Friday, November 27, 2009

DEEPAVALI 1960

DEEPAVALI 1960

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Director:
Rajanikanth

Produced by
Gopal Rao .

Original Music by
Ghantasala Venkateswara Rao

Makeup Department
Gopal Rao .

Music Department
Leela P. .... playback singer
Ghantasala Venkateswara Rao .... playback singer
P. Suseela .... playback singer

Production Companies
Aswarika Productions

Genre:
Drama / Musical

Cast
Rama Rao Taraka Nandamuri ... Lord Krishna
Krishna Kumari ... Rukmini Devi
Savitri ... Satyabhama
S.V. Ranga Rao ... Narakasurudu
Kanta Rao ... Narada Maharshi
Gummadi ... Nagadattudu
Ramana Reddy ... Sishyasurudu
Rushyendramani ... Devas mother Aditi

Story:Based on mahabhagavatam.


DEVANTAKUDU 1960

DEVANTAKUDU 1960

Direction :
C Pullaiah

Banner :
Bhargavi Pictures

Cast:
NT Rama Rao,
Krishnakumari,
SV Ranga Rao

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BHATTI VIKRAMARKA 1960

BHATTI VIKRAMARKA 1960

Director:
Chandrasekhara Rao Jampana

Release Date:
28 September 1960

Plot Keywords:
Character Name In Title

Produced by
Satyanarayana Murthy P.V.V.

Original Music by
Pendyala Nageshwara Rao

Music Department
Ghantasala Venkateswara Rao .... playback singer
P. Susheela .... playback singer

Production Companies
P.V.V.S.M. Productions

Cast
Rama Rao Taraka Nandamuri ... Vikramarka Maharaju
Kanta Rao ... Bhatti
Anjali Devi

Story:The story based on bharateeya ithihasa story's.vikramarka was king,and bhatti was his brother and minister to him.the story goes on their adventures.


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RAJAMAKUTAM 1960

RAJAMAKUTAM 1960

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Director:
B.N. Reddi

Writers:
Narasa Raju D.V.
Narasa Raju D.V.

Original Music by
Master Venu

Cinematography by
Konda Reddy B.N.

Music Department
Krishnaveni Jikki .... playback singer
Ghantasala Venkateswara Rao .... playback singer
P. Susheela .... playback singer

Production Companies
Vauhini Studios

Genre:
Action / Drama / Romance
D V NARASARAJU
Cast
Rama Rao Taraka Nandamuri ... Pratap
Kannamba
Rajasulochana ... Prameela
Gummadi
Padmanabham
Rajanala
Mukkamala

SRI VENKATESWARA MAHATYAM 1960

SRI VENKATESWARA MAHATYAM 1960

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Banner: Padmasri Pictures
Direction: P Pullaiah
Screenplay: Acharya Athreya
Lyrics: Acharya Athreya & Malladi Ramakrishna Sastry, Arudra & Narasa Reddy
Camera: PL Rai
Music: Pendyala Nageswara Rao

Cast:
NT Rama Rao,
Savitri,
S Vara Lakshmi,
Gummadi venkateswara Rao,
Chittoor Nagaiah,
Shantakumari,
Suribabu,
S Janaki,
Sandhya,
Ghantasala Venkateswara Rao,
Rajanala Nageswara Rao &
Relangi Venkatramaiah

Story:
The art of making a film that remains evergreen is certainly no easy task. It requires high artistic talents, and great vision on the part of the director as well as the producer. Only a combination of imaginative and intellectual brains can create history in any field. Here we are discussing a memorable film that even after several decades stands as testimony to the high standards of Indian cinema of the olden days. 'Venkateswara Mahathyam' is an example of the high entertainment standards of the days gone by.

It was first made in 1936 by P Pullaiah under the Famous Films banner with greats like CSR Anjaneyulu and Shanthakumari in the lead roles. It turned out to be a grand success and set the trend of grand stellar combinations. Shanthakumari who played Padmavathi in the film at once became the heartthrob of that generation with thousands of admirers eager to see her again and again. The movie was said to be among the successes of the early days of Pullaiah and Shanthakumari's married life.

Generally, no producer dare make the same film a second time, though the first version of it has been a sensational hit and earned director the good will of the spectators. But P Pullaiah in his movie career of 50 years created history by remaking the 1936 film in 1960, this time under the Padmasri Pictures banner, with a change in the lead pair. While the matinee idol NT Rama Rao appeared as Srinivasa, the talented and glamorous Savithri attracted thousands of admirers as Padmavathi. Shanthakumari this time took on the role of Vakulamala. Gummadi as Bhrigu and S Varalakshmi as Sri Lakshmi performed impressively. This galaxy of talented artistes really created waves in the history of the Telugu cinema. A good number sincerely believe that this film evoked a great sense of devotion among the filmgoers!

