Saturday, July 11, 2020

வெள்ளித்திரையில்,மலர்களின் பொலிவும் மணமும்

     மலர்கள்  ஏற்படுத்தும் பரவசம்,அவைகளின் நிறங்களால்,மணத்தால் மட்டுமே!.கண்ணுக்கு அழகாக காட்சிதரும் எல்லா மலர்களுமே மணம் பரப்புவதில்லை.அதேபோன்று,அருமையாக மணம்பரப்பும் சில மலர்கள்,{தாழம்பூ போல},விழிகளுக்கு விருந்தாவதில்லை.
     இருப்பினும் மலர்களால் மட்டுமே மண் மாண்புறுகிறது.'மலரும்' என்ற சொல்லே,வளமையின் அடையாளம் என்பதை,'காதல் மலரட்டும்','நட்பு மலரட் டும்','ஒற்றுமை மலரட்டும்',சகோதரம் மலரட்டும்'என்றும்,'வாழ்வில் நம்பிக்கை மலரட்டும்','வெற்றி மலரட்டும்',போன்ற பயன் பாட்டு சொற்றொடர்கள்,பல்வேறு வழக்கு மொழிகளாக, தமிழ் மொழிக்கே மெருகூட்டுகின்றன.
    பூக்கள் பூமியின் வரப்பிரசாதம் என்று கருதுவதினாலோ என்னவோ,தமிழ்த் திரைப் படங்களில், தலைப்புகளாகவும் கவிதை வரிகளாகவும்,பல்வேறு பூக்களும் அவற்றின் பெருமையும்,பறைசாற்றப்படுவதை நாம் காண்கிறோம். 
    ஒரு திரைப்படத்திற்கு 'பாசமலர்' என்று பெயர் சூட்டி,அத்திரைப் படத்தில்  "மலர்களைப் போல் தங்கை உறங்குகிறாள்"என்றும் "மலர்ந்தும் மலராத பாதி மலர்போல வளரும் விழிவண்ணமே" என்றும் ஊட்டமான  உவமை உருவகங் களை உள்ளடக்கி,இலக்கிய திரட்சியுடன் பாடல்கள் அமைத்த அந்த கால படைப் பாளிகளின் திறமையும் பெருமையும்,தனி ரகமே.
   பெண்ணை எப்போதுமே மலரோடு ஒப்பிட்டுப் பார்க்கும் கவிஞனின் கற்பனை, ஆழ்கடல் மூழ்கி முத்துக்குளித்து மொழியோடு விளையாடி, காலம் வெல்லும் கவிதைகளை படைக்குமாம்! அவ்வாறு முத்துக்குளிக்கையில்,"நான் மலரோடு விளையாட ஏன் இங்கு வந்தேன்"என்று சந்தேகக் குரல் எழுப்பி,உடனே அதற்கு விடைளிக்கும் விதமாக "என் மகாராணி உனைக்காண,ஓடோடி வந்தேன்"என்று அதற்கான பதிலையும் கூறும் காதலின் மாயப்பாதையில், கள்ளூறும் கவியாவதே,ஆண்மையின் ஆலாபனக் காட்சிகளாம் {இரு வல்லவர்கள்}
     பூக்களை/மலர்களை தலைப்புகளாகக் கொண்ட 'செந்தாமரை''இரு மலர்கள்''தாழம்பூ' 'மகிழம்பூ' 'ஆவாரம்பூ' 'செம்பருத்தி' 'செந்தூரப்பூவே' 'ரோஜா,'நிறம் மாறாத பூக்கள்' என்ற பல்வேறு திரைப்படங்கள் இங்கே குவிந் திருக்க,பூக்களை மாலைகளாக்கி திரைப்படங்களுக்கு கவிதைப்பூங்கா அமைத்துக்கொடுத்த கவிஞர்களின் கற்பனை வீரியத்தால், தமிழ்த்திரைப் படங்கள்,பாடல்களின் பெட்டகமாய்த் திகழ்கின்றன.இதேபோன்று,'பூ'எனும் சொல்லைக் கொண்டு 'ஒரு ஊதாப்பூ கண் சிமிட்டுகிறது'' பூவே பூச்சூடவா' 'பூவெல்லாம் கேட்டுப்பார்' 'பூவெல்லாம் உன் வாசம்' 'பூக்களைப் பறிக்காதீர்கள்' போன்ற தலைப்புகளைக் கொண்டு பல்வேறு திரைப்படங்கள் திரையரங்கு களை அலங்கரித்தன. 
     மலர்களையும் பூக்களையும் கவிதை வரிகளாக்கி மணம்பரப்பிய தமிழ்த் திரைப்படப் பாடல்கள் எண்ணிலடங்கா. அவற்றில் சிலவற்றை இங்கே குறிப்பிடுவதே அப்பாடல்களுக்கு நாம் செலுத்தும் அங்கீகாரமும் அற்பணிப் புமாகும்.'அம்பிகாபதி' திரைப்படத்தில் டி.எம் .சௌந்தராஜனின் காந்தக்குரலில் ஒலித்த ''வாடா மலரே தமிழ்த்தேனே'' 'வாழ்க்கைப் படகு' திரைப்படத்தில் பி.சுசீலாவின் மனங்கவரும் குரலில் நாம் கேட்ட"ஆயிரம் பெண்மை மலருட்டுமே ஆயிரம் கண்கள் ரசிக்கட்டுமே ஒருத்தியின் நெஞ்சம் ஒருவனுக்கென்றே சொல் சொல் சொல்"மற்றும் 'நிறம் மாறாத பூக்கள்'திரைப்படத்தில் மலேசியா வாசுதேவன்,எஸ் பி ஷைலஜா,மற்றும் ஜென்சி குரல்களில் ஒலித்த "ஆயிரம் மலர்களே மலருங்கள்"போன்ற அனைத்துமே,நம் நினைவுகளை சிதராமல் கட்டிப்போட்டன. 
    இவற்றில் மலர்களைத் தனியாக வகைப்படுத்தி "ரோஜா மலரே ராஜகுமாரி ஆசை கிளியே அழகிய ராணி" {வீரத்திருமகன்} என்றும் "மலரே குறிஞ்சி மலரே"{Dr. சிவா} என்றும்,பெண்மையின் தரத்திற்கும் பெருமைக்கும் புகழாரம் சூட்டிய பாடல்களும் உண்டு. காதலுக்குக் காவடி எடுக்கும் கவிதை வரிகளில் "பூக்களத்தான் பறிக்காதீங்க காதலத்தான் பிரிக்காதீங்க"{'பூக்களப்  பறிக்காதீர்கள்'}என்றும் "பூக்களே சற்று ஓய்வெடுங்கள் அவள் வந்து விட்டாள்; அவள் வந்து விட்டாள்"{I} என்றும் பெண்ணையும் காதலையும் மலராக்கி, பெரிதுவக்கும் கவிஞர்கள் பலருண்டு.    
   "மலருக்கு தென்றல் பகையானால் அது மலர்ந்திட கதிரவன் துணையுண்டு"  {எங்க வீட்டு பிள்ளை } என்று மலரையும் தென்றலையும் மோதவிட்டு வேடிக்கை பார்க்கும் கவிதை வரிகள் ஒரு புறமிருக்க "செந்தாழம் பூவில் வந்தாடும் தென்றல் என்மீது மோதுதம்மா"{முள்ளும் மலரும் }என,'தானாடாவிட்டாலும் தன சதையாடும்' எனும் பாணியில், தென்றலை தனக்கென மோதவிடும் மலர்களும் உண்டு என்பதை, கவிஞர்களின் கற்பனையின்  மாறுபட்ட உச்சங்களாய் அறிகிறோம்."தாழம்பூவே வாசம் வீசு தாயின் தாயே கொஞ்சிப்பேசு ,''எனும் பாடல் வரிகள் {கை கொடுக்கும் கை }எவ்வளவு இனிமையாய்,இதமாய் ,நம் செவிகளில் சாய்ந்தாடி,நெஞ்சில் நிலைபெற்று,நளினமாய் நினைவுகளில் ரீங்காரமிடுகின்றன.      
    காதல் வயப்படுகையில்"முல்லை மலர்மேலே மொய்க்கும் வண்டுபோலே உள்ளம் உறவாடுதுந்தன் அன்பாலே"{உத்தம புத்திரன்} என்று காதலனும் காதலியும் நினைப்பதும்"பூ மாலையில் ஓர் மல்லிகை இங்கு நான்தான் தேனென்றது"{ஊட்டிவரை உறவு }என்று காதலன் மகிழ்ச்சியில் திளைக்க, "மல்லிகை என் மன்னன் மயங்கும் பொன்னான மலரல்லவோ"{தீர்க்க சுமங் கலி}என்று காதலியோ மனைவியோ கருத்துரைக்க,மென்மையான ஆண்  பெண் உறவிற்கு,மேன்மை சேர்க்கும் மலர்களின் பங்கு,அபரிமிதமானது எனும் மேலான உண்மையை,கவிதை வரிகள்  நமக்கு வெளிக்காட்டுகின்றன. இது போன்ற கற்பனைக் கோலங்களை மேலோட்டமாகக் காணாது,வாழ்வியல் கோட்பாடுகளாக மனம் பதியச் செய்வது,நமது இலக்கிய,பண்பாட்டு நெறியா கும்.   
   தமிழ்திரையில் வெவ்வேறு காலகட்டங்களில்,மலர்கள் பல்வேறு வகையில் மணம் பரப்பிக் கொண்டிருக்கின்றன. இக்கட்டுரையில் குறிப்பிடப்பட்ட சில உதாரணங்களை,'ஒருபானைச் சோற்றுக்கு ஒரு சோறு பதம்' எனும் அடிப்படை யில்,தென்றலைப்போல்,நிலவைப்போல் மலர்களும் படைப்பாளிகளின் பரவச மேலாண்மையைப் பிரதிபலித்து,அந்த பரவசத்தை நாமும் உணரும் வண்ணம்,பாடல் வரிகளாகவும் திரைப்பட தலைப்புகளாகவும்,நமது சிந்தனைக்கும் ,நினைவுளுக்கும் காலம் காலமாய் களிப்பூட்டி  வருகின்றன என்பதே ,திரைத்துறையை நேசிக்கும் அனைவரது மனநிலையாகும். 

