** Pawan's getup from PULI and PAJERO used by him **
Pawan Kalyan's getup and photos of his vehicle etc were kept as secret from press so far, but tv9 channel disclosed everything last night and producer is planning to sue the channel for this..
Pawan Kalyan's Komaram Puli shoot is progressing in Malaysia
this is the bike pawan will use in PULI!............
the above is meeting set1
Car which will be used by pawan.... car name is
mitsubishipajero
nikesha patel in PULI .....
pawan on PULI sets
puli car
Knowing the equation fully well, it was certainly laudable of Chiranjeevi to invest his money into a venture, the monetary returns of which, he knew, could never come close to the expectations. He traded his coffer returns to the artistic satisfaction of having produced a movie, that would very well go down into the annals of telugu film history as an important movie with a message, particularly during an era, when the hero would be frowned upon for not changing his costumes for each stanza of a song. The story, the direction, the lyrics, the score and the acting - each department would stand on its own and hail the collective critical success of the movie. Rudra Veena fetched Chiranjeevi (and Prod. Nagendra Babu) 4 national awards - best regional feature film, best musical score (Illayaraja), best male playback (Yesudas), the Nargis Dutt award for national integration.
Social movies are tricky to be translated into the film medium. They have to preach something or pass on a message without actually appearing to be doing so. The age old problems of untouchability, alcoholism, collective effort for a better future, have been tackled before to varying degrees and to varying results. What Balachander and Ganesh Patro tried to do with Rudra Veena was unique in that they made Rudra Veena as much about an artist's inner struggle in trying to reconcile between his social aspirations and artistic delights, as it is about his noble intentions to try rid of the society of its evil in any and every which way he can. Music is the medium that the lead character, aptly named Suryam, chooses to express his ideas and ideologies in. He weaves his music around the ills plaguing his immediate surroundings, soothes his soul with his tunes and tries to keep his feet firmly grounded without getting too carried away in his search of salvation, the artistic way.
Rudra Veena, in the way an artist tries to defy the soceital norms and make his music more in tune with the world, is similar in its approach to an old ANR movie - Sarada Picture's jaya bhaeri (1959). Both of the movies try to glorify the ways and means of making art answerable to the society than have it remain non-committal, uninvolved and uninspiring. While jaya bhaeri restricts itself to the redemption of the artist, Rudra Veena goes one step forward, makes the lead character an idealist and a more responsive member of the society, who mirrors the wishes of the downtrodden in his tunes. The age old battle between conservatism and liberalism is given a new twist in it, socialistic seeds seep into the open mind of the protagonist. The pillars of conformistic conservative values are shaken at their foundations, when the artist reflects plight of the weak and references the indifference of the artistic elite in the traditional tunes. The rift between Suryam and his father (assayed by Gemini Ganesan), on a more metaphorical level, could well be between the art trying to be apathetic and the art trying to be more reflective.
While Balachander and Ganesh Patro handle the prose word, Sirivennala steps in to infuse life to Illayaraja's tunes, illuminating them with his scintillating words. Sirivennela covers the whole spectrum of emotions from a light hearted lyric (ranDi ranDi daya caeyanDi) to an equally potent outpour (ceppaalani undi gunDe vippaalani undi). The lyric of "ceppAlani undi" sums up the character's feelings aptly and the way Sirivennela blends his lyrics with Sri Sri's kavita jaya bhaeri (naenu saitam), makes it a true homage to true praja kavi Sri Sri. Illayaraja won his third national award for best music director (the first was awarded for Sagara Sangamam and second for Sindhu Bhairavi) displaying his inimitable range in Rudra Veena - from traditional (tulasi daLamulacae) to folk lore (tarali raada tanae vasantam), from complex (lalita priya kamalam) to lucid (cuTToo pakkala cooDaraa). It is quite a shame that Sirivennela was passed upon for best lyrics at the national level for Rudra Veena, inspite of rich "bhaava gaambheeryata" and "bhaasha paTutvam" that he demonstrated in the same.
The movie came and went. Audience turned a blind eye and a deaf ear to it. It rather Chiranjeevi bash up hundreds of goons, gyrate to mindless of tunes and regale them with "more of the same" movies. Chiranjeevi obliged and Rudra Veena remained his last sensible movie as an offering on a more personal level
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