The Twirled Moustache of Thamizha.

 

                                                          



     Aadhi known as Hip hop Thamizha in his twenties, has ventured upon a rap mixed genre of music with Tamil words bearing the Afro American musical notes, in association with his musical mate Jeeva. Flying his alien musical wings from behind the scenes he has now flown into the fairy land of Tamil cinema,After making some soundtrack contribution to films like Aranmanai,Aambala and Thani Oruvan,Aadhi has now come to display his versatile skills in acting ,composing music and dialogues and in direction through his debut film Meesaya Murukku,under the production of Sundar C, the multi faceted Tamil film personality.
    Films on School and College life, with their inherent attributes of ragging, friendship and calf love are there in plenty, as part of the variety component of Tamil Cinema.There were trend setting films on these aspects such as Late Balu Mahendra's Azhiyadha Kolangal and Thangar Pachan's Pallikoodam showing the vagaries of adolescence in different dimensions.Tamil cinema's entries on college campuses, are so numerous, that it would be quite a lot to talk about.Similarly movies on career aspirations have made indelible impressions through Vikraman's Pudhu Vasandham and Ajith's Mugavari.So this almost autobiographical film entry of Aadhi cannot be expected to make wonders with the audience.
  But still it makes wonders on one count.The courage of a man who is yet to see his thirties to take up the onus of too many tasks of film making on his shoulders and making his first project a watchable show, doing visible justice to all the tasks he has taken up. make the film a wonderful outcome.The most awesome thing is the impression he gives, as if he has acted in a dozen films and knows his job by the tip of his fingers.Each generation wants to do something different or at least do the same thing differently.Hip hop Aadhi hardly fails to deliver the relevant emotions in all the scenes.His dialogue delivery is absolutely natural and he dances at ease.His musical scores create the intended effect and his focus on the humor element of the film successfully takes the film on the humor track.So Aadhi succeeds both as an actor and film maker.
    The next positive aspect of the film is the role of Vivek as the father of Aadhi. From a Comedian Vivek has transformed into a character actor in the line of K.A.Thangavelu and Nagesh.The last time I fully enjoyed his comedy show was in Danush starring Uthama Puthiran.In Radha Mohan's Brindhavanam he appeared as himself and delivered a character role mixed up with humor. Vivek is one of my pet comedians and I do enjoy seeing him in character roles of this kind and talking proudly about the grandeur of Tamil.If only Hip hop Thamizha also comes out with songs like 'Thamizhan Enroru Inamundu Thaniye Adharkor Gunamundu' ,'Thamizhukkum Amudhenru Per' and 'Thamizha Thamizhaa Naalai Un Naale',it would add more meaning to the language and the race.Perhaps Hip hop Thamizha wants to take Tamil closer to the global instinct, by mixing Tamil words with alien tunes.May be this is what the new generation expects and Aadhi has presumably felt the pulse of his generation.With these factors in mind, let us congratulate Aadhi and welcome him as another valuable addition to Tamil Cinema.
                             ====================================

A Unique Narration of A Cop and the Gangster Story.

                                             





                                       

                                                       

