May 01, 2011 Y. Sunitha Chowdhary
Yekkado yevvado prema kosam chavaga dhanni anestham manam valentines day
Naana ni ammani marchipoyyi botthiga gurthukocchinappudu adhi parents day
Patha friends veedukolu farewell day
Kottha friends kosamemo friendship day
Asalem thochakunte kukka birthday
Aa vanka chaalu tent vesi mandhu kottu day
Bithdaylu love daylu saturday lu antu manaku manam diarylu nimpukovoddhu
Pandangani pabbam ani lekkalesukovadam..dhandagara load ayi penchokovoddhu
"The above number from Adi Nuvve might seem like an ordinary poem but twenty years from now people will hunt for such songs and they will be spoken about for it's simplicity and straight hard-hitting message aimed at the youth," says Bhaskarabhatla, lyricist of Telugu Cinema. He's wrapped up his 700th song with Theen Maar, Veera and Kandireega and has taken up fresh assignments for Madatha Kaja, Kodi Punju, Damarukam, Balakrishna's film and Nageswara Reddy's project.
Many Telugu film journalists are taking up writing lyrics, dialogues and stories for films, Ravikumar used his surname Bhaskarabhatla as a pseudonym and was one of the earliest writers to move to films. "Many people remark that since I was a movie journalist I took up writing for movies but the fact is to become a movie writer I took up Telugu film journalism," says Bhaskar. According to him every journalist is a writer because he has it in him the quality to attract a reader to his writing.
Many people might not read books but 95% of them watch films, it is a bigger medium, gives instant popularity and a better remuneration. Like a naxalite does recce before an attack, he thoroughly observed, studied the film industry before taking the plunge. There has never been a time when he'd regretted changing his profession and asserts that there are pros and cons in every field, maintaining dignity through work and behaviour will help one last long in a fickle-natured cinema field.
Bhaskarabhatla says talent isn't just enough to obtain projects one must have a good reputation for meeting deadlines, answering phones and responding to messages immediately. There could be top writers in the filed but producers could approach you because you are easily accessible, have a good rapport and also because they might be inhibited, uncomfortable communicating with a senior writer. "Nacchakapothe sacchinattu aa paata voppukovalemo ane feeling lo untaaru," he says when it comes to senior lyricists.
He on his part is happy being amongst the top five lyricists and says number one and two gives nothing but uneasiness and insecurity. He says he has his own loyal clients and what matters to him is not the ranking but if he is being paid on time and if he dervies the satisfaction from his work. Bhaskar is sought after for his lyrics and terminology, colloquial language used mostly by the youth, mass.
Beside contemporary psychology of the people he has a penchant for language spoken by the villagers in various districts that will take you on a trip down memory line. He is a favourite of small budget producers and writes for 85% of their films.
The lyricist is happy about movie aficionados giving a thumbs down to double entendre from the past ten years and attributes it to increase in education, awareness, understanding and exposure to philosophy, poetry and it's new expressions. "I was not embarrassed writing 'Ippatikinka Naa Vayasu' for Pokiri, directors do tell us to add masala, you can give them what they want by not being crude, by playing with words that even women can enjoy. A writer has responsibility though cinema doesn't," he avers.
He has worked with Puri Jagannath in a row for 15 films. Bhaskar's affair with alphabets began while he was in school and as he moved high up in his career learnt from the mistakes of senior lyricists. He says with wisdom, "Profession lo yentha kastapadithe antha output vosthadi but at the same time for me cinema life kaadhu, oka part matrame. While writing for a big film, I suddenly switch off the cell and go out with my family."