Wednesday, July 1, 2020

An Actress of Tamil Glory

 














   Unlike the heroes of Tamil Cinema its most celebrated heroines of the last century, were generally from other languages. P.Kannaamba,P.Bhanumathi,Vijayanthi Mala,Sowcar Janaki, Padmini,Savitri Devika,,K.R.Vijaya,Vanisri,Lakshmi,Jaya Chitra, Sumitra, Saritha,Manjula, Sujatha, Ambika,Radha,Radhika,and Revathi have all embraced Tamil as their creditable spoken language besides their respective mother tongues.The significant exceptions in this regard are,T.R.Rajakumari, C.R.Vijayakumari, Pushpalatha and Sri Priya.
   Of these,T.R.Rajakumari was a ravishing female pair of heroes like Thiagaraja Bhagavadhar, P.U.Chinnappa,K.R.Ramasamy,M.K. Radha and MGR during the early Nineteen forties to late Nineteen fifties.Nobody can forget her very bold performance in Chandralekha countering the evil designs of Ranjan besides secretly planning and executing the moves to save the kingdom and the King{M.K.Radha}from the former's clutches.It was an epic film from the Gemini Pictures.Beyond her heroine roles,she will eternally occupy the memories of the audience,as the most voluptuous Vasanthasena of Manohara.
    Puspalatha who was frequently paired with A.V.M Rajan and who later became his spouse, appeared mostly in supporting roles,excepting in films like Karpooram,Darisanam and Chitrangi.Sri Priya who reigned the Tamil screen frequently pairing with Rajinikanth, Kamalahasan and Sivakumar is celebrated for her roles in films like Ilamai Oonjaladukiradhu, Annai Oru Aalayam, Aattukkara Alamelu and Neyaa.She also needs a separate post in this blog.
    The present article is aimed at projecting the Tamil glory perpetuated by C.R.Vijayakumari who adorned the celluloid world by her wonderful Tamil accent blended with feminine grace, sweetness and fury.She was one particular woman who could be simultaneously modest and mighty,submissive and stubborn, fascinating and furious.The way she articulated her Tamil dialogues spontaneously stuck her to the magnificence of the Tamil language.Whether it was a film on historical fiction or family story she knew where and how to fix herself as a performer of meaning and merit.
   Most of Vijayakumari's films were with the great Dravidian hero S.S.Rajendran initially her pair and later on her husband.The huge list of memorable films of the duo were Alayamani,  Petra Makanai Vitra Annai,Kumudham,Naanum Oru Penn,Saratha,Shanthi,Anandhi,Panam Panthiyile,Edhayum Thangum Idhayam,Pachai Vilakku,Avan Pithana,Muthu Mandapam, Deivathin Dheivam,Neengadha Ninaivu,Thanga Rathinam,Kaakum Karangal, Poomaalai and the historic film Poompuhar in which she donned the role of Kannagi.The best in this list were Kumudham, Saradha,Naanum Oru Penn,Kaakum Karangal and Poompuhar.
   Vijayakumari who acted in about ten films of Sivaji Ganesan and four of MGR was hardly paired with either of them excepting the film Kungumam in which she was shown as the love interest of the Chevalier.However, even in that film of several twists and turns,the romantic aspect was surpassed by a kind of suspense element over an act of crime involving S.V.Renga Rao,O.A.K Thevar and Sivaji Ganesan.In fact S.S.Rajendran also portrayed the role of a police officer in that film.The other film in which Vijayakumari was paired with the Chevalier was Raja Raja Cholan as the Chola king's wife.Otherwise,in most of the films of Sivaji Ganesan she was shown either as his sister or as the wife of his brother or friend.Similarly of the four films she did with MGR,excepting Vivasayee in which she did a different character role, she performed only as MGR's younger sister in Kanavan,Kanchi Thalaivan and Therthiruvizha. Her most memorable film with Sivaji Ganesan was as his daughter in Paar Makale Paar.
   Some of the prominent films of Vijayakumari without her husband were Sridhar's Kalyana Parisu{as the wife of Gemini Ganesan}Policekaran Makal{ as a desolate woman forlorn by a playboy {K.Balaji}Kodimalar {paired against R.Muthuraman}and K.Shankar's Padha Kanikai{ as a character undergoing the trauma of one side love for the hero{Gemini Ganesan}.Her other popular entries include Teacheramma, Jeevanamsam ( in a victimised role as the wife of Jaishankar under entangling circumstances)  and Mani Osai. 
  Some of the films in which she ruled with feminist grace were Nanum Oru Penn and Saratha.
Similarly her feminist force and voice of feminine power, were stunningly reflected in films like Kumudham,Savaale Samaali and Poompuhar.In Kumudham she took up a criminal case involving her lover{S.S.Rajendran} and placed her defence arguments with sparkling style to counter the stand of the Public Prosecutor who happened to be her own father{ greatly performed by the Veteran S.V.Renga Rao}In Savaale Samaali when M.N.Nambiyar attempts to outrage her modesty by pulling down her saree she rises like fire,setting ablaze the arable field with a maddening cry to establish the power of feminine dignity.In this attempt she was also seen as reforming the mindset of her vagabond husband{R.Muthuraman}.Above all in Poompuhar how formidably she carried on the role of the epic character Kannagi through her awe inspiring arguments with the Pandiya King over the issue of her innocent husband Kovalan being framed in a case of theft of an anklet.
    Her mighty voice ruled not only her emotions but also the entire royal chamber.It was a tremendous impact she created in the minds of the audience by crying for justice on the unjust execution of her husband and then setting the whole city of Madurai into flames.In the earlier version of Ilangovadikal's epic Silappadhikaram it was P.Kannaambaa who bravely took up the role of Kannagi and brought fame to the epic,the female protagonist  Kannagi and to herself as an indomitable actress. Vijayakumari performed the same miracle in her own way in a film for which the dialogues were penned by none other than the Tamil literary genius Kalaignar.
    Vijayakumari's later spell of acting moved to maternal roles as the mother of Rajinikanth in films like Thanga Makan and Naan Mahaan Alla.She also came as the mother of Raj Kiran in Aranmanai Kili.Finally she portrayed the role of a grand mother alongside M.N.Nambiyar in Vijay's Poove Unakkaaga and Vikram's Kaadhal Sadugudu.
   Excepting in the films which showed S.S.Rajendran as primary hero,Vijayakumari donned only supporting roles or those of a second heroine.For her, a little screen space was enough to display the glory of Tamil through which she let her emotions reach the audience along with the fragrance of the Tamil soil.In most films she was portrayed as a sorrow laden victim of circumstances,suppressing her anguish and privation caused by betrayal or exploitation in the name of love.But she stood as a pure symbol of womanhood of the last century subjected to male domination and family enslavement.Notwithstanding the prevailing realities of those decades,the truth remains that Vijayakumari was one among the rarest Tamil voices of Tamil cinema,genuinely exhibiting the diction and grandeur of a language that is known for its ancient splendour.
                                         ===================================

