Nagaraju becomes a successful sculptor in Vijayanagara and decides to return to Veerapuram. Nagamma voices her opinion which insults Govindamma and Nagaraju, who then decides to leave Veerapuram and earn money to convince Nagamma to approve his marriage to Malliswari. While Nagamma is keen to send her to Rani Vasam, Narappa wants his daughter to marry Nagaraju. Malliswari is against this and sees this as a prank by Nagaraju. Nagaraju and Malliswari, unaware of their true identity, converse with them, and Nagaraju asks them to recommend Malliswari to Krishnadevaraya for Rani Vasam. Krishnadevaraya and Allasani Peddana, along with a few soldiers, enter the same mandapa where there are impressed with Malliswari's talent as a singer and dancer. Once, Nagaraju and Malliswari visit the nearby village and take shelter in a mandapa at night during a rainfall. Malliswari's father Narappa, also the village head, is a silent spectator, and her uncle Hanumanthappa is a minister in the court of Krishnadevaraya, the king of the Vijayanagara Empire. This angers Malliswari's mother Nagamma, who criticises Nagaraju and his mother Govindamma, mainly for their economic status. Nagaraju and Malliswari of Veerapuram are maternal cousins who became close friends in childhood. The ones who violated the rule were hanged. While the families of these women continue to cherish their daughters, these women were prohibited from having any contact with any male or letting any male visit them without permission. According to the tradition, young women were made the official residents of the palace when palanquins were sent to fetch them from their homes, offering large quantities of gold and jewellery to the parents in exchange. On the centenary of Indian cinema in April 2013, CNN-IBN included Malliswari in its list, "The 100 greatest Indian films of all time".ĭuring the reign of the Vijayanagara Empire, "Rani Vasam" was a common tradition that was considered a "boon" for young women. It became the first film script to be serialised in the magazine Vijayachitra, and a few universities in the United States wished to have the film's script as a part of their textual studies.
Malliswari achieved cult status in Telugu cinema and is considered one of the best works of Reddy as a filmmaker. Reddy planned to dub the film into English, but backed out due to budget considerations. Malliswari was later screened at the 9th International Film Festival of India and the 1952 Peking film festival, making it the first Telugu film to be screened in an international film festival. It grossed over ₹8 lakh ( ₹0.8 million) and was commercially successful. It opened to a tepid response at the box office, but soon saw a growth in ticket sales due to favourable word of mouth. The production phase of Malliswari lasted for two years and the film was released on 20 December 1951. Shekhar was the film's production designer. Narayana and Vasu edited the film, and A. K. Konda Reddy provided the cinematography, H. R. Rajeswara Rao composed the film's music, Adi M. He also incorporated into the script a few incidents from his childhood for the pranks between Nagaraju and Malliswari. He employed Devulapalli Krishnasastri to write the film's script and took inspiration from Buchibabu 's play "Rayalavari Karunakruthyamu" and Devan Sharar's short story "The Emperor and the Slave Girl". Reddy wanted to make a film based on Krishnadevaraya's character ever since his visit to Hampi for the filming of his debut Vandemataram (1939). The rest of the film focuses on the consequences faced by Nagaraju when he, against all rules, surreptitiously enters the palace to meet Malliswari. Malliswari is sent to the king's palace according to the custom of "Rani Vasam", a tradition during the Vijayanagara Empire wherein young women were fetched to the palace with an offering gold and jewellery to their parents. Rama Rao star as a couple – Nagaraju and Malliswari – who are separated by Malliswari's greedy mother.
Malliswari is a 1951 Indian Telugu-language historical romance film produced and directed by B.
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