Close overlay Buy Featured Book Title The Moonstone Author Wilkie Collins Your purchase helps support NPR programming. • • Chitra Banerjee Divakaruni's latest book is Oleander Girl. I was about 12 when I first encountered The Moonstone — or a Classics Illustrated version of it — digging through an old trunk in my grandfather's house on a rainy Bengali afternoon. I loved the Classics Illustrated series (the graphic novels of my youth that simplified famous novels for children), presenting us with swashbuckling plotlines, and heroes and villains that were unmistakably, unashamedly, what they were supposed to be. The Moonstone was all I could have hoped for. A mysterious, cursed jewel, wrested from India, only to be stolen later from a great British mansion.

Enigmatic, dangerous priests who follow it across the ocean in hopes of wresting it back. A young, beautiful, rich and courageous heroine (who in my mind looked very like me). Bungling policemen. A smart butler. And enough twists and turns to keep a reader on tenterhooks until a highly satisfying ending is delivered. I devoured it in a day, and thought back on it with pleasure over the years.

So when I came across a copy of The Moonstone recently in a used bookstore, I picked it up at once — but surreptitiously. As a student of post-colonialism, I knew Wilkie Collins' portrayal of an exotic India (temples, turbaned priests, curses, magical jewels) was suspect. As a teacher of creative writing, I was dismissive of books that hinged upon plot. As a reader I was afraid that I would be disappointed this time around, that the magician's amazing powers might turn out to be a scarf hidden in a sleeve. And I knew the punch line — the criminal's identity — already. Chitra Divakaruni is also the author of One Amazing Thing and Palace of Illusions. Murthy Divakaruni hide caption toggle caption Murthy Divakaruni But I was surprised and delighted to discover a whole new set of pleasures in The Moonstone.

Feb 10, 2009. A reimagining of the world-famous Indian epic, the Mahabharat --- told from the point of view of the wife of an amazing woman. Relevant to today's war-torn world, The Palace of Illusions takes us back to a time that is half history, half myth, and wholly magical. Narrated by Panchaali, the wife of the legendary.

As a writer, I was struck by how masterfully Collins pulls together the different strands of a complicated plot. Eliot called The Moonstone 'the first, the longest, and the best of the modern English detective novel.' I could see why.

Reading the book was a little like seeing the Wright brothers maneuvering their first aircraft, except there was no awkward bucking, no crashes. Many conventions of the detective novel that we take for granted — a mysterious crime that is systematically unraveled through a process of inquiry, a detective with unusual powers of analysis, the surprise when the criminal turns out to be someone unexpected — are being used by Collins for the first time. The plot with its hairpin twists held my interest and invited me to happily suspend disbelief, but it did not overwhelm the characters. The heroine, Rachel Verinder, complicated and stubborn, is unlike the 'legless angels' popular in Victorian literature. The dilemmas she faces remain significant today: Should we marry where our passions lead us, or choose a life partner whose values are compatible with ours? If the person we love turns out to be a criminal, should we turn him in or allow someone else to be blamed? And Collins' portrayal of India is much more nuanced than I had credited him with.

It is an Englishman who turns out to be the real villain of The Moonstone. By contrast, the three Indian priests who dedicate their lives to returning the jewel to its proper home in the temple, though they have nothing personal to gain by doing so, are positively heroic. A frisson of vindicated delight went through me as I came across this rare depiction of Indian moral superiority in a Victorian novel — and that was my ultimate guilty pleasure. Is produced and edited by the team at NPR Books.

Running time 184 minutes () 174 minutes () Country India Language Telugu Tamil Mayabazar (English: Market of Illusions) is a 1957 Indian directed. It was produced by and under their banner,. The film was shot in both and with the same title, but with a few differences in the cast. The story is an adaptation of the, which in turn is based on the epic.

It revolves around the roles of () and (), as they try to reunite 's son (Telugu:, Tamil: ) with his love, 's daughter (). The Telugu version features,,, and in supporting roles, with,, V. M. Ezhumalai, and playing those parts in the Tamil version. The first film produced by their studio, Mayabazar marked a milestone for Nagi Reddy and Chakrapani. In addition to the technical crew, 400 studio workers – including light men, carpenters, and painters – participated in the development of the film. Director Reddy was meticulous with the and phases, which took nearly a year to complete. Though Rama Rao was initially reluctant to play the lead role, his portrayal of Krishna received acclaim and yielded more offers to reprise the same role in several unrelated films.