Saturday, June 20, 2020

தமிழ்த் திரையில் பணம்



























  




   "பணம் என்றால் பிணமும் வாய் பிளக்கும்""பணம் பாதாளம்வரை பாயும்" போன்ற வழக்கு மொழிகள் பல தமிழில் உண்டு.நடைமுறையில் நாம் காண் பதோ,பணம் இல்லையெனறால்,பிணத்திற்கும் இல்லை குணம்  ன்தும் . பாதாளம் காணும் பணத்தால்,மனிதர்கள் வேதாளங்களாய் மாறுவர்  ன்து  மாகும். தமிழ்திரைப்படங்களில் படத்தின் தலைப்பாகவும்,கவிதை வரிகளாக வும்,நம் சிந்தனையை புரட்டிப்போட்டிருக்கிறது,பணம் எனும் சொல்.
   நடிகர் திலகம் நடித்த 'பராசக்தி' வெளியான அதே ஆண்டு{1952},அவர் நடித்து வெளியான இன்னுமொரு திரைப்படம்தான் 'பணம்'. கலைவாணர் என் எஸ் கிருஷ்ணன் இயக்கத்தில் உருவான 'பணம்' திரைப்படத்திற்கு,கலைஞர் வசனம் எழுதியிருந்தார்.அதில் வரும் நறுக்குத்தெரித்தாற்போன்ற வசனம்தான், 'பணம் எனும் மோகனமான மூன்றெழுத்து; இன்று முட்டாள்களின் கைகளிலே குவிந்து கிடக்கிறது' . அதே திரைப்படத்தில் கலைவாணர் பாடிய பாடல்தான் "எங்கே தேடுவேன் பணத்தை எங்கே தேடுவேன்"
   கைக்கெட்டாத பணமும்,கைக்கு வந்து கரைந்து போகும் பணமும்,{"கையில வாங்குனேன் பையில போடல;காசு போன இடம் தெரியல" என்று சிவாஜி கணேசன் நடித்து,ஜெமினி ஸ்டுடியோஸ் தயாரிப்பில் உருவான,'இரும்பதிரை' திரைப்படத்தில் கே.ஏ.தங்கவேலுவின் வாயசைப்பில் திருச்சி லோகநாதன் பாடியது போல} மனிதன் கனவில் மட்டுமே காணும்,நடைமுறை வாழ்வின் கானல் நீர்த்துளிகளாம்.
    என்.எஸ்.கே,மற்றும் கே.ஏ. தங்கவேலு போன்றோரின் நகைச்சுவை உணர் வோடு பல ஆண்டுகள் கழித்து 'ஏழையின் சிரிப்பில்'{Year 2000} எனும் திரைப்படத்தில் பிரபுதேவா வாயசைத்த,"ஓம் பணம், ஓம்பணம் ஏம் பணம்" என்று தொடங்கி "யப்பா,யப்பா,ஐயப்பா! கண்ணுல காச காட்டுப்பா!"எனும் பாடல் வரிகள் இன்றும் நம்மை வயிறு குலுங்க சிரிக்க வைக்கின்றன .  
    காசு வருகிற நேரம் கூடவே மகாலட்சுமியும் வருவாள் என்றோ,அல்லது மகாலட்சுமி வரும் நேரம், காசு பணம் கொண்டாடும் நேரம் என்பதைத்தான், 'காதலா காதலா' திரைப்படத்தின் நகைச்சுவை திருவிழாவினூடே,"காசுமேலே காசுவந்து கொட்டுகிற நேரமிது வாச கதவ ராசகட்சுமி தட்டுகிற நேரமிது"எனும் கமலின் கரகோஷ வரிகளில் களிப்புடன் கேட்ட ரசித்தோம். 
     'பணம்'திரைப்படத்தைத் தொடர்ந்து  1954 இல்,வை.ஆர் சாமி இயக்கத்தில் என் டி ராமராவ் நடித்த'பணம் படுத்தும் பாடு' திரப்படம் வெளியானது.பிறகு  ஏழாண்டுகள் கழித்து,கிருஷ்ணாராவ் இயக்கி  எஸ்.எஸ் இராஜேந்திரன், விஜயகுமாரி நடித்த 'பணம் பந்தியிலே' {1961}திரைப்படத்தில்,படத்தின் தலைப்பையே பாடல் வரிகளாகக் கொண்டு, சீர்காழி எஸ்.கோவிந்தராஜன் பாடிய"பணம் பந்தியிலே குணம் குப்பையிலே இதை பார்த்து அறிந்து நடக்காதவன் மனிதனில்லே"என்ற மனதில் ஆழமாக வேரூன்றிய,அருமை யான பாடலை,நாம் மறந்திருக்க வாய்ப்பில்லை.
   பணத்தின் முக்கியத்துவத்தை வெளிப்படுத்திய மற்றொமொரு பாடல் தான் ஏ.காசிக்கிங்கத்தின் இயக்கத்தில், ஜெமினிகணேசனும் ஏ.வி.எம். ராஜனும் நடித்து1967 -இல் வெளிவந்த, 'பந்தயம்' திரைப்படத்தில்,நாம் மிகவும் கேட்டு ரசித்த, டி . எம். சௌந்தராஜன் பாடிய,"காசேதான் கடவுளடா அந்த கடவுளுக்கும் அது தெரியுமடா; கைக்கு கைமாறும் பணமே உன்னை கைப்பற்ற நினைக்குது மனமே"என்ற பாடல். 
    காசோடு கடவுளையும் கூட்டாளியாக இணைத்து,பணம் இல்லையேல் ஆண்டவனைக்கூட ஆலயத்தில் தரிசிக்கமுடியாது என்பதை, உள்குத்தாகக் கொண்டது,இப்பாடல்.இந்த பாடலின் முதல் இரண்டு வரிகளால் ஈர்க்கப்பட்ட ஏ . வி. எம் நிறுவனம் பின்னர் அதனையே 'காசேதான் கடவுளடா'{1972} என்று ஒரு திரைப்படத்தின் தலைப்பாகக்  வைத்து ,அமோக வெற்றி கண்டது.
   காசுக்காக மட்டுமேதான் வாழ்க்கை என்ற உண்மை நிலவரத்தை ஆட்டம் பாட்டுடன் சொன்னதுதான்,'அலிபாபாவும் நாற்பது திருடர்களும்' {1956}திரைப்படத்தில் நாம் கண்டு, கேட்டு ரசித்த,"நாம ஆடுவதும் பாடுவதும் காசுக்கு; ஆளைக் குல்லா போடுவதும் காசுக்கு காசுக்கு" என்ற தமாஷான பாடல்.    
   'பணம் பந்தியிலே' திரைப்படம் வெளியாகி இரண்டு ஆண்டுகளுக்குப் பின்னர்,எம்.ஜி,ஆர் சரோஜாதேவி இணைந்து  நடித்து கே.ஷங்கரின் இயக்கத் தில் உருவான 'பணத்தோட்டம்'{1963} திரைப்படம்,மாபெரும் வெற்றிபெற்ற தோடு,த்திரைப் படத்தில் டி .எம் .சௌந்தராஜன் பாடிய ஒருபாடலில் நாம் கேட்ட,"ஊசி முனைக் காதுக்குள்ளே ஒட்டகங்கள் போனாலும் காசாசை போகாதடி;முத்தம்மா,நம் கட்டையிலும் வேகாதடி"எனும் வரிகள்,நம்மை தத்துவரீதியாக ஆழ்ந்து சிந்திக்க வைத்தன.    
    பணம் பாசத்தையே விழுங்கும் மலைப்பாம்பு எனும் கருத்தைத் தான்,ஏ.பீம்சிங் இயக்கத்தில் உருவான 'பழனி'{1965}திரைப்படத்தில் சிவாஜி கணேசன் தனது ஆழ்ந்த  மனக்குமுறலாய், வேதனையுடன் வாயசைக்க,டி .எம் .எஸ் ஸின் உரத்த குரலில் 'அண்ணன் என்னடா தம்பி என்னடா அவசரமான உலகத்திலே ஆசை கொள்வதில் அர்த்தமென்ன டா காசில்லாதவன் குடும்பத்திலே' என்று தொடங்கி"பணத்தின் மீதுதான் பக்தி என்றபின் பந்தபாசமே ஏதடா"எனும் பாடல் வரிகளில், பணத்தின் அகோர தாண்டவத்தையும்,பாசத்தின் பரிதாபத் தையும் அனுபவத்தன்மையுடன் விளக்கினார்,கவியரசு கண்ணதாசன். 
   இதேபோன்று ஒரு நொந்துபோன மனநிலையைத்  தான் 'நம்ம வீட்டு லட்சுமி' {1966}திரைப்படத்தில் சீர்காழி கோவிந்தராஜனின் வெண்கலக் குரலில் ஒலித்த "பணம் இருந்தா போதுமடா மடியிலே ;அய்யா பாசமென்ன நேசமென்ன உலகிலே" எனும் பாடல் வரிகள் படம்பிடித்துக் காட்டின.  
    பணத்தை மைய்யமாக வைத்து பணம் படைத்தவன்''{1965}பணமா பாசமா' {1968}'பணக்கார பிள்ளை'{1968}'கை நிறைய காசு'{1974} 'பணத்துக்காக' {1974}  'பணம் பத்தும் செய்யும்' {1985}போன்ற தலைப்பு களைக்கொண்டு,பல தமிழ்த்  திரைப்படங்கள் வெளியாயின. இதில் பணத்திற்காகவும், அந்தஸ்திற்காகவும், மகள் நேசிக்கும் ஆண்மகனை மாப்பிள்ளையாக ஏற்க மறுத்து, பல பிரச்னை களுக்குக் காரணமான, கொடூரத்தாய்க்குலத்தை சித்தரித்த'பணமா பாசமா' ஒரு தனி ரகம்.
    அத்திரைப்படத்தில் ஒரு மறக்கமுடியா வசனத்தைக் கூட,இயக்குனர் திலகம் கே.எஸ் கோபாலகிருஷ்ணன் பலமாகப் புகுத்தியிருந்தார். "அம்மா !மகன் செத்தாலும் பரவாயில்ல; மருமகள் விதவையாகனும்னு நினைக்கிற மாமியாரப் பத்தி கேள்விப்பட்டிருக்கேன்.ஆனால்,மகள் விதவையானாலும் பரவாயில்ல ; மருமகன் சாகனும்னு நெனைக்கிற மாமியார இப்பதாமா பார்க்கிறேன்!"  
     B.சரோஜாதேவியின் குழைவுக்குரலில் மனத்தைத் தாக்கிய இந்த வசனம்,  ன்றும் மறக்க முடியாததே.'பணமா பாசமா"வின் கொடுந் தாய்க்குலத்தைத் தொடர்ந்து,பின்னர் 'குழந்தையும் தெய்வமும்' மாப்பிள்ளை' போன்ற வேறு சில திரைப்படங்களிலும் இதுபோன்ற பணப்பேய்ளான,தாய்க்கதாபாத்திரங்கள் அரங்கேறினர்.
    எது எப்படி இருந்தாலும்,என்னதான் பணம் நிச வாழ்விலும் நிழல்த்   திரையிலும் விதவிதமாய் நம்மை ஆட்டிப்படைத்தாலும், பணத்தை மிஞ்சிய,அதாவது பணத்தை விட்டுக்கொடுக்க வைக்கின்ற,நிலைப் பாடுகள்,வாழ்வில் இல்லாமல் இல்லை. விட்டுக் கொடுக்கும் தாராள மனப்போக்கும்,பணத்தை  இரண்டாம் நிலைக்குத் தள்ளும் தார்மீகக் கடமை உணர்வுகளும்,அவ்வப்போது தழைப்பதால் மட்டுமே,இன்றும் மண்ணில் மனிதம் நிலைக்கிறது.
   1978-இல்  முக்தா சீனிவாசன் இயக்கத்தில் வெளியான 'அந்தமான் காதலி திரைப்படத்தில்' சிவாஜி கணேசனுக்காக  டி.எம். எஸ் பாடிய "பணம் என்னடா பணம் குணம்தானடா நிரந்தரம்" எனும் பாடலுக் கேற்பதான்,இன்றும் பலரின் வாழ்க்கை நெறிமுறைகள் நிர்ணயிக்கப் பட்டு,பாதை வகுக்கப்பட்டு,பயணம் சென்றுகொண்டிருக்கிறது. இதற்கு,என்றுமே மறக்கமுடியா ஏ.சி.திருலோக் சந்தரின் இயக்கத்தில் உருவான 'அவன்தான் மனிதன்'{1975} எனும் மேன்மை யான திரைப்படத்தை, ஒரு உன்னத உதாரணமாகக் காணலாம்.   