Two literary stalwarts Duvvuri Ramireddy and Athreya wrote the dialogues for the first and the second production respectively of the movie. Though times had changed Athreya wrote the dialogues to suit the changed tastes of the new generation. In fact Athreya played three roles in shaping the movie - as a dialogue writer, as an actor in the role of Akasaraja and as the speaker of the epilogue of the movie.

The story of the film runs like this: Evil dominates the world. The wicked prosper, as the good are made to suffer as a result of the vicious impact of the spirit of the times, the Kaliyuga, presided over by Kalki. To rid the world of wickedness, great rishis hold yagas under the guidance of sage Kshyapa. However, none could be found to eliminate evil and establish virtue. Sage Bhrigu went to Lord Maha Vishnu, enjoying the blissful company of his spouse Sri Lakshmi, did not notice the sage's arrival. Furious, the sage kicked the Lord on the chest. Vishnu without being offended at all pacified the sage and made him realize how anger makes people lose their sense. Sri Lakshmi, however, could not bear all this. In great anger, She left Vaikuntam for the earth below. In search of her, Sri Vishnu too came down to the earth. He took shelter as Srinivasa in the ashram of Vakulamatha. Later, however, Srinivasa met Padmavathi and married her, as everybody knows.

There is an interesting story behind the last scene of the film. After collecting the story material Director-producer Pulliah asked Ramireddi to write the dialogue for the sequence in the last scene in which both Sri Lakshmi and Padmavathi contend for the right to be the spouse of Srinivasa in his presence. Srinivasa, vexed with this quarrel turns into stone. This is not found in any of the source material. It was Pullaiah's invention. Without being aware of it, Ramireddi went ahead with the dialogues according to the wishes of his producer. The dialogues were indeed very effective. Later, however, Ramireddi was astonished when he was told that the scene and the episode were Pullaiah's creation!

The film established Pullaiah as a producer, and the cast Shanthakumari, CSR, NTR, Savithri, Gummadi, Duvvuri, Athreya as artistes of great promise. The film was a spring board especially for NTR. It is his performance in this movie that turned him into the most beloved actor of the Telugu screen and stamped him as 'the screen god'. Admirers thronged in thousands every where behind NTR. Another great man behind this grand success was Pendyala Nageswara Rao, the music director of the film. The song 'Seshasaialavasa..' is heard and sung almost every day in Telugu homes till today. All credit to Pendyala for the tune, and all praise to the immortal voice of Ghantasala for rendering it so evocatively. So in all senses this film is Pullaiah's EVERGREEN MAGNUM OPUS!

Devanthakudu (1960)

Devanthakudu (1960)

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Kadeeddulu Ekaranela (1960)

Kadeeddulu Ekaranela (1960)

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Vimala (1960)

Vimala (1960)

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Bala Nagamma (1959)

Bala Nagamma (1959)

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Appuchesi Pappukoodu (1959)

Appuchesi Pappukoodu (1959)

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Rechukka- Pagatichukka (1959)

Rechukka- Pagatichukka (1959)

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Sabhash Ramudu (1959)

Sabhash Ramudu (1959)

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Diava Balam (1959)

Diava Balam (1959)

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Vachhina Kodalu Nachhindi (1959)

Vachhina Kodalu Nachhindi (1959)

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Bandaramudu (1959)

Bandaramudu (1959)

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BHOOKAILAS 1958


Bhookailas (1958)

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Directed by:
K. Shankar
Writing credits:
Samudrala Raghavacharya
Produced by;
A.V. Meiyappan
Original Music by:
Goverdhanam R.
Sudarsanam R.
Cinematography by;
Madhav Bulbule
Film Editing by;
K. Narayanan
K. Shankar
Art Direction by:
A. Balu
Music Department:
Komala A.P. .... playback singer
Vasantha Kumari M.L. .... playback singer
Ghantasala Venkateswara Rao .... playback singer
P. Susheela .... playback singer
Bhagavathi T.S. .... playback singer
Other crew:
Dandayudapani Pillai .... choreographer (as Dhandayudhapaani K.N.)

Cast:
Rama Rao Taraka Nandamuri ... Ravana
Nageshwara Rao Akkineni ... Narada
Jamuna ... Mandodari
S.V. Ranga Rao ... Maayasura
Nagabhushanam ... Lord Shiva
Saroja Devi B. ... Goddess Parvathi
Hemalatha ... Kaikasi
Helen ... Apsarasa
Vijaya Nirmala ... Goddess Seetha

Story:
Produced in Telugu, Tamil and Kannada by AV Meyyappan, Bhookailas has become a legend that marked the beginning of the golden period of the Telugu cinema. NTR and ANR acted in Telugu, while in Kannada Rajkumar and Kalyankumar played the corresponding roles. K Shankar directed this movie. The film has the distinction of NTR's first appearance in the pratinayaka (villain's) role as Ravana. An actor of assured popularity for his hero's role till then, NTR taking on a villain's character in the movie is an adventure in itself. He created history by being the first among the Telugu heroes to do so. It did invite criticism. Never bothered, NTR went ahead to test his own histrionics skills. His view of Ravana differed from the conventional view. In NTR's opinion, Ravana was born for a cause. Ravana to him was an unparalleled devotee of Lord Siva.

