Navarathri

Navarathri-Savitri in Navarathri

Savitri starred in both the 1964 Tamil Navrathri (dir. A.P Nagarajan) and the 1966 Telugu remake (dir. Tatineni Ramarao) and she is lovely as ever. What makes it particularly difficult to choose one over the other film is her leading men – Sivaji Ganesan (1964) and Akkineni Nageswara Rao (1966) – who each bring their own style to the proceedings. So I won’t pick.

That is so pretty with the Golu, the girls dancing and their sarees. The Telugu song is a bit more sparkly so I always pick that one.

Savitri is Nalina (Tamil) or Radha (Telugu). I’m going to just refer to her as Savitri throughout. After that lovely happy song, Savitri is told her father has fixed her marriage. She is already in love, and has no idea that her dad has unwittingly accepted a proposal from her boyfriend. Oh the drama. She runs to see the boy, only to be told he has gone to get married. She runs away, unable to face life as another man’s wife. Her character spends 9 nights wandering. She encounters different characters, all played by the leading man, who represent different aspects of human behaviour and emotion. These are named slightly differently in each film so I will just list them by night.

The film is more of an allegory than a realistic portrayal. Despite having lots of detail presented about who these men are, there is not a lot of depth to all the characters. The actors focus on the key emotion of the episode rather than trying to create nuances. Sivaji Ganesan is charismatic and is always instantly recognisable in this tour de force. ANR is generally better suited to low-key roles, but he also plays the various men as types. It is highly entertaining and stylised.

Night 1. A flamboyant widower interrupts Savitri as she contemplates suicide and drags her back to his house. Both ANR and Sivaji played this character as an eccentric, lonely man. The widower is devoted to his dead wife and little daughter (played by Kutty Padmini in both versions, I think). When compared flounce for flounce, there is little to separate the actors in this episode. I kept thinking of Snagglepuss.

Night 2. Tricked by a brothel madam, Savitri has to fend off a drunkard with a sob story. Savitri is determined, fierce and has a good throwing arm. Sivaji played this role as a wild eyed, plaid pants wearing letch with mood swings. ANR did a gorgeous self-parody as a self-pitying Devdas and for that, he wins my vote.

Night 3. Picked up by the police, Savitri is taken to a mental hospital. Both actors play the doctor as gently considerate and interested in why she was faking madness. I enjoyed ANR’s reactions to Savitri’s odd gesticulations and speeches. Sivaji is more of a generic saint in a white wig. Placed in a ward with several other women exhibiting different manias, Savitri joins in the various set pieces each inmate delivers and their song and dance medley. The Telugu patients (including Suryakantam, Chhaya Devi, Jamuna and Jayalalithaa) are funny and energetic, and I recognised most of the songs they used so I enjoyed their section a lot.  Manorama features in the Tamil film where the dancing and singing is more subdued but still fun. I’m usually averse to using the mentally ill as comedy fodder, but there was something good-natured and kind in this episode that helped me put my qualms aside.

Night 4. Frightened that the police had come for her, Savitri runs again. She meets a lurking gunman, out for revenge against the men who tortured and killed his brother. Savitri tries to persuade him to stop but he is killed by his enemies. It’s his character who has the most obvious demons to fight in this Navarathri. Both ANR and Sivaji play him with swagger and bluster. ANR had a little more vulnerability while Sivaji showed more of the wounded pride and ferocity. Both died spectacularly and both had to deal with interesting makeup and costumes. I guess it depends on whether you prefer a stripy t-shirt or a stripy lungi.

Night 5. Savitri contemplates suicide again. She is saved by a kindly villager and his sister who worry that she had been possessed by an evil spirit. A comedy conman arrives to fleece her poor but honest benefactors and Savitri decides to give him a taste of his own medicine. Nagesh originated the role in the Tamil verison while Relangi played in the Telugu film. I prefer Relangi in almost any role to Nagesh in most things! I think ANR does poor man with heart of gold so very well.  For this section, the Telugu film is the winner for me.

