Some Scenes of song contests in Tamil films

   The success of any film depends on a large scale,on its screen play.Screen play would include a plethora of ingredients such as promotion of themes through powerful narration of events,portrayal of characters,dramatic efficacy,delivery of dialogues, cinematography, choreography and necessary stunts and song sequences all elegantly edited to reach a compact, convincing,and saleable mega hit final product.But not always these diverse elements are compatibly mixed to make a film a block buster.
   Most films are remembered for some special scenes and some films are recalled for their beautiful blending of all relevant dynamics.Among special scenes,apart from enlivening display of scenes of action, one could recall special stage performances included in a film,by way of lifting fascinating portions from literary and historical pieces, as Sivaji Ganesan was made to demonstrate from Shakespeare's Othello,Hamlet,Julius Caesar and other memorable scenes from the lives of men like Emperor Ashoka,Socrates,Saleem,Bhagat Singh and several others.
   In the same manner, to mark a note of difference, some of the film makers would relevantly,or conveniently,include a scene of stage competition of song and music in order to provide a dramatic relief to the audience.In a film pronouncing the celebration of music{for instance a film like K.Viswanath's Sankarabaranam or K.Balachander's Sindhu Bhairavi}the entire course of narration will be focused on the musical ecstasy.However,in some films,a musical or song contest will be inserted as an easing factor, with healing components.It is possible for any one from the experienced Tamil film audience, to call back adequate scenes in this regard and perpetuate them in their memories.
   The earliest such scene of a song competition that I watched on the big screen was from the enchanting romantic/situation comedy Adutha Veettu Penn{1960}starring Anjalidevi which was produced by Anjali pictures and directed by Vedantam Raghavaiah.The film had a high spirited cast of actors like T.R.Ramachandran,K.A.Thangavelu.K. Sarangabani,A Karunani dhi, M.R.Santhaanam,TP.Muthulatchumi, M.Saroja and P.D.Sambandham.The rich entertainment factors of the film made it a mega hit.The film also had commendable musical scores thanks to the lyrics of Thanjai Ramaiah Das and the musical composition of Adhi Narayana Rao.The heroine was a music lover but the the hero who was after her,was a total stranger to music.However,in front of her he proved to be an excellent singer through the borrowed musical voice of his friend {K.A.Thangavelu}.
   There was a scene in the film that demanded the hero to compete with a musical teacher and prove his musical mettle.As the hero and the heroine were neighbours,the stage for the competitions would be their adjacent homes.It would be a scene of laughter ruckus to watch the hero moving his lips to synchronise with the song sung by his friend and saviour,to prove his vocal 'wealth' against that of a professional music teacher.The song was" Kangalum Kavi Paadudhe" and the two playback singers who rendered the sweet song were Tiruchy Loganadhan[for the music teacher} and Seerkazhi Govindarajan{for K.A.Thangavelu}The song carried enormous vibrations with carnatic touches, bordering on a jovial note.
  The next song contest scene that I witnessed was also in a wonderful comedy film named Bale  Pandiya{1962}produced by Padmini Pictures and directed by B.R.Panthulu. It was breezy story of fun displaying the casual performance of Sivaji Ganesan in triple roles and the uproarious  villain M.R.Radha playing dual roles.The film was a minced mix up of romance,comedy and abortive moves of villainy.All the songs written by Kannadasan which were musically enriched by the duo Viswanathan Ramamoorthy, became a bonanza for the ears.But there was one hilarious scene of rib tickling musical show,with  tremendous energy flow in the fantastic voices of T.M.S and M.Raju. The mighty song was "Neeye Unakku Enrum Nigaranavan"{Only you are always equal to you}Even now if one who watched film recalls the scene,the song and its  vibration would conquer their imagination,with a timeless flow of the power of vocal grandeur and musical vigour.   
    Then came the famous film Vanambadi released in 1963.This film was co produced by the illustrious lyricist Kannadasan in association with M.Murugan and was directed by G.R.Nadhan.It was a thriller film known for its precious story line and outstanding songs like Kangaikarai Thottam, Thookanaangurivi koodu and Oomai Pen Oru Kanavukandaal,all in the sterling voice of P.Suseela.But in that film there was a scene of poetry cum song contest, with connecting links to the story.The song was"Aan Kaviyai Vellavandha Pen Kaviye Varuga"It was composed with quiz like literary elements and the entire song beautifully brought out the poetic skill of Kannadasan, besides involving the hero S.S.Rajendran and the heroine Devika in a spirited contest as a college event.This song was from the voices of T.M.S and P.Suseela under the musical composition of melody kings Viswanathan Ramamoorthi
     In the same year there was another film bearing the title Kungumam and starring Sivaji Ganesan along with a cluster of talented actors.It was released by Sivaji Ganesan's family production house,the Rajamani pictures, two years after their block buster Pasamalar.This film was also a thriller with a twisted story line and the film included a beautiful song contest in the great voices of TMS and S.Janaki.The throbbing song was "Chinnanjiriya Vannaparavai Ennathai Solluthammaa"The chevalier and actress Sharadha were seen on stage,rendering the incomparable song with immeasurable energy,as if they  were rendering the piece of vocal  magnificence. This was also a song by Kannadasan and the high pitch notes of the song. composed by Viswanathan&Ramamoorthi rendered in the immortal voices of two legendary singers,was a splendid musical treat,besides being a competitive celebration of music.
    Two years later in 1965,The Modern Theatres came out with a crime thriller with S.A.Asokan as hero and Gemini Ganesan as a sweet coated villain.There was a humour mixed song competition scene in the film to provide not only comic relief but also an escape formula for the hero who was under the clutches of a crime thrust upon him.It was a beautiful song competition starting with the line 'Paaradi Kanne Konjam Paithiyamaanadhu Nenjam'To add pep and prominence to the scene,Savithri appeared in a cameo as herself,for the song event programmed by a Music club.The hero had to appear on stage as a singer in order to escape from the police.It was a robustly entertaining scene and everybody among the audience would have enjoyed the scene as well as the song.Interestingly,R.S Manohar playing the role of a police inspector in the guise of a rowdy called Pichuva Pakkiri,would also join Asokan for the song competition.Like the other two songs mentioned above,this one was also written by Kannadasan and music was scored by Vedha.
   During the same year A.P.Nagarajan presented in his mythological film Thiruvilaiyaadal, an anecdote dealing with a song competition between Lord Shiva and one Hemanadha Bhagavadhar,during  the Pandiya regime in Madurai.The competition between the two was necessitated by Lord Shiva's intention to save his devotee Panapathrar,who was asked by the Pandiya King to compete with Hemanadha Bhagavdhar and save the pride of the Pandiya empire by quelling the  musical arrogance of Hemanadha Bhagavadhar.Lord Shiva who came in the guise of a wood cutter,casually sang a brilliant song{Paattum Naane Bhaavamum Naane} that went to the extent of stalling the vibrations of the universe in addition to surmounting the song of Hemanadha Bhagavadhar{Oru Naal Podhumaa}.On hearing the song,Hemanadha Bhagavadhar would ask the wood cutter,who sang such a never-heard-of song.
  When he came to know that an ordinary wood cutter had rendered such an infallible song he would ask the wood cutter who taught him music.To this the wood cutter would say that he used to hear the songs sung by Panapathrar in the temple and what he sang was one such number that he heard from the voice of Panapathrar.Hemanadha Bhagavadhar would become dumb founded and immediately leave Madurai with his musical arrogance mellowed.
     In this context A.P.Nagarajan had included the two epoch making songs one sung by Dr.Balamurali Krishna for Hemanadha Bhagavadhar and the other for Lord Shiva rendered in the majestic voice of T.M.Soundarajan.The actors who played the characters were T.S,Balaiah as Hemanadha Bhagavadhar,Sivaji Ganesan as Lord Shiva in the guise of a wood cutter and T.R.Mahalingam as Panapathrar.One of the immortal features of Tiruvilaiyaadal was  this musical show in the form of a sequential competition,one overtaking the other.
  There was another film released in 1967 that had a stage event with a song competition arranged as an annual event in a college.The film was Pattanathil Bhootham starring Jai Shankar,K.R.Vijaya,Nagesh,K.Balaji and Javer Seetharaman.In that film directed by M.V.Raman the song competition was among the hero,heroine and his friend.First the friend would sing about the theme of money lending to prove how one's wealth grew on interests collected on the principal amount lent to the debtors.Then the heroine  would sing about the grandeur of man woman love as the governing factor of life.But this would be surpassed by the hero's song glorifying the nobility and might of motherhood.The content of his song would inspire the judges and make him the winner of the song competition.
    The last instance of song competition in Tamil cinema that strikes my memory was from the film Sindhu Bhairavi{1985} released twenty five years later.This film made by the veteran film maker K.Balachander was a musical feast exuberantly served by the musical prophet Ilayaraja with songs of vibrating width and depth, in the masterly voices of K.J.Yesudas and the mind blowing voice of Chitra. The film showed Sivakumar as an expert carnatic singer with an over bearing attitude,that no other form of music can surpass the grandeur of his musical genre.In a particular scene when the hero was enthralling the audience with an invaluable piece of carnatic score, there would appear an ordinary woman{ Suhasini,who was of course a dedicated fan of the singer}to contest the supremacy of the carnatic genre,claiming that folk songs were as much grand as carnatic tunes.She would sing also a folk song as a sample to prove her argument.The way she sang the folk song and finally got it blended with the Telugu carnatic song "Marimari Ninne Muralidha"sung by the hero, would take the audience to an overwhelming mood of joy and bring in thunderous applause .It was quite an usual film for KB and he made it in his own way of classical grasp and classic narration.
   The scenes of song competitions included in this post are mere tapping of my movie memories and I am sure this is neither comprehensive not nor exhaustive.But it is just a rejoicing way of looking at yet another layer of film making,amidst its various creative fundamentals.All those who enjoy each and every component of film watching,would I am sure, happily welcome this other interesting point of focus of film watching, brought in to their perspective.
                                            =====================================

