K Viswanath's Swathi Kiranam (1992) Songs Lyrics

Movie : Swathi Kiranam

Year : 1992

Starring: Mammooty, Radhika, Master Manjunath, Jayanthi, Achuth, Dharmavarapu Subrahmanyam

Producer: V.Madhusudhan Rao

Director: K.Viswanath

Music: K.V.Mahadevan

Editing: G.G.Krishna Rao

Art: Ashok Kumar

Story:

The film starts with an old man living as a recluse near a famous temple. When he ventures out to a farm, he is beaten by the farmers who believe that he has come to steal the goats. When they hand him over to the police, the officer in charge identifies him as a once famous musician, Anantha Sharma (Sangeeta Samrat = Emperor of music), who has been missing for four years. The inspector informs his aunt (who teaches music in his native village) of this and the past of Anantha Sharma is narrated through flashback.

(Begin flashback) Anantha Sharma is a widely respected Carnatic singer with a large ego. This is established when he rejects the Padma Sri bestowed upon him by the Government of India, as he believes that the other awardees are not worthy to be mentioned with him.

Gangadhar (Master Manjunath) lives in the same village. He rejects the norm (taking music classes and going to school) and sits by the riverside. The river inspires him to sing many songs in different tunes. His music teacher, also the policeman's aunt, recognizes his natural talent and tries to nurture it. His school teacher (the music teacher's husband) is also fond of Gangadhar.

Gangadhar wants to become a great singer like Anantha Sharma and his father(Dharmavarupu Subrahmanyam) encourages him. His day comes when Anantha Sharma is honored in an auditorium. Gangadhar sings a song ("Aa Nathi Neeyara") in honor of Anantha Sharma which many consider to be much better than any of Anantha Sharma's four decades of work. The boy is hailed as a child prodigy by everyone, including the music teacher's wife.

Anantha Sharma wants to imprison Gangadhar's talents. So he asks Gangadhar to stay in his house and learn music as one must be well-experienced to sing on stage. He goes to the extent of copying one of his tunes and he sings it on stage to get back his lost glory. But Gangadhara and Anantha's wife (Radhika) find out. He now feels guilty and defends himself that he has done it as he was afraid this child will destroy his name and fame etc.

In this emotional moment, he suffers a heart-attack. To show his gratitude towards his adopted mother (Radhika), Gangadhar kills himself. For this means that there is no competition for Anantha Sharma's title of "Sangeeta Samrat." But the event shocks the villagers and they start calling him a murderer. To escape the public anger and insults, he runs away to be a recluse (End flashback).

Anantha Sharma is still unconscious while in the police station. When he awakes, he finds himself in the house of Gangadhar's music teacher. The husband of music teacher tells him that they have forgiven him and asks him to go back to his house. At his house, he finds his wife(Radhika) conducting music classes in his house (an institute named as 'Gangadhar Music Academy') for little children.

He sits down amongst the children learning the music basics from his wife. The movie end with a scene when a young girl next to him chides him gently by correcting his way of singing a basic song note.



Theli Manchu Lyrics

teleemanchoo kareegeendee taloopooteeyana prabhoo
eela gontoo vaneekeendee peeleepooneeyana prabhoo
teleemanchoo kareegeendee taloopooteeyana prabhoo
eela gontoo vaneekeendee peeleepooneeyana prabhoo
nee dova podavoona koovakoovala swagatam
nee kalee aleekeedeekee melakoovala vandanam

ee poola ragala poolakeenta gamakaloo
garaboo kavanala galee sangatooloo
ee poola ragala poolakeenta gamakaloo
garaboo kavanala galee sangatooloo
nee charana keernaloo palookareencheena chaloo
pallaveenchoonoo prabhoo pavaleenchoo bhoovanaloo
bhanoomoortee nee pranakeertana veenee
palookanee pranatoolanee pranavasrooteenee
padaneeee prakrooteeneeee pradhama krooteeneeee

bhoopala nee mrola ee bela ganaloo
nee rajasaneekavee neerajanaloo
bhoopala nee mrola ee bela ganaloo
nee rajasaneekavee neerajanaloo
pasaroo pavanalalo paseekoona ragaloo
paseedee keeranala padee padoonoo tereena chaloo
talayoochoo taleerakoo bahooparakoola veenee
doralanee doranagavoo dontaranee
taralanee daree tolagee rateereenee

