Muse & Music, Music of the Golden Age Options

[swarapriya]

Devadasu (1953) - A Telugu Film Classic

If someone asks me to pick just one movie in Telugu that is outstanding in every aspect, I probably will select “Devadasu” made in 1953. This is one great movie. Once you experience it you’ll never forget it for the rest of your life. It is that deeply affecting.

There were many Bengali stories made into very successful Telugu movies. But “Devadasu” is definitely a standout. Most of Sharat Chandraji’s novels were translated into Telugu. In fact by many different authors. But a standout among these is the translation done by Aluri Subba Rao. He was also popularly known as Chakrapani. He was also a partner of Vijaya movies who made so many great movies over the years as the team Nagi Reddi-Chakrapani. Many people know him as the editor of the children’s magazine called “Chandamama” which was published in various languages. He was also the editor of the monthly magazine called “Yuva” in Telugu. In this magazine, he published most of Sharat’s novels translated in Telugu as serials. They had a huge following. One beautiful thing about these translations was that Chakrapani changed the setting to Telugu from Bengali. He renamed some characters but retained most of the originals intact. Telugu “Devadasu” was based on Chakrapani’s translation.

It is surprising to know that the outfit that made the movie “Devadasu” was a relatively new one. D.L. Narayana, producer of the film, was a long time assistant at Bharani Studios and was there with them during their early movies, including classics like “Laila Majnu (1949)”. He wanted to make “Devadasu” badly. To get backing for his project, he made another movie called “Stree Saahasam (1951)”, which was his maiden venture as a producer. This movie starred Anjali and Akkineni Nageshwara Rao (ANR). It was a female oriented movie, and it turned out to be a box office bonanza for DL.

With the cash in hand, DL ventured out to make “Devadasu” in both Telugu and Tamil starting in late 1951. He recruited Vedantam Raghavayya to direct the movie. He signed C.R. Subbaraman, with whom he worked in “Laila Majnu”, to provide the music. He cast ANR for the role of Devadasu and Janaki for the role of Parvati. The movie went into production and Subbaraman composed music for all 10 songs and recorded nine of them. But when he was only 29 years old, Subbaraman passed away. The tenth song was completed by his assistants Vishwanthan & Rama Murty. Mystery shrouded around the death of the brilliant Subbaraman and there were many rumors about how he died. With the morale of the crew down, DL decided to shelve the project, at least temporarily.

DL went onto make another movie in 1952 called “Shanti” in which a new actress, who appeared in”Samsaaram” in a bit role before, and few other mvies, had a major supporting role. Her name was Savitri. In 1953, when DL decided to resume his activities with “Devadasu”, Janaki was no longer available as she was committed to several other movies. DL, in a very bold step, decided to cast Savitri, a relatively newcomer, as Parvati. Savitri appeared as an extra for the first time in a movie called “Samsaaram” in 1950. After that she had acted in bit roles to small supporting roles in “Paataala Bhairavi (1951)”, “Roopavati (1951)”, “Aadarsham (1952)”, “Palletooru (1952)”, “Priyuraalu (1952)”, “Shaanti (1952)”, “Pelli Chesi Choodu (1952)”, “Sankraanti (1952)”, and “Bratuku Teruvu (1953)”. (“Bratuku Teruvu”, many years later, in 1969 was made as “Jeene Ki Raah” in Hindi by the great L.V. Prasad where Tanuja played the role of Savitri.) But with the role of Parvati, Savitri has arrived. For next two plus decades she ruled Telugu cinema like no other actress before her, or since then. Granted this was ANR’s movie all the way. But Savitri, one of the greatest actresses of our time, frame for frame was also unforgettable in her portrayal of Parvati. (Pictures of ANR and Savitri are attached.)

Stories were written how ANR prepared for the role. Not of a big physique, to look very lean and pale ANR fasted for several weeks. Stories abounded that he couldn’t even walk without much help. The shooting went on for nearly two months where ANR is shown as a drunkard. Also, apparently all scenes where ANR appears as a drunkard were shot during the nights. ANR told reporters few years back reminiscing how his “Devadas” was made that the director kept him awake all night to have that special effect of giving a droopy, drunken, and melancholic look. No wonder even Dilip Kumar went on record to congratulate ANR for such a superb acting.

There was a scene in the movie where Parvati bangs her head against a door. While shooting this scene, it was reported that Savitri was so involved in her role that she started banging her head in earnest. By the time Raghavayya, the director, realized it and grabbed her away from the door, her forehead was apparently soaked in blood.