An Actor with a clarion voice

HOMAGE TO VISU

   












 
      Not all Tamil film personalities have sternly fixed their voices,through their clear and vigorous dialogue delivery.Not all such voices have been film makers too. Sivaji Ganesan in particular, is always cherished in memory, not only for all his majestic and stylish ingredients in acting,but also for asserting  his stentorian voice impact,with the audience. V.K.Ramasamy and Major Sundarajan were the other actors,extolled for their voice grandeur.But these men were more into acting than writing scripts and dialogues.It was Visu who had stoutly claimed his position as the grand master of cheeky sense of humour,clarity of script and dialogues,with force and vigour in acting.
     Visu's initial days were confined to writing the script for the films of his mentor, K.Balachander.Two of the great films in this regard were,Thillumullu and Netrikan,both Rajinikant films.It was S.P.Muthuraman who first directed him as the central character for his film Kudumbam Oru Kadhambam,in the role of Srinivasa Ragavan.Incidentally this was also Visu's story, successfully enacted as a stage play.Visu's tongue twisting question raised in this film,about a mental hospital,a mad man and a psychiatrist threw his fellow actor Omakuchi  Narasimhan into the height and depth of perplexity,besides leaving its indelible mark of hilarity,to become the talk of the town.
  Some of the other notable films for which he wrote the story were,Avan Aval Adhu,Simla Special, Keezh Vaanam Sivakkum, Nallavanukku Nallavan and Mr.Bharath.Of these the last two were released from the AVM banner and Keezh Vaanam Sivakkum was one of the grand movies of Sivaji Ganesan celebrated in audience memory,for its precision,poise and perfection in narration.
   Kanmani Poonga was the first film for which Visu took up the multiple responsibility of writing the script and direction,in addition to playing a vital role.This was followed by Manal Kayiru,enrolling S.V.Sekar as the hero and this film was greatly received and admired. In Manal Kayiru,Visu as Uthiramerur Naradhar Naidu, kept the audience happily engaged for a laughter show.
   Following this,Visu became the vibrant spirit of family dramas,making around twenty five films on the whole.Some of his special films were,Dowri Kalyaanam,Varavu Nalla Uravu, Chidhambara Ragasiyam,Samsaaram Adhu Minsaram, Thirumathi Oru Vegumadhi,Kavalan Avan Kovalan,and Penamani  Aval Kanmani.
   The last two films found in the list  above, were State and National award winners respectively,on the basis of their projecting precious story lines and social values.The final innings of Visu as film maker, were for his fairly popular Pattukottai Periyappa,Meendum Savithri and Sigamani 
Rengamani.
  The interesting phenomenon of Visu's films,was the unique composition of his titles,in three or two words with similarity in phrase formation.The other prominent feature of Visu's films was the notable inclusion of stage artists like Kamala Kamesh and the frequent addition of veteran actors like Manorama, Vadivukkarasi and Delhi Ganesh.Actors like S.V.Sekar,Prathap Pothan, Dileep,Chandrasekar,Ilavarasi,Madhuri and Seetha joined Visu's team quite often. 
  Visu's choice of actors for playing roles as per the character evolution and depth of emotion was yet another unique trait of his process of film making.One such effective choice was that of M.N.Rajam a long standing actor of extraordinary mettle,to play the most cruel mother in law in Penmani Aval Kanmani.
     Samsaaram Adhu Minsaaram,the most commendable of all his films,produced under the AVM banner,won the National award for its rich entertainment ingredients.As Ammaiyappa Mudaliyaar and as family head,Visu was seen as the crux and outstanding character of the film,with a highly qualitative  and talented team of actors, consisting of Raguvaran,Lakshmi, Ilavarasi, Kamala Kamesh,Vaagai Chandrasekar,Madhuri, Manorama Kishmu,Dilip and Kaja Mohamed.
    Each character carried a distinctly memorable identity formed of a strong base, making the family contexts very much real and relevant to life.No one can forget the previously stage managed scene,presenting a very lively conversation between servant Manorama and Kishmu{Albert Fernandez},as the father-in-law of Ilavarasi,over a proposed divorce issue.The film on the whole, was one of the excellent shows of Visu on the big screen.
    It was a perfect display of an intricate joint family,composed of a calculative and frugal,eldest son,{Raguvaran},his passively pragmatic wife{Laksmi},talkative father {Visu},submissive mother{Kamala Kamesh},two younger brothers,one with a volatile frame of mind{Chandrasekar}and the other with the vagaries of teenage {Kaja Mohamed} and a whimsical younger sister {Ilavarasi}.
   The entire film beautifully reflected the various positive and negative undercurrents of a joint family,in perfect form.With Visu's carefully written and remarkably delivered dialogues, the film became a major hit for the director, besides adding another feather to the victory march of the AVM production house. There is a saying in Tamil that a bit of boiled rice is an effective indicator of the quality of the pot full of rice.Similarly, this one movie powerfully pinpoints the multi dimensional creative merits of Visu.
   Apart from being a distinguished film maker,Visu as an actor is a class by himself,in emphatic dialogue delivery, with clarity and force.By every measure of his acting style,one could see the categorical impact of the stage on the screen, as in the case of his great mentor-cum-director Balachander and actors like, T.K.Bagavadhi,S.V.Sahasranamam V.S.Raghavan,Major Sundarajan,R.S.Manohar and a few others who have by and large added value to Tamil cinema,by their theatre experience that came in handy for them,in precisely fixing themselves for screen performance,as compactly as possible. 
    Visu has brought out the dynamics in acting, mostly by his characteristic voice modulation and impressive grasp of accent and intonation yardsticks,towards getting closer to the audience as naturally as possible. Visu has done quite a few character roles with the superstar in films like Nallavanukku Nallavan, Mr.Barath,Uzhaippali, Mannan and Arunachalam.
     No one can forget Visu's sparkling performance as Kumaresa Gounder in Mr.Bharath.The two Kamal films he was associated with were,Simla Special and Sathya one as a story writer and the other as an actor. Visu has always been a perfect choice for doing roles such as a care taker,an advocate {Ellaam Avan Seyal and a few other films}a sitting Judge,an investigating officer and above all as the governor of as the chief minister of a state.These are characters that Visu has essayed with his innate poise,ease,dignity and thrust in dialogue delivery.
     As the responsible father of a self-conscious and arrogant feminist daughter,he delivered a wonderful performance in Mannan. His performance was equally noteworthy in Vanaja Girija,a film portraying the diagonally contradictory attitudes of two women.Besides these, it would be a proud factor for Visu to have shared screen space with the Chevalier, Sivaji Ganesan in the film Thaikoru Thaalaattu directed by Balachandra Menon.
    The AVM banner which utilised Visu's versatile talent by letting him  make one of its best films,Samsaram Adhu Minsaram also inducted him for playing great roles in films like Mr.Bharath,Nallavanukku Nallavan and Mella Thirandhadhu Kadhavu.Visu raised his powerful paternal voice in the Arjun starring film Adimai Changili,directed by R,K.Selvamani.In the same manner,he created vibrating moments despite his limited appearance in Lingusamy's Ji,as a printing press owner with a determination to oust from post, a sitting corrupt MLA of his constituency.He has always been in full form,in doing roles that could reflect the force of reasoning and pragmatic intelligence.
   For some time Visu's clarion voice was heard on the small screen with his reputed spark of ideas and flair for emphatic tone delivery,focused on socially useful interactions,with the youth and children.It is a known fact that Visu,by his distinct mind frame and significant thrust on clear performance,stands out as the specially identifiable,celebrity of Tamil Cinema, through his categorical traits of creativity,as a special brand of film maker and an authoritatively self confident actor,with a clarion voice.
              ++++++++++++++++++++++++++++++++++

