The Smart Major of Tamil Cinema.

   












       There are a few highly esteemed actors of Tamil Cinema, known specially for their impeccable and forceful dialogue delivery.Among the heroes, no one has so far replaced Chevalier Sivaji Ganesan, in this regard.But among character actors, it was actor Sundarajan popularly known as Major Sundarajan, who could effortlessly occupy that prestigious position of an actor capable of delivering dialogues with utmost clarity,power and enormous reach.One could say without any trace of exaggeration, that it was Major Sundarajan who came closer to Sivaji Ganesan as a mighty performer both on stage and on screen.The other known fact is that it was that immortal hero who remained as the soul mate of Sundarajan.
       Sundarajan would have started his career with T.M.Soundarajan's Pattinathaar and become popular with his noticeable performance in Server Sundaram. But the proud prefix 'Major'that adorned his name after his much talked about stage play Major Chandrakanth{A play of the eminent director K.Balachander which was later made into an unforgettable film,by him}that put him firmly on the thespian journey, destined to go on for long, with merit and grandeur.Major Sundarajan must have felt immensely grateful at least to two people in the Tamil Film industry.One was his actor model Sivaji Ganesan and the other was the most dynamic film maker K.Balachander.

    Nearly one third of the Major's films would have been with Sivaji Ganesan. Of these, the most memorable and the closest to the hearts of the ardent fans of Sivaji Ganesan were, Gnana Oli, Ethiroli,Uyarndha Manithan,Gowravam, Thangapadhakkam,Kalthoon,Unakkaaga Naan, Dr.Siva, Engirundho Vandhaal,Vasantha Maaligai and Avanthaan Manithan.In Gnana Oli, Sundarajan played the role of a cop and bosom friend of the hero, a vengeful murderer, escaping arrest by the police.It showed Sundarajan beautifully reflecting the sentiments of friendship and a sense of duty with a clear balance of mind.In Uyarndha Manidhan, Sivaji and Sundarajan were again shown as friends from childhood,who would meet later to cherish their childhood days in retrospect.People would have hardly forgotten the eternal number 'Andha Naal Gnabagam Nenjile Vandhadhe' that gloated over a grand model of friendship between them two.In Unakkaaga Naan,the major played the role of a manipulative capitalist father of Sivaji Ganesan, demonstrating his capacity for performing a scheming,self-centred business man.
    His other films with that mighty star include, Raja,Anbaithedi,Thiagi,Sangili,Dr.Siva Engal Thanga Raja,Padugappu and Simma Soppanam.Their team spirit in films,was in fact firmly based on a sentimental foundation, with emotions of friendship and family spirit pouring fourth like a flooding waterfall. The duo, successfully carried on an era of highly dramatic human relationship in celluloid form and exuberantly fixed their performing gusto, in the minds of the audience. No two actors would have so cleanly swept human emotions, with such invincible theatrical thrust, as these two epoch-making individuals. It was a historic association between two actors and they definitely created history of many kinds. 

   Director K.Balachander's success as film maker, mainly reflected his rare acumen in spotting out right talents and mould them in the fittest form, so as to transform his chosen men and women, into remarkable artists of stuff and merit.Not all could fulfill his expectations and live up to his yardsticks and norms of film making.But those who came under his creative scanner, did fulfill his expectations and lived up to his dreams and aspirations.Two great actors who fall in this category were, Nagesh and Major Sundarajan.The trio[the two actors and their passionate director] made many success stories like Major Chandrakanth, Naanal, Neerkumizhi,Edhir Neechal,Navagraham and the ever watchable Baamaa Vijayam. Major Sundarajan consistently enjoyed a similar team spirit with Nagesh as he had with Sivaji Ganesan.

    Major Sundarajan was compact both as a character actor and villain.Though he always excelled in character roles,as a villain he made a singular mark, in films like Naanal,Enna Mudalaali Sowkyama, Billa and Andha Oru Nimidam. Among the production houses,big banners like the AVM Pictures, Devar Films and Sujatha Cine Arts, quite often inducted this highly talented actor for meaty roles.Like many other actors who were closer to Sivaji Ganesan,Sundarajan also did not frequently share screen space with MGR.But his roles in MGR films like Rickshakaaran and Thedivandha Mappillai,need a special mention.Among the next generation actors,Sundarajan was comfortable with both Rajinikanth and Kamalahasan.

    Before I conclude,it must be stated here that Major Sundarajan's film career was prefabricated by many dramas and stage shows and in this respect he truly belongs to the line of great actors like the TKS brothers,S.V.Sahasranamam and R.S.Manohar. One could clearly see the impact of the stage on the screen, in the form of  clear pass over of dialogues and body language from live shows to celluloid formulations. Sundarajan definitely belonged to the tribe of dedicated performers and he rightly deserves a place in the line of grand masters like V.K.Ramasamy,S.V.Rengarao,S.V.Subbiah and M.R.Radha.
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A Voice That Takes Us Along.

   The myriad voices of film music, rule our ears in different veins. In other words, each one of us takes a fancy to the singing voices, based on our likes and dislikes.Some times, a few numbers and tunes take us closer to the singer.We have sweet melodious voices,possessing voices,high pitched voices,clarion voices, yearning voices and those that are sharp and scintillating.Tamil  film music is a magnificent mix of a galaxy of top ranking singers.Of these, one stands out as a sharp,sweet and captivating singer with a pulling control in her voice and that is none other than Vani Jeyaram.
The special charm in Vani Jeyaram's voice is that of an all pervading sense of longing and hidden element of sorrow, that one could genuinely feel as well, in the mind blowing male voice of the noted Hindi playback singer Mukesh.
  Take for instance her two most popular numbers, sung in her nascent days, for the film Aboorva Raagangal of K.Balachander.The most meritorious 'Yezhu Swaranagalukkul Ethanai Paadal' and Kelviyin Nayagane endhan kelvikku padhiledhayya' from that film, were beautifully dipped in the stream of sorrow and they captured our emotions through a process of gripping and tightening tone control.If S.Janaki is well known for her predominantly high pitched voice,it is the sharpness and clarity in the voice of Vani Jeyaram that would take us along.
   Most of the solo numbers like 'Malligai En Mannan Mayangum'{Dheerga Sumangali},'Naane Naanaa Yaarodhaanaa'{Azhage Unnai Aaraadhikkirein}'En Kalyana Vaiboham Unnoduthaan' {Azhage Unnai Aaradhikkirein} and the differently sung 'Nitham Nitham Nellusoru'{Mullum Malarum},to mention a few,were historic hits of this amazing singer whose voice calibre was specially known for travelling deeper into the aesthetic layers of music enjoyment.For that matter her duet songs sung particularly with K.J.Yesudas stand equal testimony to her ability to pull the human ears into a delightful listening experience.Some of the musical hits in this respect are 'Andhamaanai  Paarungal Azhagu' 'Ninaivale Silai seidhu'{ both from Andhaman Kadhali} 'Gangai Yamunai Ingudhan Sangamam'{Imayam} and 'Thangathil Mugameduthu' {Meenava Nanban}.Her other felicitous duets were with S.P.B and the most reverberating ones are Ilakkanam Maarudho{Nizhal Nijamagiradhu}'Ore Naal Unai Naan'{Ilamai Oonjaladugiradhu}and 'Barathi Kannamma'{Ninaithale Inikkum}.With Jeyachandran her immortal number is 'Inraikku Ein Indha Anandhamo' from Vaidhehi Kathirundhal.
   During the Nineteen Seventies and Eighties it was Vani Jeyaram's songs that were frequent award winners bringing pride both to Tamil and Telugu Cinema.She had a very bold voice frame capable of creating the intended impact through a casual play of her vocal cords without manipulation of any kind.Most of her songs were of the 'Hear Again'category and beyond all the ecstasy of carnatic music that she was capable of,it was a voice with a categorical winning effect by simply taking the music lovers on an exotic journey along with her singing core.In this regard,she always remained unbeatable,through out her film  music career .
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My Memories of A.Nageswara Rao,The Legendary Telugu Actor.

