Shiva Rajkumar on ‘Bail’, His Definition of a Successful Film and Working With Young Directors (EXCLUSIVE)

Kannada star Shiva Rajkumar believes in balancing commercial cinema with experimental storytelling and has several diverse projects in the pipeline. In an exclusive interview with Variety India, he talks about his latest release “Bail,” his definition of a successful film and fond memories of the late filmmaker Singeetham Srinivasa Rao.

You are known for your high-energy action roles. What was it like to play Vijay Kumar in ‘Bail’ with restraint?

I have wanted to play a high-octane character in a subtle way for a long time. It is similar to the kind of roles Mohanlal sir and Mammootty sir have played in their films. My character in ‘Bail’ has a strong intent. He is a retired police officer who becomes an outlaw. The perception is that he can influence the system, but what happens when the system fails him? And if it can happen to him, what about the common man? It was a challenging role, and given the character’s seniority, I decided to play him subtly. I enjoyed playing this character.

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With films such as ‘Bail,’ ‘Dad’ and ‘666 Operation Dream Theatre’ on your slate, how do you balance commercial cinema with experimental storytelling?

It all depends on the attitude of the character I play. You don’t have to fight and kill people to become a commercial hero. It is about portraying a character in a way that makes him socially acceptable. You have to play your part with conviction for the film to succeed commercially. A gangster cannot become a hero simply by being a gangster; there has to be a strong motive behind his actions.

You believe money shouldn’t be the sole criteria for measuring a film’s worth. How do you define success in today’s pan-India market?

Everybody looks at it that way. For example, if a film is made at Rs 2.5 crore and collects over Rs 200 crore, that is a success. But if a film is made on a budget of Rs 500 crore and collects Rs 600 crore, I wouldn’t call that a success.

Also, when you talk about how many crores a film has collected, how do you figure that out when it’s still running in the theatres? It is not just about the money we spend; it is also about attracting audiences to the theatres. A small-budget Kannada film like “Premada Oorali” has had a magical run and drawn audiences to theatres.

Your pan-India film ‘Original Monster’ is on the cards. What can you share about your role in it?

The story is about an individual who believes money is everything. But at a certain point in his life, he realizes that other things matter too, not just money.

You have worked with several young directors, including Rohit Padaki and Pavan Wadeyar. How does their approach to filmmaking differ from that of directors from the 1990s?

Technically, this generation is brilliant. They have strong clarity and their films are visually appealing. They also delve into the finer details of a character. Directors from the older generation, on the other hand, had their scripts completely in place and knew their films inside out.

You have said that the late filmmaker Singeetham Srinivasa Rao laid the foundation for your four-decade-long career. What is the most valuable advice you remember receiving from him while working on Anand?

Both he and my father, the late Dr Rajkumar, told me the same thing: “Whatever happens, accept it with a smile… whether it is a hit or a flop. Because that is your only option. If a film flops, accept it with a smile and try to correct your mistakes. If you do that, you will have a broader smile next time.” I think my mother named my debut film “Anand,” which means happiness. I have carried that happiness throughout my 40-year career.

Even at 94, Singeetham Srinivasa Rao was working on the experimental musical ‘Sing Geetham.’ What was he like in his later years?

He was active throughout his life. I genuinely believed he would live to be 100. His loss was painful, but to me, he is still alive through his work. Take his last film, “Sing Geetham,” a title inspired by his name. It means “to sing a song,” and the entire film is narrated through songs. It is a really clever idea. You have to admire the ability to come up with ideas like that. Singeetham sir’s drive and enthusiasm were admirable.