Yaragudipati Varada Rao (30 May 1903 – 13 February 1973), also known as Y. V. Rao was an Indian film producer, director, thespian, screenwriter, editor and actor known for his works predominantly in Telugu, Kannada and Tamil cinema. One of the pioneers of Telugu cinema, Rao plunged into drama and did a few stage plays before moving to Kolhapur and Bombay to act in silent films.
R. S. Prakash Rao, son of Raghupathi Venkaiah Naidu, cast him as lead actor in many silent films such as Garuda Garva...
Yaragudipati Varada Rao (30 May 1903 – 13 February 1973), also known as Y. V. Rao was an Indian film producer, director, thespian, screenwriter, editor and actor known for his works predominantly in Telugu, Kannada and Tamil cinema. One of the pioneers of Telugu cinema, Rao plunged into drama and did a few stage plays before moving to Kolhapur and Bombay to act in silent films.
R. S. Prakash Rao, son of Raghupathi Venkaiah Naidu, cast him as lead actor in many silent films such as Garuda Garva Bhangam, Gajendra Moksham and Rose of Rajasthan. Rao moved into film direction and made silent films such as Pandava Nirvan (1930), Pandava Agnathavaas (1930) and Hari Maya (1932). In 1940, he directed the Telugu magnum opus Viswa Mohini. Rao and, R. S. Prakash have established a long-lasting precedent of producing films exclusively on religious themes; Nandanar, Gajendra Moksham and Matsyavatar, three of their Telugu productions, centred on religious figures, parables and morals.
Yaragudipati Varada Rao (30 May 1903 – 13 February 1973), also known as Y. V. Rao was an Indian film producer, director, thespian, screenwriter, editor and actor known for his works predominantly in Telugu, Kannada and Tamil cinema. One of the pioneers of Telugu cinema, Rao plunged into drama and did a few stage plays before moving to Kolhapur and Bombay to act in silent films.
R. S. Prakash Rao, son of Raghupathi Venkaiah Naidu, cast him as lead actor in many silent films such as Garuda Garva Bhangam, Gajendra Moksham and Rose of Rajasthan. Rao moved into film direction and made silent films such as Pandava Nirvan (1930), Pandava Agnathavaas (1930) and Hari Maya (1932). In 1940, he directed the Telugu magnum opus Viswa Mohini. Rao and, R. S. Prakash have established a long-lasting precedent of producing films exclusively on religious themes; Nandanar, Gajendra Moksham and Matsyavatar, three of their Telugu productions, centred on religious figures, parables and morals.
