In a heartfelt revelation, veteran actor Prakash Raj shared an emotional moment last month when he was overwhelmed with tears after viewing the Kannada film ‘Photo’, directed by first-time filmmaker Utsav Gonwar. Demonstrating his support for impactful cinema, Prakash Raj has taken under his wing the film’s theatrical release, set to captivate audiences on March 15th.
‘Photo’ presents a poignant tale of the struggles faced by society’s vulnerable sections during the coronavirus pandemic. Its narrative encapsulates the migration crisis that afflicted myriad lives during the global health emergency, as chronicled in a telling visual journey that was lauded with a standing ovation at the Habitat International Film Festival in New Delhi before its premiere at the Bengaluru International Film Festival (BIFFes) in the early stages of 2023.
The heart of ‘Photo’ beats with the story of a young boy from Raichur who embarks on a trip to Bengaluru with the simple aspiration of having a photo snapped in front of the Vidhana Soudha with his father, who works there as a laborer. Yet, in an ironic twist of fate, the outbreak of the pandemic thwarts this young dreamer’s intentions as he becomes entwined in the migrant laborers’ exodus narrative—an event that, as Prakash Raj notes, brings to the surface deep societal scars that cause immense disturbance.
In a candid conversation, the actor articulated his emotional connection to the film: “I am an emotional person.” Recalling the powerful reaction films like Steven Spielberg’s ‘The Colour Purple’ had on him in the past, he explains that ‘Photo’ moved him on a different level, echoing Charlie Chaplin’s sentiment—life is comical in retrospect but a tragedy up close. Recollection of his own despair during the pandemic, when he witnessed countless people making long treks on foot, underscored the helplessness that he and many others felt.
Prakash Raj alludes to the irony in how those who govern offered no real assistance to the impoverished, creating intense contrast within the film’s thematic structure. He conveys his own frustrations with political inadequacies, particularly highlighting the absence of legislators’ aid when it was most critical.
His activism and the questioning spirit he embodies, stemming from past influences like Tejaswi and Lankesh and a myriad literary and theatrical experiences, form a bedrock in his worldview—a stance often mislabeled by critics. Dismissing the negativity, he asserts his dedication to standing for his beliefs, knowing that popular opinion can vary and accepting that as par for the course.
With respect to ‘Photo’, the seasoned actor shares the notion that artistes are frequently the targets of criticism and threats, which he considers a cowardly act by the aggregators of such hostility. Prakash Raj remains undeterred, with his success in the acting sphere serving as his vindication, and his sustained public presence as a testament to his convictions.
Beyond the political and social discourse, Prakash Raj delves into the artistry of language and the significance of understanding the cultural fabric of the audience to whom one performs. This, he says, is what allows an actor to be embraced as one of their own.
He also reflects on being typecast, known as the perennial antagonist, yet recognizing his diverse body of work which ranges from intense villainous roles to heartwarming narratives. He believes that each role balances his image and provides filmmakers and audiences alike with a spectrum of his acting capabilities.
The actor’s unwavering support for ‘Photo’ not only underlines his commitment to powerful, socially relevant storytelling but also reinforces his reputation as a figure unafraid to champion human rights and challenge the status quo. Prakash Raj’s narrative is not simply a synopsis of a film; it’s a testament to the enduring spirit of cinema as a vehicle for social change in both Indian and world cinema.
