Devadasu

<p>The film begins at the village Ravulapalli, where two infant neighbors, Devadas & Parvati, share a camaraderie. He is the son of Narayana Rao, and she is a peasant Neelakantham’s daughter. As Devadas’s naughtiness increases, his father enrolls him in a boarding school. Years roll by, and Devadas comes back when Parvati is under beatitude and the love rises with them. Hereupon, Parvati’s grandmother forwarded the alliance, the Zamindar mortifies Neelakantham about their low level of caste & status. Enraged, Neelakantham declares to get hitched match above them. Parvati covertly walks to Devadas that night and begs him not to let go of her when he asks for time. The following day, he affirms his decision to Zamindar but loses the ability as his father shows the danger of suicide. Ergo, muddle Devadas, flies to the town and notifies Parvati of his failure to denote. Parallelly, Neelakantham arranges an aged alliance with Zamindar of Durgapuram, Bhavana Babu, which Parvati accepts. Till then, Devadas regrets & retrieves, telling Parvati he is bolder for espousal. She rejects it as her self-reverence is offended and presides over the wedding of her father’s choice. Devastated, Devadas returns when his carousing mate Bhagawan introduces him to a courtesan for relief. Nevertheless, his suffering is intense, and he loathes, throwing money in her face. At that moment, she feels a sense of worship, ends her past, and devotes herself to him. Thus, Devadas hits the bottle to get out of grief and turns into an alcoholic. Hearing it, his father passes away under contrite when Devadas forwards. Parvati settles into her new house, adores her husband, revives his disintegrated family, and showers motherly affection to his progeny. Currently, she visits her parents’ home and implores Devadas to stop drinking but pleads not to withdraw a little peace. Plus, she seeks to bless his ministry, which he bestows to fulfill before leaving his breath. Now, he is back in town again when lonesome Devadas journeys to Chadramukhi. He views her relinquishing all luxuries and expresses her adoration for him. Chadramukhi petitions Devadas to knit a fine match and post her as their maid. Then, Devadas states that if he does so, he will tie the knot only with her. Following this, he starts self-destruction as a drinking spree, and his health deteriorates. Once, spotting him on the streets, Chandramukhi carries him when the doctor declares it’s his last stage. On his advice, Devadas leaves for his village. Chandramukhi is about to join him, which he denies with an oath to conjoin her in his next life. Midway, Devadas discerns his fast-approaching death and moves to Durgapuram to keep up his vow. After great difficulty, Devadas lands at his destination and becomes flat before Parvati’s residence. At last, mindful of his death, Parvati rushes towards the door, which her family members thwart by closing it, and she collapses. Finally, the movie ends with Devadas’s funeral. When people saw me on screen in , they assumed that I starved myself to look like the heartbroken, alcoholic that I played on screen. Truth is far from it. I was actually healthy with robust looks. After watching myself I realised that no matter how hard I tried, I didn’t look like a drunkard because my eyes were clear. So, I requested the director to shift the shooting schedule to the night. I used to stuff myself with heavy dinner and then shoot overnight … even as my eyes were dropping, heavy with sleep. The effect was excellent and that’s how I pulled off. was directed by Vedantham Raghavayya and produced by D. L. Narayana under the production banner of Vinodha Pictures. It was produced simultaneously in and languages (the latter as ). The film’s script, which was written by , was based on the novel by . The story of centers around a feudal lord’s son Devadasu falling in love with a poor girl Parvati. Due to differences in their social and economic status, Devadasu cannot marry his childhood love and Parvati marries an old man. Unable to forget her, he becomes alcoholic. was the first Telugu adaptation of Chattopadhyay’s novel, and was the second Tamil adaptation of the same, following the 1937 directed by and starring P. V. Rao. The film was launched by Vinoda Pictures with and as the lead pair. After a week of shooting, the film was shelved