| Telugu cinema | |
|---|---|
.svg) | |
| No. ofscreens | 1726 screens inAndhra Pradesh andTelangana states of India (2022)[1] |
| Main distributors | Suresh Productions Geetha Arts Vyjayanthi Movies DVV Entertainment Annapurna Studios Arka Media Works Sri Venkateswara Creations Mythri Movie Makers Haarika & Hassine Creations Varahi Chalana Chitram Sri Venkateswara Cine Chitra |
| Produced feature films (2022)[2] | |
| Total | 219 |
| Number of admissions (2022)[3][4] | |
| Total | 233 million |
Telugu cinema, also known asTollywood, is the segment ofIndian cinema dedicated to the production ofmotion pictures in theTelugu language, widely spoken in the states ofAndhra Pradesh andTelangana. Based inFilm Nagar,Hyderabad, Telugu cinema is the largest film industry in India by box-office revenue as of 2021.[5][6] Telugu films sold 23.3crore (233 million) tickets in 2022, the highest among all Indian film industries.[4] As of 2023, Andhra Pradesh has the highest number of movie screens in India.[7]
Since 1909, filmmakerRaghupathi Venkaiah Naidu was involved in producingshort films and exhibiting them in different regions of South Asia. He established the first Indian-owned cinema halls inSouth India. In 1921, he produced thesilent film,Bhishma Pratigna, generally considered to be the first Telugufeature film.[14] As the first Telugu film producer and exhibitor, Naidu is regarded as the 'Father of Telugu cinema'.[15] The first Telugutalkie film,Bhakta Prahlada (1932) was directed byH. M. Reddy. The 1950s and 1960s are considered the golden age of Telugu cinema, featuring enhanced production quality, influential filmmakers, and notable studios, resulting in a variety of films that were both popular and critically acclaimed.[16]
The industry, initially based inMadras, began shifting to Hyderabad in the 1970s, completing the transition by the 1990s. This period also saw the rise of star-driven commercial films, technological advancements, and the development of major studios likeRamoji Film City, which holds theGuinness World Record as the largest film studio complex in the world.[17] The 2010s marked a significant period for Telugu cinema, as it emerged as a pioneer of thepan-Indian film movement, expanding its audience across India and internationally. This development enhanced the industry's prominence in Indian andworld cinema while also increasing the recognition of Telugu actors across the country.Baahubali 2 (2017) won theSaturn Award forBest International Film, andRRR (2022) became the first Indian feature film to win anAcademy Award, receiving multiple international accolades, including aCritics' Choice Award forBest Foreign Language Film and aGolden Globe Award.[18]Kalki 2898 AD (2024) is themost expensive Indian film ever made.[19]
Since its inception, Telugu cinema has been known as the preeminent centre forHindu mythological films. Today, it is also noted for advancements in technical crafts, particularly invisual effects andcinematography, making it one of the most sophisticated industries in Indian cinema.[20] Telugu cinema has produced some of India'smost expensive andhighest-grossing films, includingBaahubali 2 (2017), which holds the record for the highest footfalls for an Indian film in the 21st century. Over the years, Telugu filmmakers have also ventured intoparallel andarthouse cinema.[21] Films likeDaasi (1988),Thilaadanam (2000), andVanaja (2006), among others, received acclaim at major international film festivals such asVenice,Berlin,Karlovy Vary,Moscow, andBusan.[note 1] Additionally, ten Telugu films have been featured inCNN-IBN's list of the "100 Greatest Indian Films of All Time."[note 2]
Raghupathi Venkaiah Naidu was aphotographer and photographic studio owner inMadras who was drawn intofilmmaking. Since 1909, Naidu was involved in producingshort films.[32][33] He shot 12 three-minute-long short films and exhibited them inVictoria Public Hall,Madras. He also travelled toBangalore,Vijayawada,Sri Lanka,Rangoon andPegu to exhibit his films.[32] Inc. 1909-10, he established a tent house called Esplanade in Madras to exhibit his films.[15][34] Inc. 1912-14, Naidu established Gaiety Theatre onMount Road, the first ever permanent cinema theatre in Madras and all ofSouth India.[15][35] He later constructed the Crown Theatre and Globe Theatre.[34][32] In his theatres, he screenedAmerican andEuropean films as well as silent films made in various parts of India.[36]
In 1919, Naidu started a filmproduction company called 'Star of the East Films' also called 'Glass Studio', the first production company established by a Telugu person.[35][34][37] He sent his son,Raghupathi Surya Prakash Naidu (R. S. Prakash) to study filmmaking in the studios ofEngland,Germany, andUnited States.[36] In 1921, they madeBhishma Pratigna, generally considered as the first Telugu feature film.[14] Venkaiah Naidu produced the film, while R. S. Prakash directed and produced it along with playing thetitle characterBhishma.[35] As the first Telugu film exhibitor and producer, Raghupathi Venkaiah Naidu is regarded as the 'Father of Telugu cinema'.[15]
From 1921 to 1931 about a dozen feature films were made byTelugu people.[38]C. Pullayya made a three-reel short film,Markandeya (1926 or 1931) at his house inKakinada.[39][38] In 1921, the first cinema hall inAndhra, Maruthi Cinema was established inVijayawada by Pothina Srinivasa Rao.[15]Y. V. Rao and R. S. Prakash established a long-lasting precedence of focusing exclusively on religious themes —Gajendra Moksham,Nandanar, andMatsyavataram —three of their most noted productions, centred on religious figures, parables, and morals.
