Gowri Shankar doesn’t view politics through the pristine, theoretical lens of an outsider. Long before donning the black coat of an advocate-turned-chief minister in Om Sai Prakash’s Common Man, his understanding of the electoral machinery was forged in godowns, wholesale markets, and campaign war rooms.
“Over the last thirteen years, I’ve been a wholesale supplier of campaign merchandise across Karnataka’s major political parties,” Gowri Shankar reveals. “Whether it’s flags, shawls, or campaign kits, we cater to most of the MLAs and their cadres, and this has helped to learn the grassroots realities, the caste equations, local issues, and agricultural distress. When a political subject came my way, it didn't feel abstract; it felt lived-in.”
That familiarity drew him to Common Man, which is backed by Surabhi Films, and grew out of producer Dr N Narasimha Murthy’s offhand quip about gifting the Vidhana Soudha to a friend. It was later developed into a full-fledged screenplay by director Om Sai Prakash.
“The story struck a chord because it doesn’t show an advocate dreaming of power,” Gowri Shankar says. “He is just a principled citizen reacting to injustice. The film treats the state like a rented house. If a tenant ruins the property, the owner asks them to vacate. Public resources belong to the citizens; leaders are merely caretakers. When governance fails, the common man is within his rights to say, ‘Vacate the chair, or return my share of this system.’ It is circumstance that thrusts responsibility on him, not greed.”
Collaborating with a seasoned director for his 106th venture was a conscious choice. “People ask why I chose Sai Prakash sir, given his hiatus,” he notes. “Look at real-life politics: prime ministers and chief ministers often assume high office in their 60s or 70s because governance requires patience and maturity. Filmmaking demands that same temperament. Audiences celebrate modern films set in the 1970s, or something set in the future. Why dismiss a director who brings years of experience? A senior director like Sai Prakash brings restraint, which younger setups often lose while burning through huge budgets.”
Approaching the dual-phase character with clear calibration, Gowri Shankar explains, “An advocate needs fiery indignation, while a Chief Minister demands gravity. You need authority without arrogance, and humility without appearing weak. I worked hard to balance that transition.”
With Common Man arriving in theatres this week, he remains realistic about its niche appeal. “This isn’t a bloated spectacle, nor does it pretend to be. It is an honest entertainer rooted in clean humour and relatable issues. If you respect the audience’s time, the story will find its people.”
