Almost four decades ago, K S Ashwath famously said this in Naagarahaavu: “One who sacrifices his life for others is truly a great human being.” That one-liner in the epoch-making 1973 film very much summed up the
actor’s persona as well. Even today, after his death, these words of his as Chamayya Meshtru — the idealistic schoolteacher who brings about the tragic end of his favourite student Ramachari (Vishnuvardhan) through his unbending ways — remains one of the most poignant dialogues of Kannada cinema.
If Naagarahaavu catapulted Vishnuvardhan into dizzying stardom in his maiden film, Ashwath’s emotive appeal in the film buttressed its matrix as powerfully. It was not that Naagarahaavu established his credentials as an actor. Based on a novel of popular Kannada novelist Ta Ra Su, the film juxtaposed the character of the young and hot-blooded Ramachari against the highly disciplined and conservative Chamayya Meshtru — both brought alive by the two artistes in deeply emotional layers. With this film, Ashwath created history vis-a-vis the supporting cast, and became a trendsetter himself.
Those were the days when Rajkumar ruled Kannada cinema, and Vishnuvardhan began ruling with a hysterical mass following hitherto reserved only for the other mega star. And it was only Ashwath who was able to share equal stage presence with the two reigning stars, such that he was as much an attraction of the film as the protagonists. Never one to indulge even in small talk on the sets, Ashwath could be seen rehearsing his lines and focusing completely on his role. “He evoked so much of devotion in not only the audience, but even I was deeply touched by his portrayal of a guru in Kittur Chennamma,” says actress B Saroja Devi of the actor’s involvement and conviction in his role. Saroja Devi acted in some 25 films with him, “each of it a lesson in discipline and professional work culture”.
Right from the days of black and white films, as in Belli Moda, for
instance, Ashwath, in his varied roles, was always the paternal figure who exemplified dignity, integrity, and idealism — aspects that were so true of his very persona. His home in Mysore was simple and unpretentious, much like the man himself. Even the few negative roles he donned were invariably grounded in substantive, positive characterisation in the final analysis, lending him a larger-than-life screen presence. “My friendship with Ashwath,” notes veteran film journalist P G Srinivasamurthy, “goes back to more than 50 years, and I have yet to see anyone as disciplined, punctual and honest to the core as him.”
Multi-lingual actress Jayanthi, who has had a professional association of over three decades with Ashwath, talks glowingly of him, as “one of the simplest persons I have come across”. A man of few words, he was still so full of affection to all, and a professional to the core.
The spartan life of Ashwath was a rarity. He remained rooted in middle-class life, saying that he did not want to be enslaved by luxuries when he could ill-afford them in his evening years. It was a joyous occasion for Ashwath when his ‘pet student’ Vishnuvardhan, on his last visit to Mysore while undergoing treatment,
interacted with him. Chamayya Meshtru was inconsolable when his ward met an untimely death.
The term ‘character artiste’ got an entirely new dimension and
importance in Kannada cinema with the advent of Ashwath. He gave it a stature and meaning equal to that of the hero. But he was disillusioned by the politics in the film world.
His self-imposed ‘retirement’ of a few years in the mid-1990s, due to some unkind personal remarks about him by an actor, once again made history. The industry sorely missed him; it also showed his sensitive side, which was in fact the fulcrum of his acting ability.
One had met him on the sets of a few movies, and branded him as
reserved. When the Chalana Chitra Kalavidara Sangha honoured him and his wife over a decade ago, it was an emotional Ashwath who made known his happiness in generous words, recalls Saroja Devi. And it is this lingering memory of a humane person, who nurtured his idealism both in real and reel life that Ashwath has left behind.
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