     Telugu Film industry holds the proudest position among others,in contributing its best to Indian Cinema, both in terms of number of films and extensive quality enrichment, in all spheres of creativity on the film front.Aesthetic sense,impressive narration,appealing characterization,variety of theme focus and exotic action bonanza have always remained the special attributes of Tollywood.Telugu film makers have the special mark of making mythological movies with precision,divine thrust and amazing power of music.Even during times of inadequate technical advancement it was Telugu Film fraternity that effectively introduced trick shots fabulously devised by its technical crew. My childhood days in particular, abounded in visiting touring talkies for watching Telugu films dubbed in Tamil.It fed my imagination with lot of matters of myth and reality.Actors born with a perfect face for playing gods on screen, excellently captivated my childhood fancy.To mention a few names, veteran actors like N.T.Rama Rao, Kanta Rao and A.Nageswara Rao rightly filled the bill when it came to making a film on a divine subject.Of the three, N.T.Rama Rao became synonymous of Lord Krishna and Rama.But the third name in the list, stood closer to the Tamil audience, more by playing characters for family and social themes and stories with charm and grace, than for myths.The fact that he is no more today,after a vastly spread film career,definitely creates a void not to be filled by anyone including his most popular actor son Nagarjuna.
     Not many Telugu films of A.Nageswara Rao were either dubbed or remade in Tamil.But the small number stays stronger in my memory not because of the films but because of the actor. I always felt this immortal Telugu hero is similar to our great Chevalier Sivaji Ganesan in making a grandiose impact on the viewers by perfect observance of performance norms with spontaneity and dedication in doing roles of different kinds with genuineness and understanding of character intricacies.I would say Devadas was the magnum opus of this magnificent actor.He made the character strike at the root of every one's emotion with the pang of a love lorn romantic youth.
    It was a character evolved through Platonic perceptions and in no way did Nageswara Rao deviate from the Platonic formula in role delineation.Devadas became a home name and no one remembered the actor.So natural was the pass over of the character base from the actor to the character that the character outlives the actor even today, thereby making the hero gain permanence by not projecting his hero image into the character that he played.
    Enga Veettu Mahalakshmi and Manithan Maaravillai were two fascinating family stories that would perpetually celebrate the memories of this astounding actor.Both these films carried a lot of scope for humour and the hero did not seem to require the help of a comedian to support the humour base.Nageswara Rao was one of those who could comfortably generate humour without losing his grip over a sobre situation.It was always a great pleasure to watch him being teamed up with heroines like Savithri and Jamuna.If it were an amicable wife he would be an understanding husband.If the spouse were a pampered woman he knew how to tame her.Family was a jolly ride for him and in the role of an endearing husband, he would excel without stooping to the level of an uxorious or henpecked husband.The other Tamil films of A.Nageswara Rao that I saw were Manjal Magimai, Maadharkula Manickam and Kalyana Parisu.The first two were again,fine family dramas and in Kalyana Parisu his role was minimal to appear in the climax as the bridegroom of the heroine who was the victim of  sacrifice of a deep love,helplessly given up for the sake of her elder sister who was also in love with the same man. Even here,Nageswara Rao was shown as a very friendly, understanding and decent man with a lot of respect for his wife. Thooya Ullam was a film of Nageswararao that I missed.
    It is of course a small space that A.Nageswara Rao shared with Tamil Cinema.But small is always beautiful.Dignity grace and sobriety were the yardsticks of A.Nageswara Rao as an actor.One could always remember him as some one closer to their hearts with warmth and unrelenting quest for aesthetics in acting.I had never seen him overdo the role, unless it was warranted by emotional contexts of histrionics.He essayed breezily the characters assigned to him and his dialogue delivery was soft and smooth;he sailed through emotions like a brook or a gliding star and never as a turbulent storm or fierce waterfall.He filled my imagination as an exalting,decent actor and my memories of him in this regard, will ever remain indelible, despite the fact that he is no more today.
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Myriad Music Composers of the Last Century.

      During the last century, apart from G.Ramanathan,Viswanathan Ramamurthy and K.V,Mahadevan there were more than half a dozen other music directors who competed for higher level positions and made in roads, as music makers of individual merit and popularity. Each one’s music  could be identified by a kind of trade mark that sweetened their compositions and helped them get firmly rooted to the ground. Similarly, each one had the sum and substance of musical richness that retained their career undeterred. This article looks upon them with esteem and special recognition.

    T.R Papa who entered Tamil film music almost at the time of G.Ramanathan, was known by his music direction of films of Sivaji Ganesan such as Anbu,Raja Rani, Rangoon Radha and Kuravanji. The two MGR films for which he composed music were Nallavan Vaazhvaan and Thaai Magalukku Kattia Thaali. His two Gemini Ganesan movies were Aasai and Mallika. Apart from Malliga he was the music composer for a few other films of the Citadel Pictures house like Vijayapuri Veeran,Iravum Pagalum and Kaadhal Paduthum Paadu. His music greatly helped the success of Rambaiyin Kaadhal in which K.A.Thangavelu played the hero. Songs like ‘Samarasam Ulaavum’ and ‘Baghavaane Mounam Aeno’from Sirkazhi Govinda- rajan’s scintillating voice are life time melodies.The movie Kumara Raja which had the most popular song of J.B.Chandrababu ‘Onnume Puriyala Ulagathula’ owes its remembrance to the lovable music of T.R.Papa. His other immortally popular songs are from Nallavan Vaazhvaan.
     Similarly, songs like Iravum Varum Pagalum Varum,Ullathin Kadhavugal Kangalada,{both sung by TMS} Ullathile Uram Venumada [A.M.Raja} and ‘Iraivan Enroru Kavignan’ {sung by SP.Balasubramanyam from Aein} made his contribution memorable.T.R.Papa continued to compose music for films of the Nineteen Seventies like Teecharamma,Aein,Maru- Piravi,Vairam and Avasara Kalyaanam. A few other lasting tunes of T.R.Papa are ‘Aasai Pongum’{Aasai} 'Varuvein Naan Unadhu Maaligaiyin Vaasalukke’ {Mallika}’Nee Sollaavidil Yaar Solluvaar Nilave’{Kuravanji}.

