"I write with the light", M V Raghu, Cameraman

- Sri Sathavahana

"God is like a Cameraman. He will click any time, you have to be ready, for the picture must come out good" --Satya Sai Baba of Puttaparthi.

'I write with the light' is not just another blackboard quotation for him. It is from where he rolled on to the reels adding glitter to them.

Working with the fastest of the Almighty's creations, Light is not so easy as one thinks to be. The art of light and shade is just a child's play for him that carved his path to the apex position of his profession with pouring in awards and rewards.

Maadapaka Venkata Raghu is dearly known in the cinema industry circles as MV Raghu. Of the very few best cinematographers in the industry, Raghu is always on the top of the list.

For a feature film if story and music are like body and soul, cinematography is as valuable as life. This division of art is a stupendous creative field. Raghu humbly states a punch line. 'I write with the light'. He transformed himself as a synonym to camera work in the South Indian cinema industries. Language is no bar for any Art.

His father's dream profession and ambition to become 'the best' with the camera inspired Raghu from his childhood. The inspiration grew along with him, with the dedication and commitment Raghu had put in to learn the trade, and secrets of photography from his father, made him stand in the current position.

Just as a music director turns simple words into a melodious song, a painter unfurls the beauty of his thought and expression on canvas in colours. Cameramans language and colours are the glow and shadow of the world.

M.V.RAGHU PROFILE

Full Name : M.V.Raghu (Maadapaka Venkata Raghu)
Father's Name : M. S.Chinnaiah (Railway Employee)
Mother's Name : Nageshwaramma
Year of Birth : 1954
Birth Place : Bhimavaram
Education : B.Sc., Diploma in Commercial Photography
Better half : Lakshmi
Children : Dilip and Dheeraj
Experience as Lens man : 50 Movies
Direction : 2 Movies, Kallu (1987), and Aarthanadam (1988)
Awards for Direction : Kallu, debutant venture of Raghu as director and cinematographer won 11 awards that year. Besides several cultural awards from voluntary societies, Andhra Pradesh Government's Nandi Award for best direction, prestigious Film fare Award and Kala Sagar Award as best new director for Kallu.
Awards for Lens work :

Andhra Pradesh State Government's Nandi Award for best cinematography for 'Siri Vennela', directed by K Vishwanath Several awards from various Cultural Federations for camera work in 'Sitara, Anveshana and Aalaapana' films directed by Vamsi Technician of the year - 1987 Award presented by Madras Cinema Technicians Association for photography in 'Siri Vennela'. This award and felicitation were conferred on Raghu on July 12, 1987 at Madras Film Chamber Auditorium.

The interaction with this scribe and the lens man focused many dark and glowing angles of the industry life. Some excerpts:

Q: Can you share with us the backdrop that made you stand behind the camera?

A: Chinnaiah, my father worked with the Railways. He used to tick snaps with his 620 Kodak Box camera almost regularly. We had a dark room at our house. We were habituated in exposing the reels with in, right from my childhood.

Father received many awards for his photographic techniques. He inspired me and right in those days I decided to become a great camera man. Every one in the family supported and encouraged me at that stage. Father had a strong wish to join the celluloid industry but with the prevailing conditions in those days he could not fulfil his dream. He made me understand the thirst for excellence and almost every moment spruced me.

Q: How about the films that sported you during early stages?

A: I was born at Bhimavaram. Our family shifted to Guntur with my father's transfer and I was about nine years young then. During the next 10 years my father and me viewed almost every English movie at Leela Mahal of Guntur. Absent minded professor, Walt Disney productions, Jason and the Argonauts, and many more. Each movie I saw for about 32 times each. I had seen Longest Day for more than 42 times. The lone Telugu movie that I saw in those days was Lava Kusa.

I had the habit of preparing notes about the techniques, special effects, lighting schemes and other minute details of the film I viewed. Movie 2001 - A Space Odyssey, a science fiction released in 1968 has a very great impact on me.

Q: Then, educational pursuits?

A: I've graduated with B.Sc., from Guntur. Later I took up Diploma in Commercial Photography from 1972 to 1974 from Government College of Science, Arts and Architecture in Hyderabad and cleared it with 98 percent distinction.