       Tamil Cinema has come upon quite a few captivating cop and gangster stories that have pointedly found an immortal place in the memory gallery of the audience.The recent sparkling addition to this category of films is Vikram Vedha, with no qualms other than that of not buying his life at the cost of his self dignity. starring the smart Madhavan and the ebullient Vijay Sethupathi. This  is another special addition to Tamil Cinema on account of the niceties in narration similar to those of M.Raja's Thani Oruvan. 
     In Thani Oruvan, all the cops of the team were upright and  the gangster{if you want to call him so} was ravishingly charming, with no qualms other than that of not buying his life at the cost of his self dignity. Whereas in Vikram Vedha,an honest cop unknowingly carries on an encounter mission with his untrustworthy team mates, which fact is brought to his mind, only at the fine close of the movie. The narration of the film might create the impression of being on the track of Vetrimaran's Visaranai,where again an honest cop is taken for a dishonest ride by the higher ups of the uniformed service he belongs to. However the gripping tragic climax of Visaranai still stays fixed in our memory, with a single line, suggestive audio in the dark, stating "both are over"which meant both the honest cop and the innocent victim of police atrocity were done to death.
    But what a natural and true- to -life portrayal of the cop that R.Madhavan comes out with.He is certainly a natural actor in the line of Kamalahasan at least to some extent.That the most fascinating chocolate boy of Alai Paayudhe and Run and the warring great guy of Seeman's Thambi does a great job as an amazing cop, takes the film to its deserving heights.From a cowardly cop in Lingusamy's Vettai, Madhavan has drastically moved on in to the role of a cop, in its neatest and most compact form ,with an absolute commitment to the police uniform {of course not wearing the uniform in any of the scenes}.
    For Vijay Sethupathi, who has grown by leaps and bounds as a new wave sterling actor,the role of Vedha appears to be an easy game and his casually impressive performance is no surprise to the audience.The three contexts with three different stories narrated by Vedha to Vikram, with suitable sub headings for the stories,are the most intelligent patterns of narrative technique adopted by the director duo Pushkar-Gayatri and become a telling factor for the refreshing quality of the movie.
  Both Madhavan and Vijay Sethupathi have effectively underplayed their roles and for this too, credit must be given not only to the two actors, but also to the two directors. Shraddha Srinath and Varalakshmi Sarath Kumar have convincingly contributed their might to the success of the film,by taking on very relevant female roles. one as the wife of Vikram and the other as the love interest of Vedha's younger brother Puli .The same should be said about Prem, who plays the role of the cop Sam and Kadhir, who appears as Puli,the younger brother of Vedha.
    There is not much music here, nor is it needed for a film of this kind.The movie is certainly not an entertainer.But it is a perfect sample of purposeful film making and another qualitative inclusion into the archives of Tamil Cinema, that would make an eternal impact on film lovers, without sound and fury. For all this, the director duo deserve a special pat,because they have meaningfully succeeded in creating a new narrative form, to an otherwise usual cop and gangster story.
                        ===============================================

