Blast from the past: RAKTHA SAMBANDHAM (1962)

N.T. Ramarao, Kantharao, Relangi, Savitri, Devika, Girija.

N.T. Ramarao, Devika, Savitri in the film.

All through their life they thought they were inseparable siblings but when the inevitable end appeared they realised they were one soul in two bodies. This was the crux of the story that renowned Malayalam author and screen writer K.P. Kottarakkara had written on brother-sister bonding which appealed to director A. Bhimsingh who in turn converted it into a celluloid classic in Tamil titled, Pasamalar (the flower of adoration). The movie’s huge box office success prompted producers Sundarlal Nahata and Doondy to acquire the Telugu remake rights and signed V. Madhusudana Rao to direct it. The Tamil version had Sivaji Ganesan and Savitri playing the siblings. Doondy preferred Akkineni Nageswara Rao to play the brother while retaining Savitri for the sister’s role. However ANR expressed reservations. Though he and Savitri had acted as siblings in Parivartana (1954), that was long before they had become the most sought after on-screen romantic pair. ANR felt the audience may not accept them as brother and sister. He directed the producers to his coeval N.T. Ramarao. Incidentally, NTR had acted as Savitri’s beau in Parivartana but he had no qualms in playing her elder brother in Raktha Sambandham . For Savitri’s spouse Anand’s character Kantharao was chosen. In the Tamil filmthe role was played by Savitri’s real life husband, Gemini Ganesan.

The Story: Raju’s (NTR) life revolved around his sister Radha (Savitri). After losing his job, Raju started cottage industry and eventually bought the factory where he once worked. He fixes Radha’s marriage with a rich man Bhaskar (Prabhakara Reddy). In turn he accepts Bhaskar’s proposal to marry his sister Dr. Malati (Devika). However to make Radha happy he performs her marriage with his former co-worker Anand (Kantharao). After the marriage Anand stays at Raju’s house along with his aunt Kanthamma (Suryakantham), her son Apparao (Relangi) and daughter-in-law Sita (Girija). Radha intervenes to perform Raju’s marriage with Malati. The vile Kanthamma creates rift in the family and ensures that Raju leave the house after Malati’s death during her delivery. Years pass by. Raju in poor health returns to see his sister with his little daughter but Kanthamma sends him away. While saving Radha’s son from a cracker burst, Raju loses his eyesight. By the time Radha reaches to meet Raju, he breathes his last. Unable to bear the separation, Radha too dies holding his hand.

Cast & Crew: Despite criticism for assigning a humour writer with such a heavily loaded melodrama, Doondy signed Mullapudi Venkata Ramana; this also marked Ramana’s debut as screen writer. While retaining his satirical punches (

ghoramaina swatantram - terrifying freedom) Ramana wrote some meaningful (

nuvvu nee jeevithaniki punaadulu, valla pathanaaniki gothulu

thavvuthunnavu – you are digging the foundation for your life and pits for their fall) and some heartwarming (

ninnu vadili velladam ledamma, illu vadili veluthunnananthe – I am not leaving you sister, I am only leaving the house) dialogues keeping them simple yet effective.

V. Madhusudana Rao’s strong point as a director was the dissolve technique, changing from one scene to another smoothly without jerks or gimmicks. With his rich theatre background, he knew the audience psychology and how to narrate a story to them. He was ably supported by editor N.S. Prakasam and cinematographer C. Nageswara Rao.

It is interesting to note that in 1962 two films featuring NTR and Savitri as spouses were released, Gundamma Katha four and half months prior to Rakthasambhandam and Athmabandhuvu six weeks later.

All the three films were box office hits vindicating the faith NTR had in the content over image. The audience whole-heartedly accepted Raju and Radha the doting siblings. Such were the convincing portrayals from NTR and Savitri, endearingly effective. If Raju and Radha’s bonding went beyond words no less was the sibling love between Bhaskar and Malati. As Bhaskar and Malati, Prabhakara Reddy and Devika gave dignified portrayals. Kantharao made a neat presentation as Anand.

Ramana introduced his popular fiction characters Apparao, the chronic debtor and his love interest ‘ rendu jedala ’ (two plaits) Sita immortalised through Bapu’s drawings. Relangi and Girija enacted the characters bringing in lighter moments to the emotional drama. Ramana Reddy played Girija’s father, K.V.S. Sarma as the factory owner and Y.V. Raju as servant Subbanna.

Ghantasala’s compositions include Aaksamele andaala Raju (lyric: C. Narayana reddy, Singer: S. Janaki), Manchiroju vasthundi (Kosaraju; Ghantasala, P. Susheela) and the duet shot in Kodaikanal on Kanthrao and Savitri, yevaro nanu kavvinchi poye vaarevaro (C. Narayana Reddy; P.B. Srinivos, P. Susheela). Ghantasala lent name for two of the most popular songs from the album – Bangaaru bomma raaveme… (Arudra; P.Susheela) and Chandurini minchu andamolikinchu (Anisetty;Ghantasala, P. Susheela). They were originally composed by Viswanathan- Ramamurthy for Pasamalar.

Trivia: NTR was 39 and Savitri was 26 when the film was released.

NTR knew V. Madhusudana Rao since their theatre days. After NTR entered the film industry, Madhusudana Rao took his place in the National Art Theatres stage plays and acted as Salim and other characters that NTR used to perform.

As a mark of gratitude, Mullapudi Venkata Ramana dedicated his book Cineramaneeyam Part I to Doondy.

Sivaji Ganesan remade Pasamalar in Hindi titled, Rakhi (1962) and Y.R. Swamy directed the Kannada version, Vatsalya (’65). Both were big hits. Interestingly, Pradeep Sharma bought the remake rights of Raktha Sambandham to produce the 1986 Hindi version, Aisa Pyaar Kahan .

Raktha Sambandham ran for 100 days in 11 centers and 25 weeks in Vijayawada. When the film was re-released in 1988 it ran for 100 days in Hyderabad and the celebrations were held at a public function.

N.T. Ramarao then the chief minister of combined Andhra Pradesh received his memento.