The first Telugu film with audible dialogue,Bhakta Prahlada, was directed byH. M. Reddy.Bhakta Prahlada was shot over 18 or 20 days at Imperial Studios,Bombay and was produced byArdeshir Irani who also producedAlam Ara, India's firstsound film.[40] The film had an all-Telugu starcast featuring Sindhoori Krishna Rao as the titularPrahlada, Munipalle Subbayya asHiranyakasyapa, andSurabhi Kamalabai as Leelavathy.[33][41]Bhakta Prahlada was completed on 15 September 1931,[42] which henceforth became known as "Telugu Film Day" to commemorate its completion.[43][44][45]
Popularly known astalkies, films with sound quickly grew in number and popularity. In 1932,Sagar Movietone producedSri Rama Paduka Pattabhishekam andSakunthala, both directed bySarvottam Badami.[46] Neither the producer nor the director of these two films were Telugus. In 1933,Sati Savitri directed byC. Pullayya received an honorary diploma at the2nd Venice Film Festival.[47] In the same year,Pruthvi Putra, based on the story ofNarakasura was released.[48] It starredKalyanam Raghuramayya and was produced by Pothina Srinivasa Rao, who had previously built the first cinema hall in Andhra in 1921. This was the first Telugu talkie entirely financed by Telugu people.[48]
In 1934, the industry saw its first major commercial success withLava Kusa. Directed byC. Pullayya and starring Parupalli Subbarao andSriranjani, the film attracted unprecedented numbers of viewers to theatres and thrust the young industry into mainstream culture.[33][48]Dasari Kotiratnam producedSati Anasuya in 1935 and became the first female producer of Telugu film industry.[49]
The first film studio inAndhra, Durga Cinetone, was built in 1936 by Nidamarthi Surayya inRajahmundry.[50][51]Sampurna Ramayanam (1936) was the first film produced by the studio relying mostly on local talent.[50] In 1937, another studio called Andhra Cinetone was built inVisakhapatnam.[52][36] However, both the studios were short-lived. Early Telugu silent films and talkies were deeply influenced by stage performances, continuing the traditions of theatre onto the screen. These films often retained the same scripts, dialogues, and background settings as their stage counterparts.[53]
By 1936, the mass appeal of film allowed directors to move away from religious and mythological themes.[33] That year, under the direction of Kruthiventi Nageswara Rao,Prema Vijayam, a film with a contemporary setting, was released. It was the first Telugu film with a modern-day setting as opposed to mythological and folklore films.[56] Later, more 'social films' i.e. films based on contemporary life and social issues, were made by filmmakers. Notable among them wasVandemataram (1939), touching on societal problems like the practice ofdowry. Telugu films began to focus more on contemporary life, with 29 of the 96 films released between 1937 and 1947 featuring social themes.[57]
In 1938,Gudavalli Ramabrahmam has co-produced and directed thesocial problem film,Mala Pilla starringKanchanamala. The film dealt with the crusade against untouchability, prevailing in pre-independent India.[58][59] In 1939, he directedRaithu Bidda, starring thespianBellary Raghava. The film was banned by the British administration in the region, for depicting the uprise of the peasantry among theZamindar's during theBritish raj.[60] The success of these films gave an impetus toY. V. Rao,B. N. Reddy and others to produce films on social themes.[33]Viswa Mohini (1940) is the first Indian film depicting the Indian movie world. The film was directed by Y. V. Rao and scripted byBalijepalli Lakshmikantha Kavi, starringV. Nagayya. Rao subsequently made the sequel filmsSavithri andSathyabhama (1941–42) casting thespianSthanam Narasimha Rao.[61][62]
The outbreak ofWorld War II and the subsequent resource scarcity caused theBritish Raj to impose a limit on the use of filmstrip in 1943 to 11,000 feet,[63] a sharp reduction from the 20,000 feet that had been common till then.[64] As a result, the number of films produced during the war was substantially lower than in previous years. Nonetheless, before the ban, an important shift occurred in the industry: Independent studios formed, actors and actresses were signed to contracts limiting whom they could work for, and films moved from social themes to folklore legends.[65]Ghantasala Balaramayya, has directed the mythologicalSri Seeta Rama Jananam (1944) under his home production, Prathiba Picture, markingAkkineni Nageswara Rao's debut in a lead role.[66]
The 1950s and 1960s are often regarded as the golden age of Telugu cinema. This era witnessed significant advances in production quality, the establishment of iconic studios, and the rise of influential filmmakers who shaped the industry.[16] Prominent production houses such asVijaya Productions,Vauhini Studios,Bharani Pictures,Prasad Art Pictures, andAnnapurna Pictures were established during the late 1940s and 1950s. These studios played a crucial role in the development of Telugu cinema, contributing to the production of over 300 films between 1950 and 1960. Many Telugu-Tamil bilinguals were made during this period.[67]
During this era, the Telugu film industry became one of the largest producers offolklore,fantasy, andmythological films.[68][69][70] Directors likeK. V. Reddy andB. Vittalacharya pioneered these genres, creating films that captivated audiences with their imaginative storytelling.[71][72] As demand for films grew, filmmakers recognised the potential to remake earlier productions with enhanced cinematic techniques. Many mythological films originally made in the early talkie era, which featured actors from drama troupes and were limited by the technical constraints of the time, were reimagined in this era with improved technologies.[16]Pathala Bhairavi (1951) emerged as the most successful folklore film of the decade and turned its lead actors,N. T. Rama Rao andS. V. Ranga Rao, into stars. Other notable mythological and folklore films from the decade includeMayabazar (1957),Panduranga Mahatyam (1957),Suvarna Sundari (1957),Bhookailas (1958),Jayabheri (1959),Sri Venkateswara Mahatyam (1960), andRaja Makutam (1960).[16]
