Andhra Pradesh First a Celebration. Positive News, Facts & Achievements about Seemandhra, Coastal Andhra, Telugu People and all the People of Andhra Pradesh – here at Home and Overseas
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    It is a first of its kind in the world, says CMFRI scientist

    Redefining mariculture: Seed of Indian pompano at the CMFRI nursery in Visakhapatnam. | Photo Credit: arranged

    Redefining mariculture: Seed of Indian pompano at the CMFRI nursery in Visakhapatnam. | Photo Credit: arranged

    The regional centre of ICAR-Central Marine Fisheries Research Institute here has made a major breakthrough by undertaking mass scale seed production of Indian pompano for the first time in the world.

    Indian pompano (trachinotus mookalee) is a marine fish belonging to the family Carangidae. It is low in landing from the wild. It contains Omega 3 and 6 fatty acids. It is sold in the domestic market at ₹200 to ₹300 per kg.

    The species is distributed in the Indo-West Pacific region and present in 15 countries of the Asian continent. In India, it is reported from both the west and east coasts.

    It has sporadic occurrences in bays and lagoons, and the adult fish prefers shallow coastal waters with rocky areas.

    Senior scientist in charge of the regional centre Subhadeep Ghosh told The Hindu that the fish was considered to be a good candidate species for aquaculture due to its fast growth rate, easy adaptability to culture conditions, quick acceptance of artificial feed, pleasant appearance, good meat quality, and high consumer preference. In addition, it can be successfully cultured in tanks, ponds and cages.

    Broodstock collection

    In a bid to diversify Indian mariculture, breeding and seed production of the species was initiated at the regional centre with broodstock collection in 2011.

    Initial success in seed production on a small scale was achieved in early 2014. However, seed could not be produced consistently due to loss of broodstock maintained in the cage by the effect of the catastrophic Hudhud cyclone that hit the Visakhapatnam coast that year.

    Broodstock collection was initiated again in 2015 and the fishes were stocked in the land-based Re-circulating Aquaculture System (RAS) for development and maturation.

    “With manipulation of water quality and feeding protocols, fishes were induced to spawn in the RAS and mass scale seed production was achieved in early 2017,” Dr. Ghosh said.

    Metamorphosis from larvae to fry started on the 17th day post-hatch and was completed by the 22nd day. After 30 days of rearing, the survival rate was around 17.2% and the fry reached an average size of 2.9 cm in length and 1.27 gm in weight. A few thousand fry were transferred to the Veraval Regional Centre of CMFRI in Gujarat and are being nursery-reared for stocking in cages.

    Another few thousand fry were transferred to Nagayalanka in Krishna district of Andhra Pradesh and are being nursed prior to release in the pond. The remaining fry, again a few thousands, are being nursery-reared at the Visakhapatnam Regional Centre of CMFRI.

    He said the seed would be stocked in open sea floating cages for grow-out very soon.

    This was the first case of successful mass scale seed production of Indian pompano under confinement anywhere in the world.

    The success raised hopes for culture of the fish using hatchery produced seed in India and will present enormous scope for aquaculture business opportunity in the near future for Indian fish farmers through species diversification.

    source: / The Hindu / Home> News> Cities> Visakhapatnam / by Santosh Patnaik / Visakhapatnam – July 04th, 2017

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    City girl Sharanya Mudundi was crowned the ‘Little Miss Grand Sea Intercontinental’ at Grand Sea Universe-2017 held in Sofia, Bulgaria, recently. Adding feathers to her cap, she also won the titles ‘Little Miss Grand Sea Asia-2017’, ‘Miss Popularity’ and ‘Best Interview’ at the fashion pageant .

    Nine-year-old Sharanya represented India and competed with children from 30 countries. She also won the title ‘Little Model Earth India-2017’ and ‘Grand Prix Winner Model-2017’ at an international children’s pageant ‘Little Model Earth’ held at Johannesburg, South Africa, in March this year.

