Wednesday, October 21, 2026

Simplified and faithful rendering of the Adi Kavya-44 >>>>> Ayodhya in Agony: The Kingdom Without Rama: Vanam Jwala Narasimha Rao

 Ayodhya in Agony: The Kingdom Without Rama

A King’s Remorse and the Ocean of Separation

Simplified and faithful rendering 

of the Adi Kavya-44

Vanam Jwala Narasimha Rao (October 21, 2026)

            In the previous chapter, the forest of Chitrakoota had slowly transformed into a dwelling sanctified by discipline, devotion, and acceptance. Amid flowering trees and flowing waters, Sri Rama shaped exile into a life of quiet purpose. Nature received him. The mountain stood witness. The hermitage was consecrated. Yet while serenity settled upon Chitrakoota, Ayodhya began to unravel. The departure that rooted Rama in the forest left a kingdom rootless. What was peace there became anguish here. What was renunciation in exile became desolation in the capital. The narrative now turns from the stillness of Chitrakoota to the tremor of a city that had lost its moral center.

Grief-stricken Sumantra and Guha stood watching Sri Rama until he vanished from sight. Speaking only of him, absorbed in the pain of separation, they lingered long before returning to their abodes. After Sita, Rama, and Lakshmana crossed the Ganga, tidings of their progress reached Guha day by day through messengers: the first night beneath a tree, the second at Bharadwaja’s hermitage, the third upon the banks of the Yamuna, the fourth toward Chitrakoota. On the fifth day, the account was complete.

Hearing all this, Sumantra, with Guha’s leave, turned his chariot toward Ayodhya. Sorrow weighed upon him, yet the road revealed fragrant forests, flowing rivers, and thriving towns. Though his heart burned, his eyes could not deny the world’s beauty. Such is the human condition: grief may cloud the spirit, but life continues to unfold before it. The world does not halt for private anguish; it moves forward, indifferent yet quietly instructive.

When Sumantra entered Ayodhya, he found the city unnaturally silent. It appeared desolate, almost abandoned. No horses neighed in the courtyards, no elephants stood adorned at gateways, no bustling citizens filled the streets, no royal presence animated the avenues. The city seemed scorched by the fire of Rama’s separation. With tears streaming down his face, Sumantra drove through streets that felt as though they were smoldering in grief. Citizens, their faces swollen with sorrow, stopped his chariot and anxiously asked of Rama’s whereabouts.

Sumantra replied that, having obeyed Rama’s command on the banks of the Ganga, he had returned alone, for Rama had journeyed onward into exile. Hearing this, the people cried aloud, overcome with anguish. When righteous leadership departs, it is not merely a throne that falls vacant; the collective heart of a people feels orphaned. A kingdom may endure in structure, yet collapse in spirit. Some wept openly. Others lamented in hushed despair. Many stood stunned, unable to comprehend their loss. Gathering in small groups, they asked one another what remained to be done.

Several declared that life without Rama was no life at all. At charities, sacrifices, sacred assemblies, and even weddings, his name was uttered with tears. In every gathering arose the same question: would they ever behold him again? Some reflected that without Rama there was no happiness; others felt that without his presence there could be no true liberation, no blessedness, no enduring good. Gradually a shared conviction took root among them, that, only reunion with Rama could restore meaning to their lives.

They cried out together: ‘For us who are helpless, Sri Rama was as a father. If such a protector departs, who remains to guide us? In distress, a father is refuge, and if he himself leaves, where shall we turn? How unfortunate we are that a soul so righteous, so compassionate, so noble-hearted had gone, leaving us thus to grieve! Rama always reflected upon what would bring happiness to the people, what would be dear to them, what would ensure their welfare, and he acted accordingly. He guarded us like a father guards his children.’ Their lament was not merely for a prince, but for a presence that embodied justice, affection, and moral clarity.

Societies instinctively recognize integrity. Titles may command obedience, but character alone commands love. When leadership is rooted in dharma, people do not merely follow, but they feel that they belong. At this juncture, Andhra Valmiki Vavilikolanu Subbarau, in his Mandaram, observes with poignancy that one who has once experienced the living presence of the Divine through devotion and then loses that awareness is indeed most unfortunate. Thus began Ayodhya’s long night, a kingdom awakening to the irreversible cost of a single decision.

On the day Sri Rama departed for the forest, many citizens had fallen to the ground like creepers severed at the root. When they later heard the sound of Sumantra’s returning chariot, a tremor of hope stirred within them. For a fleeting moment, some imagined that Sri Ramachandra himself had returned. But as they gazed from their windows and saw the chariot without Rama, that hope dissolved into deeper despair. They lacked even the strength to step into the streets. Sumantra, unable to endure the sorrow in their eyes, and ashamed that they might question him as to why he had left Rama in the forest, a question for which he possessed no answer, covered his face with a cloth, and drove swiftly toward the royal palace, hoping to avoid being stopped.

Even after alighting, he moved hurriedly, fearing that any pause would invite the crowd to surround him. Meanwhile, citizens gathered in anxious clusters, waiting to hear of Rama and to learn of their king’s condition. When a nation undergoes moral shock, silence spreads more swiftly than proclamation. In such an hour, a messenger carries not merely news, but the weight of unspoken blame. From modest dwellings to seven-tiered mansions, from the homes of nobles to the inner quarters of royalty, women stood upon balconies and terraces, searching the road below, and wept when Rama was nowhere to be seen.

Their voices dissolved into broken sounds of anguish as they looked helplessly at one another. Long streams of tears flowed, as though grief itself had found visible channels. The collyrium (eye-lotion) lining their eyes melted and ran, leaving pale streaks upon their faces while tears traced burning paths across their cheeks. Within the inner palaces, where the queens of King Dasaratha remained near him, sorrow was restrained but no less intense. They wept softly, subdued by proximity to the stricken king. Among themselves they wondered how Sumantra would answer Kausalya. Whether he spoke or remained silent, what comfort could there be? How were they to continue living, and for what purpose?

They reflected upon Kausalya’s endurance, that she still bore the weight of her body despite separation from Sri Rama, and they marveled at the strength such survival demanded. If grief of this magnitude consumed the heart, what meaning remained in sustaining life? How could such sorrow be borne? These questions lingered not only in whispers but in the silence between them. Grief, in its extremity, does not merely wound the heart, but it unsettles the very instinct to endure. In moments of irreversible loss, even the act of breathing demands quiet courage.

As the royal women thus lamented, Sumantra, hearing their sorrow, entered the palace, which seemed scorched by an unseen fire of anguish. Passing through successive chambers, he reached the eighth inner apartment. There he beheld King Dasaratha, spirit broken, body weakened, consumed by separation from his son, and seated within the white palace, yet devoid of royal radiance. Sumantra bowed low before him and began to convey all the words spoken by Sri Rama.

Dasaratha listened without interruption. As Sumantra concluded, the king’s mind, overwhelmed by agitation, gave way, and he collapsed to the ground in a faint. The women present cried out in distress and rushed to raise him. With Sumitra’s support, Kausalya lifted the fallen monarch and reminded him that Sumantra had returned as the messenger of Sri Ramachandra, he who accomplished even the impossible. If the messenger had come back from the forest, there was yet news to be heard.

But sorrow soon gave way to reproach. Kausalya questioned her husband as to why he now shrank in shame, as though suddenly aware of the unrighteousness of his deed. With restrained anguish, she spoke of his fear of Kaikeyi, for whose sake he had not even dared inquire after his own son, and urged him to gather courage and speak openly. Her words carried the weight of accumulated grief: once a rash decision was enacted, regret cannot reverse it; and when accountability was delayed, suffering deepens. The palace, which once echoed with royal authority, now bore witness to the consequences of unguarded promise and unexamined resolve.

Thus, Ayodhya’s sorrow, once dispersed among its people, settled fully within the palace walls. The grief of the kingdom found embodiment in the collapse of its king. Having spoken, Kausalya herself was overcome by intensified anguish. She too fainted and fell to the ground. The women of the inner chambers, beholding her condition, cried aloud in despair, and their lamentation filled the halls. After some time, Dasaratha regained consciousness. Turning immediately to Sumantra, his longing fixed upon his eldest son, he sought to hear every detail.

Sumantra approached respectfully, prepared to recount all that he had witnessed. The king began to question him with restless urgency. How was Sri Rama, who had been destined for royal comfort, passing his days in exile? Beneath what trees did he dwell? Upon what harsh ground did he rest? In which lonely forests did he wander? How did those tender youths endure wildernesses filled with serpents and wild beasts? He inquired especially about Sita, delicate, devoted, unacquainted with hardship, untouched by guile, and wondered how she had descended from the chariot and walked into the forest depths.

Each question revealed not merely curiosity, but the torment of imagination. For a parent, separation is pain; yet imagining the lost comfort of a beloved child deepens that pain beyond measure. Dasaratha then spoke words of praise to Sumantra, observing that he had been blessed with the rare fortune of witnessing with his own eyes Rama and Lakshmana entering the forest. Such a sight, the king declared, had sanctified his very birth. Yet praise quickly yielded again to longing. He asked Sumantra to recount in detail all that had transpired when Sri Rama commanded him to return.

‘What had Rama said? What words had Sita spoken? How had Lakshmana borne himself? Where had they chosen to reside, and by what means did they sustain their bodies?’ In these questions lay more than inquiry. When the presence of the noble cannot be attained, remembrance of their words and deeds becomes a form of solace. In separation, memory itself assumes the character of prayer. Seeing the king thus overwhelmed, Sumantra too was overcome with grief. Tears rose and choked his voice; his words faltered and broke as he began to speak.

