Bapu-Ramana and NTR - The Story of An Improbable Association

The improbable origins and the legacy of friendship between Bapu-Ramana and the late NT Rama Rao in Two parts:

http://www.telugu360.com/bapu-ramana-with-ntr-not-a-fairy-tale-beginning-but-a-fairy-tale-ending/

http://www.telugu360.com/bapu-ramana-with-ntr-not-a-fairy-tale-beginning-but-a-fairy-tale-ending-2/

Bapu's "Seetha Kalyanam"

Watching ETV on Sundays post-lunch is getting quite nostalgic for Bapu film fans. Last Sunday, they aired "Radha Kalyanam". Today, we watched "Seetha Kalyanam". This film, despite the extravagant efforts in trick photography by Ravikant Nagaich and a poetic treatment of Ramayana story from birth of Rama to Seetha Swayamvar turned out to be a damp squib at the box office. 

Made in 1976 at a cost of Rs.14 lacs, it was made in just 14 reels but it created history of all kinds for Bapu-Ramana. Before its release, noted maker B.NagiReddi was shown the first copy. Obviously taken in by the visual treat, and buoyed by the stupendous success of the earlier classic "Sampoorna Ramayanam", Nagi Reddy is said to have remarked: "This should run atleast for an year." It probably ran for as much time - but not in the theatres but at major film festivals around the world - London, Chicago, Berlin, Denver. The producer lost his shirt in the making - his name Pinjala Ananda Rao. What made the Indian audiences walk out of this lyrical beauty and made the Western audiences croon over this film is a mystery. Perhaps, the absence of too many dialogues and too many songs spoiled it. Mullapoodi Venkata Ramana in his autobiography says the film has been the most relaxing for him as a writer because all he had to pen was ten pages of dialogues in the film  - the rest was all Bapu's hardwork and the work of the cinematographers, artists, music director KV Mahadevan and Ravi Nagaich. Audiences in AP however didn't receive the film well - when the movie started playing and the songs wouldn't end - they were clamoring: "Sound! Sound! Can't hear the dialogues." Obviously it bombed and after soaking up earlier to the complete six-course menu meal in "Sampoorna Ramayanam", the visuals didn't strike gold at the Box Office. But it became a milestone for Indian films in special effects and cinematography used in mythologicals. Before Bapu-Ramana stepped into the arena making mythologicals, the benchmark was Kamalakara Kameshwar Rao who was called Mythological Brahma. After the duo stepped in, there was only one way to make Ramayana and that is the Bapu-Ramana way. 

After the film's release, one film critic who wrote for "The Guardian", Derek Malcolm actually sang hosannahs to the team that made "Seetha Kalyanam". And I quote Derek Malcolm: 

"It is one of the most extravagantly beautiful films I have seen...It was really made by a team who have worked together often before. Mullapudi Venkata Ramana (writer), KV Mahadevan (the superb carnatic music), KS Prasad (Cinematography) and Ravee Nagaich (the Ray Harryhausen of Indian Special effects) have combined with Bapu to illustrate part of the Ramayana. The result is like a Hollywood Bible Epic done with real taste - an amalgam of lyricism, poetry and spectacle achieved with rare authenticity (everything is as accurate as possible to the legend and to the centuries-old paintings and decorations that embellish it). All is done with a gravita and dignity that is ultimately very moving. I have seen nothing like it before and can't help thinking that its popularity in the West is assured."

This film review ensured Bapu and producer get the passport to London film festival and get accolades galore. Later, the BBC released an English version of the film as "Seetha's wedding" in four episodes. Most of the world fame attributed to Bapu Ramana came with this film itself - despite the film losing the plot for the audience and the money for the producers. A few years back, one of my close friends gave me a contrarian viewpoint on "Seetha Kalyanam" written by none other than the legendary Satyajit Ray. It pained to read Ray's opinion on the film and here I quote again Ray:

"The chorus of praise showered on the south Indian mythological film "Seetha Kalyanamm" launched it on an invitation tour of the international film festival circuit where it won more praise. And yet, in fifty years of film-going, I have not come across a more flagrant exhibition of unmitigated kitsch. As a cultural hybrid which takes an episode from one of the two great Hindu epics, swamps the interiors with Persian carpets, Mughal chandeliers and comic-strip wall paintings; floods the soundtrack with what is claimed to be classical Carnatic music, but it turns out mostly to be high-decibel film songs a la Bombay; punctuates the story with camera tricks that were already cliches in the early days of the talkies; and wraps the whole thing up in the colours of a chocolate box, "Seetha Kalyanam" is a concoction par excellence. One could see it as being mildly enjoyable as camp, though that is not how the critics saw it.. They took it seriously." Those were the words of Satyajit Ray - one of the all-time Asian legends of film-making who thrived on making films for the western audiences. Phew! I was devastated that a film like this which is an outrighht mythological could be received so differently from a man who was an atheist and whose father Sukumar Ray, another multi-faceted legend wrote stories and spoofs on the Ramayana. One cannot judge Ray for what he said nor take what he said as the measure of what Bapu created iin "Seetha Kalyanam" because Ramayana and Rama-essence was what Bapu breathed all his life. So you cannot fault Bapu for failing to portray a mythological (which by its very nature cannot have historical angles and authenticities of settings) in the myriadness with which he endeavored to.

In his own version of what Satyajit Ray commented on the film, Bapu wrote in one of his last pieces that instead of commenting on whether he liked the film or not, Ray had made just two points on the film. "The carpet on which Seetha sat is of Arabic design. There were no crotons in those times." Bapu was sportive enough to take it on his chin on what the Oscar-winner felt honestly about the film. Then he asked for a snap with Ray which is stuck in his library with a caption: "The Long and short of Indian Cinema." So much for the criticism and its reception - Bapu style. But let me make out another inference: it is after watching Jayaprada play Seetha in the film did Satyajit Ray make the famous statement: "Jayaprada is the most beautiful Indian actress." Even the great director K Balachander once put his hand on Bapu's shoulder and said: "I don't go to temple or do pooja, being an atheist. But after watching "Seetha Kalyanam", my mind was reeling with visuals of your film for one week."

Back to the film SK. Not content with the film's poor reception, producer Ananda Rao went ahead post-film to make another two films with the same starcast of Jayaprada and Ravi who fit so well as Seetha and Rama. They were directed not by Bapu but by Kamalakara Kameswar Rao - "Seetha Rama Vana Vaasam" and "Sri Rama Pattabhishekam" but both bombed at the box office. Large-hearted Bapu Ramana who were paid Rupees Sixty thousand as remuneration for SK returned fifty thousand to the producer who was struggling to make both ends meet. 

Those were some of the tit bits I remembered after seeing the film "Seetha Kalyanam" (even as I am still at a loss of words to pay a fitting tribute to the great Bapu uncle). Most people rate the scene which shows the river Ganga's descent to earth as the best SFX scene which was created by Ravikant Nagaich using loads of chalk powder in gunny bags poured from atop the mendicant hoods of Lord Shiva. Yes that was something ingenious in those days. But my favorite scene is the climax where Parasurama comes after Rama breaks the Shiva's bow at Swayamvar.  It is a fantastic interpretation of what happens when one incarnation makes way for another and there's subtle psychology at work in all the characters in limelight for the scene - Parasuram who feels like a spent force after Rama takes the Vishnu's bow as a test of greatness and breaks with equal elan, and then Vishwamitra who is witness to a new history in making -  he divines that Rama is indeed Vishnu's incarnation and then magically moves his hands - first as an acknowledgement of divine blessings and then waves them back at the Lord as if all that comes to us should go back to Him only. One of the most subtle scenes that tells a lot. 

Those were the times when movies were made with purity of heart and without an expectation of rewards or awards. 'Seetha Kalyanam' will stand the test of time as long as Ramayana stands.

#SeethaKalyanam

Nobody like Mandolin Srinivas

 Most musical geniuses peak at age 44 and with the exception of Mozart and a few others, many go on to cut more discs in their fifties. It is therefore shocking to hear U.Srinivas pass out at the peak of his prowess. I know of few other instrumentalists in the world whose surname is synonymous with the instrument they play with. You won't call Sax KennyG or Tabla Hussain or Violin Subramanyam or even Shehnai Khan or Piano Beethoven. But you will always know this prodigy as Mandolin Srinivas. He brought so much joy and veneer to an instrument which was actually shunned by both Hindustani and Karnatik musicians simply because it was either too simple or too complex - until you heard Mandolin being played by the butter-fingers of U.Srinivas. For those who had the luxury of watching him play the instrument, he released rare joy and energy into the ether when he played the Hamsadhwani or any other Karnatik raga.   

