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N. T. Rama Rao (NTR): Myth, Mass, and Morality
From the 1950s onward, NTR defined the mythological hero for Telugu cinema. His portrayals of Krishna, Rama, and Karna fused devotional reverence with mass spectacle in films such as Lava Kusa, Sri Krishna Pandaveeyam, and later Daana Veera Soora Karna. His career mapped onto post-independence India’s need for cultural anchoring—a society reclaiming heritage while modernity pressed in. Through socio-fantasy films (Pathala Bhairavi, Jagadeka Veeruni Katha), he also provided escapist entertainment that reinforced moral binaries. His era demonstrates how cinema both entertained and educated, turning epics into ethical guidebooks for audiences navigating rapid political and social change.
Akkineni Nageswara Rao (ANR): Romance, Reform, and Restraint
If NTR carried mythological grandeur, ANR embodied social realism and urban sophistication. Beginning with films like Donga Ramudu and Rojulu Marayi, he became the empathetic middle-class hero, reflecting optimism in newly independent India. His romantic dramas and literary adaptations (Aaradhana, Prem Nagar) offered nuanced portrayals of love, duty, and personal struggle, while devotional roles (Vipra Narayana) reinforced continuity with tradition. By the 1980s–90s, ANR transitioned gracefully into patriarch roles, symbolizing dignity, generational wisdom, and adaptability in a society undergoing economic shifts. His work projected cinema as a mirror to changing family structures and values, balancing modern aspirations with cultural rootedness.
Rajendra Prasad: The Comedy Everyman and Social Satirist
Rajendra Prasad emerged in the 1980s as the face of the common man. His comedies (Ladies Tailor, Aha Naa Pellanta) reflected small-town aspirations, gender dynamics, and bureaucratic frustrations, perfectly aligned with pre-liberalisation anxieties. By the 1990s, with films like Appula Appa Rao, he lampooned debt traps and urban consumerism, providing comic relief with biting social critique. As India liberalised, his roles tracked the struggles of migration, job insecurity, and rising consumer culture. Later, he evolved into ensemble character roles, embodying resilience in the face of generational change. Rajendra Prasad’s era illustrates how humour became a vehicle for socio-economic commentary, softening critique while connecting deeply with audiences’ lived realities.
S. V. Ranga Rao (SVR): Gravitas, Versatility, and Authority
SVR’s career epitomised powerful presence and adaptability. In mythological films, he portrayed larger-than-life antagonists—Hiranyakashipu, Ravana, Kamsa—with an authority that made villains both terrifying and morally complex. His Bhishma in Bala Bharatam embodied ethical gravitas, resonating with audiences who saw these figures as embodiments of moral dilemmas within tradition. Simultaneously, he headlined family dramas (Bandhavyalu, Thatha-Manavadu), embodying respected elder figures in a society negotiating urbanisation and generational change. His ability to move from fearsome villainy to dignified grandfatherhood reflected Telugu cinema’s dual track—preserving epic heritage while addressing contemporary family dynamics.