Vaishnavi Bhargavi


vaishnavi bharvagavi vaghdevi trigunatmike
vindya vilasini varahi tripurambike
bhavati vindyandehi
bagavati sarvarda sadhike satyartha chandrike
mampahi mahaniya mantratmike
mampahi matangi mayatmike
||vaishnavi||

a pata maduramu sangeetamu anchita sangatamu
sanchita sanketamu
sri bharati kshira sampraptamu amruta sampatamu
sukruta sampatamu
sarigama swaradhuni
saravarudhini sama sunada vinodini
sakala kala kalyani
suhasini sri ragalaya vasini
mampahi makaranda mandakini
mampahi sugunala samvardini
||vaishnavi||

alochanamrutamu sahityamu sahita hita satyamu
sharada stanyamu
saraswatakshara saradyamu jnana samrajyamu
janma safalyamu
sarasava shobhini
sarasa lochini vani pustaka dhraini
varnalankruta vibhava
shalini vara kavita chintamani
mampahi salokya samvahini
mampahi sri chakra simhasini

vaishnavi bharvagavi vaghdevi trigunatmike
vindya vilasini varahi tripurambike
bhavati vindyandehi bagavati
sarvarda sadhike satyartha chandrike
mampahi mahaniya mantratmike
mampahi matangi mayatmike



Anati neeyaraa hara

Aanati Neeyaraa Haraa
aa..
aanati neeyaraa haraa
sannuti sEyagaa sammati neeyaraa doraa sannidi chEragaa
aanati neeyaraa haraa
sannuti sEyagaa sammati neeyaraa doraa sannidi chEragaa
aanathi neeyaraa haraa

nee aaNa lEnidE grahimpa jaaluna
vEdaala vaanitO virinchi vishwa naaTakam
nee saiga kaanidE jagaana saaguna
aayOgamaayatO muraari divyapaalanam
vasumatilO prati kshaNam pasupati nee adheenamai
vasumatilO prati kshaNam pasupati nee adheenamai
kadulunu gaa sadaa sadaaSiva
aanati neeyaraa haraa
ni nii sa ni pa nii pa ma ga sa ga
aanati neeyaraa
achalanaadha archintunu ra
aanathi neeyaraa
pama pani pama pani pama pani gama pani
sani saga sani saga sani saga pani saga
gamagasaa nipama gamagasa magasani
aanati neeyaraa

jangama devara sEvalu gonaraa
mangala daayaka deevenaliDDara
SaashTaamgamu ga danDamu chEtu ra
aanati neeyaraa
saanipa gamapanipama
gamaga papa papa
mapani papa papa
gagama gasa sasa
nisaga sasa sasa
saga gasa gapa pama pasa nisa
gasani saga saga
sani saga saga
paga gaga gaga
sani saga ga
gasaga ga
pada gasa ga ma sa ni pamaga ga
aanati neeyaraa

Jaliga Jabilamma Lyrics

jaaligaa jaabilamma rEyi rEyantaa
jaaligaa jaabilamma rEyi rEyantaa
reppa veyyanE lEdu enduchEta enduchEta
padahaaru kaLalani padilangaa vunchanii
padahaaru kaLalani padilangaa vunchanii
aa kRishNa pakshamE edalO chicchu peTTuTa chEta

Jaaliga jaabilamma reyi reyantaa...

kaaTuka kanTineeru pedavula nanTaneeku
chiru navvu deepakaLika chinnabO neeyaku
nee bujji gaNapatini bujjaginchi chebutunnaa
nee bujji gaNapatini bujjaginchi chebutunnaa
nee kunkumakepuDuu pRoddugunkadammaa

