Missamma

This article is about the 1955 Telugu film. For the 2003 Telugu film, see Missamma (2003 film).

Missamma

Telugu theatrical release poster
Directed by L. V. Prasad
Produced by B. Nagi Reddy
Aluri Chakrapani
Written by Aluri Chakrapani
Pingali Nagendrarao
Thanjai N. Ramaiah Dass
Music by Saluri Rajeswara Rao
Cinematography Marcus Bartley
Edited by C. P. Jambulingam
Kalyanam
Production
company
Release dates
 12 January 1955
Running time
 165 minutes
(Telugu)
158 minutes
(Tamil)
Country India
Language Telugu
Tamil

Missamma (English: Miss Madam) is a 1955 Indian bilingual romantic comedy film directed by L. V. Prasad and produced by B. Nagi Reddy and Aluri Chakrapani under the banner of Vijaya Vauhini Studios. Aluri Chakrapani wrote the script, based on both Rabindranath Maitra's Manmoyee Girls School and Sharadindu Bandyopadhyay's Detective. The film was edited by C. P. Jambulingam and Kalyanam; Marcus Bartley provided the cinematography; S. Rajeswara Rao composed the music.

The relationship of two unemployed graduates of different religions and mentalities, M. T. Rao and Mary are the centerpiece. They pretend to be a married couple to gain employment in a high school established by Gopalam, the zamindar of Appapuram. Gopalam is unaware that Mary is Mahalakshmi, his missing elder daughter.

Simultaneously shot in Telugu and Tamil (as Missiamma) each have slightly different casts. The Telugu version features N. T. Rama Rao, Savitri, Akkineni Nageswara Rao and Jamuna in the lead roles with S. V. Ranga Rao, Rushyendramani, Ramana Reddy and Relangi Venkata Ramaiah playing supporting roles. Gemini Ganesan, K. A. Thangavelu, M. N. Nambiar and K. Sarangkapani replace Rama Rao, Nageswara Rao, Ramana Reddy and Venkata Ramaiah respectively in the Tamil version.

Missamma was released on 12 January 1955, and Missiamma was released two days later on the festive occasion of Pongal. Both versions were critically and commercially successful. The Telugu version has achieved cult status, with terms and phrases from the film being widely cited and serving as an inspiration for later Telugu film titles. The collective Missiamma and Missamma proved to be the major breakthrough in Jamuna's career. Missamma was remade into Hindi as Miss Mary by L. V. Prasad in 1957. The script was re-written and adapted as Pelli Pustakam in 1991 by Bapu, Mullapudi Venkata Ramana and Raavi Kondala Rao.

Plot

Gopalam, the zamindar of Appapuram, is the principal of the high school named after his elder daughter Mahalakshmi. When a child, she went missing during a pilgrimage to Kakinada. She was found and adopted by a Christian couple, Mr. and Mrs. Paul, who named her Mary.

Conditions at Gopalam's school deteriorate because of poor management by Gopalam's nephew. This is exacerbated by having A. K. Raju, an amateur detective, and Panthulu, a doctor who practises ayurvedic medicine, teaching the children . Gopalam decides to replace them and appoint two graduates of opposite gender, preferably a married couple, both skilled in music. They would train Sita, his younger daughter, in addition to their teaching duties at the school.

Meanwhile, Mary and M. T. Rao, teaching colleagues and both currently unemployed, have financial problems; particularly Mary. She accepted a loan from a Mr. I. P. David with the condition that if she marries him, he would preclude the debt. They decide that if they were to act as a married couple, they could apply for the jobs offered by Gopalam. Both need to clear their debts. Devaiah, a conman and a begger, befriends them. He is persuaded by Rao to accompany them to Appapuram. They find accommodation in a small house which is behind Gopalam's bungalow. Mary decides to call herself Mahalakshmi.

Gopalam and Ammi, his wife, are instinctively jovial in nature. They treat the couple as if they are own children. Mary finds the Hindu customs weird. She is afraid to express her grievance to the old couple as to repay David's loan, she needs to keep her job. Instead, she vents her frustration on Rao and Devaiah, who bear it with patience.