He conveyed first the message of Sri Rama: that he bowed in reverence to his father, offering repeated prostrations in spirit at his feet; that he sent salutations, according to propriety, to all elders and well-wishers; and that he inquired with affection about the welfare of the women of the inner palace. Thereafter, Sumantra said, Rama had instructed him to approach Mother Kausalya, bow fully before her, ask after her well-being, and only then convey his words. Sumantra then repeated Rama’s message to his mother.

‘Rama urged her to continue performing all duties as before, not to neglect sacred observances on account of sorrow, and to tend the consecrated fires at the proper times. She was to remain steadfast in her dharma as a devoted wife, not to withdraw from Dasaratha in resentment, nor to dwell upon the suffering caused under Kaikeyi’s influence. He pleaded her to relinquish pride in noble lineage and to conduct herself in a manner that would not wound Kaikeyi’s heart, who by then stood in equal status as queen. Even in exile, Rama’s concern rested not upon his own hardship, but upon the preservation of harmony in the household.

Sumantra continued, recounting that Sri Rama, his eyes filled with tears, had further instructed him thus: Kausalya was to remember that Kaikeyi’s son would be the future king. Rama had observed, that Kings were rendered venerable not merely by seniority but by charity and righteous conduct. Therefore, she was to keep firmly in mind the principles of Raja Dharma. When Bharata returned, she was to inquire after his welfare on Rama’s behalf and to address him with the dignity due to a reigning monarch.

Sumantra also conveyed what Rama desired Kausalya to communicate to Bharata: that he should act with fairness toward all his mothers, harbor no thoughts that would cause distress to their aged father, and enjoy royal privilege only along the path indicated by him. Even in exile, Rama’s concern rested upon preserving order within the household and the kingdom. His words bore no trace of grievance, only an unwavering commitment to harmony. True nobility reveals itself most clearly when wronged, it seeks order, not revenge.

The palace thus heard the magnanimity of the one who had departed. Rama had further asked that Bharata be told to regard Kausalya, whose love for her son ran deep, as he would his own mother. Just as a mother’s affection toward her child was natural, so too should Kausalya’s love for Rama never be misjudged as partiality. Having spoken these words, Sumantra said, Sri Ramachandra had lowered his head, his eyes reddened like blossoming lotuses and brimming with tears. Overcome by emotion, he could speak no further and fell silent. In that silence lay his resolve: though wronged, he guarded relationships from fracture, refusing to let affection become a seed of division.

Sumantra then recounted the words of Lakshmana, whose tone had differed sharply. His voice, he said, trembled with indignation, and his eyes burned with restrained fury. Lakshmana had asked that the king be questioned: what offence had the eldest son, Sri Ramachandra, committed that he should be banished to the forest? Was it because he was not Kaikeyi’s child that such affliction had been imposed? A command unworthy of execution had been accepted as binding, and a deed that ought never to have been done had been performed as though it were righteous duty. Thus spoke Lakshmana, unable to reconcile obedience with justice.

Lakshmana further told Sumantra that: ‘Perhaps Dasharatha might say that, it was not wrong to fulfil a boon once granted?’ If so, did Rama at that time ask to be exiled? Did Bharata then ask to be crowned king? Were the boons asked then identical to what was demanded later? Did the king question this? Even if he argues they were the same, how could one grant boons that were against scripture, harmful to others, condemned by the world? Scriptures forbid abandoning one’s only and eldest son. Can one fulfil a vow that violates dharma. By what law does a younger son inherit the throne, which by all means was due to the elder? Should Bharata not have refused? Since the king transgressed scriptural propriety, there was no penance for such a sin.’

Yet Lakshmana’s vehemence was not born of rebellion alone, but it arose from wounded devotion. When authority appears to deviate from justice, the heart most loyal to righteousness feels the first sting. He had further declared, Sumantra recounted, that no fault lay in Rama. If destiny were invoked as explanation, then what cause had set destiny in motion? Fate itself did not operate without antecedent reason. If the king had consented knowingly to such an act, why then was he consumed by regret? Tears, Lakshmana suggested, were silent witnesses against the decision itself.

Sumantra continued to relay Lakshmana’s words. The princes, he had said, grieved not merely for their exile but for the manner in which it had been decreed, contrary to moral order and undertaken without due reflection. If an action were truly righteous, why should it be followed by lamentation? Anticipating reproach for speaking harshly of his father, Lakshmana had confessed that, in that moment, the filial bond itself seemed eclipsed by a deeper allegiance. One who committed so grievous an act could scarcely be recognized in the fullness of that sacred relation. For him, he had declared, Rama alone embodied elder brother, father, guide, and kin. Apart from Rama, no other bond held meaning. In that fierce declaration lay the measure of his character: lineage receded before loyalty to embodied dharma.

Thus, the voices of the forest, Rama’s restraint and Lakshmana’s flame-like indignation, seemed to resound within the palace of Ayodhya. Lakshmana had further commanded that the king be addressed in his own words: if Dasharatha still desired that the title of ‘King retain meaning after abandoning Sri Rama, let him declare how he intended to win the hearts of the people in comparison with Rama. For this act, Lakshmana had said, perhaps only Kaikeyi and Bharata might find cause for satisfaction, and none else. Whether the people were pleased or not, such a deed had shaken the very fitness to rule.

Never, Lakshmana asserted, had even an unrighteous sovereign committed an act so opposed to moral order. Therefore, if kingship were to retain dignity, the king ought to relinquish it. In Lakshmana’s protest lay not merely anger at a decision, but a challenge to the moral legitimacy of power itself; for authority severed from righteousness stands diminished in spirit. Having conveyed the distinct tones of Rama and Lakshmana, Sumantra then described the scene he had witnessed. Sri Rama had spoken with gentleness and filial reverence, Lakshmana with burning intensity. Sita, unaccustomed to sorrow and overwhelmed by events, appeared bewildered, as though the world around her had lost direction.

Sumantra continued and said: Sita uttered little. Tears flowed silently as she beheld her husband’s grief-stricken face. Lakshmana stood vigilant, bow in hand, eyes fixed unwaveringly upon his brother. Rama himself stood with folded hands, tears descending, not for his own hardship but for the pain his departure caused others. Sita’s gaze had moved between Sumantra and the departing chariot, heavy with unspoken anguish. In that forest clearing stood three living ideals: devotion, loyalty, and responsibility, and each bearing sorrow for the sake of the other. Their suffering was not self-regarding; it arose from love.

Thus, ended Sumantra’s account of that parting in the forest. The palace, already burdened with grief, bore the added weight of remembered virtue and unspoken reproach. The king had heard of Rama’s obedience, Lakshmana’s indignation, and Sita’s silent endurance. Yet the narrative of exile was not complete. Hearing these words, Dasaratha urged Sumantra to recount what followed. Sumantra then continued: Rama and Lakshmana matted their hair into ascetic locks and clothed themselves in bark and kusa grass.

>>>> Photographs courtesy Rama Bhakta Vijaya Raghava Dasu

{{From my Published Book ‘Simplified and Faithful Rendering of the Adi Kavya’

Valmiki Ramayana: The Greatest Epic (Bala and Ayodhya Kandas)}}

(This Book is free of cost for all those who are interested to read the English Version of Valmiki Ramayana, provided they collect it from me in person preferably. Mobile: 8008137012)

Monday, October 19, 2026

Vijaya Dashami or Dasara: Looking Back at my Childhood >>>> Sharing information on Arjuna’s Celestial Weapons : Vanam Jwala Narasimha Rao

 Vijaya Dashami or Dasara: 

Looking Back at my Childhood

Sharing information on 

Arjuna’s Celestial Weapons

Vanam Jwala Narasimha Rao (October 19, 2026)

October 20, 2026, we celebrate the grand culmination of this year’s Dasara (Vijaya Dasami). Leading up to this finale, the vibrant regional and foundational traditions of Bathukamma and Navaratri, have concurrently breathed life and devotion into our homes concurrently. A core highlight of this period occurred on October 18, 2026: the ninth day of the ‘Navaratri Festival’ which was widely celebrated as ‘Ayudha Puja (Worship of Weapons)’ across both northern and southern India, especially Telangana.

The legend was that: weapons that had been kept idle and safely stored away during the rainy season were taken out, polished to a shine, and offered sacred prayers to ensure ultimate success in the upcoming battles. Devotees of the Goddess maintained that Goddess Durga vanquished the buffalo demon Mahishasura on Vijaya Dasami. Others, drawing from the Mahabharata, believe that it was on this exact day that Arjuna successfully conquered the Kaurava kings during the famous ‘Uttara Gograhanam’ (the rescue of the cattle from North). 

Meanwhile, while tracing the exact historical genesis of how this ancient martial custom evolved remains complex, the tradition has seamlessly transformed in modern times into an absolute cultural phenomenon: Vehicle Puja. Today, it is an unbreakable ritual that nearly every vehicle owner observes, and we were certainly no exception. And my wife, meticulously has been observing this, in the early hours of the Durga Ashtami day, ever since I started owning a vehicle, to begin with the Scooter.

However, drawing parallel is not difficult, irrespective of whether it holds hundred percent accuracy. Historically, Ayudha Puja was meant for warriors to cleanse and bless their weapons (Ayudhas) before battle: most famously linked to Arjuna retrieving his divine weapons from the ‘Shami Tree’ in the Mahabharata during ‘Uttara Gograhana’ (stealing King Virata’s cattle wealth by Kauravas from North). In the modern era, ‘Weapons’ have been re-conceptualised as the tools of one's livelihood.

Just as a scholar worships books or an artisan blesses their tools, a modern individual relies heavily on transport for daily sustenance. Vehicles: whether a bicycle, scooter, car, or heavy truck, all of them are viewed as the mechanical extensions of our daily labor and personal safety. Performing Vahana (Vehicle) Puja is an act of expressing gratitude to the machine for the service it has rendered, while simultaneously invoking divine protection to ensure safe journeys, accident-free commutes, and trouble-free ownership in the year ahead.

