Changes between Initial Version and Version 1 of Apathbandhavudu


Ignore:
Timestamp:
Jun 28, 2012, 5:53:03 PM (8 years ago)
Author:
Trupti
Comment:

--

Legend:

Unmodified
Added
Removed
Modified
  • Apathbandhavudu

    v1 v1  
     1'''Apathbandhavudu''' 
     2 
     3 
     4aka The Saviour 
     51992 173’ col Telugu 
     6d/s K. Vishwanath pc Poornodaya Movie 
     7Creations p Edida Nageshwara Rao 
     8dial Jandhyala lyr C. Narayana Reddy, 
     9‘Sirivennela’ Seetharama Sastry c A. Vincent, 
     10Ajayan Vincent m M.M. Keeravani 
     11lp Chiranjeevi, Meenakshi Sheshadri, Sarath 
     12Babu, Geetha, Allu Ramalingaiah, Nirmala, 
     13Brahmanandam, Satyanarayana, Jandhyala 
     14 
     15 
     16Madhava (Chiranjeevi), a member of the 
     17‘backward’ Yadava caste, is raised by a 
     18benevolent Brahmin school teacher (Telugu 
     19scenarist/filmmaker Jandhyala) and dedicates 
     20his life to the support of the teacher’s family. 
     21He raises the money for the marriage of Lalitha 
     22(Geeta), the man’s eldest daughter. The second 
     23daughter, Hema (Sheshadri), falls for him, 
     24although she is to marry her cousin Sripathi 
     25(Babu). Lalitha’s husband tries to rape Hema 
     26and kills his own wife. Hema goes mad and is 
     27admitted to an asylum, which Madhava also 
     28enters pleading insanity, and he rescues her. 
     29The two eventually marry, transcending caste 
     30differences with the support of Sripathi and his 
     31father (Ramalingaiah). As with other 
     32Vishwanath protagonists, the hero is a model of 
     33selfless virtue (cf. Swayamkrushi, 1987) and 
     34Chiranjeevi’s performance won much critical 
     35acclaim. The film’s unusually explicit 
     36references to caste (cf. Rudraveena, 1988) can 
     37be read as upper caste unease within the 
     38context of major backward-caste mobilisation 
     39in the wake of the anti-Mandal Commission 
     40agitations. This is seen especially in the space 
     41occupied by the lead character, whose 
     42withdrawal from the public arena and 
     43dedication to his mentor’s family consciously 
     44evacuates all questions of his political rights, an 
     45issue made explicit by the Dalit movements of 
     46the time. 
     47 
     48[[Film]]