Dombvili Fast


Producer: Ramakant Gaikwad
Country: India
Language: Marathi
Running Time: 110 mins


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Category of Nomination & Nominee
Best Film - Ramakant Gaikwad & Nishikanth Kamat
Best Director - Nishikanth Kamat
Best Producer - Ramakant Gaikwad

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Screening Schedule
Golden Village Vivo City
29th November 2006 (Opening Film)
3rd December 2006 7.00pm Dombivli Fast
Reviewed by Jini - 30/11/06
With strong proletariat underpinnings and allusions to the constant fight for justice, Dombivli Fast is a story of the fateful collision between ideals and reality and how one man tries to resolve this disquieting dissonance. Dombivli Fast is the name of a local train of Mumbai and carries great significance in the film as it epitomizes the Marathi middle class of which the central character, Madhav Apte belongs.

Apte is an honest and principled man who works in a bank and goes through the daily struggles of trying to provide for his family while preserving his morals and integrity. It is a truly uphill task for him with the forces of greed, corruption and power conspiring against his every good intention.

On the surface, it seemed as though Apte was insane, destroying property and threatening people for no rhyme or reason. But what the public did not know was that each action of his was motivated by morals and good intention. As Apte persists on the rail tracks of righteousness, he becomes almost disillusioned with life as he finds himself alone and fighting for a hopeless cause In one scene set in a late night Mumbai street, he makes an impassioned plea, surrenders himself to God and asks to be relieved of his torment.

Finally deciding to return home to his wife and two children after his attempts at combating the ills in the world, Apte boards the train to his hometown Dombvili. But he loses his chance when he is shot by the police. His final wish reflects the desire of the middle class; the constant yearning for a better place in life, “Officer… All my life I’ve always sat on the fourth seat from the window. Please let me sit by the window.”

What direction are you headed to?
When will you alight?
Which roads will you take in strife?
How do you decide?
Where the journey halts as you collide
Who will you take with you?
Why?

Dombvili Fast is one ride you should not miss. It jolts your conscience and brings you back down to Earth, reminding you of the simple things that are dearest in your life. Catch it with your family and friends on 3rd December, Sunday at 7:00p.m., Golden Village Vivo City.

www.navzs.com -navd
Navdeep


Name : Navdeep

Pet Name : Tinku

Hair : Black

Height : 5"11

Birth Date : 26 Jan

Family : Father - Rama Rao , Mother: Madhavi , Sister: Deepthi

Star Sign: Aquirus

Status: Single

Education: Persuading Degree

Favorite Films: Catch me if you can, Mayabazar, April 1 vidudala, Manmadhudu, Gharshana, Laksmi Narasimha, chantabbai

Favorite Car: Scorpio

Favorite Book: How to win friends

Favorite Food: Chicken

Favorite Hotel: Ohris

Favourite Holiday Spot: My home

Favorite Actor: Aamir Khan, S.V.Ranga Rao

Favorite Actress: Sonali Bendre, Savitri

Favorite Co-Stars: Sindu Tolani

Favorite Attire : Cargos, Full sleve shirts

Favorite Color: White

Favorite Song: Chalte chalte mere ye geeth, All illaya Raja songs

Favorite Sport: No Sports

Favorite Accessory: Mobile

Favorite Perfume: Ferrai

Favorite Hobby: Driving

Leisure Activities: Driving, watching films

First Crush: 7 th Classmate (don't know where she is now)

Strengths: Myself, Family and friends

Weakness: Sweets

My Motto: Life depends on what we choice, better chose wisely and be happy

I Hate: acting in real life

I Love: acting on screen

My Favorite Site : www.telugucinema
eep website

Nagarjuna top ten films : Part One
Apr 10, 2006, 00:02



Nagarjuna
Nagarjuna's Top Ten : Part One

(1): Majnu
Banner: Taaraka Prabhu films
Director: Dasari Narayana Rao
Producer: D.Padma
Year of the Release: 1987
Box-Office Result: Hit

Vikram’s mediocre performance and subsequent failures in the form of “Aranyakaanda, Captain Nagarjuna” at box-office, pinpointed what was required for Nagarjuna’s future. The team soon realized that tag of ANR’s son would not last long unless Nag proved his metal. Dasari, who happened to have given life to many young stars in their career beginning, came to Nagarjuna’s rescue with this film. Dasari is a master in telling already told stories in a different manner. ‘Majnu’ was one such kind of film, based on many Indian films, dealt with “Love failures”. Majnu, did its best to Nag’s career and kept him live in the industry. LakshmiKanth-Pyarelal’s music was chart buster and still popular among the Romeos. This film is definitely a good leg up for Nag’s career.

(2): Geetanjali
Banner: Baghyalakshmi creations
Director: ManiRatnam
Producer: CL Narasa Reddy
Year of the Release: 1989
Box-Office Result: Sensational Hit

Only few Heros have guts to experiment. Nag, is one such hero in Tollywood. Whatever reasons known to him, he handpicked ManiRatnam to direct a venture in Telugu that was never done before by Mani. Only few Heros could dare to accept the subject and climax of this film. But Nagarjuna had a vast belief in Mani’s directorial capabilities, hence didn’t show any hesitation to keep him away from the project. He seemed to have felt that it was Mani’s narration and presentation style that would do the magic. He was proved right end of the day. Ilayaraja’s midas touch worked wonders for the film’s marathon run at the box-office. Especially, his background score was astonishing and make you gel well with the screen play. PC sriram’s classic work added special attraction. Though this film was commercialized, content was something unusual for the common audience to digest. As it was expected, this film didn’t do much business in rural areas, where as in cities, it written off all the other films were released same time. It went onto become one of the biggest grocers of 1989. It won the national award for its popularity in Region films category. Unfortunately, Nag didn’t get a chance to work with Mani again. One can hope that if this two join hands again, it will surely be a feast.

(3): Shiva
Banner: Annapoorna studios & SS creations
Director: RamGopal varma
Producer: Venkat Akkineni and Y.Surendra
Year of the Release: 1989
Box-Office Result: Sensational Hit

Only few films have a bigger impact on all crafts of a movie. ‘Shiva’ is one such film, can be termed as the ‘next generation’ movie in early 90’s. There is no dispute on saying that it has rehabilitated the age old rules of making a commercial film. Whether it is visuals, audio, shot making, no matter what, this film absolutely has some brilliant work gone into it. It has set a new path in film making and that impact is still presence. This wouldn’t be possible if Nag and Ramu hadn’t come to a common understanding while making this film. Nagarjuna should be appreciated any day for taking such a bold step of being directed by a unknown face who never seen front side of a camera from a closer distance. Also for the way the film was shot. If he had any reservations on the presentation style, Shiva wouldn’t have helped industry much in bringing new flavor. Though it is RGV’s movie for his brilliant work, Nagarjuna’s presence as Shiva won many hearts, especially the college youth. With this film’s ever best run, Nagarjuna has become the most salable star that time. The mark of Shiva didn’t leave him for a while and he continued with many flops after that. But, Shiva has broken all the records and set so many new records. In vizag city, Jagadaamba theatre, it has run for 155 days, where 122 days are full (with 3 shows) that is a unique record that time. With back to back sensation hits, Geetanjali and Shiva, in 1989, Nagarjuna reached utmost levels in his career. Ilayaraja’s terrific score, SGopal reddy’s photography, Deepan chatargee’s audiogrpahy, Tanikella’s dialogues, Raghuvaran’s antics made the film more polishing and worth watching

(4): Antham
Banner: Drusya creations
Director: RamGopal varma
Producer: RamGopal varma
Year of the Release: 1992
Box-Office Result: Flop

One’s expectations touched the sky after knowing the fact that Varma was directing Nagarjuna again. The sensational combination was back with a mafia story by projecting hero as an anti-element in the society. The crude natured Raghava’s mission was to eliminate people left and right who distract their business. Though process seemed natural, it was hard to believe that hero had no job other than killing. It was full of gore and wicked histrionics by the lead actor that didn’t gel with the audience though taking was brilliant. Nagarjuna, as a silent killer, who hardly speaks in the film, given good look to the Raghava’s character. Varma’s uncompromising nature towards the climax was only received by one section of the audience. He clearly lost grip on the narration in the beginning with series of killings, but had his best when Raghava and Bhavana met each other in a separate land. In order to cash the success of Hindi Shiva, he had planned this film with bilingual artiste where he didn’t succeed as most of them were lacking Telugu nativity. This film definitely stands out for its path breaking rules again in a commercial cinema format. But, that didn’t help this film to mint money at the box-office. RD Burman’s music helped this film to boast some good tunes.

(5): President Gaari pellam
Banner: VMC productions
Director: A Kodanda Ramireddy
Producer: V.Doraswamy raaju
Year of the Release: 1992
Box-Office Result: Hit

Post Shiva, Nagarjuna had been through a lean phase. All his movies were big duds despite few of them relatively received better. His confidence on regional directors and new talent didn’t do any good to him. The strategy was back fired and damaged his trend setter image. Lack of nativity, incoherent script, technique dominated content etc proved him a zero at the box-office. He soon then realized what a common man wants? “President Gaari pellam’ happened to his survival in industry. By packaging the right ingredients in right place, A Kodandarami Reddy dished out a complete commercial entertainer. From the word “Go”, everything worked in favor to this film. This film had a decent run with electrifying tunes from keeravani and excellent rural comedy it had. This was a major break thru in his career as an artiste. At last, after waiting for almost 3 years, It brought smiles on Nagarjuna’s face again. Commercially, this film did very good business and satisfied one and all who lost heavily with the Nagarjuna’s previous films. There after, Nagarjuna decided to do more films as his fans and public asked for rather experimenting.


