many good nay great serials, not to forget the two mythological epics ‘Ramayan’ and ‘Mahabharat’… we were about to see several high quality ones from every channel, each vying for the viewers attention.
Or so we thought. And were quickly brought down to terra firma, left to reminisce about the past glories of television serials. ‘Quality’ and ‘Quantity’ do not go hand-in-hand any more. Sadly.
How a village was transformed into R.K. Narayan’s fabled town: Early in the 1980s, director Shankar Nag handed John Devraj a sheet of paper. It was the script for Malgudi Days, based on R.K. Narayan’s stories set in a fictional town in Karnataka. From the words on that page, Devraj, a sculptor, musician, art director and town planner, was asked to create Malgudi in Agumbe, a village in the Western Ghats, roughly 400km fromBangalore, with a population of about 180 families.
Devraj began to fabricate carts, statues, trains, avenues, shops and temples. “I had to conceptualize everything from scratch,” he says. “I had to then make everything by hand-often working 20 hours a day.” Twenty-one years after Doordarshan took it off the air, Devraj’s handiwork is now available for viewing in Big Home Video’s two-volume DVD pack… as well as complete VCD set. Go grab them! What are you waiting for?
The task of building Malgudi was made even more daunting by Agumbe’s isolation and by Nag’s obsession with detail, note Devraj and several members of the crew. Production controller Jagadish Malnad recalls how one bright day, when everything was in place for a shot, a cloud suddenly floated in front of the sun. “Shankar motioned to me and asked me to move the cloud,” he says.
Nag, who was killed in a car accident nearBangalorein September 1990 at the age of 36, invested loads of energy and enterprise into imagining the minutiae of life in Malgudi. “Nothing you see on screen was a result of an accident or chance,” says Arundhati Nag, his wife, who also acted in the series. “He went about things with precision. He once asked Malnad to bring in a donkey (accompanied by its master) from Theerthahalli, 20km from Agumbe.”
Arundhati says the cast practically lived in the village “in fits and starts” over the three years it took to make the serial. “Agumbe was not accustomed to film crews, so they just let us into their homes,” she says. “The village became such a huge part of our lives that my daughter Kavya, who was a year old, went to school there.”
Like most of Narayan’s works, Malgudi Days is woven with ordinary concerns: the financial worries of a goat-herder, the glee with which a long-awaited letter is received. Nag was intent on preserving Narayan’s vision, says Ashok Mandanna, who played the role of a postman in the episode ‘The Missing Mail’. “We made the serial at a time when it was possible to take over an entire village and transform it into a fictitious place,” says Mandanna. “The logistics and cost of such an enterprise now would prevent people from remaking it.”
Arundhati agrees with Mandanna. “If Shankar were to make it today, I don’t know if he would try it,” she says. “I don’t think you can recreate what he did in 1987.” That became obvious when director Kavita Lankesh remade the series in 2006. Those episodes, which are also included in this package, lacked the full original cast and were shot in a bustling Agumbe that was twice removed from the sleepyvillageofNag’s time. No wonder they failed to impress audiences when they aired on Doordarshan.
Here are some excellent captures from Agumbe… almost 25 years after Malgudi Days was shot… courtesy Photographer Aniruddha Chowdhury (link).
Details of the book: Malgudi Days: R K Narayan, pp 246, Paperback, Indian thought publications/Penguin Classics. Flipkart (link)
Photograph: A caricature of people seated at the foot of a statue of a man. Two birds are hovering above the statue, a bicycle is parked at its side, a cow is roaming by near it, and a bus is seen in the backdrop. The people at the foot of the statue include a street vendor, an old man and two others; they are engaged in conversation. Pic courtesy link.
Posted by Roshmi Sinha Sunday, February 20, 2011
I guess blogging came about when folks moved away from their ‘Dear Diary’ moments onto the web. I wish Anne Frank had lived to see this day.
I read somewhere that if you own a blog, it better be something special. I have also read that if one is not putting up something useful or interesting, they are not blogging, they are ‘blagging’. Needless to say, I have no intention of doing the latter! Who would want to read about boring and sub-standard stuff? Not me, for sure. I feel that’s a criminal misuse of sacred space.
But, this being my blog post, I will write about things/events/situations that affected me.
I want to write about ‘Malgudi Days’ today.
