Taxing Among the Trilogy.

 

 
       No doubt Gautham Vasudev Menon's ''Ennai Arindhaal'' was eagerly looked forward to, not because of the hype made by the media about the film, but because of the quality stuff, that the director is capable of, as a film maker.What a brilliant show 'Vettaiyaadu Vilaiyaadu' was,as a  a differently narrated cop story and how compact Kaakka Kaakka was, frame by frame as an emotionally told police story.But here, the monologue kind of narration,the shuttling between breezy and noisy picturing of events, with out anything new in the story line, make the whole process of watching the film a frustrating experience.The solacing moments are the few scenes involving Ajith and Trisha and the break that Ajith takes with his adopted daughter to Jodhpur. Vivek's talent for sensible humour has been under utilized and the reasons for the hero's aversion for the gangster world has not been poignantly presented.
     The most redeeming factors of the film are the rich lyrics of Thamarai and a couple of melodious numbers by Harris Jeyaraj. The film should definitely give a break for Arun Vijay but he should learn to control his decibel.The pre climax chase and run events are worth watching, thanks to the speed in narration. Ajith looks chic and charming and does not disappoint his fans as a performer with style and grace. Gautham Menon continues his adoration of fatherhood and his dignified presentation of women.But on the whole,in spite of the exquisite aesthetic components in narration, the film is taxing with its background music score and the intermittent bouts of loud delivery of dialogues.To me, it seems to occupy only the third place in the trilogy of police stories of Gautham Menon, for want of a valid and creditable story line and lack of fresh course of events, that would otherwise have made it a great film, on the uniformed service.

The Versatile Beard.

