Monday, February 25, 2008

panduranga



Yuvaratna nbk hero ga raghavendra rao direction lo vasthunna "panduranga" shooting bankok,combodia lo next schedule march 1st na start chesthunnaru.Bankok lo unna temples lo 5 days shooting jarupukuni cambodia veltharu.combodia lo unna hindu temples lo shooting chestharu.May lo release ki plan chesthunnaru.

cast : Nandamuri.Bala krishna,sneha,priyamani,parvathi melton

director : k.Raghavendra rao

music : keeravani

script : j.k.bharavi

banner :Rk associates

producer :k.krishnamohana rao

legendntr records in karnataka

[please click on the image 2 view clearly]

Sunday, February 24, 2008

NBK's silver jubliee[1-6-1984 to 31-5-2008] career



A career spanning over 25 years as a film hero sounds colossal and is bound to have ups and downs. Nandmuri Balakrishna recently celebrated Silver Jubilee of his career. Apart from his roles as child artist, he acted in seventy Telugu movies since starting his career as a solo hero in 1984. Being the son of legendary NTR, and having already played key roles in eleven movies, his entry as a solo hero was a cakewalk and he needed no introduction to the Telugu audiences. However, his first two movies that were released in 1984, namely Sahasame Jeevitam and Disco King were disappointing, and left such a slur on his image that it took almost a decade and a half to repair the damage.


While K,Viswanath failed to endear NBK to the Class audience through Janani Janma Bhoomi, Kodi Ramakrishna established him as a mass hero through Bhargav Arts film Mangamma gari Manavadu, a runway hit and the popular song Danchave Menatta Kutura echoed in the streets of every village.

NBK suited the role of a village youth so well that he had to live that image for years. His debut year 1984 ended with another super hit film Kathanayakudu produced by Suresh Productions and put him in the top slot of young heroes. Also released in the same year, NTR's Brahmam gari Charitra created wonders at Box office and NBK got his due credit for playing an important role. NBK's first year was very promising with three out of seven movies being big hits.
NBK could not keep up the spirit of success in the following year as his first venture with comedy director Late Jandhyala Babai Abbai, a remake of NTR's Vaddante Dabbu failed miserably. His first movie with ANR Bharya Bhartla Bhandham produced by Jagapati Arts was rated as an average film. Pattabhishekam, a Ramakrishna Studios film directed by K.Raghavendra Rao who weaved a new image for NTR, saved grace by collecting close to one crore in the first week and having a decent run. But it failed in meeting the expectations set for the combination to achieve. KRR-NBK combination never worked well for one reason or other.


1986 can be regarded as the best year for NBK until 1999. His six consecutive hits elevated him to superstardom and he appeared on the cover page of The Week magazine. His Muddula Krishnnayya was the first movie to collect over one crore in the first week and NBK never looked back on openings. NBK, Vijaya Santhi's pair became one of the most sought after. Having two Golden Jubilees and three more Silver Jubilees already in three years , one would expect his career to be flourishing Green over the following years. But the next few years brought no luck and he lost momentum. In 1989, his Muddula Mavayya turned out to be the biggest hit and proved his stamina.

Lorry Driver came in 1990 and little did anyone expect that this hit combination of NBK and Gopal would one day have the annals of Telugu Film industry rewritten. Rowdy Inspector was another big hit in NBK's career that came in the next couple of years. Even dubbed version in Hindi was a big hit and ran 100 days in North India.
NBK always experimented with roles that would inhibit other stars. During his long career he chose a plethora of variety in the characters he played. Sometimes his fans were worried that he wasn't following the trend and his movies were not managed to complete 100-day run. His performances in Sci-Fi Aditya 369 and Folklore Bhairava Dweepam were admired by one and all and reflected in commercial outcome as well. He also ventured a full length mythological film in Sri Krishnarjuna Vijayam that failed but proved that only NBK of present day heroes could venture mythological roles.
NBK produced a movie on his own banner and failed as a producer. His lack of management showed with Nippuravva and Bangaru Bullodu being released in the same day and the result is the high-budgeted Nippuravva failed.

