MORE MAYA BAZAR :-)
SaRaDa
Hi
Here is more information from Sri Rama Rao. I have not seen this appear
in Telusa (when did SCIT become telusa ? Meekaimana Telusa ? :))). If this
is a repeat post, sorry it did not appear on my server. Enjoy !
--------------------------------- Cut Here --------------------------------
Return-path: <cram...@neuron.uchc.edu>
From: cram...@neuron.uchc.edu (Chodavarapu Sri Ramarao)
Subject: Re: mayabazar
To: SaRaDa <SRAM...@MSUVX1.MEMPHIS.EDU>
Having considered myself the unofficial aficianado of MAYA BAZAR, and
hailing from Mayabazar (aka Vijaya Lakshmi Puram) Bapatla, and having
see the movie and the video one hundred odd times, I can answer some of
the questions posed by SaRaDa.
The answer to the biggest question : "how was it possible to book every
mega actor...." is VERY simple. At that time, none of them were mega
actors!!! And K V Reddy, the director, commanded and obtained the
respect he deserved from the actors. (compare this to the movie
'krisNAvatAram - I think the title is- which he directed at the fag end
of his career, where NTR was hideous, to put it mildly).
Having not seen the movie in a long time, my recollection may be rusty,
but I will try to give the cast of characters. Additons/corrections are
welcome. It is truely amazing that the pAnDavAs are not shown in the
movie, though they were reffered to several times.
Two small, but significant roles are kucalakumAri (later known as
rAjasrI with kAntArAo in jAnapada movies) as cinna sasirEkha. The
playback singer mAdhavapeddi satyam acted as the radhasAradhi (and sang
his own song) when abhimanyu and subhadra were going in the woods while
they encounter ghaTOtkaca. 'bhaLi bhaLi bhaLi bhaLi dEvA, bAgunnadayA
nI mAya'. I heard that ghanTasAla was supposed to sing the song and
mAdhavapeddi the 'vivAhabhOjanambu' song, but do not remember how they
came to sing the songs vice-versa.
the poem recited my mAyA krishNuDu is:
cina cEpanu peda cEpa
cina mYyanu penu mAya
adi swAhA, idi swAhA
aTu nEnE, iTu nEne
eTu cUcina aTu nEnE
ide satyam ide vEdam
the last three lines give away the identity of the god to ghaTotkaca.
We had much trouble figuring out what lambu-jambu say when trying to
scare abhimanyu in the jungle. Finally we were able to decipher, 'kOru
kOru, saraNu kOru'
The poems were recited by the playback singers and lip synched by the
actors.
Cast of characters (to my best recollection, and in no particular
order)
s v rangArAo ghaTotkaca
n t rAmArAo srI krishNa
a nAgEswararAo abhimanyu
gummaDi balarAmuDu
nAgabhUshaNam sAtyaki
sAvitri sasirEkha
chAyAdEvi rEvati
sandhya rukmiNi
rushyEndramaNi subhadra
(kannAmba?)
mukkAmala duryOdhana
mikkilinEni karNuDu
r nAgEswararAo dussAsanuDu (takshaNa kartavyam!!!!)
csr AnjanEyulu sakuni
rElangi lakshaNa kumAruDu
kannAmba sulakshaNa (mrs. duryOdhana)
(rushyEndramaNi?)
ramaNa reDDi cinnamaya
cadalavAda lambu
nalla rAmamUrthy jambu
bAlakrishNa laksmaNakumArA's side kick
allu rAmalingayya sarma
vangara venkaTasubbayya sastry
I also like very much the 'Asu kavita' bAlakrishNa says when he got
jelous of sarma and sastry making money off lakshmaNa kumAra with their
poetry.
aTu iddaru
iTu iddaru
abhimanyuni bAbAyilu
aTu kUDina iTu kUDina
naluguranTe nalugurE
mari tamakO,
nUTiki okkare takkuva
mETi mETi bAbAyilu
bAbO Emani ceppudu
bAbAyila ......