Although Sita wanted Mary to teach her music, Mary's short-temper makes her lose her self-confidence. Rao is pleased to take over her music lessons. Mary's dissatisfaction reaches new heights and she decides to reveal the entire truth to Gopalam and Ammi. Anxious to save their jobs, Rao makes up a far-fetched explanation that that Mary is possessed by the soul of a Christian woman who is named after the mother of Jesus. Attempting to fool Mary's soul, Gopalam lies to her, telling her that he would conduct Sita's marriage with Rao, which makes Raju insecure since he too, like Gopalam, is unaware that Rao is fooling them. Being in love with Sita, Raju wants to keep Rao away from her and he turns to Mary for help in teaching music. This proves to be a disaster. At the end of their first month at the school, Rao and Mary receive their salaries. Mary is able to repay her debt.

Raju, the amateur detective, suspects that Mary and Mahalakshmi could be the same person. Ammi had told him that Mahalakshmi's right foot has a mole. Seeking confirmation and, taking his assistant and a torch, he plans to make an illicit entry at night into her home. The plan backfires when they disturb Mary's sleep. In her sleep, she dreams of David forcing her to marry him and Rao coming to her rescue. She starts to develop feelings for Rao.

At the end of the following month, Mary wants to visit Madras and stay with the Pauls. At first Rao requests her to stay. She is reluctant and Rao changes his mind, adding that he would lie, saying that Mary is dead following an illness. Gopalam and Ammi misunderstand, believing that Mary may be pregnant. On the night before she is due to leave, Rao fakes a leg fracture in an attempt to delay her departure. David arrives in the morning and informs Raju that Mary is a Christian. Her deception is uncovered when David shows Gopalam a necklace Mahalakshmi was wearing when she was lost.

David insists that Mary should be married to him but she refuses and announces her love for Rao. The Pauls come to Gopalam's house. Raju solves the mystery and David is arrested. Mary learns that Gopalam and Ammi are her biological parents but she does not lose her relationship with her foster family. Rao and Mahalakshmi not being married is noticed but is not seriously considered. Gopalam announces the weddings of both Sita with Raju and Mahalakshmi with Rao.

Cast

Production

Development

B. Nagi Reddy and Aluri Chakrapani signed L. V. Prasad to direct a bilingual film titled Missamma in Telugu and Missiamma in Tamil under the production banner of Vijaya Vauhini Studios. The film's script, which was written by Chakrapani himself, was based on both Rabindranath Maitra's Manmoyee Girls School and Sharadindu Bandhopadhyay's Detective.[1] The story of Manmoyee Girls School revolves around two unemployed young people, pretending to be married, seeking employment and subsequently falling in love with each other. Chakrapani thought it too limiting to be made as a film with a duration of more than 150 minutes. Taking inspiration from the basic storyline of Detective, where an enthusiastic detective takes up the case of finding a missing woman and ultimately marries her, he melded them together.[2]

Pingali Nagendrarao and Thanjai N. Ramaiah Dass wrote the dialogue for the Telugu and Tamil versions respectively. Marcus Bartley was recruited as the director of photography and the duo C. P. Jambulingam and Kalyanam edited the film.[3] Madhavapeddi Gokhale and Kaladhar were the art directors. The film was processed at Vijaya Laboratory and was recorded on Western Electric. M. S. Chalapathi Rao and Jagannadham were the executive producers.[3]

Casting

(L to R): Bhanumathi Ramakrishna, Relangi Venkataramaiah, N. T. Rama Rao and Ramana Reddy during the film's shoot. Bhanumathi was later replaced with Savitri because of a dispute with Aluri Chakrapani.

Although Pathala Bhairavi (1951) and Pelli Chesi Choodu (1952) were bilinguals shot simultaneously in Telugu and Tamil, the same actors were retained in both versions in their respective roles; Missamma, however, became the first bilingual film of Vijaya Vauhini Studios to feature a different set of male actors.[1] The makers chose N. T. Rama Rao and Bhanumathi Ramakrishna as the lead pair in the Telugu version, with Gemini Ganesan replacing Rama Rao in the Tamil version.[4] S. V. Ranga Rao – Rushyendramani and Doraswamy – Meenakshi were cast in the roles of the titular character's biological parents and foster parents respectively in both versions.[4] Except for Ranga Rao, the same range of costumes were used for all the artistes in both the versions including the leads, whereas Ranga Rao had to sport a vesthi for the Tamil version adhering to Tamil culture and traditions.[5]

