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• Kannada News Entertainment Movie reviews Dooradarshana Movie Review: Watching Dooradarshana Kannada film is a nostalgic experience

Dooradarshana Review: ‘ದೂರದರ್ಶನ’ ಪರದೆಯಲ್ಲಿ ಬಿತ್ತರಗೊಂಡ ಆ ದಿನಗಳ ನೆನಪು; ಬೇಕಿತ್ತು ಇನ್ನಷ್ಟು ಹೊಳಪು

Dooradarshana kannada movie: ‘ದೂರದರ್ಶನ’ ಎಂದರೆ ಇದು ಕೇವಲ ಟಿವಿ ಸುತ್ತಮುತ್ತ ಹೆಣೆದ ಕಥೆ ಎಂದು ಪ್ರೇಕ್ಷಕರು ಊಹಿಸುವುದು ಸಹಜ. ಆದರೆ ಇದು ಬರೀ ಟಿವಿ ವಿಷಯಕ್ಕೆ ಸೀಮಿತವಾದ ಕಥೆಯಲ್ಲ..

Updated on: Mar 03, 2023 | 3:35 PM

ಚಿತ್ರ: ದೂರದರ್ಶನ

ನಿರ್ಮಾಣ: ರಾಜೇಶ್​ ಭಟ್​

ನಿರ್ದೇಶನ: ಸುಕೇಶ್​ ಶೆಟ್ಟಿ

ಪಾತ್ರವರ್ಗ: ಪೃಥ್ವಿ ಅಂಬಾರ್​, ಉಗ್ರಂ ಮಂಜು, ಅಯಾನಾ, ಸುಂದರ್​ ವೀಣಾ, ಹುಲಿ ಕಾರ್ತಿಕ್​ ಮುಂತಾದವರು.

ಸ್ಟಾರ್​: 3/5

‘ದೂರದರ್ಶನ’ ಎಂಬ ಶೀರ್ಷಿಕೆ ಕೇಳಿದರೆ ಥಟ್​ ಅಂತ ನೆನಪಾಗೋದು 80-90ರ ದಶಕ. ಭಾರತಕ್ಕೆ ಟಿವಿ ಕಾಲಿಟ್ಟ ಸಮಯದಲ್ಲಿ ಒಂದು ಸಂಚಲನವೇ ಸೃಷ್ಟಿ ಆಗಿತ್ತು. ಪ್ರತಿ ಊರಿನಲ್ಲಿ ಸಾಕಷ್ಟು ಬದಲಾವಣೆಗಳು ಆದವು. ಜಗತ್ತಿನ ಅನೇಕ ವಿಚಾರಗಳು ಮನೆ-ಮನೆಗೆ ತಲುಪುವಂತಾಯಿತು. ಮನರಂಜನೆಗೆ ಹೊಸ ಆಯಾಮ ಸಿಕ್ಕಿತು. ಅದರ ಜೊತೆಗೆ ಜನರ ನಡುವಿನ ಸಂಬಂಧಗಳು ಕೂಡ ಬದಲಾಗತೊಡಗಿದವು. ಈ ಎಲ್ಲ ಘಟನೆಗಳನ್ನು ಕೇಂದ್ರವಾಗಿ ಇಟ್ಟುಕೊಂಡು ‘ದೂರದರ್ಶನ’ ಸಿನಿಮಾ ಮಾಡಲಾಗಿದೆ. ಈ ಚಿತ್ರದಲ್ಲಿ ಪೃಥ್ವಿ ಅಂಬಾರ್​ ಮತ್ತು ಉಗ್ರಂ ಮಂಜು ಅವರು ಪ್ರಮುಖ ಪಾತ್ರ ಮಾಡಿದ್ದಾರೆ. ಸುಕೇಶ್​ ಶೆಟ್ಟಿ ನಿರ್ದೇಶನದ ಈ ಚಿತ್ರ ಒಟ್ಟಾರೆಯಾಗಿ ಹೇಗಿದೆ ತಿಳಿಯಲು ಈ ವಿಮರ್ಶೆ ಓದಿ..

