| B.S. Ranga | |
|---|---|
| Born | November 11, 1917 Magadi, Karnataka, India |
| Died | December 12, 2010 (aged 93) Chennai, Tamil Nadu, India |
| Occupation | Cinema, Photography |
Bindinganavale Srinivas Iyengar Ranga (11th November 1917 - 12th December 2010 [1]) was born in Magadi Village (near Bangalore, India) in the erstwhile princely state of Mysore (now part of Karnataka State). After an art-enriched childhood wherein he interacted with many stage personalities, B.S.Ranga entered the field of photography. At the age of 17, the self-trained Ranga sent some of his work to be exhibited at the Royal Salon in London, and was elected an Honorary Fellow of the Royal Photographic Society.
Subsequently, he moved to Bombay (now Mumbai) and apprenticed himself to the famous cameraman / laboratory technician, [[Krishna Gopal. B.S.Ranga then embarked on a film career lasting more than five decades, during which he played the roles of cinematographer, director, producer, laboratory owner, studio owner, exhibitor and script-writer, sometimes all at once for one of his productions. His production company, Vikram Productions, gained fame and fortune throughout the 60's and 70's, and won B.S.Ranga many awards, including two President's Awards. The first was for "Tenali Ramakrishna" in Telugu (starring N.T. Rama Rao and Akkineni Nageswara Rao), and the second was for "Amarshilpi Jakkanna", the first colour movie produced in Kannada.
B.S. Ranga's (partial) filmography includes:
| No. | Film | Year | Language | Credits |
|---|---|---|---|---|
| 1 | Pardesi | 1940 | ||
| 2 | Pyaas | 1940 | ||
| 3 | Prakash | 1940 | ||
| 4 | Bhakta Tulsidas | 1941 | ||
| 5 | Mehman | 1942 | ||
| 6 | Fox Movietone News | 1942 (?) | ||
| 7 | Bakta Naradar | 1943 | ||
| 8 | Bala Nagamma | 1944 | Telugu | Cinematographer |
| 9 | Dassi Aparanji | 1945 (?) | ||
| 10 | Devdas | 1950 | Telugu | Cinematographer |
| 11 | Sthri Sahasam | 1951 | Telugu | Cinematographer |
| 12 | Shanthi | 1952 | ||
| 13 | Maa Gopi (Jaya Gopi) | 1954 | Telugu | Director |
| 14 | Kannavane Kankanda Deivam | 1955 | ||
| 15 | Baktha Markandeya | 1955 | Telugu | Director |
| 16 | Tenali Ramakrishna | 1956 | Telugu | Cinematographer, Director and Producer |
| 17 | Tenali Raman | 1956 | ||
| 18 | Kutumba Gauravam | 1957 | Telugu | Director |
| 19 | Mahishasura Mardini (Durga Mata) | 1959 | ||
| 20 | Raja Malaya Simhan (Mohabbat Ki Jeet ) | 1959 | Telugu | Director |
| 21 | Chandrahasa (Gunavathi) | 1960 | ||
| 22 | Nichaya Thambulam | 1961 | ||
| 23 | Pelli Thambulam | 1961 | Telugu | Director |
| 24 | Ashajeevulu | 1962 | Telugu | Director |
| 25 | Thendral Veesum | 1962 | ||
| 26 | Pyaar Kiya To Darna Kya | 1963 | ||
| 27 | Amarshilpi Jakanachari | 1964 | Kannada | |
| 28 | Amarshilpi Jakanna | 1964 | Telugu | Director |
| 29 | Pratigne | 1964 | ||
| 30 | Chandrahasa | 1965 | ||
| 31 | Chandrahasa | 1965 | Telugu | Director |
| 32 | Mahasati Anusuya | 1965 | ||
| 33 | Parvathi Kalyanam | 1967 | ||
| 34 | Vasantsena | 1967 | Telugu | Director |
| 35 | Bhale Basava | 1969 | ||
| 36 | Mr. Rajkumar | 1970 | ||
| 37 | Sidila Mari | 1971 | ||
| 38 | Bhai Behen | 1972 | ||
| 39 | Mannina Magalu | 1973 | ||
| 40 | Pattikatu Ponnaiah | 1973 | ||
| 41 | Ganga Ki Kasam | 1975 | ||
| 42 | Suli | 1978 | ||
| 43 | Bhagyavantha | 1981 | ||
| 44 | Hasyarathna Ramakrishna | 1982 | ||
| 45 | Huliyada Kala | 1984 |
Vikram Studios: A short history
Inception
Ranga was the official cameraman at Gemini Studios from 1944 until 1951. Subsequently, he worked with many other producers and finally produced some pictures himself. Ranga was very successful in these endeavors, and saved enough money by 1956 to realize his dream, setting up his own studio and laboratory. Ranga acquired the Vikram Studios property in 1956 using his own funds. The property at Arcot Road, Kodambakkam, comprised 48 grounds and was purchased partly from a Muslim family and the rest from BNK Press (owned by Mr.Nagi Reddy) for a sum of Rs.45,000. The property was a mango “thope” at the time, and was blessed with a large well yielding sweet water. Two shooting floors (A-Floor and B-Floor), a sound recording stage, a small projection theatre and a film processing laboratory were constructed between 1956 and 1960. Each shooting floor covered 12,000 sq-ft, and was 36 feet high. In 1962 he constructed the V-Floor of 16,000 sq-ft. The water from the well on the studio property was usable without treatment in the laboratory.