     S.M.Subbaiah Naidu, the other early contemporary of G.Ramanathan,started his musical career with the MGR films  Abimanyu,Mohini  Raajakumaari and Marmayogi. His later works for MGR films include films like Malaikallan,Nadodi Mannan,Thrudaathe,Aasai Mugam and Thaayin Madiyil .Some of his most exciting songs from  this list of films are ‘Ethanai Kaalam Dhaan Yematruvaar Indha Naattile’ ‘Kannil Vandhu Minnal poel’ ‘ThoongaadheThambi Thoongaathe’’Thirudaathe Papa Thirudathe’ and ‘Ethanai Periya Manidhanukku Ethanai Siriya Manmirukku’ Three of his well known Sivaji Ganesan films were Annaiyin Aanai, Maragatham and Kalyaniyin Kanavan, The songs ‘Annaiyai Poel Oru Dheivamillai’ 'Vaazhvinile Vaazhvinile' became instant hits. Some of his other films that need a special mention are Velaikkaari, Thigambara Saamiyaar, Thirumanam,Nalla Theerpu, Konjum Salangai, Pandhayam, Mannippu, Naalum Therindhavan,Panakkaara Pillai and Aindhu Latcham.The song‘Nee Enge En Ninaivugal Ange ‘ from Mannippu will ever remain as one of his most powerful  musical pieces. SMS as he was briefly called in film circles is specially known for his singularly striking use of percussion instruments.

     Another noted music composer of this period was T.G.Lingappa who was closer to B.R.Pantulu and directed music for the latter’s earlier movies like Kalyaanam Panniyum Brammachaari, Thangamalai Ragasiam,Sabash Meena and Muradan Muthu. His other Sivaji Ganesan films were,Mudhal Thedhi, Naane Raaja and Bommai Kalyaanam. Two other films for which Lingappa composed music were, S.,S.Rajendran’s  Sangilithevan and Gemini Ganesan’s’ Ellorum Innaattu Mannar.P.Suseela’s'Amudhai Pozhiyum Nilave’ from Thangamalai Ragasiyam,'Kaanaa Inbam Kanindhadhenoe’ from Sabash Meena and ‘Thingal urangidum Nerathilum’ from Sangilithevan are enough to perpetuate the memory of this great music composer.

     Ghantasala has found a special place in Tamil Cinema not only by his vocal contribution but also by his most soothing musical composition. He has enriched films like, Devadas,  Paataala Bhairavi,Tenali Raman,Anaarkali,Lila Majnu,Maayaa Bazaar,Engal Veettu Mahalakshmi and  Anbu Sagodharargal by his beautiful musical capability. In his music one could experience a soul sustaining process of peace and happiness. It would be like listening to the songs of a Mukesh or Magendra kaboor or Mannade of the Hindi film music world.It is always a pleasure to listen to Ghantasala’s music at bed time for a peaceful sleep without any onslaught of nightmarish dreams. Same is the case with A.M.Raja who composed music for a few Tamil films like Kalyana Parisu,Vidi Velli, Thein Nilavu and Adi Perukku. Eternal melodies  are the extraordinary legacy of these two men. There were a few other Telugu musicians like S.Rajeswara Rao {Missiamma,Madharkula Manickam}T.Chelapathi Rao {Amaradeepam, Meenda Sorgam and Punar Jenmam}and Aadhi Narayana Rao{Adutha Veettupen and Manalane Mangaiyin Bagyam} whose musical work in Tamil cinema is limited but great.

     R.Sudharsanam the other famous face of Tamil film music has to his credit ‘Parasakthi’ the first film of Sivaji Ganesan  followed by other wonderful films like Rathakanneer, Kuladheivam, Sellapillai, Thilagam, Sagodhari, Dheivapiravi,Kalathur Kannamma, Annai , Naanum Oru Penn, Anbukkarangal and Kaakkum Karangal. Songs like  ‘Nenju Porukku dhillaiye’‘Kutram Purindhavan’ ‘ Anbaale Thediya En Arivu selvam’{all in the unique voice of C.S.Jeyaraman} 'Kangalin Vaarthaikal'{A.M.Raja and P.Suseela}'Annai Enbaval Needhaanaa'
{P.Banumathi }'Kannaa Karumai Nira Kannaa’{P.Suseela}'Kagidhathil Kappal Seidhu'{TMS} and 'Allithandu Kaalgaleduthu'{TMS and P.Suseela} carry the charm of his distinct musical thrust.

     Among the late entrants, V.Kumar became the chosen music director for K.Balachander films and his prolific contribution of melodies supported by the use of limited musical instruments added to the strength of the quality-oriented films of Balachander. Films like Naanal {Kuyil Koovi Thuyil Ezhuppa, by Soolamangalam Rajalakshmi},Velli Vizha {Kaadhoedudhaan Naan Peisuvein by L.R.Eswari}Edhir Neechal {Thaamarai Kannangal by PB Srinivas and P.Suseela} Nootrukku Nooru{Naan Unnai Vazhthi Paadugirein by P.Suseela} Neerkumizhi {Aadi Adangum Vaazhkaiyada, by Sirkazhi Govindarajan}Major Chandrakanth {Oru Naal Yaaroe,by P.Suseela} and Iru Kodugal { Punnagai Mannan Poovizhi Kannan, by P.Suseela and Jamuna Raani} will refresh nostalgic memories of many a worthy movie of K.Balachander. I have mentioned only some movies here. Besides Kala Kendra films, Kumar has also worked for a few Muktha Pictures’ films like Niraikudam and Bommalaattam {Nalla Naaal Paarkavoe, by TMS and P.Suseela }.His other films include Panakkaara Penn, Veguli Penn{the famous TMS song Engellaam Valai Osai Keitkinradhoe} and Thein Sindhudhe Vaanam .None of the songs of Kumar would create a jarring note and the soothing combination of vocal and instrumental components of music has always been the trade mark of Kumar.