தமிழ்த்திரை வரிகளில் மனிதன்

   மண்ணில் காணும் நன்மையையும் தீமையும் மனிதன் மாட்டே! மனிதன் இல்லையேல்,இன்பம் இல்லை; துன்பம் இல்லை;அறிவியல் இல்லை; இலக்கியம் இல்லை;மதம் இல்லை;மொழி இல்லை; சாதி இல்லை;சான்றுகள் இல்லை.நோய் இல்லை; மருத்துவம்  இல்லை. வறுமை இல்லை;சுரண்டல் இல்லை.பெருமை இல்லை;தாழ்மை இல்லை. இன்னும் எத்தனையோ, இல்லை, இல்லை!  
  மனிதனின் அருமை பெருமைகளையும் அழுக்குச் சுமைகளையும்,மனிதனே அறிவான்.அதனால் தானோ என்னவோ,கிட்டத்தட்ட அறுபத்தைந்து ஆண்டுகளுக்கு முன்னால் எம் ஜி ஆர் நடித்து 1956- இல் வெளியான 'தாய்க்குப்பின் தாரம்' திரைப் படத்தில் கீழ்காணும் வரிகளில் கவிஞர் A.மருதகாசி மனிதனைப்பற்றி எழுதி வைத்தார்.

"மனுசன மனுஷன்
சாப்பிடுறான்டா,தம்பி பயலே;
இது மாறுவதெப்போ தீருவதெப்போ,
நம்ம கவலை."

  பின்னர் அதே சாண்டோ சின்னப்பா தேவரின் தயாரிப்பில்,எம் ஜி ஆர் நடித்து 1961 இல் வெளியான 'தாய் சொல்லை தட்டாதே' திரைப் படத்தில்,அதே டி.எம் சௌந்தராஜனின் கம்பீரக்குரலில், கண்ண தாசன் வடித்த,

"போயும் போயும் மனிதனுக்கிந்த,
புத்தியைக் கொடுத்தானே,இறைவன்
புத்தியைக் கொடுத்தானே!..
அதில் பொய்யும் புரட்டும்
திருட்டும் கலந்து,
பூமியைக் கெடுத்தானே, மனிதன்
பூமியைக் கெடுத்தானே!".

 எனும் பாடல் மூலம்,மனிதனோடு ஊறிப்போனது,அவனது மலிவான புத்தி மட்டுமே என்பதை,நம்மால் உணரமுடிந்தது. 
   இதே நிலைபாட்டுச் சிந்தனையுடன்தான் 1961-இல்,A. பீம்சிங் இயக்கத்தில் உருவான 'பாவ மன்னிப்பு' திரைப்படத்தில்,
கவியரசு கண்ணதாசன் மனிதனைப்பற்றி,தன் மனக்குமுறலை  சிவாஜி கணேசனின் அற்புதமான நடிப்பின் முலம்,பின்வரும் வரிகளில் எடுத்துரைத்தார். 

"நிலை மாறினால்,
குணம் மாறுவான்;பொய்
நீதியும் நேர்மையும் பேசுவான்;
தினம் ஜாதியும் பேதமும்
கூறுவான்;அது வேதன்
விதி என்றோதுவான்.
மனிதன் மாறிவிட்டான்;
மதத்தில் ஏறிவிட்டான்."

  மீண்டும் அதே ஆண்டில் முக்தா ஸ்ரீனிவாசனின் படைப்பில் உருவான 'பனித்திரை' எனும் திரைப்படத்தில்,ஜெமினி கணேச னுக்காக பி பி ஸ்ரீனிவாஸ் குரல் கொடுக்க,கவியரசின் ஒப்பற்ற வரிகளில்,மனித மனதின் நிலையற்ற தன்மையும் பலவீனமும், பாமரனுக்கும் புரியும் படியாக எழுதப்பட்டு,நம் செவிகளில் நாமே வெட்கப்படும் வண்ணம், நமட்டலாக ஒலித்தன! 

"ஏதோ மனிதன் பிறந்துவிட்டான்,  
அவன் எனோ மரம்போல் வளர்ந்துவிட்டான். 
எதிலும் அச்சம்,எதிலும் ஐயம், 
எடுத்ததற்கெல்லாம் வாடுகிறான், 
தன இயற்கை அறிவை மடமை என்னும், 
பணித்திரையாலே மூடுகிறான். 
பெண்ணே தெய்வம் அன்னை கடவுள், 
பெருமை என்று பேசுகிறான். 
பெண் பேதைகள் என்றும்,பேடிகள் என்றும், 
மறுநாள் அவனே ஏசுகிறான்; 
நாயாய் மனிதன் பிறந்திருந்தாலும்,
நன்றியெனும் குணம் நிறைந்திருக்கும். 
நரியாய் அவனே உருவெடுத்தாலும், 
தந்திராமாவது தெரிந்திருக்கும். 
காக்காய் குலமாய் அவதரித்தாலும், 
ஒற்றுமையாவது வளர்ந்திருக்கும். 
காற்றாய் நெருப்பாய்,நீராய் இருந்தால், 
கடுகளவாவது பயனிருக்கம். 
ஆறறிவுடனே பேச்சும் பாட்டும், 
அறிந்தே மனிதன் பிறந்துவிட்டான்; 
அந்த ஆறாம் அறிவை தேரா அறிவாய், 
அவனே வெளியில் விட்டுவிட்டான். 
ஏதோ மனிதன் பிறந்துவிட்டான் 
அவன் எனோ மரம்போல் வளர்ந்துவிட்டான்" 

    அடுத்த ஆண்டு{1962}சிம்மக்குரலோன் சிவாஜி கணேசனின் நெஞ்சைவிட்டகலா நடிப்பில்,A.பீம்சிங் படைத்த'படித்தால் மட்டும் போதுமா'திரைப்படத்தில்,கண்ணதாசனின் கிண்டலான,

"ஓஹோ  ஹோஹோ மனிதர்களே,
ஓடுவதெங்கே சொல்லுங்கள் 
உண்மையை வாங்கி 
பொய்களை விற்று, 
உருப்பட வாருங்கள்." 