In 2008, Sir Jeffrey Archer, the well-known English novelist, playwright and short story writer was on a trip toIndiato promote his latest book ‘A Prisoner of Birth’. During one of his interactions with the press and public, he mentioned about his regret for not having read R.K. Narayan’s works before. I am sure he must be doing everything within his powers to get himself acquainted with the same, including the classic ‘Malgudi Days’.
The ‘creator’ of ‘Malgudi Days’ – R. K. Narayan (October 10, 1906 – May 13, 2001) shortened from Rasipuram Krishnaswami Ayyar Narayanaswami at the behest of Graham Greene, was one of the best-known and widely read Indo-English writers. He created the imaginary town ofMalgudi, located on the banks of the river Sarayu and surrounded by the Mempi Hills, where realistic characters in a typically Indian setting lived amid unpredictable events. These characters have proved to be timeless. ‘Malgudi Days’ was my introduction to R.K. Narayan… and I love this classic author! I really enjoyed this collection… they are the kind of stories that will stay with you for several days after reading them.
There is a saying ‘Don’t judge a book by its movie’ or for that matter, serial, if I may say so. ‘Malgudi Days’ proved to be an exception. The serial was directed by the late Kannada actor/director, Shankar Nag in 1987, and was shot entirely near Agumbe in Shimoga district of Karnataka. Who can forget the famous ‘Ta na na tana na na naaaaaaaa’… the title song/melody (by L. Vaidyanathan) of the serial? It was as popular, if not more, than the stories dramatized by the serials themselves. One could almost feel the aroma of the lyrics!
Here is the link to this evergreen song: http://in.youtube.com/watch?v=bEq0tC3djcg&feature=related
Although television had arrived inIndiain the 1950′s, albeit in its black and white avatar, it wasn’t a mass media due to its high cost, logistics and other technical issues. The Government of India undertook several steps to popularize the medium. The 1970s and 1980s saw a boom in television programming. The Ministry of I & B – Government ofIndia… invited independent producers and directors to shoot TV serials on a regular basis. ‘Hum log’, ‘Buniyaad’, ‘Neem ka ped’, ‘Waghle ki duniya’, ‘Mungerilal ke haseen sapne’, ‘Nukkad’, ‘Karamchand Jasoos’, ‘Byomkesh Bakshi’, ‘Office Office’, etc., were some of the memorable serials of this era. These serials have eluded the calls of father time. ‘Malgudi Days’ was also one such TV serial which left an indelible mark on the Indian television scenario.
The stories revolve around the protagonist, ten-year old Swaminathan. ‘Swami’… to his friends and family. Swami portrays the growing pangs of a boy who despises school, as he makes excuses and roams around Malgudi with his friends, playing cricket and day dreaming along the way. Swami’s father works in a government office (of the British Raj era) and his mother is a housewife. At home, Swami shares his adventures with his aged granny, who lovingly addresses him as ‘Chamy’. Swami also has two close friends – the hotheaded Mani and the son of the Police Superintendent, Rajam – a cocky, brash, rich kid. Master Manjunath enacted Swami’s character while the sketches for the serial were done by R.K. Narayan’s younger brother and acclaimed cartoonist, R.K. Laxman. There were about 39 episodes in all. ‘Swami and Friends’, ‘Vendor of Sweets’, ‘The Undelivered Mail’, ‘A Hero’, ‘The Hoard’, ‘Leela’s Friend’, to name a few. No one has captured the essence of ruralIndialike R.K. Narayan and ‘Malgudi Days’ is a glittering example. Each story stands out for its simplicity, innocence and Indian ness. A must and a thoroughly enjoyable read. The TV series of the same name… has done complete justice to the original book.
Following is the link to these episodes for everyone who would love to relive their happy childhood and keep it for posterity: http://in.youtube.com/watch?v=R7xvU95eXLk
‘Malgudi Days’ has been an integral part of my growing up years. I still remember the excitement and the scramble to grab vantage spots in front of the television every time the serial came on air. As they say… ‘Old is gold’. Does that mean ‘New is silver’ or ‘new is bronze’ or ‘new is brass’ or ‘new is carbon?’… Hmmm. Food for thought. What say?
After the liberalization of the economy, with the advent of the cable TV, we were flooded with channels and thought we would be spoilt for choice! Since a mere DD telecasted so many good nay great serials, not to forget the two mythological epics ‘Ramayan’ and ‘Mahabharat’… we were about to see several high quality ones from every channel, each vying for the viewers attention.