     If V.Kumar remained the favourite of K.Balachander,Shankar Ganesh were frequently inducted by the Dhandayudhabaani Pictures of the Devar film unit.Films like Magarasi,Akka Thangai,Aattukkara Alamelu,  Sorgam  Naragam,Vellikizhamai Viradham,Ranga,Thaai Veedu,Thaayillaamal Naanillai,Komadha En Kulamadha and Adhisiappiravigal all from the Devar Production house were musically supported by Shankar Ganesh. Besides they have the proud position of composing music for MGR films like Idhaya Veenai and Naan Yen Pirandhein. For the AVM banner they have worked for the film Samsaaram Adhu Minsaaram. They have also been associated with the Sujatha Cine Arts' films like Mangamma Sabatham, Vidhi ,Billa etc.Their other popular movies are Neeyaa,Darling Darling Darling,Kanni Paruvathile and Vandi Chakkaram. If V.Kumar tried to bring out the voice mould and efficacy of the singers Sankar Ganesh believed more in the instrumental supremacy of song and tuning.
    Chandrabose,the other well-known music director of this period, had his merit and talent recognized by the AVM banner by composing music for the two most successful Rajinikanth films Manithan and Raja Chinna Roja,besides being the music director for Rajini's earlier film Mangudi Minor.He has also composed music for two other AVM films like Sankar Guru, and Maanagarakkaaval.He carries the pride of making music for the National award winning film Pudhiya Paadhai and the Sathyaraj entertainer Anna Nagar Mudhal Theru. What is very special about Chandrabose music is his high level of lyrical clarity and optimum instrumental thrust.He has given us many hits like the title song from Manithan,'Super Starru Yarunnu Ketta' from Raja Sinna Roja and 'Medhuva Meduvaa Oru Kaadhal Paattu' from Anna Nagar Mudhal Theru   

     Besides these musicians, the violin maestro Kunnakkudi Vaidhiyanathan has also joined the wagon of music directors once a way by directing music for A.P.Nagarajan’s films like Thirumalai Thenkumari, Kaaraikkal Ammaiyaar,Raja Raja Cholan and Mel Naattu Maru Magal. Similarly the Devar films unit also had the privilege of availing the musical support of Vaidhiyanathan for their films Dheivam and Thiruvarul. All these films  either had a spiritual  theme or a Carnatic base.With his profound understanding of traditional music,Vaidhyanathan could substantially enrich the musical component of the films mentioned above.Like Kunnakkudi Vaidhyanathan, Soolamangalam Rajalakshmi the noted Carnatic singer also composed music for films like Karpooram,Dharisanam,Magizhampoo,Manam Oru Kurangu, and Jeevanaadi. The songs from Karpooram and Dharisanam deserve a special place for quality stuff of music.

     While all these music directors made Tamil Cinema reach higher positions in creativity and entertainment, some have been acknowledged more than the others or some have not been given their due recognition.The objective of this article is to reasonably record their service and respect them with a sense of gratitude and appreciation. 
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Tamil Film Directors as Actors.

   















