Nowhere among all Indian regional theatres, the ‘mythical film’ survived the longest in cinemas in South India, and especially in Telugu cinema, where it was a dominant genre until the 1970s. KV Reddy’s pioneering 1957 bilingual, MayabazarStarring some renowned actors like NT Rama Rao, Akkineni Nageswara Rao, SV Ranga Rao and Savitri, it was a welcome change in the ‘mythical template’ in the way the deities were humanized for the first time. Since then its success has been abundantly replicated. SS Rajamouli, one of the most popular and influential 21st century filmmakers of Telugu cinema called Mayabazar “The biggest classic and absolute impact ever, not only on me and the filmmakers of my generation, but on the entire Telugu film industry.”
Why? After all it’s just another love story Mahabharata With a magical premise whose heroine has been replaced by a male illusionist demon. Firstly, the film shows how a taut script can work wonders. With his famous play as the trigger for his play for a story revolving around the Pandavas and Kauravas, it is impressive how it progresses without the Pandavas’ presence. Therefore, no one started in the vast web of relations Mahabharata One can also enjoy the film as a standalone, adventurous love story. Secondly, none of its epic characters come with the usual aura that defines their on-screen presence. Even Krishna goes about his conspiracies after thinking. Their vulnerabilities, body language and general speech of the gods make them trustworthy and straight out of life, even if in costume. Third, the film makes the best use of the technological advantage of the cinematic medium by choosing a story with overwhelmingly magical moments/delusions.
star-crossed lovers
Balarama and Revathi’s daughter Shashirekha (Savitri) is betrothed to Subhadra and Arjuna’s son Abhimanyu (ANR) in the presence of Krishna (NTR) and Rukmini as a child. They grow up nurturing their love. But when misfortune strikes the Pandavas and they lose their kingdom in a game of dice, Revathi is no longer eager to honor her daughter’s commitment to the prince’s son without a kingdom. When Subhadra comes to Dwarka to ask Shashirekha for Abhimanyu’s hand, Revathi turns her down. Balarama, tricked by Duryodhana and his uncle Shakuni, also agrees to marry Duryodhana’s son Lakshmana Kumar for Shashirekha.
Just then Krishna steps in with a secret plan, aided by Abhimanyu’s cousin, Mayajal asura Ghatotkacha, to reunite the pining lovers. The ‘elusive’ Ghatotkach transforms the real Shashirekha into a princess in a deceptive palace built by her talented assistants to keep the groom’s party away. The true intentions of the Kauravas are eventually exposed amid hilarious misidentification and magical devastation by Ghatotkacha under the guidance of Krishna. In the end, the family is reconciled.
successes
Although Mayabazar Featuring two iconic actors of Telugu cinema, a young ANR and NTR, they don’t get to do much in terms of historicity. The finesse that NTR delivered in his first onscreen Krishna avatar made him an undisputed star of the mythological genre, and he played the character 17 times. SV Ranga Rao’s Ghatotkacha made headlines with a fine blend of mischief and madness, empathy and bravery.
Sasirekha as Savitri in Maya Bazar, hand-painted by ace photographer DS Anbu Rao, who was part of the cinematography team under Marcus Bartley. , photo Credit: cvsubramaniam
But the highlight of the film is Savitri’s dual portrayal of a princess and a demon-prince (Ghatotkach as Sasirekha) that made her one of the most acclaimed actresses of her time. Depicting Shringar and Hasya rasas, Savitri explained the reactions of male and female gender in similar situations. For students of gender studies, her role is a test case of how behavioral stereotypes of man and woman define an Indian actor’s interpretation of characters through dominant emotions that distinguish a ‘woman-as-woman’, Identifies and limits. A-vis a ‘man-as-woman’.
Mayabazar Also boasted some of the greatest technicians of all time – from writing to music to camerawork. While Pingali Nagendra Rao’s taut script emphasizes action as well as humor, his songs serve as integral lyrical sequences that never slow down the narrative. For example, the elaborate opening song, ‘Aahana Pelianta’, serves as a brilliant facilitator introducing us to the extended Yadav dynasty, which includes the film’s lead characters while still establishing their relationship with the protagonist.
Based on a popular Telugu folktale, ‘Sasirekha Parinayam’, the script seamlessly integrates the customs and traditions of Andhra into the North Indian Yadava lifestyle. The effect is actually set on authentic local instruments by the legendary singer and music director Ghantasala’s earthen songs.
Even today, the feast song ‘Vivah Bhojanambu’ (Ghatotkach on the best South Indian snacks) and the romantic number ‘Lahiri Lahiri Lahirilo’ remain popular. The timeless appeal of the film’s soundtrack is attested by the fact that most of its songs have inspired the names of several Telugu films.
“Lahrilo” also stands out for the moonlight effect of prolific and accomplished cinematographer Marcus Bartley, which became a trademark of his craft in both indoor and outdoor shooting. His second achievement was the use of camera tricks to achieve the special effects of the film.
Mayabazar Not only is it a complete entertainer with all the enjoyable Navarasas (Adbhut, Hasya, Veera and Shringar), its high artistic standard also celebrates the wonders of filmmaking.
Critic, Writer, Film Producer is Dean, School of Liberal Arts and Sciences, RV University, Bangalore.
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