Significantly, the Shami Tree Connection is literally enthralling. Before entering King Virata’s capital city (As part of their forest exile, the Ajnata Vasa), the Pandavas needed to hide their legendary celestial weapons: including Arjuna's formidable bow, the ‘Gandiva.’ They wrapped them up to look like a corpse and tied them safely hidden high up in a massive ‘Shami Tree’ located near a ground outside the city (Elaboration with personal touch of the supposed place later). The Climax was the prefinal Maha Bharata War: the ‘Uttara Gograhana.’

At the end of the year, the Kauravas attacked the Matsya Kingdom from the North to steal King Virata’s cattle wealth (Uttara Gograhana). Driven into battle against the raiding Kauravas with Brihannala (the disguised Arjuna) serving as his charioteer, Prince Uttara grew absolutely terrified upon witnessing the colossal enemy army. Panic-Stricken, the prince insisted on abandoning the cattle and fleeing for his life, making it explicitly clear to Arjuna that he was in no position to fight.

Strongly countering this, Arjuna declared that fleeing in fear from the enemy was absolute cowardice. When the prince jumped off the chariot to run away, Arjuna pursued him, brought him back by force, and infused him with courage, commanding Uttara to act as the charioteer instead while he took up the fight. Together on the chariot, they sped directly toward the sacred Shami tree. Stopping the chariot right before the Shami (Jammi) Tree, Arjuna instructed Uttara to climb up and bring down the ‘Gandiva,’ a celestial bow.

Arjuna explained to the prince that the Pandava brothers: Yudhishthira, Bhima, Arjuna, Nakula, and Sahadeva, had bundled their divine weapons together and concealed them in that very tree, directing him to retrieve the ‘Gandiva’: whose power was equal to a hundred thousand ordinary bows. Unwrapping the bundle and beholding the magnificent bow, Uttara turned to his companion, still addressing him as 'Charioteer', and asked which of the legendary Pandavas actually wielded this weapon.

The disguised Arjuna replied that it belonged to Arjuna himself, and proceeded to explain in detail which weapon belonged to which brother. Still skeptical, Uttara stated that if this was truly the case, he would only believe it if Brihannala could recount the ten legendary names of Arjuna and explain how he earned them. Arjuna obliged and recited them as: ‘Arjuna, Phalguna, Partha, Kiriti, Shveta Vahana, Bibhatsu, Vijaya, Jishnu, Savyasachi, and Dhananjaya,’ contextualising the origin of each title.

Fully convinced and filled with immense faith, Uttara instantly transformed into the charioteer to Arjuna, and together they proceeded toward the battlefield. As Arjuna strung the mighty Gandiva and struck the bowstring, the twang resonated with such immense power that the skies and all horizons reverberated. He then blew his divine conch, the Devadatta, sending shockwaves through the seven seas, shaking the seven ancient mountain ranges, and making the entire earth tremble.

In the ensuing battle, the Kaurava warriors fell one after another under Arjuna's relentless assault. As Bhishma, Drona, Ashwatthama, and Kripacharya began retreating from the field, a desperate Duryodhana begged them for protection. Turning back, Bhishma, Drona, and the other veteran warriors rallied their forces to surround Arjuna’s chariot from all sides. Defending himself flawlessly, Arjuna launched the mystical ‘Sammohana Astra (the enchantment weapon),’ plunging the entire Kaurava army into a deep state of unconsciousness.

Upon regaining consciousness, Kauravas retreated. Because Arjuna conquered the massive Kaurava forces and achieved this spectacular victory, all alone, on this very day, it became an unbreakable tradition to celebrate and commemorate this day as Vijaya Dasami (Dasara). The ‘Gandiva Bow’, that brought victory, was the legendary, indestructible celestial bow of Arjuna, originally crafted by Lord Brahma to safeguard cosmic righteousness. It came into Arjuna’s hands during the Khandava Dahana: the burning of the Khandava forest.

When the ‘Fire Dod Agni’ sought Arjuna’s protection against Indra's torrential storms, Arjuna agreed but lacked a weapon that could withstand his immense strength. At Agni's request, Varuna, the god of the oceans, gifted Arjuna this magnificent bow alongside two inexhaustible quivers. It was a marvel of divine engineering, adorned with golden eyes and elephant patterns, featuring 108 unbreakable celestial strings.

Whenever Arjuna drew the bowstring, it emitted a deafening, thunderous rumble that echoed across the plains, instantly striking psychological terror into the hearts of his enemies. Throughout its history, the Gandiva was deeply intertwined with Arjuna’s close association with Lord Krishna. Together, they fought side-by-side during its acquisition, and it was under Krishna's divine guidance as his charioteer that Arjuna unleashed the bow's true potential.

As the defining weapon of the Kurukshetra war, the Gandiva amplified Arjuna’s power a thousandfold, seamlessly channeling devastating celestial weapons (Astras) and serving as the ultimate shield that protected the Pandavas and altered the destiny of humanity, in the future Mahabharata War. In fact, there were other celestial armaments that transformed Arjuna from a premier archer into an unstoppable force of cosmic order, perfectly balancing absolute destructive capability with unparalleled moral restraint.

The foremost among them, as part of his divine collection, was the ‘Pashupatastra,’: the supreme, irresistible personal missile of Lord Shiva once. Unlike physical weapons, this ultra-destructive weapon could be discharged through a bow, a spoken word, a piercing glare, or a mere thought. Arjuna earned it from Lord Shiva during the Pandavas' forest exile. Guided by Sage Vyasa, Arjuna performed grueling penances to please Mahadeva on Himalayas.

 Shiva tested Arjuna’s warrior spirit by disguising himself as a tribal hunter (Kirata) and engaging him in an intense physical duel. Deeply impressed by Arjuna’s unbreakable resolve Shiva granted him the mantra. However, the gift came with a strict cosmic caveat: the ‘Pashupatastra’ possessed the cataclysmic power to annihilate the entire fabric of creation. Therefore, it was strictly forbidden to be used against ordinary mortals or lesser warriors. In a spectacular display of ethical leadership, Arjuna carried this weapon throughout the eighteen days of the Kurukshetra war but never fired it once, choosing to let it remain sheathed.

Beyond the gifts of Shiva and Varuna, Arjuna’s unique bond with his divine father, Lord Indra, granted him two of the most devastating battlefields clearing weapons used in the war. The ‘Vajra Astra Weapon’ channeled the raw, irresistible power of Indra's primary weapon, the Vajra (the cosmic thunderbolt forged from the spine of Sage Dadhichi). When invoked, it rained down thousands of localized, precision lightning strikes from the sky. Arjuna notably deployed the Vajra Weapon on the twelfth day of the Kurukshetra war to decisively crush the massive ‘Samsaptakas’: Duryodhana's elite suicide warrior detachment.

‘The Mahendrastra,’ an elite, mass-destruction weapon belonging exclusively to Indra. When unleashed, it generated a localized sky-shower consisting of millions of blazing arrows and spears. Arjuna famously activated the ‘Mahendrastra’ on the fourteenth day of the war while heavily bleeding, and again on the seventeenth day to completely neutralize and baffle the terrifying ‘Brahmastra’ deployed by Karna. Beyond these signature elite weapons of the gods, Arjuna possessed a versatile arsenal of tactical and elemental Astras that allowed him to manipulate the very physics of the battlefield.

When engulfed by enemy fire, he would summon the torrential downpours of the ‘Varunastra’ and to scatter charging phalanxes, he invoked the gale-force fury of the ‘Vayavyastra,’ and to incinerate heavy enemy divisions, he unleashed the blazing ‘Agneyastra.’ For wide-scale non-lethal subjugation, he could deploy the psychological waves of the ‘Sammohana Astra’ to instantly freeze or induce mass sleep (Like in Uttara Gograhana) across enemy ranks. Most crucially, when the fate of humanity hung in the balance, Arjuna wielded the ultimate cosmic power of the ‘Brahmastra and Brahmashira Astra.’

They were the supreme weapons of Lord Brahma capable of erasing creation, by possessing the rare spiritual maturity to not only launch them but safely recall them when commanded. It was this unparalleled combination of elemental mastery, supreme cosmic missiles, and the precise, fatal deployment of the ‘Anjalika Astra’ on the seventeenth day to slay Karna, that transformed Arjuna into an unstoppable force of cosmic order, with unparalleled moral restraint.

For countering overwhelming mass formations without causing immediate physical destruction, Arjuna could deploy the ‘Tvashtra Astra’ a highly specialized illusion-weapon created by the divine architect Vishvakarma. When unleashed, this weapon warped the psychology of the battlefield, projecting thousands of staggering optical duplicates of Arjuna and Krishna.

Driven to mass panic and absolute confusion by these realistic apparitions, enemy legions would mistake their own allies for the Pandava Heroes, turning their weapons inward in catastrophic friendly fire. The Mahabharata is so incredibly vast that Arjuna technically possessed dozens of other highly specialized celestial weapons: such as the blinding ‘Suryastra’ or the darkness-clearing ‘Jyotisha Astra.’

Against this Epical narrative applying contextually to the contemporary society, and looking back at my own childhood, the true magic of the Vijaya Dasami (Dasara) Festival unfolded right in the heart of our village. On the evening of Vijaya Dasami, our entire village and neighborhood would gather in the vibrant fields just outside the village boundaries, right in front of our local school where the sacred Jammi Tree (Prosopis cineraria tree) stood tall. We would carefully write out the sacred Sanskrit verses on pieces of paper:

‘Shami shamayate papam, shami shatru Vinasanam...

Arjunasya dhanurdhari, Ramasya Priya Darshanam...’

(May the sacred Shami tree purify our faults and dissolve all obstacles;

The protector of Arjuna's mighty bow, and the beloved sight of Lord Rama.)

