Star Interviews
Interview with M M Keeravani
By Sri
Jul 15, 2006 - 10:27:00 PM

vENuvai vacchaanu bhuvanaaniki...,  bangaaru kODipeTTa...., adigO alladigO..., mannEla tinTiviraa kRshNaa..., antaa raamamayam..., poosindi poosindi punnaaga..., jaamuraatiri jaabilamma..., nallaanallani kaLLa pillaa..., telusaa manasaa... ...

Each song is different from the other, a different mood, a different tune, and a different style. The only one common thing for all these numbers is the composer M.M. Keeravani, who goes by the name Keeravani in Telugu, M.M. Kreem in Hindi, and Makaratamani in Tamil. Whatever be the name, his music goes places.

Though I tried to contacted him now and then, I haven't really worked on that seriously. When I recently heard about his controversial interview to a magazine, I tried to contact him, but his frequently changing mobile number made it difficult. Then, I finally called his home and got hold of him in the early hours of morning. Initially, he was hesitant to talk to someone he didn't know, but when we spoke for sometime, he reluctantly agreed to talk after sometime as he was busy with Vikramarkudu re-recording at that time. Again, his cell number changed and I had trouble getting in touch with him. With the help of Sree Gunnam Gangaraju gaaru, I finally got him, and this time he was more comfortable and we did the interview when he was at the recording theater in Chennai taking care of re-recording for Amma Cheppindi.

TeluguCinema.Com provides the exclusive long interview to its readers. Though he achieved success, he was down to earth and very frank in expressing his opinions - a rarity in the industry!

Sri: Where shall we start? With your background, perhaps?

Keeravani: (laughs) I know you did Nandi's (S.S. Rajamouli) interview last month. So you know pretty much about it. ...I was also in vacation with him in Jaipur when you spoke to him! ...From the beginning, I was interested in music. So, my father sent me to a music teacher and I learned music from a very young age. After my intermediate in Kovvuru, we moved to Madras when my father decided to make a film, which never materialized. Later, I joined the music director Chakravarthy gaaru as an assistant.

Sri: Which film was that?

Keeravani: I do not remember exactly, because at that time he was doing ten films all at once! That was about the time of Yuddhabhumi, around 1987. I remember doing for the films like Collector Gaarabbaai and Bharatamlo Arjundu at that time. I worked with him for almost ten years. I then worked with Veturi gaaru for one year...

Sri: With Veturi gaaru? What sort of work did you with him?

Keeravani: Oh, just following him for one year. Then, I got my first break with the film Kalki...

Sri: Never heard about that! I always thought your first film was Manasu-Mamata and then came Kshanakshanam and Seetharamayya Gaari Manavaraalu.

Keeravani: Manasu-Mamata was released first, and Kalki had never seen the light of the day. It was produced by Suryanarayana Raju gaaru (Prabhas's father). Then, my second film was for Sriram Kumar (a.k.a Rajababu, brother of Jayaprada). I was the ghost music director for that. Then, my third film was Manasu-Mamata for Ushakiron Movies, which was released first. The fourth one was Daagudumoothala Daampathyam with ANR and Rajendra Prasad under Kodi Ramakrishna's direction. ...Then came Kshanakshanam and Seetharamayya Gaari Manavaraalu.

Sri: So, your first film Kalki was not released, and so was the film Maina, which had a super hit song kommala daagina mainaa... and other good ones. Do you have any plans to release those sort of songs as an album sooner or later?

Keeravani: There are some more films and songs which are lying idle after recording. My option is to use them for the film only, since they get good exposure only then. I might think of albums and stuff once I retire. At present, I do not have any thought about it.

Sri: Anyway, Kshanakshanam was a big hit in audio at that time. But the song jumbarE... was a straight lift!

Keeravani: Sridevi liked that song and wanted that in the film. I was just beginning and I did not have much choice than to use it as it was. Except for one song jaamuraatiri jaabilamma... all other songs are done according to the wishes of the director and others. Now, people remember that song more than the others (laughs).

Sri: I am surprised that you didn't work with Ramu after Kshanakshanam though it was a really big musical hit. Your next combination was after long – W/o V. Varaprasad on his banner. Why was that?

