Ranadheera Kanteerava is a 1960 Indian Kannada-language historical dramabiographical film directed by the editor-turned-director N. C. Rajan and written by G. V. Iyer.[1] It is one of the most popular films of acclaimed Kannada actor Rajkumar, who plays the role of an emperor Kanthirava Narasaraja I of the Wodeyar dynasty, Mysore, who was fondly named as Ranadheera Kantheerava. The film depicts the life of Kanteerava, who is known for his immense physical strength through wrestling. The film was credited to be one of the most authentic historical films made[2] since it was entirely based on the documents found in the Mysore Palace.[3] The film also stars Udaykumar, Leelavathi, K. S. Ashwath and Sandhya Shantaram in prominent roles.[4]
The film was released at a time during the severe crisis in the Kannada film industry due to the financial constraints. It was produced through a co-operative forum called Kannada Chalanachitra Kalavidara Sangha formed by actors Rajkumar, Balakrishna, Narasimharaju and acclaimed writer G. V. Iyer. Thus this was the first venture where Rajkumar turned producer for the film.[5] Post release, the film suffered an initial hitch as no distributor came forward to screen the film.[6] Later it was released in a single theatre — Bharath, and performed well commercially.[7] The film is considered the first blockbuster of Kannada cinema.[8] It was screened at IFFI 1992.
Plot
In 1637, the Kingdom of Mysore is ruled by MaharajaImmadi Raja Wodeyar. However, his inefficiency in administration and womanizing ways have led to Dalavayi Vikramaraya serving as the de facto ruler. Vikramaraya poisons the Maharaja to death inadvertently through Rajamata Thimmaja Ammani. He then appoints wrestler and the deceased maharaja's cousin Ranadheera Kanteerava the new ruler, intending to control him as a puppet.
Kanteerava is a benevolent ruler and is compassionate towards his subjects. He first rules that they pay only a small part of their agricultural income as tax in place of the existent share of half their income. Upon learning about the poor economic condition of the kingdom, he directs that a new currency made out of gold be minted using the royal jewelry. He appoints friend Nirisha as prime minister. Vikramaraya, upon realizing that Kanteerava cannot be controlled, hatches a plan to get him killed through servants of the kingdom, who end up assassinating Vikramaraya himself. Years pass and news reaches Kanteerava that a wrestler, Veeramalla, from Tiruchirappalli of the neighbouring kingdom, has hung his wrestling chaddi at the gate of the city and that anybody entering had to pass underneath in humiliation or fight him in a wrestling bout. Kanteerava decides to fight Veeramalla and reaches the city in disguise. He defeats Veeramalla and also an elephant much to the surprise of the people.
Doddi, a devadasi of a temple in Srirangapatna, desires to learn music from an hesitant music teacher Vishwanatha Shastry. Shastry believes music is to be practiced in the cause of the state and not for entertainment or other purposes. He relents after Doddi promises to him that she would not marry or give in to lust. Kanteerava learns of Doddi's beauty and secretly leaves his palace to meet her in disguise every night. The two fall in love and marry. One of Kanteerava's fathers-in-law is convinced that Doddi is hatching a plan to have him killed after it was planted in his head by the now Dalavayi, Nanjaraja. The latter is conspiring with Senduraimalla, the brother of Veeramalla to kill Kanteerava. Kanteerava averts an assassination attempt on him by killing all his attackers, and issues an order to banish Doddi after suspecting her role in the attempt. Upon learning that she is innocent, he runs to her only to find her having committed suicide.
Narasaraja Wodeyar I (1638 – 1659) popularly known as Ranadheera Kantheerava was an emperor in the royal Mysuru dynasty. He was a man of immense physical strength and was known as an intense wrestler in the Kingdom. He was an exponent in a form of wrestling called Vajra Mushti. He was also a musician with a strong liking towards arts and literature. He used the Srirangapatna town as his capital. Soon after his death in 1659, all his 10 wives committed Sati and ended their lives.[9]
Cultural significance
This film is credited to have spurred the Kannada cinema industry in the direction of historicals. This was produced as a joint venture under at a time when the Kannada cinema industry was facing severe financial crises and its enormous success is reported to have not only re-instilled confidence in the Kannada cinema industry but inspired other historicals in quick succession. Even today, it stands as a sort of guidepost to making compelling historical dramas in Kannada. The chief merit of Ranadheera Kanteerva is the level of authenticity in several key aspects. The first is the Kannada language used during Kanteerava Narasaraja Wodeyar's days - both by the royalty and the common people. To a keen student of the inflections that Kannada has undergone, this forms a useful study. Equally authentic are the depictions of the protocol, manners, customs, and traditions of palace life. The movie also brings out a few nuances of palace intrigue, tangentially touches upon some aspects of the administrative machinery and the system of espionage by weaving them together in a rather dramatic fashion.
This level of detail was made possible due to extensive research and first hand knowledge of the Mysore palace life that the film's writer Sri G.V. Iyer possessed.[10][11]
^Khajane, Muralidhara (21 April 2011). "Lens view". The Hindu. ISSN0971-751X. Archived from the original on 21 September 2022. Retrieved 21 September 2022.
