Kalyanam Panni Paar (1952)

L. V. Prasad’s ensemble comedy abounds in intrigues and disguises geared to the making and breaking of marriage alliances. The film pits three pairs of lovers, backed by a kind- hearted aristocrat, against traditional parents committed to viewing marriage as a commercial transaction. Govindaiah, a lawyer, wants Raja to marry Chitti. She, however, loves an endearing bodybuilder to whom, by traditional obligations, she rightfully belongs. Govindaiah makes Raja’s marriage to Chitti the precondition for helping to find a husband for Raja’s sister Ammudu (Varalakshmi). Raja rejects the deal and, with his younger brother, sets out to find a groom for Ammudu. In a distant village he meets the Zamindar Veeyanna (Ranga Rao), a complex character of declining fortunes and generous spirit who, as Panchayat President, also serves as a representative of the State. Raju and Veeyanna’s daughter Savitri (Savitri) fall in love and their wedding is quickly arranged. Veeyanna also finds a groom, Ramana (NTR), for Ammudu, but Ramana’s father Venkatapathy is a purana-reciting scrooge who demands a large dowry which Veeyanna promises to pay. Private Govindaiah, meanwhile, plots his own revenge on the wedding day, inciting Venkatapathy to insist on the dowry being paid before the marriage. The narrative that follows is ‘staged’ by the new couple with the help of Raja, Savitri and others. Ramana pretends to give in to his father’s demand to call the wedding off, but starts living with Ammudu and, when his father arrives, feigns mental illness while Ammudu and Raja disguise themselves as nurse and doctor. Ammudu endears herself to Venkatapathy by showing interest in his purana recitals. The groom ‘recovers’ from his madness while Ammudu gives birth to their son, causing a fresh round of gossip in the village and providing the original villain Govindaiah with yet another opportunity to make trouble. The crisis is resolved following a relapse of insanity on the part of Ramana, as well as the discovery of Ammudu’s baby, before the uncaring parents relent and the various couples are reunited. In addition to the extensive use of popular theatre techniques, especially when various characters ‘enact’ scenarios in order to teach other characters a lesson, the narrative is punctuated by two inserted stage performances by schoolchildren. It featured several popular songs, esp. Amma noppule and Pelli chesukoni.