Amarasilpi Jakkanna

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Amarasilpi Jakkanna
Amara Silpi Jakkanna.jpg
Theatrical release poster
Directed by B. S. Ranga
Written by Samudrala (dialogues)
Screenplay byB. S. Ranga
Produced byB. S. Ranga
Starring Akkineni Nageswara Rao
B. Saroja Devi
CinematographyB. S. Ranga
Edited byP. J. Mohan
M. Devendra Nath
Chakrapani
Music by S. Rajeswara Rao
Production
company
Vikram Studios
Distributed byNavayuga Films
Release date
  • 27 March 1964 (1964-03-27)
Running time
165 mins
CountryIndia
LanguageTelugu

Amarasilpi Jakkanna is an Indian 1964 Telugu-language biographical film directed and produced by B. S. Ranga. The film stars Akkineni Nageswara Rao in the title role of Jakanachari, a legendary sculptor from the Hoysala period, whose dedication to art and personal sacrifices form the core of the narrative. The film also features B. Saroja Devi, V. Nagayya, and Udaya Kumar in key roles, with music composed by S. Rajeswara Rao. [1]

Contents

Released on March 27, 1964, Amarasilpi Jakkanna holds the distinction of being the first Telugu film shot in Eastmancolor [2] and received critical acclaim, including a Presidential Certificate of Merit. Simultaneously, B. S. Ranga directed a Kannada version, Amarashilpi Jakanachari, which became the first Kannada colour film. [1]

Plot

Jakkanna, the son of master sculptor Mallanna, inherits the family’s legacy of sculpting. His life changes when he falls in love with Manjari, an exceptional dancer who becomes his muse. Inspired by her grace and beauty, Jakkanna creates breathtaking sculptures. However, Gopadevudu, a feudal lord, becomes infatuated with Manjari and devises plans to separate her from Jakkanna.

With the help of her uncle Sundaram and his fiancée Gangamma, Manjari marries Jakkanna. Enraged, Gopadevudu schemes against the couple, appointing Jakkanna to oversee the construction of the Vasanta Mantapa. Jakkanna pours his soul into the work, immortalizing Manjari’s beauty in the sculptures. Gopadevudu, intent on claiming Manjari, destroys one of Jakkanna’s sculptures, sends him away in search of new stones, and forcibly separates the couple. He manipulates Manjari into performing a forced dance under duress, exploiting her mother’s plight.

Heartbroken by these events, Jakkanna misunderstands Manjari's circumstances and leaves the village. In despair, Manjari attempts to drown herself but is rescued by boatmen and taken to an ashram. There, she gives birth to their son, Dankanna. Seeking Jakkanna, Manjari entrusts Dankanna to Mallanna, unaware that he is her father-in-law. Meanwhile, Jakkanna finds refuge under the guidance of the sage Ramanujacharya.

Ramanujacharya assigns Jakkanna the task of constructing the Chennakesava Temple at Belur for King Vishnuvardhana. Unknown to Jakkanna, Manjari joins the temple project and secretly assists him in sculpting. Dankanna grows up under Mallanna’s guidance and becomes a skilled sculptor. When he reaches Belur, he impresses the court by identifying flaws in a sculpture crafted by Jakkanna. Overcome with guilt, Jakkanna cuts off his own hand in penance but later sculpts another statue and miraculously regains his hand through divine intervention.

The narrative concludes with the emotional reunion of Mallanna, Jakkanna, Manjari, and Dankanna, bringing the family together after years of separation.

Cast

Production

B. S. Ranga drew inspiration for the film from his childhood visits to the Hoysala temples at Halebidu and Belur. The sculptural heritage of these temples, particularly the 42 Madanikas (celestial dancers) sculpted at the Chennakesava Temple, forms the backdrop for Jakkanna’s fictionalized story. While historical accounts credit Queen Saanthalaa Devi as the muse for these sculptures, the film replaces her with the fictional character Manjari. [1] The screenplay, written by Samudrala Sr., combines historical elements with fictional drama. A poignant scene featuring Mallanna, blind, identifying Jakkanna’s sculpture by touch, emphasizes the emotional connection between the characters. [1]

