Re: Aha Naa Pellanta 1987 Old Movie Free 13
Olegario Benford
The film begins with Krishna Murthy, the son of industrialist Kasthuri Satyanarayana, who harries everyone with his Autobiography. The father & son lead an ecstatic lifestyle in friendship with pretty squeals. Once, Krishna Murthy walks to his mate's wedding, acquaints a cute girl, Padma, and Cupid strikes them. Satyanarayana worries about Krishnamurthy's marriage, and he imagines every girl as a veritable pair with his stanch Appanna. Indeed, Satyanarayana & his wife Rajyam made a love match for which all ostracized them. So, he promised to give their son's nuptial with all's consent before she leaves her breath. Krishna Murthy fears conveying his love to his father because he may kill himself. So, he attempts to write anonymous letters, forward photographs, etc., which Appanna thwarts.
After a troublesome delay, Krishna Murthy triumphs, which panics Satyanarayana. Whereat, he inquires that Padma is the daughter of Lakshmipati, a highly stingy in the adjacent village. Accordingly, the father & son challenge that Krishna Murthy will knit Padma getting Lakshmipati's approval in 3 months without Satyanarayana's identity. Currently, he sets foot in their village. Aragundu Govindu, who suffers as Lakshmipati's bounded labor, hears the conversation between turtle doves and aids them. Krishna Murthy dwells as a tenant in Lakshmipati's portion and heartfelt union with neighbor Subba Rao & family.
Additionally, Krishna Murthy protests Lakshmipati via Subba Rao's colleagues who noise him by operating buses. Then, he accepts the invitation to join them also. Just before the splice, the four bridegrooms clash when Padma admonishes her father. Hereupon, Lakshmipati dies out of remorse and declares that he will bestow his totality on the poor. At last, he pleads pardon to Krishna Murthy and offers Padma's hand. Satyanarayana appears therein, hailing his son's victory with his original identity. Finally, the movie ends comically, Lakshmipati passing away, and he reincarnated as Krishna Murthy & Padma's progeny, a new miser.
Griddaluru Gopalrao of Zamin Ryot, writing his review on 4 December 1987, appreciated the way Jandhyala imbibed humour in the film's dialogues, "Though the comedy scenes are far from reality at times, they are very close in making the audience laugh [sic]," Gopalrao added.[10]
Jahnavi Reddy of The News Minute, wrote that the film is noted for its dialogues and unique insults, which came to be used commonly in conversations. "While more recent films and their dialogues are frequently woven into conversations, there has been a big change in the kind of Telugu used in these popular dialogue," she added.[11]
Rajendra Prasad Rajani Nutan Prasad Kota Srinivasa Rao Brahmanandam Rallapalli Narasimha Suthi Veerabhadra Rao Subhalekha Sudhakar Babu Mohan Suthi Velu Gundu Hanumantha Rao Chitti Babu Jenny Telangana Sakuntala Sumithra Janaki
I'm too young. I don't have the nostalgic factor for the classics of my language. I so desperately wannabe a cultured-telugu-guy born in 80's or 90's. It doesn't even feel like I'm late to the party. There's no fucking party. It's over. Or its happening else where. I'm the only one among those around me vibing to this shit. 100+ years of cinema, 100+ languages, and the fuckers decide to watch the most mediocre shit from a language that belongs to none.
Aha naa Pellanta is the good old gold standard comedy movie for me, watched this countless times and everytime it makes me laugh my butt off. I don't know if subtitles could do the justice but for Telugu speaking people this movie is a treasure and never fails to put a smile on face.
This is one for the ages. Aha Na Pellanta(1987) is one movie that I can watch numerous times and yet not be fatigued. The genius of Jandhyala is in the writing, be it the characters or the dialog. Bramhanandam's insults are funny of course but you later realize that the intensity of those increases with his frustration. A lot of tropes such as rich father, miser are inverted as Jandhyala uses comedy to look inward into societal evils like the practice of dowry.
I've picked up something on every watch and this time watching it before our podcast recording, I picked up the lines Suthi Veerabhadra Rao utters in the "Hanging Hen" scene. There is a painstaking amount of details and rhyming words for what is a mad outburst.
