Sunday, February 18, 2007

Kala Thapasvi Dr. K. Viswanath

Star Profiles
Kala Thapasvi Dr. K. Viswanath
By Srinivas Chundi
Sep 12, 2002, 16:16



Kala Thapasvi Dr. K. Viswanath
-By SRINIVAS CHUNDI
vishwanath
The Telugu Film Industry is described as one of the most successful industries in Indian Cinema. Over the decades, it has entertained and influenced millions of audiences with hundreds of films. For many years, it stood first in the number of films made and revenues earned. It is truly an industry in every sense, and has seen many mega projects, big players, major hits along with low budget ventures, small time producers and miserable flops.


Notwithstanding all this, it has largely gone unnoticed at the national level, unlike the Assamese, Bengali, Hindi and Malyalam film industries which have produced many films that have won national and international acclaim. It has mostly confined itself to the elements of commerce in film making, rarely moving out of the beaten track. It has been criticized for pandering to the tastes of the mass audiences, with little regard for quality or standards, particularly so, in the past few years. Though a few off beat films or "art films" have been made in Telugu, mostly by film makers from other languages, Telugu films have been predominantly commercial in nature.

One film maker, however, has won wide national acclaim for some of his films in our language. Director Dr. K. Viswanath, is one of the best directors the Telugu Film Industry has produced. Through his work, he has created some truly memorable films, that stand out as remarkable works of art, in the field of Telugu cinema. With a judicious combination of artistic and commercial elements, he has created films that have appealed not only to the common cinema audience, but also to the more discerning and selective ones. His films have won many national and state level awards for him as a director and his cast as well. Many of them have been screened at various International Film Festivals and have been admired for their artistic and aesthetic values. This article is intended mainly to discuss the nature of some of his work and does not give any major facts or figures, historical or otherwise, related to his films. Since my knowledge related to some of his earliest films is limited, I shall mostly confine myself to his work starting from the seventies.

The earlier stages of his career saw Viswanath as an assistant to the veteran director, Adurthi Subba Rao. Viswanath considers him as his mentor. His first film as an independent director was Atmagauravam. Most of his films during this period were based on family stories, with a generous dose of sentiment, much in the same pattern of the films in 60's. A notable exception is Sudigundalu, which he co-directed with Adurthi Subba Rao. To some extent the influence of his Guru is visible in some of these films. These were followed by a few films like Chelleli Kapuram, Sarada, O Sitha Kadha and Jeevana Jyothi. These films were based on powerful stories centered around women, often with an element of tragedy in them. They featured highly talented actresses like Sarada and Vanisri, who have turned out memorable performances in them. However, it is in Siri Siri Muvva, that the famed artistic touch of K. Viswanath first became visible to the people. This was followed by a series of films based on the themes of art, music and dance. Some of his later films discussed issues of social concern while others presented simple morals and facts of life to the common man in a palatable form. A popular observation is that, most of the names of his films begin with the letter 'S'. It is said that he has a sentimental preference for such names, though there are a few exceptions.

A notable feature of Viswanath's films is that all of them are wholesome family entertainers. Along with a liberal dose of humor and sentiment, they contain beautiful visuals, good music, powerful and realistic characters, and above all, a firm story line. In an age when most film makers are in a frenzy trying to make a quick buck by attracting the masses with substandard films containing vulgarity and an excess of commercial elements, he stuck to his style, in spite of a few commercial setbacks. This has earned him and his films, a respectability which very few directors can claim.