The soundtrack features twelve songs, with most of the musical score composed. Telugu lyrics were written by and Tamil lyrics were written by Thanjai N. Ramaiah Dass. Four of the songs were composed by prior to his unexplained departure from the project. One of them was accompanied by the first illusion of moonlight in Indian cinema, shot by cinematographer. Mayabazar had a final film-reel length of 5,888 metres (19,318 ft). The film's Telugu version was released on 27 March 1957; the Tamil version was released two weeks later, on 12 April.

Both were critically and commercially successful, with a theatrical run of 100 days in 24 theatres, and it became a film. Mayabazar was also dubbed into. The film is considered a landmark in both Telugu and Tamil cinema, with praise for its cast and technical aspects, despite the limitations of technology at the time. Mayabazar was screened at the for its 50th anniversary on 7 April 2007. The film's script based on Venkata Reddy's screenplay. A May 2013 poll selected Mayabazar as the greatest Indian film of all time. Mayabazar became the first Telugu film to be digitally remastered and, at an estimated cost of ₹75 million (valued at about US$1.7 million in 2010), after Hyderabad-based company Goldstone Technologies acquired to fourteen films including that of Mayabazar in late November 2007.

The updated version was released on 30 January 2010 in 45 theatres in. It was a commercial success that generated mostly positive reviews, one critic only expressing a preference for the original.

This plot summary refers to the Telugu version of the film. (the sister of and ) marries a named. Their son falls in love with Balarama's daughter, Sasirekha.

The families consent to their marrying when they reach adulthood. When Abhimanyu and Sasirekha have grown up, Krishna introduces them to each other. One day, the Pandavas are invited by, the eldest of the to join in a game of dice. Duryodhana's uncle,, manipulates the results of the game, thereby costing the Pandavas their wealth, their liberty and their wife. Duryodhana's brother,, attempts to disrobe Draupadi. He is seen by Krishna, who, furious, comes to her rescue. On hearing what happened to the Pandavas, Balarama decides to teach the Kauravas a lesson and travels to their capital.

Shakuni and Duryodhana approach Balarama with an insincere respectful manner, then seek his approval of a marriage between Sasirekha and Duryodhana's son. Their true goal is to force Balarama and Krishna to support them if the Pandavas wage war. Unaware of their real intentions, Balarama agrees to the marriage. Because of the Pandavas' ruined financial state, Balarama's wife,, refuses to honour her commitment to marry Sasirekha and Abhimanyu and expresses her support for the alliance with the Kauravas. Krishna, who is aware of Duryodhana and Shakuni's real intentions, orders his charioteer Daaruka to take Subhadra and Abhimanyu through the forests to 's hermitage.

Ghatotkacha, who happens to be Abhimanyu's brother, at first thinks they are intruders in his forest and attacks them but later apologises for the misunderstanding. When Subhadra explains the change in the marriage arrangements, Ghatotkacha decides to wage war against both the Kauravas and Balarama. At the urging of his mother, Hidimbi, and Subhadra, Ghatotkacha abandons his plans and is advised instead to try some trickery in. With the knowledge of Krishna and Sasirekha's servant, he carries the sleeping Sasirekha in her bed from Dvaraka, and flies to his hermitage. Assuming Sasirekha's form, he returns to Dvaraka and, with the help of his assistants Chinnamaya, Lambu and Jambu, wreaks havoc on her wedding to Lakshmana Kumara, preventing the marriage from being carried out.

With the help of Chinnamaya, Lambu and Jambu, Ghatotkacha creates a magical town consisting of an illusory marketplace and palace. He names the town Mayabazar and invites the Kauravas to stay there. Chinnamaya, Lambu and Jamu introduce themselves to the Kauravas as servants appointed by Balarama to look after them. They manage to trick Sarma and Sastry, Shakuni's. Ghatotkacha (in Sasirekha's form) makes Duryodhana's wife rethink the marriage arrangement and teases Lakshmana Kumara. He plans the wedding of the real Sasirekha and Abhimanyu in his hermitage which is attended by Krishna.