       Bearded men are rare in Tamil Cinema,that too among those who have a screen image as popular heroes.The recently successful director -cum hero in this category is M.Sasikumar.Earlier we had Manivannan who with his  beaming beard was a dynamic director, character actor,comedian and villain.The other reputed Tamil director P.Vasu is quite often seen with a beard.But Tamil Cinema can never ignore the most vibrant T.Rajendar whose constant beard speaks of his versatility in the film field.Like Oliver Goldsmith in English literature known for his manifold accomplishments as poet,novelist,essayist short story writer and playwright T.Rajendar has displayed his creative might as film director, story and dialogue writer,lyricist,actor,singer and music composer.
    Starting his film career with Orudhalai Raagam,T.Rajendar made a clean sweep for quite some time,coming out with great hits like Rayil Payanangalil,Thangaikkor Geedham,Uyirullavarai Usha,Uravai Kaatha Kili,Mydhili Ennai Kaadhali,Samsaara Sangeedham, En THangai Kalyaani and Oru Thaayin Sabadham. His other moderate entries were,Sonnaaldhaan Kaadhalaa,Kaadhal Azhivadhillai and Veeraasaamy.
      What is special about T.Rajendar besides his cheek bound beard, is his Tamil, with its innate flair for alliterations.His felicity in the deliberation of Tamil dialogues with copious alliterations would at least partially remind one of Kambar's great legacy of high sounding words making sense and substance. T.Rajendar is synonymous of sentiments.His  creative thrust has emotional well being as its core and he would not bother if he has to resort to melodramatic narration, for the sake of dramatic efficacy of delineation of events,situations and  characters.
    I would say T.Rajendar is the most emotional of all makers of Tamil films, because, he never lets down the spontaneous urge for shedding tears, whenever he cannot control his emotions.One who cries naturally, while being emotionally disturbed, is a true human being, because weeping under emotional stress is one of the basic characteristics of human life.Very often, one can see T.Rajendar crying even on stage, whenever he is emotionally struck.This is a valid demonstration of a film personality of traditional mould and T.Rajendar is undoubtedly an upholder of the traditional base .
     Oruthalai Raagam with all its ingredients of juvenile gusto,pangs of romance, positive energy of friendship,fascinating power of music and the stout interlinking emotional chord,was one of the grandest Tamil films of the Nineteen Seventies. Rayil Payanangalil that followed Oruthalai Raagam continued to reflect all these ingredients with a little bit of decline in the power of narration. Shankar, Rooba,Jothi,Usha,and Ravinder whose tenure in Tamil Cinema did not last long were definitely great talents spotted out by the ever versatile T.Rajendar. Nalini who first appeared in a secondary role in Sathya Movies' Raanuva Veeran and Amala who made a successful and sparkling round in Tamil films for nearly a decade and a half, were introduced as heroines by T.Rajendar, in his mega hit films Uyirullavarai Usha and Mythili Ennai Kadhali, respectively.  
     One can see even the titles of T.Rajendar's films singing rich musical tunes into the ears of film lovers. Mythili Ennai Kaadhali was a mind blowing film with fantastic music and dance components and the exclusive contribution of T.Rajendar at all levels, made the film a historic piece, displaying the aesthetics of film making.Thangaikkor Geedham gave a lift to the career of Anand Baabu the actor son of Veteran comedian Naagesh. The film also showcased Sivakumar's newer dimension in acting. Nalini scored reasonably for her capacity to emote without overacting.This talented actress made use of the base created in T.Rajendar films for her later and stronger performance in films like Paalaivana Rojaakkal and Nooravadhu Naal.
     As a music director T.R.gave beautiful melodies like 'Idhu Kuzhandhai Paadum Thaalaattu' 'Naan Oru Raasiyillaa Raajaa, Kadavul Vaazhum Boomiyile' Vaasamillaa Malaridhu {all from Oruthalai Raagam},'Salangaiyittaal Oru Maadhu'Naanum Undhan Uravai{from Mydhili Ennai Kaadhali} Vagaikkarai Kaatre Nillu,Indhira Logagathu[Uyirullavarai Usha}Endhan Paadalgalil Nee Neelaam bari{Uravai Kaatha Kili},Amaidhukku Perdhaan Saanthi, Noolumillai Vaalumillai{Rayil Payangalil and many others.Of these Naanum  Undhan Uravai is a high pitch number powerfully rendered by SPB, pouring forth the agony of the soul. The other similar songs were Nan Oru Raasiyilla Raaja and Noolumillai Vaalumillai from the masterly voice of TMS. Majority of the songs in T.Rajender's composition, were delivered by  veteran singers like TMS,SPB and Jeyachandran,
     T.Rajendar delivered in his own voice a couple of sweet melodies like Thatti Paarthein {Thangaikkor Geedham}and Ada Ponnaana Manase Poovaana Manase {Mythili Ennai Kaadhali}. T.Rajendar has proved to be a qualitative music composer by enriching Tamil Cinema not only through his solo hits,duets and melody songs but also through gaanaa type,high spirited songs like 'Ada Goppa Mavane' {Uyirullavarai Usha} 'Ennaasa Mydhiliye'{Mythili Ennai Kaadhali}and 'Emmaadi Aathaadi' {Manmadhan} all in his  gruff but receivable tone and tenor. What makes him an exceptional music composer is his right awareness of mixing rhythm with lyrics and making  perfect instrumental addition to vocal presentation.Being a poet himself, he seems to have no difficulty in turning words into musical units,in tunes worthy of  wonderful auditory experience.
       Tamil Cinema during its expansive growth and progress has been immensely proud of the valid and invaluable contribution of very many talents in a number of fields related to the  art of film making .Mostly, we have seen them as independent talents in their respective area of specialization, such as acting,singing,music composing,choreographing,directing and other activities concerning over all cinematography.But here is an individual, who can contribute meaningfully as story and screen play writer,lyricist,music composer and actor.He is all in one, doing a little more than the director-cum-heroes like Bhagyaraj,Paarthiban,Cheran and Sundar C. Like the beard that has come to stay with him,his talents have ever remained as his perpetual assets, making him more distinguished by the term 'the versatile beard' .
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''Uninspired'' May Be,But Stunning Though.

