Success has a peculiar way of testing patience, and for Devendra Medara Metla, it has been a 25-year wait. Long before stepping up as the primary producer, actor and co-writer alongside director Manoj Kumar for one of the year’s most relatable Kannada family dramas, Premada Oorali, he had humble beginnings. “I started as a paperboy waking up at 3 am,” Devendra recalls. “The newspaper distribution business gave me an early window: by 10 am, collections were wrapped, which meant I could catch the 10:30 am show. That routine didn’t just teach me cinema; it taught me life, people, and four languages.”
Devendra’s celluloid dreams, however, originally began with directing. “Before anything else, I actually set out to become a director,” he admits. That pursuit dates back to the early 2000s, when he joined the set of the Upendra-starrer Raktha Kanneeru as a clap assistant. Domestic responsibilities and marriage, however, forced a detour, leading him to build a newspaper agency and later an eco-friendly cycle-based outdoor branding firm in Bengaluru. Yet, the urge to tell stories never flickered out.
While running his ventures, Devendra met director Manoj Kumar. “When we met, our thought processes aligned almost immediately,” Devendra explains, adding, “Over time, we became sounding boards for each other. Manoj bounces ideas off me, and I do the same. I might toss a hundred thoughts his way, and he will reject ninety and pick ten, or vice versa, without any creative friction.”
That synergy first bore fruit with Akshi. Devendra co-directed, co-wrote, and funded the project, diving deep into research to capture the world of the visually impaired— including conceptualising the emotional high point that legendary singer S P Balasubrahmanyam brought to life. While the film bagged the prestigious National Film Award, the triumph arrived with a lingering void.
“An award brings respect, but as creators, we felt incomplete because audiences couldn’t watch it in theatres,” says Devendra. “We spent the entire pandemic brooding over that realisation. We knew our next venture couldn’t just be a critical darling; it had to connect with everyday people on the big screen.”
That intent paved the path for Premada Oorali. The initial thread came from real-life incidents of abruptly cancelled weddings, further reinforced by an observation within Devendra’s own circle where a woman faced unfair societal judgment before the truth surfaced. Back at the writing desk, while Devendra championed the emotional fallout of a girl’s character assassination, Manoj built on the theme and introduced the unrequited track of Vasantha along with the crucial symbolism around the braid (jade) to give the plot commercial yet emotional drive.
“Audiences see their own households reflected in Santhu, Vasantha, and Rukmini,” says Devendra. “It’s that pure relatability that took this film across boundaries.”
What began with a modest budget of around 90 lakh escalated as Devendra refused to compromise on the film’s canvas. The team had actor Rangayana Raghu on board, who supported the project wholeheartedly. Devendra went so far as to arrange live orchestral string sessions in Budapest, on composer Sunaad Gowtham’s suggestion, pushing the budget to over 3 crore.
Having worn multiple hats across scripting, funding, and production, Devendra resists being boxed into standard industry brackets. “I don’t fancy tags like producer or director. I simply love being called a filmmaker,” he shares. “Cinema isn’t about compartmentalisation; it’s about being entirely consumed by the craft alongside a team that works and lives for it.”
With Premada Oorali running to packed single screens and multiplexes across Karnataka, expanding to neighbouring states, and crossing the 50-crore gross mark in 18 days, there was a buzz about the digital premiere, as well. But Devendra remains firm on protecting its theatrical footprint. “We mounted this for the big screen. Our tagline read, ‘Welcome to the land of love,’ and we showcased the lush Hassan landscapes, beautifully shot by DOP Rajkanth SK, a rich score, and a communal spirit. The actors put their heart into the film, while Harshith Prabhu gave his best at the edit desk,” he asserts, concluding, “When families arrive at single screens on tractors to celebrate our film, why rush to OTT? Cinema belongs in theatres first, and we will honour that till the very last viewer walks in.”