Jaaliga jaabilamma reyi reyantaa...

sunni pinDini nalichi chinnaarigaa malichi
santasaana munigindi santulEni paarvati
sutuDanna matimarachi Soolaana meDavirichi
peddarikam choope chicchukanTi penimiTi
pRaaNapati nanToondaa biDDagati kanToondaa
pRaaNapati nanToondaa biDDagati kanToondaa
aa renDu kaLLallO adi kanneeTi chiti
kaalakooTankanna GhaaTaina garaLamidi
gontunulimE gurutai venTanE vunTundi
aatuu pOTuu GhaTanalivi aaTa viDupu naTanalivi
aadiSaktivi neevu anTavu ninnEvi
nee bujji gaNapatini bujjaginchi chebutunnaa
kanchi keLLipoyEvE kadhalanni

Jaaliga jabilamma reyi reyantaa...


Sangeetha Saahitya

sangeeta saahitya samalankRutE sangeeta saahitya samalankRutE
swara raaga padayOga samabhooshitE
E bhaarati manasaasmaraami E bhaarati manasaasmaraami
SRi bhaarati shirasaanamaami SRi bhaarati shirasaanamaami

vEda vEdaanta vanavaasini poorna SaSihaasini
naada naadaanta parivESini aatma sambhaaSini
vEda vEdaanta vanavaasini poorna SaSihaasini
naada naadaanta parivESini aatma sambhaaSini
vyaasa vaalmiiki vaagdaayini
vyaasa vaalmiiki vaagdaayini jnyaanavalli savullaasini

bRahma rasanaagRa sanchaariNi
bRahma rasanaagRa sanchaariNi
bhavya bhalakaariNi
nitya chaitanya nijaroopiNi satya sangdeepiNi
bRahma rasanaagRa sanchaariNi
bhavya bhalakaariNi
nitya chaitanya nijaroopiNi satya sangdeepiNi
sakala sukaLaasamunvEShiNi
sakala sukaLaasamunvEShiNi sarva rasa bhaava sandeepiNi

Pranathi Pranathi Pranathi

saa re ga ma pa ma ga ma sa re ni ri sa
pa ma ga ma sa ri
saa ri ga ma pa ni sa ni pa ma ga ma sa re ni ri saa
praNati praNati praNati
pa ma pa ma ga ma sa re saa
praNati praNati praNati
praNava naada jagatiki
pamapa mamapa ma pa nee
praNuti praNuti pranuti
pradhama kaLaa SRusTiki

poola yedalalO pulakalu poDipinche bhramararavam Omkaaramaa
suprabhaata vEdikapai Sukapikaadi kalaravam ainkaaramaa
poola yedalalO pulakalu poDipinche bhramararavam Omkaaramaa
suprabhaata vEdikapai Sukapikaadi kalaravam ainkaaramaa
pairu paapalaku jOlalu paaDe gaalula savvaDi hreemkaarama hreemkaarama
girula Sirasulanu jaarE jharula naDala vaDi alajaDi Sreemkaaramaa Sreemkaaramaa
aa beejaakshara vigatiki arpinchE dyOtalivE

pancha bhootamula parishwangamuna prakRuti pondina padaspandanaa adi kavanamaa
ma ga ma paa pa ma paa paa pa pa pa
nipapapa nipapapa nipaapapama
ga pa ma pa ma gaa
antarangamuna alalettina sarvaanga sanchalana kELanaa adi naTanamaa adi naTanamaa
kanTi tudala harivinTi podala taLukandina sawarNa lEkhanaa adi chitramaa adi chitramaa
mouna Silala chaitanya moortuluga malachina sajeeva kalpanaa adi Silpamaa adi Silpamaa
aa lalita kaLaa sRuSTiki arpinchE dyOtalivE

