Dharma Rao Tapi (writer)
Varalakshmi G. ... Saroja
Lakshmirajyam ... Seeta
Kutumba Rao Rallabandi ... Gangadhara Rao
Prabhakara Rao Kona ... Raja
Siva Rao Kasturi
Telugu filmmaker L. V. Prasad directs this melodrama about disease and corruption. A rural villain is dominated by the presence of the rich and evil Gangadhara Rao (Rallabandi). Driving her swank foreign car, his modernized daughter Saroja (G. Varalakshmi) runs over and kills an old man. The elder man's granddaughter Seeta (Lakshmirajyam) is taken in by village doctor Prakash (K. S. Prakash Rap) who is betrothed to Saroja. When she learns of her connection to the accident, Saroja has Seeta thrown out onto the streets. Meanwhile, a plague suddenly starts to ravage the area. As Prakash toils to end the epidemic, Saroja and Gangadhara Rao grow increasingly concerned about investigations of some of their dirty deeds by the regional authorities. After the two burn down the berg, angry villagers set out to find the culprits. Seeta stops them, only to be killed by Gangadhara Rao.
Kotha Bangaru Lokam Copied Scenes
Music:ChittorV. Nagaiah, Ogirala Ramchandra Rao
Screenplay:K.V. Reddy,K. Kameshwara Rao
Chittor V. Nagaiah ... Vemana
Mudigonda Lingamurthy ... Abhirama
Krishnaveni ... Jyoti (as Baby Krishnaveni)
Telugu star and composer Chittor V. Nagaiah appears in his third straight bio-pic about the life of a noted poet saint. Directed by K.V. Reddy, this film details the life of Vemana, a 17th century artist who openly attacked traditional Hindu customs related to women. At the film's outset, Vemana (Nagaiah) has fallen for the beautiful prostitute Mohanangi (M.V. Rajamma). The younger sibling of the head of the local village, Vemana steals a necklace from his sister-in-law and a tribute from the treasure for his love, causing his own brother to lock him up. Later, he and his associate, Abhiram (M. Lingamurthy), manage to make gold from lead. Yet, when he discovers his friend dead, he goes on the path of redemption.
Samudrala Raghavacharya (dialogue)
Samudrala Raghavacharya (screen adaptation)
Govindrajulu Subba Rao ... Brahmanaidu
Sreevatsava ... Nalagamaraju
Kannamba ... Naagamma
Gidugu Venkata Seethapathi Rao ... Kommaraaju
Mudigonda Lingamurthy ... Narsingaraju
Nageshwara Rao Akkineni ... Balchandrudu
Varalakshmi S. ... Maanchala
Vangara ... Subbanna
Sada Sivarao D.S.
This sweeping historical epic concerns the court intrigue and fratricidal in-fighting of the land of Palnadu. Wracked by years of war and mayhem, the kingdom is split asunder by feuding between religions and castes alike. Savvy Prime Minister Brahmanayudu ( G.V. Subba Rao) tries to mend fences by opening the Chenna Keshava temple to one and all, regardless of caste or creed. This leads to a full-scale insurrection by the military, lead by queen mother Nagamma. Soon, utter chaos reigns in the land. Director Gudavalli Ramabrahmam died before this film -- a clear allegory for India's bloody Partition -- could be completed. In his stead, L.V. Prasad took the director's helm.
There are many Indian music directors who have worked only in a few films.Yet very few have managed to leave such an unique signature on Indian film music as P. Adinarayana Rao has. Consider the fact that in a long career spanning over three and a half decades he scored music for less than thirty films. And it is a no mean accomplishment to capture the hearts of Hindi filmaudience with just two films. great master who gave us such gems as "anaarkali", "suvarNa sundari" and "bhakta tukaaraam"
Adinarayana Rao was born in 1915 in Kakinada (some sources place his yearof birth in 1918, in Vijayawada). He was introduced to the stage at a very
young age of six, playing the role of "naarada" in the play: "Savitri"
under Rajarajeswari Naatya Mandali's baton. He went on to study classical
music under Patrayani Sitarama Sastry, a prominent personolity of those
days, in Saluru, a major center for music in the early decades of this
century. Later he completed his matriculation from Kakinada. At age 12,
with an impressive talent to play many instruments, and literary interests,
he started working as a music composer and a play writer.