Sweet Mother Saranya

    This blog has to its credit two articles on motherhood as interpreted through character delineation in Tamil Cinema.The two articles were those that discussed the positive and formidable traits of motherhood and various artists like P.Kannaambaa,M.V.Rajammaa, G.Varalakshmi, Pandaribai, S.Varalakshmi, S.N.Lakshmi and Aachi Manorama  found their relevant place in those two articles.In recent days, another delightfully different  profile of motherhood has drawn the attention of film makers and the popular actress Saranya Ponvannan has got into this new profile, to reflect motherhood in modern dimension.It is the role of an understanding mother with a cheering and humorous attitude that has got into the creative imagination of film makers, for an appealing thrust.Interestingly, like all other previous films which mostly focused on the mothers of heroes rather than heroines,this new trend also lays its projection, only on the hero's mother, helping him out of his financial or love issues, either without the knowledge of her husband or against his interest.
    Saranya is the daughter of noted Malayalam Film director A.B. Raj who has directed about 75 films.She has acted in the films of all the four South Indian languages and is known for her flair for play back singing too. Saranya who made her entry into Tamil Cinema through Mani Rathnam's stupendous film Naayagan and was paired with Kamal in that film could not find a firm footing in the industry for doing a round as heroine.But no one can deny the fact that she got back in to the Tamil big screen as an enchanting mother, making every young man  long for such a sweet mother.From Jeeva's Raam till this day, she has adorned the spirit of motherhood, with meekness and dignity with an addition of humor component.
    As an energetic and understanding mother she has established a very unique position that enabled her to win a national award for her role performance in Themerku Paruvakatru. Even before this she secured another prestigious award from the Tami Nadu State Government, for her vigorous performance in Em Magan. Besides these, she has also won the Film fare award several times.
   She has acted with all popular heroes and exhibited the same amount of emotional equation and compassion reflecting the mother-son affinity with utmost involvement in role play .The vast line of heroes will include  Jeeva {Raam and Thenavettu} Bharath {Em Magan and Thambikku Indha Ooru}Vijay {Sivakasi and Kuruvi}Ajith {Kireedom}Vikram[as his elder sister in Arul and then as his mother in Thaandavam}Ajith {as his mother in Kireedom}Dhanush{Thiruvilaiyaadal Aarambam Velaiyillaa Pattathaari and Kodi}Udhayanidhi Stalin {Oru Kal Oru Kannaadi}M.Sasikumar {Kutti Puli}and Siva Kaarthikeyan { in Remo}.Among these films mentioned, Saranya's humor sense took an upbeat in films like Em Magan,Oru Kal Oru Kannadi and Remo.As a mother she has revealed a sense of absolute confidence in the courage and goodness of her sons, in films like Thenavettu and Kutti Puli.
    The most convincing element in her acting is the casual ease and spontaneity, with which she grasps the base of her character and makes an infallible access to the audience as a natural performer, with a right mix of  submission, warmth and self dignity, that constitute the grace and charm of womanhood and maternal grandeur.There were days when Tamil Cinema was proud of possessing at least half a dozen great women to don the role of motherhood.But today there is truly a dearth of talents to take up character roles, particularly those of maternal grandeur, with commitment and dedication.After the recent death of Manorama, there is certainly a vacuum in this specific domain of acting.No doubt Saranya fills this void both responsibly and beautifully, holding an instinctive frame of mind to embrace the supremacy of motherhood, with an extraordinary dimension of sweetness and modesty.    
                          =====================0======================= 

The Comedy Time of Mayilsamy.

   










