| Laila Majnu | |
|---|---|
 Theatrical release poster | |
| Directed by | P. S. Ramakrishna Rao |
| Written by | Samudrala Sr (story / dialogues) |
| Screenplay by | P. S. Ramakrishna Rao |
| Based on | Sufi'sLaila-Majnu |
| Produced by | P. S. Ramakrishna Rao Bhanumathi (presents) |
| Starring | Akkineni Nageswara Rao Bhanumathi |
| Cinematography | B. S. Ranga |
| Edited by | P. S. Ramakrishna Rao |
| Music by | C. R. Subburaman |
Production company | |
Release date |
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Running time | 169 minutes |
| Country | India |
| Language | Telugu |
Laila Majnu is a 1949Telugu-languagehistorical romance film, based on the Sufi legend ofLaila-Majnu. It is produced and directed byP. S. Ramakrishna Rao under theBharani Pictures banner. It starsAkkineni Nageswara Rao andBhanumathi, with music composed byC. R. Subburaman. The film was simultaneously dubbed and released inTamil with same title.[1] The film was successful at the box office.[1]
The film is a portrayal of an iconicArab origin love taleLaila Majnu. It begins with Qais & Laila, who grow as a single soul from infancy. Their respective parents, Ameer Umri & Ameer Sarvaar, also share cordial relations. However, a rift arises between the families who are conscious of their progeny's fondness. Sarvaar rebuke Umri to restrain Qais. By not dissuading his daughter from seeing Qais, Sarvaar forcibly carries Laila toMecca. Qais behind her and roams on the street in a lunatic state, uttering his darling's name. The public mocks him titling as Manju by casting the rocks. Laila & Manju are devastated just by a mere glance. So, Manju dares to intrude covetously but is caught and subjected to torment.
Meanwhile, theIraq Emperor visits the town, who is startled by the knowledge of this love story. He covets Laila after noticing her and forces his acolyte, Anwar, to make it feasible. Besides, Umri implored Sarvaar to secure his son, which he accepted, stipulating that Manju be evidence that he was not insane. Though Manju triumphs in it, Sarvaar must bow his head down before the Empire's bridal connection. Ergo, the nuptial is conducted, Laila walks to Iraq with the Emperor, and Manju turns into a desert rover. The arrival of Laila irks the Emperor's mistress, Zarina, who harshly forwards but pacifies, mindful of her shattered story. Hence, she decides to aid her and pleads with the Emperor to quit her, which he denies. Now, the Emperor attempts to subdue Laila with utmost but in vain. Ultimately, he repents and honorably sends off Laila, adopting her as a sibling. At last, the catastrophe struck before them through a fierce sandstorm, but the estranged two united at hard-earned. Finally, the movie ends with Laila & Manju leaving their breath together, showing them as immortal.
Cast according to the opening credits of the film:
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Laila Majnu, an ancient epic of love, is an integral part of classic Sufi literature. Hashmet Shah has told it, so has Amir Khusro. Nizami Ganjavi's 12th century version in scintillating verse filled with allegorical flourishes has been translated into numerous languages. Mian Mohammad Bakhsh's interpretation of the epic is held as an acclaimed treatise in Pakistan till this day. The tragic tale of Majnoon and Laila is said to have its foundations in true events that occurred in the 7th century.
With his first film, Rathnamala, turning a box office hit, studio owner and director Ramakrishna was on the lookout for a suitable subject for Bharani's next venture. Fascinated by the first Hindi talkie version ofLaila Majnu (1945), which he had seen in Bombay, he made the choice. His production chief D. L. Narayana agreed with him. A screening of the Hindi version was arranged for his actress-wife Bhanumathi and Akkineni Nageswara Rao, whom he had thought of for the protagonist's role. Samudrala Raghavacharya was assigned the job of writing the script and the dialogue.
The sandstorm scene especially is worth mentioning. Instead of veteran cameraman Jiten Banerjee, who cranked for Rathnamala, Ramakrishna took B. S. Ranga as the cameraman without even knowing how efficient his work was. Ranga who bagged this assignment thanks to his brother Garudachari, a close friend of Ramakrishna, proved his worth and it was the turning point in his future life and career. Besides excellent photography, sound designing (by V. Srinivasa Raghavan under whom later day's popular director K. Viswanath worked as an assistant), the period sets created by art directors Goadgoankar and K. Nageswara Rao.
Vedantam Raghavayya choreographed the songs.Samudrala Sr gave the story, dialogue, and lyrics. Cinematography is performed byB. S. Ranga. The film is presented byP. Bhanumathi underBharani Pictures.
| Laila Majnu | |
|---|---|
| Film score by | |
| Released | 1949 |
| Genre | Soundtrack |
| Length | 47:25 |
| Producer | C. R. Subburaman |
Music composed byC. R. Subburaman. All the tunes for all the songs and singers for both languages are the same. Singers areP. Bhanumathi &Kasturi Siva Rao.Playback singers areGhantasala,S. Dakshinamurthi,Madhavapeddi SatyamR. Balasaraswathi Devi,P. Leela &Jikki.
