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Hindustan Times
06-08-2025
- Entertainment
- Hindustan Times
If Raj B Shetty were to ever direct a star, it would be Shivarajkumar and here's why
As a filmmaker, Raj B Shetty is very clear that he's not interested in directing a star. Having a star onboard a film complicates the filmmaking process, which he's not a fan of. In his three directorial ventures so far, Ondu Motteya Kathe, Garuda Gamana Vrishabha Vahana and Swathi Mutthina Male Haniye, he's directed himself, and Rishab Shetty in one o them, before the latter became a pan-Indian Divine Star sensation with Kantara. Raj B Shetty (right) on why he'd direct Shivarajkumar There is, however, one actor that Raj is willing to make an exception to his rule and that is Kannada cinema's Century Star, Shivarajkumar. In a recent interview with The Hollywood Reporter India, Raj spoke about not ever wanting to direct a star, when asked if rumours of him collaborating with Dulquer Salmaan in such a capacity were true. Raj B Shetty: I don't consider Shivarajkumar star; he is… Raj, who has wrapped up a film called 45, in which he has worked with Shivarajkumar and Real Star Upendra, said that neither Kannada superstars ever once showed a 'star aura'. This, he adds, is also why if he were to ever direct a star it would be Shivarajkumar. 'I don't consider him a star; I think he is a man who is much more bigger than a star. So, if I ever direct a star, it would be Mr Shivarajkumar,' said Raj, during the promotions of his latest, Su From So, which is running to packed houses in Karnataka and has begun its box office journey in Kerala too. 45, is the directorial debut of Kannada music composer Arjun Janya, which he wrote during the pandemic, when he lost his brother. According to reports, the story revolves around Raj's character, and what happens upon his death, with Upendra seeking to capture his soul, and Shivarajkumar on a mission to save him. The story, according to the debutant filmmaker is steeped in Sanatana Dharma and is about the 45 days after a person's death. The film was meant to be in theatres along with Coolie and War 2during the Independence Day weekend, but delays in VFX completion have forced the team to push it ahead. A new release date is yet to be announced. The makers are keen to have it in theatres later in the year and will officially announce the date shortly. Su from So is currently playing in theatres with Kannada and Malayalam versions, with a Telugu-dubbed one set to release on August 8. There have been discussions for a Hindi-dubbed version or even a remake, but Raj has never really been a fan of remakes, as he and his team make films that are very rooted in the culture of the place (Mangaluru) that they all hail from. Meanwhile, if you'd like to watch cinematic gems made by the RRR of Kannada cinema – Raj, Rakshit and Rishab Shetty – tune in to OTTplay Premium and stream films like Ulidavaru Kandanthe, Sarkari Hiriya Prathamika Shaale and Garuda Gamana Vrishabha Vahana.
Time of India
10-06-2025
- Entertainment
- Time of India
It's high time we spotlight coastal Karnataka's unique tiger dance: Rishith Shetty
A filmmaker can seek inspiration from countless sources, but for Rishith Shetty, it was instinctive to root his debut film in the land he knows best — a culture that has shaped his very identity. Making his directorial debut with Marnami, a tribute to the region he hails from, the film will explore the tiger dance in its full glory on celluloid. Excerpts from a chat: The tiger dance has been a vital part of our culture, and yet its many layers have remained unexplored in cinema. That's why I chose it as the soul of my debut. My story traces the evolution of the art form, spanning from the early '90s to the present day – Rishith Shetty 'The many layers of the tiger dance has remained unexplored in cinema' 'I've seen tiger dance up close, but its many layers have remained unexplored in cinema. That's why I chose it as my debut,' shares Rishith, adding, 'In the early '80s and '90s, tiger dance was a way of fulfilling a religious vow (harake) by the locals. 'But with time, it became a mark of prestige, and later, a form of entertainment. By the late 2000s, the idea of 'star tiger dancers' came into play. Teams began fighting to have such individuals in their troupe. My story traces this evolution, spanning from the early '90s to the present day,' he explains. The title Marnami is a colloquial term for Mahanavami, and much of the film is set during Dasara, capturing the grandeur and spirit of the festivities in Karavali.' 'The coast is finally being recognised for its richness' 'Today, there is an increased interest in stories from the coast. It began with Ulidavaru Kandante, followed by Ondu Motteya Kathe and, most recently, Kantara,' says Rishith. 'Post-Kantara, people want to know more of Karavali's stories and culture. But I want to remind people that our culture is not just about Daiva, Kola, tiger dance, or Kambala — there's so much more,' he says. On how the coastal dialect was once used for comic relief in Kannada cinema, he adds, 'I'm glad that stereotype has been broken. Today, the coast is being recognised for its richness — in language, art, and lived experience.' In today's cinema, strong writing, rootedness, authenticity, and good promotion — all four are essential for a film to truly connect and succeed - Rishith Shetty 'Authenticity is the key to connect with audiences' 'Today's audiences are extremely well-informed. If you're making a film about Uttara Karnataka, you must ensure that the representation — especially the dialect — is 100% authentic. Nobody will relate to a character speaking Bengaluru Kannada in Bijapur. It's the same with Mandya or Mangaluru,' he observes. That's why he cast local artistes, including real tiger dancers, for authenticity. Lead actors Ritwik, Sonu Gowda, and Chaithra Achar underwent rigorous workshops with a Mangaluru-based trainer. 'We even took them to fish markets to observe the body language and absorb the dialect,' he shares, adding, 'In today's cinema, strong writing, rootedness, authenticity, and good promotion — all four are essential for a film to truly connect and succeed.'