    எனும் வரிகள்,மனிதனுக்கு திருந்துவதற்கான ஒரு வாய்ப்பினை அளிப்பது போன்று,அறைகூவல் விடுத்தன.
    1962 ஆம் ஆண்டு திரையிடப்பட்ட 'அழகு நிலா' எனும் திரைப் படத்தில் கவிஞர் A.மருதகாசி புனைந்த கருத்தாழமிக்க பின்வரும் பாடலில், வேண்டாத கெடுவினைகள் அனைத்தும் கற்றுக்கொண்ட மனிதன் மனிதனாக  மட்டும் வாழ கற்றுக்கொள்ளவில்லை எனும் கசப்பான உண்மையை,கே.வி மகாதேவனின் தேனிசையில் சீர்காழி கோவிந்த ராஜனின் கனத்த,ஈட்டியெனப் பாயும் குரலில், நாம் கேட்க நேர்ந்தது. 

"மனிதன் எல்லாம் தெரிந்துகொண்டான் 
வாழும் வகை புரிந்துகொண்டான்; 
மனிதனாக வாழமட்டும் 
மனிதனுக்கே தெரியவில்லைஹோ! 
கொல்லும் பாம்பின் கொடும் விஷத்தை, 
சொல்லில் கொடுக்க தெரிந்துகொண்டான்;  
குள்ளநரிபோல் தந்திரத்தால், 
குடியை கெடுக்க தெரிந்து கொண்டான்;
வெள்ளிப் பணத்தால் மற்றவரை, 
விலைக்கு வாங்க தெரிந்துகொண்டான்;  
மனிதனாக வாழ மட்டும், 
மனிதனுக்கே தெரியவில்லை ஹோ!" 

   கவியரசு கண்ணதாசன்,வெண்திரையில் தனது கற்பனை ஊற்றின் வலுவோடு,தன் கவிதை வரிகளை மயில் பீலிகளாகவும்,மனம் மிரளும் மத்தள ஓசையாகவும்,மரண பயத்தை தோற்றுவிக்கும் எமனின் சாட்டையாகவும்,படியாத மாடுகளாய் வாழும் மனிதரை,படியச்செய்யும் பிரம்பாகவும் கொண்டு,மனிதனை மனிதனாக மாற்ற,அரும்பாடு பட்டார் என்றே சொல்ல வேண்டும். 
   மனித இனத்தின் மீது தனக்குள் இருந்த ஆதங்கத்தையும் வேதனை யையும்,அவர் A.L நாராயனோடு தானும் எழுதி உருவாக் கிய'லட்சமி  கல்யாணம்'{1968} திரைப்படத்தில்,டி.எம்.எஸ் குரலில் தனது உரத்த வரிகளால் வெளிப்படுத்திய பின் வரும் பாடல்,நம் நினைவுகளில்  அழுத்தமாக பதிந்தது என்றே சொல்லலாம்.

"யாரடா மனிதன் இங்கே,

கூட்டிவா அவனை இங்கே;

இறைவன் படைப்பில்,

குரங்குதான் மீதி இங்கே!

மனிதரில் நாய்கள் உண்டு

மனதினில் நரிகள் உண்டு;

பார்வையில் புலிகள் உண்டு;

பழக்கத்தில் பாம்பும் உண்டு;

நாயும் நரியும் புலியும் 

பாம்பும்வாழும் பூமியிலே,

மானம் பண்பு ஞானம் கொண்ட,

மனிதனை காணவில்லை.

சிரிப்பினில் மனிதன் இல்லை;

அழுகையில் மனிதன் இல்லை;

உள்ளத்தில் மனிதனில்லை;

உறக்கத்தில் மனிதனுண்டு. 

வாழும் மிருகம்,தூங்கும் தெய்வம்,

நடுவே மனிதனடா!

எங்கோ ஒருவன்,இருந்தால் அவனை,

உலகம் வணங்குதடா!"

   'வனவாசம்' 'அர்த்தமுள்ள இந்துமதம்' போன்ற இணையற்ற புத்தகங்களை எழுதிய கண்ணதாசன்,தன வாழ்நாளில்,தத்துவக்  கடலில் மூழ்கி முத்தெடுக்கும் வேளைகளில்,மனிதம் மாண்புற வேண்டும் எனும் வேட்கை கொண்டிருந்தார்.நற்குணங்கள் மட்டுமே நிறைந்த மனிதன்,தெய்வத்திற்கு இணையாவான் எனும் அவரது ஆழ்ந்த புரிதலே,கீழ்க்காணும் பாடல் வரிகளில்,ஸ்ரீதரின் 'சுமைதாங்கி' திரைப்படத்தில்,பி பி ஸ்ரீனிவாசன் மெல்லிய குரல் அதிர்வுகளாய் அரங்கேறியது. 

"மனிதன் என்பவன் தெய்வமாகலாம் 

வாரி வாரி வழங்கும்போது வள்ளளாகளாம் 
வாழைபோல தன்னை தந்து தியாகியாகலாம்" 

    மனிதரில் மனிதராய்,'உள்ளத்தின் உள்ளூரும்' கவிதையுடன் வலம்வந்த கவியரசு,மனிதக் குறைகளை முழுமையாய் சுவாசித்து, மனிதன் மேன்மையுற,ஏக்கங்களில் மனம் பதித்து,மனிதனை தெய் வமாய் ஒருங்கிணைத்து,மனம் காட்டும் வழிதனிலே,மனிதனின் நினைவிற்கு மரணத்தின் உண்மை எட்டுவதில்லையே,எனும் வேத னையை,எவ்வளவு இயல்பாக 'அவன்தான் மனிதன்'{1975} திரைப் படத்தில் வெளிப்படுத்தினார்.
  எடுத்துக்காட்டான ஒருமனிதனை,பெருந்திரையில் போற்றிய அத் தமிழ்த் திரைப்படத்தில்,உன்னதமான கோட்பாடுகளின் உருவமாக, மனிதனை நடிப்பில் வெளிப்படுத்த, சிவாஜி கணேசனைத் தவிர  வேறு எவரால் முடிந்திருக்கும்? கதையாலும் நடிப்பாலும், A.Cதிருலோக்சந்தரின் உணர்வுபூர்வமான இயக்கத்தாலும், கவியரசின் வரிகளாலும், மெல்லிசை மன்னரின் இசையாலும்,' அவன்தான் மனிதன்',என்றும்  நம் உறங்கும் உணர்வுகளை தட்டி எழுப்பக்கூடிய திரைப்படமாக அமைந்தது.இதோ,கவியரசின் எழுத்தில்,எம்.எஸ். வி இசையில், டி.எம்.எஸ் சிவாஜி கணேசனுக் காகப் பாடிய வரிகள். 

"மனிதன் நினைப்பதுண்டு 
வாழ்வு நிலைக்குமென்று
இறைவன் நினைப்பதுண்டு 
பாவம் மனிதனென்று"

    தான் நடிக்கும் திரைப்படங்களில் புகைபிடித்தல் மற்றும் மது அருந் துதல் போன்ற காட்சிகளுக்கு அரிதாக இடமளித்த  எம் ஜி ஆர், தனது 'ஒளிவிளக்கு' திரைப்படத்தில்,தீய பழக்கங்களுக்கு தன் மனதில் ஒரு போதும் இடமில்லை எனும் உறுதியான மனநிலையினை,தனக் கென டி.எம். எஸ் பாடிய "தைரியமாகச் சொல் நீ மனிதன்தானா? இல்லை.நீ மிருகம்.நீ மதுவில் விழும் நேரம்" எனும் வாலியின் வலுவான பாடல் மூலம் வெளிப்படுத்தினார். 
   மனிதனைப்பற்றி,மனிதனின் கவிதைக்கரங்களால் எழுதப்படும் விமர்சனங்கள் அனைத்தும்,மனித இனத்தின் சுய விமர்சனமாகவே எடுத்துக்கொள்ளப்பட வேண்டும்.'மனிதன்' எனும் சொல்லை பல் வேறு  கோணங்களில் திரைப்படங்களில் புகுத்தி,மனிதனின் நிறை குறை களை தலைப்புகளாகவும் கவிதை வரிகளாகவும் மனித இனத்தின் பார்வைக்கு தமிழ்த் திரைப்படங்கள் கொண்டுவந்துள்ள.ரஜினிகாந்த் நடித்து A.V.M தயாரிப்பில் வெள்ளித்திரையை அலங்கரித்த 'மனிதன்' திரைப்படப்பாடல்,எவன் மனிதன்,எவன் மனிதனில்லை,என்று வரை யறுத்துச் சொன்னது.கவிப்பேரசு வைரமுத்து கவிதை வரிகளை வேட்டையாட,சந்திரபோஸின் இசை ஓட்டத்தில்,மலேஷியா வாசு தேவன் தனது வீரியக் குரலில் வெடித்த சொற்கள் இதோ!  