Mandolin was thought of as a western musical instrument such that the instrument was brought into the Karnatik fold only in the 1980s. This is because the bare instrument was beyond the scope of those who tried to navigate the strings for melodic movement. Before U.Srinivas, there was a film composer Sajid Hussain who tried to bring the magic of Mandolin into films. The great Blapu who died recently, used fifteen minutes of one of his compositions in the film "Muthyala Muggu" as a BGM for showing the consummation of a newly wed couple. He tried to use another piece in "Gorintha Deepam" by which Sajid Hussain became famously known in Tollywood too. 

However, the instrument required huge maneuvrability to produce the sounds that come easily in other stringed instruments like the violin or the Sitar - the most mellifluous of classical musical instruments where the semitones (the inter-frequency between each sound) are quick and continuous which expand the range of output. Mandolin had its limitations that got tweaked when it became an electric mandolin similar to an electric guitar - that was the stage on which U.Srinivas launched himself giving one performance after another performance winning plaudits and patronage from kingly sponsors. 

Though he started off with classical concerts playing at every world stage from Berlin to NY to the Asia-Pacific, Mandolin became renowned as an instrument that deserves attention and glory amidst the paraphernalia that musicians and orchestras carry. It was embraced in Karnatik music because of the electric mandolin's ability to create and sustain continuity of sounds  - like the violin or the sitar. Indians have finally thrown up another great instrumentalist - in the same tradition of world-renown as that of a Sarod, Veena, Violin, Sitar or Santoor. Mandolin Srinivas has given scores of concerts in his career, giving many jugalbandis with the other legends. One of his moments of crowning glory came not with a Padma Shri or a doctorate but an invitation to be part of "Shakti" band - which is the gold standard for fusion music combining the reigning greats of the day  - John McLaughlin, Zakir Hussian, L Shankar, Vikku Vinaykram. Mandolin proved to be a good addition to the ensemble of the best percussionists and stringed instrument players of the day. The brand "Shakti" created some electrifying music but later diluted itself further by calling a vocalist called Shankar Mahadevan. Shankar Mahadevan's addition proved inimical to the purity maintained by the Shakti group. But that's besides the matter.

Mandolin Srinivas played with his younger brother U.Rajesh and gave him good recognition and respected the Karnatik music traditions. It is both stress-busting and mesmerising to listen to U.Srinivas. He composed many different versions of the leading ragas and also tried to re-emphasize the versatility of Mandolin to play film tunes. One of the albums that I have is a rendition of Ilayaraja music on Mandolin, an absolute treat. Except for Shankar-Ehsaan-Loy and AR Rahman in Bollywood, haven't heard many music directors use Mandolin in their BGMs or songs. But in South, KV Mahadevan, MS Vishwanathan, Vidyasagar, Mani Sharma, Mickey J Meyer and SS Thamman have embellished their sounds with strategic and selective use of Mandolin. The key to getting Mandolin enhance the feel and tonality of your music is to use it a pre-note or in the interlude - and you can see why all the music directors I referred to have used it as aptly. Where does Mandolin Srinivas's legacy go? As long as Mandolin is played, U.Srinivas will live on. It is fitting that the instrument lends its name to a legend who made it world-famous. Or poetic that Srinivas got his name surnamed as Mandolin because that is what gave him identity and immortality. All Maestros have expiry date but Mandolin Srinivas lives on.

#Mandolin #MandolinSrinivas #USrinivas #Shakti #ClassicalMusic

"Midhunam" Telugu Movie

“Midhunam” (Telugu) is a much-awaited film for the art-loving Telugu crowds who love clean, good cinema. “Midhunam” means “couple” in Telugu. It is based on a story by noted Telugu SriRamana (different from Mullapudi Venkata Ramana) by the same title released in a Telugu weekly in 1998, the story went on to became an instant classic – critically acclaimed and encomiums poured in from all sides – readers and legends in literature. Bapu, himself got so overjoyed reading that story that one fine day, he re-wrote the entire story running into about 6000 words in his own handwriting. It was re-printed in that famous Bapu font and became a best-seller. Director is Tanikella Bharani, one of the most talented personalities in Tollywood (he is a poet, theatre artist, dialogue writer and himself an acclaimed film actor noted for his unique timing and voice modulation). He was so taken up with the story “Midhunam” that he directed the film investing a lot of his passion and energies into the making of this film. Earlier this year, Bharani also released his famous couplets on Lord Shiva as an audio CD in his own voice which are selling well. As a writer first and a poet later, Tanikella Bharani is a unique personality who never loses an opportunity to propagate the grandeur and beauty of Telugu language. He loves Telugu so much that for the past 25 years, he insists his signature on bank cheques is also in Telugu and not English. Against this backdrop, “Mithunam” is quite an experiment which deserves the plaudits showered on it.