Aanati Neeyaraa Haraa
aa..
aanati neeyaraa haraa
sannuti sEyagaa sammati neeyaraa doraa sannidi chEragaa
aanati neeyaraa haraa
sannuti sEyagaa sammati neeyaraa doraa sannidi chEragaa
aanathi neeyaraa haraa

nee aaNa lEnidE grahimpa jaaluna vEdaala vaanitO virinchi vishwa naaTakam
nee saiga kaanidE jagaana saaguna aayOgamaayatO muraari divyapaalanam
vasumatilO prati kshaNam pasupati nee adheenamai
vasumatilO prati kshaNam pasupati nee adheenamai
kadulunu gaa sadaa sadaaSiva
aanati neeyaraa haraa
ni nii sa ni pa nii pa ma ga sa ga
aanati neeyaraa
achalanaadha archintunu ra
aanathi neeyaraa
pama pani pama pani pama pani gama pani
sani saga sani saga sani saga pani saga
gamagasaa nipama gamagasa magasani
aanati neeyaraa

jangama devara sEvalu gonaraa
mangala daayaka deevenaliDDara
SaashTaamgamu ga danDamu chEtu ra
aanati neeyaraa
saanipa gamapanipama
gamaga papa papa
mapani papa papa
gagama gasa sasa
nisaga sasa sasa
saga gasa gapa pama pasa nisa
gasani saga saga
sani saga saga
paga gaga gaga
sani saga ga
gasaga ga
pada gasa ga ma sa ni pamaga ga
aanati neeyaraa
< Sruti Neevu Gathi Neevu

sruti neevu gati neevu ee naakruti neevu bhaarati
sruti neevu gati neevu ee naakruti neevu bhaarati
ee naakruti neevu bhaarati
ee naakruti neevu bhaarati
sruti neevu gati neevu ee naakruti neevu bhaarati
druti neevu dyuti neevu sarana gati neevu bhaarati
druti neevu dyuti neevu sarana gati neevu bhaarati
sarana gati neevu bhaarati

nee padamu lOtina padamu ee padamu nityakaivalya padamu
nee kOluvu kOrika tanuvu ee tanuvu nigamaardha niduluna nEluvu
kOrina migilina kOrikEmi ninukOni yaaDukrutulu pEnniditapppa
chErina yika chEruvunna demi nee sricharana divyasannidi tappa

sruti||

sri naada kavi naada srungaara kavita tarangaalu nee spoortulE
ala annamaacharya kalavaani alarinchu keertanalu neekeertulE
sri naada kavi naada srungaara kavita tarangaalu nee spoortulE
ala annamaacharya kalavaani alarinchu keertanalu neekeertulE
tygayya galaseema raavillina aananta raagaalu nemoortulE
ee karuna nElakunna prati rachanam jananee bhavataaraka manthraaksharam

sruti||

Jaajigaa Jaabilamma

jaaligaa jaabilamma rEyi rEyantaa
jaaligaa jaabilamma rEyi rEyantaa
reppa veyyanE lEdu enduchEta enduchEta
padahaaru kaLalani padilangaa vunchanii
padahaaru kaLalani padilangaa vunchanii
aa kRishNa pakshamE edalO chicchu peTTuTa chEta

kaaTuka kanTineeru pedavula nanTaneeku
chiru navvu deepakaLika chinnabO neeyaku
nee bujji gaNapatini bujjaginchi chebutunnaa
nee bujji gaNapatini bujjaginchi chebutunnaa
nee kunkumakepuDuu pRoddugunkadammaa

sunni pinDini nalichi chinnaarigaa malichi
santasaana munigindi santulEni paarvati
sutuDanna matimarachi Soolaana meDavirichi
peddarikam choope chicchukanTi penimiTi
pRaaNapati nanToondaa biDDagati kanToondaa
pRaaNapati nanToondaa biDDagati kanToondaa
aa renDu kaLLallO adi kanneeTi chiti
kaalakooTankanna GhaaTaina garaLamidi
gontunulimE gurutai venTanE vunTundi
aatuu pOTuu GhaTanalivi aaTa viDupu naTanalivi
aadiSaktivi neevu anTavu ninnEvi
nee bujji gaNapatini bujjaginchi chebutunnaa
kanchi keLLipoyEvE kadhalanni