Nagarjuna Top Ten films : Part Two
Apr 17, 2006, 04:48





(6): Hello Brother
Banner: Durga Arts
Director: EVV Satya Narayana
Producer: KL chowdhury
Year of the Release: 1994
Box-Office Result: Super Hit

EVV was given chance to direct Nag with the film “Vaarasudu” that was a hit movie.. By knowing the strengths of EVV very well, Nag offered him another chance in the form of Hello brother. EVV, not like his previous film which was a remake of super hit Hindi film, zeroed in on much popular concept of “Twins” who react alike most of the times. Loosely based on Jackie Chan’s Twin brothers and other NTR/ANR movies, he finished up the project on the similar grounds. Nagarjuna, for the first time, played dual roles as, Deva, a small time thief and Ravi varma, a pop singer who visits India to give stage programs. EVV filled the entire script with hilarious moments and beautifully choreographed songs. He dished an out and out entertainer, where audience could stop thinking, sit back and enjoy the show. The comedy track between Nag-Brmhanandam, Kota-Mallikarjuna rao, Nag-Srihari, Ali-Kota-Mallikarjuna rao were the highlights of the movie. This film happened to be the 2nd venture from Durga arts who gave a moderate hit before in the form of “kshanakshanam”. This movie ran for 100days in all major centers and increased the box-office stamina of yuva saamrat.

(7): Ninne Pelladutha
Banner: Annapoorna Studios
Director: KrishnaVamsy
Producer: Nagarjuna Akkineni
Year of the Release: 1996
Box-Office Result: Sensational Hit

Nag has guts. This was proved many times. One day, Nag happened to visit the labs in Annapoorna studio. Krishnavamsy’s debut film “Gulabi” post-production was going. He apparently seen 2, 3 reels of the movie and liked the way scenes were presented. He called on Vamsy and asked him to come up with a story as he was ready to act under his direction. It is the kind of guts Nag has. Without even knowing the end-result of the movie, he offered a chance to Vamsy. This is something to be noticed in an actor.. Those were the days Yash chopra, Barjaathya kind of films making a big impact on the regional films too. Vamsy’s idea of replicating the same was instantly okayed by Nag. “Ninne Pelladutha” was happened like that. A split between the two families was told in simple through a jovial narration and excellent song sequences. The on screen chemistry between Pandu and Sreenu was a worth watch once. Nag won the hearts of teens with his “Greeku veerudu” image from this film onwards. He was a perfect fit to the “happy go lucky guy” attitude of Sreenu. It was a great relief to see aged artistes like chalapathy rao, Jeeva, kavitha etc who were desperate to come out of their image, got different roles to play in this movie. Sandeep chowta, who is a friend of Nagarjuna, was introduced with this film. The songs were melodious and catchy, brought the reputation of “repeat value” for this film. Vamsy’s ability to make use of directing a big star, did the wonders at box-office. With the show 1, this film was declared a sensational entertainer and smashed the records everywhere by its unprecedented run. This film was supposed to be the 1st film that ran 100 days in 4 theatres in twin cities. It had also been awarded the best entertainer in regional films category by Central government.

(8): Annamaiah
Banner: V.M.C. Films
Director: K.Raghavendrarao
Producer: V.Doraiswamiraju
Year of the Release: 1997
Box-Office Result: Super Hit

First when Nag and Raghavendrarao started the movie Annamaiah everybody questioned Nag's ability to do such kind of roles and commented that how they do justice to a devotional role. Even working stills also raised their doubts as nag looked so cool and casual in sets as doing a regular commercial film. When the film released everybody shocked by seeing towering performance of Nag.Keeravani's music added life to Nag's action and Raghavendrarao's direction and slowly it became biggest hit of Nag's career and stood out as the finest film ever made in Telugu film industry. Nag got Special Jury award for his action and Keeravani got Best Music Director award at National Level for this movie and bagged Best Actor at Nandi Awards. Commercially Annamaiah took Nag to greater heights at that time and Nag became the only hero who delivered two consecutive silver jubilees in slab system.

(9): Nuvvu Vasthavani
Banner: SuperGood films
Director: VR Pratap
Producer: RB Chowdhury
Year of the Release: 2000
Box-Office Result: Super Hit

This was a remake of Tamil super hit film called “Thulladam manam thulladam”. Start to finish, it was a tear jerker. Melo drama, too many sentimental scenes, SARaj kumar’s apt to subject songs, Nagarjuna’s sacrificing role on the similar lines of earlier SuperGood films, made this film to have a marathon run at box-office. The film was about a man who scarifies his life to assist his lady to reach great heights in life. The film had broken the box-office records with its unexpected run, especially in coastal districts of Andhra Pradesh. This film could be termed as the “sigh of relief” to Nag’s career, for the 3rd time, as he was almost down with many flops in between.

(10): Manmadhudu
Banner: Annapoorna studios
Director: K.Vijaya Bhaskar
Producer: Nagarjuna Akkineni
Year of the Release: 2002
Box-Office Result: Super Hit

After Trivikram and VijayaBhaska combination started making waves, Nag roped this duo to work under his home banner. “Manmadhudu” is an apt title for Nag any day. This character had fit like a glove to him. This was again a non-stop laugh riot from Trivikram and VijayBhaskar. They had done enough exercise on how Nagarjuna should be projected, and they succeeded. A Manager who hates women to the core, under circumstances, has to work with many young and beautiful girls. How he chases the rainbows is the crux of the film? Nagarjuna, as a decent innocent manager, done his best. His comedy timing was perfect and one-liners written for him were like a shot fire. With the ever lasting charm of his, he proved again that he had the best fan following among ladies. This was Devisri’s first biggest film and he came out with flying colors. Songs of the movie had rhythm and melody touch in it and attracted classes and masses. This film was unanimously declared a good, decent and clear entertainer that took the film to have an excellent run at the box-office.

TC Exclusive Interview: Sobhan Babu
Jan 10, 2007, 23:03




Shoban Babu at his residence in Chennai (File photo)



Those who worked in arc lights will never like to leave them till their end. Very rarely do we find a person who can boldly retire with no obvious reason than a personal choice to stay away for oneself! We do find it sometimes, yes, with heroines who get married or who can't resign themselves to be character artistes, but it is seldom that a hero retires by his own will! The only one that comes to anyone's mind after reading this much is 'Natabhushana' Sobhan Babu. As he celebrates his 70th birthday in a few days, TeluguCinema.Com spoke with him at length, over a period of four years during which the interviewer was in touch with him personally, about his life and career and presents it to its readers.

Sri: Please tell us about your childhood, sir!

Sobhan Babu: I was born as Uppu Sobhana Chalapathi Rao on January 14, 1937 in a middle-class family. Born as the eldest son to a farmer Suryanarayana Rao gaaru and housewife Rama Tulasamma, I have three sisters Dhanaranga, Jhansi, and Nirmala, and a brother Sambasiva Rao. As the eldest son of the family, I was aware of the financial problems and other domestic issues and I was a responsible child always...

Sri: Hailing from a small village, how did you get interested in films?

Sobhan Babu: (Laughs) Even I do not know exactly where it all started, but I did my first play while I was still in my native place Chinna Nandigama, and I even completed my high school there. Interestingly though, that stage drama was in English, based on the Greek legend "Damon and Pythias". This story was later adapted on Telugu silver screen, making NTR and ANR heroes...

Sri: Which was the first film you saw, and is there a particular film or incident that inspired you the most?

Sobhan Babu: It was Keelugurram. I remember having gone to a neighboring village, Tiruvuru. However, the films that inspired me the most to become a hero were Pathaalabhairavi, Malleeshwari, and Devadasu, which was when I was a student of Intermediate in Guntur. I watched Malleeshwari 22 times, I remember! I then joined in A.C. College, Guntur for my graduation, where Ramarao gaaru was a student earlier.

In fact, one of the reasons that I found myself admitted in that college was because of this reason, and I even read in newspaper at that time that Ramarao gaaru had acted in plays in the college's open air auditorium! (Laughs) I wanted to become a hero like him too, and thus joined there to start my career like he did! (Laughs again) ...In two years, I did three plays there. One of those plays was "Punarjanma", which made me a bit famous locally as an actor, giving me enough drive to catch a train to Madras!

Sri: How was the struggle? Did you get any offers right away?

Sobhan Babu: (Laughs) Not so easy as it may seem! I joined the Law College there and attended classes in the morning, roamed around studios and producers' offices in the afternoon with an album full of my photos in hand. Ponnuluri Brothers felt that I was good and did a makeup test and screen test, and offered me a small role in the film Daivabalam (1959), which made me even happier since Ramarao gaaru was the hero of the film! It was like a dream come true to me to be able to work alongside of him. The film released on September 17, 1959 but failed at the box-office.

At the same time, I got my second offer, to do a role in Bhakta Sabari; the director of the movie Chitrapu Narayana Rao gaaru liked me and gave me the role of a saintly youth (muni kumaaruDu) in the film. The film was released on July 15, 1960. It became a decent hit and people started knowing me by face...

Sri: So, was it a cakewalk since then?

Sobhan Babu: No, nothing at all yet! (Laughs) People knew my face but getting more chances was not that easy! It was Ramarao gaaru and Nageswara Rao gaaru who saved me at that time. I used to meet both of them frequently then, and they used to encourage me a lot. Ramarao gaaru gave me roles in his films such as Seetarama Kalyanam (as Lakshmana), Bheeshma (as Arjuna), Lavakusa (as Shatrughna) and Punayavathi. Nageswara Rao gaaru got me roles in films like Chaduvukunna Ammaayilu, Poola Rangadu, Iddarammaayilu, Buddhimanthudu, etc. They both helped me in getting a foothold in the filmdom. Without their blessings, I might not have survived as an actor!

