Not all writers merely weave tales, some also serve as a reflection of the times they live in. Yaddanapudi Sulochana Rani was one such. When verbose, chaste Telugu literature was ruling the roost, she opened Telugu readers to the complexities of urban relationships in her simple yet alluring style , and to the working of a woman’s mind. Telugu cinema didn’t take long to acknowledge her writing prowess, adapting many of her novels for the celluloid screen.
Her tryst with Telugu films began with Adurti’s Chaduvukunna Ammayilu in 1963, where she had filled the void created by the untimely demise of novelist P Sridevi whose Kalaathetha Vyakthulu the film was based on. There was no looking back since.
Akkineni Nageswara Rao, bolstered by the success of films adapted from novels, frequently played the protagonist in films adapted from her books including Athmeeyulu, Manushulu Mamathalu, Secretary ; Sobhan Babu, Krishna and Murali Mohan were the other ‘novel heroes’ in her films like Meena, Radha Krishna, Jeevana Tarangalu . Yaddanapudi and Arikepudi (Koduri) Kousalya Devi made Telugu filmmakers, backed by Annapurna Pictures and Suresh Productions, look at Telugu literature for adaptation rights at a time when Bengali literature ruled the roost. With her Mills and Boon-like characterisation and the rich guy-poor girl trope, the immensely popular writer threw new light on romance and popularised reading among the middle-classes, especially women in the late 60s and 70s.
Her writings were marked by well-rounded characters and stories where protagonists had to battle the enemies within, and often reflected her love for the countryside while also catering to changing tastes of urban readers. Her works were rich in description, nostalgia and imagery, which helped filmmakers execute it onto the celluloid with ease. Stories rooted in reality that also had enough escapism made her work accessible to audience of all age groups. Secretary (starring ANR and Vanisri) won her laurels across the commercial stream.
A.Aa , directed by Trivikram Srinivas, inspired by Yaddanapudi’s Meena (though not initially credited) rekindled interest in her novelsamong youngsters. A few television adaptations like Ruthu Raagalu, Agni Poolu too did their bit to remind a newer generation about Yaddanapudi. She distanced herself from writing since a few decades. She reportedly said, “There came a time when I had to experience life without books.” Telugu cinema was never the same again after her entry.
