KONKANI MOVIE “UJWAADU” SHEDDING LIGHT on GSB CULTURE.

It was after a gap of 35 years that a film in Konkani GSB dialect has been produced in the country. The movie hit the screen in Mangalore on Friday,writes Sandhya C D’Souza

When many speak about the need to keep Konkani culture alive, Srinivas Rao S popularly known as Kasragod Chinna has proved this in his actions by directing the Konkani film ‘Ujwaadu’ (Light). The film in pure Gowd Saraswath Brahmin (GSB) Konkani is the third film in this dialect to hit the screens after a gap of 35 years.

“Konkani is my mother tongue and being an actor and filmmaker I felt an urge to make a Konkani film,” says Chinna to City Herald.

The movie portrays Konkani culture in several aspects. The opening song of the movie shows 18 Kuladaivas of the Konkani communities. Many of the GSB’s originally hail from Goa and many of the temples are situated there. “I have visited all the temples and filmed the Kuladaivas in a single day,” says Chinna and adds that more than 95 artistes have acted in his film making it more unique.

“I have upheld moral values in my film. The film got a ‘U’ certificate without even a single scene being censored,” he says.

Speaking about the title ‘Ujwaadu, Light of the future’, he says that Ujwaadu happens to be the name of an old age home in the movie. I wanted to show the importance of the aged in the community as they are the ones who guide the younger generations. They are the real light of the future, he says.

The film was shot in 18 days and the entire production process was completed in 100 days. The film was mostly shot in Karkala and places around. “I had only Rs 45 lakh as the movie’s budget but I have never compromised on quality. The movie was shot in superior 35 mm mode on celluloid, says Chinna.

“Though the schedule of the movie shooting was tight, I felt like I was with family. All the actors were very supportive and not one has taken remuneration from me for the movie,” he says. Speaking about something that touched him in the filming process, Chinna says that the film protagonist Neethu’s father expired the day she came to shoot for the movie. “Our entire crew was shocked and we decided to postpone the shooting. But Neethu knew that we had a limited budget and she immediately returned to the shooting after she attended the final rites. This is something that touched us all,” he says.

Speaking to City Herald, Neethu says that Konkani is her mother tongue and this added as an advantage. “I play the role of Shanteri an orphan girl who falls in love with her teacher Ganapathy master. Shanteri is very traditional and always takes advice from her elders,” she says.

“I lost my father while I was shooting for the film. But the entire crew looked after me like family. They gave me moral support. I have great respect for Chinna sir and that is one reason I returned to the shooting as I knew he had a very tight budget,” she says.

Ujwaadu male lead Shivadwaj said that he was helping Chinna in technical aspects and was shocked when Chinna asked him to play the male lead. Not knowing fluent Konkani was the biggest challenge. Though my voice is dubbed, I had to learn the Konkani dialogues for lip syncing, he says.

The film has four songs composed by Jayanth Kaikini and Achyuthdasa. “I want my movie to reach every household. Hence, I have given over 25,000 audio CD’s for free. I want each and every Konkani to sing these songs hence, I have included Karaoke tracks in the audio CD. Very soon I am planning to hold a singing competition,” says Chinna.

The movie is produced by Anuradha Padiyar and K J Dhananjay. Gopalakrishna Pai has written the script and dialogues for the movie, says Chinna.

Speaking on limitations, Chinna says that he feels he could still improvise if he had more time and budget. “I have made the movie for people rather than awards. If people come to watch the film it is my biggest award,” concludes Chinna. The film is presently being featured at Big Cinemas and will soon hit other theatres.

MANGALORE: President Pratibha Patil will be the chief guest at the Vishwa Konkani Ekta Divas (World Konkani Unity Day) being organized as part of the maiden Vishw Konkani Sanskrutik Mahamell ( First World Konkani Cultural Convention) here on December 9. The convention per se featuring over 1,500 artists from 75 troupes from around the world will be held at Kalaangann, Shaktinagar near here from November 25.

Eric Ozario, gurkaar of Mandd Sobhann, the premier Konkani cultural organization told reporters here on Tuesday that the convention will be spread over a period of 25 days and end on December 19. It will showcase to the world, the beauty and variety of Konkani culture and strive to enhance the ‘swabhimaan’ of every Konkani.

She charged me 12 rupees for each. I gave her the money. But ever eager to practice my kannada and engage in conversation, I asked here only jokingly why it was 12 rupees here, while it was only 10 rupees in the city. She must have been surprised by my heavily accented and rudimentary kannada, and realizing I was joking, she started giggling. She was completely at a loss of words. I just could not keep a straight face and started to laugh too.