He was highly popular in Kakinada theatre circles and was affectionately
called "abbaayi gaaru", a name which he retained even after entering films."Veedhi Gaayakulu", "Black Market", "Vasanta sena" were some of his plays.Starting his career at Burmah Shell Amateurs Troupe, he blossomed in toa big artist at the well-known, now almost forgotten, Young Mens Happy Club,which had given famous artistes like Gandikota Jagannatham, S.V. Ranga Rao,Relangi Venkata Ramayya, Anjali Devi to Telugu Cinema/stage. It was here that he met his future wife, Anjali, who was under his tutelage and later went on to become a leading actress of the Indian silver screen.
His first attempt to join the film field was in 1941. Chittur V. Nagayya,
the legendary actor, director and music composer was ruling the Telugu
film field supreme with his compositions in films like "vandEmaataram"
(1939), "sumangaLi" (1940), "dEvata" (1941). Highly influenced and
mesmerized by his music, Adinarayana Rao wanted to work under the maestro.He was introduced to Nagayya by film star A. S. Giri (of sumangaLi fame).He was asked to come after 1-2 months, but somehow he did n't go to Madras and remained away from film field till mid-40s.
The following composition by him written for the play: "Veedhi Gaayakulu"
in 1944, shows his admiration and respect for Nagayya:
It is in veteran film maker B V Ramanandam's, "varudhini" (1946) he got hisfirst break in films. The oppurtunity came through S.V. Ranga Rao, nephewof Ramanandam and a YMHC member (incidentally this was the debut film forRangarao too). Although he was initially assigned to write lyrics and compose music, professional differences led to the abrupt ending of theproject after recording just two songs, and he returned to Kakinada.
Later he worked for a couple of films writing lyrics and/or composing music,which include C. Pullayya's (another native of Kakinada), the highly
successful, "Gollabhama" (1947, co-MD: Dinakara Rao), in which Anjali madeher debut. The songs/verses from Gollabhama are a real delight to hear;chandamaama andamaina, priyatamaa!, bhoopati jampitin, valapu teniyalu,etc. They are in my opinion ahead of their time in terms of pace
(can be compared to the ones from 60s! It would be of great interest to me to know, who composed which song).
Its through "palleToori pilla" (1950), a film based on Sheridon's play:
"Pijjaro", he became a full-fledged music director, thanks to his friend
B A Subba Rao, who was making his directorial debut and went on to make
a highly successful career. His adaptation of Spanish tunes - "dheera
kampanaa" - with superb orchestration, and usage of Telugu folk melodies
set new trends. Songs like: chiTapaTa chinukula duppaTi taDisenu,
Saanta vanTi pilla lEdOyi (young Pithapuram Nageswara Rao singing this
beautifully) were treats to music lovers. His next venture; "tilOttama"
(1951) was a disappointment. Its music reached very few people since it
was neither a commercial success at box-office nor were the songs released on records.
In 1949 he founded "Aswini Pictures" with Akkineni Nageswara Rao and makeupartist K. Gopala Rao, producing "maayalamaari" (1951, Tamil: Mayakkaari).Though it ran for 100 days, the music was only a moderate success.So was "annadaata" (1954), made on the same banner. He wrote some lyrics for "palletoori pilla" and "annadaata" too. "annadaata" also heralded thebeginning of the successful team with himself, ANR & Anjali (in lead cast)and Director Vedantam Raghavayya, which continued unbroken for more than a decade.
In 1951 he separated from Aswini banner and founded his own production
house; "Anjali Pictures" making "paradESi" (1953, Tamil: Poongottai,
with songs like: pilichindi kaluva puvvu - jikki, nEnenduku raavaali -
Jikki, Pithapuram, etc.) under the direction of L. V. Prasad. The
superb compositions in big budget "anaarkali" (1955) and "suvarNna sundari(1957) that followed under this banner brought him tremendous recognition.Volumes can be written on these two great musicals. Though a couple of tunes were partly based on Ramachandra Chitalkar's tunes from Hindi version of "Anarkaali" (1953) rest showed his enormous creative talents. the rest showed his enormous creative talents. The song "raajasekharaa nee pai moju teera leduraa" still lingers on every one's tongue. So are: kalise nelaraaju kaluva chelini - Ghantasala, Jikki, sOjaa raajakumari - A. M. Rajah.
