“I do not agree with the view that by accepting more films (at the same time), one’s concentration gets affected. For me work is relaxation. By that I do not mean I compromise on quality. I compartmentalise each of the films I am directing, and in such a scenario where is the scope for confusion when one is thorough with the subject? Moreover, I need not depend on somebody as I am in-charge of the story, screenplay, dialogue and even lyrics.”
That was Dasari Narayana Rao replying to a query on how he was able to direct three to four films on a single day, hopping from one studio floor to the other. It was my first interview with the workaholic-filmmaker and also my first article for The Hindu in 1988. Dasari had just then launched his 100th directorial ( Lankeswarudu ) and was on the verge of entering record books for directing the most number of movies.
However, initially, the first meeting with him was perturbing. The appointment time was 6 am. I was at his residence by 5.45 am. Past 7am, and there was no sign of him. When I was just about to leave, his PR man came and ushered me into his room.
Punctuality was his hallmark. So I wondered why I was made to wait for an hour and also how he was able to direct three films at the same time. He gave me the answer. The wait for me was mainly because he was not informed about my arrival. On subsequent occasions, whenever we met at his office or on locations, he was very warm and cordial. He always expressed himself frankly, making a good copy. During my first conversation with him he criticised the Central Board of Film Certification for the anomaly it showed from region to region and also opined that the board members should be trained for the job. The Hindu published that article on August 5, 1988, under the headline ‘Film censors need an orientation course.’ The next week a lengthy rejoinder came from P Raghavan, the then Regional officer (Madras), Film Certification Board.
The first time I saw Dasari from close quarters was in 1979 when he came to our house to meet my uncle (TVS Sastri). A few months earlier, his first Hindi directorial, Swarg Narak, was released and was well received. Dasari was flooded with offers from actor Jeetendra and a few producers. He persuaded my uncle to be the production designer.
As he took up challenges, Dasari threw surprises too. From a typist he turned a screenwriter, director, producer, industry leader and a Central Minister. But, he remained a friend of journalists, being one himself. To felicitate him, on becoming a Union Minister, the film industry held a grand function at Vivanta by Taj – Connemara Hotel, Chennai. After the function, scores of people from all walks of life were waiting to meet him. Two of us journalists stood at a distance from him. Spotting us, he made fast-paced strides towards us, held my hand in greeting and asked us to meet him the next morning at Neyveli Guest House on Poonamallee High Road, orally giving us a route map. The next day, when we met, I asked him where was he more comfortable, as a Minister or in the film industry. For a minute he was silent. At that time the workers in a few collieries had some issues. Perhaps he was thinking of that. Dasari answered, “These secretaries do not listen to our words.” After a pause he added, “I feel at home in the film industry.”
The home he liked the most Dasari vacated permanently on May 30, leaving behind a rich repertoire of his works to console his admirers.
