One of the most underrated and less talked about aspects of Director Krishna Chaitanya’s film and lyrical work is the deep rooted philosophy in them. Having written more than a hundred and eighty songs, and having directed and written well known and critically acclaimed films like “Rowdy Fellow” “Chal Mohan Ranga” and “Gangs of Godavari”. Here’s a look into the underlying threads of philosophy in all of his works that shockingly align with Classical German and European philosophers.
Krishna Chaitanya’s films delve into the complexities of ego, power, and the human condition, drawing heavily from Friedrich Nietzsche’s philosophy. Friedrich Nietzsche was one of the greatest philosophers in the Western World, having influenced Hitler himself.
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In Rowdy Fellow and Gangs of Godavari, Krishna Chaitanya explores Nietzschean themes such as the “will to power,” the nature of nobility, and the assertion of personal values. Both films present protagonists who embody Nietzsche’s concept of the übermensch—individuals who create their own values, transcending conventional boundaries and societal norms. Almost as if Nietszche himself would make films on ubermensch if he were alive.
Nietzschean Ego and Nobility in Rowdy Fellow:
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“Rowdy Fellow” begins with a striking declaration: “All Puranas are just ego problems.” This sets the stage for a story centered around ego and power, reflecting Nietzschean ideas of nobility. The protagonist, a wealthy and arrogant brat, bribes his way into becoming a police officer—not out of duty, but to satisfy his ego. Unlike others, he does not bow to corruption or authority. For him, the journey is a battle of egos, mirroring Nietzsche’s idea of nobility driven by an unyielding ego.
In Thus Spoke Zarathustra, Nietzsche argues that nobility isn’t tied to wealth or power but is about transcending mediocrity. The hero of Rowdy Fellow embodies this concept; he lives and dies for the assertion of his ego, refusing to bow to any authority. His journey is one of self-transformation—from an egotistical brat to a fierce protector of justice. His actions are not driven by fear or desire for wealth; his motivations are purely internal. As Nietzsche wrote, “The noble soul has reverence for itself”[^1].
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The protagonist’s transformation is driven by the “will to power”—a core Nietzschean idea. His unrelenting determination to challenge authority embodies Nietzsche’s belief that true strength comes from within. “He who has a why to live can bear almost any how”[^2], and for the hero, his “why” is his ego, driving him to confront corruption eventually.
The Climax as Will To Power: Ego as the Common Factor and Differentiator Between Hero and Villain
The climax of Rowdy Fellow features a powerful exchange between the hero, Rana Prathap Jayadev, and the antagonist, Asuragana Durga Prasad. This ideological clash pits Rana’s ego-driven desire for justice against Prasad’s ruthless pursuit of power. Rana’s motivations stem from his ego, but his actions transcend personal glory, embodying Nietzsche’s vision of the übermensch. Prasad, on the other hand, is a tyrant, embodying the darker side of Nietzsche’s philosophy—where power is exercised through fear and domination without regard for morality or others’ well-being.
The difference between Rana and Durga Prasad is subtle yet profound. In the climax of Rowdy Fellow, both characters reveal that their motivation is not wealth. Durga Prasad even screams, “Dabbu evadiki kavali ra? (Who wants money?)” Both are driven by the need to assert their egos—what Nietzsche calls the “will to power.” Nietzsche describes the “will to power” as the fundamental driving force behind all human action—an urge to impose oneself on the world and rise above others…
Durga Prasad’s ultimate desire is to make people fear him, to dominate, and to be revered. He wants people to stand when he walks by, driven by a primal need for control. When Rana challenges him, asking, “Why should a human fear another?” we see a stark philosophical divide. Both are motivated by the will to power, but Rana’s version is shaped by a higher ideal—one that refuses to impose fear but seeks to liberate.
Rana explains, “A six-year-old girl asked me where her father was. An old woman asked me where her husband was. An old man asked me, ‘Where is justice?’ I had no answer.” This confrontation of ego versus empathy is the key difference. For Durga, power means survival and dominance; for Rana, power means responsibility. Nietzsche once said, “The world itself is the will to power—and nothing else!”[^7]. Durga Prasad sees power as a way to impose his will, while Rana sees his ego as a tool to uplift those suffering and fight for justice.
This clash underscores Nietzsche’s “will to power”—both characters strive to impose their ideals, but their paths diverge dramatically. Rana’s ego drives him to fight for others, while Durga Prasad’s ego pushes him to dominate and create suffering. This philosophical difference makes their confrontation not just a battle of strength but a battle of ideals.
This confrontation underscores the fundamental struggle between different expressions of the “will to power.” Rana’s pursuit of justice, tempered by responsibility, contrasts with Prasad’s violent ambition. The film’s climax reveals that true nobility lies not in asserting power over others, but in using that power to uplift those in need.
The Nietzschean Struggle in Gangs of Godavari:
Gangs of Godavari is steeped in Nietzschean philosophy, albeit with a darker tone. The protagonist’s worldview is shaped by a traumatic childhood incident—his father, who tried to help the villagers, was killed by the very people he sought to save. This senseless act of mob violence mirrors the death of Zarathustra in Nietzsche’s work, where the masses, unable to understand his teachings, turn against him. And kill him eventually.