Prasad had completed shooting four reels of the film featuring Bhanumathi.[1] In between her shooting schedules, Bhanumathi wrote a letter to the producers informing that she would shoot only in the afternoon because of the Varalakshmi Vratam being conducted at her residence. The letter went unnoticed and Chakrapani, a strict disciplinarian in nature, had a dispute with her for arriving too late to the sets.[1] When Bhanumathi refused to apologise, Chakrapani burnt the four reels in front of her, leaving her insulted and resulting in her opting out of the project. Nagi Reddy came to know about the letter and tried to solve the issues between the two, but both Chakrapani and Bhanumathi refused to work together.[2] Chakrapani immediately ordered Prasad to replace Bhanumathi with Savitri, who was initially selected to play the role of Sita. Jamuna was signed later for Sita's role,[1] upon Savitri's recommendation.[6]

Casting Savitri benefited the Tamil version as a better on-screen chemistry was observed between Savitri and Ganesan, who secretly married each other back in 1952 before the film's shoot began.[7] After the release of Devadasu (1953), Akkineni Nageswara Rao wanted to shed the tragic-romantic hero image and took up the comic role in Missamma.[8] Nageswara Rao was believed to have accepted the role for higher remuneration, until he opened up to the media and clarified his motive of agreeing to play the role. He went on to add that in his entire career, Missamma was the only film he lobbied to be a part of.[9] K. A. Thangavelu and K. Sarangkapani reprise the roles played by Nageswara Rao and Relangi Venkata Ramaiah from the Telugu version in the Tamil version.[4] M. N. Nambiar and Ramana Reddy were cast as the antagonists of the Tamil and Telugu versions.[4][10] Balakrishna and A. Karunanidhi were cast as the assistants of Nageswara Rao and Thangavelu respectively.[4]

Gummadi Venkateswara Rao was recommended to Chakrapani by Madhavapeddi Venkatramaiah.[11] After auditioning other actors, Chakrapani asked Gummadi to make a cameo appearance as an interviewer. He shot for a day and was paid around ₹500—1000,[lower-alpha 1] a relatively high salary by the standards of the time (two thousand rupees were paid for twenty days to actors playing major roles in films). Chakrapani stated that Gummadi was paid such a high remuneration so that he can maintain his family including three children who had then shifted to Madras (now Chennai).[4] For the photoshoot, Rama Rao lent Gummadi his coat and applied tilak on his forehead.[11] Allu Ramalingaiah was cast in a comic role of a teacher-cum-ayurveda doctor Panthulu.[1]

Filming

Principal photography began in 1954, with both versions with different casts being shot simultaneously throughout the process.[2] The sequence where M. T. Rao and Mary lie to each other before boarding a bus to attend an interview after being fired from their current temporary jobs was shot at the Chandamama office building. The high school set was also erected near the same building.[1] A photograph of Nagi Reddy's younger brother and cinematographer B. N. Konda Reddy's daughter was used in the film as that of Gopalam's missing elder daughter.[1] The sequence from Missiamma where Ganesan's character manages to persuade Savitri's character to pretend to be his wife was filmed at My Lady's Garden in Madras.[12]

Pasumarthi Krishnamurthy choreographed the film's songs. For the songs "Balanura Madana" and "Brindavanamadi Andaridi Govindudu Andarivadele", Sita's character should practice Kuchipudi dance. Since the former song was a javali, Jamuna rehearsed for both the songs for about a month as she was not trained in traditional dancing. She took care of the minute details during the rehearsals.[13] Filming was delayed because of Bhanumathi's exit and the difficulty in handling different casts at the same time. The process lasted for a year and wrapped by the end of December 1954.[13]

Themes

During the scripting phase, Aluri Chakrapani ensured that his characters were not influenced by Charlie Chaplin's (pictured) style of comedy.