PANDURANGADU : A MUST WATCH MOVIE

Cast:
Balakrishna, Sneha, Tabu, Mohan Babu, K Vishwanath etc
Music:
MM Keeravani
Art:
Bhaskar Raju
Dialogues:
JK Bharavi
Director:
K Raghavendra Rao
Producer:
K Krishna Mohan
Released On:
30 May 2008 The story of Lord Panduranga is a part of 'Skanda Purana', one of 18 puranas, the treasure house for divine stories. Tenali Rama Krishna, one of the Astadiggajas of Sri Krishna Deva Raya wrote 'Panduranga Mahatyam' taking the gist from Skanda Purana. Kamalakara Kameshwara Rao directed the film 'Panduranga Mahatyam' in the production of Trivikrama Rao in 1957, taking Pundareeka Vriththantham from Tenali Ramakrishna's 'Panduranga Mahatyam'. Now the same was remade as 'Pandurangadu' adding new colors in tune with the taste of contemporary audiences. Let us see how it went on:

Story:
It is the story of Pundareeka (Balakrishna) who leads a flirting life and neglects his parents (K Vishwanath and Shiva Parvathi) as well as wife Lakshmi (Sneha). In his lusty hangover he also kicks out all his family members. He falls in the trap of a crooked prostitute Amrutha (Tabu) and loses everything. She betrays him along with her mother (Y Viajaya) and grabs his property. He then also tries to enjoy the river goddesses Ganga, Yamuna and Saraswathi due to his lust. He tries to kick a saint (Mohan Babu) with his leg but gets paralyses stroke. He then realizes that his paralysis is due to his sins. He gets repentance and becomes a devotee of Lord Krishna. He goes back to his parents and serves them. His wife Lakshmi and finally he himself get salvation because of his bhakthi.

Performances:
Balakrishna looked best in Lord Krishna's role. He appeared like Nata Rathna NTR in many frames in Lord Krishna's get up. His color on his body was very dark in some scenes but on a whole that is not disturbing any way. His role as Pundareeka in negative shades also grooved well. He must be appreciated for picking up this role.

Sneha is the right option to play the role of Pundareeka's wife. She rightly performed in her role.

Tabu is the glamour element in the film and she didn't hesitate to portray with all of her oomph factor. But she has 'shown' more in some scenes where there is no necessity. K Raghavendra Rao's magic is seen again on silver screen. Using the elements like fruits, milk and flowers for bringing in erotic appeal is known only for KRR.

K Vishwanath is apt in father's role. Mohan Babu although appeared for a brief time, there is a purpose for his role.

JK Bharavi's dialogues are ok. But crossed limits in some scenes and lacked in required depth in others.

K Raghavendra Rao's efforts are rightly spread on screen. He has shown newness in many things. He has even shown the temples in Combodia for songs in dream sequences. Although not in the degree of Sri Ramadasu or Annamayya, he could bring in devotional depth in this theme as well, especially in climax.

Best Things:
Music plays best role in entire film. Lyrics are also aptly written and pictured in very sensible way-although the song 'Kosala Desapu..' is too erotic. Lord Krishna's 'Vishwa Roopam' scene certainly deserves great mention. That's splendid and marvelous. Mohan Babu's role, although short has made his presence felt in right manner. The film stepped into right tempo since his entrance. The message 'parents are more than the Lord God' is rightly conveyed which is a must for people at this juncture. The scene where Pundareeka asks Lord Krishna to wait outside for him until he completes his 'seva' for his father is really wonderful.