ನೆನಪಿನ ಪುಟ ತೆರೆದಿಡುವ ಸಿನಿಮಾ:

ಮೊದಲ ಬಾರಿಗೆ ಟಿವಿ ಬಂದಾಗ ಆ ಫೀಲ್​ ಹೇಗಿತ್ತು ಎಂಬುದು ಇಂದಿನ ಹೊಸ ತಲೆಮಾರಿನ ಮಕ್ಕಳಿಗೆ ಅರ್ಥವಾಗೋದು ಕಷ್ಟ. ಆ ದಿನಗಳ ಅನುಭವವೇ ಭಿನ್ನ. ವಾರಕ್ಕೊಂದು ಸಿನಿಮಾ, ಪ್ರತಿ ವಾರ ಚಿತ್ರಮಂಜರಿ ನೋಡಿಕೊಂಡು ಬೆಳೆದವರಿಗೆ ಮಾತ್ರ ಅದರ ಮಜಾ ಏನೆಂಬುದು ಗೊತ್ತು. ಆ ನೆನಪುಗಳ ಪುಟ ತೆರೆಯುವ ರೀತಿಯಲ್ಲಿ ‘ದೂರದರ್ಶನ’ ಸಿನಿಮಾ ಮೂಡಿಬಂದಿದೆ.

ಇದು ಬರೀ ಟಿವಿಯ ಕಥೆಯಲ್ಲ:

ನಿರ್ದೇಶಕ ಸುಕೇಶ್​ ಶೆಟ್ಟಿ ಅವರು ‘ದೂರದರ್ಶನ’ ಎಂಬ ಶೀರ್ಷಿಕೆಯಲ್ಲಿ ಸಿನಿಮಾ ಮಾಡಿದಾಗ ಇದು ಕೇವಲ ಟಿವಿ ಸುತ್ತಮುತ್ತ ಹೆಣೆದ ಕಥೆ ಎಂದು ಪ್ರೇಕ್ಷಕರು ಊಹಿಸುವುದು ಸಹಜ. ಆದರೆ ಇದು ಕೇವಲ ಟಿವಿ ವಿಷಯಕ್ಕೆ ಸೀಮಿತವಾದ ಕಥೆಯಲ್ಲ. ಇದರಲ್ಲಿ ಒಂದು ಲವ್​ ಸ್ಟೋರಿ ಇದೆ. ದ್ವೇಷದ ಕಹಾನಿ ಇದೆ. ಪ್ರತಿಷ್ಠೆ ಮತ್ತು ದುರಾಸೆಗೆ ಒಳಗಾದ ವ್ಯಕ್ತಿಯ ಕಥೆಯೂ ಇದೆ. ಮನ ಪರಿವರ್ತನೆ ಆಗುವಂತಹ ಕ್ಷಣಗಳಿವೆ. ಹೀಗೆ ಹಲವು ಆಯಾಮದಲ್ಲಿ ಚಿತ್ರವನ್ನು ಕಟ್ಟಿಕೊಡಲಾಗಿದೆ.

ಇದನ್ನೂ ಓದಿ:  ‘ವೀರ ಸಿಂಹ ರೆಡ್ಡಿ’ ಚಿತ್ರ ನೋಡಿ ವಿಮರ್ಶೆ ತಿಳಿಸಿದ ರಜನಿಕಾಂತ್​; ಬಾಲಯ್ಯನ ಚಿತ್ರ ಇಷ್ಟ ಆಯ್ತಾ?

ಉಗ್ರಂ ಮಂಜುಗೆ ಡಿಫರೆಂಟ್​ ಪಾತ್ರ:

ನಟ ಉಗ್ರಂ ಮಂಜು ಅವರು ವಿಲನ್​ ಪಾತ್ರಗಳ ಮೂಲಕ ಈಗಾಗಲೇ ಗಮನ ಸೆಳೆದಿದ್ದಾರೆ. ‘ದೂರದರ್ಶನ’ ಚಿತ್ರದಲ್ಲೂ ಅದು ಮುಂದುವರಿದಿದೆ. ಹಾಗಂತ ಇದು ಪ್ರೇಕ್ಷಕರು ಸುಲಭವಾಗಿ ಊಹಿಸಿ ಬಿಡುವಂತಹ ಕೆಟ್ಟ ಗುಣಗಳಿರುವ ವಿಲನ್​ ಪಾತ್ರ ಅಲ್ಲ. ಆತ ಕೆಟ್ಟವನಾಗಲು ಒಂದು ಕಾರಣ ಕೂಡ ಇದೆ. ಆತನ ಒಳಗೂ ಒಳ್ಳೆಯತನದ ಸಣ್ಣ ಒರತೆ ಇದೆ. ಇಂಥ ಒಂದು ಸಂಕೀರ್ಣವಾದ ಪಾತ್ರವನ್ನು ಅವರು ನಿಭಾಯಿಸಿದ್ದಾರೆ.

