From India’s first time-travel epic to SSR61: How the 94-year-old filmmaker is set to disrupt cinema again

During an era when Telugu mainstream cinema often followed predictable patterns, Singeetam Srinivasa Rao pursued experimentation and creative risk-taking.

3 min readHyderabadUpdated: Feb 5, 2026 06:04 PM IST

Girish Karnad and Singeetam Srinivasa Rao on the sets of Rajahamsa

Actor Girish Karnad and director Singeetam Srinivasa Rao, on the sets of the Telugu film Rajahamsa. (Express archive photo)

The announcement of SSR61, produced by Nag Ashwin, has redirected attention to Singeetam Srinivasa Rao, a director whose innovative filmmaking left an indelible mark on Indian cinema. At 94 years old, Singeetam’s return to direction after over a decade marks one of the most remarkable comebacks in Indian cinema history. Known for his versatility and intellectual approach, Singeetam’s work continues to inspire contemporary filmmakers.

Singeetam distinguished himself by refusing to adhere to single genres or industry conventions. During an era when Telugu mainstream cinema often followed predictable patterns, he pursued experimentation and creative risk-taking.

Aditya 369 (1991) stands as one of his most celebrated Telugu works, widely recognized as India’s first mainstream time-travel film. The film merged science fiction with historical narratives, introducing audiences to speculative concepts while maintaining emotional depth and narrative coherence. Its cult following demonstrates how Singeetam respected audience intelligence well before such approaches became common.

A visionary. A master.
A genius ahead of time.

The legendary Director #SingeetamSrinivasaRao garu returns with his most ambitious project yet.#SSR61 – Title Announcement Soon.https://t.co/SA22M5fcyx @nagashwin7 @ThisIsDSP @VyjayanthiFilms @SwapnaCinema pic.twitter.com/aX5Qi7X56i

— Vyjayanthi Movies (@VyjayanthiFilms) January 31, 2026

Bhairava Dweepam (1994) revealed another dimension of his artistry: fantasy grounded in Indian folklore. Despite the technological limitations of its time, the film succeeded through imaginative production design, visual creativity, and solid storytelling rather than relying solely on spectacle. It has since influenced numerous filmmakers working within mythological and fantasy genres, proving that ambitious scale can be achieved through vision as much as through budget.

Pushpaka Vimana (1987) arguably represents Singeetam Srinivasa Rao’s most internationally recognized achievement. This nearly dialogue-free film transcended language barriers by relying entirely on visual storytelling, performance, and cinematic rhythm. It stands as a rare example of Indian cinema that communicated universally without verbal exposition, garnering acclaim both domestically and internationally. The film won the National Film Award for Best Popular Film Providing Wholesome Entertainment and had a successful 35-week theatrical run in Bengaluru.

Singeetam also brought meticulous craftsmanship to comedy, a genre sometimes undervalued. Films like Mayuri and Apoorva Sagodharargal (Tamil) showcased his precision-driven approach, where structure and timing were as crucial as performance. These successes reinforced his conviction that comedy requires the same artistic rigour as any other genre.

Beyond individual achievements, Singeetam’s broader contribution lies in how he expanded the creative horizons of Telugu cinema. He normalized experimentation decades before “content-driven cinema” became industry terminology.

With SSR61, anticipation runs high, not because Singeetam needs validation, but because his return prompts reflection on how far the industry has evolved and how much of that evolution was quietly influenced by his pioneering work.

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