“He always tried to compete with me, but I never had any animosity towards him and we remained good friends,” Kantharao writes in the book.īoth versions of the movie failed at the box-office. It took a while for Kantharao to clear the confusion. Since his name appeared first and since both of them were newcomers, many mistook Rajanala for Kantharao and Kantharao for Rajanala. He spread word that he was the hero of the movie. A peeved Rajanala tried to slight Kantharao at every opportunity and somehow managed to get his name appear first in the title card. Reddy felt he was better suited for the villain’s role. Kantharao has narrated an interesting anecdote in his autobiographyĪnaganaga Oka Raakumarudu ’ Rajanala tried for the lead character, but due to his tough looks, H.M. Raja) was ‘inspired’ by Talat Mahmood ’s rendition,Īy mere dil kahin aur chal composed by Shankar-Jaikishan, for Saganee jeevitham jorugaa (rendered by A.M. Sri Sri wrote most of the lyrics tuned by T.A. The way the hero expresses his anguish while taking his vow before the goddess was a straight lift from Sivaji Ganesan’s
Reddy entrusted the job of directing the movie to his nephew Y.R.
The film was launched in two versions, Telugu and Tamil (titled
Savitri played the village belle, while Girija acted as the hero’s sister. Through his friend in Mysore, he contacted him. Interestingly, Reddy had seen Sudarsan’s photograph in the magazine, ‘ Reddy felt that Kallaiah was too old fashioned a name and advised him to act under his surname Rajanala. A telegram was sent to ‘Rajanala Kallaiah, Revenue Inspector, Nellore’ and the next day Kallaiah was at Rohini Pictures office. Rao (who later worked with legends such as Bapu, besides writing film-related articles under the assumed name Swami Chitrananda) to locate him. So he asked his production-in-charge K.V. Pratigjna, Reddy felt the antagonist role would suit Rajanala. He submitted to the filmmaker a still of his from the play, Rajanala Kallaiah, a revenue inspector from Nellore, also arrived in Madras almost at the same time to be a movie actor. Pratigjna as Reddy was preoccupied with the projects he had already launched. Immediately, the veteran filmmaker told Kantharao, ‘You are the hero in my next movie.’ But Kantharao had to wait for almost a year to play the hero in Roy, who replied that the boy’s face was photogenic. He then sought the opinion of his cinematographer P.L. But impressed by his looks and enthusiasm, Reddy asked his writer to add a few more lines for the new-comer. He got a small role, with just one dialogue, in the movie Krishna, who was working as an assistant director under H.M. To try his luck in films, Kantharao landed in Madras and stayed with his childhood friend T. Gayopakhyanam Kantharao acted as Narada for the first time, a role that he later perfected on the screen in films as He later joined the Surabhi Nataka Samajam where he was for about three months. The first stage experience of Tadepalli Lakshmi Kantharao, who hailed from Gudibanda in Nalgonda district, was in a school play, No wonder that he was affectionately referred to by film-folks as ‘Pappaji.’ During travel from his residence (next to the present day Palmgrove Hotel near the Gemini Circle, Chennai) to his Rohini Studios (which later became Golden Studios after changing hands and is now an FCI godown) in Virugambakkam, whenever he spotted any of his staff, whether an actor, technician or a carpenter, he used to stop his car and give them a lift in his vehicle. Hanumanthappa Muniappa Reddy was a considerate person. 250, with the stipulation that they should not take up any other assignment. The three were signed on a monthly pay of Rs. Pratigna, a body-builder and winner of the Mr. They also proved their worth in social films and mythologies. In later years, the duo became a much- sought-after hero-villain combination in folklore movies. Reddy also introduced many new faces to the film industry notable among them were T.L. Besides pioneering the Telugu talkie, H.M.
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