ಲವರ್​ ಬಾಯ್​ ಪೃಥ್ವಿ ಅಂಬಾರ್​:

‘ದಿಯಾ’ ಸಿನಿಮಾ ಸೂಪರ್ ಹಿಟ್​ ಆದ ಬಳಿಕ ಪೃಥ್ವಿ ಅಂಬಾರ್​ ಅವರ ಖ್ಯಾತಿ ಹೆಚ್ಚಿತು. ಲವರ್​ ಬಾಯ್​ ರೀತಿಯ ಪಾತ್ರಗಳಲ್ಲಿ ಅವರನ್ನು ನೋಡಲು ಪ್ರೇಕ್ಷಕರು ಇಷ್ಟಪಡುತ್ತಾರೆ. ಅಂತವರಿಗೆ ‘ದೂರದರ್ಶನ’ ಸಿನಿಮಾ ಇಷ್ಟ ಆಗುತ್ತದೆ. ಆದರೆ ಕೇವಲ ಪ್ರೀತಿ-ಪ್ರೇಮಕ್ಕೆ ಅವರ ಈ ಪಾತ್ರ ಸೀಮಿತವಾಗಿಲ್ಲ. ಅದರಾಚೆಗೂ ಹಲವು ಭಾವಗಳನ್ನು ವ್ಯಕ್ತಪಡಿಸಲು ಅವಕಾಶ ಇರುವಂತಹ ಪಾತ್ರ ಅವರಿಗೆ ಈ ಸಿನಿಮಾದಲ್ಲಿದೆ. ಅದನ್ನು ಅವರು ಚೆನ್ನಾಗಿ ನಿಭಾಯಿಸಿದ್ದಾರೆ. ಅವರಿಗೆ ಜೋಡಿಯಾಗಿ ಕಾಣಿಸಿಕೊಂಡಿರುವ ಅಯಾನಾ ಅವರ ನಟನೆ ಮೆಚ್ಚುವಂತಿದೆ. ದೀಪಕ್​ ರೈ ಪಣಾಜೆ, ಹುಲಿ ಕಾರ್ತಿಕ್​, ಹರಿಣಿ ಶ್ರೀಕಾಂತ್​, ರಘು ರಾಮನಕೊಪ್ಪ ಮುಂತಾದವರು ಕೂಡ ಸಹಜಾಭಿನಯ ನೀಡಿದ್ದಾರೆ.

ಇದನ್ನೂ ಓದಿ:  19 20 21 Movie Review: ನಾಡಿನ ಜನ ನೋಡಲೇಬೇಕಾದ ಕಾಡಿನ ಮಕ್ಕಳ ಕಥೆ ಮತ್ತು ಘನತೆ

ರೆಟ್ರೋ ಕಾಲದ ಸನ್ನಿವೇಶಗಳನ್ನು ಕಟ್ಟಿಕೊಡಲು ಮಲೆನಾಡಿನ ಪರಿಸರವನ್ನು ನಿರ್ದೇಶಕರು ಆಯ್ದುಕೊಂಡಿದ್ದಾರೆ. ಆ ವಿಚಾರದಲ್ಲಿ ಅವರು ಬಹುಪಾಲು ಯಶಸ್ವಿ ಆಗಿದ್ದಾರೆ. ಆದರೆ ತಾಂತ್ರಿಕವಾಗಿ ಈ ಚಿತ್ರಕ್ಕೆ ಇನ್ನಷ್ಟು ಗುಣಮಟ್ಟ ಬೇಕಿತ್ತು. ಛಾಯಾಗ್ರಹಣವನ್ನು ಸ್ವಲ್ಪ ಉತ್ತಮಗೊಳಿಸಿದ್ದರೆ ಚಿತ್ರದ ಹೊಳಪು ಹೆಚ್ಚುತ್ತಿತ್ತು. ಹಾಡುಗಳಲ್ಲಿ ವಾಸುಕಿ ವೈಭವ್​ ಅವರು ಎಂದಿನಂತೆ ಗಮನ ಸೆಳೆಯುವ ಪ್ರಯತ್ನ ಮಾಡಿದ್ದಾರೆ. ಟಿ.ಜಿ. ನಂದೀಶ್​ ಬರೆದಿರುವ ಪಂಚಿಂಗ್​ ಸಂಭಾಷಣೆಗಳು ಕಾಮಿಡಿ ಕಚಗುಳಿ ಇಡುತ್ತವೆ.