 

 
    On seeing Shankar's latest film 'I' it struck me that Mr.Baradwaj Rangan was perhaps right in saying in the Cinema Plus Columns of The Hindu,that ''a terrific performance has been let down by an uninspired and exhausting movie''.Note here that he did not call the film uninspiring.A stupendous show of events,extremely dedicated performance by Vikram excelling on several counts, and the equally committed and supportive role performance by others, be it the heroine Amy Jackson or the quadrilateral show of villainy by Suresh Gopi, Ramakumar Ganesan,Ojas Rajani and Upen Patel and the comedian Santhanam, definitely make every frame of the movie excitingly watchable,
     A.R.Reheman's 'Merselaaiyittein' will keep ringing in the ears, as the desired tune for quite sometime.But the length of the film could have been pruned by cutting short some of the scenes relating to the transgender expositions, bordering on vulgarity and the last stunt scene on a moving train, between the hero and the modelling rival. Shankar's show has always been a pendulum oscillating between ardent romance and ample social concern.Though the focus has been more on social and political issues embroiled in corruption stories  as exhaustively disposed off in films like Gentleman,Indian, Mudhalvan,Anniyan, and Shivaji, romance has certainly occupied the felicitous imagination of Shankar as diversified, but exotic romantic tales, beautifully narrated through films such as Kaadhalan,Jeans,Endhiran and now ''I''.
     One could never spot out any similarity in the story base of any of these romantic narrations, though the Shankar brand of visual ecstasy would remain as the constant enriching factor of all his films.The revolutionary Gentleman,the Patriotic Indian,the politically responsible Mudhalvan and the aggressively righteous Anniyan  as a split personality,took different routes to achieve the extermination of the wrong side of humanity.'Nanban'  was more a satirical piece  without a protagonist to be remembered. Shivaji and Enthiran were more Rajini shows than Shankar's. While Kadhalan depicted the usual power of love over the rule of money and status,Jeans just discussed the twins syndrome.Boys became a robust show of youth. Enthiran established the highly imaginative idea that love could  as well be experienced through a robotic incorporation of the human psyche.
    But ''I'' is totally different as a romantic piece. It shows that pure and consummate love always surpasses physical boundaries with a Platonic zeal and it was this concept of love that had endeared  a director like Sridhar,closer to the audience.But what is lacking in ''I'' is the depth in presenting this serene side of romance.The reason might be due to the fact that greater levels of concentration have gone into stunning make up manuals  and a magnificent display of Cinematography.A technically inspired Shankar could have been inspired a little more, in injecting the deeper layers of consummate love.Though not inspired in this regard, the film is definitely inspiring on the track of  technical exuberance and the hunger for performance  concertedly contributed by the Shankar and Vikram team.The adventures undertaken in affording horrid physical transformations to the hero and the villains and  the modules of ridicule presented by Santhanam under the guise of a Press reporter seem to pull the seriousness in narration to a tiresome process.To salute at the grand performance of Shankar and Vikram or to stand dismayed at the horrible sight of disfigured hero and villains is each one's will.  

The Vibrant Voice of V.S.Raghavan.

   

     


          V.S.Raghavan,one of the oldest actors,not just by age but by the age old standards and norms of Tamil Cinema, is no more today. He was a spontaneous actor, known for his high sounding voice, carrying its singular modulation,style,felicity and intonation, capable of reaching the audience with its intended effect.The volume of his voice was similar to that of V.K.Ramasamy and  Major Sundarajan, but the delivery mode was uniquely Raghavan's. He was both traditional and modern in outlook and demeanor.As a character actor, he made indelible impressions in quite a number of movies and some of the roles he played carried negative undercurrents, say, as an arrogant or irresponsible elder {Iru Kodugal,Kaaviya Thalavi and Punnagai}At times, he would also be seen as a member of the underworld gang of dons.As a high level police officer and as an aristocratic father, he was always a perfect bet.
        V.S.Ragavan would have acted almost with all heroes of different generations.During his film career spread over a period of about six decades,he would have cetainly filled the generation gaps by suitably sharing screen space from MGR,Sivaji and Gemini to the youngest actors of today in films like Saguni,Kalakalappu,Idharkuthaan Aasai Pattaayaa Balakumara and Ou Kanniyum Moonru Kalavaanigalum.Starting his film career as a director,{Chandrika}, he began to act in movies like Vairamaalai,Bommai and so on.The other popular film he directed was Samaya Sanjeevi staring T.R.Ramachandran and M.N.Nambiyaar..
      Some of the most popular films of V.S.R are, Kaathirundha Kangal, Karnan, Urimaikural, Kaadhalikka Neamillai.Nenjil Oer Aalayam,Iru Kodugal,Panamaa Paasamaa, Punnagai, Savaale Samaali, and Poovellaam Un Vaasam.V.S.Raghavan has acted both with Rajinikanth {Aaiyiram Jenmangal and Thambikku Endha Ooru}and Kamalahasan{Kalayana Raman, Naanum Oru Thozhilaali and Unnaal Mudiyum Thambi}.Like Major Sundarajan, Raghavan's close team mate and best friend was the most talented comedian Nagesh.
      Directors like Sridhar,K.S.Gopalakrishnan and K.Balachander considered Raghavan as a valuable  addition to their films and offered him significant roles which he performed in his inimitable style.One could perceive in his role performance, acting shades of other veteran actors like V.Nagaiah,V.K.Ramasamy and Major Sundarajan.This might be due to the fact that all these great actors moved to the screen from the stage and therefore there was always a meticulously programmed acting pattern in their performance, as actors in plays and films and each one brought into light, their own independent and spontaneous calibre that gave them each, an identity of their own. Raghavan's style of acting could easily penetrate into the deeper layers of the roles allotted to him and his capacity for emoting and delivering his roles with contextual and dramatic efficacy, reflected his tremendous potential, which remained intact, till the last moment of his acting.Both Tamil stage and screen owe a great deal, to this amazing actor of all generations.Perhaps, the incomparable K.Balachander who passed away recently, wanted his soul sustaining companion to stay by his side sooner than later.Here is another vacuum, created by the death of an actor, almost as old as Tamil Cinema, who vibrantly excelled in acting with intelligence,aesthetics and emotion..
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Tamil Cinema's Real, Rustic Face.