Night 6. Savitri sees an old man crawling along a path and goes to help. A formerly rich man, he is now a leper and shunned by all his family and associates. Savitri doesn’t let her revulsion at his physical state stop her from behaving with compassion and integrity. I really like that at around this stage in the movie, Savitri has stopped just passively absorbing help and is not only thinking about how to sort out her own life but is actively supporting other people. The makeup department were a bit more effective in 1966, and ANR does vulnerability so well. The Telugu film gets my points for this episode.

Night 7. A theatrical company is in need for an actress after theirs elopes. Savitri agrees to help them and the play goes on. I don’t think anyone can beat Sivaji Ganesan in Ye Historical Outfits and he looks like he has a ball in this turn as the rural actor/director. ANR is very good and his dancing has a higher comedy value, but the portentous dialogues flow so nicely in the Tamil film. Savitri is lovely in both films as she matches her leading man step for step.

Night 8. Whoever thought either of these men should wear short shorts should be given a severe talking to. Playing a policeman playing a hunter ANR and Sivaji both opt for a braying laugh, military bluff heartiness and those shorts. I think they used the same footage of the tiger in both films. Savitri masquerades as a man. She is not even slightly convincing, but her expressions are funny and her Telugu characterisation is enjoyably pompous. I think Sivaji’s shorts are both more terrifying (baggy, poor camera angles) and hilarious (baggy, poor camera angles). The Tamil film is a little more dramatic and better paced at this stage so I prefer that.

Night 9. In which we discover that intended groom/disappearing boyfriend Anand or Venu (Telugu) is of course Sivaji or ANR. Savitri has nice rapport with both actors and the reconciliation scenes were both funny and heartfelt by turn.  The wedding goes ahead and all the ‘other men’ turn up (except the dead gunman). Happiness prevails!

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I slightly prefer the Telugu soundtrack by Chalapathi Rao T as it is a little more filmi and festive but the songs in the Tamil film are quite soulful so it does depend on my mood. I have the Telugu DVD with subtitles but have only seen the Tamil film without (it’s on Youtube). The stories are identical but of course, the dialogues will differ somewhat. Despite having different directors, there are only differences in a few scenes. It’s interesting to see so little of the second director in the remake – when I first saw the films I assumed AP Nagarajan did both.

I have some minor doubts. How did Savitri keep finding new sarees with impeccably tailored blouses? And she seemed to be wandering in circles yet no one could find her. But nothing detracted from enjoying her journey and her realisation that she could go home and be happy.

I really like both films, and have rewatched them a couple of times. Savitri is brilliant as Nalina/Radha and despite the focus being on the men, her performance is varied and her characterisation develops beautifully. Both Sivaji and ANR are in fine form and make the task of playing nine roles seem effortless. Choose your favourite cast, choose on language, choose the songs you like most, choose your own adventure! 4 stars!

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Mooga Manasulu (1963)

Mooga Manasulu-title

Mooga Manasulu is a reincarnation romance directed by Adurthi Subba Rao and starring Savitri and Akkineni Nageswara Rao. Some time ago I asked around for reincarnation film recommendations, and several people mentioned Milan (Hindi, 1967). While tracking that down, I discovered Mooga Manasulu is the original. I slightly prefer the Telugu original to the Hindi remake although I like both films. The music by K V Mahadevan is just lovely and I think the cast has a small edge over their Hindi counterparts.

I seem to have a higher melodrama tolerance in reincarnation films. Perhaps it is because the core theme allows that the end is not the end so even if tragic events occur, there is still a chance for characters to have the life they deserve or at least get a do over.  When I know the outcome of a story I tend to focus more on the characters and how they get to that resolution. Mooga Manasulu’s strength is in the lead actors and their characterisations, some determined forays into scenery chewing notwithstanding. I do find the acting a little dated and stylised, but that is the same when I watch most films from the 50s and 60s in any language.