Keeravani: Actually, I worked for another film with him. Not a complete film but just a song – gunDellO daDadaDalaaDE merupulatO... (Antham). I was also supposed to do BGM for the film Raat, but there was a dates clash that prevented me from doing that and he was upset...

Sri: You did with Vamsy in Varma's banner, but after that film you never worked with him again. At least one song in that film was good...

Keeravani: Vamsy gaaru is a good person, but the problem with Vamsy gaaru is that he gives his own tunes and asked me to develop them. So I was not comfortable with that. That is the reason we never worked together again.

Sri: You repeated poosindi poosindi punnaaga... from Seetharamayya Gaari Manavaraalu for Annamayya again...

Keeravani: That's because it is the same producer and he liked the tune and requested to keep that in Annamayya also. After Seetharamayya Gaari Manavaraalu and Kshanakshanam, my major hit came with the film Gharana Mogudu. Allari Mogudu followed and I became well known by then.

Sri: Oh yeah, and I think that was when your association with Raghavendra Rao started! How many films you did together? Twenty, maybe?

Keeravani: I did fifteen films with him. Out of them eleven were hits and four – Muddula Priyudu, Paradesi, Allari Bullodu, and another film (Sahasaveerudu-Sagarakanya) – were flops. Out of these, only one film I can say was a disaster even musically, and that's Allari Bullodu. Others at least had good music anyway. While doing this film, all of us were insecure and everyone wanted to implement their own ideas, which resulted in a mess and showed glaringly on the end result.

Sri: Working for so many films with him, what prompted your startling comments in the controversial interview?

Keeravani: I said the truth, and people know the truth. What's wrong in saying that?

Sri: Your statement created shock waves in the industry. Didn't you get malicious or angry calls from people?

Keeravani: Yes, I got. In fact, YVS Chowdary who came to the Vikramarkudu function asked me about it himself! See, what I said is I worked hard on the re-recording and Raghavendra Rao directed me on that. What I said was true and even Raghavendra Rao gaaru agreed to it. So why is there so much of a hue and cry on that, I don't understand still! People need to speak the truth for their own health. If you keep something on your mind and talk something else, you will have health problems because of that (laughs).

Sri: I heard that you gave a statement saying that everyone was upset after seeing the double positive of Sree Ramadasu and that your re-recording have saved the film from disaster. Don't you think it will work against to you?

Keeravani: I said the fact! I know it will work against to me, but even after I said that, I doubt if the Telugu media has guts to publish it; they don't usually print that sort of stuff. 

Sri: That's because industry people try to handle the press in their own way. I know when a big hero's film was released, his fans were at the reviewer's house and threatened him to write positively. Even we had problems sometimes because of this!

Keeravani: Why don't you guys also write like newspapers, after a week of the release?

Sri: Because things changed, like you said before. This is the age of Internet and WWW. People like to get the news right away. But show me a film whose box-office result changed largely because of its review! For example, movies such as Pokiri, Athadu, Chatrapati had mixed reviews and even a lot of negative remarks too. But that didn't stop them to become big hits. Why do they impose on writing positive reviews then, I don't understand!

Keeravani: That's because people in the industry want to show their displeasure on someone who is easy for them when the film didn't run. I think you reporters are becoming easy targets because of it. I agree with you, that if the film is liked by the audience, no review can stop them from seeing it!

Sri: Anyway, getting back to the topic, tell me about re-recording and how it helps the film. What exactly does re-recording comprise of?

Keeravani: One easy example: when you attend a marriage where there's no shehnai or band music, you will hear a lot of people talking to each other, which accounts to a lot of disturbance. When the music is playing, you get the feeling of being in the marriage ceremony, and you are more intently involved in the happenings. Similarly, if you watch a film that has no background music, you'd feel sleepy and you may not be able to pay any attention to the film. Re-recording is what gaps the bridge here.

Sri: But you never get proper recognition for your hard work. What do you feel about that?

Keeravani: Some people among the audience do recognize that, and that's more than enough! Also, we get more offers due to that, which is a monetary benefit!

Sri: But after some point of time, money does not give enough satisfaction, right?!

