Comedy by way of the many years of Telugu Cinema

Even throughout the days of silent motion pictures, we had humorous males like Kasturi Siva Rao, who had been widespread for his or her witty commentary to the shifting photos on display.

Hyderabad: Humour is likely one of the vital facets of human emotion, and has at all times been an integral a part of cinema. With shifting backdrops of the tales, comedy writing has been evolving and our business has left no stone unturned in experimenting with methods to incorporate comedian facets into the material of cinema.

Even throughout the days of silent motion pictures, we had humorous males like Kasturi Siva Rao, who had been widespread for his or her witty commentary to the shifting photos on display. The comedy writing within the mythological, folkloric and social drama movies widespread within the Nineteen Thirties and 40s was accomplished in such a approach that the humour was constructed by way of the conditions within the story plot. Usually, the good friend of the protagonist would painting the comic.

In the course of the Nineteen Fifties, screenwriter Pingali Nagendra Rao had experimented with numerous genres of comedy — a fantasy comedy like ‘Mayabazar’, romantic comedy like ‘Missamma’, and comedy dramas like ‘Gundamma Katha’, ‘Appu Chesi Pappu Koodu’ and plenty of extra movies. The pattern of heroes producing humour with dialogues and mannerisms was additionally popularised throughout the time.

“Together with the duo Relangi and Ramana Reddy, which was a block-buster pair within the 50s, Suryakantam, Girija, Ramprabha, Allu Ramalingaiah and Padmanabham, with their distinctive model of comedy, had been the stalwarts of the time. The recognition of those comedians was such that it turned obligatory to have them in each hit film of that point,” stated Mamidi Harikrishna, Director of the Division of Language and Tradition.

“There was a time when there could be songs designed for these comedians — the observe ‘Sundari Neevanti’ between Relangi and Savitri from ‘Mayabazar’ is probably the most well-known one. Raja Babu and Padmanabham even performed hero roles in lots of movies,” Harikrishna added.
The ’70s noticed the pattern of comedy villains — Allu Ramalingaiah, Nagabhushanam, Rao Gopal Rao, and Kota Srinivasa Rao — the place the actors would play villains and the dialogues between them would generate comedy.

The emergence of director Jandhyala Subramanya Sastry within the ’80s had modified the face of comedy and comedians in Telugu cinema, stated Harikrishna. He termed the ’80s and the ’90s because the “golden period for comedy in Telugu business”. “Jandhyala created comedy utilizing the extremities of traits in human beings. Many topics of comedy have been explored throughout this period,” he stated.

Throughout this time, full-length comedy movies had been produced, and Rajendra Prasad rose to prominence as a comedy hero. Actors reminiscent of Naresh, Mohan Babu, and Chandramohan have additionally had success as leads in such movies. Comedy actors reminiscent of Sutti Velu, Veerabhadra Rao, Srilakshmi, Brahmanandam, Ali, Babu Mohan, and Kota Srinivas Rao have made their mark throughout this period.

Nonetheless, within the late Nineteen Nineties and early 2000s, there was an increase in vulgarity and abuse within the guise of comedy. Songs and compelled comedy tracks that had nothing to do with the plot of the film had been included. That period, fortunately, didn’t proceed lengthy.

A brand new style, motion comedy, got here into the pattern with Sreenu Vaitla’s ‘Dhee’ in 2007. Mahesh Babu’s ‘Dookudu’, ‘Aagadu’, ‘Khaleja’; Ram Pothineni’s ‘Prepared’; Ravi Teja’s ‘Kick’; Allu Arjun’s ‘Race Gurram’; NTR’s ‘Adhurs,’ and Nani’s ‘Bhale Bhale Magadivoy’ have explored the style additional. One other style broadly explored on this period was the horror comedy.

“The comedy which labored then, may not work as we speak as a result of the backdrops and audiences have modified. A movie like ‘Kitakitalu’, if launched as we speak could be severely bashed. Audiences have developed and dislike the double-meaning, cross-dressing and gender jokes,” Harikrishna explains.

Calling as we speak’s comedy as “stylised and urbanised metro comedy”, Harikrishna shared that the comedy writing is altering for the great. “As an illustration, there’s no obscenity in ‘Jaatiratnalu’ or ‘Pellichupulu’. Be it Rahul Ramakrishna’s life like comedy or Vennala Kishore’s dialogue-oriented one, even this period has some superb artistes and experimentations. Let’s see what the long run holds for us,” Harikrishna concludes.