    Speaking to TOI, Sharanya said, “I was on cloud nine after I won the titles at Sofia. Although it was a challenging task, bagging these has boosted my confidence. The theme being ‘Beauty for a purpose’, there were different rounds during the contest including interview round, national costume round, talent round and evening gown round. I also showcased our rich Indian culture and traditions. I performed yoga in the talent round and it was one of my memorable experience at the global fashion stage.”

    Daughter of MSN Raju and M Swati, Sharanya is a Class-V student in Delhi Public School. Balancing both academics and fashion shows, she said that it is the support of her parents coupled with time management that helps her to focus on both.

    National Director of India Valentina Mishra, who hails from the city, said, “She is the only Indian girl child to represent India on the global map and to win at an international pageant twice this year.” Valentina was awarded the winner of best director of the year by MMSEA BG, an international agency.

    source: / The Times of India / News> City News> Visakhapatnam News / TNN / July 08th, 2017

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    A file picture of the TU 142 aircraft. | Photo Credit: C_V_Subrahmanyam

    A file picture of the TU 142 aircraft. | Photo Credit: C_V_Subrahmanyam

    ‘Transporting disassembled parts of TU 142 to the site will be completed by weekend’

    Work on assembling the decommissioned TU 142 fighter aircraft to convert it into a museum is expected to begin soon at the site earmarked for it on the Beach Road, to inaugurate it by August 15.

    The inauguration was planned to coincide with the official Independence Day function of the state government proposed in the city.

    However, the Independence Day function is now being planned elsewhere, and the TU 142 inauguration is likely to take place ahead of it, it is learnt.

    Retired aircraft engineers and other personnel worked for nearly four weeks at the naval airbase, INS Dega, disassembling the aircraft. An internationally reputed agency had been awarded the work on the aircraft museum. The disassembling itself was said to have cost ₹3.5 crore.

    The aircraft, after its decommissioning, flew to Visakhapatnam after the Andhra Pradesh Government evinced interest in converting it into a museum. Chief Minister N. Chandrababu Naidu received it at a special function from the Naval authorities.

    “Only formal inauguration will take place and the remaining work will continue,” VUDA vice-chairman P. Basanth Kumar told The Hindu.

    “Transporting the disassembled parts to the site will be completed by this week-end after which assembling them will be taken up,” Mr. Basant Kumar said.

    After the formal inauguration, it would take another two to three months to complete the work.

    Escalator and aerobridge

    “We are planning to set up an escalator and an aerobridge for entry of visitors to the aircraft as it would be difficult to climb up to the elevation, and exit by a staircase,” he said.

    All the spares of TU 145 such as propellers and wings would be put on exhibition with an audio-visual show explaining it, he said.

    A souvenir shop, coffee shop, and video games would also be opened outside the aircraft.

    The museum is being set up by the Tourism Department at an estimated cost of ₹10 crore. VUDA has been assigned the supervising responsibilities.

    source: / The Hindu / Home> News> Cities> Visakhapatnam / by G.V. Prasada Sarma / Visakhapatnam – July 12th, 2017

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    June 18th, 2017adminRecords, All, Sports, World Opinion



    1. Srikanth looked in the zone as he easily downed world no 47 Sakai in straight games 21-11, 21-19

    2. The Indonesian Open is Srikanth’s second Super Series Premier title after he won the 2014 China Open Super Series Premier

    3. Srikanth had finished runner-up at Singapore Open after losing to compatriot B Sai Praneeth in the summit clash last month


    Jakarta :

    Indian shuttler Kidambi Srikanth clinched his third Super Series title, lifting the Indonesia Open men’s singles trophy with a straight-game victory over Japanese qualifier Kazumasa Sakai in the final on Sunday.

    World No.22 Srikanth, who had reached the finals at Singapore Open in April, outclassed Sakai, ranked 47th, 21-11 21-19 in just 37 minutes to take home a cheque of $75,000.