 















    Not all actors can truly reflect on the screen, a kind of kinship with the rural soil, with attachment and authenticity.Tamil film makers have time and again visited the rural block with meaty script and lovely narration.No one can forget the celebration of village life with all its attractive attributes in the movies of great film makers like A.Bhimsingh,Krishnan Panju,K.S.Gopalakrishnan,Malliam Rajagopal and so on.Starting from Sivaji Ganesan and MGR almost every other hero has become unforgettable characters of films based on rural themes and stories. Sivaji Ganesan's Baagapirivinai, Pazhani and Mudhal Mariyadhai are immortal testimonies of life in the villages of Tamil Nadu.But there is one actor who has genuinely displayed himself as the truest son of the rural soil,breathing the rustic air,looking rugged all the while talking the rural slang  eating the way a villager would eat and above all upholding the long cherished values of the traditional village routine,heart and soul. Raj Kiran,the dignified actor,producer and director of films stands unique as the veritable model of the rural realm of Tamil Nadu.
    To me Raj Kiran physically resembles P.S.Veerappa,the menacing villain actor of the last century. The bold pair of eyes,the stout physique and certain aspects of facial composition of Raj Kiran bring to my mind a replica of that great actor.What is not there is the intimidating voice throw of P.S.Veerappa with its innate harshness and flair for villainy.Raj Kiran on the other hand,has a soft but very firm voice mode, capable of threatening the opponent with an upright force and ferocity.His dialogue delivery is of a distinct pattern with self made intonation and modulation devices to suit his absence of openness in uttering dialogues.One could see a kind of inherent impediment in speech which he successfully overcomes by his self conscious and planned approach to dialogue delivery.On the whole, quite surprisingly,it is his singular way of delivering dialogue that sets into motion his very impressive portrayal of character in its original form.
   Raj Kiran initially opened his innings in Tamil Cinema as a producer giving us the two fairly popular Ramarajan films Raasaave Unna Nambi and Enne Petha Raasaa.He also made an appearance in these films.Then perhaps he would have thought that he himself could grease the paint and turn hero.This resulted in his self- produced movies En Raasaavin Manasile,Arnmanaikkili and Ellaame En Raasaadhaan of which the first one,a silver jubilee hit,was directed by Kasturi Raaja.The other two films were directed by Raj Kiran himself and they too were grand shows.It was the role of an irresponsible lout, with a  rough and tough exterior masking a soft and lovable inner self, that he played in all these films.He would be an indifferent husband or a rowdy,and a gambler but basically good at heart with a lot of love for his mother and wife hidden inside.These roles were a cake walk for him and his rugged looks made his role performance as spontaneous as possible.
   After these hits came Manickam  which was a moderate show. Raj Kiran came in the other two films Ponnu Vilayura Bhoomi and Veera Thaalaattu  directed by Kastoori Raja. Later he was associated with director Cheran for his popular films Paandavar Bhoomi and Thavamaai Thavam irundhu. From a hero to character role performance it appeared to be a smooth transition for Raj Kiran and directors like Cheran, Baala[Nanda}Lingusaamy{Sandakkozhi}Hari{ Koil and Vengai} L.Vijay {Kireedom}Siddique {Kaavalan}and P.Vasu{Thottaal Poo Malarum}have brought out the best acting stuff  in Raj Kiran.In most of these films Raj Kiran has donned the role of a village chieftain in the manner of Sivaji Ganesan and Vijyakumar. He has been an award winner for essaying supportive character roles,several times.With an obviously rugged exterior it is not that easy to switch over from stiffer deliberations to meek and modest portrayals.
   Raj Kiran has been simultaneously successful in this regard and films like Sandakkozhi,Thavamaai Thava mirundhu,Kireedom Kaavalan and the latest Manjapai  would clearly vindicate his amazing potential for performing the character of an estimable and dignified elder, solely representing the rural soil.His performance in the film Manjapai was so true to life that it beautifully and poignantly presented the plight of a village elder caught unawares, in an antithetical urban environment.Besides charmingly presenting the deeper emotional intimacy between a grandfather and his grandson,the film authentically presented the hard core traditional moorings of  a man, feeling uncomfortable in a city, while at the same time not hesitating to join the urban routine with his deep rooted rural values.His ultimate success in winning the hearts of the urban middle class, makes him not only the protagonist of the film but establishes Raj Kiran's position as Tamil Cinema's true rustic face.I am sure the audience would eagerly look forward to his usually and singularly sterling performance, in the upcoming movie Komban to be released on the Pongal day,15th Jan,2015..
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Small is Beautiful.