Akkineni, on the other hand, had already appeared in AVM's successful films and had a perfect equation with them. He had acted in AVM's 'Sadarama' and 'Vadine'. It is said that he had taken advance for one of their films in which he had to act the role of a thief. When the shooting began, however, ANR felt that this role would damage his hero's image and might not secure audience's appreciation. He is said to have brought this to Meyyappan's notice, and asked him to stop the production. He offered to return the advance he had taken for the movie. AVM in appreciation of his sincerity politely refused the offer. He proposed that the amount could be adjusted against the remuneration for a future film. Bhookailas was that other film. Nageswara Rao was to play Narada.

ANRNTR and ANR playing the roles of Ravana and Narada respectively, address each other in the movie as Taata (Grandfather) and Manavadu (Grandson) in the movie. It was really humorous. For a change ANR appeared in a different role from his earlier ones in folklores and socials. He displayed a different kind of talent reflecting the original nature of Narada's character; of creating quarrels between great people for the good of the world. SV Ranga Rao played Mayasura, Nagabhushanam was lord Siva and Mahankali Venkaiah was Kumbhakarna. Jamuna played the lead role as Mandodari. B Saroja Devi was Parvati, and Hemalatha was Kaikasi. Helen, EV Saroja and Gopikrishna figured in the dancing roles displaying high standard classicism. This added luster to the film.

Bhookailas is also known for its memorable music. R Sudarshanam and R Govardhanam provided music. AVM orchestra gave excellent support to their tunes and that resulted in immortal songs rendered by the inimitable Ghantasala and others. One should carefully listen to Ghantasala's vocal magic when he sings in sequence for Ravana (NTR) and then for the role of Narada played by ANR. Two songs worth mentioning are 'Deva Deva Dhavalachala' for Ravana and 'Narayana Hari Namo Namo' for Narada. It was given only to Ghantasala to sing in two different voices and in different modulations to suit NTR and ANR!

Jamuna'Neela Khandhara Deva' is another haunting song, of great appeal to the devout. 'Ramuni Avataram Ravikula Somuni Avataram,' is also an immortal song, as also, 'Andamulu Chinde Avani Idena'. 'Sundaranga Andukora' for a dance by Helen is still fresh in the memories of those who watched the movie when it was first released. A Kamala Lakshman dance number too was great. Samudrala Raghavacharya was the story, dialogue and lyric writer. Madhava Bulbule was the cinematographer, while one of the most revered Bharatanatya gurus KN Dandayudhapani Pillai choreographed the dance items. Art directed by Balu, the film, released 47 years ago is still fresh in the memory of those who saw it then.

RAJA NANDINI 1958

RAJA NANDINI 1958

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Directed by
Vedantam Raghavaiah

Writing credits
Ramakrishna Sastry Malladi dialogue
Ramakrishna Sastry Malladi story

Produced by
Jagannatha Rao Midde .... producer (as Jagannatha Rao)
Ramakrishna Rao Midde .... producer

Original Music by
Raju T.V.

Music Department
Raja A.M. .... playback singer
Ghantasala Venkateswara Rao .... playback singer
P. Susheela .... playback singer
G VARALAKSHMI
Cast
Rama Rao Taraka Nandamuri
Anjali Devi
Varalakshmi G.

Intiguttu (1958)

Intiguttu (1958)

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Raj Narthaki (1958)

Raj Narthaki (1958)

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Manachi Manusuku Manchi Rojulu (1958)

Manachi Manusuku Manchi Rojulu (1958)

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Anna Thammudu (1958)

Anna Thammudu (1958)

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Sobha (1958)

Sobha (1958)

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Karthava Ramuni Katha (1958)

Karthava Ramuni Katha (1958)

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Raja Rao Intiguttu (1958)

Raja Rao Intiguttu (1958)


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Sri Panduranga Mahatyam (1957)

Sri Panduranga Mahatyam (1957)


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Banner: NAT (P) Ltd.
Direction: K. Kameswara Rao.
Producer: Trivikram Rao.
Art: Thota.
Audiography: A. Krishnan.
Choreography: Vempati Satyam.
Cinematography: MS Rehman.
Costumes: Achyuta Rao.
Editing: GD Joshi.
Lyrics & Dialogues: Samudrala Jr.
Make-up: Haribabu, Doraswamy & Raman.
Music: TV Raju.
Nirvahana: Pundari Kakshaiah.

