Rajesh:-The Rdiance Behind His Roles.

 

    Some actors are not always the front line marchers.But they do a lot of magic from behind. They might have been one time heroes.But they maintain a demonstrative link with the big screen and make their presence felt through their voice vibe and verve.Tamil screen's one time hero Rajesh has never withheld his feet however relevant or noticeable his roles are.It is this accommodating spirit which quite a lot of heroes sitting without opportunities should seriously give thought to.
    Rajesh was offered an insignificant role by veteran film maker Balachander in his critically acclaimed film Aval Oru Thodarkadhai in 1974.Then Rajesh went unnoticed nearly for five years until his first film as hero,Kanniparuvathile was released.It was the most ticklish role of an impotent male that Rajesh performed in that film.But he played that role with an absolute understanding of the intricacies and complexities of a difficult role that was offered to him.He played the role with decency dignity and dedication with a compact reflection of depression and despair that the character required.
    His first performance was one of his best performances.Paired with Vadivukkarasi who also performed the role with in depth feminine frustration and commitment to cherished womanhood,Rajesh revealed the right dimensions of an understanding husband with unfailing respect for the emotions of the most vital,unfulfilled aspect of a woman's conjugal life. K. Baghyaraj played a one time hateful role, as a vulture waiting for its prey,towards an act of sexual aberration and wifely infidelity from a vulnerable married woman.
   The movie produced by S.A.Rajkannu {who gave great films like Padhinaaru Vayadhinile and Kizhakke Pogum Rayil}was greatly received for its very delicate thematic content and the respectful treatment it needed.The song Pattuvanna Rojavaam in the voice of late Malaysia Vasudhevan and S.Janaki is an eternal treat to the ears and is rightfully remembered for its profound lyrical vale.
   Rajesh went unrecognized once again.But he did not bother,nor did he think that he should play only the hero.He began to play different kinds of roles, occupying the second or third position.His next great entry was as second hero with Baghyaraj, in the blockbuster film Andha Ezhu Naatkal in which he appeared as the husband of the main hero's lover. Yes. Ambika who madly loved the main hero Bhagyaraj{Palakkad Madhavan Nair}continued to love him even after marriage.The wifely disloyalty was ultimately corrected by Bhagyaraj who proclaims the value and glory of true conjugal life and the importance of wifely dedication as the traditional goal of a woman.It was a meek and vulnerable role for Rajesh and he did his best to bring quality to his role performance.
     Soon Rajesh became the hero of K.Balachander's critically reviewed film Achamillai Achamillai. With negative shades, inseparable to the routine of many a budding politician, Rajesh transformed into a baddie from a fickle minded guy,with fading qualms.It was a character subtly carved by the ace director and Rajesh performed it to the utmost satisfaction of his mentor.His craving for opportunistic growth ultimately got him stabbed by his own wife {commendably played by Saritha}whose path of life was straight and bold.The movie however became the gateway for Rajesh to play quite a few negative roles in the future.He played a similar negative role as a greedy politician in K.Balaji's Makkal En Pakkam,sharing the screen space with Satyaraj.Both these films brought out the hidden solid acting credentials of Rajesh, whose assertive dialogue delivery with a little bit of nasal thrust remains as his singular asset.
    Some of his other notable films as hero were Komal Swaminathan's Anal Kaatru,Sridhar's Aalaya Deepam  R.C.Shakthi's Sirai and Motherland Pictures'Payanangal Mudivadhillai in which he appeared as second hero. Of the three,the third film in the list was based on Anuradha Ramanan's short story.The film Sirai  showed Rajesh as Anthony,a thug and ruffian spoiling the life of a married woman {excellently played by Oorvasi Lakshmi} in a drunken condition. The woman Baghiradhi  chose to live with him, after being forlorn by her orthodox Brahmin, priestly  husband {Prasanna}.When Anthony died, the woman would choose to live as his widow instead of being the wife of a living, cowardly husband. It was a great movie in R.C. Shakthi's gripping narration.
     In the midst of these worthy innings, Rajesh did all kinds of roles with Rajinikanth {Thanikattu Raja &Thai Veedu}Kamalahasan {Mahanadhi &Virumandi}Vijayakanth {Santhosha Kanavukal,Manakkanakku &Dharmapuri}Chevalier Sivaji Ganesan {Simma Soppanam Ezhudhaadha Sattangal and Mannukkul Vairam}Vijay{Sivakasi}Vikram
{Saamy}Ajit {Aanjaneya&Varalaru}Arjun{Marudha Malai} and with several other heroes. Rajesh has been a sterling performer of father roles and other character roles.
   The most significant trait of his acting is his capacity to shine from behind.The highly realistic pattern of his acting with an innate feel of modesty in role delivery has eventually made him mostly as a low profile actor, in the sense that he has never bothered to project himself closer to the audience.But there shines a never dimming radiance in his performance of roles that places him in the category of a charming actor like Sharath Babu.It is this distinct mark that puts him on an independent track,with a silent stamp of originality.
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Presentation of Song Sequences in Tamil Films.