Sri: I thought Veeraabhimanyu gave a lot of boosting to your career.

Sobhan Babu: Before Veeraabhimanyu, it was Narthanasaala that gave me a boost. Though many people came with recommendations for that role, Kamalakara Kameshwara Rao gaaru chose me for the role of Abhimanyu in that film. It was after this film that I played the same character as the title role in Veeraabhimanyu in 1964. The film was a high budget film at that time, made with about 25 lakhs. Even for this movie, many artistes wished to do that role but V. Madhusudana Rao gaaru wanted me to play the role! The film was released on July 12, 1965, and with this movie, I got the big break I needed for my career to rise!

Sri: You gave some memorable hits in V. Madhusudana Rao gaari combination later too, right?

Sobhan Babu: He's like a godfather to me. He gave me a big hit like Veeraabhimanyu and made me a bankable hero with the film Manushulu Maaraali. Though Veeraabhimanyu celebrated a hundred-day run in eleven centers, I had not got many solo hero roles. Potti Pleader-u was a good hit, and it brought me a good name too, but I wasn't the solo hero of that film either!) It was Gemini's Manushulu Maaraali that gave me a solo hero hit finally, and brought me the so-called "star status". Later, I did many films such as Kalyana Mandapam, which was also my first solo color film, Jebu Donga and the critically acclaimed Mallepoovu...

Sri: But there was a four-year gap between 1965 and 1969. What were you doing during this time?

Sobhan Babu: Like I said, I was not poured with offers though Veeraabhimanyu was a big success. At this time, I was married and even had kids, and I thus needed to earn to make a living not just for me but for my own family. So, I did small roles for small remunerations in films like Sumangali, Gudhachari 116, Paramaanandayya Sishyula Katha (a short role as Lord Shiva, for a remuneration of Rs. 1500/-), Pratijnaa Paalana (as Narada, for Rs. 750/-), etc. I had four children already, and these four years had taught me a valuable lesson about the importance of having money. But, this period also gave me the stability and confidence to became a big hero like Nageswara Rao gaaru and Ramarao gaaru. My grand father always used to say, "People will laugh at us if we don't have any possessions, but they'd also get jealous when we have more!" It's an absolute truth, and I had it on my mind always...

Sri: So, you didn't do any solo hero films during this time?!

Sobhan Babu: No, I did a couple of films... a good hit like Potti Pleader-u and a flop like Loguttu Perumallakeruka (produced by S. Bhavanarayana and Directed by K.S.R. Das) as a solo hero. If the latter was not a flop, I might have settled for a crime hero image (laughs)! In 1967, I did a secondary hero role in Punyavathi with Ramarao gaari recommendation. He recommended to the director Vasu Menon to give me a couple of songs too, which were also hits! (pedavula paina sangeetam... and intElE nirupEdala batukulu...), but the film was not a hit, though I did make a name with that film. I also did average grocers like Kambhojaraju Katha and Rakta Sindooram the same year.

The next year, M.S. Reddy gaaru made two films with me as a solo hero, Bharya and Kalasina Manasulu, but of them ended up as flops. And then came my first real solo hit Manushulu Maaraali in 1969. The film was a huge success and made me a family hero; it was a silver jubilee film, and it was all because of V. Madhusudana Rao gaaru! (The film holds the record of being the last 100-day black-and-white film in Secunderabad!) Actually, I did two more good films the same year, before Manushulu Maaraali hit the screens. One of them was Bangaaru Panjaram with B.N. Reddy gaaru.

It was a great opportunity to work with the legend, and he gave me a lot of freedom while doing that role, and I had great hopes on that film, but it failed at the box-office, terribly disappointing me. The other film was Buddhimanthudu that brought a lot of critical acclaim and good success. It was a great achievement for me to the role of Lord Krishna in the film, thanks to Bapu gaaru. I then appeared in Devatha in 1970, but I again had two 100-day hits in 1971, in the form of Kalyana Mandapam with V. Madhusudana Rao gaaru again and Tahsildaar Gaari Ammaayi.

Then came Manavudu - Danavudu, which brought me closer to the masses. Sampoorna Ramayanam followed, and thanks to Bapu gaaru, it made me Lord Rama too, after Ramarao gaaru played this role successfully too. The film was a huge hit too!...

Sri: Of all these people, who do you think helped most in shaping your career?

Sobhan Babu: How can I say only a couple of names? There are so many directors and producers who were with me all through. I cannot leave out anyone really! Even if one of these people was not with me, I might not have been in the industry!

Sri: Well, let me reframe the question. Which directors gave you the greatest hits?

Sobhan Babu: No, this is not any fairer question either! The list is still quite big, I should say! Kamalakara Kameshwara Rao gaaru, V. Madhusudana Rao gaaru, Dasari Narayana Rao gaaru with Balipeetham, Gorintaaku, Swayamvaram, Dharmapeetham Daddarillindi), K. Raghavendra Rao (his debut film Babu, Raja, Devatha, Iddaru Dongalu), K. Bapayya (his debut film Soggadu, Mundadugu, Dandayathra, Mande Gundelu), Tatineni Rama Rao gaaru (Manchi Mithrulu, Jeevana Tarangaalu, Devudu Chesina Pelli, Illaalu, etc.), K. Viswanath gaaru (Chelleli Kaapuram, Saarada, Jeevana Jyothi, Prema Bandham, etc.), T. Krishna gaaru (Khaidi Babai, Monagadu), and Devalayam with another T. Krishna gaaru, Bapu gaaru (Buddhimanthudu, the evergreen Sampoorna Ramayanam, Jackie), A. Kodandarami Reddy (Premamurthulu, Baavaamaradallu, Sravana Sandhya, Illaalu-Praiyuraalu, etc.), and there are a lot more – Muralimohana Rao's Adavi Raja, Rajachandra's Bandham, B.V. Prasad's Ooriki Soggadu, Katta Subbarao's Kodallosthunnaru Jagarattha, Boyina Subbarao's Driver Babu, Kodi Ramakrishna's Jailupakshi, Samsaaram with Relangi Narasimha Rao, E.V.V. Satyanarayana's Emandee!... Aavida Vacchindi, Sarpayaagam with Paruchuri brothers, Ravi Raja Pinisetti's Balaramakrishnulu...

In such an exhaustive list, I might have omitted some films or directors because I can't get them on my mind right away! I sincerely apologize for that... but all of those were great directors to work with, surely!


Sri: Your son looks handsome, hero-like, and he did get several offers, I gather. Why didn't you make him a hero?

Sobhan Babu: Though I have a lot of respect for films, I should admit that I know the job is practically very tough. Expressing all the emotions and enacting the scenes is not as easy as it seems! We practically live in the role for some time, which is quite a deal. I respect all our stars and actors for their dedication for the work, but well... I didn't want my son to go that way!

Sri: I think you were one of those rare showbiz celebrities who maintain working hours, like a regular employee, though you were in the top notch at a time!

Sobhan Babu: From 1972, I started working only one shift, from 9:00 a.m. to 6:00 p.m., and I didn't work during the weekend. By then, I had already decided that I shall retire from the "job" before I reach 60. Like any other job, one needs to be physically and mentally healthy to be an actor, and this job also needs a lot of mental involvement, which is tiresome!

Sri: Yeah, I did hear that and you retired like you said, a year in advance too!

Sobhan Babu: A year? (Laughs) Well, yeah, I retired when I was running on 59.

Sri: You were still a saleable hero, and there's a good deal of money involved in movies...

Sobhan Babu: That's why I wanted to retire... while I was still a saleable hero, I mean! To retire respectably is better than to retire when audience start rejecting me! Hello... Guru! in 1997 was the last film I worked for. The title read "hello", but I actually bid "adios" to the silver screen! (Laughs)

Sri: From what I know, you were offered films after that too, on several occasions, and at least some of those moviemakers came up with important and special roles tailored for you. How come you didn't get tempted by any of those?

Sobhan Babu: To tell you the truth, they were indeed tempting. But, one needs to control oneself from temptations, I thought, and I tried and succeeded in that, I guess! (Laughs)

Sri: And you got busy with real estate business, so much that Muralimohan et al. call you fondly as their guru in the business!

Sobhan Babu: (Laughs) I just told them what I was doing. Even now, I just advise my son who now looks after the business. Today, almost sixty families depend on our business. This feeling is what gives me enormous pleasure that I cannot buy with something else! Such a satisfaction keeps me going, and it's all I need.

On rumors of linking him with his leading ladies

We quizzed him about rumors of his affairs with Jayalalithaa, Sumalatha and others but he didn't show much interest in talking. He kept mum whenever we broach the subject. But we understand some of the rumors are not entirely false. But again, he was Soggadu, the ladies man, wasn't he?

TeluguCinema.Com wishes the yesteryear's romantic star a happy 70th birthday! (This is not an interview per se, and is extracted from casual, personal-level talk with him now and then, over a span of more than a couple of years. Having completely retired from the movie business, he is not giving any interviews any more, and he's not even meeting his fans. He's just leading a peaceful life away from the filmy glitz and TeluguCinema.Com respects his interests.)