Suvarna Sundari was the high point in his career. It was a blockbuster hit
running to full houses at all the places it was released for over 6 months.
Described as the "Bible to box-office laws" by film critics, it showed the
way to later day "formula" filmmakers. It had all the elements, in proper
dosage, to attract all sections of film goers. "piluvakuraa alugakuraa,
haayihaayigaa aamani saage, bommalammaa bommalu, Eraa manapaaTi
dheerulevvaruraa" remain ever-green hits. The raagamaalika set to four
Hindusthani Ragas made him very popular and won him many awards and
recognition all over India! Some critics unfairly accused him of
plagiarising "piluvakuraa" and "haayi haayigaa" tunes from Vasant Desai's
_milan hon kaise_ ("Dhuaan" 1953) and Anil Biswas's _ritu aaya, ritu
jaaya_ ("Hamdard" 1953) respectively. But there is very little truth in that.
No one can deny the creative prowess in his works.
Riding high on the success, he embarked on his second Hindi production:
"Phoolon Ki Sej" (1964), based on Gulshan Nanda's novel: "andheri biran",
with big starring. It turned out to be his last hindi film. This film
virtually lead the couple to ruins, losing whatever they earned over 17 years.
It was a major setback especially at a time when Anjali was considering her retirement from the films after acting in 100 films. Even melodious songs like: aa tu jaraa dil mein (Lata, Mukhesh), abhin jaa rasiya (Lata, Manna),pyar ko madhur madhur (Asha, Rafi), taronki aankhon ka (Lata) could not stop the disaster.
It took nearly a decade for the next 'big' hit from Adinarayanarao's house;
"bhakta tukaram" (1973), portraiting the life-story of saint-composer
Tukaram. This is yet another gem from the master with memorable songs like:
ghanaa ghana sundaraa - Ghantasala, poojaku vELaayeraa - P. Susila,
unnaavaa asalunnaavaa - Ghantasala, sari sari vagalu telisera - P.Susila etc.
"alluuri seetaraama raaju" (1974), the life-story of revolutionary
freedom-fighter, followed soon, making his name well-known to the next
generation of Telugus, gaining fame to both the producer/actor Krishna
and Adinarayana rao himself. The whole audience waited along with the
heroine for seetaramaraju while she was singing "vastaaDu naa rOju"
(P. Susila). SriSri's "telugu veera levaraa deeksha booni saagaraa" was
immortalised by his tune and has become a classic patriotic song.
He never worked for any other production houses in the later period,
except for film actor Krishna's productions.
His creation "mahaakavi kshEtrayy" (1978) is a testimony to his quest for
perfection and authenticity. He travelled through the coastal districts
of Andhra Pradesh, along with well known Telugu poet, historian and
film-writer Arudra, interviewing several dEvadaasis, who have been singing
kshEtrayya padam-s for centuries. Unfortunately such thorough fieldwork,
and compositions like: ashTa vidha naayika varNana, Sreepati sutu baariki
(Ramakrishna), chedero naa saamiki (swapna sundari, famous danseuse) could
not guarantee the film's commercial success.
Certainly we can not forget his other films like; "adutta vittu penn"
(1959, Tamil, with P B Sreenivas's solo "Vaadaada malar"), "Runaanubandham"
(1960, "andamain baava aavu paala kova", "nindu punnami nela"),
"swarNa manjari" (1962, madhuramaina guru deevana - Nagayya, P. Susila,
raavE naa praNaya roopiNi - Ghantasala), "satee sakkubayi" (1966,
ranga rangaa rangayanandi - Ghantasala). The last one was also dubbed
in to Marathi as "sakhu ali pandarpura" (1969), winning critical acclaims
in Maharashtra too. "ammakOsam" (1971), "agni pareeksha" (1970,
(konDapai ninDugaa koluvunna maa talli kanakadurga - Ghantasala),
"kalyaaNa manDapam" (1971), "pedda koDuku" (1973), "kannavaari yillu"
(1978) are his other films.
Apart from his own compositions he left his imprint on the music field
indirectly too. Later highly successful music directors; Totakura Venkata
Raju (a.k.a T V Raju), Satyam and Lakshmikant-Pyarelal duo (Phoolonki Sej)
worked as his assistants.