       Film making is an arduous task consisting of various, equally important layers of the creative process.The most important of these are story line,characterization,role play of actors, dialogues,choreography, sound recording and the addition of music, followed by a course of comprehensive editing, that would make the end product a perfect piece of entertainment for enjoyment.As far as music is concerned, the background musical score takes a movie to its next level of acceptance and admiration.An Indian film can hardly be without songs and no film is complete without the background music score.Similarly,a film as per Indian norms,is also remembered by the quality of its songs and the way the songs are pictured.
     During the initial decades of Tamil Cinema, music played a wholesome place with songs at times, overtaking dialogues.This was because, most of the actors themselves were great singers. Actors like M.K.Thiagaraja Bhagavadhar, P.U.Chinnappa, T.R.Mahalingam and K.B.Sundaraambaal excelled in their acting by singing, as songs became an inseparable part of their roles and the audience those days went to the theaters, mostly to listen to the songs.
   When the next generation actors who could not sing took over the scene,there came into the picture a line of playback singers. With the induction of playback singing lip synchronization became necessary for the actors to be seen as singing the song. Moreover an enlivening presentation of song sequences,became necessary to create an ecstatic ambiance for film music. Hence, presentation of song sequences became a prominent part of the film making process, towards adding an extra edge to the audiovisual scope of the movie.If the song and its picturing are not worthwhile, it will only drive a section of the audience to the restrooms and snack bars for a popcorn hunt.
     Usually, the presentation of a song sequence varies from one type of song to the other. A film maker should know how to present a solo song,a duet number,a group song and one that needs adept choreography.To begin with, the solo songs were shown with heroes on horse back or driving a horse cart or a bullock cart.This was how songs like 'Sathiyame Latchiyamaai Kolladaa'{Neelamalai Thirudan}'Acham Enbadhu Madamai yada'{Mannadhi Mannan}'Ohoho Manidharkale Oduvadhenge koorungal'{Padithaal Mattum Podhuma}'Manushana Manushan Saapiduranda'{Thaikupin Thaaram}and'Nenjam Undu Nermai Undu'{En Annan} were pictured.Some times the hero would let the heroine sit on horse back and pull the horse as a mark of serenading.This is what MGR did in Malaikallan for the song sequence of 'Ethanai Kaalndhaan Emaatruvaar' Most of the solo songs of MGR that voiced social justice and social equality, showed him with active limb movements, challenging the evil forces.
     Whereas,quite a lot of Sivaji Ganesan's philosophical songs portrayed him,walking in a desperate mood, pouring forth his disturbed emotions.Songs like'Satti Suttadhadaa'{Aalayamani} 'Ponaal Pogattum Podaa'{Paalum Pazhamum}'Aaru Maname Aaru'{Aandavan Kattalai}'Ullam Enbadhu Aamai'{Paarthaal Pasitheerum} are a few samples that would belong to this category.
     Some times the hero or heroine would sing a song riding a cycle as Sivaji Ganesan did for the song'Vandha Naal Mudhal indha Naal varai'{Paava Mannippu} or as Gemini Ganesan and Sarojadevi performed for the song 'Vaadikkai Marandha dhum Eno'in Kalyana Parisu.Songs lulling a baby in a cradle also formed one of the highly desirable song sequences and the most remembered songs in this category are'Poomalai Puzhudhi mun Mele'{Parasakthi} 'Malarndhum Malaradha'{Pasamalar} and 'Chinna Arumbu Malarum' from Pangaalikal.