Chakrapani promoted Missamma as a "film for kids which should also be watched by adults."[14] Apart from the protagonists M. T. Rao and Mary, the story of Missamma focuses on the lives of three other couples — Gopalam and his wife Ammi, Paul and his wife and A. K. Raju and Sita. The four other characters, who form a part of the lives of these four couples, are Mary's creditor I. P. David, Rao's friend Devaiah, a school teacher-cum-doctor Panthulu and Raju's stoic and silent assistant Govinda.[15] Chakrapani believed that comedy and suspense cannot be maintained effectively together. Thus, he reveals Mary's true identity to the audience in the film's initial stages by showing a mole on her right foot, which is the only identification mark known by her biological parents, Gopalam and Ammi. However, none of the characters including Mary is aware of her real identity until the climax.[16]

Chakrapani disagreed that his films carried social messages to viewers and felt that films should entertain, adding that anyone who wants to give social messages can send telegrams to viewers instead of making films. He also ensured that his characters were not influenced by Charlie Chaplin's style of comedy and opted for local touch.[17] The single line theme of the film is of a newspaper advertisement requiring a graduate couple to teach children and the lead pair, both unemployed graduates making a mutual agreement to act as a couple before them.[5] The film was one of the first Telugu films to feature a female protagonist acting as a wife to a bachelor who is almost a stranger to her. It also dealt with the issues of unemployment and religious freedom.[14] In her 2002 book Cinema of Interruptions: Action Genres in Contemporary Indian Cinema, Lalitha Gopalan noted that the male protagonists in Indian films use the piano to express their desire with no regard to the consequences and cited Gemini Ganesan in Missiamma as an example for the same.[18]

The name of Rama Rao's character, M. T. Rao, being pronounced as "Empty" Rao was an indication of the situations faced by unemployed graduates at that time, while Chakrapani used Mary's occasional modern dressing and behaviour to explain the limitations of traditional south Indian families of those days.[14] The lyrics of the song "Adavari Matalaku Ardhale Verule" explain the complex behaviour of women with their fellow men using Rao's character. "Dharmam Chey" and "Kavalante Ishthale" address the plight of the beggars and the changing views of the society on various matters, respectively.[14] The song "Sitaram Sitaram" is considered a satire on corrupt politicians, especially for the line Chandalantu Bhale Pracharam, Vandalu Velu tama palaharam (English: Fundraising turns self promotion, hundreds and thousands being used for self consumption).[4] Writing for Dinamani, Pa. Dheenadhayalan described Savitri's character in the film as an antithesis of her role in Devadasu (1953).[19]

Music

Missamma

Album cover of the Telugu version
Soundtrack album To Missamma by S. Rajeswara Rao
Genre Feature film soundtrack
Length 32:25
Language Telugu
Label HMV Records
Producer S. Rajeswara Rao

The official soundtracks of Missamma and Missiamma were composed by S. Rajeswara Rao, the lyrics of which were written by Pingali Nagendrarao and Thanjai N. Ramaiah Dass for the Telugu and Tamil versions respectively.[3] The sound mixing process was supervised by A. Krishnan and Siva Ram. It was processed by N. C. Sen Gupta and was orchestrated by A. Krishnamurthy.[3] The album cover of the soundtrack of the Telugu version features Jamuna and Savitri pulling Rama Rao's hands claiming superiority over each other.

When Nagi Reddy informed Bhanumathi that P. Leela would be singing for her character, Bhanumathi, herself a playback singer, refused to let anyone else sing for her.[20] After she left the project, Leela was signed on to sing for Savitri. Unlike their previous films, Vijaya Vauhini Studios preferred A. M. Rajah over Ghantasala Venkateswara Rao to sing for Rama Rao in the Telugu version for unknown reasons.[13] Chakrapani chose P. Susheela to sing the remaining two songs featuring Jamuna, after being impressed with her rendition of the song "Anuragam Virisena" in the film Kanna Talli (1953). Although she had recorded for Donga Ramudu (1955) first, Missamma released earlier and gave her a breakthrough as a singer.[13]

Despite singing the songs "Dharmam Chey" and "Sitaram Sitaram", Relangi Venkata Ramaiah's name was not featured in the film's credits as a playback singer.[13] The song "Ravoyi Chandamama" ("Vaarayo Vennilave" in Tamil) is based on Abheri raga.[21] "Brindavanamadi Andaridi Govindudu Andaivadele" ("Brindavanamum Nandakumaranum" in Tamil) and its interlude in particular are primarily based on the scale of the Shuddha Saveri raga although an occasional gandhara suggests it as Arabhi.[22] "Balanura Madana" ("Ariyaparuvamada" in Tamil) is based on the Kharaharapriya raga.[23][24]