Cast:
NTR,
V. Nagaiah,
Sivarao,
Dr. Govindarajula,
KVS Sharma,
Padmanabham,
Balakrishna,
Peketi,
Boddapati,
Lakshmaiah Chowdary,
AV Subbarao,
Ramachander Rao,
Koneswara Shastry,
Anjalidevi,
B. Saroja,
Rshyendramani,
Chayadevi,
Ammaji,
Nimmi,
Rita,
Janaki (guest appearance) and Others.

Story:
To the average Cinegoer, when there is any mention of NTR, one visualizes him in the get-up of Lord Krishna. True, he made a tremendous impact with that character, but he played many other mythical characters too, which are similarly alluring, although not quite so popular. One such example is his role in Paanduranga Mahaathyam (1957).

NTR had started National Art Theatre (NAT) whose first two productions Pichchi Pullaiah (1953) and Thodu Dongalu (1954) bombed. The third venture, Jayasimha (1955) hit bullseye, and with renewed enthusiasm, they sought to create cinematic success again. Inspired by the Tamil golden oldie Hari Dasu (which had the effervescent Vyjayanti Mala's mother Vasundhara Devi playing the female lead), and with some legends and folklore based in Maharastra, Paanduranga Mahaathyam was conceived.The director Kamalakara Kameswara Rao did two movies with NTR before, Chandraharam and Penki Pellam, both of which flopped big time, so much so that people told NTR that it was a jinxed combination, had NTR's complete faith in his knowledge of scriptures and folklore and was roped in. After this movie, Kameswara Rao made many other movies with NTR which became huge successes in Telugu celluloid-Gundamma Katha, Nartanasala and Mahamanthri Thimmarasu to name a few.

B. Saroja Devi was a budding actor in Tamil and Kannada movies. NTR choose her for the role of Kalavathy; she was happy about acting next to NTR in her Telugu debut, but immediately disheartened when she was narrated the role. She hesitated, but was convinced by NTR to take up the role. Not only that, his make-up artist rejected her without a thought as she was dusky, but NTR found her attractive and charming. She later came to be known as a glamour diva in Telugu cinema. So NTR's two gambles paid off!The story, in a nutshell is as follows: Pundarikudu (NTR) is from a pious Brahmin family, but is not interested in the worship of God and irreligious, a complete rebel who is asked to mend his ways by his parents. He steals their gold for a prostitute Kalavathy (B. Saroja Devi), and his mother takes the blame, and they part ways. Kalavathy takes all of his wealth and throws him out.

He goes to a Hermitage where he falls in love with three disciples of the Sage, who break his legs for this blasphemy. He then realizes the importance of his parents, goes back to them, begs for forgiveness, and prays to Lord Panduranga to grant him the boon of merging into him along with his parents-in other words, giving out the message that one has to serve one's parents, and it is the quickest way to Salvation/God.
It was the beginning of an era of Old Age Homes, now sadly more rampant than ever, so the significance of the message cannot be stressed upon enough. This movie made its impression on the minds of people-one person wrote to NTR to say that it made him realize the value of parents, who he had thrown out previously, and gotten back home after watching the movie!

Samudrala Jr. wrote the dialogues and the lyrics, which were well appreciated. 'Krishna Mukunda Murara' rendered by Ghantasala and composed by TV Raju is one of the longest songs in Telugu lasting a mind-numbing 15 minutes and was and still is extremely popular.

In this song, the baby Krishna is played by none other than Vijaya Nirmala, who debuted in Telugu with this as a child artiste. 'Amma Ani Arichina' is another song in this movie that melted many hearts. There are Hindi and Marathi songs in this movie too, composed by Joseph, who later composed for another NTR-starrer 'Gulebakavali Katha'.

Ghantasala's name was not mentioned in the credits, and his wife promptly reported this to NTR who apologized for the error. Actor/Singer Chittoor V. Nagaiah, who along with acting as NTR's father in the movie, rendered 'Jaya Jaya Gokula Bala', did not have his name mentioned in the singing credits either.

The songs, the direction and the message were loved by the masses. One song and one message in the movie stood the test of time: Even after five decades, the plea to respect and take care of one's parents still holds good, and is relevant in today's cut-throat society.