Director Raghavayya had a super cameraman working for him. His name was B.S. Ranga. Ranga later turned a producer and made several noteworthy movies (“Amara Shilpi Jakkanna” and “Tenali Rama Krishna”). The picturization of some of the songs leaves one with the impression that may be someone like Guru Dutt was at work. But Guru’s “Pyaasa” came four years later than this “Devadasu”. Especially the picturization of two songs are worth mentioning. The song “Kala Idani” was picturized in a room with ANR having a glass in his half raised left hand. The only light into the room is through the window to his back. Part of the light shines on the desk next to where ANR is sitting. The second scene is the song “Jagame Maaya”. I will say more about this below.

[swarapriya]

Devadasu (1953) - A Telugu Film Classic Continued ...

We come to the songs of the film. Some of the greatest songs sung by Ghantasala are in this movie. (See his picture in the attachment.) He had four solos and two duets in the movie. People still remember fondly his solos, especially the songs “Jagame Maaya”, “Kala Idani”, and “Kudi Edamaite”. Much of the success of the movie also owes in part due to the popularity of these songs that are as good as gold even today. It was said that to sing “Jagame Maaya”, Ghantasala apparently went on a fast for few weeks (by some reports 41 days, that is almost six weeks!) to give that splendid hair raising experience. The immeasurable pathos, the unending despair, the immense hopelessness, the heart rendering grief, and the intense helplessness all these emerge in his voice as expressed by ANR superbly on the screen. The song, the scene where ANR has a glass of liquor in his hand, sitting under the lamp in a lonely street in the middle of a night, with a stray dog giving him a vigil is just heartbreaking. This stunning scene itself is one of the landmark moment in the Telugu film history. (See the attached picture below.)

The rich lyrics were written by Samudrala Sr. But there are some people who are of the opinion that some of the songs were written by Mallaadi Rama Krishna Shastri. May be. Or may be not. But the fact remains that these songs are rich in meaning and affect you deeply.

This is such a great movie that one can write volumes about it. I have seen this umpteen number of times. I always come out with such a deep satisfactioin of watching a classic that sparkles like a diamond. The experience in the end hopelessly consumes one with so much grief for the love lost …

Now for the memorable songs from this album ...

This post has been edited by swarapriya: Aug 23 2009, 09:11 PM

[swarapriya]

Devadasu (1974) - A Telugu Movie

The wife and husband team of Vijaya Nirmala and Krishna remade this movie with disastrous results. In the new movie Vijaya Nirmala played Parvati to Krishna's Devadasu. Vijaya Nirmala also directed the movie. When this movie was released, on the same day the 1953 classic was also released. The old classic went on to run successfully once again whereas the new version bombed. Only noteworthy feature of the movie was its music. Always dependable Ramesh Naidu delivered it again. Here are the songs ...

This post has been edited by swarapriya: Aug 23 2009, 01:51 AM

[akbaralibhai]

Thank you very much Swarapriya for sharing so many wonderful albums in great quality.

[simplefable]

SP..it was a pleasure reading your note.
Devadasu is surely one classic which transcends times and ages...It has come to stay in every telugu person as an epitome of ultimate jilted lovers, denied by destiny and yet retaining the basic decency of the humane values and social responsibilities..Ofcourse, the name Devadasu has become synonymous with a person who is enslaved to liquor. Infact, i noted that a liquor shop near our town's bus stand was named after him !
Even to this day, the young people comment that someone has become a "Devadasu" over a girl. Am sure that most of them havent even seen the film, but as i said before, Devadasu has come to stay in our minds for eternity.
Just to add a few words..which i have learnt through books...
Chakrapani became seriously ill at one time and was admitted to a hospital where he stayed for a long time. The person who was in bed next to him in hospital turned out to be a Bengali who became ill during his visit to South. Chakrapani, being the man he is ...quick learner and phenomenal penchant for languages..picked up the language and it's nuances with in short time and thus began his long journey into translation of Bengali classics..Infact most of them turned into films with ANR as the hero..
Subburaman's death does stay a mystery till date...a taboo about which not much is said anywhere. Some stories go that he was a diabetic and never took care of his health as he used to spend most of his time in studios adding finesse to a tune or other...It is a fact that Malladi Ramakrishna Sastry did give a couple of songs to this film..incognito.
Much is said about ANR fasting and getting that famished and dejected look on his face...but my vote always goes for Savitri, the greatest actress ever.. Her character goes from playful Parvati to a responsible step mother of grown up youngsters and wife for the aged CSR in a ziffy, yet She rose to the occasion with impeccable articulation.. May be i am partial towards her..
Now ..being born much after the release of the film, i saw it only in my teens...almost a quarter century after the original release...and yes, none of my friends agreed to accompany me.
The film took my breath away...is what i can say. I come from another generation where eloping and getting married is nothing new...where if someone refuses to elope, they will be termed as cowards....But seeing the drama on screen evolving, i had nothing but enormous pity for the jilted lovers. Infact, there is no character i would find fault with in the film . Every one is a prisoner of circumstances, upbringing and social restrictions. May be if i have to point out at one person...Peketi's Bhagawan would be the culprit. What i remember is the hush in the theater after the film was finished...a hush which transcends any meaningful babble, i guess. No heckling or joking about characters or circumstances was heard althrough the film...which it self is a certificate of tremendous acceptance..
Am sure Madhubala will be remembered by the fantastic photograph of her..where she turns a little bit to one side and laughs seductively....For Savitri, this picture does the justice...framed for ever in eternity. with wide questioning eyes and acceptance in eyes of the destiny...with tears in her eyes...She is indeed immortalized here...