An "unusual influence of Hindusthani classical music and Marathi Natya
Sangeet" on Telugu film music is attributed to him. Early Marathi
(and Parsi) touring drama troupes left their indelible mark on Telugu
stage by the end of 19th century. It is a no surprise since Adinarayanarao
who followed the music styles keenly and heard the music of legendary
artists of Telugu stage like Tungala Chalapati Rao, K. Raghuramayya,
Jonnavittula Seshagiri Rao, C.S.R. Anjaneyulu, et al grasped these styles
His exposure to classical music and stage music from early years at Saluru
and Vijayanagaram certainly helped him in better understanding of Hindustani
music. Well known music critic V.A.K. Rangarao credits Adinrayana Rao for
introducing Hindustani music in contemporary flavour and simplified
orchsetration, and thereby impressing both laymen audience as well
cognoscenti. It is this music that survives him enthralling all the music
1. Chandipriya (1980)
2. Kannavari Illu (1978)
3. Mahakavi Kshetrayya (1976)
4. Alluri Seetharama Raju (1974)
5. Bhakta Tukaram (1973)
6. Pedda Koduku (1972)
7. Mosagalaku Mosagaadu (1971)
8. Agni Pareeksha (1970)
9. Ammakosam (1970)
10. Sati Sakkubai (1965)
11. Phoolon Ki Sej (1964)
12. Swarnamanjari (1962)
13. Mangayir Ullam Mangada Selvam (1962)
14. Adutha Veetu Penn (1960)
15. Runanubandham (1960)
16. Suvarna Sundari (1957/I)
17. Manalane Mangayin Bhagyam (1957)
18. Suvarna Sundari (1957/II)
19. Anarkali (1955)
20. Annadata (1954)
21. Pardesi (1953)
22. Palletoori Pilla (1950)
23. Golla Bhama (1947)
1. Mahakavi Kshetrayya (1976) (producer)
2. Ammakosam (1970) (producer)
3. Swarnamanjari (1962) (producer)
4. Suvarna Sundari (1957/I) (producer)
5. Pardesi (1953) (producer)
1. Suvarna Sundari (1957/I) (story) (as Adityan)
Directed By :
S B Dinakar rao
BA subba rao
K V subba rao
av subba rao
A day in 1947.. A Telugu film produced and directed by Raja Saheb of Mirzapuram, 'Gollabhama ' smashed box office records in Telugu Film history and money poured in avalanches. Somewhat surprisingly the major attraction and the provocation for the box-office success was a new entrant to Cinema who played the role of the vamp seducing the hero and taking him away from his wife. The new actress with her lissome curvaceous form, attractive face and expressive eyes combined with erotically igniting and titillating song and dance- sequences found herself elevated from an unknown to overnight Telugu film star.
Moviegoers in the Telugu -speaking districts of the old Madras Presidency went gaga over her. Such an overnight sensation well on her way to superstardom in South Indian Cinema is Anjali Devi.
Screenplay, Direction & Production:
SVR Acharya & Nalinkantha
Chittor V Nagaiah
Chittoor V Nagaiah,
Kasthuri Siva Rao and
Ch. Narayana Rao
BN Reddy's best-known film is a remarkable melodrama chronicling the metamorphosis of rural street Subbi (Bhanumati) into the urban seductress Sujata Devi. Murthy (Nagaiah), a married man, helps her to become a stage star while the heroine breaks-up Murthy's marriage to the affectionate Kalyani (B Jayamma).
The film can be read as a comment on the star manufacturing process in Telugu cinema, with Bhanuamti, supported by Bartley's constantly moving camera, expertly modulating the gradual shifts in gesture, speed accent and the make-up as the village beauty is transformed in to a 'sexy' star.
Mudigonda Linga Murthy
Allegedly inspired by Mamoulian's Blood and Sand (1941) starring Rita Hayworth. The film's generic innovativeness is sometimes ascribed to the new unit assembled by the studio after the designer AK Shekar and writer/cameraman K Ramnath left to join Gemini.
Major new presence includes writer Chakrapani (later became co-producer with BN Reddy for Vauhini), lyricist composer Rajanikantha Rao and singer Ghantasala, who makes his singing debut here with the number gajula pilla.