       It is a known fact that quite a few actors have developed a fancy for directing films once a way. But very rarely did directors take any interest in acting at least till the middle of Nineteen eighties.For quite long,without the facility of television channels,very little opportunity was there even to see the photos of highly esteemed directors like A.Bhimsingh, A.C.Thirulokchander, P.Madhavan, K.S.Gopala krishnan,K.Balachander, Balu Mahendra,J.Mahendran,P.Neelakandan and S.P.Muthu raman.It was A.P.Nagarajan who first appeared as Poet Nakkeeran in his most popular film Thiruvilaiyaadal and made an eternal mark by his clear and chaste delivery of Tamil dialogues.Then directors like K.Vijayan  began to appear at least in a single scene of their films. New Age spokesman Barathiraja too has acted in a couple of films. Chitra Lakshmanan who served as Assitant director of Barathiraja,became a regular actor playing character and comedy roles,of  course, simultaneously directing films like Kamal's Soorasamhaaram and Prabu's Periya Thambi. Same is the case with Director Ramesh Kanna who is now more known as a comedian than film director.
     In the recent two decades, many film directors vigorously turned to the tinsel world with a passion for acting.While some have been doing a successful round as character actors,a few of them have played hero roles with zeal and conviction to the extent of creating indelible impressions in the mind of the audience for an exclusive space on the big screen.Tamil film directors occupy commendable positions in this regard.
     It was  K.Bagyaraj and R.Parthiban,who began to direct themselves as heroes and created some box office hits.Tamil film audience owe a lot to these two men of meritorious talent for unfolding an awesome evolution of creativity in celluloid form.Both these men are intelligent performers with ripeness of imagination and right understanding of reality and fiction.As actors,they have excellently brought out the intrinsic layers of ideas and emotions perfectly channelized in the right form to win the audience mood.It is their sharpness of understanding the probable themes and story lines of appeal, that would create waves among the movie goers, and project them as the right type of film makers and actors.The audience earnestly loved to watch the pranks and mischievous deliberations of Bagyaraj and Parthiban whose focus on dialogues was not only inventive but also thought provoking.Both have consistently reflected their avowed preference for the humour track for a valued journey of thoughts and emotions towards an enlightening destination.While Bagyaraj has attracted everyone by his innate geniality,Parthiban has become closer by his sharpness and witticism.The best of Bagyaraj are films like Mouna Geedhangal,Andha Ezhu Naatkal,Darling Darling Darling and Mudhaanai Mudichu.Parthiban has to his credit films such as Pudhiya Paadhai,Housefull, Barathi Kannamma and Kaakkai Chraginile.Despite this restrictive listing one could very well say that as actors,both of them have never failed to entertain the audience by their common sense and commendable wit.
     The two contemprary,dynamic directors P.Vasu and K.S.Ravikumar have joined the thespian journey either for a short duration or for a significant slot.While P.Vasu is meant  for serious type of roles,K.S.Ravikumar has been doing just the opposite.Vasu has taken up villain roles{eg Then kasipattanam}or the character of a self-possessed individual as in Seenu.It is difficult to imagine him perform comedy roles. Whereas Ravikumar has been compact as a villain {Putham Pudhu Payanam needs a special mention}as well as in stepping into comedy and character performance together.{Arul and quite a few other films} Of late he is in the habit of appearing at least in a song scene of any film directed by him'
   Late director-cum-actor Manivannan started his game, first as a villain in Barathi Raja's movie Kodi Parakkudhu and later, in many films as a comedian and character actor. No one can forget his voluminous and qualitative contribution to Tamil cinema for nearly three decades.His exceptional roles were in movies like Ullathai Allithaa,Amaidhippadai,Maaman Magal,Vaanavil,Sangamam and Mettukkudi.Though he claimed a remarkable position as director,his spontaneity and level of energy in essaying character and comedy roles were of a unique kind in the line of immortal actors like S.V.Rengarao,M.R.Radha and T.S.Balaiah of the previous century.Manivannan could effectively emote in performing father characters and he could beautifully display frames of modesty and arrogance with consummate degree of perception.He seemed to have established unfailing levels of rapport with actor Sathyaraj that never sagged throughout his life time.
   Following the footsteps of  Manivannan, several other directors like R.Sundarajan, Manobala, Sundar.C.Cheran and S.J.Surya came into lime light, the first two as character actors and the rest as heroes.Though R.Sundarajan would not have succeeded like Manivannan in the field of acting his involved performance in films like Makkal Aatchi,Marumalarchi,Kaalam Maaripoechu, Paattaali,and Soorya Vamsam has been a clear indicator of his wonderful acting stuff,particularly when it comes to delivering both heavily emotional and humorous roles. Sundarajan has acted impressively in many films but as a director he has given highest silver jubilee hits on a regular basis.Films like Payanagal Mudivadhillai, Naan Paadum Paadal,Amman Koil Kizhakkaale Vaidhehi Kaathirundhaal  Mella Thirandhadhu Kadhavu and Rajini's blockbuster film Rajaathi Raaja will symbolize his Midas touch as movie director.As an actor he has joined the band wagon of great heroes like Vijayakanth,Sathyaraj,Sarathkumar,Vijay and Parthiban. As director he holds the proud position of directing Vijayakanth,Mohan,Parthiban,Sathyaraj and above all Rajinikanth.The Tamil film world owes more to his directorial merit than his role performance.
    Manobala who directed Rajini's popular film Oorkkaavalan has also given us great movies like Pillai Nila and Karuppu Vellai. He is also known for directing Mallu Veitti Minor,a well known Sathyaraj film.But today Manobala,with his lanky frame of body,sunken cheeks and disheveled hair,remains as more prominent comedy star capable of generating laughter moments just by his appearance and by his casual manner of notable dialogue delivery.Very often I used to think that if Shakespeare's Julius Caesar is made in Tamil,Manobala will be the fittest person to do the role of Cassius.{Caesar normally would refer to Cassius as 'lean and hungry looking'}Manobala has proved without any reservation that he is ever ready to play the role of a fake Sanyasi or a pimp.He has also been chic in the role of a helpless cop or a hapless father  taunted by his irresponsible son.If R.Sundarajan has been more successful on the directorial side,Manobala has been a better actor than director.
    Sundar.C has already occupied a vital page in this blog taking a specific article that would add merit to this blog.Starting his film career as a successful director of many comedies and farces,he took to acting hero roles with considerable image and films like Thalainagaram,Veeraappu,and Aaudham Seivom will testify greatly to his acting core.However he has once again resumed his directorial responsibility with a fresh shower of comedy hits like Kalakalappu and Theeyaa Vela Seiyyanam Kumaru. Cheran,a self made creative artist owes to his credit critically acclaimed movies like Paaandavar Bhoomi, Porkaalam,Vetrikkodikattu and Autograph,the last one marking his career as a hero.It is Cheran's dedication and unrelenting conviction for norms that have taken him on the higher side of the movie ladder.His other films like Solla Marandha Kadhai,Maya Bazaar,Raman Thedia Seedhai and Chennaiyil Oer Naal have all shown his unflinching devotion to acting and his sense of sobriety has always remained as his singular trait.If the other directors mentioned above are distinctly humour-prone,Cheran always seems to be laid up with a mood of heaviness and melancholy reflecting most often the negative feel that 'God is not in heaven and all is wrong with the world'.But there is always a veil of dignity covering his acting front that places him on a higher pedestal to be noticed, remembered and preserved in a Platonic frame.
     S.J.Surya the ace director of mega hits like Vaalee and Kushi,with Ajith and Vijay respectively, all of a sudden developed an urge for acting may be due to his stylish,Sharu kahan  kind of looks.Unfortunately, his films like Anbe Aaruyire,Kalvanin Kaadhali, Viyabari and Newtanin Moonraam Vidhi did not yield the expected result,despite the fact that Surya was fascinating and powerful in doing the roles that he took for himself to play.His clear,nasally sharp and forceful delivery of dialogues is his special asset.He is good looking and lovely too,as an actor.But success has so far eluded him.
   The latest list of directors launching their acting spell are the S duo Sasikumar and Samuthirakani and the other popular, Mysskin. Roles of  subdued sentimental display has gone to the favourable side of Sasikumar{Subramanyapuram and SundaraPandian} and he has been doing a smart job in this regard. Samuthirakkani is always down to earth,both as a villain {Subramanyapuram} and realistic protagonist be it as a cop or school teacher.{ Eesan and a few other films}Mysskin who is much focussed on the darker side of crime and compunction has proved to be a credible performer of poignant characters.
   Among the director-cum-actors, it is Bagyaraj and Parthiban who were able to create a sustained hero image for themselves for a solid period. Manivannan and Manobala as comedians and character actors, have surpassed their directorial position to a great extent. Sundar.C and Cheran have evenly shuttled between directing films and acting in them. R.Sundarajan and S.J.Soorya could be acknowledged as better directors than actors.Beyond these observations, the fact always remains that most directors are actors first, because it is the acting frame in their centre of creativity that drives them properly, to direct all actors and actresses in the right perspective and pattern.
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The Vagai Storm of Tamil Film Comedy.

      Starting from the days of N.S.Krishnan,Tamil cinema has come across comedians of different looks and calibre at various times. There were, ever lean comedians like Ezhumalai, Chandrababu, Friend Ramasamy, Nagesh,Surulirajan,Loose Mohan and Omakuchi Narasimhan and burly or bulky comedians like T.S.Dorairaj,Kottapuli Jeyaraman,Pulimoottai Ramasamy and Usilaimani. The other list of actors who with their normal constitution,substantially took care of the comedy side of Tamil Cinema includes actors like K.A.Thangavel,A.Krunanidhi,Thengai Srinivasan, Cho Ramasamy, A.Ramarao, otherwise  known as Appulaachaari, S.V.Sekar, Y.G.Magendran, Goundamani, Senthil, Vivek,Karunas and Santhanam.But there is one actor who made his debut as the thinnest comedian and slowly grew in size, stature and popularity. Quite often he took the audience by surprise through a stormy exposition of talent not only for generating humour but also for expressing a variety of emotions in their original form. It is his native touch and rugged sense of humour that have carried him through on a track of steady growth. This vastly talented comedian called Vadivelu is greatly known as Vagaipuyal {the storm of  the Vaigai river}because he hails from Madurai where the Vaigai keeps flowing.