Using his divine powers, Krishna also attends as a guest for the marriage taking place in the Mayabazar. On the wedding day, Ghatotkacha appears before Lakshmana Kumara in various tantalising form while, at the hermitage, Sasirekha marries Abhimanyu. When Shakuni discovers what has really happened, he blames Krishna., Arjuna's disciple, asks Shakuni to speak standing on a magical box. He proceeds to stand on the box, which makes him involuntarily explain the Kauravas' real intentions behind the marriage proposal. Ghatotkacha then reveals his identity.

After humiliating the Kauravas, Ghatotkacha sends them back to Hastinapuram. Sasirekha's parents accept her marriage. They thank Ghatotkacha, who credits Krishna as the mastermind behind everything, including Abhimanyu and Sasirekha's marriage. Cast [ ] Cast for both Tamil and Telugu versions.

• as • as • as Sasirekha (Telugu) and Vatsala (Tamil) • (Telugu) and (Tamil) as • (Telugu) and (Tamil) as • (Telugu) and (Tamil) as • (Telugu) and (Tamil) as • as • Sandhya as • as • (Telugu) and V. Srinivasan (Tamil) as • (Telugu) and Lakshmi Prabha (Tamil) as • (Telugu) and E. Sahadevan (Tamil) as • (Telugu) and (Tamil) as • (Telugu) and (Tamil) as Chinnamaya • (Telugu) and (Tamil) as Lakshmana Kumara • as Sarma • as Sastry • as Daaruka • as Sarathi (Telugu) • as young Vatsala (Tamil) Production [ ] Development [ ] After the success of (1951), the production company,, selected the film's technical crew for an adaptation of Sasirekha Parinayam (1936), also known as.

The eighth adaptation of the folk tale, it was the studio's first mythological film. Wrote and directed Mayabazar, assisted by, and it was produced by and of Vijaya Productions. Nearly a year was spent on pre-production and casting. Pingali Nagendrarao assisted with the story, script, and lyrics.

Composed the film's score, and was the. Mayabazar was by C. Jambulingam and G. Kalyanasundaram; Madhavapeddi Gokhale and Kaladhar were the film's. Casting [ ] The film was produced in and versions, with a slightly different cast for each. Appeared as in the Tamil version, which was portrayed by Akkineni Nageswara Rao in Telugu.

Was retained as the female lead in Tamil also, where her character was named Vatsala instead of Sasirekha. Played the younger version of the character in Tamil., hesitant to play after a negative response to his cameo appearance in Sontha Ooru (1956), agreed at Venkata Reddy's insistence and special care was taken with his costume and body language; Mayabazar was the first of Rama Rao's many appearances as Krishna. According to Rama Rao's widow, Nagi Reddy and Chakrapani had initially rejected Venkata Reddy's proposal to cast Rama Rao as Krishna, but he persuaded them into believing that Rama Rao was good for the role. As Rama Rao had a broad chest, Venkata Reddy suggested a slight narrowing to look apt as Krishna.

In addition to following other suggestions by Venkata Reddy, Rama Rao read the Mahabharata, the and other to understand Krishna's character and present it properly., described by Nageswara Rao as the film's male lead in interviews, played the character of Ghatotkacha. In the Telugu version, and were cast as and, respectively, whilst Sita had a supporting role as Sasirekha's maid. Portrayed Lakshmana Kumara, Duryodhana's son; his popularity inspired a song with him and Savitri. And enacted the parts of Shakuni's lackeys, Sarma and Sastry. Kanchi Narasimha Rao played Krishna, disguised as an old man who stops Ghatotkacha when he enters Dwaraka. The playback singer made a cameo appearance as Daaruka, singing 'Bhali Bhali Bhali Deva'.

Portrayed Chinnamayya, a who teaches witchcraft at Ghatotkacha's, with Chadalavada and Nalla Ramamurthy playing his apprentices Lambu and Jambu. Filming [ ] During rehearsals, Venkata Reddy timed his actors with a stopwatch, calculating the length of each scene (including songs) to determine the film's length. Ambu Rao, Bartley's assistant, said that Mayabazar was shot according to the screenplay and Bartley's lighting. The song 'Lahiri Lahiri' was shot in, a suburb of. Its outdoor filming lasted for 10 to 15 seconds. Bartley then created an illusion of moonlight, which according to Ambu Rao was a first for an Indian film.