Q: What were the incidents that lead to your entry into the industry?

A: Playback singer Pithapuram Nageswara Rao and father were close pals. Father referred my case to Pithapuram, in turn he spoke to his tenant and then profiled cameraman V S R Swamy. VSR Swamy put me as apprentice at Vijaya Vahini Studios in 1976. My first work as apprentice in the camera division of the industry started with 'Gruha Pravesham' directed by D Yoganand and Shivaji Ganeshan as the lead. The filming was on the fourth floor of the studios.

Q: Whom did you worked with, as an assistant?

A: I worked with renowned people like Babu Bhai Mistry, M A Rehman, Ravikanth Nagayaih and S Venkata Rathnam for over 200 films as focus assistant. I learnt about special effects and trick photography with those personalities. In the year 1976, I worked as third assistant with V S R Swamy for Baktha Kannappa directed by Bapu. Later for Siri Siri Muvva and Amara Deepam films. From 1980 for over three years, under the guidance of S Gopala Reddy.

Q: When did you take over independent charge of the camera?

A: My first venture as photographic director was in fact 'Kotha Dampathulu' directed by K Vasu in 1983. Unfortunately, it could not be completed for obvious reasons. Later, in the same year Vijaya Baapineedu gave me an opportunity for 'Maga Maharaju' with independent charge for camera. This one gave me a break in the industry along with its commercial success to the producers.

Q: Do you sport any speciality or a specific style?

A: Celluloids can be categorised into two viz., Positive Photography and Negative Photography. Positive one interlaces with the story line of the movie where as the Negative photography deals with establishing a separate identity.

I personally am inclined towards the Negative one but, my recognition was through the former one.

Q: Which movies, do you think added to your career graph?

A: I worked with various combinations for over 50 films. Of them, K Viswanath's Swathi Muthyam, Siri Vennela, Vamsi, Sitara, Anveshana, Aalaapana, Preminchu-Pelladu, April 1 Vidudala added flavours to the steadily rising graph.

Q: Which director do you think extracted most of your talent?

A: Vamsi…. Vamsi…. Vamsi……

Q: Did you work for any other language movies?

A: I worked with two movies 'Sansar' and 'Mera Pathi Sirf Mera Hai' in Hindi. That's all.

Q: Who is the role model to turn you into a cameraman cum director?

A: It was Govind Nihalani. Taking inspiration from him I took up the venture of Kallu as cameraman cum director.

Q: Which do you prefer. Direction or Cinematography?

A: Taking charge of the camera is always my first choice. In case I find an opportunity I might opt for direction. But, it is clear that I would never play dual from now onwards. I better concentrate on direction and shift the camera on to some good shoulders.

Q: Which cameramen fascinate you?

A: Douglas Trumble for '2001-A Space Odyssey' and 'Close Encounters of Third Kind' and Roy Arbogast for the latter are my favourites among Hollywood cameramen. When it comes to domestic personalities Bimal Roy, Govind Nihalani, Balu Mahendra and VSR Swamy are on the top list. Besides them, Santhosh Sivan, Ram Prasad and Chota K Naidu are good.

Q: Can you tell us about any memorable incident in your career?

A: I always remember the incident wherein Indian super star Amitabh Bachan one fine day called for me. This was to personally appreciate me for my work of 'day for night shooting' in Sitara movie. It was great for him to compare my work with that of 'Sholay'.

When it comes to my personal experience, I have done hair-raising work shooting many risky shots for 'America Alludu' hanging from a helicopter at the Grand Canyon Valley (Meckannas Gold movie climax location) in USA.

M V Raghu has a special mention about the quote of Puttaparthi Satya Sai Baba - "God is like a Cameraman. He will click any time, you have to be ready, for the picture must come out good."

Address

M.V.Raghu B.Sc., D.C.P.,
Cinematographer,
209 A, Ganapathi Complex,
Navodaya Colony,
Yella Reddy Guda,
Hyderabad - 500 873, AP,
India.
Phone: Residence - 040-3737897.