     The humour waves of Vadivelu have been surging as naturally as the waters of the Vaigai dam. Though credit goes to director-cum-actor Rajkiran for introducing Vadivelu to Tamil Cinema,the fact that Vadivelu has grown by his own efforts, as one among the greatest comedians surpassing competitions at various levels in various forms, becomes a stamp of recognition for his extraordinary potential to convincingly portray humour on the big screen without a trace of impediment on his part. Vadivelu has ever been dynamic both in individual and collective show of the gusto of comedy with accurate time sense and amazing body language. People who saw him dancing for the song ''Poda Poda Punnaakku'' wearing just a piece of loin cloth, in Raj Kiran's 'En Rasaavin Manasile' would never have thought that he would reach the stage where he is today. His lean body frame and black complexion did not and could not obstruct his spontaneous delivery of acting. He could dance like Nagesh, deliver dialogues like K.A.Thangavel and sing like Kalaivaanar. So he is three in one. It is this unique aspect that has projected him as a classic comedian.

     Vadivelu is a special kind of comedian in the sense he can excel both in verbal and physical comedies with equal degree of comfort.In most films Vadivelu has taken prefixes along with the names of his characters such as Veecharuva Veerasamy {Rajakumaran}, Kuppai Thotti Govinda samy {Minor Mappillai},Omathurai P.C{Gambeeram}Kaipilla,{Winner}Telex Pandian {Ennamma Kannu},Vibration Vadivelu {Baghavathi},Encounter Ekaambaram{Marudhamalai},Bullet Paandi{Koil}Theepori Thirumugam {Englishkaaran} Naai Sekar {Thalai Nagaram} and Snake Balu{Aaryaa}.What makes his comedy scenes very powerful is his vigorous voice modulation quite often in the line of Madurai slang. He has hardly lost his space to any comedian be it Goundamani-Sendhil or Vivek when it comes to a joint performance.
     In films like Pongalo Pongal and Manadhai Thirudivittai, he proved to be a perfect foil to Vivek, maintaining his competitive spirit in every scene. He would have bowed to Goundamani like Sendhil, only to take Goundamani for a ride later. But it is only as independent comedian, he has risen to an enormous stature, ruling the audience to the roost. His success formula in this regard, has been effectively framed in a kind of team spirit with heroes like Paarthiban, Arjun ,Vijay, Suriya and Prasaanth.The verbal banter  between Parthiban and Vadivelu or between Arjun and Vadivelu has been immensely captivating, sometimes taking the viewers to the zenith of laughter.Though Vadivelu appeared in a few scenes with Rajinikanth in Muthu, it was in the film Chandramugi he made highly hilarious scenes in company with the superstar. Most memorable laughter waves prevailed in Chandramugi as in other films like Winner, Giri, Marudhamalai, Otran, Vetrikodi kattu, Friends, Thimiru, London, Thalai Nagaram,Enga Anna,Yei,Poekkiri and Aadhavan,to mention a few.

    The present hiatus of Vadivelu is nothing but a political accident. He has definitely created unbeatable records of kinds through his comedy specials. He kept the audience consistently energized and relieved from mood swings by his innovative humour therapy carefully contrived and devoutly delivered. Unfortunately, his flair and capacity for an unlimited generation of humour was stalled later by his fatiguing focus on a repeated course of physical comedy. It is Vadivelu among all comedians, showed the guts to act in dual roles in a film based on a royal story line. Though it was a parody type of movie, Imsai Arasan Irubathumoonraam Pulikesi, directed by Simbudevan of the Shankar School, showcased Vadivelu in both humorous and serious forms, making indelible impressions, thereby making the film a commercially viable project.

     The movie on the whole and the performance of Vadivelu  as hero in particular, created the impact that the original version Uthamaputhiran, starring Chevalier Sivaji Ganesan had created long ago. Nagesh had acted earlier in dual roles in Anubavi Raja Anubavi but that was out- and- out a comedy parade. Whereas, Vadivelu played his dual roles differently for a gorgeous show of events and he did create a fine impression for that special mock epic. No one can say no to Vadivelu singing and dancing. In character roles he proved his mettle much early, in a convincing performance in the role of Esakki in Devar magan. Unlike Vivek and Santhanam, he has acted both with Kamal {Singaravelan  Devar Magan and Kadhala Kadhala}and Rajini. He has been a special favourite of directors like V.Sekar, Hari,K.S.Ravikumar, Siddique,Sundar C. and Sankar and  he has been comfortable almost with all kinds of heroes holding the top and middle level positions.

     However, it should be stated here, that he has always been more popular with the rural block than with the urban audience. As the larger audience consists of those from villages his success graph has been consistently growing upward. He has no messages to offer like NSK or Vivek. What he does is mostly a street show of comedy demonstration either in isolation or in a group; at times he would resort to bullying tactics but would ultimately surrender when he finds himself cornered and his escape chances go high and dry. It is always a delightful proposition to watch him in a pitiably gullible predicament getting roughed up by others. What makes such scenes exulting is the way he bullies and is finally cowed down.   

    Vadivelu’s innate passion for humour and his conviction to make the audience laugh,firmly place him on the higher slot among the present day Tamil comedians, with his infallible trademark of laughter programme. One could accept without any grudge the adage Vagaipuyal, that has been added to  his name with relevance and truth and without any room for exaggeration.
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Two Mighty Voices and Their Voice Alikes.