    “He was playing well, especially in the second game and I think for me coming back from 6-11 down and make it 13-13 was the turning point,” said Srikanth, who had clinched the 2014 China Super Series Premier and 2015 India Super Series.

    “My coach will have a special place in my heart as after he came, I reached the finals at Singapore and to win this tournament, which is considered the biggest tournament. I want to thank all the fans who have been rooting for me all this week,” he added.

    Srikanth played a patient game and didn’t allow his opponent to engage in any fast-paced rally. He dictated the pace with his precise angled returns and unleashed his smashes at perfect intervals to down his rival.

    Playing in tricky conditions, Srikanth took time to gauge the conditions as his initial returns went wide and out.

    But his rival also suffered because of similar unforced errors and the Indian led 6-4 early on. He consolidated his lead to reach 11-8 at the break.

    After the interval, Srikanth continued to dominate the proceedings. His net dribbles were better than Sakai and with Sakai struggling with precision, the Indian zoomed to a 19-11 lead and sealed it with two lucky net chord points.

    After the change of sides, Sakai was more aggressive in his approach and produced an improved net game to dominate the rallies.
    Soon, the Japanese was leading 7-3 as he entered the break with an 11-6 lead with the help of a backhand return near the net.

    After the interval, Srikanth’s aggressive game gave him the desired results. He turned the tables and caught up with the Japanese at 13-13 with an on-rushing smash at the net.
    The duo moved neck and neck after that till 19-19 before Srikanth produced two fantastic smashes to seal the deal.

    source: / The Times of India / News> Sports> Badminton / PTI / June 18th, 2017

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    C. Narayana Reddy won the Jnanpith award in 1988. | Photo Credit: Nagara Gopal

    C. Narayana Reddy won the Jnanpith award in 1988. | Photo Credit: Nagara Gopal

    CiNaRe was known for his use of Telugu in its pure form, and would not be swayed by filmmakers on the use of the language.

    Eminent poet, litterateur and Jnanpith awardee C. Narayana Reddy, popularly known as CiNaRe, passed away in the early hours of Monday, aged 85. He was taken to a hospital following health complications and was declared dead.

    CiNaRe, born on July 29, 1931 in Hanumajipet of erstwhile Karimnagar district, studied till his graduation in Urdu because Telugu as a medium was not available during the Nizam’s rule. However, because of his intense love for the language he taught himself Telugu and it was only during his degree that he took the option of Telugu as a paper. CiNaRe went on to do a post-graduate degree and a Ph.D on ‘Modern Traditions of Telugu’.

    It was the late N.T. Rama Rao, who wielded the megaphone in film Gulebakavali, who gave CiNaRe his break as a lyricist. He wrote all the songs in the film, including the hit ‘Nannu dochukunnavate .. Vannela Dorasani.’

    CiNaRe was known for his use of Telugu in its pure form, and would not be swayed by filmmakers on the use of the language.

    He was awarded the Padma Shri in 1977 and the Padma Bhushan in 1992. His compilation of poems, titled ‘Viswambhara’, got him the Jnanpith award in 1988. In 1997, he was nominated as a Member of the Rajya Sabha. His academic distinctions include serving as a professor of Osmania University and as Vice Chancellor of the Telugu University.

    Former Governor K. Rosaiah pays homage to C Narayana Reddy in Hyderabad.   | Photo Credit: K.V.S Giri

    Former Governor K. Rosaiah pays homage to C Narayana Reddy in Hyderabad. | Photo Credit: K.V.S Giri

    Among those who condoled with the death of CiNaRe were Governor of Maharashtra and Tamil Nadu, Ch. Vidyasagar Rao and Chief Minister of Telangana, K. Chandrasekhar Rao. Those who visited the family residence and paid their respects included former Governor of Tamil Nadu, K. Rosaiah, Ministers K.T. Rama Rao, G. Jagadheeshwar and actor Venkatesh.

