Lavakusa 1934 లవకుశ

1934-Lava Kusa-Version 2

Movie: Lavakusa 1934 లవకుశ
Cast: Parupalli Subbarao, Sriranjani పారుపల్లి సుబ్బారావు, శ్రీరంజని
Producer:Bajaranjalal Kemka బజరంజలాల్ కెంక
Director: Chittajalu Pullayya చిత్తజాలు పుల్లయ్య

01.He Raamaa Raajeeva Nayanaa 01.హే రామా రాజీవ నయనా Singers: Parupalli Satyanarayana,M.V.Rangachari గాయకులు: పారుపల్లి సత్యనారాయణ,ఎమ్.వి.రంగాచారి Lyrics: Vallabhajosyula Ramanamurthy రచన: వల్లభజోస్యుల రమణమూర్తి Music Director: Prabhala Satyanarayana సంగీత దర్శకులు: ప్రభల సత్యనారాయణ

02.Mandam Mandam Madhuraninadaihi Venumaa 02.మందం మందం మధురనినదైహి వేణుమా Singers: Parupalli Satyanarayana గాయకులు: పారుపల్లి సత్యనారాయణ Lyrics: Vallabhajosyula Ramanamurthy రచన: వల్లభజోస్యుల రమణమూర్తి Music Director: Prabhala Satyanarayana సంగీత దర్శకులు: ప్రభల సత్యనారాయణ

03.Sahasamela Ee Leela Jaanakee Vethabadake 03.సాహసమేల యీ లీల జానకీ వెతబడకే Singers: Parupalli Satyanarayana గాయకులు: పారుపల్లి సత్యనారాయణ Lyrics: Vallabhajosyula Ramanamurthy రచన: వల్లభజోస్యుల రమణమూర్తి Music Director: Prabhala Satyanarayana సంగీత దర్శకులు: ప్రభల సత్యనారాయణ

