| 1 | '''Geetanjali''' |
| 2 | |
| 3 | |
| 4 | 1989 142’ col Telugu |
| 5 | d/s Mani Rathnam pc Bhagyalakshmi Ents |
| 6 | dial Rajashri lyr Veturi Sundara Ramamurthy |
| 7 | c P.C. Sriram m Ilaiyaraja |
| 8 | lp Nagarjuna, Girija, Vijayakumar, |
| 9 | Vijayachander, Sumitra, Velu, Disco Shanthi, |
| 10 | Chandramohan, Sowcar Janaki, Smita |
| 11 | |
| 12 | |
| 13 | Rathnam’s first Telugu film was the biggest hit |
| 14 | of the year in Telugu as well as in Tamil (in a |
| 15 | dubbed version, Idhayathe Thirudathe). It tells |
| 16 | an unusual love story about a young collegiate |
| 17 | gangster (Nagarjuna) who meets the wild |
| 18 | Geetanjali (Girija). Both are terminally ill, he |
| 19 | with leukaemia and she with heart disease. |
| 20 | These afflictions appear to liberate the duo |
| 21 | from social constraints. Most of the film is shot |
| 22 | in exotic, fog-bound locations and includes |
| 23 | several rock numbers (e.g. Om Namaha which |
| 24 | uses an amplified heartbeat as background |
| 25 | rhythm). The critic Tejaswini Niranjana (1991) |
| 26 | points out that the heroine is the ‘new woman, |
| 27 | the strong heroine, the inheritor of a refracted |
| 28 | modernity in a context where feminity is once |
| 29 | again being redefined [placing on her] the |
| 30 | burden of saviour and teacher [w]ho has to be |
| 31 | the one to provide support, when the hero in a |
| 32 | similar situation [sings] sad songs. However, |
| 33 | [s]he is allowed to take the initiative in the |
| 34 | relationship because in spite of her shoulderlength |
| 35 | hair she is ‘Indian’ and a signifier of the |
| 36 | good modernity.’ |
| 37 | |
| 38 | [[Film]] |