'Critic'al Aspects: Sneha's initiative to marry Ranga (Pundareeka) by showing her over-activeness in front of his house is something that's not in right sync with the tempo Sunil's comedy with hairy get up is also nasty that kicks out audiences from getting immersed into the theme In a scene Tabu dances in emotion by applying vermilion to her face. Audiences have shouted 'laka laka laka..' at that time. When the scene is composed with emotion which is more than required, the result will be that. The scene of Lord Krishna showing Brindavanam to Pundareeka is made with not so convincing graphics. Director would have looked into something spiritual with meaningful analysis for 'Krishna Tatwam' in stead of that. Although the questions regarding 16000 gopikas and 8 wives of Lord Krishna have risen in the film, they weren't answered in right 'taatwik way'. Writers of JK Bharavi's standard must be able to bring the gist of Krishna Tatwam in that scene. That was not rightly utilized as the answer given by Lord Krishna is very normal. Some dialogues have crossed the line- 'naavi pettudu pallu neevu pettudu………." (Brahmanandam's dialogue with Y Vijaya). As the right patrons for this film are family audiences, dialogues of that sort would disturb a little. Kids should watch mythological and devotional films to learn the essence of bhakthi and tatwa but not the meaning of these mundane dialogues. What happened to prostitute Amrutha and her mother? Why those villains weren't shown again? Balancing act hasn't happened by not putting an end to those villains.3

Analysis: The films of this sort should come again and again. They should teach the essence of Indian culture, bhakti and traditions. Film makers also should focus more on such subjects. 'Pandurangadu' is definitely the subject that has elements to make a commercial film. The subject has ample rakthi along with bhakti. Both these bhakti and rakhti should overlap in right manner. But that didn't happen here. Only in the second half (especially from the appearance of Mohan Babu's role), the spirit of the film is underlined. Last 30 minutes has enough of devotional fervor. The film could have been better if the scenes in first half were composed with more conviction. To sum up, this film is a must watch for all those who wish to know the essence of bhakthi and value of parents.

courtesy : www.greatandhra.com

SANTOSHAM 2002

Banner: Sri Durga Arts
Dialogues: Diwakar Babu
Lyrics: Sirivennela & Kula Sekhar
Camera: S Gopal Reddy
Art: Ashok
Music: RP Patnaik
Editing: Krishna Reddy
Screenplay: Gopi Mohan & Dasarath
Story - Dialogues - Direction: Dasarath
Producer: KL Narayana
Theatrical Release Date: 9th May 2002

Cast:
Nagarjuna,
Gracy Singh,
Sriya,
Prabhudeva,
K Viswanath,
Sunil,
Chandramohan,
Kota Srinivasa Rao,
Brahmanandam,
Paruchuri Venkateswara Rao,
Prighvi,
Bharani,
L.B. Sriram,
'Ahuti' Prasad,
Benerjee,
Master Akshay,
Sumithra,
Sudha and Anitha Chowdary.

Story

Karthik (Nagarjuna) is a well-placed architect in Ooty. He falls in love with Padmavathi (Gracy Singh), an IT intern. Padmavathi takes her own sweet time to accept Karthik's love. Padmavathi has a cute cousin sister Bhanu (Sreya). Bhanu encourages their love and gives courage to Padmavathi. When Padmavathi reveals about her love, her father Rama Chandraiah (K Viswanath) resists and asks her to marry the guy he has chosen for her. Padmavathi flees from home and marries Karthik. Padmavathi is very eager to get back to her parents and get their blessings. But Rama Chandraiah keeps them at bay. Karthik and Padmavathi migrate to New Zealand and they give birth to a kid named Lucky. Padmavathi dies in an accident.

Rama Chandraiah has a very big joint family. A few of the family members opine that inviting Karthik and his kid for a marriage to be happened at their place would give an opportunity to get a closer look at Lucky, the kid of Padmavathi. When Karthik visits Rama Chandraiah's place he gets mixed responses from different people in the house. Rama Chandraiah doesn't like Karthik and others like him. Over a period of time, Karthik impresses them all and when he was about to go back to New Zealand, Rama Chandraiah expresses his repentance for whatever happened and says that he is accepting Karthik as his son-in-law.

