Saravanan Natarajan writes :
One morning, as Bhanumati sat stringing flowers into a garland for the daily worship, a stranger knocked at their door. He asked for Venkatasubbiah and when Bhanumati informed him that her father had gone out, the visitor introduced himself as an aide of film director Pulliah and said that he had come there at his senior’s bidding. Bhanumati had, of course, heard of the legendary Chitajalu Pulliah, the director of her favorite ‘Lavakusa’ among other movies.She invited the visitor inside and requested him to be seated and wait for her father. After waiting for a while, Pulliah’s assistant said that he would return the next day. And so he did; Venkatasubbiah was at home this time and the visitor told him the purpose of his call- Pulliah was looking out for a young girl to play a role in his forthcoming Telugu movie. His friend Govindarajula Subba Rao had told them of Bhanumati.
We must remember that those were the days when the film industry was strictly off limits for women from orthodox families. While Venkatasubbiah had aspired to making Bhanumati a famous singer, he was not wholly comfortable with the idea of her acting in movies. And as for Saraswatamma, she was horrified at the very notion of her daughter entering the film industry and urged her husband to refuse the offer forthwith. However, they traveled to Rajahmundry to meet Pulliah at the Andhra Cine Studio. On hearing Bhanumati sing, Pulliah was highly impressed with her.
When Venkatasubbiah expressed his reservations to Pulliah, the latter laughed at his fears and said that they were wholly unfounded. “What worried my father was whether anyone would marry a girl who had acted in movies. Pulliah convinced my father that everything depended on how we conducted ourselves. If we were careful in our dealings, if we were strict, there was nothing to worry in the film world also. My father’s guru Mynampatti Narasimha Rao also advised us to take up the assignment, pointing out that his niece Tangaturi Suryakumari was already acting in films” reminisced Bhanumati in an interview. But was probably cinched matters was that the role that Bhanumati had to play had no hero as pair, and she would get to sing a few songs as well. And what were Bhanumati’s feelings? She was more interested in pursuing her studies and was highly reluctant to enter the film world, but acceded to her father’s wishes. Thus father and daughter traveled to Calcutta where the film ‘Varavikrayam’ was being made.
‘Varavikrayam’ (Bridegroom for Sale) was a successful social play by Kallakuri Narayana Rao that dealt with the issue of dowry. Pulliah based his movie on this reformist melodrama and bade the famous Balijepalli Laksmikantha Kavi work on the dialogues and lyrics. The story was of a retired government servant struggling to get his two daughters married. He borrows heavily to get his elder daughter Kalindi married to the thrice-married Lingaraju. Guilty at being the cause of her father’s travails and totally opposed to the alliance, Kalindi commits suicide. The unscrupulous Lingaraju refuses to return the dowry. Kalindi’s younger sister Kamala agrees to marry him, but after the marriage, drags her husband to court and secures justice. Kalindi’s death had not been in vain.
Bhanumati was to play Kalindi. Much to her delight, her mother’s role was played by Sriranjini (Sr), who had acted as Seetha in Lavakusa. On the first day of filming, Bhanumati fell at Sriranjini’s feet and sought her blessings. Daita Gopalam played the beleaguered father. Balijepalli Laksmikantha Kavi played Lingaraju. Pushpavalli was the heroine, playing the role of the avenging Kamala. The irony was that though being several years younger to Pushpavalli, Bhanumati played Pushpavalli’s elder sister! Bhanumati sang her first film songs for this film, and the classical “Palukave naa daivama, parulu navede nyayama”, okayed at the very first take, became immensely popular.