Wednesday, June 10, 2020

Tamil Cinema's illustrious portrayal of two Catholic priests

 




















    To play the role of a Church Father requires moral courage and a very subtle grasp of the intricate layers of dignity, spirituality and divinity, involved in portraying an exceptional role.Cinema in all regions including the Hollywood and Bollywood,are known for the celebrated inclusion of Church Fathers.Tamil Cinema too has provided a vital place for the inclusion of Church Fathers,to be shown as guiding stars and torch bearers of a vast section of neglected humanity, such as orphans and forlorn men and women.These orphans might include the heroes and heroines of films also,as per the requirement of the story line.Normally,only supporting actors would play the role of Christian priests. Gokulnath of Sivagi Ganesan's Gnana Oli,S.V.Subbiah of Jeyalalitha's Annai Velankanni,V.S.Raghavan of Velli Vizha,directed by K.Balachander, and George Mariyan as the irritable Church father in the most recent Vijay film Bigil are a few remarkable examples of supporting actors,portraying the role of the Catholic clergy.
    But this article focuses on the illustrious portrayal of two Catholic priests by two prominent heroes of Tamil Cinema,who were contemporaries and who periodically shared the Tamil big screen as friends and brothers.They were the Chevalier,Sivaji Ganesan,as Father James in Vellai Roja {1983} and his ever pet co hero R.Muthuraman as Father Arumainayakam,in Unmaiye Un Vilai Enna {1976}.The roles of these two heroes in priestly garbs,are to be discussed here, as per the years of release of their films.
   It was the ultimate satirist Cho Ramasamy,who directed the film Unmaiye Un Vilai Enna after its success as a stage play,with the same title.Though Cho had directed films like Mohammed bin Tukhluq,Mr.Sampath and Yarukkum Vetkamillai,Unmaiye Un Vilai Yenna became a special film,because of its supreme thematic content of the invincible nature of truth.Besides R.Muthuraman performing the role of the protagonist priest,the film had enough space for actors like Cho Ramasamy, S.A.Asokan,V.K.Ramasamy,Neelu,Vijayakumar, Srikanth,Thengai Srinivasan,Padmapriya,Sukumari,Manorama and CID Sakunthala.
   The narration of the story centred around the accidental death of a womanizer,when a taxi driver attacked him in order to save a woman from getting molested and to safeguard himself from a pistol picked up by the rapist.The taxi driver who was a Christian convert,straight away went to the church,to confess his act to the Church Father,who was the incarnation of Truth and Justice.The Father firmly believed that an act of murder unwittingly committed to save another person and in self defence, should not become the cause of conviction of an innocent person.So in order to prevent the arrest of the taxi driver until the truth of the case was established,the Father sent the taxi driver to his most trusted friend,a devotee of Lord Muruga  {marvellously played by veteran V.K.Ramasamy}.
    Meanwhile in the process of collecting contextual evidence for legally protecting the taxi driver,the Father had to face a lot of hurdles in the form of character assassination resulting in the disrobing of his priestly attire.The widely entangling conflicts between the priest and the womanizer's extremely manipulating father,a rich business man-cum Christian called Arokiyasamy{Very neatly performed by S.A.Asokan without  even a little bit of his usual decibel}kept the audience glued to the screen.At last,truth of the case  was categorically presented in the court,in the form of valid documentary and tape recorder evidence,for a revision of the entire arguments of the case, just before the award of the verdict.But unfortunately at the same time, the priest was struck down by the bullets of Arokiyasamy. Even before succumbing to the bullets,the Father insisted upon his being taken to the Bishop first,in order to explain his truthfulness,rather than being taken to the hospital for treatment.
    Vellai Roja,directed by A.Jeganathan,a reputed film maker of action oriented entertainers like Mani Payal,Idhayakani,Moonru Mugam,Thanga Makan and Kadhal Parisu{all Sathya Movies's films}proved to be a big action bonanza,on account of its even mixing of ingredients such as romance,suspense,investigation and the final pronouncement of justice.But unlike Father Arumai Nayagam,Father James had the advantage of being the twin brother of a Superintendent of Police by name Arul and hence he was in a better position to fight for justice.
    Sivaji Ganesan in his usual magnificent way created a creamy note of difference,in travelling between the two roles of a meek priest and a mighty police officer.In this film,the death of a poor Christian girl Mary,who was found hanging due to her unwed pregnancy,caused a cloud of suspicion about the immaculate character of the priest,because prior to her death,Mary was seen in a secret conversation with the Father.
    As Father James had his own doubts over the sudden death of Mary,which was medically declared as a case of suicide,he asked his cop brother to arrange for exhuming the coffin so that Mary's body could go in for a re postmortem.When the coffin was dug out and opened,to everybody's shock,the body of Father James was found in the coffin.The rest of the story would revolve around the consequential investigation by the bereaved police officer,to bring to book the culprit involved in the suspected deaths of Mary and Father James.
   The two films released with a gap of about seven years carried both similarities and differences.Both the films travelled along the pathway of crime,one,to legally and judicially establish the truth in a known incident of crime and the other,towards detecting two hidden crimes committed by a wolfish rich man{elegantly portrayed by Calcutta Viswanathan}who was against his son's love affair with a poor girl{Mary}.Perhaps it was a coincidence that in both the films,the perpetrator of evil was named Mr. Parisutham { The Immaculate}.
    Unmaiye Un Vilai Enna contained a bunch of contexts with Cho's punching dialogues over the invalidity of truth,in a world of opportunism and greed for money and position. Cho during the course of his cheeky narration,sharply brought to focus,not only the plight of truth cherished by the Church father as the voice of God, but also the fact of the Father himself being reflected, as the neglected face of truth.In deliberating the deep rooted Christian concept of truth,Cho fascinatingly established a delicate connecting thread between Christianity and Hinduism,through the characterization of V.K.Ramasamy,as a truth loving devotee of Lord Muruga and a man with absolute faith in the true face of Father Arumai Nayagam.
   Vellai Roja's Father James was an equally dynamic priest with unflinching devotion to truth as the one only way to salvation. A.Jeganathan allowed a song for Father James to be sung with a cluster of children and the beautiful song was,Dhevanil Koilile Yaavarum Deepangale, in the vibrating voice of late Malaysia Vasudevan.Both Father James and Father Arumai Nayagam fell as victims into the criminal hand of falsehood and brutality.
   Both Sivaji Ganesan and his frequent team mate Muthuraman,finely got into their sacerdotal robes with conviction,commitment and commendable display of one of the most venerable roles in their life.However,the visible differences between the two films and the two Fathers,are the black and white and color screenplay of the films,the full length presence of Father Arumai Nayagam in Unmaiye Un Vilai Yenna and the abrupt pull out of the character of Father James, as the curtain fell for an interval of awe and suspense.
   While Sivaji Ganesan as bespectacled Fr.James was beaming with radiance and splendour, R.Muthuraman was on a strenuous and troubling mission to the destination of Truth with his naive simplicity,piety with a firm belief,that ultimately truth would prevail through the miraculous revelation of God.We all know that shocks are a temporary phenomena.But the pain cast by a deep wound and the scars of that deep wound,would keep ensnaring us at regular intervals.
   The character of Fr. Arumai Nayagam by its painful journey to establish the supremacy of truth,would ever keep nagging our sub conscious system with replicas of his painful journey.In this way,one could assertively state that Cho Ramasamy presented indelible impressions of a Catholic priest and the priest's dauntless grasp of the roots of Truth. Finally to sum up,unlike Vellai Roja,that had entertaining elements such as action,music and stunts,Unmaiye Un Vilai Enna was out and out a priestly story,narrated with pragmatic interlinks and all credit for this pointed presentation of a noble theme,through the role of a noble Priest,should go to Cho Ramasamy.
                            ===============================================  