Viswnath's skill as a director is unparalleled in the industry. Few directors have been able to emulate the standards he has set in film making. His ability to treat even mundane subjects such as the non-violence, patriotism, social equality and the evils of dowry in a novel manner, has set him apart in a class of his own. The artistry which he displays in visualizing various sequences in his films, the fluency and the lyrical nature of his narration and the creativity in his ideas make his films thoroughly enjoyable and memorable. The various scenes in Sankarabharanam, the climax in Saptapadi, the incidents leading up to the romance between Jayaprada and Kamal Hasan in SagaraSangamam, the manner in which Moon Moon Sen shows the beauty of nature to a blind man in Sirivennela, the way in which Bhanupriya comes to realize the significance of dance in her life in Swarna Kamalam are all but a few examples of his directorial skill. His films, particularly the ones based on music and dance, are full of such artistic portrayals that make them such a feast for the audience. They are what one can truly describe as "Drushya Kavyalu", poetry recited in spectacle. His sincerity and complete involvement are perceptible in every frame of his film. Unlike many other directors, he usually confines himself to one film at a time, dedicating all his faculties to its making.

Viswanath's penchant for subjects centered around music and dance, is well known. He is fascinated by these subjects, to degree where he is accused of being obsessed with them. Sankarabharanam, Sagara Sangamam, SiriVennela, SrutiLayalu and SwarnaKamalam are all his movies based entirely on the themes of art, music and dance. Of these, Sankarabharanam, the internationally acclaimed film, brought him great fame as a director of art films. It narrates the story of two people, Sankara Shastri and his disciple Thulasi, who try to keep the tradition of classical music alive, against all odds. It is said that, after witnessing this film, many parents in those days encouraged their children to learn classical music and dance. SagaraSangamam deals with a highly talented classical dancer, who unfortunately fails to get the recognition he deserves, but passes the baton of classical dance to the next generation. Sirivennela depicts how a beautiful woman brings out the latent talent in a blind man to make him a famous musician. In SritiLayalu, it is up to a child artist to bring his family together, with his talent and his mother's guidance. In SwarnaKamalam, the heroine who originally believes that the pursuit of classical arts is of no worldly use, changes her mind on meeting an American dancer, who venerates Indian Classical Dance forms. In these films, the director has made the best use of the artistic talents of popular as well as lesser known film stars, which had mostly been untapped hitherto in the field of cinema. Manju Bhargavi, Bhamidipati Sabitha, Kamal Hasan, Jayaprada, Shanmuga Srinivas and Bhanupriya have all been shown to the world as highly talented artists. Even in films such as Saptapadi, Suthradharulu, Swathi Kiranam and Apathbandhavudu which deal with a wide range of subjects, classical and traditional art forms find a major place.

Apart from films related to the art forms, Viswanath has made many films dealing with a wide range of human and social issues. In Saptapadi, he decries the evils of untouchability and the caste system. In Subhodayam and SwayamKrishi he emphasizes the dignity and respectability of manual labor. In Subhalekha, he deals in a humorous way, with the dowry system, which is one of the major evils in today's society. While Suthradharulu urges the present day society to recognize the need for it to adopt the ideals of non-violence, SwathiKiranam depicts the harm that can be caused by the baser instincts of envy and anger in a man, however accomplished he may be. In spite of the nature of these subjects, they are presented in a subtle manner with an imaginative story line, with just the right amount of emphasis on the intended message. They exemplify, how a good film maker can deliver the right kind of message, making the best use of cinema as an art form and a powerful medium of expression. An inherent message, that is present in many of his films is the indomitable nature of the human spirit and determination, which cannot be subdued by any kind of physical handicap. With these films, he has won recognition as a director with a social commitment who understands the kind of role films can play in advocating desirable changes in man in particular and society in general.