Film pundits thought NBK deserved a Nandi for his Peddannyya performance. However Nandamuris don't seem to care for awards as NTR always said "Prajabhimananni Minchina Award Ledu Brother". While not being big on awards front, NBK's films continued to evoke huge response and command heavy openings over years.

After Peddannayya, nothing significant happened until 1999 for NBK other than a string of flops. It was one of those times when the industry was in slump hovered by seasonal Blues and the future looked bleak and NBK's career was in doldrums. Then came his Samarsimha Reddy which was released with deficit. Even the producer thought it would be an average movie at best. But the drizzle culminated into a storm. A thunderbolt was heard in AP and the. Telugu Film Industry was struck by a lightening. Truly speaking this movie created wonders at box office like no other movie. Adavi Ramudu and Premabhishekam come only close. Film nagar was amazed by NBK's stamina and so was NBK indeed. After all said and done, this movie changed all equations. All famous producers joined the list of 'who wish to make the next movie with NBK'. Rama Naidu, Krishna, Ramoji, Murali Mohan, Dasari and so many others showed up at his home with plans.

While Samarasimha Reddy's thunders haven't subsided, who would expect this could be repeated as early as in two years? Honestly, nobody did. But Narasimha Naidu took everybody by surprise. Opened with heavy collections, this movie went on to become industry's biggest hit in terms of revenue. Now that NBK has carved out an image that appeals to outside of his fan base too, he has a humungous challenge in front of him in terms of living up to the expectations. He won the Cine Goers Association's best actor award for 2001. The more coveted Nandi award was finally bestowed upon NBK for the year 2002 as he was adjudged the best actor for his performance in Narasimha Naidu. Also, conferred on him was the "Natasimha" tag and it was a sweet accolade that marked the silver jubilee of his career.He was given "viswa vikhyata nata teja" during tana celebrations,usa in 2007.However, to be remembered as Natasimha, he will have to hit the screen with atleast one more Samara Simha Reddy or Narasimha Naidu as these characters have benchmarked the roaring lion image.

e silver jubliee year lo release avuthunna panduranga silver jubliee jarupukovalani asisthoo......BEZAWADA BEBBULI

Friday, February 22, 2008

NTR [1923-1996]



Nandamuri Taraka Ramarao popularly known as NTR,Great actor of Telugu Cinema,Great leader of masses who changed the political scenario of India.Popular for Mythological&historical roles on the screen and God among the people image off the screen.
Coming from an ordinary peasant family in a remote village in Krishna district, he worked his way to the top with his hard work and strong determination to reach the goal, come what may. After making it big in the filmdom, he was deeply moved by the plight of the poor and gave a patient hearing to their problems, when they called on him at his residence in Madras. This had, perhaps, had an effect on his life several years later. After his `shashtipoorthi' celebrations, he quit films and set up a political party to end the hegemony of the Congress Party in the State and usher in value-based politics.

That was Nandamuri Taraka Rama Rao, the hero of the masses in his reel life, who later became their hero in real life by unseating the nearly century old and well-entrenched Congress, and forming the first ever non-Congress Government in the State.

NTR, as he was fondly called, launched the Telugu Desam Party in March 1982, and within a year - on January 5, 1983, to be precise - the fledgling party dealt a crushing blow to the Congress. He was successful in weaning the Telugus from their unflinching loyalty to Indira Gandhi. The wayward functioning of the Congress in the State and the Andhras' anger over the way the Chief Minister, T. Anjaiah, was insulted in public by Rajiv Gandhi, who was then only the AICC secretary-general, at the Hyderabad airport changed the mood of the public which started looking for an alternative to the Congress. NTR fulfilled that need by espousing the cause of `aarukotla Andhrula atma gauravam' (self-respect of six-crore Andhras).