ಹೆಚ್ಚಿನ ಸಿನಿಮಾ ಸುದ್ದಿಗಳನ್ನು ಓದಲು ಇಲ್ಲಿ ಕ್ಲಿಕ್​ ಮಾಡಿ.

Published On - 3:32 pm, Fri, 3 March 23

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Home » Review » Dooradarshana review: Pruthvi Ambaar’s film has a simple plot that is let down by shoddy writing »

Dooradarshana review: Pruthvi Ambaar’s film has a simple plot that is let down by shoddy writing

Director Sukesh Shetty makes hotchpotch of the tale with the subplots

• Prathibha Joy

Last Updated: 01.20 PM, Mar 02, 2023

Story: Ramakrishna Bhat (Sundar Veena), a wealthy landlord in a village, who is quite cut-throat in matters of money, so much so that he’s even at feud with his younger brother Srinivas Bhat (Raaghu Ramanakoppa) and ousted him from the ancestral home. When the younger Bhat is gifted a television by his brother-in-law, he decides to leave it with his brother, until such time he is able to move into his own home. At a time when a television was seen as something that only people of a certain socio-economic standing could afford, Ramakrishna unleashes ‘owner’s pride, neighbours’ envy’, showing it off to the people in the village, all of who then become regular fixtures at his place to watch programmes. When the time comes for the TV to be returned to its rightful owner, it goes missing.

Review: If you were a youngster in the 80s or even early 90s, chances are that you will be filled with a sense of nostalgia about some of the events in this week’s release, Dooradarshana. Those were the days when having a television and a telephone was not meant for everyone, and those who owned one or both, often had to share it with the immediate neighbourhood, at least. I have fond memories of neighbours filing in every evening by around 5 pm to watch some daily serials and leaving only after the ‘news’ a couple of hours later. This was also a time we went from heading to a neighbour’s house to attend phone calls, to then offering similar service to others, when we were eventually allotted a landline. It would be unthinkable for youngsters today that there was such a time. When the trailer of Dooradarshana came, it took me back in time and left a warm-and-fuzzy feeling. Sadly, the same cannot be said of the film.

Director Sukesh Shetty’s film would have worked perfectly if the story was only about the changes that come about in this village after a TV comes into play. He didn’t think so, and, hence, there are sub-plots involving a younger lot – Ramakrishna Bhat’s son, Manu (Pruthvi Ambaar) and his feud with Kitti (Ugramm Manju), who was his bestie once upon a time, a golden jubilee celebration and a love story too. Sukesh’s failing is in trying to bring all these elements into a cohesive narrative.

The golden jubilee celebration of the protagonists’ alma mater is entrusted in what a former teacher calls, ‘the worst batch’. They are to do a play for the event that’s still months away, but all that this serves is to create instances for Manu and Kitti to glare at each other, have heated exchanges and even come to blows. The play doesn’t get done and we never get to know if the golden jubilee event happens or not. Sukesh forgot about it along the way.

As for the besties-turned-foes, well, after years of bitter enmity and a few action sequences, a family member’s ‘near-death’ experience, helps them brush it all under the carpet. What’s funny is that the person who had the ‘near-death’ experiences is described as critical and unresponsive, whose life was saved in the nick of time by one of the feuding parties. And yet, such a serious issue only calls for the patient to ‘take rest’. Really?

Thankfully, the film does not have a lot of comedy, but the few scenes that make it to the final cut are distasteful. What is it with Kannada filmmakers and jokes about homosexuality? Apparently, back in the day, gay men were so open about their leanings that they’d lust after and assault any man they encounter.