[Abdur Rehman]

Thanks swarapriya for the songs of Devadasu (1974).

[swarapriya]

Thank you very much Swarapriya for sharing so many wonderful albums in great quality.

You're very welcome Akbaralibhai. -S

[swarapriya]

SP..it was a pleasure reading your note.

Am sure Madhubala will be remembered by the fantastic photograph of her..where she turns a little bit to one side and laughs seductively....For Savitri, this picture does the justice...framed for ever in eternity. with wide questioning eyes and acceptance in eyes of the destiny...with tears in her eyes...She is indeed immortalized here...

Thanks for the nice note. When you're talking about Savitri, you're just preaching to the choir. She was definitely one of the greatest actresses of our time. By the way, I love the picture you've posted here. It is absolutely fabulous ...

Cheers,
Swarapriya

[swarapriya]

Thanks swarapriya for the songs of Devadasu (1974).

You're very welcome. -S

[Faraaj73]

Thanks for the detailed Devdas write-up (in all its manifestations). What did you think of the recent Indian version? Your opinions make for interesting reading.

Seeing you and SF discuss the Tamil version, I wish I could understand the language so I could appreciate it. I downloaded the song Jagame Maaya Bratuke Maaya....nice tune. Is there any other stand-out song in the film....

[swarapriya]

Thanks for the detailed Devdas write-up (in all its manifestations). What did you think of the recent Indian version? Your opinions make for interesting reading.

Seeing you and SF discuss the Tamil version, I wish I could understand the language so I could appreciate it. I downloaded the song Jagame Maaya Bratuke Maaya....nice tune. Is there any other stand-out song in the film....

My Dear Faraaj,

Actually the write up I had was about the Telugu version. A Tamil version was made and simultaneously released with the same star cast. Tamil version was also a huge hit.

Even though I like all the songs from the Telugu version, after "Jagame Maaya", my personal favorite is "Kudi Edamaite". This one was not only superbly performed by the great singer Ghantasala but had some rich lyrics accompanying it.

When you're talking about the recent "Devdas", Faraaj, I am pretty sure you're talking about the Shah Rukh Khan's version. I am a fan of SRK. He is a great actor, even though his most recent films have been a total disappointment. But the recent "Devdas" was not even close to any of the movies I have seen. It was all gloss and flashy. The real story was lost because of its decorative and ornamental look. All versions that came before used brilliant cinematographers (Barua's versions were photographed by the great Bimal da and early Telugu and Tamil versions were photogaphed with equal brilliance by B.S. Ranga) with light and shade effects to give that ambience, those pathos, that dispair ... I think all those elements are totally lacking from the latest version.

There it is. My two paise worth ...

Cheers,
Swarapriya

[swarapriya]

(Waheeda) Kaagaz Ke Phool (1959)

When it was released in 1959 “Kaagaz Ke Phool” was rejected by both critics and audience alike. With the success Guru Dutt enjoyed with his earlier classic “Pyaasa”, there were so many high expectations about this movie. It even had a grand premiere in New Delhi that was attended by then Vice-President of India, Dr. Sarvepalli Radha Krishnan. But many now think of this movie otherwise. It has reached a cult status and enjoys full houses whenever it is rereleased. There are several reasons for this. Let us explore some of them here …

The movie was released commercially in France in early 80’s. It received unexpected and unprecedented praise from the French movie critics. French audience flocked to see the movie. France, the home of new wave cinema and the domicile of many experimental movie makers, when their discerning film critics took notice of this movie, everyone else started paying attention to what this was all about. In 2002, in Sight & Sound magazine’s critics and director’s poll “Kaagaz Ke Phool” was selected as 160th best film ever made in the world. This is a British monthly film magazine published by the British Film Institute. The critics poll is taken every 10 years with the next one due in 2012. Of course, each time the poll is conducted, the list changes.

