“I really like human dramas, tales which might be lifelike in presenting other sides of existence,” says director Venu Udugula, when he discusses his technique to writing and filmmaking. He believes there is not any dearth of reports to relate if one keenly observes the happenings round them. His first Telugu movie, Needi Naadi Oke Katha, used to be a statement at the schooling device. He adopted it up with the Sai Pallavi and Rana Daggubati starrer Virata Parvam, the Telugu romance drama impressed by way of true occasions in Telangana of the Nineteen Nineties.
The director used to be conscious that he used to be steerage clear of mainstream norms when he started operating at the movie. “I sought after to relate this tale with honesty and integrity. I may have simply integrated a scenario the place Sai Pallavi dances to a Telangana people quantity, if the field workplace math is all that I had in thoughts. This movie has no room for that.”
The tale used to be impressed by way of occasions involving a tender lady named Sarala, who used to be suspected to be a covert agent and reportedly shot by way of the Naxals. Venu researched for 4 years, looking to piece in combination her tale. “The woman went on the lookout for the dalam (the Naxal staff), impressed by way of their ideology. She travelled all of the manner from Khammam to Nizamabad. The Naxals suspected her to be a covert agent despatched by way of the police and killed her. What we’ve got proven within the movie – the remedy meted out to Vennela (Sai Pallavi) by way of the crowd – is a long way milder than what Sarala went thru.”
Venu says he used to be moved by way of Sarala’s adventure and used to be made up our minds to relate her tale. Sticking to the information would have made the movie a docu-drama. He offered a love tale for cinematic attraction.
Rana Daggubati as Ravanna in ‘Virata Parvam’
The information clippings proven on the finish of the movie level to Shankaranna, a Naxal chief, having shot Sarala. In the movie, the Ravanna personality enacted by way of Rana is a fictional one. Venu causes that for the reason that love tale is fictional, it do not need been suitable to make use of Shankaranna as Rana’s on-screen title: “From what I learnt from my analysis, Shankaranna didn’t appear to be an inspirational personality for this tale. He used to be vulnerable to make hasty choices and used to be now not a likeable personality.”
Loss of relevance
A love tale towards the backdrop of the Naxal motion, runs the danger of romanticising it. However, Venu emphasises that used to be now not his goal. “In the case of Sarala, I believed if they didn’t perceive why a tender lady would cross to nice lengths to search out and sign up for them, it is a sign that they’ve failed. What adjustments can a gaggle convey to society at huge in the event that they can’t perceive one lady’s plight? If one have been to relate a sensible tale of Telangana within the Eighties or Nineteen Nineties, the socio-political milieu needs to be mirrored. I’m conscious that the present era won’t hook up with the Naxal motion. The undercurrent of my tale is that the Naxals made a number of such errors and didn’t trade with time, therefore they misplaced their relevance.”
(Clockwise from best) Nandita Das, Sai Pallavi, Easwari Rao, Zareena Wahab and Priyamani
Venu had looked for Sarala’s circle of relatives whilst making the movie, however there have been no leads. It used to be best after the movie used to be made that he were given to understand that the circle of relatives is in Warangal. Venu, Sai Pallavi and Rana visited the circle of relatives and asked them to look at the movie, to allay any fears they could have in regards to the depiction of Sarala’s personality within the movie. The circle of relatives, then again, asserted that they’d watch the movie after unlock: “Thankfully, they’re more than pleased with the movie,” says Venu.
Venu grew up in Hanamkonda, Warangal, and moved to Hyderabad 18 years in the past. A self-taught filmmaker, he recollects gazing world movies screened by way of the Hyderabad Film Club and that reinforced his pastime in making true-to-reality cinema. “I imagine that our target audience is mature and can settle for other tales. During the pandemic, folks had been gazing Malayalam and Tamil cinema greater than prior to and feature been uncovered to other types of filmmaking. Unless we strive one thing new, how will we all know if the target audience will settle for it or now not?”
For Virata Parvam, his temporary to tune composer Suresh Bobbili, artwork director Nagendra, cinematographers Divakar Mani and Dani Sanchez-Lopez used to be to transport clear of the norm. “The digital camera actions occur with a goal and moderately organically. We didn’t lodge to the common way of an excessive closeup right through an emotional scene and a rousing background ranking that may manipulate the target audience to shed tears. Suresh Bobbili introduced in Telangana people device avid gamers and round 90% of the tune used to be recorded the use of are living tools. Some of the lyricists also are Telugu writers who’re exploring lyric writing for the primary time. I sought after the movie to replicate the poetic temperament of Vennela’s tale.”