Ranjan.                   K.R. Ramasamy.

                    M.K.Radha

                                                                               Jency




                         






Swarnalatha.


                                                                                 Arvindsamy.

     ''Less is more''is a thought provoking, oft quoted line from Robert Browning's poem Andrea Del Sarto. Size is both a scientific and mathematical concept.The perceptions and preferences with regard to the term size, are usually left to the individual's imagination and understanding.For instance a big man in stature may not look that big for all.Think of a man of weak frame like Mohanlal Karamchand Gandhi becoming tall in the world's eye, to reach the status of a Mahatma How busy is the smallest bird sparrow.One of the smallest insects like a fly can cause awkward moments and havoc to even the most important people.Being small is at times more compact and beautiful and definitely, being small is not being insignificant.
    When it comes to human contribution to their respective field of participation and performance, smallness has always added more charm and grandeur, thereby making size or volume of contribution as something immaterial. Particularly in Tamil Cinema, there have been a sizable number of personalities known for making a stupendous show by their brief appearances on screen, or for their small time contribution to Tamil cinema with a big bang.They would have been heroes, villains, comedians,singers and music directors or film makers.But their memories would keep haunting us every now and then, reinforcing the truth of the maxim ''Small is beautiful.''
    What a fascinating line of heroes, men like Sriram,Ranjan,M.K.Radha and K.R.Ramasamy of the last century were and how amazingly they performed, leaving indelible impressions on the minds of the audience.M.K.Radha's films like Samsaaram  Chandraleka  and Manohara,would ever speak of his graceful and decent performance with a kind of dignity and firmness that he alone was capable of. If Ranjan was  a stylish hero in Neelamalai Thirudan,he was certainly magnificent as a suave and serpentine villain in Chandraleka. Similarly, Sriram was a dazzling hero in Marma Veeran and an amazing villain in Malaikkallan. Both Sriram and Ranjan seemed to reflect a similar pattern in acting but their dialogue delivery modes were different because the former used to follow an open approach and the latter a calculated,half suppressed brand of intonation with a unique style of body language.
    Whereas, K.R.Ramasamy  with his singular,easily identifiable tone was ever in consummate grip of form, fashion and style.He was a spontaneous actor with an innate flair for acting and singing besides being an attractive swash buckler. His most popular films like Ore Vazhi, Velaikkaari, Sorgavaasal, Sadhaaram,Chellapillai,Thuli Visham,Needhipadhi  and Ivan Avanedhaan, have substantially immortalized his stature as a grand player on the big screen.The only grudge of the Tamil film audience could be the lack of utilization of the talent and dynamism of all these actors.Their contribution may not be that big in volume and time but they were no doubt, big stars of eternal charm.
   There was another hero of great acting potential introduced by Citadel Pictures in their film 'Vijayapuri Veeran' and that was C.L.Anandan.He was stylish and powerful in dialogue delivery.His face was rightly made for royal roles and his first film was a great hit.His other blockbuster film was 'Veerathirumagan' a film from the AVM banner.With many scintillating songs from the voices P.B.Srinivas and P.Susheela the film was a lovely entertainer.But unfortunately this was followed by many failures like 'Sengamalatheevu','Guberatheevu' and 'Kongu Naattu Thangam'.Then he played a few villain roles and the most remarkable in this line, was his performance in Jai Shankar's 'Yaar Nee' as the hero's villainous cousin.This movie was a thriller and made Anandan's role memorable.It was unfortunate his career failed to continue its charm.   
