The highly anticipated film Kaatera, starring Challenging Star Darshan and directed by Tharun Kishroe Sudhir, has received a U/A certification and is set to be released on December 29. A special song from the film, entrenched in a village setting and focusing on realistic themes, will be launched on Farmer’s Day at a grand pre-release event.
In conversation with CE, composer V Harikrishna and cinematographer, Sudhakar S Raj discuss their experience working on Kaatera.
The soil and stories of the land are the soul of music: V Harikrishna Composer Harikrishna, who has collaborated with Darshan for over 20 films, considers Kaatera unique because of its depiction of rural life. Explaining the influence of rural elements in his music, Harikrishna shares, “The soil and stories of the land are the soul of music.
This time, the tunes echo the culture of Mysuru, Nanjanagud, with a rustic essence in lyrics and dialect.” He stresses the seamless blend of songs with the film’s narrative, avoiding the traditional approach of special hero-centric tracks. “The music complements the screenplay and mirrors Darshan’s character,” he adds, highlighting the emotional and commercial depth in the film’s music. “The contrast between perceived violence and inner innocence, which is reflected in the music’s tone, is shaped by the screenplay and blends with the music.”
Regarding the creative process, Harikrishna remarks, “It’s not about being new or different, but about harmonising with the village essence narrated in the story.” Discussing the farmer song, Harikrishna highlights its powerful lyrics by PUnith Arya and mentions two lines designed to resonate empathetically with the farming community, avoiding a requesting tone but rather embracing a commanding tone that offers weight and resonance.
Adopted a vintage cinematic approach, altering the lighting to capture the essence: Sudhakar S Raj
Cinematographer Sudhakar S Raj, in his third consecutive collaboration with Darshan and director Tharun Sudhir, faced the challenge of recreating a village atmosphere spanning the 1970s to 1980s. “We scouted various villages to match the era, but each village had its own look,” Sudhakar shares.
“So, we constructed two villages from scratch. The key was to ensure the set didn’t feel artificial, and we had a constant back-and-forth with the art director,” he adds. Memories of the ‘70s guided the inclusion of era-specific elements, resulting in two villages comprising at least 250 houses each. Sudhakar adopted a vintage cinematic approach, altering the lighting to capture the essence.
“The villain’s house was the primary lighted source, mimicking the minimal street lighting of that time. Lanterns, fireworks, and natural light were key,” he explains, adding, “The natural sunlight streaming into houses was a critical element creatively embraced.”
Shooting mostly during rainfall posed challenges, but the team persevered. “We had a team of three assistant DOPs, four cameras, and 15 to 25 light assistants to maintain the ambience,” Sudhakar shares, emphasising the effort put into maintaining the film’s atmosphere.