Nandamuri Taraka Rama Rao (NTR) Movie Images
NTR – Era-wise Journey & Context (Concise)
1950s–1970s: Mythological Mastery & Socio‑Fantasy Spectacle
Dominated mythological cinema with definitive portrayals of Lord Krishna, Lord Rama, and other epic figures (e.g., Lava Kusa, Sri Krishna Pandaveeyam, Sita Rama Kalyanam), delivering devotional gravitas in classical Telugu. In parallel, socio‑fantasy adventures like Pathala Bhairavi, Jagadeka Veeruni Katha, and Gulebakavali Katha blended folklore with magical spectacle, establishing NTR as both a cultural icon and mass entertainer. Context: Post‑independence Telugu cinema sought to preserve cultural heritage while embracing visual spectacle; NTR’s dual mastery satisfied devotional and escapist audience demands.1977: Daana Veera Soora Karna – Triple Role Landmark
Wrote, produced, directed, and played Karna, Duryodhana, and Krishna in a career‑defining Mahabharata retelling. This creative summit consolidated his interpretive authority over epic characters. Context: Reflected peak audience appetite for richly mounted mythologicals in the colour era.1978: Sri Rama Pattabhishekam – Capstone to Rama Portrayals
Produced under his own banner, this focused Ramayana retelling served as a canonical closure to his Lord Rama portrayals, cementing his legacy in colour‑era mythological cinema. Context: Arrived when Telugu cinema was transitioning toward social dramas, reaffirming the enduring draw of devotional epics.| mythology | Daana Veera Soora Karna | Sri Rama Pattabishekam | social socio fantacy | social socio fantacy |
|---|---|---|---|---|
| 01. dakshayagnam | Daana Veera Soora Karna (part-1) | Sri Rama patabhishekam – Full Movie(3 Hours 16 Mints) | 01 patala bhairavi | 43 umaadi kutumbam |
| 02. seeta rama kalyanam | Daana Veera Soora Karna (part-2) | Sri Rama patabhishekam – Titles | 02 pelli chesi choodu | 44 tikka shankarayah |
| 03. valmiki | Daana Veera Soora Karna (part-3) | Sri Rama Patabhishekam – (part 1) | 03 malleswari | 45 nindu samsaram |
| 04 shakunthala | Daana Veera Soora Karna (part-4) | Sri Rama Patabhishekam – (part 2) | 04 raja makutam | 46 nindu hrudayulu |
| 05 bhishma | Daana Veera Soora Karna (part-5) | Sri Rama Patabhishekam – (part 3) | 05 kanya sulkam | 47 nindu dampathulu |
| 06 lava kusa | Daana Veera Soora Karna (part-6) | Sri Rama Patabhishekam- (part 4) | 06 palnati yudham | 48 nindu manasulu |
| 07 karna | Daana Veera Soora Karna (part-7) | Sri Rama Patabhishekam- (part 5) | 07 bobbili yudham | 49 marina manishi |
| 08 maya maschindra | Daana Veera Soora Karna (part-8) | Sri Rama Patabhishekam- (part 6) | 08 mahamantri timmarasu | 50 ramu |
| 09 sati savitri | Daana Veera Soora Karna (part-9) | Sri Rama Patabhishekam- (part 7) | 09 jagadeka veerudi katha | 51 chitti chellelu |
| 10 satya harishchandra | Daana Veera Soora Karna (part-10) | Sri Rama Patabhishekam – (part 8) | 10 gulebakavali katha | 52 tatamma kala |
| 11 uma chandi gowri shankarula katha | Daana Veera Soora Karna (part-11) | 11 paramanandayya sishula katha | 53 annadammula anubandham | |
| 12 sri krishna pandaveeyam | Daana Veera Soora Karna (part-12) | 12 lakshmi kataksham | 54 rowdy ramudu konte krishnudu | |