04.Aahaa Emee Naa Bhaagyamu
04.ఆహా యేమీ నా భాగ్యము 
05.Aaraya Kousalyaadi yatthala Nadigi
05.ఆరయ కౌసల్యాది యత్తల నడిగి 
06.Aramara Yela Ne Nilachunaasrama Desamu Needi Kaade
06.అరమర యేల నే నిలచునాశ్రమదేశము నీది కాదే
07.Bhaanudu Grunkakunda
07.భానుడు గ్రుంకకుండ
08.Dharanini Manakika Dhanyatha Kaligen
08.ధరణిని మనకిక ధన్యత కలిగెన్
09.Ee Reethigaa Balkina Mee Naalukalu
09.యీ రీతిగా బల్కిన మీ నాలుకలు
10.Ellalenanjaa Nee Votamu Nee Votamu Naakerika Nedaa Benjaali Nanjaa
10.ఎల్లెల్లె నంజా నీ వోటము నాకెరిక నేదా బెంజాలి నంజా
11.Emidi Sahacharu Leduru Raarelaa
11.ఏమిది సహచరు లెదురు రారేలా
12.Enni Doshamulunna Nenchaka Yinchuka Gunamunna Mecchi
12.ఎన్ని దోషములున్న నెంచక యించుక గుణమున్న మెచ్చి 
13.Etakegeno Naa Noonundahaa
13.ఎటకేగెనొ నా నూనుండహా
14.Etole Yee Muripintha
14.ఏటోలె యీ మురిపింత 
15.Ettulanunnavaado manujesudu
15.ఎట్టులనున్నవాడొ మనుజేశుడు రామ విభుండు 
16.Jai jai Sreeraamachandra Raghukulasaandraa
16.జై జై శ్రీరామచంద్ర రఘుకులసాంద్రా
17.Kadumgadu Pogaru Thalakekkinaa Chee Dustudaa
17.కడుంగడు పొగరు తలకెక్కెనా ఛీ దుష్టుడా 
18.Madamaayegaa Naadhaa Sadayaantaranga Nee Sarasan Melamgan
18.మదమాయెగా నాథా సదయాంతరంగ నీ సరసన్ మెలంగన్
19.Mahini Maa Thalli Lokaika Maathayeni
19.మహిని మా తల్లి లోకైక మాతయేని
20.Niraadaramaayenaa Netiki
20.నిరాదరమాయెనా నేటికి
21.Paavanasubha Charithaa Maathaa
21.పావనశుభ చరితా మాతా
22.Prabho Dharmamaa Sreeraama Sugunaseelaye Raamaa
22.ప్రభో ధర్మమా శ్రీరామా సుగుణశీలయే రామా
23.Raghu Raama Charitamunu Vinumamma
23.రఘు రామ చరితమును వినుమమ్మ 
24.Raghukulabhooshanaa Raamaa Nee Pada Sevaname Naa Gatiyani Talamtugaa
24.రఘుకులభూషణా రామా నీ పద సేవనమే నా గతియని తలంతుగా 
25.Raghuraaju Naadigaa Rajulou Mammula
25.రఘురాజు నాదిగా రాజులౌ మమ్ముల
26.Rangaaru Bangaaru Chengaavulu Dharinchu
26.రంగారు బంగారు చెంగావులు ధరించు
27.Roopamu Maruvaganounaa Jeevitambeto Paavanacharithaa
27.రూపము మరువగనౌనా జీవితంబెటో పావనచరితా
28.Satyapaalanaa Ghana Saadhusheelude Muktinosagi
28.సత్యపాలనా ఘన సాధుశీలుడే ముక్తినొసగి
29.Sooryaanwayaabdhisomaa Suranuta Naamaa
29.సూర్యాన్వయాబ్దిసోమా సురనుత నామా 
30.Sthree Baalakula Jampa Chelagu Paapamatanchu
30.స్త్రీ బాలకుల జంప చెలగు పాపమటంచు
31.Tagune OBaala Yitu Madi Vethagona
31.తగునె ఓబాల యిటు మది వెతగొన
32.Thaataka Mardhinchi Thapasi Yaagamu Gaache
32.తాటక మర్దించి తపసి యాగము గాచె
33.ToliJamune Lechi Lalitha Bhaktini Jeyu
33.తొలిజామునె లేచి లలిత భక్తిని జేయు 
34.Varasarojalochana Raamaa Raghukulaabdi Suruchira Somaa
34.వరసరోజలోచన రామా రఘుకులాబ్ది సురుచిర సోమా
35.Veeraagresaru Daswamedha Hayamudwelambugaa Nampe
35.వీరాగ్రేసరు డశ్వమేధ హయముద్వేలంబుగా నంపె 

5 thoughts on “Lavakusa 1934 లవకుశ”

  1. Sir,
    Why have you stopped with 1960s? Please go on, atleast till 80s. This is an excellent work from you..

    Thank you very much!

    Warm Regards,
    Harita

  2. Sir,

    No comments on Lavakusha…. Its always EVER GREEN TELUGU MOVIE

    Your work is great… Please give the link to download songs, Dialogues, from our Real Heros like ” NTR, ANR, SVR, Kantha Rao”, Charcter Artistits like ” Dhulipala, Mikkilineni, Mukkamala, Prabhakar Reddy, Kaikala Sathanarayana, Rao Gopal Rao, Jaggaiah and etc, Comedian Kings like, Raja Babu, Sr.Relangi, Ramana Reddy and etc.

    Thank you sir,
    S Sreehari, Maripeda

  3. Lava Kusha was NOT the first talkie movie in Telugu.There was one more-”Bhaktha Prahlada” produced by H.M. Reddy in 1931 with Munipalle Subbaiah,Surabhi Kamalabai one Mr.Krishna Rao in the roles of HiranyaKashyapa,Leelavathi & Prahlada respectively.I shall be posting further details of the film shortly.

  4. BHAKTHA PRAHLADA OF 1931
    “Mookam Karothi Vaachaalam
    Panghum Langha Yathe Girim
    Yathkrupaa Thamaham ,Vande
    Paramananda Madhavam”

    Thus describes the sloka , the greatness of the Lord Vishnu. And very truly, In those days of 1940s when the “Mooki”(silent )movies trying the replace the drama culture slowly were struggling to sustain before the force of the drama field which was established well with its roots deeply embedded into the hearts of the people habituated to witness the night long dramas & enjoy the live songs of the artiste, the first Telugu Talkie picture “Bhaktha Prahalada “ came only to prove that the “Madhava “,the Lord really could make the dumb talk; He blessed voice to the mookie Telugu films. And is it not a strange coincidence that such a film happens to be on the story of one of His incarnations-Nrisimhaavathara?

