Telugu film industry, popularly known as & # 39; Tollywood & # 39; is the third largest film industry in India. The Telugu film industry is still in its infancy when it comes to creating and accepting realistic, contemporary, unconventional films. Traditionally, Telugu audiences idolize their actors and like to watch them in roles that are larger than life. This article is about the four most popular, still reigning actors in Telugu cinema.
Chiranjeevi: This & # 39; Megastar & # 39; of Telugu cinema had a modest beginning to his career in 1977 and acted in villainous and supportive roles. He began playing lead roles in movies in 1982. Films such as Intlo Ramayya Veedhilo Krishnyya, Khaidi, Abhilasha and Rudraveena received him awards and accolades. And no one looked back after that. The 1990s further established him as a top hero, with films such as Jagadeka Veerudu Atiloka Sundari, Gang Leader, Gharana Mogudu and Aapadbhandavudu winning the hearts of the class and the mass audience. After a few more super hit movies like Indra, Tagore and Shankar Dada Zindabad in the 2000s, Chiranjeevi is now more focused on his political career. He started an independent political party called Praja Rajyam (People's Government), which later merged with the Congress party. He is also actively involved in social activities and runs a blood bank named after the actor himself. Chiranjeevi is the most popular actor for Telugu cinema to date, beloved by Telugu audiences around the world for his versatility, dance style and charisma.
Balakrishna: & # 39; Yuvaratna & # 39; (young diamond) Balakrishna is the son of the legendary Telugu actor and former chief minister of Andhra Pradesh, NTRama Rao. Following his father's footsteps, he entered the film industry as a child actor in the film & # 39; Tatamma Kala & # 39; 1974. He debuted as a lead in the 1984 film & # 39; Sahasame Jeevitham & # 39 ;. & # 39; Mangamma Gari Manavadu & # 39; released the same year was a roaring success at the cash register. His popularity rose sharply in the coming years with several hit films such as Muddula Mavayya, Nari Nari Naduma Murari, Lorry Driver, Rowdy Inspector and Aditya 369. The films featured Balakrishna in various interesting roles that attracted class and mass audiences, and especially the youth. The 2000s saw Balakrisha act in several factionist background films such as Chenna Kesava Reddy, Narasimha Naidu and Samara Simha Reddy. His latest superhit movie was Simha 2011. When we talk about Balakrisha we cannot forget his mythological films and socio-fantasies. Like his father, Balakrishna distinguishes himself in such roles and it would not be an exaggeration to say that he is the only current hero who can do full justice to such films. Some of his notable performances in such roles were in the films Bhairava Dweepam, Pandurangadu and Sri Krishnarjuna Vijayam. Another movie & # 39; Sri Rama Rajyam & # 39; based on Lord Rama & # 39; s life is currently in post-production and is scheduled to be released in August 2011. Balakrishna is also involved in social causes and runs the Basavatharakam Indo American Cancer hospital, which is a brainchild of his father and named after his mother.
Nagarjuna: Widely regarded as one of the most stylish actresses in Tollywood, Nagarjuna entered film judgment with high expectations. His father is Akkineni Nageswar Rao, one of the legendary actors of Telugu Cinema. He is one of the few heroes in Tollywood who excels in romantic roles. Although his first movie was & # 39; Sudigundalu & # 39; (1967), when he was only 8 years old, was his debut film as a hero Vikram in 1986. Two films of Nagarjuna released in 1987, Geetanjali and Shiva, received not only his commercial success, but also critical acclaim, and they remain among Nagarjuna best movies so far. During the 90s, Nagarjuna acted in several hit films such as Killer, Varasudu, President Gari Pellam, Hello Brother, Criminal and Gharana Bullodu. The roles he played in these films were a mix of sophisticated, urban and rural characters, and he did justice to both types of roles equally. In 1996, Nagarjuna, together with Tabu, produced and played in & # 39; Ninne Pelladutha & # 39; which is the best Telugu romantic movies ever made. Among his other light, romantic entertainers are Santhosham and Manmadhudu. Another interesting film by Nagarjuna was & # 39; Sisindri & # 39; where the story revolves around the life of a little boy who disappeared from his house. The little boy's role was played by Nagarjuna son Akhil. In the films Annamayya and Sri Ramadasu, the audience saw another side of Nagarjuna's acting abilities. He played the role of an avid devotee in both films and proved that he is also capable of distinguishing himself in a genre his father was known for. With a charming personality and unmatched style, Nagarjuna has kept the Telugu audience captivated for over two decades now. Nagarjuna & # 39; s son from his first marriage, Naga Chaitanya, has also entered the Telugu film industry and is doing well, with a new hit & # 39; Ay Maya Chesave & # 39 ;. Nagarjuna is the founder of Blue Cross of Hyderabad, which is an animal welfare organization run by his wife Amala.