Music released on AVM Audio Company.
Lyrics bySamudrala Sr. The song "Preme Neramouna" is an evergreen blockbuster.
| S. no. | Song title | Singers | length |
|---|---|---|---|
| 1 | "Neevene Naa Chaduvu" | Ghantasala,Bhanumathi Ramakrishna,P. Leela,Jikki | 3:00 |
| 2 | "Aaha Pahliyanchega" | Bhanumathi Ramakrishna | 2:07 |
| 3 | "Viritavula Lona" | Ghantasala, Bhanumathi Ramakrishna | 3:08 |
| 4 | "Cherararo" | Ghantasala, Bhanumathi Ramakrishna | 2:30 |
| 5 | "Raavo Naanu Marachitivo" | Ghantasala, Bhanumathi Ramakrishna | 2:44 |
| 6 | "Ninu Basi Povudana" | Bhanumathi Ramakrishna | 3:10 |
| 7 | "Preme Neramounaa" | Bhanumathi Ramakrishna | 2:57 |
| 8 | "Chelunigani Nijamidani" | Ghantasala, Bhanumathi Ramakrishna | 4:08 |
| 9 | "Payanamye Priyathama" | Ghantasala | 2:55 |
| 10 | "Ela Pagaye" | R. Balasaraswathi Devi | 2:16 |
| 11 | "Ninugani Manasuna" | P. Leela | 2:14 |
| 12 | "Assaalaa Malekkum" | Kasturi Siva Rao | 2:47 |
| 13 | "Manasu Gadaa Khudaa" | Ghantasala,Susarla Dakshinamurthy,Madhavapeddi Satyam | 4:30 |
| 14 | "Andala Chinnadana" | P. Leela, K. Jamuna Rani | 2:43 |
| 15 | "Eenaati Mapata" | P. Leela, Jikki | 2:21 |
| 16 | "Tanedano" | Bhanumathi Ramakrishna | 0:59 |
| 17 | "Neeve Nenaa Chaduvu" | Ghantasala | 2:56 |
Lyrics byS. D. Sundharam.
| S. no. | Song title | Singers | Lyrics | length |
|---|---|---|---|---|
| 1 | "Nee Thaane Ennaasai" | Ghantasala, P. Bhanumathi, P. Leela & Jikki | S. D. Sundharam | 3:00 |
| 2 | "Aaha Palan Vandhadhe" | P. Bhanumathi | 2:07 | |
| 3 | "Iga Vaazhvinil Kaadhal Mahaajothiye" | Ghantasala & P. Bhanumathi | 3:08 | |
| 4 | "Jothi Minnum" | Ghantasala & P. Bhanumathi | 2:30 | |
| 5 | "Vaaraayo Enai Marandhanaiyo" | Ghantasala & P. Bhanumathi | 2:44 | |
| 6 | "Unnai Paarkka Pogirenaa" | P. Bhanumathi | 3:10 | |
| 7 | "Premaithaan Polladhaa" | P. Bhanumathi | 2:57 | |
| 8 | "Enadhu Uyir Urugum Nilai" | Ghantasala & P. Bhanumathi | 4:08 | |
| 9 | "Parandhu Sellum Paingkiiiye" | Ghantasala | 2:55 | |
| 10 | "Veen Pazhi Thaane Prabho" | R. Balasaraswathi Devi | 2:16 | |
| 11 | "Oru Ooril Oru Raajaa" | P. Leela | 2:14 | |
| 12 | "Assaalaa Malekkum" | Kasturi Siva Rao | 2:47 | |
| 13 | "Maghimaiyodu Sadhaa Ezhai" | Ghantasala, S. Dakshinamurthi & Madhavapeddi Satyam | 4:30 | |
| 14 | "Kuliridhe Suvai Madhu" | P. Leela & Jikki | 2:43 | |
| 15 | "Kannaadi Kanni Neeye" | P. Leela & Jikki | 2:21 | |
| 16 | " " | P. Bhanumathi | 0:59 | |
| 17 | "Nee Thaane Ennaasai" | Ghantasala | 2:56 |
The film was dubbed into Tamil and released simultaneously with the Telugu version.S. D. Sundharam wrote the dialogues and lyrics for the Tamil version. F. Nagoor made anotherLaila Majnu in 1950 under the banner Balaji Pictures and shot at Newtone studios withT. R. Mahalingam andM. V. Rajamma . The story was again made in 1953, 1976 (in Hindi and Bengali), and later in 1982.[2]
An article published in theHindu wrote about this movie, "While the opulent palace, garden and other sets were put up in the floor, the desert set with a pond, palm trees (to resemble date trees found in deserts) and sand dunes were created in the open space between the studio and the recording theatre and the scenes were shot there during the nights for the right effect. The result of this entire effort was reflected in audience's appreciation of the movie."[1]