The protagonist’s response to this trauma embodies Nietzsche’s belief that greatness must rise above mediocrity. “The individual has always had to struggle to keep from being overwhelmed by the tribe”…
The mob, driven by fear and ignorance, becomes a symbol of society’s irrationality. Philosophers like Aristotle and Plato also warned against the dangers of mob rule. In Gangs of Godavari, the hero realizes that in a world dominated by mob justice, the savior is often the first to be sacrificed. Instead of being a savior, he becomes a force to be reckoned with—an entity that cannot be easily dismissed by the masses.
Nietzsche’s concept of the übermensch is evident here as well. The hero refuses to conform to the mob’s standards; his morality is shaped by his own experiences. As Nietzsche said, “Whoever fights monsters should see to it that in the process he does not become a monster. The protagonist’s trauma and anger become his source of strength, allowing him to transcend conventional morality and assert his power in a society that only respects strength. While in Rowdy Fellow, the idea of survival of the fittest and “atavika neethi” (rule of the jungle) is what the villain echoes, the same idea here in this film instead is echoed by the hero in Gangs of Godavari. There’s a beautiful lining of separation here too.
As In Beyond Good and Evil, Nietszche wrote, “Morality is just a system of values and feelings—born out of necessity, self-preservation, and experience. For Lankala Ratnakar/Tiger the hero’s morality is shaped by what happened to his father. His father’s death was caused by a cruel, vicious society, of a power hungry brain dead mob whom his own father was trying to help. His morality is shaped by his experience of watching his father die for being “morally” good with the mob. For Asuragana Durga Prasad, it’s a choice to be accept survival of the fittest law and run by it till the end. For Lankala Ratnakar, as Nietszche echoes more than a choice, his morality was born out of sheer self preservation, a sentiment which he echoes towards the end of the film when he tries to poison his own men, doubting betrayal almost being certain that unlike his father who was killed by his own men, he won’t go down like that. Ratanakar’s moral compass reflects that of Nietszche’s own analysis of how moral compasses form through necessity, self preservation and experience. Therefore there is no universal moral compass that is same to all.
The Song “Yedistha Rarevaru” in the film Keshava and Its Philosophical Reflections
This song reflects a deep sense of nihilism, portraying a world indifferent to an individual’s suffering. A very rare song that depicts the loneliness of men lost in pain.
The line, “They just watch—that is the nature of the world,” encapsulates the apathy of society towards personal pain. This resonates with Plato’s thoughts on the loneliness of truth-seekers; those who pursue truth are often isolated, as the masses are indifferent or incapable of understanding.
“If you cry, no one comes; who can take away the pain?” speaks to the existential isolation of suffering. Nietzsche, in his exploration of European nihilism, highlighted the emptiness that follows the collapse of traditional values, leaving individuals to face a world devoid of inherent meaning. The protagonist’s cries for help go unanswered, reflecting Nietzsche’s notion that in a world without intrinsic morality, one must find their own reasons to endure.
The lyrics “They hang your sorrow, questioning why you should live” depict a cruel society that dismisses individual suffering. Nietzsche once remarked, “There are no moral phenomena at all, only a moral interpretation of phenomena”[^5]. The protagonist’s pain is trivialized, and he is left questioning his own existence in a world lacking empathy. Despite this nihilism, there is hope in the line, “How to live without comfort—having courage in your fist is enough.” Nietzsche admired those who embraced suffering and found strength within themselves. The song suggests that even in a cold, uncaring world, an individual can find purpose through courage and inner resolve.
The lyrics reflect the core of European nihilism—a world devoid of meaning, indifferent to suffering, yet hinting at the possibility of resilience and personal transformation. This captures Nietzsche’s critique of modern society while emphasizing the strength of the individual to rise above despair.
The song captures the stark reality of nihilism—the indifference of the world, the isolation of personal suffering, and the cruelty of societal judgment. Yet, amid the despair, it points towards resilience and finding strength within oneself. This duality—the acknowledgment of life’s meaninglessness alongside the determination to endure—is what makes these lyrics resonate so powerfully with the core of Nietzschean thought.
Conclusion
Krishna Chaitanya’s films Rowdy Fellow and Gangs of Godavari are profound explorations of Nietzschean philosophy, examining the fine line between nobility and tyranny, ego and altruism, and the role of power in a world dominated by mob mentality. The protagonists’ belief in themselves, their refusal to bow to corrupt authority, and their choice to use their power for the greater good make them embodiments of Nietzsche’s übermensch. Their journeys are marked by their commitment to their own values and their recognition that true nobility lies not just in asserting power, but in transcending the limitations of mere ego to become true leaders—spiritual kings in their own right.
[^1]: Friedrich Nietzsche, Thus Spoke Zarathustra.
[^2]: Friedrich Nietzsche, Twilight of the Idols.
[^3]: Friedrich Nietzsche, Beyond Good and Evil.
[^4]: Friedrich Nietzsche, Beyond Good and Evil.
[^5]: Friedrich Nietzsche, Beyond Good and Evil.
Profile: Ved Aitharaju
Studied Filmmaking at the London Film Academy,And recently wrote and directed an upcoming Telugu Feature Film Titled “Monster” starring Priyadarshi & Vamsee Chaganti.