Bhagya Rekha (1957)

Bhagya Rekha (1957)

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Banner: Ponnaluri Bros
Director: B.N. Reddi
Music: Pendyala Nageshwara Rao

Story: Palagummi Padmaraju
Lyrics: Jr Devulapalli Krishna Sastry, Kosaraju, Adisesha Reddy
Cinematography: B.N. Konda Reddy

Cast:
T. Rama Rao,
Jamuna,
D. Hemalatha,
Govindrajulu Subba Ruo,
SowcarJanaki,
Relangi Venkatramaiah,
Lakshmikantam,
E.V. Saroja

SHAVUKAR JANAKI&GOVINDARAJULA SUBBA RAO
Story: Reddi's hit film (one of the few films he did not produce himself) tells of the orphan Lakshmi (Jamuna) who is raised by her kindly uncle Nayarana Rao and her evil aunt Jagadamba. Narayana Rao and Jagadamba already have two children: the boy Kotaiah who runs away to join the army and the spoilt daughter Katyani who wants to marry the manager of a cinema theatre. When Kalyani's fiance falls in love with Lakshmi, Lakshmi leaves and finds a second home when she restores a lost child to its mother- While Lakshmi works as a tutor to a rich girl whose brother Ravi (NTR) falls in love with her, auntJagadamba starts spreading malicious rumours, preventing [he lovers from marrying and driving Lakshmi away again. Ravi falls ill with frustration but eventually things are set right when the son Kotaiah returns home and discovers the injustice his mother inflicted on the heroine.

Maya Bazar (1957)


Maya Bazar (1957)

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Directed by;
Kadri Venkata Reddy
Writing credits;
Pingali Nagendra Rao dialogue (story)
Kadri Venkata Reddy adaptation

Produced by;
Chakrapani
Nagi Reddy
Original Music by;
Ghantasala Venkateswara Rao
Saluri Rajeshwara Rao Cinematography by;
Marcus Bartley
Film Editing by;
C.P. Jambulingam
Kalyana Sundaram
Art Direction by;
Madhavapeddi Gokhale
Set Decoration by;
Srinivasan K.
Kuppuswamy
Makeup Department;
Bhaktavatsalam .... makeup designer
Peetambaram .... makeup artist
Production Management;
Jagannath .... production manager
Chalapathi Rao .... production manager
Second Unit Director or Assistant Director
Nageshwara Rao C. .... assistant director
Art Department;
Gopal .... chief moulder
Kalaadhar .... artSound Department;
A. Krishnan .... sound
Sivaram V. .... sound
Camera and Electrical Department;
Vrishabendraiah .... still photographer
Music Department;
Krishna Murthy A. .... orchestra
Krishnaveni Jikki .... playback singer
Vasantha Kumari M.L. .... playback singer
Leela P. .... playback singer
Ghantasala Venkateswara Rao .... playback singer
Rushyendramani .... playback singer
Madhavapeddi Satyam .... playback singer
P. Susheela .... playback singer
Other crew;
Gopinath .... choreographer: dance direction
Jayaram .... jewellery
Nageswara Rao K. publicist
Murthy K.S.N. .... background paint
Sengupta N.C. .... processing
Krishnamurthi Pasumarti .... choreographer: dance direction


Cast:
Rama Rao Taraka Nandamuri ... Lord Krishna
S.V. Ranga Rao ... Ghatotkajudu
Savitri ... Sasirekha
Nageshwara Rao Akkineni ... Abhimanyu
Rushyendramani ... Subhadra
Seeta Rama Anjaneyulu Chilakalpudi ... Sakhuni
Relangi Venkatramaiah ... Laxmana Kumarudu
Gummadi ... Balarama
Sandhya ... Rukmini
Chaya Devi ... Revathi
Suryakantham ... Hidimbi
Nagabhushanam ... Satyaki
Ramana Reddy ... Chinnamaya
Mukkamala ... Dhuryodhana
Mikkilineni ... Karna
Anand ... Young Abhimanyu (as Master Anand)
Nageswara Rao R. ... Dushyasanudu
Saraswathi ... Young Sasirekha (as Baby Saraswathi)
Balakrishna ... Sarathi
Chadalavada ... Lambu
Dhulipala
Rajani ... Bhanumathi
Narasimha Rao Kanchi ... Lord Krishna in disguise (in the song 'atu nene itu nene')Allu Ramalingaiah ... Sarma
Madhavapeddi Satyam ... Daaruka
Mohana
Vangara ... Sastri
Rama Murthy Nalla ... Jambu
Parvati

Bezawada Rajarathnam ... Yashoda (in the song Vinnava Yashodamma)
Babji ... Chinni Krishnudu (as Master Babji in the song Vinnava Yashodamma)
Seeta (as Sita)
Saroj Khan ... Dancer (as Saroja)
Lalitha Rao ... Dancer
Rita ... Dancer
Story:
We have great producers, directors, script writers and cameramen, and very great films, quiet a few of them, deserving to be called movies for ever. They are the delight of the people of all walks of life and for film fans of any age. And who doesn't know 'Maya Bazar', one of the creative bests of all time? It certainly takes a prominent place among the 'must see movies' of any time and any age. Why so? It has in it every thing to make it an all time super hit.