மனிதன் மனிதன்,
எவன்தான் மனிதன்?
வாழும்போது செத்துசெத்து 
பிழைப்பவன்மனிதனா? 
வாழ்ந்தபின்னும்பேரை நாட்டி 
நிலைப்பவன் மனிதனா? 
பிறருக்காககண்ணீரும், 
பிறருக்காக செந்நீரும், 
சிந்தும் மனிதன்எவனோ, 
அவனே மனிதன்.
அடுத்தவீட்டில் தீப்பிடிக்க 
நினைப்பவன்மனிதனா? 
அந்தநேரம் ஓடிவந்து, 
அணைப்பவன் மனிதனா? 
கொடுமைகண்டும்கண்ணைமூடி, 
கிடப்பவன்மனிதனா? 
கோபம்கொண்டு நியாயம்கேட்டு, 
கொதிப்பவன்மனிதனா?
ஏழைப்பெண்ணின்சேலைத்தொட்டு, 
இழுப்பவன்மனிதனா? 
இரவில்மட்டும்தாலிகட்ட 
நினைப்பவன்மனிதனா?
காதல் என்றபேரைச்சொல்லி
நடிப்பவன் மனிதனா?
நட்பைமட்டும் கரண்சிநோட்டில், 
கறப்பவன்மனிதனா?
தன்மானம்காக்கவும், 
பெண்மானம்காக்கவும் 
துடிப்பவன் எவனோ,அவனே மனிதன்!

."கடவுள் பாதி மிருகம் பாதி கலந்து செய்த கலவை நான்" என்று  ஒரு கதாபாத்திரத்தில் கமல் தன்னை புகுத்திக் கொண்டது போல,                                                                  அல்லது,    
 "பாதி மனதில் தெய்வம் இருந்து பார்த்துக் கொண்டதடா மீதி மனதில் மிருகம் இருந்து ஆட்டிவைத்ததடா"என்று  டி.எம்.எஸ் குரலோசையில், கவியரசின் வரிகளை,ஆலயமணி திரைப் படத்தில் நடிகர் திலகம் தன உயரிய நடிப்பால் பிரகடனப்படுத் தியது போல,மனிதன் முழுமையாக மனிதனாக இல்லை.அவன் மனிதனாக இருக்கையில்,இறைவனில் கரங்களால் ஆசிர்வதிக் கப்படுகிறான். மாறாக,மிருகமாக இருக்கும் மன நிலையில்,வினையின் விளைவுகளால் தண்டிக்கப்படுகிறான். எனவே,திரைப் பட பாடல்கள் மூலம் கவிஞர்கள் நிலை நிறுத்த விரும்புவது,சொல் புத்தி செயல் புத்தியுடன்,மனிதன் மனிதனாக வாழவேண்டும் என்பதேயாகும். 
ப.சந்திரசேகரன் 

The invincible actor sisters of Tamil Cinema

 

