Mayabazar (Telugu: మాయాబజార్ Tamil: மாயா பஜார்) is a 1957 folklore Telugu and Tamil Indian bilingual film. The Telugu version was first released in Andhra Pradesh on 27 March 1957. The Tamil version, the following month in Tamil Nadu, with changes in cast and other details apt to Tamil audience. The Telugu version was later dubbed in Kannada. The story, dialogues, and song lyrics were written by Pingali Nagendra Rao. The producer of both the versions, Bommireddy Nagi Reddy bagged the highest award for films in India, Dadasaheb Phalke Award in 1986.
The critically acclaimed Mayabazar is considered one of the enduring classics of Indian Cinema.[1][2] The film was touted as a landmark achievement in Indian film's cinematography, art direction and visual effects with the technology available at the time.[3] The music delivered by Saluri Rajeswara Rao (uncredited) and Ghantasala has been extremely popular. The film stars Gummadi Venkateswara Rao as Balarama, NTR as Krishna, ANR(Telugu version); Gemini Ganesan (Tamil Version) as Abhimanyu, S. V. Ranga Rao as Ghatotkacha, and Savitri as Vatsala. A digitally remastered colour version was released in 2010.
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[edit]Plot
During the Pandavas' Agnyatavasa (period of disguised exile), Arjuna sends his wife Subhadra and their son Abhimanyu to Dwaraka to stay with her brothers, Krishna (N.T.Rama Rao)and Balarama (Gummadi Venkateswara Rao). Sasirekha(Savitri), Balarama's daughter and Abhimanyu (Akkineni Nageswara Rao/Gemini Ganesan) are in love with each other from their childhood. Their families had agreed to get them married when they grow up.
However, Balarama's wife refuses to honour that commitment, as the Pandavas lost their kingdoms in gamble and are in exile. Balarama instead, on the face of Shakuni's and the Kauravas' cunning persuasion, decides to marry Sasirekha to Lakshmana Kumara (Relangi Venkata Ramaiah/Thangavelu), who is the son of his favourite disciple, Duryodhana (Mukkamala). Krishna advises Subhadra to approach Ghatotkacha(S.V.Ranga Rao). Initially, Ghatotkacha assumes them to be intruders in his forest and attacks them, but later apologizes for his misunderstanding. When Subhadra narrates about what happened of her son and Sasairekha, Ghatotkacha decides to play some trickery in Dwaraka. He first, with the knowledge of Krishna and a servant girl, flies the sleeping Sasirekha along with her bed, from Dwaraka to his forest.
Next, using his magical powers, he assumes the form of Sasirekha (Ghatotkacha becomes Maya Sasirekha) and goes back to Dwaraka and wrecks her marriage with Lakshmana Kumara. He also performs some practical jokes and comical acts while in disguise. Also, his retinues act as the marriage overseers and provide comic relief as well. To further break the marriage, Ghatotkacha's follower's (Ramana Reddy- Played a magician role) enter the Bridegroom's guest house (Vididi griha) and draws hilarious comedy to the audience with Balaiah and Allu Rama Lingaiah. Meanwhile, back in the forest, the real Sasirekhais married to Abhimanyu. When all goes to plan, Ghatothkacha reveals his true identity and further unveils the true colours of Shakuni and Kauravas. At this point, Sasirekha's parents are convinced of her marriage and decide to bless the newlyweds back at the forest.