The soundtrack of the Telugu version was released on 1 December 1955 while that of the Tamil version was released on 31 December 1955; both were marketed by HMV.[25][26] The soundtrack was a huge commercial success, with "Adavari Matalaku Ardhale Verule", in particular, achieving classic status and being considered to be an expression of subtle romance.[27] Songs like "Vaarayo Vennilaave", "Brindavanamum Nandakumaranum", "Ennai Aalum Mary Maatha" and "Pazhaga Theriyavenum" become popular among the Tamil diaspora.[28] P. Leela later went on to sing the songs of Missamma in various concerts of hers and received highly positive response every time.[4] The song "Njaan Ariyathen" from the Malayalam film Jailppulli (1957) is loosely based on "Brindavanamadi Andaridi Govindudu Andarivadele"/"Brindavanamum Nandakumaranum".[29] "Adavari Matalaku Arthale Verule" was remixed by Mani Sharma without any alterations in its tune and lyrics for the Telugu film Kushi (2001). The song was sung by Korivi Muralidhar who was referred to as "Kushi Murali" after the success of the remixed version.[1]

All lyrics written by Pingali Nagendrarao, except where noted. 

Tracklist of the Telugu version[3]
No. TitleSinger(s) Length
1. "Raaga Sudharasa" (Written by Tyagaraja)P. Leela, Jikki 02:26
2. "Dharmam Chey"  Relangi Venkataramaiah 02:30
3. "Adavari Matalaku Arthale Verule"  A. M. Rajah 02:21
4. "Balanura Madana"  P. Susheela 03:16
5. "Telusukonave Chelli"  P. Leela 04:58
6. "Telusukonave Yuvathi"  A. M. Rajah 02:51
7. "Karuninchu Mary Maathaa"  P. Leela 02:30
8. "Ee Navanavabhyudaya"  A. M. Rajah 03:04
9. "Brindavanamadi Andaridi Govindudu Andarivadele"  A. M. Rajah, P. Susheela 02:56
10. "Ravoyi Chandamama"  A. M. Rajah, P. Leela 02:54
11. "Yemito Ee Maaya"  P. Leela 02:39
Total length:
 32:25

All lyrics written by Thanjai Ramaiah Dass, except where noted. 

Tracklist of the Tamil version[3]
No. TitleSinger(s) Length
1. "Raaga Sudharasa" (Written by Tyagaraja)P. Leela, Jikki 02:26
2. "Vaarayo Vennilave"  A. M. Rajah, P. Leela 02:54
3. "Pazhaga Theriyavenum"  A. M. Rajah 02:40
4. "Yennai Aalum Mary Maathaa"  P. Leela 02:19
5. "Maayame Naan"  P. Leela 02:44
6. "Ariya Paruvamada"  P. Susheela 03:13
7. "Mudiyum Endral"  A. M. Rajah 02:04
8. "Therinthu Kollanum"  P. Leela 02:19
9. "Yellaam Unakke"  A. M. Rajah 03:15
10. "Brindavanamum Nandakumaranum"  A. M. Rajah, P. Susheela 02:47
11. "Sri Janaki Devi"  P. Leela, P. Susheela 02:58
Total length:
 29:32

Release and reception

The Telugu version of Missamma was released on 12 January 1955, whereas the Tamil version was released two days later,[13] on the festive occasion of Pongal.[30] Both versions were released with an approximate final reel length of 4,964 metres (16,286 ft) and were given a "U" (Universal) certificate by the Central Board of Film Certification with a run time of 165 and 158 minutes, respectively.[31][32] Both versions were commercially successful, with the Telugu version completing a theatrical run of 100 days.[13] In February 2006, a postage stamp of Gemini Ganesan was released by Dayanidhi Maran in Chennai; Missiamma was screened on the occasion.[33]

