CHAPTER - V

EARLY LIFE OF N.T.RAMA RAO

 Nmdamuri Tharaka Rama Rao was born on 28' May, 1923 at N ia
small village by the Bander Canal, known as Naguleru in the Gudivada taluk of
Krishna,districtin ~ndhraPradeshl. It is 24 hnfrmn ~udivada,the mandal town,and
48 krn from Vijayawada, the second most important city in Andhra Pradesh. Its
population then was 3000. But 60 years ago, barely 500 people inhabited the hamlet.
His mother wished to name him & Krishna but his uncle named him as Taraka
Ramudu, which later continued as Taraka Rama Rao. His p a n t s Nandamuri
Lakshmiah Chowdary and Venkataramamrna never imagined that his child was going
to be uprise as an remarkable person in his future and going to come across a golden
thrown for him in the Andhra Pradesh history.

Rama Rao was the first boy born in the family and everybody doted on him
particularly Ramaiah and Chandramma. (N.T.Rama Rao's uncle and Aunt) since they
had no children of their own and they decided to adopt the boy. Recalls Rama Rao, no
legal documents were signed a nd it was just an understanding, but the adopted
parents gave him all their love and affection. When the boy was two years old, there
was a festival in the village in honour of Kalika, the demon killer goddess. A tribal
fore- teller happened to visit the village, going fiom house to house forecasting
people's future. He happened to see the boy-in the street. He looked at the child
intensely for a minute or so and miounced : This little boy has a bright future and
some day, he will rule this land2. Rama Rao's education, began at the age of five.
There was no school as such in the village. A teacher used to come to Nimmakuru
from a village five kilometers away, Nidurnolu, to conduct classes for the village boys
in a shed. Valluru Subba Rao, the teacher of N.T.Rama Rao, was highly respected
man in the area. He taught the Nandamuri family for two generations, including Rama
Rao's parents. Rama Rao said, "The knowledge of Telugu that I possess today goes to
the credit of my teachers and the way of education in those days". Subba Rao used to
walk down to Nirnmakuri fiom his village every morning. It was a single teacher
school. Apart fiom teaching the alphabets to the children of the village, he also used
to help the villagers by writing for them promisory notes, letters and o h writing
works.
 @Owing up in the village was fun. Because of the canal nearby, there was
always a lot of greenery around, 1ots.of trees to climb and fiuits to eat. Whenever it
rained, Ramaiah made sure his adoptid son did not miss the school. He would carry
the boy to school on his shoulders, wash his feet and dry them with his towel. By the
time Subba Rao taught all he could, Rama Rab age was 10 and read upto fifth class.
That w& all there in the village so far as education was concerned. People in the
village thought that, being the first son, he would start helping his father in his
agricultural works. But Ramaiah had other plans. He wanted Rama Rao to continue
his studies. He reasoned, "This is the first boy in our family. He must bring a good
name to our family. Never mind what happens, he must get a good education and take
up a good job'' . In 1933, Ramaiah and his wife took their adopted son to
Vijayawada, admitted him in sixth class in the Municipal School and set up home in
the famous town by the side of Krishna River. Dressed in Khaki Shirts and Half
deeved shorts, Rama Rao used to go to school.

In 1940 Rama Rao passed his matriculation examination. He joined the SRR
College in Vijayawada to study for Intermediate. Soon after, Ramaiah and his wife
became old and infirm went back to the village. It was the turn of Laxrnaiah and
Venkataramamma to come down to Vijayawada to took after their son. Until then,
Rama Rao did not show any particular interest in dramas. His handwriting was good;
his fiiends would often get him to write their.narnes on their books. He also showed
interest in painting. He even won s prize for one of his paintings at a state level
competition during 1941-425. r

At the SRR College, Vishwanatha Satyanarayana, the wellknown Telugu

writer, was head of the Telugu Department. Besides being a talented literatear, He
was an excellent teacher in Telugu literature and.was very popular to his students. In
the last quanter of Rama Rao's first year in college, the students decided to stage a
play written by Vishwanatha Satyanarayana for the college anniversary celebrations.
The play was Rachamalluni Dautyam(the truce of Rachamallu) had a strong heroine's
m5S
role called Nagamma. Soon a hunt began for the young man who could play the role, 3%be%
girls took no part on the stage.activities in those days. Rama Rao was already a
sr \%
handsome young man and Vishwanatha Satyanarayana's eyes fell on him. He sent for
Rama Rao one day and said with an air of finality, that he should play the heroii's

9s
r o k h ~ ~ , ~ . a u ~ . o w a & ~ ~ e t l s v s ~ p r t h ~ ~ ~ l
age and play alone a women's role, but the old man is,t* Rama Rao
agreed r e l w t l y for the simple reason that he did not have the heart to upset a great
man like him6

It was while N.T.Rama Rao was doing his Intumediatc, that he got married to
his maternal uncle's daughter Basavatharakam in May 1942. Because of the
distraction caused by marriage, he failed in Intermediate twice. However, he didn't
give it up and proved his will power by'succeeding in the examination later, and had
joined in B.A. at Andhra Christian College, Guntur. There was always an instinct in
him towards acting. It was that instinct in him which drove him towards the stage.
The amateur National Arts Theatre group (NAT) at Andhra Christian College, Guntur
in 1946, and started performing and directing many stage plays along with Kongara
Jaggiah, MuWcamala and K.V.S. Sarma. They raised money for the welfart of poor
people, and for draught and famine relief funds during cady 50's. In addition
N.T.Rama Rao was a good illustrator. He had even won a prize in painting
competition held at state level. When Subhash Chandra Bosc visited Vijayaweda,
N.T.Rama Rao gifted a portrayal of Bose to him.

