Besides setting trends in filmmaking, the legendary director promoted art and culture and addressed several social issues through his movies.
Kalatapasvi K Viswanath is no more. (Twitter)
“Kalatapasvi”, the epithet given to K Viswanath by film and art lovers, succinctly describes the legendary director’s life and work. Kala means “art” and “tapasvi” is one who is involved in asceticism for achieving a higher purpose in life.
True to the word, Viswanath always strived to promote traditional art, Indian culture and equality through his movies. He followed a disciplined filmmaking style all through his life.
While Vishwanath made his debut with Akkineni Nageshwar Rao’s Aatma Gowravam in 1965, it was Shankarabharanam (1980) that turned a new chapter in not just his life but in Indian film history.
Shankarabharanam was an offbeat and daring musical drama. It depicted the relationship between reputed classical singer Shankar Shastri (played by JV Somayajulu) and Tulasi, the daughter of a prostitute (Manju Bhargavi) against the backdrop of music.
Chiranjeevi and K Viswanath on the sets of ‘Aapadbandhavudu’. (Twitter)
Though a completely unconventional movie defying all filmmaking norms, it became a runaway hit scripting a new chapter in the history of Indian cinema.
Even before this, Viswanath directed critically acclaimed hit films like Chelleli Kapuram, Undamma Bottu Pedatha, Siri Siri Muvva, and Seethamalakshmi.
However, Shankarabharanam went down in the annals of film history as a cult classic that influenced the popular culture in even the other southern states.
“Director K Viswanath brought respect to the art of filmmaking. He not just influenced the art of filmmaking but also public life in a powerful way,” opined GV Purnachand, senior writer-analyst and president of the World Telugu Writers’ Association.
It was after the release of Shankarabharanam that parents in Andhra Pradesh and Telangana started sending their children to learn Carnatic music and traditional dance forms like Kuchipudi and Bharatanatyam, he told South First.
“The classical arts, which were till then limited to a few people, reached the masses because of him,” recollected Purnachand.
“If classical music and dance forms and Telugu culture are alive in movies and public today, it is unarguably because of K Viswanath,” he said.
A still from K Viswanatha’s ‘Swarna Kamalam’ movie. (Twitter)
What set Vishwanath apart from his contemporaries was the fact that he, instead of cashing in on the success achieved through Shankarabharanam, stuck to his disciplined style of filmmaking by following self-imposed morals and rules.
The celebrated director smashed the boundaries between art, commercial cinema, and “class” and “mass” audience.
Shankarabharanam was followed by landmark movies like Saptapadi (1981), Shubhalekha (1982), Sagara Sangamam (1983), Swathi Muthyam (1985), Sirivennela (1986), Swayam Krishi (1987), Swarna Kamalam (1988), Sutradharulu (1989), and Aapadbandhavudu (1992).
They helped the filmmaker carve a unique niche for himself in the hearts of film lovers spanning across generations.
A still from ‘Shankarabharanam’ movie. (Twitter)
One interesting aspect of Viswanth’s movies was he vehemently opposed class differences in society while promoting and popularising traditional art and culture.
He poured his heart out to smash class differences and ill practices in society, and also promoted equality through characters and scenes in movies like Shankarabharanam, Sutradharulu, Swathi Muthyam, Shubhalekha, and Swayamkrishi.
As a result, he was equally adored by both class and mass audiences.
Vishwanath was a proponent of equality and used to wear a “khaki” uniform during the shootings, thereby signifying that he was no more than the spot boys, art assistants, and other unit members who wore a uniform during the shoots, according to the old studio system.
Though the practice of wearing a khaki uniform by studio workers ceased with the changing times, Viswanath followed it till his last film as a director.
Jayaprada and Kamal Haasan in a still from ‘Sagara Sangamam’. (Twitter)
“Director K Viswanath was a filmmaking university. He had the guts to make offbeat and experimental movies rich with values and morals at a time when formulaic commercial movies were ruling at the box office,” opined director Sateesh Paramvedha, who worked with the filmmaker in the Prabhas-starrer Mr Perfect.
Though it has been more than three decades since the release of Shankarabharanam and Sagara Sangamam, even today they are watched earnestly by film lovers of all ages, he pointed out.
“Another interesting fact about the legendary director is that he was jovial and accessible to all — from stars and seniors who worked with him to aspiring directors and writers. He even gave tips and suggestions to new directors and writers with utmost warmth when approached,” Sateesh recalled.
K Viswanath, SP Balu, and Sirivennela Sitarama Sastry. (Twitter)
The nonagenarian director was so respected and loved by actors and technicians that everyone longed to work with him.
Even during the peak of their careers, when they were delivering commercial hits, stars like Kamal Haasan and Chiranjeevi gave dates to Viswanath and continued their special bond with him till he breathed his last.
Viswanath’s association with music directors and lyricists is also worth mentioning.
His association with music director KV Mahadevan delivered all-time great songs like “Vidatha thalapuna”, “Aadi bhikshuvu vadinedi adigedi”, “Shankara naadashareerapara”, “Nemaliki nerpina nadakalivi”, to mention a few.
It was Ilaiyaraaja who composed some classical hit numbers for Viswanath in movies like Swathi Muthyam and Sagara Sangamam.
While it was Viswanath who introduced legendary lyric writer Sirivennela Seetha Rama Sastry to the industry, he also associated with Veturi to bring out a few memorable songs.
Anjali 🌺 tradition,warmth,heart,music,dance,love …..your movies filled my childhood with humaneness and wonder! #ripkviswanathji 🌹🌺🌹🌺🍵 pic.twitter.com/HivlTfUFe3
— A.R.Rahman (@arrahman) February 2, 2023
A still from K Viswanath’s ‘Subhalekha’ movie. (Twitter)
In his career spanning over five decades, Viswanath worked with several legendary actors, music directors, writers and technicians.
He even turned actor in the later part of his life and shared screen space with stars like Balakrishna, Nagarjuna, and Prabhas.
He left an indelible impression on the people he worked with.
“Director K Viswanath had a special place in every film lover and filmmaker’s heart. It was because of him that directors like us were inspired to become filmmakers. Not just directors of our generation but even younger generations will be inspired by his commitment and artistic values in filmmaking,” senior director VN Aditya told South First.
“I feel he was and will be the Satyajit Ray of the South Indian. He was also the most underrated director when we compare his illustrious body of work. Nevertheless, K Viswanath will live on in the hearts of film lovers and Telugu people forever,” he added.
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