| 13 pandava vanavasam | Daana Veera Soora Karna (part-13) | 13 bhuvana sundari katha | 55 simham navvindi | |
| 14 nartanasala | Daana Veera Soora Karna (part-14) | 14 chikkadu dorakadu | 56 kondaveeti simham | |
| 15 veerabhimanyu | Daana Veera Soora Karna (part-15) | 15 gopaludu bhupaludu | 57 justice chowdary | |
| 16 babruvahana | Daana Veera Soora Karna (part-16) | 16 aggi pidugu | 58 yamagola | |
| 17 premilla arjuneeyam | Daana Veera Soora Karna (part-17) | 17 alibaba 40 dongalu | 59 vetagadu | |
| 18 sri ramanjineeya yudham | 1Daana Veera Soora Karna (part-18) | 18 bandipotu | 60 gaja donga | |
| 19 sri krishnanjeneeya yudham | Daana Veera Soora Karna (part-19) | 19 aggi ramudu | 61 missamma | |
| 20 sri krishnavataram | Daana Veera Soora Karna (part-20) | 20 vaddante dabbu | 62 gundamma katha | |
| 21 sri krishna tulabharam | Daana Veera Soora Karna (part-21) | 21 kutumba gauravam | 63 charana daasi | |
| 22 sri krishna vijayam | Daana Veera Soora Karna (part-22) | 22 bala nagamma | ||
| 23 sri krishna satya | Daana Veera Soora Karna (part-23) | 23 jayasimha | ||
| 24 vinaka chavithi | Daana Veera Soora Karna (part-24) | 24 raju peda | ||
| 25 deepawali | 25 appu chesi papukudu | |||
| 26 indrajeeth | 26 sabash ramudu | |||
| 27 sri panduranga mahatyam | 27 santosham | |||
| 28 sri venteswara mahatyam | 28 adugu jadalu | |||
| 29 sri satyanarayana swamy mahatyam. | 29 dagudu muthalu | |||
| 30 dana veera sura karna | 30 gaali medalu | |||
| 31 sri mad virata parvam | 31 naadi aadajanme | |||
| 32 sri madvirat dana veera sura parv | 32 atma bandhuvu | |||
| 33 srirama patabhishekam | 33 kalasivunte kaladu sukham | |||
| 34 akbar saleem anarkali | 34 lakshadhikari | |||
| 35 samrat ashok | 35 c.i.d | |||
| 36 sri tirumala tirupati venkateswar | 36 bhale tammudu | |||
| 37 sri madvirat veerabrahmedra swamy | 37 manchi manishi | |||
| 38 sri brahmarshi viswamitra | 38 gudi gantalu | |||
| 39 srinatha kavi sarvabhoma | 39 devatha | |||
| 40 maya bazaar | 40 ramudu bhemudu | |||
| 41 bhookailas | 41 adrusta jatakudu | |||
| 42 tenali rama krishna | 42 chinanaati snehithulu |
Super Star Krishna Movie Images
Krishna – Era-wise Journey & Context (Concise)
Early Years & Breakthrough (1960s)
He rose to fame with landmark films like Gudachari 116—Telugu’s first spy thriller—which catapulted him to stardom as the “Andhra James Bond”.
Context: This era embraced global genres and adventurous themes; Krishna’s portrayal of daring heroes mirrored audiences’ appetite for modern, action-packed storytelling.
Versatile Stardom (1970s)
Krishna dazzled with diverse roles across action, romance, and mythological genres, featuring in over 17 films per year—a Telugu record.
Context: As Telugu cinema sought scale and variety, he became a trendsetter, anchoring high-octane mass entertainers that resonated widely.
Innovation & Pioneering (Late 1960s–1980s)
Known for “firsts,” he starred in Telugu’s earliest spy films, cowboy flicks, full scope epics, and 70 mm spectacles.
Context: He pushed technical and genre boundaries, introducing cinematic novelty and elevating production value in the industry.
Legacy & Leadership (1980s–2000s)