It was at the Andhra Christian College that R a m Rao met Kongara Jaggaiha
who later became a noted Telugu actor. Both took active part in staging plays in the
college till they passed to in 1947. In 1946, at the annual confmncc of Andhra
Nataka Kala Parishad held in Vijayawada. Rama Rao, Jaggaiah and Mallikamba, a
radio artist, staged a play called Chesina Papam, written. by the late Kopparapu
Subba Rao and bagged the first prize for the best play. Rama Rao, Jaggaiah and their
fiiends continued their dramatic activities in Vijayawada until they continue their
college education. AAer leaving the college, Jaggaiah took a teacher's job in a school
in Duggirala, his native place. Every evening, he used to go to Vijayawada, nearly 20
la away, by train to work for the amateur drama group National Art Theatre, and
return to his village the next morning.

The W offa to join films camc Ram Rm's way while he was still in
college. C-Pullaiah, tbc f m u s ~elGfilm director, heard about Ram W s acting
abilities through a fiid wbb happcnad to see him on the stage in a couple of phys
and came down tiom MaQail with offa of a role in Kadtl G a m m (The Magic
offa politely as he did not want to disturt,his studks.

Rama Rao said, "I told late Puliaiah that my fbtbcr came to V i j a y a d to see
me through college I didn't want to disturb my studies and join films at that point of
time because I was keen on gethng my degree. Puliaiah wasn't the one who would
give up easily. He then went to my father. My father said to him. I leave it to my son's
decision"'. Pullaiah came back to Rama Rao to report what his father had told him.
Then Rarna Rao said to him. "Sir I am more determined now to pursue my studies. If
my father has put the burden of the decision on me. I must at least make him f u l
happy that I have to behave as a responsible man. Let me get my degree first. Once I
finish my studies, I can come down to Madras to try my luck in films. But most
certainly not now*'. L.V.Prasad, who has already established himself as a director in
the Telugu film industry, happened to be in Vijayawada that night. Prasad was on a
talent scouting mission of Andhra. He was insearch of new faces to introduce in a film
called Srimati, he was planning to direct for Sarathi Studies. A well wisher caught
hold of Rama Rao around 1 1-00 pm in the night and took him to Prasad. Prasad, who
was busy watching a film in a hall, had a good look at him9.

L.V.Prasad gave him his first cine test at the Shobhanachala (now Venus)
Studio on May 21, 1947. The test lasted an how and a half on the sets of Drohi, a film
then under production. The test ower Prasad told Rama Rao, to go back, the result
would be communicated later. The young man was not sure how he f a d in the test.
Uncertain of what in store for him, he boarded the Calcutta Mail to return to
Vijayawada where he had his wife and little sonb0.

Rama Rao kept trying for all kinds of jobs. He applied for a sub - inspector's
job but failed to get it. Later he applied for a job as a King's Commissioned Officer
(KCO) and was one of the two selected from the state. He was asked to proctad to
Dehradun for an interview. But his father was not enthusiastic about his son joining
the military service because nobody in the family went to the military. So Rama Rao
didn't go for tbe intuview.

Rama Rao completed his graduation in the year 1947. He h e r p a a d in the

MadnuService~011Exam-o~of1,100~dy#venw~c~l~
d Rams Rao wasone a-than. Thus he scttkrd down in asub r e g W a f s job at
Mugah@ in 1947.

With the lunch box in band and much relief and excitement in his beart, Rama
Rm arrived in the Registrds office on the morning of the first day. Like the others,
he took off his coat, hung it to the chair and got down to work with all the enthusiasm
at his command.

Come lunch time and the oldest peon in the office brought him coffee and
snacks.Having neither asked for it nor paid for it; Rama Rao was puzzled. He showed
the peon his own lunch box and asked, "Why have you brought all this for me?". The
old man gave him a mysterious smile and said, "My young master, this is a practice in
this ofice. I arrange for coffke and snacks for all the people working hen.Now you
are one of us. m hat's why I've brought these for you too." The mystery stayed
unsolved, but only until that evening. In the registrar's office, the employees used to
hang their coats to the chairs the moment they arrived in the office. The senior most
peon was apparently in charge of what went on in the ofice. Even before a customer's
documents reached a sub-registrar, the bargain would have been struck about the
'price'. Once the papers were signed, the peon would pick them up and go out with
the customer, collect the bribe behind a wall. From bribes thus collected all day, he
would arrange for snacks and coffee for all. He would then distribute what was left
among the employees, in keeping with their status. The district registrar got the
biggest chunk followed by the joint registrar, sub-registrar, head clerk, clerks and then
the peons, in that order. The Head peon would work it all aut neatly and put each
one's share in the pocket of his coat.