        It is not an exaggeration that small time comedians quite often create a sterling impact on the audience.This is how comedians like Kali N.Rethinam,Pulimoottai Ramasamy, Kottaappuli Jeyaraman,Usilai Mani,Omakuchi Narasimhan,Loose Mohan,Ennathe Kannaiah and Kumarimuthu created their memorable marks in spite of their brief appearances in quite a lot of films. Mayilsamy is one such comedian who has been stealing the show as the side kick of chief comedians like Vivek and Vadivelu. From the days of his 'Asathapovadhu Yaaru' programme  on the small screen,Mayilsamy has scored high, in performing brief but remarkable role play, creating laughable moments for the audience in a way that speaks of his grand grasp of time sense and compact deliberation of witticisms, coupled with a commendable capacity for generating comedy gusto.The other notable trait is his extraordinary mimicry potential.
      Mayilsamy who has so far acted in more than 150 movies,first appeared as a retailer's errand boy three decades ago, in Prabhu's early, popular film Kanni Rasi. Some of the  characters that he played, stay remembered over the years, for his mighty shows of comedy.They are, Netrikan Nerkunram {Thai Porandhaachu}Guduvancheri Govindasamy(Kandein Seethaiyai) Kochako (Dhool)Lighthouse Narayanan,{Ghilli} Tidel Park Venugopal {Thiruvilaiyaadal Aarambam}Alex Thambidhurai Napoleon,{Naan Avanillai}Santoshkanth {Uthamaputhiran of Dhanush}Marikkozhundhu{Veeram} Dr.Kuyilsamy{En Purushan Kuzhandha Madhiri}Mokkachamy{Paandi}and Retired Rowdy{ Gori- palayam}.
         Some of the scenes pointedly celebrated for his comedy gusto are, his translation of Srilankan Tamil into Chennai Tamil in Pennin Manadhai Thottu,his claim for a drunken hitch kike, with Pedestrian Vadivelu in Thimiru, his mischievous shuffling of Tirupathi laddu into a jilebi, quoting a fake government order of Chandrababu Naidu,to take gullible Vivek for a ride in Dhool, and the comedy uproar that he unveils at a bar with Dahnush and Karunas,introducing himself as Tidel park Venugopal and politely asking for cigarettes and pegs of drinks at regular intervals in Tiruvilaiyaadal Aarambam,  are a few solid samples of his power and reach of comedy.
    In Dhool he certainly exploited gullible Vivek to the maximum, to create the most hilarious moments, on account of Vivek's misconceived notions of the zodiac cancer and the disease cancer.In another film, the audience would have seen him talking to his sister like Paasamalar Sivaji Ganesan delivering a note of mockery with precision and rejoicing over his capacity for mockery.
     As a drunken lout with vigor for generating spontaneous laughter,he  excelled in films like Ghilli,Raja,Thimiru and several others.As a fake and fraud character he would perfectly fit in, any time. He has ever been a compact inclusion for roles such a fake swamiji,a casual watchman or security guard.One could really pity him for his inability to prove his genuineness and the hypocrisy of Dhanush in the film Uthamaputhiran. With Vivek, his flair for comedy received a unique stamp for creating instantaneous laughter .Pennin Manadhai Thottu,Dhil, Lootty, Whistle, Kandein Seedhaiyai and the ever great Dhool are a few memorable marks.The same way his rib tickling comedy parades with Vadivelu in films like Thimiru,Vaseegara,Giri, Rendu, London and Thillaalangidi need a special acknowledgement and accolade.
     Small and well built in size,but tall and stout, in kindling the laughter of the audience Mayilsamy has gone a long way with stalwart actors like Kamalahasan {Aboorva Sagodharargal, Michael Madhana Kamarajan and Vetri Vizha} Rajinikanth i{Uzhaippali,Sivaji,The Boss}Sathyaraj {Udan Pirappu,Villaadhi Villain} and Prabu Ganesan [Sentamizh Paattu,Duet and Thai Porandhaachu besides his first innings in Kanni Rasi}Ajit {Aasai,Raja,Veeram and Vedhaalam}and Vijay{Ghilli and Vaseegaraa} His name in Tamil,if translated into English, will read as Lord of Peacock.As a second level comedian, Mayilsamy has truly spread his beautiful comedy feathers to the most fascinating extent, to claim a singular place in Tamil Cinema.He could  certainly be called a first grade comedian because his comedy time has never failed to leave its indelible impressions, on the humor -hungry Tamil audience, despite the fact that he consistently performs comedy, holding his face as serious as possible.His best comedy moments are related to his gestures and vibrant articulation of dialogues.By first look, one would think that he is a serious person.But his comedy wings would take everyone into a world of surprising sense of humor, through gestures and dialogues, generating spontaneous guffaws.
                      =================================
                    ======
       

The Crow Prefixed Actor

 