Tuesday, June 2, 2020

திரைக்கவிதை வரிகளில் கண்கள்

     புலன்களே கவிதைக்கு ஊற்று. குறிப்பாக விழிகளே கவிதையின் விதைகள்.எத்தனைக் கவிதை வரிகள் விழிகளென்னும் விதைகளால் விருட்சமாகியிருக்கின்றன.பி.பானுமதியின் இனிமைக்குரலில்' அம்பிகாபதி' திரைப்படத்தில் இடம்பெற்ற 'கண்ணிலே இருப்பதென்ன கன்னியிள மானே'பாடல் போல எத்தனை திரையிசைப் பாடல்களில், விழிகள் சுகமாக  வலம் வந்திருக்கின்றன.
   காதலில் கட்டுண்டோர்'எந்தன் கண்ணுக்குள்ளே உன்னைப்பாரு;அது காவியம் ஆயிரம் கூறும்'{மரகதம்}என்றோ,போட்டியில் களம்  காண்போர் ''கண்ணும் கண்ணும் கலந்து இன்பம் கொண்டாடுதே'{வஞ்சிக் கோட்டை வாலிபன்}என்று ஆர்ப்பரித்தோ காதலின்  மகத்துவத்தையும், மோதலின் வீரியத்தையும்,கண்களின் மூலம்,கவிதை வரிகளாக்கினர்.
    காதல் புரிகையில் கன்னியருக்கு,கண்களே ஆயுதம். இதைத்தான் கவிஞர்கள் திரையிசை வரிகளில்'கண்கள் இரண்டும் இனி உம்மைக் கண்டு பேசுமோ' {மன்னாதி மன்னன்}எனும் காதலியின் வேதனை கேள்விக்கு விடையாக 'கண்ணாலே பேசி பேசி கொல்லாதே'{அடுத்தவீட்டுப்பெண்} என்றும் 'வேலாலே விழிகள்'{என்னைப்போல் ஒருவன்}என்றும் எழுதி வைத்தார்களோ என்னவோ! பெண்டிரின் பார்வை ஆடவரை இயக்கும் மாபெரும் சக்தி என்பதைத் தான் பாரதிதாசன்"கண்ணின் கடைப் பார்வை காதலியர் காட்டி விட்டால் மண்ணில் ஆடவற்கு மாமலையும் ஓர் கடுகாம்" என்று திரைக்கு வெளியில் நின்று விமர்சித்தார்.  
     மேலும் காதலின் வியப்பில்"கண்ணாளனே எனது கண்ணை நேற்றோடு காணவில்லை"{பாம்பே }என்று கலங்கிக் கூறும் பாணியிலும் ,இந்த புகார் தகவலுக்கு, ஏற்பளிக்கும் வகையில்,"கண்ணும் கண்ணும் கொள்ளை யடித்தால் காதல் என்று அர்த்தம்"{திருடா திருடா}என்ற விடுகதை பாணியிலும்,திரையிசைப் பாடல்களில்,கவிஞர்களின் சாமர்த்தியம் சிகரம் கண்டது.     
   'கண்களின் வார்த்தைகள் புரியாதோ காத்திருப்பேன் என்று தெரியாதோ'  {களத்தூர் கண்ணம்மா }என காதலர் இருவரும் ஒருவரை ஒருவர் அன்பால் சீண்டுவதும்,விரக்தி மனநிலையில் காதலன்'கண்களே, கண்களே,காதல் செய்வதை விட்டுவிடுங்கள்'{வாழ்க்கைப் படகு}  என்று மாற்றத்தில் எச்சரிக்கை விடுவதும், காதல் விளையாட்டில், கண்கள் புரியும் சாகசங்களே.
    ஆனால் அதே நேரத்தில் மனைவியிடம் ஆழமான காதல் கொண்ட கணவன் 'உன் கண்ணில் நீர் வழிந்தால் என் நெஞ்சில் உதிரம் கொட்டுதடி'{வியட்நாம் வீடு}என்று மனமுறுக்கிப் பாடுவதும் ஆன் பெண் உறவில்,கண்கள்  காவியம் படைக்கின்றன என்பதே,ஆத்மார்த்தமான உண்மையாம்
    திரையிசைக் கவிஞர்கள் சில நேரங்களில் கண்களின் நம்பகமற்றத் தன்மையை தங்கள் பாடல் வரிகளில் உறுதியாக வெளிப்படுத்தியதும் உண்டு. இந்த வகையில் நாம் கேட்ட சில பாடல்கள் தான்,எம் ஜி ஆர் திரைப்படங்களில் ஒலித்த,'கண்போன போக்கிலே கால் போகலாமா?' {பணம் படைத்தவன்}  'கண்ணை நம்பாதே உன்னை ஏமாற்றும்' {நினைத்ததை முடிப்பவன்} போன்ற பாடல் வரிகளும் ,ஜெய்ஷங்கர் நடித்து வெளிவந்த 'பட்டணத்தில் பூதம்' திரைப்படத்தில் இடம்பெற்ற 'கண்ணில் தெரிவதெல்லாம் காட்சியா?'போன்ற வரிகளும் கும்.கண்கள் பார்க்குமோ அல்லது பேசுமோ அவைகள்  மனதின் கதவுகளாக இல்லாதபட்சத்தில்,போலிகளின் சரணாலயமே.
      அதுமட்டுமல்ல! கண்கள் முற்றிலும் ஒருவழிப் பாதையே.காணும் காட்சிகளை,பாலும் நீரும் பிரித்து உண்ணும் அன்னப்பறவையின் நிலை யிலிருந்து கண்கள் எப்போதும்  பிரித்துப்பார்க்குமாயின்,மனதிற்கு தேவையற்ற சஞ்சலங்களும் சலனங்களுக்கும் நிச்சம்  இருக்கப்போவ தில்லை.'கண்ணோடு காண்பதெல்லாம் கண்களுக்குச் சொந்தமில்லை'  {ஜீன்ஸ்}எனும் ஒற்றை வரியில் சொன்னது போல, இருவிழிகளின் ஒரு வழிப் பாதையினூடே மனமேறும் காட்சிகளை,மனம் எப்படி எடுத்துக் கொள்கிறதோ அதன் விளைவுகளுக்கு மனமே பொறுப்பாகிறது.சொந்தமில்லாக் காட்சிகளை மமேடையில் ஏற்றியதற்கு கண்களை தூக்கு மேடைக்கு அனுப்பவும் முடியாது.
   கண்கள்  சிலநேரம்  பொய்த்தாலும் அன்புன்,கருணையின் கலைக் கூடமாக விளங்கும் விழிகள்,மனித நேயத்தின் மாற்றுவழியாக,காணும் காட்சிகளை தன்வலைக்குள் கட்டிப்போட்டு,வன்புயலை வசந்தமாய் மாற்றுமென்றால் அது மிகையல்ல. இதைத்தான் திரைத்துளிகளில்,'கண்ணிலே அன்பிருந்தால் கல்லிலிலே தெய்ம் வரும்'{ஆனந்தி}எனும் பாடல்மூலம் உணரப்பெற்றோம். 
    விழிகளைப்பற்றி சற்று வித்தியாசமாகக் கருதுகையில் அவைகள் சூழ்ச்சி யில் மற்றவரை வீழ்த்தும் முயற்சியின் விளைநிலமாகவும்,கண் திருஷ்டி யெனும் பெயரில் கலவரச்  சொல்லாகவும்,அடிக்கடி குறிப்பிடப் படுதை  காண்கிறோம். இந்த வகையில் புனையப்பட்ட வரிகளே 'கண்படுமே பிர்  கண்படுமே  நீ வெளியே வரலாமா'{காத்திருந்த கண்கள்} மற்றும்'கண்ணுபடப் போகுதய்யா சின்ன கவுண்டரே திருஷ்டி சுத்த வேண்டுமைய்யா சின்ன கவுண்டரே' {சின்ன கவுண்டர்} போன்ற திரையிசைப் பாடல் வரிககளைக் கண்டோம்!     
    கண்களின் காட்சிகள் மெய்யோ பொய்யோ,கண்கள் என்றும்  மனதின்  பொக்கிஷமே.அதனால்தான் நாம் ஆழ்ந்து நேசிப்பவர்களை  'என்  கண்ணே' என்றழைக்கிறோம்.இதன் அடிப்படையில்தான்,மனதை  அமைதியுடன் ஆக்கிரமிக்கும் 'கண்ணே கலைமானே'{மூன்றாம் பிறை}  என்ற  பாடலையும் 'கண்ணான கண்ணே கண்ணான கண்ணே என்மீது  சாயவா' {விஸ்வாசம்}  என்ற  அருமையான  திரையிசைப்பாடல் வரிகளையும்  கவிஞர்கள் நம் நெஞ்சில்  ஊஞ்சலாட  வைத்தனர்.
    இதனை  இன்னும்  உணர்வு பூர்வமாகச் சொல்ல வேண்டுமெனில் நேசிக்கும் ஒருவரைக் கண் இமைக்காமல் காப்பாற்று வேன் என்பதன் பொருளாகும். இதனைத்தான்'கண்ணுக்குள்ளே உன்னை வைத்தேன் கண்ணம்மா 'என்  கண்கள் மூட மாட்டேனடி செல்லம்மா'{ பெண்ணின் மனதைத் தொட்டு} எனும் பாடல் வெளிப்படுத்துகிறது.மொத்தத்தில், திரையிசைப் பாடல்வரிகள் கண்களால் நம்மை கைது செய்கின்றன.

