தமிழ்த்திரையுலகின் தன்னிகரில்லா சினிமாஸ்கோப்,செவாலியர் சிவாஜி கணேசனுடன்,வேறொரு நடிகரை ஒப்பிட நினைப்பதற்கே ஒன்றுக்கு பலமுறை யோசிக்கவேண்டும். இருப்பினும்,இதுபோன்ற ஒரு ஒப்புமைக்கு கமலைவிட வேறு ஒரு நடிகர் இருக்க வாய்ப்பில்லை என்பதற்குத் தமிழ்த்திரை வரலாறு சான்றுரைக்கும்.
"பிள்ளைக்கு தந்தை ஒருவன்;நம் எல்லோருக்கும் தந்தை இறைவன்"எனும் டி.எம்.எஸ்ஸின் தேன்சுவைப் பாடலுக்கு சிவாஜி வாயசைக்க,அவர் கரங்களில் ஒய்யாரமாக படுத்துறங்கும் காட்சியில்,AVM ம்மின்'பார்த்தால் பசிதீரும்' திரைப் படத்தில்,ஒரு ஏழு வயது சிறுவனாக நடித்தவர் கமல்.
என்னதான் AVM ம்மின் 'களத்தூர் கண்ணம்மாவின்'ஜெமினி கணேசனின் பிள்ளையாக கமல் அறிமுகமானாலும்{'பார்த்தால் பசிதீரும்' படத்திலும் அவர் ஜெமினியின் பிள்ளைதான்} சிவாஜிக்கும் கமலுக்கும் இடையே ஏதோ ஒரு ஆழ்ந்த நடிப்பு முடிச்சு இருந்திருக்கவேண்டும்.அந்த முடிச்சு பல ஆண்டுகளுக் குப் பிறகு,கமலின் 'தேவர்மகன்' திரைப்படத்தில் தந்தை மகன் வேடங்களில் அவிழ்க்கப்பட்டு,அட்டகாசமாக அரங்கேறியது.
மலையாள திரைப்பட இயக்குனர் பரதனின் கைவண்ணத்தில்,'தேவர்மகன்' திரைப்படம்,ஒரு குறிப்பிட்ட சமூகத்தின் பழக்க வழக்கங்களையும் உள்ளுணர் வுகளையும்,துல்லியமாக காண்போரின் ஆழ்மனதில் பதியவைத்தது.இதன் மூலம்,சிவாஜிக்கும் கமலுக்கும் இடையே நிழல்பிம்ப முத்திரைகள் நின்று நடமாடி,ரசிகர்களின் நாடித்துடிப்போடு சேர்ந்து நர்த்தனமாடின.
தந்தை மகன் உறவின் புதிய பரிமாணத்தை வெளிப்படுத்தியதன் மூலம் 'தேவர்மகன்'திரைப்படம் சிவாஜியையும் கமலையும் இணைத்துவைத்து,புதிய கோணத்தில் கமலை மட்டுமே பார்க்கத் தூண்டியது.காரணம்,கலைவாணியின் தவப்புதல்வனான சிவாஜியை,எத்தனையோ கோணங்களில் ஏற்கனவே பார்த்தாகிவிட்டது.கமல் உலக நாயகன் என்றாலும்,சிவாஜி எனும் நடிப்புக்கடல் அகன்று விரிந்து,அலைகளாய்ச் சீறி,அண்டத்தையே அதிரவைத்தது என்பதை, அவரின் உள்மனது,ஊன்றி உணர்ந்திருக்கும்.
சிவாஜியின் அடுத்த தலைமுறை நடிகனான கமலுக்கு,கே.பாலச்சந்தர் எனும் சாட்டை கமலுக்குள் கிடந்த கலைஞன் எனும் பம்பரத்தை,பலதிசையில் சுழலச் செய்து,சாகசக் குதிரையாய் மற்றவர்களை முந்தச் செய்தது.ஆனால் சிவாஜி யோ ஒரு தான் தோன்றி மலை.அது தன்னைத்தானே சிறுக சிறுகச் செதுக்கி, இராஜ இராஜ சோழன் உருவாக்கிய தஞ்சை பெரிய கோபுரம்போல் உயர்ந்தது.
கமல் அசுரத்தனமான,புத்தியுள்ள ஒரு நடிகர்.புத்தியோடு யுக்தியும் இணைத்து,புதிய முயற்சிகளை பெருமையுடன் பிரசவித்தது,கமலின் தனிச் சிறப்பு.நாள் தோறும் வளர்ந்துவரும் தொழில் நுட்பமும்,கமலின் புதிய முயற்சி களுக்கு உறுதுணையானது.
பராசக்தியின் மைந்தனோ,நடிப்புச்சுவற்றில் பரமபதம் ஆடி,பிராம்மாண்ட வெற்றிகளால் உயர்ந்து,ஆதிகேசவன் ஆனவர்.கமலை இருவராக,மூவராக நால்வராக,தசாவதாரமாகக் கண்டிருப்போம்.உருவ மாற்றங்களாலும்,அந்த மாற்றங்களில் நடிப்பாற்றல் நளினங்களாலும்,குறிப்பிட்டு சொல்லும் படியான உயரத்தை எட்டியவர் கமல்.சிவாஜியோ ஒவ்வொரு திரைப்படத்திலும் நடையால்,உடையால்,உடல் அசைவால்,சிம்மக் குரலால்,குரலின் நெளிவு சுளிவுகளால்,நடிப்பை உரமாக்கி உலகளந்தவர்.
குடும்பத்தில்,சமூகத்தில்,சரித்திரத்தில்,புராணத்தில்,இலக்கியத்தில்
இதிகாசத்தில்,தமிழ் இனம்,தான் கடந்து சென்ற அத்துணை பாதைகளிலும், சிவாஜி எனும் நடிகர் தோன்றிய பல கதாபாத்திரங்களை சந்தித்திருக்கும்.
பாமரனாக,படித்தவனாக,செலவச் சீமானாக,சல்லிக்காசில்லாதவனாக, கணவனாக,தந்தையாக பிள்ளையாக,அண்ணனாக,தம்பியாக,நண்பனாக நல்லாசிரியனாக,திருடனாக,காவலனாக,கவியாக,காதலனாக,மன்னனாக, போராளியாக, எஜமானனாக,சேவகனாக,பலகதாபாத்திரங்களுக்கு உயிரூட்டி வாழ்வியலை முழுமையாக வெண்திரையில் கலங்கரை விளக்கமாக்கிய சிவாஜி,விட்டு வைத்த வேடங்களே இல்லை,எனச் சொல்லலாம்.
பொற்கைப் பாண்டியனும்,இராஜ இராஜ சோழனும்,கட்டபொம்மனும்
கப்பலோட்டிய வ.வு.சியும், கர்ணனும்,பரதனும்,தெனாலி ராமனும்,அம்பிகா பதியும்,காளிதாசனும்,அப்பரும்,சுந்தரரும்,சிவனும்,நக்கீரனும்,முருகனும், வீரபாகுவும்,கலக முனியும்,அரிச்சந்திரனும்,பெரியாழ்வாரும், திருமங்கை யாழ்வாரும்,அனார்கலியின் சலீமும்,அறிஞன் சாக்ரடீசும்,ஜூலியஸ் சீஸரும் பகத் சிங்கும்,இன்னும்பல வரலாற்று மற்றும் இதிகாச நாயகர்கள் எல்லோருமே,சிவாஜியின் வடிவிலேதான்,நம் கண்முன்னே தோன்று கின்றனர்.