     Tamil Cinema is famous for actors with strange prefixes.Actors like Thengai Srinivasan,Bakoda Kadher,Thayirvadai Desigan,and Bonda Mani carry unusual prefixes as a peculiar mark of some character they played either on the stage or in films.One such actor who belonged to the old generation of Tamil Cinema is Kaakaa {Crow}Radhakrishnan who takes on this prefix from the film Mangayarkarasi, in which he was shown climbing up the thatched roof tops, to catch crows.
    Radhakrshnan was always a natural actor in the line of character actors and comedians like V.K.Ramasamy. He was ever identified by his characteristic husky voice which he beautifully modulated to deliver the intended dramatic effect.At the out set it would appear as if he had some voice impediment.But his dialogue delivery would make it a unique voice mold capable of causing a cutting effect thereby creating amazing memories as its scars, to remain as the indelible impression of a living experience.
   Radhakrishnan would  have acted in about fifty to sixty films.But most of his films were the popular ones.I first saw him in the great film Manohara that  remains as one of the most memorable films in historical fiction highlighting the most powerful and chaste Tamil dialogues penned by Kalaignar M.Karunanidhi and delivered by the ever great actor Sivaji Ganesan as powerful utterances .In that film Kaakaa Radhakrishnan played as the innocent son of T.R.Rajakumari,the whore plotting to usurp the Chola Kingdom.This remarkable actor had acted with Sivaji Ganesan in films like Thuli Visham, Ulagam Palavidham,Bommai Kalyanam,Chithoor Rani Padmini and later as the Chevalier's younger brother in the monumental film Thevar Magan. In fact it was Kamalahasan who reintroduced this potential actor to Tamil Cinema after a hiatus of more than two decades. Kamalahasan utilized Radhakrishnan's acting stuff, first in Guna and then in Thevar Mahan and later in the highly refreshing film  Vasool Raj M.B.B.S in which Radhakrishnan was offered a meaty role as the father of Crazy Mohan. As an aged asthmatic patient with a craving for the carom Board game, his role would have left a lasting impact on the viewers.
    Kaakaa Radhakrishnan had acted with MGR in Thaikupin Tharam and Thai Magalukku Kattiya Thaali.Among the next generation heroes he was happily associated with Prabu { Vietnaam Colony Mr.Madras and Middleclass Madhavan}Karthik Muthuraman{ Udhavikku Varalaamaa,Unakkaaga Ellaam Unakkaaga and Rojavanam, which gave him another memorable role as a forlorn senior citizen},Soorya {Poovellaam Un Vaasam and Unnai Ninaithu}Prashanth {Hello}Jeyam Ravi {Idhaya Thirudan} and Sarathkumar {Vinnukkum Mannukkum &Maayi}.Apart from these  heroes,two special directors like Mani Rathnam and Fazil have offered him creditable roles in their films Iruvar and Kadhalukku Mariyaadhai respectively.
   Most of the films cited, belong to the  notable category. A senior artist like Kaakaa Radhakrishnan deserved a better place in Tamil Cinema than he was actually offered.In fact credit must be given to Kamalahasan, for having recognized the latent talent of this wonderful actor who could be regarded as the strongest old chip of the nascent tree of Tamil cinema .It should be mentioned here that Kamalahasan also brought in, another forgotten actor called Kallapart Natarajan and gave him a significant role in the same film Thevar Mahan as the father of Revathi. The other senior actor who was restored to the Tamil big screen was Kulatheivam Rajagopal and it was actor director K. Baghyaraj who gave him this recognition, in his film Pavunu Pavunudhaan.
    Kaakaa Radhakrishnan's  special voice pattern  and his bold and big eyes were the glorious audio visual additions to Tamil Cinema.One would have seen Radakrishnan not as an actor performing his role in celluloid form, but as a living individual trying to pass out of the screen and deliberate with the audience as one among them.The other most striking feature of his acting style was his inborn mischief that would accompany his body language and dialogue delivery.One such sample is the way he would touch his hair while  attempting to mention the name Mayil Ravananan as if he misheard the name as Mayir [hair}Raavanan in Saran's film Idhaya Thirudan. So effortless was Kaakaa Radhakrishnan, in delivering his roles and so difficult it would be for the nostalgic audience of Tamil Cinema, to forget this simple actor with a salient acting calibre.
                             =======================================

A Belated Note on Brindhavanam.