Friday, May 29, 2020

The first Digital Tamil Release.






   The digital release of a Tamil film by Amazon Prime Videos is the first of its kind and Suriya's Ponmagal Vandaal takes the credit for enabling home watch of a just released film on the day of its release.Watching a new film from home,on the first day of its release, is of course an exciting experience for film lovers during these tough corona times.But the pleasure of a theater watch with d t s effects along with the large gathering of audience and the loss of income of everyone related to theater maintenance,cannot be undermined.
  The film does not add any freshness to story line,because it is an oft seen and heard tale of kidnap of girl children and their physical abuse.But the freshness lies in its narration and the most convincing role play of the woman protagonist Jyothika and that of other actors like Bagyaraj,Paarthiban, Pandiarajan{all the three  branched out from the school of Bharathiraja,one following the other} Thiagarajan and Pratap Pothan. Usually this type of a story line will call for a crime thriller mode of narration.But here it becomes more and more court bound,with the voice of truth getting choked by the criminally well versed lawyer Partiban and the dedicated struggle of Jyothika to relieve truth from the clutches of continued suppression of  evidence,by the thickness of the criminal cord.
  Though subdued narration of films has at times clicked,as in the case of Malayalam films like Drishyam and Lucifer, Pon Magal Vandhaal seems to suffer from a lukewarm presentation of scenes most of them taking place in the court room.The climax suffers for want of clarity in categorically fixing past events of crime surrounding the vulpine and virulent character of Thiagarajan.Though in the climax scene a witness against Thiagarajan is shown in the court premises by Jyothika and Bagyaraj,its follow up is elusive.In fact it is the passionate and emotional outburst of Jyothika,that seems to vaguely and speedily end the film.
  Similarly just before the climax, the Judge Pratap Pothen is shown as asking for some favour from Thiagarajan and receiving a suitcase from him,following which Pandiarajan is found to be snapping his long term association with Pothen,for breaking his norms of integrity.Later just before the verdict is given Pratap Pothen is heard to be telling Thiagarajan that the latter would achieve his ends,through any means.The climax of the film suffers a lot,on account of this jumbled narration.It is not clear whether Pothen has changed his honest course of life or remains honest.
   Jyothika is the sole strength of the film,with the added  verbal vibes of Parthiban and the earnest portrayal of characters by Bagyaraj and Thiagarajan.Suriya might be right in opting for a digital release of his film,directed by debut film maker J.J.Fredrick.
  