   There would be solo or group songs on running trains.Some of the songs in this category were'Sitthirai Maadham Pournami Neram'{Raman Ethanai Ramanadi}'Ethanai Manidhargal Ulagathile'{Needhikku Thalai Vanangu}'Maratha Vachavan Thanni Oothuvaan' {Panakkaaran}'May Maadham Thonnu thettil Major Aanene'{J J} and the memorable group songs 'Koodayila Karuvaadu' {Oruthalai Raagam}and 'Vellerikka Pinju Velerikka'{Kaadhal Kottai}.Similarly, the most popular boat/ ship songs were 'Ulavum Thenral Kaatrinile' {Mandhiri kumari}'Oho Endhan Babi'{Thenilavu}'Mullai Malar Mele' {Uthama Puthiran}'Amaidhiyaana Nadhiyinile Odam' {Andavan Kattalai} and the fabulous 'Adho Andha Paravaipoa Vaazhavendum'{Aayirathil Oruvan}.
     A vast number of duet songs those days would show the hero and heroine going round a tree,the heroine moving first and the hero running after her.Gemini Ganesan and Savithri would perfectly fit into this duet mode.MGR would do this with more physical force, gripping the the shoulder of the heroine and at times biting his lips. Sivaji Ganesan would hardly miss a passionate embrace of the heroines.
    Most of the group songs were also shown in a stereotyped mode.A few exceptional songs that have outlived their times are 'Vaarai En Thozhi Vaaraayo' {Paasamalar}'Maamaa Maamaa Maamaa'{Kumudham} 'Sithaada Kattikittu'{Vannakkili} and 'Nallavan Enakku Naane Nallavan'{Padithaal Mattum Podhumaa} not because of any novelty in presentation,but because of their enchanting musical richness.
     Later there came a few fascinating group songs such 'Paasamullaa Paandiyaru''Aataamaa Therottamaa'{both from Captain Prbhaakaran} and 'Adi Rakkamma Kaiya Thattu' {Thalapathi} the first two remembered for the lively dance steps of Ramya Krshnan and the other one for Rajini's nimble and stylish body movements, but both for Ilayaraja's musical richness .The  latter was also beautifully choreographed and pictured.
    However surpassing these normal depiction of song sequences, there are a few highly imaginative and uniquely creative portrayals of song scenes in many films, that would make us realize that depiction of a song is not that easy and if it is done differently it will stay in our memories as effectively as a good film does.From my movie watch I am recording some such song sequences that have lastingly settled in my memory. 
   The earliest in this category was the most vibrant dance number with the captivating song 'Thedinen Vandhadhu' in P.Suseela's superb voice,from Sridhar's film Oottyvarai Uravu. K.R.Vijaya's hey day energy, was vigorously reflected through out the song sequence.A similar sprightly dance portrayal was noticed in the song 'Thattattum Kai Thazhuvattum' in the film En Thambi. Here it was B.Sarojadevi who scored high in presenting the song, the fabulous way it came out. 
     Another unforgettable song sequence was found in'Mella Nada Mella Nada' from Pudhiya Paravai wherein Sivaji Ganesan would be seen following Sarojadevi, with a casual stylish gait, wearing a glazing slack shirt,tucked into his shining pants.In addition to Viswanathan Ramamurthy's musical mesmerism, it was the hero's pep and spark that made the song memorable.Similarly, it was a pleasure to watch MGR dancing with the professionally skilled L.V.Vijayalakshmi for the song 'Aadaludan Paadalai Serthu'{Kudiyirundha Koil}for which the energy levels of the actors perfectly matched the tempo of the song composition.The beauty of this particular song portrayal lay in the flow of vigor throughout the song, without any drop in energy, at any point.
   Most of the dance numbers of actors like Vijay,Prabudeva and a few other heroes, are beautifully choreographed with vigorous songs and agile body movements leading to a beautiful display of song sequences.Songs such as 'Aal Thoetta Boopathi Naanada' and 'Pokkiri Pongal' are remembered mainly for their exuberant presentation. 