Among these, K. V. Reddy'sMayabazar stands as a landmark in Indian cinema, blending myth, fantasy, romance, and humour in a timeless narrative. The film excelled in various departments, including production design, music, and cinematography. It is particularly revered for its innovative use ofspecial effects, such as the first illusion of moonlight, showcasing the technical brilliance of the era.Mayabazar remains a classic, inspiring generations of filmmakers and continuing to captivate new audiences. In 2013,CNN-IBN includedMayabazar in its list of "100 greatest Indian films of all time," with the public voting it as the "greatest Indian film of all time."[73]
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This period also continued the trend of social films, which began in the late 1930s, focusing on contemporary issues and everyday life rather than mythology and fantasy. Notable social films from the decade includedPelli Chesi Choodu (1952),Puttillu (1953),Devadasu (1953),Pedda Manushulu (1954),Missamma (1955),Ardhangi (1955),Rojulu Marayi (1955),Donga Ramudu (1955), andThodi Kodallu (1957), many of which performed well at the box office.[16]
In addition to mythological and social films, the period was marked by an increasing influence ofworld cinema andBengali literature on Telugu filmmakers. TheInternational Film Festival of India, initiated in 1952, exposed Indian filmmakers to global cinema, inspiring them to experiment with new storytelling techniques.Devadasu (1953), an adaptation ofSarat Chandra Chattopadhyay's 1917 Bengali novelDevdas, transformedAkkineni Nageswara Rao (ANR) from a folklore film hero into a star of social films.Missamma (1955), directed byL. V. Prasad, and adapted from two Bengali works, became a landmark in Telugu cinema. It was celebrated for its blend of humour, drama, and social commentary. Savitri emerged as a leading actress after this film. Likewise,Thodi Kodallu (1957) andMangalya Balam (1959) were also adapted from Bengali novels.[16]
In the late 1940s and early 1950s, many members of the Praja Natya Mandali and Abhyudaya Rachayithala Sangham, both affiliated with the Communist Party, transitioned into the film industry, bringing with them progressive ideas that subtly influenced the industry, though they eventually adapted to the commercial demands of mainstream cinema.[16] During the 1950s and 1960s, Telugu film songs entered a golden era marked by exceptional lyricism, orchestration, and technological advancements. Prominent lyricists likeSamudrala Sr.,Pingali Nagendra Rao,Devulapalli Krishna Sastry, andKosaraju Raghavayya, alongside composers likeSaluri Rajeswara Rao,Ghantasala,T. V. Raju,Pendyala, andMaster Venu, set new standards for the film song. Playback singers like Ghantasala,Rao Balasaraswathi Devi,P. Leela,Jikki,P. B. Srinivas andP. Suseela emerged as prominent voices, defining the musical landscape of the era. This period also saw the rise of notable dance choreographers like Pasumarthi Krishnamurthy and Vempati Peda Satyam, who enhanced the artistic quality of Telugu cinema.[16]
The 1950s also saw the formation ofAndhra State in 1953 andAndhra Pradesh in 1956 leading to calls for the Telugu film industry to relocate from Madras to the new state capital,Hyderabad. Despite these calls, the industry remained in Madras, where studios were already established and actors and technicians were settled.[67] One early response to the call for relocation was the establishment ofSarathi Studios in Hyderabad in 1956, although it initially struggled to attract filmmakers.[74] Over time, the formation of Andhra Pradesh opened new markets for Telugu films in theTelangana region, laying the groundwork for the industry's eventual expansion into Hyderabad.[67]
During this golden era, several Telugu films received international recognition.Malliswari (1951), ahistorical romance film directed byB. N. Reddy, was screened at the 1952 Peking film festival, making it the first Telugu film to be screened inChina. A16 mm print of the film was also showcased in theUnited States.[75][76]Nartanasala (1963) won three awards at the thirdAfro-Asian Film Festival inJakarta.[77] K. V. Reddy'sDonga Ramudu (1955) was archived in the curriculum of theFilm and Television Institute of India,[78] andNammina Bantu (1960) received critical acclaim at theSan Sebastián International Film Festival.[79][80] Films likeUmmadi Kutumbam (1967),[78][81]Sudigundalu (1968),[82] andBapu'sSakshi (1967)[83] were showcased at various international film festivals, highlighting the global reach of Telugu cinema.
Vijaya Productions, led byNagi Reddi andChakrapani, became the most successful production company of the era. Their collaborative approach brought together some of the best talents in the industry, resulting in a string of hits that defined the golden age of Telugu cinema. Vijaya Productions operated like aHollywood studio, with staff hired on monthly salaries, and working regular hours.[16] Comedy also played a vital role during this era, with thedouble act ofRelangi andRamana Reddy becoming immensely popular. Their performances provided comic relief in several films.[84] This era, marked by groundbreaking films, innovative storytelling, and international recognition, remains a golden chapter in the history of Telugu cinema.