Dooradarshana is marketed as Pruthvi Ambaar’s film, but Sundar Veena’s role is just as important in the larger scheme of things. The senior actor is on point in some scenes, but hammy for the most part. There’s nothing worth writing about the rest of the lot.

Verdict: Dooradarshana is the perfect example of how to botch up a simple plot. One is reminded of the scope it had by the small-time but delightful Kannada film Koli Taal - a grandfather’s pursuit to find the ones who took a rooster that was meant to be the main dish for the grandson’s visit. Wait for it to drop on OTT.

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Doordarshana review: Sukesh Shetty’s slice-of-life film banks on nostalgia

Today’s generation might not be able to imagine a time when radio sets ruled lives. When National Panasonic’s 543 and small transistors hung from branches and windows, adding music to the humdrum of everyday life. The best part? No one knew what would play next. Life was about living in the moment. 

And then came television, the game changer. For those of us living in Tier-2 and Tier-3 cities, the television was an object of charm that only those in the metros got to enjoy. The rest could only imagine what it looked like. I remember my aunt leaving her television set with us when she got transferred from Madras to Coimbatore in Tamil Nadu. We kids would turn on the television, watch the black and white dots swarming on the screen (there was no signal in non-metro cities then), and pretend to see shapes and images.

This is the world Sukesh Shetty sets his debut film Doordarshana in — a village that’s green with life, and also with envy. Envy for the one rich man, Ramachandra Bhat (an effective Sundar makes it very easy to hate this character), whose only expression is grumpiness and whose words are sprinkled with anger and irritation. His long suffering wife and son Manu (Pruthvi Ambaar) tolerate him, but why would the rest? He is not on talking terms with his brother Sreenivasa (Raaghu Ramanakoppa). He throws a stone at a young boy who steals a cashew fruit from his tree, and is generally a dark character. No one likes him, but everyone puts up with him.

At the other end of the spectrum is Kitty (Ugramm Manju), once Manu’s best friend, and now someone whose heart is filled with hate for the family. Manu likes Mythri (Ayaana), whose brother is the one who got hit by the stone. 

Sreenivasa leaves a television his brother-in-law has bought from Dubai in Ramachandra’s house. Before you know it, the entire village is busy watching Ramanand Sagar’s Ramayana on it. And then, it goes missing, throwing everyone’s life asunder.

Amid all this, there’s talk of a school play by those who’ve passed out, among other things. But many of those subplots don’t hit home, because you don't engage with the lives of these boys. What does Manu do other than being a good son? Kitty wants to restart his grandfather’s hotel, but is he working towards it? What work does Manu’s friend ‘Bombay’ do? The only one shown working is the friend who runs an eatery. Everyone else is just there, and you’re expected to care for them and be invested in what happens to them.

All credit to Sukesh for getting the aesthetics right. You can almost imagine a world where the rotary phone was the only mode of communication available, and that too only in some homes. The scooter, the television antenna that most of us in our 40s would remember tuning and tuning until some hazy image appeared on screen, and people walking from their home to the one with a television to watch Ramanyana — all of these images are spot on.

Full marks to the scene in which the child imagines his teacher wearing a crown in class, and himself wielding the bow and arrow with an astra to boot. He sees the television almost as a god!

I’d have loved to see a little more about how Ramachandra had a change of heart. I’d have also liked to know why he’s so angry all the time. On the other hand, Kitty (Manju is persuasive in some scenes) has a reason for his hate — he lost a dear one to what his father said was Ramachandra’s family’s greed.

Pruthvi is usually a very casual performer on screen, and hence effective. But I missed that in this film, which does not offer Manu any defining feature that sets him apart. So, his lines remain mere lines, not emotions. He loves Mythri, but there’s no backstory there either. And before you know it, everyone is best pals like they were never angry with each other in the first place, and the end credits roll. This film has its intentions right, but needed some more heft in writing.

Music by Vasuki Vaibhav suits the mood, and cinematographer Arun Suresh captures the lovely locales of this rain-soaked land beautifully. You see the gorgeous exteriors, but you also see the dark interiors — both at home and inside hearts. 

