Bapu has his own style in song picturization. The camera doesn't zoom in or move unnecessarily, which is pretty natural, since one doesn't move around or zoom one's eyes to watch someone dancing in real life! The song Sreerastu Subhamastu� (Pelli Pusthakam) is an example of his signature style, and is enriched by all the elements named above. Raghavendra Rao's style is marked by filling the screen with colors, fruits, or flowers to make the frame livelier.

Krishnavamsi's style is essentially noticed in the use of lighting and camerawork. Notice the yellow hue in the song naa moguDu raampyaarii paan icchi� (Ninne Pelladatha!). Other examples include the songs alanaaTi raamachandruniki� (Murari) and even his latest mukku pai muddu peTTu� (Chandamama). Who can forget the impressive crane shot in the song Dum Dum Dum naTaraaju aaDaali� (Murari)!

When we think of song picturization, one song that surely comes to mind is Om nama@h... (Geethanjali), where the trolley shot going around the lead pair for more than three minutes and a half! In this song too, and in general, Maniratnam depends more on natural lighting or frames in scenes and even songs.

All these songs and director-choreographers are remembered not because of any great dance movements but because of impressive presentation of the songs! One doesn't need to make the hero dance the entire song with a single leg or do extraordinary break dances and crunches to make the song memorable, really! All that matters is how well it has been conceived and picturized.

This article would remain incomplete if I miss the name of Megastar Chiranjeevi who brought audiences to the theater just with the grace in his dance. In the present generation of young heroes, NTR has the potential to mesmerize the audience and let them think specially about his dances even after coming out of theaters.

Dances are here to stay. So, let's continue to enjoy them!

Article by  : Sai Jeedi