Keeravani: True. After some time, you do not care for money. A creative artiste's real satisfaction is what you want. That's when you start doing films selectively.

Sri: Okay, and you're doing films selectively now. But, why do you need to do songs like O Tennis bantula paapaa... (Vikramarkudu)?

Keeravani: I agree with you. But the fact is that people would not want to see Raviteja for songs of Annamayya or Sree Ramadasu. Also, another thing is that you are seeing the completely edited version of the song. The original was loaded with more double meaning words. I intervened and made it less spicy than the original. The main thing is that I am not the director. You should've asked the director about this! I am only a music director, and I'd not do that sort of song in my film if I were the director myself.

When the audio was released, Urmila gaaru (Mrs. Gunnam Gangaraju) called and asked me the same thing. Then it was her son who replied to it saying that things are changing, citing a song by the 50 Cents, which is a chartbuster now, despite the fact that it has an unspeakable word in it. So if people are accepting that, why not this one? ...I agree with you, but things are changing a lot, and we cannot stop them. We are competing globally in all things. I think we are doing the same here too (laughs). ...No one talks in Telugu now. We permanently replaced "namastE, baagunnaaraa?" with "Hey, how are you?" now.

Sri: So, did you actually ever think of becoming a director?

Keeravani: Around 1999 or 2000, I didn't have many hits. At that time, I was almost sitting idle, and then I did have plans to of wielding the megaphone. Fortunately, I had hits later and I became busy again.

Sri: You did two devotional films, Annamayya, and Sree Ramadasu. You had no qualms about Annamayya but what irked you in the case of Sree Ramadasu?

Keeravani: The producer gave more value to the product in case of Annamayya. He worked with sincerity. Whereas for Sree Ramadasu, the producer wanted to make it cheap. He was more into making the quick bucks rather than making a good film.

Sri: Saint Annamacharya's songs had already been popular due to the hardship of Smt. Sobharaju gaaru. When you were doing the songs for the movie, you made them a little or a lot different from what she did earlier. Didn't you doubt that people will reject them?

Keeravani: If you have faith in what you are doing, then it will work out! For example, I didn't have faith in what I did for Allari Bullodu, and you know the result! For Annamayya, and even Sree Ramadasu, I had complete faith in my 'experiments' ...and it worked!

Sri: With Sree Ramadasu however, I have a complaint: non-Telugu singers spoiled the feel of the songs. Don't you think so?

Keeravani: I tried my level best to make most of the songs with SPB, it was Bharavi's idea to use maximum number of singers for the film, like Rahman does. And the team also agreed with that suggestion. I still made Balu sing most songs, and I had to give the other songs to various singers due to pressures on me.

Sri: Did you watch Sree Nagaiah's Sree Ramadasu before doing the film?

Keeravani: I saw that once before. Nagaiah gaaru is a legend. I like his Devatha a lot.

Sri: Given a chance to re-do films like Annamayya and Sree Ramadasu, would you make any changes to what you have already done?

Keeravani: With Annamayya, I do not want to make any changes - it's perfect! With Sree Ramadasu however, only one thing that slipped our mind was to get some songs with Sree Mangalampalli Balamuralikrishna gaaru who had rendered Ramadasu keertana-s very impressively. After the audio was released, one of the fans reminded that. I felt bad about it, as it slipped out of my mind before it was too late.

Sri: Are you expecting any awards for Sree Ramadasu like you got for Annamayya?

Keeravani: To tell you the truth, Annamayya got the award as they distributed them, and also with some lobbying by the producer. I am not expecting any award for Sree Ramadasu. People accepted Sree Ramadasu which itself is a great achievement for me, and that's enough!

Sri: You worked with different kinds of directors in your career. How do you blend with their tastes?

Keeravani: That's easy! When you start thinking by being in others' shoes, you can do it. Everyone has a different point of view. If you know the technique and adapt to it, then it will be a piece of cake for you!

Sri: What do you look for before you sign a film?

Keeravani: I'll listen to the story and I am the boss at that stage. If I liked the story and setup and once I agree the film, the director becomes the boss. Others come only after that.

Sri: Don't you get the pressures from the hero and other people when you are doing a film?