The Telugu film industry, commonly known as Tollywood, traces its origins to the early 20th century inMadras (now Chennai), which was the capital of theMadras Presidency, a region that included Andhra.[87] Raghupathi Venkaiah Naidu, often regarded as the father of the Telugu film industry, was a pioneering figure who established Star of the East Films and the Glass Studio. The industry initially flourished in Madras, with major studios such asVauhini Studios, founded byMoola Narayana Swamy andB. N. Reddy in 1948, and Prasad Studios, established byL. V. Prasad in 1956.[88]
The shift from Madras toHyderabad began in the 1950s, largely influenced by the formation ofAndhra Pradesh in 1956.Sarathi Studios was established in Hyderabad in 1956, marking the beginning of this transition.[67] It was the first film studio facility in Hyderabad. Before this, Hyderabad was primarily known for Hindi film releases. The success ofRojulu Marayi (1955), which ran for 100 days in Hyderabad, prompted the then Revenue Minister of Andhra Pradesh,K. V. Ranga Reddy to urge Telugu filmmakers to relocate to Hyderabad.[89] In response,Yarlagadda Sivarama Prasad, theRaja ofChallapalli, who producedRojulu Marayi, acquired land in Hyderabad in March 1956 to set up a studio. In 1959,Maa Inti Mahalakshmi, the first Telugu film entirely filmed in Hyderabad, was released.[74]
Akkineni Nageswara Rao was one of the first prominent figures to move his film business entirely to Hyderabad, encouraging others to do the same and playing a crucial role in the industry's relocation. He insisted on working in films produced in Andhra Pradesh, except for those made atVauhini and Venus Studios in Madras.[90] In 1976, the Andhra Pradesh government allocated 22 acres of land inBanjara Hills, Hyderabad, to Akkineni Nageswara Rao for the establishment of a film studio.[91] This led to the founding ofAnnapurna Studios in 1976. By the 1970s and 1980s, most production houses had moved to Andhra Pradesh or opened branch offices there.[67]
By the early 1990s, Hyderabad had become the central hub for Telugu cinema, further strengthened by the development of large film studios likeRamoji Film City, a 1,600-acre integrated film studio complex, which holds theGuinness World Record as the largest film production facility in the world.[17] In 2006, 245 Telugu films were produced, the highest in India.[92] The influence of Telugu cinema extended beyond regional boundaries, with many successful films being remade in other Indian languages.[93] As of 2022, the Telugu film industry produces over 300 films annually, contributing significantly to the region's economy and maintaining a prominent position in Indian cinema.[94][95][96]
ThePrasads IMAX located in Hyderabad is one of the largest 3D IMAX screens, and the most attended cinema screen in the world.[97][98][99] As per theCBFC report of 2014, the industry is placed first in India, in terms of films produced yearly.[100] The industry holds amemorandum of understanding with theMotion Picture Association of America to combat video piracy.[101][102][103] In the years 2005, 2006, 2008, and 2014 the industry has produced the largest number of films in India, exceeding the number of films produced inBollywood.[104][92]
The digital cinema network companyUFO Moviez marketed by Southern Digital Screenz (SDS) hasdigitised several cinemas in the region.[105][106] The Film and Television Institute of Telangana, Film and Television Institute of Andhra Pradesh, Ramanaidu Film School andAnnapurna International School of Film and Media are some of the largest film schools in India.[107][108] The Telugu states consist of approximately 2800 theatres, the largest number of cinema halls of any state in India.[109] Being commercially consistent, Telugu cinema had its influence over commercial cinema in India.[110]
The 1992 filmGharana Mogudu is the first Telugu film to gross over₹10 crore at the box office.[111] Produced on a shoestring budget of₹1.2 crore, 2000 filmNuvve Kavali becamesleeper hit of the late 1990s.[112] It was screened for 200 days in 20 screens grossing over₹20crore.[113][114][115]
Dasari Narayana Rao directed the most number of films in the Telugu language, exploring themes such as aesthestics inMeghasandesam (1982),Battle of Bobbili in the biographical war filmTandra Paparayudu (1986), alternate history withSardar Papa Rayudu (1980), and gender discrimination inKante Koothurne Kanu (1998) for which he received the Special Jury Award (Feature Film - Director) at the46th National Film Awards.[116]K. Raghavendra Rao explored devotional themes withAgni Putrudu (1987),Annamayya (1997),Sri Ramadasu (2006),Shirdi Sai (2012) andOm Namo Venkatesaya (2017) receiving various state honours.[117]
Singeetam Srinivasa Rao introducedscience fiction to the Telugu screen withAditya 369 (1991), the film dealt with exploratory dystopian and apocalyptic themes.[118] The edge of the seat thriller had characters which stayed human, inconsistent and insecure. The film's narrative takes the audience into thepost apocalyptic experience through time travel, as well asfolklore generation of 1500 CE, which including a romantic backstory, the "Time Machine" made it a brilliant work of fiction.[119][120][121]