Beyond acting in over 350 films, Krishna founded Padmalaya Studios, directed 16 films, and produced influential projects.
Context: At a time when the Telugu film industry matured, he evolved into a powerhouse—blending star charisma with creative and institutional leadership.
| S.No. | Movie Name | S.No. | Movie Name | S.No. | Movie Name |
|---|---|---|---|---|---|
| 1 | Thene Manasulu | 2 | Kanne Manasulu | 3 | Gudachari 116 |
| 4 | Iddaru Monagallu | 5 | Saakshi | 6 | Marapurani Katha |
| 7 | Stree Janma | 8 | Upayamlo Apayam | 9 | Private Master |
| 10 | Ave Kallu | 11 | Asadhyudu | 12 | Niluvu Dopidi |
| 13 | Manchi Kutumbam | 14 | Circar Express | 15 | Amayakudu |
| 16 | Attagaru Kothakodalu | 17 | Lakshmi Nivasam | 18 | Nenante Nene |
| 19 | Undamma Bottu Pedata | 20 | Chelleli Kosam | 21 | Vintha Kapuram |
| 22 | Manchi Mitrulu | 23 | Love in Andhra | 24 | Bhale Abbailu |
| 25 | Bommalu Cheppina Katha | 26 | Mahabaludu | 27 | Sabash Satyam |
| 28 | Astulu Anthastulu | 29 | Takkari Donga Chakkani Chukka | 30 | Vichitra Kutumbam |
| 31 | Muhrutha Balam | 32 | Jarigina Katha | 33 | Jagath Kiladeelu |
| 34 | Annadammulu | 35 | Karpoora Harathi | 36 | Bandipotu Bheemanna |
| 37 | Akka Chellelu | 38 | Maa Nanna Nirdhoshi | 39 | Malli Pelli |
| 40 | Vidhi Vilasam | 41 | Amma Kosam | 42 | Thaali Bottu |
| 43 | Pelli Sambandham | 44 | Pelli Koothuru | 45 | Maa Manchi Akkayya |
| 46 | Paga Sadista | 47 | Agni Pariksha | 48 | Akhandudu |
| 49 | Pachhani Samsaram | 50 | Rendu Kutumbala Katha | 51 | Allude Menalludu |
| 52 | Andarki Monagadu | 53 | Prema Jeevulu | 54 | Master Kiladi |
| 55 | Athalu Kodallu | 56 | Pattukunte Laksha | 57 | Nammaka Drohulu |
| 58 | Anuradha | 59 | Bangaru Kutumbam | 60 | Mosagallaku Mosagadu |
| 61 | Nenu Manishine | 62 | Chalaki Rani Kiladi Raja | 63 | James Bond 777 |
| 64 | Monagadostunnadu Jagratha | 65 | Raj Mahal | 66 | Antha Mana Manichike |
| 67 | Maa Oori Monagallu | 68 | Guduputani | 69 | Hantakulu Devanthakulu |
| 70 | Kodalupilla | 71 | Menakodalu | 72 | Bale Mosagadu |
| 73 | Pandanti Kapuram | 74 | Nijam Nirupista | 75 | Inspector Bharya |
| 76 | Abbaigaru Ammaigaru | 77 | Kattula Rattayya | 78 | Maa Inti Velugu |
| 79 | Praja Nayakudu | 80 | Marapurani Talli | 81 | Illu Illalu |
| 82 | Manchi Vallaki Manchivadu | 83 | Mallamma Katha | 84 | Talli Kodukulu |
| 85 | Nindu Kutumbam | 86 | Srivaru Maavaru | 87 | Puttinillu Mettinillu |
| 88 | Sneha Bandham | 89 | Neramu Siksha | 90 | Devudu Chesina Manushulu |
| 91 | Mamatha | 92 | Mayadari Malligadu | 93 | Pasi Hrudayalu |
| 94 | Vintha Katha | 95 | Ganga Manga | 96 | Meena |
| 97 | Galipatalu | 98 | Peddalu Marali | 99 | Utthama Illalu |
| 100 | Alluri Seetharama Raju | 101 | Manushulu Matti Bommalu | 102 | Radhamma Pelli |
| 103 | Gowri | 104 | Adambaralu Anubandhalu | 105 | Deergha Sumangali |
| 106 | Dhanavanthulu Gunavanthulu | 107 | Intiniti Katha | 108 | Satyaniki Sankellu |
| 109 | Devadasu | 110 | Abhimanavathi | 111 | Kothakapuram |
| 112 | Soubhagyavathi | 113 | Cheekati Velugulu | 114 | Rakthasambandhalu |
| 115 | Santanam Soubhagyam | 116 | Gajula Kishtayya | 117 | Devudulanti Manishi |
| 118 | Padi Pantalu | 119 | Sri Rajeswari Vilas Coffee Club | 120 | Manavoori Katha |