At the end of the day, every one would quietly pick up his coat and leave, as
though they were oblivious of what had transpired; When Rama Rao picked up his
coat, he discovered to his amazement that one of his pockets contained h u n d r e d 4
rupees which did not belong to him. He flew into a rage. “Nonsense," he screamed
4 won't accept this."" There was a big commotion in h e office. Thcy were nupr*cd
to see a man who was rcfiu'hg to accept what came to be know11as 'colkctjun
money'.
 ~ f - d a y i' n h ~ i s~ f i C g f r e g u l a r j a b w a s a ~ ~
He was shocked by what k saw; A bu@ of c d u d people acoeptias bribes as a
mattex of routine wiftt(Hd k l i a tingt'of guilt. He was deeply disiliusid d
didn't know what to do. Soon after, a lctter arrived fkm Msdras, this time fiom a
young, Calcutta-trained film enthusiast called BA Subba Rao. Subba Rao got an
opportunity to direct a filmcalled Palleturi Pilla ('Village Girl), his ! k t venture. The
eager director was looking around for a he-man to play the lead in the film. He
happened to see Rama W s photograpt) in LV Prasctd's album and was irnpnssed by
his looks. The letter said he would like to consider giving Rama Rao the hero's role.
Could he please come down to Madras at the earliest? Of cowse, all the expenses
would be paid for. The letter was accompanied by a note from LV Prased: Oood
chance, take it.

This came at a time when Rama Rao's morale had hit the rock bottom. Soon
the word spread like wild fire in the office. The younger lot in the office,
flabbergasted by Rama Rao's refusal to accept 'collection money', persuaded him to
go with them on a picnic to a nearby beauty spot called Kondavdu. They all stayed
at the place for three days. They politely told Rama Rao that he was perfectly
unsuitable for a sub-registrar's job. If he did not accept bribes, how on earth was he
going to live on a lowly salary? It wasno job for an honest man like him. He won't k
able to send his son to a good school, let alone buy a decent sari for his wife. Now
that he was being offered a hero's role-a dream come true for any young man - why
not grab it?

For the once Rama Rao was in two minds. Several doubts nagged him about
his future. He was now in his 25th year. Even though he detested the open cormption
in his office, at least he had a govenunent job. There was a certain sense of security-
something any youth of his kind fiom a middleclass family would crave for.

Now,should he give up all those and go to Madras? Where was the guarantee
that he was going to make it in f i b ? What if he didn't make the grrdc? What would
be the fate of his family? If he failed to-make it in films, he could not possibly go back
to government service because, hairing ctosscd the crucial 25th year, he would be
consided over-age for a govmment job. Should he, thedore, keep the bird dud
wrrr~iahis~orginitupdgo~thcbrrrbaolodr~twl~a~
venture?

P. Chalapathi Rao, the joint registrar in Rama Rao's office was a kiad man.He
knew the ways of the would and Rama Rao rtspbctcd him for hi academic brilliance
and would#)' wisdom. He was among the people who went to the picnic to
Kondaveedu. Chalqah Rao was fond of Rama Rao and somehow believed tha a
bright future awaited him in Madras. Chalapathi Rao argued thus, " A government
employee's career was like the tail of a sheep. Beyond a point it never grew. Here was
a good opportunity that came your way. It was possible luck would favour you, too.
God had blessed you with good looks, education and culture and an ability to act. Fate
now beckoned you to Madras. Luck might not lag behind. Victory favourad the b w .
Now that a good oppoutunity was knocking at your door, be wise and open the door
of your fort~ne."'~

Rama Rao was at last convinced. His brother Trivikrarna Rao too did his bit,
"Why hesitate at a crucial moment like this in life? Go ahead and take a chance." On a
good day chosen by an astrologer friend he boarded the Madras Mail. His colleagues
in the ofice and those who took part in his stage activities bid him a fond fanwell.

JOURNEY TO MADRAS After arrival in Madras, Rama Rao dumped his luggage
at Neo Modem Home and headed straight to L .V Prasad's office. He asked Prasad
point blank: Sir is there any defect in me? Prasad replied, "No defect at all, Mr Rama
Rao". Rama Rao didtl't ask why he was offered a small role and not the hero's, all
that he then said was; Sir, I am an educated man. I don't want to be a burden to
anybody. I can make out my own livelihood with my hands back home on my f m if
it came to that." ~rasadunderstood and tried to mothe the young man's ruffled
fselings; "there are not defects in you. It's just luck you know. If luck favours, you
will be a top star. I have all my hopes and faith in you. "If it's a matter of luck," Rarna
Rao told himself, "I can take the challenge and try it out. If things don't work out hm,
I can always go back borne. I can wok hard on my h m and support my wife and

Wbgl BA Subba Rao told LV Prasad that he would like to d d a Rama R#,
fot a W s rok just afta hwing a iook at hie photograph in tbe album P m d
thought Subba Rao was jq@g to dc&ons without a d i d thinidagra h s d told
him, "Rama Rao is raw, a novice. Why @ you want to take a risk by ofMng him a
M s role, that too in . y w first pktwc9' Subba Rao said he wished to meet
Rao, got his address and wrote tbt letter which now hught tbe young man to
Madras. Those were the days when the men who wm playing hero's roles had a
certain ferninity about them. They lacked the he-man image. k i n g an addict of
western movies since the Silent Era, Subba Rao always liked the idea of a he-man
playing the hero's role in his first direct~rialventure.