Bhanu has fallen in love with Karthik at first sight way back when she went to meet Padmavathi at Ooty. At that time she was not aware that Karthik was the same guy with whom Padmavathi was in love. She meets Karthik, a widower now. She continues having feelings for him. But at the same time, there is Pawan (Prabhu Deva) - a childhood fiend of Bhanu - who is deeply in love with her.

Karthik returns back to New Zealand. Bhanu along with Pawan visits Karthik. They were there to write MS examinations. During that period Bhanu gets closer to Karthik. When Karthik realizes the intentions of Bhanu, he fixes Pawan as the fiancée for her.

Now Bhanu is about to get married to Pawan. Karthik loves Bhanu, but is hesitating to repeat the history by marrying a girl against the wishes of family. Will they get united? You should watch this film on big silver screen to know yourself.

Artists:

Nagarjuna: Nagarjuna is as charming as ever. He suited the role of father and as the man in love perfectly. He wore black and white suits in this film and he looks very dignified in that get up. This role has given him ample scope for exhibiting histrionics and he made maximum use of it to impress upon one and all.

Gracy Singh: This is the first colorful film of Gracy Singh (Lagaan had a shade of gray). But she is not as glamorous as we expected her after seeing Lagaan. Her role is limited to 45 minutes in this film. She did justice in displaying right kind of emotions on her part.

Sreya (Sriya): Sreya got the major share of the pie. She is very cute and did the role of Bhanu with élan. Her vivacious attitude and chirpy outlook added the necessary luster to her character. She is a treat to watch.

Technical Departments:

Screenplay - direction: Screenplay of the film is very good. Direction is also very commendable. Dasarath has got good narration skills. The best thing about him is that he did not try to follow the trend. He chosen his subject and narrated it in his own style. This film oozes positive attitude. All scenes flow naturally and none them look forced. But he is slow in his narration, which might make masses squirm a little bit.

Dialogues: Dialogues in this film are very apt. No forced comic punch (except for a few scenes involving Sunil)! But Dasarath provided the right dialogues for the right scenes. A dialogue is worth mentioning here. It is 'preminchadaaniki rendu manasulu chalu - kaani pelli chsukovadaaniki rendu kutumbalu kavali' (while telling Sreya that he likes her .. but he does not want to disturb the equilibrium in the family of Rama Chandraiah).

Music: The best thing about this film is it's sweet music. RP Patnaik intelligently mixed the tunes into background music. Whenever you sense the augur of boredom, you find RP's background music uplifting the spirit.

Song: All the songs in the film flow naturally according to the storyline except for Mehabooba song. All these 7 songs are situational songs. Here is the sequence and placement -

1. Emayyindo Emo Naalo: When Nagarjuna first spots Gracy Singh.
2. So much to say that I love you: When Gracy rejects Nag love.
3. Devudu Digi Vachina: This song is pictured on Sreya, Nag and Gracy. This song follows when Sreya unites Nag and Gracy.
4. Nuvvunate Naakistamani: This song is on Gracy and Nag. It starts with the marriage of Gracy and Nag and ends with them giving birth to Lucky.
5. Dhim Dhinaktari: This is a marriage song at K Viswanath's house, which start immediately after Nag finishes his flashback
6. Diri Diri: A marriage song in New Zealand NRI function.
7. Mehabooba: A special song on Prabhudeva and Sophia Haq.
8. Ne Toli Sariga: This is the highlight song of the film. This song is cut into three pieces and is played between Nag and Sreya before climax

Photography: S Gopal Reddy has done a fine job, as usual, for this film by canning the picturesque locales of Ooty and New Zealand.

Production: KL Narayana produced this film very lavishly. This banner is called as a lucky banner in the industry. And he might again prove lucky with this film.

Analysis: First half of the film is entertaining. The beginning of second half is little boring. But the director got the audiences back into his grip half an hour before climax. Heart-rendering climax is a plus point of the film. The strength of the film is music (RP Patnaik), hero (Nagarjuna) and cool n composed direction (Dasarath). Weakness of the film is slow narration. As the director told in a press meet, this film oozes positive attitude. Hence, you will not come across any negative comments about the film. It is a good film to watch!