( I forget. sorry)
A lot of words have been created for the movie just like ghaTOtkaca
says 'evarU puTTicakapOtE mAta lelA puDatAyi'. The vocabulary of the
sarma sastry duo - ratna kimbaLi, gilapam, and the words of lambu jambu
like
tasamadIyulu are all words that you will not find in a dictionary.
sUryakAntam was hiDimbi.
the trick photography by mArkus bAreTley was also used in several
mythological movies, subsequently.
styanArAyaNa was not in the movie field at that time. He and prabhAkara
reddy made their debut together, though I do not know which movie it
was.
regards.
C S RAMARAO
(860) 679-3307 (PHONE)
(860) 679-1269 (FAX)
(860) 675-5355 (HOME)
------------------------------------- End Cutting :-) --------------------
----
SatyamEva JayatE, nAnrutAt (Truth alone wins, not the falsehood)
Katru Ramanath V
A small correction ----
> playback singer mAdhavapeddi satyam acted as the radhasAradhi (and sang
> his own song) when abhimanyu and subhadra were going in the woods while
> they encounter ghaTOtkaca. 'bhaLi bhaLi bhaLi bhaLi dEvA, bAgunnadayA
> nI mAya'. I heard that ghanTasAla was supposed to sing the song and
> mAdhavapeddi the 'vivAhabhOjanambu' song, but do not remember how they
> came to sing the songs vice-versa.
Both songs were sung by mAdhavapeddi satyam. From what I recall ghanTasAla
never used to sing for a character other that the Hero in a movie. Could
someone please confirm this.
RAM
K. Sadananda
In article <4s38au$r...@hermes.acs.unt.edu>, iv...@jove.acs.unt.edu (Katru
Ramanath V) wrote:
Yes it was Madhava peddi who sang the vivaaha bhojanambu - when he was
visiting the U.S few years ago, he was singing this - and it was still a
hit.
by the by - madhava peddi's son - babji is teaching kuchipuDi dance in New
york - at least I saw the announcement to that effect in the SCIT. He was
the disciple of Dr. Vempati Chinna satyam and those who have seen the
Srinivaasa kalyaanam - he was the one who danced as Shiva.
sadananda
> A small correction ----
>
> > playback singer mAdhavapeddi satyam acted as the radhasAradhi (and sang
> > his own song) when abhimanyu and subhadra were going in the woods while
> > they encounter ghaTOtkaca. 'bhaLi bhaLi bhaLi bhaLi dEvA, bAgunnadayA
> > nI mAya'. I heard that ghanTasAla was supposed to sing the song and
> > mAdhavapeddi the 'vivAhabhOjanambu' song, but do not remember how they
> > came to sing the songs vice-versa.
>
> Both songs were sung by mAdhavapeddi satyam. From what I recall ghanTasAla
> never used to sing for a character other that the Hero in a movie. Could
> someone please confirm this.
>
> RAM
--
What you have is His gift to you and what you do with what you have is your
gift to Him. - Swami Chinmayanada
Ramakrishna Sanka
namastE !
[some of the post deleted]
>
> Two small, but significant roles are kucalakumAri (later known as
> rAjasrI with kAntArAo in jAnapada movies) as cinna sasirEkha. The
I recently saw the movie particularly with the intent of
recording the credits of the movie for the Telugu Film Database.
I found a baby saraswati and a master anand listed by way of
child actors. Are you sure about this "kucalakumari" ?
> playback singer mAdhavapeddi satyam acted as the radhasAradhi (and sang
> his own song) when abhimanyu and subhadra were going in the woods while
> they encounter ghaTOtkaca. 'bhaLi bhaLi bhaLi bhaLi dEvA, bAgunnadayA
> nI mAya'. I heard that ghanTasAla was supposed to sing the song and
> mAdhavapeddi the 'vivAhabhOjanambu' song, but do not remember how they
I understand you are saying Ghantasala sang Bhali bhali ... and
Madhavapeddi - vivaha bhojanambu. But both the songs are sung by
Madhavapeddi. The role played by Madhavapeddi is dArukuDu
(the sArathi of pArthasArathi !)
> came to sing the songs vice-versa.