Missamma received positive reviews from critics upon its release.[13] The February 1955 issue of Kumudam called Missiamma "an interesting film with quality humor", adding, "In the beginning one is uneasy as to how the love affair of a Christian heroine and a Hindu hero is going to be retooled for a comedy" but stated that the director "has used every difficult situation as an opportunity for boundless humor."[34] It also praised the "moonlit sequence" and Bartley's cinematography, while the magazine Gundoosi described Savitiri's acting as "the best so far".[35] In October 2014, M. L. Narasimham of The Hindu praised the performances of Missamma's cast, particularly that of Savitri. He added that Marcus Bartley's "mesmerising" cinematography and Rajeswara Rao's music were the film's highlights apart from Prasad's direction and Chakrapani's screenplay.[1] Narasimham added that Nageswara Rao's performance as Raju "proved that he is equally capable of carrying a comedian’s role with aplomb".[8] In November 2012, The Times of India stated that the film's cast adds a dramatic twist to the story and called its narration a "powerful" one which "will grip the viewer till the end".[36] In January 2015, Prajasakti called Missamma a fine mix of humour and message and praised the screenplay written by Chakrapani for its gripping nature.[14]

Remake and adaptation

A. V. Meiyappan of AVM Productions approached Nagi Reddy for the film's Hindi remake rights and upon the latter's insistence, Meiyappan agreed to retain L. V. Prasad as the Hindi remake's director, marking Prasad's debut in Bollywood.[1] Gemini Ganesan and Meena Kumari were cast as the lead pair of the remake, marking the former's debut in Bollywood.[37] Singer Kishore Kumar reprised the role played by Nageswara Rao and Thangavelu in the Telugu and Tamil versions, respectively. Jamuna reprised her role from the original.[16] The Hindi remake titled Miss Mary was released in 1957 and became one of the highest grossing films of the year.[37] Composer Hemanta Kumar Mukhopadhyay reused the tune of "Brindavanamadi Andaridi Govindudu Andarivadele" from the original.[16]

The film's script was re-written by Mullapudi Venkata Ramana and Raavi Kondala Rao for Pelli Pustakam (1991) which was produced by the former and directed by Bapu.[38] Rajendra Prasad and Divyavani portrayed the lead pair. The film was a commercial success and won two Nandi Awards: Best Writer for Kondala Rao and Best Dialogue Writer for Ramana.[1]

Cancelled plans of digitisation and colourisation

In late November 2007, a Hyderabad-based company named Goldstone Technologies acquired the film negative rights of 14 Telugu films produced by Vijaya Vauhini Studios, including Mayabazar (1957) and Missamma, to release their digitally re-mastered versions in colour.[39] Though the digitally remastered and colourised version of Mayabazar released in January 2010 and was commercially successful, Goldstone Technologies decided not to remaster the remaining 14 films including Missamma, saying that most of the producers who sold the rights of the negatives to TV channels lost control over them. Goldstone furthermore added that there were also a lot of legal issues over ownership and copyright issues whenever other producers try to do something on their own.[40]

Legacy and influence

Jamuna as Sita in the film's Telugu version. Missamma marked her breakthrough as an actress in Telugu and Tamil cinema.[6]

Both Missamma and Missiamma are regarded as one of the most successful films in Telugu and Tamil cinema respectively.[19] Film historian Film News Anandan noted that after Missamma and Missiamma, filmmakers started using different actors for different versions of their films.[41] Upon release, the phrase "Adavari Matalaku Arthale Verule" became an idiom in Telugu language.[1][4] The film proved to be a major breakthrough in Jamuna's career.[6] The word "Thailam" spelt by Devaiah's character throughout the film became a synonymous term in Telugu for cash.[1] On 23 January 1955, a 19-year-old woman named Muniamma gave birth to a baby girl in Roxy theatre, Chennai while watching Missiamma. Both of them were rushed to Egmore Maternity Hospital where the baby was named Missiamma.[1] The basic story line of Marunnattil Oru Malayali (1971) was noted for its similarity with Missamma as its female lead, a Christian, acts as a Brahmin girl. This prompted Chakrapani to remake the film in Telugu as Sri Rajeswari Vilas Coffee Club in 1976.[42] In commemoration of the Centenary of Indian Cinema, The Hindu listed Missamma along with Pathala Bhairavi (1951), Mayabazar (1957), Gundamma Katha (1962), Maduve Madi Nodu (1965), Ram Aur Shyam (1967), Julie (1975), and Shriman Shrimati (1982) as the iconic films produced by Nagi Reddy.[43] In L.V. Prasad : a monograph (1993), film historian K. N. T. Sastry noted, "lf cinema was to be considered a tool to forget our worries — here indeed was entertainment : Missiamma answered that definition."[44]