    His last rites will be performed on Wednesday.

    source: / The Hindu / Home> Books> Authors / by Suresh Krishnamoorthy / Hyderabad – June 12th, 2017

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    Visakhapatnam :

    At just 26 years of age, Vizagite Durugadda Harsha Vardhan has won the Rio Tinto Sculpture Award at the ‘Sculpture by the Sea-2017’ contest recently held in Australia. His work ‘Column of Sound’ has emerged as winner among works by 78 international sculptors and is now being showcased in Perth.

    Harsha’s creation ‘Column of Sound’ consists of two mild steel hemispheres and slices of marble (8 ft by 4 ft dimension) stacked in between. It is based on the visual dynamics of an audio wave where sound translates to tangible and eternal, rendering a paradigm shift of sensory experience. In Harsha’s words, “It’s a translation of sound into a visual form, in the same way we store images as memories, it’s actually my memory of a sound.”

    He was a student of St Francis School and Bullaya College in Vizag following which Harsha completed his B.Sc from Hyderabad and Masters in Visual Communication from Delhi. He also completed a course in arts and aesthetics from JNU. Eventually, he took up sculpting which has also been the profession of his father and grandfather.

    Harsha plans to participate in the next ‘Sculpture by the Sea’ contest to be held at Bondi in Sydney in October. Speaking about his next sculpture, he said, “Made with corten steel, it would be called ‘Fish Love’. This structure will showcase misinterpretation of love. Though, love is always talked about in great terms, it’s often self-gratification rather than a selfless emotion. True love should be always giving without thinking about the self.”

    “Vizag is blessed with the sea, which is a soother and contests and exhibitions by the sea can be held just like in Australia. But we need to create that environment and not ruin art by politicising the events. We need an organising committee for it with encouragement from well-to-do private patrons just like it’s in Australia. Vizag needs more galleries and more events as well as private patrons,” Harsha said.

    source: / The Times of India / News> City News> Visakhapatnam News / by Sulogna Mehta / TNN / May 11th, 2017

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    May 7th, 2017adminRecords, All, Science & Technology

    Visakhapatnam :

    King George Hospital (KGH) is soon going to start an emergency medicine department  (EMD), the first among the government hospitals in the state. It would help bring down mortality in trauma and accident cases by speeding up treatment .

    In this regard, a meeting was also held in KGH-AMC this week. Plans are on to house EMD in the new casualty building, which is nearing completion. It’s likely to start functioning in July or August.

    The EMD would have different specialists working together under one roof headed by a general physician or intensivist. It should also have an anaesthetist, orthopaedic doctor, a neurosurgeon, a general surgeon, a plastic surgeon, pulmonary medicine specialist and cardio-thorasic surgeon acting as one unit.

    They would be all trained in advanced life support (ALS). There would also be ALS trained personnel and paramedics to stabilise the patients on the spot of accident before taking the patient to the nearest hospital. This unit of specialists can take maximum care in minimum time lapse so as to prevent deaths due to loss of time.

    Usually victims of poisoning, drowning, animal and reptile bites, burns, road accidents, heart attacks, gunshots or weapon wounds, victims of natural calamities all come under emergency and would be treated in the EMD, say doctors.

    For the upcoming EMD, doctors from Amcana (Andhra Medical College Alumni of North America) would also come forward to help with software and technical support by helping to set up an electronic medical records system and by training doctors, medical officers, nurses and paramedics on EMD protocols. They can also help with the equipment as and when required, pointed out AMC principal Dr P V Sudhakar.

    source: / The Times of India / News> City News> Visakhapatnam News / by Sulogna Mehta / TNN / May 03rd, 2017

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    May 6th, 2017adminEducation, Records, All

    A. Sai Bharadwaj from Kothagudem stood second and Satyam Ralhan from Kanchipuram, Tamil Nadu, third with 152.521 marks.

    Ministers Ganta Srinivasa Rao, Somireddy Chandram-ohan Reddy, Kamineni Srinivas and Adi Narayan Reddy release Eamcet results in Vijayawada on Friday.(Photo: DC)

    Ministers Ganta Srinivasa Rao, Somireddy Chandram-ohan Reddy, Kamineni Srinivas and Adi Narayan Reddy release Eamcet results in Vijayawada on Friday.(Photo: DC)


    With 153.96 marks out of 160, Telangana student V. Mohan Abhyas stood first in the engineering stream of AP Eamcet 2017 in the results released on Friday.