Or so we thought. And were quickly brought down to terra firma, left to reminisce about the past glories of television serials. ‘Quality’ and ‘Quantity’ do not go hand-in-hand any more. Sadly.
How a village was transformed into R.K. Narayan’s fabled town: Early in the 1980s, director Shankar Nag handed John Devraj a sheet of paper. It was the script for Malgudi Days, based on R.K. Narayan’s stories set in a fictional town in Karnataka. From the words on that page, Devraj, a sculptor, musician, art director and town planner, was asked to create Malgudi in Agumbe, a village in the Western Ghats, roughly 400km fromBangalore, with a population of about 180 families.
Devraj began to fabricate carts, statues, trains, avenues, shops and temples. “I had to conceptualize everything from scratch,” he says. “I had to then make everything by hand-often working 20 hours a day.” Twenty-one years after Doordarshan took it off the air, Devraj’s handiwork is now available for viewing in Big Home Video’s two-volume DVD pack… as well as complete VCD set. Go grab them! What are you waiting for?
The task of building Malgudi was made even more daunting by Agumbe’s isolation and by Nag’s obsession with detail, note Devraj and several members of the crew. Production controller Jagadish Malnad recalls how one bright day, when everything was in place for a shot, a cloud suddenly floated in front of the sun. “Shankar motioned to me and asked me to move the cloud,” he says.
Nag, who was killed in a car accident nearBangalorein September 1990 at the age of 36, invested loads of energy and enterprise into imagining the minutiae of life in Malgudi. “Nothing you see on screen was a result of an accident or chance,” says Arundhati Nag, his wife, who also acted in the series. “He went about things with precision. He once asked Malnad to bring in a donkey (accompanied by its master) from Theerthahalli, 20km from Agumbe.”
Arundhati says the cast practically lived in the village “in fits and starts” over the three years it took to make the serial. “Agumbe was not accustomed to film crews, so they just let us into their homes,” she says. “The village became such a huge part of our lives that my daughter Kavya, who was a year old, went to school there.”
Like most of Narayan’s works, Malgudi Days is woven with ordinary concerns: the financial worries of a goat-herder, the glee with which a long-awaited letter is received. Nag was intent on preserving Narayan’s vision, says Ashok Mandanna, who played the role of a postman in the episode ‘The Missing Mail’. “We made the serial at a time when it was possible to take over an entire village and transform it into a fictitious place,” says Mandanna. “The logistics and cost of such an enterprise now would prevent people from remaking it.”
Arundhati agrees with Mandanna. “If Shankar were to make it today, I don’t know if he would try it,” she says. “I don’t think you can recreate what he did in 1987.” That became obvious when director Kavita Lankesh remade the series in 2006. Those episodes, which are also included in this package, lacked the full original cast and were shot in a bustling Agumbe that was twice removed from the sleepyvillageofNag’s time. No wonder they failed to impress audiences when they aired on Doordarshan.
Here are some excellent captures from Agumbe… almost 25 years after Malgudi Days was shot… courtesy Photographer Aniruddha Chowdhury (link).
Details of the book: Malgudi Days: R K Narayan, pp 246, Paperback, Indian thought publications/Penguin Classics. Flipkart (link)
Photograph: A caricature of people seated at the foot of a statue of a man. Two birds are hovering above the statue, a bicycle is parked at its side, a cow is roaming by near it, and a bus is seen in the backdrop. The people at the foot of the statue include a street vendor, an old man and two others; they are engaged in conversation. Pic courtesy link.
The house in Agumbe, Karnataka where the televised version of R.K. Narayan’s ‘Malgudi Days’ was shot
If you have not read R.K. Narayan’s Malgudi Days, or seen its brilliantly televised version by Shankar Nag, there is something missing in your life.
It is the story of 10 year old Swami, his family and neighbours who can be found anywhere in the world. Including in the make-believe town ofMalgudior Agumbe where the series was shot.
When in Agumbe, feel free to knock on the doors of Kasturi Akka; this was the home to Swami and his family in the series. You will be greeted warmly, and be offered a meal, buttermilk and snacks immediately. I settled for bananas having had my fill with an oversized coconut from a vendor next door.
Kasturi Akka. The televised version of R.K. Narayan’s ‘Malgudi Days’ was shot in her house in Agumbe, Karnataka
Kasturi Akka (L) and her mother-in-law. The televised version of R.K. Narayan’s ‘Malgudi Days’ was shot in their house in Agumbe, Karnataka
The family did not even charge the producers for use of their house, extending all possible hospitality to top that.