According to VAK Ranga Rao, lyricist Rajnikantha Rao introduces Arabic music and Bhanumati adopts Hayworth humming from Blood and Sand for the classic hit song Ooh Paavurama (in the seduction number) as contrast to the Carnatic number Manchi Dinamu Nede.
Kasthri Siva Rao
Sri Renuka Films
Director, / Chitturi V Nagaiah
Singer and /
Dialogues, Co-lyrics: Samudrala Raghavacharya
Camera: Mohammad A Rehman
Chittor V Nagaiah,
Nyapathy Narayana Murthy,
K Dorai Swamy,
The actor, singer and composer Nagaiah's directorial debut is a classic Saint film about the Telugu saint poet Thyagaraja (1767 - 1847), author of 2400 krithis (verses) and the founder of the Carnatic system of classical music.
Thyagayya (Nagaiah) is shown as a villager composing devotional music to Rama while rejecting the court of Serfoji, maharaj of Tanjore (Narayana Murthy), the dominant cultural center of the region. Turning down invitations and gifts from the Maharaj, Thyagaraja provokes the jealous wrath of his brother Japesen (Lingamurthy). The film's climax comes when Japesen destroys Rama's idols, Thyagarajan resurrects them eventually sacrifices his life to his God.
Nagaiah's performance in the title role dominated the hit film together with the music, including 28 of Thyagaraja's Krithis culminating in the number Nidhi Chala Sukhama, sung when he rejects the royal gifts. The director-composes also introduced lyrics from Kannada (the Purandaradasa devara nama in the film's opening), Tamil (by papasanam Sivan and sung by DK Pattamal) and Hindi (sung by JA Rehman). Among the main female roles, Jayamma played Dharmamba, Saritha Devi played Chapala while Hemalata Devi played Kamalamba.
Uma Maheswara Rao
P G Krishnaveni(JIKKI)(DEBT FILM)
The Second World War, that commenced around this period, effected film production. The rise in prices of raw film, forced filmmakers to reduce the length. A law was passed restricting filmmakers to make films of eleven thousand feet. Till then they were making films of length around 20,000 feet. Quite a few production units ceased their work. Only about fourteen films were made in 1943-44 of which 'Panthulamma' and 'Chenchulakshmi' were notable.
'Panthulamma' was of Sarathi Films directed by Gudavalli Ramabramham with Lakshmi Rajyam and Umamaheswara Rao in the lead. Noted singer PG Krishnaveni, more popularly known as Jikki, began her career as a child artiste with this film. She played a young girl who learnt a song from the musician-heroine Lakshmirajyam
Hanumappa Vishwanath Babu
Dharma Rao Tapi (adaptation)
Dharma Rao Tapi (dialogue)
Venkateswara Rao Gali ... Lord Krishna
Santha Kumari P. ... Radha
Hemavathi ... Satyabhama
Bhanumathi Ramakrishna ... Chandravali
Srirama Murthy Addanki ... Chandragopa
Tanguturi Suryakumari ... Narada
Telugu filmmaker H.V. Babu directs this mythological drama about the beautiful Radha (T. Suryakumari) and her unflinching devotion to the god Krishna (Venkateshwara Rao) in spite of perpetual derision from her sister, Chandravali (P. Bhanumathi), and Krishna's wife, Satyabhama (Hemavathi). Krishna allays Chandravali's scorn by coming before her in the form of her spouse, Chandragopa (Addanki), and sates Radha's spiritual longing by visiting her dressed as Radha -- illustrating that spiritual love ...
Tanguturi Surya Kumari
Kadri Venkata Reddy
Writing credits :
Producers : Narayana Swamy Moola and B.N. Reddi
Original Music :
Chittor V. Nagaiah
Art Direction :
Production Management :
Assistant Director : Kamalakara Kameshwara Rao
Playback Singers : Malathi, Chittor V. Nagaiah, Vanaja N.,
Bezawada Rajarathnam and Sivaram V.