    The foundation stone to the castle of the Telugu cinema flourishing now with billions of rupees of turnover was laid with this cinema just at a cost of Rs 15000/-by H. M. Reddy whose full name many of us may not be aware of . (Though sounds little for these days, Rs 15000/- was a very big amount for those days ).This HANUMAPPA MUNIYAPPA REDDY ,an English lecturer in Sardar College who, scared by plague prevalent at that time, shifted from Hyderabad to Mumbai where his brother-in-law HV Babu was trying for small roles in the films at that time , started his career as a reflector boy for Sarada films. Seeing his creative jubilation, the Imperial Company belonging to one Ardeshiar Iraani entrusted to Reddy the job of direction for its two Mookie (silent) films ”Prince Vijaya Kumar” “ A wager in Love ” for both of which Prithvi Rajkapoor played the main role. Inspired by the great success of his first Indian talkie “Aalam Araa” its director Irani turned his attention towards South Indian Cinemas & entrusted the job of directing his first Tamil & Telugu films to Reddy who had ,already , direction of 6 films to his credit. Thus, Mr. Reddy emerged as the fore father for the South Indian Film Industry. And the rest about Mr. Reddy is a history known to everyone.

    When the talkie movie “Bhaktha Prahlada” was produced, those were the days of slavery ;we were reeling under the tyranny of the British .The only entertainment available to people was “Drama”-that too only mythological. They were feeling highly delightedt & forgetting themselves seeing these 3 hour duration dramas. In fact, the advent of cinema came as a shock for them. People feared as if someone has applied black magic on them…as if some witch craft was applied to them. Some worried that some catastrophe would befall on them. Many heckled at the motions of the pictures in the movie .That is why, these moving pictures could not withstand against the cross current of the dramas. At some places, the “mookies” were not received well .However, times are not the same all along. With amazing advancement in technology, ”cinema” has acquired new trends. Unimaginably, movie picture which was dumb till that time had started talking and learnt singing too. As the old water gets washed off with the gush of the new water, “drama “had become extinct with the force of the “cinema” .With learning of speech by the “mookies” which went spree all over the world for almost more than two decades, a new era in the world of entertainment had dawn. The same mouths which heckled at those “pictures”, showered words of praise on them. Jubilation in the producers had a pent up after seeing the pulling crowds gathered at the “Elephantine “ theatre of Calcutta exhibiting the English talkie movie-“Melody of Love” for the first time in India. Enamoured by a western movie-“Show Boat”, Ardeshiar Irani imported requisite recording machines etc & produced the Hindi film “Aalam Aara”’ which is the FIRST INDIAN TALKIE MOVIE. H.M. Reddy happened to be the assistant to Irani for that film.

    As the mythological drama alone was ruling the roost prior to the Bhaktha Prahlada era, even for this film too, only the story of Prahlada authored by one Sri Dharmavaram Krishnamacharyulu, the forefather of Telugu Drama (1853-1912) which was the 7th being played in those times by the Surabhi Troup out of the 19 such Bhaktha Prahlada dramas all over the Telugu Region, had to, perforce become the subject for the story. That is why the entire drama troup had to be taken to Mumbai for picturisation at Krishna Movietos Studio. However, the drama was not adopted as it it was by Reddy. The author of the drama too was not alive at that time.

    H.M.Reddy had to struggle a lot for producing this film. He took care personally for bringing the Surabhi Troup people to Mumbai, arranging for their accommodation & giving presents to them etc. C.S.R.Anjaneyulu (popularly known as C.S.R) who was not an actor by that time helped him in convincing the Surabhi Troup. Besides directing the film, he supervised many other areas of its production. Entire shooting was kept so secret that the producers did not show even a rushes to the actors/actresses. The picturisation started with the song ..”Parithaapa Bhaarambu…” sung by Surabhi Kamala Bai within the stipulated range of the camera; the orchestra was a little bit away.