As Subba Rao sat in his first floor office and looked out of the window, he
saw a handsome and well built young man enter the gate about 200 yards away.
-
Dressed in a white dhoti and lalchi or kum, the collarless and hll-sleeved loose
shirt-in pucca Andhra 'style, the young man oozed dignith and self-confidence as he
strode toward Subba Rao's office. The young man entered Subba Rao's ofice and
addressed him thus, "Sony Sir, but where is Mr. BA Subba Rao's ofice?" The short
gentleman's eyes lit up. He said, "Yes, I am Subba Rao. You are Mr. N.T.Rama Rm,
isn't it?" "Yes sir." "Please sit down". "Thank you sir. I got your letter and hen I am
at your disposal. What tests do you want to take; voice test, screen test?". Subba Rrro
just smiled and said, "Mr Rama Rao, I don't believe in this test business. I have seen
you and heard you. That's enough. You shall be the hero in my film. Now let's go to
Mr. Prasad". His dream of a he-man playing his heto had at last come true. As a
matter of fa* Prasad thought Rama Rao was a bit heavy for a hero's role. Pallcturi
Pilla was Subba Rao's first film and Prasad was concerned that Subba Rao was
determined to gamble on a virtually unknown entity as the lko. "Don't k in such a
hurry," Prasad suggested.to Subba Rao. "The audiences do not know who you arc.
Now you want to take a new man as you're hero. It's a great risk that could affect your
Think it over." Prasad then suggested, "Why don't we see how he behaves in
fh.
h n t of the camera? I want to give him a small role in my film, Mana Desarn. See
how he fares in it. After that you can decide." But Subba Rao had no intention of
changing his miad. He smiled and said, "Sir, you arc giving me advice like my el&er
brother. I appreciate your coocem aad anxiety. With duc mpaA to you, 1 have
already ma& up my mind about my-hem.I would like to sign a oontrad with him and
only thcn sard him back. 1 f . W don't work out, I caa always canctl it But I don't
w a n t t o ~ h i m ~ c m p t y ~ ~
 A~umofhl,116~otltiredob~Rao~isfbtfiplayiagdYeWs
rolcofhislifi.Hegladlyaccepbditdan~twassigabdandoffhe~lsnt
h o m e t o ~ i j a ~ r r s i ~ t h ~ ~ s j o b m t l ~ ~ ~ . f b e r h e
-
it, and came back to Madras to launch himelf iato the strata car#r a carar that
was to make him ricb and hnous

LIFE ON SILVER SCREEN The third film role came his way in Maya Rambha, a
folklore drama, a little later. But three roles could p t guarantee him two square meals
a day. He hired a small room in the Thousand Lights arts. Sharing the toom with him
were his brother was doing at the time of the making of Palleturu Pilla and decided to
stay on, and a few other young men who were trying their luck in films. YogaMtod
and Tatineni Prakash Rao, who later became wellknown directors, wen among them.

Because he could not afford the bus fare, Rama Rao used to walk long
distances to meet prospective directores in search of roles. A proud man, he never
liked to borrow,even from his best friends. A meal in a mitaurant used to cost eight
annas (half a rupee") in those days. It was round this time that he had to go without a
meal for three consecutive days because he did not have eight annas. Just for the sake
of eight annas recalls Rama Rao. But there is no bitterness or anger in his voice. Only
a broad smile and a certain pride that he could take it without a grudge. His room-
mates were deeply upset when they heard about the incident. Yoganand was hurt.
"Could you not have mentioned it to me?" he said. Rarna Rao politely brushed aside
the complaint. "I need to experience things in life so that 1 can train myself to face any
eventuality with courage." Nobody could argue with him on that score.

Yoganand had been a good friend since those days. He directed several films
Rama Rao and Trivikrama Rao produced under the National Art Theatre banner,
including Todu Dongalu (which won a national award), Jaya Simha and Umrnadi
Kutumbam (which were box office hits of their time).

It was also around this time that H.M. M y said he would give Rama Rao a
W s role in his next film. A veteraa who made well-acclaimed fibs Siltc
~,~enali~mbida~.ty.mc~ayam,~cdd~hsdabi~arm
in the 1940s. Getting a break in a fib of his could make all the difhmcc to the
careerof~~~yone~bopadtomaLtit.onth:~ReddywoufdadtRamaRsoto
~thimnelfathisafl[iceahornead~ofodd~mifeaGh4dtiff&)
he~wouldsay.
~o\mg=h9dtbepatiaLa. " C o m e a t . 7 . 3 0 t o n m ~ o w ~
Eager to pkase, Rama,Rao would sbow'iq, on the da Reddy d nod his bed
patroniriaglyd~,~youhavecorne.It'9j\lstthdIclmtidugdthc~
What about four o'clock the day after tomonow dhmon?". "Most certainly. sir?
Rama Rao Gvould way and walk back to his room. A h scores of trips, Reddy would
say, "Well, I've got this hero's role for you. You will wear a fur cap and have a huge
alsatian with you. Now let's see how you will deliver these dialogues...Good, very
good. Now, how about corning to my place sharp at 10 in the morning on ~riday?"''

This firtile exercise went on for one whole year. Rama Rao took it all stoically,
never losing heart or optimism. Then came the hero's role in Samsaram. When
released in 1950, the film was a success, it ran for 100 days in 1 1 thcahrs and for 25
weeks in one. But Shavukaru, the fifth film that he did, was released earlier than the
fourth, Samsaram, and that turned the tables in Rama Rao' s favour. Directed by
Prasad, it s t d him with Janaki - who later made a name for herself as a singing star
- and was produced by Vijaya Productions. B. Nagi Reddy and Chakrapani started
the company by taking the Vauhini Studios on lease. The film had a lOOaay run in
one cheatre when released first in 1950, but it did good business and Janaki, whose
first film it was, came to be known as S h a v u h J d . Even today she is known by
this name.

