Muthyala Subbiah

Filmmaker with most successes
Muthyala Subbiah is known as the minimum success guarantee director in the Telugu tinsel world. In fact, Chiranjeevi made his comeback, four years ago, through Subbiah’s runaway hit film Hitler. At home with both, low budget cinema and star-studded fare, Subbiah believes that family dramas with a touch of sentiments are here to stay. In this interview, he talks about the trends in cinema, his plans and an incident that recently hurt him deeply, despite his being a non-controversial person.

Why do you shun offers from producers who want to remake your Telugu hits in other languages?
You see, I was offered to direct some of my Telugu hits like Pavithrabandham in Hindi. But I do not want to handle projects in a language I can not understand. And I do not want to depend on dialogue directors for this. I am happy that the film when made in Hindi (Hum Aapke Dil Mein Rahate Hai) and in Tamil (Priyamanavale) was a big hit too.

You seem to be adapting to changing trends. Is it the reason for your longevity in this field?
No doubt, the trend has changed now. It is now more youth-oriented. Yet I feel, it is the entire family that flock the theatres to make film a grand success. A devotional or emotional sentiment fare with emphasis on entertainment still does the trick. I tell you, sentiment still rules our stories. Even in Titanic and The Mummy, you have loads of sentiment stuff camouflaged with action and suspense. Even in my earlier films like Bhartanaari, the revolt is born out of victimisation. The revolutionary films I made are not sloganary in nature. The characters in these films fight for themselves, in turn leaving a subtle message. They earn sympathy from the audience and that’s how they were successful. In content, Indian cinema can not do away with sentiment as part of an entertaining story. Technically, our cinema has come a long way, setting new trends. I follow that in narrative, each time coming up with a fresh treatment. However good, a story may be, if the narrative is not interesting, it will not click. On the other hand, a thin story can be presented well with a good narrative, like K Balachander, Mani Rathnam and Shankar have proved.

When other directors are incorporating new techniques like graphics, why do you keep away from such gimmicks?
My stories are simple and do not require such extravaganzas. Of course, when the theme demands, I too resorted to the use of computer graphics. In the Chiranjeevi starrer, Annayya, we used graphics for the hero’s dual role.

Do you feel the star dominates in the present set up?
film making is a team-work. Before finalising the story, I discuss it with my unit. I take into consideration the views of my office boy too, if necessary. I feel, if the suggestions are good, even if it comes from the hero, there is no harm in implementing it. The star image always helps a film. They provide the initial draw. I have worked with big heroes like Chiranjeevi and Venkatesh and I never felt the difference.

We hear that you were upset by the behaviour of a hero, who had earlier benefited through your films?
That is a forgotten story now. I have made eight films with him, starting with Arunakiranam and seven were great hits. Even his last successful film Suryudu was directed by me. Even while Manasunna Maaraju was in the making, I was roped in to direct the remake of the Tamil hit, Vanathaippole, with him in the lead. After the muhurat, he changed his mind because he did not like the rush print of Manasunna Maaraju. That hurt me. He had not seen the edited version. He thought he was the ultimate judge, forgetting even the audience. He signed another director and went ahead with the project. But, finally what happened. The deciders of our fate, the audience, felt Manasunna Maaraju was a much better film! I was hurt then, as it came from a man who highly benefited through my films. In my career of so many years, I have never hurt anybody. Anyway, the year 2000 left me with this bitter experience. But I am happy the audience is still with me, accepting my two releases this year.

Tell us about your film for media baron Ramoji Rao?
I cannot reveal the story line at this stage. It is a family drama of a different kind. Srikanth, Rasi and Malavika play the lead roles. The shooting commences early 2001. I had earlier worked as a co-director for this banner’s Prathighatana. Ever since, I’ve been offered to direct a film by the producers. We only waited for the right subject. Besides this, I am also directing a film for producer M Nageswara Rao which will introduce the late filmmaker T Krishna’s son Gopichand as the hero.

You made two memorable films with Venkatesh for producers Sivaraju and Venkatraju. When are you striking the hat-trick?
Both Pavithrabandham and Pellichesukun-dam are daring subjects that made a mark in film history. We have to find such novel subjects to meet the audience expectations. Once we get the right subject, we will launch it.

There were talks of a film with Nagarjuna.
We held discussions a couple of times, but haven’t arrived at a suitable subject.

Of the 43 films you have directed till now, many of them won various State awards. But you have never bagged the best director award yet.
You should be asking that question to the various committees that select the awards. From Ammayi Kapuram to Pavithrabandham, as you mentioned, many of my films won awards. Pavithrabandham was bagged awards for the best film, best hero, best heroine and the best story but not best director. That year, my film Pellichesukundam was also released. But perhaps since the award function was held for two combined years that year, the latter film was not considered for any awards. But I was happy when Screen awarded me that year. But for me awards do not count. If they come, well and good. I respect and enjoy the audience’s appreciation.

What are your future plans?
Honestly, I have no plans for the future. I never thought I would reach this stage in life. Starting with Moodumulla Bandham, I have always attempted daring themes and with the blessings of the audience, the ultimate deciders of our fate, I am marching forward, in a path chosen by me, repaying the sentiment they have showered on me, by giving them clean and wholesome entertainment.

Naresh>>>