    A. Sai Bharadwaj from Kothagudem stood second and Satyam Ralhan from Kanchipuram, Tamil Nadu, third with 152.521 marks.

    V. Venkata Anirudh from Guntur topped the medical and agriculture stream with 150 marks out of 160. Dogga Sandeep from Vishakhapatnam stood second with 148.67 and Nunna Himaja from Rajamahendravaram secured third rank with 148.41 marks.

    Minister Ganta Srinivasa Rao Kamineni Srinivas and Somireddy Chandramohan Reddy announced the results and said the government had successfully conducted the examination online and released the result in a record one week.

    Mr Srinivasa Rao said AP was the first state to conduct all common entrance tests online.

    “The examination was conducted at 124 centres iin AP and four in Hyderabad. As many as 1,98,035 students enrolled for engineering stream and 1,87,484 appeared for the online examination, of  which 1,39190 students qualified with a pass percentage of 74.241,” he said.

    Mr Chandramohan Reddy, after releasing the key for medical and agriculture streams, said 80,768 students had applied of whom 75,489 took the test. Of these, 64,379 students passed with 85.28 percentage.

    source: / Deccan Chronicle / Home> Nation> Current Affairs / Deccan Chronicle / May 06th, 2017

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    The Andhra Pradesh government is the registered proprietor of the GI tag for mangoes, often hailed as “the king of fruits.” Photo: | Photo Credit: C.V. Subrahmanyam.

    The Andhra Pradesh government is the registered proprietor of the GI tag for mangoes, often hailed as “the king of fruits.” Photo: | Photo Credit: C.V. Subrahmanyam.

    Banganapalle mangoes have been grown for over 100 years in Andhra Pradesh.

    The succulent Banganapalle mango has received a Geographical Indication (GI) tag, making Andhra Pradesh the proprietor of the variety known for its sweetness.

    The Registrar of Geographical Indications Registry, Chennai, O.P. Gupta has accorded the registration following an application from the Horticulture Commissioner, Andhra Pradesh.

    The Andhra Pradesh government is the registered proprietor of the GI tag for mangoes, often hailed as “the king of fruits.”

    A GI tag indicates that the product comes from a specific region.

    Banganapalle mangoes have been grown for over 100 years in the State. It also known as Beneshan, Baneshan, Benishan, Chappatai and Safeda.

    Besides, they are also called Banaganapalli, Banginapalli, Banaganapalle.

    The fruits can retain their quality under cold storage even up to three months, Andhra Pradesh government said in documents seeking GI.

    “The prominent characteristic of Banganapalle mangoes is that their skin has very light spots, stone is oblong in shape and has very thin seed with sparse and soft fibre all over,” it said.

    The primary centre of origin of the fruit is Kurnool district comprising Banaganapalle, Paanyam and Nandyal mandals, according to the Andhra Pradesh government which mentioned Rayalaseema and coastal Andhra as secondary centres of origin.

    The government has also listed Khammam, Mahabubnagar, Rangareddy, Medak and Adilabad districts in Telangana as secondary centres of origin.

    Submitting documents for proof of origin, it also cited historical records like a “war fund seal (Banganapally-State Madras War Fund Seal).”

    A logo too is in place — featuring a bright yellow fruit around which the tagline says “Banganappalle Mangoes of Andhra Pradesh,” with images of a man and a woman appearing to be farmers.