The film's moderate success pleased its producers who now planned
something big. They -yanted to get the four top Telugu directors to make one film
each. KV Reddy was to direct Patala Bhairavi, BN Reddy, Malleswari, Prasad, Pelli
Chesi Choodu, and M. Kameswara Rao Chandra Haram. The idea was that each
director would finish making one film in six months. They asked Rama Rao if he
would sign an exclusive contract to work in their films. Rama Rao said he would sign
on the dotted Sine provided they made him the hero in all the four films. He argued
with Nagi Reddy thus, " If I am not successful in the hands of such eminent diredorrr,
then there won't be any chance of my succading in this line. Oive me a chance d I
will & my best. If I don't click in the& films. I will give up my film career and go
back to my village."'6
films. They signed him up fw a two-years arclusive contract They pdd him Rs.SOO
permanthapdRs.5*mpafilfninrtrefirst+d~whi&twofilmswarr
completed,and Rs.750 per month and Rs. ,So0per film in the second year to make the
remaining two films. Rama Rao was now confident that he was going to make it.
Axmed with the Vijaya contract, he now brought his wife and son to Madms
fiwn
Vijayawada Word soon reached HM Raddy that Vijaya's had signad up Rama Rm.
One day he met him and said, "But what about my film? I have already signed up two
heroines for it and I want you as hero in my film." "But," said Rama Rao, "You kept
me waiting for more than a year without offering me a single mle. How can I do
anything now? I have already signed the-contract." Reddy then offered to pay twice,
the amount Vijaya's would pay him. "Sorry but 1 don't do things like this. A promise
is a promise and there is no going back on it" Rarna Rao told the great man.
Impressed by the young man's stmight forwardness, Reddy smiled and hugged Rarna
Rao and said, "You are a gentleman. This is the fvst time that 1 am molcting a person
like you. Keep it up, son, You will go far in life.""

The first of.the foui films to 'be made was Patala Bhairavi, a folklore drama
involving a wily magician, a beautiful princess and a poor but brave young man. The
wicked magician has evil designs on the princess. But the young man takes him on,
destroys the magician ~ n wins
d the princess's heart. In the great KV Reddy's hands,
this simple tale acquired a peculiar dimension. The role of the ;nagician, played by the
legendary S V Ranga Rao provided scope for trick photography and imaginative
setting like mysterious caves and a massive fortress.

The film, released in 195 1, was a -way s&s. It celebrated 10Oday runs
in 34 cintma halls, silver jubilee (25 wetb) in 13 katrcs and golden jubilee (50
weeks) in one. It broke all the previous box office recads in the Telugu film industry.
T k film was soon made into a Tamil version by Vijaya's and a Hindi version by

The film c s t a b W .Rams Rao as a nlsss ben, snd Vijaya's prodwun of

..
cztmmmq films. Incidentally, it Patala Bbairavi's arorn#nrs succcas that
~ N a g i R e d d y a b d ~ ~ u n d a t a l t e a ~ ~ o f t h e
most--
.. cqui~Mall~dPellichc$iChoodu,twoof
the other three Vijaya Rodwims, f;oIIowdsoon. They too did well at tbc box office.
Rama Rao now began to receive film o h on a regular basis. By the end of 1953, he
hlBd already starred in 14 filmsad felt encouragdto launch theNational Art Theatrt
to Produce films along with his brother Trivikrama Rm.

The first film they produced was Todu Dongalu in which he played the hero.
A social film, meaning Fellow Thiwes, it sought to expose the state of affhits in
society. Film critics raved about it, the film became the first Telugu movie to nceivc
a certificate of merit fkm the h i d e n t of India in 1954. It was the only Telugu film
screened at a film festival in China that year. But, at the box office it was flop.

Trivikrama Rao first came to Madras in 1949 just to see how his brother was
doing in films. Strangely enough, his anival in Madras coincided with Rama Rae
fighting with the Australian bull during the shooting of Palleturi Pilla and the
hcturing of his wrist. Both the brothers, fond of each other, rarely stayed sway from
one another. Trivikrama Rao now stayed behind in Madras to look after his b r o t h
while he recovered h m the injury, he stayed back in the city to assist his brother.

For Rama Rao's younger broth&, the failure of Todu Dongalu at the box o@cc
came as a rude shock. Even though the critical acclaim the film won p l d both the
brother, it put Trivikrama Rao to loose by a couple of lakhs of rupees. There as
serious talk that he should give up film production and go back to the village to take
up fanning. But llama Rao encouraged him not to lose heart and give it up so easily
but to try once again. The'result was the making of Jaya Simha, a folklon drama, the
next year, 1955. The film was a hit. It celebrated IOOdays run a dozm cinema halls
and silver jubilee in one. Trivikrama Rao stayed on in Madras for good to produce
many more films in collaboration with his brother.

SILVER SCREEN COD The first godly role that Rama Rao played was in his 30th
film, Maya Bazrtat. Produced by Vijaya Productions and directed by the fitmow KV
Rcddy, it was based on aa ep*odc.in'tbc Mababhnnta, thc Hindu epic. Rrmcl Rao
played I(rishna's mle. Hitherto, Rama Rso never played a godly role aed thm-was
cansidaaMe qlpositiaa fiyn his cdbcagucs' hot fivowk was a man called
Ra@mmkhwhoexcciledinplayingthis~rokontbe~

But Reddy's calculatad gamble paid dividends; the film was a huge success:
100-day nms in 24 thcatrcs a d silver jubilee in four. Of the 30 films in which be
acted upto ,Maya Banrar, as many as 20 had celebrated loo-day runs in 169 theatres,
nine films ran for 25 weeks each in 30 halls and one fbr 50 weeks in one theatn." h
is a fallacy, tberefort, to say that it was only in films in which he playad godly roles
that R.nu Rao was primarily s-ful: He ma iodrcd back since.