The film starts with newlyweds Gopi (ANR) and Radha (Savitri) leaving for their honeymoon. En route Gopi has flashbacks and recognises landmarks. His past comes back in a rush and he narrates the story to Radha, also present in that past life. So in effect, it starts with a happy ending and that helped tide me through. They meet Gauri (Jamuna) who had played such a role in their past, and is now an old woman waiting for death. The story shifts to the past and we relive the love triangle. ANR has a nice rapport with both actresses and it was easy to empathise with the three characters over their circumstance if not their actions.

Mooga Manasulu-Gopi and GowriMooga Manasulu-ANR and Savitri

ANR looks every inch the middle class city boy in his modern life, and is charming if a bit over the top as past life Gopi. The present day frames the core events so Gopi the orphan boatman is the central figure. He is simple, occasionally verging on stupid as is often the case when ‘simplicity’ is being portrayed. But by and large ANR doesn’t overdo the wide eyed naivete too much. There is a clear difference between Gopi playing dumb to irritate Gauri and Gopi being genuinely clueless. He is argumentative and brotherly with Gauri, showing an affectionate but not romantic interest. Gopi is keenly aware of the gulf between himself and Radha but has an innocent idealistic love for her. They sing together and he presents her with a flower every day. He might pine for years after she marries, but he has no genuine expectation of being the groom.

Mooga Manasulu-SavitriMooga Manasulu-Radha and Rambabu

Savitri is Radha. She is a very proper young lady but she has a definite personality and doesn’t take nonsense from swoony college boys.I enjoyed Savitri’s facial expressions when her suitor Rambabu was waxing lyrical about letting her win a singing competition. Her response – do what you like, I’ll win it anyway. Savitri maintains a sweetly neutral facial expression while often her eyes tell a different story. In many ways Radha is the initiator in her largely imaginary relationship with Gopi. She steals his food, she buys him clothes and sits on the floor with him. She knows the rules and decides which ones to break. Her love for him is more romantic where his affection is idealised and a bit abstract.

In song fantasies she imagines Gopi surrounded by balloons – that can only be love! But she does as her family wishes, and marries and moves away (ferried, of course, by Gopi). When she returns she is a widow and Gopi is devastated that her life has taken such a turn.

Mooga Manasulu-marriedMooga Manasulu-leaving home

Mooga Manasulu-double the woe

I tried to be sympathetic but the reactions of Gopi to Radha’s misfortune and her grief at his horror were just a bit too much. But it is a melodrama. Their closeness is the talk of town and that is bad news for all.

Mooga Manasulu-Jamuna as GauriMooga Manasulu-Gauri looks after Gopi

Thank heavens for Jamuna as at least someone could dance a bit to the wonderful songs. (Reincarnation does nothing to improve my low montage and weepy duet tolerance.) Gauri is determined to marry Gopi and had things gone to plan, she would have. Jamuna is occasionally grating as Gauri is so loud and childish but like Gopi, a lot of her acting up is done for effect. She does have a sensitive side and seems more of a young woman and less of a silly girl when Gopi is beaten up and needs care. Gauri is also the object of lust for Radha’s uncle Rajendra (Nagabhushanam) and he is not fussy about whether she consents or not. She had no luck at all with the men in her life, and her decision making was not always helpful. Her impulsiveness inadvertently brings doom upon Gopi and Radha, and she cannot stop the backlash. Gauri is overshadowed by the connection between Gopi and Radha, yet her role is pivotal and Jamuna really holds her own. In fact, she went on to reprise the role in the Hindi version along with Sunil Dutt and Nutan.

While there are lashings of impassioned dialogues, there is also a strong visual language underscoring the events too. There are recurring motifs of lamps, flames and lights that recall the momentary flickering that is a human lifespan.