Most of the characters created by Viswanath in his movies, are unique in nature. The meticulous attention to detail he pays is evident in every aspect of these characters, including the cast, appearance, behavior, mannerisms and dialogues. His technique of introduction and subsequent portrayal of these characters leaves them imprinted on our minds for a long time. A few of them deserve a special mention. The character of a film actress Sithalu in Sithamalakshmi, Sankara Shastri and Thulasi in Sankarabharanam, an unsuccessful dancer Balakrishna and his friend Madhavi in SagaraSangamam, a mental retard Sivayya and his wife Lalitha in Swathimuthyam, a reluctant and mischievous dancer Meenakshi in Swarnakamalam, an accomplished but vain musician Anantha Rama Sarma in SwathiKiranam and the milkman Madhava and his friend Hema in Apathbandhavudu have won accolades for their creator as well as the players. Some protagonists in his films have a physical or mental handicap, which is quite unusual in mainstream cinema today, where the hero and the heroine are a picture of perfection. Quite often, the comedy in his films is centered around theses main characters, rather than being confined to the comedians meant for the purpose.

Given the standard and quality of his films, it is not surprising that Viswanath has won innumerable honors and awards for them. His films have bagged many Nandi Awards, including those for the best film, best director and the best screenplay. Apart from these, many art associations and film clubs have bestowed several honors on him. He was awarded the Honorary Doctorate in recognition of his contribution to Telugu Cinema. His work with in field of art cinema in Telugu has earned him the title of "Kala Thapasvi". The extraordinary visualization of his characters provides the cast playing them an extensive scope for performance. His ability to bring out the best in them has seen many of them winning awards for their performance in his films. Chiranjeevi in Subhalekha, SwayamKrishi and Apathbandhavudu, Kamal Hasan in SagaraSangamam an SwathiMuthyam have won Nandi Awards for the best actor. Sumalatha for SrithiLayalu, BhanuPriya for SwarnaKamalam and Amani for Subha Sankalpam have won the best actress awards. Several of his films including SwathiMuthyam and Suthradharulu have been recognized as best regional films made in Telugu at the national level.

Notwithstanding his achievements, Viswanath has had his share of commercial setbacks. One of his films, Sirimuvvala Simhanadam, was released in theatres only for a couple of days, before being canned for good. Films like Saptapadi, Sirivennela and Swathikiranam were not received well by the masses. Apathbandhavudu, a major film with "Mega Star" Chiranjeevi and Meenakshi Seshadri in the lead roles, bombed at the box office, though it won a few Nandi Awards. The success of his films in Hindi can, at best be described as modest. Most of his films in Hindi were remakes of Telugu versions, which somehow seemed to lack the depth and magic of the originals. The Hindi version of Sankarabharanam, Sur Sangam, went practically unnoticed. Remakes like Kaam Chor ( Subhodayam), ShubhKamna (Subhalekha), Sanjog (Jeevana Jyothi) , Jaag Utha Insaan (Sapthapadi) and Eeshwar (Swathimuthyam) have received less than a warm reception from the Hindi audiences. A notable exception is Sargam (Siri Siri Muvva), which was a reasonable hit. One of his straight films in Hindi, Sangeet, with Madhuri Dixit playing the dual roles of a mother and her blind daughter, was described as a respectable film. Dhanvaan, another straight film in Hindi, however, was a flop. A probable reason for this is that these films did not contain adequate "spice", which the Hindi audience is used to. Moreover, the remakes lacked the nativity and finesse of the originals.

Viswanath has, some times been accused of being too simplistic in his view of the present day's materialistic world. His films rarely contain an evil angle, the likes of which is seen in most other films. Though films like Swathimuthyam, Apathbandhavudu and Subha Sankalpam do have characters that resemble the conventional villain, the idea of "good vanquishing the evil" does not find a major place as such, in these films. The common man, who is fed with a generous quota of villainy and evil in most other films, probably finds this too bland for his taste. Another popular criticism heard against him is that he is obsessed with the subjects of music and dance. While it is true that quite a few of his films are based on these subjects, he has mostly made use of them as a medium of expression, to put forth a simple message. Notwithstanding such criticism, his films continue to provide the audiences with healthy entertainment. He can be credited with some degree of success in bringing the classical art forms closer to the common viewer. Though no social problem can be solved with a single film, any effort that is made to create an awareness about it through the powerful medium of cinema is commendable. In an age when cinema has remained just but an item of commerce, we are lucky to have a director like K.Viswanath who works with it for what it is, an art form and a effective medium of expression.

