|
PART – 2
Portraying realism was almost an obsession with NTR right from "palleToori pilla" (1950) where he did a bull-fight scene
without a dupe and in that process broke his arm. Here one can give many examples..... Another example is all the jewellary
and ornaments shown in his mythologicals is out of pure (heavy) metal, as he was against wearing fake cardboard ones.
NTR was also well known for his excellent dialogue delivery and voice modulations. It is the result of year long, hard
practice on the shores of Marina Beach in Madras. This deep and sonorous voice helped him later both in films and
political life.
His other asset was his appearance. Tall and lean (we are talking about his early days), a sharp nose, a ready smile
radiating from his eyes, and curly hair, he was easily the most handsome lead actor of that time.
His third film was (you will see a different order in filmography. There it was listed after date of release.) "maayaaraMbha",
a folklore drama. It was around the time "the father of Telugu Talkies" H.M.Reddi offered him a role in his film and made
him run around his office. The next role as a hero followed in "saMsaaram" and "shaavukaaru" (shaavukaaru was released
much ahead of the other afore mentioned three films.), both under L. V. Prasad's direction, which turned the tables in his
favor. When Vijaya studios were planning something big, to produce four films under 4 top directors: (paataaLa bhairavi
- K.V.reDDi, malleeSwari - B.N.reDDi, chandrahaaram - kamalaakara, peLLichEsi chooDu - L.V. Prasad) he argued
and convinced them to assign the lead role in all four films to him. His argument was "if I am not successful in the hands
of such eminent directors, then there won't be any chance of my succeeding on this line. If I don't click in these films,
I will give up my film career and go back to my village." Only after signing that exclusive contract, he went and brought
his wife and son to Madras. He was paid Rs 500 a month plus 5,000 rupees for a movie during his first year of contract
with Vijaya.
paataaLa bhairavi, an unprecedented hit, was the turning point in his career, which brought him the recognition as folklore
mass hero. NTR excelled as the young, innocent, fearless "tOTa raamuDu", intent on winning the heroine against heavy
odds. NTR now became a star.
NTR, once established as a successful actor, wanted to produce socially conscious films under his NAT banner, with his
brother trivikrama rao as the producer. Their first film was "picchi pullayya", followed by "tODu dongalu". His first two
productions exposing the state of affairs in the society, produced with the ideals he followed, fared badly at box-office,
but only won critical acclaims and some awards. His brother and co-producer trivikramarao wanted to return to the
native village after huge financial losses. NTR persuaded him to have a last try. After the failure of his non-commercial films,
he decided to make commercial/mass films later, starting with the highly successful "jayasiMha" (1955).
The first godly role, with which he was associated throughout his later life, came in "maayaa bazaar" as kRshNa.
Prior to that, he made a brief appearance in the same role in ghanTasaala's own production "sontavooru"(1956),
where, ironically, the audience did not like him at all. A Tamil film, sampoorNa raamaayaNam, later dubbed in Telugu,
was the first film in which he played Rama's role. The film that brought him instant fame for playing a godly role was
"Sree vEnkaTESwara maahaatmyam" - made for 11 lakhs, the film made a crore in 1960 - on twenty prints. He acted as
kRshNa in as many as 17 films out of 42 mythologicals (until 1985). He also literally became the 'face' of many historical
characters like kRshNadEva raayalu etc.
Two salient features of his own productions were the "negative-roles" he played, and the (re)introduction of new, forgotten
people from the industry. Consider that M.S.RamaRao,a talented, excellent singer, had a standard song in all his films;
gaalipenchala narasiMharaavu, an old timer was brought back after 10 years and gave us a master piece: seetaaraama
kalyaaNam; a new music director (vijaya) kRshNamoorti was given chance in gulEbakaavaLi katha; Ramachandra
Chitalkar was brought in to provide music for his akbar saleem anaarkali; introducing new faces on the screen etc. etc.
His positive interpretation of traditionally negative roles like "duryOdhana", "raavaNa" and "karNa" won him critical
acclaim. In 1961, NTR wrote an article in aandhra patrika weekly - naaku naccina paatra - raavaNa (reprinted in
1994 in rachana magazine, and 1995 TANA conference souvenir). That article gives good insight into NTR the man
as well. Also, he was n't shy to play the role of "bheeshma" (when many were against it! chakrapaaNi told him in his
typical style, curtly, that he should not do that.); or as an old man and a ruffian in "raaju-pEda". (About NTR's
role in bheeshma: The director BA Subbarao bragged to chakrapaaNi, 'Makeup baagaa kudirindi - raamaaraavuni
bheeshumDugaa evaroo gurtu paTTalEru.' chakrapaaNi's acid retort: 'evaroo gurtu paTTani kaaDiki aa vEsham
raamaaraavutO vEyincaTanedukoo. nuvvE vEyaccugaa'.)
From the very first film of his, he evolved an acting style of his own. He rarely fumbled for words in front of the
camera as he always knew his dialogues thouroughly.
Well, he is known as deeply religious and at times superstitious too! For e.g. preferring music director T. V. raaju.
NTR had remarkable success as a director too: seetaaraama kaLyaaNam was the first film he directed, though he
didn't put his name in the film credits.( Also, he chose to play raavaNa and cast haranath and geetaanjali as Rama and
seetha). Later, he directed SriKrishna paanDaveeyam, varakaTnam, daanaveeraSoora karNa etc.
His discipline was legendary. Until his death, he woke up very early, did his daily exercises, and was punctual for all
his appointments. In his forties, he learned dance from the Kuchipudi dance maestro, vempaTi chinnasatyam, for his
role as the dance teacher bRhannala in nartanaSaala. In an industry notorious for alcoholism, he kept away from it. His
unfailing courtesy to junior stars was also a defining characteristic of him.
His first 290 films may have grossed a staggering Rs. 200+ crores. And in the first 22 years he only charged in thousands.
His first film as a hero, palletoori pilla was a silver jubilee hit for which he was paid Rs. 1,116. He was paid Rs. 7,500 for
maayaabazaar.
During the latter days of his film career, he was still enormously popular though his acting and physical appearance changed.
The earlier physical grace was gone and there were very few directors that could handle him. He became a caricature of
himself. The downfall of standards in present days Telugu cinema is also partly attributed to him; he started a new trend of
films with lots of racy lyrics and hip swinging dances with young heroines, starting in mid-70s with edurulEni manishi.
However, NTR's last film was his own production of Sreenaatha kavi saarvabhowma - with him, of course, playing the
title role. Directed by baapu, the film was an artistic feast, but a commercial disaster. The financial loss did not faze NTR.
He reportedly told baapu, "Dont worry baapu gaaroo, picture manam teeddaamanu_kunnaTlu vaccindi. chaalaa
santOsham. Dabbulu raakapOtE raakapOyaayi."
As it must happen with everybody, he died last year at the age of 73. Telugu film fans will, however, remember him for a
long time for his many wonderful films and portrayals. How can one forget the handsome young man standing on the stairs,
singing 'EmananE chinnaari EmananE' in shaavukaaru, the lovelorn sculptor in malleeSwari, the mischievous kRshNa of
maayabazaar,the doting brother in raktasambandham, the raavaNa of seetaaraamakaLyaaNam, the bheema of paanDava
vanavaasam, the rebellious young man singing 'cEyetti jaikoTTu telugODaa' in palleTooru, the valiant warrior daanaveera
Soora karNa, the aDavi raamuDu, the KrishnadEva raayalu... or even the NTR cavorting a la amithabh singing 'arerE,
vEsukonnaa khaaraa kiLLee'. He was one of a kind.
|