Making a movie legend of an epic To have a good film material is one thing and to adapt it for a movie is quite another. It certainly is not an easy task to make a popular movie of a story that everyone is familiar with, as only a novel presentation of it can excite the audience, and it is not easy to present a familiar story in a new light. Vijaya Productions deserve all credit for showing in an entirely new light, an old theme and old story so well-known to the audience, and making it exciting too! Almost every Indian knows the story of the Mahabharata well, and to make an entertaining movie of a well-known episode in it is a real challenge to any filmmaker. The title 'Maya Bazar,' for one, is of appeal to the average cinegoer, but the high standard entertainment provided by the movie and the artistic values it has exhibited draws audiences of all classes to the movie. The artistes lived every moment of their roles to the acclaim of all. In their portrayal the characters of the epic of epics come alive before the spectators.
The credit for bringing out their talent definitely should go to the director, KV Reddy. He deserves appreciation too for pooling real creative geniuses – Pingali Nagendrarao for his effective scripting, Ghantasala for his lilting and melodious music and Marcus Bartley for his masterly cinematography. The movie is a thorough entertainer of high artistic standards and nothing in it can be replaced or improved – the dialogues, the songs and music or the tricks of photography. Every inch of the film is marvel of movie achievement of the great team of artistes and technicians that ever joined together to make a film. It is a fact that the youngsters of this generation hear a lot about the film and wish to see it at least once is a proof of its lasting appeal. People are not tired of seeing it any number of times. Such is the impact of the film. Once you see it, every frame of the movie etches itself in your memory. Whenever you think of the comic scenes you laugh your sides out. Its creative presentation is never lost on you.

The star cast CSR as Sakuni, Gummadi as Balarama, NTR as Krishna, Relangi as Lakshmana Kumara, SVR as Ghatothkacha, ANR as Abhimanyu, Savitri as Sashirekha performed their ever best to make the film an evergreen classic. The audience feels the characters of the epic come alive before them, and get involved in the incidents taking place on the screen. Such is the impact the actors had left behind! Even today people talk of and imagine Savitri, NTR, SVR or ANR in association with their roles in the film. Discuss the film anytime, you don't omit even a bit of the roles played by these eminent actors.
Imagination and artistry of the director Every frame of the film, every movement of the actors reveals the skill and masterly understanding of the roles by the director KV Reddy. He got involved in the creation and presentation of the characters. Every bit in every sequence stands out as a proof of the master stroke of the director. You can neither replace nor improve any part of the movie. It is a flow of creative genius. You feel you are right there watching the epic characters interacting with each other.
Haunting melodies You can't find a single jarring note either in the songs or in the background music score of the film. Long after you hear them, the songs keep ringing in your ears - every note of the music enthralls the audience and gives them pleasure. Even today songs like 'Lahiri lahiri lahirilo,' 'Chupulu kalisina subhavela,' 'Neekosamene jeevinchunadi' keep haunting us. They are heard at every nook and corner of the state. Thousands of film fans sing the song 'Lahiri lahiri lahirilo,' without the slightest knowledge of the raga (Mohana) in which it is set. In the calm of the night it soothes our heart. Young couples in love hum 'Chupulu kalisina,' and pour out their love. Hats off to Ghantasala for setting the music in such an apt manner!
Art and skill of Marcus Bartley Right from the start to the end we observe the fabulous camerawork of Marcus Bartley. The whole movie is a feast of photography, delighting the eyes. If the artistes excelled in histrionics, he excelled in the art and science of photography. The photography is a joyous piece of work and does not cause a bit of strain to the eye, in spite of the highly effective camera tricks so essential a part of a mythological. Take any crowded scene in the film, you feel Marcus Bartley making you feel you are one of the crowd! Every shot is a masterly shot bringing back to us the times of the past of long, long ago. That is Marcus Bartley for you!

Other characters Though the story runs around the Pandavas, no specific importance is given to the characters. Comedian Balakrishna plays two characters in the film, but we see them as acted by two entirely different men. Singer Madhavapeddi appears as the charioteer for Subhadra and Abhimanyu. Madhavapeddi regales the audience with his unforgettable song 'Vivaha bhojanambu'. He sang it effortlessly. But in Tamil, a Tamil singer strained himself a lot to sing the same song, it is said.

Nalladhamayanthi (1957)

Nalladhamayanthi (1957)

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Veera Kankanam (1957)

Veera Kankanam (1957)

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Samkalpam (1957)

Samkalpam (1957)

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Vinayaka Chavithi (1957)

Vinayaka Chavithi (1957)

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Bhale Ammailu (1957)

Bhale Ammailu (1957)

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Sathi Anasuya (1957)

Sathi Anasuya (1957)

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Sarangdhara (1957)

Sarangdhara (1957)

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Kutumba Gauravam (1957)

Kutumba Gauravam (1957)
Kutumbha Gowram (1957)

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Chiranjeevulu (1956)

Chiranjeevulu (1956)

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Tenali Ramakrishna (1956)


Tenali Ramakrishna (1956)

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Tenali Ramakrishna (1956)

Banner: Vikram Prod.