    According to an affidavit furnished in 2011 by the then Andhra Pradesh Commissioner of Horticulture, I. Rani Kumudini, nearly 7.68 lakh families were involved in the production of Banaganapalle mangoes.

    About 5,500 tonnes of Banganappalle mangoes were being exported annually to countries like the U.S. and U.K.

    While the annual turnover of Banaganapalle mangoes was approximately ₹461 crore, exports were to the tune of ₹20.68 crore, she had said.

    GI is covered under the Intellectual Property Rights and the Trade Related Aspects of Intellectual Property Rights.

    A GI tag certifies the origin of a product or produce from a particular region as the quality or other features of the product is attributable only to the place of its origin.

    The tag helps farmers or manufacturers, as the case may be, to get a better price in the market.

    source: / The Hindu / Home> Sci-Tech> Agriculture / PTI / Chennai – May 04th, 2017

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    BANGALORE, 23/12/2012: Dadasaheb Phalke Awardee K. Vishwanath at Media Conference as part of Bengaluru International Film Festival in Bangalore on December 23, 2012. Photo: V. Sreenivasa Murthy   | Photo Credit: V Sreenivasa Murthy

    BANGALORE, 23/12/2012: Dadasaheb Phalke Awardee K. Vishwanath at Media Conference as part of Bengaluru International Film Festival in Bangalore on December 23, 2012. Photo: V. Sreenivasa Murthy | Photo Credit: V Sreenivasa Murthy

    Four filmmakers discuss the impact of this year’s Dadasaheb Phalke award winner K Viswanath’s films on their writing and storytelling methods

    In the late 1970s and early 80s, Telugu cinema was witnessing a phase that wasn’t really earning it plaudits. Outlandish costumes and a pop of colour bombs in song sequences were becoming markers of popular cinema. The 80s were characterised by bell bottoms, oversized sunglasses and floral prints in other film industries as well.

    K Viswanath’s films stood out like a breath of fresh air. The characters in his films spoke like real people; they had concerns that mirrored real-life situations. Over the decades, any Telugu film aficionado would have heard and recounted tales of how Sankarabharanam (1979) opened to near-empty halls before it became a rage and ran to packed shows for over a year and its key actors Somayajulu and Manju Bhargavi enjoyed the popularity reserved for stars.

    Viswanath’s films cannot be slotted into what was then called ‘art’ or ‘parallel’ cinema, through he steered clear of mainstream excesses. His films drew audiences in droves, the music percolated well into popular realm and the stories and characters would be cherished for decades.

    When Viswanath chose stars like Kamal Haasan, Chiranjeevi, Jayaprada, Bhanupriya, Radhika, Venkatesh or Vijayashanti, he gave them a chance to better their craft and have the satisfaction of looking back at these films fondly years later. It’s befitting when an actor like Venkatesh today recollects how Swarnakamalam allowed him to be real and not resort to exaggerated expressions, or, when Kamal Haasan takes to Twitter to thank Viswanath for making him a part of Sagara Sangamam.

    Kamal Haasan was no stranger to films depicting realistic stories, thanks to working with directors like K Balachander and Bharatiraja in Tamil. Yet, Sagara Sangamam was a landmark film. It showed that the protagonist needn’t be young and charming through the film. He could be flawed and yet be revered.

    The best part of Viswanath’s films, as director Nandini Reddy points out, is that they remain rooted and effortless. “It didn’t look like he was setting out to make great cinema. He was just trying to tell a story in the best possible way he knew and it all seemed so organic and real,” she says. We nod in agreement.