>
> the poem recited my mAyA krishNuDu is:
> cina cEpanu peda cEpa
> cina mYyanu penu mAya
> adi swAhA, idi swAhA
> aTu nEnE, iTu nEne
> eTu cUcina aTu nEnE
> ide satyam ide vEdam
>
> the last three lines give away the identity of the god to ghaTotkaca.
>
> We had much trouble figuring out what lambu-jambu say when trying to
> scare abhimanyu in the jungle. Finally we were able to decipher, 'kOru
> kOru, saraNu kOru'
hallallallallalalalala ! (;-)
> Cast of characters (to my best recollection, and in no particular
> order)
>
> s v rangArAo ghaTotkaca
> n t rAmArAo srI krishNa
> a nAgEswararAo abhimanyu
> gummaDi balarAmuDu
> nAgabhUshaNam sAtyaki
> sAvitri sasirEkha
> chAyAdEvi rEvati
> sandhya rukmiNi
> rushyEndramaNi subhadra
> (kannAmba?) --- no it IS RshyEndramaNi !
She sang her own verse in the encounter between abhimanyu
and ghaTOtkaca !
"akhila rAkshasa mantra tantrAtiSayamu
naNacu SrI kRshNu sOdari nagudunEni
divya SastrAstra mahimala tEjarillu
anaghu arjunu patninE yagudunEni
ee Sarambasuru goolci siddhincu gAta
pAnDava kulaika bhUshaNu prANa raksha"
> mukkAmala duryOdhana
> mikkilinEni karNuDu
> r nAgEswararAo dussAsanuDu (takshaNa kartavyam!!!!)
> csr AnjanEyulu sakuni
> rElangi lakshaNa kumAruDu
> kannAmba sulakshaNa (mrs. duryOdhana)
> (rushyEndramaNi?)
Definitely not ! It seems an actress by name Bhanumati (not the
star P.Bhanumati) played that part according to the audio casette
by HMV. Oh by the way the wife of Duryodhana is bhAnumatI dEvi.
> ramaNa reDDi cinnamaya
> cadalavAda lambu
Are you sure ?! Then who is the person who played the role of
SankhutIrthulu, the astrologer of the Yadavas ?
> nalla rAmamUrthy jambu
> bAlakrishNa laksmaNakumArA's side kick
> allu rAmalingayya sarma
> vangara venkaTasubbayya sastry
>
> I also like very much the 'Asu kavita' bAlakrishNa says when he got
> jelous of sarma and sastry making money off lakshmaNa kumAra with their
> poetry.
> aTu iddaru
> iTu iddaru
> abhimanyuni bAbAyilu
> aTu kUDina iTu kUDina
> naluguranTe nalugurE
> mari tamakO,
> nUTiki okkare takkuva
> mETi mETi bAbAyilu
> bAbO Emani ceppudu
> bAbAyila
sEna tamadi brahmAnDamugA (not sure about the last word)
> ( I forget. sorry)
[some more deleted]
>
> the trick photography by mArkus bAreTley was also used in several
> mythological movies, subsequently.
Yes Marcus Bartley was very famous for the indoor moonlight
effects ! Two very impressive photographic tricks in the movie
for me are
1. In the song "allee billee ammAyiki cala callani jOsyam ...",
the growing up of SaSirEkha is depicted in a single shot where
the camera pans one way with the young Sasirekha sitting on the
pond bank and when the camera returns it is the grownup Sasirekha
that is sitting there. ( I may have the details a little shaky
but it IS a single shot )
2. When cinnamaya is explaining the plan to lambu and jambu, he lays
the map on the ground and the map flies over to dwAraka and when
the map lands on the dwAraka/viDidi set it merges sooo well, that
it appears the map itself has become the set !
The arrow fights shown in the film to me are faaaar better than
the ones we saw in the two TV mythological serials. No one makes
better mythologicals than the Telugu film industry !
Regards,
--
Sankaram
===================================================================
| SANKA RAMAKRISHNA |
| e-mail : sa...@erc.msstate.edu |
| home page : http://www.erc.msstate.edu/~sanka/ |
| phone : 601-325-2526 (Work.) |
===================================================================
Ramakrishna Sanka
namastE !
While we are all going gaga about this greatest of all telugu movies
let alone mythologicals, I have to point out a couple of things in this
movie that bother me.