Related Links
> Shoban babu interview
> Filmography
> Shoban - Sharada Records
> Shoban babu Profile

Interviewed by Sri Atluri
Compiled and Edited by NaChaKi


--------------------------------------------------------------------------------

Shobhan Babu - Profile
Jan 13, 2007, 06:01


Shoban Babu


Shoban babu

Real Name

Uppu Shobana Chalapathy Rao

Mother Tongue

Telugu

Jananam

14 Jan 1937 Early morning

Education

Schooling- Kuntamukkula Mylavaram
Inter - Vijayawada
Degree Guntur AC Collage
Law - Madras Discontinued.
Father

Uppu Suryaarayana Rao

Mother

Uppu Ramatulasamma

Wife

Kanta Kumari Married on 15 May 1958

Children

Son : Karuna Sheshu Daughter in law : Vijaya Grand Children : Sandesh Sankalap (twins) shobana
Daughter : Mrudula Son in law :Dr Sharat
Daughter : Prashanathi Son in law : Anil kumar
Daughter : Nivedeta Son in law : N.Vishnu varadhana rao


Other Family Members

Sisters : Dhanaranga, Jhansi, Nirmala
Brother : Sambasiva Rao


About Nagarjuna.....

First Movie (released) : Bhakta Sabari
First movie heroine :L.Vijayalaxmi
First movie director (released): Chitrapu Narayanamurthy
First Movie producer: B.D.Naidu
First Music director : Pendayala Nageswera Rao Bhakta Sabari
First 100 days movie : Narthanasala ... AS A SOLO, 25 WEEKS FILM MANSULUMARALI
First Kashimiri color and whole film : Kannavari KAlalu
First foreign location (only) : Ramudu Parsuhuramudu
First double action movie:Potti pleader

Awards:
Film fare Awards 1971 74 76 79
Nandi Best Actor Award from AP Govt : 1969 1971 1972 1973 1976
AP Cinegoers Award : 1970 71 72 73 74 75 85 89
Madras Film Fans Award : 1971 74 75 76 78 79 80 84 85
Vamsi Berkely Award : 1978 84 85
AP Film Fans Award : 1971 1974
Andhrapatrika Award : 1970 1985
Film World : 1971 1975
Central Govt Award for the best classical film hero award : Bangaru Panjaram 1970
Filmalaya : 1975
Cine World : 1975
Cinema Express : 1984
Kalasagar : 1975 1986
Kalasravanthi : 1992

Movies direct 100 days centers:
Veerabhimanyu - 11
Potti pleader - 2
MAnushulu marali 7
Tasildar gari ammai 6
Sampoorna ramayanam 8
Jeevana Tarangalu 2
Puttinillu mettinillu 2
Andaru dongalu 3
Manchimanushulu 10
Jeevana jyothy 12
Jebu donga 9
Soggadu 19
Mallepoovu 1
Kaartika deepam 10 Judagadu 2
Mande gundelu 5
Gorintaaku 9
Kodalluvasunnaru jagartha 2
Pandandanti jeevitam 4
Illalu 8
Maharaju 125 days one center
Kaidi babai 2
Illalu priyuraalu 8
Premamurthulu 2
Devata 17
Mundadugu 17
sarpayagam 1
Evandi avida Vachindi 2


Music directors worked for Shoban babu :
Pendyala 7
Chakravarthy 68
K.V.Mahadevan 22
Satyam 19
S.Rajeshwara Rao 16
S P Kondapani 9
Ghantasala 7
TV Raju 7
T. Chalapathi Rao 6
Raj koti 6
Master Venu 5
Aswadhama 5
Adinarayana RAo 4
Illayaraja 3 (Raj kumar Ashwamedam Mr. Bharath)
Ramesh naidu 3 (Amma maata, Ganga Manga and Jeevitam)
S. P. Balasubramanyam 3 (jackie, Kongumudu bharyamanai) Shankar 2 (Pratikaram and Debbaku Ta Dongalamuta)
JV Raghavulu 2 (Jeevanatarangalu, Dhamapeetam Daddarililu)
V.Kumar 2 (Kannavari kalalu and Andraru manchi valle)
Vidhyasagar 2 (Sarpayagam, Doshi - Nirdhosi)
Rajan nagendra 1 (navagrapuja mahima)
Adinarayana Ram and Satyam 1 (Chandipriya)
AA Raju 1 Kathanayakuraalu
Koti 2
Raj 1
Susarla Dakshanamurthy 1
Vishwanathan Ramurthy 1


Heriones worked with Shoban babu :
Jayasudha 31
Vanishree 28
Sharada 20
Jayaprada 18
Chandrakala 8
Vijayashanthi 12
Suhasini 12
Radha 9
Laxmi 12
Sridevi 8
Sujatha 4
Adoni Laxmi 1
Savitri 1
Jayanthi 3
Kanchana 4
Geetanjali 4
Attili Laxmi 1
K.R.Vijaya 4
Vijayanirmala 5
Priyaraman 1
Nagma 1
surabhi 1
Amani 1
Subhasini 1
Rati 3
Shavukar Janaki 1
Sumalatha 7
Madhavi 1
L.Viajayalaxmi 1
Vakkalanka Padma 1
Rajashri 4
Pandaribhai 1
Bharathi 3
Sheela 1
Rajasulochana 1
Radhika 5
Sarita 1
Nandini 1
Ambika 1
Preeti 1
Keerti Singh 1
Bhanupriya 1
Sumitra 1
Deevika 1
Sandhaya Raani 2
Y.Vijaya 1
Aarti 2
Vijayalalitha 2
Venneradai Nirmala 2
Jamuna 2
Jayalalitha 1
Lata 3
Manjula 8
Jayachitra 3
Rekha 1
Srividya 1
Indraja 1
Reena 1
Deepa 2
Geeta 4