     These days computers help a lot in creating wonderful fusion of shots to synchronize with the song by adding tantalizing touches, shot after shot.Mixing visuals in agreeable proportions without spoiling the significance of a song well written and music well composed,requires a lot of aesthetic sense. Otherwise,film music as one of the most salient aspects of film making, will go dry, making the whole exercise futile.I still remember the duet song in Kamal's Sathya showing the hero and heroine travelling on a bus and singing the song'Valayosai' In one of the shots of the song Amala the heroine,will show the biceps on her hand and Kamal will gently touch it.It still stays stuck in my memory.
    How beautifully the visuals for the song'Vennilave Vennilave Vinnai Thaandi Varuvaayaa'{Minsaara Kanavu}were shot and how elegantly the shots were made to travel with the song. Prabhu Deva and Kajole would be seen getting closer and then would escape from their bodily entanglement, only to get closer at the culmination of the song.So poetic the narration was and no doubt the song and its presentation have become immortal. 'The song Ennavale adi Ennavale'from Shankar's Kadhalan is yet another exquisite portrayal of song sequence,with a series of seamless mixing of shots watched with a marvelous feel of aesthetic splendor.
     Some innovative attempts were made in showing the hero and heroine passing through the different compartments of the refrigerator cutting the size of the human to fit into the fridge and this fresh attempt was made to present a duet song, in the AVM film Mr.Bharath. Later the hero and heroine were shown as minute and second hands of a wall clock for the film Panakkaran produced by Sathya Movies.
     Both these big movie makers have specialized in the art of erecting massive studio settings for duet songs particularly those related to the dreams of the heroine about the hero.Those who had watched Sathya Movies' Kaavalkaaran would not have forgotten the dream sequence song 'Ninaithen Vandhaai Nooru Vayadhu'celebrated for its gorgeous visuals.If the film had come out in color it would certainly have created a greater impact.There was an exotic feel in the presentation of the song "Azhagu, Nee Nadandhaal Nadaiyazhagu"in Baashaa, another film from the Sathya Studios.
     There were also some stage-prone songs signifying competitive spirit between individuals.Films like Vaanam baadi,and Pattanathil Bhoodham had such song sequences.But the best in this category were'Sinnanjiriya Vanna Paravai Ennathai Solludhammaa"from Kungumam and'Neeye Unakku Enrum Nigaraanavan' from Bale Pandia.
     In the recent days song sequences were excitingly presented in a few movies of Vijay. The presentation of the songs'Molachu Moonu Ilaya Vidala'{Velayudham}"Antartica" {Thuppaaki} and"Nillaayo"{Bhairava}could be called visual fresheners dipped in exalting imagination and creativity.As said earlier, picturing a song to the audio visual satisfaction of the audience needs a special grasp of inspiring and ingenious credentials of creativity, without which freshness and fine fusion can never get into the presentation.
    These days of electronically creative computer graphics, such fine mixed visuals are easy to blend and we know how director Shankar professionally proved it in his presentation of songs like 'Maayaa Machendra'{Indian} 'Mudhalvane' {Mudhalvan} and 'Kannodu Kaanbadhellaam'{Jeans}To conclude, beautiful song sequence is not the only thing for the success of any film.But it does contribute a special effect, adding up to the quality of the final product by making it visually more rewarding as a fulsome piece of entertainment. The examples given here are purely a subjective collection of song sequences from the films I watched.There could be more poignant song displays that have inspired other movie watchers.I give all those song sequences a big salute.
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A Movie Dedicated to Teachers{Recalled on the Teachers' Day -2018}