We would gently attach these prayers to the branches of the Jammi tree and look to the skies, waiting to catch a blessed glimpse of the auspicious Indian Roller bird (Rama Chiluka). Thus, the very name ‘Dasara’ illuminates its essence: it is literally a ‘Festival of Ten Nights.’ Across the southern regions of India, including our home state of Telangana, this sacred period is beautifully divided into two parts. The first nine nights are celebrated as the spiritual journey of Navaratri, which then culminates gloriously on the tenth day as Vijaya Dasami the magnificent ‘Victorious Tenth.’

Beyond the epic lore of the Mahabharata, these traditions resonate deeply within my own roots and childhood memories, directly tying into my maternal and paternal heritage. My native village, Vanam Vari Krishna Puram, lies in close proximity to Nela Kondapalli and Bana Puram: two places of immense historical and mythological significance where my childhood reminiscences are stored in immeasurable counts.

Nela Kondapalli, which happens to be my maternal uncle’s native (On adoption) place, has earned a unique place on the global map as an ancient, illustrious Buddhist center, globally renowned for its colossal archaeological excavations and an unparalleled, majestic Boudha Arama (Buddhist Stupa). Yet, growing up, this land whispered stories of a much older era. In our childhood, we witnessed a massive mud fort sprawling across more than a hundred acres, which local folklore firmly believed to be the historical palace site of King Virata from the Mahabharata.

A few miles away lies Nachepally, the birth (adopted) place of my mother and the home of my maternal grandparents, completing the geography of my earliest years. As children, we would explore the outskirts of Nela Kondapalli with boundless curiosity, captivated by the local legends of the ‘Virata Raju Dibba’ as it was called then, and the stunning structural remnants nearby. Among the most significant resemblances to the epic tale was a massive, ‘Ancient Kitchen Structure filled with Giant Chulas (earthen stoves).

Local lore explicitly attributed this monumental kitchen to Valala: the mighty Bhima Sena living incognito as the royal head cook during the Pandavas' Ajnata Vasa in King Virata's court. Just a few kilometres away lies the village of Bana Puram (My paternal links). Local legend holds that before entering the capital, the Pandavas stopped at the outskirts of this village, to conceal their divine weapons, wrapping them to resemble a corpse before hiding them high up in a sacred ‘Jammi (Shami) Tree’: a mythic event that forever etched the name Bana Puram (the land of arrows) into our local geography.

Walking through these lands today, the transition from the ancient worship of weapons on the Jammi Tree to our contemporary family rituals of Vehicle Puja feels entirely natural. These are not just distant mythological stories to me; they are the living, breathing landscapes of my childhood, beautifully tying the triumph of Vijaya Dasami (Dasara) to the very soil and family heritage I call home.

>>>> Photographs Courtesy Rama Bhakta Vijaya Raghava Dasu

Saturday, October 17, 2026

My Conversation with Senior Journalist Sri S Venkat Narayana on Chandrababu Naidu : Vanam Jwala Narasimha Rao

 

         My Conversation with Senior Journalist

Sri S Venkat Narayana on Chandrababu Naidu

Vanam Jwala Narasimha Rao (October 17, 2026)

https://youtu.be/KFPb9QvxAbY

(Please click on the above link to watch the video): I am pleased to share this interview with senior journalist S Venkat Narayana, recorded about two years ago as part of his research for his definitive biography on the Chief Minister of Andhra Pradesh, N Chandrababu Naidu. This interaction gave me a wonderful opportunity to share my personal thoughts and perspectives on Naidu's leadership.

S Venkat Narayana, a veteran journalist and former executive editor of India Today, sought my insights likely due to my unique vantage point. I served as a Faculty Member at the Dr MCR HRD Institute, a hub from which Chandrababu Naidu functioned frequently. Remarkably, my tenure mirrored his initial leadership era: I joined the institute the very week he became Chief Minister for the first time, and left just weeks after his second term ended.

This deep, ‘Distant-Near’ association allowed me to observe his governance model firsthand. In the interview, we discuss his statesman-like qualities and adherence to the cardinal principles of Good Governance: ‘Availability and Accessibility.’ We dive into his pioneering preference for IT, the development of HITEC City, and his emphasis on the national Training Policy through ‘Training for All (TFA).

We also explore his conceptualization of SMART Governance (Simple, Moral, Accountable, Responsive, and Transparent), his role in administrative reforms, and his signature training concept, ‘Governing for Results,’ which he personally coined at the Dr MCR HRD Institute. This and another workshop Orientation to Management of Training (OMOT), to seek commitment of senior bureaucrats of that time, were very near to his heart, as I presume.

Dr Venkat Narayana’s recent book traces Naidu’s entire political evolution, tracking his journey from a humble agrarian background to becoming one of India's most tech-savvy political strategists. Reflecting on his public life, one cannot overlook his emphasis on technology, infrastructure, and long-term planning. His journey, marked by monumental achievements, steep challenges, and historic comebacks, offers a masterclass in leadership and perseverance.

I believe a biography of a political leader is most valuable when it goes beyond simple milestones to explore the ideas, decisions, and ambitions that shape a leader within their socio-political landscape. I am glad to have contributed a little of my perspective to Venkat Narayana’s biographical work.

I am sharing this conversation for friends, well-wishers, and anyone interested in Chandrababu Naidu’s Historic Leadership Journey.

Do watch the interview and share your thoughts! … and of course feedback and feedforward.

Friday, October 16, 2026

A Celebration of Cinema, Television, and Companionship >>>> 28th FETE Meeting (Special Transcription on 77th Birthday of GK Murthy): Vanam Jwala Narasimha Rao

 A Celebration of Cinema, Television, 

and Companionship

28th Friday Evening Team Gathering 

(FETE) Multilogue

October 16, 2026: Press Club Hyderabad

(Special Transcription on 77th Birthday 

of GK Murthy)

Vanam Jwala Narasimha Rao (October 17, 2026)

The 28th consecutive gathering of like-minded journalist friends at the Press Club Hyderabad unfolded with a distinct, celebratory warmth that set it apart from previous weekly interactions. The evening did not announce itself with formal agendas or rigid protocols; instead, it remained deeply anchored in the group’s established ethos: ‘Meet, Reflect, Share, and Continue.’

As the familiar participants settled into their chairs over social refreshments, the casual chatter quickly shifted to a profound acknowledgment of collective memory and companionship. The evening was particularly significant because it coincided with the 77th birthday of one of the team's most regular and cherished members: GK Murthy, popularly known to everyone around the table as GK, former Vice-President of the Club.

Born on 16 October 1949, Murthy sat modestly amidst the birthday greetings, prompting the roundtable to weave a spontaneous, conversational narrative of his long and eventful professional journey. Rather than a formal biographical reading, the group chose to explore his life through the lens of their unique ‘Collaborative Confrontation’ style, by allowing recollections to surface organically, rotate among members, and gradually build a living archive of a career that mirrors the transformation of modern Indian media.

The dialogue opened seamlessly with a reflection on how individual destinies are shaped by foundational technical discipline. One participant initiated the exchange by recalling the early 1970s, a formative era when public broadcasting via Door Darshan was just beginning to map its identity across the Indian sub-continent. The table retraced GK Murthy’s educational trajectory.

Participants reflected that after earning a Bachelor of Commerce degree, he chose to master the highly specialized craft of film editing at the prestigious Film and Television Institute of India (FTII), Pune, graduating in 1973. He further sharpened his capabilities in 1974 by undergoing basic television programme production training under the United Nations Development Programme (UNDP) at FTII, New Delhi.

One after one, the participants anchored this segment by discussing the invisible language of the editing room. The consensus observed that editing is a patient, mathematically precise art where the editor determines the emotional rhythm, narrative clarity, and structural balance of a story. Gradually it evolved in knowing more and more about GK Murthy.

Murthy’s early career unfolded as a literal map of India's public broadcasting growth. The conversation tracked his postings as a film editor across multiple regional nerve centres: moving from Bombay and New Delhi to Calcutta, Cuttack, and eventually Hyderabad. The FETE noted that his extensive cross-country exposure, coupled with his proficiency in English, Hindi, and Telugu, allowed him to transcend regional insularity and absorb a truly national perspective on public communication.

As the evening matured, the conversation naturally drifted from the technical discipline of the editing suite to the high-stakes world of feature filmmaking. The table recollected a bold milestone in Murthy’s journey when he took a two-year study leave to venture into commercial cinema at Madras, the then-booming capital of Telugu film production. A lively exchange emerged regarding his directional debut with the Telugu mega-movie Papi Hills, released in 1983.

Seated around the table, the FETE fondly remembered the star power of Mohan Babu and Prabhakar Reddy, noting that the film’s reported box-office success validated Murthy's versatility. He successfully bridged the micro-precision of an editor with the macro-responsibilities of a creative director. This dimension of his identity expanded further when he produced and directed Kunkuma Rekha, featuring prominent actors like Murali Mohan and Prabha.

The FETE roundtable analyzed these cinematic ventures not as mere historical anomalies, but as evidence of a generation of media professionals who had to be inherently adaptable, multi-faceted, and willing to embrace creative risks long before the era of corporate specialization. A significant portion of the multilogue centered on the relationship between public broadcasting, cultural continuity, and social consciousness.

Following his creative stint in feature films, Murthy returned to Hyderabad, rising to the positions of Edit Supervisor and Liaison Officer in 1985. However, it was his profound association with the Tirumala Tirupati Devasthanams (TTD) from 1992 to 1996 that drew the deep admiration of the FETE table. The participants engaged in a rigorous analysis of religious and cultural programming.