101 greatest screenplays ever-writers guild of america

1. CASABLANCA
Screenplay by Julius J. & Philip G. Epstein and Howard Koch. Based on the play "Everybody Comes to Rick's" by Murray Burnett and Joan Alison
FACTS ABOUT THE FILM
2. THE GODFATHER
Screenplay by Mario Puzo and Francis Ford Coppola. Based on the novel by Mario Puzo
FACTS ABOUT THE FILM
3. CHINATOWN
Written by Robert Towne
FACTS ABOUT THE FILM
4. CITIZEN KANE
Written by Herman Mankiewicz and Orson Welles
FACTS ABOUT THE FILM
5. ALL ABOUT EVE
Screenplay by Joseph L. Mankiewicz. Based on "The Wisdom of Eve," a short story and radio play by Mary Orr
FACTS ABOUT THE FILM
6. ANNIE HALL
Written by Woody Allen and Marshall Brickman
FACTS ABOUT THE FILM
7. SUNSET BLVD.
Written by Charles Brackett & Billy Wilder and D.M. Marshman, Jr.
FACTS ABOUT THE FILM
8. NETWORK
Written by Paddy Chayefsky
FACTS ABOUT THE FILM
9. SOME LIKE IT HOT
Screenplay by Billy Wilder & I.A.L. Diamond. Based on "Fanfare of Love," a German film written by Robert Thoeren and M. Logan
FACTS ABOUT THE FILM
10. THE GODFATHER II
Screenplay by Francis Ford Coppola and Mario Puzo. Based on Mario Puzo's novel "The Godfather"
FACTS ABOUT THE FILM
11. BUTCH CASSIDY AND THE SUNDANCE KID
Written by William Goldman
12. DR. STRANGELOVE
Screenplay by Stanley Kubrick and Peter George and Terry Southern. Based on novel "Red Alert" by Peter George
13. THE GRADUATE
Screenplay by Calder Willingham and Buck Henry. Based on the novel by Charles Webb
14. LAWRENCE OF ARABIA
Screenplay by Robert Bolt and Michael Wilson. Based on the life and writings of Col. T.E. Lawrence
15. THE APARTMENT
Written by Billy Wilder & I.A.L. Diamond
16. PULP FICTION
Written by Quentin Tarantino. Stories by Quentin Tarantino & Roger Avary
17. TOOTSIE
Screenplay by Larry Gelbart and Murray Schisgal. Story by Don McGuire and Larry Gelbart
18. ON THE WATERFRONT
Screen Story and Screenplay by Budd Schulberg. Based on "Crime on the Waterfront" articles by Malcolm Johnson
19. TO KILL A MOCKINGBIRD
Screenplay by Horton Foote. Based on the novel by Harper Lee
20. IT'S A WONDERFUL LIFE
Screenplay by Frances Goodrich & Albert Hackett & Frank Capra. Based on short story "The Greatest Gift" by Philip Van Doren Stern. Contributions to screenplay Michael Wilson and Jo Swerling
21. NORTH BY NORTHWEST
Written by Ernest Lehman
22. THE SHAWSHANK REDEMPTION
Screenplay by Frank Darabont. Based on the short story "Rita Hayworth and the Shawshank Redemption" by Stephen King
23. GONE WITH THE WIND
Screenplay by Sidney Howard. Based on the novel by Margaret Mitchell
24. ETERNAL SUNSHINE OF THE SPOTLESS MIND
Screenplay by Charlie Kaufman. Story by Charlie Kaufman & Michel Gondry & Pierre Bismuth
25. THE WIZARD OF OZ
Screenplay by Noel Langley and Florence Ryerson and Edgar Allan Woolf Adaptation by Noel Langley. Based on the novel by L. Frank Baum
26. DOUBLE INDEMNITY
Screenplay by Billy Wilder and Raymond Chandler. Based on the novel by James M. Cain
27. GROUNDHOG DAY
Screenplay by Danny Rubin and Harold Ramis. Story by Danny Rubin
28. SHAKESPEARE IN LOVE
Written by Marc Norman and Tom Stoppard
29. SULLIVAN'S TRAVELS
Written by Preston Sturges
30. UNFORGIVEN
Written by David Webb Peoples
31. HIS GIRL FRIDAY
Screenplay by Charles Lederer. Based on the play "The Front Page" by Ben Hecht & Charles MacArthur
32. FARGO
Written by Joel Coen & Ethan Coen
33. THE THIRD MAN
Screenplay by Graham Greene. Story by Graham Greene. Based on the short story by Graham Greene
34. THE SWEET SMELL OF SUCCESS
Screenplay by Clifford Odets and Ernest Lehman. From a novelette by Ernest Lehman
35. THE USUAL SUSPECTS
Written by Christopher McQuarrie
36. MIDNIGHT COWBOY
Screenplay by Waldo Salt. Based on the novel by James Leo Herlihy
37. THE PHILADELPHIA STORY
Screenplay by Donald Ogden Stewart. Based on the play by Philip Barry
38. AMERICAN BEAUTY
Written by Alan Ball
39. THE STING
Written by David S. Ward
40. WHEN HARRY MET SALLY
Written by Nora Ephron
41. GOODFELLAS
Screenplay by Nicholas Pileggi & Martin Scorsese. Based on book "Wise Guy" by Nicholas Pileggi
42. RAIDERS OF THE LOST ARK
Screenplay by Lawrence Kasdan. Story by George Lucas and Philip Kaufman
43. TAXI DRIVER
Written by Paul Schrader
44. THE BEST YEARS OF OUR LIVES
Screenplay by Robert E. Sherwood. Based on novel "Glory For Me" by MacKinley Kantor
45. ONE FLEW OVER THE CUCKOO'S NEST
Screenplay by Lawrence Hauben and Bo Goldman. Based on the novel by Ken Kesey
46. THE TREASURE OF THE SIERRA MADRE
Screenplay by John Huston. Based on the novel by B. Traven
47. THE MALTESE FALCON
Screenplay by John Huston. Based on the novel by Dashiell Hammett
48. THE BRIDGE ON THE RIVER KWAI
Screenplay by Carl Foreman and Michael Wilson. Based on the novel by Pierre Boulle
49. SCHINDLER'S LIST
Screenplay by Steven Zaillian. Based on the novel by Thomas Keneally
50. THE SIXTH SENSE
Written by M. Night Shyamalan
51. BROADCAST NEWS
Written by James L. Brooks
52. THE LADY EVE
Screenplay by Preston Sturges. Story by Monckton Hoffe
53. ALL THE PRESIDENT'S MEN
Screenplay by William Goldman. Based on the book by Carl Bernstein & Bob Woodward
54. MANHATTAN
Written by Woody Allen & Marshall Brickman
55. APOCALYPSE NOW
Written by John Milius and Francis Coppola. Narration by Michael Herr
56. BACK TO THE FUTURE
Written by Robert Zemeckis & Bob Gale
57. CRIMES AND MISDEMEANORS
Written by Woody Allen
58. ORDINARY PEOPLE
Screenplay by Alvin Sargent. Based on the novel by Judith Guest
59. IT HAPPENED ONE NIGHT
Screenplay by Robert Riskin. Based on the story "Night Bus" by Samuel Hopkins Adams
60. L.A. CONFIDENTIAL
Screenplay by Brian Helgeland & Curtis Hanson. Based on the novel by James Ellroy
61. THE SILENCE OF THE LAMBS
Screenplay by Ted Tally. Based on the novel by Thomas Harris
62. MOONSTRUCK
Written by John Patrick Shanley
63. JAWS
Screenplay by Peter Benchley and Carl Gottlieb. Based on the novel by Peter Benchley
64. TERMS OF ENDEARMENT
Screenplay by James L. Brooks. Based on the novel by Larry McMurtry
65. SINGIN' IN THE RAIN
Screen Story and Screenplay by Betty Comden & Adolph Green. Based on the song by Arthur Freed and Nacio Herb Brown
66. JERRY MAGUIRE
Written by Cameron Crowe
67. E.T. THE EXTRA-TERRESTRIAL
Written by Melissa Mathison
68. STAR WARS
Written by George Lucas
69. DOG DAY AFTERNOON
Screenplay by Frank Pierson. Based on a magazine article by P.F. Kluge and Thomas Moore
70. THE AFRICAN QUEEN
Screenplay by James Agee and John Huston. Based on the novel by C.S. Forester
71. THE LION IN WINTER
Screenplay by James Goldman. Based on the play by James Goldman
72. THELMA & LOUISE
Written by Callie Khouri
73. AMADEUS
Screenplay by Peter Shaffer. Based on his play
74. BEING JOHN MALKOVICH
Written by Charlie Kaufman
75. HIGH NOON
Screenplay by Carl Foreman. Based on short story "The Tin Star" by John W. Cunningham
76. RAGING BULL
Screenplay by Paul Schrader and Mardik Martin. Based on the book by Jake La Motta with Joseph Carter and Peter Savage
77. ADAPTATION
Screenplay by Charlie Kaufman and Donald Kaufman. Based on the book "The Orchid Thief" by Susan Orlean
78. ROCKY
Written by Sylvester Stallone
79. THE PRODUCERS
Written by Mel Brooks
80. WITNESS
Screenplay by Earl W. Wallace & William Kelley. Story by William Kelley and Pamela Wallace & Earl W. Wallace
81. BEING THERE
Screenplay by Jerzy Kosinski. Inspired by the novel by Jerzy Kosinski
82. COOL HAND LUKE
Screenplay by Donn Pearce and Frank Pierson. Based on the novel by Donn Pearce
83. REAR WINDOW
Screenplay by John Michael Hayes. Based on the short story by Cornell Woolrich
84. THE PRINCESS BRIDE
Screenplay by William Goldman. Based on his novel
85. LA GRANDE ILLUSION
Written by Jean Renoir and Charles Spaak
86. HAROLD & MAUDE
Written by Colin Higgins
87. 8 1/2
Screenplay by Federico Fellini, Tullio Pinelli, Ennio Flaiano, Brunello Rond. Story by Fellini, Flaiano
88. FIELD OF DREAMS
Screenplay by Phil Alden Robinson. Based on the book by W.P. Kinsella
89. FORREST GUMP
Screenplay by Eric Roth. Based on the novel by Winston Groom
90. SIDEWAYS
Screenplay by Alexander Payne & Jim Taylor. Based on the novel by Rex Pickett
91. THE VERDICT
Screenplay by David Mamet. Based on the novel by Barry Reed
92. PSYCHO
Screenplay by Joseph Stefano. Based on the novel by Robert Bloch
93. DO THE RIGHT THING
Written by Spike Lee
94. PATTON
Screen Story and Screenplay by Francis Ford Coppola and Edmund H. North. Based on "A Soldier's Story" by Omar H. Bradley and "Patton: Ordeal and Triumph" by Ladislas Farago
95. HANNAH AND HER SISTERS
Written by Woody Allen
96. THE HUSTLER
Screenplay by Sidney Carroll & Robert Rossen. Based on the novel by Walter Tevis
97. THE SEARCHERS
Screenplay by Frank S. Nugent. Based on the novel by Alan Le May
98. THE GRAPES OF WRATH
Screenplay by Nunnally Johnson. Based on the novel by John Steinbeck
99. THE WILD BUNCH
Screenplay by Walon Green and Sam Peckinpah. Story by Walon Green and Roy Sickner
100. MEMENTO
Screenplay by Christopher Nolan. Based on the short story "Memento Mori" by Jonathan Nolan
101. NOTORIOUS
Written by Ben Hecht

Interview: Surender Reddy
Jul 24, 2006, 00:21




Young director Surender Reddy shot into the limelight with his first film, Atanokkade. He proved his mettle with his very first film and
became hot property after its critical and commercial success. Among the young directors he is best known for the effective use of 'technique'. Hence his team up with hero NTR for Ashok raised high expectations. With the film now running successfully, he is much relived man to 'overcome the second movie syndrome'.

He is now in Tirupathi paying 'thanks' to Lord Venkateshwara. I have been in touch with Surender since Atanokkade but he is inclined to do interview after the Ashok's release. The director speaks to Telugucinema.com about Ashok, his journey, rumors linking him with Sindu Tulani and much more. Read our exclusive interview..

Sri : How is the response for Ashok?

Surender : Intial reports are pretty good. I must say one thing, even before we resumed shooting, we predicted that it would be a 10-week film. And it proved right. As of now the collections are steady in all areas. I heard that the film is a big hit in overseas market too. On the whole, we are happy with the success.

Sri : Before Atanokkade happened, no one knew you? How did you get interested in cinema?

Surender : Since childwood, I was very fascinated about films. Even while I was in high school, I used to watch lot of films. So that interest grew as I grew. I was born and brought up in Macinapalli village and did my schooling there. Then I joined college in Warangal but could not complete as my heart was beating for films. So I discontinued studies joined with T. Prabhakar for the film - Jai Bhajaranga Bhali as an assistant. After assisting another film for him, I joined Kranthi Kumar and worked for him for five films - Paduta Tiyyaga, Subba Raju Gari Kutumbam, Preminchedi Endukamma, Arundhati and 9 Nelalu.

Sri : But Preminchedi Endukamma was not Kranti Kumar's film!

Surender : The film was produced on Kranti Kumar's banner and directed by John Mahendra. John later directed Neeto with Raghavendra Rao's son Suryaprakash as hero. That was the last film that I worked as associate. And I started scouting for opportunities as a director.

Sri : Who did you approach before Kalyan Ram had come forward to launch you as director with Atanokkade?

Surender : I met producers – 'Dil' Raju, Sudhakar Reddy (Nitin's father ) and others. Also I met Uday kiran, who was hot property at that time and Jagapathi Babu while he was working for Kabaddi Kabaddi. But nothing worked. Actually, there is nothing to blame anyone. I looked 'non-serious' then. So they might have thought I was not worth (laughs).