The other his famous godly role was that of Rama, the hero of Ramayana, the
Hindu epic. Interestingly enough, it was Ravana, the villain in the Ramayana, whose
character Rama Rao portrayed before that of Rama. It was in Bhookailas, a Telugu
film, in which he fatured as Ravana. Sarnpoorna Ramayanam, first made in Tamil
and dubbed later into Telugu, was the first film in which he played Rama's role. Both
the films were released in 1958.

But the film that brought him instant fame for playing a godly role was Sri
Venkateswara Mahatmyam, the story of the Lord of the Seven Hills. D i d by
P.Pullaiah, a veteran, the black and white film cost Rs 11 lakh to make and was
released in 1960. It celebrated silver jubilee, 100-day runs and grossed over Rs one
-
crore on barely 20 prints a m r d for that time. .

The film tells the story of Lord Venkateswara. an incarnation of Vishnu, and
there is a scene in which Rarna Rao emerges from the idol of the Lord and walks
towards the camera - the.audience. This particular scene created a sensation at that
time and made a deep impression on the viewers, most of them humble and
unlettered. The identification between man and god was complete.

The poor Telugu villagers who could not &rd to make the trip to Tirupati
instead went to the nearest charm hail to see the film. Thoughtfully enough, the film's
producers advised owners of tbe cinana halls to put up an idol of the Lord in h n t of
the halls. The villagers would comc,'brralr coconuts, prostratt bGfm the idol, put
some coins or crumpled notts in qccially mctad cash boxes called h u d b (just like
the onc in T i )d and enter t& balls to see the film. Pretty soon, news of this
r a r c b a d t h : ~ ~ o f t h e ~ ~ T ~ ~ ~ )
vigilant in matters of this kind. Tbey v p d y wrote to PuUir& tBe dkctw, md
stakdtheirclaimtotbt~thuscoll~:Rs~000.

Pulliah contributed another Rs 4,000 tiom his own pocket and pscntal a sum
of Rs 50.000 to 'ITD with a request that a shad be built with the money fbr poor
pilgrims. The idea was accepted along with the money but the shcd was not built.
Several sheds and other types of accommodation were built on the T i Hills
subsequently; but the contributions from the film's patrons went unrknowl~cdfor
some unknown reason.

It was following the release of Sri Venkateswara Mahatmyam that the

deification of Rama Rao began; 28 Bezulullah Road, Rarna Rao's residence at the
time in Madras, slowly became a shrine of a kind. Busloads of pilgrims would arrive
every morning fiom Tirupati. In the sanctum sanctonun of the Lord of the Seven Hills
at Tirumala, the pilgrims were face to face with a shimmering and silent idol which
only overwhelmed them during those few fleeting seconds. That did not seem cnough.
A good many of them would head for Madras to see the man who played Lord
Venkateswara in flesh and blood. They would amve early in the morning, thew herds
clean-shaven and their hands folded in reverence. They would crowd the not-so-large
compound of the modest house, while others stood in a serpentine queue along the
road outside the house. Rama Rao, who'd be up before four in the morning as a matter
of routine, would finish his yoga exercise, bath and breakfast (omelette, pwis or upma
and milk). The make-up-man would finish getting him ready for the role he would
play that morning. With the make-up on and with his hands folded, Rama Rao would
amve in the veranda, gently wave at his admirers, smile at them and talk to them. He
would normally ask, " Where have you come from? How is life in your village? What
do you do for a living? Do you get enough to eat? Is drinking water available in your
village? "I9

The pilgrims, ficsh h m ~~wben they stood only in awe in the pnsence
-
of tbt Lord's would be often at a loss fw words. Unlike the idol, this one whom they
-
saw in the film walking out of tbc-idol actually smiled and spoke to them Suddenly
they f d tbcmselves potwing their be- out to him. Ihen's no d r M q water in
our village, one would say. Our MLA dots not do mything for us, anotha d d

.103'
~Wecaanrotgez~doaewitbouthr~~at&:othsr,yd
anatherwouldmosn.RmnaRao~lvodishisWinsympathywkik:thamws
drowsofcl~~~llpilgrirnsfiledpgsthim,~room~r~hhtlndtadshrve
a glimpse of their living god.

Such. complaints gradually grew in number, it began to dawn on Rama Rao

that all was not well and that most p p l c w#t generally unhappy with the state of
affairs. It disturbed him in a strange way, but he did not d l y pause to think wbat all
this meant. He wns so engrossed in his k r k that h bd no time to do so. It was time
for him to leave for the studio. The last of the pilgrims had to be rushed tbugh to see
him before he drove off in his black Cadillac. Little did he d i s c then that these
people's gripes were to work on his subconscious and eventually dreg him in to
politics some day so k t he could do something for them? Chanrctm he was to
pormy.

