Vanaja Film full HD movie download free with screenpaly story, dialogue LYRICS and STAR Cast

Vanaja (Mamatha Bhukya) is the 15-year-old daughter of Somayya (Ramachandriah Marikanti), a poor, low caste fisherman from rural Andhra Pradesh. Somayya struggles to support his family due to dwindling catches at sea and mounting debts. One day, Vanaja and her teenage friend Lacchi (Bhavani Renukunta) watch a theatrical performance by a former Kuchipudi (a native classical Indian dance form) great, Rama Devi (Urmila Dammannagari). The sequence of events lead to a soothsayer predicting to Vanaja that she will be a great dancer. With permission from her father, she goes to work in the house of the local landlady Rama Devi with the hope of learning Kuchipudi. While she is employed as a farmhand, she is entrusted with tending the chickens. When she gets caught playfully chasing them, she lies to conceal her pranks. Her vivaciousness and spunk soon catch the landlady’s eye. To keep her out of trouble, Rama Devi soon promotes her to a kitchen underhand where she meets Rama Devi’s cook, the old, crusty and extremely loyal Radhamma (Krishnamma Gundimalla).

After settling down at the landlady's house, Vanaja gets invited to play a game of ashta chamma (a leisurely game in rural towns of Andhra Pradesh) against the landlady. Knowing that losing isn’t the mistress’s forte, she deliberately gives up her game. This gesture, in turn, eventually secures her the landlady’s mentorship, first in music and then in dance. Vanaja excels at these art forms and seems to be on a steadily ascending path until the arrival of Shekhar (Karan Singh), the landlady's 23-year-old son, from the United States. Shekhar is a handsome, muscular young man who is running for an office in the local government. Sexual chemistry is ignited between Shekhar and Vanaja (still a minor at 15) when flirtation and sexual innuendo bloom.

In the meanwhile, her father's fishing boat is taken away by creditors. He sinks into a state of sadness and begins to drink away their savings. On one occasion, Vanaja’s superior intellect pits her against Shekhar in a public incident which ultimately humiliates him in front of his mother. Matters escalate, and one day Vanaja is raped by Shekhar. She eventually loses her job when she becomes pregnant. She gives birth to a boy, much against Rama Devi’s wishes who would have liked her to abort the foetus. Vanaja hopes that the physical evidence of the child will be proof of the rape and that somehow Shekhar will be brought to justice. However, Shekhar has no desire to marry Vanaja because she is from a lower caste. In the end Rama Devi and Shekhar gain possession of the child, who will grow up to be an upper caste boy.

Background

Director Rajnesh Domalpalli graduated with bachelor's and master's degrees in electrical engineering in 1984 and 1986. While working on his bachelor's degree at the Indian Institute of Technology Bombay, he wrote short stories. One of his stories, The Dowry, was twice selected for broadcast by BBC World Service while he was in graduate school. During schooling, he was introduced to south Indian classical music, especially on the veena, and followed this up with years of training on the vocals.

While he was working as a software engineer in Silicon Valley, California, he pursued filmmaking and graduated with a Master of Fine Arts degree from Columbia University.

A short synopsis, including a character and a conflict study of Vanaja, was Domalpalli's project submission in his first semester at the Columbia University in fall of 2001. The story was inspired by a child's scream upon being separated from her mother in Sophie's Choice. Over the next three semesters, however, the story veered from its original focus of mother-child separation to what Domalpalli later described as a study of "elements of class distinction and conflict that continue to infuse our society and culture even today." Referring to its emphasis, he said the film was also about "fading institutions of folk art, old buildings that are collapsing, things which we should be protecting — which are a part of our heritage." Speaking of the need for preservation of Indian culture and heritage, he said that making the film was an opportunity to emphasise the Indian folk arts, too.

Filmmaking

With the early version of the script being ready at the end of his fourth semester, Domalpalli's initial intent was to find financing for Vanaja in India and then in the United States. However, he could not find financing. Domalpalli decided to select non-professionals and train them in a year. In the United States, producers voiced similar concerns over the marketability of the film and what they referred to as "its lack of cohesion." Beside this, Domalpalli's inexperience in filmmaking added to their concerns. Recalling initial hurdles, Domalpalli later said, "it was only when I showed my professors a rough cut of the film, and they approved, that purse strings finally came loose." It eventually constituted the thesis for his master's degree.

He imbibed socio-cultural ethos from his upbringing in several rural areas of Andhra Pradesh, and this prompted him to make the movie in the Telugu language. In 2004, he began filming with a meagre sum of USD 20000 provided by his mother Latha Domalpalli, the eventual film producer. Referring to filming the burrakatha (a story-telling technique used in southern India) scene at the beginning of the film, Domalpalli said:

If you talk to people who perform a Burrakatha, you will see a huge difference in the way the older generation performs the art vis-à-vis the way the way the younger generation performs it... This has happened because of the advent of television. Burrakatha is a long-format art form. The point we are making is that if we don't protect these folk arts, they will be on their way out.

The producers faced a stiff challenge in securing a rural bungalow to serve as the landlady's mansion. Even after obtaining a building as the best possible fit in the coastal town of Bobbili, infestation of snakes and bats posed a problem for the crew. In addition, the building was not strong enough to support the filming equipment. Under these circumstances, the makeshift production designers refurbished the building with space for chicken coops and goat pens as required by the script. To make the space look inhabited, local help was sought for trampling the ground with their livestock. The local people wanted to act as extras in exchange for providing farming tools, bullock carts and other material. As a result, the crew had to ensure that these extras didn't look into the camera during filming.

"Given the rural nature of the story, and the tendency of most local acting to lean towards the theatrical, it was clear that non-actors drawn from hutments, labor camps and the vast Indian middle class were the right choice," said Domalpalli, referring to his choice of casting. In addition, the inclusion of Radhamma's character was to bring a natural feel for the film. Her behavior such as the way she "sits, stands, moves, grunts and groans — that is the way people from a village talk and behave... You would immediately recognize a person who served you breakfast... That makes a point."

Referring to the challenges faced in casting, he said that while they were canvassing local people for auditions, they were warding off rumours that they were after the people's kidneys. When placing a newspaper advertisement for the landlady's character did not seem viable, they advertised for household help instead. Upon seeing this, Urmila Dammannagari turned up for the interview with Domalpalli. Inadvertently, their conversation veered toward the film and the real motive behind the advertisement became evident. Though initially shocked and despite the fact that she had to commute 25 kilometres (16 mi) from her house to the location, she took up the role. Professionally Krishnamma Gundimalla, who played the role of Radhamma, carried bricks on her head as a construction worker. On the other hand, Ramachandriah Marikanti, who plays Vanaja's fisherman