Thread by @IamHCB

Sure, the hit-and-run case holds significant importance in the film #SaptaSagaradaacheEllo but, today I want to talk about another hit-and-run based film that possesses equally captivating elements of cinematic craftsmanship🧵

On this day, September 30th, we remember #ShankarNag, a visionary of Indian Cinema whose departure left a profound void, impacting both the KFI and society at large. In honor of his legacy, let's delve into one of his masterpieces, the film "Accident."

Accident (1984) crime-drama film directed by Shankar Nag.

Watch #Accident Here:
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A groundbreaking film in Indian Cinema, delves into the harrowing aftermath of a 'Hit-and-Run' incident that claimed over a dozen lives sunnxt.com/movie/detail/9…

The tragedy unfolds as an influential politician's reckless son, Deepak, intoxicated by drugs and alcohol, takes the wheel. He runs his car over pavement dwellers one night while under the influence of drugs. All are killed, except Ramanna, who identifies the driver.

Accident is a powerful landmark film that raises important social issues such as corruption, class inequality, and injustice. Also being the first Kannada film to shed light on the corrupt connections between the Police, Politicians, and Media.

Through Ramanna, we discover that he & 12 fellow villagers migrated from Siddnahalli in Bijapur district in search of employment, as their fields had turned barren due to the persistent drought, offering a rare glimpse into the challenges faced in the arid north Karnataka region.

One notable virtue of this exceptional work lies in its ability to engage viewers without resorting to a slow-paced approach. It masterfully combines commercial appeal with profound storytelling, striking a thoughtful balance.

Vasant Mukashi, wrote a screenplay for this film and the story striked to him after reading an article about a Hit and Run accident that happened in 1980 in Bombay.

After the release of this film, we saw many high-profile hit-and-run cases, including the
1999,Sanjeev Nanda,Delhi
2002,Salman Khan, Bandra
2006,Alistair Pereira,Mumbai
2011, Ankesh Sahara, Marine Drive
And Many More

This film's relevance still persists today, as it was clearly ahead of its time.

Ilayaraja was the music director of this film but, there was no songs, just background score. But, it featured Western pop songs.

Songs like;

Michael Jackson's Beat It


Paul McCartney's Keep Under Cover


Intro score inspired by Bee Gees's Stayin' Alive

The Climax was filmed twice; the team received a call from the Censor Board after the film had passed censor, prompting them to alter the climax. But, do you know why?

Nanna Thamma Shankara, A biography written by Anant Nag.

In this book, Anant Nag writes about why the climax was shot twice. The book excerpts are translated by Deepa Ganesh, which are as follows.

Vasant Mokashi had written the screenplay for the film, Shankar made the film in two months flat. The political atmosphere of the country was in turmoil. The sanctity of the Golden Temple in Punjab had been desecrated; the air was charged with helplessness, anger and confusion.

The climax of the film was being shot and I was playing the politician, who was to be shot in the courtyard of his house. Shankar was dead sure that it had to be that way.

“This one time, it must be my way.”

“Murder begets nothing. Hasn't Gandhiji spoken about means and ends?

“This is not the age of that Gandhi, but this Gandhi.”

“It won't be nice. We will endorse violence. And that too in our own film!”

“I am the director. It has to be my way.”

“I am the producer.”

“I am co-producer.”

“I am also an actor in the film.”

“Me too. In fact, I am the director, producer and actor. You are only actor-producer. I should have the last word.”

“Alright.”

We laughed and settled matters. The politician me was killed by the journalist Shankar. The Censors cleared it.

The very next day #IndiraGandhi was assassinated! What a coincidence! Censor Board called us and requested us to change the climax.

“We can change the way our film ends. But we can neither change nor avoid what happens in real life,” Shankar had argued. He agreed to the suggestions of the Censor Board after a great deal of persuasion. We both came home and watched the funeral of Indira Gandhi.

When they lit her pyre, I stood up.

“No, don't, don't stand up,” Shankar yelled at me. I sat down. Shankar, who always seemed free of political baggage, had taken a political decision. That the film was called “Accident” seemed like a cruel joke.