The 120 year old house has seen many generations come and go; Kasturi Akka’s family tribe is over 100 strong. At one time they all lived together, but most have now ventured out for personal and professional reasons. They come back for special occasions though, and all manage under one loving roof.
You will allowed to freely look around the house, taking any pictures you like. But requested to close the doors of the rooms upstairs lest monkeys have a free run in there.
The house is a typical Karnataka one with three kitchens (for lunch, tiffin and functions), three wells, two underground tanks and stores for vessels and grain.
A well in Kasturi Akka’s house where Malgudi Days was shot
A bedroom in the house where Malgudi Days was shot
A view of the central courtyard from the first floor in the house where Malgudi Days was shot
A bedroom in the house where Malgudi Days was shot
A view of the central courtyard in the house where Malgudi Days was shot
Kasturi Akka loves her quiet crime free town, but is concerned that proposed factories in the area will ruin the tranquillity and beauty of the surroundings. We fully share the concerns.
If you know the story of Swami, you can feel he will suddenly emerge from behind a pillar, and be seen running down the streets with his friends. And his father lounging over a newspaper with a perpetual frown in the verandah.
And even if you don’t know Malgudi, you will know Agumbe is the utopia you always want to live in. If only you can let go of the material world. This is the town where Swami and his friends laugh without a care in the world.
TownsquareofAgumbe, Karnataka
A shrine to the King Cobra in Agumbe, Karnataka
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History The word “Dharma” traditionally means religion, ritual, duty, righteousness, and alms. It also implies justice, truthfulness, freedom from fear, faith, solace, fulfillment and peace. Dharmasthala is the perfect embodiment of the word “Dharma” for it displays every shade of meaning with which the word is imbued. The greatness of Dharmasthala, however is the fact that it has added an active element to “Dharma”, such that it touches the lives of people with a transformational directness that is unique. To those that come for worship, Dharmasthala represents religious tolerance wherein caste, creed and faith of pilgrims are no bars. For here, the Jain Theerthankara is worshipped on the same consecrated grounds as the native Daivas and Lord Manjunatha (Lord Shiva). The priests are Vaishnavite Brahmins and the guardian of the temple is Heggade, a Jain by faith. Altogether forming a confluence of faiths that harmonize in belief of the Omnipotent. To those that come for justice, Dharmasthala is the scale that does not tip in favour of a lawyer’s glib tongue. Here, without any legal formality or argument the Heggade dispenses justice, acting in the tradition of his ancestral role as the Heggade and representing the presiding deities. To those that come in need, Dharmasthala is an Oasis, where succour, solace and hope abound in the serenity of the temple and in the free hostelries that provide food and shelter. And to those that come in curiosity, Dharmasthala is a miracle of paradoxes. Here different faiths co-exist in harmony just as traditions make room for experimental services, High or low, rich or poor, devout or atheist, at Dharmasthala all are equal. Darshan & Seva Details Dharmasthala has not been content being a source of inspiration to the devout. Having expanded the meaning of Dharma to encompasses the advancement of society at large, it has played an active role in bettering the lives of communities far and wide. Its initiatives have aimed at renewing the Paid and hope within, so that people may be helped to help themselves. 800 Years ago, Dharmasthala was known as Kuduma in Mallarmadi, then a village in Belthangady. Here lived the Jain Chieftain Birmanna Pergade and his wife Ammu Ballathi in a house called Nelliadi Beedu. Simple, pious and affectionate people, the pergade family was known for its generosity and hospitality to all. According to the legend, the guardian angels of Dharma assumed human forms and arrived at pergade’s abode in search of a place where Dharma was being practiced and could be continued and propogated. As was their habit, the pergade couple hosted these illustrious visitors with all their wherewithal, and great respect. Pleased by their sincerity and generosity, that night the Dharma Daivas appeared in the dreams of Pergade. They explained the purpose of thier visit to him and instructed him to vacate his house for the worship of the Daivas and dedicate his life to the propogation of Dharma. Asking no questions, the Pergade built himself another house and began worshipping the Daivas at Nelliadi Beedu. This continues even today. As they continued