1. The language used by the characters is not consistent. The use of
vyAvahArikamu
" EmiTI ! sonta anna ayyunDi balarAmuDE anta pani
cEstADA? abhimanyuDikistAnanna SaSirEkhanu siggu lEka .... "
contrasts glaringly with the grAndhikamu
" coositivA sOdarA mana mAtala kAraNAna mana parAkramamulakEmi
gati paTTinadO"
2. And a couple of seeming fauxpas, like ghaTOtkaca having knowledge
of the wives of Arjuna, but not recognising SrI kRshNa as being a
pAnDava pakshapAti.
"asmadIyulA ? aTulaina vAriki namO nama@h !"
This does not appear too right.
3. Showing Lakshmana kumara as a buffoon, while he actually was valiant
enough to died a valiant death at the hands of Abhimanyu in the maha
bharata, also killing him in the process.
To this, however, one of the films stalwarts (Pingali/KVReddy) said
"we never showed him to be a coward ! He acted as he did in the
end subject to ghaTOtkaca's mAya."
What do you feel about these ?!
(I bet the Indian video shops that carry Mayabajar are being flooded with
requests from their Telugu patrons all of a sudden !)
Regards,
Bapa Rao
In article <Pine.SUN.3.94.960711144119.26587B-100000@phoenix*,
Ramakrishna Sanka <sa...@ERC.MsState.Edu* wrote:
*
*namastE !
*
*While we are all going gaga about this greatest of all telugu movies
*let alone mythologicals, I have to point out a couple of things in this
*movie that bother me.
*
*1. The language used by the characters is not consistent. The use of
* vyAvahArikamu
*
* " EmiTI ! sonta anna ayyunDi balarAmuDE anta pani
* cEstADA? abhimanyuDikistAnanna SaSirEkhanu siggu lEka .... "
If I remember right, the above dialogue is by the inimitable
sUryakaantam playing hiDimbi.
*
* contrasts glaringly with the grAndhikamu
*
* " coositivA sOdarA mana mAtala kAraNAna mana parAkramamulakEmi
* gati paTTinadO"
I don't remember too well, but I am guessing that the above dialogue
is by nageswararao playing abhimanyuDu. Both dialogues occur in the
"encounter" scene where GaTOtkacuDu and abhimanyuDu meet for the first
time in G's aashramamu.
You may be aware that in traditional Indian dramaturgy there is something
known as pAtrOcita sambhaashaNa. Basically, people at the low-end of
the social scale, e.g., women (!) and uneducated men would be made to
speak "paamara" or "low" language whereas educated men spoke the
"high" or sophisticated language. In classic Sanskrit plays like
mRcchakaTikam all the high-caste men speak Sanskrit while the women
and low-caste men speak praakRt.
I contend that your example above is not an inconsistency as much as
it is an indication of adherence to classical standards. It is also
somewhat realistic--hiDimbi is a raakshasi, uneducated and
unsophisticated (actually in the movie hiDimbi sounds more like a
stereotypical telugu pinni-gaaru than a raakshasi. :-)) abhimanyuDu
is of course a young prince with many accomplishments and is expected
to speak pompously especially when meeting his country cousin for the
first time under awkward circumstances.
But don't get the wrong idea--I think sUryakaantam's small role is one
of the most beautifully played and evocative ones in the movie. The
above dialogue that you quoted as well as another one in the same
scene: "raajyaalu pOtE maTuku, paraakrmaalu ekkaDiki pOtaayi?" (maybe
even the line following your quote) define to me, the essential
telugu-tanam of this story. I am talking both about the dialogue
itself as well as the way sUryakaantam delivered it. It ceases to be a
puraaNa-gaatha handed down from above and becomes the cultural
property of the average Telugu. To see what I mean, contrast the way
maaya bazaar was handled with the interminable and ponderous dialog
and action in the TV serials raamayaaNa and mahaabhaarat. (I'll
probably be skewered for saying this, but I really detested the
portions of both those TV epics that I managed to see. )
*
*2. And a couple of seeming fauxpas, like ghaTOtkaca having knowledge
* of the wives of Arjuna, but not recognising SrI kRshNa as being a
* pAnDava pakshapAti.
