Aha Naa Pellanta

Aha! Naa Pellanta!! (transl. Yeah! I'm getting married! ) is a 1987 Indian Telugu-language comedy drama film written and directed by Jandhyala, and produced by D. Ramanaidu under his banner Suresh Productions. The film stars Rajendra Prasad and Rajani while Kota Srinivasa Rao, Nutan Prasad, and Brahmanandam play supporting roles. The film has music composed by Ramesh Naidu. An adaptation of Adivishnu's novel Satyam Gaari Illu (transl. Mr. Satyam's House ), the film's title is based on a song from the epic fantasy film Mayabazar (1957).[2] The film released on 27 November 1987.[3]

Aha! Naa Pellanta!! is considered one of the best comedy films of all time in Telugu cinema.[4][5] Kota Srinivasa Rao's character as a miser and his mannerism "Naakenti?" (transl. What about me? ) became famous.[6] Brahmanandam's role as 'Ara Gundu' received wide appreciation from both critics and audience and it became his breakthrough role.[7][8]

Made on a budget of ₹ 16 lakh, the film grossed over ₹ 5 crore at the box office and became a blockbuster.[1][3] Producer D. Ramanaidu mentioned that the profits from the film helped him in the establishment of Ramanaidu Studios.[6] The film was remade in Kannada as Challenge Gopalakrishna (1990).

Krishnamurthy (Rajendra Prasad) is the son of industrialist Satyanarayana (Nutan Prasad). Satyanarayana is worried about Krishnamurthy's marriage, so much so that he imagines every young woman who happens to be seen by him as his daughter-in-law. Krishna Murthy meets Padma (Rajani) in his friend's marriage and Cupid strikes them. Krishna Murthy is afraid of revealing his love for Padma to his father directly as he fears his father may reject it outright. His initial attempts to reveal his love life to his father through letters are thwarted by his butler in fear for Satyanarayana's life. Desperate to reveal the love matter to Satyanarayana, Krishnamurthy then tries various gimmicks and at last, is successful. A panicked Satyanarayana inquires about the family background of Padma and finds out that she is the daughter of Lakshmipathy (Kota Srinivasa Rao), a noted miser in his village. Aware of his father's concerns, Krishnamurthy reassures Satyanarayana and lands in Lakshmipathy's house posing as a miser. Krishnamurthy's pretense and pranks beget the intended effect in Lakshmipathy and bring him closer to Padma. A marriage proposal from Sudhakar (Subhalekha Sudhakar), who is accompanied by his two glutton brothers much to the chagrin of Lakshmipathy, for Padma ends in Lakshmipathy favoring Krishnamurthy. Elated with the turn of events, Krishnamurthy prepares for marriage with Padma and invites Satyanarayana. However, his plans turn sour as Lakshmipathy, in his greed for money, abuses Krishnamurthy assuming that he is from a poor family before Satyanarayana confronts Lakshmipathy. A dejected Krishnamurthy requests Satyanarayana to give him one more chance to teach Lakshmipathy a lesson. Krishnamurthy, along with "Aragundu" Brahmanandam (Brahmanandam), a disgruntled butler of Lakshmipathy set about to transform Lakshmipathy. Krishnamurthy tacitly arranges for three different marriage proposals, starting with Sudhakar, with each proposer agreeing to offer more bride price than the earlier proposed. Overcome with greed for money, Lakshmipathy agrees to get his daughter married with each one of them. At the time of marriage with the bridegroom who offered the highest bride price, the other two bridegrooms also appear at the same time and question Lakshmipathy. An embarrassed Lakshmipathy is admonished by Padma for his greed. Lakshmipathy realizes his mistake and redeems himself by getting Padma married to Krishnamurthy.

Music composed by Ramesh Naidu. Music released on AVM Audio Company.[9]

Griddaluru Gopalrao of Zamin Ryot, writing his review on 4 December 1987, appreciated the way Jandhyala imbibed humour in the film's dialogues, "Though the comedy scenes are far from reality at times, they are very close in making the audinece laugh [sic]," Gopalrao added.[10]

Jahnavi Reddy of The News Minute, wrote that the film is noted for its dialogues and unique insults, which came to be used commonly in conversations. "While more recent films and their dialogues are frequently woven into conversations, there has been a big change in the kind of Telugu used in these popular dialogue," she added.[11]