இதுபோன்ற மாபெரும் சகாப்த நிலையை,கமல் உட்பட வேறு எந்த ஒரு கலைஞனாலும் உருவாக்க இயலுமா என்ற ஐயற்பாட்டிற்கும் அப்பாற்பட்டு, அவ்வாறு உருவாக்க இயலாது என்பதே, திட்டவட்டமான உண்மையாகும்.
இவை எல்லாவற்றையும் கடந்து,சிவாஜிக்கும் கமலுக்குமிடையே அடிப்படை யிலேயே ஒரு வலுவான ஒற்றுமை யாதெனின்,அவர்கள் இருவருமே எந்த ஒரு திரைப்படத்திலும் 'பஞ்ச் டைலாக்' பேசி,தங்களது நடிப்பாற்றலை வெளிப் படுத்தியது இல்லை.
ஆனால் அவர்களுக்கிடையே,நடிப்பில் ஒரு உள்ளார்ந்த வேறுபாடும் என்றைக்கும் விடுகதையாக நிற்கும்.அவ்விடுகதைக்கு விடைகாணும் வழியில்,சிவாஜிக்குள் ஒவ்வொரு முறையும் ஒரு வித்தியாசமான மனிதனைக் காணமுடிந்தது என்பதும்,மாறாக,கமலுக்குள் ஒவ்வொரு முறையும் ஒரு வித்தியாசமான நடிகனைக் காணப்பெற்றோம் என்பதும்,உண்மைகளாக வெளிப்படும்.
சிவாஜி வாழ்ந்த காலத்தில்,மனித உணர்வுகள் மேலோங்கி இருந்தன. அன்றைக்கு கணினி இல்லை.கைபேசி இல்லை.வாழ்க்கை நடைமுறைகளுக் கும் வாழ்க்கையைப்பற்றிய கனவுகளுக்கும்,உயர்ந்த உணர்வுகளும் எண்ணங்களும் அடித்தளமாக அமைந்தன.தான் வாழ்ந்த காலத்தில் உலகெங் கிலுமுள்ள வாழ்க்கை நடைமுறைகளையும்,தான் பிறந்த மண்ணின் மகத்து வமான உணர்வுகளையும்,உள்வாங்கிய சிவாஜி எனும் ஒப்பற்ற கலைஞன், நடிகனுள் மனிதனானார்.'அவன்தான் மனிதன்' என்று சொல்லும் அளவிற்கு நடிகனுள் மனிதத்தைப் புகுத்தியவர் நடிகர் திலகம் சிவாஜிகணேசன்.
கமலோ,தான் வாழும் காலத்தில்,ஒரு படைப்பாற்றல் மிக்க கலைஞனின் ஆத்ம வேட்கையை விதையாக்கி,திரையுலகில் ஓர் அற்புத விருட்சமானார்.இன்றைய தமிழ்த்திரையுலகில் கமலின் சாதனை உயரத்தை,வேறு எவரும் எட்டவில்லை. எட்டவும் இயலாது, அதே போன்று,கமலோடு சேர்ந்து வேறு எவரும்,இன்றும் என்றும்,தமிழ் திரைவானில்,சிவாஜியின் இமயச் சிகரத்தை நெருங்கக்கூட முடியாது.
இறுதியாக,சிவாஜி எனும் நடிப்புப் பல்கலைக்கழக நூலகத்தில்,கமல் எனும் கலைக்களஞ்சியத்தை வைத்து அழகு பார்க்கலாம்;அதன் பக்கங்களை புரட்டிப் பார்க்கலாம்.படித்து வியந்துபோகும் அதே வேளையில்,சற்றே நிமிர்ந்து பார்க்கையில்,பல்கலைக்கழகத்தின் கம்பீரத்தில்,மெய்சிலிர்த்து,மெய்மறந்து போகலாம்.சிவாஜிக்குள் கமலே தவிர,கமல் சிவாஜிக்கு நிகரல்ல.
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பின்குறிப்பு:-
இக்கட்டுரையில் சிவாஜியையும் கமலையும் தராசில் வைத்துப்பார்ப்பதற்கு அவர்கள் நடித்த திரைப்படங்கள் எவையும் குறியீடுகளாக எடுத்துக்கொள்ளப் படவில்லை.'பார்த்தல் பசிதீரும்' மற்றும் 'தேவர் மகன்' ஆகிய இரு திரைப் படங்கள் குறிப்பிடப்பட்டது,இந்த இரு நடிப்பு உச்சங்களை ஒப்பிடுவதற்கான தொடக்கப் புள்ளிகளே தவிர,ஒப்பிடுவதற்கான திரைப்படங்கள் அல்ல.
ப.சந்திரசேகரன்.
Film reviews are easier to make than making a film.One cannot imagine the enormous difficulties and hurdles faced by a production unit in making a big budget film that is given poor reviews to the extent of spoiling the audience support at the theaters and thereby reducing its profit levels. K.V.Anand is one of the most earnest film makers with well set plans and objectives to reach his creative goals.From his Kana Kandein,one could very well understand his socio political concerns and his criticism of self aggrandizement practised by a section of humanity against its fellow human beings. Anand's cry of anguish has always been against the ruthless selfishness of some people in the higher strata of society exploiting the weaker sections and killing their aims and aspirations to come up in life.To start with,it was the character of Prithviraj in Kana Kandein,who donned the role of a merciless money lender like Shylock of Shakespeare's Merchant of Venice, claiming others'pound of flesh for his self expansion programmes.
Anand relentlessly continued this theme in films like Ayyan,Ko,Maatraan and now in Kaappaan. The underlying vital factor of most of his celluloid narrations has relied on the supremacy of big business houses,scheming to destroy the smaller ones like crocodiles swallowing most other oceanic living beings.In spinning his tales,he has gone a step further to focus on the abuse of science by a group of industrialists and scientists,bent upon destroying nature and human beings for their survival.In Maatraan,Anand even went to the extent of exposing the paternal brutality of a scientist, who valued chromosomes as superior realities meant for his ugly expansion of research for profiteering at the cost of his own sons,whom he treated as mere offshoots of his scientific invention.Though Anegan was a love story,that too reflected the barbarous self interest of a wealthy devil[wonderfully performed by Karthik Muthuraman} as antagonist.