| 121 | Ramarajyamlo Rakthapasam | 122 | Kolleti Kapuram | 123 | Bhale Dongalu |
| 124 | Devude Gelichadu | 125 | Kurukshetram | 126 | Savasagallu |
| 127 | Eenatibandham Ye Natido | 128 | Janmajanmala Bandham | 129 | Panchaithi |
| 130 | Dongalaku Donga | 131 | Manushulu Chesina Dongalu | 132 | Manassakshi |
| 133 | Indradhanasu | 134 | Patnavasam | 135 | Allari Bullodu |
| 136 | Annadammula Savaal | 137 | Agent Gopi | 138 | Dongala Dopidi |
| 139 | Mugguru Muggure | 140 | Chalmohana Ranga | 141 | Dongala Veta |
| 142 | Simha Garjana | 143 | Cheppindi Chestha | 144 | Kumara Raja |
| 145 | Athani Kante Ghanudu | 146 | Moodu Puvvulu Aaru Kayalu | 147 | Iddaru Asadhyule |
| 148 | Viyyalavari Kayyalu | 149 | Hema Hemeelu | 150 | Dongalaku Savaal |
| 151 | Kotta Alludu | 152 | Yevadabbasommu | 153 | Mande Gundelu |
| 154 | Muthaiduva | 155 | Sanku Teertham | 156 | Burripalem Bullodu |
| 157 | Captain Krishna | 158 | Samajaniki Savaal | 159 | Bhale Krishnudu |
| 160 | Devudichina Koduku | 161 | Kottapeta Rowdy | 162 | Gharana Donga |
| 163 | Mama Allulla Savaal | 164 | Adhrustavanthudu | 165 | Ram Robert Rahim |
| 166 | Sirimalle Navvindi | 167 | Chuttalunnaru Jagratha | 168 | Ragile Hrudayalu |
| 169 | Kiladi Krishnudu | 170 | Bandodu – Gundamma | 171 | Hare Krishna – Hallo Radha |
| 172 | Maa Inti Devatha | 173 | Ammaiki Mogudu – Mamaki Yamudu | 174 | Allari Bava |
| 175 | Bangaru Bava | 176 | Ooruki Monagadu | 177 | Thodu Dongalu |
| 178 | Guru Sishyulu | 179 | Rahasya Gudachari | 180 | Bhogi Mantalu |
| 181 | Bhoga Bagyalu | 182 | Gadasari Atha – Sogasari Kodalu | 183 | Jathagadu |
| 184 | Antham Kaadidi Aarambham | 185 | Mayadari Alludu | 186 | Nayudu Gari Abbai |
| 187 | Bangaru Bhumi | 188 | Bangaru Koduku | 189 | Krishnaarjunulu |
| 190 | Edi Dharmam Edi Nyayam? | 191 | Doctor Cine Actor | 192 | Nivuru Gappina Nippu |
| 193 | Prema Nakshathram | 194 | Vayyari Bhamalu Vagalamari Bhartalu | 195 | Jagannatha Radhachakralu |
| 196 | Pagabattina Simham | 197 | Krishnavataram | 198 | Ekalavya |
| 199 | Shamshare Shankar | 200 | Kalavari Samsaram | 201 | Eenadu |
| 202 | Bezawada Bebbuli | 203 | Oorantha Sankranthi | 204 | Mundadugu |
| 205 | Kirayi Kotigadu | 206 | Chattaniki Veyi Kallu | 207 | Adavi Simhalu |
| 208 | Siripuram Monagadu | 209 | Amayakudu Kaadhu Asadhyudu | 210 | Ramarajyamlo Bheemaraju |
| 211 | Shakthi | 212 | Prajarajyam | 213 | Lankebindelu |
| 214 | Poratam | 215 | Iddaru Dongalu | 216 | Yuddham |
| 217 | Raktha Sambandham | 218 | Pulijoodam | 219 | Mukhyamanthri |
| 220 | Nayakulaku Saval | 221 | Kirayi Alludu | 222 | Bangaru Kapuram |
| 223 | Uddhandudu | 224 | Kanchu Kagada | 225 | Dongalu Baboi Dongalu |
| 226 | Agni Parvatam | 227 | Maha Sangramam | 228 | Andharikante Monagadu |
| 229 | Palnati Simham | 230 | Vajrayudham | 231 | Pachani Kapuram |
| 232 | Surya Chandra | 233 | Maha Manishi | 234 | Krishna Garadi |
| 235 | Brahmasthram | 236 | Simhasanam | 237 | Jayam Manade |
| 238 | Prathibhavanthudu | 239 | Khaidi Rudraiah | 240 | Krishna Paramathma |
| 241 | Naa Pilupe Prabhanjanam | 242 | Parasuramudu | 243 | Santhi Nivasam |
| 244 | Thandri Kodukula Challenge | 245 | Dongodochhadu | 246 | Makutamleni Maharaju |
