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Daasi (1988) More at IMDbPro »
Daasi was not made for TV, 20 June 2007
Author: Arunoday Sharma (unarun@gmail.com) from India
Daasi (language-Telugu) was not made for TV, as it reflects from its listing, 'Daasi 1988(TV)'. The film won 5 National Awards, also proves the point. I was the 'audiographer' for the film and was present on location. The film was shot in rural areas of Andhra Pradesh near, Hyderabad, India. An old ancient mansion was hired for most of the shoot. Entire shooting was finished in about 18 days. Subject of the film was the sexual exploitation of women who worked as domestic help in homes of rich land lords. Archana, who won the best actress's award, was very easy person to work with. B Narsingrao (producer/director) and Apurba Kishore Bir (cinematographer) have been old friends as well. I want to put across through this message that the film was not made for TV as it suggests on this site.
Daasi - A directors dream on celluloid, 18 March 2005
Author: venkatkondam from London
No thrills, No fights, No comedy , No hero , no heroines ..What makes "Daasi" so special. THe directors passion . It is a work of art which, in this case happens to be a cinema. The culture of the feudal lords in the 1940-50 's of Hyderabad Deccan state along with the undercurrent of a woman's suffering were very well captured. The villages / lifestyles of that era were very well researched and portrayed . The nativity , dialogue delivery has also been kept to the original dialect followed in the Telengana area , on which this film is based. THis movie is not for all, but I would love to lay my hands on a DVD/Video if it is available . May many more works of art roll out of director B.Narasinga Rao's camera.
0 out of 1 people found the following comment useful :-
Reality as poetry on celluloid, 8 September 2001
Author: Jugu Abraham (jugu_abraham@yahoo.co.uk) from Trivandrum, Kerala, India
This is one of my favourite Indian films--great direction, camerawork and acting. There is little or no melodrama. You are exposed to reality of feudal India in early part of 20th century, where women were no more than chattels.
If you did not know the director, it could well be mistaken for the work of a feminist. Rao exudes a rare compassion for the weaker sex.
I have followed the work of Narsing Rao over the years. As a painter-turned-director who hero-worshipped Andrei Tarkovsky, this is his only mature accomplished work on celluloid, while others only had flashes of brilliance. Sadly he has receded into retirement after raising the standard of Telugu cinema to a new high.
Bir's camerawork is notable and Archana, the lead actress, gave a magnetic and realistic performance. The camerawork caressing walls and stones are examples of visions perceived by a painter who sees beauty in nature. If you do not believe in evaluating directors by the auteur theory, this flash-in-a-pan single work by itself makes Narsing Rao a major Indian filmmaker--not unlike Muzaffar Ali's "Umrao Jaan".
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