Then I approached my good friend Kalyan Ram. Actually, I was supposed to direct his second film, as we have been good friends right from his first film but some how it did not work. Kalyan finally decided to go ahead with Atanokkade by turning himself as producer.


Sri : So the gamble paid off!

Surender : Its not a gamble but the trust we had on each other and on the subject. He believed in me and I on him. So we understand each other perfectly and we were good friends from the beginning.

Sri : Ashok was announced last year. But it released a year later. Why this much delay?

Surender : True. Even I wanted to finish films fast. I don't like making films for years. But Ashok is essentially an action movie and all the action movies tend to take too much time. And then we had date problems with Prakash Raj, which held the film for a month and half, and then Digital Intermediative (DI) was done in Mumbai that took almost two months. Those are the factors for the delay.

Sri: You had shown NTR in rather different way. He looked stylish in appearance and his acting style is very mellowed down. What made you to project him as in chic manner.

Surender: Until now, NTR had not much fans base in Class audiences. He is a huge mass star. And all his films are mass oriented ones. So we (NTR and me) consciously decided to departure from the regular style. Though we didn't show him in complete different avatar. For the NTR's costumes, the credit should go to his personal designer Sahil. He has really worked hard.

Sri: What was NTR's feedback after the film?

Surender: A week before its release, NTR had said that Ashok is a director's movie in the presence of several directors and film personalities who attended the show. "Ashok is only director's movie', he said. Being a such big star, appreciating a technician wholeheartedly is great gesture. I am really thankful to him for encouraging me throughout the film.

Sri : But we heard you had differences with the NTR during the shooting..

Surender : There were creative differences but neither of us had any problem with them. Eventually we sorted out those creative differences. They are not personal ones – just creative ones.

Sri: Music and cinematography are real highpoints in the film. Can you tell about the technicians' contribution.

Surnder: Manisharma is the best in the industry as per as re-recording is concerned. And he knows the pulse of mass audiences. He has given splendid music for Atanokkade too. For Ashok, he is the first man who brought the positive talk about the film before its release. Songs were hit before it hit the screens and his re-recording helped in carrying emotions.

The one person I should mention specially is our cinematographer Senthil Kumar. He has already proven his mettle but with Ashok he has proved what a terrific technician that he is. Today everyone is talking about the opening rain sequence. We have used 500 frames speed to get that slow effect of rain dropping. Remember, we didn't use it for other action sequences. We used 500 frames speed for 'rain sequences in opening and climax'. Because 'rain' on screen is effective only it is dropped 'very slow'.

Everyone in the industry is praising it and our Senthil deserves praise for his work.

Sri : Some of the negative comments about the film are lack of comedy, heroine and excessive violence!

Surender : I agree with all of these comments. Entertainment values are not much in the film. We had shot some comedy scenes but were forced to chop them off as the film had already become lengthy. And if we put separate comedy track, it would hamper the flow of the film. Regarding the heroine, I must say it is a miscast. I will reduce the impact of violence in my forthcoming films.

Sri: You must have a flair for 'Quentin Torantanio' style of narrating the film (telling it in back and forth)!

Surender: (laughs). In my first film it really had great impact. People thought it is innovative. In Ashok, there is not much story. I wanted to narrate with technique and using engrossing narrative styles. That's it. There is no influence of Quentin's on me. I will apply the narrative styles according to the storyline.

Sri: Okay, leaving films aside. What is happening on the personal front?

Surender: Personal life is also cool.

Sri: But rumors are flowing thick and fast that heroine Sindhu Tolani and you are an 'item'.

Surender : As you said they are rumors. We are good friends. Nothing more than that. As you know, how gossips roam in industry, it is one of them.

Sri : So you are not getting married to her!

Surender : (laughs) Yeah sure. we are only friends and not getting married. If anything happens I will let you know before. I do not have problem in saying it in public if i am getting married.

Sri: What is your next film?

Surender: There is a project with hero Mahesh Babu under finalisation. It will be decided in a 10 days. We are still under process of discussions.

Sri: But media is speculating that your making a film titled Athithi with him!

Surender: I don't know how it had all started and how they write without contacting me. Athithi is one of the many titles that I own. The title is mine but I myself don't know whether I use this to Mahesh's or not. Everything will be finalized after 10 days.

- Interviewed by Sri Atluri

Pawan Kalyan
Profile Awards Filmography
Name Konidella Kalyan
Birthday 2nd September, 1973
Native
Education
Fast Facts •




Biography


Pawan Kalyan, the hero who could get huge following with just 6 movies to his credit and able to make his 7th movie grossing more than 20 crores, is a simple, humble and away-from-publicity guy. Media is always keen on him as they know nothing about him.

Pawan Kalyan was well resourced when he stepped into films. His big brother Megastar Chiranjeevi's ardent fan following getting ready to embrace the launch of another member from the Mega family, his second brother Nagababu - a producer, his brother-in-law Allu Aravind - an ace producer. What else would one need?

Though Pawan Kalyan was launched in a big way with Akkada Ammayi Ikkada Abbayi in 1996, all one could see in him was Chiranjeevi's brother. Continued the same trend for another two movies - Gokulamlo Sita and Suswagatham. Pawan Kalyan's discipline and dedication comes from the martial arts that he has been practising. To clarify some of the critics comments about his martial arts skills, Pawan Kalyan demonstrated a show amidst a huge audience at Ravindra Barathi. He was awarded the title "Pawan", symbolising Lord Hanuman for his energy. Hence Kalyan was rechristined as Pawan Kalyan.

In 1998, Tholi Prema released. It initially started out low profile but the treatement and the storyline along with melodious and balanced music by Deva took the movie to great heights and so did the image of Pawan Kalyan. Tholi Prema is a milestone in Pawan Kalyan's career. It is the movie which made the audience recognize the talent him.

Thammudu, another blockbuster followed, is a remake of Jo Jeetha Wohi Sikkandar with a difference that Pawan Kalyan is a kickbocker. Badri, directed by Poori Jagannath starring Pawan Kalyan, Amisha and Renu Desai is carried to a success range solely by Pawan Kalyan.

Pawan Kalyan is, as reported by media by then, involves himself in other aspects of the film too. Though few criticize that, it's his responsibility and commitment to the project that makes him take care of everything. And ofcourse, it worked each and every time. Kushi, released in 2001, created records. Kushi, his 7th movie, went on to get a gross of 20 crores.

By 2002, Pawan Kalyan is shot to such a fame that Pepsi decided to pit him againt their arch rival coke, being promoted by his big brother, Chiranjeevi. Pawan Kalyan is never a media accessible person. Pawan Kalyan, in one of his interviews, commented that he is an artist and hence it's not him but his films that should do the talking.

After Kushi, Pawan Kalyan was in Japan for a brief period learing Akido martial art. That's for his debut directoral film Jhonny. The film had Renu Desai as lead actress. The film didnot do great at the boxoffice but the movie has touching moments and became a canvas of Pawan's directoral skills.

Gudumba Shankar released in 2004. This film has Pawan Kalyan written all over it. Stunts and songs are conceptualized by Pawan Kalyan. He also got the credits for screenplay. The film is a good family entertainer. However that was not what his fans were expecting. The film did average business at the boxoffice.

Vyjayanthi Films released Balu in 2005. This film is directed by Karunakaran who directed Tholi Prema. AM Ratnam is now producing Bangaram, which is in full swing. Following that Pawan Kalyan will act in his own direction.

Pawan Kalyan also composed stunts for Chiranjeevi's Daddy. A unique profile - In addition to his expertise in martial arts and fight sequences, he is a talented actor, director and a singer, yet a down-to-earth person. That is Powerstar Pawan Kalyan.

Interview : Senthil Kumar
Aug 14, 2006, 06:39




Senthil Kumar


Young and talented cinematographer K K Senthil Kumar burst on to the Telugu cinema map with a bang. His first film, Aithey, had not only critically appreciated and brought laurels to everyone involved in the film but also brought special recognition for its cinematographer. Sye, Chatrapathi, and now Ashok followed. Today, he is most sought after cinematographer in Telugu film industry and also one of the busiest. After Madhu Ambat, he is the only FTII graduated working cinematographer in Tollywood. Telugucinema.com caught up with this young cinematographer at director S S Rajamouli’s residence. Excerpts from the interview..

What made you want to become cinematographer and tell us about your background?

I am born and brought up in Hyderabad. My family has no-connection with film world. Actually my father and other relatives are into defense. Even I had no plans of entering into film world then. After graduation, I was preparing for Civil Services and competitive examinations. I knew basic photography. But I never wanted to be professional cinematographer. It is my friend Ram Mohan who initiated into this field. He asked me to apply for FTII as I was anyhow preparing for various competitive exams. I got into Film and Television Institute of India (FTTI) in Pune.

The Film Institute changed my life and the way I see films. Till then I had never seen ‘world cinema’ and ‘classics’. The first film that I saw at the institute was Akira Kurasowa’s Red Beard. That film changed my thinking and then I had decided to become professional cinematographer and nothing else. Mine was 1995 - 1998 batch. After graduating there I came back to Hyderabad. But I was at crossroads. To join filmdom or Television Industry was the question that I pondered for many days.

Then how did you get your first break?

At that time no one who graduated from FTII was working in Telugu Cinema field. There was a misconception that Institute graduates take too much time to deliver and they insist for more artistic liberty. So it was tough getting into it.

