History hasn't given women their due, says Meghana Gaonkar on playing Chennamba
History often remembers the men who changed the world, but rarely the women who stood beside them and made those achievements possible. So, when Meghana Gaonkar was offered the role of Chennamba , wife of Nadaprabhu Kempegowda and one of the key figures in the founding of Bengaluru, in Kempambudhi , she accepted it without hesitation. “Historically, there isn’t much documentation about Chennamba, but she was an equal match to her husband,” says Meghana. From portraying the little-known historical figure to balancing commercial cinema and discovering her inner strength through spirituality, the actor speaks to Bangalore Times. Excerpts:
'As a woman, I was drawn to Chennamba’s strength and perseverance'
Director Ramesh Begar adapted Kempambudhi from Janagere Venkataramaiah’s novel. I read it with complete dedication because I did not want to miss even the smallest detail about Chennamba’s personality. In fact, I share a personal connection with the story. The Kempegowda Hebbagilu in Yelahanka has always fascinated me, and when this film came my way, it felt like a full-circle moment.
There is a scene in the film where Chennamba, on the day of her marriage, tells Kempegowda, “Whatever great vision my husband has, I will support wholeheartedly.” I admired the grit and conviction she displays from the very beginning of their relationship, and that remains my favourite moment in the film. Reuniting with Prem after Charminar, with him playing Kempegowda, made the project even more special.
'Stories told from a female perspective are essential'
Cinema continues to be largely a man’s world, which makes it all the more important to explore and understand female perspectives. Shakthi, or feminine energy, is as old as the universe itself. History is full of powerful women, yet they are often remembered only when convenient. How often do we speak about Onake Obavva, Kittur Rani Chennamma or Rani Lakshmibai today? Are they remembered as much as their male counterparts? Women have far more to offer cinema than merely providing glamour on screen. Change can happen only when we begin questioning the system. Balance is essential in life, and cinema too needs a more equitable representation.
'I don’t agree that the industry lacks good writers'
When I entered the industry, college capers, action films and tapanguchi songs dominated the landscape. There was very little variety in storytelling. But things have changed significantly over the years. Today, we are seeing a wide range of stories, especially from small- and medium-budget films. Even a film like Kempambudhi requires immense imagination and conviction to be made. Writers are experimenting, and they are doing a commendable job. Audiences today have multiple entertainment options through social media and OTT platforms, so declining theatre footfalls cannot be blamed entirely on the industry. That said, I would love to see more women leading projects and telling stories rooted in their lived experiences.
'In the early years, I tried hard to fit in'
I remember a leading lyricist once telling me, “Meghana, yours is an unusual kind of beauty.” That was the moment I realised that, instead of trying to fit into a mould, I should embrace my individuality and use it to my advantage. Initially, I believed that playing conventional heroine roles was the only way to build a career. Over time, that mindset changed. Choomantar, which became a huge success, had me playing a negative character — a ghost. Then there was Ranjani Raghavan’s film, in which I played a police officer, a character I thoroughly enjoyed because of the way Ranjani had envisioned it. I continue to do commercial films, but I ensure that the roles are substantial and not easily forgotten by the audience. Today, I am in a state of flow, choosing characters that truly challenge and excite the artiste in me.
'As a woman, I was drawn to Chennamba’s strength and perseverance'
Director Ramesh Begar adapted Kempambudhi from Janagere Venkataramaiah’s novel. I read it with complete dedication because I did not want to miss even the smallest detail about Chennamba’s personality. In fact, I share a personal connection with the story. The Kempegowda Hebbagilu in Yelahanka has always fascinated me, and when this film came my way, it felt like a full-circle moment.
There is a scene in the film where Chennamba, on the day of her marriage, tells Kempegowda, “Whatever great vision my husband has, I will support wholeheartedly.” I admired the grit and conviction she displays from the very beginning of their relationship, and that remains my favourite moment in the film. Reuniting with Prem after Charminar, with him playing Kempegowda, made the project even more special.
'Stories told from a female perspective are essential'
Cinema continues to be largely a man’s world, which makes it all the more important to explore and understand female perspectives. Shakthi, or feminine energy, is as old as the universe itself. History is full of powerful women, yet they are often remembered only when convenient. How often do we speak about Onake Obavva, Kittur Rani Chennamma or Rani Lakshmibai today? Are they remembered as much as their male counterparts? Women have far more to offer cinema than merely providing glamour on screen. Change can happen only when we begin questioning the system. Balance is essential in life, and cinema too needs a more equitable representation.
'I don’t agree that the industry lacks good writers'
When I entered the industry, college capers, action films and tapanguchi songs dominated the landscape. There was very little variety in storytelling. But things have changed significantly over the years. Today, we are seeing a wide range of stories, especially from small- and medium-budget films. Even a film like Kempambudhi requires immense imagination and conviction to be made. Writers are experimenting, and they are doing a commendable job. Audiences today have multiple entertainment options through social media and OTT platforms, so declining theatre footfalls cannot be blamed entirely on the industry. That said, I would love to see more women leading projects and telling stories rooted in their lived experiences.
'In the early years, I tried hard to fit in'
I remember a leading lyricist once telling me, “Meghana, yours is an unusual kind of beauty.” That was the moment I realised that, instead of trying to fit into a mould, I should embrace my individuality and use it to my advantage. Initially, I believed that playing conventional heroine roles was the only way to build a career. Over time, that mindset changed. Choomantar, which became a huge success, had me playing a negative character — a ghost. Then there was Ranjani Raghavan’s film, in which I played a police officer, a character I thoroughly enjoyed because of the way Ranjani had envisioned it. I continue to do commercial films, but I ensure that the roles are substantial and not easily forgotten by the audience. Today, I am in a state of flow, choosing characters that truly challenge and excite the artiste in me.
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