Guided by observations from his longtime close associates of FETE, the group reached a consensus that broadcasting sacred traditions requires immense sensitivity. The producer must faithfully document ancient rituals while translating their spiritual grandeur for a diverse, mass television audience. Murthy's pioneering work brought the annual Brahmotsavams of Lord Venkateswara into millions of households through live telecasts on Door Darshan Hyderabad.

The conversation highlighted that his cultural broadcast portfolio extended to other vital spiritual centres, including the Sri Lakshmi Narasimha Swamy Temple at Yadagiri Gutta (capturing the Rathotsavam and Kalyanotsavam), as well as major religious events in Visakhapatnam and Srisailam. The table concluded that television, when utilized by a conscientious public broadcaster, acts as a critical civilizational bridge, by preserving local heritage and making sacred traditions accessible across geographical divides.

From cultural traditions, the conversation shifted effortlessly into the high-pressure realm of public affairs, political history, and state protocols. In 1997, Murthy was entrusted with the administrative and creative responsibility for prestigious political and cultural programming line-ups like Vartha Vani and Kala Vani. The roundtable took a historical turn as members recalled Murthy's front-row presence during defining moments of Andhra Pradesh’s political landscape.

As a leading media coordinator and producer, he was closely associated with covering the swearing-in ceremonies of an extraordinary lineage of Chief Ministers: T Anjaiah, N Janardhana Reddy, NT Rama Rao (NTR), N Chandrababu Naidu, YS Rajasekhara Reddy (YSR) etc. The FETE further discussed the intense alertness, technical coordination, and strict commitment to accuracy required to broadcast live state ceremonies.

Simultaneously, the discussion touched upon his work in television fiction. In 1977, Murthy directed as the very first Door Darshan telefilm produced on 16 mm film, telecast from Hyderabad on Pongal Day. He went on to direct numerous family-oriented telefilms ranging from 30 to 90 minutes, alongside current affairs documentaries focusing on national infrastructure like NTPC, coal mines, and the railways.

As the night progressed, the participants analyzed a lesser-known but critical dimension of Murthy’s career: his administrative execution as a Liaison Officer. The FETE table observed that behind the flawless execution of mega international events hosted in Hyderabad, such as the Afro-Asian Games and the International Film Festival, lies massive background coordination, press management, and diplomatic problem-solving.

This administrative capability was beautifully balanced by his commitment to intergenerational learning. While on official duty, Murthy served as a distinguished faculty member at FTII, Pune, training a whole generation of incoming Door Darshan professionals. Following his retirement from public service in July 2009, Murthy chose a path of continuous contribution rather than passive leisure.

He stepped into the role of Principal at the Subha Vaartha Institute of TV Technology (affiliated with Bharathidasan University, Tiruchirappalli). Around the table, friends smiled as they noted that he successfully guided multiple batches of young students across the cross-disciplinary fields of Direction, Editing, and Camera. The team highlighted that this seamless transition from a field practitioner to an institutional mentor represents the ultimate value of a professional legacy.

His journey has also taken him throughout India and abroad, including the United States. Such travel broadens one's understanding of people, cultures and professional practices, and adds to the perspective of anyone working in a field as dynamic and interconnected as mass communication.

Looking back at his career, one is struck by the variety of responsibilities he has undertaken. He has worked as a film editor, video editor, edit supervisor, film director, producer, television programme maker, documentary producer, consultant, liaison officer, faculty member and principal. Each role demanded a different combination of technical knowledge, creativity, administration, communication and leadership.

What makes this journey particularly interesting is that it cannot be confined to a single category. Murthy's experience bridges cinema and television, the technical and the creative, the cultural and the political, public broadcasting and professional education. His career reflects a time when media professionals often had to be versatile, adaptable and willing to take on responsibilities beyond their immediate specialisation.

His association with Door Darshan is especially significant in the context of Indian broadcasting. For generations of Indians, Door Darshan was a major source of news, entertainment, educational programmes, cultural presentations and national events. Those who worked behind the scenes played an essential part in bringing these experiences to audiences across the country. The contribution of a media professional is not measured only by the programmes for which he receives public recognition; it is also reflected in the many productions, events and institutional responsibilities that are successfully carried out through years of dedicated service.

Murthy's career provides an example of this broader contribution. From editing films in different Door Darshan Kendras to directing a Telugu feature film, from producing programmes on religious festivals to covering political ceremonies, and from making documentaries to training future television professionals, he has participated in many different dimensions of the media profession.

Towards the close of the evening, the multilogue moved past the individual milestones of GK Murthy’s life to reflect on the deeper, institutional significance of these gatherings. The group recalled that a long, service-related appeal initiated by Murthy in 1998 was successfully upheld in 2011, restoring his rightful higher posting and grade pay—a poignant reminder of his quiet resilience within institutional frameworks.

Ultimately, raising a toast of profound friendship within their collective hearts, the members wished GK Murthy continued good health, peace, and intellectual vitality. His 77 years of life, bridging the traditional technical mastery of celluloid film editing with modern institutional education, stood as a living example of the very purpose of FETE.

Meanwhile, GK Murthy’s FETE participants, alongside numerous friends from the wider Press Club, affectionately organized a birthday cake-cutting ceremony and formal felicitation with a traditional shawl amidst choruses of ‘Happy Birthday to you, Murthy.’ This particular FETE meeting drew a remarkably large gathering compared to previous weeks, a testament to the collective respect Murthy commands.

Moments like these reveal the true essence of such gatherings: they show how the birthday of a close friend, whose quiet modesty often veils the true depth of their professional potential, can be transformed into a powerful catalyst for collective growth. For regular members, the evening served as an inspiring reminder of the hidden giants sitting quietly among them, while for current, younger, and future generations of media professionals, it offered an invaluable masterclass in adaptability, technical discipline, and cultural responsibility.

Ultimately, the 77th birthday of GK Murthy was far from a routine cake-cutting ritual over social drinks; it was an exercise in joint intergenerational learning. This seamless blend of celebratory warmth and intellectual enrichment is precisely what defines the uniqueness of the Press Club Hyderabad Friday Evening Meetings.

The evening's participants included the birthday celebrant GK Murthy himself, Amar Devulapalli, V Subba Rao, N Hanumanth Rao, Vanam Jwala Narasimha Rao, Dr. Balaji Utla, Press Club Secretary Ramesh, Shashi and his advocate friend, Madan, Dr. Bharat Babu, Srinivas Reddy, and Gatika Vijay Kumar accompanied by his friend.

Thursday, October 15, 2026

‘ఏవి తల్లీ! నిరుడు కురిసిన హిమ సమూహములు’ – శ్రీశ్రీ >>>>> టాకీసుల చుట్టూ సినీరంగ యువ మేధావుల భ్రమణం, పరిభ్రమణం : వనం జ్వాలా నరసింహారావు

 ‘ఏవి తల్లీ! నిరుడు కురిసిన హిమ సమూహములు’ – శ్రీశ్రీ

టాకీసుల చుట్టూ సినీరంగ యువ మేధావుల 

భ్రమణం, పరిభ్రమణం

వనం జ్వాలా నరసింహారావు 

(అక్టోబర్ 16, 2026)  

ఈ మధ్యన విడుదలైన ఒక మంచి సినిమాను, రెండురోజుల తరువాత చూడడానికి దగ్గరలోని ఒక ఆధునిక హంగుల థియేటర్ కు వెళ్లాను. సినిమా పూర్తైన తరువాత, అనుకోకుండా అక్కడే కలిసిన ఆ సినిమా మహిళా యువ దర్శక-నిర్మాతను, ఇంత చక్కటి సినిమా ప్రదర్శిస్తుంటే హాలెందుకు ఖాళీగా వున్నదని అడిగితే, అసలు హాలు దొరకడమే అబ్బురమైందని ఆశ్చర్యార్థకమైన సమాధానం వచ్చింది. తీసిన సినిమా మంచిదా? కాదా? ‘బ్లాక్ బస్టరా, వైట్ బ్లాస్టారా’? అనేది ముఖ్యంకాదని, దాని ప్రదర్శనకు హాలు దొరకబట్టే నైపుణ్యం ముఖ్యమని అర్థమైనప్పుడు, ప్రజాస్వామ్య రాజకీయాల లాగా ‘థియేటర్ రాజకీయాలనేవీ’ ఏమైనా వున్నాయా అన్న అనుమానం వచ్చింది. పైగానేను చూసిన ఆ అద్భుతమైన సందేశాత్మక సినిమా ఒక లో బడ్జెట్ సినిమా. జీవితాంతం పొదుపు చేసుకున్న సొమ్మును పెట్టుబడి పెట్టి, ఒక మంచి ఆలోచనతో తీసిన ఆలోచనలు రేకెత్తించే సినిమా.

ఇదొకరకమైన ఆదిపత్యమైతే, ఏవేవో అర్థంకాని పేర్లతో (బ్లాక్ బస్టర్) వందల హాళ్ళలో, దేశవ్యాప్తంగా, అంతర్జాతీయంగా కొన్ని సినిమాలు విడుదలైన గంటల్లోనే, కోట్ల రూపాయలలో ఆదాయాలు వచ్చినట్లు, రికార్డులు బద్దలు కొట్టినట్లు, అవే సినిమాలకు జాతీయ - అంతర్జాతీయ ఆవార్డులు అనతికాలంలోనే వచ్చినట్లు మీడియాలో చూస్తుంటాం, వింటాం, చదువుతాం. చివరకు ఆశ్చర్యపోతాం. ఈ పరస్పర వైరుధ్యం నాచిన్ని బుర్రకు ఏమాత్రం అర్థం కావడం లేదు. ఒకప్పుడు సినిమా విజయవంతంగా నడిచింది అంటే, 50 రోజులో, 100 రోజులో ప్రదర్శించడం, శత దినోత్సవాలు జరుపుకోవడం, వాటి ఆధారంగా ఆవార్డులు-రివార్డులు రావడం ఆనవాయితీగా వుండేది. కొన్ని చిత్రాలు శత దినోత్సవాలు జరుపుకున్న నేపధ్యంలో సినీరంగంలో గొప్ప గొప్ప కార్యక్రమాలకు శ్రీకారం చుట్టడం కూడా ఒక పద్దతి ప్రకారం వుండేది. అందుకే: ‘ఏవి తల్లీ! నిరుడు కురిసిన హిమ సమూహములు.’