due to the view that such a story might not succeed in Telugu; the production company instead produced , which became a failure. One of the partners, D. L. Narayana then decided to revive as an independent producer. Janaki, who was originally chosen for the character of Parvati, was replaced by . Arani Sathyanarayana portrayed the role of Devadasu’s . , who went on to become a famous director, portrayed the role of Bhagawan. S. V. Ranga Rao, C. S. R. Anjaneyulu, and Surabhi Kamalabai were selected to portray supporting roles. of the was signed to play , the courtesan. and Udaykumar wrote the dialogue for the Telugu and Tamil versions, respectively. was recruited as the director of photography, and P. V. Narayana edited the film. Vali and Kotwankar were the art directors. commenced with Nagaraja Rao, a still photographer shooting some stills of Nageswara Rao in the guise of Devadasu, with a glass in his hand and the looks of a drunkard. Rao also took shots of Savitri in Parvati’s make-up in Naarsu’s Studio. Impressed with these stills, Narayana decided to use the same make-up for the real shooting of the film. He showed these make-up stills to Mangayya, the make-up man, who followed the same. Nageswara Rao, who portrayed the titular character, later recalled that Vedantam, being a dance exponent and an experienced stage actor, used to enact the scenes before the actors, thereby making their job easy. He even recalled that the director shot him only at night so that he could give the character a “drunken, droopy” look. Those night-time shots were filmed over 50 days. The final length of both versions was 17,260 feet (5,260 m). Nageswara Rao compared Devadasu to his character in (1961), stating, “Characters like Batasari and [Devadasu] are not too explicit. They preserve their inner feelings – to be enjoyed in solitude. I am also a man like that.” The official soundtracks of were composed by . The lyrics were written by and and for the Telugu and Tamil versions, respectively. Though Samudrala is credited as the lyricist in the film, M. L. Narasimham of believes that Malladi Ramakrishna Sasthri also wrote some of the lyrics. C. R. Subbaraman died before the film’s release, and the remaining songs were composed by his assistants and . Among them was “Jagame Maaya”, titled “Ulagaae Maayam” in Tamil. The soundtrack of the Telugu version was released on 1 February 1954 and the Tamil version was released on 25 March 1954; both were marketed by . The soundtracks were a huge commercial success, with “Jagame Maaya” and “Kala Idani”, in particular, achieving cult status. Songs like “Ulage Maayam” and “O Devadas” became popular among the Tamil diaspora. The song “Kudi Yemaithe” was composed using the . The song “Kala Idani” was composed using raga. The song “Intha Telisi” is composed in various ragas. The song “Palleku Podam” was later remixed by for (2016). The soundtracks received positive reviews from critics. Reviewing the Tamil version, of stated that the songs “contributed to the [film’s] success”. Reviewing the Telugu version, M. L. Narasimham from the same newspaper also praised the songs, noting, “The major contribution to the film’s success, however, came from the music director, a genius called C. R. Subbaraman. Every song he composed is a hit to this day.” in his book noted, “One factor that sustains the popularity of this film to this is the songs [sic]”. On “Intha Telisi”, Dakshinamurthy M. of noted, “The ‘pallavi’ and ‘charanam’ are in Kharaharapriya, second ‘charanam’ is in Ranjani and the last one is in Mohana. The switching from ‘charanam’ to ‘pallavi’ and vice versa is so smooth, one forgets to notice the change in ‘ragam’ and ‘bhavam’.” , was released on 26 June 1953, and was released three months later on 11 September 1953. Both versions were commercially successful, playing for over 100 days in theatres. Randor Guy, however noted that after the film’s release, there were bickerings between the partners over the division of profits and Subbaraman’s widow had to go to court, as did Lalitha for her balance remuneration. In 2002, the film was screened under the “Devdas Retrospective Section” during the 33rd . received positive reviews from critics upon its release. M. L. Narasimham praised the performances of the film’s cast, particularly that of Nageswara Rao. He added that B. S. Ranga’s “excellent” cinematography and C. R. Subbaraman’s music were the film’s highlights apart from Vedantham Raghavayya’s direction. Reviewing , Randor Guy wrote that the film was remembered for “empathetically brilliant performance of Nageswara Rao in the title role and equally impressive acting by Savithri”. S. Theodore Baskaran described the casting of Nageswara Rao and Savitri as “near perfect”. stated that Nageswara Rao’s performance “remains a classic portrayal of the character that has been adapted on-screen several times”. Film archivist noted, “Akkineni Nageshwara Rao identified himself with the character so intensely […] that it remains one of Telugu cinema’s outstanding performances.” The 2002 book (edited by M. K. Ramu) called Nageshwara Rao “the perfect manifestation of Sarat’s vision” of the title character. In contrast, Nageswara Rao at one point did not rate the film so highly because he felt it did not “convey the Sarat mood well enough.” C. S. H. N. Murthy, author of the 2012 article , praised for “follow[ing] closely the text of the novel as a “. Murthy was the first author to interpret the Devadas phenomenon in terms of de-westernising media studies by appropriately locating the character of Devadas into the relevant and contemporary religious ethos of India that time. Murthy was not only critical of the Western Scholars’ interpretations of Devadas as a narcissist and pseudo-masochist but also questioned their theoretical frameworks based on Western Sexualities and Post-feminism. While placing the crux of the adaptation studies using film as text, he rightly pointed out the dissonance in trying to draw such comparisons based on Western film theories. His article endeavours to make a critical intervention in current South Asian Studies by aiming to provide novel theoretical frame work, hitherto unknown and unheard in Indian film studies, to which philosophical and traditional tenets grounding the novella of Devadas can be anchored. and are regarded as among the most successful films in Telugu and Tamil cinema respectively. Upon release, the dialogue (English: ) became famous. The film proved to be a major breakthrough in Nageswara Rao’s career. The success of the film made him known as the “Tragedy King” of Telugu cinema and also led to his becoming in similar roles. In order to shed the tragic-romantic hero image, he accepted a comic role in (1955). Savitri too appeared in , and her character in that film was described by Pa. Dheenadhayalan of as an of her role in . (1982), which was named after a line from “Ulagaae Maayam”, was described by as an “update of the plot”. In July 2007, S. R. Ashok Kumar of asked eight Tamil directors to list ten of their favourite films. named as one of his top ten Tamil films. He said that it had “superb lighting by B. S. Ranga, excellent performances by A. Nageswara Rao and Savithri, and haunting music by C. R. Subbaraman”. Actor stated, “You can’t reproduce movies like , , , or […] By remaking such films, you are lowering yourself, while it enhances the original artists’ image.” titled his 2006 comedy film , though it had no similarity with this film. In May 2012, Radhika Rajamani of mentioned for the letter D in her list, “The A to Z of Telugu Cinema”. During a programme titled “Telugu Cinema Prasthanam” organised by the film society of Vishakhapatnam, writer and actor Ravi Kondala Rao placed among other Telugu films like (1932), (1938), (1951) and (1963) during a speech on the role of Telugu cinema in the hundred years of Indian cinema. In April 2013, included the film in its list of “100 greatest Indian films of all time”. described as one of Nageswara Rao’s “best films”. , who portrayed Devadas in the directed by , admitted that Nageswara Rao’s performance as the character was better than his own, remarking, “There is only one Devadas (1953), and that is Akkineni Nageswara Rao.” A scene from , in which the title character converses with a street dog while drunk, was parodied in a promotional still from (2016), where the male lead ( ) humorously converses with a stuffed puppy, while imitating Devadasu’s mannerisms. In the film (1995), a drunk Valayapathi ( ) who is lying in the car will be singing “Kanavidhu Than”. In 1978 a sequel to the film released It deals with the rebirth of Devadasu, with Nageswara Rao reprising his role.</p>