Soon after taking over as Chief Minister, NTR kept many of his election promises, which many had then dismissed as populist and earned a place for himself in the heart of Telugus. After his advent, the Telugus elsewhere got their exclusive identity, breaking away from the original tag of `Madrasis'. While emphasising the importance of Telugu, he, however, held out the assurance that the TDP would also encourage and protect the languages and culture of people from other States.

He believed that only strong States could make a strong Centre. He convinced the then Prime Minister, Indira Gandhi, in this regard which made her change her earlier stance that strong States would mean a weak Centre, says S. Venkat Narayan in his biography of NTR.
Apart from introducing the cheap rice scheme of selling the grain at Rs.2 a kilogram for poor people with a monthly income of Rs.500 or less, he fought with the Centre to amend the Hindu Succession Act to ensure equal property rights to women. He introduced educational reforms and laid the foundation for the Telugu Ganga project to provide drinking water to Madras city apart from irrigating the dry lands of Rayalaseema.



Born in Nimmakuru, a small village in Gudivada taluk on May 28, 1923, NTR had his early education from a tutor, Valluru Subba Rao, in his native village. His parents, Venkataramamma and Laxmaiah, gave him in adoption to the latter's brother, Ramaiah and his wife Chandramma, who were issueless. He studied up to Classs V in his village as there was no further education there, Ramaiah and his wife took their adopted son to Vijayawada and got him admitted into Class VI in the municipal school. He passed the matriculation examination in 1940 and joined the SRR and CVR College in Vijayawada. While doing his Intermediate course, he supplemented the family income by supplying milk to hotels in Vijayawada on his bicycle. At the end of the first year, the students decided to stage a play written by `Kavi Samrat' Viswanadha Satyanarayana, the well-known Telugu poet and writer and the head of the Telugu department of the college.
The play, `Rachamalluni Dautyam', had a strong heroine's character and girls did not take part in stage activities in those days. Satyanarayana ordered Rama Rao to don the robe of the heroine, and the latter took it up, though unwillingly.

That was his first role on the stage and it got him the first prize and also kindled his interest in histrionics. During the college anniversary celebrations the next year, he played the role of Salim in the play `Anarkali' and again bagged the first prize.
In May 1942, when he was 20, Rama Rao married Basava Tarakam, the daughter of his maternal uncle. The marriage came in the way of his studies and he failed twice in the Intermediate examination. Unable to stand the teasing by his friends, he made a determined effort and finally passed the examination.

He joined the Andhra Christian College at Guntur for the Bachelor of Arts course in 1945. He formed an amateur drama group, `National Art Theatre', with the help of his friends. The group used to stage plays to raise funds for noble causes. The first offer to join films came Rama Rao's way, when he was still in college. The famous Telugu director, C. Pullaiah, offered him a role in his film "Keelu Gurram". He, however, turned down the offer as he first wanted to complete his degree course.



A well-wisher introduced him to the established director, L.V. Prasad, who after a screen test in Madras, offered him a small role in his film `Mana Desam'. Rama Rao, who wanted to take up acting as a full-time career was looking for the role of a hero and rejected the offer.
In the meantime, he appeared for the Madras Service Commission examination for sub-registrar's post. Of the 1,100 candidates who took the test, seven were selected and he was one of them. He took up the job in October 1947 for a salary of Rs.120. On the very first day of reporting for duty, he was shocked to see the staff taking bribes and was disillusioned.
Luckily for him, B.A. Subba Rao, who was making his directorial debut, `Palleturi Pilla', saw Rama Rao's photograph in L.V. Prasad's album and decided that he was the right man for the hero's role in his film. He was offered Rs.1,116 for the hero's role and he accepted the offer and went back home after signing an agreement.