నేడు ఉభయ తెలుగు రాష్ట్రాల్లో కలిపి సుమారు 1500 నుండి 1800 వరకు సినిమా ప్రదర్శన శాలలు (థియేటర్లు లేదా మల్టీప్లెక్సులు) అందుబాటులో ఉన్నాయి. అయితే, ఈ భారీ సంఖ్య వెనుక ఒక అదృశ్య ఏకాధిపత్యం (Monopoly) దాగి ఉందనేది బహిరంగ రహస్యం. మెజారిటీ థియేటర్లు, లీజుల రూపంలోనో లేదా పంపిణీ వ్యవస్థల రూపంలోనో కొద్దిమంది బడా నిర్మాత-పంపిణీదారుల హస్తగతమై ఉన్నాయని అంటారు. ఒక సినిమాకు థియేటర్ లభించాలా లేదా అనేది ఆ చిత్రం యొక్క నాణ్యత కంటే, ఆ వెనుక ఉన్న పంపిణీదారుడి అండదండల మీదే ఎక్కువగా ఆధారపడుతోంది. ఈ వ్యవస్థీకృత ఏకాధిపత్యం వెనుక ప్రాంతీయ, సామాజిక సమీకరణాలు, కుల ప్రయోజనాలూ కూడా తమ వంతు పాత్ర పోషిస్తున్నాయనే విమర్శలు కూడా వినిపిస్తుంటాయి. ఒకే సామాజిక వర్గానికి చెందిన అగ్రశ్రేణి శక్తులు తమ ప్రాభవాన్ని కాపాడుకోవడానికి థియేటర్ల నెట్‌వర్క్‌ను ఒక కవచంలా వాడుకుంటున్నారన్న భావన పరిశ్రమలోనే బాహాటంగా వ్యక్తమవుతోంది.

మరోవైపు, వందల కోట్ల వ్యయంతో సినిమాలు తీస్తున్నామని, పదే-పదే సినిమాలు తీసే కొందరు దర్శక-నిర్మాతలు గుమ్మ గుమ్మలాడుతుంటారు. కానీ, ఆ కలెక్షన్ల లెక్కల్లో, భారీ బడ్జెట్ ప్రకటనల్లో ఎంతవరకు పారదర్శకత ఉందన్నది ఎప్పటికీ మిస్టరీనే. ఈ 'కార్పొరేట్ హైప్' సృష్టించే మాయాజాలంలో చిన్న, కొత్త, యువ మేధావ కళాకారులు నలిగిపోతున్నారు. ఎంతో సృజనాత్మకత, సామాజిక స్పృహ ఉండి కూడా, పరిశ్రమలోని పెద్దల 'చెప్పుచేతల్లో' లేదా వారి క్యాంపుల్లో లేకపోతే థియేటర్ల ముఖం చూడటం కూడా గగనమైపోతోంది. ఒకవేళ థియేటర్ దొరికినా, మొదటి రోజే 'హౌస్‌ఫుల్' బోర్డులు పడకపోతే, రెండో రోజుకే థియేటర్ నుండి ఆ చిత్రాన్ని లేపేసే క్రూరమైన వ్యాపార సంస్కృతి నేడు నడుస్తోంది.

వ్యాపార కోణం సినిమాకు అత్యంత ముఖ్యమైనదే అయినప్పటికీ, కళను కేవలం పెట్టుబడి, లాభాల గీటురాయితోనే కొలిస్తే పరిశ్రమలో సృజనాత్మకత అంతరించిపోతుంది. పెద్ద సినిమాలకు లభించే సదుపాయాల్లో కొంత శాతమైనా, కనీసం కొన్ని వారాల పాటు చిన్న, సందేశాత్మక చిత్రాలకు ప్రత్యేకంగా కేటాయించే పారదర్శకమైన విధానం రావలసి ఉన్నది. అప్పుడే సినిమా కేవలం కొందరి గుత్తాధిపత్యంగా మిగిలిపోకుండా, సకల కళాకారుల స్వేచ్ఛా వేదికగా, నిజమైన ప్రజా కళారూపంగా మనగలుగుతుంది.

ఈ నేపధ్యంలో అలనాటి సినీరంగ దిగ్గజం, అనుపమ చలనచిత్ర దర్శక నిర్మాత స్వర్గీయ కేబీ తిలక్, జీవిత చరిత్రలోని కొన్ని ఆసక్తికరమైన విషయాలు, అందులో మరీ ముఖ్యంగా ప్రప్రధమ సినీ స్టూడియో (సారధి) హైదరాబాద్ కి వచ్చిన కారణాలు, దానికి ఆయన ఎడిటింగ్ లో విడుదలైన ‘రోజులు మారాయి’ శతదినోత్సవ వేడుకల సందర్భం, అరమరికలు లేని అలనాటి మహామాహులైన సినీరంగ ప్రముఖుల చొరవ, ప్రభుత్వాల మీద ఆధారపడకుండా, సమష్టిగా స్టూడియో నెలకొల్పడానికి ఆదాయవనరుల సేకరణ, ఇత్యాది వివరాలున్నాయి. వాస్తవానికి తిలక్ జీవిత చరిత్ర అక్షరీకరణ చేసినది నేనే. అప్పట్లో వారం-వారం ఒక ప్రముఖ వారపత్రికలో ప్రచురితమైనప్పుడు స్థానిక ప్రెస్ క్లబ్ లో సంచిక విడుదలైననాడు ఒక సంచలనమే.

స్వర్గీయ కెబి తిలక్ ఒక మానవతావాది. సాంఘిక దురాచారాలకు వ్యతిరేకంగా, అలాంటి ఇతివృత్తాలే కధావస్తువుగా పలు చిత్రాలను నిర్మించారు. దర్శకత్వం వహించారు. ముద్దుబిడ్డ, ఎం.ఎల్.ఎ, ఉయ్యాల జంపాల, భూమికోసం, కొల్లేటి కాపురం, చోటీబహు, కాంగన్ లాంటి చిత్రాల రూపకర్త ఆయన. ప్రజానాట్యమండలి వైపు ఆకర్షితుడైన తిలక్ అతివాద పంథా కళాకారుల ఉద్యమాలతో చేతులు కలిపి, విప్లవ గీతాలను ఆలపించుతూ గ్రామగ్రామాన తిరిగేవారు. విశ్వవిఖ్యాత చలన చిత్ర దర్శక, నిర్మాత స్వర్గీయ ఎల్ వి ప్రసాద్ గారికి తిలక్ మేనల్లుడు. బొంబాయిలో వుండే ఆయన దగ్గరకు వెళ్లి, సినీపరిశ్రమలో అడుగిడిన తిలక్ నాటి 'పీపుల్స్ థియేటర్’ లో చేరి,  బల్ రాజ్ సహానీ, రోమేష్ తాపర్ లతో సాన్నిహిత్యం సంపాదించు కున్నారప్పట్లో. నగరంలోని ‘ఒపేరా హౌస్' అనే సినిమా టాకీసు ఆ రోజుల్లో వామపక్ష  వేదికయిన ప్రజానాట్యమండలి సమావేశాలకు ప్రధాన కూడలి. 

ఎల్ వి ప్రసాద్ వుంటున్న పొరుగింట్లో, ప్రఖ్యాత సినీ కళాకారుడు, ప్లేబ్యాక్ సింగర్ డబ్ల్యు ఎమ్ ఖాన్ ఉంటుండేవారు.  ఆయన దగ్గరకు వస్తూ పోతుండే సింథీకమెడియన్ 'గోపి' తో తిలక్ కు స్నేహం అయింది. తిలక్ సినీరంగంలో ప్రవేశించటానికి, రాణించడానికి గోపీ స్నేహం దోహదపడింది. ఎల్ వి ప్రసాద్ వద్ద 'ఏకలవ్య’  శిష్యరికం కూడా తోడ్పడింది. అప్పట్లో  ఎల్ వి ప్రసాద్ ప్రఖ్యాత సినీ దర్శక-నిర్మాత  ఎస్ ఎమ్ యూసఫ్ దగ్గర సహాయకుడిగా పనిచేసేవారు. ‘ఐనా', 'లేడీ డాక్టర్’ లాంటి కుటుంబ కథాచిత్రాలను ఎన్నో రూపొందించారు యూసఫ్. బొంబాయిలో వున్నరోజుల్లోనే, తిలక్ స్టూడియోలకు వెళ్తుండేవారు.