How was the experience? “Oh, I didn’t have much to do. Playback singing had been introduced by then, so I rendered the songs first and then went for lip sync. I was 13 years old at that time. My father was with me constantly and was satisfied that there were no heroes or love scenes in the film. Sriranjani was of great help to me during the shooting. And though the movie starred stalwarts such as Thungala Chalapati Rao and Dasari Kotirathnam, it was the portrayal of newcomers such as Balijepalli Lakshmikantha Kavi and me, which was well appreciated. But I did not really act, just moved about as I do in my house. Surprisingly, my acting won rave reviews, all for singing a few songs, shedding copious tears and finally falling into a well!” she recalled with a guffaw.‘Varavikrayam’ (1939/ East India Film Company) was a critical and commercial success, Bhanumati was reportedly paid a princely sum of Rs. 350/- for her efforts and soon film offers came, one by one. Seeing fame and fortune come unsolicited seeking his daughter, Venkatasubbiah decided to let Bhanumati continue acting. “I was thus forced to act in my second film soon. Although I wanted to pursue my studies, I was not allowed to. Even today, if an artiste is good and successful, producers won’t leave her!” pronounced a thoughtful Bhanumati. Venkatasubbiah arranged for an Ustad to train his daughter in Hindustani music so that she may widen her repertoire. His only stipulation to the producers who approached him was that no male actor should even touch Bhanumati. ‘Varavikrayam’ was followed by ‘Malati Madhavam’ (1940/ East India Film Co.), ‘Dharmapatni’ (1941/ Famous Films) and ‘Bhaktimala’ (1941/ Bhaskar Films).
'Dharmapatni’, directed by P. Pulliah, was shot extensively in Kolhapur. A. Nageswara Rao made his debut in this film. “By then, I became accustomed to acting and the initial shyness had gone. It was during this period that Gemini Vasan asked my father to sign a contract for five years. My father refused the contract as he found great potential in these five years for me as an actress. Then came Haribhai Desais “Bhaktimala,” a film sans a hero and it was a big hit. I learnt dance from Vempati Peddha Sathyam.” said Bhanumati. And speaking of her dance lessons, Bhanumati was characteristically ruthless in self-assessment – she remarked that it must have been a black day for the revered Guru when he accepted her as his disciple, for her dance movements could easily be mistaken for a patient suffering from a particularly virulent fit of epilepsy!
Bhanumati’s next movie was ‘Krishnaprema’ (1943/ Famous Films & Star Combines). The film told the story of Radha’s divine love for Krishna. Shantakumari played Radha and Suryakumari played Narada. Bhanumati played Chandravali, sister of Radha. Bhanumati had some memorable songs (‘Ugave ugave uyyala’ and ‘Ekkada unnave pilla’, to name a couple of them) to sing under the baton of composer Galipenchala Narasimha Rao. The movie had a special place in Bhanumati’s memories for quite another reason though. It was during the shooting of this movie that she first met Ramakrishna, her future husband. Paaluvaayi Siva Ramakrishna Rao was working as assistant to director Hanumappa Viswanatha Babu, and the young man’s sound knowledge of all technical aspects of filmmaking, pleasing personality, obliging nature and simple habits made a deep impression on the 17 year-old Bhanumati.
She watched him covertly while the shooting was in progress and found herself falling in love with him. She came to the quick, yet irreversible decision that this was the man whom she wanted to spend the rest of her life with. She never approached him though or let him even have a hint of her feelings. “Poor man, he never knew that I was in love with him!” recollected Bhanumati with a mischievous smirk.
Unaware that an assistant director had already stolen his daughter’s heart, Venkatasubbiah was in the process of finalizing her marriage with a wealthy suitor. Bhanumati realized that her feelings could no longer remain hidden, for her very happiness was at stake. She confided in her sister, and implored her to speak to their father about Ramakrishna. It was no doubt a great shock for Venkatasubbiah, but respecting his daughter’s feelings, he sent for Ramakrishna. The unassuming young man was in for a big surprise when he came to know that Bhanumati was in love with him. However, he laid down his terms firmly- Bhanumati would have to be content with being a quiet housewife. “I want my wife to stay with me in a hut if I have only a hut; and if there is not even a hut, she should be ready to stay under a tree” he is said to have declared resolutely. Venkatasubbiah, who held music dearer to life, pleaded with him to allow Bhanumati to at least continue singing, so that she may not fritter away her innate talent.