Keeravani: When I was a newcomer, I used to, but not anymore. They leave to my better judgement now.

Sri: What about payment for your work? Do you always get the remuneration for the film as agreed upon earlier?

Keeravani: It depends. Mostly the producer wants to give all the payment. They do not have intentions of not paying. They want to pay, but if the film fails he cannot do so. In that case, we may not get paid like agreed upon, which is natural and I am okay with it. In all my career, I had problem with only one producer, who had enough money and the film was a hit but didn't pay as he was the most stingy person I ever met in the whole of my career. ...Don't ask me the name, I will let you know when we meet next time! (laughs)

Sri: Most of your films have a lot of violin in the background than any other instrument. Any particular reason?

Keeravani: That's because I started my music with violin, and I am more comfortable with that and feel that I can elevate the mood with that. At the end of the day, of course, it all depends on the situation. I use other instruments too, as is necessary. But, like you said, I tend to use violin more than others due to my fundamental interest in the instrument.

Sri: Apart from providing music, you are also a singer and a lyricist!

Keeravani: I am not professional in both these areas. I sing very rarely, out of the 1200 songs that I composed, I might have sang a hundred. Other music directors of the current day sing more often, which I am not doing. Even penning lyrics is also very rare. I was exposed to literature from childhood, and I thus try my hand at it sometimes.

Sri: On what basis do people make the hexa-platinum disc functions? They usually fall right before or after the release of the film, but not well after that!

Keeravani: (laughs) That's still a mystery to me. No one knows how many were sold and all these functions are mere publicity gimmicks most of the time! We never get the correct figures from them unfortunately.

Sri: You earlier stated that Telugu films are your bread and butter, but Hindi films are your passion. Why don't Telugu films deserve your passion, when sometimes you used your original Telugu tunes in Hindi, like naadiridinnaa... (Okariki Okaru) in Paheli?

Keeravani: I did reuse some tunes, yes, not always but may be one or two. They are my own tunes and why can I not reuse them? Why I said working in Bollywood is my passion is because Telugu film songs are more dance-oriented. Though Hindi films are also like this, they have some music-oriented films too, and I like to do that sort of films.

Sri: You're not talking about soft-porn films of Mahesh Bhatt, are you?

Keeravani: Not all of them are like that. I am very choosy there too. So, it is not that I do all the films of Mahesh. I did Paheli for Amol Palekar, and also for director Sudhir Mishra's films. 

Sri: What about Tamil films?

Keeravani: I did very less movies in Tamil, hardly fifteen, maybe. Out of them, only one film, Balachander's Vaname Ellai was a super hit. Later, it was dubbed in Telugu as October 2, but it was a flop in Telugu.

Sri: Tell me about your current film Amma Cheppindi.

Keeravani: It's a different genre film, like all 'Just Yellow' films – A film for one and all. The film has its own flavor and is different from the routine. Depending on the success of the film, I am sure we'll see more of Amma Cheppindi kind as usual. As of now, more than half a dozen 'Pokiri's have been launched! It is usual for our film makers to go with the trend and not to break it. Only who breaks the trend will become the star director for some time. This is a circle...

Sri: How is the film coming up?

Keeravani: It's definitely a different film. Sharwanand got a wonderful role and has given a great performance. I suggested Bhanupriya for the mother role, but Raju (Gunnam Gangaraju) thought Suhasini would suit better and cast her in the film, and Suhasini did a wonderful job too. Sharwanand will be noticed a lot after this film. He pumped life into that role.

Sri: How come you started your own audio company instead of selling it to the regular companies?

Keeravani: That's because most companies offer good price only for big heroes' films heroes. They don't offer enough for a film like this. Now, we released on our own and the audio is good. We made good money and it is on the top ten list already. So in that way, we did succeed.

Sri: What next, after you're done with this?

Keeravani: As of now, I have not yet finalized anything. I will do one film at a time from now on.

We spent more than an hour talking, even after the interview was over, but people were waiting for him in the re-recoding room and I was thus forced to conclude the conversation. I wished him best of luck for his future projects and promised to keep in touch.

By Sri
Compiled and Edited by NaChaKi

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