Generations of Telugu audiences indeed were mesmerized by the way NTR perfected the role of Krishna, showing the god as human and divine simultaneously.88 NTR’s Krishna was mystical but playful, romantic now, esoteric the next, earthy and angelic alternatively. Unflappable always, he maintained a beautiful poise that was both charming and celestial. NTR combined the masculine and the feminine of the character in an endearing way. He was probably the most handsome Krishna ever seen on-screen, who also had the right amount of gravitas to give the character depth. His utterances as a divine being were measured but spoken with warmth and grace. There was a certain amount of stylization in his depiction of Krishna. It was understated, restrained and conveyed a transcendental experience.
Whether he was romancing Satyabhama, teasing the Pandavas or censuring the Kauravas, NTR’s Krishna retained the divine aura. The best of directors, writers, cinematographers and supporting cast helped NTR ‘kill’ the role in film after film. His own discipline and dedication when playing these roles were legendary. Though a foodie, he did not touch meat during the shooting of such films. He slept on the floor and rarely indulged in small talk. His costumes and jewellery, many of which he would help design, weighed many kilos during the prolonged shoots.90 He would patiently sit through hours of make-up to get the right look.91 He was also an amateur sketch artist, and came up with the look of many of the Puranic characters. Egged on by eminent directors like K.V. Reddy and Kamalakara Kameswara Rao, he practised every move, every gesture, every expression and every turn of phrase for hours. Such devotion helped him confer these mythological characters with a recognizable persona.
NTR carved a niche for himself as Lord Krishna in Maya Bazaar (1957); Ravana in Bhookailas (1958); Lord Venkateswara in Sri Venkateswara Mahatyam (1960); Bhishma in Bhishma (1962); Rama in Lava Kusa (1963); Valmiki in Valmiki (1963); Arjuna/ Brihannala in Narthanasala (1963); Bhima in Pandava Vanavasam (1965); and Duryodhana in Sri Krishna Pandaveeyam (1966). His versatility became especially evident in essaying diametrically opposite characters such as Rama and Ravana, or Krishna and Duryodhana, sometimes in the same film. As he gained the confidence of the audience, NTR went on to play two, three, four and even five Puranic roles in the same film.
His ability to define each Puranic character distinctly and elevate them to a level unseen on the Telugu screen was widely recognized and appreciated even by the unlettered viewer. He had a talent for memorizing long-winded, alliterative and declamatory monologues, and modulating them with excellent voice control and pitch. While earlier actors continued with the stage performance style of the portrayal of gods and mythical personalities in motion pictures, NTR came up with more refined and nuanced presentation. He experimented with storytelling, characterization, the idiom of language and the technique of presentation in his films. He produced, directed and wrote some of his mythological movies. He would get greatly excited by any new perspective on mythological stories and continuously update himself on the nuances of these tales. Over time, his expertise in interpreting mythological stories and characters on-screen was acknowledged.
Every one of his movies on Lord Krishna remains a classic in Telugu cinema. The much-acclaimed Maya Bazaar was his first full-length portrayal of Lord Krishna. After that, he essayed the role seventeen times, leaving a lasting impression on the viewers.
[Excerpt from Maverick Messiah - A Political Biography of N.T. Rama Rao]