Nageswara Rao was injured on the film's set, and action sequences featuring himself and Ranga Rao were shot only after his recovery, causing a three-month delay in the release of the film. Ganesan volunteered to act as Nageswara Rao's in a scene where Abhimanyu's character would jump from a second-floor balcony. In addition to the principal technicians and actors, a crew of 400, including light men, carpenters, and painters, worked on Mayabazar during production.

For the set, 300 unique miniature houses were created in an approximately 50-by-60-foot (15 m × 18 m) electrified space at Vauhini Studios under the supervision of Madhavapeddi Gokhale and Kaladhar. The desired effect in the ' gobbling' shots of Ghatotkacha in the song 'Vivaha Bhojanambu' took four days to film. The entire song was filmed using animation.

In the scene where Ghatotkacha (disguised as Sasirekha) stamps Lakshmana Kumara's foot with his own, the expression is Savitri's; the stamping foot belongs to choreographer Pasumarthy Krishnamurthy, who pasted false hair on his foot to make it appear demonic. Main article: After writing the music for four songs – 'Srikarulu Devathalu', 'Lahiri Lahiri', 'Choopulu Kalisina Shubhavela' and 'Neekosame' – left the project.

Following his departure, Ghantasala orchestrated and recorded Rajeswara Rao's compositions with N. C. Sen Gupta and A. Krishnamurthy, and composed the rest of the film's score. The soundtrack album has 12 songs with lyrics by Pingali Nagendrarao and Thanjai N. Ramaiah Dass for the Telugu and Tamil versions, respectively, and was mixed by A. Krishnan and Siva Ram. The album was engineered by N. C. Sen Gupta and orchestrated by A. Krishnamurthy.

Said in an interview that one of her songs took 28 takes to record, and her fifth song was finished by Ghantasala. 'Lahiri Lahiri' ('Aaga Inba Nilavinile' in Tamil) was based on the. 'Vivaha Bhojanambu' ('Kalyana Samayal Saadham' in Tamil) was heavily based on lyrics from 's 1950s plays, which were influenced by 1940s Janaki Sapadham records by B. Nagarajakumari. Nagarajakumari was inspired by a song written by for Sasirekha Parinayam (1936), directed by P. V. That song's melody was inspired by 's 1922 song ', written by Penrose under the pseudonym of Charles Jolly.

According to M. Narasimham of, music 'flowed at its mellifluous best' in Mayabazar. He added that Ghantasala 'gave a new lease of life' to the song 'Vivaha Bhojanambu', despite it being a borrowed tune. Release [ ] The Telugu version of Mayabazar was released on 27 March 1957, and the Tamil version two weeks later on 12 April. Both versions have a film-reel length of 5,888 metres (19,318 ft).

A commercial success, Mayabazar had a theatrical run of 100 days in 24 theatres and went on to become a film. After the film's release, 40,000 colour calendars of Rama Rao as Krishna were distributed to the public. Mayabazar was dubbed into with the same name in 1965; it remained the last Indian film to be dubbed into Kannada until the announcement of a dubbed version of (2014) after 50 years. Remade the film later with the same title.

Mayabazar was shown at the on 7 April 2007 for the film's 50th anniversary, at a celebration organised by the Department of Culture, the Film, TV and Theatre Development Corporation and Kinnera Art Theatres. Nageswara Rao and, who were associated with the film, were honoured on the occasion. The former released a book written by at Lalitha Kala Thoranam located in the Public Gardens. Kondala Rao novelised the film's script based on Venkata Reddy's screenplay. Critical reception [ ] The film received positive reviews from critics, particularly for the work of its technical crew. In 2006, W. Chandrakanth of The Hindu wrote: The greatness of the director lies here – he successfully reduces all characters to ordinary mortals displaying all the follies of human beings except Ghatothkacha or Krishna.