* Chittor V. Nagaiah ... Pothana
* Mudigonda Lingamurthy ... Ajamilini
* Vanaja Naalam ... Pothana's daughter (as Baby Vanaja)
* Tanguturi Suryakumari
* Bezawada Rajarathnam
* Sivaram Vallabhajosyula ... Pothana's son
* Jandhyala Gaurinatha Sastri ... Sreenatha
* Malathi K. ... Sreenatha's daughter
* Samrajyam ... Court Dance
Potana is born in an ordinary peasant family. One day Lord Sri Rama comes into his dream and asks him to translate Bhagavatam into Telugu. He takes this as an order and starts to translate by saying "palikedidi Bhagavatamata palikenchidivadu Ramabhadrundata" and completes the translation. Potana's brother-in-law Srinadhudu is a great poet and pandit. He takes the patronage of kings and dedicates his works to the kings. He suggests Pothana to dedicate Bhagavatam to a King. Pothana declines his suggestion and dedicates his work to the God. Impressed by this Goddess Saraswatidevi gives salvation to his life.
Art direction is given by A.K.Sekhar and cinematography is by K.Ramnodh. Sri Gowrinadha Sastry has acted as Srinadhudu and Tanguturi Suryakumari acted as Saraswatidevi. The other main characters are done by Malati, Hemalata, Vanaja, Jayamma and Lingamurthy.
Sri Nagayya acted and composed the music also. His compositions such as
Sarvamangala nama seetharama, katukakanti neeru, Yevvani chejaninchu, Nidhi sukhama ramuni sannidhi sukhama, Paavana guna dhama, ye teeruga nanu daya chusedavo, idi manchi samayamu rara are immemorable.
Bhakta Potana has given inspiration to other devotional films such as Chakradhari, Bhakta Meera etc., In Mummidivaram of E.G. district an animal herd keeper has become a balayogi after seing this movie. Nagayaa lived in the role of Potana to an extent that he became physical representation of Potana. Sri K.V.Reddy won accolades as the director who got success in his first attempt. Bhakta Potana is a turning point in the life of Nagayya who was popular in social films until then.
Samudrala Raghavacharya (dialogue)
K. Ramnoth (writer)
Chittor V. Nagaiah ... Venu
Kumari ... Lakshmi
Bezawada Rajarathnam ... Vimala
Narayana Rao C.H. ... Sukumar
Tanguturi Suryakumari ... Seeta
B.N. Reddi directs this controversial and wildly successful melodrama about the evils of class and traditional sexual morels.
The story of the film begins with Venu (Nagaiah), a London educated Bar-at-Law returning home after completion of studies. Mangamma is his mother, and Sithamma, charming and well behaved is his younger sister. The father Venkaiah is given to drinking and does not bother about the family.
Venu's uncle Balaramaiah, brother of Mangamma, is a lawyer in Madras and intends to marry off his daughter to Venu and hand him over all his practice. Both the families are affectionate towards each other. One day Mangamma sets out to Madras on a bullock cart, and Venu unwilling to undertake the journey, stays at home. Lakshmi serves him meal and goes to sleep in the hall. Her brother goes to bed in the shed out side. When Venu comes down to go to bed after studying till late in the night, he sees Lakshmi asleep in the hall. Her beauty tempts him and he seduces her. Returning home after midnight, Mangamma and Sithamma go to bed as usual. The next morning they don't find Lakshmi coming for the harathi (sacred camphor flame offered to God as part of worship). They see her crying near the well. Venu, noticing her absence at the pooja, finds her near the well, and consoles her by assuring her that he will marry her. She attends pooja.
Venu starts his practice as a lawyer in Madras High Court. In course of time, as has been decided already, his marriage has been fixed with Vimala, his uncle's daughter. Venu unwilling to hurt his uncle and bowing to his mother's wishes agrees to the marriage. He meets Lakshmi who has come along with his mother and sister to Madras, alone and tries to convince her of his decision. He attempts to satisfy her by giving her money. Lakshmi rejects the money and returns with her brother to the village.
Vimala's friend Sukumar is a poet of sorts, and is up to any thing for achieving what he wants. He can impress others with his smart talk. His desire is to marry Vimala if her marriage with Venu does not come off. Sukumar chances upon Lakshmi's purse in the back yard of Vimala's home, steals ten thousand rupees from it and returns the empty purse to Venu. Understanding that a marriage between Venu and Vimala is not going to take place, he elopes with Vimala.
