When the flute takes centrestage

Kalatapasvi Kasinadhuni Viswanath needs no introduction to Telugu film patrons. From the time he began as a director in 1965 and came up with a steady output of 50-plus films, over a period of four decades (till 2005) in Telugu and Hindi, he was known all over the Indian film industry as a “socially conscious and musically inclined” director who churned out many blockbusters on this basis. His films were re-made into Tamil and enjoyed critical acclaim and one film, ‘O Seetha Katha’ (1974), to recount as an example, also made its way into Malayalam in its multi-lingual makeover, a rare travel for a Telugu film.

Unlike the humongous hit ‘Baahubali’ which is making waves today in both the Telugu and dubbed versions, his 1980 release ‘Sankarabharanam’ was the first all-India hit for a Telugu film, running to packed houses and unprecedented acceptance in its original version. KV Mahadevan, the musical maestro who composed its all-time hits went on to score for over 20 films for K Viswanath, juxtaposing his works even when Ilaiyarajaa paired with the director in two of his hits – ‘Saagara Sangamam’ and ‘Swathi Muthyam’ - soon after. No wonder, its rare success merited a digital re-mastering of the 35-year-old film to benefit the new gen, which saw it in the new avatar recently.

Living that phase must have been a heady experience for any helmsman, but K Viswanath, seems to have taken it in his stride, having been at his peak during the 1976-1989 phase with his name and fame zooming across far and wide. It was during that period that ‘Sirivennela’ was released 29-years ago.

Even on a casual glance at its starcast and assemblage of other team members which determine a film’s appeal, this film scores. The director, in his mid-50s then, shrewdly brings in the then in-demand Hariprasad Chaurasia, the legendary flautist, (having made waves with his foray into film music with 1981 Hindi film ‘Silsila’) by loosely basing his lead character on him and essayed by Bengali star Sarvadaman D Banerjee. The eastern celebrity was by then known for his ‘Adi Sankaracharya’ and ‘Swami Vivekananda’ roles ( crafted by the renowned director, G V Iyer) and seemed to have appealed to the Telugu titan too. Other than this fact, this film also had a debutante lyricist Sitarama Sastry who affixed this film’s name from then on in his three-decade long career as a tribute. A striking presence of Suhasini, a very successful artiste in Telugu cinema, both in commercial and family dramas added to the weight of the production. The svelte Moon Moon Sen, daughter of legendary Bengali heroine Suchitra Sen was another star attraction.

Talking about the song “Vidhata Talapuna Prabhavinchinadi Anaadi Jeevana Vedam”, it earned the singer SP Balasubramaniam, a Nandi award, a state-level recognition. A rightful appreciation, as it begins with a lilting flash of Chaurasia’s flute bit as SPB takes over the singing role in a flash. Basing itself on the celestial creator Brahma and the hymn, “Om, the jeeva nadam”, it is a super blend of voice and instrumental talent. The lyricist, with his vivid description of the forms of life and nature’s ever present attractions makes it a memorable one.

The setting is late evening and the lighting, appropriately both dark and glowing, allows the cinematographer tight close-ups and a relaxed sweep of his camera, panning the faces of the characters it permits itself into. The tone is just about apt for the song, as the genre of the film is anchored on a specially- abled set of characters – a blind hero and a dumb heroine- and their interplay of tender emotions and breaking hearts.

Once the rendering ends, ‘mama’ KV Mahadevan, thumps the tabla, ever slightly as the hero takes to his flautist role. The mild tone to the orchestration, a relief from the noisy cacophony which was the characteristic of a few of his contemporaries is a welcome feeling. Chaurasia’s oozing music, emoted rather well by the hero is captivating enough as the camera brings in the audience into play who are under its spell by then.

Midway into the song, it is time to move outdoors as the lush green background emerges pleasantly. The flute play continues and a suddenly bespectacled Suhasini, is seen furiously sketching, attempting a sort of impressionistic painting. Of course, the hero is oblivious of her efforts and she is already flying in slow motion, the music and the creative art combo, throwing her and everyone into unbridled ecstasy.

A collage of beautiful lamps floating in the water as the flautist hits a crescendo is a natural progression of the number. It ends with the dumb leading lady attempting to repeat the tune of the song which has captivated her.

K Naresh Kumar