Mooga Manasulu-sorrowMooga Manasulu-misery

Some things are shown rather than told – when Radha pinches Gopi’s tiffin instead of her own as a means of putting herself closer to him. And it is just so pretty to look at. Whoever was in charge of boats had their hands full as in the background of almost every scene there are sailboats gliding along the Godavari. Gopi tells Radha that the Godavari is his mother and will always carry him safely in her hands. There is a drowning in the film, and while the actual scene is a bit clumsy and not at all convincing or perilous looking, it resonates with the constant presence of the river in the characters’ lives.

Mooga Manasulu-Radhas family

The support cast are minor in terms of characterisation although they do instigate some key incidents. I did enjoy Suryakantham’s turn as the not very wicked stepmother.

Mooga Manasulu-Gopi and RadhaMooga Manasulu-balloons

The soundtrack by K V Mahadevan  is delightful and suits the mood and characters perfectly. I couldn’t locate subtitles for the songs but from all accounts the lyrics are still highly appreciated. The songs amplify what is happening in the drama rather than breaking from the narrative. The picturisations are lyrical and moody often enhancing the feeling of impending disaster.

See this for the excellent lead trio,  if you like your melodrama laid on with a trowel, or the notion of recalling a past life appeals. 3 ½ stars! (Deductions for excessive Nahiin Face)

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Kandan Karunai

This is one of the few Tamil mythological films by A. P. Nagarajan that I’ve been able to find on DVD with English subtitles, and despite its sometimes pedestrian and almost documentary-like telling of key events in Lord Murugan’s life, it’s still worth a watch mainly due to the great cast and an excellent soundtrack.  The film covers the major incidents which define Lord Murugan and his place in the Hindu pantheon and it gives a good insight into why he is often regarded as the God of Tamils. Despite his more minor role Sivaji Ganesan is the star of the show but Gemini Ganesan, Savitri and various other stars of the time make an appearance, including an incredibly cute 4-year-old Sridevi in her first ever role as the young Murugan.  There are plenty of glittery costumes and even more sparkly jewellery set against some incredibly colourful sets which prove that there are no colours which clash in India. It’s garish but pretty and personally I’d like to see every army adopt the gold boots worn with such aplomb by Sivaji’s Veerabaghu.

The film starts with a devotional song to Lord Murugan by renowned singer and actress K. B. Sundarambal who appears in her characteristic role of Avvaiyyar.  She introduces the story of the demon king Surapadman (Ashokan) who is terrorising the people of heaven but cannot be killed due to a boon he and his people received from Lord Shiva.

When Surapadman’s sister Ajamugi attempts to kidnap the king of the heavenly people’s wife Indrani (S. Varalakshmi) as a present for her brother, subsequent events force Lord Shiva to become involved. Rather than kill the demons directly he creates a son to deal with Sundarambal but gets rather more than he bargained for with Murugan.

Murugan is clever, even as a child and faced with six divine girls as potential nannies, he rather practically splits into six versions of himself so that they each have a child to look after.  Later his mother Parvati reunites all of the children to create the god with six faces while the divine girls are rewarded by being transformed into stars. These first few stories dealing with the young Murugan are mainly told in song, although when there is dialogue Master Sridhar as the young Murugan holds his own in scenes with the older actors Gemini Ganesan as Shiva and Savitri as Parvati.

The adult Murugan is played by Sivakumar who sadly doesn’t give Murugan much personality at all,  and he plays the role rather passively.  However the ‘good man’ Veerabaghu, who comes to help Murugan in his war against the demons, provides plenty of attitude and Sivaj Ganesan brings the film to life in this role.  He acts first of all as a messenger from Lord Murugan to Surapadman, defying the demon’s arrogance by creating his own throne and servant girls when Surapadman denies him a chair.  He is instrumental in instructing Lord Murugan how to fight the various demons and later he gets to strut around in his wonderful gold boots as the army celebrates Murugan victory.

The latter half of the film deals with Murugan’s two marriages.  The first of these is to Indira’s daughter Deivanai (K. R. Vijaya) who manages to stay cool when faced with the riot of colour that accompanies her marriage and subsequent first night with Lord Murugan.