Being a technician at heart, Ranga equipped his studio with the best equipment from around the world. Sturdy Mitchell cameras from Hollywood, ArRi light-weight cameras from Germany and precision Seiki cameras from Tokyo, Japan, were some of the equipment with which he outfitted his new studio. RCA sound recording and mixing systems, along with the best of studio lighting systems from Hollywood, with a thousand other specialized accessories like “crab dollies”, “crane dollies”, etc., rounded out his equipment suite. For the lab, however, Ranga designed and fabricated all the processing equipment himself, based on his extensive knowledge of processing technology acquired during his Bombay stint and subsequent Gemini experience.
Growth and Glory Days
Vikram Studios and Laboratory grew steadily in the Sixties to become one of the landmark institutions of the Madras film industry. The many different departments that were established were Camera, Sound, Costume, Make-up, Lighting, Art, Painting, Carpentry, Moulding, Laboratory and Production. One great thing about Vikram Studios was that most of the initial employees were “freshers” to the film industry and were trained in their duties by B.S.Ranga. On gaining experience, they were promoted to head their departments, and trained their own subordinates. In its heyday, Vikram employed 180 people.
The light-boys were a lively bunch, much given to good-natured practical jokes and typical Madras “kindall”. Employees who took themselves too seriously were quickly brought down to earth by their friendly teasing. Carpentry and Moulding were very important in those days where all films were shot on sets, and a good many were mythological. Sets were rapidly constructed from wood and “gaada” unbleached cotton cloth with a touch of sprayed-on paint, in 1 – 2 weeks based upon sketches generated by the Art department. Amazingly realistic sculptures resulted from skillful plaster-of-paris mouldings and masterful application of paint. The skill and professionalism displayed in every department was extraordinary. Everything was nailed together rapidly.The carpenters were hyperactive, with their mouths stuffed with 4 inch nails and their hands busy swinging claw hammers. The accountants often grumbled that the sets were constructed out of nails, with wood and cloth as decoration. The smell of a fresh set, with its bewildering mixture of paint, freshly-cut wood, make-up, coffee and other interesting odours, heated by the powerful lights, is unforgettable for anyone had the good fortune to be there. The director and cameraman quietly discuss the shot and the cameraman quickly directs the attentive light-boys in lighting the set. The overhead walk-ways crowded with huge 2-K and 5-K lights and crowded with light-boys in khaki shorts, half hidden in the darkness was a weird contrast to the brilliantly lit set. The director explains the scene and rehearses the actors in their dialogue delivery. The stern call of the director for “Silence!” followed by “Camera!”, “Rolling!” and “Action!” still resonates in the ears. The actors deliver their lines into the sudden cavernous silence of the set. This is followed by a triumphant “Cut!” by the director. The production manager and his assistants are busy with carrot and stick, orchestrating the whole affair. This goes on through the long, hot, hard Madras day, until the blessed call for “Pack up!” brings a sigh of relief to everyone's heart.
The scene then moves to the laboratory. The pitch-dark halls of the laboratory, with the sibilant hissing of the film moving swiftly over a thousand rollers as it dove in and out of developer, short-stop and fixer remains a spooky memory. The eerily-silent showing of the “rushes” in the projection theatre, with its confusing out-of-sequence scenes with multiple “takes” is also a lasting memory, one that will be quickly lost in today's digital era. The rapid winding back and forth on the “Movieola” editing machines, the dialogue squawking at high speed, with the skillful cut and splice of negatives was an amazing feat that went on day and night, with tight release deadlines looming.
Vikram Studios operated from 1956 until 1978. In those 22 years, Ranga produced more than 50 pictures at Vikram, many shot separately in Kannada, Telugu and Tamil on the same sets with different casts of actors. Often, Kannada was shot from 6 AM to 2 PM, with Telugu from 2 PM to 10 PM, on the same floor. Outstanding among them are "Tenali Ramakrishnan", “Amarshilpi Jakkanna” and “Nichai Tamboolam”. The top actors and actresses of the Tamil, Telugu and Kannada film industries, including Sivaji Ganesan, Nageswara Rao, Rajkumar and MGR, along with famous actresses like Padmini, Saroja Devi and Jayalalithaa, performed in some of their best roles while shooting at Vikram. In addition, many other producers shot their pictures at Vikram, drawn by the expertise and professionalism that it was famous for. Vikram Studios was forced to close in 1978 due to a variety of reasons, including rising labour costs and the trend of pictures to be shot on location rather than in sets. The last straw was the declining fortunes of Vikram Productions, B.S.Ranga's film company, which had kept Vikram Studios and Labs busy during the past two decades.
Vikram was never the biggest studio, but it was always acknowledged as one of the best.