formation of story:
Inspiration for this film is Mr. Nagarjuna. When we agreed
upon making a film with Nagarjuna as hero, we were searching
for all kinds of areas to show him in a different way. He
already has very good action films and romantic films in his
kitty. Nagarjuna is basically a romantic looking man and making
a film with him and having no romance in it does not make
any sense. So Trivikram (story writer) and I sat together
for discussions. We created a very new backdrop - that is
of an ad agency. Without going in to finer details of ad agencies,
we adapted whatever is necessary for the storyline.
general, hero, in most of the movies, likes girls. But in
this movie we have shown the hero as a women hater. To substantiate
that, we developed a sub plot. If we could convince audience
that there is a reason for the hero to hate women, half of
our job would be done.
we filled up the office of the hero with women employees.
The variation is that hero hates women, but still has to work
with them. By creating such a situation, we can derive lot
of fun. We developed a female character who is at par with
hero's character. She commands him at times. That's how heroine's
character was born. She enters hero's office as an assistant
manager and at a later point she is promoted to a better position
than that of hero. Then there would 'tit for tat' kind of
fun. At that point, we needed a heroine who can match the
charm and elegance of Nagarjuna. And Sonali Bendre was a natural
choice. People should believe that she could be the boss of
laid a perfect foundation, all we had to create were some
feelings between the hero and the heroine though they are
not in good terms. So we needed to do something where both
of them came closer. Since it is an advertising agency, we
sent them to abroad so that they could get closer. It gives
an opportunity for both of them to spend some time in a new
place. Then we created a small ignition in the heart of the
hero makikng him realize that she is not as bad as he thinks
and she probably likes him too. But she does not have any
feelings for him. To make sure that she does not have any
feelings for him, we need to create a problem for her. That's
why we went back to the first half and initiated the engagement
thread for the heroine. When hero comes to know that heroine
is already engaged, he gets disappointed. When hero is about
to change the feeling of hatred towards women, he is again
cheated because of the heroine. But his hatred towards entire
women community vanishes and now he is angry only with heroine.
When hero does not come to office, heroine goes to his house
to know the reason. That is where we created some ignition
in the heart of the heroine. She senses that he might be in
love with her. Her feeling is confirmed when hero utters some
words to heroine when she goes to give him the wedding card.
During the travel, she realizes that he is in love with her
and she is also in love with him. Then she calls him up and
opens out to him.
comes to the office and moves closely with all the other girls
in the office just to humiliate the heroine and to create
jealousy in her. Though, hero changes his stance towards women
in three phases, there is always smoothness in the way the
story is narrated so that audience feel it's natural.
people commented about the climax that it's very simple. If
I put a fight in the climax then it would become a regular
film. There is no story after hero and heroine meets in the
climax. That's why I ended the film there. Since we did not
reveal the mike story to the heroine, we added the first night
scene where hero tells about his mike experiment to the heroine.
If I had to extend the film, I had to show the bridegroom
to whom heroine is supposed to get married too by bringing
in that character. The protagonist of the film is hero and
his love succeeded. Then why should I add unnecessary scenes?
Even now I feel that the climax we had for Manmadhudu is correct.
If I had created a climax the way you expected, you would
come to me and say that the climax is very predictable.
of the film:
studios is one of the best production houses. Supriya garu
did her best work for the film. Nagarjuna is very disciplined
and committed. He slipped into character in no time. He worked
hard to make sure that he looks at least 10 years younger.
He got into skin of the character. His dialogues and songs
in the film are very tender.
are lot of experiments made in the lyrics. I have to commend
anna Seetarama Sastry garu for that. He wrote beautiful lyrics
on girl in Nuvvu Naaku Nachav with 'O Navvu Chaalu'.
In this film, 'Nenu
nenuga lene' is about the feelings hero gets after seeing
the girl. Here Sirivennela garu did not describe the beauty
of girl or the smartness of the boy. He just wrote lyrics
about the feelings of the hero.
played the role of a rich guy. Hence he wanted him to sound
prudish. But at the same time, he is very tender at his heart.