Director: B.S. Ranga
Music: Vishwanathan-Ramamurthy

Story: Based on C.K. Venkararamaiah's play
Screenplay: Samudrala Raghavacharya
Dialogues: Samudrala Raghavacharya
Lyrics: Samudrala Raghavacharya
Cinematography: B.S. Ranga
Producer: B.S. Ranga

Cast:
P. Bhanumathi,
Jamuna,
N.T. Rama Rao,
A NageshwaraRao,
ChittorV Nagaiah,
Surabhi Balasaraswathi,
Sandhya,
K. Mukkamala

Story: Megabudget trilingual featuring the legendary folk hero and jester in the government of Krishnadeva Raya, king of the Vijayanagara Empire 1509-30. The Bahamani Kingdom, in a protracted war with Vijayanagara, sends the dancer and courtesan Krishnasani (Bhanumathi) to seduce the king (.NTR) and to spy on him. The king falls in love with her and only an elaborate ruse by TenaIi RamaKrishna (Nageshwara Rao) and Chief Minister Timmarasu (Nagaiah), another legendary figure (and the -subject of an independent film biography by K. Kameshwara Rao in 1962), in which they disguise themselves as a holy man and his disciple, enables the king to realise the truth. Bhanumathi's musical presence was again the film's star attraction, The story had been filmed byH.M.Reddy in 1941.

Chintamani (1956)


Chintamani (1956)

Banner: Bharani Pics
Director: P.S. Ramakrishna Rao
Music: P. Bhanumathi, Addepalli Rama Rao
Story: Ravoor Venkata Satyanarayana Rao
Lyrics: Ravoor Venkata Satyanarayana Rao
Cinematography: Sridhar

Cast:
P. Bhanumathi,
N.T. Rama Rao,
Jamuna,
S.V. RangaRao,
Relangi Venkatramaiah,
Kalyanam Raghuramaiah,
Rushyendramani,
Lakshmikantam

Story: Bharani Studios' remake of Y.V. Rao's Tamil mythological, Chintamani (1937). Chintamani (Bhanumathi), forced into prostitution by her mother, falls in love with the merchant Bilwamangal (NTR). The latter reciprocates her feelings, which leads to much tragedy, revealed in mystical imagery: his wife's corpse and a python help Bilwamangal cross a river to be with his beloved. Chintamani is disillusioned, prompting the gods Krishna and Rukmini to descend to earth to show her the right path. The legend was filmed repeatedly, some versions presenting it as a biography of the saint poet Surdas (Homi Master's silent Bilwamangal, 1929; Madan Theatres' Bilwamangal, 1932). Most Hindi and Bengali versions tell the story from the male perspective, following Girish Ghosh's famous play Bilwamangal (1886), but the South Indian films narrate Chintamani's tale. Although at times accused of plagiarising C. Ramchandra's Hindi compositions from Azad (1955), Bhanumathi's score is successful (e.g. Ravoyi ravoyi, Punnami chakorinoyi). Kannada actress B. Saroja Devi repeated the title role the following year.

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Jayam Manade (1956)

Jayam Manade (1956)


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Sonta Ooru (1956)

Sonta Ooru (1956)


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Harischnadra (1956)

Harischnadra (1956)

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Uma Sundari (1956)

Uma Sundari (1956)

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Srigowri Mahatyam (1956)

Srigowri Mahatyam (1956)

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Penki Pelam (1956)

Penki Pelam (1956)

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Charana Dasi (1956)

Charana Dasi (1956)

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CHARANA DASI 1956


Director
Prakasa Rao, Tatineni

Banner
Lalita films

Producer
Sankara Reddi

Dialogues
sadaaSiva brahmam, vempati

Music
Rajeswara rao, Saluri

Playback
Satyam, Madhavapeddi
Suseela, P
venkaTESwararaavu, ghantasaala
Leela, P
Jikki Krishnaveni, P.G
naagESwararaavu, Pithapuram
swarNalata
RANi, K
mallikhaarjuna raavu

Cast

Anjali Devi
Nageswara Rao, Akkineni
Rama Rao, N.T
Ranga Rao, S.V
Savithri
venkaTaraamayya, RElangi
Bapineedu
Boddapaati
Dr. Subba Rao, G.V.
hEmalata
Jaggarao, S.V
Kannamba, pasupulETi
Kutumbarao, ChadalavADa
Leela Rani
perumaaLLu, soorapanEni
Radha Krishnan, Kaka .... guest
Ramana Reddy
Shaukaru Janaki
Subba Rao, Paladugu
Subba Rao, Paturi
Surya Kantam

Story:

based on Tagore's famous novel "noukA DUbI", aka "The Ship wreck"

Bilwamangal Jayam Manade (1956)

Bilwamangal Jayam Manade (1956)

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Missamma (1955)


Missamma (1955)

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Direction: LV Prasad.
Producers: BN Reddi & Chakrapani.
Banner: Vijaya Productions Limited.
Art: Gokhale & Kaladhar.
Audiography: A Krishnan.
Choreography: P Krishna Murthy.
Cinematography: Marcus Bartley.