   Tamil cinema may have in its archives famous films of actresses doing sister roles,such as Naan Valartha Thangai,Kalyana Parisu,Bhagya Lakshmi,Kulavilakku,Arangetram and Aval Oru Thodarkadhai.More importantly,Tamil Cinema is also known for its great list of actor sisters who have made the Tamil film industry flourish and reach new heights of glory and excellence.
   During the inception decade of Tamil cinema,there came three sisters on the Tamil silver screen,as sterling classical dancers and brilliant performers of characters of different kinds.They were originally called the Travancore sisters,because they hailed from the Trivandrum soil with their ancestral links well knit to the royal family.They were famously acknowledged as Lalitha,Padmini and Ragini.
  Initially,they were shown on the screen,only as dancers,because the earliest Tamil films were reputed more for songs and dances,than for action or continued delivery of dialogues.While all the three sisters were dancing together in a few movies,{Mandhiri Kumari,Devaki,Vanasundari and Ponni},it was Padmini who had significantly occupied the centre stage,both as a stunning dancer and amazing actor.Apart from her scintillating solo dance hits{for "Madhavi Pon Mayilaal" in Iru Malarkal ,for"Maraindhirundhu Paarkum" and "Nalandhaanaa" in Thillaanaa Mohanaambaal and for "Mannavan Vandhaanadi" in Thirumaal Perumai}Padmini had dynamically shown her extraordinary competitive spirit for dancing,not only with her elder sister Lalitha in many films but also with the other commendable dancer actor Vijayanthimala{Vanjikottai Valiban is ever a dance treasure staying indelible in our memory}and with MG.R in Mannadhi Mannan.Of the three, the youngest Ragini who died young, could make only lesser number of entries as a dancer,when compared to her two elder sisters.But as an actor,her contribution was as much considerable,as that of the eldest Lalitha.
  Of the more than sixty Tamil films in which Lalitha had appeared,a majority were those in which she did dancing with her younger sister Padmini or with Ragini .But she did a few solid roles of acting in films like Ezhai Padum Paadu,Oar Iravu,Kanchana,Ponni,Anbu,Ulagam Palavidham,Kaveri and Thookku Thhooki.The last four in the list were films of Sivaji Ganesan of which,Thooku Thooki would have got stuck in audience memory,on account of the role of a hateful,adulterous wife  that Lalitha boldly played and stamped her impression, in the character of a dubious woman.
   Like Lalitha,her youngest sister Ragini who was equally watched for her dance display in quite a number of films,did some memorable films like Thooku Thooki,Kalyanam Panniyum Brmmachari, Ellaam Inba Mayam,Uthama Puthiran,Bhagyavadhi,Punar Jenmam,Parthiban Kanavu,Parisu,Veera Pandiya Kattabomman,Navagraham{as gossip monger Akilandam}and Ezhai Pangalan{as the main heroine paired with Gemini Ganesan}.If Lalitha had a melting and mesmerising voice,Ragini had a stronger and sober tone.But it was the majestic and governing tone of Padmini which surpassed that of her sisters, by the power of which she could establish an immortal place in Tamil cinema,as the most dynamic pair of Sivaji Ganesan.
   Voice, dance and dauntless delivery of roles put Padmini,on the highest pedestal of the Tamil big screen,not only between her two sisters but also among her contemporary actors.She could rightly be called the darling among the three Travancore sisters.As her stellar position in Tamil cinema has already been discussed in other two articles in the blog, with this tribute to her, the article will move on to the other actor sisters of Tamil cinema.
   Almost during the same period of the Travancore sisters, there were other two actor sisters called P. Pandarbhai and P. Mainavadhi. Like the Travancore sisters these two were also inseparable in many movies.They were not celebrated dancers like the earlier trio,but were actors of a graceful and meek category,capable of casting the glory of womanhood, known for its submission,modesty and charm. Unlike the trio sisters who were from the Kerala soil,these two sisters were rooted to Karnataka.
    Pandaribhai takes the pride of being the first heroine of Sivaji Ganesan in Parasakthi, followed by films like Aval Yaar,Thirumbi Paar and Andha Naal with him.The Chevalier played negative roles as the Casanova  in Thirumbi paar and a traitor in Andha Naal and in both the films he invited the wrath of  the ever docile Pandarbhai.In Annaiyin Aanai,Pandaribhai was seen both as the wife  and mother of Sivaji Ganesan in dual roles,as father and son.Later this subdued actress adorned the throne of motherhood in celluloid form,showing profound love and compassion in films like Dheiva Thai, Thaayin Madiyil,Kaavalkaaran,Pudhiya Bhoomi,Raja,OruThai Makkal,Thava Pudhalvan, Dheiva Magan,Gowravam and many other films, besides taking the role of a paralysed mother in Rajinikanth's Mannan. In maternal roles, Pandarbhai formed a distinct place for herself as a venerable mother of Tamil cinema.
     Her sister Mynavadhi who shared screen space with heroes like Sivaji Ganesan{Kuravanji &Bommai Kalyanam}T.R.Ramachandran,{Anbu Yenge} S.R.Eshwar {Aaravalli,in the role of Alangaravalli}T.R.Mahalingam{ Maalaiyitta Mangai}and Prem Nazir {Vannakkili,Anbukkor Anni Naan Valartha Thangai}K.Balaji {Engal Kula dhevi}and Kuladheivam,was an incarnation of the grace and warmth of womanhood,represented by her next generation actress Sri Vidya. Tamil cinema pulled the audience into an exalting family experience,through the dignified presence of these two actor sisters Pandaribhai and Mynavadhi.
    During the late Nineteen Seventies and early Nineteen eighties Tamil cinema witnessed the emergence of three pairs of sisters,one pair from the tree of veteran actor M.R.Radha and the other pair once again from the Trivandrum region and the third team of siblings also from Kerala.They are Radhika and Nirosha,Ambika and Radha and Oorvasi and Kalpana. Among the three pairs,Radhika and Radha were introduced to the Tamil silver screen,by the eminent director of rural stories, P.Bharathiraja in Kizhakke Pogum Rayil and Alaigal Oivadhillai respectively.
   Oorvasi and Kalapna were the thespian products of K.Bagyaraj.Though Ambika was introduced by the director duo Deveraj Mohan,in their film Chakkalathi it was K.Bagyaraj who made her famous through his great film Andha Ezhu Naatkal.Whereas Nirosha had her first innings as Karthik's love interest in Manirathnam's Agni Natchatram and then moved on to act with Kamalahasan in Soora Samharam. and with Karthik Muthuraman in Pandi Naattu Thangam After her successful films Sendhoora Poove and Inaindha Kaikal with Ramki,she became his life partner.
    While Radhika became the very powerful female voice of Tamil cinema in the line of  Savithri, Oorvasi who got an award for her performance in her very first film Mundhaanai Mudichu,did a film with Kamalahasan{Andha Oru Nimidam}as his pair and a couple of films with Napoleon {Vanaja Girija and Ettu Patti Raajaa}and in V.Sekar's most known film Naan Petha Mahane with Sivakumar. After donning a few sober roles she turned to the comedy side by working with Kamal for his films Michael Madhana Kamarajan,Pancha Thandhiram and also as the wife of Nasser in Thennavan.She continues to don mother roles in many films.
   Incidentally,Kalapana who performed as the disliked wife of Bagyaraj in Chinnaveedu,did a similar role in Kamalahasan's Sathi Leelavadhi,as the unwanted wife of Ramesh Arvind. In both the films her fatness became a point of contention to be spurned as a wife. Oorvasi has been dividing her time between Tamil and Malayalam cinema.But Kalapana who contributed more to Malayalam cinema died an untimely death.
    From the list of actor sisters every one would accept the fact that Padmini,Pandarbhai,Radhika and Oorvasi made a substantial contribution to the Tamil film industry,when compared to their sister siblings.Padmini excelled her two sisters,both in the dynamics of dancing and magnificent delivery of roles. Pandaribhai became a longstanding character actor and inimitable screen mother. Radhika continues to make herself predominantly irreplaceable.Comparatively, from among the actor sisters listed here,it is Ambika and Radha who have made themselves equally invincible.Like Radhika ,both Ambika and Radha have acted one classic movie each,with Sivaji Ganesan.Both Vaazhkai and Mudhal Mariyaadhai were grand shows of conjugal supremacy and the peerless power of Platonic love, in their respective thematic content and manner of presentation.
    Like the Travancore sisters and like Pandari Bhai and Mynavathi,the two sisters Ambika and Radha have acted as sisters on screen too{Engeyo Ketta Kural and Kadhal Parisu}.They have also acted together in films like Vellai Roja,Idhayakoil and Anna Nagar Mudhal Theru. Both were successful pairs of Rajinikanth and Kamalahasan and both have acted with other heroes like Sathyaraj,Vijayakanth,Prabu,Karthik {Muthuraman},Sivakumar, and Mohan.
    If Ambika has in her kitty,most impressive films like Andha Ezhu Naatkal,Engeyo Ketta Kural Theerpukal Thiruthappalaam,Naan Paadum Paadal,Vaazhkai,Makkal En Pakkam,Sakala Kalaa Vallavan, Kaakki Sattai,Sakala Kala Vallavan,Uyarndha Ullam,Naan Sigappu Manidhan,Mr.Bharat and Padikkaadhavan,Radha too has an equal number of films like Alaikal Oivadhillai,Amman Koil Kizhakkaale,Oru Kaidhiyin Diary,Naan Mahaan Alla,Paayum Puli,Rajaadhi Raajaa Mella Thirandhadhu Kadhavu, Engal Chinna Raasaa and Muthal Mariyaadhai,all treasured in audience memory.The films listed here are not exhaustive with regard to both the sisters.
    But the list definitely contains their most important films.No doubt there was always a significant glamour component in Radha's portrayal of characters.However, she proved her excellent acting calibre,throwing tough challenges to her elder sister through her mighty roles,in Amman Koil Kizhakkaale,Mella Thirandhadhu Kadhavu and Mudhal Mariyaadhai.Among the actor sisters of Tamil cinema of different decades, one would instantly agree to the fact,that it it is Ambika and Radha who have always maintained a competitive edge between them, throughout their acting career. Between the two,Radha could easily take up tomb boy roles as she did in films like Pick Pocket, Chinnapadas and Anna Nagar Mudhal Theru.But Ambika too made the audience raise their eyebrows by indulging in boot legging and transporting bottles of spurious liquor,under the pretext of bogus pregnancy in Padikkadhavan.
   To sum up, all the actor sisters have contributed their individual might,through each one's level and capacity for performance.No one can be a match for Padmini,the paragon of  dancing and the delightful performer of roles,to become the characteristic protocol of womanhood,on the big screen.On the other hand, Pandaribhai will be remembered more as a mother than a heroine. Oorvasi and Kalpana set up a unique place for themselves,with a perfect grasp of  situational and farcical comedy contexts.Nirosha's contribution has been as much minimal as that of Mynavadhi. But Mynavadhi's enchanting looks and portrayal of roles could very well match those of Ambika,the embodiment of exquisite feminine grace. Radha could race with Radhika not only for being a product from the same school of Bharathiraja,but also by putting up a brave face against selective male arrogance.{One could trace the verity of this observation from their character delineation in Naane Raja Naane Mandhiri of Radhika and Amman Koil Kizhakkaale of Radha. Interestingly, both were Vijayakanth films}
  Nevertheless,Radhika is certainly one of the insuperable women of Tamil cinema for reflecting variety in performance through her roles in films like Ninaivu Chinnam,Oorkaavalan, Nallavanukku Nallavan,Kizhakku Cheemaiyile,Sigaram,Salangai Oli,Veera Thaalaattu and Jeans[as the virago wife of Nasser}.If Radhika is admired for her regular contribution to the small screen through her popular serials,Ambika has recently joined the bandwagon of renowned silver screen heroines,making their prominent presence in television serials. Naayaki is presently one of the highly received serials in which Ambika plays an important role.
    Beyond all this, if one has to confine to one pair of actor sisters and make an assessment,one could clearly and assertively declare that Ambika and Radha are the two invincible actor sisters of Tamil Cinema,in vying with each other to carve a niche for themselves ,with equal vigour and demonstration of strength,in their screen portrayal of characters.
                                           
{Note:- This article has excluded half sisters among actors.}

P. Bhanumathi the powerful Woman

 

