Edakallu Guddada Mele
| Edakallu Guddada Mele | |
|---|---|
| Directed by | Puttanna Kanagal |
| Produced by | Srikanth Nahatha Srikanth Patel |
| Written by | Bharathisutha |
| Screenplay by | Puttanna Kanagal |
| Based on |
Edakallu Guddada Mele by Bharathisutha |
| Starring |
Jayanthi Aarathi Chandrashekar Shivaram |
| Music by | M. Ranga Rao |
| Cinematography | S. V. Srikanth |
| Edited by | S. P. N. Krishna T. P. Velayudham |
| Distributed by | Srikanth & Srikanth Enterprises |
|
Release date
|
1973 |
| Country | India |
| Language | Kannada |
| Edakallu Guddada Mele | |
|---|---|
| Soundtrack album by M. Ranga Rao | |
| Released | 1973 |
| Genre | Feature film soundtrack |
| Length | 28:52 |
| Label | Saregama |
Edakallu Guddada Mele (Kannada: ಎಡಕಲ್ಲು ಗುಡ್ಡದ ಮೇಲೆ, English: On top of the Edakallu Hills) is a 1973 Indian Kannada language film directed by Puttanna Kanagal, based on a novel by Bharathisutha of the same name, and starring Jayanthi, Aarathi, Chandrashekar, Shivaram. The movie has evergreen songs like Viraha nooru taraha.
Edakallu Guddada Mele is loosely based on an eponymous novel by Bharathi Suta. It has different layers to it, but the storyline is built around a couple and their young neighbour who get entangled in a complex relationship. The Kannada novel is an Indian adaptation of the famous English novel of D. H. Lawrence, Lady Chatterley's Lover.
The movie begins with Sanskrit saying, 'Kaamaaturaanam nabhayam nalajja (A lustful person knows neither fear nor shame),' and the rest of the movie attempts to illustrate the same. Kama is one of the six moral weaknesses: kama (passion/lust), krodha (anger), lobha (greed), moha (attachment), madha (pride) and matsara (envy).
Jayanthi begins with a song expressing pangs of separation with her soldier-husband. The song -- 'Viraha,' is a classic in Kannada movie lore, and is quite often interjected in banter to express estrangement. As the song ends with the return of her husband, it becomes evident that the war has not just crippled his leg. Subsequently, the trauma of a marriage bereft of a physical relationship is portrayed in sing-song histrionics prevalent in movies of this period. The introduction of the brash, loud, motorbike-riding Nanjunda, infuses enthusiasm into a hitherto hurried and jarring narrative. Nanjunda, a fresh college graduate, also happens to be the Captain's neighbor. A word on topography and co-ordinates is in order here. The movie appears to be depicting Kodagu (Coorg) as inferred by the frequently portrayed undulating hills, and typical Kodava dresses. The Captain and Nanjunda, own adjoining estates in this region. Nanjunda is on a visit, and seems to indulge in little but bike-riding and indolence. His dad's estate is managed by his uncle, Shivaram, another stentorian voice that strains the eardrums.
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