As I am not financially independent, I had no choice but to join someone. So I joined Sharat gaaru (cameraman) as assistant. My first film with him was S V Krishna Reddy directed Premaku Velayare. I did work with him till Jabili and then I wanted to be independent. In between, I have also worked for Ravi K Chandran for Hindi film, Calcutta Mail (which was remake of Telugu film, Choodalani Undi) and did some ads.

As my desire to work as Independent cameraman was increasing, I had to stop assisting and looking for offers. I didn’t get any chance in films. One day, a friend of mine (Sri Guha) introduced me to Chandu who was planning to do a Television serial for Just Yellow Company. I was reluctant to join him because I did not want to do Television work but again I had no choice. Finally I joined Chandu for the serial, Amritham, which went on to become a big success. After we shot 12 episodes, Chandu put a film proposal to Just Yellow. And he got clearance from them for film, Aitey. Chandu believed in me and my work and took me as Director of Photography (DoP). But everyone discouraged him about my choice. “You are newcomer (Chandu) and you are taking a new cameraman for the film. It will be a big risk,” they warned him but Chandu insisted on me. And the rest is history. Before Aitey went on sets, I also worked for a Marathi film, Adhar. It is a very low budget movie directed by my FTII friend and shot just in 28 days. Technically it is my debut film. But Aitey is the first commercial film.

Aitey was a low-budgeted movie. Day for night effect was perfect and also your work in the film was great. How did you achieve it?

Day for night effect (shooting the film in day but bringing the night effect) was perfect because we shot the film mostly in forests. There was no artificial light in the forests; hence the job for me became easier. But the effect was much better because I had used 5248 film stock; at that time 5246 D Stock was the norm. Using 5248 brought great effect. Personally I don’t like vibrant colors. Other than this, I had received accolades from big directors and industry personalities for my work in Aitey. Many of them thought that we didn’t use much ‘lights’ for the film. I felt it as a great compliment. Because I have used lots of lights but people thought I had just used natural light. Bringing that effect is not easy. So I felt really proud. That was happiest moment in my life. Aitey was the best launch pad I could have asked for.

Yet, there was huge gap after Aitey. Why was it so?

Yes, there was a gap. I didn’t expect it, either. After Aitey, I got two offers – Missamma and another film from another first time director. I chose the latter because that film was being directed by a former cinematographer. I did work for 3 days but I found it is impossible to work with him with his interference. So I walked out of it. Then I was back to square one. That was the most depressing phase in my life. Financial problems kept on. I was desperate for another film. At that time, Rama gaaru (Rajamouli’s wife) suggested my name to Rajamouli for Sye. She was an associate for Aitey. Because of her and Rajamouli’s confidence, I could get Sye. From then, I never looked back.


Senthil Kumar at work


Sye was the first sports-based full-length feature film in Tollywood. And the game, Rugby, that Rajamouli had chosen is also new to us. Then how did you prepare it?

Rajamouli had just finished Simhadri that was a blockbuster and started Sye. Even though he is such a big director, he narrated the story to me and asked whether I was interested in doing. He is such a nice person. He has no airs. As I told you already I was frustrated and was proving to myself again, I worked hard for Sye. Rajamouli had deputed an assistant for recording Rugby matches on TV. We saw that matches and decided to bring the ‘live match’ experience on the screen.

I also told Rajamouli garu that I want to bring new tone for the villain scenes. The color tone involving villain and the rest of the film are different in the film. Rajamouli had expressed his doubts over how would I balance the tone when hero and villain meet but I had achieved it. The best compliment that I got for Sye was from a person who won technical Oscar. After watching Sye he said, “It’s almost like a Hollywood film.”

You and Rajamouli seem to have bonded a special relationship!

If a film has to come out visually beautifully, the director and his director of Photography should understand each other very well. That is happened in our case. I know what he wants. By the time when I signed for his next film, Chatrapathi, I knew what exactly he wanted before he told me.

What is your best work so far?

Chatrapathi, without doubt. What I really love is that it didn’t deviate from the film. Perfect in sync with the direction. Chatrapathi was also my first commercial film with a big star. Despite the commercial trappings, I didn’t go for dramatic taking. My camera work in the film was in mood of the film. This is also the film that I used monotones (single dominant color). In the song, A Vacchi B Pai Vale, the backdrop was white, and the hero, heroine and group dancers all wore white dresses. So choreographer Lawrence worried that his dance steps would not be visible for audiences. He went to director that his steps would dissolve on the backdrop. But I asked Rajamouli to believe in me and I created the required depth despite the dominant white in the song. When the film got released every one kept praising me for that work.

There is also a night fight sequence in the film. I wanted to bring soft look for that sequence. When normally fight sequences are shot, many people would prefer harsh lights. But I wanted soft mellow look. I saw a film called Sleepy Hollow. In that film they have used a technique of using 'huge soft boxes' to bring ‘soft night look’. So I asked my producer to bring a huge industrial crane and huge 'softboxes' to lit up. We then covered the area with satin. I achieved that effect that was done for Sleepy Hollow. After the film’s release one critic termed it as visual poetry.

In a short span, you have got good recognition as one of the best cinematographers. Do you want now to have your own signature style like P C Sriram’s?

No. I don’t believe in this concept of signature style of filmmaking. Every film demands its own visual language. Sticking to one style means you are limited. Actually, I am trying to evolve as a cinematographer. For example, if you consider Aitey was my signature style, would it have been good had I used the same pattern for a bright film like Sye?

What is cinematography essentially? How do you feel when people say that your work stands out in the film?

When people come and say that my work/any other’s cinematographer’s work dominated in the film I believe it’s a failure. Film is primarily a director’s medium. Cameraman should help him in narrating the film. We should not dominate. How best we can help in achieving the director’s point of view is all about cinematographer’s job. Cinematographer does not mean one who photographs. Cinematographer is a not a fashion photographer who tries to elevate the looks. He/She is also telling the story in his/hers own way. Till now, I had tried to stick to this. Yet, wherever there was a scope to do experiment as a cinematographer I did but never thought of deviating from the film’s content. I don’t want my work alone stand out in the film.

But people have this conception that good cinematography means that one that shows hero/heroine in handsome way and captured the nature in bright colors!

That’s sad. I know actors prefer to look handsome but that is not cinematographer’s job. I accept that people come to see their favorite stars and we have to show them good in best possible way but showing stars handsomely alone is not the cinematography. Anyhow, today things have changed. No one is asking like that.


Senthil on location
Today everyone is taking about Super 35mm Camera. You have also used for Ashok. Tell us about this camera and how this elevates visual experience?

Super 35mm film brings larger image. I mean, in Super 35mm film, we can use the space normally reserved for sound track. By using the space that is provided for Sound track the picture looks rich. It captures dramatic situations well. The advantage of the film is one can also effectively shoot in very low lights.

In Ashok, you have also used 500 frames speed to give that slow effect. Though many of the cinematographers have tried it in the past in Tollywood but could not succeed as you did!

Yes. But the basic idea of using 500 frames speed for that introduction scene in rain effect is director Surendar Reddy’s. His idea was to capture the sound impact visually. So then I suggested of using 500 frames speed to get that extreme slow motion. When he narrated the storyline, two things made me to accept the film – the hero’s introduction scene and the villain’s. I have used 16mm camera for this scene. The toughest part was to expose it to normal 35mm film and retain the same quality without distortions.

Apart from this, In Ashok, the tint that I have given for villain’s introduction scene was well appreciated by everyone. My favorite work that I did for this film the effect that I brought when actor Rajeev Kanakala (who is dead) comes to see his friend. I wanted to show that he was dead but he (or his soul) came to see his friend. I used a technique here. The whole frame is in 'natural colours but Rajiv is seen only in Black and White. In another scene (flashback episode of Rajiv's death), I gave the effect called ‘desaturation of colors’( the film actually slowly gets desaturated, until you're watching a black and white film) but only blood as visible in red color. I had used this because of voilence involved in the scene, I wanted to portray the depth of the situation in visual way. This was an inspiration from Steven Spielberg’s Schindler’s List.

It was a great experience. I tried the similar effect in Chatrapathi. But I have used it in major part in Ashok.

There is a criticism that the present day cameramen are increasing the cost of film production. What is your comment?

That is baseless comment. Cinematographers are not the reason for the increasing cost of production. I tell you why these comments are appearing. Today fight masters demand more number of cameras. And the fight masters’ budget is also included in camera budget. For songs, choreographers seeking more lights and using more number of working days. That is also being included in our budget. It goes on the list. If producers can’t control number of days why blame it on Cinematographers. Cameramen’s budget has always been very limited in Telugu films and we are not in way responsible for the budget hike.

With the onset of Digital Cameras and High Definition Digital Cameras, will the conventional film roll be obsolete?

No. I don’t think so. When Internet came, people thought newspapers and TV would be outdated. But that has not happened. Similarly, HD format and film roll (negative) cameras would co-exist. For another 10 years or so, digital format is in no way competition to the conventional method. At least in India. As of now the best quality is negative only.

Who are you favourite Cinematographers?

Oh, there are lots of them. In Indian cinematographers, I love Santosh Sivan’s work. He is the best. I am also great favorite of V K Murthy (who photographed for Late Guru Dutt’s most of the films). He is master at lighting and he had come up with haunting visuals.

In world cinema, my favorite is Gorden Willis (of Godfather fame). He broke the conception that psychology and photography has no relationship. I am also great fan of Sven Nykvist's work (of Russian film, Sacrifice, fame)

What is this color psychology that international film cinematographers refer to?