[edit]Cast
| Character | Telugu | Tamil |
|---|---|---|
| Krishna | N. T. Rama Rao | N. T. Rama Rao |
| Abhimanyu | A. Nageswara Rao | Gemini Ganesan |
| Ghatotkacha | S. V. Ranga Rao | S. V. Ranga Rao |
| Sasirekha | Savitri | Savitri |
| Balarama | Gummadi Venkateswara Rao | D. Balasubramaniam |
| Subhadra | Rushyendramani | Rushyendramani |
| Revati | Chaya Devi | Laksmiprabha |
| Rukmini | Sandhya | Sandhya |
| Lakshmana Kumara | Relangi Venkata Ramaiah | Thangavelu |
| Duryodhana | Mukkamala | R. Balasubramaniam |
| Shakuni | CSR | M. N. Nambiar |
| Karna | Mikkilineni Radhakrishna Murthy | |
| Dussasanudu/Duchadanan | R. Nageswara Rao | E. R. Sahadevan |
| Hidimbi | Suryakantham | C. T. Rajakantham |
| Chinnamaya | Ramana Reddy | V. M. Ezhumalai |
| Sarma | Allu Ramalingaiah | Sairam |
| Sastry | Vangara Venkata Subbaiah | |
| Satyaki | Nagabhushanam | |
| Daaruka | Madhavapeddi Satyam |
[edit]Crew
- Director: Kadri Venkata Reddy
- Assistant Director: C. Nageshwara Rao
- Story and Dialogues : Pingali Nagendra Rao (Telugu)/ Tanjai N. Ramaiah Doss (Tamil)
- Screen adaptation: Kadri Venkata Reddy
- Producers: Alur Chakrapani and B. Nagi Reddy
- Production Company: Vijaya Pictures
- Original Music: Ghantasala Venkateswara Rao and Saluri Rajeswara Rao
- Orchestra: A. Krishna Murthy
- Cinematography: Marcus Bartley
- Film Editing: C. P. Jambulingam and Kalyana Sundaram
- Art Direction: Madhavapeddi Gokhale
- Set Decoration: K. Srinivasan and Kuppuswamy
- Makeup Department: Bhaktavatsalam and Peetambaram
- Production Managers: Jagannath and Chalapathi Rao
- Sound Department: A. Krishnan and V. Sivaram
- Still Photographer: Vrishabendraiah
- Choreographer: Pasumarti Krishnamurthi and Gopinath
- Playback singers: Jikki Krishnaveni, M. L. Vasantha Kumari, P. Leela, Ghantasala Venkateswara Rao, Rushyendramani, Madhavapeddi Satyam and P. Susheela
[edit]Songs
Maya Bazaar's songs are considered legendary in Telugu cinema, and are also best remembered in Tamil as well. The titles of almost all the songs have been reused as movie names in later years.
| Song Title | Singers | Lyricist | Notes |
|---|---|---|---|
| Ahana Pellianta | P. Susheela andGhantasala | Pingali Nagendra Rao | Actress Savtri's stunning dual portrayal of a princess and a monster-prince cemented her acting prowess in Telugu Cinema |
| Alli Billi Ammayiki | P. Leela | Pingali Nagendra Rao | |
| Bhali Bhali Bhali Bhali Deva | Madhavapeddi Satyam | Pingali Nagendra Rao | |
| Chinnari Sasirekha Vardhillavamma | P. Leela | Pingali Nagendra Rao | |
| Choopulu Kalisina Subhavela | Ghantasala | Pingali Nagendra Rao | |
| Lahiri Lahiri Lahirilo | P. Leela and Ghantasala | Pingali Nagendra Rao | A great portrayal of romance spanning three generations |
| Nee Kosame Ne Jeevinchunadi | P. Leela and Ghantasala | Pingali Nagendra Rao | |
| Nevena Nanu Pilichinadi | Ghantasala | Pingali Nagendra Rao | |
| Sundari Oho Sundari | Ghantasala and Savitri | Pingali Nagendra Rao | Relangi's humorous song that makes many people still laugh when they see some one clap hands behind their back |
| Vinnava Yashodamma | P. Leela | Pingali Nagendra Rao | |
| Vivaha Bhojanambu | Madhavapeddi Satyam | Pingali Nagendra Rao | S V Ranga Rao's portrayal of Ghatotkacha and some state of the art cinematic effects |
[edit]Background
The film is based on a folk tale called Sasirekha Parinayam popular in Andhra Pradesh, based on the Mahabharata but not present in it.[4] In the initial days of the film project, it was decided to name the movie "Sasi Rekha Parinayam". However, at a later time it was finalized as "Mayabazaar".
