I have authored this Anubhanda Vyasam inspired by Smt.Kusuma Piduris comments and I do hope she and all my readers will find this article interesting and informative.
THE ROLE OF NARADA AS PORTRAYED IN DRAMAS AND FILMS.
The sage Naradudu occupies a very pivotal role in Pauranic dramas and films,he being the son of Bramha who wants to educate people and encourage them in paying homage to Sri Maha Vishnu of whom Narada is considered to be the Foremost Bhaktha.Hence he considers himself as the harbinger of truth and feels whatever he does is for Loka Kalyanam, in other words the Universal Peace and Harmony.
The best examples of the role of Narada are found in Telugu Dramas and Telugu films produced during the so called Golden Period of Telugu Cinema between 1950 and 1970 during which period some of the best and evergreen Mythologicals were made.
A.V.M. Studios Madras produced the stupendously successful film Bhookailas very ably directed by late K.Shankar in which Akkineni Nageswara Rao played the role of Narada and N.T.Rama Rao that of Ravana. In this film Nageswara Rao lived the role to the hilt ,while contributing a healthy humorous touch to the character with witty dialogues .The most memorable one is “VEEDI DANDAYATRA KANTE VEEDI TEERTHA YATRE BHAYANKARAMGA UNDI” and also BHagavanthudu Bhakthunni parikshinchadam poyi bhakthude Bhagavantunni Parikshichanchadam vidduram. Like this there are so many other thought provoking and at the same time humorous witticisms in this film.—- which make this film Bhookailas a memorable one and watchable even today again and again.
2.The next film worth mentioning is National Art Theater (N.A.T.)’s Seetha Rama Kalyanam directed by N.T.Rama Rao assisted by I.N.Murthy. In this film T.L.Kantha Rao plays the role of Narada with so much ease and depth that he is remembered even today .Here Kantha Rao while playing the role of Narada introduced a typical dialogue delivery along with his eyes conveying many meanings at the same time.
The writer Pingali Nagendra Rao has penned some of the most memorable dialogues for Narada viz., Aame rakumari kadu mee raakshsa kulanike maha mari and Aame mee kapuranike kadu Lanka puranike Chetu. Like this Pingali Nagendra Rao the writer played with our Telugu Language conveying many meanings at one go through Narada.
3.The third film worth mentioning in this context is CHENCHU LAKSHMI wonderfully directed by B.A.Subba Rao.In this film Relangi Venkatramayya played the role of Narada very ably. However the dialogue writer Vempati Sadasiva Brahmam gave a social touch to the lines uttered by Narada in different contexts in this film.
The song Karunaalavaalaa idi needu leela composed by Saluri Rajeswara Rao and picturised on Relangi is an ever green composition dealing with human as well as divine behaviour throughout the film as the story progresses.
4.The fourth film worth mentioning in this context is Sri Venkateswara Mahatyam where Suri Babu plays the role of Narada. He has given life and essence to the dialogues penned by Kilambi Lakshmi Narasimhacharyulu (Popularly and affectionately known to all Telugu peoples as ACHARYA ATHREYA).
In this film also Narada speaks in a social tongue in stead of a typical mythological one, conveying a sweet texture to the narration. He has endeared himself with all Telugu Movie goers with his mellifluous voice singing his own songs and padyams.It is a treat to watch him.
5.Again the role of Narada was played by T.L.Kantha Rao in Suresh Film’s Sri Krishna Tula 
Bharam dealing with the divine flower Parijaatha Kusumam. In this film also Kantha Rao portrayed Narada’s role very efficiently,which is why this film is so popular among Telugu audiences even today.
The song Bhale Manchi Chauka Beramu picturised on Narada is a memorable at all times.
6. Several stage artists played the role of Narada in Mythological dramas in Andhra and Rayalaseema region winning the hearts of people and making Telugu Dramas a powerful medium. Notable among them is Suri Babu a very renowned stage artist who was blessed with a resonant voice and a very powerful larynx with which he used to regale audiences asking for once-mores.
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