Nagarjuna: Telugu cinema’s ‘King’ is not afraid to swim against the tide

The actor is also credited with bringing many acclaimed other language directors to Telugu – beginning with Mani Ratnam for Geetanjali (1989), SV Rajendra Singh Babu for Prema Yuddham (1990), Priyadarshan for Nirnayam (1991), Prathap Pothan for Chaitanya (1991), V Ravi Chandran for Shanti Kranti (1991), Fazil for Killer (1992), Mahesh Bhatt for Criminal (1994)… the list goes on!

After his debut in 1986 with Vikram – a remake of the Hindi hit Hero, Nagarjuna made calculated moves under his watchful superstar father Akkineni Nageshwara Rao. He mainly featured in romance or mass action films till Vicky Dada in 1989. The actor mostly worked with experienced, reputed directors like K Raghavendra Rao, A. Kodandarami Reddy, Dasari Narayana Rao and others, honing his talents. Sankeertana (1987), a musical under Geetha Krishna’s direction, was the only deviation from this pattern. A critically appreciated, award-winning movie focusing on caste discrimination and archaic practices, Sankeertana did not fare well at the box office.

Nagarjuna’s most notable films before his Siva days are Majnu (1987) and Akhari Poratam (1988). Directed by Dasari Narayana Rao, Majnu is a romantic musical tragedy that attempts to present Nagarjuna as the heir to father ANR’s numerous iconic tragic hero portrayals. Akhari Poratam was a big-budget masala spy action film under K Raghavender Rao’s direction, with Sridevi acting opposite Nagarjuna for the first time. Amrish Puri also made his Telugu debut with this film. This adaptation was a big hit.

It was the year 1989 that marked the complete transformation of Nagarjuna. Geethanjali under Mani Ratnam’s direction, and Siva, helmed by debutant Ram Gopal Varma, hit screens the same year. They turned out to be milestones not only for Nagarjuna but also for the Telugu film industry.

Geethanjali beautifully captured the spirit of living, showing the lives of two terminally ill young persons. Made ethereal through the cinematic brilliance of PC Sriram’s camera, Ilaiyaraaja’s lilting music, Raju Sundaram’s vibrant choreography, SP Shailaja’s other-worldly voice for leading lady Girija… the film was nothing less than magic on screen!

Having convinced Mani Ratnam to direct a Telugu film (his only Telugu directorial to date) for him, Nagarjuna must have felt reborn with his choices resonating so well with the Telugu audience. Rightly so, because released the same year, Siva, directed by Ram Gopal Varma, shattered all standard notions of filmmaking in India and started a new era of technical brilliance.

Having just become a romantic icon with Geethanjali, Nagarjuna also became the action hero with Siva. With such an enviable turn of image, Nag became one of the most sought-after actors in the country. Filmmakers from Tamil, Kannada, Malayalam and Hindi were eager to work with him. So many willingly came to Hyderabad, even for just one film and worked with Nagarjuna. The list includes big names like Rajendra Singh Babu, Ravi Chandran, Priyadarshan, Fazil, Mahesh Bhatt.

Having already made his entry into Hindi with the remake of Siva, Nagarjuna became part of big-budget, multi-starrers like Khuda Gawah directed by Mukul S Anand in 1992. Criminal, directed by Mahesh Bhatt in 1995, was another important film in Nagarjuna’s Hindi filmography. With MM Keeravaani’s melodious music, Criminal still finds takers due to the TV reruns.

Another such uniquely contradictory set of film releases happened with Nagarjuna in 1996-97. There can’t be more different movies than Ninne Pelladata and Annamayya for any actor to release back to back. Ninne Pelladata, directed by Krishna Vamshi, is still counted as one of the most romantic films in Telugu cinema. The movie also gave Nagarjuna the title of Greeku Veerudu (Handsome like a Greek warrior). The chemistry between Nagarjuna and Tabu makes it one of the most memorable on-screen romances ever.

Nagarjuna’s choice to act in the role of Annamayya, a revered Telugu devotional poet, just after a super successful romantic film goes beyond any conventional logic. It was his first biographical movie too. The casting was questioned by many when it was announced, with the romantic image of Nagarjuna working against him. Though strictly a Telugu poet, Annamayya’s songs and keerthana’s have been cornerstones of traditional Carnatic music along with Thyagaraja keerthana’s. So, the result of this film would have made an impact across South India.

Directed by K Raghavender Rao, Annamayya turned out to be one of the most memorable performances from Nagarjuna. It could again be compared to his father ANR’s successful portrayal of many devotional characters despite him being an atheist. Despite winning multiple awards for his acting in Annamayya, Nagarjuna’s romantic, action image overshadowed this fine performance and a string of usual masala, commercial fares continued. Most notable among them are Aavida Maa Avide (1998), Nuvvu Vastavani (2000), Santosham (2002), Manmadhudu (2002), Mass (2004) etc.

Sri Ramadasu (2006), again under the direction of K Raghavender Rao, with Nagarjuna playing the role of another devotional poet, was also well-liked by viewers. The film won multiple awards for the music and Nagarjuna’s performance.

Among his later films, Manam (2014) and Oopiri (2016) show the best of Nag’s histrionics. Playing a wheelchair-bound quadriplegic in Oopiri, Nagarjuna showed his daring and commitment to the right kind of content. His efforts in this film earned him numerous awards. Based on the French film The Intouchables, Oopiri couldn’t be imagined without Nagarjuna’s dignified portrayal.

Time and again, Nagarjuna has shown great daring in accepting new directors and trying roles that go beyond regular box office expectations. Be it Siva, or Antham, or Hello Brother, or Annamayya, or Rajanna, or Oopiri… he has defied regular cinematic conventions repeatedly and come out as a winner.