We at telugucinema.com thank Sri Srinivas Manohar chundi for giving the article - Sri.




© Copyright by Telugucinema.com

43 comments:

vikram said...

plz send me the phone numbers ( +address if possible) .iam in urgent need

satish said...

How can I contact the god of indian cinema. Please provide me the contacts.

rajasekhar said...

Hey, I am doing a project on the movie Sankarabharanam. Can you plz forward the contact number KV sir

enagandula said...

hi this is ramachandra.. iam a big fan of k.vishwanth. can u send me his ph.no and address and email address. pls i wish to meet my favarite director k.vishwanath.. pls pls send me..

shash said...

i have been very fascinated with the telugu cinema. and i am also planning to take the telugu cinema to international level. i wish i could meet k vishwanath gaaru. He's my idol. And nizam cheppalante ippati varaku aayana place ni evvru teesko leru.
I have also been hosting a website and i wish i cud get someone like u to write about our film industry legends here @
http://anythingworthreading.webs.com/apps/forums/show/2392129-legends-of-cinema
Looking forward to your reply
another k.vishwanath abhimaani

Sarwa said...

He is my ever best director, as per my knowledge I have seen very few movies. I think I have seen not more than 20 movies, but my favorite movies are Sagara Sangamam,Swathi Mutyam,Siri Siri Muvva,Sarigamalu,Swarna Kamalam,Swathi Kiranam,Sruti Layalu and ever best movie Sankara Bharanam.
If sir give any chance to me I would like to write one song for our coming movie.

三合 said...

成人圖庫,口交技巧,成人18,自慰方法,Fleshlight,情色自拍貼圖,成人情色貼圖,少婦自拍,一夜情聊天,本土av,色情av,av圖片,色情聊天,成人情色網,080視訊聊天室icandy,080視訊聊天室icandy,080視訊聊天室icandy,080視訊聊天室icandy,080視訊聊天室icandy,080視訊聊天室icandy,080視訊聊天室icandy,080視訊聊天室icandy,080視訊聊天室icandy,080視訊聊天室icandy,080視訊聊天室icandy,080視訊聊天室icandy,080視訊聊天室icandy,080視訊聊天室icandy,080視訊聊天室icandy,080視訊聊天室icandy,080視訊聊天室icandy,080視訊聊天室icandy,情色少女貼圖,免費視 訊聊天網,av女優18,免費線上視訊fm358,avdvd免費AV女優,女優王國,做愛,無碼影片,情色交友

走吧 said...

Never put both feet in your mouth at the same time, because then you will not have a leg to stand on.............................................

天氣落差 said...

期待你每一篇文章........................................

陽明山花季 said...

I love readding, and thanks for your artical. ........................................

茂一 said...

免費成人文成人色圖片免費成人影騙免費成人電影觀看曼雪兒情色文學成人小說亞洲無碼影片區亞洲短片 亞洲長片亞洲短片亞洲長片亞洲貼圖站亞洲電影瘋情網亞洲瘋情網下載亞洲瘋情影城亞洲歐美影片亞洲免費線上a片亞洲免費電影亞洲免費情色影片男同自男同志gay圖片男同志gay網男色情片男免費聊天亞色情網亞亞光碟網亞亞成人網免費影片亞亞成人影片亞洲go2免費影片亞洲成人線上看亞洲色圖亞洲免費色情片亞洲線上a片女同志聊天室淫美成人論壇成人韭南籽85cc成人片

函佩政松 said...

幸福是人人都要,又怎麼可能都歸你所有?要知道這世界幸福本來就不多........................................

惠IdellA_Fecteau1231蘋 said...

路過~很有趣吶...........................................

Rupe0705rtJ_Brobst said...