        Normally I do not miss a Radhamohan film, because it always carries a feather touch effect, without creating a melodramatic or exaggerated impact on the viewers.This time it took me a little more time, to watch his latest release Brindhavanam. The title seems to find its relevance because the hero's name is Kannan and it deals with yet another aspect of romance. Though Arulnidhi naturally fits in to the role and delivers a neat performance it is Vivek who becomes the face lift of the film, by his mature adherence to the thumb rules of humour, with his well- tuned associate Cell Murugan who has  not only been the consistent comedy side kick of Vivek but is also reputed for taking Vivek for a ride, quite unexpectedly. M.S Bhaskar the usual value addition to all Radha Mohan films, is his usual self, with a character befitting his calibre of acting.
      Unlike most other Radha Mohan films, there is a lot of enjoyable comedy, thanks to the spontaneity and verbal twists that Vivek is capable of.While the genuine anguish of speechlessness was the poignant note of Mozhi, that captivated our imagination with the qualitative performance of Jyothika, Prakash Raj and Prithiviraj,Brindhavan takes us along the sportive track of pretended speechlessness of the hero, even after his restoration of speech, purely for the sake of drawing love and sympathy, as a survival mechanism. Arulnidhi has taken a lot of efforts in presenting the predicament of speech impairment as impressively as possible and has established himself as a growing actor.Of course,he could do this, only with with the vigorous vibration of the comedy track of Vivek.
    Radha Mohan deserves a pat, for retaining his usual breezy narrative mode, in the line of veteran directors like Sridhar and K.Balachander, in mixing the sentimental decency of the former with the positive pragmatism of the latter.On the whole, the movie is meant for a decent family watch.

The Father of Tamil Film Comedy.

       

