[3] Jandhyala's interest in theatre began at a young age, and during his college years, he wrote several successful plays.

[4] Jandhyala transitioned to directing, and helmed several notable films such as Ananda Bhairavi (1983), Srivariki Premalekha (1984), Chantabbai (1986), Padamati Sandhya Ragam (1987), Aha Naa Pellanta!

He contributed dialogues to National Award-winning films such as Saptapadi (1981), Seethakoka Chilaka (1981), Sagara Sangamam (1983), and Swathi Kiranam (1992).

He also wrote for other notable films like Nireekshana (1986), Aakhari Poratam (1988), Jagadeka Veerudu Athiloka Sundari (1990), and Aditya 369 (1991).

[9] From a young age, Jandhyala was deeply involved in theatre, acting as a child artist in the drama troupe of Vinnakota Ramanna Pantulu.

His passion continued during his college years, where he won the Best Actor prize for his performance in Tasmath Jagratha at an inter-university drama competition in 1969.

[10] His subsequent plays, including Ek Din Ka Sultan, Gundelu Marchabadunu, O Cheekati Ratri, and Mandodari Mahila Mandali, gained popularity.

[11] Ek Din Ka Sultan earned him accolades and was translated into several languages, while his social play Sandhyaraagamlo Sankhaaraavam was particularly acclaimed and marked his entry into the film industry.

Impressed by his work, veteran filmmaker B. N. Reddi signed him to adapt the Beena Devi novel O Punya Bhoomi Kallu Theru into a film.

[2] He quickly established himself as a versatile writer, contributing to both commercial hits like Adavi Ramudu (1977), and Vetagadu (1979) and critically acclaimed films such as Seetamalakshmi (1976) and Sankarabharanam (1980).

[11] In addition to his directorial achievements, Jandhyala wrote dialogues for several National Award-winning films, including Sankarabharanam (1980), Saptapadi (1981), Seethakoka Chiluka (1981), Sagara Sangamam (1983), and Swathi Kiranam (1992).

[16] His other significant writing credits include Sommokadidi Sokokadidi (1978), Nireekshana (1986), Aakhari Poratam (1988), Jagadeka Veerudu Athiloka Sundari (1990), and Aditya 369 (1991).

He acted in numerous stage plays, was a popular television anchor, and occasionally served as a dubbing artist.

He believed that conversations in films should reflect realistic scenarios that audiences could easily relate to and enjoy.

[10] According to A. Saye Sekhar of The Hindu, Jandhyala's comedic style involved "taking sensitive potshots at the doings of assorted nabobs, stuffed shirts in typical Telugu families, village footpads, miserable misers, secret polluters, tax evaders, preening lawyers, idiosyncratic doctors, oily accountants, defendants who got off too easily and celebrities who talked too much.

[1][16] His films, known for their clean entertainment and family-friendly content, established comedy as a significant genre in Telugu cinema.

"[24] In January 2005, a bronze bust of Jandhyala was erected at Tummalapalli Kalakshetram in Vijayawada, honouring his contributions to the industry.