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ANR and NTR played together for the first time in 'Palletoori Pilla', a folklore directed by BA Subba Rao for Sri Mirzapuram Raja's Sobhanachala Studios and then in 'Samsaram'. Both the films were released in 1950. LV Prasad made 'Samsaram' for Sadhana Films. 'Samsaram' also provided a much needed break to ANR. Till then ANR was regarded as a folklore hero. 'Samsaram' offered him a chance to erase this stigma and prove that he was as good in socials as he was in folklores. ANR told the writer of this article once that he took less remuneration to play in this film and to prove his critics wrong.

Savitri, who later became yet another legend in Telugu cinema, was introduced in this film. She played a minor role in it. ANR and NTR, from then on, figured together in about fifteen films, in their career, which included such masterpieces as Gundamma Katha, Maya Bazar, Missamma and NTR's own production Chanakya-Chandragupta. There were also some mythological films like Bhookailas. The industry regarded ANR and NTR as its two eyes. Both extended their activity into production, distribution and construction of studios. Both went through their career with competitive spirit, treading different paths. It was a kind of healthy competition. And fan following started with these artistes.

Ghantasala Balaramaiah.

Two Lakshmamma's: This year, 1950, also witnessed unhealthy competition between producers, who resorted to making two films on the same subject. They were Lakshmamma of Sobhanachala, directed by Gopichand and Sri Lakshmamma Katha of Pratibha, directed by Ghantasala Balaramaiah. The former featured Ch. Narayana Rao and Krishnaveni in lead roles while in the latter ANR and Anjali figured in similar roles. But the latter film fared better at the box-office. Vijaya's 'Pathala Bhairavi' made in 1951, gave a real break to NTR. He attained star image with this film.

Vauhini banner gave a number of enchanting films, under the chairmanship of Moola Narayana Swamy. It was constructed under the supervision of BN Reddi. The first film made was Vandemataram (1947) directed by BN Reddi. 'Malleswari' in the year 1951 was another good film directed by him. It was a musical too. BN's other directorial ventures included Swargaseema, Devata, Sumangali, Bangaru Papa, Bangaru Panjaram, Rajamakutam and Rangula Ratnam. The last mentioned introduced Chandramohan.

In parallel, KV Reddi began making films for Vauhini. From him came Pothana, Vemana and Pedda Manushulu. And then he made under Vijaya banner of Nagireddi and Chakrapani combination, Patala Bhairavi, Gunasundari Katha, Maya Bazar (in Telugu and Tamil), Jagadekaveeruni Katha, Harischandra, Uma-Chandi-Gowri, most of which earned big money for Vijaya. 'Gunasundari Katha' was an experiment by itself with Kasturi Siva Rao, a comedian, as hero. It clicked and made good profits.

KV Reddi

On Gunasundari Katha (1949): A Vauhini Pictures movie, directed by KV Reddi, the movie has among its actors Dr. Subba Rao, Relangi, Sivarao, Sriranjani, Santhakumari, Malathi, Hemalatha and others. King Ugrasena Maharaja (Dr. Govindarajula Subbarao) having brought up with all affection wishes to know who among his three motherless daughters Rupasundari (Santhakumari), Hemasundari (Malathi) and Gunasundari (Sriranjani) loves him the most. Rupasundari and Hemasundari declare that their father is all for them and that they love none else so much. Gunasundari, however, says that she loves him most until she is married, and once she is married, her love will be for her husband and respect and affection only for her father. The short tempered Ugrasena offended at the words then asks her if she would love her husband even if he were blind, deaf and mute. Gunasundari unhesitatingly says that she would. Her husband is her all and the rest are next only to him in her heart, she says.

The king in his anger marries her off to the most deformed man with every kind of infirmity in his kingdom. Rupasundari and Hemasundari are married to the king's nephews Haramathi (G. Subba Rao) and Kalamathi (Relangi). Her elder sisters too humiliate Gunasundari and her husband. Unable to bear the insults any more, Gunasundari gives up the royal life in the palace and moves to a humble cottage in the village. The villagers are highly delighted to welcome to their humble fold no less a person than a princess. They deify her and give her all their affection and love, and offer to look after her with all care and affection.

Daivadheenam's deformity is just for appearances' sake. He appears deformed just to teach the king a lesson. In reality he is a handsome and heroic youth who delights his wife the princess with his humor and gives her an exciting time with his heroics. He is as well qualified as any young man with a royal background. He is all love for his wife who is his all in the world. He makes her happy as no husband can. She is his eyes' feast, the garland around his neck and the crest of his head.

'Gunasundari Katha' evoking all sentiments including humor and sorrow, delight and despair, and full of mysteries and miracles, tricks and counter tricks, proved to be of strong appeal even to the hardest rationalists who would watch the movie with unquestioning enjoyment.

To Be Continued...