The story is about an aged couple AppaDaasu (S.P.Balasubramanyam) and Bucchilakshmi (Lakshmi) who live in absolute trance of the village life with an ecosystem of natural habitat full of organically grown vegetables, co-habiting animals and lush greenery all over. The couple’s five children are all settled abroad but the couple is nonchalant about pleasures and pressures of parenthood in twilight years. SPB keeps reminding his wife about “detached attachment” and being merrily and madly in sync with each other, they tune into the radio, help each other in various chores including pressing each other’s tired legs, make the rituals and rearing the cow and its calf and cultivating a beautiful horticultural farm a feast and a happy pastime. No TV, no freakouts, no secrets from each other and no other hang-ups in life except to occasionally spar with each other on issues best known to them. Everyday it’s a breeze and time flies because the elderly couple are busy with so much of work with their hands and legs – the manual work which gives villagers so much headway in health and happiness.Then there is a twist in the film with one of them passing out. You will have to find out which one. A simple story but there’s a third character in the film - the nephew who is witness to the old couple’s foibles and fracas with each other and funtimes together – that character is omitted by Bharani as he was keen to experiment the whole film with just characters. Infact, that is an amazing part of the film. For 123 minutes, the running time of the movie, there are just two human characters SPB and Lakshmi playing the two roles and Bharani has produced quite a stunning play of a range of Nava Rasas between the two with many shades and spirited entertainment. There is uproarious laughter, giggles, laments, weeping, anger and the occasional drama created between the two characters in their well-nuanced roles.

Not many films have come with just two characters; the ones I remember are “Show” and some movie in which Sunil Dutt plays it all himself in a B&W film. Such plots have to be sustained and thankfully, in this film he picked two veterans in the craft of acting and sometimes overacting – Lakshmi and SPB. While Lakshmi is quite apt and well-controlled, SPB carries always a shade of Tamil stars like Sivaji Ganesan when he acts but his pronunciation of the toughest but most mellifluent Telugu carries the day for his detractors. He can control the flow of words as they should occur and in “Mithunam” he gives a dignified uplift to his performance except for about three scenes where he overacts. Even if SPB the actor cannot stop himself, his performance alongwith Lakshmi elevates the film to a new level. In the original discussions about this film about star cast, one actor who would have sealed it had he been alive today is Gummadi – who wanted to play it badly after he read the story and reacted in public. Prakashraj would have been too theatrical and Chandramohan is way out of touch with weightier roles of late, so SPB was indeed apt choice, in hindsight.

Music by Swara Veenapaani is reasonably well-received especially the title song sung by KJ Yesudas. There are few other songs which take a leaf out of mythological classics belting out “Padyams” and lullabies and “funny”item songs. There is one song sung by lyricist Jonnavithula on coffee. It can be the best ever song on coffee which can elevate even brands like “Starbucks” and “Café Coffee day”. It celebrates the heady feelings one gets by drinking the home-made filter coffee of the typical South Indian family. There are few other songs which showcase the grandeur of the song-banks resident in our old movie classics and also showcase the richness of Telugu culture. Kids will probably love a short cartoon film running for 4 minutes about the ills of over-eating SPB style - no insult meant here, SPB himself reduced 27 kilos before this film. In order to break the monotony, Bharani uses repeatedly the All India Radio as a backdrop for various daily chores of the couple, and reminds the new generation that it is not FM Radio but AM 700-800 MHz which still runs with sundry programs in news programs in Telugu, Sanskrit, Hindi and a host of native plays, skits, songs and utility fare that resonates with those who tuned in religiously from 6am till 11pm. That routine of tuning to the radio from sunrise till an hour before midnight is the right time for keeping your biorhythms in tow with good health and good sleep. Bharani captures all these with a great sense of nostalgia. A few shots stand out giving lot of symbological messages; being a Shiva worshipper, everytime there is a bereavement in the film, it is shown as if its going back to Shiva.