And then he injects into the Yadava household a Telugu atmosphere, full with its simile, imagery, adage, sarcasm and wit. Installation Saprouter Linux. The result – a feast for the eyes and soul.

That is Mayabazar for you. Vijaysree Venkatraman wrote for The Hindu in 2008 that the 'special effects in this summer's Hollywood superhero movies were spectacular, but, for me, the mythological Maya Bazaar [ ] hasn't lost any of its magic', adding, 'If watching the genial half-demon polish off a wedding feast single-handedly remains a treat, seeing the greedy duo from the groom's side get whacked alternately by the furniture and the wilful carpet has me in splits'. The Hindu film critic M. L. Narasimham wrote: 'Though there were several movie versions in various Indian languages, the 1957 Vijaya Productions' Mayabazar is still considered the best for its all round excellence'. According to, 'With a powerful cast and a strong script, this movie is a stealer. Savitri, NTR [N.

Rama Rao], ANR [Akkineni Nageswara Rao], SV Rangarao and not to mention Suryakantam add layers to their characters. Of course, the language and the dialogues, simply unbeatable. Some of the scenes are simply hilarious.'

In his 2013 book Bollywood Nation: India through Its Cinema, Vamsee Juluri wrote, ' Maya Bazar 's appeal is of course as much in its story as in its stars. But the performances and the beautiful songs and sets aside, the film also reveals an interesting feature of the Telugu mythological in its Golden Age—it is a story about something not very important from a doctrinal view of religion at all'. Juluri also termed Ranga Rao's performance as 'mighty and majestic'.

In April 2013, referred to Mayabazar as a 'pioneer in every sense'. They praised its cinematography and music, adding that Rama Rao 'proved his calibre as a method actor'. In their 2015 book, Transcultural Negotiations of Gender: Studies in (Be)longing, Saugata Bhaduri and Indrani Mukherjee opined that Mayabazar 'both breaks and perpetuates the stereotypes for masculine and feminine bhavas by making a single female actor Savitri perform both the set of emotions'.

Digitisation and colourisation [ ]. Vijaya Productions was not keen on selling just Mayabazar. The rates of all their other films put together worked out to just 10–15 per cent more than what I had to pay for Mayabazar. I purchased the entire lot.

Jagan Mohan of Goldstone Technologies Mayabazar was the first colourised Telugu film, with its audio remastered from monaural to a 5.1-channel system. In late November 2007 a Hyderabad company, Goldstone Technologies, acquired world negative rights to 14 Telugu films produced by Vijaya Vauhini Studios, including that of Mayabazar, to digitally remaster them in colour. C. Jagan Mohan of Goldstone Technologies' experience at gave him the idea of converting the film's audio to DTS. The audio was restored, sound effects remastered, distortion eliminated, and the volume of the vocals increased, and musicians re-recorded the film's background music on seven tracks instead of one.

A still from the song 'Vivaha Bhojanambu' ('Kalyana Samayal Saadham' in Tamil) in the digitally-remastered, coloured version; Mohan said this song was one of the most challenging sequences, since he wanted the food to look more realistic after colourisation. A team of 165 people worked for eight months; Mohan used 180,000 shades of colour to create a tone similar to human skin, and employed 16.7-million-shade colour technology. Apart from colouring clothing and jewellery, Mohan said that the song 'Vivaha Bhojanambu' and the wedding scene in the climax were the most challenging sequences, and that the food should look more realistic after colourisation. In the wedding scene, Mohan explained: 'Each and every rose petal strewn on the pathway had to be coloured. Further, each frame in the climax has many actors.

In technical parlance, we refer to a set of colours used for skin tone, clothes, jewelry and so on as different masks. If five or six masks were used on one character, the presence of many actors in a frame called for that much more work.' Three songs ('Bhali Bhali Deva', 'Vinnavamma Yashodha' and 'Choopulu Kalisina Subha Vela') and many poems were cut from the remastered colour version to maintain print quality. With an estimated digitalisation budget of ₹75 million (valued at about US$1.7 million in 2010), Mayabazar was released in colour on 30 January 2010 in 45 Andhra Pradesh theatres.

