Shivaramaiah Ramachandra Aithal, popularly known as S Ramachandra, was a key figure behind the parallel movement in Kannada cinema. Known as Ramu to most, he was highly respected and his excellence in cinematography shines through in films such as Pallavi, Kankana, Parasangada Gende Thimma, Chomana Dudi, Gulabi Talkies, Grahana, Mane and Rishya Shrunga, among others.
Ramachandra passed away 15 years ago; had he been alive, 2026 would have been his 55th year of entering the Kannada cinema scene as an independent cinematographer. The recently concluded edition of BIFFes marked the occasion by screening Krourya, directed by Girish Kasaravalli. At an event there, Ramachandra’s associates and filmmakers, recalled his craft and commitment, as well as his ethics of cinema.
Speaking to The Hindu, Girish Kasaravalli described Ramachandra as a cornerstone of the parallel film movement in Kannada and a vital collaborator who worked on eight of his films. Kasaravalli said, “He was a versatile, supportive force behind offbeat cinema,” and added he played a crucial role in mentoring young directors.
Cinematographer GS Bhaskar said, “Ramachandra remained dedicated to the cause of the New Wave Cinema and was instrumental in positioning Karnataka on the world map of meaningful cinema.”
Throughout his career, Ramachandra blended technical precision with artistic depth to shape the visual language of Kannada art cinema in over 75 films.
Working style
Recalling time spent with her father, Varsha Ramachandra says, “Despite being absent for long periods of time because of his profession, he was a loving father to my sister and me. He did not stop me from watching any kind of movies, neither did he differentiate between genres. He was more a friend than a father.”
Varsha Ramachandra
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Special Arrangement
“Due to reasons of his own, he didn’t want me to become a filmmaker, but I assisted him in three feature films and learnt like a student. On the sets he never treated me as his daughter; he was a professional and brutal task master.”
Though known for his work in parallel cinema, Ramu also worked on commercial films as well. His work stands apart due to his use of wide frames and long shotsthat allowed the environment to dominate the frame without embellishment. This is notable in the landscapes of his film Parasangada Gendethimma.
In films such as Sankalpa, Chomana Dudi, and Ghatashraddha, Ramachandra consistently refused to dramatise suffering or beautify injustice. His lighting often relied on available sources or recreations to preserve the unevenness of real light.
This ethical restraint is most evident in his camera movement, or rather, his refusal of it. Ramachandra’s camera is predominantly static. In Chomana Dudi, the camera maintains a physical and moral distance from suffering, refusing close-ups that might aestheticise pain.
Silence too, plays a significant role in shaping Ramachandra’s visual language. In Mane, the stillness of domestic interiors and the refusal to cut quickly generate a suffocating emotional pressure. In Vimukthi, wide static frames and repeated compositions convey spiritual exhaustion rather than transcendence.
A light touch
According to B S Basavaraj, veteran cinematographer, “The most radical aspect of Ramachandra’s cinematography is his handling of faces. He avoids close-ups in much of his films, favouring medium and long shots that preserve the dignity and privacy of his subjects. Faces are lit plainly, without cosmetic softening, allowing age, texture, and fatigue to remain visible.”
Ajay KR, a film enthusiast, says, “For a film student, S Ramachandra is ultimately an education in restraint. His work teaches that cinematography is not merely about how an image looks, but about what it does ethically. Through his films, one learns to question when to move the camera, when to cut, when to approach a face, and when to step back.”
Ajay continues, ”He demonstrates that visual power lies not in excess but in refusal — to manipulate, to beautify, to explain too much. Ramachandra teaches responsibility. His cinema insists that before the camera becomes an aesthetic instrument, it must first be a moral one. This is why his work remains profoundly relevant to contemporary filmmakers navigating a world saturated with visual spectacle: it reminds them that the most powerful image is often the one that knows when to remain still”.
S Ramachandra
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Special Arrangement
N Vidyashankar, former artistic director, BIFFes, and cultural critic believes, “Ramachandra did not profess alternate cinema openly, but supported a large number of filmmakers looking for alternate ways of making cinema both in content and construction.”
Regular start
Ramachandra began his career after graduating from the Film and Television Institute of India (FTII) in Pune. He gained early experience as assistant cinematographer to Girish Karnad and BV Karanth in VamshaVriksha (1971), a landmark film in Kannada parallel cinema.
TS Nagabharana, a close associate of Ramachandra, refers to him as his guru. Ramachandra had helped Nagabharana complete his debut film Grahana. “When everyone in the project deserted me, Ramu stood by my side to complete and release the film,” says Nagabharana.
Ramachandra worked on nine of the 30-odd films made by Nagabharana in his film career. “He was innovative and worked on his creative instincts, weaving a visual sense to it right from the start. Though I was a lighting expert in theatre, he taught me the difference between lighting for a play and cinema.”
Published – February 18, 2026 06:56 pm IST