And the matter remained unresolved thus- Venkatasubbiah deeply saddened at his daughter’s choice and the unsavory turn of events, Bhanumati still determined to marry the man she loved now more than ever, and Ramakrishna not budging from his avowed perspective. She was now acting in her next movie: ‘Garuda Garvabhangam’ (1943/Pratibha), but her heart was no longer in her work; she was torn between loyalty to her father’s wishes and the love that she harbored for Ramakrishna. After days of agonizing indecision, love finally triumphed. Ramakrishna’s foster mother Kamalamma took the decision of getting them married. And in fact, giving up her promising career was not a tough decision for Bhanumati, as she had never really taken to acting as a profession, and had never been smitten by the adulation.
Ramakrishna was initially unwilling to accept her offer, as he knew that this was against her father’s wishes. But, seeing her steely resolve and sensing her lovelorn plight, he relented at last. They were married on August 8, 1943 in a simple ceremony at a Vishnu temple in the China Bazaar area of North Madras. Singer Ravu Balasaraswati, whose brother was Ramakrishna’s close friend, sang the traditional wedding songs in her silken voice. The guests were treated to lunch at the Modern Café. Though no one from Bhanumati’s family attended the wedding, the couple went to Bhanumati’s house soon after the marriage ceremony and took the blessings of Bhanumati’s anguished parents, who slowly came to terms with the situation.
And Bhanumati was true to her word. The young couple lived in a garage converted to a small house in Mahalakshmi Street, T.Nagar. Bhanumati cooked and cleaned and took care to attend to every need of her beloved husband. And when he returned home in the evenings, they would go out and enjoy the charms that Madras of 1943 had to offer- Bhanumati once recollected how they would travel by Bus No. 11 to watch the latest movies. She was truly happy, for this was the life she had always yearned for…
However, unknown to them, wheels were already set in motion to bring this idyllic exile to an abrupt end...
‘Vauhini’ B.N.Reddy was embarking on a movie that was based on a clever coalescence of Vicente Blasco Ibanez’s ‘Blood and Sand’ and George Bernard Shaw’s ‘Pygmalion’. 'Blood and Sand’ depicted the rise to fame of a young matador and his fall to ignominy due to his infatuation for a seductive socialite, for whom he was a mere passing fancy. The original novel by Vicente Blasco Ibanez was titled ‘Sangre y Arena’ and was first found celluloid adaptation as a silent movie in 1922 with Rudolph Valentino as the bullfighter. But it was Rouben Mamoulian’s 1941 magnificent remake of this classic that had captivated B.N.Reddy. The haunting visuals in tantalizing Technicolor, the virile might that the handsome Tyronne Power exuded as the matador Juan Gallardo and the ravishing beauty of Rita Hayworth who played Dona Sol des Muire had ensured the thumping success of the movie.
B.N.Reddy was particularly besotted by the character of the cold and remorseless Dona Sol, and had his team (Chakrapani, Samudrala Raghavacharya) to work on a screenplay that had the essentials of Shaw’s Pygmalion imaginatively interwoven into it. The outcome was an engrossing saga of an unlettered and naïve street dancer Subbi, who is spotted by Murthi, a magazine editor. Impressed by her looks and talents, he takes it upon himself to shape her career into a successful stage actress. Gradually he falls for her charms and starts neglecting his wife and children. But when she realizes that he is no longer of any use to her, Subbi who is now the sophisticated Sujata Devi, has no qualms in dumping Murthi for Naren who promises her better prospects. A sadder and wiser Murthi returns to his family.
Chitoor Nagiah was booked to play Murthi, and also to compose music for the film titled ‘Swarga Seema’. But Reddy could not identify an actress who could portray with enough élan the metamorphosis of Subbi into Sujata. After a futile search, he realized that if at all there was one person who could do justice to this complex characterization, it was Bhanumati. And so he began pressurizing Ramakrishna to permit his wife to act in ‘Swarga Seema’. Ramakrishna and Bhanumati were staunch in their refusal. Bhanumati was not in the least interested in donning the grease paint ever again. But B.N.Reddy would be put off so easily. For three months he did not ease the pressure- if he couldn’t find time to do so himself, he made Mudigonda Lingamurthi visit Ramakrishna and Bhanumati and try to cajole them into acquiescence. Tired of this constant coercion, Bhanumati even pleaded with B.N.Reddy to leave them alone in their marital bliss.