*
* "asmadIyulA ? aTulaina vAriki namO nama@h !"
Again, I contend this is perfectly natural and in keeping with the
paatra of GaTOtkacuDu--he grew up in the wilderness with little or no
contact with his father BhimuDu; what little he learned about his
heritage on that side probably came to him from his mother. And
hiDimbi probably had only the haziest idea of the political and
personal relationships of the clan of the man she called her husband,
but whom in reality she only knew for one night. Is it not more
natural for hiDimbi, when gathering information about her husband's
family, to give priority to her various savatulu and tODikODaLLu (as
befits a woman, I mean)? I realize that knowing about subhadra and not
knowing about kRshNa is a bit of a stretch, but I think that my
explanation is at least plausible. Remember that GaTOtckacuDu was
probably very young at that time, a teenager at best (never mind the
story that he grew to full height as soon as he was born; probably his
body grew faster but his mind grew at the normal rate) so he was
probably doing the usual teenage raakshasa things (i.e., raising hell with
his buddies) and paying only scant attention when his mother tried to
pass on what little she knew about his father's side of the family.
Just to expand on this a bit further, I think that in the bhaaratam
that exists in the popular mind, GaTOtkaca is treated as a virtual
nonentity. Nowadays, thanks to the radicals, even
Ekalavya has been getting some attention, but maayabazaar may be the
only work that gives G some air time. Even there, GaTOtkacuDu is only
a "side hero" (who just happens to steal the entire movie thanks to
SVR) whose job is to bring the hero and heroine together. We don't
learn much from the movie about the growth and transformation of this
young man who is living "talli caaTuna" in the forest one day, and the
next day is entrusted with "mission impossible." The one moment of
apotheosis comes when he encounters kRshNa who of course knows and
understands all. In the "cina cEpanu peda cEpa ..." scene G learns and
understands all in a flash, thanks to kRshNa's grace.
After seeing MB and listening to the audio numerous times, I came to
the conclusion that for my money, GaTOtkaca is *the* noblest male
character in Baaratam. With his simplicity, bravery and generosity of
spirit, he beats the other two contenders, abhimanyuDu and karNuDu
hands down.
*
* This does not appear too right.
*
*3. Showing Lakshmana kumara as a buffoon, while he actually was valiant
* enough to died a valiant death at the hands of Abhimanyu in the maha
* bharata, also killing him in the process.
I thought jayadradha aka saindhava was the one who delivered the coup
de grace to abhimanyuDu.
*
* To this, however, one of the films stalwarts (Pingali/KVReddy) said
* "we never showed him to be a coward ! He acted as he did in the
* end subject to ghaTOtkaca's mAya."
LK's buffoonish nature pertains to his behavior around women and of
course has nothing to do with his qualities as a warrior. (Maybe he
was even spurred to confront abhimanyuDu on the battlefield to
compensate for what must have been a traumatic SRngabhangam for him?
But of course since mayabazaar is a pukkiTi-puraaNam this doesn't make
sense does it?) Again, this is appropriate and realistic. His father
duryOdhana was a great warrior but didn't set his son a very good
example of behaving with dignity and gallantry around women did he?
(The disgraceful vastraapaharaNam episode was already past by
kathaakaalam) Like father, like son. Except that the young and
inexperienced LK was probably intimidated enough by his domineering
father to cause his tendencies to assume a buffoonish rather than a
villainous expression. Also, his buffoonishness can be explained by
his youthful awkwardness (notice the way a teenager behaves around
girls :-)) and a conflict between a natural sweetness of character
(as portrayed by rElangi) on the one hand and his desire to grow into
his exalted role as prince of the realm and his father's son on the
other hand.
My personal views.
Bapa Rao
ad...@tri.sbc.com
I consider MayaBazar one of the finest pieces of Indian movie-making.
The movie itself is not the focus of this posting, however. I would
like to take this opportunity to commend the efforts of all who were
involved in auto-moderating this group. It's equivalent to the Moosi
being cleansed, which is a far sight harder.
