Singeetham Srinivasa Rao:
The renowned director Singeetham Srinivasa Rao, an imaginative mind among the South Indian filmmakers, has breathed his last at the age of 95 years. Known for his imagination, innovative ideas and experimentation with cinema, Singeetham has left behind him a legacy of cinema that spans many decades.
It all started when Singeetham worked as an assistant director with the famous director K. V. Reddy, on movies like Mayabazar, during the time of cinema’s early days. With almost seven decades of experience in cinema, Singeetham turned out to be a unique filmmaker who experimented constantly.
His directorial venture Neethi Nijayithi (1972), which featured actors like Krishnam Raju and Kanchana, marked the beginning of his career as a director.
Right from his debut movie, he took care of music and made music a significant element in all his films by working alongside the famous lyricist C. Narayana Reddy in composing the song “Maatalakandani Bhaavaalu Manchi Manasulu Chebutayi.”
Singeetham has also composed music for two movies in the Kannada language, which proves his good sense of melody and rhythm. His films featured several memorable songs, including “Mrogindi Veena Padhe Padhe Hrudayalalon,” “Oka Venuvu Vinipinchenu Anuraga Geethika,” “Paadana Telugu Paata Paravasamai,” “Manasaveena Madhugeetham,” “Madhumasa Velalo Marumalle Thotalo” and “Aa Ponna Needalo Ee Kanne Vadalo.”
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The Beginning of His Experimental Cinema
Singeetham’s reputation as an experimental filmmaker grew stronger with Amavasya Chandrudu, in which Kamal Haasan played a visually impaired man. Legendary filmmaker L. V. Prasad also appeared in an important role.
The collaborations between him and Kamal Haasan have given birth to some truly unforgettable movies. For instance, Michael Madana Kama Rajan, where Kamal played four distinct characters in one film, was yet another daring experiment. And Singeetham even made an appearance in this movie, playing a role that advances the plot through songs.
After which came Pushpak, the pioneering silent movie that proved that it was possible to make a movie without dialogue to make people laugh, cry and empathize. This movie turned out to be a huge success and still considered one of Indian cinema’s most unique accomplishments.
And lastly, there was Apoorva Sagodharargal, where Kamal Haasan portrayed the part of a dwarf. Seeing a well-known actor change into such a drastically different character shocked people back then. And even now, this movie still stands as a testament to the risks that Singeetham had taken.
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From Mayuri to Aditya 369
Singeetham’s creative genius could be seen in the movie “Mayuri” made by Ramoji Rao in the banner of Ushakiran Movies. The movie was inspired by the life of dancer Sudha Chandran, who had lost her leg due to some tragic event. It was a biopic with Sudha Chandran playing the main lead in the movie.
He also explored social themes through entertainment. Aadavallaku Maathrame looked at the challenges faced by working women while keeping the film engaging and entertaining.
Singeetham brought to life another successful folk fantasy movie in the form of Bhairava Dweepam in association with the actor Balakrishna. Singeetham once again collaborated with the actor for yet another unique experiment in Telugu movies in the form of Aditya 369. The concept of time machine became the basis of the story where he sent Balakrishna into the age of Sri Krishnadevaraya and presented the grandeur of Hampi.
He offered a completely new look to comedian Rajendra Prasad when he offered him a female role in his movie Madam.
At 94, even then, Singeetham retained his interest in experiments. His last work named Sing Geetham, released in June, was proof enough of his never-ending curiosity.
Two National Awards and a Legacy That Will Last
Can a film without dialogue make people laugh, move them and keep them completely engaged?
This question was answered by Singeetham in his movie, Pushpak (1987) featuring Kamal Haasan. Without using any lines in the movie, the story depended upon the expressions, picturization, and background music for its black comedy which won international acclaim and became a milestone in Indian Cinema.
Two National Awards and five Nandi Awards besides a few Filmfare Awards were awarded to him during his distinguished career life.
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But awards are only one part of his legacy.
What people will remember most is the imagination. The willingness to try something nobody else was trying. The ability to mix entertainment with experimentation. And the simple belief that cinema should never stop surprising its audience.
At a time when filmmakers often play safe, Singeetham chose the opposite path. He kept experimenting, kept learning and kept moving forward.
Indian cinema has lost a true original. But the films, characters, music and memories he created will continue to live on.
Rest in peace, Singeetham Srinivasa Rao garu. Your cinema will never be forgotten.
