Kotha Bangaru Lokam Copied Scenes




50% of the film success depends on the hero and heroine and the rest on the story and dialogue. But often the writers are obscured as they remain behind the screen. However important they may be for the success of the film, they do not usually enjoy the star status. But this belief has been proved to be wrong by the two brothers who have shot up to stardom with their writing talent. Paruchuri Brothers, P. Gopala Krishna These two brothers Paruchuri Venkateswara Rao and Paruchuri Gopalakrishna who are popularly known as Paruchuri brothers, are today enjoying an equal status as that of any top hero. They were first introduced to the cine field some twenty years ago by the one time legendary hero late N.T. Ramarao. Since then they never had to look back again. They have about 280 films to their credit. Hamarashehar.com feels it as a privilege to introduce them to our readers through a special interview. Originality is a big asset for any writer. One should not imitate Paruchuri brothers or an Athreya or a Maharathi

.What inspired you to become writers?
Even today it is a mystery to us. There had been not a single literate in our family for seven generations. So there is no question of writers at all. Cultivation is our family occupation. We were the first to be educated in the family.


Which of you has initiated this?
As for writing is concerned I should say I have started. (Gopalakrishna). At my thirteenth year I wrote "Parajitha". But it was my brother who encouraged me.

What kind of encouragement you received?
Actually, I failed in eighth class twice; vexed with this my parents decided to stop my education. I was to become a shepherd when my brother intervened and persuaded my parents to send me to school. Of course, after that I never failed and always passed with distinction. I wrote two more stories "Malupu" in 1971 and "Budhajana Vidheyudu" in 1975, which was published in "Swathi" (A monthly magazine). I did B.Sc. and M.A. in Telugu. Between 1970 and 1972 I wrote many detective novels under the name Gopal. M.A.

What was your occupation before this?
My brother Venkateswararao was working in A.G. Office, Hyderabad and I worked as a lecturer in L.B. Sastry Oriental College at Chinanendrakolanu.

How did you take fancy for the Telugu cine field?
To be frank, our interest was only on earning name and money. But only after some time we realized our responsibility.

What kind of responsibility you mean?
Our film "Mouna Poratam" gave a lot of encouragement and moral support to the oppressed women. And the actress Sarada's role on "Adadi" stood as an inspiration for Dubagunta toddy movement. After noticing the reaction of the public, we took it as a responsibility to write stories with social commitment.

When did you enter the field?
Our trials started in 1975 itself but we actually entered the field in 78 with "Chali Cheemalu". It was my brother who made his debut first. We wrote script for Kaliyuga Mahabharatham in 1979. Later with the encouragement given by late N.T.R. we worked for Chandasasanudu. But our first release with N.T.R combination was "Anuraga Devatha". Later we wrote script for Nadesam and his 300th and the last film before entering into politics "Major Chandrakanth".

Can you quote some of your favorite dialogues?
The dialogues are based on Karl Marx's theory:

"Kanureppa digithe vinayam, Kanureppa lesthe viplavam". (Eyelids when lowered show respect, eyelids when raised show revolution.)

"Akalesthe pedavadu 'amma!' antadu, kopam vasthe niyamma antadu". (A poor man calls out mother! When he is hungry and shouts abuses when angry.)

What is the main idea behind your stories?
Our stories are based on socially relevant themes. Social commitment is our responsibility.

You have some experience as a director also, which one gives you more satisfaction, direction or writing?
Writing definitely gives more satisfaction because it is only the writer who visualizes the film first. Direction or action comes only next to writing.

What are the essential qualities that a filmy writer should have?
Success. There should be a few hits to his credit, because it is purely business. One should establish oneself as a successful storywriter rather than a good storywriter.

Any bad experiences in the field to recall?

Your favorite hero?
N.T.R., of course.

Favorite heroine?

Villain and comedian?
I like S.V. Rangarao & Mohanbabu as villains and Relangi as a good comedian.

Please mention your favorite directors?
Dasari Narayanarao and Raghavendrarao.

Who is your admirable writer?
Thripuraneni Maharathi. He writes wonderful script and 95% of his films are box-office hits. The charisma, and pride depicted in his character are the main attractions in his writings.

Heard that you wrote novels also!
Yes.So far I have written four novels."Bharathakhandam Bhaggumandi", "Nalla poosalu" (Karthikapournami film), "Asambhavami Yuge Yuge" and "Sthrinam...Budhischami chathurguna". All of them are thought provoking.

Do you have any ego problems between you?
There is no ego problem. We usually divide the script. If it is single line order I write the first version. Sometimes we fight for the betterment but we don't have any clashes between us. We are like Rama and Lakshmana. My brother's "Samadhi Kaduthunnam Chandalivvandi" , "Dari Thappina Akali" are the best plays in my opinion.

What is your opinion on love?
It is all trash.

Do you really mean it?
Yes I do. What you have in teenage is only infatuation. The real love starts ten years after marriage.

How do you cope with both old and young directors?
We are very flexible. We mould ourselves according to the directors' needs.

Some producers are running after remakes, what is the reason?
Because of the minimum guarantee. But we don't have any reputation for remakes. All the recent hits like "Samarasimha Reddy", "Sagara Kanya - Sahasa Veerudu", "Peddannayya", "Bavagaru Bagunnara", and "Kalisundham Raa" are all our own creations.

Your comment on the degradation of the Telugu Industry?
It is due to the slab system, it spreads like cancer and everyone should feel responsible for that.The period between 1951 and 1970 is considered as the golden era of this industry. "Adaviramudu" in 1977 was the trendsetter for entertainment films. We should protect the industry, as it is a gift from our great predecessors.

Do you have any regrets for coming onto this field?
Not at all, moreover I feel great.

You believe in luck or hardwork?
If you work hard, luck will come your way.