      A recent enchanting addition to the galaxy of heroes was that of Arvindsamy, a specially handsome hero introduced and groomed by Maniratnam. This heart throb of college girls for at least a decade made his aesthetic contribution to Tamil Cinema first as the younger brother of the Superstar in 'Thalapathi'  and then as hero in 'Roja' and 'Bombay', from Maniratnam's classic style of film making.After this he did a wonderful role as one of the two heroes of Rajiv Menon's 'Minsaara Kanavu', the grand romantic fantasy.The  other films 'En Swaasakkaatre'  and Pudhaiyal were moderate films.Though he could not stick on in the midst of stiff competition of talents and changing trends in acting,his limited contribution to Tamil Cinema is like a fairy tale of exotic role performance.
     Some of the villain actors like R.BalasubramaniyanT.K.Ramachandran,E.R.Sahadevan S.A.Natarajan and S.V.Ramadas had always maintained their distinct form of acting with force and vigour to leave a remarkable vibration in the memories of the audience.Among comedians there were wonderful men like Kuladheivam Rajagopal   whose talent was not fully utilized.I last saw him in one of the films of Bagyaraj   as latter's father.I carry sweet memories of his role delivery in films like Kuladheivam,  Thilagam  and a few MGR/Sivaji Ganesan films.He was a spontaneous verbal comedian with a flair for casual performance.Same was the case with actors like Ramarao known as Appulachaari whose dialogue ''Ayyaa Theriyadhayya'' in one of the films, fetched him a unique identity.
     In the field of film music,we have a long line of mesmerizing voices.What a mighty and mellowing voice late K.B.Sundaraambaal  had and how neatly she delivered her musical stuff to the truest extent of kindling and thwarting, different emotions in a single stroke.Can we ever forget her role as the saintly poet Avviyaar  in the grand Gemini Pictures' movie bearing the same title and later on in the same role in A.P.Nagarajan's Thiruvilaiyaadal and Kandhan Karunai. It was again a genuine performance she did in Megala Pictures'Poompuhar as the Tamil poet Kaundhi Adigal.  She was not only a committed actor but also a lovely singer of quality songs with exemplary clarity, force and perfection in the delivery of musical notes as well as expression of words.
    There are a huge line of other talented singers like Jency,T.K.Kala and Swarnalatha  whose number of entries may not be very huge but whatever they sang carried a bang.T.K.Kala's 'Poivaa Nadhi yalaiye' with K.J.Yesudas in  Pallaandu Vaazhga itself is enough to cherish memories of her graceful addition to the music gallery of Tamil films. Jency's  timeless renderings like 'Adi Penne' {Mullum Malarum} 'Iru Paravaigal ' {Niram Maaraadha Pookkal}'En Vaanile Ore Vennilaa' {Johnny}'Idhayam Poegudhe'  {Pudhiya Vaarpugal} and Kaadhal Oviyam {Alaigal Oivadhillai} in her sharp and conquering voice similar to that of Vani Jeyaram, are some of the many scintillating numbers, that make her deserve a special place in Tamil film music.
    Similarly,Swarnalatha  whose premature death  created a vacuum,gave us mind blowing songs like 'Povoma Oorgolam'{Chinna Thambi}'Aattamaa Therottamaa'{Captain Prabakaran}'Maalayil Yaaro'{Chatriyan}'Kuyil Paattu'{En Aasai Machaan}'Neethaane Naalthorum'{Paattu Vaathiyaar}  and the two memorable duets 'Maasi Maasam' {Dharma Dhurai}and' Malaikkoil Vaasalile' {Veera}with K.J.Yesudas and Mano respectively,have provided her almost with a legendary status because most of her songs were rendered passionately pouring emotions of the highest order.None of her renderings could be said to be lacking in emotional thrust and depth.It is difficult to forget her and her exquisitee vocal contribution.