Jandhyala popularly known as "Hasya Brahma" (Brahma of comedy),[122] ushered a new era of comedy in Telugu cinema, where his movies captivated audiences with their blend of humour andsocial commentary. "Before his movies, comedy was a small part of movies and comedians were sidekicks to the hero or villain. Jandhyala proved that comedy can itself be a full-length subject and achieved a great success in this endeavor." His films are well known as clean entertainers affable to the family audiences without any obscene language ordouble entendre.[123]Aha Naa Pellanta! is considered one of the best comedy films in Telugu cinema.[124]
Ram Gopal Varma'sSiva, which attainedcult status in Telugu cinema, is one of the first Telugu films produced after the migration of Telugu film industry from Madras to Hyderabad to feature characters speaking theTelangana dialect.[125][126] Varma was credited with the introduction ofsteadicams and new sound recording techniques in Telugu films.[127] Within a year of the film's release, more than ten steadicams were imported into India.[128]Siva attracted the young audience during its theatrical run, and its success encouraged filmmakers to explore a variety of themes and make experimental Telugu films.[129][130]
Subsequently, Varma introducedroad movie andfilm-noir to Indian screen withKshana Kshanam. Varma experimented with close-to-life performances by the lead actors, which bought a rather fictional storyline a sense of authenticity at a time when the industry was being filled with unnecessary commercial fillers.[131] It went on to gather acult following in south India,[132] with a dubbedHindi version titledHairaan released to positive reports fromBollywood critics, theAnn Arbor Film Festival, and theFribourg Festival.[133][134]
Chiranjeevi's works, such as thecomedy-thrillerChantabbai, thevigilante filmKondaveeti Donga (notable for being released in70 mm with 6-trackstereophonic sound),[135] thecowboy filmKodama Simham, and theaction-thrillerGang Leader, contributed to popularising genre films and achieved significant audience footfall.[136] In 2024, he was honoured with thePadma Vibhushan, India's second-highest civilian award, for his contributions to the arts and cinema.[137]
Sekhar Kammula debuted with hisNational Award-winning film,Dollar Dreams (2000) featuring dialogue in both Telugu and English.Dollar Dreams explored the conflict between American dreams and human feelings. The film re-introducedsocial realism to Telugu screen, and brought back its lost glory which until then was stuck in its run-of-the-mill commercial pot-boilers.[138]
Vanaja (2006) won several international awards including the first prize in the live-action feature film category at theChicago International Children's Film Festival.[139]Dream (2012), has garnered the Royal Reel Award at theCanada International Film Festival.[140][141][142] 2013Social problem film,Naa Bangaaru Talli won Best Film award at theDetroit Trinity International Film Festival.[143][144][145]
Minugurulu (2014) about blind children receivedBest Indian Film at the "9th India International Children's Film FestivalBangalore".[146] 2013 Cultural film,O Friend, This Waiting! has received special mention at theErasing Borders Festival of Classical Dance,Indo-American Arts Council, New York, 2013.[citation needed] Experimental filmParampara has garnered thePlatinum Award for Best Feature at the International Indonesian Movie Awards.[147] 2018 biographical filmMahanati based on the life of veteran actressSavitri has garnered the "Equality in Cinema Award" at the 2018Indian Film Festival of Melbourne.[148]
During the 1990s, theRayalaseema dialect was portrayed in films about the factional conflicts in the area, while the Telangana dialect, already having been pegged to villainous and comedic roles, saw an increase in this usage in reaction to the shift of the Telugu film production from Madras to Hyderabad.[149][150] After the formation of the state ofTelangana in 2014, Telangana culture gained more prominence, and more films were produced portraying Telangana culture, and dialect.[151]
Screenwriters such asChandra Sekhar Yeleti experimented with the off beat filmAithe (2003) with a caption "all movies are not the same".Aithe was made on a shoestring budget of about 1.5 crores and went on to collect more than 6 crores. After almost two years he delivered another thrillerAnukokunda Oka Roju (2005) both films were a refreshing change of pace to the audiences, produced byGangaraju Gunnam.[152]Aithe was remade in Tamil asNaam (2003) and in Malayalam asWanted (2004).[153]
Mohana Krishna Indraganti explored themes of chastity and adultery in his 2004 literary adaptationGrahanam, based onDosha Gunam written by social criticG. V. Chalam.[154][155] The film was shot with a digital camera on a modest budget of approximately₹8 lakh, with artists and technicians reportedly working without any remuneration.[156] B. Anuradha ofRediff.com noted, "In this offbeat film, Indraganti upholds the tirade against chauvinists who accuse a noble lady of infidelity, ignoring her denials with contempt". The film was featured at theIndependent South Asian Film Festival in theUnited States.[157][158]
Speaking about the centenary of Indian cinema at the CII Media and Entertainment Summit 2012, filmmakerShekhar Kapur said regional cinema is surpassing Hindi cinema in content and story, and citedEega (2012) as an example. Kapur said he was impressed with its story and use of technology, and called it, "no less than a Hollywood superhero film".[159]Shah Rukh Khan calledEega an "awesomely original" film and a "must watch" with children.[160][161]Eega won various awards at the8th Toronto After Dark Film Festival.[162]