    Nandini Reddy


    “One of my earliest memories of Telugu cinema is watching Sankarabharanam. It was our Sound of Music. Everyone, age no barrier, loved that film. I was in school and when Manju Bhargavi made a visit, it was no less than a star visiting. Sankarabharanam is a beautiful amalgamation of story, music and performance. The narrative is fluid, which is a hallmark of Viswanath’s work. When we write a film, we mull over the placement of different segments and how it should build up to a climax. In Viswanath’s stories, it all seems to emerge naturally. His was a Zen method of filmmaking. Every musical note, every expression seems so well thought out and beautiful. The close-up shots of Jayaprada, Kamal Haasan or Radhika conveyed so much without words. He believed in brevity of dialogues. Actors lived their parts. I think Viswanath brought dignity and grace to Telugu cinema.”

    (Nandini Reddy is known for her rom-coms and family dramas like Ala Modalaindi and Kalyana Vaibhogame)

    Tharun Bhascker


    One of Tharun’s childhood friends is K Viswanath’s grandson Mukund. Tharun remembers discussing cinema with Mukund and his friends, much before he knew Mukund’s lineage. For Tharun, the vivid childhood image of cinema stems from watching Sagara Sangamam.

    “The film showcased the aesthetics of dance in a non-commercial format. It was offbeat, yet created tremors in the industry and among the audience. In the beginning of the film, we see the protagonist, the hero, as an alcoholic and someone who had given up on his career. That flawed character, to me, announced that it wasn’t a usual film. It was courageous of Viswanath sir as a writer and filmmaker to do that. That kind of writing stuck with me when I grew interested in screenwriting. I have revisited the film on several occasions and with friends, have eagerly watched the song where Kamal Haasan stands on the well, inebriated. We have watched and discussed how an entire song can be choreographed thus and the shot constructions.”

    (Tharun Bhascker directed Pelli Choopulu, which won the National Award for Best Feature Film in Telugu in 2016; he’s now working in his next — a coming-of-age buddy comedy with four youngsters, which he describes as “Dil Chahta Hai meets Hangover.)

    Srinivas Avasarala


    “Viswanath’s films gave me insights into on-screen dynamism, particularly the movement of people and the camera. Remember the scene where Kamal Haasan dances in a newspaper office in Sagara Sangamam? We see Sailaja on the right to begin with and as the scene progresses, she moves left to where her boyfriend is standing. It’s a scene where she needs psychological support and we see her moving to him. Similarly, in Swanakamalam when the father is against the son’s wishes to marry a girl of his choice, we see the mother entering and the son swiftly moves to stand near her. Again, it’s an example of psychological support. As a writer and filmmaker I’ve often asked myself if I would be able to write or make a film like he has. Deep within I know I cannot make a film on classical music or dance, because that requires a deep understanding of the art form and conviction. As a child, when I watched Sankarabharanam I was absorbed by what I saw on screen. This despite the fact that like most children, I wasn’t keen on classical music.

    (Srinivas Avasarala wrote and directed Oogalu Gusagusalade and Jo Achyutananda)

    Nag Ashwin


    “We all grew up watching K Viswanath’s films and most filmmakers of today aspire to make films that are commercially viable, socially relevant and with a blend of humour, which came so easily to him. On a few occasions when I met him at film events and spoke about cinema, he would mention that a story or a movie came to him naturally and he was just a conduit to make it happen. That’s an approach I relate to. My favourites among his films are Swarnakamalam (1988) and Swatikiranam (1992). I’ve lost count of how many times I would have watched them for the nuances of filmmaking and fresh approach to storytelling. Until I watched Swatikiranam, I didn’t know it was possible to make such an impactful film about a guru getting jealous over a student’s success. As a child, I remember watching Aapadbandhavudu (1992). I was stunned at how it moved me emotionally. I remembered hearing that the film didn’t do well. I kept wondering how such a film didn’t find enough takers. Every few years I revisit this film to see if it was ahead of its time. The music is evergreen, as is the case with every film of Viswanath.”

    (Nag Ashwin debuted as a director with Yevade Subramanyam and is now making a biopic on late actress Savitri, titled Mahanati)

    source: / The Hindu / Home> Entertainment> Movies> Personality Movies / by Sangeetha Devi Dundoo / April 25th, 2017

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