An academically inclined C Narayana Reddy in his initial days often mentioned that he didn’t choose to enter films, the medium chose him. Aware of his literary acumen, he believed that films gave him a better chance to explore his poetic penchants. As a person he was forthright and yet humble in the need of the hour, there was a delicate balance of both aspects in what he wrote and spoke. He famously said, “ Kavitvanni nerpalemu kaani pandityanni pondavacchu” . Many from this generation would rather remember the legend as an active literary figure who had a strong presence in most literary and cultural events hosted in the city.
Ranging from venues like Thyagaraya Gana Sabha to Bharatiya Vidya Bhavan to Ravindra Bharathi, he was known to attend four to five events in a week’s span in his 80s, he managed some of them even with a fractured leg. He was insistent on not staying at the venues beyond 8 pm. While the ‘sabha karyakramam’ in cultural events are often known to extend beyond stipulated time, C Narayana Reddy was unlike his counterparts, who maintained brevity and ensured substance in whatever little he spoke. More than a dialogue writer or a poet or a lyricist, he was always a literary figure who remained accessible to the common man. He didn’t shy away from accepting the fact it was films that took him closer to a common man, that he was a playwright and a master of other literary forms such as ghazals, poems, essays, dialogues ensured his reverence in literary circles, only next to the first Telugu Jnanapith awardee Viswanatha Sathyanarayana (who considered C Narayana Reddy, his truest of disciples).
Having entered the Telugu film industry at a phase where lyricists like Atreya, Arudra, Samudrala, Devulapalli Krishnasastri had already carved their niche, the Jnanpith awardee preferred to stay true to context of the songs he was offered and wasn’t perturbed by tags, which eventually benefited his stay in the industry. Yet, none can argue about how deeply he had personalised the songs he wrote and the strong emotional basis he gave to them, starting from a ‘Nannu Dochukunduvate’ in Gulebakavali Katha to a ‘Jejemma’ in Arundhathi . He was sometimes particular in penning lyrics for an entire album, which he found was a way to explore his literary range. Always game for experiments, he penned an entire song in Sanskrit for Duryodhana’s introduction song ‘Jayee Bhava’ in NTR’s magnum opus Daana Veera Soora Karna . The city too got its first film anthem of sorts with Narayana Reddy’s ‘Rimjhim rimjhim Hyderabad’ in Mattilo Manikyam where he describes the Hyderabadi way of life, its landmarks, the lingo and more.
He was however sure of why he had failed to gain a commercial appeal as a dialogue writer in films. In a television interview, he’d mentioned, “That there was a lot of poetic traces in what I wrote for both Ekaveera and Akbar Saleem Anarkali didn’t help my cause.” As many as 3500 songs on the whole is by no means a small number for a lyricist, but his genius lay in his ability to stay relevant to changing times and tastes. He was aware of the audience, a film and his song was catering to. But if anyone were to ask his pratyekatha , the Karimnagar-born always mentioned that it was ‘deergha kavyam’ that he specialised in. Writing two poems a week until his last breath, it’s fitting that his absence be summarised in his own words, from what he wrote in Prapancha Padulu (which he later sang too), Jarigipoina kaalemennadu tirigiradani telisina, Jaripoina tara ningiki cheraledani telisina, manchu kammina burralanu vidilinchukoni porenduko, endipoina aaku kommaku undaledani telisina, aagipoina swaasa munduku saagipodani telisina .
On-screen presence
Moguda Pellama (where he sings the number ‘Paramasivudi medalo’ in SPB’s voice)
Toorpu Padamara (where he plays himself in a scene with actor Nagesh)
As a dialogue writer
Ekaveera
Akbar Saleem Anarkali (which NTR felt would fit him apt, given the film’s Urdu context and that it was a true retelling of Asif’s Mughal-E-Azam)
Our song picks
-Chukkallara Choopullara (Apadbhandavudu)
-Laali laali (Swathimuthyam)-
-Jorumeedunnavu Thummeda (Sivaranjani)
-Gogulu Pooche (Muthyala Muggu)
-Vastadu Naa Raju (Alluri Seetharama Raju)
-Snehamera Jeevitham (Nippulanti Manishi)
-Telugu Jaathi Manadi (Talla Pellama)
-Yentha Vaadu Gaani (Bhale Tammudu)
-Chaduvurani Vadavani (Aatma Bandhuvu)
-Nannu Dochukonduvate (Gulebakavali katha)
Literary riches
-Karpura Vasantarayalu
- Visvambhara
