Nearly two decades since Mathad Mathad Mallige (2007), music director Mano Murthy returns to a folk-inspired soundscape with Kuladalli Keelyavudo. This film reunites him with longtime collaborator Yogaraj Bhat, now joined by a fresh and vibrant creative team.
“When I got the call from Yogaraj Bhat in 2024, he told me he was producing a film under his banner and had written the story. Ramnarayan was directing, and a new producer was backing it. They were building the right technical team. I said yes almost instantly.”
For Murthy, it wasn’t just about collaborating with Bhatru again but about the promise of meaningful cinema. “With Bhatru’s storytelling and mentorship, I knew this would be a solid project. He’s such an experienced writer. And with Ramnarayan handling the screenplay and direction, it felt right.”
What struck him first was the title—Kuladalli Keelyavudo. “It’s a question, and the power of that title lies in the curiosity it sparks. How much of that question the film answers is what drives the intrigue.”
He calls the project “refreshing” because it brought him back to a musical territory he hadn’t explored since 2007. “The film is deeply rooted in folk. The last time I worked in this space was with Nagathihalli Chandrashekar. Once again, the film was shot in villages and forests, and the music had to reflect that authenticity. While most of the score is folk-based, I’ve subtly fused in some Western beats to balance mood and appeal. That fusion felt organic.”
The soundtrack features five songs—two written by Yogaraj Bhat, one by Jayant Kaikini, and another by the director himself.
“It’s a lyrical variety, and we’ve used a wide range of singers, so each song brings its own texture,” says Murthy, adding, “I truly enjoyed the sessions. There’s a certain energy when you’re composing with that kind of raw, rooted talent.”
But beyond music, Murthy’s heart remains with the industry—and the role the audience plays in sustaining it. “I keep saying this, and I’ll say it again—I might sound like a broken record, but the audience must support good cinema. The Kannada industry, like many others, is striving to bring strong, content-driven films. But survival depends on viewers showing up at theatres.”
He adds, “This isn’t just about Kannada—it’s a problem across all languages. But we, as creators, are doing our best. Good films deserve good exposure, and producers deserve that support.”