Thursday, May 21, 2020

Last century's Two Fabulous Second line heroines of Tamil Cinema














   Like second line heroes,there are second line heroines too.Every film industry cherishes the role play of women,as primary and secondary heroines.During the early decades of Tamil cinema when heroines themselves were not too many,every actress was almost treated alike.But there were two women in the Tamil film industry who acted more as secondary heroines,than first line heroines like P.Bhanumadhi,Padmini,Savithri and several others.They were the widely acknowledged  M.N.Rajam and a bit less known Rajasulochana on account of her larger contribution to Telugu cinema.
   Between the two women,M.N.Rajam who married the popular playback singer A.L.Raghavan hailed from Madurai.Whereas Rajasulochana was from the Telugu region Bezawada.Both these actresses shared certain similarities.They played the roles of dancers, vamps, mistresses and as wives of villains. Both were paired with the famous comedians K.A.Thangavelu and K.Sarangabani. But when compared to M.N.Rajam,Rajasulochana was a professional dancer.
   Moreover, both Rajasulochana and M.N.Rajam were the pairs of M.G.R and Sivaji Ganesan. Rajasulochana was paired with MGR in Nallavan Vaazhvaan and Arasilankumar{in addition to her role play as one among the three heroines in Gulebagavali} and with Sivaji Ganesan in Padithaal Mattum Pothuma,her most significant movie with him, besides Sarangadhara. M.N.Rajam was paired mostly with Sivaji Ganesan in very popular films like  Pennin Perumai,Padhi Bhakthi,Mangaiyar Thilakam and Pasamalar though she came as the wife of M.G.R.in Nadodi Mannan  besides sharing screen space with him,in films like Mahadevi and Thirudaadhe.Apart from these two heroes,it was S.S.Rajendran who was convincingly paired with these two actresses 
   Both Raja Sulochana and M.N.Rajam have acted together in a few films like Needhipadhi {1955} Thai Pirandhaal Vazhi Pirakkum,Thedi Vandha Selvam,Rangoon Radha K.Bala Chander's Naan Avanillai and R.Pattabiraman's Gayathri.Though they were close contemporaries in their career, Rajasulochana was five years older than M.N.Rajam and passed away in 2003.Their acting patterns were well set, to mark a significant difference between them.
   Rajasulochana used to blend a mesmerising touch in her dialogue delivery,similar to that of the dazzling actress T.R.Rajakumari. Whereas,M.N.Rajam who had a sharp and cutting tone stuff, was able to imprint her words with clarity and categorical thrust of emotions.With her emphatic and assertive voice, she would display her malicious roles dipped in venom and virulence,as she perfectly performed the role of Kantha in Ratha Kanneer, and that of a vindictive vamp in Jupiter Pictures'Thanga Padhumai.Later she did a hateful role as a hurting mother in law in Visu's Penmani Aval Kanmani.But the same actress was beautifully meek as the helpless wife of a wolfish villain{P.S.Veerappa}in M.G.R's fabulous film' Mahadevi'.In this film,her noble character would go to the extent of sacrificing her own child for the sake of saving the king's kid.
   RajaSulochana performed a distinct role alongside K.A.Thangavelu in Modern Theatre's Kaidhi Kannaayiram.When one hears P.Suseela's marvellous song 'Konji Konji Pesi Madhi Mayakkum"which came in that film as a modus operandi to trace a jailer's kidnapped kid [performed by the child artist Baby Savithri},one could immediately recall the impressive role performance of this unforgettable actress,known for her sparkling eye movements and melting voice charm.One of the most remembered scenes of Rajasulochana's appearance is from the most illustrious film Thai Pirandhaal Vazhi Pirakkum,in which she was paired with the fascinating Malayalam hero Prem Nazir and the scene recalled here is for the song Amudhum Thenum Edharku,sung in the clearest  and high sounding voice of Sirkazhi Soundarajan.
   The successive decades of both M.N.Rajam and Raja Sulochana pushed them to perform as supporting characters. Raja Sulochana's meaningful supporting roles were in M.G.R's Parakkum Pavai[as the physically challenged elder sister of the heroine and the wife of a ruthless villain}and Idhayakani[as the owner of a dance club}as well as in Sivaji Ganesan's En Thambi, Thirumal Perumai and Bharatha Vilas, and as the anti hero Rajinikanth's greedy elder sister,in the film Gayathri. Her last three films were Manaivi Solle Mandhiram,Ambikai Neril Vandhaal{as Urvasi's mother} and Kudumbam Oru Koil{1985}
   M.N.Rajam has a huge list of Tamil films spread over a period of five decades.From a second line heroine and wicked woman to an appealing mother and grand mother M.N.Rajam has carved an invincible place in Tamil cinema,as an active and admirable performer of roles, commanding shades of variety and value.Her transition on the big screen,from a vanquishing woman to veritable mother,was both compact and commendable. M.N.Rajam was adorable both as a mother{ in Arangetram, Oorukku Uzhaippavan,Gayathri,Thirumathi Oru Vekumadhi,Ullasam and Marumalarchi} and then as grand mother in films like Pammal K. Sambadham{as grand aunt}Winner,Thiruppachi and Marudhamalai.
    Some of the ever treasured films of Rajasulochana are,Nallavan Vaazhvaan,Arasilankumari,
Padithaal Mattum Podhuma,Thai Pirandhaal Vazhi Pirakkum,Kaidhi Kannaayiram Thedi Vandha Selvam and Sahodhari. Similarly the most outstanding films of M.N.Rajam among her many entries are,Mangaiyar Thilakam,Padhi Bhakthi,Pennin Perumai, Paasamalar, Mahadevi, Pudhayal,Dheiva Piravi,Kuladheivam,Thai Pirandhaal Vazhi Pirakkum,Makkalai Petra Makarasi,Nadodi Mannan,Thanga Rathinam,Thirumanam,and Thedivandha Selvam besides her two detestable negative roles in Ratha Kanneer and Thanga Padhumai.
    During those decades,when thespian skill was adjudged solely based on one's body language and verbal reach,these two women fully justified their presence in their movies by clearly demonstrating their histrionic ability,without any failing notes in the delivery of characters.Be it as the main woman of the story or as a supporting woman,these two actresses proved their calibre without any inhibition or lack of motivation.Dedication was a delightful component of their performance mettle.
   Among the many powerful and highly performing heroines,these two women were always seen to perform with competitive vigour so as to establish their own commitment and credibility,in mightily occupying their screen space,along with their women contemporaries.  Now it is the presence of M.N.Rajam with her unsurpassed screen power,that keeps us naturally reminded of her contemporary {late}Raja Sulochana and the winning years of both of them in Tamil cinema.
                                     ==================================

