Part 3:
After the stupendous success and creative high of the last film, Rao called in Vamshee, one of his trusted Associate Directors and a youth who grew up on the sets of Poornodaya Creations to make a film for him – “Sitara” (Star).
“SwathiMuthyam” was the next film that brought back K Viswanath and Rao together, with Kamal Hassan. The story of a simpleton considered a mental shrek by others went on to win hearts and live life at his terms – this simple line was etched into a beautiful modern-age love story between Radhika and Kamal Hassan. Made on a budget of Rs.45 lacs and shot over 60 days, the film created huge impact on the masses and ran 100 days at over 25 centres. Again, the producer had the guts to challenge the wisdom of director Viswanath who wanted to change the climax of the film earlier.
After seven movies which hit a purple patch for the producer, Rao went on to produce another fine film with Chiranjeevi – “Swayamkrushi” (Self-Made).
Made on a budget of Rs.90 lacs, the film was shot in 60 days and had Ramesh Naidu score music which became a big hit. The film became a decent hit and also brought in the best actor award for Chiru – something Rao predicted even during the making of the film itself.
After achieving eight blockbuster hits, Rao took on a gamble to launch his son EdidaSriram with Vamsee as director in “SwaraKalpana” (“Music Composing”). Made on a budget of Rs 35 lacs and shot in 50 days, the film’s music was composed by Ilaiyaraja’s brother Gangai Amaran as the Maestro was busy. The story set in a village backdrop loosely inspired from “Missamma” had EdidaSriram and Sita in lead roles. This, however, turned out to be much more serious than what Rao assumed Vamshee will treat in creating the characterization for his son Sriram. Because he didn’t pay attention to the development of the story and hardly stayed on the sets, the film suffered from mediocrity and bombed at the box-office creating the first major loss for Rao spoiling the chances forever for his son Sriram. Though a song or two were a hit, the film failed to click because many movies came whose treatment was similar or better than this film. One of them was Bapu’s “PelliPustakam”.
In 1992, Rao produced his last film
On the whole, if one looks at the filmography of Edida Nageswar Rao, he has achieved an impact on Indian Cinema in general and Telugu Cinema in particular which many producers can only dream of. With fewer films and tighter control on budgeting, he has earned respect reserved only for the best in the field. By being an important crusader for good causes of meaningful and aesthetic cinema, and by collaborating with fewer associates he believed in backing to the bone, Rao created a legacy that will remain unsurpassed for generations to come. Rao never ventured into languages even when remakes were an easy option, he didn’t go in search of technicians who wouldn’t sync well with his core directors, he never sought the easy route of mass-appeal and formula films that dominated the mind-share of three-fourths of his generation of film-producers. He shattered the myth of the long genius by actively collaborating like soul-mates with directors like K Viswanathand Vamshi and created epics of lasting value and thereuapatic messages. His services were also much sought-after – as jury members in the Indian Panorama, National Awards Comittee and so on. He used the medium of cinema to enrich it not to milk it for making money – which is what the convention is for a producer. Even though Rao is legendary with an output that raises eyebrows for the sheer range and artistic excellence, he remains vastly unsung in an age where producers no longer command respect. It is because of this reason, we must respect EdidaNageswar Rao – because he chose the road less travelled and look where it has taken him. Eternal Fame and Name. May his tribe increase.