Vittorio Storaro who won two Oscar Awards went absent for two years to study colors. When asked why he left cinematography, he said, “I want to know about colors. I know nothing about them.” He commented it after winning two academy awards. That shows how important to know about colors. Each color has its own language. For Hindus, Saffron is the scared symbol. For Muslims, green is the sacred. Each culture has its own symbolic color language. Hence cinematographers like Vittorio have started using Color psychology extensively to highlight the mood of the film. He has used it for Little Buddha. In India no one cares about this but I am trying to put in application.


How much film schools help in learning film cinematography?

A lot. Film Schools help you getting in channelised knowledge. With proper syllabus and exposure to great cinema, you learn a lot not only about cinematography but also about all the crafts about filmmaking. You may learn the craft if you assist an established cinematographer but the knowledge is scattered.

Every cinematographer eventually becomes director. Do you have such aspirations?

That is my ultimate goal. In a few years down the line, you will see me wearing director’s cap. As I said, cinema is ultimately directors’ medium.

What are your forthcoming films?

1. NTR’s new film to be directed by S S Rajamouli that will soon begin.
2. I am going to do a film for a new director Amar Vishwaraju (he assisted Chandu for Aitey).

Interviewed by Navya Vaitla

Pawan Kalyan, who has become the craze of youth, is just 8 movies old. His birthday is on 2nd of September. In association with the event, here is a chit chat with Pawan Kalyan.

Jhonny disappointed your fans. What went wrong with Jhonny??
Story taking was good. I guess it is the screenplay and narration that had minor glitches. Melodrama was missing. Also, the main focus of the story, which we had in mind, was underplayed.

Jhonny didnot deliver the entertaiment elements?
It is an undeniable fact that Entertainment elements will help the film to succeed. But there are other films that clicked well at the box office, without the routine formulae. I didnot want to include unnecessary side tracks.

You are looking very good. Is this getup for one of your new films?
Yes. As a matter of fact, some part of the film (Tiger Sitaramudu) will have to be filmed in U.S. And there is a need for a different getup altogether. Once that part of the film starts to shoot, I have to go for a change in getup. The present getup of me is common in both the films.

Which one will start first? Is it Anjana productions (Veera Shankar director) or Vijayanthi films (Karunakaran direction)?
Anjana productions is the first one to start. Shooting for both the films will start in the same month and go on simultaneously.

Any special reason for your inclination in modernizing old songs?
Aadu vari maatalaku is one of my all time favorites. It is almost part of my day to day life. I thought why not include it in one of my films. As the situation needed, the song is fitted in. In the same way is Ee reayi theeyanidhi in Jhonny.

While your contemporaries are going for continuous films and achieving sucess, why are you sticking yourself to one film for so much time?
Self evaluation is necessary and not comparing with others. Success is not given by some one. It has to be earned. Every one has their own style in earing it and I have mine.

Your fans wants to see more of you. Why not do more films?
I have tried it earlier but it didnot work out. Everyone has their style of working. Anyway, now that I am trying two films at a time.

I am an Indian for Badri and Yeh mera jahan from Kushi are patriotic songs. Any inspiration??
I love my mother land. I feel proud to have born in India. Probably these feelings are coming out that way.

Any plans to direct a film?
Why not? If I am not committed to Nagababu and Aswini Dutt, I would have taken a gap and then direct a film. But now my priorities are first to finish these two projects.

Why do u shy away from media?
Its nothing like I wont talk to the media. I usually talk less. The same continues during the film production. And also, I dont like to talk about my films. The work should speak for itself.

Many fans are upset that you dont care for them.
Not true.. I am a big fan of Annayya. So I am also one among them.I understand the admiration one has towards his favorite. The selfless encouragement they provide is invaluable. One thing I want to tell them is I am one among them.

Tell us about you Pawan kalyan creative Team.
Pawan Kalyan creative team is open for anyone with genuine interest and talent. There are no permanent members in the team. Freshers come in and go out experienced.

Thanks Pawan Kalyan for giving us your valuable time. We wish you, on behalf of TT and it's Visitors, a very very happy birthday.
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In a recent interview to a magazine, Pawan Kalyan spoke about his success and failures. Last few years have been a rough ride for Pawan Kalyan. His directoral venture Jhonny was a disaster at the boxoffice. Gudumba Shankar also didnot fare well. And Balu, which released this year, did good business but didnot meet his range of hits. Pawan Kalyan spoke about the issues and what he felt about all around him. It was an interesting interview and must read for his fans.. The following are few excerpts from the interview


As per the reports, openings are very good. Run is also good. However, this result didnot reach the range of my previous films. To be honest, I am not really satisfied with that.

I never evaluate satisfaction based on records and remuneration. Money is secondary. It is the work and thus the result that ought to give the satisfaction. I always go for a film only when the full script is ready. However, I could not really implement that strategy after Khushi. . I had only 60% script ready when I started Jhonny. Aswini Dutt and Karunakaran took care of the script for Balu since I was busy with Gudumba Shankar. The reason why I had to do that is because apparently there is lot of gap between my films and hence I had to start shooting even without the script. Though no one is forcing me to do that, there is an undercurrent of pressure from friends, family, fans and press. Hence the objective changed from "To Make the show" to "To Run the show" and all the films started in a confused state.

There should be a discussion and debate on everything. Sometimes they just think that they "have" to provide it since Pawan Kalyan asked for it. It should not be like that. Based on my visualization I ask for some kind of property. After careful analysis and discussion, it should be seeked. For example during the shooting of Gudumba Shankar, I thought it would be better if there is a truck chase. I visualized the trucks to be red. The only red trucks that are available are from Volvo and they are very expensive to rent. In a situation like that, there should be a discussion on the budget and how much can we afford on that.

It should never be like - The hero asked for it and we have to do it. Finally, it comes out like Pawan Kalyan demanded for it and the entire responsibility is pushed on to me. If you think that they are not discussing with me because of the respect, I dont agree with that. It is not work then. I call it escapism. I am not a dictator to not to listen to one. It should always be a team work. I never, even for once, did think that the credit for any of my hits are because of me. A film is the contribution of the entire unit.

When it comes to Balu, I am a bit less involved with it since I am concentrating more on Gudumba Shankar. If people are concentrating on one person in a film rather than the entire product, then it is definitely going to harm the film. That is what is happening in this case.

I was totally involved with Gudumba Shankar film. It is a well made film. Also, the fights in Gudumba Shankar are one finest fight sequence of mine till today and that is a very difficult action sequence to conceive. Even the climax demanded such a complex fight. These fights have emotional and natural composition. They are not artifical and routine. To break monotonity, sometimes we have to take risk. You cannot be natural and novel if you stick to the ring of image.

Some of my friends told me that first half is good and second half is not that great. To be honest, performance wise and risk-wise that is one of my best performances. I did a lot of work for that film. I feel that the audience needed more story. That kick in the story is not sufficient. Probably some modifications could have been done to the story. But if I continue making modifications, the film would never complete. As it is I was tired of keeping it in production that long. Usually when you are dedicated to one thing, you never feel it is perfect and you keep working on it. After so much of effort, I got all critical remarks on the film. This is all kind of frustrating. Sometimes you need a supporting team. I am not talking of supporting funds or grants. But a moral support. Without a team that is supporting morally, it would be tough to give a good result. I am not pointing at my brother (Nagababu, who produced the film) but about the system itself.

There is a problem with present kind of film making. There is lot of creativity and technical demand in the film profession. This profession should not be chosen just because one couldnot make it in any other profession. Sometimes I hear that "maa vaadu ekkada paniki ravatam ledhu. Galiki thiruguthunnadu. Kaneesam mee cinemallonaina pettandi". How would anyone, who comes from that thought process, would know what cinema is? So many people from various crafts work towards one film goal. So one needs to have some qualification and experience before entering. I am not saying in terms of education. I havent done good education myself. I continuously failed after my 8th standard. It is the interest. If you have a genuine interest, then your mode of working would be different. Thats how a supporting team is formed. If there is knowledgable person in the production design, there will be discussion and lot of options for everything. Instead of just doing something because I asked for it, there should be a thinking process.

I have been going through all this right from the beginning. Not just now. But they are coming out now since people started asking me about them only now. You would have got the same answers if you asked me on what hurdles I faced to get the success in the past. At that time it was all success that you saw. I faced different kind of situations with Badri and Khushi. However, the films crossed the expectations and they fared good.

Fate of 3 or 4 films doesnot impact much. I never thought in terms of money. All I look for is if I am able to think or not and if I got a team to share those thoughts.

Everyone will select their own path. If I come as Chiranjeevi's brother, why should people see me? Why would audience entertain if I am related to one popular star. If I am dancing or acting like my brother, he is there to do it himself. Why would someone see me doing the same thing? Thinking on those lines, I learnt few things. I started taking some risks working with new people. In the worst case, the risk will turn as failure. Nothing more than that. But people should identify a quality and curiosity with me.

(Disc function gallery 1, gallery 2)
For the first time, I accepted that I am a hero at the Platinum disc function of Balu. Its the responsbility. I had to do it. Though I try to avoid identifying myself as a star, it is unavoidable to accept that I am a film hero. However, all that I said on that day came out of a natural feeling. After that I attended Radhagopalam function but that feel was missing and I didnot talk. As it is, I am not in the stage to talk about Bapu garu. I dont have that much experience. In Balu function, the fans are excited and I had to say something. If annayya was there, probably I wouldnt have got that much scene but he was not there. But I still believe that I am an amateurish speaker.

Also, Powerstar Pawan Kalyan spoke on why the change with his getup during when he is not working on a film.
During the production Kalyan becomes an actor and will shape up for the character. So during the production gaps, I will try to find out natural Kalyan and bring him out. Otherwise there will be this problem of false personality.