their worship and their practice of hospitality, the Dharma Daivas again appeared before the Pergade to build separate shrines to consecrate the four Daivas – Kalarahu, Kalarkayi, Kumaraswamy and Kanyakumari. Also, Pergade was instructed to choose two persons of noble birth to act as the Daivas’s oracles and four worthy persons to assist Pergade in his duties as the Executive Head of the Shrines. In return, the Daivas promised Pergade protection for his family, abundance of charity and renown for the ‘ Kshetra ‘. Pergade, as desired, built the shrines and invited Brahmin priests to perform the rituals. These priests requested Pergade to also install a Shivalinga beside the native Daivas. The Daivas then sent their vassal Annappa Swamy to procure the linga of Lord Manjunatheshwara from kadri, near Mangalore. Subsequently, the Manjunatha temple was built around the linga. Around the 16th Century, Devaraja Heggade invited Shri Vadiraja Swami of Udupi to visit the place. The Swamiji gladly came but refused to accept Bhiksha (food offering) because the idol of lord Manjunatha had not been consecrated according to vedic rites. Shri Heggade then requested the Swamiji to reconsecrate the Shivalinga himself. Pleased by the observance of the vedic rites and Heggade’s charity to all, the Swamiji named the place Dharmasthala, the abode of religion and charity. Thus, the roots of charity and religious tolerance established by the Pergades 600 Years ago have been nurtured and strenthened by the Heggade family, Heggade being a derivative from Pergade. And today’s Dharmasthala blossoms with the fruit of this selfless dedication. Anna Daana The 600-year-old Pergade tradition of generous hospitality to all those who enter the portals of the Kshetra continue even today. Every one of the thousands of pilgrims who daily visit Dharmasthala is an honoured guest irrespective of caste, creed, culture or status. As always free food and shelter is provided to pilgrims who seek the blessings of Lord Manjunatha, the exponential growth in visitors not withstanding. The Annapoorna Choultry, the beautiful dining hall is equipped to feed 30,000 to 50,000 guests comfortably on any given day. The modern kitchen with automised cooking aids is a marvelous demonstration of how mass meals can be made hygienic, tasty and quick. For the convenience of pilgrims, a number of rooms that formed the accommodation at the old dharmasthala’s Ganga, Kaveri and Narmada has been augmented by seven modern guest houses Netravathi, Vaishali, Sharavathi, Gayatri, Gangotri and Saketha which have increased the capacity manifold. Sri D. Harshendra Kumar, brother of Sri Veerendra Heggade, has been managing the affairs of the various departments of Dharmasthala by rendoring yeoman service. While communication betwen the seeker and God is a part of every religious institution, it is a metaphysical experience removed from the travails of day to day living. Dharmasthala is however different in this regard for it reaches out to people through Shri Veerendra Heggade. Those who come to the Kshetra with their woes and problems are given a patient hearing and guidance. No quarrel or family dispute is too petty to ignore, for the Heggade knows that the seeds of discontent sown by unresolved disputes can fester and build into a lifetime of hatred. Through Counseling and the dispensation of justice, Shri Veerendra Heggade helps regain peace of mind and guides to shelter under the divine grace and benevolence of Lord Manjunatha Swamy. Abhaya Daana Reaching out to the needy is second nature to the Heggade. During the severe drought that almost crippled life of North Karnataka Districts of Gulbarga, Bijapur, Dharwad etc. he toured the districts tirelessly. Witnessing the dire straits of the people, specially the women, they soon identified the needy and distributed a phenomenal 50,000 sarees. The floods in South Kanara Disctrict in 1974 too saw him extend a helping hand to the flood affected. Yet again in 1992, when surprise floods wreaked havoc in Gadag, the Heggade was in the forefront, helping resettle victims through donations in cash and building material. Recently when the massive ravaged Gujarat, Dharmasthala was once again in the vanguard through Shri Veerendra Heggade, spontaneously reaching out with a donation of Rupees Twenty Five lakhs. These are but a few examples of how the Heggade continues to be an angel of mercy to those in need. In an endeavour to eradicate social evils like dowry, casteism, untouchablitiy and financial debt, Shri Heggade introduced the beautiful concept of “Mass Marriages” in 1972 at Dharmasthala. Following the tradition of the Kshetra where all religions and castes are welcome, hundreds of couples are married in accordance with their personal religious rite. The expenses of the wedding dress, mangalsutra and wedding