| 1 | '''Sagara Sangamam''' |
| 2 | |
| 3 | |
| 4 | aka The Confluence |
| 5 | 1983 160’ col Telugu |
| 6 | d/st/sc K. Vishwanath p Edida Nageshwara |
| 7 | Rao pc Poornodaya Movie Creations |
| 8 | dial Jandhyala lyr Veturi Sundara Ramamurthy |
| 9 | c P.S. Niwas m Ilaiyaraja |
| 10 | lp Kamalahasan, Jayapradha, Sarath Babu, |
| 11 | S.P. Sailaja, ‘Sakshi’ Rangarao, Vankayala, |
| 12 | Janaki, Arunkumar, Bhoomeswararao, Potti |
| 13 | Prasad, Manju Bhargavi, Mohan Sharma |
| 14 | |
| 15 | |
| 16 | Vishwanath’s sequel to Shankarabharanam |
| 17 | (1979) concentrated on classical dance. The |
| 18 | drunken dance critic Balakrishna Bhagavatar |
| 19 | (Kamalahasan) writes a review denouncing a |
| 20 | mediocre but much-touted dancer (Sailaja). It |
| 21 | turns out, in a flashback, that the dancer is the |
| 22 | daughter of the reviewer’s old flame Madhavi |
| 23 | (Jayapradha). Madhavi persuades Balakrishna |
| 24 | to teach her daughter. He eventually dies of a |
| 25 | broken heart but his pupil achieves mastery in |
| 26 | classical dance so that the classical art (cf. |
| 27 | Shankarabharanam) will live on. The film is |
| 28 | dominated by Kamalahasan, who |
| 29 | demonstrated a remarkable, unexpected skill to |
| 30 | dance the Bharat Natyam, although the rest of |
| 31 | the film’s classicism is pure kitsch. |
| 32 | |
| 33 | [[Film]] |