The explanation of marriage and a woman’s place in society sounds incredibly patronising, particularly when Deivanai is told that she has to remain faithful to her husband while Murugan goes off and finds a second wife.  However, since the basic theme of an obedient wife still seems to be expounded as the ideal even in India to-day it probably sounds more reasonable to its intended audience, particularly back in 1967 when the film was made.  Deivanai is still understandably outraged when Murugan comes back with Valli and there are some funny moments as Veerabaghu has to deal with the two angry women, which he does with great charm and lots of sparkle.  K. R. Vijaya looks beautiful but doesn’t have much scope to do anything else as her character is very one-dimensional.  Jayalalitha as Murugan’s second wife Valli has a better role with a little more substance including this lovely introduction.

Valli is the daughter of a tribal chief and her friends include Manorama and Tamil comic actor Nagesh who provide a little relief from all the noble deeds and dramatic pronouncements of the other characters.  Jayalalitha is charming and her Valli is graceful and elegant even in her simple village girl persona which translates well to her rise in station as the consort of Lord Murugan.

The film is very stylish and looks beautiful but lacks the warmth of other Nagarajan films I’ve seen, particularly in the character of the older Lord Murugan.  Perhaps it’s because Murugan has outgrown the mischievousness and arrogance which livened up the early scenes and it’s hard to portray worthiness and knowledge as being anything other than a little dull. Sivakumar is pleasant enough but is eclipsed by Sivaji who has much more presence.  The battle scenes are very stylised and the demons don’t ever look to stand much of a chance against Lord Murugan and his trusty spear, although the internal squabbles in Surapadman’s court are well portrayed.  I really liked the actress who played Ajamugi who got her outrage and vindictive nature across very clearly.

The music by K V Mahadevan won him a National Award and it’s definitely  a highlight of the film with some beautiful vocals by P. Susheela in many of the songs.  This film worked more for me as an explanation of some of the symbolism I’ve seen on my visits to temples in Tamil Nadu, and a synopsis of Lord Murugan’s life, although of course I always enjoy a film with lots of sparkle! Worth watching for the songs, Sivaji and the younger Murugan – 3 stars.

Saraswathi Sabatham (1966)

When I started watching films which dealt with the classical stories involving Hindu Gods and Goddesses, I noticed a number of parallels with the legends I heard as a child growing up in Ireland. There are many books and articles which deal with the similarity between the two cultures, but every time I watch one of these films it strikes me all over again and is probably one of the reasons why I love these mythological films. The lavishness of the sets and the stunning costumes are other reasons to watch and enjoy but I really do appreciate the stories and the opportunity to learn more about the Hindu pantheon of Gods. A. P. Nagarajan made many successful mythological films in the sixties, and I’m hopeful that after the recent success of the restored classic Karnan some of Nagarajan’s films will get the same treatment and become more readily available with subtitles.

Saraswathi Sabatham is a little different from the other Tamil mythological films I’ve seen, as it uses a fictitious plot rather than stories from the Sanskrit epics. It still draws on the personalities and traits of the various Gods and there is a strong message behind the narrative but it’s a simple story which is charmingly told. The film opens with a lovely song featuring the Goddess of Knowledge, Saraswathi (Savitri) and her attendants.

Trouble enters into this beautiful and peaceful scene in the form of the sage Naradha (Sivaji Ganesan) who goads Saraswathi by claiming that wealth is more important than knowledge. After successfully riling Saraswathi, Naradha heads off to confront the Goddess Lakshmi (Devika) and again causes trouble by telling her that knowledge is more important than wealth. After successfully starting a rivalry between the two Goddesses, Naradha then adds the Goddess Parvati (Padmini) into the mix by claiming that wealth and knowledge are both more important than bravery. Despite some rather lacklustre protests from their husbands, Brahma, Shiva (Harnath) and Vishnu (Sivakumar), and even though they know that Naradha is a renowned trouble-maker, all three rise to the bait. Saraswathi, Lakshmi and Parvati each vow to make a champion for their cause on Earth and prove that their attribute is the most important while making the other two champions bow down before the winner.