Considered as the greatest comedian Telugu film industry ever produced, Brahmanandam is a native of Muppala village near Sattenapalli, Brahmanandam completed his M.A. (Telugu) and worked as a Lecturer in Telugu before Jandhyala introduced him to the silver screen with a role in the movie 'Chantabbai (1986).'Much before that, he won the Best Supporting Actor in an inter-collegiate competition in Narasaraopet in 1968 and won the fancy dress competition award for portraying the character of 'Modabbayi.' After a brief hiatus, he was given a role by D. Rama Naidu in 'Aha Naa Pellanta (1987)' and Brahmanandam never looked back.
Anil Ravipudi is no stranger to success, but Bhagavanth Kesari and its success are special, he says. "Box office hits always make me happy but this film brought special applause and respect my way. This film was a much bigger responsibility. I feel relieved looking at the responses," says Anil, as we sit on the terrace of his office, days after the release of Bhagavanth Kesari, his first collaboration with Nandamuri Balakrishna.
But there's another reason why he chose to make Bhagavanth Kesari, and it's closely entwined with the criticism some of his previous works were met with. "See, comedy is a very risky genre. It's also a genre that doesn't get much respect. Once you do a comedy film, you are looked down on by people. I faced that issue. One of the reasons why I came out of my comfort zone to make a film like Bhagavanth Kesari is because I was also looked down on as a comedy director at one point. Not everyone is like that but some people are condescending, especially on social media. Yes, people who respect comedy respect me. Even recently, I was at an event and a lady minister told me that she and her family loved F2," the filmmaker says, as he goes on to explain why he believes that there's an audience for pure comedies like F2. "There is a section of audience that comes to films just to laugh and enjoy. So comedies always have the potential to become blockbusters. From Aha Naa Pellanta (1987) and Kshemanga Velli Laabanga Randi (2000) to Pellam Oorelithe (2003) and our F2, some comedy films have created a huge impact in our industry.
Elaborating on his point of why he feels filmmakers who make comedies aren't given enough credit, Anil says, "This criticism has no logic. Social media didn't exist back in the days of the great EVV Satyanarayana garu. I'm sure there were some critics back in the day too, but I don't think they faced what we are dealing with now. I wonder if his films would also be criticised on social media if they were to be released now. On social media, it's an individual's perspective and not a collective opinion. My audience are at the theatres, buying tickets; they might not be active on Twitter. Only those who don't enjoy my films criticise me on social media. I don't take the criticism seriously but I do take valid suggestions into consideration. If I hadn't accepted such constructive suggestions, I wouldn't have attempted Bhagavanth Kesari."
The filmmaker concludes, "Bhagavanth Kesari, for me, was a learning experience. For the first time, I learned that you could enjoy every bit of the filmmaking process when you go to the roots of the world and the characters. Looking back at my films now, I feel should have gone deeper with some of the themes instead of simply touching them on the surface level. I'm sure I'll be carrying forward this responsibility and experience to make more good films."
Pasupuleti Ramesh Naidu (born 1933 - died Sept 3, 1987) was a South Indian music director. His major works were in Telugu films in the 1970s and 1980s. The music he did for the film Megha Sandesham is considered as his best score.
He was born in Kondapalli in Krishna District of Andhra Pradesh, India. He ran away from home in his childhood and settled as assistant in a music instrument shop, where he learned music and also got opportunities to interact with Hindi and Marati directors. His debut as a music director was for a Marati film called 'Bandval Pahija' when he was 14 years old. He was first introduced to Telugu movies in Dampatyam by Krishnaveni. He moved to Bombay again and later to Calcutta. He married a Bengali woman, and worked for about ten years for Bengali, Nepali and Oriya films before returning to Telugu films with the movie Amma Mata in 1972. He composed music mainly for the directors Dasari Narayana Rao, Vijaya Nirmala and Jandhyala. His other major works are Srivariki Premalekha, Sivaranjani, Ananda Bhairavi and Swayamkrushi.
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Loudspeakers, halal, hijab, riots, heatwave, astronomically expensive lemons, fuel prices out of control, unaffordable cooking oil, Hindi versus English, Devgun versus Sudeep. And on top of that, vicious thunderstorms lashing Bangalore since the past week.
Aha naa pelanta is one of my all-time favorite comedies. Released in November 1987, this wacky movie is a love story with a twist. Rajendra Prasad portrays a young man from a rich family, in love with a beautiful village maiden, played by Shashi Malhotra, better known as Rajani. This lovely actress from Bangalore formed a popular pair with Rajendra Prasad in several Telugu movies.
In spite of her north Indian background, Rajani never starred in a Bolly movie, but chose instead to make her career in south Indian cinema. She appeared in well over 150 movies, in all the south Indian languages.
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