[edit]Box-office
- The film had a 175-day run in Durga Kala Mandir theatre, Vijayawada.[5]
- The film had a 100-day run in 15 centres.[6]
[edit]Golden Jubilee Celebrations
- A special screening was held at Lalita Kala Thoranam to celebrate the golden jubilee (50 years) run of the film on 7 April 2007.[7]
- The celebration was jointly organised by the Department of Culture, Andhra Pradesh; Andhra Pradesh State Film, TV and Theatre Development Corporation and Kinnera Art Theatres, besides fans.[8]
- All the artists associated with the film were felicitated on that occasion.[7]
[edit]Colour Version
The film was digitally remastered to add colour and was released to the theaters on January 30, 2010. As many as 165 artists from Goldstone Technologies have worked to transform the film into the colour version.[9] As per the company's head Jagan Mohan, they have used around 16.7 million colour shades for the transformation. Apart from adding colour, it was also converted to a full scope movie and the sound was also remastered to a DTS system from the previous mono track.[9] Two songs, Bhali Bhali Deva and Vinnava Yasodamma, have been removed due to poor quality of the negative film.
The list of changes made to the original movie in the 2010 color version:
1. Titles and title music - redone; Result : Visual - Good, Music - Poor
2. Childhood Abhimanyu's show of archery skills - partly cut
3. Song "Lalli lala" partly cut involving Sasirekha's childhood
4. Song "Chupulu kalasina subhavela" - completely removed. Later added in some theatres
5. Song "bhali bhali deva" - completely removed
6. Dance ballet "Mohini Bhasmasura" - completely removed
7. Song "neekosame ne jeevinchunadi" was modified digitally
8. Padyam "Dhurankara Madhandhulai" was removed
9. Padyam by Shakuni - removed
10. Marriage rehearsals by Relangi - removed
11. Song "dayacheyandi" partially cut
12. Padyam "pandava bandhu koti" removed
13. Song "vinnava yashodamma" partially cut
1. Titles and title music - redone; Result : Visual - Good, Music - Poor
2. Childhood Abhimanyu's show of archery skills - partly cut
3. Song "Lalli lala" partly cut involving Sasirekha's childhood
4. Song "Chupulu kalasina subhavela" - completely removed. Later added in some theatres
5. Song "bhali bhali deva" - completely removed
6. Dance ballet "Mohini Bhasmasura" - completely removed
7. Song "neekosame ne jeevinchunadi" was modified digitally
8. Padyam "Dhurankara Madhandhulai" was removed
9. Padyam by Shakuni - removed
10. Marriage rehearsals by Relangi - removed
11. Song "dayacheyandi" partially cut
12. Padyam "pandava bandhu koti" removed
13. Song "vinnava yashodamma" partially cut
The colorized version completed 100 days of screening in Prasads Multiplex theatre, Hyderabad.
| మాయాబజార్ Mayabazar | |
|---|---|
 Mayabazar poster | |
| Directed by | Kadri Venkata Reddy |
| Produced by | B.Nagi Reddy Aluri Chakrapani |
| Written by | Pingali Nagendra Rao(story, dialogue and song lyrics) Kadri Venkata Reddy (adaptation) |
| Starring | See Cast Section |
| Music by | Ghantasala Saluri Rajeswara Rao |
| Cinematography | Marcus Bartley |
| Distributed by | Vijaya Vahini Studios |
| Release date(s) | Original Release: 27 March 1957 (Telugu) 12 April 1957 (Tamil) Colourized Re-release: 30 January 2010 (Telugu) |
| Running time | 181 min. (approx) |
| Language | Telugu Tamil |
| Budget |  2,00,000 (estimated) |
Maya Bazaar' forever!