Sub Genre war dramaKanche (2015) byKrish Jagarlamudi explored the 1944 Nazi attack on the Indian army in theItalian campaign, duringWorld War II in an engrossing background tale of caste-ism while giving it a technically brilliant cinematic rendition.[163]Sankalp Reddy exploredsubmarine warfare in his directorial debutGhazi (2017), based on the mysterious altercation betweenPNS Ghazi andINS Karanj during theIndo-Pakistani War of 1971.[164]Indo-Asian News Service called new-generation film makerSandeep Vanga'sArjun Reddy the "most original, experimental work to come out of Telugu cinema in a long time", and said the protagonist's (played byVijay Deverakonda) "rise, fall and rise ... is nothing short of poetic and heart wrenching".[165] Actor-dancerAllu Arjun produced and acted in the short film,I Am That Change (2014), to spread awareness on individual social responsibility. The movie was directed bySukumar, which was screened in theatres across Andhra Pradesh and Telangana on Indian Independence day, 2014.[166]
Adivi Sesh scripted the Neo-noirKshanam (2016), based on a real life incident of a missing three-year-old girl.[167] Sesh followed it up writingR.A.W. thrillerGoodachari (2018), and the wardocudramaMajor (2022).[168][169]Cinema Bandi (2022) scripted and directed by Praveen Kandregula, and produced by film making duoRaj and D. K.; explored the theme of how a lost camera fuels dreams in a Telugu hamlet, winning theJury Special Mention at the53rd IFFI.[170][171] Venu Yeldandi exploredslice of life story from rural Telangana withBalagam (2023) hitting the right chords to be considered one of the best off-beat films of the year by various international juries.[172][173] Paul Nicodemus ofThe Times of India citedPrashanth Varma's super-hero filmHanu Man for merging elements of mythology with contemporary action, and offering a unique viewing experience in Indian cinema.[174]
Pan-Indian film is a term related toIndian cinema that originated with Telugu cinema as a mainstream commercial cinema appealing to audiences across the country with a spread to world markets.S. S. Rajamouli pioneered the pan-Indian films movement with duology of epic action filmsBaahubali: The Beginning (2015) andBaahubali 2: The Conclusion (2017), that changed the face of Indian cinema.[175] "Pan-India film" is both a style of cinema and a distribution strategy, designed to universally appeal to audiences across the country and simultaneously released in multiple languages.[176]
Film journalists and analysts, such asBaradwaj Rangan and Vishal Menon, have labelledPrabhas as the "first legit Pan-Indian Superstar" in Indian cinema.[177] Actors likePrabhas,Allu Arjun,Ram Charan andN. T. Rama Rao Jr. enjoy a nationwide popularity among the audiences after the release of their respective Pan-Indian films.[178]
RRR propelled Telugu cinema into the mainstream outside India, fuelling the growth of Pan-India movies.[179] It received universal critical acclaim for its direction, screenwriting, cast performances, cinematography, soundtrack, action sequences andVFX. The film was considered one of the ten best films of the year by theNational Board of Review, making it only the seventh non-English language film ever to make it to the list. The song "Naatu Naatu" won the Oscar forBest Original Song at the95th Academy Awards, making it the first song from an Indian film, as well as the first from an Asian film, to win in this category. This made the film the firstIndian film by an Indian production to win an Academy Award.[180][181]
Srivatsan S ofThe Hindu wrote that Telugu cinema has excelled in marketing Pan-Indian films. It primarily employed two strategies – promoting the film outside their home territory and collaborating with other regional stars for more visibility.[182] Following the international success ofPushpa: The Rise (2021),RRR (2022),Salaar: Part 1 – Ceasefire (2023). Rahul Devulapalli ofThe Week identified "Content, marketing, and indulgent overseas audience" have led to the rise of world cinema in Telugu language.[183]The Guardian citedKalki 2898 AD as a "maximalist sci-fi epic mixingMahabharata withMad Max".[184]Pushpa 2: The Rule has further expanded the Pan-Indian horizons, setting several box office records for Indian cinema and solidifying Telugu cinema's leading position in the Pan-Indian setting.[185]
Athadu was released with six prints inUnited States and was distributed by Vishnu Mudda and Soma Kancherla of Crown DVD distribution company inSan Jose,Dallas,Detroit,Virginia,New Jersey,Atlanta,Chicago,Los Angeles,Boston,Minneapolis,Phoenix at Arizona and also in centers likeLowell at Massachusetts,MA,Tulsa at Oklahoma,West Virginia,Springfield,Boulder at Colorado andCorpus Christi at South Texas. Because of the demand, another print was imported from India for screening.[186][187] The film's first screening in USA happened at Cine Plaza 13 atNorth Bergen on the night of 11 August 2005.[188] AtConnecticut, a special screening was conducted on 19 August 2005. Initially one show was planned but because of the demand another show was screened. There at the theatre, a turn out of 442 people was observed which included standing audience for 434 seats and about 60 could not be accommodated.[189] Apart from USA, the film released in selected screens in United Kingdom,Singapore, Germany and Australia.[187]