    The person who played the role of “Hiranyakashyapa” in the film was one Mr Munipalle Subbaiah, the recipient of a title-“Natasekhara” hailing from the village “Munipalle” near Ponnur of Guntur district and hence was popular with his village name although his real name was Valluru Venkata Subba Rao .He was the highest paid artist of the Surabhi Troup & was famous for his main roles in the dramas staged by the Troup. His acting in the film “Bhaktha Prahlada “was dramatic..in the sense that he was taken by the emissary of H.N.Reddy-one Mr Doraswamy Naidu to Mumbai from his village where he was taking rest after the death of his father. His good action in Bhaktha Prahlada fetched him roles later in the films like “Draupadi Maana Samrakshana” & “Sathi Sulochana” etc..

    Surabhi Kamala Bai who played the role of “Leelavathi”,the wife of Hiranya Kashyapa was an artist by birth. The entire family of her parents were stage artists. Surabhi happened to have been delivered by her pregnant mother on the stage itself while the latter was giving a performance. It was a strange incident that Surabhi so born on the stage became the first Telugu talkie movie heroine. She was 18 years old when the film was produced .Though Rs 500/- was the remuneration decided for her for acting in the film, she was gifted with Rs 1000/- besides payment of to & fro rail fares after the production of the film as the initial amount paid to her was reportedly spent only on milk she consumed during the shooting period. Recalling the hard days they had, Surabhi told that in those days unlike the present days, they were not applying glycerin for getting tears and they were crying out of the involvement in the roles and the moods they assumed thereby; sobbing with hick ups was the order of those days. She played the main roles in the two subsequent talkie Telugu films-“Paadukaa Pattabhishekam” and “Shakunthala”. It was none else than she who acted as mother of NTR in “Paathaalabhairavi”. She continued to act in Telugu, Tamil & Hindi films till her old age.
    Though Munipalle Subbaiah only appeared on the screen throughout, as per the title of the cinema, we need to recognise Sri Sindoori Krishna Rao who took the title role of Prahlada as the FIRST TELUGU HERO OF THE STORY. His name was shown in the titles as mere Krishna. At the time he acted in the cinema, Krishna Rao was 9 years old. In all, 5 children were taken to Mumbai for the role of “Prahlada”When they were made to sing songs, Krishna Rao was selected for the role when he sang the song –“Amma Itu Bangaru Bandi Naa Kiyyave” He, however, had the experience of playing the roles of Bala Krishna, Kanakasena, Prahlada & Lohithaasya in various dramas by that time. For the role he played, Rao was paid a remuneration of Rs 400/- which certainly was substantially a good amount for those days. Thereafter, of course, he did not continue as an actor.
    In one of the interviews he gave to a journalist, Sri Krishna Rao was said to have been born in Khammam in 1923 and was the only son to his parents. Because of communal clashes, he said, he was taken back from Mumbai by his parents disregarding the advice of H.M.Reddy. That incident made his life very difficult. Since he was the only child to his parents, he had the responsibility of feeding them & hence resulted in a grinding halt to his career as an actor. Recalling his past very vividly he told that after coming back from Mumbai, though kept in Surabhi company, he was kept away from action. He had learnt harmonium and settled as a harmonist. The famous music director S.Rajeshwar Rao was his co-student while learning harmony. In those days, since he was unable to pay Rs 16/- to buy a harmonium box , he used to borrow the instrument from others. He was composing music for the poems rendered by Vanaarasa Ramaiah, Govinda Rao, Kamala Bai, Poornima, Subhadra & Shanta Bai. In his interview, he regretted that he could study only up to 5th class and that he left all his five children-three daughters & two sons to their fate and thus failed to give good future to them. After coming out from Surabhi Company in 1975, he settled down in a village called “Undraajapuram” near Tanuku of West Godavary District. His small grocery shop set up there did not go well and forced him to work on daily wages for eking out livelihood. It is very unfortunate that the whereabouts of such an actor who enjoyed the coveted position of being the first hero of the Telugu movies remained unknown for several years. His story came to light in 1999 thanks to the efforts of a journalist. Telugu cine field, however, hurried up to cover up its mistake of ignoring him for a very long time. In 2001; the Movie Art Association had felicitated him & rendered a financial assistance of Rs1.25 lakhs .He passed away in 2004, but the media did not bother to cover the death news of this first talkie film hero.