On the whole, the movie is a visual treat and is watchable by family. Bharani has hunted for a 3-acre house that captures the enchantment of what SriRamana wrote in his novel about. Bharani found one finally and grew fruits and vegetables and trees for six months before commencing shooting. He has also shown a rare courage, thanks to producer Ananda M Rao, to retain the pure and richly prosaic standard of Telugu language used by Sriramana in the film. This film is sure to dot the film festivals with subtitles in English but if you belong to the Telugu fan club, this is a must-see anyways devoid of commercial drivel that vitiates our films. In October 2012, there was a world survey by the World Languages Institute in Thailand in which the jury sat down to judge more than 33 classical and modern language scripts around the world. While Korean language was judged as the best language according to various parameters including use of the language in scientific paper presentations, visual appeal when you write the language, the shape and metric beauty of the letters, the number of words and combinations that the letters can facilitate, etc. Voila! Telugu Language has beaten the likes of Tamil, Hindi, Marathi, Bengali, Kannada and Malayalam in being judged as the second-most beautiful script language in the world. English, not my mother tongue, has come third or fourth. For anyone who wants to know more about Telugu culture, language and the lyrical beauty, “Midhunam” is a fine biopic to get introduced to, even if it has its flaws. I will give 3.75 on 5 making a fractional exception for a fascinating film to watch. I can guarantee you that if you have aged parents and grandparents, they will bless you forever for taking them to this film. It also has a message: No need to retire from life because you retired from work. And parents can have their own space even after their kids move on.

"Onamaalu" Movie Review (Telugu)

"Onamaalu" in Telugu is an expression used for learning the first letters of the alphabet in school. It is the latest film starring veteran actor Rajendra Prasad. He is an actor who has always had a time-neutral following from NRIs and Indian Residents alike because of associating himself with the most celebrated directors of creative cinema. He has worked with Bapu, Vamshi, Jandhyala, EVV, Krishna Reddy and Krishna Vamshee and has starred in some of the most preciously-revered DVD films of all time in Tollywood. According to me, his defining work in the second avatar as a mature, aged artiste came in the last four films - One, was "Aa Naluguru" (literally means, "those four people who carry our corpse after we are gone"). Second, "Mee Sreyobhilaashi" ("Your Well-Wisher"). Third, "Quick Gun Murugan" (which became a flippant Hollywood co-production that got him international fame). "Ayyare" came and went, but not so much adulation greeted him because he was hardly present in the first half. Now, "Onamaalu" is a fitting fifth film that will enshrine Rajendra Prasad forever in the hearts of Telugu audience. It is a different film and requires a context and patience thats hard to come by in today's multiplex and theatre-controlled environment where the big star movies alone run.

What's the story all about? Its about the scorching pace of Urbanisation and its undermining influence on the source of our values rooted in village. So, Rajendra Prasad is a retired master who gives holistic value-based education in a village in AP and trains batch after batch of students. He is happy being part of a village ecosystem where everyone from Sarpanch to the Post-master live in simple living and high thinking and more importantly, benevolent sharing of the good and the bad, rising above religious and sectarian difference. Time flies and we cut to the scene where, after the passing of his wife Kalyani, he is persuaded to re-locate to the US with his son's family. As he yearns to come back to re-visit his roots in the village, he returns only to find the idealistic world of his former village turned upside down - mass migration of the young generation, deserted look at the school where he taught and apathy of the village folks to what's going on at large. Technology drift has put a spanner in most careers like that of a postman and the teacher, while there's no more large-heartedness of the people and the rustic charms were visibly absent. Does he recreate the old magic? Can he connect with today's generation in loving their roots and going back to the source? That takes the brief climax of the film in a narrative that's reasonably good with occasional flashbacks and cross-flashbacks - take it like "pitta kathalu" (short-story within long story).

There are some hard-hitting dialogues by Mohd Khadeer Babu on the current scenario of nuclear families, hitech lives with low-touch approach, our continuous debasement of everything traditional thinking its not modern.Director K.Kranthi Madhav has characterised well a gentle story of a teacher who teaches all his pupils to be good samaritans without caring about monetary gains. The highlight of the film is the flashback with one batch of pupils taught by Rajendra Prasad - who are quite apart from each other but end up with the value system thats fallen on deaf ears today. Koti has given excellent songs and BGM score. He lifts off the tunes from Adimieus and "Secret Garden" albums, embellishes them with Indian instrumentation to give a memorable feel to the mood of the film. If you want to see a different film with some preachy content, the film will surprise you with the depth and the tearsjerker - you will have to use the handkerchief many times - the content is that touching even if sometimes didactic. Movie length is ideal for the theme - just 125 minutes in all. But watching the film made me nostalgic about the village life. Its heartening to see some memorable old artists like Giri Babu and Chalapathi Rao get meaty and affectionate roles. Rajendra Prasad steals the thunder, yet again  - he has reinvented himself to stay relevant for the times. Comedy is intertwined with the narrative and quite okay.