Returning home, Lakshmi finds her father bedridden. He proposes that she marry Chenna, his assistant in the toddy shop. She tells him that she is pregnant and that a marriage is out of question. Shocked and unable to afford treatment, the father dies. Mangamma, Venu and Sithamma return home. As Mangamma and Sithamma go to Lakshmi to comfort her in her sorrow over her father's death, Lakshmi tells them that she is pregnant. Venu too confesses that he is the cause of her pregnancy. When Mangamma decides to accept Lakshmi as her daughter in law, Lakshmi with her brother leaves the village. The story then takes a number of turns like Venu going in search of Lakshmi, Lakshmi delivering a boy child in a temple, her being sent out of the place, and her finally reaching Bhuvaneswari Maatha Asramam, and the like. Finally, however, all are reunited and the movie ends with the reunion of Lakshmi and Venu.
P. Pullaiah , Santha Kumari P.
Chakrapani , V.S. Khandekar
Timir Baran , Annasaheb Mainkar
Daita Gopalam ,
Santha Kumari P. ,
Santha Kumari P.
Lakshmi Narasimha Rao K.
Hanumantha Rao Kallakoori
Nageshwara Rao Akkineni (Akkineni Debt Film)
Dharmapatni (1941), directed by the legendary P. Pullaiah, had many firsts too its credit. The film saw the debut of dialogue writer Chakrapani and ANR, the doyen of Telugu cinema. Made under the banner of Famous Films, the social film starred Santha Kumari and Bhanumati in lead roles.
Director: H.M. Reddy
Written by: Sadasivabrahmam Vempati
Music Director: Gundopant Walavalkar
Cinematographer: Sridhar P.
Other crew: Sadasivabrahmam Vempati
Lakshmana Swamy S.P. ... Tenali Ramakrishna
L.V. Prasad ... Mahamantri Thimmarusu
Koteswara Rao P.
Ganga Ratnam P.
Hanumantha Rao T.
Parepalli Subba Rao
Subba Rao K.V.
Raju ... Child Tenali Ramakrishna (as Master Raju)
Rohini (as Baby Rohini)
Telugu filmmaker H.M. Reddy directs this tale about fabled court jester Temali Ramakrishna (also named Tenali Raman). The film opens with Ramakrishna (Master Raju) as a child being appalled after learning that the twice-married lecher Karanam is about to marry the nine-year-old Saubhagyam. He dresses up as the child bride, foiling the wedding and making a mockery of the groom. Years later, the adult Ramakrishna (S.P. Lakshmanaswamy) lands a job as the royal poet for the court of Krishnadeva Raya, where the scheming Brahmin soothsayer Tatacharya tries to manipulate the sovereign to his own ends. When the king's mother dies while eating a mango, he predicts that the royal mother's soul will not rest until the king gives every Brahmin a mango made of gold. Ramakrishna replies that his mother died with a longing to be seared with a hot poker, and then arranges for every Brahmin to be branded.
Written by: Sadasivabrahmam Vempati
Music_Director: S.A. Venkatraman
Cinematographer: Mama Shinde
Other crew: Sadasivabrahmam Vempati
Pushpavalli ... Choodamani
Seeta Rama Anjaneyulu Chilakalpudi ... Madhusudhan
Siva Rao Kasturi ... Mangali Sastri
Kanchanamala ... Balanagamma
Govindrajulu Subba Rao ... Mayala Maraathi
Banda Kanakalingeshwara Rao ... Kaaryavardhi Raju
Balijepalli Lakshmikanta Kavi ... Navabhoja Raju
Pushpavalli ... Sangu
Narayana Rao Addala ... Nagarju
Satyam Lanka ... Kakali
Relangi Venkatramaiah ... Kotwalu
Viswam ... Balavardhi Raju (as Master Viswam)
Story;Gemini Pictures Circuit was started by Vasan in 1939 and distributed movies both in Andhra and Tamil Nadu. After distributing Raithu Bidda and Illalu in Tamil Nadu and meeting with considerable success, he bought a bankrupt studio at an auction and renamed it as Gemini Studios. After making movies such as Madana Kamaraju, Nandanar and Jeevan Mukthi, he made Bala Nagamma in 1942.