   

    Tamil cinema has frequently dealt with cop stories and occasionally focused on other professions like Medicine {Dr.Shiva was a special film on a medico's commitment to healing the trauma of lepers}and Law{ Gowravam was an extraordinary film about the pride of being a barrister}.Teaching which is called a very noble profession also drew the attention of directors during the last century and films like Teecharamma,K.Balachander's Nootrukku Nooru and Balu Mahendra's Azhiyaadha Kolangal had something different to say about the personal predicament of teachers and the vagaries of students of the school and college routine.But it was in 2012 a distinguished film on the validity and virtue of the teaching profession came out as a brilliant tribute to all true teachers.It was the film Saattai{The Whip}produced by John Max and directed by M.Anbazhagan.
  What was special about the film was the never deviating tone of narration, worthily confined to the course of events centering around a rural government school.So natural and true to life was the narration that the film almost became a treatise on the nobility of the teaching profession. Dhayalan the protagonist who chooses to work in a government rural school, takes up the onerous task of teaching with many a positive strategy, evolved in his mind,that carries well entrenched objectives such as, student equality both in terms of caste and gender,academic freedom both for the teacher and the taught and an unflinching belief that the allotted material and mind blowing benefits of education should positively reach all the students.
    Dhayalan hates corporal punishment in any form unscrupulously meted out to errant students.He stoutly fights against  pilferage of material benefits,meant for the students through the nutritious noon meal scheme.He questions the unethical practices followed by several teachers of the school including those of the Assistant Headmaster, who atrociously flouts all norms and abuses physical amenities attached to the school to promote his personal interest . Besides, he also carries on  usury, as his private business and utilizes class hours for updating his business records. 
   Dhayalan has to strain his brain and brawn to set things right and restore the lost image of the school while at the same time struggling to establish the legitimacy and dignity of the true teacher not only in himself, but also in his teacher colleagues.It is an ideological war waged by a single individual,to clean the system and call the shots for a total campus transformation.That he succeeds only by surpassing the risks to his own life and personal esteem is of course an inevitable dramatic necessity.
   At the outset, these things might appear cinematic.But at a deeper level the film poignantly showcases the ills that prevail in several such rural and urban schools.The film beautifully pinpoints that amiability,able delivery of information and knowledge,genuineness in upholding the cherished values are the fundamentals of a most crucial profession called teaching.The film also illustrates the importance of the teacher being a role model to budding generations,by maintaining punctuality and personal ethics, besides being modest in passing on to the younger generation a kind of value based, fine tuned, instructional process, that calls for active student participation at various levels, through verbal interaction and talent orientation.
   Samuthrakani's effective underplay as Dayalan,stamped a mark of absolute reliability to the role of an inspiring, exemplary teacher. Thambi Ramaiah as the vituperative Assistant Head Master made his role play amazingly realistic.There was no exaggeration of emotions.The audience would ever remember more,the live school campus,than their audio visual experience of watching a film.This is the most successful point of the film. Vijay TV can be proud of telecasting this film once a way.As a former college teacher and blog writer, I thought it is another way of paying a tribute to the teachers on the Teachers'day, by recalling the nuances of teacherly glory celebrated in the film Saattai. Hence this brief article on the film.  