I made small talk, asked her name and generally how many drinks she sold in a day. Her name was Uma and said she sold about a crate (of 12) each day. I estimated she made 4 rupees profit on each bottle, netting her about 50 rupees a day (slightly more than a dollar)! And for that she had to stand in this heat all day! And some one had to drop her here and pick her up in the evening. And she has not yet eaten! Life is tough! But she had a certain calm about her and I think this pic radiates her inner peace. And her confidence!

As I prepared to leave, I asked her again why it was 12 rupees for each drink: yaakae hutnerdu rupaiya?
Now she really burst out laughing, and I laughed with her. After a few moments she composed herself, then lifted the lid of the cooler, pointed inside and with a twinkle in her eyes mouthed a single word: Ice!

For that thirst quenching ice cool drink I would gladly have paid twice as much!

I was gifted this small, yet well done bronze of Uma by my cousin brother Ramnath. He has a good eye for art work.

This is Uma (Parvati) as Shivakami – the beloved of Shiva, in a classic tribhanga pose. This is purported to be a late 18th century reproduction of the 11th century piece from the Kulottunga I era. I have had this for several years and I never tire of admiring it. It is small and fits nicely in the palm of my hand. I am drawn to her graceful pose. I am drawn to her exceptional beauty. I am drawn to the inner calm she radiates! And I am drawn to the confidence she exudes!

The craftsmanship is exquisite for so tiny a piece and we have no idea where this statuette resided for the last several centuries. The sharp features suggest she was not used for any puja. Prolly stayed in a noble household.

It is said that the easiest way to reach Shiva is to appease Parvati (or Uma) and have her champion you to Shiva! Perhaps it is that restlessnes in my heart that draws me to her. I certainly thirst for her grace! And every time my eyes fall on Uma, I know my thirst will soon be quenched.

Cave Four is dedicated to Mahavir and the 24 Tirthankaras.

As you step on the front porch, the pride of place on the immediate left is taken by an imposing sculpture of Mahavir.

The craftsmanship of his facial features is exquisite and so elegantly portrays the experience of bliss. Gaze at this crop!

Inside, the pillars were covered with finely carved images of meditating figures. Note how the natural striations in the rock add to the beauty of the artistry.

Another sculpture of Mahavir inside the cave. Here, the striation on the walls covered with meditating figures draws our eyes to the Tirthankara protected in his alcove.

A group of women and girls taking a break from climbing the hill to enjoy all the caves!

NB:I have denoted the two larger images as Mahavira; I am not certain if they represent any of the other Tirthankaras. If you have any good evidence to indicate otherwise, please bring it to my attention.

Cave Three is also dedicated to Vishnu and his avataars, and holds some of the most impressive works of art.

As we approach the caves, they appear as narrow slots in the sandstone mountain side. it is only as you walk up the plain steps and onto the verandah that the true mastery of the beauty of the sculptures is evident. As you enjoy the artwork, note that these caves are ‘open’ and have no doors or other forms of protection from the weather. Yet their grandeur has survived nearly 1,500 years.

As you walk up the stairs, you step in between a row of beautifully carved pillars and on the right is the larger than life-size carving of Vishnu, in the form of his avataar Narasimha (man-lion). And what a majestic Narasimha it is. On the lower left is Prahalad, whose entreaties caused Vishnu to take this form to alleviate suffering of his devotee; and on the right is the cruel king Hiranyakashipu, who Narasimha disembowels on the threshold.

Turn around from admiring Narasimha and you are faced with the most stunning image of Vishnu, perfectly bracketed by the pillars in perspective.

And like if in the grip of a giant magnetic I was drawn towards this figure; agape and too stunned to form coherent words. The image of Vishnu in a meditative pose atop the coiled Adisesha!

Indeed, Vishnu’s eyes are closed here. Vishnu is depicted in yoga nidra – deep in cosmic meditative slumber. It was only many centuries later (12th century, I was told) that Vishnu was depicted with eyes open in artwork.

But as Swami Chidbavananda said: This too shall pass!

So here I am reaching into my archives. A few pics from our trip to Badami a couple of years ago. The Cave Temples in Northern Karnataka are part of UNESCO’s World Heritage Site. They are well maintained, and the sculptures are exquisite. Highly recommended.

This is an image of Shiva as Nataraja, Lord of the Dance. Apparently, his 9 arms on each side create the 81 combinations of Bharatnatyam poses.


This is Shiva as ArdhanariNareshwar – half man and half woman, symbolizing that God combines aspects of male and female. Note the left side is more shapely, sports a breast, the left hand carries a lotus bud, and accompanied by a female attendant.

This is the cave temple itself. Note the beautifully carved pillars. What an amazing feat to turn an ordinary red stone mountain to a work of art. The entire place is carved ‘in’ the mountain!
[click image for larger version]