Venkatesh: & # 39; Victory & # 39; Venkatesh, as he is popularly known, is the son of famous producer D. Ramanaidu. Venkatesh debuted in the movie & # 39; Kaliyuga Pandavulu & # 39; 1986. He then acted in the movie Swarnakamalam, which is one of the best Telugu films ever made. From this movie, Venkatesh has always made an effort to act in meaningful film. But he also acted in some mass films, which got him a fan behind in both mass and class groups. The 90s saw some interesting films like Bobbili Raja, Kshana Kshanam, Chanti, China Rayudu, Dharma Chakram, Preminchukundam Raa, Premante Idera. Some of these were romantic entertainers, some socio-fantasies, while others were situated in a rural background. This versatility makes Venkatesh stand out among his contemporaries and the audience has come to expect something good and different from him every time. Another specialty with Venkatesh's films is the extent they provide for female actors to perform on par with the movie hero. Examples of such films include Malleeswari, Adavari Maatalu Arthale Verule and Nagavalli. Venkatesh keeps a low profile and avoids media attention besides his films. So much is not known about his other activities.
After the World War and until the rise of Nazism in the early 1930s, Germany was the birthplace of a new film style based on stylistic features of the expressionist movement such as the use of chiaroscuro, eniry atmosphere and exaggerated angles and compositions. The exact date of birth of this movement must be placed at the end of 1917, when the Universum Film AG (UFA) was founded by the German government and the military.
There are a lot of in-depth studies on this movement about books, magazines and even in WWW, but this little essay is just my original and personal reflection on the movies I had the opportunity to watch - and love.
Caligari! CALIGARI !!
Directed in 1919 by Robert Wiene, The Cabinet of Dr. Caligari is the most paradigmatic film of early German expressionism.
Short summary: an ambulance show visits a small German city. The main attraction at the fair is Dr. Caligari's booth, where a somnambulist named Cesare (Conrad Veidt) is announced. One of the visitors asks the somnambulist an extremely good question: "How long will I live?" Freak replies, "You're going to die tomorrow ..." Interestingly, the man - laughing laughter - seems very worried about the somnambulist's prediction. Even more interesting, he dies the day after ...
The art direction was directed by Walter Reimann and Walter Roehrig, colleagues in the "Der Sturm Group", a Berlin expressionist art group, with world-renowned artists such as Bruno Taut and Herwarth Walden. They created an original, fantastic make-up that fills the film with delirium-like images and emphasizes the main character's own psycho-destruction.
Caligari's brutal domination of the half-somnambulist / half-zombie Cesare can easily be interpreted as a metaphor for the fascist and authoritarian governments that emerged in Europe during the first half of the XX century, as Siegfried Kracauer explains in his famous book From Caligari to Hitler .
Murnau & # 39; s Nosferatu
Don't ask me how, but a few years ago I was lucky enough to get a copy of Friedrich Murnau's earliest surviving film, Schloß Vogeloed (The Haunted Castle, 1921). I wasn't really happy with it, but the beauty of the makeup, the weird and disturbing ending and the amazing use of chiaroscuro was enough to get me introduced to Murnau's light / dark universe, which will reach its peak in the movie I'll review now .
A year after the filming of Schloß Vogeloed, Murnau was ready to film his unveiled masterpiece: Nosferatu, a symphonie des grauens based on Bram Stoker's novel Dracula, but a trial with the author's widow forced Murnau to change certain aspects of the film, such as the title or name on the main character (Count Orlok) However, that was not enough, and because of the mood almost all copies of the film were destroyed. Deutsche Film Production was able to rescue one of them, and the film finally premiered in the United States in 1929.
Max Schreck's incredible performance as a sinister Count Orlok (extremely narrow, pale, rat-like teeth, crow-like nose, like a Transylvanian version of The Simpson's Mr. Burns), the charm and painting of its landscape, and the lyrical beauty of the lyrics places the film at the top of the horror genre. Nosferatu is the most cryptic and necrophilic, but also oneiric and romantic film based on the Transylvanian vampire, a true masterpiece that neither Tod Browning, Terence Fisher nor Francis Ford Coppola has ever surpassed.
Together with Stanley Kubrick & # 39; s 2001, A Space Odyssey (1968) and Ridley Scott & # 39; s Blade Runner (1982), Fritz Lang & # 39; s Metropolis as the height of what was then called sci-fi cinema. The impact in both back films is evident: Blade Runner & # 39; s opening sequences of the dark, futuristic, new industrial LA seem to be hailed to Metropolis's stunning cityscapes (see image to the left), while in Kubrick & # 39; The masterpiece tribute is even in the title: Metropolis story line occurs in 2000, and Kubrick places his film a year after as a tribute.
But while Blade Runner and 2001 predictions had been pretty inaccurate (I haven't seen any replicant out there, and Saturn is still a bit hard to reach) Metropolis' fatalistic vision of the working class is a cruel metaphor that is still valid in our times. Nearly 40 years later, and without direct relation to this film, Julio Cortázar wrote a sentence that resumes in Metropolitan's tragic message: "... humanity will begin to be worthy of his name on the day that the exploitation of man by man's stoppage"