Kanasemba Kudureyaneri
| Kanasemba Kudureyaneri | |
|---|---|
DVD cover
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| ಕನಸೆಂಬೋ ಕುದುರೆಯನೇರಿ | |
| Directed by | Girish Kasaravalli |
| Produced by | • Amrutha Patil • Basanth Kumar Patil |
| Written by | Amaresh Nugadoni |
| Screenplay by | • Girish Kasaravalli • Gopalakrishna Pai |
| Story by | Amaresh Nugadoni |
| Based on |
Savaari by Amaresh Nugadoni |
| Starring |
Vaijanath Biradar Umashree Sadashiv Brahmavar |
| Music by | V. Manohar |
| Cinematography | H. M. Ramachandra Halkere |
| Edited by | M. N. Swamy |
| Distributed by | Basanth Productions |
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Release date
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Running time
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104 minutes |
| Country | India |
| Language | Kannada |
Kanasemba Kudureyaneri (Kannada: ಕನಸೆಂಬ ಕುದುರೆಯನೇರಿ, English: Riding a Stallion of a Dream) is a 2010 Indian Kannada language film directed by noted Kannada film director Girish Kasaravalli, based on an anthology of short stories written by Amaresh Nudgoni titled Savari, and starring Vaijanath Biradar, Umashree and Sadashiv Brahmavar in lead roles.
The film received positive reviews from the film critics upon release. It won several national and international awards. It won the National Film Award for Best Screenplay and the National Film Award for Best Feature Film in Kannada of 2010.
A story has a beginning, middle and an end, but it's not necessary that they be in that order. Girish Kasarvalli's award-winning Kanasemba Kudureyaneri (based on Amaresh Nugadoni's Savaari) is a classic example of this.
The film applies a back and forth narrative to tell the story of gravedigger Irya and his belief in Siddhas, nomads whose arrival is considered auspicious. It is believed that if the death of a person coincides with the arrival of a Siddha, the soul is sure to go to heaven.
Irya and his wife are made known of their arrival through dreams. In fact for Irya, if a Siddha appears in his dream, it denotes a death in the village. However, once despite dreaming of a Siddha, Irya is told that there is no death in the village. He goes to the house of an ailing village elder, anticipating his death but is sent back by the caretaker saying all is well.
As if this is not enough, a Siddha not arriving in the village despite his wife having dreamt of his arrival, crushes Irya's faith in Siddhas, who he believes are his protectors. Is Irya an easy prey to superstitions or are scheming villagers exploiting his dreams for their own good?
The film beautifully exposes the materialistic attitude of people. It leaves you wondering whether destroying one's beliefs is the only way to progress; whether there are chances of beliefs being mistaken for superstitions just because the ones who hold these beliefs are not part of the mainstream.
While the first half of the film may have you raise your brows at Irya's and Rudri's dreams and faith, the second half sets out to suggest that what may look superstitious to one may be a way of life to the other. It also shows how sometimes what looks real may be unreal and vice versa, and that with faith in our beliefs, we can achieve anything.
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