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.
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