Sad to- know of
actress Krishna Kumari’s passing at age 85. In the history of Telugu Film
Industry, Krishna Kumari will remembered as one of the most glamorous heroines
in the B&W era making her presence felt in a range of plots from social to
folklore to mythologicals. Acting in over 100 films, her strength is in
projecting her classical looks into any role which demanded feminine grace,
virtues of patience and generosity. What she lacked in versatility of her
contemporaries like Savitri and Jamuna, she made up sheerly by her good
temperament and immaculate dressing. From NTR to ANR, from Kantha Rao to
Krishnam Raju, she was always ready to pair opposite anybody unmindful of her
dizzy star power – which even overshadowed her own sister Sowcar Janaki who
sprung into films much before her. Winning State Awards was easy for her
because of the soberness she carried on screen and one never second-guessed
whether she had any mirth off-screen except for those adventurous Janpad films
she got paired alongwith Kantha Rao and Rajasree. The twist of history in
Tollywood reveals that Krishna Kumari emerged like a dark horse (actually not
dark!) when the film industry had an embargo on actress Jamuna after her tiff with
NTR. The boycott lasted about five years enough for Krishna Kumari to double
down on as many roles, meaty as well as one among the three heroines. Industry
heaved a sigh of relief that there is a good alternative to Jamuna. But the gap
was short-lived and Jamuna bounced back with her memorable performance in “Gundamma
Katha”. Nevertheless, Krishna Kumari created an identity for herself in the
South Indian Film Industry with a good mix of pace, initiative and tactfulness.
The late NTR was so smitten by her that there is a rumour that both of them
wanted to marry but NTR’s wife wouldn’t approve of it. That’s why some of the
most romantic hits like “Bandipotu” etc came in that era.
It goes to the credit of Krishna Kumari that her feminine
grace and dignified performances ensured that the most magical musical output
of the golden era came as lilting songs featuring herself and heroes serenading
her. You name any of Krishna Kumari’s films, and scores of melodies and
superhit songs count – be it “Vagdaanam”, “Constable Kooturu”, “Kula Gotralu”, “Lakshadikari”,
“Bharya Bhartalu”. Women in the 60s and 70s universally identified with her
roles and the mesermerising music and the multi-star cast that usually
earmarked her films ensured she is enshrined in our memory. She was also keen
not to appear older or diseased in her films, a facet that kept her glamor
quotient high even if it didn’t aid her career greatly after the nuanced Jamuna
staged a comeback and other heroines like B.Saroja Devi, Kanchana, Vanisri etc
surfaced. The best part of Krishna Kumari’s life and career is that she kept
her dignity throughout, staying closer to her blood sister S.Janaki. Her part
in elevating a heroine’s character without qualms and skin show is what is her
greatest legacy. Also, if you go through her entire filmography, you may just
find very few films like “Sampoorna Ramayanam” where she is seen as aged widow
of King Dasaratha. Her obsession with only appearing in fairy tale visuals and
happy frames is what makes her the original fruitcake in Tollywood. She reminds
me of the Shakespeare quote and I would hence say: Some heroines are born
great, some achieve greatness and some have greatness thrust upon them. Krishna
Kumari is a heroine where Tollywood thrust greatness on her.