Generally the different aspects of the three Goddesses are well depicted with Savitri appearing regal and dignified as Saraswathi. She conveys a sense of timeless wisdom in her manner, although still storms off in a huff when she gets annoyed with Naradha. Devika’s Lakshmi is playful and charming while Padmini is motherly to her children but feisty enough to challenge Shiva before Naradha intervenes with his teasing. The three Goddesses are also incredibly sparkly and although Lakshmi manages to out-glitter the other two it’s a close run contest.

Saraswathi chooses the mute son of a temple singer to be her champion. She gives Vidyapathi the power of speech and the knowledge to make him an accomplished poet who can sing her praises throughout the kingdom.

Coincidently choosing the same kingdom, Lakshmi uses her power to make a poor beggar girl queen. The ailing king, who has no heir, decides on a method of selecting his successor which will not open him to claims of favouritism. Acting on advice from his chief minister he gives an elephant a garland and decrees that the person garlanded by the elephant will be the next ruler. As he says, this is the perfect plan that no-one can object to – except perhaps the elephant who has to chase around after Selvambikar and then throw the flowers over her head.

Finally Parvati takes a total coward, Veeramallar (Gemini Ganesan) and turns him into a brave and fearless warrior, who quickly rises to be the new army chief as a result of his prowess in saving the queen when her horse bolts.

Vidyapathi, Selvambikai and Veeramallar all squabble amongst themselves as the three Goddesses jostle for power. Each character is full of their own importance and their arrogance is well portrayed by the three actors. Sivaji Ganesan is excellent as Vidyapathi. His transformation completely changes his personality and he is wonderfully condescending and self-righteous as Saraswathi’s champion.

K. R. Vijaya is beautiful, and her change from the poverty stricken beggar girl to haughty queen is just as convincing. Her Selvambikai still has an air of vulnerability despite her arrogance and pride which makes her the most sympathetic of the three and she does also get to wear some lovely sparkly costumes. I almost didn’t recognise Gemini Ganesan here compared to the young romantic in Kalyana Parisu but he has plenty of screen presence as the blustering warrior, although his character doesn’t have quite as much background as the other two.

There are clashes between Vidyapathi and Selvambikai as the poet refuses to sing in praise of the queen. More clashes occur between Veeramallar and Selvambikai as the warrior oversteps his authority, while Vidyapathi and Veeramallar are at odds from the moment they meet. Each embodies the attribute of their patron Goddess and none of them are prepared to back down. Of course it all gets resolved with a suitably moral ending, but it’s the conflicts between the various characters that make the film so entertaining. Plus the chance to see Sivaji Ganesan in a pink outfit with matching pink outfits for his guards.

The sets are fantastic and Lakshmi’s heavenly abode is incredibly golden and extravagant. Naradha walks through the clouds (although the rainbow he stands on isn’t one found in nature), and while there aren’t very many other special effects, they tend to be well used – such as when letters appear as Vidyapathi sings about his new ability to speak.

There is a comedy track featuring Nagesh and Manorama which fits into the story although Nagesh’s character is more successful. Unfortunately subtitles don’t really convey Manorama’s speech patterns which are the basis for the humour in her character.  All the lead actors are excellent but Sivaji Ganesan really stands out as both Naradha and Vidyapathi. He has some wonderful expressions and a real twinkle in his eye while he teases everyone as Naradha, and he keeps the character light and mischievous. He has the same liveliness as Vidyapathi but gives a sense of smugness and conceit rather than the teasing nature of Naradha and his anguish and despair as the mute temple worker praying to Saraswathi is very moving.