Doordarshana is not a perfect film, but it’s lovely to see slice-of-life films with not too many characters, and where the reason for angst is not something Baahubali-esque, but just a lost television set.

Subha J Rao is an entertainment journalist covering Tamil and Kannada cinema and is based out of Mangaluru, Karnataka.

Disclaimer: This review was not paid for or commissioned by anyone associated with the film. Neither TNM nor any of its reviewers have any sort of business relationship with the film’s producers or any other members of its cast and crew.

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Dooradarshana is a household story: Sukesh Shetty

Sukesh Shetty’s experience as a theatre artist in Kannada and Tulu came in handy while making his directorial debut with Dooradarshana. “I consider cinema as the best medium to tell stories we wish to and that’s why I chose to become a director. My career in films started as a scriptwriter and I got associated with a couple of directors. I also helmed a few short films, and finally I get to realise my dreams of helming a feature film,” he shares.  

Though his passion for making cinema, watching films, and assisting various directors was a step one, he says that it is the determination and hard work that got him there. “One has to acquire the required knowledge in the field.  There are a lot of ways to come into the industry, I studied cinema by watching films, but also did my homework by assisting filmmakers. Watching cinema helps you to understand how a story should be narrated.  I watched films in multiple languages, and genres,” he says.

Doordarashana stars Dia hero Pruthvi Ambaar and Ayana as the leads.  “It is purely a director’s film, and it will be a surprise package for the audience. I have chosen a unique pattern to narrate the story and it is a complete commercial family entertainer,” says Sukesh, who has centred his story around a TV and the famous channel DD. The director, says that Dooradarshana is a household story, and confidently says that his film has no similarities to the subjects, which have been based on television.  

“The film’s plotline is set during the 70s and 80s and goes upto to 1999  when television had created a new wave, especially among the people residing in a village. How the magic box brought the families, friends and the entire village together will be highlighted through the backdrop, realistic emotions, various characters and music,” says Sukesh.

Sukesh states that television has lost its value and its importance today. “There were times the same magic box created an impact on people’s life. The film will remind, a whole sector of people, of incidents in their life, and induce nostalgia.” he adds.

About choosing Pruthvi Ambaar, who plays Manu, Sukesh says, “I wanted a face, who can relate to common people. Pruthvi had created an impact amongst the audience with Dia. Since I am also from Udupi, I knew his performance as a theatre artist, and in Tulu cinema. I had him in mind while penning the project, and I am glad he became the face of Dooradarshana.”

Pruthvi Ambaar’s tryst with Dooradarshana Pruthvi Ambaar, says the fame he got through Dia cannot be expected with every film and neither is he relieving the past glory. “I never hoped every film of mine should repeat the magic of Dia. I have moved on, and have been doing films that are coming my way. Dia was a once-in-a-lifetime film. It was a project where everything came together, and I can’t expect the same magic to happen with every film. However, the effort that I had put into Dia goes with every film,” says Pruthvi.

Last seen in Bairagee, alongside Shivarajkumar, and Dhananjay, Ambaar now gears for the release of Dooradarshana. He goes on to talk about his first stint with the television. “My first encounter with television was in the 1990s. People would flock around one house to watch a program and eventually, it would turn out to be a gathering, a meeting place, or an occasion,” he shares.

Pruthvi explains, why direct Sukesh chose to set Dooradarshana in a village backdrop. “The impact of the magic box on the innocent people could be best brought out through villagers. So the director, felt the plot will make good justice when placed against village backdrop,” he says.

There were rumours about Dooradarshana having familiarity with Malayalam film, Akashvani.  Pruthvi Ambaar denies it. “Akashvani is about radio, and ours is about television. The two are different objects, and so will the concept of the film.”

Summing up, Pruthvi says that Dooradarshana is close to reality, and a good entertainer. “ Though Television is present and will be the future, the same magic box brings in a lot of memories of the past.” The film features Aayana as the female lead and also stars Ugramm Manju, Sunder Veena, Harini Srikanth, Huli Karthik, Suraj, Surya Kundapur and Deepak Rai Panaje. Produced by Rajesh Bhat’s VS Media Enterprises, Dooradarshana has cinematography by Arun Suresh, music by Vasuki Vaibhav, and editing by Pradeep Rao.

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