There are some exceptional scenes in the film which promote tolerance of all religions. No wonder, most sectarian violence or acts of religious hatred and bigotry happen outside of villages in India Today, in cities and towns, hardly ever in villages. The movie also makes fantastic commentary on the generation of NRIs and RIs who, on one hand, send off their kids to opulent schools without knowing what they teach and whether what they teach is relevant to our society or not. On the other hand, they either pack off their parents to Retirement Homes or Old Age Homes or send them lumpsum remittances to upend their maintenance needs while staying apart. The result: they are running away from the source of their origins (parents) and making kids alienated from the very source that made their worlds. Both these trends are gnawing at the roots. There are some soul-searching questions on what constitutes modernity and what is the end-use of all modern-day-living which will go well with the elite. Powerful statements are made on the way some hi-tech schools teach our kids - that milk actually comes in sachets, water actually originates in bottles and rice comes in sacks. Many years ago, Uncle Anant Pai told us that it is important to know the route to your roots through the history and value system thats relevant in India - thats what got him interested to combat the onslaught of Marvel comics  - of Batman and Phantom and Superman comics with relevant and man-making content of Indian stories through Amar Chitra Katha. This movie is closest to that attempt on celluloid. Though there have been movies like "Devasthaanam" etc. in recent past, this movie is more effective. But I doubt, producer and director Kranti Madhav will make enough money. But some movies are always made with the heart- not with an eye on satellite rights. A movie like "Aa Naluguru" or "Sankarabharanam" was never made with a lucrative motive - that they are still watched and count amongst classics is all that matters. Watch this movie too with that expectation - it is far better than "Devasthaanam" because Rajendra Prasad, unlike SPB doesn't over-act. And it makes far more relevant points, despite being didactic.

Vara Mullapudi s/o Mullapudi Venkata Ramana

Vara Mullapudi s/o late Mullapudi Venkata Ramana garu best friend of Bapu garu is an ace director who is about to taste big time success. He has learnt all the tricks of trade in directing from Bapu uncle and on scipt-writing and welding language from his father. He is a versatile talent - a dubbing artiste (remember that rich baritone in "ఐతే" (as Inspector Sivaji)), a story-writer ("మర్యాద రామన...్న"), a narrator ("కోతి కొమ్మచి"). He binges on movies and is a mightier reader than even Bapu garu. I am attaching a link of an article he shared with me sometime back. This piece was written in memorium of his father's lasting friendship with Bapu garu. You can read it from this online link in a Telugu magazine brought out by NRIs. I told him if ever he is tired of films, he should take up writing as a full-time career like his legendary dad - Vara's prose has the same verve, variety, panache, self-deprecation, humility, humour and warm innocence that Telugu readers know about his father. Mullapudi name lives on in the household and will rule the Telugu hearts. If you don't know Telugu, I apologise - but this piece is the best eulogy written by a son for his father. It celebrates the friendship of Bapu-Ramana and also brings out the humanity of Vara's father in a subtle way. It is delicate, delicious, and heart-warmingly good - like having a nice hot and spicy Andhra meal. తెలుగోడీ సత్తా సరుకు అంతా ఇందులో ఉంది. ముళ్ళపూడి భాష పదును పన్చ్ స్పష్టంగా ఉన్నాయి.


http://www.eemaata.com/em/library/tana-2011/1761.html?fmt=rts

Film Production Costs and Satellite Rights of Movies

"Businessman" is releasing on 13th and "Bodyguard" on 14th. Good for both. But there's a new twist in "Businessman". For the first time, it seems, the satellite rights of "Businessman" are sold on a revolving basis instead of being sold for a longish period of 5 yrs or so. This time, Puri Jaganadh, the maverick director who worked non-stop for 77 days schedule of the movie has done what smart Bollywood producers are doing. He bought the satellite rights of the movie for a whopping Rs.7.7 crs - Rs.5 crores as his remuneration for the movie (Wow!) and Rs.2.7 crs. as "Eduru Katnam" making it an unheard of figure for satellite rights for any Tollywood movie. For the first round of limited period - MAA TV gets the rights. Interesting times for Tollywood producers and directors - satellite rights are fetching good monies.


