3 minutes of readingHyderabadFebruary 3, 2026 08:53 pm IST
The announcement of SSR61, produced by Nag Ashwin, has redirected attention towards Singeetam Srinivasa Rao, a director whose groundbreaking cinema left an indelible mark on Indian cinema. At 94, Singeetam’s return to direction after more than a decade marks one of the most notable comebacks in the history of Indian cinema. Known for his versatility and intellectual approach, Singeetam’s work continues to inspire contemporary filmmakers.
Singeetam distinguished itself by refusing to adhere to individual genres or industry conventions. During a time when mainstream Telugu cinema often followed predictable patterns, he devoted himself to experimentation and creative risk-taking.
Aditya 369 (1991) is one of his most famous Telugu works, widely recognized as India’s first mainstream time travel film. The film fuses science fiction with historical narratives, introducing audiences to speculative concepts while maintaining emotional depth and narrative coherence. Its cult following demonstrates how Singeetam respected the intelligence of its audience long before such approaches became common.
A visionary. A teacher.
A genius ahead of the times.The legendary director #SingeetamSrinivasaRao garu returns with his most ambitious project yet.#SSR61 – Title announcement soon.https://t.co/SA22M5fcyx@nagashwin7 @ThisIsDSP @VyjayanthiFilms @SwapnaCinema pic.twitter.com/aX5Qi7X56i
— Vyjayanthi Films (@VyjayanthiFilms) January 31, 2026
Bhairava Dweepam (1994) revealed another dimension of his art: fantasy based on Indian folklore. Despite the technological limitations of its time, the film succeeded thanks to imaginative production design, visual creativity, and strong storytelling rather than relying solely on spectacle. Since then, he has influenced numerous filmmakers working in mythological and fantasy genres, demonstrating that ambitious scale can be achieved both through vision and through budget.
Pushpaka Vimana (1987) represents possibly Singeetam Srinivasa Rao’s most internationally recognized achievement. This nearly dialogue-free film transcends language barriers by relying entirely on visual storytelling, acting, and cinematic pacing. It is a rare example of Indian cinema that communicated universally without verbal exposition, garnering praise both nationally and internationally. The film won the National Film Award for Best Popular Film Providing All-round Entertainment and had a successful 35-week theatrical run in Bengaluru.
Singeetam also brought meticulous craftsmanship to comedy, a sometimes underrated genre. Films like Mayuri and Apoorva Sagodharargal (Tamil) showcased his precision-driven approach, where structure and timing were as crucial as performance. These successes reinforced his conviction that comedy requires the same artistic rigor as any other genre.
Beyond individual achievements, Singeetam’s broader contribution lies in how it expanded the creative horizons of Telugu cinema. It normalized experimentation decades before “content-based cinema” became industry terminology.
With SSR61, anticipation is high, not because Singeetam needs validation, but because its return prompts reflection on the extent to which the industry has evolved and to what extent that evolution was quietly influenced by its pioneering work.