The music by K. V. Mahadevan is beautiful and the lyrics by Kannadasan work well even in their English translation. As always I would have liked a little more dancing, although there is a short piece of Bharatanatyam by Padmini to enjoy. It’s probably not a film for everyone’s tastes as the story develops slowly and there is a lot of wordy interplay between the characters to establish the conflict. However for fans of Tamil mythological films, A. P. Nagarajan takes a simple story and aided by excellent performances from his all-star cast makes Saraswathi Sabatham an entertaining and appealing watch.  3 ½ stars.

Devadasu (1953)

So many people recommended versions of Devdas when I started watching Indian films. Prior to seeing the Telugu Devadasu, I’d watched a few of the various adaptations in Hindi. I have mentioned before that the role of Tight Slap Administrator could be a dream job for me, but honestly I would have been exhausted about an hour into any film version of Devdas. I prefer romances to involve people I can care about to some extent, otherwise why bother? Whether we’re talking whinging Dilip Kumar, tear drenched Shah Rukh or aggressively self centred Abhay Deol, Devdas is one of my least favourite characters. This is a drawback when the story is just a long wait for Dev to work out how to drink himself to death. So it was a bit of a surprise to find myself not exactly liking but empathising with Devadas (Akkineni Nageshwara Rao) and feeling quite kindly towards Parvati (Savitri). Maybe it was the lack of subtitles that let me reshape the story to suit myself. I certainly had no trouble following the story –  there are so many adaptations of the book by Sharat Chandra Chattopadhyay it’s almost a plague – and it’s easy to find a synopsis if you need one.

Director Vedantam Raghavaiah’s version opens with Devadas and Parvati as little children, partners in crime, tormenting their teachers and causing mayhem. Devadas demands her obedient following, Parvati demands to be spoilt and adored and generally that is how things go. If one upsets the other, they retaliate with no thought of the consequences. And that sets the tone for their whole relationship even as they grow up. When he was sent away to school, he seemed to become that rich kid who funded his friends’ adventures and went with the flow. Meanwhile Parvati waited at home, confident he would come back and she would be part of his life.

ANR’s Devadas is a man who knows he has screwed up and has no one else to blame. He conveys the frustration of a young man caught under the thumb of his domineering father (SV Ranga Rao), and the weakness that paralyses him. He and Parvati realise that they can’t continue to be inseparable as they were in childhood without formalising their relationship. There are some really lovely scenes early on when he and Parvati are rediscovering each other, as in this song.

There is also the infamous scene where Devadas strikes Parvati in retaliation for her pride. ANR looked appalled and remorseful after lashing out so viciously and Savitri portrayed a mix of shock, anger and sadness that spoke volumes about the way their relationship still played out. Her parents proposal is rebuffed as they are of a lower social status, and suddenly time is running out.

Parvati sneaks into his room to beg him to marry her before she is married off elsewhere but he cannot stand up to his dad (or whoever chose these pyjamas for him).

And so he loses her, cuts ties with his family and is ripe for a decline into self pity and booze.

Later, when Devadas returns home following his father’s death, he sees the married Parvati. They have a beautiful scene together where suddenly the old Devadas is visible just for a moment. They light up in each other’s presence even as they break down. He has no resilience or motivation – he is carried by the currents of luck and money and when the luck is bad, he doesn’t know how to change things.

His refuge in alcohol initially makes him happy as he hallucinates seeing Parvati. Once the addiction has hold of him, the euphoria starts to disappear and he becomes a shambling wreck. ANR portrays the gradual descent into self destruction very well. While I think Devadas is an idiot I had to look away in some scenes because he was so painfully frail and damaged.

Parvati is a minx and gets her own way but she isn’t completely obnoxious. Savitri does a wonderful job of showing Parvati using her childish impulsive ways but aware of Devadas’ attraction to her, experimenting with her sexual appeal. When she sees Devadas after he has been at school for so many years, her affection is obvious. They talk about his father’s objection to her proposal and there is little game playing when it counts. When she is married off to an elderly widower who really seems to want a nanny more than a wife, her grief is evident but she tries to fit in.