I think the critical and analytical postings of Ramakrishna Sanka and
Bapa Rao, which were a pleasure to read, are the direct result of
auto-moderation. The level of discussion on SCIT has seen a remarkable
improvement in content and tone, freed of the debasement this group
has seen in the past. Please, keep up the good work.
-Venkatesh Adivi
Ramakrishna Sanka
namastE !
As I said in my mail the first objection is the only one that I feel
strongly (confident) about.
Let me make it clear that this use of alternating vyAvahArikam and
grAndhikam is not limited to rAkshasa characters alone but is found
in almost all characters.
The grAndhika dialogue quoted was by ghaTOtkaca and not abhimanyu.
(but, yes, the other line you quoted follows the one I quoted and
both are by hiDimbi.)
Baparao gAru,
Your contention, that the language used was pAtrOcitamu, may be valid
in general, but it does not hold in this movie. May be it is
sandarbhOcitamu.
Anyhow I will listen to the movie carefully again and either corroborate
your theory or find examples to disprove it.
---
Regarding ghaTOtkaca, what explanation you have given is the one
that naturally springs to mind. But some might say he recognises
Subhadra from the poem she recites in the first two lines of which
she describes herself as the sister of Krishna. But that may also
be an argument against itself in that, he is put into doubt by the
referrence to Krishna as a " akhila rAkshasa mantra tantrAtiSayamunaNacu "
vAdu, but he recognises her fully only when she refers to being
Arjuna patni, in lines 3 and 4.
---
And again as regards the buffoonish,(or teenagish) behaviour of
Lakshana kumara, your explanation mirrors the one I quoted. "We may
know from bhArata that he was valiant but there is nothing to say
he is not awkward or foolish in women's matters." But it is only
that we come to expect some hundA tanam (except when the behaviour
is downright wicked, as in the case of the dushTacatushTayam) from
renowned warriors i.e decency with valour.
As I said, it is a matter of how picky you are, with the last two
objections, but the first one, I contend is a very valid one.
Thanks for the nice discussion.
Bapa Rao
In article <Pine.SUN.3.94.960712105250.11052A-100000@phoenix>,
Namaskaaram Ramakrishna gaaru.
*
*As I said in my mail the first objection is the only one that I feel
*strongly (confident) about.
*
*Let me make it clear that this use of alternating vyAvahArikam and
*grAndhikam is not limited to rAkshasa characters alone but is found
*in almost all characters.
*
*The grAndhika dialogue quoted was by ghaTOtkaca and not abhimanyu.
*(but, yes, the other line you quoted follows the one I quoted and
*both are by hiDimbi.)
Oh, well. I was working from memory and perhaps I can be forgiven for
trying to scrub the spots from my favorite movie. :-)
Of course, it is possible to rationalize almost anything, so let me
ask you whether you remember GaTotkaca speaking vyaavahaarikam in
other scenes in the movie. If not, then we could say that as a lead
male character, he was speaking the "high" language by convention.
*
*Baparao gAru,
*
*Your contention, that the language used was pAtrOcitamu, may be valid
*in general, but it does not hold in this movie. May be it is
*sandarbhOcitamu.
*
*Anyhow I will listen to the movie carefully again and either corroborate
*your theory or find examples to disprove it.
Please do. I'll use this as ane xcuse to dig out my audiocassettes and
treat myself to MB one more time as well.
*
*---
*
*Regarding ghaTOtkaca, what explanation you have given is the one
*that naturally springs to mind. But some might say he recognises
*Subhadra from the poem she recites in the first two lines of which
*she describes herself as the sister of Krishna. But that may also
*be an argument against itself in that, he is put into doubt by the
*referrence to Krishna as a " akhila rAkshasa mantra tantrAtiSayamunaNacu "
*vAdu, but he recognises her fully only when she refers to being
*Arjuna patni, in lines 3 and 4.
*
*---
*
*And again as regards the buffoonish,(or teenagish) behaviour of
*Lakshana kumara, your explanation mirrors the one I quoted. "We may
*know from bhArata that he was valiant but there is nothing to say
*he is not awkward or foolish in women's matters." But it is only
*that we come to expect some hundA tanam (except when the behaviour
*is downright wicked, as in the case of the dushTacatushTayam) from
*renowned warriors i.e decency with valour.