As a final attempt, B.N.Reddy hurled his last weapon- he asked Ramakrishna if it was the fear of Bhanumati’s popularity overshadowing his own that was the rationale behind his rigid refusal. And going further, Reddy declared that Ramakrishna had no right to keep a talent such as Bhanumati’s suppressed. It was this charge of an inferiority complex that finally did the trick- Ramakrishna was highly indignant at this accusation. He discussed the matter at length with Bhanumati- she said that she would do whatever he wished, and if he wanted her to act again, she would. It was thus that Bhanumati came back to tinsel town, this time to stay on forever.
Having the prize catch in his hands now, B.N.Reddy now commenced the filming in right earnest. Besides Nagiah and Bhanumati, the film had actors like B. Jayamma who played Murthi’s long suffering wife Kalyani and Mudigonda Lingamurthi who played Subbi’s father Gangulu. B.N.Reddy and his entire cast and crew watched ‘Blood and Sand’ several times to imbibe the spirit of the tale.
Another facet of the irresistible appeal of ‘Blood and Sand’ was its arresting music score. The song ‘Verne luna’ written and composed by Vicente Gomez, and sung by Graciela Parranga for Rita Hayworth on screen sizzled as the mesmerizing motif of the seduction. One day in the sets of ‘Swarga Seema’, Bhanumati adapted a humming from ‘Blood and Sand’ and dragging the notes further, and ended the tune with a catchy ‘Oh..Pavuramaa’. B.N.Reddy was fascinated by the tune and the nonchalant rendition of Bhanumati, and decided to incorporate it into the movie. One account has it that it was Balantrapu Rajinikanta Rao wrote the lyrics, and Nagiah set it to tune. Bhanumati had a hand in bringing the song to its final shape. The song was recorded in Newtone Studio by the famed audiographer Dinshaw K. Tehrani. The resourceful Tehrani hung a dome-shaped metal over the mike to give the song its haunting effect.
Watch the song here:
https://www.youtube.com/watch?v=9NCFS8uJg6U
And ‘Swarga Seema’ (1945/ Vauhini Productions) took the entire South by storm; it ran to packed houses and was a celebrated success. Bhanumati had returned, and how! The transformation of the simple Subbi to the suave and shrewd Sujata that Bhanumati portrayed with flamboyant finesse was the talk of the town. Each stage of the transformation was marked by subtle changes in dialect, accent, gesture, attitude, make-up, poise…. If as the simple Subbi, her gullibility was heartwarming in its native charm, as the unscrupulous and ruthlessly ambitious femme fatale Sujata Devi, she emanated a raw animal magnetism and carriage that left the viewers in a delirious daze. “That was the first film in which I really acted!” said Bhanumati of ‘Swarga Seema’. And as for her scintillating ‘oh…pavurama’, it was the rage of the season. She began to be known by frenzied fans as ‘Pavurama’ Bhanumati.
Bhanumati, who had initially intended to return to the life of a happy housewife after ‘Swarga seema’ was now inundated by staggering offers from persuasive producers eager to cash in on her popularity. Surprisingly, she found herself accepting them, indeed contradicting her own convictions. Years later she explained this reversal of her decision as the dictates of the overriding power of motherhood. Her son Bharani was born just then and she wanted to provide a life of comfort and abundance for him. Perceiving the incredible sums of money that the producers were willing to pay, she had no second thoughts about continuing her film career. Ramakrishna accepted the logic of her reasoning, and Bhanumati soon became a top-ranking star of Telugu cinema.
‘Swarga Seema’ became immensely popular with the Tamils as well. To cater to the unprecedented hordes of Tamils who flocked to the theaters to catch a glimpse of the sultry siren, the distributors hastily arranged for Tamil narrations of the proceedings to be made between each film reel! Future legends of Tamil cinema like Sivaji Ganesan, Baliah and Thangavelu would years later confess to Bhanumati how they saw not less than 40-50 shows of ‘Swarga Seema’; so much were they in awe of Bhanumati’s fantastic performance therein.
Her debut in Tamil cinema was thus inevitable…..
- To be continued...
Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/1444050892293299/
Part 1 here: https://www.facebook.com/groups/1018417744856618/permalink/1443161239048931/
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