Setting aside for a while,Anand's themes and story lines,he could be proud of his distinct narrative style that has carried a unique pattern of elegance,from Kana Kandein to Kaappaan.I too agree that there is nothing new in the story base of Kaappaan.In fact,these days most films of popular heroes including those of the Superstar, rely only on winning the goodwill of the audience,through mega revolutionary ideas such as revamping the educational scenario to make it accessible to the poor,drawing the attention to the ills prevailing in medical education, throwing light on the plight of farmers at times leading to suicide levels,exposing the all known corruption demon,controlling every system of society,from top to bottom and so on.Today's cinema is generally about stories of exploitation and exploitation has been the theme ever since the days of MGR.Does not cinema too exploit the people by stealthily opening the door for politics to topnotch actors,by playing with the emotions of the people.Fortunately Anand's films do not provide a base for political ambitions and his narration has categorically proved to be far beyond this line.
Coming to Kappaan,as a brief side show of this article,it is a film where every unit seems to have dedicated its body and mind towards clinching a product that would prove to be a block buster.It is too early to say if the film is a blockbuster or not.But certainly it is not a failure. Suriya has worked terribly hard,to put in his massive efforts in every scene,from Thanjavur to London via New Delhi. He is really smart in every frame and has exerted excellently in stunt scenes. Mohanlal has maintained the composure and dignity of the PM's role assigned to him and one need not teach a veteran and an ever commendable actor like Mohanlal how to perform any role. Samuthrakani has smartly essayed his role and Arya is his natural and casual self.It looked as though the interval came so soon,because the first half went off at a break neck speed.There were a few duller moments in the second half but speed picked up soon ending up with a very impressive climax show.Though Harris Jeyaraj did not make all his songs reverberate "Sirikki Seenikatti"was a heart throbbing number.The film could have got rid of the Pub song[shown to be in London}.Harris Jeyaraj deserves a special pat for his contextually befitting background scores.
Each genre of film is narrated by film makers in their own unique style.Some film makers do the job keeping the priorities of mass heroes as their own and take the narration at every stage to further the image of the hero.Though Anand and Suriya have been team mates for three times,the director's intention does not seem to promote the image of his hero.Nor has Suriya ever claimed to be a crowd puller.He is a worthy actor with worthy stuff.From Nerukku Ner to Kaappaan he has grown as an actor in different dimensions and in Kappaan he has striven to the core,to retain his involvement and love for acting.In these aspects,I am sure the film has saved the image of both K.V.Anand and Suriya.In my view Kaappaan deserves worthier reviews.
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It is not new for singers and music directors to do acting.Tamil Cinema is well known for its singer cum actors like M.S.Subbulakshmi,T.M.Soundarajan,Sirkazhi Govindarajan,Bala Muralikrishna,S.P.Balasubramaniyan and Mano who have played either leading or supporting roles on the big screen.Whereas M.K. Thiagaraja Badhavadhar,P.U Chinnappa,T.R.Maha lingam,S.Varalakshmi,and J.B.Chandrababu were actor cum singers.
Among music composers it was M.S.Viswanathan who did some memorable characters in movies like Kadhal Mannan and Kaadhala Kaadhalaa.These roles did not fail to evoke spontaneous laughter among the audience on account of the humour content.If we take the younger generation music directors, it is G.V.Prakash Kumar and Vijay Antony who have been making serious and responsible attempts to do acting on a larger scale,as heroes of films of which some of them have attracted audience base and gone for creditable reviews.
Of the two,G.V. Prakshkumar resembles a boy next door,bearing little of the hero material on his face.But the fact that he is the nephew of Oscar winning A.R.Reheman,is an indicator of the stream of music running through his veins as a genetic phenomenon.G.V.P has composed music for quite a number of popular films like Vijay's Thalaiva&Theri,Ajith's Kreedom{Akkam Pakkam Yaarumillaa Boologam Vendum is a scintillating melody},Danush's Pollaadhavan {three songs}&Aadukalam{known for the most popular lungi dance song ''oru ponnu pinnaala''},Vikram's Dheiva Thirumagal&Thandavam,Karthik Sivakumar's Aayirathil Oruvan,Saguni & Komban{Who can forget the energizing numbers Kambikarai Vetti and Karuppu Nirathazhaki}and a few other hits like Angadi Theru,Veyil,{Veyilodu Uravaadi is a soothing song}Seval,and Rajini's Kuselan.I am sure my list is not complete.
As an actor,Prakash is small but with full of strength.His debut film Darling,a critically reviewed thriller showed him as a hero of considerable merit.His other two highly cherished films are the children thriller Pencil and Bala's beautiful film Nachiyaar,with Jyothika playing the leading lady and a powerful woman cop.G.V.P's other moderate entries like Trishaa Illaatti Nayanthaaraa,Kadavul Irukkaan Kumaaru,Enakku Innoru Per Irukku,Sarvam Thala Mayam carry immense title value and will be remembered for the very same titles reminding the audience that they are GVP films.His other four notable films are Bruce lee,Watchman, Kuppathu Raja and Semma. Prakashkumar has to go a long way from the music station to the thespian destination.
The other outstanding representative of music and drama is Vijay Antony.Unlike G.V.Prakash Kumar,Vijay Antony is not a prolific music composer for Tamil films.Besides composing music for films starring himself as hero,his great musical shows were for Vijay's Vettaikkaran{all songs of the film were hits;Puli Urmumudhu and Oru Chinna Thhamarai were invigorating and enchanting numbers respectively} &Velayudham{Molachu Moonu Elayavidala was a melodious song in the voice of Vijay Antony himself},Uthamaputhiran of Danush and a few other well known films like Vedi, Rasikkum Seemaane,Naan Avanillai, Sattapadi Kutram,Iruvar Mattum and so on. Interestingly,he has composed music for the Telugu version of the Tamil film Angadi Theru for which G.V.P made the tunes.
Vijay Antony,the actor, has certainly been more promising than GVP on account of the most watchable traits of his films like freshness in handling of themes and the thrust of negative ingredients unfailingly accompanied by a tickling touch of spontaneous humour as we frequently witnessed in his films like India Pakistan,Pichaikaaran and Thimiru Pidichavan. One could witness a variety of themes such as accidental impersonation{Naan},excessive modesty and softness {Salim}conflicting interests in man woman relationship{India Pakistan}, exemplary filial devotion,{Pichaikaran} super naturalism blended with psychic complexities {Most of his films especially Salim and Saithaan}Machiavellian political machinations, {Yaman} a dedicated march towards correcting social evils{Thimiru Pidichavan}and the inherent complexities of murder mysteries{Kolaigaran}
The one vital factor that permeates through the narration of most of Vijay Anotony's films,is an underlying psychological predicament like insomnia,obsession with the past,mental anguish over aberrations and an inexplicable sense of agony of the psyche. Vijay Antony's morose looks,morbid facial mode,exclusive smiles,calm demeanour,sudden uproars,are the factors that aptly appropriate the psychological journey ending up in cathartic destinations,and fine tune the final product,with an adequate mixing of action,sentiment and sly comedy.The horror element shows its head,only when it is basically required.When one goes for an ultimate assessment of a Vijay Antony film,one can be sure of the hidden psyche coming to the forefront to deliver a rare stuff of audio visual melodrama.