feast for a limited number of the couple’s guests are borne by the Kshetra. It is vital to note that over 10,000 couples have been benefitted by this unique programme since 1972. Vidya Daana Back One of the prime examples of Dharmasthala’s practice of Dharma in action has been the role it has played in fostering education.The seed of what has today grown into a gaint tree of knowledge was sown in the soil of Belthangady Taluk in Dakshina Kannada, many decades ago. Shri Manjayya Heggade, the then Dharmadhikari, realized that education was the only way out of the hopelessness and despair that pervaded this poverty stricken land. He made a small beginning with the establishment of Siddhavana, an educational institution that drew inspiration from the gurukul of ancient times. Continuing the tradition, Shri Rathnavarma Heggade, his successor established the SDM Education Trust to chalk out a longterm plan for bringing education to this hinterland. And thus began an educational revolution that has helped transform a number of backward areas through the power of education. The foundation built by the earlier Dharmadhikaris inspired Shri Veerendra Heggade to give added impetus to the Kshetra’s efforts for the upliftment of society with the catalytic effect of education. The ripples of Dharmasthala’s initiatives have today spread far and wide encompassing a host of educational institutions spanning primary to post graduate and professional courses. While the emphasis has been on providing a modern education, traditional values have not been lost sight of and every one of the institutions strives to inculcate the Indian culture and values in the students who pass through its portals. The Kshetra has consciuosly chosen to establish institutions in areas that would benefit those who would not otherwise have the opportunity of gaining from education. Further, students who have aptitude and desire but not the means are provided opportunities to pursue an education through scholarships. The educational institutions that are within Dharmasthala’s fold are run by the SDM Educational Trust while the management of the institutions is the preview of the Shri Dharmasthala Manjunatheshwara Educational Society. Comprising of eminent personalities, these two organisations, jointly provide purpose and direction to the institutions under the benign guidance of the Dharmadhikari.
Shankar Nag From Wikipedia, the free encyclopedia Jump to: navigation, search Shankar Nagarkatte (Kannada: ಶಂಕರ ನಾಗರಕಟ್ಟೆ, Konkani: शंकर नागरकट्टे), 9 November 1954 – 30 September 1990) popularly known as Shankar Nag (Kannada: ಶಂಕರ ನಾಗ್) was a popular actor and director of Kannada cinema. He also directed and acted in the teleserial, Malgudi days, based on celebrated novelist R.K.Narayan’s short stories. Besides these, he was actively involved in Kannada theater activities. He co-wrote “22 June 1897″, an Indian National award winning Marathi film. Early career Shankar Nagarkatte was born on 9 November 1954 in Mallapur village in Honnavar (uttara kannada), Karnataka to a Konkani-speaking Chitrapur Saraswat Brahmin family.[1] His parents were Anandi and Sadanand Nagarkatte. His elder brother is the popular Kannada actor Anant Nag. Apart from his mother-tongue Konkani, Shankar was fluent in Kannada and Marathi.[2] After completing formal education, Shankar moved to Mumbai. In Mumbai, he was attracted to Marathi theater and immersed himself in theatrical activities. Incidentally, he met his future wife, Arundhathi during a drama rehearsal. Shankar Nag then shifted base to Karnataka. His elder brother Anant Nag had already established himself as an actor and urged Shankar to act in films. He was offered a role of a mercenary by Girish Karnad in the epic movie, Ondanondu Kaladalli, which was loosely based on Akira Kurosawa’s masterpiece, Seven Samurai. His debut film as actor fetched him a national award at the Delhi International Film Festival. Thus began his film career, where, in a span of 12 years (from 1978 to 1990) he acted in some 90 Kannada movies, as a leading man, besides co-producing (with actor-brother Anant Nag ) and directing some films like ‘Minchina Ota’ (a rare example of a heist movie in Kannada), “Janma Janmada Anubandha” and “Geetha” (both of which had music by South Indian maestro Ilayaraja) Later Days Commercial film producers took notice of Shankar Nag and he began acting in typical masala movies. Shankar was an unconventional hero with an unshaven face, distinict swagger, dark eyes and a rough voice. Although he had never undergone any martial arts training, he earned the sobriquet of Karate King. His popular films include Auto Raja, Geeta, S.P.Sangliana, and Minchina ota. He had also identified himself with the Janata Party in 1980s. Directorial Debut Shankar began his directorial with Minchina Ota. This won him