"Sri Rama Rajyam" has fetched its benevolent producer Saibabu Rs.4.50 crs. and so on. In times of yore, you had none of this - I remember once "Shankarabharanam" producer Edida Nageswar Rao was flying with me - and he told me that most of his classics were sold to SunTV for a song - as long as Rs.5 lacs or so. Times have changed and even Directors are thinking like a "Businessman"!

The onus shifts to Satellite TVs to make money - MAA TV holds the rights of almost all the top ten all-time grossers of Tollywood in the last five years, Gemini and Zee come up with occasional movies which get the eyeballs still, while ETV goes for the ever-green mix of vintage movies with high family entertainment. I was once educated by a Respected Media Advisor on how TV Channels like MAA TV made huge money by betting on movies which nobody guessed would become "multi-baggers" like "Pokiri" and "Simham" - that is what I call scientific betting. But when the stakes get higher like Rs.4 crs to Rs.7 crs. it becomes difficult to make money unless you show the movie atleast 20 times within the period the rights are bought for - say, five years and so on.

There is another game in this whole buying - and most often, it appears to me, the smart producers and directors will create a story to pump-prime the winning bid. They will say, "this movie cost us Rs.40 crs." It will not always be true. OR, it will be hopelessly true sometimes. For example, in "Srirama Rajyam" movie, the opening shot of the movie shows Rama and Sita ushered in at Ayodhya with flowers. That shot - remember? Originally, Bapu Uncle wanted rich quality flowers costing Rs.5000/- for them. Producer SaiBabu wass not available on the shot and the Production Controller said "Sorry Sir, that is not possible because we dont have sanction beyond Rs.500/- for this shot." Bapu Uncle said, "Okay, whatever, let us have it for Rs.500/-". When the director and the producer were reviewing the shots, Producer Saibabu wanted a richer look for the shot and asked Bapu uncle why costlier flowers were not used. Bapu uncle said, "Your man didn't allow us to buy costly flowers so we made do with flowers worth only Rs.500/-only. But we can digitise the effect to reflect higher quality." Saibabu gave a go-ahead. The final bill - from what should have been Rs.5000/- for flowers came as a shock to Saibabu - it was Rs.5.96 lacs!

Whose fault is it? Not Bapu Uncle - he is known for strict budgeting and cost control. It was the mistake of the Production Controller who should have checked with Executive Producer or the Main producer for not cutting corners with a crucial scene like that. Fifteen or more of such special effects, and you will easily incur a few crores more. Thats how film costs go up - but as I said not all costs are genuine - they could be marketing ploys to cough up higher satellite revenues. Thats the main point of this story - not to poke fun at anybody.

Sri Rama Rajyam Movie Review

“Srirama Rajyam” is worth the wait and worth watching all 150 minutes. Honestly, I was not bored even once despite that there were no fights, no item songs, no comedy tracks, no belly-dancing or bottom-pinching movements. On the contrary, Balakrishna who usually mouths blood-wrenching dialogues and Nayanatara who wears sleeveless sarees gave one of the best performances of their lives – Balayya with his “Avatar” Vishnu-blue colour body and impeccable makeup and costumes that are reminiscent of NTR and Nayanatara with her Satwic portrayal of Sita in elegant skin-protecting dresses is surprising.


The script - originally purportedly written by Sage Valmiki – based on the original “Luva Kusha” was well-fleshed out, articulated and embellished by Late Mullapudi Venkataramana garu. You see him in every line that every character speaks in the film directed superbly by Bapu garu. It is incredible that after so many decades after “Seeta Kalyanam”, Bapu and Ramana retained their affection for Ramayana so well as to carve out a mini-epic that will resonate splendidly with today’s audiences. In interpreting Ramayana in the light of today’s changing themes of polygamy, disharmony and dysfunctional childhoods, live-in marriages and celebratory divorces, children and parents who live on different planets, et al – Mullapudi Ramana gives his subtle take on many aspects for those who listen to the under-currents behind the voices coming from the characters.

