Writer-director Vivek Athreya debuts the Nani-Nazriya Telugu film Ente Sundaraniki, which he calls a contemporary social commentary.
Writer-director Vivek Athreya debuts the Nani-Nazriya Telugu film Ente Sundaraniki, which he calls a contemporary social commentary.
Telugu writer-director Vivek Athreya, who debuted with the romance drama mental retardation and then came up with black comedy Brochevreverura, One of the promising new voices of Telugu cinema. his new telugu movie pre cosmetologyA conversational drama starring Nani and Nazriya has grabbed attention with its comical promos. During this interview while finalizing the film’s post production, Vivek insists that the film appears like a humorous interfaith romance, but there is more to the drama.
pre cosmetologywhich will be dubbed in tamil edde beautiful and in Malayalam as oh beautiful:revolves around two worlds – the beautiful (Nani) Hindu Brahmin family where the traditional, sometimes superstitious, reigns, and the Leela Thomas (Nazriya) Christian home where the father has the last word.
“I didn’t go to film school. I grew up watching K Vishwanath and Mani Ratnam’s films and listening to Ilaiyaraaja’s music. It helped me understand storytelling and music.”Vivek Atreyawriter-director
Vivek avoids revealing the central conflict through which he wants to surprise the audience: “This film is the story of Sundar and Leela. We are seeing not only the passages essayed by Nani and Nazriya as adults, but also the things that happened in their childhood that are important to the story. ,
social commentary
He recalls that the idea came about five years ago: “I thought the main issue and story would make for an exciting, contemporary social commentary.” He knew that he had to tread carefully without hurting religious sentiments. Vivek’s writing is usually layered and has ample room for humor, even when he discusses serious issues. In brochevreverura, Beneath the Cracking Comedy was the coming-of-age story of Friends, a young woman learning to assert herself, mending a father-daughter relationship, and more. “Humour comes naturally to me. I can’t hold a serious conversation for more than a few minutes. The same tendency comes with my writing.”
Nani and Nazriya as Sundar and Leela in the film
Vivek had initially pitched another story that would require an ensemble cast of Friendship Movie Makers. When the production house asked if they had any story suited for Nani, Vivek pitched the idea East beauty. The actor liked the script and came on board. Both Vivek and Nani thought that someone like Malayalam actor Nazriya would be perfect as the leading lady Leela: “Nani then suggested that we approach Nazriya.”
Nazriya had not acted in any Telugu film till then and did not know the language. However, Vivek knew that Nazriya could understand Tamil. Having worked at IBM, Chennai for five years, Vivek is fluent in the language. He narrated the story to Nazriya on a Zoom call. “The script is non-linear. Nani suggested that I take a linear approach to the description. He reacted with enthusiasm when I began to describe, and I went ahead and gave him a detailed, non-linear description that lasted a few hours.
Vivek Atreya | photo credit: special arrangement
With the help of a Telugu tutor, Nazaria learned Telugu dialogues and even dubbed for the film. Vivek had script reading sessions with Nani and the rest of the cast – Rohini, Nadia, Naresh, Harshvardhan, Rahul Ramakrishna and others – before the film went on floors in the summer of 2021.
Music as a Storytelling Tool
pre cosmetology This is the director’s second collaboration with composer Vivek Sagar. The two decided to use traditional instruments to separate the protagonist’s world, but steer clear of clichéd methods such as the addition of a choir for a Christian family.
Vivek, Lyricist
Vivek Athreya was one of the lyricists of his debut film mental retardation and for director Tharun Bhaskar e-citizenship, “I wrote for mental retardation Out of necessity, otherwise I prefer not to write songs for my film. For East…, I wrote a couplet of two lines because that situation in the film is very personal. Vivek Sagar has sung it.”
The ‘Panchkattu’ songs sung by Carnatic classical singer Aruram Sairam have a charm. “I am a huge fan of Aruna Sairam,” says the director, who picks his fusion numbers with the Aagam band among his favourites.
Vivek likes to use songs as a storytelling tool. He has grown up watching films directed by K Vishwanath and Mani Ratnam and listening to Ilaiyaraaja’s music to the credit of his keen sense of music and storytelling. remember listening to his songs Swathi Kiranam, While growing up in Guntur. “There was a time when I used to listen to these songs every morning,” says Vivek, a self-taught filmmaker who absorbed everything he could to watch the films made by these pathetic.
Nazriya and Nani in the film
of music pre cosmetologyThey were, he explains, designed with the vision of a stalwart like MS Viswanathan composing for a contemporary film that recounts the childhood childhood of Sundar and Leela in the 1980s or 90s. was.
Vivek’s parents, who worked at India Post, were also fond of the film: “I never had to hide that I went to see a movie. My dad used to ask me about the film and if I said it was good, he would plan to watch it soon.
Vivek’s brush with writing for cinema happened during his B.Tech studies and later at IBM. “Some of my friends were learning guitar. During the weekend I started writing and learning filmmaking. I can’t say that I was an avid reader, but I enjoyed the process of writing.”
Vivek works in isolation while writing a script and later, his team weighs in. He prefers to close the dialogues and pre-visualizations before the film goes on the floors.
Vivek emphasizes that like his previous projects, pre cosmetology It’s also a script-driven film: “It’s the most important aspect of a film for me. I can’t move forward until I have a script that I am sure of.”