     The early decades of Tamil Cinema mostly witnessed docile women on the screen.Cinema in general was dominated by men and Tamil films were no exception to this.However,during those years too,there were a couple of women who would time and again raise their feminist voice to vindicate the power of womanhood. Vijayanthimala and P.Bhanumathi were the two actors who through their exceptional force of performance would frequently try to surpass the role of men on the screen.It was a known fact that Vijayanthimala was a colossal classical dancer with invincible charm and performance potential,reflected in her nimble bodily movements.
    P.Bhanumathi on the other hand was not a good dancer but a prime performer of characters with a unique voice mould and sweet singing forte. In fact,Bhanumathi was a greater feminist than Vijayanthimala herself,because quite often one could see her raise her voice and try to rule over men.Though Telugu based Bhanumathi focussed more on Telugu films her Tamil entries were equally powerful to demonstrate her exemplary calibre of screen portrayal,singing attributes and capacity to compose tunes.
   Bhanumadhi stepped into Tamil Cinema as early as in 1939 during the pre independence period in the film Sandana Devan produced by Modern Theatres.Quite a few of her Tamil movies were either dubbed into Tamil or were Tamil remakes of Telugu films.Her first popular Tamil film was Rajamukthi with M.K.Thiagaraja Bhagavadhar.During the same period she acted one film each with N.S.Krishnan {Nalla Thambi}M.K.Radha{Aboorva Sagodhararkal} and P.U.Chinnappa{Rathnakumar}.Later she acted with the two  most popular heroes MGR and Sivaji Ganesan. Incidentally it should be mentioned here that while MGR in his later years of film career,took several women much younger to him as his screen pairs,it was P.Bhanumathi who was three years older than Sivaj Ganesan,joined him as his dynamic pair, in about eight movies.  
    Her films with MGR such as Malaikallan,Alibaabaavum Narpadhu Thirudarkalum,  Thaaikupin Tharam,Madurai Veeran, and Nadodi Mannan were memorable hits when compared to failures like Kalayarasi,Raja Dhesingu and the moderate historical film Kanchi Thalaivan. Similarly her entries with Sivaji Ganesan like Makkalai Petra Makarasi, Manamakan Thevai,Ambikapathi and Arivaali were received well while others like Kalvanin Kadhali,Rani Lalithangi,Rangoon Radha and Sarangathara could make only a very moderate impact.It was at this time she also did one film each with Gemini Ganesan {Sadharam} K.A.Thangavelu {as Rambai,in Rambaiyin Kadhal} and T.R.Mahalingam {as Manimekalai in Manimekalai}.She also joined the veteran Telugu actor A.Nageswara Rao for the two films Kaadhal and Kanal Neer. 
   Some of the unique films of Bhanumathi during the later years were Annai,Poovum Pottum  
Kattilaa Thottilaa and Pathu Maadha Bandham.Of these Annai produced under the A.VM Banner was an extraordinary movie, because it beautifully reflected the emotional turmoil of a mother,facing the predicament of losing her adopted son to his original mother.With S.V.Renga Rao and Sowcar Janaki,Bhanumathi almost waged an emotional war with an unrelenting possessive hold,over her adopted son. 
    Bhanumathi's jammed voice mould could be called both an asset and liability,whenever she became aggressively emotional in demonstrating her role play.Her Tamil was always under the influence of Telugu and it carried a remarkable singularity like the Tamil of Rajinikanth.Her last Tamil movie was Chembaruthi produced by the Motherland Pictures and directed by R.K.Selvamani.In this fabulous romantic film Bhanumathi donned the role of the hero's {played by Prashanth}grandmother.
     Bhanumathi was gifted with a wonderful voice capable of delivering musical notes with exceeding ease and nasal sweetness,that made her songs reach the ears of the audience as most soothing songs.Some of her splendid duet songs were from Ambikapathi {Maasilaa Nilave and Vaadaa Malare Thamizhthene for example}Thaaikupin Thaaram{Aahaanam Aasai Niraiveru ma}and from Makkalai Petra Makarasi {Poravale Poravale Ponnurangam} Thaaikupin Thaaram {Summa Kedandha Nelatha} and it was the stentorian voice of TMS that joined her for all these duets.Her other scintillating duet was Maasilaa Unmai Kaadhale with A.M.Raja for Alibhaabhaavum Naarpadhu Thirudarkalum.Her mesmerizing solo numbers were Azhakaana Ponnunaan {Alibhaabhaavum Naarpadhu Thirudarkalum}Kannile Irupadhenna {Ambikapathi} Poovaaki Kaayaaki Kanindha Maram Onru and Annai Enbaval Needhaana
{both from Annai}.
    P.Bhanumthi and her husband ran a production unit under the banner Bharani Pictures and  made Tamil films such as Kadhal,Kaanal Neer,Chandirani and Manamagan Thevai.Of these the film Chandirani was directed by Bhanumathi herself.This shows her versatility as an outstanding film celebrity.
    Natural emotions,spontaneous reactions and unadulterated role delivery were the unique traits of this multi lingual actor of the last millennium.Her looks reflected absolute self confidence and assertiveness of attitude, which made her the powerful woman of Indian cinema. Though her Tamil films were not many when compared to her contemporary actress Padmini, Bhanumathi did not fail to leave her indelible impressions as a versatile film personality.That she never used to bother about the presence of the ruling men of Tamil Cinema like MGR and Sivaji Ganesan,made her carry on her show on the screen as a self governed and screen governing actor and no other woman during her period could replace her in this regard.
                                         ==============================

Two film makers with their three bests

   