To me most of his films look like sweet cakes fresh from the oven,with different flavours,but never losing the trade mark of a set pattern of the psychic interior governing the whole exterior.I would rate his India Pakistan as one of his finest and breeziest films not disturbing the mind of the audience,with any undue negative thrust.All his other films hit the mind and caused a psychological hurt somewhere in their narration.His Pichaikaaran was a special tale commendably told through the inner layers of anguish,satire and surrender to destiny .The other interesting fact is that,barring his Salim and Annadurai,all his other films Naan,India Pakistan, Yaman, Saithan, Pichaikaran, Thimiru Pidichavan,Kolaigaran carry letter N as the concluding part of the film titles besides denoting a negative stench in their wield.
During these days,when even popular and seasoned heroes find it difficult to sustain their grease and crease in performance,Vijay Antony is someone who has the grit to travel far beyond his musical zone,to invent and reinvent himself as an actor.He has shown more than once,that he is capable of depicting the multi negative shades of the human mind,with a predominant blending of positive values.This approach is in fact an indirect revelation of life, ever being an equitable mix up of the good and bad.Between the two music directors mentioned here,one could categorically say that while G.V.Prakash has sustained his musical zest with an endearing quest,Vijay Antony has exhibited more emphatically than his counterpart that,both music and grease can synthesize a louder perception of the creative formula.It is this combined creative formula of music and grease,that can deliver at its best,the thematic content, story value,succinct and substantial narration of scenic events and a befitting role play,justifying the significance of characters. Vijay Antony seems to be a docile spark developing into dynamic flames of cinematic shows.
"Fortune favours fools"is an unfortunate maxim.All those who are fortunate cannot be called accidental beneficiaries of the fall of fortune.Many attain fame and name through effort,skill and dedication to routine.However contrary to this fact there are also victims of fortune's foul game. Could any Tamilian have ever thought that a topnotch hero like Sivaji Ganesan would pass away without any national recognition like a Bharat Ratna award,leave alone the blow that the people gave him at the hustings.Even the most fortunate Sivaji Ganesan could be called a less fortunate hero in terms of national recognition for what he deserved.
Now coming to Tamil Cinema, it is true that many renowned heroes are fortunate enough in establishing a long standing position for themselves, by their looks and laudable career credentials. But it is equally true that not all those who have looks and laudable skills could succeed in this process.I would not dare to call them unfortunate heroes.Whereas they are certainly the less fortunate heroes,because despite their latent potentials they were pushed by unprecedented failures to a state of oblivion.I am sure with the way they started and carried on the show,no one would have ever thought that they would remain in a plight that they are now.
Take for instance an ebullient hero like Prashanth who from the days of his debut film Vaikaasi Porandhaachu continued to create waves by being in the list of prestigious film makers like Mani Ratnam and Shankar and gave us memorable films like Anazhakan, Thirudaa Thirudaa,Jeans, Kannedhire Thonrinaal,Piriyaadha Varam Vendum,Winner and London.His other films like Star,Jodi,Poomakal Oorvalam and Thamizh were also fairly wachable films.But lack of variety in characterization and a couple of failures in his releases have now made him a hero not in the wish list of producers and directors. Notwithstanding the fact that he happens to hold a comfortable position as the son of yesteryear actor Thiagarajan, Prashanth failed to sustain his position as a top level hero.He is for sure a less fortunate hero than his contemporaries like Vijay,Ajit and Suriya.
Why should a near perfect actor like Arun Vijay fail to find a firm footing in spite of his beautiful performance in films like Thulli Thirindha Kaalam,Iyarkai,Malai Malai,Ennai Arindhaal,Kutram 23,Chekka Chivandha Vaanam and the latest film Thadam which has received positive reviews.While Prsahant's dialogue delivery is mostly confined to a breezy mode lacking in gusto for an action hero,Arun Vijay has rightly imbibed the voice vibration of his thespian father Vijayakumar. Incidentally even Vijayakumar with his handsome looks and commendable acting skills, failed to establish his position as single hero and slowly passed on to become a fiery villain and an extraordinarily dynamic character actor.I still could not understand why an actor like Arun Vijay with absolute hero stuff could not find a solid base to build his future.He is another less fortunate hero in the line of Prashanth.
Simbu the son of a versatile film celebrity like T.Rajendar,stole the hearts of film viewers as a child artist and later began to make impressive shows in films like Manmadhan,Vallavan, Saravana, Kovil and a couple of other films.Then Gautam Menon took him to new heights by his meritorious performance in Vinnai Thaandi Varuvaayaa. But the director could not continue his magic with Simbu in the other film Acham Enbadhu Madamaiyadaa. Simbu's films failed one after the other like those of several other less fortunate heroes.Now Mani Ratnam's Chekka Chivandha Vaanam has lent a reinforced credibility to his role performance. Simbu's bold and clear dialogue delivery has always been his distinct asset.However,he has not reached the place in Tamil Cinema that he should have achieved.
A more disappointing fall it was for Srikanth who was expected to travel on the track of a mass hero after his successful shows in April Madhathil,Roja Koottam,Kana Kandein,Varna Jaalam, Kutra Pathirikkai and Paarthiban Kanavu.His romantic appeal coupled with his dancing skills saw him climbing the ladder to stardom in the line of Ajit and Vijay. Even in stunts and action segments, his participation was greatly convincing.When films like Bambara kannaale and Bose failed at the box office,his decline started.Depressingly his much desired role play in Shankar's Nanban also did not revive his lost hold.It is still a riddle how Srikanth's high scale hero material,lulls him in a less fortunate cradle.
Bharat who got noticed in Shankar's Boys,got into the hero's garb in form and style after playing a negative role in Chellame. While his Kaadhal was an award winner,his Nepali was critically reviewed.His films like Chennai Kaadhal,Thambikku Indha Ooru,E[mta]n Magan, Pazhani,Veyil,Pattiyal and Kandein Kaadhalai, were all watchable and enjoyable.Bharat is an excellent dancer and has a categorical tone delivery to meet the requirements of challenging roles.What drawback has so far held him from moving to the front,still remains queer.He is a clear case of the less fortunate hero.
Prasanna is the other hero who has been languishing for a lime light.His initial films like Five Star,Azgagiya Theeye, Kasturiman and Saadhu Miranda,were full of promise for the dawn of a refreshingly soft hero material.He also made a mark as supporting actor in films like Thupparivalan and Thiruttu Payale 2.He has been a frequent addition in the films of Mysskin. Prasanna's preference for natural acting could be seen as the stumbling block against his progress.Tamil Cinema significantly relies on the bloating image of the hero through a confirmed, zooming process of one's hero image, much more beyond its natural frame.Even Malayalam cinema reputed for its realistic exhibition of human emotions, began to bank upon a high flown hero image ever since the image of Mammootty and Mohanlal started growing into astronomical proportions.Perhaps,the less fortunate Prasanna should look for image boosting dynamics, towards magnifying and stabilizing his position as hero.
Shaam is another soft and natural actor in the line of Prasanna.His roles in 12 B,Iyarkai,Yei Nee Romba Azhaka Irukke,Anbe Anbe,Lesa Lesa,Ullam Ketkume,Thoondil and Thilla Langadi as main and second hero have left the robust image of an exquisite romantic hero which seems to have not effectively capitalized on the big screen.