I agree that there is such a thing as integrity of character in the
idealistic sense of naatya-saastram (four types of heroes etc.). Under
this, it would be inconsistent to have a great warrior also be a
buffoon. But, in some sense, mahaabhaaratam itself is about the flaws
in human nature and the death of idealism. Yet one would hope that if
ethics and morality no longer accompanied valor and accomplishment, at
least dignity and grace will remain. But LK is denied even that.
I can't help liking and feeling sorry for LK (maybe because of
Relangi's portrayal) who is put into a situation not of his making (it is a
political marriage)--he is doing his best to live up to what he thinks
his role is; then his life gets even more complicated by
maaya-sasirekha and her vagalu. ("bramakaina puTTu rimma tegulu")
Also, for a light comedy like maayaabazaar, it would have needlessly
introduced some moral conflict in the audience if LK is shown to be
actually deserving of sasirekha. It is probably difficult enough to
justify (in the audience's mind) sasirekha eloping against her
parents' wishes with a boyfriend on the eve of her marriage to the
groom of her parents' choice. So we might say that making LK into a
buffoon totally inappropriate for sasirekha, (when contrasted with
aBimanyuDu) was probably a necessary device for making the audience
feel at ease.
*
*As I said, it is a matter of how picky you are, with the last two
*objections, but the first one, I contend is a very valid one.
You may well be right. I'll eagerly await the results of your further
research. :-)
Prasad Tammana
> * " coositivA sOdarA mana mAtala kAraNAna mana parAkramamulakEmi
> * gati paTTinadO"
>
> I don't remember too well, but I am guessing that the above dialogue
> is by nageswararao playing abhimanyuDu. Both dialogues occur in the
I think this dialogue is by SVR playing GaTOtkacuDu in the above context.
Prasad
cjam...@dayton.net
In article <Pine.SUN.3.94.960711141107.26587A-100000@phoenix>, Ramakrishna says...
>[some of the post deleted]
>
> Are you sure ?! Then who is the person who played the role of
> SankhutIrthulu, the astrologer of the Yadavas ?
I think Sankhuteerthulu is played by doraiswaami.
>1. In the song "allee billee ammAyiki cala callani jOsyam ...",
> the growing up of SaSirEkha is depicted in a single shot where
> the camera pans one way with the young Sasirekha sitting on the
> pond bank and when the camera returns it is the grownup Sasirekha
> that is sitting there. ( I may have the details a little shaky
> but it IS a single shot )
I don't mean to nitpick, it is most likely a combination of two or more shots,
seamlessly edited.
Regards. ---- V. Chowdary Jampala
cjam...@dayton.net
In article <4s60uo$c...@pollux.usc.edu>, br...@pollux.usc.edu says...
>
>In article <Pine.SUN.3.94.960712105250.11052A-100000@phoenix>,
>Ramakrishna Sanka <sa...@ERC.MsState.Edu* wrote:
>*Your contention, that the language used was pAtrOcitamu, may be valid
>*in general, but it does not hold in this movie. May be it is
>*sandarbhOcitamu.
sandarbhOcitamu too. As we see in the scene introducing ghaTOtkacha, he
is a man who has already been taught how to speak like a 'naagarikuDu'
(a skill that poor lambu and jambu were finding hard to learn).
ghaTOtkacha sings poems with a lot of 'deergha, samklishTa samaasamulu',
and generally carries on speaking in a 'SlishTa vyaavaharikamu'. hiDimbi,
on the other hand, speaks in vyaavahaarikamu - much as rEvathi does. All
the men folk, with the possible exception of daaruka, lambu, jambu, and
lakshmaNa kumaara's saarathi speak in SlishTa vyaavahaarikamu in that
movie.