Amarasilpi Jakkanna marked a historic achievement as the first Telugu film to be shot in Eastmancolor. While Lava Kusa (1963) holds the distinction of being the first Telugu colour film, it was produced using Gevacolor. Amarasilpi Jakkanna pioneered the use of Eastmancolor in Telugu cinema, setting a new benchmark in the regional film industry. Despite strict limitations allowing only ten colour prints for regional films, director B. S. Ranga leveraged his expertise as a cinematographer to produce the film economically without compromising its visual grandeur. The Kannada version, Amarashilpi Jakanachari, also directed by Ranga, achieved a parallel milestone as the first Kannada film made in colour. [1]

Music

Amarasilpi Jakkanna
Film score by
S. Rajeswara Rao
Released1964
Genre Soundtrack
Length34:15
Producer S. Rajeswara Rao

The score for Amarasilpi Jakkanna was composed by S. Rajeswara Rao.

Amarasilpi Jakkanna track listing
No.TitleLyricsSinger(s)Length
1."Ee Nallani Raallalo" C. Narayana Reddy Ghantasala 3:46
2."Andhaala Bommatho" Dasarathi P. Suseela 3:20
3."Manase Vikasincheraa"DasarathiGhantasala, P. Suseela4:44
4."Murisevu Virisevu"SamudralaGhantasala4:02
5."Nagumomu Choopinchavaa"C. Narayana ReddyP. Suseela3:38
6."Niluvumaa Niluvumaa"SamudralaGhantasala, P. Suseela3:12
7."Yechatikoyi Nee Payanam"DasarathiGhantasala3:31
8."Yedho Yedho"C. Narayana ReddyGhantasala, P. Suseela3:52
9."Tharamaa Varadhaa"SamudralaGhantasala, P. Suseela4:10
Total length:33:37

Reception

Amarasilpi Jakkanna was well-received for its visual grandeur, performances, and music. Akkineni Nageswara Rao’s portrayal of Jakkanna was lauded. The film celebrated a successful 100-day run in five centres and received a Presidential Certificate of Merit. [1]

Awards

National Film Awards

Related Research Articles

<span class="mw-page-title-main">Hoysala Kingdom</span> Kannadiga empire that ruled what is now Karnataka, India (10th–14th centuries)

The Hoysala kingdom was a Kannada dynasty originating from the Indian subcontinent that ruled most of what is now Karnataka, parts of Tamilnadu and South-Western Telangana between the 10th and the 14th centuries. The capital of the Hoysalas was initially located at Belur, but was later moved to Halebidu.

<span class="mw-page-title-main">Vishnuvardhana</span> Ruler of Hoysala in the south of the Indian subcontinent (r. 1108–1152 CE)

Vishnuvardhana was a king of the Hoysala Empire in what is today the state of Karnataka, India. He ascended the Hoysala throne after the death of his elder brother Veera Ballala I in c.1108. Originally a follower of Jainism and known as Bitti Deva, he came under the influence of the Hindu philosopher Ramanuja, converted to Hindu Vaishnavism and took the name "Vishnuvardhana". His queen Shanthala however remained a Jain. This was the transition period from Jainism to Hinduism. Vishnuvardhana took the first steps in creating an independent Hoysala Empire in South India through a series of battles against his overlord, the Western Chalukya King Vikramaditya VI, and the Chola Empire to the south. He recovered parts of Gangavadi province from the hegemony of the Cholas in the battle of Talakad, and parts of Nolambavdi. According to historian Coelho, the Hoysalas gained the dignity of a kingdom due to the efforts of Vishnuvardhana, whose rule was packed with "glorious" military campaigns. According to historians Sen, Chopra et al., and Sastri, Vishnuvardhana was a "great soldier" and an "ambitious monarch".

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References

  1. 1 2 3 4 5 6 Acharam Shanmukhachari (2019). "రంగా మలిచిన రంగుల శిల్పం 'అమరశిల్పి జక్కన్న'" [The colourful sculpture crafted by Ranga: Amarasilpi Jakkanna]. Sitara (in Telugu). Eenadu . Retrieved 1 December 2024.
  2. ↑ "Amarasilpi Jakkanna (1964) – Telugu Movie | Chitralu.com". Archived from the original on 4 March 2014. Retrieved 23 March 2014.
  3. ↑ "11th National Film Awards". International Film Festival of India. Archived from the original on 2 May 2017. Retrieved 13 September 2011.
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