G. Neelakanta Reddy titled his 2003 comedy film as Missamma which had no other similarity with this film.[45] The songs from the film have inspired film titles—Ravoyi Chandamama (1998), Aadavari Matalaku Arthale Verule (2007), Govindudu Andarivadele (2014) and Vaaraayo Vennilaave (2016). The colourised version of the song "Brindavanamadi Andaridi Govindudu Andarivadele" was used in the opening credits of the film Brindavanam (2010), whose title and its caption were named after this song.[46] In November 2012, The Times of India listed Missamma along with other unrelated films such as Gundamma Katha, Mayabazar, Narthanasala (1963), and Bommarillu (2006) in the list "Telugu classics to watch along with family this Deepavali".[36] Hussain Sha Kiran, who co-wrote Sukumar's Nannaku Prematho (2016), titled his directorial debut Meeku Meere Maaku Meme after a sequence in Missamma where Mary tries to teach a few music lessons to Raju.[47]

Notes

  1. ↑ VJM Diwakar of The New Indian Express quoted Gummadi revealing his salary for Missamma as ₹500,[11] P. Baburao, writing for the Navya Weekly reported Gummadi's salary as ₹1000.[4]

References

  1. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 Narasimham, M. L. (16 October 2014). "Blast from the past: Missamma (1955)". The Hindu. Archived from the original on 7 June 2015. Retrieved 7 June 2015.
  2. 1 2 3 Baburao 2005, p. 21.
  3. 1 2 3 4 5 6 Missamma (Telugu) (Motion picture). India: Shalimar Telugu Movies. 3 October 2013. Clip from 00:00:20 to 00:03:20.
  4. 1 2 3 4 5 6 7 8 9 10 Baburao 2005, p. 22.
  5. 1 2 "Golden Jubilee of Missamma (1955)". Cinegoer.net. 11 January 2005. Archived from the original on 7 June 2015. Retrieved 7 June 2015.
  6. 1 2 3 Madhavan, Pradeep (23 January 2015). "அமுதாய்ப் பொழிந்த நிலவு -அந்தநாள் ஞாபகம்" [The immortal Moon – Memories of the good old days]. The Hindu (in Tamil). Archived from the original on 11 June 2015. Retrieved 11 June 2015.
  7. ↑ Kalyanam, Rajesshwari (22 December 2013). "Drama in real life". The Hans India. Archived from the original on 13 June 2015. Retrieved 13 June 2015.
  8. 1 2 Narasimham, M. L. (25 January 2014). "Irreplaceable icon". The Hindu. Archived from the original on 7 June 2015. Retrieved 7 June 2015.
  9. ↑ "అక్కినేని 'డిటెక్టివ్' కథ" [Akkineni's 'detective' story]. Sakshi (in Telugu). 22 January 2014. Archived from the original on 7 June 2015. Retrieved 7 June 2015.
  10. ↑ Ashok Kumar, S. R. (15 March 2007). "A legend in his own right". The Hindu. Archived from the original on 7 June 2015. Retrieved 7 June 2015.
  11. 1 2 3 Diwakar, VJM (28 January 2010). "Gummadi never forgot his mentor". The New Indian Express. Archived from the original on 27 March 2016. Retrieved 27 March 2016.
  12. ↑ Padmanabhan, Geeta (23 February 2016). "Chennai on reel". The Hindu. Archived from the original on 21 March 2016. Retrieved 21 March 2016.
  13. 1 2 3 4 5 6 7 8 Baburao 2005, p. 23.
  14. 1 2 3 4 5 Santhisri (11 January 2015). "అరవై వసంతాల "మిస్సమ్మ"" [Sixty years of "Missamma"]. Prajasakti (in Telugu). Archived from the original on 7 June 2015. Retrieved 7 June 2015.
  15. ↑ Baburao 2005, p. 19.
  16. 1 2 3 Baburao 2005, p. 20.
  17. ↑ "Missamma (1955)". Idlebrain.com. Archived from the original on 7 June 2015. Retrieved 7 June 2015.
  18. ↑ Gopalan 2002, p. 194.
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