      This blog has paid tributes to quite a few comedians, who were and have been, making active contribution to the humor segment of Tamil cinema.There was in fact, a separate article in this blog, carrying the tile "The Changing phases of comedy in Tamil Cinema"making special mention about changing trends in humor transmission and the actors who were involved in changing the trends. Whatever be the benchmarks  in assessing the comedy element of Tamil cinema, the starting point becomes as much important as the process of evolution.In this regard, the origins of healthy and memorable comedy component of Tamil cinema,  could be traced along with the genesis of Tamil cinema itself.The effective fundamentals of Tamil cinema, could be said to have been formed during the early forties which saw a drastic transition from the silent movie days to films with  the sound track.As this blog writer was born at the fag end of that decade, he missed the opportunity of watching the early period Tamil films as and when they were released.But he came to know later that the basement for the comedy structure of Tamil cinema was beautifully and strongly laid by the immortal comedian of Tamil cinema called Nagar Koil Sudalaimuthu Krishnan affectionately remembered by the three English letters N S K.or by the pseudonym Kalaivanar .
    A majority of this fabulous comedian's films were released before this blog writer was born.But still thanks to the repeated screening of some of the hits in theaters during the Nineteen fifties and sixties and the telecast of films such as Nalla Thambi, after the introduction of television, this writer could see at least a dozen great films in which this immortal comedian received an indispensable role assignment and audience acclaim.The writer considers it  good fortune to have been able to watch films like Aariyamaalaa, Manonmani,Jegdhalapradhaaban {all P.U.Chinnappa hits},MGR's Madhurai Veeran,Chakravarthi Thirumagal, and Arasilankumari,Sivaji Ganesan's films like Raja Rani, Ambikapadhi and Thanga Padhumai,Gemini Picures' epic film Chandralekha and Gemini Ganesan's Yaar Paiyyan. The other film that was brought home through the small screen was the astounding Nalla Thambi. It could be said here that N.S.K was associated with the two major Dravidian leaders Arignar Anna and Kalaignar Karunanidhi. While Nalla Thambi in which N.S.K acted as hero,was directed by the former,films like Manamagal,Panam and Raja Rani carried the script of the latter and N.S.K not only played the beloved comedian in these films but also directed the first two films in the list.
    All the MKT-NSK hits like Ambikapadhi, Haridas,Siva Kavi,Amara Kavi and Thiruneelakandar remain in the wish list of the writer.During his early years in Tamil Cinema the two most popular heroes of N.S.Krishnan were M.K.T.Bhagavadhar and P.U.Chinnappa who were then replaced by the two epoch making heroes M.G.Ramachandran and Sivaji Ganesan. Some of the films of these two heroes such as Ambikapathi,and Raja Dhesingu  in which N.S.K performed the role of a comedian were released only after his death.Besides these two heroes, the other Dravidian hero who frequently got himself associated with N.S.Krishnan,was S.S.Rajendran.
    What has always remained as an extraordinary value of this comedian was a galaxy of exemplary personal traits such as geniality,generosity and genuine humanitarian concern, reflected in his most frequent philanthropic contribution to the needy and the under privileged.There are quite a lot of accounts about the charitable  mindset and the give-away attitude, of this great comedian.Some in the film circles have compared him to Charlie Chaplin with regard to the deprived childhood of both the actors.But to me N.S.K appears much more sanguine in mood than the world famous English comedian.In Charlie Chaplin, despite his gorgeous comedy dimensions seamlessly merged with his body language one could always notice a certain amount of melancholy that could rarely be seen in Kalaivanar. However, N.S.Krishnan's personal life was equally laid up with unforeseen misfortunes such as imprisonment in a less proved murder case and the consequential setbacks of penury and privation.
   It was a gentle humor, dipped in soothing satire, that N.S.K always perpetuated.He would not under estimate or insult his fellow comedians or side kicks.Some of the popular fellow comedians of N.S.Krishnan were T.S.Dorairaj,Pulimoottai Ramasamy,Kottapuli Jeyaraman and Kali.N.Rethinam. Kalaivanar's social concern ever formed a vital part of his spontaneous comedy generation.His was a perfect combination of both verbal and physical comedy.But his physical comedy was confined to changing facial expressions of joy,love,contempt,adoration and taunt. In this respect he would definitely have provided the right model for his next generation comedians like K.A.Thangavelu who excelled in verbal comedy and J.P.Chandrababu who reveled in physical gesticulations.But both these comedians could not be said to have imbibed the dual side of N.S.K's comedy fervor.It was Nagesh who later on succeeded in transmitting a balanced mix of  word and deed.
     Something special about N.S.K is the fact that he acted in the two versions of Ambikapadhi,one starring M.K.T.Bhagavadhar and the other in which Sivaji Ganesan played the lead role.Similarly this primary comedian acted in films like Alibabavum Naarpadhu Thirudarkalum{in which N.S.K played the hero}and Uthamaputhiran {starring P.U.Chinnappa}which were later remade with M.G.R as Alibaba and Sivaji Ganesan as Uthama Puthiran.
    N.S.K was a casual singer and he spiritedly passed on the essence of comedy through his vocal celebration of music.Some of his most memorable numbers are "Thedhi Onnula Irundhu"{Mudhal Thedhi}"Enge Theduven Panathai Enge Theduven"Dheena Moona Khaana{Panam},Seermevum Gurupaadham{Chakravarthi Thirumagal}Naattukku Sevaiseiyya Naagareeg Komaali vandhaan Aiyyaa {Nalla Thambi} and 'Sirippu"{Raja Rani}The musical notes might be missing in his rendering of songs.It might also look as if he was speaking through songs.But his soothing voice compensated the missing links. Comedian Chandrababu who in his hey days sang at least one song in each of his films would perhaps have drawn inspiration from this extraordinary actor.
    N.S.K's comedy skit was always a treasure of verbal decency and innocent humor.In most of the films the comedy skit originated from his creative brain and it was his wife T.A.Madhuram who joined him almost as his lifetime comedienne pair. His sense of humor was that of a seeming simpleton with a granary of precious thoughts of social concern and human harmony.Those were decades when the evil side of humanity was less emphatic than it is today.That is why films of those years were free from vulgarity and viciousness that have grown rampant now.
    Responsible film making was the over all general order of the last century.Hence it became the collective responsibility of everyone including those of the leading comedy team, to refrain from hurting individuals as well as the social fabric, while at the same time taking care of the process of social reform,by gently satirizing social taboos and practices, that went against the principles of personal freedom and the quality enhancement of both individuals and society. N.S.Krishnan scrupulously followed all these yardsticks and sensibly paved the way for healthy humor through the celluloid form.It was in this particular respect, he would ever be celebrated in memory as the King or Father of Tamil film Comedy
                                            =============================