Prof.P.Chandrasekaran
{Retd} 

The Rise of Thambi Ramaiah

       

     Apart from heroes and heroines, Cinema in general is capable of portraying humanity at large, through a broad panorama of roles such as comedians,villains and greatly valued supporting individuals popularly known as character actors.Tamil movies have proudly celebrated the distinguished performance of exclusive character actors like V. Nagaiah, S. V. Sahasranamam, S. V. Rengarao,T. S. Balaiah,V. K. Ramasamy V. S. Raghavan and Major Sundarajan. These character actors would have taken up villain roles once a way.The number of villain roles would have been more in the case of Balaiah,V.K.R and Major.But Balaiah and V.K.R excelled in comedy roles also.Both these actors shared great screen space with the never tiring comedian Nagesh. 
   Similarly  starting from the pioneering comedian N.S.K, character roles have been confidently vested with most comedians like K. A. Thangavelu,Nagesh,Thengai Srinivasan and of late,Vivek.In this list, we now have a prominently notable character actor and comedian, whose rise on the big screen has been gradual and significantly steady.It is Thambi Ramaiah,the rising character actor of Tamil films.
     Thambi Ramaiah would have acted in more than twenty films before his remarkable and award winning performance in Prabu Solomon's highly acclaimed film Mynaa.In fact,Ramaiah had equally shown keen interest, in direction and lyrics composition.He was an assistant for Director P.Vasu for some time and independently directed films like Manu Needhi and Indhiralokathil Na.Azhagappan. Besides acting in P.Vasu's Malabar Police and Thottaal Poo Malarum,his other earlier roles were for the popular films Aaru,Kovai Brothers, Imsai Arasan Irubathumoonraam Pulikesi and Vaathiyaar.But after his stellar performance in Myna,Ramaiah became an indispensable comedian cum character actor. Prabu Solomon again inducted him for a meaty role in Kumki.
   Resembling Radha Ravi and delivering roles with a body language similar to that of the dynamic heir of M.R.Radha to a great extent,Thambi Ramaiah has slowly carved a distinct place for himself in Tamil Cinema.Some of the uniquely memorable performances of this vibrant actor have been for  films like Parthiban's Thiraikkadhai Vasanam Iyakkam,Vijay's Puli,Jilla and Bhairava,Ajith's Veeram and Vedhaalam, Vikram's  Raajapaattai and Thaandavam{in a brief memorable role as Thappaache Mama},Samuthrakani's Saattai and Appa and the most recent Velaikaran and Thaanaa Serndha Koottam of Sivakarthikeyan and Surya respectively,His other outstanding performance was for M.Raja's Thani Oruvan, as the puppet father of Arvindsamy.
   In negative roles,as an erring school teacher in Saattai and as the vulnerably mischievous younger brother of Nassar in Veeram,Thambi Ramaiah asserted his position as an actor capable of adequately reflecting villainy and crookedness.As the blind father of Laksnmi Menon falling into the hands of ruthless thugs,he could evoke a deep sense of pathos by his effective role performance in Ajith's Vedhaalam.
    There is a quantum of energy and vibration in Ramiah's dialogue delivery that always stands to his credit.In gullible roles he can stamp his mark as an exceptional actor.Beyond his wonderful performance in films like Mynaa,Kumki, Saattai and Kadhai Thiraikkadhai Vasanam Iyakkam,the two roles of this great actor that I would cherish in my memory are from Komban and Thani Oruvan.It has not been a meteoric rise for this vigorous actor, but a stable and steadfast one, that would keep him in the right place at all right times.
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The Throes of Confusion.

 

    Excellent background musical score, unfailing performance potential of Kamal astutely displayed, delicate touches of aesthetic motherhood caught in the clutches of Alzheimer, suggestive traces of romance cutely pictured and graceful role play of Pooja Kumar and Andrea Jeremiah make Viswaroopam 2 fairly watchable.However, Kamal should ask himself if he has successfully linked  his sequel to his earlier Viswa Roopam, which was better in several respects.There is of course a Hollywood grandeur in cinematography.But the missing links are many leaving the audience in the throes of irritating confusion regarding even the place of events and the characters involved.The character of Anand Mahadevan looks like an unwanted addition to a 145 minutes film just for the sake of increasing the length of the movie.The Brahmin dialects and the Arabic utterances make Visaroopam 2 travel on unspecified tracks.Action sequences do not create any stunning effect.Lack of clarity, thy name is Viswaroopam 2  

Lingusamy's Lingering Shows.