The colourised version was distributed by under his production banner, Super Good Films. Nageswara Rao, Gummadi Venkateswara Rao, Mikkilineni Radhakrishna Murthy and Sita were the only cast members still alive for the release of the digitally remastered version. The colour version received positive reviews and was commercially successful. Narasimham of The Hindu called the new version 'laudable, but the soul was missing', adding, 'Get a DVD of the original (Black & White) movie, watch it and you will agree with ANR [Akkineni Nageswara Rao] who while talking about Mayabazar once exclaimed, 'What a picture it was!' According to a 29 January 2010 government order, the remastered version was exempted from, although theatre owners charged full price because they and other film producers were uncertain of the order's validity. Despite Mayabazar 's success, Mohan decided not to remaster the remaining 14 films; according to him, most producers who sold negative rights to TV channels lost control of them, and he cited legal and copyright issues.

The Film Heritage Foundation announced in March 2015 that they would be restoring Mayabazar, along with a few other Indian films from 1931 to 1965, as a part of their restoration projects carried out in India and abroad in accordance with international parameters. The foundation opposed digital colourisation, stating that they 'believe in the original repair as the way the master or the creator had seen it'. Mayabazar 's success made ( statue pictured) reprise the role of in many Telugu and Tamil films. Mayabazar is considered a classic of Telugu cinema, particularly in its use of technology. The film is memorable for Nagendra Rao's dialogue: 'Evaru puttinchakunte maatalela pudathayi' ('How would words emerge if no one invented them?' ) and 'Subhadra, aagadalu, aghaaityalu naaku paniki raavu' ('Subhadra, these atrocities mean nothing to me.' Various words and phrases, such as 'antha alamalame kada' ('Is everything fine?'

), 'Asamadiyulu' ('Friends'), 'Tasamadiyulu' ('Enemies'), 'Gilpam' and 'Gimbali' ('bed-' and 'room-mat'), later became part of Telugu vernacular. The success of (1955) and Mayabazar prompted Venkata Reddy to produce the 1958 Telugu film ( Vazhkai Oppantham in Tamil).

It recovered its investment and won the silver medal at the annual. A directed by and a directed by Veerabhadram Chowdary were named after the song 'Aha Naa Pellanta' from the film; both were successful. Jandhyala Subramanya Sastry named his 1988 Telugu films and after the songs of the same name. Telugu comedian considered Mayabazar to be the 'greatest comedy film ever', adding that it represents 'one of the most transcendental and joyful experiences any movie-lover can hope for'.

Telugu director named his second film Mayabazar (2006, also a fantasy film). Regarding his title, Indraganti said he was a fan of Mayabazar and named his film (produced by B. Satyanarayana) at the insistence of writer D. V. In January 2007, M. Narasimham of The Hindu listed Mayabazar with (1938), (1939), (1939), (1942), (1950), (1951) (1954) and (1963) as films that have influenced society and Telugu cinema. Rama Rao reprised the role of Krishna in several films over a two-decade career. Singeetam Srinivasa Rao used Mayabazar 's storyline in his 2008 multilingual animation film. Director called Mayabazar more an 'epic, than a mere classic' and said that the film's tagline, 'Sasirekha Parinayam', inspired the title of his.

In February 2010, acting coach and director L. Satyanand compared Mayabazar to films such as (1956), (1959), (1975) and (2009), saying that they 'are evergreen and never fade away from the mind', with continued appeal. Satyanand praised Bartley's cinematography, saying that the film. was definitely ahead of its time. It is still a mystery how Marcus Bartley could morph Sasirekha through the ripples in the pond. It was an absolute masterpiece, considering the equipment in use, those days.

In the absence of hi-def cameras, computer generated visual effects and high-end computers, the direction, cinematography and visual effects were efforts of sheer human genius. In the period drama (2011), the central character Mallamma (played by Baby Annie) listens to Mayabazar 's songs. Although this was criticised as, director said that Rajanna was set in 1958, a year after Mayabazar 's release. In 's (2011), its protagonist Appalaraju (played by ), an aspiring director, is shown enjoying a sequence from the song 'Lahiri Lahiri' in the song 'Mayabazaaru'.