     There were days when only native singers used to sing Tamil film songs and some of the singers were primarily actors and then singers.This is how the centre stage of Tamil film music was dominated and enriched by many, great film personalities like the actor singers M.K.Thiagaraja Baghavadhar, P.U.Chinnappa,T.R.Mahalingam, and the musical monarchs like T.M.Soundarajan, Sirkazhi Govindarajan,Thiruchi Loganadhan and Chidambaram Jeyaraman among men and the most illustrious women singers like M.S.Subbulakshmi,D.K.Pattammaal and K.B.Sundaraambaal. Then came an amazing line of fascinating singers who were not natives of Tamil Nadu but who could steal the hearts of the audience by their effective rendition of  Tamil film songs.The list would include great singers like A.M.Raja,Ghantasaalaa,P.B.Srinivas,Dr.Balamurali Krishna, P.Susila, Jikki,S.Janaki and so on.Music lovers and film fans in Tamil Nadu were under the spell of these wonderful voices.
     As the Tamil film industry began to grow in leaps and bounds,more and more fresh talents began to occupy the field of Tamil film music.Heroes like MGR and Sivaji Ganesan whose voices were genuinely identified with that of T.M.Soundarajan,when it came to song sequences in their films, mooted a change either intentionally, or as a mark of transition and as a result of this, the voice of TMS was replaced by two fresh voices, that were destined to rule Tamil film music for long.The two mighty voices belong to K.J.Yesudas and S.P.Balasubramanyan.
      In terms of time of entry into Tamil Cinema,K.J.Yesudas is senior to SPB. The song 'Neeyum Bommai Naanum Bommai' had already become popular leaving a mark of identity for Yesudas. But he laid his footing firmly in Tamil cinema only after he delivered the most popular songs like 'Adhisaya Raagam,Aaanandha Raagam' and 'Dheivam Thandha Veedu Veedhiyirukku' from the films Aboorva Raagangal and Aval Oru Thodarkadhai both directed by the most esteemed K.Balachander. But for SPB, the beginning itself was well marked and the very first song Aayiram Nilave Vaa was for the gigantic MGR film Adimaipenn. Of course,during the same time he became popular with the other,first recorded, mesmerizing song 'Iyarkaiyennum Ilayakanni' from the thriller film Santhi Nilayam and both these were duets, in association with P.Suseela. MGR began to simultaneously utilize the captivating voices of these two singers.
    It is a known fact that MGR was always very particular about the quality and richness of musical component of his films.That MGR endorsed the incomparable talent of these mighty singers and that these valued voices contributed significantly for the success of MGR films like Urimakkural, Ulagam Sutrum Vaaliban,Netru Inru Naalai,Sirithu Vaazha Vendum, Pallaandu Vaazhga , Naalai Namadhe and Needhikku Thalavanangu,became remarkable events in Tamil Cinema.Songs like 'Avaloru Navarasa Naadagam', 'AngeVaruvadhu Yaaro Adhu Vasandhathin Theiro' and 'Paadumpothu Naan Thenral Kaatru' from the first two films and the title song from Naalai Namadhe,breezily and powerfully delivered by SPB and 'Vizhiye Kadhayezhudhu'{Urimaikkural} 'Onre Kulamenru''Poivaa Nadhiyalaiye'{ Pallaandu Vazhga},Neela Nayanangalil'{Naalai Namadhe] and 'Indha Pachaikilikkoru' {Needhikku Thalaivanangu} in the gripping voice of Yesudas, remain as the richest legacy of MGR film songs.
      The musical voices of these men contain an independently penetrating charm with a classic structure of clarity,vibration and width.There is a kind of spiritual grandeur in the voice of Yesudas that keeps him endowed with a calibre for dignified delivery of music.I still wonder how he was able to deliver a song like 'Thanni Thotti Thedivandha Kannukutti Naan' for K.Balachander's other critically viewed film Sindhu Bhairavi. The voice of Yesudas is imbibed with an unbeatable soothing profile and it can straight away pierce into one's soul with a kind of intimate access that no other voice is capable of.The musical nuances forming part of this sacred voice belong to a special category.The only drawback{ if one is emboldened to call it so}in his delivery of Tamil songs,is the lack of precision in the utterance of Tamil words like 'Kiliye' and 'Pillai' as experienced while listening to the songs 'Poovizhi Vaasalil Yaaradi Vandhadhu Kiliye Kiliye' and 'Pillai Nila'{ the latter  is from Balu Mahendra's Neengal Kettavai}.
     The voice of SPB on the contrary,is more open,with an innate force to flow and blow at one stroke.He has an invincible mark of clarity in his voice and it is a voice born with a quest and thrust for delivering words and musical notes without a hitch.He may not have the advantage of injecting vibration that is an inherent asset of the voice of Yesudas. But the force in the voice of SPB is like the down pour of the unfailing thick black clouds raining in torrents.The ever immortal Sangaraparanam song will speak of his might, for ever. He sings with full-throated ease and the sharpness and clarity of his Tamil accent is always a bonus to the listeners.
     K.J.Yesudas is ever a melody king exhibiting a peerless pattern of voice magnificence.Most of the Tamil film songs that he sang became a grand audio treat only because of his exquisite mode of rendition.To mention a few, songs like 'Sendaalampoovil' {Mullum Malarum} 'Pazhamudhircholai Enakkaagathaan' {Varusham Padhinaaru}'Nalla Manam Vaazha''{Oru Oothaappoo Kan Simittu giradhu}'Oora Therunchukittein'{Rajinikanth's Padikkaadhavan},'Annanenna Thambienna' {Dharmadhurai}are his amazing solo hits.Duets like 'Andhamaanai Paarungal Azhagu'{Andhamaan Kaadhali}'Malare Kurinji Malare'{Dr.Shiva}'Vizhiye Kadhaiyezhudhu'{Urimaikkural}}'Thenral Vandhu Ennai Thodum'{Thenral Vandhu Ennai Thodu}'Thanga Maganinru Singa Nadaipottu' {Baasha}and 'Maasimaasam Aalaana Ponnu'{Dharmadurai}are the eternal musical assets of Tamil Cinema.
     In the same way,SPB has given stunning songs like 'Pottu Vaitha Mugamo'{Sumadhi En Sundari}'Kamban Emaandhaan'{Nizhal Nijamaagiradhu}''Unakkenna Mele Ninraai Oh Nanda laalaa'{Enakkul Oruvan}' Nalladhor Veenai Seidhu' {Varumaiyin Niram Sigappu}'Paadi Parandha Kili'{Kizhakku Vaasal}'Ilamaiyenum Poongaatru' {Pagalil Oru Iravu}{Sagalakalaa Vallavan}'Ilaya Nila Ezhugiradhe'{Payanangal Mudivadhillai} 'Sangeedha Megam'{Udhaya Geetham}'Koottathile Koil Pura' {Idhayakoil}'Manram Vandha Thenralukku Manjam Vara Neramillaiyo'{Mounaraagam} and'Nalam Vaazha Ennaalum EnVaazhthukkal' {Marubadium}In fact, it would be an unending list of his masterly delivery of film songs, mostly under the felicitous musical composition of Ilayaraja,the venerable prophet of music.
     If K.J.Yesudas has delivered the immortal lullaby 'Kanne Kalaimaane',{Mooraam Pirai}SPB has given us the ever lasting lullaby 'Thooliyile Aadavandha Vaanathu Minvilakke' {Chinna Thambi}.The former's memorable tribute to motherhood in 'Ammaavai Vanangaadha Uyirillaiye' {Mannan} is perhaps a sequel to SPB's 'Naanaaga Naanillai Thaaye'{Thoongaadhe Thambi Thoongaadhe}and 'Amma Amma'{Uzhaippaali}.