   

     Most film makers leave indelible impressions of a couple of their films as Dharani left his Ghilli and Dhool,R.V.Udhayakumar his Kizhakku Vaasal and Chinna Gounder,{and Ejamaan} Hari his Saamy and Singam 1,K.V Anand his Kana Kandein and Ko and Atlee his Raja Rani Theri and Mersel. All these films cited were memorable films on account of their unique story value and vigorous course of narration.Many of the Veteran directors of the last century like A.Bhim singh, P.Madhavan, Krishnan Panju, A.P.Nagarajan, K.Balachander, A.C.Thiulok chandar, K.S.Gopalakrishnan and Sridhar,left a lot of their films remembered.They were all makers of  films that could linger in the memories of the audience for certain specific reasons.
    In this line,variety film maker Lingusamy who also owns his production unit called Thirupathi Brothers,holds a prestigious position as a maker of great films like Aanandam, Run, Sandakozhi and Payya.In fact,like A.R.Murugadoss,Lingusamy is a felicitous film maker holding a distinct trait of consistency,in impressive film making.
    What makes the lingering shows of Lingusamy different from those of others,is his flair for diversity in creativity and its exposition.His themes have travelled from the corridors of family to romance,rivalry and racy action grandeur.His very first film Aanandam was admired as an extraordinary family drama, with each member of the family making an impressive image of themselves.This includes even the guy who attempts to steal from the family and is transformed into an inseparable emotional segment of the family that had treated him with compassion and love.
     I love the film to the extent of watching it every time when it is shown on its authorized television channel.What a lovely mother Sri Vidya was,calling her sons 'Periyavane''Sinnavane. How innocently vulnerable Delhi Ganesh was, as the male head of the family. Mammootty and Murali vied with each other in showing  love, responsibility and dedication  to family values in a fantastic fraternal bond. Devayani and Ramba wonderfully played their roles as daughters in law, with a realistic perception of their characters.The scenes were so beautifully interwoven that any sensitive member of the audience would have naturally longed to be a part of the family on the big screen showing absolute spirit of unity and readiness to give in for one another.
     Lingusamy's'Run' was a totally different film imbibing the essence of love with an uncontrolled speed in the run of the characters in tune with the title.Besides romance and gripping action components, the film exquisitely portrayed the triangular emotional intricacies among the the hero,his sister and brother in law{delightfully portrayed by R. Madhavan,Anu Hasan and the ever classic actor late Raghuvaran}.The fact that the hero and his brother in law were not in talking terms and that the sister surprisingly found them both talking to each other one day,were finest moments in family relationships. Madhavan's heart throbs for the well deserving Meera Jasmine were cutely pictured. Vivek's independent comedy track was en eternal treat.It is no wonder that Run ran for weeks, with packed theatre halls. 
    Sandakozhi was a special film in the sense it brought Chidambaram and Madhurai routine together on a single spread sheet, with clean touches of bravery,family spirit,group behavior communal traits and delicate touches of romance, speaking through the sparkling eyes of Meera Jasmine and the seemingly innocent Vishal.The  banter of friendship,the unique hospitality of Nagai/ Tanjore district reflected at Chidambaram,coupled with the crude thuggery of Lal,soon got transferred to the proud martial glory and trusting group behaviour of Madurai, not missing the cultural moorings of a large family routine.All these things made the film an all time memory treasure.Above all,hero Vishal made a telling impact in the role of a feisty fighter cock, as the title goes. 
    The climax of the film showing the family patriarch Raj Kiran throwing an open challenge to the infamous rowdy to defeat and kill his son Vishal, if the rowdy really had the guts of a male, brought legitimacy to the title of the film, besides adding pride to the soil of Madurai, reputed for its sons of bravery and might.This is a kind of film which can be watched any number of times.
    Apart from these three films, Lingusami lingers in audience imagination as the great maker of films like Payya, Vettai and Anjaan. While  Payya is remembered as one of the rarest films with its record breaking musical richness,thanks to the sweetest musical score of Yuvan Shankar Raja,Vettai and Anjaan are known for the spirit of valour  capable of converting even a coward into a bravo. Karthik Sivakumar of Payya,Arya/Madhavan of Vettai and Suriya of Anjaan,were symbols of masculine magnificence.They would undo their enemy's advances, with on the spot defiance and retaliating fighting mode.What brings together most movies of Lingusamy is the charismatic macho resilience, resuscitating the vigour of all his heroes, in managing tough situations,with tougher give backs.
      The most striking potential of Lingusamy's creativity is his natural understanding of different situations and multi cultural family backgrounds.His narration of events is always blended with abundant positive energy that would make even the most frustrated mindset to revive lost hopes and build afresh,the falling spirit of individuals as well as institutions, such as family or business.
   It is true that like many other film makers,Lingusamy has also seen failures of his creative ventures like Ji,and Bheema which created a lot of expectations before their release dates, but came out as terrible dampeners.Surpassing these failures,he has also produced notable films like Kumki,Goli Soda,Manja Pai and Rajini Murugan. Lingusamy is as resilient as his heroes are and is capable of registering winning streaks after many a fall. Ligusamy's lingering shows are made up of vitalizing ingredients, that would make the audience cling to his narration with unfailing involvement and joy of film watching.
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The Youngest Cub