>*And again as regards the buffoonish,(or teenagish) behaviour of
>*Lakshana kumara, your explanation mirrors the one I quoted. "We may
lakshmaNa in this movie (and many subsequent variations including
veeraabhimanyu - which very much plays like a maayaabajaar during the
aJNaatavaasam days) is a fool and a coward. Even duryOdhana and duSSaaSana
do not come off that well either. However, this becomes a problem only
if we begin to think of maayabajaar as depicting an episode of bhaarathamu
and demand consistency with bhaarathamu as we know it. maaya bajaar simply
is a brilliant theatrical farce that uses familiar characters from
mythology. It employs many familair plots, one of which is the insensitive
parents ready to marry off their daughter to a rich fool rather than to her
beloved dispossessed heroic young man. It is a testimony to the original
creators of this farce and the 1957 film crew that they come up with an
engaging enough story that we were all willing to accept this deviation
from the traditionalcharacterizations with hardly a question. Once we
accept the premise that lakshmaNa as a bombastic fool and his father and uncle aren't that much
different, the rest of the story flows smoothly.
cjam...@dayton.net
Sreenivas Paruchuri
CS Rama Rao wrote:
> Two small, but significant roles are kucalakumAri (later known as
> rAjasrI with kAntArAo in jAnapada movies) as cinna sasirEkha. The
Are you sure that it was kuchalakumaari? I doubt. She was the de-facto
candidate for 'classical dance' numbers before the emergence (and later
dominance) of L. Vijayalakshmi. Or we are talking about two totally
different persons. I can't recall seeing the name Kuchala Kumari neither
in film titles nor in old song books. As I see, Ramakrishna said the same
in one of his posting on this thread.
> A lot of words have been created for the movie just like ghaTOtkaca
> says 'evarU puTTicakapOtE mAta lelA puDatAyi'. The vocabulary of the
> sarma sastry duo - ratna kimbaLi, gilapam, and the words of lambu jambu
> like tasamadIyulu are all words that you will not find in a dictionary.
This is IMHO a misconception many people have. They are 'not created' by
pingaLi (perhaps the word asma-, tasmadeeyulu). I 'd say that he made them
popular.
> styanArAyaNa was not in the movie field at that time. He and prabhAkara
> reddy made their debut together, though I do not know which movie it was.
Together? Are you sure? Satynarayana's first film was "sipaayi kooturu"
(1958, three excellant songs; mokkajonna tOTalO musirina cheekaTlalO,
O lagi jigi ....lambaaDee and prabhoo! toli sanja vELa ....) and he played the
lead role (Hero) in it.
Ramakrishna Sanka wrote:
>> (kannAmba?) --- no it IS RshyEndramaNi !
> She sang her own verse in the encounter between abhimanyu and ghaTOtkaca !
> "akhila rAkshasa mantra tantrAtiSayamu
> naNacu SrI kRshNu sOdari nagudunEni
How do you find her voice? She was a good singer too, and I personally find
her songs of 30s, 40s very good. She (now in late70s/early 80s) lives some
where on the outskirts of Madras.
NaSy wrote:
> 2) I read somewhere, probably in Sree ramaNa's 'pramukhula haasyam':
> Mayabazaar dialogs were written by taapee dharmarao in the first half, and
> aarudra in the second half; SreeSree(?) while reviewing the movie for a
> magazine, punned, 'modaTi bhaagam taapeegaanoo, renDOdi aadurdaa gaanoo
> naDicindi'! I don't know how true this story is. pingaLi is the aasthaana
> kavi for vijaya movies - so, it is logical to believe he wrote story and
> the dialogs. I have a story about pingaLi also, but may be next time.
The same is said on Telugu film server too. This taapeegaa/aadurdaagaa
dialogue is a well known one though and attributed to many people (today
NaSy gaaru mentioned SreeSree's name! On same line: Recently, in
"Chandassu-padyam" discussion, Sri Vissa wrote that KV Mahadevan can compose
music to a news paper editorial also. The same is said about penDyaala,
saaloori, .....). I don't see Tapi Dharmarao's "stamp" on this film. He might
have worked as advisor, but mythologicals in which Tapi was involved were
different. Malladi, Tapi and aarudra have added a new (social) dimension.
Take for e.g. "lavakuSa"! It was mallaadi who modified the story where people
insist that they 'd contribute the gold needed for making seeta's statue (for
aSwamEtha).
More later,
Regards,
Sreenivas