The enduring impact of Singeetham Srinivasa Rao’s films on contemporary filmmakers

In one of the conversations hosted by Kamal Haasan’s production house, Raaj Kamal Films International, more than a year ago to celebrate the genius of filmmaker Singeetham Srinivasa Rao, when Suhasini Mani Ratnam asked the director “why a silent film?” while discussing Pushpak, the director responded, “why not?” That moment encapsulates the courage with which he and his several collaborators took unprecedented leaps of faith in his nearly 70-year career in cinema. At 94, his new Telugu film Sing Geetham, a musical fantasy in which the story will unfold through songs, rather than conversations, will arrive in theatres on June 12.Produced by writer-director Nag Ashwin for Vyjayanthi Films, Sing Geetham is powered by Devi Sri Prasad’s music and a young team led by executive director Sankalp Gora. Singeetham, who began his career as an assistant director to KV Reddy for the 1957 magnum opus Maya Bazar, has been a mentor for Nag Ashwin’s Savitri biopic Mahanati, and Kalki 2898AD. Several Telugu and Tamil filmmakers have, over the years, mentioned how the veteran director has been a guiding force and an inspiration, encouraging them to explore diverse genres. Kamal Haasan, Nag Ashwin and Devi Sri Prasad during the pre-release event of ‘Sing Geetham’ in Hyderabad. | Photo Credit: Special Arrangement The idea of a story narrated in a musical format, Singeetham stated in the pre-release event in Hyderabad, emerged more than 40 years ago. Ahead of his new film, we asked three filmmakers how some of Singeetham’s iconic films had inspired or influenced their work.‘He did not mimic a success formula’Vivek Athreya, writer-director Director Vivek Athreya | Photo Credit: Special Arrangement In my formative years, I loved watching Vichitra Sodarulu (Apoorva Sagodharargal), Pushpaka Vimanam (Pushpak), Aditya 369 and Bhairava Dweepam. When I learnt that all these films were from the same director, I was surprised at his exploration of genres. I would term Singeetham garu an Indian Steven Spielberg for my generation. Spielberg’s ET brought out the child in every adult watching the film. It’s similar in the case of Singeetham’s films.As a filmmaker, I know how tough it is to not mimic a success formula. Singeetham is a versatile filmmaker and a gifted storyteller. When the actor Nani, who knew the premise of Sing Geetham, narrated it to me, I was surprised at the freshness of the idea.None of his films are easy in terms of craft. Each time I watch Appu as the dwarf in Vichitra Sodarulu or the mirror scene in Michael Madana Kama Rajan where we see the reflection of two of Kamal Haasan’s characters, I wonder how they managed to do it.In Telugu, Balakrishna’s acting in Singeetham’s films is so different from his work in other films. He brings out the best in his actors. Singeetham’s films also have good music. Brundavanam was a childhood favourite. The child in Singeetham is still alive, which is why he pulls off the impossible. His statement that “routine cinema is risky, but risky cinema is a safe bet” underlines his confidence that the audience will appreciate a film when offered something new. One of his biggest strengths lies in his collaboration with Kamal Haasan, writers Panchu Arunachalam, Crazy Mohan and others who were equally determined to push the envelope. The writing gave so much depth to Appu’s story, which can move me to tears even today.‘The wit and humour in his films felt genuine’Mohana Krishna Indraganti, writer-director Director Mohana Krishna Indraganti | Photo Credit: Special Arrangement If a filmmaker wants to be versatile, the trap of predictability has to be broken early in their career so that the audience and the trade do not expect similar films. Singeetham garu managed to do that early, rather than jolting his audience after they got acclimatised to a pattern. It takes courage to explore different genres with each film. What makes his journey special is that he did it when most filmmakers stuck to mainstream tropes and formulas. I have had the chance to spend time with him a few times and came away with admiration for his passion for cinema.What he has managed to do through films such as Michael Madana Kama Rajan (MMKR), Pushpaka Vimanam, Amavasya Chandrudu (Raaja Paarvai) and Apoorva Sagodharargal is no mean feat; these are among my favourite films. Very few filmmakers have managed to direct such diverse films in India. Some of my comedies have been subtly influenced by the genuine wit and humour in his films. I must have watched MMKR eight or nine times. The word play that we see in the dialogues is a mark of sharp writing. He was also fortunate to collaborate with writers and actors like Crazy Mohan and Kamal Haasan. I am not sure if such collaborations are even possible today.‘The drama stands out in Singeetham’s films’Venkatesh Maha, writer-director Director Venkatesh Maha | Photo Credit: Special Arrangement I have often stated that the inspiration for my films come from my experiences and observations. However, of late, I have realised how certain filmmakers have subconsciously influenced my work. There is a lot of drama in Singeetham garu’s films, be it in comic or emotional sequences, that emerges from the writing. Take the character of a beggar portrayed by PL Narayana in Pushpak. We see visuals of him with a lot of money and yet, when he dies a lonely life, it makes the protagonist think about the futility of wealth in the absence of people. Producer Ashwini Dutt of Vyjayanthi Films, Singeetham Srinivasa Rao and Kamal Haasan at the pre-release event of ‘Sing Geetham’ in Hyderabad. | Photo Credit: Special Arrangement Michael Madana Kama Rajanis a classic in how it explores comedy and within it, contains a lot of drama. I am also reminded of a scene in Brundavanam where Rajendra Prasad and Ramya Krishnan go incognito into the city.As a child, I was fascinated by how Aditya 369 showed time travel and Bhairava Dweepam explored a fantasy drama. I also remember trying to mimic Kamal Haasan’s Appu act. Unlike today when filmmakers are in a rush to move to the next shot, the camera unapologetically stays on Appu when he is heartbroken, long enough to make us empathise with him and weep along.Singeetham garu never hesitates to try something new. A filmmaker must be fearless and enthusiastic from deep within to do that. I was introduced to the film Mayuri by my mother and I was shocked to learn that it was Sudha Chandran’s true story. Beyond the larger exploration of new ideas and experiments with crafts and techniques, the focus on finer details made his films entertaining. For instance, listen to the chorus in the song ‘Madhurame Sudhaganam’ in Brundavanam. In some portions, the singers’ voice modulation recreates how the sound moved from left to the right in stereos of the 80s and 90s. It is things like these that make his films memorable.