    Suriya who serially roared in Singam, Singam 2 and 3 has now produced Kadaikutti Singam with his younger brother Karthik as hero. Pandiraj who directed the award winning Pasanga,  has directed this action packed rural family drama.The narration abounds in family sentiment, action shows and romance.There are too many interlinking layers of themes such as the emphatic cry for agriculture as the base of life,the usual craving for a male child, the customary practice of girls marrying their maternal uncles and the gusto and politics of a huge family of three generations. Sundar C is a specialist in portraying the nuances of large families with his conventional sense of humour and action.But Pandiraj marks his distinct lenience to the rural soil with its invigorating bullock cart race and various other rural ingredients that would draw the audience from the B and C centres, despite the fact that most of the events we watch in this movie have been watched several times.

  The thematic thrust given to the primacy of agriculture is something special here, on account of the briefly shown commitment of the hero to the relevance and importance of professional farming, as a discipline and career in the line of medicine and engineering.This he does more through dialogues than through valid sequence of action.He is rather busy with his other schedules of romance and dedication to family unity.Scenes pass by at jet speed as in the case of a Hari film.Comedy segment is a natural by product of the film thanks to the presence of Soori as a member of the large family tree, besides the leg pulling tone of mockery, resorted to by the four co brothers consisting of Saravanan,Ilavarasan,Seeman and G.Marimuthu. D.Imman who is specially acknowledged for his melodious music composition for many films,has taken the route of instrumental assault.Excepting"Sengadhire"which solidly reaches our ears in the sonorous voice of Pradeep Kumar,the other songs pass away unheard.
   The climax of the film is definitely a special treat with emotion packed dialogues thanks to the special efforts put in by Viji Chandrasekar and Karthik.In fact the finally outpouring emotional appeal made by Karthik in his uniquely natural and subdued style, brings in a change of heart in all the sisters and their spouses as well as the two nieces of the hero who want to marry him.No doubt this is another grand show of Karthik, both in stunt scenes and in the display of genuine emotions.But something keeps on telling the audience that most of the family emotions are a clear repeat of various  other family dramas. 
    Personally speaking,it was rolling in my mind that Karthik's Komban was truer to the rural soil because most of the scenes finely narrated in that film comprising the interpersonal relationship of Karthik,Lakshmi Menon,Raj Kiran and Thambi Ramaiah would  spontaneously get recalled as a better stuff,cleanly stuck to the ground realities.The song Karuppu Nirathazhaki alone will do, to remember Komban as the most memorable rural film of Karthik. However, what is special about Kadaikutti Singam is the absolute fact that the cub does not waste time in roaring but moves about struggling all the time,with a clear cut focus on cobbling together the divergent groups of the Palmyra family, headed by the ever sweet and tall actor Satyaraj. 

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