Krishna is apparently Rama Rao's most favourite godly role. He acted as

Krishna in as many as I? films out of the 42 mythological films in which he had
staned! In a film called DaanaVeera Shoora Karna (1997). he played K ~ A ,
Duryodhana and Krishna too. He also wrote the script; he pmduccd and editd the
film as well. Every day, six in the morning he would be made up to play Duryodhma,
wear a heavy crown and spend the whole day either acting or directing, This went on
for three weeks with out a break; during the last three days of shooting, he worked
round the clock without a wink of sleep.20
I

The ~ahabh&ta provide material for a majority of his mythologicals: 23 in

all. In Srirnadvirata Parvtim ,( 1979 ) he pexformed the incredible feat of portraying
five roles as diverse as those of Krishna, Duryodhana, Keechaka, Arjuna anf
Brihannala. He played Arjuna in four films, Duryodhana in four, Karna in one, and
Bhteshma and Bheema in one each. The other Hindu epic, tbe Ramayana, Yielded
comparatively fewer Rama Rao films: eight. He played Rama in six of them and
R a m in three. In one film, Sri Rama Pattabhkkharn (1978), he played Rama and
R a m as well! He played Vishnu in four.& Shiva in one.

WhatisqxisingisthatwfidhcrbeplayedKrishnaorDury~Ramaor
Ravlma, Karna or Yama Dbermrrraja, 'most of the mythologicrrls in which he worked
didadld~bo.o~&~~bi*-hc.ir-wmost~orpf.*(bcrdc.d
Rmnq icristm 8ud Lnrd v-wara,
his positive h q m a t i o n of the
mditidyncgative~hrrtss~*eRkan,hvyodhn.d~.~sowoohim
critical acclaim. The d e w s lappcd up both kids of films. Lava Kusha m#ie
history in the Telugu film industry by becomb the first film to celebrate diamond
jubilee.

Itisnotjustingodlyrolesthat RamaRaocaphvadthcheartsand~m
of his audiences. He played all the h r t a n t emperors and kings in lndia history uud
folklore: Chandmppta, the great Mauryan emperor, Akbar. the benevolent Moghul
emperor, Krishnadeva Raya, the fmous Vijayanagara monarch in the 16th century:
Dushyanta, the hero of Sanskrit Poet Kalidasa's magnum opus Shakuntalam;
Harishchandra, the king who never told a lie; Bhatti Vikramarka, the king with
unlimited patience and wisdom who had an answer for every riddle a s k 4 of him; and
Valmiki, the sage who penned the Ramayana.

Success did not come to the man easily or overnight. He w o M hard for it
and chose each role he played with g m t care. If a producer said he wished to make a
film with him, Rama Rao would first ask: "Who arc the technicians?" If he liked tbe
director and his team, he would then ask: "What's thc story?" Only if the story d o n
convinced him that he would be suitable for the role, would he then accept the role.

From the very first film of his, he evolved an acting style of his own. He
would create characters from his own imagination. He would write his dialogues -
sent him earlier by- the director - in his own elegant hand. This helped him to
remember his lines well; he rarely fumbled for his words in front of thc camera. Later,
he had the dialogues read out to him; eyes closed; he would listen and then remember.

He would wake up before four in the morning, do his exercises, finish his
bath, pray for half an hour, have M f a ~and
l be d y for makeup, Pitambaram, the
make-up man who worked with him for 25 years in M h , would get him ready for
the role he was due to play that morning. He would then drive to the studio in his
imported car. In his time, he owned a Cadilk, a Chrysler, a Buidc, C h I e t , a
Studbaker d a Packard. He likcd to change his car every five years. But the fist car
be bm@ in Dacemba 1951, a Monis Maor 0 1522), ~ U C toSadom the
sjmcbus garage of his Madrap horn&.

He worked two shifb a day: 7 am to 1 p.m. and 2 p.m. to 9 p.m. Ibe momat
be arrived on the sets, the a t . wouhi undergo a sta of change and become
businesslik+ No small talks or gossip fbr him. Once the sbot was ovet, be Mwld sit ia
a chair in a corner and promptly doze off until summoned for the next sbd He would
do as many d e s as the dimtor would want him to. If any of his old&
co1ollcagues were around, he would &:'was that shot all right? If the man said, "not
quite, you overdid the scene a bit", he would smile and say, "OK, let's do it once
again". Rama Rao would cooperate with director. notwithstanding his agc or
experience. He would venture to give his advice or suggestions onlywhcn asked to.
"The director is supreme", he would say. "He must be having some idea about what
the film is'all about. He knows best. Why should I interfere?"*'

Though laudable in principle, this often tumed out to be disadvantageous to

him. Overawed by Rama Rao's presence, many young directors often hesitated to get
the best out of him and made & with indiffmnt performance. This resulted in quite a
few mediocre films. Because he is pleasant and easy to work with, producers usad to
flock to him with roles. He used to give all sheets 12 to 18 months in advance. That is
to say, he would tell the productrs when exactly he would be available to act in their
films. This helped them to plan their films accordingly. And, whatever h a p p e d he
would always stick to his dates. While shooting, he broke his hand four time, su@ered
a snake bite on one occasion and the wheel of a bullock cart went over him on yet
another. But he was always ready almost soon after, for the next shot. Except twice,
when he had to be hospitalised.

Rama Rao kept good health all his life. He never touched liquor; there, was no
qucstion of late nights, brawls or hangovers. He smoked churn the native cigar, in his
youth but soon gave it up. He used to eat paan in his Vijayawada days but promptly
gave it up wben director LV Prasad said that a man aspiring to be a film hcn, must
possess teeth that sparkled. He did aotsccm to know what 'star tantrums' w m either.
In an industry notorious for complix man-woman rciationships, he was rarely linked
with any of his bcroines; -well, ahnod. He teamed up with nearly 50 of than,
incltxiing Anjali Devi, Savi* i3hmmd& Jamune, KR Vijaya, Waheada Rahrnan,
Jayalalitba, Vyjayaaaimrla, B.saroj. Ihh,SJmd& 0.Y-
S-Varalakphmi, Vlarisri, Jayapadhq J a y a p h , Rati A@h& d Sridevi.