The love track between Anshu and Nagarjuna is very tender
and soft. All the incidents that happen between them are very
real and can be felt by all the lovers. There is sweetness
in that adolescence and everybody would go through it.
have to tell you a small incident about the film. There is
a scene in which Nagarjuna grabs Anshu in his room. The first
shot of that scene did not come well. Then I told Anshu that
when Nagarjuna grabs her, unless she smiles and enjoys the
feeling, it would look as if he was trying to molest her.
I told her that her face should show that enjoyment of being
grabbed by her lover. I felt embarrassed while explaining
that scene to her.
this is a polished film and I had only two scenes where I
could elevate the mass image of Nagarjuna. First scene is
the one where he takes the heroine away from her engagement
and the second scene is where he stops the marriage of his
colleague and makes her get married to the guy of her choice.
than the above mentioned scenes, I did not have a chance to
raise the tempers of the masses. In addition to that, the
girls in hero's office would be scolding him like 'sachinoda'
etc. Nagarjuna is such a noble man. He never complained about
other characters calling him like that. Hats off to Nagarjuna.
He gives so much freedom to the director and he never interferes.
If your hero gives that much freedom, you feel more responsible.
90% of the contribution for Manmadhudu is given by Nagarjuna
and my share of contribution is only 10% to the film. If Nagarjuna
had not performed the way he was supposed to, all our efforts
would have gone in the drain. What a style and elegance Nagarjuna
has! He carried the entire film on his shoulders. That's why
I call 'Manmadhudu' as one man show by Nagarjuna. I am very
much pleased with Nagarjuna for his performance.
faced during the making of the film:
did not have any internal troubles. But we had faced some
unforeseen problems. When we visited Austria for shooting
the songs, it rained cats and dogs for two days. All of us
had to stay idle in the hotel. The next hurdle was in Paris
for getting permission to shoot on the Eiffel Tower. After
WTC tragedy, no tall structure was given for shooting. We
were told that we could shoot in front of the Tower, but not
on the Tower. I told Nagarjuna that I don't mind even shooting
those scenes with handy cam since those scenes are vital for
the film. I don't know what troubles Nagarjuna has taken but
he ultimately got the permission to shoot on the Eiffel Tower.
I was, later, told that 'Manmadhudu' is the first Indian film
to be shot on the Eiffel Tower. Eiffel tower was shown as
the backdrop in many Indian movies, but none of the Indian
producers shot the film inside the tower.
me explain my vision for the shots taken on Eiffel Tower.
and heroine run like kids towards Eiffel Tower with hope.
2.They converse on the Eiffel Tower and get disappointed.
3.Hero and heroine depart with disappointment in different
directions while getting down the tower.
have taken the departing shot in natural light by waiting
till the dusk time.
we went to Godari districts to shoot the climax. In the climax
of the film, Nagarjuna jumps into the river. That river is
a murky one and we do not know what the depth is. Nagarjuna
asked us to show where he is supposed to jump. The height
from which Nagarjuna had to jump should be equivalent to the
depth of the river. We got hold of a lad who is an expert
at it. He decided upon one place. He showed us by jumping
himself. Before jumping, Nagarjuna told me that he is going
to stay in side water for some effect so that people would
get tensed. And Nagarjuna stayed inside the water after the
jump. But the lad, who showed us the spot, became nervous
that Nagarjuna did not come out and he also jumped into the
water to look for Nagarjuna. That's why we had to cut the
scene. Otherwise, we would have had a lengthier scene than
what was shown.
made after the release
the release of the film, some people started saying that it's
a class film and it won't work well with masses. I don't believe
those statements. Generally, cinema pundits consider the people
from village as crude. If one says that village crowds are
masses, it's like insulting them. I come from a village too
(Avanigadda). Every human being has emotions and feelings
and all the films that tickle those emotions and feelings
of movie lovers definitely become hits. Checkout Sankarabharanam.
Do you think it's a class film? It was watched by all the
people. I feel that all my films should have a dignity and
standard. Films should be logical and convincing.
(Story/Dialogue Writer): He has talent in abundance. You
just have to tap it. He is like the well with unlimited water.