    Tamil film industry truly owes a lot to these two fabulous voices for their qualitative enrichment of Tamil film music.May be SPB's contribution would be more voluminous than that of K.J.Yesudas.The voice of Yesudas keeps us possessed by a kind of irreplaceable magical spell;the voice of SPB makes us energized and empowered with a driving gusto.What an incredible amount of emotional vigour and energy has been transmitted by powerful songs like 'Ennadi Meenakshi' {Ilamai Oonjalaadugiradhu} 'Unakenna Melei Ninraai Oh Nanda laalaa' {Enakkul Oruvan}'Ilamai Idho Idho'{Sagalakalaa Vallavan}'Vandhenda Paalkaaran' {Annaamalai} 'Naan Autokaaran Autokaaran' {Basha}'Adhaandaa Idhaandaa' {Arunachalam} 'Oruvan Oruvan' Mudhalaali' {Muthu}'Devuda Devuda' {Chandramugi}and 'Ballelakkaa' {Sivaji}.These are not only great Kamal and Rajini hits, but are also samples of the power packed numbers of SPB, demonstrating his immense capacity for breath control as truly noticed in the song 'Mannil Indha Kaadhalanri' from Keladi Kanmani in which he also displayed his extraordinary histrionic skill. If Yesudas has a delving voice SPB is endowed with a leading voice.It is a kind of swinging experience for the listeners between the dynamic voice of SPB and the devotedly soothing tongue of Yesudas. The film music album of these two grand singers is a treasure house, worth visiting for a repetitive aural exaltation.
      It is interestingly a rare phenomenon that these two voices permeate in a form of semblance and similarity in the rendition of two other playback singers who have also vitally contributed for the success and sustenance of sweetness in Tamil film music.One is almost a close disciple of K.J Yesudas earnestly following his voice line, in tone and spirit and that is the effortless melody maker Unni Menon and the other is almost SPB's voice replica,the clear- tongued Mano. The subtle difference between Yesudas and Unni Menon is the absence of the stronger notes of the former's magnificent extent of vibration in the tone and delivery of songs, of the latter.However,heard from a distance, a song like 'Pudhu Vellai Mazhai Ingu Pozhihinradhe'{Roja}rendered by Unni Menon would perfectly bring the voice of Yesudas closer to our hearts.
     Similarly, it is a great  experience listening to the felicity and magic of music, perceived in the most penetrating  songs like 'Kannukku Maiyyazhagu' {Pudhiya Mugam}Poeraale Ponnuthaayee' {Karuthamma}'Ennavilai Azhage'{ both from Kaadalar Dhinam}'Nadhiye Nadhiye' {Rhythm} 'Enge Andha Vennilaa'{Varushamellaam Vasantham}or the joyous numbers such as 'Maanaamadhurai Maamarathukiliye'{Misaarakkanavu}'Dhaandiyaa Aattam Aada'{Kaadhalar Dinam}and 'Minnalaippidithu'{Shajahan}.Starting from 'Oh Maane Maane Unnaithaane'{Oru Kaidhiyin Diary}Unni Menon's  voice has almost been carrying on a proxy parade for K.J.Yesudas both in terms of sweetness and the mesmerizing calibre of singing.His is a softer voice than that of Yesudas but its level of reach and audio impact is no way inferior to that of Yesudas. Both the voices carry a healing touch to the extent of mellowing human emotions with grace and dignity.I have mentioned only a few songs of Unni Menon here.He has sung  under the music composition of the two musical stalwarts Ilayaraja and Rehman and he has been a favourite of film directors like Mani Rathnam and Vikraman. That he has sung most pleasing melodies for films like Unnai Ninathu, Priyamana Thozhi and Vaanathai Pola shows how much his voice has been valued by director Vikraman and his patronized music composer S.A.Rajkumar. If one listens to the musical flow of Unni Menon through a process of 'willing suspension of disbelief' one would faithfully and unquestioningly accept it as the infallible outcome from the vibrant voice of K.J.Yesudas. Like the inseparable Siamese twins, these two riveting voices are of an indistinguishable mould with a predominant clasp of human ears for compulsive listening, leading to spontaneous enjoyment.
     Mano's voice throw,clarity of diction and felicity of singing reflect undoubtedly,a near perfect duplication of an SPB rendition.The subtlest note of difference would be SPB's innate capacity for tongue twisting and voice churning like that of a precise mixing and squeezing equipment letting out the essence of what is being fed with in.It looks as though SPB's tongue would dance in tune with the syllables of the words and the words of the lyrics in accompaniment of the galaxy of instrumental notes.But Mano definitely has the raw voice of SPB and he shapes it as he likes it to be; beyond his self conscious efforts in this direction,the ultimate impact is the feeling of having listened to another song of SPB. Poor Mano,can not help his voice getting dissolved in the boiling Cauldron of the SPB vocal cords.Be it the soft numbers like'Nee Nadandhaal Nadaiyazhagu' {Baasha} 'Malaikkoil Vaasalile'{Veera}"Pattuppoove Thottuppaaru'{Sembaruthi}'Sandhana Maarbile Kungumam Dheindhadhe' {Naadodi Thenral}'Ennavale Ennavale Engirundhai Needhaan'{Ninaithein Vandhaai}or the sprightly songs like 'Alli Alli Anaarkali' {Arunachalam} 'Thillaanaa Thillanaa"{Muthu} and "Ohoho Kikku Yerudhe"{Padayappa}it is just a hairline difference that could be noticed between Mano and SPB in their voice pattern and very often the debate continues in fixing the song with the voice of the original singer.
    After listening to such confusion in voice similarities,I would say that it is from Mano's voice and my son would say that it is in SPB's voice.Finally,sometimes I would be right and at times my son would score the point.Such a similarity in voice,might raise valid controversies in fixing the identity of actors during a course of listening to dialogues off screen. But here are two singers whose voice and way of singing make them both easily exchangeable on the platform of audition. Like SPB, Mano too has appeared on screen with an acting zeal and his role in Kamal's Singaara Velan stays memorable.But as a singer, Mano has sung songs mostly for Rajini films than those of Kamal. I have recorded here only a small number of Mano's songs from the exhaustive list of his Tamil filmography.This short supply is perhaps due to my inability to firmly differentiate a Mano song from that of SPB.
    These four great musical men, have crossed the linguistic barriers, both intrinsic and external and have meticulously and magnificently participated in the programme of patronizing Tamil film music through a genuine transmission of  energy and the power of music.The language of music is a firm ladder helping mankind reach newer heights of happiness and peace.What transpires vocally and instrumentally, might be the outcome of a human endeavour or the display of human talent, inborn and acquired.But there is always a pair of invisible hands operating from behind everyone and goading every human voice and hand, to play as it should.May be, that is why we say music is divine.The two mighty voices and their voice alikes, do have the backing of the invisible pair of divine hands, in driving them to the higher positions, that they have reached today.
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