NARASIMHA NAIDU 2001

Music: Mani Sharma
Story, Screenplay: Chinni Krishna
Dialogues: Paruchuri Brothers
Direction: B Gopal
Producer: Medikonda Murali Krishna
Release Date: 11th January 2001

Cast:
Balayya,
K Vishwanath,
Simran,
Asha Saini
Preethi Jhangiani
Story

There are two neighboring villages in Rayalaseema. Goons head one village and Raghupati Naidu (K Vishwanath) is heading another village. As Raghupati Naidu is peace loving, his village is dogged by the misdeeds of goons from the neighboring village. In order to save the future of his village, Raghupati Naidu asks one male kid from each family to be given for the purpose of saving the village. Raghupati Naidu selected his fourth son Narasimha Naidu as his family's contribution towards the security of the village. All these kids will be trained and prepared to protect the village.

After 15 years…….

Anjali (Preethi Jingyani) is the niece of Jaya Prakash, who happens to be one of the goons from the goons' village who later settled in another village. Narasimha Naidu sets up a naatya ashram to teach classical dance to the students. Anjali falls in love with Narasimha Naidu at the first sight. Anjali joins Narasimha Naidu as the student and tries to make Narasimha Naidu fall in love with her.

Later on, she comes to know that Narasimha Naidu is already married and he has a kid too who is growing in the ashram. Narasimha Naidu is a widower as his wife Sravanthi (Simran) is no more. Anjali tries to get closer to the kid so that she can then marry Narasimha Naidu.

The parents of Anjali fix up the marriage of Anjali with one of their relatives. When the uncle of Anjali comes to know that she is in love with a widowed dance master; he attacks him and threatens him that he would kill the kid. When they find Anjali missing, the entire battalion of goons invades the ashram of dance master only to find that he flew away.

Narasimha Naidu, after coming to know that goons were coming to attack him, vacates the ashram and boards the train. At the same time Anjali too boards the train, though Narasimha Naidu rejects it. Then a fleet 16 Whites Sumos containing goons chases the train using a parallel road. And they over take train and stop it forcibly at a station. Then we have around 100-armed goons surrounding the train and vying for the blood of Narasimha Naidu. After a couple of minutes Narasimha Naidu gets down the train showing his back to them. And then turns around. The moment, the goons realize that the dance master is none but Narasimha Naidu; they leave all their arms and run away to save their dear lives.

Then Narasimha Naidu explains Anjali his flash back.

*flashback begins*
Raghupati Naidu realizes that no parents in the village is willing to marry off their daughter to Narasimha Naidu since he is meant for sacrificing for the safety of village. At that point of time Raghupati Naidu selects a beautiful girl called Sravanti for his son. But Sravanti is too sensitive and hates anything to do with violence. Hence Raghupati Naidu asks Narasimha Naidu to act as a soft guy who has liking for classical dance. After marriage Sravanti realizes the fact and decides to live with it.

Narasimha Naidu's three elder brothers arrive along with their families. Narasimha Naidu has lot of love and adulation for his brothers where as they treat him very bad which Narasimha Naidu takes in good sense. After a few days Sravanthi blasts at those guys who are making mockery of Narasimha Naidu. Then they complain about Sravanti to Narasimha Naidu. Being upset about this, Narasimha Naidu sends Sravanti to her parents place. At her parents place, Sravanthi gives birth to a kid.

The brothers of Narasimha Naidu are still upset with the insult that is made to them by Sravanthi and decides to leave back to the states. They arrange for the police security and refuses Narasimha Naidu to accompany them. During this period, the goons plan to kill on the brothers of Narasimha Naidu one end and son and wife of Narasimha Naidu on the other end.
*flashback ends*

Would Narasimha Naidu marry Anjali? Will he kill the main villain (the father of Sravanthi)? To know the answers to these daunting questions, you should watch this film on the giant screen.