Editing: CP Jambulingam & Kalyanam.
Lyrics: Pingali Nagendra Rao.
Make-up: Peetambaram & Bhaktavatsalam.
Music: S Rajeswara Rao.
Script & Screenplay: Chakrapani.
Singers: Leela, Raja & Suseela.

Cast:
NTR,
ANR,
SV Rangarao,
Relangi,
Ramana Reddy,
Balakrishna,
Doraswamy,
Ramalingaiah,
Gummadi,
Savitri,
Jamuna,
Rshyendramani,
Meenakshi and Others.

Story:
A few months ago we celebrated the Golden Jubilee of 'Devadas', a remarkable film of the golden era of Telugu cinema. Now it is the turn of 'Missamma' to do so. The film continues to enjoy supreme position even among films considered best during this 'golden era', for the very reason that 'Missamma' is a fine mix of family drama with fantastic humor. Nowhere you find any exaggeration or cheapness that generally mark some of the comedies. And the characterization is supreme and the characters' nature is maintained till the end. It comes into the bracket of 'healthy comedy'. We are sure that some functions to celebrate the film's Golden Jubilee will be held, all over the state. It will reappear on the theatre screens or on small screen. The stalwart actors and actresses of golden era are in the cast. ANR, NTR, SV Ranga Rao, Savitri, Jamuna and Relangi are put in apt roles. Chakrapani the architect of this humor drama was at his best in dialogue writing and made it in Telugu and Tamil simultaneously. In Tamil it is titled as 'Missiamma'

Later it was produced in Hindi too. There was a big search for a person to play the role of a 'detective', drawn on humor lines. Akkineni by then was enjoying supreme position. There was need for a balancing act to keep the sentiment and humor levels going well. Finally they thought that Akkineni would do a better job. In Tamil comedian Tangavelu was their choice. Thus you can understand the artistic spirit of ANR in accepting a role of a comedian, while his contemporary and junior in profession, NTR playing the lead. ANR used to say later it was a challenging role for him and he proved he was good even at that. There followed a few more full-length comedies featuring ANR. And Savitri was first chosen to play the role that Jamuna played in this film. The choice to play opposite NTR was Bhanumathi. SV Ranga Rao was common in both the languages – Telugu and Tamil. It so happened that there was a minor dispute between Bhanumathi and Chakrapani, the right-hand man, friend and philosopher of B Nagi Reddi, on some issue. Bhanumathi opted to stay away from the film. Therefore Savitri was promoted to play the title role - Missamma. Then Jamuna was chosen to play the second lead. Balakrishna plays assistant to the detective, which role was played by Karunanidhi in Tamil.


The undercurrent of the theme was attacking unemployment. NTR played an educated unemployed youth. The single line theme is of a graduate Rao (NTR) scanning newspaper pages for employment opportunities. He finds one. The advertisement requires a graduate couple to serve the school in the Zamindari of Ranga Rao. Missamma is in the same situation as Rao. They agree to pretend man and wife to fulfil the condition mentioned in the advertisement. They start serving the school well. And Relangi plays their cook. The highlight is proving Missamma is none other than the lost and found eldest daughter of the Zamindar, who missed on a pushkara day when she was a child. The identification sequences that contribute to the detection that she is Zamindar's daughter has this sequence of finding a patch like mole on one of her feet. Her reunion with her parents and sister was the climactic sequence.

LV Prasad directed the film dexterously. In Hindi, Kishore Kumar played the role that ANR played in Telugu. NTR, Savitri, Jamuna, besides Ranga Rao also figured in the Tamil 'Missiamma'. Even the costumes are same for these main artistes except that of Ranga Rao, who is given 'Adda Kattu' style in Tamil cinema, following the Tamil tradition. Both the films were made in parallel taking shot for shot in Telugu and Tamil. Those immortal songs – 'Ravoyi Chandamama', 'Brindamanamadi Andaridi', 'Telusukonave Talli' and 'Karuninchu Meri Mata', marked S Rajeswara Rao's music score. The last song mentioned continues to be heard on all Christian festivals. Pingali Nagendra Rao penned lyrics and AM Raja shot to fame with this film. This is one of the very few films that Raja dared to give his voice to NTR, for a different reason. P Suseela rendered the song 'Brindavanamadi Andaridi'. It is well known that Suseela was introduced in 'Donga Ramudu' and Chakrapani happened to listen to that song. He booked her to render this song in this film, for Jamuna's role. That opened the doors of Vijaya Productions, for Suseela.