Bommarillu was released worldwide with 72 prints. Owing to its success, the number of reels grew to about hundred.[190] It collected a distributors share of₹5 crore in its opening week in India.[190] Released in six major metros in the United States, the film collected $73,200 (then approximately₹0.3 crore) within the first four days of screening.[190] A 2006 survey conducted by a popular entertainment portal in the United States revealed that the film was watched by an Indianexpatriate population of 65,000, which generated a revenue of₹3 crore at that time.[191] A cumulative gross revenue for the film was reported to be₹25 crore including₹3.5 crore from overseas, the largest for any Telugu film at that time. Owing to this path breaking trade, the film was remade intoTamil,Bengali,Oriya and Urdu/Hindi.[192]
2006action film,Pokiri has been remade in Hindi, Tamil and Kannada in the following two years owing to the film's commercial success. It was screened at theIIFA film festival held in Dubai in 2006.[193]Walt Disney Pictures co-producedAnaganaga O Dheerudu, making it the first South Indian production by Disney.[194][195]Dookudu was released among seventy nine screens in the United States, theLos Angeles Times quoted it asThe biggest hit you've never heard of.[196][197][198] In the rest of north, east and west India, it opened up in 21 cities.[199] The film set a box office record by collecting a gross of more than₹100 crore at the time.[200][201]
On 1 June 2022,RRR was screened in over 100 theatres across the United States for a one night event called "#encoRRRe".[202] Speaking toDeadline Hollywood, Dylan Marchetti ofVariance Films said that "With more than 250 films coming out of India annually,RRR could be a gateway drug".[203]Nashville Scene's Jason Shawhan wrote about the event that "the nationwide encore ofRRR is American audiences reaching with outstretched arms to something so exciting and rock-solid entertaining that its success already happened without insular traditional media even mentioning it. This isn't America dipping a toe in Indian cinema — it's a victory lap".[204] FilmmakerS. S. Rajamouli has been signed by American talent agency Creative Artists Agency, owing to RRR being the only non-English-language film to trend globally on Netflix Platform for 10 consecutive weeks.[205]
In the early days of Telugu cinema,theatre experience was a prerequisite for actors. In the 1930s, renowned stage actors with distinctive voices, such asBallari Raghava andSantha Kumari, transitioned to the film industry.[53]V. Nagayya was one of the most influential method actors of Indian cinema during crown rule.[206]Vemuri Gaggayya,Kalyanam Raghuramayya,R. Nageswara Rao,Yadavalli Suryanarayana,C. H. Narayana Rao,Mudigonda Lingamurthy, were some of the finest actors during the early days of Telugu cinema.[207]
With the introduction ofplayback singing, the necessity for actors to sing diminished, allowing talented stage actors with less singing ability, likeAkkineni Nageswara Rao,N. T. Rama Rao,S. V. Ranga Rao,Relangi,Ramana Reddy, andC.S.R. Anjaneyulu to excel in cinema.[53] S. V. Ranga Rao won the Best Actor Award for his portrayal ofKichaka inNartanasala (1963) at the thirdAfro-Asian Film Festival held inJakarta.[208][209] On the female side, prominent actresses includedSavitri,Bhanumathi,Girija,B. Saroja Devi, andSuryakantham.[53]
Adurthi Subba Rao is recognised for steering Telugu cinema in a new direction and garnered sevenNational Film Awards, for his pioneering work ondrama films.[210] His films,Thene Manasulu (1965) andKanne Manasulu (1966) introduced fresh faces to the industry and departed from the reliance on established stars. Subba Rao's success inspired other filmmakers to explore new talent, contributing to the industry's evolution.[53]
K. N. T. Sastry andPattabhirama Reddy have garnered international recognition for their works in neo-realistic cinema.[211][212]A. Kutumba Rao is known for directing children's films such asBhadram Koduko,Thodu, andPaatha Nagaramlo Pasivadu the latter winningCairo International Film Festival's, Merit Certificate for best feature.[213][214]A. Sreekar Prasad garnered pan-India recognition for film editing across multiple languages.[215]
Krishna is credited with introducing several technological advancements and pioneering new genres in Telugu cinema. He produced the first full-lengthCinemascope film,Alluri Seetarama Raju, and the first70 mm film,Simhasanam. He also introduced thespy genre withGudachari 116 and thecowboy genre withMosagallaku Mosagadu to Telugu cinema.[216]
Chiranjeevi, was listed among "the men who changed the face of theIndian Cinema" byCNN-IBN.[217][218]Brahmanandam, holds aGuinness World Record for acting in the most films in the same language.[219][220] Veteran actorMohan Babu starred in more than 500 feature films in a variety ofantagonist and leading roles.[221]Vijayachander acted and produced hagiographical films, he esaayed "Jesus of Nazareth" inKarunamayudu (1978), "Sai Baba of Shirdi" inSri Shirdi Saibaba Mahathyam (1986), "Vemana" inVemana Charithra (1986), and "Saint Paul" inDayamayudu (1987).[222]
Sarada,Archana,Vijayashanti,Rohini,Keerthy Suresh,P. L. Narayana,Nagarjuna, andAllu Arjun received theNational Film Award for acting.
