“Balakrishna Garu is the Perfect Sri Krishnadevaraya; Aditya 369 Was a Divine Creation – Director Singeetam Srinivasa Rao”
Singeetam Srinivasa Rao is a visionary filmmaker whose contributions transcend Telugu cinema, leaving a lasting impact on Tamil and Kannada industries as well. His films are known for their universal appeal, and among them, Aditya 369 stands as a timeless classic. Originally released in 1991, the sci-fi adventure starring Nandamuri Balakrishna in a dual role is set for a grand re-release on April 4th. The 93-year-old director recently reflected on the film’s legacy and the journey behind its creation.
How does it feel to see Aditya 369 re-released with 4K digitization and a 5.1 sound mix after 34 years?
It’s an incredible experience! When we made the film, we pushed the limits of technology available at that time. Looking back, there were moments when I wished we had access to today’s advancements—it would have been even better! Producer Sivalenka Krishna Prasad has meticulously upgraded the film to match contemporary standards, and I’m excited for audiences to witness this version.
Many believe Back to the Future inspired you. Is that true?
Not at all. My inspiration came from H.G. Wells’ novel The Time Machine, which I read during my college days. Time travel fascinated me, and I often discussed it with friends. Hollywood had explored this concept in black-and-white films long before.
The idea for Aditya 369 took shape when I was on a flight to Bengaluru with S.P. Balasubrahmanyam (SPB). I shared the story with him, and he was instantly captivated. While many producers hesitated to back a science-fiction film, SPB believed in the idea and pitched it to Krishna Prasad. Despite having little knowledge of the genre, Krishna Prasad Garu trusted his instincts and took the leap of faith.
How did you decide on the historical setting and Balakrishna’s casting?
The story had three timelines—past, present, and future. When choosing a historical period, I wanted something engaging yet distinct from mythology. The two strongest options were Sri Krishnadevaraya’s Vijayanagara era and Akbar’s Mughal empire. Since N.T. Rama Rao Garu had already portrayed Krishnadevaraya on screen, it felt like the perfect choice.
Having worked on Mahamantri Timmarusu, I was deeply familiar with this period. When thinking about who could embody Krishnadevaraya, only one name came to mind—Balakrishna. He was our first and only choice, and he agreed immediately.
How did you approach the futuristic aspects?
For the future sequences, I researched extensively at an American Library, exploring futurology—the study of predicting future developments based on statistical analysis. While real futurology is science-driven, I needed a creative interpretation. Jandhyala and I brainstormed, weaving together imaginative yet plausible futuristic elements.
How long did it take to complete the script?
Jandhyala and I structured the story within two weeks, followed by a month and a half of dialogue writing. We felt the narrative needed a strong link between the three timelines, which led us to introduce the diamond from the Vijayanagara era as a central connecting element.
You worked with some of the best technicians. What was that experience like?
We always wanted Ilaiyaraaja Garu for music, and he instantly agreed. However, cinematography was an act of destiny. Initially, P.C. Sreeram Garu started filming but had to step down due to health issues. V.S.R. Swamy Garu took over for the historical sequences, while Kabir Lal handled the futuristic scenes. It was remarkable to have three cinematographers contribute to the film’s visual grandeur.
How was the time machine designed?
Peketi Ranga Garu designed the Krishnadevaraya sets and created the time machine after multiple sketches and discussions. We ensured it had a realistic look with functional elements like steps, chairs, glass panels, and even a rotating mechanism with smoke effects.
How did you finalize the lead actress and other key roles?
Initially, we wanted Vijayashanti, but scheduling conflicts prevented it. While working on Michael Madana Kama Rajan (Tamil), I met Mohini, who impressed us with her talent and availability. P.C. Sreeram also recommended her. Tinu Anand was my choice for the professor’s role, and for the villain, we opted for Amrish Puri, designing his character with a blend of menace and humor to make him appealing to children.
How did you complete shooting in just 110 days?
Meticulous planning. Films like Mayabazar were completed in fewer days. Hollywood movies spend years on pre-production but wrap up filming quickly. We followed a similar approach—proper scheduling ensured efficiency.
Was Aditya 369 always the first choice for the title?
Yes, though Krishna Prasad Garu might have considered alternatives like Kala Yantram and Yuga Purushudu. The time machine concept connects with light travel, and the sun (Aditya) symbolizes light. The number 369 was added later, inspired by aircraft naming conventions like Boeing 737.
Did anyone approach you for a remake?
No, but when Amrish Puri saw our film’s rushes, he advised a Hindi filmmaker working on a similar concept to drop it, saying our dubbed version would overshadow theirs.
What about the much-anticipated sequel?
I already narrated the sequel script to Balakrishna Garu. Initially, he wanted to introduce his son with it, but the project didn’t take off. However, he still expresses interest in making it one day.
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