These seven heroes have not missed the bus.Their journey is stranded for reasons known more to them for introspection, than for others' assessment. Gowtham Menon tried to utilize the talent of Arun Vijay and Simbu differently and it worked out.But Mysskin did not succeed the same magic with Prasanna in Anjaadhe.This blog would reaffirm its faith in human talents and on the base of this faith,it could be said categorically,that the less fortunate heroes are as much talented as any other prominent mass hero of the day.
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It is a common factor among the film industries of South Indian languages to supplement one another through their mutual contribution and enrichment of creative fundamentals.This includes mutual shuffling of story lines,besides the symbiotic role play of film directors, cinematographers,music directors and actors.Of the South Indian languages the participation of Malayalam film industry in Tamil cinema stands first followed by Telugu and Kannada. During the nascent decades of Indian cinema,Telugu played a key role in augmenting and supporting Tamil cinema to a great extent with its rich resources such as studios,funding, technical know how,music and acting.It could be even said that Tamil cinema was almost patronized by the Telugu stalwarts.
However in the succeeding decades Tamil film industry grew by leaps and bounds thanks to the prominence of great studio houses owned by biggies like S.S.Vasan{Gemini Studios}, A.V.Meyyappa Chettiyar{AVM Studios} and T.R.Sundaram{Modern Theatres' Studio}.Then came highly creative film makers like A.P.Nagarajan, K.Balachander, K.S.Gopalakrishnan, A.Bhimsingh,P.Madhavan,Krishnan Panju and several others.
Now every South Indian language can be proud of its position in the world of cinema and people happily share their creative process without language prejudices.Tamil cinema in particular,has always welcomed persons of creative and acting potentials from its South Indian counterparts especially from the Malayalam film base.This blog already carries an article entitled "Malayalam Heroes in Tamil Cinema".The present article throws light on the substantial contribution of Malayalam film directors to Tamil cinema.
The earliest contributors were K.S.Sedhumadhavan and I.V.Sasi.K.S.Sethumadhavan's foremost Tamil release{1968} was Pall Manam starring Jaishankar,K.R.Vijaya,Sivakumar and Sheela.It was during the same Year Malayalam film director A.Vincent came out with his Tamil version of the national award winning film Thulaabaaram.This was followed by Madhavan's other film Kalyana Oorvalam with K.R.Vijaya,Nagesh and others.But it was the mega hit MGR film Naalai Namadhe that powerfully introduced K.S.Sedhumadhavan to the Tamil audience. The film which was a remake of the Hindi blockbuster ''Yahdon ki Baaraat"carried all the captivating elements witnessed in the Hindi version with the additional charm of MGR playing double roles.The other two Tamil films of this ace Malayalam director were Sivakumar's Marupakkam and Kamalahasan's Nammavar.Both these films were received well though Nammavar was critically rated as a special film.
I.V.Sasi the famous maker of the illustrious Malayalam film Yee Naadu,made three popular films with Rajinikanth and Kamalahasan.While Allavuddenum Arpudha Vilakkum had both the heroes enjoying equal screen space,the other two films Kali and Guru had Rajinikanth and Kamalahasan playing the hero,respectively.Guru was a remake of the Dharmendra starring Hindi hit Jugnu and it retained all the action ingredients of the original.The other Tamil film of IV Sasi "Pakalil oer Iravu"was a breezy tale portraying Vijayakumar,Ravikumar and Sridevi in in a love triangle.This film will be eternally remembered for the beautiful SPB song Ilamaiyenum Poongaatru composed by the musical prophet Ilayaraja.Though I.V.Sasi is no more today,his great films will perpetually recall his precious contribution to the world of cinema.
Tamil audience owe a lot to the Malayalam film maker Bharadhan who unfortunately died in his early fifties and whose solo Tamil venture Thevar Magan will remain ever,as a proud possession in the archives of Tamil cinema,on account of the fantastic action show of Chevalier Sivaji Ganesan and the world class actor Kamalahasan as emotionally endearing father and son,dynamically supported by other veterans like Nasser,Revathi and Gowthami.Both Bharathan and Kamal took the film to its peerless heights with gripping narration and role play,besides bringing back to the big screen the two forgotten actors Kallapart Natarajan and Kaakaa Radhakrishnan.This film in fact,gave a new lease to the unique acting credentials of the latter.
The most popular Malayalam action movie makers Joshy and Shaji Kailas have also given us wonderful action films in Tamil. Joshy's Airport was one of the best films of Sathyaraj,showing him as a pilot in most beautiful dimensions.It was clearly a fast moving film,with actions taking off from the ground realities and flying high with emotions of love,sibling affection,family bonding and political master plans,taking the hero into unprecedented troubles and reaching a well carved climax.Soman,Naaser,Jaishankar,Sumitra and Gowtami all did their best to make it a worthy film of action,from a worthy director,well known for his stupendous credentials of speed and coherence in neat narration,of well set action events. Shaji Kailas,the other vastly popular director of action films in Malayalam, has given us greatly watchable films like Vaanchinathan starring Vijayakanth as a brilliant cop in amazing style,the Ajith starring action bonanza Janaa and Ellaam Avan Seyal which was a remake of his own popular Malayalam action thriller 'The Chinthamani Kola case'.The latest additions of this action film maker to Tamil cinema were,Envazhi Thani Vazhi and Vagai Express.
Rafi Macartin's single Tamil entry Thenkasi Pattanam was a great entertainer cum action film,on account of the unique comedy show of Vivek and Charlie and the action bonanza of Sharatkumar and Napoleon.The original Malayalam version also had the same title.Similarly the only film Piriyadha Varam Vendum of Prashanth and Shalini directed by Kamal,was an exuberant romance with its inbuilt aesthetic ingredients.The Malayalam film industry has identified Kamal,as the true representative of classic creative credentials and unruffled narration.
Like Kamal,A.K.Lohithadas who made his own Malayalam film Kasthuriman in Tamil, with the same title,has not so far come out with any other Tamil films. Lohithadas is yet another Malayalam film maker of merit and acclaim.His single Tamil film Kasthuriman starring Prasanna and Meera Jasmine,revolves around the trauma and tribulations experienced by the woman protagonist,living in a condition of personal and sexual insecurity,posed by her precarious and poor family environment.The film was beautifully made with an admirable support in acting, naturally rendered by Prasanna and Meera Jasmine. Though the film might not be a commercial hit,it brought out the elegance and fineness of Lohithadas as a remarkable film maker.Besides being a director Lohitadhas was a screen writer for his films and for quite a number of films of Sibi Malayil and Sathyan Anthikkad.It is a sad fact that such a film maker of very high creative spark,died at the age of 54,without spreading his wings further.
