Changes between Initial Version and Version 1 of Apathbandhavudu

Timestamp:

Jun 28, 2012, 5:53:03 PM (12 years ago)

Author:

Trupti

Comment:

--

Apathbandhavudu

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+'''Apathbandhavudu'''
+
+
+aka The Saviour
+1992 173’ col Telugu
+d/s K. Vishwanath pc Poornodaya Movie
+Creations p Edida Nageshwara Rao
+dial Jandhyala lyr C. Narayana Reddy,
+‘Sirivennela’ Seetharama Sastry c A. Vincent,
+Ajayan Vincent m M.M. Keeravani
+lp Chiranjeevi, Meenakshi Sheshadri, Sarath
+Babu, Geetha, Allu Ramalingaiah, Nirmala,
+Brahmanandam, Satyanarayana, Jandhyala
+
+
+Madhava (Chiranjeevi), a member of the
+‘backward’ Yadava caste, is raised by a
+benevolent Brahmin school teacher (Telugu
+scenarist/filmmaker Jandhyala) and dedicates
+his life to the support of the teacher’s family.
+He raises the money for the marriage of Lalitha
+(Geeta), the man’s eldest daughter. The second
+daughter, Hema (Sheshadri), falls for him,
+although she is to marry her cousin Sripathi
+(Babu). Lalitha’s husband tries to rape Hema
+and kills his own wife. Hema goes mad and is
+admitted to an asylum, which Madhava also
+enters pleading insanity, and he rescues her.
+The two eventually marry, transcending caste
+differences with the support of Sripathi and his
+father (Ramalingaiah). As with other
+Vishwanath protagonists, the hero is a model of
+selfless virtue (cf. Swayamkrushi, 1987) and
+Chiranjeevi’s performance won much critical
+acclaim. The film’s unusually explicit
+references to caste (cf. Rudraveena, 1988) can
+be read as upper caste unease within the
+context of major backward-caste mobilisation
+in the wake of the anti-Mandal Commission
+agitations. This is seen especially in the space
+occupied by the lead character, whose
+withdrawal from the public arena and
+dedication to his mentor’s family consciously
+evacuates all questions of his political rights, an
+issue made explicit by the Dalit movements of
+the time.
+
+[[Film]]