This movie made history because it was the first movie shot in cinemascope. V.K. Murty, who photographed most of Guru Dutt’s movies, was sent abroad to study advanced techniques in photography and learn how to use cinemascope (simply stated, two lenses in stead of one for broader coverage) lenses. But it was not the technology that was used, it was how the lights and shades were used to picturize most scenes in the movie that became talk of the town. Murty got a Filmfare award for his work. The most famous example in the movie is the lighting used for the song “Waqt Ne Kiya Kya Haseen Sitam”. This scene itself, the photography, the music, the song in Geeta ji’s rich voice, the richness of lyrics, all are subjects of study by serious-minded filmmakers. One of the criticism of the movie was that the photography took the front seat to the rest of the movie … However, Guru was a master in using cinematography as one of the major narrative threads. There was an ample evidence of this in his earlier classic “Pyaasa”. The molding of lights and shadows the way Guru uses evokes as much emotion as dialogues or lack of them, as music or silence.

Even though Guru considered Khayyam to be the music director, he went along with SD. Burman and Guru worked in many films together. Their films always had great music. RD assisted his father in this movie. Apart from the classic “Waqt Ne Kiya”, the movie also had several other great songs. Rafi Saab’s song “Dekhi Zamaane Ki Yaar” is there throughout the movie. A beautiful piece that depicts not only the story of the movie accurately, but parallels that of Guru’s real life. Geetaji also has another winner in “Ek Do Teen”. “San San San Woh Chali Hawa” is also a noteworthy song.

Originally, Guru Dutt wanted Sahir to write lyrics for the movie. But Sahir and SD never worked together again after their pinnacle achievement “Pyaasa”. Guru approached Kaifi Azmi to write the lyrics. Azmi was underground because of his work with Communist Party in late 40’s as the party was banned for some time. He was still looking for the recognition that eluded him and jumped at the opportunity offered by Guru Dutt. Even though he wrote some great songs for the movie and they became highly popular, because of its commercial failure Azmi could find only occasional work. But later, Chetan Anand’s “Haqeeqt (1964)” changed all that.

The song “Waqt Ne Kiya” had interesting beginnings. Burman created a tune that Guru liked very much. He was looking to create a situation to use the music and approached Kaifi Azmi to write a song. He penned “Waqt NeKiya” in response to the request. Guru later created the sequence to use in the movie. As it happens, this is the song and the scene to remember for the ages.

By all accounts Guru Dutt’s mental state was not stable during the filming of “Kaagaz Ke Phool”. His home life was anything but peaceful. That effected a great deal his working style. He changed the script of the movie while it was in full progress many times. The movie almost was prophetic in the sense that it showed that death was a sort of release from all the suffering. The main character in the movie suffers that fate. A solitary end of a broken and abandoned man. This drama played out in Guru’s real life as well.

Heartbroken with the failure of the movie, Guru vowed never to direct again … What a pity …

I am uploading all the songs in back-to-back two posts. Here is the first set of songs ...


This post has been edited by swarapriya: Aug 25 2009, 12:06 PM

[swarapriya]

Songs of "Kaagaz Ke Phool (1959)" Continued ...

Here I am including the song "Waqt Ne Kiya" from the "Legends: S.D. Burman (CD2)" album with an introduction by R.D. Burman. I am also including the same song sung by the ghazal singer Jagjit Singh from his "Close to My Heart" album. Here are the songs ...

This post has been edited by swarapriya: Aug 24 2009, 09:04 AM

[Faraaj73]

When you're talking about the recent "Devdas", Faraaj, I am pretty sure you're talking about the Shah Rukh Khan's version. I am a fan of SRK. He is a great actor, even though his most recent films have been a total disappointment. But the recent "Devdas" was not even close to any of the movies I have seen. It was all gloss and flashy. The real story was lost because of its decorative and ornamental look. All versions that came before used brilliant cinematographers (Barua's versions were photographed by the great Bimal da and early Telugu and Tamil versions were photogaphed with equal brilliance by B.S. Ranga) with light and shade effects to give that ambience, those pathos, that dispair ... I think all those elements are totally lacking from the latest version.

There it is. My two paise worth ...

Cheers,
Swarapriya

Your two paise worth confirm your good taste. I disliked the new Devdas the moment I saw SRK back from "foreign " wearing funny clothes etc. It was actually very annoying....

[madsur]

Dear SP,

I read about the DEVADAS's multilingual versios rather leisurely and hence the delay. It made a joyous read.
I wonder how the versions of the film made in the distant past continue to hold their grip on our collective consciousness. That, in itself, is a testimony to the art, skill & craftsmanship of those films.

As far as the Telugu & Tamil version is concerned, I think they are one and the same, as the Telugu version was dubbed into Tamil.

The Tamil version also had equally memorable songs. The voice of Ghantasala singing the Tamil version of 'Jagame mayam..' ( Ulage mayam, vazhve mayam..), is absolutely haunting.

If some kind soul can upload all the songs of Tamil version, it would complete the topic.

It was very nice of you to highlight BS Ranga's B/W photography as it added to the grandeur of the film.

In my view, to compare the SRK version with these masterpieces would be blasphemous.
It was all glam, glitter and an eventual sham. Less said the better.

Best regards,
Suresh