能猜得出女人真實年齡的男人也許耳聰目明,但肯定毫無大腦。哈哈! ..................................................

宗原秋穎 said...

非常感謝~3Q~....................................................

黃k0822oryb_card said...

逛到你的部落格,第一個感覺就很好,希望每次更新都是美好的開始,也祝你天天都都開心喔........................................

韋于倫成 said...

383成人網路美女遙遙寫真集經溣美女2009寫真倉井空寫真集正妹桌面正妹桌布正妹時鐘av999免費影片250av女優免費影片日本h小遊戲下載區日本ol絲襪美腿日本車展美女日本黃色漫畫日本黃色影片日本護士踢小弟弟影片日本護士圖片日本貼圖網站日本賽車絲襪美女日本賽車女郎寫真美女 視訊美女 視訊a片下載台灣情kiss色網aa的滿18歲影片微風成人情色 網免費avi影片下載免費看成人片080苗栗人聊天室網愛聊天a片免費看台灣成人網硬弟弟論壇免費視訊173liveshow0401成人吉澤明步更衣室自拍片曖曖成人影院性愛早餐性愛時間長短論壇性愛享受

韋于倫成 said...

我愛那些使自己的德行成為自己的目標或命定的人........................................

于名于名 said...

you have a very successful business............................................................

ShilaLong嘉雯 said...

A friend to everybody is a friend to nobody...................................................

saa said...

路過--你好嗎..很棒的BLOG...................................................

SadeRa盈君iford0412 said...

要持續更新下去喲!!祝你心情愉快.............................................................

曉薇 said...

打聲招呼,祝你一切平安!

姿吟姿吟 said...

生存乃是不斷地在內心與靈魂交戰;寫作是坐著審判自己。.................................................................                           

怡潔怡潔 said...

幸福不是一切,人還有責任。....................................................................

泓發 said...

當一個人內心能容納兩樣相互衝突的東西,這個人便開始變得有價值了。............................................................

ju吳phe宇te佳ns said...

如果成為一支火柴,也要點亮一個短暫的宇宙;如果是一隻烏鴉,也要叫疼閉塞的耳膜。.................................................................

懿綺懿綺 said...

來拜訪你囉~期待你的下次文章~加油^^..................................................................

云依恩HFH謝鄭JTR安 said...

寂寞又無聊 看到你的BLOG 加油喔!!..................................................................

陳韋夏陳韋夏益東富益東富 said...

單純喜歡你的部落格 留個言跟您問聲好~~............................................................

姿柯瑩柯dgdd憶曾g智曾 said...

脾氣與嘴巴不好,就算心地再好,也不算好人~~~..................................................

李宗蓮李宗蓮 said...

海鷗要高飛,必先遠退。花蜜要香醇,必先久釀。............................................................

王美妹 said...

很用心的部落格 路過留言支持 ............................................................

雅莊王edgd春2蕙婷余惠其 said...

在莫非定律中有項笨蛋定律:「一個組織中的笨蛋,恆大於等於三分之二。」. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

涂宜芳涂宜芳 said...

Never hesitate to hold out your hand; never hesitate to accept the outstretched hand of another..................................................................

家唐銘 said...

It is easier to get than to keep it.......................................................................

文王廷 said...

Learning makes life sweet.

鄭王麗娟美玉 said...

知識可以傳授,智慧卻不行。每個人必須成為他自己。. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

偉曹琬 said...

人生有如洶湧的波濤,如果沒有岩石的阻擋,怎能激起美麗的浪花?......................................................

鄭雅雯 said...

死亡是悲哀的,但活得不快樂更悲哀。............................................................

蔡曼鄭美玉屏 said...

每次看完你的文章,總是回味許久,要經常發表喔。..................................................

黃智樺黃智樺 said...

肯定與支持你!!!加油囉~..................................................

牧宇 said...

我在戀愛著?--------是的,因為我在等待著.....................................................................