    Music for the film was composed by Padmanabha Sastry who was working in the music wing of the Prabhath Studios.Like the drama,the cinema too had some songs of Dharmavaram besides the poems of Pothana Bhagavatham.Confirmed sources indicate that three songs – one rendered by Munipalle Subbaiah who played the role of Hiranyakashyapa i.e.”Bheekaramagu Prathaapambunaku Bheethileaka Itu Cheasedava” and the other two-“Parithaapa Bhaarambu Bhariyimpa Tharamaa” & “Thanayaa Itulane Thagudura Palukaa Thandri Maata Vinakaa” by Surabhi Kamala Bai in the cinema were written by “Chandaala Keashava Daasu” who became popular as the first cine poet for the talkie films. Das was picked up by H.M.Reddy as he was known well by that time itself as the author of the drama “Kanakathaara” which was played hundreds of times in Telugu & non-Telugu areas. Born on 20 th June 1946 to the couple-Laxmi Naaraayana & Paapamma & died on 14 th May 1946, he was a famous Haridas and an “Ashtaavadhaani” (one who remembers & responses to the poetic queries of eight people at a time).Subsequent to “Bhaktha Prahlada” ,he also wrote songs for” Sathi Sakku Bai” (1935),”Sri Krishna Thulaabhaaram” (1935,1955 & 1956),”Sathi Anasooya” and(1935,”Kanakathaara”(1936)

    In “Vijayachithra” ,the cine monthly magazine of October 1991, the writer Paidipala ,of course, has a different version to give about the first Telugu cine song. He maintained that one Srinivasa Rao Bhagavathar who was the hero for the Tamil “Kalidas” used to sing “Harikatthas” those days and whatever be the reason every one was admitting that Sri Bhagavathar had rendered only Telugu songs and as such it was that Bhaktha Prahlaada which gave us the first Telugu cine song.
    Kolipaaka Madhusudan Rao, in the biography of Chandaala Keshava Das authored by him had written that along with songs Das had also written dialogues for the film and that the Keerthanas in the film were rendered by Aakula Narasimha Rao & Thungala Chalapathi Rao.

