More than a decade ago, in 2013, on the occasion of 100 glorious years of Indian Cinema, CNN IBN conducted a poll that crowned Mayabazar as the greatest Indian film of all time, surpassing Sholay, Pather Panchali, Mother India, and other landmark films. This article serves as a justification for that poll result. Mayabazar is also considered an achievement in cinema for its VFX usage in the 1950s, which still holds up today, and its outstanding cinematography and direction.
What is Mayabazar?
Mayabazar literally means “Magic Market.” The film focuses on a fictional folklore from the Hindu epic Mahabharata, while keeping the main story and characters intact. The plot revolves around Balarama, who promises to marry his daughter Sasirekha to Abhimanyu when they grow up. However, Balarama forgets his promise and decides to marry Sasirekha to Duryodhana’s son, Laxmana Kumara. Lord Krishna sends Ghatotkacha to set things right.
What Makes Mayabazar the Greatest Film of All Time?
There are many aspects that make Mayabazar a spectacle, but I’ve rarely seen anyone talk about these points. Maybe it’s because I watched it on the big screen after almost a decade, with a fresh take on the film.
The film doesn’t waste time introducing each character. The creators assumed that the audience was clever enough to already know the story and characters of the Mahabharata, so the movie starts right in the middle without lengthy introductions. Only Sasirekha gets a proper introduction, as she is a relatively new character for the audience. I feel this is missing in today’s filmmakers, especially in Telugu commercial cinema, where directors and writers tend to spoon-feed the audience, leading to the failure of many films.
It’s high time filmmakers revisit classics. Audiences don’t always crave a Pushpa, Devara, or RRR. If that were the case, films like Sagara Sangamam, Mayabazar, Gundamma Katha, and Shankarabharanam wouldn’t have gained such acclaim. If there were a generational gap, films like Ante Sundaraniki wouldn’t have developed a cult following. People are ready to accept great cinema if it is made with intent, not just the repetitive, cringe-worthy commercial content being fed to them weekly.
Pathbreaking Vision
Sixty-seven years after its release, I’m still amazed at how certain scenes were shot. How was this even possible in the 1950s, when technology was limited? Everything was manual, and the effort required to shoot some of those scenes is a testament to the passion the creators had for the project. Take the entire Vivaha Bhajanambu sequence, Ghatotkacha’s transformation, the flying plates and sandals, or the arrow vs. gada battle between Abhimanyu and Ghatotkacha. These are just a few examples from the top of my head. The film is filled with such memorable moments.
The Cast
The cast of Mayabazar could put today’s stars to shame. It features two of the biggest stars of that generation, NTR and ANR, along with legends like SV Ranga Rao, Gummadi, Suryakantham, Allu Ramalingaiah, and the queen herself, Savitri. Getting a multi-starrer like this today would be nearly impossible.
Even RRR didn’t have this level of ensemble cast; it was either Jr. NTR’s film or Ram Charan’s film. But in Mayabazar, there is no clear main lead. One could view it as NTR’s film, ANR’s film, SV Ranga Rao’s film, or even Savitri’s film. This only happens when the story takes precedence over the stars.
NTR garu as Lord Krishna exudes devotion. You feel the reverence for Krishna just by looking at him—no wonder he portrayed the role of Krishna so many times. ANR was excellent as Abhimanyu, though not one of his career-defining roles, it’s still a solid masterpiece to have in his filmography. SV Ranga Rao steals the show in the second half as Ghatotkacha—both metaphorically and literally during the Vivaha Bhajanambu sequence.
Relangi as Laxmana Kumara was fantastic, evoking laughter every time he was on screen due to his incredible aura and the character’s charm. Savitri garu also played a significant role, especially with the way she portrayed Ghatotkacha disguised as Sasirekha. If I had to choose one actor without whom Mayabazar would be impossible to make, it would be Savitri. Her ability to immerse herself in the role, making the audience forget her real-life persona, is a hallmark of an iconic performance.
KV Reddy’s Genius
KV Reddy wrote the screenplay of Mayabazar in such a way that not a single scene feels boring, even for today’s fast-paced audience. The film is thoroughly engaging from start to finish. He didn’t deviate from the main story to explore bigger canvases from the Mahabharata. Instead, he focused on Sasirekha’s marriage and aced it, making many viewers interested in the epic itself.
The comedy, though mostly slapstick, is brilliantly executed, generating laughter throughout the film. Even the gibberish spoken by Lambu Jumbu was hilarious. KV Reddy should be celebrated alongside other auteurs of Indian cinema, with Mayabazar as his magnum opus. Also, Reddy practically introduced the concept of Skype five to six decades before it existed!
The film also touches on themes like greed, which blinds characters from the truth—like how Balarama fell into Sakuni’s trap, but had Krishna to save him.
The Soundtrack
The soundtrack of Mayabazar is timeless, with every song still being hummed almost seven decades later. Whether it’s Vivaha Bhojanambu, Aha Na Pelli Anta, Laahiri Laahiri Lo, Neevena Nanu Thalachinadi, Srikaru Devathalu, or Choopulu Kalisina Subhavela, each song is iconic. Srikaru Devathalu and Vinnava Yasodhamma have profound lyrics that describe the plot and characters within just a few minutes. Ghantasala garu went into “God mode” while composing this album. Even the minute-to-minute sound effects and sound mixing were exceptionally done.Considering all these factors, I’m usually someone who believes that each film has its own greatness. However, Mayabazar easily qualifies as the greatest Indian film ever made, and I doubt any other film will surpass what this masterpiece has achieved.
Nazeef is a cinephile in the truest sense of the word. While his devotion to Martin Scorsese is unparalleled, his love for cinema knows no boundaries. He explores films from every corner of the world with a deep curiosity and a critical eye. Every movie he watches opens up new perspectives, and his reviews always bring fresh insights, making him an essential voice in the global film community.