Do you believe in God?
Yes, I do.

What about reincarnation?
Well, I am not sure about it but I believe in soul.

Why did you turn to direction?
Actually direction is not our ambition. It is only a fancy. So far we have directed nine films. Our concentration is on off-beat films. We have been directing one film every three years and this year there may be a film under our direction. We stop writing during our direction and put our concentration only on direction.

Was there any incident that had a great impact on you?
Death of Ghantasala. There was not a single man in the entire industry who did not mourn his death. This moved us a lot. He proved that life is mortal but art is immortal.

There is another incident that we cannot forget, when we went to the interiors of Arakuloya, we were received by the tribals in a very warm manner. They knew us by our names and they were very affectionate.

What is your idea about politics?
We have been there in politics vicariously since 1982. Puchalapalli Sundarayya and N.T.R. are our favorite politicians.

I believe that you are organising Raghubabu drama festival?
Yes. So far we have spent 32 lakhs out of which 14 and 1/2 are in fixed deposits. We try our best to encourage theatre.

What is your definition for life?
Life is to struggle for and achieve something, it is not for sheer entertainment. A man should come out of the animal instincts.

Your favorite quotation?
To serve mankind is to serve God.

Your reasoning for your acting?
Just to get out of the monotony.

Why do you think the Telugu field is not attaining the international standards.?
There were some films which enjoyed that status in the golden era. There are many reasons for not reaching these standards. I don't want to get into details.

What is your suggestion for the aspiring writers?
Originality is a big asset for any writer. One should not imitate Paruchuri brothers or an Athreya or a Maharathi.

What are your future plans?
To write good scripts is one aim. We will be completing 25 years of our cine life by 2004. We want to cut short our films and concentrate on our own extraordinary films. My brother Gopalakrishna is doing research on Telugu films, their story , subject and style.

We both are planning to write a book of 1000 pages titled "A Breif History of Telugu Cinema".

Your message to the youth!
Protect your motherland.

Are you contented with the life you are leading?
Our life has offered enough but our filmy life is not all that satisfactory. We could not write for films like "Hum Aap Ke Hai Koun", which has earned crores of rupees. We wish to rise to that level.

Jump to filmography as: Writer, Actor, Director
1. Shankardada Zindabad (2007) (dialogue)
2. Aata (2007) (dialogue)
3. Aadavari Matalaku Ardhalu Verule (2007) (dialogue)
4. Sainikudu (2006) (dialogue)
5. Stalin (2006) (dialogue)
6. Asthram (2006) (dialogue)
7. Allari Pidugu (2005) (dialogue) (screenplay) (story)
8. Soggadu (2005) (screenplay)
9. Sankranthi (2005) (dialogue)
10. Nuvvostanante Nenoddantana (2005) (dialogue)
11. Subhash Chandra Bose (2005) (dialogue)
12. Mass (2004) (as Paruchuri Brothers)
13. Shankar Dada MBBS (2004) (dialogue)
14. Naa Autograph (2004) (dialogue)
15. Nenunnanu (2004) (dialogue)
16. Tagore (2003) (dialogue)
17. Ammulu (2003) (adaptation)
18. Eeshwar (2002) (dialogue)
19. Siva Rama Raju (2002) (dialogue)
20. Indra (2002) (dialogue)
21. Aadi (2002)
22. Vamsee (2000) (as Paruchuri Brothers)
23. Azaad (2000) (dialogue)
24. Raja Kumarudu (1999) (dialogue) (as Paruchuri Brothers)
.25. Yamajaathakudu (1999) (as Paruchuri Brothers)
26. Bavagaru Bagunnara? (1998) (dialogue)
27. Sahasa Veerudu Sagara Kanya (1996) (screenplay) (as Paruchuri Brothers) (story) (as Paruchuri Brothers)
28. S.P. Parshuram (1994) (dialogue)
29. Mutamestri (1993) (dialogue)
30. Aasayam (1993) (dialogue)
31. Gang Leader (1991) (dialogue)
32. Stoovertpuram Police Station (1991) (screenplay) (as Parusuri Brothers)
33. Karthavyam (1991) (dialogue)
34. Kondaveeti Donga (1990) (dialogue)
35. Athaku Yamudu Ammayiki Mogudu (1989) (dialogue)
36. Kanoon Ki Hathkadee (1988) (story) (as Paruchari Brothers)
37. Majaal (1987) (screenplay) (as Paruchuri Brothers)
38. Waqt Ka Shahenshah (1987) (story) (as Paruchuri Brothers)
39. Muddat (1986) (story) (as Parchuri Brothers)
40. Veta (1986) (dialogue) (story)
41. Dilwaala (1986) (story) (as Paruchuri Brothers)
42. Kondaveeti Raja (1986) (dialogue) (story)
43. Adavi Donga (1985)
44. Donga (1985) (dialogue) (story)
45. Sangarshana (1983) (dialogue)
46. Khaidi (1983) (dialogue) (story)
47. Roshagadu (1983)
48. Ee Pillaku Pellavuthundha (1983)
49. Mundadugu (1983)


1. Mutamestri (1993)
2. Mother India (1992)
3. Karthavyam (1991)

Note: Don't forget to leave a comment

Early Tollywood


Post a Comment

Related Posts with Thumbnails
Disclaimer: Dear users, Internet is a place where the information gets transformed and communicated in so many ways. So many have complained so much of content here but not everything is a replica of the information available on the internet. It has been done to spread the information to more number of people. This has been done to help the people only but not on any purpose. And also we acknowledge the original content owner by giving link to their website. I hope you understand the copyright laws of information and internet. We are just promoting the information by providing suitable acknowledgements. Even then if you have some problem with anything please mail us to admin@earlytollywood.com , we will get back to you on the issue.