Siddique whose Malayalam hits Friends,Chronic Bachelor and Body Guard were made into Tamil, as Friends,Enga Anna and Kavalan, has been one of the most entertaining film makers with a singular flair for generating spot humour as a spontaneous course of scenic event and inclusion of compact sentiment and action segment. This grand master of action,family drama and comedy in Malayalam cinema,did not fail to inspire the Tamil audience by his own remakes of his Malayalam victory shows.The other two Tamil films of Siddique are Arangetravelai {'Ramji Rao Speaking'in Malayalam} and Baskar Oru Rascal {Baskar the Rascal in Malayalam}.The magic wand of Siddique would create a wide range of comic situations,taking the audience to the zenith of laughter.
Priyadharshan who gave several Malayalam hits with Mohanlal as hero,has directed about eight Tamil films like Chinna Manikuyile,Gopura Vaasalile{both Karthik Muthuraman films} Snehidhiye,{ a women centric film}Kaancheevaram,{starring Prkash Raj}Poisolla Porom[with Sivaji Ganesan}Lesa Lesa { based on the Malayalam film Summer in Bethlehem}Nimir {starring Udhayanidhi Stalin} and"Sometimes"{shortlisted for golden globe awards}.Most of the films of Priyadharshan are known for their natural humour,breezy romance and clean narration.Of the films cited Gopuravasalile was very popular with the Tamil audience,for its comedy segment and melodious songs tuned by Ilayaraja.Especially the song Thaalaattum Poongaatru Naanallavaa,from the mesmerizing voice of S.Janaki and the reverberating group song''Oru devadhaipoloru penninru vandhadhu ingu"can never leave the memory of music lovers of Tamil Cinema.
Fazil an outstanding film maker of Malayalam films,has lent his Midas' touch to Tamil cinema on a frequent basis,giving us most memorable films like Poove Poochoodavaa,Poovizhi Vaasalile,En Bommukutti Ammavukku,Varusham Padhinaaru,Kaadhalukku Mariyaadhai and Kannukkul Nilavu. Enchanting music,endearing family emotions,delicate touches of romance and feather touch comedies,have been the special traits of a Fazil film.Even his moderate shows like Karpoora Mullai,Kilipechu Ketkavaa and Oru Naal Oru Kanavu never touched the borders of boredom.Most of Fazil's Tamil films were remakes of his Malayalam originals.His contribution to Tamil cinema has been both prolific and productive,in terms of quality and commercial viability.
Pratap K.Pothen who is first known as an actor of specially identifiable acting credentials, displayed with the extraordinary charm of his egg like eyes and enchanting role delivery in films like Moodu Pani,Azhiyaadha Kolangal,Varumaiyin Niram Sigappu,Meendum Oru Kadhal Kadhai,Kudumbam Oru Kadhambam,Nenjathai Killaadhe and several other Tamil films,has also cast his indelible impressions as a highly creative director of many popular Tamil films.Besides directing the felicitous romance Meendum Oru Kadhal Kadhai in which he and Raadhika played the lead roles,he has also come out with outstanding hits like Vetri Vizha,Jeeva,My Dear Maarthaandan,Seevalaperi Pandi,Makudam,Lucky Man and Atma.He has dealt with great heroes like Kamalahasan,Prabhu,Sathyaraj,Karthik and Napoleon.Tamil film industry owes him a lot for his great action films like Vetri Vizha and Jeeva and the comedy uproar he created in My Dear Maarthaandan and Lucky Man.His Seevalaperi Paandi is a uniquely melodramatic celebration of raw emotions and rugged villainy. Pothen is still an important name in Tamil Cinema by doing paternal and supportive roles.
During the post independent era,there were quite a few Telugu film makers who devoutly enhanced the reach of Tamil films by their dedicated contribution.Telugu film directors like T.Prakash Rao,{Paadhaala Bhairavi,Amara Dheepam,Uthama Puthiran and Padahotti} L.V.Prasad {Manohara,Mangaiyar Thilakam,Missiamma,Iruvar Ullam and Thaayillaa Pillai} D.Yoganand {Kaveri,Madurai Veeran, Parisu,Thangaikkaaga,Thaai.Justice Gopinath, and a few other Sivaji Ganesan films} Singeetham Srinivasa Rao {Dhikkatra Paarvadhi,Raaja Paarvai,Abhoorva Sagodhararkal,Michael Madhana Kaamaraajan,Kaadhalaa Kaadhalaa, Little John and Mumbai Express} Vedhaantam Raagavaiah{ Devadas,Prema Paasam,and Adutha Veetu Penn} significantly lifted the face of Tamil cinema,during the years that followed the dawn of Independent India and its post independence decades .Kannada movie stalwart B.R.Panthulu is a home name for the Tamil audience,on account of his Padmini Pictures'films like Sabash Meena,Thangamalai Ragasiyam,Veerapandia Kattabomman, Karnan,Kappalottiya Thamizhan,Aayirathil Oruvan and so on.
However,comparatively,during the past two or three decades Malayalam cinema has sufficiently made Tamil big screen precious and proud,by its film makers of distinct genres of narration.We are not yet sure how much of patronage and support is available for Tamil film makers,from other South Indian languages.Even in terms of acting,the chances given to Tamil actors to play hero roles in other languages,might not be that much encouraging when compared to the opportunities given by Tamil film industry to Malayalam,Telugu and Kannada actors. Mutuality is always a deserving concept for triggering the ever needed impetus to the uniform growth of every film industry,through inter lingual participation and cooperation.
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It is quite a common phenomenon in the cinema industry to shuffle roles of actors depending upon their popularity and performance potential.This is how yesterday's villains turn heroes and vice versa.This is how Rajinikanth, Sathyaraj, and Sarathkumar became dominant heroes after doing commendable villain roles.Vijayakumar who came as hero was later identified as an actor capable of donning villain and character roles effectively.In fact,M.N.Nambiyar,the most historic villain of Tamil cinema was also simultaneously taking up memorable character roles in films like Dhigambara Saamiyaar,Mandhiri kumari,Bhoologa Rambai,Makkalai Petra Magaraasi,Bhaga Pirivinai and Ninaithathai Mudippavan {as an honest cop}and several other films during his hey days of screen villainy.Ashokan also tried his hand as hero in a couple of films{especially Vallavanukku Vallavan and Idhu Sathiyam}and then began to shuttle between villain and character roles.In this regard the new millennium came upon a brutish villainous actor called Pasupathy who was identified with crudest form of villainy in films like Dhool, Sullaan, Mudhurey,Arul, Thiruppaachi and Virumaandi.
Pasupathy Maasilaamani was first booked for the Kamal film Marudha nayagam which has not yet seen its release.Hailing from Chennai Koothuppattarai and being close to Nasser,though Pasupathy's dream of working with Kamalahasan in Marudhanayagam did not become a reality, he later on shared screen space with the outstanding hero, in films like Aalavandhaan and Virumandi.After acting in Housefull and Aalavandhaan, Pasupathy acted with Nasser in his Mayan.From villainy to comedy roles and character performance became an easy transition for Pasupathy.Initially Pasupathy appeared as a murderous villain,bearing names such as Aadhi{Dhool},Gajapadhi{Arul} Soori{Sullaan}KTR {Madhurey}Pattasu Balu {Thiruppachy} as Kothalathevar {Virumaandi} and as Nellai Mani { the film was titled E and Pasupathy got the best actor award from the government of Tamil Nadu}.It was quite interesting to see him turn the table topsy turvy and perform wonderful comic roles in films like Majaa,Mumbai Express and Vedi Gundu Murugesan.His role in Idharku Thaan Aasai Pattaayaa Balakumara also needs a special mention.