I wasn’t quite sure about the physical side of her marriage – her husband mostly treats her like a niece or daughter, but there was one scene where he said something and Savitri looked quite ill and horrified so I wondered if a conjugal visit was on the cards. She is affectionate towards her stepchildren and wins over her jealous sister-in-law. She really does make the best of it and the kids seem very fond of her so her life isn’t shown as empty without her first love. In the final scene where she realises Devadas is near and tries to see him before he dies, the family seem to stop her because they are worried, not to punish her or protect their honour. Thanks to Savitri’s nuanced acting I really felt for Parvati.

Lalitha, one of the renowned Travancore sisters, is Chandramukhi, the other woman who loves Devadas. Her role is important but doesn’t occupy as much screen time since Devadas usually prefers to pity himself in solitude.  She is flirty and practiced, a woman who knows what men want and knows she has it. Despite her commercial nous, she can’t resist the misery of her newest and most reluctant client. While he initially rejects her, a relationship of sorts does grow over time. She is prepared to lose her livelihood over him and argues with her staff, including a comically inclined orchestra, as she cuts back on working. When Devadas really deteriorates she searches for him and brings him home, offering practical care to keep him comfortable. Lalitha has great physical presence and really suits Chandramukhi’s self aware femininity. Her dancing is assured and she displays her body with confidence, again a perfect fit for this character.

I liked the less grandiose sets in this version as they suit the characters and allow them to be the focus. The music is lovely and as the duets often take the place of conversations, they fit the mood of the scenes. The dances at Chandramukhi’s brothel are quite simple and she performs alone to entertain her clientele – it’s clear what she is selling but the scenes aren’t overly vulgar.

It is really hard to comment on the technical aspects of the film as the DVD picture and sound are so bad, and there are clearly some scenes missing and abrupt edits. Once again I will have a whinge about the terrible print quality of a classic film, and wonder why this is almost the norm. If so many people can recommend a movie as a classic of their industry, why doesn’t anyone take on the task of preservation and restoration? I’m not sure who most of the supporting actors are, but they were all very good and suited their roles.

Anyway – I’ll never wholeheartedly love the story of Devadas and Parvati, but this is my favourite version to date. See it for the excellent acting that made two silly fools seem more relatable than I expected, and for some beautiful melodic songs. 3 ½ stars.

Heather says:  Devdas has never been my favourite story, perhaps because the first version I saw was Sanjay Leela Bhansali’s extravagant epic and I found it difficult to relate to the characters. However I’ve appreciated some of the earlier Hindi film versions a little more, and now agree wholeheartedly with Temple that this Telugu version is the best.

Devdas is certainly not an attractive character at all. He’s arrogant and selfish; almost child-like in his inability to deal with the world and ANR captures this perfectly. In the early scenes his conceit takes centre stage and despite the lack of subtitles his inability to deal with his family’s disapproval of Parvati comes through clearly.  As Devdas falls into self-recrimination and takes up a decadent lifestyle, ANR’s portrayal of the shattered and hopeless alcoholic almost manages to wring some sympathy, despite knowing that he brought it all on himself. So even although I want to dislike Devdas (and usually do), ANR makes his weakness understandable to such an extent that I end up pitying him. It really is an outstanding performance.

I agree with Temple that Savitri is excellent here as Parvati, giving her innocence and a child-like adoration of Devdas which makes her later actions more reasonable. I also loved Lalitha in her portrayal of Chandramukhi, but my favourite actor is the little girl who played the young Parvati. Her eyes were incredibly full of expression for such a young actor and every emotion was written loud and clear on her face. I ended up watching her scenes over and over again and would love to know who she was. Anyone know?

It is such a shame that this film isn’t available with subtitles as much of the beauty in other versions of the story is in the dialogues. I will add my plea that someone needs to please restore and re-release all these old films before they are too far gone to salvage, preferably with English  subtitles too. This really is a classic and should be required viewing for everyone interested in Telugu cinema! 4 stars.