He resigned the sub-registrar's job, three weeks after he took it up and went back to Madras to launch himself in the screen career. He now accepted the role of a police sub- inspector in Prasad's Mana Desam, which was his first film.

He had an obsession for trying to be realistic in his films. In his first film as hero in `Palleturi Pilla', Rama Rao refused the services of a duplicate to do the risky bullfight scene, much against the wishes of the director. After some time, he lost grip on the noose and the enraged bull lifted him, swung him around and threw him to the ground. He suffered a wrist fracture and was hospitalised for several weeks. The bullfight contributed to the success of the film and it became a mega hit, running for 100 days at seven theatres in Andhra region.

It was the folklore, `Patala Bhairavi', which was the turning point in his career. The first godly role he played was that of Lord Krishna in `Maya Bazaar'. However, it was his role in `Sri Venkateswara Mahatyam', released in 1960, that gave him a new identity. The deification of Rama Rao began and his residence in Madras became a shrine for pilgrims, who would visit him after a trip to Tirupati. NTR fans used to wait in long queues outside his house for a darshan of their `living-god'. They used to apprise him of their problems back home in their villages and he listened to them patiently before rushing to the studio in the morning.

In all, he acted in 292 films in a career between 1949 and 1993. Of these, 274 are in Telugu, 15 in Tamil and three in Hindi. This apart, several of his Telugu films were dubbed into tamil


After the death of Basava Tarakam, NTR, who had by then lost power, became a loner, and the entry into his household of Lakshmi Parvathi as his biographer, turned the situation leading to his marrying her in the year 1993. This led to his estrangement with the family members. In 1994, he became Chief Minister again. The interference of Lakshmi Parvathi in political matters and his acquiescence in it distanced party legislators from him. Ultimately, his son-in-law, N. Chandrababu Naidu, became a rallying point for them, and the latter staged a silent coup and ousted NTR from power. Rama Rao felt heart-broken and made a vain attempt to get back the support of the MLAs. He went to the people who had voted him to power and demanded justice, but the people thought it was a family affair and ignored the issue.
He died on January 18 1996

Tuesday, February 19, 2008

MOKSHAGNA MEANING


MOKSHAGNA MEANING:

Mokshagna is a great word in sanskrit.To know the meaning of mokshagna first you have to know about moksha

moksha

Liberation from the cycle of birth and death.

Moksha (Sanskrit liberation) or Mukti (Sanskrit release) refers in Indian religions to liberation from the cycle of death and rebirth and all of the suffering and limitation of worldly existence. In Hindu philosophy, it is seen as a transcendence of phenomenal being, a state of higher consciousness, in which time, space, causation (karma) and the other features of empirical reality are understood as maya. Liberation is to Indian religions as salvation is to Christianity. Rather than being a reward for good deeds that is achieved after death, however, liberation is experienced in this very life as a dissolution of the sense of self as an egoistic personality by which the underlying, eternal, pure spirit is uncovered. This desireless state concludes the yogic path through which conditioned mentality-materiality or nama-roopa (lit. name-form) has been dissolved uncovering one's eternal identity prior to the mind/spirit's identification with material form. Liberation is achieved by (and accompanied with) the complete stilling of all passions — a state of being known as Nirvana. Buddhist thought differs slightly from the Advaita Vedantist reading of liberation.