The original “Luva Kusha” despite its celestial songs and immortal characterization came in techno color and all of 22 reels with higher Telugu proficiency. This one is 16 reels and full of crisp characterization and wonderful visuals and some ten minutes of outstanding graphics toward the climax. Not just Balakrishna and Nayanatara - almost everybody gets to shine once or often most notably ANR (who played a majestic role as Sage Valmiki), Srikanth (as Lakhsmana), KR Vijaya (as Kausalya) and Roja (as Sita’s mother Bhoodevi). The three kids playing Hanuman, Luv and Kush give us a full feel of what blithe spirits are – they are just adorable. At eighty, when most folks wheel away in their chair or eke their twilight years like a vegetable, Bapu garu has worked so damn hard on a subject that’s dear to him and his dear friend Mullapudi Ramana who passed away before the film got completed. Of course, it requires a gutsy producer like Y Saibaba to collaborate so well in bringing such an ambitious enterprise to bear fruit – and he is the silent hero who has to be appreciated. One movie like this will get generations back to its roots – and Bapu has taken great care in giving a top-quality visual which is crisp, neat, measured not once appearing either regressive in message or vulgar at all (like some of the other directors who attempt mythologicals get tempted for). Music by Maestro Ilayaraja is already a hit but in the movie he used it with calibrated orchestration as BGM that will stand out.

There are minor blemishes in the movie but hardly noticeable in the flow and very few cinematic liberties taken by Bapu and Ramana – but they don’t impoverish our worldview, they enrich the movie. Also, given the thin layer of the original Uttara Ramayana, I expected to see Bapu-Ramana team to delve more into the nuances of Rama Rajyam which people like Mahatma Gandhi and others talked about – give us a broader sweep of how a society used to live under Rama Rajya – rather than concentrating on the melancholy and twist of fate separating Rama and Sita yet again. That would have set “Srirama Rajyam” further apart from “Luva Kusha” as the final epic instead of mostly showing a brooding Rama. Sita’s character always shows greater resilience and courage than Rama – and that comes through ably through Nayantara.

Ramayana as a theme always finds takers for its undercurrents of love, family values and devotion. I am always intrigued that right from Valmiki to Kamba to writers like RK Narayan, C Rajagopalachari, Ashok Banker – success always crowns those who stick to the basic knitting. If you stray from the plot like Mani Ratnam or take liberties under the veil of artistic freedom, you will get dumped not for irrelevance but for irreverence. Recently, Delhi University has scrapped AK Ramanujam’s essay on 300 versions of Ramayana because the epic is burned so deeply inside our national consciousness that reading the original version gives more benefits than when it is not endured. To that extent, “SriRama Rajyam” is recommended highly. We are taking out our 83 year old grandmother as well as kids who see Telugu DVDs with English subtitles. And let me say this unabashadely, nobody makes Ramayana epics better than Bapu-Ramana or for that matter Telugu folks.

Kothi Kommacchi - 3 is released

Late Mullapudi Venkataramanagaru's work-in-progress columns in "Swati" weekly till his last days are published as part 3 of "Kothi Kommacchi". He stopped writing this column in May 2010 citing bad health and promised to resume on Ugadi of 2011. That was never to be. But the current one is shorter costs Rs.100/- and has priceless memoirs of people Bapu-Ramana met last 10 yrs. Must buy for Telugu literature lovers.

Why do they increase the costs of Film?

A bird tells me that the collections of Leader have dwindled after the release of  Yeh Maaya Chesaave. And producers are worried about the chances of recovery of more than Rs.18 crores gone in the film. One basic thumb rule that smart investors in films make is:  What's the ratio of film exposed (negative)  to the final reel output? It should be 1: 6 and exceptionally, 1:4.  Sekhar has made Leader  using 450,000 feet of negatives which means it has costed about Rs.1.125 crores for the film print itself. That's a humungous waste and probably exceeds all the unfinished output of Sekhar's previous and future films. When such a high fixed cost is incurred (film negative is paid for upfront), it badly affects the economics of the film for the producer. A frugal and well-planned director doesn't consume more than 1/4th of the film output by way of negatives. This is becoming the bane of modern film-makers and a nightmare for film producers. Bapu's Sundarakanda used up 87000 feet, Vara Mullapudi shot Vishaka Express with 67000 feet, and Krishna Vamsee used up more than a lakh feet just to give an idea of what some of the sensible directors do. This cost is virtually irrecoverable for AVM. We'll look at more such dynamics of film-making in days to come...