     No film maker can say that all their films were hits.In fact even the most popular film makers like A.Bhimsingh,A.P.Nagarajan,K.S.Gopalakrishnan,K.Balachander and Mani Rathnam came out with dampeners like Paalaadai,Navarathinam,Malathi,Navagraham and Kadal respectively.During these days of a massive influx of film makers into the field,it is very difficult for any director to sustain their position with successive hits.In this respect,this article discusses the limited success story of R.V.Udhayakumar who stepped into film making with his debut film Urimai Geetham in 1988 and Dharani who launched his directorial vehicle in 1999 with his Mammootty and Napoleon starring film Edhirum Pudhirum.
    It can be categorically stated that both the film makers gained their solid ground with their initial entries.Both were action films,with double heroes Prabhu and Karthik in Urimai Geedham and Mammootty and Napoleon in Edhirum Pudhirum.While Urimai Geedham dealt with sensational political events,Edhirum Pudhirum discussed the power of bureaucracy in encountering terrorism. Both the films were fairly received while V.C.Ramani's{Dharani's original name}first film earned the third prize from the TN govt for best show.
   R.V Udhayakumar,senior to Dharani by a decade,has made a dozen films in Tamil.His other Tamil film Chinna Ramasamy Periya Ramasamy did not get its release for reasons not known. Of his dozen films almost ten films were received well. His Urimai Geedham,Pudhiya vaanam, Urudhimozhi,Singaravelan,Ponnumani and Nandhavantheru were all successful films. However, three of his makings were blockbusters making the silver jubilee mark.They were Kizhakku Vasal, Chinna Gounder and Ejaman.Though Udhayakumar dealt with a variety of themes in the action genre,all his best three were rural stories.His Rajakumaran which was Prabhu's one hundredth film and had a rural story back ground, did not go well with the audience.
    Similarly,though front line heroes like Rajinikanth,Kamalahasan,Vijayakanth and Sathyaraj have done one movie each with this successful director,Karthik and Prabhu seem to have been his favourite heroes,because of their frequent induction in his films.In the same way,it could be said that in spite of some of his films with urban background,he has been at his best,only when it comes to narration of events taking place in the rural soil.Perhaps it might be due to the fact that Udhayakumar himself hails from a village near Mettuppaalayam.
   R.V.Udhayakumar could take considerable pride for bridling an action hero like Vijayakanth to perform one of his best roles in his acting career,in a mood controlled,voice controlled and subdued mode.It was a classic performance of Vijayakanth in Chinna Gounder and the credit for this unforgettable role play,is due to both the actor and the director.In other words,until the release of Chinna Gounder no other film maker thought of driving the Captain into a mightily meek performance,in the role of  a veritable and laudable village chieftain.It was this single factor,that would have brought the State government award for best film{3rd place} for Chinna Gounder.I think the film also brought the best actress award for Suganya.Though this award cannot be either questioned or grudged it can be rightly said that Vijayakanth also deserved an award for his excellent portrayal as Chinna Gounder.
   Kizhakku Vaasal which hit the screens prior to Chinna Gounder could be called a rural epic with a clear depiction of the rustic grandeur in theme,scenic narration and demonstration of powerful characters. Karthik's tremendous perception of the inherent layers of the character of a socially down trodden youth and his dynamic portrayal of the same,through the ups and downs of his distinctly fluctuating voice mode,were the specially captivating features of this film. Revadhi as Thaayamma breezily lived through her enthralling characterization. Vijayakumar's silent and uncouth villainy,bearing  a different half bald look,paved the way for his prospective presentation of bodily buoyancy in films like Nadikan and Cheran Pandian. Janakaraj as the caretaker of Thayamma,looked totally different with his multi knotted cat o nine tails and became a commendable character actor,totally dismantling his comedy flair.
   On the whole Kizhakku Vaasal was a stupendous audio visual treat,taking us through every nook and corner of a hamlet,where abuse of the underdog and gender assault against women were deplorably prevalent.As the predecessor of Chinna Gounder it laid the road for award winning credentials and was duly recognized with awards from the State Government for best script and screen play for R.V.Udhayakumar,best actor and actress awards for Karthik and Revathi and best cinematographer award for Abdul Rahaman. Ilayaraja's exquisite music, enriched the quality of the end product of both Kizhakku Vaasal and Chinna Gounder.
   It was Ejaman starring the Superstar that became the next block buster,though Kamal's Singaravelan was an exceptional romantic comedy,unleashing shots of humour almost in every other scene,thanks to the presence of Goundamani,Mano and Vadivelu. However,Ejaman brought forth the rural splendour once again in full form,with names of characters like Vaanavaraayar and Vallavaraayar and a villain's henchman bearing a strange name like Sembattai. Besides these factors,while Tamil Cinema is well known for its punch dialogues including those of the Superstar,in Ejaman there was a very catchy punch dialogue from the mouth of Napoleon, playing the villain.The most memorable dialogue was "If it is a marriage I should be the bridegroom and if it is a funeral,I should be the corpse".It was a stout projection of the ego,from the antagonist.
  Ejaman was the first film in which Meena was paired with Rajinikanth after acting as a child artist in the most known Rajini film Anbulla Rajinikanth.The death of Meena in the film while delivering her baby became a tragic note of the film.Over all,as a rural action film Ejaman was a crowd puller in the line of Kizhakku Vaasal and Chinna Gounder and Ilayaraja's music once again stood stuck to the rural soil,as naturally as possible.
     Unlike R.V. Udhayakumar,Dharanai made only half a dozen films of which Kuruvi and Osthe did not do well at the box office.But after his first successful venture Edhirum Pudhirum,he gave three consecutive hits between 2001 and 2004 with the three outstanding films Dhill,Dhool and Ghilli. Dharani was an exclusive action movie maker focusing on political and social crimes. Dharani's two repeated heroes were Vikram and Vijay.Both Dhill and Dhool of Vikram stamped the victory march.Whereas Vijay's Kuruvi failed to create the historic impact that Ghilli did. Dhill was a police story fiercely spotlighting the battle of a youth who aspired to become an honest cop,against a criminal police officer. Vikram with his passion for the police uniform,performed his role with stiff crease and his encounters with Ashish Vidyarthi,the corrupt cop,were powerfully pictured.
    Vikram's Dhool was once again a war against a political criminal {wonderfully played by Sayaji Shinde and his gang headed by Telangana Shakunthala as Sornakkaa and Pasupathy as her brother Aadhi}dealing with the most hazardous issue of water pollution,caused by industrial back waters,for which mostly the insensitive,industrial houses and pollution control bodies are responsible. Vikram as an illiterate and belligerent youth from a remote village in Southern Tamil Nadu,took up this public cause on his shoulders and in this process chanced to expose the most corrupt and murderous politician and his notorious gang.Both Dhill and Dhool were mass entertainers with the comedy segment creating amazing laughter moments for the audience. Vivek took the credit for displaying exuberant humour that caused instant laughter in both Dhil and Dhool.His teaming up with Mayilsamy in Dhool led to exceedingly rib tickling comedy scenes.
    Vijay's Ghilli was a sports bonanza,dipped in boundless romance,beaming through the sparkling eyes of Trisha,playing the role of a helpless village girl. Prakash Raj cast a unique niche for himself as a vociferous and raucous villain,doting on the girl whom he wanted to marry.It was a deviating travel on the track of villainy that Prakashraj made,with his mocking tongue uttering the word "Chellam"{my dearest} frequently.The multi dimensional actor recorded a fresh vibe in villainy,carrying his bullying stance to the urban crowd and the rural street corners, at one go.It was a monumental occasion for Vijay to spread his wings into the high sky of the celluloid space,transforming himself from a regular romantic hero,to a full fledged action star. Ghilli was certainly a proud milestone not only for Dharani but also for Vijay and Prakashraj.
    This article is not aimed at making any note of comparison between Udhayakumar and Dharani as film makers.Nevertheless,there is an element of comparison to the effect that both these directors made success stories within a short period,but abruptly got stuck somewhere at some point of time,letting their creative spark half driven.On the other hand,there remain a host of differences between them. 
   Dharani is absolutely confined to the action genre with an intention to keep the audience glued to the big screen,with mega events denoting the might of the body and mind.His heroes are bent upon reaching their goal,through a display of macho nonchalance.This is certainly a calculated move to conquer the mood of the audience especially that of the youth.There is family sentiment,there is graceful romance and there are powerful stunts in all his films.Some of the scenes in his three blockbusters specified in this article were memorably mood capturing. {like the one showing Lyla travelling on a bike with Vikram with a back and back posture in Dhill,or the scene in Dhool wherein Jyothika is shown as being caught unwittingly with Vikram in a huge almyrah,or the endearing scene in Ghilli showing Trisha along with a galaxy of dolls and made to look as one among them}
   Unlike Dharani his senior film maker Udhayakumar keeps his action sequences and romance component under control,because he believes in evolution of characters into representative positions,in almost a true to life form. Karthik as Ponnurangam,Vijayakanth as Chinna Gounder Thavasi and Rajinikanth as Vaanavaraayar exist in their own capacity,as exemplary human beings of their respective rural domain.For Udhayakumar,action is sequential to character evolution.But for Dharani,action is the life breath of lively cinematic presentation of events.His heroes are powerful performers of their assigned roles and are not specially branded individuals like the ones in Udhayakumar's three major hits.
    As an entertainer Dharani definitely scores higher than his senior colleague.But as a story teller Udhayakumar pushes flesh and blood into his characters and makes them leave the screen to peep into the hearts of the audience,sharing their sweeter moments and agonizing strides. Dharani makes his film viewers  pointedly sit up and watch his films not letting the vigour of narration sag at any moment. Udhayakumar probes into the minds of the audience and forces them to brood over his narration.Even in choosing their musical partners,Dharani went in for the most vibrating tunes of Vidhyasagar,while Udhayakumar stuck to the mesmerizing rural melodies of the musical maestro Ilayaraja. 
    As cinema is not only watching big events on the screen but also thinking about themes, stories and characters,the audience can very well choose between these two reputed film makers. Eventually both Udhayakumar and Dharani deserve a distinct place in Tamil Cinema, however short their contribution would have been.No doubt Udhayakumar is highly credited for his other popular films Urudhi mozhi,Singaravelan,Ponnumani and Nandavana Theru.But he is specially esteemed for his highly qualitative Kizhakku Vaasal,Chinna Gounder and Ejamaan as Dharani is cherished in audience memory for his three best films Dhill,Dhool and Ghilli. Above all, it is not the number of films that keep a film maker remembered.Even if a single film leaves a lasting impact,the maker outlives his time.One cannot forget the  historic fact that it is the film Puthiya Paravai that perpetuates the memory of Dada Mirasi, as an exemplary film maker,though he would have made nearly a dozen interesting films.
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