But more than the comedy characters it was the pathetic role that he played in the national award winning film Veyil that drew everybody's attention to this actor's poignant absorption of roles, requiring succinct voice modulation and sharp facial reflection of mood fluctuations. Pasupathy's character in Veyil spontaneously evoked audience sympathy on account of its tragic undertones and the way he naturally brought out the agony and anguish of paternal isolation despite the fraternal warmth he could enjoy with his younger brother{performed equally well by Bharath}.It was a character left alone and crying for love and family bonding and Pasupathy breathed the heart and soul of the character to make it a memorable film,purely on account of his unique performance.
Then Pasupathy gave a convincing portrayal of a visually challenged person working as an RJ and sharing a lot of positive energy with the radio audience passing on hope to everybody despite his own personal predicament.This character {Nedumaran} he performed in Cheran's Raman Thedia Seethai,was a deliberate addition to deliver a clear message to the hero{Cheran himself} that life was worth living,despite so many setbacks that crowd one's life.That the hero came to surpass his inferiority complex caused by his speech impediment,on listening to the vibrating words of Pasupathy,was the crux of the thematic content of the film.It was a powerful role for Pasupathy and he performed it very powerfully.
The next excellent character delineation of Pasupathy was for the Rajini starring Kuselan in which as a barber and one time schoolmate and chum of the superstar, Pasupathy naturally exhibited his inhibitions,hiding his love for his long time friend.It was this inhibition that prevented him from moving physically closer to his celebrity friend,in spite of opportune moments coming on the way.What makes Pasupathy a special actor of fascinating ability is his underplay of characters to make them all refreshingly breezy and endearing.The fact here is that he could perform such roles after a period of foul mouthed shouting as an uncouth villain of top most thuggery.
His most recent,profoundly inspiring depiction of a character of indescribable fraternal bonding towards his younger sister in the film Karuppan made him cross another milestone in his involved performance of roles.As Maayi he showed enormous love and affection for his younger sister Anbuselvi{gracefully performed by Tanya}and would show controlled anger if any wrong information reached him about his brother in law{Vijay Sethupathi}not keeping his sister comfortable and happy.
It was a rustic role stuffed with anger and love in uniform proportions and Pasupathy amazingly maintained the balance of mood,prioritized by the base of his character formation. With the wolfish younger brother of Pasupathy's wife{worthily performed by Bobby Simha} scheming the negative course of events,to build an animus between Pasupathy and Vijay Sethupathi,how differently Pasupathi handled each situation with his inimitable mood fluctuation was really beautiful to watch. Pasupathy's reactions would be on a pattern of instant anger ending up with delayed access to right thinking.'Karuppan' in fact,wonderfully presented a series of events involving a kind of vicious circle of suspicion and trust,created by the malicious manipulations of Bobby Simha,with his hidden agenda of marrying Tanya,whom he madly loved and whose marriage he wanted to break,so that he could marry her after the break up.
Unlike other villain actors who became heroes and character actors,Pasupathy's transition from villainy to supporting roles was made up of firmness and grit in role play,neatly displayed with depth,poise and dignity. As a villain he roared like a hard core,detestable ruffian.But as an actor doing comic and character roles,he began to travel on a terrain of softness blended with a tinge of longing and suppressed sentiments,towards creating a niche for himself as a performance oriented actor.His opportunities were less.But within the given scope for talent exposition, he has been found never wanting to reach the peak of excellence in performance.He deserves more recognition by way of more opportunities and the fact that the Malayalam film industry has also sufficiently inducted him for performing challenging roles,is a fair revelation of this one time gory villain rising up to the distinct level of a great character actor.
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Cinema in general is passing through a galaxy of phases such as technology boom,talent boom and exhaustive reach beyond the theatre bound screens.Titles,themes,story lines,musical medleys and several other features pinpoint to the possibility of creativity leaning on some other source or base which could also have derived its core from yet another base.Originality in creativity is a highly restrictive term in the sense that ultimately it is the totality of the end product and its consummate appeal that determine the term originality. After all no one can create new feelings and emotions,because they originated on the day when the first human was born.All that happened after that could be called a series of transformation and refinement that take every generation closer to their goals depending upon the aspiration and expectation of each generation.
If we take the case of cinema in general and Tamil cinema in particular,there have been a successive repetition of film titles,addition of prequels and sequels,remakes,fusion of glorious tunes and songs from the past and above all an intrinsic reorganization of themes and story lines.Though repetition of a theme is inevitable in the creative process,an almost similar version in creativity to the extent of making a film,a xerox version of its predecessor,while at the same time receiving wide audience support,is nothing but a prestigious phenomenon.
Tamil cinema could feel elated about a few immortal imitations of their previous blockbusters. This article focusses on four such xerox versions that made history in the line of their original versions.They are Chimbudheven's Imsai Arasan Irubadhumoonraam Pulikesi inspiring us with fascinating memories of the felicitous film UthamaPuthiran made by Venus Pictures, Ulallathai Allithaa,reverberating the roars of laughter from B.R.Pantulu's Sabash Meenaa, Karakaattakkaaran toeing the line of the grand epic Thillaanaa Mohanaambaal and finally Sakalakala Vallavan echoing the jubilation of its mother version Pattikaadaa Pattanama.
Uthamaputhiran co-produced by Sridhar and directed by T.Prakash Rao was a 1958 release and there was another film of the same title released in 1940,starring P.U.Chinnappa.The title seems to have been so catchy that one more film bearing the same tile with a totally different theme and story,came as a breezy entertainer in 2010 with Dhanush and Genelia D'souza adorning the screen.The 1958 film was an awesome historical fiction delineating the conflict of interest between a pair of royal twins called Vikraman and Parthiban,one groomed as a wastrel by his maternal uncle aspiring to usurp the kingdom by keeping the heir apparent as a dummy and the other twin born,presumed to be dead by the foul machinations of the uncle Naganathan, wonderfully performed by M.N.Nambiyar.
Chimbudeven in his inimitable style,imitated the story of Uthamaputhiran and boldly made Vaigai Storm Vadivelu to play the dual roles as Pulikesi and Ukraputhan and Nasser as the maternal uncle Sangilimaayan,powerfully substituting M.N.Nambiyar.It was a movie in mock epic mode but earned rave reviews and audience applause thanks the the comedy segment permeating through out the film. Vadivelu was his best self,in taking himself to extraordinary levels of comedy and sobriety.However,Sabesh Murali's music was not at all a match for G. Ramanathan's musical grandeur in Uthama Puthiran.Songs like Kaathiruppaan Kamala Kannan,Mullai Malar Mele and Yaaradee Nee Mohini are still sweetly ringing in our ears as timeless musical treasures.Similarly the two heroines of Imsai Arasan could not come anywhere near the charm and grace of Padmini,both in looks and character portrayal.It was Vadivelu who solely surcharged the film.