ఓ రెండేళ్లు బొంబాయిలో గడిపిన అనంతరం మద్రాసు (నేటి చెన్నై) కు ‘గృహ ప్రవేశం' అనే చలనచిత్రానికి  దర్శకత్వం వహించేందుకు బయలు దేరిన ఎల్ వి  ప్రసాద్ గారితో అక్కడికి చేరుకున్నారు శ్రీతిలక్ 1945 ప్రాంతంలో. సారధి బ్యానర్ క్రింద కె ఎస్ ప్రకాశరావు గారు తన 'మోడల్ ప్రొడక్షన్స్' సంస్థ తరఫున నిర్మిస్తున్న 'గృహప్రవేశం' సినిమాలో భానుమతి సరసన నటించటంతో పాటు, సినిమా దర్శకత్వం కూడా వహిస్తున్నారు ఎల్ వి ప్రసాద్ అప్పట్లో. త్రిపురనేని గోపీచంద్ ఆ సినిమా రచయిత. తన అభిరుచులకూ, ఆశయాలకు అనుకూలంగా వున్న సినీ ఎడిటర్ ఎమ్ వి రాజన్ తో దోస్తీ కుదిరింది. గృహప్రవేశం సినిమాకు కూడా ఆయనే ఎడిటర్. హెచ్ఎమ్ రెడ్డితో కలిసి పనిచేశారు. ఎల్ వి ప్రసాద్ భక్త ప్రహ్లాద (తెలుగులో మొదటి టాకీ చిత్రం) సినీ నిర్మాణం చేస్తున్న రోజుల్లో, రాజన్ తో సాన్నిహిత్యం పెంచుకుంటూ, ఎడిటింగ్ లైన్లో పట్టుసంపాదించుకునే ప్రయత్నాలు కొనసాగించారు తిలక్. మొదటి హిందీ టాకీ చిత్రమైన 'ఆలమ్ ఆరా'తో కూడా ప్రసాద్ కు సంబంధముంది.

తెలంగాణా విమోచన ఉద్యమం ఊపందుకుంటున్న ఆ రోజుల్లో కమ్యూనిస్టు పార్టీపై నిషేధం నీలినీడల్లో ప్రజా నాట్యమండలి ప్రముఖ వ్యక్తులు మద్రాసు చేరుకోనారంభించారు. ఓ విధంగా సాంస్కృతిక విభాగం అంతా చేరుకుంది మద్రాసుకు. అలాగే, భవిష్యత్ సినీరంగ దిగ్గజాలు కూడా ఉన్నారు. వీరంతా ప్రజానాట్య మండలి, కమ్యూనిస్టు ఉద్యమాల్లో తమ శక్తి  మేరకు పనిచేసిన వారేనని వేరే చెప్పనక్కర్లేదు. అది  కె ఎస్ ప్రకాశరావు, తిలక్ ద్వారా ఎల్ వి ప్రసాద్ వీలయినంత వరకు వీరికి ఒక ఆధారం కల్పించసాగారు. ఆ విధంగా సినీ పరిశ్రమలో ప్రజానాట్యమండలి తాలూకు పలువురు కళాకారులు స్థిరపడటానికి నాంది జరిగింది.

ఇదిలా వుండగా తిలక్ అప్పుడప్పుడే సినీరంగంలో ఎడిటర్‌గా స్థిరపడున్న రోజులవి. సరిగ్గా అప్పట్లోనే కొండముది గోపాల రాయశర్మ రాసిన ‘శ్రీమతి’ అనే స్క్రిప్ట్ సారథి ఫిల్మ్స్ కు ఉద్దేశించబడింది. గృహప్రవేశం సినిమా తీసిన తర్వాత మోడల్ ప్రొడక్షన్స్, సారథి నుండి విడిపోయింది. ‘స్వతంత్ర ప్రొడక్షన్స్’ అనే పేరుతో అదే రోజుల్లో మరో స్వంత కంపెనీని స్థాపించారు. ఇలా విస్తరించసాగాయి తెలుగు వారి ఫిల్మ్ కంపెనీలు రకరకాల కారణాల వల్ల. ఆ స్వతంత్ర ప్రొడక్షన్స్ బ్యానర్ క్రిందనే ఎల్ వి ప్రసాద్ దర్శకత్వంలో ‘ద్రోహి’ అనే సినిమాను తీశారు కెఎస్. కామ్రేడ్ పి సి జోషి కమ్యూనిస్టు పార్టీ జనరల్ సెక్రటరీగా వున్న రోజుల్లో సర్కారు జిల్లాల్లోని ఎగువ మధ్య తరగతి కుటుంబాల నుండి పార్టీ వైపు ఆకర్షితులైన చాలా మంది ప్రజా నాట్య మండలిలో సంబంధాలు పెట్టుకోవటంతో కాలక్రమేణా మద్రాసుకు వచ్చి సినీ రంగంలో స్థిరపడి క్యాపిటలిస్టయ్యారని తిలక్ చెప్పేవారు.

‘మేడమ్ ఎక్స్’ అనే నవల ఆధారంగా కొండముది గోపాల రాయశర్మ తయారుచేసిన ‘శ్రీమతి’ స్క్రిప్ట్ ను, సారధీ బ్యానర్ క్రింద సినిమా తీసేటందుకు ఇచ్చారు. దానికి అప్పట్లో డైరెక్టర్ ఎల్ వి ప్రసాద్. ‘శ్రీమతి’ సినిమాకు నూతన ఆర్టిస్టుల అన్వేషణలో కొండముది, లొకేషన్ (షూటింగ్ కొరకు) చూడటానికి డైరెక్టర్ ఎల్ వి ప్రసాద్, అమరావతిని దర్శించారు. వారప్పుడు ప్రాథమికంగా ఎంపిక చేసి మద్రాసుకు రమ్మని పిలిచిన వారిలో దశాబ్దాలపాటు సినీరంగాన్ని, దశాబ్దం పైగా ఆంధ్ర రాజకీయ రంగాన్ని శాసించిన నందమూరి తారక రామారావు వున్నారు. ఎన్టీరామారావుకు మూవీ టెస్ట్, స్టిల్ చేస్ట్, మేకప్ టెస్ట్ ఎల్వీ ప్రసాద్ చేయించినప్పుడు ఎడిట్ చేసిన ఇద్దరు వ్యక్తులు రాజన్, తిలక్ లు.  ఎమెచ్యూర్ కెమెరామెన్ డివి ఎస్ మణ్యం స్టిల్ ను తీశారు. తీయని ఆ సినిమాకు ఎన్టీరామారావును ఎంపిక చేశారని చెప్పారు తిలక్.  

దరిమిలా సారథి ఫిల్మ్స్ చల్లపల్లి రాజా సోదరుడు రామకృష్ణ ప్రసాద్ ఆధ్వర్యంలోకి పోవటం, ‘విజయా’ వారితో సహా ఇతరుల ప్రొడక్షన్స్ లో ఎల్.వి.ప్రసాద్ కూడా బిజీ కావటం కూడా ‘శ్రీమతి’ వాయిదా వేయటానికి దోహదపడ్డాయి. అప్పట్లో తిలక్, ఆ తర్వాత కె ఎస్ ప్రకాశరావులకు  మిర్జాపూర్ రాజుకు చెందిన ‘మీర్జాపూర్ స్టూడియో’ తో సంబంధముండేది. ఆ స్టూడియో ఆధ్వర్యంలో శరత్ నవల ఆధారంగా ‘మన దేశం’ అనే సినిమా నిర్మాణానికి అంకురార్పణ జరిగింది. ఎల్ వి ప్రసాద్ దానికి దర్శకులు, నాయకుడి పాత్రను సిహెచ్ నారాయణరావు పోషించగా, నాయకిగా ఆయన సరసన మీర్జాపూర్ రాజా భార్య శ్రీమతి కృష్ణవేణి పోషించారు. అందులో అవకాశమిచ్చారు మొట్టమొదటి సారిగా ఎన్టీరామారావుకు సబ్ ఇన్స్పెక్టర్ పాత్ర వేయటానికి.  అలా జరిగింది. ఆయన సినీరంగ ప్రవేశం.

హైదరాబాద్ లో సారథీ స్టూడియో నిర్మాణం

చల్లపల్లి రాజా సోదరుడు, రామకృష్ణ ప్రసాద్ ఆధ్వర్యంలోకి, సారధి సంస్థ వెళ్లింది. అప్పట్లో ప్రజానాట్యమండలి అభ్యుదయ బావాలకు ఆకర్షితులైన అనేక మంది కళాకారులను ఓ వేదికపై తీసుకువచ్చే ప్రయత్నం చేసేవారు సీవీవీఆర్ ప్రసాద్, ఎస్ వి నర్సయ్యలు. శాంతినికేతన్లో విద్యనభ్యసించి సినీరంగంలో టెక్నీషియన్‌గా కెమేరా ఫీల్డ్ లోకి ప్రవేశించిన ప్రసాద్ చాలా మందికి పరిచయస్తులే. శాంతినికేతన్ నుండి బొంబాయి వెళ్లడం వలన అక్కడ సీవీవీఆర్ కు ఎల్ వి గారితో కూడ పరిచయం అయింది. ఆభ్యుదయ కళాకారులందరూ ఒక వేదికపై ఎందుకు జమకూడారో కాని ఆ రోజుల్లో జరిగిన ఆ కలయిక భవిష్యత్ సినీరంగ ఆభివృద్ధిలో ఓ కీలకమైన ఘట్టానికి పరోక్షంగా అతి ముఖ్యమైన మైలురాయిగా మిగిలిపోయింది.

‘సారథి ఫిల్మ్స్' బ్యానర్ క్రింద ఐక్యవేదికనేర్పాటు చేసుకున్న కళాకారుల తొలి ప్రయత్నం ‘అంతా మనవాళ్లే' అనే చిత్ర నిర్మాణం, సహకార వ్యవస్థ, సహకార ఉద్యమం ప్రధాన ఇతివృత్తంగా తీసిన ఆ చిత్రానికి కథా రచియిత శ్రీ కొండేపూడి లక్ష్మినారాయణ. 'అంతా మనవాళ్లే’ సినీ దర్శకుడిగా పూర్తిగా కాకపోయినా ఎల్ వి ప్రసాద్ కనుసన్నలలోనే, అధ్వర్యంలోనే ఈ సినీ నిర్మాణం జరిగిందనే భావన ప్రేక్షకుల్లో కలిగే విధంగా చిత్ర నిర్మాణం జరిగింది. తద్వారా, తెలుగు చలన చిత్ర రంగ అభివృద్దిలో ఎన్నెన్నో ఫిల్మ్ సంస్థలు నెలకొనడానికి బాటలు వేసిన ఓ మహామనిషిగా ఎల్ వి ప్రసాద్ మిగిలిపోయారు. ఈ విషయాన్ని తిలక్ గర్వంగా గుర్తు చేసుకున్నారు.  