    Among the old faces of musical magnificence,the noted  Kannada music director G.K.Venkatesh holds a very proud position for composing music for Tamil films like Sabadham,Ponnukku Thanga Manasu and Thein Sindhudhe Vaanam,besides singing the melodious number ''Nilai Maarinaal Gunam Maaruvaan'' in Paava Mannippu,one of the masterpieces from the AVM production house. Tamil Cinema can hardly ignore T.A.Moti,  who has made limited entries in Tamil film music but his duet song 'Kaanaa Inbam Kanindhadheno' with P.Susheela in Sabash Meena, will be eternally ringing in our memory.Same is the case with P.A.Periyanayagi  whose sorrowful song 'Chinna Chinna Veedugatti' stays as my childhood aural treasure.Dr.Balamurali Krishna the most reputed carnatic singer has not only enriched Telugu cinema but has also inspired the Tamil music lovers by his songs like 'Sinna Kannan Azhaikkiraan'{Kavikkuyil} and the most popular 'Oru Naal Podhuma'  from Thiruvilaiyaadal.  His role as Naradhar in the movie Baktha Prklaadha dubbed from Telugu, gave a newer dimension to the character of that most important character in Hindu mythology.
     Among film makers there was an American face who enriched Tamil Cinema.That was Ellis. R.Dungan  whose film making concepts greatly occupied Tamil creative imagination through films like Mandhirikumari.Tamil  audience can never forget film makers like Dada Mirasi whose films like Rathathilagam and Pudhiya Paravai,became the talking point for a generation.Similarly a socialistic film maker like Malliyam Rajagopal  hit his right target at the right time through films like Savaale Samaali and Enna Mudhalaali Sowkyama? Rajasekaran, a next generation director would be ever remembered for his Rajini hits like Thambikku  Endha Ooru,Dharmadhurai and Padikkadhavan. It was Rajasekaran  who precisely topped as icing sugar, the humour element, on the Superstar's acting agenda.The other amazing film maker of this period was Jeeva whose '12B', and 'Unnaalae Unnaale'  are memorable films adding fillip to the imagination of the younger audience.The untimely death of Rajasekar  and Jeeva is certainly a regrettable loss to  the Tamil film industry.
    The restricted recollections on  men and matters who made a huge impact on the Tamil big screen through small or short presence, might be due to my memory impediments.However, the idea behind this article is to emphasize the fact, that  grandeur is always the outcome of inspiration and it is not confined to factors of size or duration.Greatness exists in its own manner,however small or short it is.It is definitely a universally agreeable maxim that 'Small is also beautiful'.
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The Peerless Peak Among Tamil Film Makers.

        K.B, The Kinetic Bastion of Tamil Cinema,
        Who served films, as food palatable to all.
        Cracked hurdles as water bubbles,
        Swam bravely, against the tides of sham norms,        
        Echoed rational spirit, as the base of human living,        
        Staged serial shows, on behalf of oppressed women,
        Distinguished marriages on the line of convention
        Conviction and each one's convenience,
        Made Gandhian smile beam on the big screen,        
        Drew bigger parallel lines over the small,
        Let the modest  rise high, with a sense of wisdom,        
        Beat perverse notes, to display the vagaries of life,
        Played with words, on subtle and sublime notes,
        Flew high, with creative wings in the blue sky,
        Steered debutantes into lime light at his beck and call,
        Lived only to love films and loved them with a big bang,
        .......................................................................................... ,
        Has left legendary themes, lofty skits and life- like characters
        As his living legacy, besides a Leviathan void.
        Let the void remain, celebrating his memory and the glory 
        Of his monumental movies, colorfully black and white.

                                                                                   P.Chandrasekaran.