It depends on how much you extract from him. Trivikram has
written fantastic dialogues. The most matured dialogue in
this film is
nundi aakasam bhoomi kalustunnatlu kanabadutundi. Adi abhaddam.
Mana out house kitiki nundi valla bungalow kanipistundi. Adi
Sameer Reddy (Cinematography): He is very fast in his
taking. Generally people fear that quality would take a backseat,
if one does his work so fast. But Sameer is one of the best.
The way he put the blocks, the way he handles the camera is
SriPrasad (Music): For the first time I was working with
Devi Sri Prasad. He is very young boy. I told him in the beginning
that I have listened to his earlier songs and that Manmadhudu
is a tender film. He brought out a lot of melody in the songs.
He is very talented and passionate. He proved that he could
also do melodious music at that age.
(Lyric Writer): Anna Sirivennela did an experiment with
Marry' song. There are no charanams in that song. It has
pallavi and katha. There is no meter for katha. We finished
the shooting of film with this song!
Raju (Art Director): He did an excellent work for the
office set. We have taken interesting ads from magazines and
blown them up and placed them in the office with backlit.
Supriya also played important role in Artwork. He also designed
very authentic hotel set for 'Andamaina
Bhamalu' song. Lots of people asked me about the hotel
in which we shot that song.
Shankar has done the choreography for 'Nenu
nenuga lene" song in Raj Kapoor style. That song
should have some nostalgic feel to it, as it is a flashback
song. The taking of the song should take us to the old classic
look and I think Shankar was successful in bringing that out.
Sekhar has done two masti songs in this film (Dont
Marry and Andamaina
Bhamalu). Raju Sundaram has done two songs shot in Austria
Manasune and Gundello
Emundo). The last song (Chelia
Chelia) is done by me. Krishna Reddy did the dance portion
for that song.
Prasad (Editor): Editor is the most important person in
the making of any film. This film has lot of smoothness in
narration (without any jerks). I liked the editing a lot.
While directing the shot itself I have divisions in my mind
about where to cut the film during the editing stage. Let
me narrate you some examples about the brilliant work by Srikar
1: Tanikella Bharani says to Nagarjuna (in a wide shot
where Nagarjuna and Tanikella are sitting opposite on a
large table): "Lipstick aadavallaki sambhandinchinadiraa.
Entra nuvvu lipstick moham eppudanna choosavantra?"
Shot 2: A very close shot where hero opens the lipstick
My editor Srikar Prasad is a magician at the editing table.
He reads our mind so fast that he comes up with the result
even before we complete our narration to him. His cutting
is so smooth that it helped film to become a better film.
There is a technical aspect of catching the right frame on
editing table. Srikar Prasad mastered it. Let me give you
some more examples.
The scene where Anshu is drying the clothes and Nagarjuna
teases her. Then she moves towards her house.
Scene2: She enters the kitchen.
Comments: The editing is so smooth that people feel
as if she entered directly in to kitchen from the back yard.
If editor did not catch the exact frame, that smoothness
would not be found
In the scene where Nagarjuna hides under the table of Sonali
and she catches him. Then the girls working with Sonali
move towards the left after saying 'Lets Go'.
Scene2: In the restaurant scene a bearer is walking
from right to left when nag, Sonali and Tanikella were sitting
on a table.
Comments: In both these scenes Sonali is seen sitting
on a chair. But it appears as if the girls walking towards
the left have transformed into bearer and the walk continues.
These are very intricate details and only the best editors
can perform these kinds of jobs.
The hero feels tense about the secret mike and looks at
his watch for the time.
Scene2: A wall clock is zoomed into the screen.
Comments: The audience feels as if the hero is looking
into his wristwatch though a magnified wall clock is shown.
The audiences might not observe all these intricate things.
But these things will definitely stimulate the viewers' attention
and would have made them enjoy the beauty of the film.
secret of success:
we create interest among audience with dialogues and sometimes
with a song and sometimes with a shot division. We should
be able to punctuate the audience with the smooth change in
the flow of narration. You need to catch the emotion with
interesting things and keep them engaged to the screen and
hold them till the end of the film. You should not give chance
for the audience to prepare their own screenplay and do their
own guess work.
Santosham by Dasarath
Jayam by Teja.