Padmini Pictures' Sabash Meena {1958}and Sundar C's Ullathai Allithaa{1996} are the other two films identical in story line and treatment of theme and characterization.Both are hilarious comedies,farcical in nature surpassing the barriers of time,through situational outbreak of humour. Unusually,unlike the other three imitation formula films,Ullathai Allitha became a greater commercial success than its previous model.Both were tales of happy go lucky guys indulging in acts of impersonation without an iota of inhibition.While Sabash Meena began with a context of existing friendship between the hero and his jobless friend,Ullathai Allithaa showed the hero getting himself acquainted with the fraudulent Goundamani and then firming up friendship through intimidating tactics. Sivaji Ganesan very casually performed his role with an exceptional comedy fervour and Chandrababu,reputed for his raw comedy sense and brilliant profiles of gesticulation was a perfect foil for Sivaji Ganesan.
In both the cases the heroes were relocated by their fathers {played by D.Balasubramanyam in Sabaash Meena and by Jai Ganesh in Ullathai Allithaa}to another place to get their worthless sons reformed by their trustworthy friends. S.V.Rengarao was the friend in the former and Manivannan,in the latter.While the heroine in Sabash Meena {Malini} was a poor woman,her close friend{B.Sarojadevi} was the daughter of the rich S.V.Rengarao. Whereas in Ullathai Allithaa,the heroine {Ramba}was the daughter of Manivannan,a wealthy business magnate.The other notable change over,was the dual roles allotted to Manivannan instead of Goundamani unlike Banthulu's assignment of dual roles to Chandrababu.In fact in dual roles as the idle friend of the hero and as a rickshaw puller speaking the Chennai slang of Tamil,Chandrababu ruled to the roost creating robust scenes of laughter.
Instead Sundar C who is known for creating scenes of rib tickling laughter through a ruckus,did a good job in juxtaposing complexities,by jumbling of characters on the run.There was greater clarity in Panthulu's narration but the laughter component was definitely higher in Sundar C's presentation. Aasai Kiliye Kobamaa,Chithiram Pesudhadi and Kaanaa Inbam Kanindhadheno are the mesmerizing numbers from the laudable music of T.G.Lingappa,who composed the sound track for Sabash Meenaa.Azhagiya Lyla,I love you love sonnaale and Adi Anaarkali are the soothing songs from Sirpi's music for Ullathai Allithaa.
Vijayalaksmi Pictures' Thillaanaa Mohanaambaal released in 1968 was an epic show of the competitive spirit between a Naadhaswaram expert and an exquisite bharadhanaatyam dancer blended with the splendour of man woman passion for each other with its inherent elements of possessiveness and suspicion.It was really a classic in all respects,attaining the status of an eternal legacy.The film was altogether an audiovisual treat and is remembered scene by scene by movie buffs even after five decades.But Gangai Amaran's Karagaattakkaaran that hit the screens more than twenty years after Thillaanaa Moganaambaal,was in no way inferior in terms of its entertainment value.This film which ran for nearly a year in some theatres will ever linger in audience memory as a unique show of the traditionally rural and mind blowing form of art called Karagam.Here both the hero and the heroine were exuberant karagam dancers one vying with the other to win over the street audience in the film, followed by the theatre audience watching the film on the big screens.
Though the role play of Ramarajan and Kanaga could not be equated with the acting potential of Sivaji and Padmini,it has to be assertively recorded that as karagam dancers Ramarajan and Kanaga gave a great show of their commitment and devotion to rural glory with impeccable dynamism.The stomach curdling comedy scene of the two banana issue and the Soppana Sundari episode were the additional memoirs of this equally immortal film.These two scenes struck a similar note with the soda beeda dialogue between Sivaji Ganesan and T.S.Balaiah and the train scene in which T.S.Balaiah would been seen purposely leaning on C.K.Saraswathi, both unforgettable pleasure points of Thillaanaa Mohanaambaal.
The music of K.V.Mahadevan in the former and that of Ilayaraja in the latter were invaluable pointers to the context,genre and zone of the theme and situation-related factors of both the films,making them both coexist as creatively,competitively and commercially popular movies, significantly relevant to their respective periods.There was of course a salient difference.There was no Vaidhi,the lean and cantankerous character of Thillaanaa Mohanaambaal{amazingly performed by Nagesh}in Karakaattakkaaran,though Gangai Amaran convincingly replaced the character of the greedy mother of Mohanaambaal with that of the avaricious brother in law of Kaamaatchi in Karakaatrakkaaran.
Everybody who had watched the Nineteen Seventies' Silver Jubilee hit Pattikaadaa Pattanamaa would have longed to watch it again,on account of the never sagging gusto in narration maintained by the veteran film maker late P.Madhavan.Sivaji Ganesan as the captivating rustic,tuft bearing Mookaiyyan,Jeyalalithaa as the turbulent,urban girl and ebullient V.K.Ramasamy struggling to tame his shrewish wife Sukumari were the four pillars of this solidly monumental film.The vigorous conflicting elements of the film were village and town,self dignity and arrogance of wealth and the radiance of submission against the ruin of aggression.While Sivaji Ganesan and VKR represented the nobler elements,Jeyalalitha and her mother Sukumari remained as the characteristic symbols of the negative side.The film boisterously showcased the victory of the former against the latter.Pattikkaadaa Pattanamaa was released in 1972 and ran crowd packed,for twenty five weeks.
A decade latter AVM studious came out with an imitated version of P.Madhavan's mighty show.The film Sakalakalaa Vallavan starring Kamalahasan{as village Velu}V.K.Ramasamy Ambika and Pushpalatha repeating the characters of Sivaji Ganesan,V.K.R,Jeyalalitha and Sukumari also became a blockbuster. This film directed by S.P.Muthuraman recapitulated the whole gamut of Pattikaadaa Pattanamaa,portraying the positive versus negative factors with a slight shift in entertainment focus and an addition of sibling characters to join the hero and heroine{a sister for the hero and a brother for the heroine}.
Music of both the films spread through the streets of Tamil Nadu with songs like Adi Ennadi Raakkammaa and Kettukodi Urumimelam from Pattikkaadaa Pattanamaa and Kattavandi Kattavandi besides Nethu Raathiri from Sakalakalaa Vallavan passing on the musical excellence of M.S.Viswanathan and Ilayaraja.All other aspects of both these films travelled towards the destination of taming the termagant wife.Interestingly,Pattikkaadaa Pattanamaa itself bore its lenience to Shakespeare's play Taming of the Shrew.We do not know how and from where the world famous English Playwright got his inspiration to draw the base for his play.
The eight films brought under a single scanner for identical appropriation of story line, narration of scenic course of events and characterization norms,would categorically affirm the power of imitation of creative norms.T.S.Eliot the America born English poet once said "imitation is the tribute mediocrity pays to greatness''.The four successive films thriving on their power of imitation,have vindicated the validity of the poet's statement not merely by succeeding their earlier versions,but by stamping their own mark of successful manifestation of cinema as a creative pathway for exemplary imitations.