In her article 'The making of Tollywood', commemorating the 81st anniversary of the Indian Telugu film industry, Sunita Raghu of called Mayabazar the 'tour de force' of Telugu cinema. In November 2012, listed Mayabazar along with other unrelated films such as (1955), (1962), (1963), and (2006) in the list 'Telugu classics to watch along with family this Deepavali'. For the April 2013 centennial of Indian cinema, CNN-News18 included Mayabazar in its list of 'The 100 greatest Indian films of all time', and a May 2013 CNN-News18 poll ranked it the greatest Indian film of all time. In commemoration of the centennial of Indian cinema, The Hindu listed Mayabazar along with (1951), Missamma, Gundamma Katha, (1965), (1967), (1975), and (1982) as the iconic films produced by Nagi Reddy. CNN-News18 included Mayabazar on its February 2014 list of '12 Indian films that would make great books', and in May 2014 Rediff included the film on its list of 'The Best Mythological Films of Tamil Cinema'. The Tamil film (2013) was named after the song of the same name.

The Andhra Pradesh state government planned to introduce the film as part of the tenth standard English syllabus in 2014. The fourth unit of the English textbook, 'Films and Theatres', mentions Mayabazar and its actors and has two stills from the film. In March 2012, film historian stated in an interview with The Times of India that Mayabazar, which 'perfected the art of trick photography', was 'among the significant black and white films of yore', along with (1954) and (1940). A Tamil song written by and for the film (2015) was named Mayabazar. The scene in which Krishna reveals his identity to Ghatotkacha at Dvaraka was used in (2015), with as Krishna. References were made to Shakuni's character in the film (2015) starring Rama Rao's grandson.

Director told film critic that Venkata Reddy's work in Mayabazar was a 'huge inspiration' for him to make (2015) and. Writing for DailyO, an online opinion platform from the Group, actor opined that films like Mayabazar were 'truly cutting edge' and added, 'Considering the technological limitations technicians were working with back then, these were phenomenally commendable instances of the Indian cinema'.

In an interview with The Hindu in November 2015, actor noted, 'Visual appeal has always gone hand-in-hand with content, since the days of and Maya Bazaar [ sic], not just after Baahubali.' A 90-minute theatrical adaptation of the film was staged in December 2016 by Bangalore Little Theatre. • ^ Rama Rao reprised the role of Krishna in the Tamil film (1964), and various unrelated Telugu films such as (1957), Sati Anasuya (1957), Deepavali (1960), (1962), (1966), Sri Krishna Tulabharam (1966), (1967), Sri Krishna Vijayam (1971), (1972), (1972) and (1977). • The are a group of five brothers named,,, and. They are the protagonists in the epic. • The are a group of hundred brothers, and are the cousins of the Pandavas.

They are the antagonists in the epic Mahabharata. • Yudhishthira staked his brothers, himself and his wife Draupadi after staking his material wealth. • Other alternative titles for the film included Surekhaapaharan, Veera Ghatotkacha and Vastala Kalyanam. • Laddu, alternatively spelt as Laddoo, is a ball-shaped confection made of flour, ghee and jaggery/sugar. It is typically found on the Indian subcontinent.

Narasimham does not mention why S. Rajeswara Rao opted out of the project. • A Silver Jubilee film is one that completes a theatrical run of 175 days (25 weeks). • The exchange rate in 2010 was 45.09 Indian rupees ( ₹) per 1 US dollar (US$).

References [ ]. • ^ Mayabazar (Telugu) (Motion picture). India: Shalimar Telugu & Hindi Movies. • Mayabazar (Tamil) (Motion picture). India: Modern Cinema. • Nag, Kushali (23 May 2012)... Archived from on 4 November 2015.

Retrieved 4 November 2015. • Jhurani, Aarti (5 August 2015)... Abu Dhabi, United Arab Emirates. Archived from on 14 September 2015.

Retrieved 14 September 2015. As with most film industries in the region, mythological and fantasy dramas were mainstays of the early years, of which N T Rama Rao was the biggest icon, and some of his films – including Mayabazar, 1957; Missamma, Miss Madam, 1955; Seetarama Kalyanam, 1961 – are cult classics.

14 October 2008. Archived from on 9 January 2015. Retrieved 16 November 2015. • Prathi, Radha (16 December 2014)...

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