Now Bala Nagamma was one of the most popular Burrakathas, which was incidentally a popular means of entertainment then. In spite of the beginning of the folk era of movies in 1938 with Gulebakavali Katha, Bala Nagamma still set trends. The protagonists were two-Bala Nagamma and the 'Mayala Marathi/Mayala Fakir' (Translated: Evil Magician).
The story of Bala Nagamma was known to one and all. The King prays for progeny and is blessed with children, the youngest of who is named Bala Nagamma. She is married off to Karyavardi Raju but is kidnapped by Mayala Marathi who turns her into a dog and whisks her off to his cave. Once there, he tries to take advantage of her, but she keeps him away quoting some Holy Rites and Pujas that she is involved in. Fearful, she is a prisoner in the cave for 14 years, where the Fakir's mistress, Sangu, is jealous of his obsession with Bala Nagamma. In the meantime, her son [Balavardi Raju] grows up and gets to know the truth about his mother. He seeks the Fakir out and defeats him.
Chittajallu Pullaiah directed Vara Vikrayam and Malathi Madhavam under the East India Film Company. He directed Bala Nagamma under Gemini after shifting base to Madras, and later made Apoorva Sahodarargal and Vindhya Rani, also under Gemini. Kanchanamala was the most glamorous star of that era, and was cast in the title role. Dr. Govindarajula Subbarao was Mayala Fakir. These two garnered the maximum amount of mileage from the movie, especially Govindarajula as the legendary Mayala Fakir. He was just two movies old, having been noticed earlier in Mala Pilla. Relangi in a humorous role, who takes advice from the Fakir only to face comical adversities, also became a highlight for the movie.
Govindarajula's laugh was such that it is rumored to have frightened little kids. But there is another, more amusing rumor-Kanchanamala herself fainted in the scene where he kidnaps her and brings her to his cave and starts laughing. The cave, the statues of all the Evil Deities the Fakir worships and all the sets were spent lavishly on by Gemini. The art director SVS Rama Rao worked tirelessly on little details targeting perfection, but unfortunately he and Vasan had a rift during the making. This resulted in SVS leaving Gemini's camp and starting his own version of Bala Nagamma-Shanta Bala Nagamma for which he was the producer, director and art director. This movie starred Manuluri Krishna Rao, Shakuntala and S. Rajeshwara Rao. Kodavatiganti Kutumba Rao wrote a part of the script. Shanta Bala Nagamma, however, proved to be a dud at the Box Office.
The reverse was true for Bala Nagamma. Gemini raked in the money, which came in incessantly. The repeat audience for the movie was plenty. Pushpavalli, who did some positive lead roles before, was cast as a vamp in the movie which surprised many. Her song 'Aha Naa Sogase Kani' proved to be an instant hit. Saluri Rajeswara Rao composed the music which struck all the right chords with the listeners and the background music was also appreciated by viewers and critics alike.
As with SVS Rama Rao, Vasan had a spat with Kanchanamala after this movie regarding her contractual agreement. This was in fact Kanchanamala's last movie, and perhaps her most memorable one. Pushpavalli became more prominent after this, with Gemini signing her on for numerous productions during which time she married Gemini Ganesan, consequently Bhanurekha, better known as the sultry evergreen actress Rekha was born. But this movie marked the end of Kanchanamala, a rage amongst the youth of that era.
Gemini remade this movie much later with Madhubala in the lead and Savithri as Sangu in Hindi. The movie, titled 'Bahut Din Hue' did reasonably well. This was Savithri's first Hindi movie, after which she acted in a few other Hindi productions, but never in the lead. In Telugu, however, Bala Nagamma became a huge hit commercially. With the elaborate sets, lilting tunes, strong background score, picturization and of course, Kanchanamala-Govindarajula, the movie worked wonders. In Andhra and Tamil Nadu alike, the movie was a trendsetting folk-based successful venture and ran for more than 25 weeks. After Bala Nagamma, there was no looking back for Gemini.
Directed by; Chittajallu Pullaiah
Ramatilakam ... Savitri
Vemuri Gaggaiah ... Yama
Nidumukkala Subba Rao
Mahabharata legend in which Princess Savitri marries Satyavan despite a curse that foretells his death within a year. She manages to get Yama (Gaggaiah), the god of death, to restore her husband to life.