V. N. Reddy,K. S. Prasad,Jaya Gummadi,Sudhakar Yakkanti,K. K. Senthil Kumar, andC. Rajendra Prasad garnered pan India recognition for their cinematographic works.[223][224][225] Enhanced technology among live action animation,digital compositing, and special effects paved the way for upgrading from established cinematic norms.Visual effects basedhigh fantasy works have tasted success.[226] Pete Draper, P. C. Sanath,Chakri Toleti andV. Srinivas Mohan supervise visual effects.[226]Lok Singh,Hari Anumolu,S. Gopal Reddy,Chota K. Naidu, andP. S. Vinod fetched various state honours for their works in popular cinema.[227]
Vasiraju Prakasam andK. N. T. Sastry are one of the noted Indianfilm critics from the region.[228][229]B. S. Narayana was a member of the Indian delegation to the Tashkent Film Festival in 1974, and the Moscow International Film Festival in 1975.[230]Gummadi, served as official member of the Indian delegation from South India to the Tashkent Film Festival in 1978 and 1982.[231] He served as the Jury Member thrice for the28th,33rd, and39th National Film Awards.Chandra Siddhartha served in South Jury at the57th,61st and65th National Film Awards, as well as the49th IFFI.[232][233]
Italian explorerNiccolò de' Conti, who visited theVijayanagara Empire during 15th-century, found that the words in the Telugu language follow a unique literary form that end with vowels, just like those inItalian, and hence referred to it as "The Italian of the East".[234] Classical Telugu film scores were inspired by this literary form used by scholars likeGidugu Venkata Ramamoorty,Kandukuri Veeresalingam, andGurajada Apparao.[235]
S. Rajeswara Rao pioneered the use of light music inTelugu cinema; Rao's most rewarding assignments came fromGemini Studios, which he joined in 1940 and with which he remained for a decade.[236]Ghantasala, performed in theUnited States,England, andGermany. According toThe Hindu, andThe Indian Express he was "Such a divine talent and with his songs he could move the hearts of the people. Ghantasala's blending of classical improvisations to the art of light music combined with his virtuosity and sensitivity puts him a class apart, above all others in the field of playback singing".[237]
Susarla Dakshinamurthi, Parupalli Ramakrishnaiah Pantulu,Ogirala Ramachandra Rao,Pithapuram Nageswara Rao,Tanguturi Suryakumari, andMangalampalli Balamuralikrishna are some of the influential music composers of Southern Indian cinema.[238][239][240] Music composers such asPendyala Nageswara Rao, R. Sudarshanam and R. Goverdhanam made contributions to folklore and mythological films.[241][242]
Madhavapeddi Satyam,P. Adinarayana Rao,Gali Penchala Narasimha Rao,Satyam,P. B. Sreenivas,S. P. Kodandapani,G. K. Venkatesh,S. Hanumantha Rao, have contributed their work extensively for films containing themes of social relevance.[243]S.P. Balasubrahmanyam is a multilingualplayback singer from Telugu cinema to winNational Film Awards across four languages. He holds the record of having recorded more songs than any other male playback singer and has received 25 stateNandi Awards.[244]
P. Susheela, has been recognised by both theGuinness Book of World Records and theAsia Book of Records for singing most songs in Indian languages.[245] She is also the recipient of fiveNational Film Award for Best Female Playback Singer and numerous state awards.[246] Works byS. Janaki,Ramesh Naidu,M. M. Keeravani,Chandrabose have received global recognition, the later fetching theAcademy Award for Best Original Song, and theGolden Globe Award for Best Original Song in 2023 for "Naatu Naatu" fromRRR.[247] New age musiciansThaman S andDevi Sri Prasad received pan-Indian acclaim for works such asAla Vaikunthapurramuloo (2020) andPushpa: The Rise (2021) respectively.[248][249]
K. S. Chitra has received highest Nandi awards for best female playback singer. Multi-instrumentalists duoRaj–Koti holds a notable career spanning a decade, the duo has garnered particular acclaim for redefining contemporary music.[250][251]R. P. Patnaik is the current president of the Telugu Cine Music Association.[252]
Sri Sri was one of the influential film lyricists of his time, who garnered national honours such asSahitya Akademi Award,Best Lyricist and Soviet Land Nehru Award for his pioneering work.[253][254]Sirivennela Seetharama Sastry was a highly versatile film lyricist, known for his optimistic and motivational lyrics that captured the essence of life with simple yet impactful examples. He was recognised for writing lyrics across a wide range of genres, including duets, hero introductions, romantic, devotional, and thought-provoking songs.[255]
The 1949 filmKeelu Gurram was the first Telugu film to be dubbed into theTamil language, being subsequently released under the nameMaya Kudhirai.[76] According to the Andhra Pradesh Film Chamber of Commerce, "as per the Judgement of Supreme Court in Ashirwad Films in W.P.(Civil) No.709 there will be no difference in taxation of films between the dubbed films coming in from other states and the films produced in the Telugu States".[267]
The Telugu-speaking areas are broadly divided into three areas for the purposes of film distribution, namely, Nizam, Ceded and Andhra.[268][269][270][271]
From the above territories,Nizam is known for the highest earnings.[268][269][271]
| Territory | Areas Included |
|---|---|
| North America | United States andCanada |
| UK & Europe | Europe includingUnited Kingdom |
| South Africa | South Africa |
| UAE & GCC | United Arab Emirates and otherGulf Cooperation Council countries |
| Singapore | Singapore |
| Japan | Japan |
| Malaysia | Malaysia |
| Sri Lanka | Sri Lanka |
| Australia | Countries ofAustralia,New Zealand,Fiji andPapua New Guinea |
| Oceania | Other parts ofOceania |
| Rest of the World | All other parts of the world excluding above territories |
Major film studio facilities
Visual effects and animation studios
It was adjudged the best Telugu picture of the year and also won the Special Jury Award at the Karlovy Vary festival.
Daasi, made by B. Narasingh Rao in 1988, won five national awards in addition to a Diploma of Merit at the Moscow Film Festival.
Mr Raghupati Venkaiah, regarded as the father of Telugu film industry, laid the foundation stone for the industry in the South by setting up Glass Studio and bringing one of the first cameras into the country.
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