    The film Bhaktha Prahlada also enjoys the credit of introducing Akkineni Laxmi Vara Prasada Rao ,popularly known as L.V.Prasad to the cine field. Prasad enjoyed the rare distinction of having acted in the first Indian talkie –Aalam Aara,Telugu talkie “Bhaktha Prahlada and the first Tamil talkie “Kaildasu”. He was an actor working with Imperial Company of Mumbai on a monthly salary at that time. He played the role of one of the disciples of “Chandamarkas’, the teachers of Prahlada and the classmate of Prahlada-“Moddabbay”. He was also the assistant director for the film Prahlada . Just as Surabhi Kamala Bai got the name of being the first Telugu heroine, L.V.Prasad too got recognition as the first Telugu comedy actor. Recalling his past experiences, on one occasion, Prasad had told that he got introduced to H.M.Reddy in Mumbai when he was called along with others in connection with making of the talkie Tamil film “Savithri” by Irani Ardeshiar who entrusted the job to H.M Reddy. Since Reddy was the director for the next film “Bhaktha Prahlada” produced by the Krishna Film Company in Telugu, he called Prasad to Mumbai. It is said that after seeing a specific event in the cinema along with his nephew K. B. Tilak (a famous director/producer), Prasad’s mother had felt tense as to whether at all something might happen to her son.
    By the time “Aalam Aara” was released, many of those from South India got the experience of ups & downs in the production of mookie cinemas. But since the talkie cine industry was established at Mumbai & Calcutta only, “Bhaktha Prahlada” had to be taken at Mumbai.
    Bhaktha Prahlada was received well in all the Telugu Regions prior to States Reorganisation ,composite Madras state, in parts of Karnataka and also in Ichapuram of Orissa, but at the same time, had to face certain strictures from some quarters also. According to some initial Telugu talkie audience, ”Bhaktha Prahlada “ was well known as a drama and hence they had only the experience of seeing a drama on the screen but NOT the thrill of the pictures talking. Similarly, because of the ups & downs in the sounds and lack of clarity in the pictures, they did not experience the thrill. Whatever it be, every Telugu audience should be grateful to H.M Reddy for sowing the seed to Telugu cinema without any technical facilities and making it grow to such heights. Ever since this Bhaktha Prahlada , a mythological first talkie film was produced in 1931, all the subsequent films till “Sri Krishna Leelalu” of 1935 were only mythological. The craze of the people for mythological dramas was the main reason for making cinemas only of the well received mythological dramas by the producer/directors in the initial days
    In the later years, ”Bhaktha Prahlada “cinemas was taken on celluloid twice-once in 1942 initially under the banner of Jaya Films and later in the name of Shobhanaachala Pictures with Vemuri Gaggaiah, Rajeshwari, Natrayan Rao, G,Varalaxmi in the main roles. It was a bold attempt with a movement spirit by its producer Mirjapuram Raja with a view to uphold greatness of the mythological films at a time noted cine producers like Goodavalli Ramabrahmam & H.M Reddy etc..were preferring social movies. This picture was shot simultaneously along with the other mythological movie “Daksha Yagnam” on each alternate day to enable Chithrapu Narayana Murthy to direct both the films. In this film Garikapati Varalaxmi-later known as “G.Varalaxmi” played the role of “Prahlada” at her 13th year of her age. An interesting story went around during the period of shooting of this film. To get her dues of three months salary from Mirjapuram Raja who was known for not paying salaries to the artiste properly, G,Varalaxmi played a trick. She perched on a tree & threatened Raja that she would jump from it unless the latter pays the moneys due to her. Fearing that she might do what she said , Raja paid the dues. G.Varalaxmi, thus , used to indulge in mischievous acts during the shooting times.
    Bhaktha Prahlada was made, again, by AVM Productions in 1967 in colour; it bailed out its producer A.V Meyyappan from the financial losses he sustained earlier in the field. Meyyappan had also dubbed the film into Tamil & Hindi. Trained by Rangoon Rama Rao who acted as one of the “Chandamarkas” in the 19 42 film, Baby Rojaramani made her entry into the cine field in this film. Because of her remembrance power, she gave excellent lip movements to all the songs & poems picturised on her. This had won the express commendation of ANR who told that he had seen the cinema for the second time only to observe the lip movements of Baby Roja Ramani. D V.NarasaRaju who confined only to social films till then had written the dialogues for this. Chithrapu Narayana Murthy who worked as assistant for the 1931 cinema wherein he played the role of Brahma & “Guru” was the director for this film. It is note worthy that Murthy was the director successively for the two “Bhaktha Prahladas “-of 1942 & 1967.

    The fore father of the talkie movies H.M.Reddy and Surabhi Kamala Bai who acted in Bhaktha Prahlada were felicitated in the Silver Jubilee Celebrations of the Talkie Movies held during 12th to 20th January 1957 at Madras .Furnishing certain details about the film, the cine journalist Pradeep who happened to see it at Ballary around 1980 when it was exhibited is said to have told that :they had the feeling of having seen only a drama II)there was no clarity either in sounds or in picturisation iii) not sure of others, but only L. V. Prasad was clearly recognizable and iv)there was no evidence of having preserved its negatives in any of the achieves. Truly too, now its negatives are not available. It is our bad luck that even the Pune Films Achieve could not preserve this. Such is the “great care” we have in preserving & remembering the history!!!!!

    SRI LAKSHI NRISIMHA CHARANAU SHARANAM PRAPADYE !!!!!
    SRI LAKSHI NRISIMHA CHARANAU SHARANAM PRAPADYE !!!!!
    SRI LAKSHI NRISIMHA CHARANAU SHARANAM PRAPADYE !!!!!
    SRI LAKSHI NRISIMHA CHARANAU SHARANAM PRAPADYE !!!!!
    SRI LAKSHI NRISIMHA CHARANAU SHARANAM PRAPADYE !!!!!

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