seven state awards, including the best film. And then came a series of films directed by him. Janma Janmada Anubandha, Geetha, Accident (which won many state and national awards), Ondu Muttina Kathe (with Dr. Rajkumar in the lead), Nodi Swami Naavirodu Heege, Hosa Teerpu, Lalach. Malgudi days Shankar did not limit his creativity to cinema. He was equally immersed in theatre and television. Malgudi days is the best example of Shankar’s oeuvre on television. Prior to globalization, Doordarshan was the only broadcaster in India. In addition to programme production, Doordarshan used to invite private producers to produce television serials. Shankar accepted the offer and directed Malgudi days, based on the collection of short stories by R.K.Narayan in 1987, under the banner of Padam Rag Films. Well known actors Vishnuvardhan, and Ananth Nag appeared in the serial. Master Manjunath, who essayed the role of impish Swami became a household name. The music, accompanied by the nasal twang “Tananaa tana na naa” was composed by L. Vaidyanathan. The teleserial was shot in Agumbe, Shimoga district, Karnataka. Shankar went to direct another teleserial, titled Swami in the same year. Malgudi days has been rated as one of the finest serials ever to be made in the history of Indian Television. It is noteworthy that he was anchoring the Parichaya program on DD1-Kannada, in its starting days. Though a busy star in his own rights, Shankar always had time for theatre. That was almost his second nature. In fact he brought a kind of commercial viability to the Kannada Amateur Theatre. He and his brother Ananth Nag founded SANKET, an amateur theatre group, which still produces plays. His first ever directorial effort in Kannada was Anju Mallige by Girish Karnad. He continued with productions like Barrister, Sandhya Chhaya. Sometime here he was joined by T N Narasimhan who wrote and co-directed Nodi Swami Navirodhu Heege. which had, apart from himself, his wife Arundhati Nag and Ramesh Bhat in the cast. The two directed Aata Bombat. Shankar’s last production was Naaga Mandala, a play by Girish Karnad. He co-directed with Surendra Nath. Death Shankar Nag died in a car crash at Anagodu village on the outskirts of Davanagere town on the morning of 30 September 1990, while proceeding to Lokapur in Bagalkot district of Karnataka with his wife Arundhati Nag and daughter Kavya, for the shooting of his film Jokumaraswamy. Shankar Nag left many unfinished projects like the Country Club at his farm near Bangalore, a ropeway to Nandi Hills and a low cost prefab housing scheme. An admirer of Ramakrishna Hegde, he was not much into active politics. However he had a great vision for Bangalore. Way back in 1990, before his untimely death, he had proposed a Metro for Bangalore city, based on what he had seen in London. He started the first ever electronic recording studio, in Karnataka, Sanket Electronics. Selected filmography As a Director 1. Minchina ota 1980 2. Janma Janmada Anubandha – 1980 3. Geetha – 1980 4. Nodi Swamy Navirodu Hige – 1983 5. Lalach – 1983 6. Accident (1985 film) 7. Swami (TV Series) – 1989 8. Idu Saadhya – 1989 9. Ondu Muttina Kathe – 1987 10. Malgudi days (TV Series) – 1987 11. Hosa Teerpu
1.MECKANNAS GOLD
2.BRIDGE ON RIVER QUI
3.JURASSIC PARK
4.OMAN I
5.GOOD BAD AND UGLY
6.AVATAR
7.SIXTH SENCE
8.TERMINATOR
9.ELIEANS
10.STAR WARS
Kanooru subbamma Heggaditi (1999), based on a novel by Kannada writer Kuvempu Subbamma Heggadathi’directed by noted playwright and cine director Girish Karnad The film narrates A story of the land and life of Malnad region, feudal family set in the backdrop of pre-independence era and at Malnad Film shooting done in location at Thirthahalli, Shimoga district Novel originally consist of total 700-page and it is having more than 150-character, . it was difficult to transfer the salient features of the novel on to screen it took Karnad eight months to reduce it to feature film four main characters – Chandre Gowda, his third wife, Subbamma, Seetha and Hoovayya. There were casting artistes, Karnad himself played for the role of Chandre Gowda and role of Subbamma is Tara The news is that the novel made a film has rekindled the interest in the novel. About 2,000 copies of the novel are being reprinted. After the shooting began, the women of Megaravalli are returning to their native dress. Even the names of their houses are being changed to the titles described in the novel. director Girish Karnad said The movie Kanooru Heggadathi justice to the novel by Kuvempu in its totality, as it was only an attempt to portray the complexities of women characters in Kuvempu’s work, the voluminous novel could not be depicted in full and the movie was an attempt to show the three different aspects of womanhood in a feudal set-up. For the year 2000: It is awarded as Best Feature Film in Kannada