Because he was a strict disciplhiaa who ncvtr kt down his producers, be

made one film every six weeks, on an average. @umg 1963, 196547,and 1969 he
made practically one film ever). m t h . In 1964 he betted his own r e a d by
completing as many as IS films in a calendar year! According to a w e l l - i n f d
film industry source in Madras, his 292 films may have grossed a stagger@ total of

Interestingly enough, Rama Rao charged his producers only in thousands for
as long as 22 years. He was paid a paltry Rs.7.500 for playing Krishna for the first
time in Maya Bavrar in 1956. He graduated to charging a fae of Re one lakh per film
only in 1972. From then on, the fee reportedly went up by Rs. five lakh once every
few years. In the late 1970% when producers began to swamp him with role, hc
reportedly began to charge Rs.20 lakh per film. These figures arc based on
unconfirmed reports; in the Indian film industry there's no such thing as an authentic
figure when it comes to the star's fee.

Considering that Telugu films have a limited market in the sensc that they can
be shown mostly in Andhra Pradesh ahd a few towns outside the state where there an
clusters of Telugu-speaking people, Rama Rao w y possibly the highest paid film star
of his time in the country. Comparisons are odius: Amitabh Bechchan, whose f e
reportedly took a q w ~ t u mjump after his 1982 accident from
P
Rs.20 lakh to Rs, 45
lakh per film, is a &able commodity all over India and in several foreign countries
where people of Indian otigin live. Marion B m d o charged more than Rs.2.S. cmre
for his brief role in Superman b u s t the whole world is his audience. On a single
day, the film grossed more than Rs.5 crore in 1995 theaters in Canada and the United
States.

There wem stars twinkling on the Telugu film hotizon befm Rama Rao got
then,a lot rnmade tht rather steep climb aAcr him. But none bas becomc the kind
of phammam that hc did and none so unique. Why? "He stopped eating rice aAer
~ntering~~~~~~~56,hiswifefot42yeata~codssdh
meals. E v a thougb be can be a vonrcious eater, be east an omelette, a couple of idlis
orpcsanrtbus(adoga-lilreApdhra~~mldtofrictdgreeasnm)aadtmfi#
~~chickcnand~~es~luachaaddinaa.OnApril14,1983~
tht Tclugu New Ycar day (Ugadi), Rmb Rao took to mtiq -an fbod a d
wearing dEon robes. Wben playing godly roles, he would be completely off non-
vegdarian food and sleep on a mattress on the floor. If playing villainous roles like
Ravana, Duryodhna or Yama Dhannara.ja, he would can only non-vegetarian food in
order to work himself up into tbe requircd mood.

Ram. Rao wwld be particular &out the garments hc wore and the cmwn he
would don. No fake zari garments and cardboard crown for him. Metallic crowns am
heavy. Most stars who have to put them on whik playing mythological roles normally
prefer crowns made of cardboard. The late SV Ranga Rao, a veteran who made a
name for himself by playing most of the bad characters in Indian mythology, &tested
metallic crowns. If any producer tried to persuade him to wear them, he would tell at
him, "What nonsense! Why should I burden my head with that wretched thing? Get-
me a cardboard crown"23. With Rama Rao it was exactly the opposite. He would
'chide people who suggested that he wear a cardboard crown. "How can I act like a
d god or king without a proper c r o ~ n ? " ~he' would ask. He was in a h w y to finish
making Daana Veera Shoora Kanna (released in 1977) to pre-cmpt a professional
rival's project on a similar subject.. Apart from playing Kama, Duryodhana and
Krishna he wrote its script. He was also its producer, director and was in charge of
costumes.

He would arrive on the sets dressed up as Duryodhana, donning a copper

crown coated with gold that weighed about three kilograms. Throughout the day, he
let the crown stay on the head and went about his work. This went on for three weeks
at the end of which he sustain an injury on his forehead, caused by the base of the
crown. The injury left a permanent scar. During the last three days, he workcd day
and night for all the 72 hours continuously, practically without sleep.
1. V m y a n , S., N.T.R: A Bi-y, ( V hPublishers, New Delhi 1983)
P. 54.
2. Ibid., P.55.
3. Ibid., P.55.
4. Venkatnarayana, S., op.cit. P56.
5. Mahesh, J., The Histow of Tciuw -, (Pinakini Publishers, JHyderabad
1983) P.20.
6. Ibid., P. 10.
7. Mahesh, J., op.cit. P.22.
8. Ibid., P.23.
9. Ibid.
10. Venkatnarayana, S.. op.cit. P.63.
1 1. Mahesh, J., op.cit. P.20.
12. Ibid., P.23.
13. Ibid., P.25.
14. Ibid., P.28.
15. Venkatnarayana, S., op.cit. P.73.
16. Ibid., P.No. 74.
17. Ibid., P.No. 76.
18. Teluau Desam S~ecialIssue. (Director, Information and Public Relations,
Hyderabad, 1983) P.3 1 .
19. Ibid., P.32.
20. Sunday, (Calcuth), 8-5- 1982, P. 13.
2 1 . Venkatnarayana, S., op.cit. P.80.
22. MakeshJ., opcit P.32.
23. Ibid., P.34.
24. Ibid., P.40.