W. CHANDRAKANTH
| The success of `Maya Bazaar' lies in its portrayal of characters as ordinary mortals. Celebrating 50 years, the movie remains a landmark in the Telugu film industry. |
Ghatothkacha says Evaru puttinchakunte maatalela pudathayi and hence if friends are to be called Asamadiyulu then enemies could be termed Tasamadiyulu.
ENDURING CHARACTERS Savitri
Fifty years ago, director K.V. Reddy or for that matter, producers Nagireddy and Chakrapani, would not have imagined what they were unleashing when they decided to make Maya Bazaar — a bilingual in Telugu and Tamil.
The finished product hit the screen in 1957 to become a landmark movie in the Telugu film industry. It became a hit not only for the sterling performances of the star-ensemble that it had right from S.V. Ranga Rao, Savitri, NTR, ANR and Gummadi, but also because K.V. Reddy was in full control over every frame of it.
There is little else one could expect when all time greats like Marcus Bartley (cinematography), Ghantasala (music), ML, Leela, Suseela and Madhavapeddi (playback), Gokhale (art), Pasumarthy (choreography) and Pitambaram (make-up) got-together to weave magic around an episode from Mahabharata, Sasirekha Parinayam .
S.V.R.
However, the greatness of Maya Bazaar, about which much is said and written, is not just because of these facets alone .
It is a tribute to Telugu culture, language and customs of the land. The film was watched repeatedly soon after its release because people identified every character of the film with someone they knew in their immediate vicinity and the audience still do the same now.
The dialogues written by Pingali Nageswara Rao (as well the lyrics) were the same that the people were hearing or using in their conversations every day - if not, those became a part of Telugu life thereafter. Sasirekha, nay Ghatothkacha's Manadi Sodara Prema... became immortalised as much as Suryakantam's antha alamalame kada which has become a way of life in greeting people.
As for the songs, Aha naa pelli anta still reverberates in marriages andVivaaha bhojanambu is yet another must.
A.N.R.
An entire repertoire was added to the Telugu dictionary by the film. Take for example Talpam used for denoting a cot or a bed. Were Telugus usingGilpam as an antonym of it till the movie's advent? Nor did anyone tell so emphatically until Ghatothkacha that Evaru puttinchakunte maatalela pudathayi and hence if friends are to be called Asamadiyulu then enemies could be termed Tasamadiyulu.
The story itself is woven around Sasirekha-Abhimanyu love. With Krishna and Balarama having difference of opinion over it, their wives too take sides as is inevitable in any family. To introduce the theme, the director uses a magic box, (an equivalent of a TV screen) which displays whatever is dear to the viewer's heart.
Sasirekha naturally sees Abhimanyu and Balarama gets to see his sishya, Duryodhana on it. His wife laps up the sight of an array of jewellery and the audience laughed heartily because they knew that someone back home was equally attached to the riches.
When Balarama curtly tells his sister, "Subhadra, aagadalu, aghaaityalu naaku paniki raavu", when confronted with latter's indignation at his decision to separate Sasirekha and Abhimanyu, womenfolk among the viewers sighed recalling their own tribulations in the hands of such brothers.
Frame after frame impacts viewers with similarities. The greatness of the director lies here - he successfully reduces all characters to ordinary mortals displaying all the follies of human beings except Ghatothkacha or Krishna. And then he injects into the Yadava household a Telugu atmosphere, full with its simile, imagery, adage, sarcasm and wit.
N.T.R. in the legendary `Maya Bazar', which was released on March 27, 1957.
The result - a feast for the eyes and soul. That is Maya Bazaar for you. Mind you, this is a story of Paandavas and Kauravas with the Yadavas pitching in. But one never sees the Paandavas throughout the film. We only hear of them.
If any NRI asks you to suggest ways to teach Telugu culture just ask him or her to introduce them to Maya Bazaar first. Further, if they seek to know about their uncles, aunts and cousins back home, bring in their names, "look this is your Balarama..."
Any better way of doing it?
Then onwards it's all Laahiri, laahiri, laahiri lo...
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