logo

What makes a master, Master?

“In Raj Kapoor’s Jis Des Mein Ganga Behti Hai, one guy plays an instrument and challenges Raj Kapoor. Raj Kapoor concedes to that guy and says you are really great, I don’t want to challenge you. I believe in that concept. As long as one thinks great of themselves, they do not achieve any thing.

Which is the reason I am always a learner. I have to update myself the new styles, new trends from the new guys. That is why I continue to bat. Though I am not hitting fours and sixes, I am not out either. One thing I am fortunate about is the time I entered. I got chance to work during the times of KV Reddy, Chakrapani, BN Reddy and other stalwarts. That is the golden age.”

Where does a master start?
Cinema has always been SSR’s object of passion. When approached KV Reddy for joining him as an associate, Reddy kept pushing it away. He had to heed to the need for the necessities of life, but his obsession with the silver screen brought him back to the door of the legendary Telugu director.

This is the story of that struggle, in Rao’s own words, as told in an interview:

“Of course, initially Mr. Reddy refused to take me in. I remember waiting outside his house for hours. Sometimes he would acknowledge my presence, sometimes not. But I did not budge in. After a few weeks of my persistence, he gave me a story line. Task is to prepare script for it. I am a good story writer. But I was not sure then on how to go about with the screenplay. I gave my best efforts and went to him.

It was kind of interesting. Usually KV Reddy garu always spoke to me outside and I was sent away from there. But this time I was given a chair to sit. That was my first step. Then he offered me coffee. I considered that one more step. After reading my story, he offered me the position to work with him as apperentice. And I started working for him for Mayabazar. I felt so proud to be working for KV Reddy garu.”

Marcas Bartley was the top camera man those days (his work for Mayabazaar is legendary). As per the protocol adhered to by KV’s crew, only Marcus and KV will get a chance to see through the camera lens. Right from the moment he started working on the sets of Mayabazaar, Rao always wanted to see through the lens - at least once.

One fine day he gathered courage and approached KV. KV gave Rao one glance and gave a shout to Bartley. Bartley looked back and beckoned the young man. Rao ran towards the camera only to hear Bartley say “WAIT!“. He was scared by the tall giant of a man and stood still. Bartley summoned a spot boy to get a high chair. Rao was a short guy and the camera was set high - in position. Hence the high chair. Bartley then he called the lights on and Rao had his first look through the lens eye.

What was it like? let’s hear from the man himself - “When I saw through the lens, my lifelong wish was fulfilled. It is the memorable moment of my life. It is the best moment of my life. It is the greatest moment of my life. I am blessed to see Bartley’s vision through his lens. Believe it or not, till date I have never seen the same lighting feel again. I pointed out the same to camera man Kabir during the making of Bhairawa Dweepam.”

This humility, this honesty, this modesty is what has kept Rao’s creativity streams perennial - quenching his artistic thirst through the peaks and valleys of a kaleidoscopic career.

Quo vadis?
His first super hit was America Ammayi (The American girl) released in 1972. This movie not only made Rao a household name, but it also helped the young protagonist Ranganath, an ex-railway employee, to settle down in the movie industry. The story of the film is about the gradual devaluation of the cultural heritage - apropos of the western influenced Indian simians (Deepa’s character in the movie). The USP of the film however was the gori who played the title role.

Anne Chaymotty, a French girl (now known as Devayani, the classical dancer) was learning Kuchipudi (a traditional dance form) under Vempati Chinna Satyam, who suggested her name to Navata Krishnam Raju the producer of the film.

As a main character Anne’s role was that of a foreigner who took to Kuchipudi dancing - who later dances in the famous temple of Chidambaram, plays veena, sings semi classicals in Telugu and perform Kuchipudi. The film was a big hit and made Anne famous overnight throughout South India. Every radio station and chai dukaan in AP played her song “Ananda taanDavamaaDe” on LPs until the shellac/vinyl grooves wore out. Young Rao has arrived, and will be revered as Singeetham Srinivasa Rao (SSR) for years to come.

SSR repeats the magic with Panthulamma (The Lady Teacher) in 77. Starring Ranganath (again), Deepa (again) and Lakshmi (the girl who played Julie) the movie was a sensible love story with lilting music (Rajan-Nagendra) and meaningful lyrics (Veturi Sundara Rama Murthy, this name became a million dollar word!!).

Manaserigina vaadu naa devudu; Siri malle neeve; Maansa veena madhu geetham; Edaarilo koyila - one hit song after another - chai dukaans and radio stations found their new muse, LP records makers minted money again, SSRao was given a permanent residency in the hearts of Telugu viewers and there was bonhomie allover!

The Ancient Mariner meets the New Navigator!
1978 was a very important year for all the SSR fans. That is the year during which he made “sommokaDidi sokokaDidi” his first movie with Kamal Haasan. When SSR went to Bombay to receive the Filmfare award for Dikkatra Parvathi (based on Rajaji’s novel), he first met Kamal Haasan. Kamal was there to receive the best actor award for a Malayalam movie. The two crazy men planned to make a movie together - a different film but ended up making a comedy - and they delivered a runaway hit.

Later in 80 when Kamal decided to launch his own production house, Raj Kamal, he asked SSR to direct the first film - production number one. This time they truly attempted a different film, Raja Parvai (dubbed as Amavasya Chandrudu in Telugu) on the visually impaired. Thotta Tharani made his debut as an art director with this film, released in 81.

That bonding - and the synergy, and the chemistry, and the perfect sync of wanton artistry - between these two stalwarts resulted in many experimental blockbusters from Apoorva Sahodarargal, Michael Madana Kamarajan, Magaliar Mattum and the path breaking silent film Pushpaka Vimana (Pushpak in Hindi) to the recent Mumbai Express.

To storytell is a human - To empathize is divine
Some of his earlier films would have a character with some sort of physical challenge, or disability - the dumb boy in Neeti Nijayiti, the blind man in Raja Paarvai, the dwarf in Aboorva Sagotharargal, and the lame yet nimble Mayuri. This recurring theme of disability is not deliberate - it’s the humanist in SSR trying to empathize with the chracters and understanding the human ability of overcoming challenges. And there by telling us all some great stories.

Namedropping - Can do, won’t do
Working with some respected names like ANR aka Akkineni Nageswara Rao (Pilla Zamindar) to Dr.Rajkumar (Haalu Jenu - Devatha Manushya) to Kamal Haasan (Sommokadidhi Sokokadidhi - Kadhala Kadhala) - and directing the next generation, like Balakrishna (son of the one andonly NTR), Nagarjuna (son of ANR), Shivrajkumar (son of Rajkumar), Prabhu Deva, Abbas, Kumar Gaurav - Singeetham, as he is fondly known, not only won the hearts of native Telugu folks but Tamil, Kannada, Malayalam and Hindi filmgoers too.

[Next Related Post: The Crazy Kamal Connection]

1 readers recommend this post  Loading ...

Email This Post To Friends

Related Posts Master of the Arts Master of the Arts III - The Crazy Kamal Connection Master of the Arts IV - The Crazy Kamal Connection II Indian traditions and arts are often ridiculed by Hollywood in its films! Amélie : scene analysis Investment Analysis : New Age Decisions Salaam-E-Ishq : Analysis AIDS Jago: Short Films (2007). Being Anant Velankar - Ardha Satya - Character Analysis Animation Films - ‘Cartoon’ Nahi Hain