Thursday, February 7, 2008

MANGAMMA GARI MANAVADU 100 DAYS CENTERS

1.HYDERABAD - TARAKARAMA A/C
2.HYDERABAD - SUBASH
3.SECUNDERABAD - MANOHAR
4.NIZAMABAD - PICTURE PALACE
5.KHAMMAM - ANNAPOORNA TALKIES
6.KHAZIPET - BHAVANI TALKIES
7.VIJAYAWADA - VIJAYA TALKIES
8.MACHLIPATNAM - RAMA KRISHNA
9.GUDIWADA - LAKSHMI RAMA
10.GUNTUR - LITTILE KRISHNA
11.ONGOLE - SRINIVASA DELUXE
12.TENALI - GAITY
13.CHIRALA - GOPALA KRISHNA
14.ELURU - SATYANARAYANA
15.TANUKU - VENKATARAMAIAH
16.BHIMAVARAM - GOVARDHAN
17.TADEPALLIGUDEM - PRABATH
18.RAJHAMUNDRY - RAMA KRISHNA 70MM
19.KAKINADA - SWAPNA A/C
20.AMALAPURAM - SRINIVASA
21.VIZAG - RAJKAMAL
22.VIZAG - CHANDRA SHEKAR
23.VIZAYANAGARAM - LAKSHMI SARASWATHI
24.ANANTHPUR - NEELAM TALKIES
25.KURNOOL - VICTORY
26.CUDDAPAH - ANNAPOORNA PICTURE PALACE
27.TIRUPATHI - PRATAP[GROUP]
28.NELLORE - NEW TALKIES

MUVVA GOPALUDU 100 DAYS CENTERS

1.HYDERABAD - SRINIVASA35MM
2.HYDERABAD - SHYAM
3.HYDERABAD - SUBASH
4.AMEERPET - SESHAMAHAL
5.DILSHUKHNAGAR - VENKATADRI
6.SECUNDERABAD - MANOHAR
7.WARANGAL - RADHIKA
8.KHAMMAM - VINODH
9.KAREEMNAGAR - NATARAJ
10.NIZAMA BAD - ASHOK
11.VISHAKAPATNAM - SRI SATYANARAYANA
12.SRIKAKULAM - MURALI
13.VIZAYANAGARAM - LAKSHMI SARASWATHI
14.ANAKAPALLI - SHANKAR
15.KAKINADA - LAKSHMI TALKIES
16.ELURU - KALPANA
17.BHIMAVARAM - VENKATA RAMA
18.TANUKU - VENKATARAMAIAH
19.TADEPALLI GUDEM - KRISHNA BALAJI
20.VIJAYAWADA - SRI VIJAYA TALKIES
21.MACHLIPATNAM - RAMSHANTHI
22.GUDIWADA - GOURI SHANKAR
23.GUNTUR - LIBERTY
24.TENALI -RAMAKRISHNA TALKIES
25.CHIRALA - GOPALA KRISHNA
26.NELLORE -KAVERI A/C
27.TIRUPATHI - RAMRAJ A/C
28.MADANAPALLI -MALLIKARJUNA PICTURE PALACE
29.CHITTOOR - VIJAYA MAHAL
30.CUDDAPAH - VENKATESWARA PICTURE PALACE
31.ANANTHPUR - GOURI CINE COMPLEX
32.KURNOOL - RADHA KRISHNA TALKIES
33.PRODDUTOOR- CHANDH PICTURE PALACE
34.HINDUPUR - AMRUTHAMAHAL
35.ADONI -MAHABOOBIA PICTURE PALACE

Wednesday, February 6, 2008

MUDDULA KRISHNAYYA 100 DAYS CENTERS

1.HYDERABAD - TARAKA RAMA
2.HYDERABAD - SUBHASH
3.SECUNDERABAD - MANOHAR
4.WARANGAL - RADHIKA
5. KHAMMAM - KINNERASANI
6.VIJAYAWADA - SAKUNTALA
7.MACHLIPATNAM - RAMSANTHI
8.GUDIWADA - BALAJI
9.GUNTUR - NAZ APSARA
10.TENALI - RAMA KRISHNA THEATER
11.ONGOLE - SRINIVASA
12.CHIRALA - MOHAN
13.ELURU - KALPANA
14.BHEEMAVARAM -NATARAJ
15.TADEPALLIGUDEM - PRABATH
16.PALAKOLLU - ANNAPOORNA
17.TANUKU - VENKATARAMAIAH
18.KAKINADA - PALACE THEATER
19.RAJAMUNDRY - RAJA
20.MANDAPETA - AMBICA
21.AMALAPURAM - RAMA PICTURE PALACE
22.VISHAKAPATNAM - SARASWATHI
23.VISHAKAPATNAM - NAVARANG THEATER
24.VIJAYANAGARAM - KRISHNA CINEMA
25.NELLORE - ANITHA
26.TIRUPATHI - PRATAP
27.MADANAPALLI - MADHUSUDHANA
28.ANANTHPUR - TRIVENI