| 247 | Tene Manasulu (1987) | 248 | Sardar Krishnama Naidu | 249 | Muddayi |
| 250 | Shankharavam | 251 | Vishwanatha Nayakudu | 252 | Maa Voori Magadu |
| 253 | Muddu Bidda | 254 | Donga Garu Swagatham | 255 | Kaliyuga Karnudu |
| 256 | Chuttalabbayi | 257 | Dorakani Donga | 258 | Rowdy No.1 |
| 259 | Jamadagni | 260 | Aswaddhama | 261 | Maharajasri Mayagadu |
| 262 | Agni Keratalu | 263 | Mugguru Kodukulu | 264 | Praja Prathinidhi |
| 265 | Rajakeeya Chadarangam | 266 | Atha Mechina Alludu | 267 | Manchi Kutumbam (1989) |
| 268 | Goonda Rajyam | 269 | Parthudu | 270 | Gudachari 117 |
| 271 | Sahasame Naa Oopiri | 272 | Ajatha Satruvu | 273 | Sarvabhoumudu |
| 274 | Koduku Didina Kapuram | 275 | Jayammu Nischayammu Raa | 276 | Rikshawala |
| 277 | Inspector Rudra | 278 | Aayudham | 279 | Prajala Manishi |
| 280 | Anna Thammudu | 281 | Vishnu | 282 | Nagastram |
| 283 | Parama Sivudu | 284 | Indra Bhavanam | 285 | Alludu Diddina Kapuram |
| 286 | Naa Ille Naa Swargam | 287 | Raktha Tarpanam | 288 | Pachani Samsaram (1993) |
| 289 | Varasudu | 290 | Rowdy Annayya | 291 | Kirayi Gunda |
| 292 | Number One | 293 | Raitu Bharatam | 294 | Gharana Alludu |
| 295 | Yamaleela | 296 | Doragariki Donga Pellam | 297 | Yes Nenante Nene |
| 298 | Police Alludu | 299 | Amma Donga | 300 | Super Mogudu |
| 301 | Dear Brother | 302 | Real Hero | 303 | Telugu Veera Levara |
| 304 | Bharata Simham | 305 | Sampradayam | 306 | Puttinti Gowravam |
| 307 | Jagadeka Veerudu – Pellala Rajyam | 308 | Akkum Bakkum | 309 | Rendu Kutumbala Katha (1996) |
| 310 | Ramudochadu | 311 | Bobbili Dora | 312 | Osey Ramulamma |
| 313 | Adhirindhi Guru | 314 | Encounter | 315 | Sambhavam |
| 316 | Vaibhavam | 317 | Prathista | 318 | Vareva Moguda |
| 319 | Maanavudu Daanavudu | 320 | Sultan | 321 | Raja Kumarudu |
| 322 | Ravanna | 323 | Yee Taram Nehru Nehru | 324 | Vamsi |
| 325 | Dadagiri Dada | 326 | Pandanti Samsaram (2001) | 327 | Takkari Donga |
| 328 | Chandravamsam | 329 | Vachina Vaadu Suryudu | 330 | Fools |
| 331 | Taarak | 332 | CBI Officer | 333 | Santhi Sandesam |
| 334 | 24 Gantalu | 335 | Evaru Nenu? | 336 | Sravanamasam |
| 337 | Ayodhya | 338 | Sardar Papanna | 339 | Amma Nanna Lekunte |
| 340 | Sri Sri (2016) |
Akkineni Nageswara Rao (ANR) Movie Images
Early–Mid 1950s: Social Realism & Family Dramas
Emerged as the empathetic middle-class hero through films like Donga Ramudu, Rojulu Marayi, and Pellinati Pramanalu. Context: Post-independence India’s cinema highlighted social reform, ethics, and family values, resonating with audiences adjusting to modernity.
Late 1950s–1960s: Versatility & Devotional Strength
Showcased range in romantic and family dramas (Mangalya Balam, Illarikam, Aaradhana), dual roles (Iddaru Mitrulu, Aastiparulu), and devotional/biographical portrayals (Vipra Narayana, Amarasilpi Jakkanna, Buddhimantudu). Context: Audiences embraced experimentation, blending modern romance with mythological reverence.
Late 1960s–1970s: Stardom Peak
Balanced romance, action, and comedy with landmark films like Prem Nagar, Raitu Kutumbam, and Andala Ramudu. Context: Economic shifts and mass-market tastes favoured charismatic, multi-genre stars, cementing ANR’s box-office dominance.
