Okay Viswanath created a style of his personal within the trade
Telugu movie trade might be segregated into pre and post- Sankarabharanam (1980). An unconventional forged within the lead roles in a narrative centred round classical music and dance, Okay Viswanath’s basic belied the parable that solely formulaic tales and star-oriented topics are the protected wager for field workplace success.
A retired authorities worker Somayajulu and an artiste Manjubhargavi, who primarily performed minor roles, as a dancer or a detrimental character, portrayed the roles of Shankara Sastry and Tulasi respectively in Sankarabharanam, the film that modified the course of Telugu cinema and revived curiosity in and respect for Indian classical arts among the many younger era.
Somayajulu in ‘Sankarabharanam’
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Special association
With the success of Sankarabharanam, Okay Vishwanath set himself an ordinary so excessive that nothing lower than a compelling script, good music and proficient actors in his subsequent movies would guarantee their success.
His affiliation with producer Edida Nageswara Rao started with Sankarabharanam and went on to create a number of movies that not solely had Indian arts and tradition at their core but additionally titles that started with ‘S’— Siri Siri Muvva, Saptapadi, Sagarasangamam, Swathi Mutyam, Sirivennela, Suthradarulu, Swarnakamalam, Swayamkrushi, Swati Kiranam and extra.
When stars grew to become actors
Okay Vishwanath achieved the unimaginable when he forged the motion stars of Telugu cinema in roles that had been mellowed and reasonable, however compensating by designing sturdy characters that gave them ample scope to show their close-to-life feelings. In the 80s, Chiranjeevi was the reigning motion famous person however did the contrasting characters in Viswanath’s movies Swayamkrushi and Apathbandhavudu. Venkatesh performed a painter who eggs on a dancer (Bhanupriya) to respect her expertise in Swarnakamalam. Kamal Haasan performed the roles of an aspiring dancer and an alcoholic-turned-guru in Sagarasangamam and a simpleton Swatimutyam. Dr Rajashekar performed a classical musician who, after straying from his objective, comes again to fulfil his foster dad and mom’ dream in Srutilayalu. Mammootty performed a classical musician who envies the expertise of a kid prodigy in Swati Kiranam. The late thespian Akkineni Nageswara Rao together with veteran actor Murali Mohan performed Gangireddulavaallu in Suthradharulu.
All these roles grew to become landmark movies for the actors of their careers.
Foray into Bollywood
Some of Viswanath’s profitable Telugu movies had been remade into Hindi with reasonable success. After the Hindi movie Sargam (1979, a remake of Telugu hit Siri Siri Muvva) grew to become an enormous success, he remade Sankarabharanam in Hindi ( Sur sangam) with Girish Karnad and Jayaprada within the lead, shocking his critics who felt that the unique model had already acclaimed worldwide fame and basic standing.
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He adopted it up with extra remakes of his Telugu hits Saptapadi with Sridevi and Mithun Chakraborty as Jaag Utha Insaan, Shubodayam with Rakesh Roshan and Jayaprada as Kaamchor, Swati Mutyam as Eshwar with Anil Kapoor and Vijayashanti, Jeevana Jyothi as Sanjog with Jeetendra and Jayaprada, Subhalekha as Sangeeth with Rakesh Roshan and Rati Agnihotri, and lots of extra.
Discipline and dedication
Viswanath who began as a director with ANR-starer Atma Gouravam (1965) entered the trade as a sound engineer. As a director, he made a collection of healthful household dramas, with sturdy plots and aesthetic filming being his forte. He all the time wore khaki garments on the set and would usually point out that it symbolises and reminds him of the self-discipline required at work. Bitten by the appearing bug, Viswanath performed the function of a patriarch within the motion pictures Santosham, Vajram, Kalisundaam Raa, Mr Perfect and lots of extra; his characters largely represented what he stood for in his movies — household values and the Indian tradition.
Source: www.thehindu.com