Rowdy Inspector 100 days centers


01)Sandhya 35 mm - Hyderabad

02)Srinivasa Theatre - Khammam

03)Bharathi Theatre - Karimnagar

04)Nataraj - Mehboobnagar

05)Royal Group - Bellary

06)Gurunath Talkies - Chitoor

07)Jyothi Talkies - Madanapalli

08)Sriram 70 mm - Kurnool

09)Sandhya Picture Palace - Nandhyal

10)Amruth Mahal - Hindupur

11)Prabhakar Talkies - Adoni

12)Anwar Talkies - Proddutur

13)Sivaram Talkies - Allagadda

14)Krishna Deluxe - Kadiri

15)Gouri cine complex - Anantapur

16)Venkateswara Talkies - Tirupathi

17)Apsara Picture Palace - Cuddapah

18)Nagadevi AC - Rajahmundry

19)Sri Sathya AC - Pithapuram

20)Swapna - Kakinada

21)Manga deluxe - Guntur

22)Srinivasa Theatre - Ongole

23)Sangam Theatre - Sattenapalli

24)Balaji Theatre - Chilakaluripet

25)Venkatarama Talkies - Bheemavaram

26)Vedaraj Theatre - Eluru

27)Santhi - Vijayawada

28)Ramsanthi - Machilipatnam

29)Alankar - Visakhpatnam

30)Seshamahal - Tadepalligudem

31)Prasad Picture Palace - Tanuku

32)Raja Rajeswari - Narsapuram

33)Raja Lakshmi - Vizianagaram

34)Surya Mahal - Srikakulam

35)Neelakanteswara Talkies - Yemmiganur

NBK 100 DAYS FILMS LIST



NBK's 100 Days FilmS List

1.Annadammula Anubhandam [5 centers]
2.Dana Veera Sura Karna [9 centers]
3.Anuraaga Devatha [3 centers]
4.Sri Madviraat Veera Brahmendra Swamy Charitra [18 centers]
5.Mangamma Gari Manavadu [28 centers]
6.Kathanayakudu [1 centers]
7.Muddula Krishnnayya [28 centers]
8.Sita Rama Kalyanam [2 centers]
9.Anasuyamma Gari Alludu [3 centers]
10.Muvva Gopaludu [31 centers]
11.Ramu [1 center]
12.Bhale Donga [1 center]
13.Muddula Mavayya [28 center]
14.Nari Nari Naduma Murari [3 centers]
15.Lorry Driver [8 centers]
16.Talli Tandrulu [1 center]
17.Rowdy Inspector [35 centers]
18.Bangaru Bullodu [10 centers]
19.Nippu Ravva [1 center]
20.Bairava Dweepam [28 centers]
21.Bobbili Simham [15 centers]
22.Mathopettukoku [1 center]
23.Vamsanikokkadu [13 centers]
24.Peddannayya [34 centers]
25.Pavitra Prema [2 centers]
26.Samara Simha Reddy [73 centers]
27.Sulthan [5 centers]
28.Vamsordharakudu [3 centers]
29.Goppinti Alludu [1 center]
30.Narasimha Naidu [105 centers]
31.Seema Simham [7 centers]
32.Chenna Kesava Reddy [38 centers]
33.Lakshmi Narasimha [86 centers]
34.Allari pidugu [1 center]
35.Veerabhadra [1 center]
36.Maharadhi [1 center]