1980s–1990s: Patriarch Transition
Transitioned into mentor and elder roles (Buchi Babu, Bahudoorapu Batasari, Seetaramayyagari Manavaralu, Bangaru Kutumbam). Context: With industry generational change, ANR sustained longevity by embodying dignified patriarchs while maintaining his star aura.
| Sl. No | Movie Name | Sl. No | Movie Name |
|---|---|---|---|
| 01 | sri ranganeethulu | 29 | adrusta vanthulu |
| 02 | andala ramudu | 30 | aaradhana |
| 03 | iddaru mitrulu | 31 | atmabalam |
| 04 | mangalya balam | 32 | anantasthulu |
| 05 | keelu gurram | 33 | aastiparulu |
| 06 | suvarna sundari | 34 | athmeeyulu |
| 07 | thodi kodallu | 35 | aatma gowravam |
| 08 | velugu needalu | 36 | adarsha kutumbam |
| 09 | rojulu marayi | 37 | brahmachari |
| 10 | siri sampadalu | 38 | premalu pellillu |
| 11 | illarikam | 39 | raitu kutumbam |
| 12 | pellinati pramanalu | 40 | amarasilpi jakkanna |
| 13 | pelli sandadi | 41 | rahsyam |
| 14 | preminchi choodu | 42 | prem nagar |
| 15 | chanchu lakshmi | 43 | aalu magalu |
| 16 | donga ramudu | 44 | bangaru babu |
| 17 | santhanam | 45 | muddula koduku |
| 18 | vipranarayana | 46 | chilipikrishnudu |
| 19 | chakrapani | 47 | prema kanuka |
| 20 | shanti nivasam | 48 | buchi babu |
| 21 | bharya bhartalu | 49 | pilla zamindar |
| 22 | dr. chakravarthy | 50 | bahudurapu batasari |
| 23 | bandipotu dongalu | 51 | tandava krishnudu |
| 24 | buddhimantudu | 52 | koteswarudu |
| 25 | govula gopanna | 53 | bharya bhartala bandham |
| 26 | rangeli raja | 54 | ramudu kadu krishnudu |
| 27 | poola rangadu | 55 | seetaramayah gari manavaralu |
| 28 | srimanthudu | 56 | bangaru kutumbam |
| 57 | college bullodu |
Samarla Venkata Ranga Rao (SVR) Movie Images
1950s–1970s: Mythological Antagonists & Gravitas
Renowned for commanding presence in mythological cinema, SVR excelled as powerful antagonists—Hiranyakashipu in Bhakta Prahlada (1967), Ravana in Sampoorna Ramayanam (1972), and Kamsa in Yasodha Krishna (1975). Also portrayed Bhishma in Bala Bharatam (1972), reinforcing his stature in epic narratives.
Context: This period’s devotional blockbusters relied on actors who could project both menace and moral authority, appealing to culturally rooted audiences.
1960s–1970s: Social & Family Drama Leadership
Balanced mythologicals with headlining roles in social/family dramas such as Bandhavyalu (1968), where he played a landlord, and Thatha‑Manavadu (1973) as the titular grandfather. These roles marked a gradual shift towards patriarchal figures.
Context: Mirrored societal respect for elder authority figures amid urbanisation and generational change.
Role Patterns & Adaptability
SVR’s career showcased versatility—transitioning from fearsome antagonists to dignified elders. This adaptability ensured relevance across genres, sustaining his presence despite industry shifts.
Context: His career trajectory reflects Telugu cinema’s dual track in the era—preserving mythological heritage while embracing contemporary family narratives.
Rajendra Prasad Movie Images
Rajendra Prasad – Era-wise Journey & Context (Concise)
Folder 1 (1983–1989 | 65 films): Foundation & Breakthrough
Became the “comedy everyman,” portraying middle-class dreams and struggles (Preminchu Pelladu, Ladies Tailor, Aha Naa Pellanta). His satire reflected small-town aspirations, gender dynamics, and bureaucracy. Context: Rural-urban migration, pre-liberalisation economic constraints, and semi-urban backdrops mirrored Andhra Pradesh’s transitional society.
Folder 2 (1991–1994 | 48 films): Peak Comedy & Star Image
Perfected the lovable trickster in hits like Appula Appa Rao and Mayalodu. Stories tackled debt, bureaucracy, and marriage economics with wit. Context: Post-1991 liberalisation brought urban growth, job migration, and rising consumerism; his films blended humour with sharp commentary on new economic realities.
Folder 3 (2000–2006 | 27 films): Transitional Phase & Character Depth
Shifted to ensemble and character roles (Kshemamga Velli Labhamga Randi, Andaru Dongale Dorikite), anchoring urban family comedies. Context: IT boom, generational change, and globalised lifestyles reshaped narratives, with city-centric filming replacing rural backdrops.