B.V. Karanth affects Kannada culture and film. Known as the “renaissance man” of south Indian theater, Karanth was a psyche relatively radical, and the people who had the joy of investing any energy with him will respect him profoundly for his instrumental endeavors in changing the locale’s social ethos.
He was without any assistance answerable for making the Kannada language famous and leaving its actual character alone known to the public crowd, he effectively dealt with the conjunction of Indian music and theater, and he introduced a gigantic rush of variety and talk into the Kannada entertainment world. Also, one of his backbone teammates in this unique excursion, the late Girish Karnad, had frequently revealed insight into the shortsighted glory of Karanth and how the man, helped by his delicate nature and congeniality, had such huge effects on both public theater and Kannada film to suffering impacts.
In numerous limits, B.V. Karanth was a pioneer. He was important for the NSD’s first-gen swarm and a conspicuous voice of the theater local area which advocated the reason and urged numerous different competitors to take action accordingly in the coming days. The theater scene, particularly during the last part of the ’60s, was going through a grim stage which implied that Karanth did the majority of the truly difficult work by creating plays all around the nation and empowering provincial plays to discover greater stages. Truth be told, Girish Karnad has expressed on various events that Karanth, regardless of being a local of Karnataka, realized Hindi like the rear of his palm and surprisingly interpreted various Kannada plays into Hindi with extraordinary accuracy.
By the turn of the decade, Kannada film too had experienced what one would call the “parallel development”. With any semblance of Girish Karnad and Pattabhirama Reddy blasting onto the scene with ‘Samskara’, there was a critical requirement for more legitimate voices, and B.V. Karanth, having acquired sufficient validity to his name as of now, was the ideal fit. Around this time, S.L. Bhyrappa’s ‘Vamsha Vruksha’ had seismically affected the Kannada writing world and the book was being looked for by various acclaimed names, including Puttanna Kanagal, to be made into a film. In any case, S.L. Bhyrappa was a hard man to please and had declined various offers yet when G.V. Iyer moved toward him for the equivalent, the writer set forth a condition that he would leave the book alone optioned if B.V. Karanth came ready. Karanth would then unite with Girish Karnad as the co-chief and set out on an extremely productive excursion.
As a director team, Girish Karnad and B.V. Karanth highlighted an extraordinariness in the business. In addition to the fact that they combined their separate acumen to deliver the absolute best works of the ’70s yet, they likewise addressed the Kannada district with extraordinary masterfulness and pride, at last aiding the business to acquire a foothold at a worldwide level. The pair would direct another film post ‘Vamsha Vriksha’ which came as ‘Tabbaliyu Neenade Magane’, their second transformation of an S.L. Bhyrappa novel.