ఆ సినిమా ఎడిటర్ కేబీ తిలక్. ఆయనకు ఆదో అనుభూతి. 'అంతా మనవాళ్లే' చిత్ర నిర్మాణం మరో ఆధ్యాయానికి ఆరంభమే కాని అంతం కాదు, ఆ తర్వాత ఆ బృందం సారథి బ్యానర్ క్రింద తీసి, తెలుగు చలన చిత్ర రంగంలో మరో మలుపు, మైలు రాయిని చేసిన మేటి చిత్రం 'రోజులు మారాయి’. తాపీ ధర్మారావు, కొండేపూడి ఆక్ష్మీ నారాయణల కలం నుండి తెలంగాణోద్యమ ప్రభావం ప్రస్ఫుటించే కథగా వెలువడింది చిత్రం. బంజరు భూముల సమస్య ప్రధాన ఇతివృత్తం. కొసరాజు రచించిన ‘ఏరువాకా సాగేరోరన్నా... చిన్నన్నా.. నీ కష్టమంతా తీరే....’ అనే ఆ సినిమాలోని పాట నాటి నుండి నేటి వరకూ పల్లె ప్రజలకు మళ్ళీ మళ్లీ వినాలనిపించే పాట, వారు పాడుకుంటూ పనిచేసే పసందైన పాట.

హిందీ చలన చిత్ర రంగాన్ని దశాబ్దాల తరబడి కథానాయికగా శాసించిన వహీదా రెహ్మాన్ 'రోజులు మారాయి' సినిమా ద్వారానే సినీరంగ ప్రవేశం చేసారు. సినీ దర్శకుడు శ్రీ తాపీ చాణక్య, ఎడిటర్ తిలక్, డాన్స్ డైరెక్టర్ శ్రీ వెంపటి సత్యం, మ్యూజిక్ డైరెక్టర్ శ్రీ వేణు (ప్రఖ్యాత సినీ కళాకారుడు శ్రీ భానుచందర్ తండ్రి) రోజులు మారాయి సినిమా కథానాయకుడిగా శ్రీ అక్కినేని నాగేశ్వర రావు, నాయికగా శ్రీమతి జానకి నటించారు. శ్రీ సిఎస్ఆర్ తదితరులు కూడా నటించారు. ఈ సినిమాకు ఎడిటర్ గా పనిచేసిన శ్రీ తిలక్ ఆ రంగంలో నిలదోక్కుకోవటమే కాకుండా మంచి పేరు కూడా తెచ్చుకున్నారు. 'రోజులు మారాయి' శతదినోత్సవ వేడుకలు హైదరాబాద్ నగరంలో ఘనంగా జరిగాయి. హైదరాబాదు కు తెలుగు చలన చిత్రరంగం తరలిరావడానికి, ప్రప్రథమంగా సినీ స్టూడియో నిర్మాణం జరగడానికి ఆ శతదినోత్సవ వేడుకలు వేదికయ్యాయి. ఆదో చారిత్రక సంఘటన అని అనేవారు తిలక్.

నాటి రాష్ట్ర మంత్రి స్వర్గీయ కొండా వెంకట రంగారెడ్డి ఆవేడుకలకు ముఖ్య అతిథిగా వచ్చి, సాహితీ సంస్కృతీ రంగాల అభివృద్ధికి చలన చిత్రరంగ ప్రముఖులు అగ్రభాగాన నిల్చి తోడ్పడాలని తమ ఉపన్యాసంలో సందేశమిచ్చారు. తదనుగుణంగానే 'రోజులు మారాయి' సినిమా యూనిట్ కు చెందిన ప్రముఖులందరూ కలిసికట్టుగా ఆలోచించి హైదరాబాద్ నగరంలో ‘సారథి స్టూడియో' స్థాపనకు, నిర్మాణానికి ప్రయత్నాలు ప్రారంభించారు. చిరకాలంలోనే అది కార్యరూపం దాల్చింది. అమీర్ పేటలో స్టూడియో వెలసింది. సారదీ స్టూడియో నిర్మాణం కొరకు స్థలం కావాలని ఆ రోజుల్లో ప్రభుత్వాన్ని అర్థించ లేదు దాని యజమానులు. ప్రయివేటు వ్యక్తుల వద్ద నుండి కొనుగోలు చేసిన భూమిలోనే స్టూడియో నిర్మాణం జరిగింది. స్టూడియో వున్న అమీర్ పేట ప్రాంతానికి రెండు-మూడు మైళ్ల దూరంలో ఉన్న ఖైరతాబాద్ సమీపంలో సారథీ యూనిట్ కళాకారులందరూ నివసించటానికి ఇళ్ల స్థలాలు కొనుక్కునే ఏర్పాటు చేసారు. అలా కొన్న స్థలంలో నిర్మించిన ఇంట్లోనే నివాసముండేవారు శ్రీ సివివిఆర్ ప్రసాద్.

         ఇదే సారథి స్టూడియోలో విశ్వవిఖ్యాత 'నటసార్వభౌములు', 'నటసామ్రాట్టులు', 'పద్మశ్రీ'లుగానూ, పద్మభూషణ్ లుగానూ గౌరవ పురస్కారం అందుకొన్న నటీనటులెందరో, ఎన్నో చిత్రాల్లో నటించటానికి షూటింగ్ లో ఎన్నో సార్లు పాల్గొన్నారు. వీరిలో ఎన్టీఆర్, అక్కినేని, భానుమతి... ఇలా వ్రాసుకుంటూ పోతే అందరూ ఉన్నారు. కాకపోతే ఆ తర్వాతి కాల గమనంలో, సినీ కాలగమనంలో, ఎవరికి వారే వేరై ఎవరి ‘సినీ కుంపటి’ వారే పెట్టుకుని పరోక్షంగానో, ప్రత్యక్షంగానో సినీరంగ అభివృద్ధికి కృషి చేసారు. సారథీ యూనిట్ పరిణామ క్రమంలో ఇలా పురోగమిస్తుంటే, అదే స్పీడ్ లోనూ, ఒక్కొక్కసారి అంత కంటే కొద్ది తేడాతోనూ మరిన్ని సంస్థలు వెలిసాయి. వాటిలో ప్రముఖమైనవిగా చెప్పుకోవాలంటే పీపుల్స్ ఆర్ట్స్ ప్రొడక్షన్స్, ప్రసాద్ ప్రొడక్షన్స్, నవయుగ ప్రొడక్షన్స్, తిలక్ అనుపమ ఫిల్మ్స్.

అభ్యుదయ భావాలు, అభ్యుదయ భావాల వేదికలు భారత స్వాతంత్ర్య సమరంలోనూ, తెలంగాణ విమోచన ఉద్యమాలలోనూ ఆ తర్వాత మరికొంతకాలం వరకూ యువతను ఎంతగానో ఆకర్షించాయి. ఆ యువతను, కమ్యూనిస్టులుగానూ, సోషలిస్టులు గానూ, కాంగ్రెసు పార్టీలో అతివాదులుగానూ మలచాయి. అంతమాత్రాన వారంతా ఆ భావాలకే జీవితాంతం కట్టుబడి వున్నారని చెప్పటానికి వీల్లేదని అనేవారు తిలక్. కారణాలు ఏమైతేనేమి, ఏదో వ్యాపకంపేరుతో వారిలో పలువురి భావాలు ‘అభ్యుదయమే' అయినప్పటికీ, ఆశయాలు మంచివే అయినప్పటికీ, ఆచరణలో మాత్రం 'అంతస్తులు' పెంచుకునే వ్యవస్థలోకి లాగాయని తిలక్ గారి భావన. కాలమహిమా? సినీ ప్రభావమా? తననుతానే ప్రశ్నించుకునేవారు మా సంభాషణలలో కేబీ తిలక్. అదే ప్రభావమా? సినిమా థియేటర్ల మీద ఈ నాటి సార్వభౌమాదిపత్యం?

నిజమేనేమో... నాటి అభ్యుదయ భావాలు, కళాకారుల సమష్టి కృషి కాలక్రమేణా వ్యాపారీకరణ వైపు మళ్లడం వల్లే నేడు థియేటర్ల వ్యవస్థ కొందరి గుత్తాధిపత్యంలోకి (Monopoly) వెళ్ళిపోయింది. నాడు కేబీ తిలక్, ఎల్.వి. ప్రసాద్ వంటి మహానుభావులు టాలెంట్ కు పట్టం కట్టి ఎన్టీఆర్ వంటి నూతన నటీనటులను, వహీదా రెహ్మాన్ వంటి జాతీయ స్థాయి నటీమణులను పరిశ్రమకు పరిచయం చేశారు. కానీ నేటి కార్పొరేట్ హైప్, కోట్లతో కొలిచే కలెక్షన్ల మాయాజాలం వల్ల, ఆనాటి పారదర్శకత, ఆనాటి 'రోజులు మారాయి' వంటి సామాజిక స్పృహ కలిగిన సినిమాల మనుగడ నేడు ప్రశ్నార్థకంగా మారింది. అలనాటి విలువలను, నేటి వ్యాపార సంస్కృతిని బేరీజు వేసుకుంటే, సృజనాత్మకత కలిగిన యువ మేధావులు ఎవరి చెప్పుచేతల్లోనో ఉంటేనే తప్ప మనుగడ సాగించలేని దుస్థితి కనిపిస్తోంది. ఈ ధోరణి మారాలని, కళాకారులందరికీ సమాన అవకాశాలు లభించే పారదర్శకమైన వాతావరణం రావాలని ఆశించడం మన కనీస సామాజిక బాధ్యత.