Monday, May 11, 2020

கதாநாயகர்களைக் கடந்த சில ஒருவரி வசனங்கள்

    எம்ஜிஆரும் சிவாஜிகணேசனும் தமிழ்த்திரையுலகில்  கொடிகட்டிப் பறந்த  காலங்களில்,முன்னவரின் சமூகச் சிந்தனையும் பாட்டுகளும் ,பின்னவரின் ஈடு இணையில்லா நடிப்புமே பிரதானமாக இருந்தது. காட்சியை ஒட்டிய நடிகர் திலகம் பேசிய பல வசனங்கள் இன்றைக்கும் நம் நெஞ்சைவிட்டகலாமல் நிற்கின்றன.
   ஆனால் பின்னர் சூப்பர் ஸ்டார் தொடங்கி வைத்த ஒருவரி பஞ்ச் டயலாக்ஸ் அனைத்தும் ரசிகர்கள் மத்தியிலே பெற்ற மாபெரும்  வரவேற்பின் அடிப்படையில்,ஒரு சில கதாநாயகர்கள் அவரின் வழியைப் பின்பற்றத் தொடங்கினர். 
   வழக்கமாக, இதுபோன்ற ஒருசில கதாநாயகர்கள் பேசிய பஞ்ச் டயலாக்ஸ்  மட்டுமே ரசிகர்களின் நினைவில் நின்றாடும். இருப்பினும் சில நேரங்களில், நகைச்சுவை நடிகர்களோ,வில்லன்களோ,அல்லது துணை நடிகர்களோ பேசிய சில ஒருவரி வசனங்கள்,காலத்தை கடந்து நினைவுகளில் நிலைப்பதோடு,அந்த வசனங்கள் இடம்பெற்ற திரைப் படங்களையும் சம்பந்தப்பட்ட காட்சிகளையும் நினைவு கூறும். அப்படி நம் நினைவலைகளைத் தாக்கும் ஒருவரி வசனங்கள் சில!
   "இது வேரு அது வேறு" எனும் கே.ஏ.தங்கவேலு விட்டுச்சென்ற'அமர தீபம்' திரைப்படத்தில் வரும் ஒருவரி வசனம் என்றென்றும் வெறும் வசனமாக நில்லாது தமிழ் மொழியின் இரட்டுற மொழிதலின் பொலிவை பறைசாற்றும். இந்த ஒருவரி வசனம் நிறைந்த காட்சி, சிவாஜி சாவித்திரி பத்மினி இணைத்து நடித்த அந்தத் திரைப்படத்திற்கு மெருகூட்டியது  என்றே சொல்லவேண்டும்.
   'முதல் மரியாதை' திரைப்படம் பாரதி ராஜாவின் இயக்கத்தில் ஒரு மாறுபட்ட சிவாஜியை நம் கண்முன்னே நிறுத்தி வரலாறு படைத்தது. ஆனாலும் அந்த திரைப்படத்தில் அவ்வப்போது சிவாஜி கணேசன் முன்னே தோன்றி  A.K வீராச்சாமி  பேசும்,"எசமான்,எனக்கு ஒரு உண்ம தெரிஞ்சாகணும்" என்ற ஒருவரி வசனம்,இன்றைக்கும் அந்த வசனத் தாலும்'முதல் மரியாதை'திரைப் படத்தை மறக்கமுடியாமல் செய்தது.
    இதேபோன்று 'ரமணா' திரைப்படத்தில் கேப்டன் விஜயகாந்த் பேசிய 'மன்னிப்பு தமிழ்ல எனக்கு பிடிக்காத வார்த்த' என்ற வசனத்தையும் தாண்டி யூகி சேது பேசிய 'இங்க அடிச்சா அங்க வலிக்கும்' என்ற ஒருவரி வசனம் தனிச் சிறப்பு பெற்றது.
   'நாட்டாமை' திரைப்படத்தில் ஒரு கிராமத்தில் பஞ்சாயத்தில் ஊர் நாட்டாமை நடத்தும் கூட்டத்தில்,சாதாரணமான ஒருவர்,"நாட்டாம தீர்ப்ப மாத்தி சொல்லு" என்று  கொக்கரிக்கும் ஒருவரி வசனம்,நாட்டாமைப் புத்தகத்தின் வரலாற்றை மாற்றி எழுதியதென்றே சொல்லலாம்.இந்த வசனம் பல திரைப்படங்களில் மீண்டும் நக்கலாக எதிரொலித்தது.  
   சூப்பர்ஸ்டார் பஞ்ச் டயலாகிற்கு முதன்மை பெற்றவர் என்றாலும் 'சந்திரமுகி' திரைப்படத்தில் பிரபு பேசிய 'என்ன கொடும சரவணன்' எனும் ஒரு வரி வசனம் வேறு சில திரைப்படங்களிலும் நையாண்டியாக எதிரொலித்தது.
    நகைச்சுவையில் தங்கவேலுவிற்குப் பின்னர் விவேக் பேசிய 'எப்பிடி இருந்த நான் இப்பிடி ஆயிட்டேன்' எனும் வசனம் நம்மில் இப்போதும் பலரை நினைத்த நினைத்து சிரிக்கச் செய்கிறது.அவ்வளவு ஏன், போக்கிரி திரைப்படத்தில் விஜய் பேசிய "ஒருதடவை முடிவு பண்ணீட் டேன்னா என் பேச்ச நானே கேட்கமாட்டேன்" எனும் பஞ்ச் டயலாகையும் கடந்து ,வடிவேலு பேசின 'வட போச்சே'ங்கிற வசனம் ஒரு தனிரகம் தான்.வடிவேலுவின் வாய்க்கொழுப்பில் விளைந்த இன்னொரு வசனமே , சரத்குமார் கதாநாயகனாகத் தோன்றிய 'கம்பீரம்' திரைப் படத்தில் இடம்பெற்ற"அவனா நீ?"எனும் அகம் பாயும் சொற்களாகும்.அதே வடிவேலுவை, ''நீ அதுக்கு சரிப்பட்டு வரமாட்டாய் " எனும் சிங்கமுத்துவின் விளக்கம் தரா ஒருவரி வசனம், பாடாய் படுத்தியதைக் கண்டு  வாத்தியார் திரைப்படம் பார்த்தவர்கள்  குலுங்கி குலுங்கி சிரித்திருப்பார்கள்.    
   வில்லன்களில் அன்றைய பி எஸ் வீரப்பாவின் "சபாஷ் சரியான போட்டி" எனும் 'வஞ்சிக்கோட்டை வாலிபன்' வசனம் மிகவும் பிரசித்தி பெற்று பல சூழ்நிலை களில் பலராலும் அடிக்கடி நினைவுகூப் பட்டது. அதேபோலதான்  'பதினாறு வயதினிலே' திரைப்படத்தில்  ரஜினிகாந்த் வில்லனாகத் தோன்றி  விஷமத்துடன் அடிக்கடி பேசிய "இது எப்படி இருக்கு" எனும் வசனம்.இந்த ஒருவரித் திருவிழா, பின்னர் பலதிரைப் படங்களில் உலாவந்து.  
   இந்தவகையில்,சத்யராஜ் வில்லனாக நடித்த காலத்தில்,'காக்கிச் சட்டை' திரைப்படத்தில் அவர் பேசிய "என் கேரக்டரையே புரிஞ்சிக்க மாட்டீங்கறீங் களே"எனும் அமர்க்களமான ஒருவரி வசனத்தை,அவரே மேலும் சில திரைப் படங்களில் பேசித் தீர்த்தார். 
    இப்படி நிறைய வசனங்கள் கதாநாயகர்களின்'பஞ்ச் டயலாக்கை 'வெட்கப்படச் செய்திருக்கின்றன என்றால்,அது மிகையாகாது. அவ்வளவு ஏன்? 'சொப்பன சுந்தரி'ங்கிற பேர கேட்டவுடனே, 'கரகாட்டக்காரன்' திரைப்படமும் கவுண்டமணி- செந்திலின் நகைச் சுவை அட்டகாசங்களும் நம் நெஞ்சங்களில் "ச்சும்மா அதிருதுல்ல".   
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Saturday, May 2, 2020

Mysskin's Mind sweats

 

   Each film maker's mind rolls over certain pet zones in search of new notes for insight and interpretation.The individuality of a film maker forms an integral part of his creative perceptions and mode of narration.He might succeed or fail in his mission.But his individuality will remain as his eternal asset.There are film makers who pass on abundant positive energy through their theme, story line and mode of narration.On the other hand,there are some creative individuals, who penetrate into our psyche and keep nagging our hidden side, impacting a sudden jerk on our minds' interiors.Though it becomes an acutely disturbing experience,many among us are willing to undergo that, however traumatic it could be.
  Even K.Balachander who was a specialist in family dramas and felicitous promotion of exalting characters and events,created disturbing moments for us,through his films like Thappu Thaalangal and Varumaiyin Niram Sigappu. Similarly Bala has created neatly interwoven  negative pathways, for letting his creative vehicle drive to unfamiliar zones.We know how he made those negative destinations familiar to us,through his riveting  narration of agonizing events, shown on the big screen by his extraordinary films such as Nanda,Pitha Makan,Naan Kadavul,Paradesi and Nachiyar. But unlike K.Balachander and Bala we have Mysskin who is a film maker  bent upon tracking the nuances and intricacies of morbid and blood chilling experiences,that replicate themselves through his series of narrations in films like Nandalala,Aattukuttiyum Onaayum, Pisaasu,Savara Kathi and Psycho.
     It is of course true that Mysskin started his film journey with his street side romance Chithiram Pesudhadi, that had very many unique features fresh from the oven.Naren,Bhavana, Dhandabani and Ulakanathan's song 'Vaazhameenukkum vilaangu meenukkum kalyaanam' are the exotic traits of the film,still rocking the audience memory.This was a debut film in Tamil for Bhavana,but she was found performing a kind of miracle in her role delivery. Ulakanathan's song was repeatedly heard and celebrated by music lovers. 
    Mysskin's next film Anjaadhe starring Naren,Ajmal, Prasaana and Pandiyarajan carried enormous entertainment quotient based on street shows of friendship and rivalry,besides making fresh waves through projection of villainy by actors like Pandiyarajan and Prasanna, who could hardly be imagined to be villains{ But Prasanna later grew into a chic and stylish villain without pomp and fury}.This film too had the intoxicating number"Kathaazha Kannaala Kuthaadha Nee Enna"
   Two of Mysskin's special cop stories are Yudham Sei and Thupparivalan.Both are not mere detective stories,extracting conventional dedication from men of the uniformed service.Instead they extracted enormous cerebral strain,in tracking the nature and root causes of the criminal events that the cops unusually come across and relate them to the riddling psyche of the agents of crime.Beyond the suspense element, it is the morbidity thrust of the crimes,that made them challenging not only for the cops but also for the audience witnessing the gory narration.
  There is always a tremendous amount of interpolation in Mysskin's way of story telling that makes actors fade into characters and characters dissolve into the ocean of the human psyche. That is why we remember Mysskin's films,more than the actors who played the protagonists.I am sure both Cheran{Yutham Sei} and Vishal as well as Prasanna{Thupparivalan}would have willingly undergone the ordeal of losing themselves as actors,in the characters who in turn have passed on as mind blowers.
   Mysskin who is said to be an avid reader of books,especially those of the famous Russian novelist Count Leo Tolstoy,could be called the master narrator of street events.With his unique perception of street dynamism based on solid psychological and supernatural moorings, Mysskin evolves the volume and velocity of his mode of narration of events and characters,on the big screen.
    There is a persistent throw of darkness both physical and psychological,governing the course of events taking place in Mysskin's films.He also opens the doors for Christian musings,over the conception and development of his themes and story lines.Physically and mentally challenged people,homeless street dwellers and beggars,find a place in his focus on the agony of the under privileged and the down trodden sections of humanity and the amount of crime bound mischief, born of the deprivation of the right to claim a space,both for their body and mind .
   Travelling on the darker pathways with single minded devotion,Mysskin traces lone souls with their specific pangs and pushes them into limelight,with their sagas of sufferings.Psycho is one such film dealing with the mental anguishes of a boy put to needless punitive measures and unsympathetic instructional approaches, adopted by the defective side of the educational system.When a victim of maltreatment turns into a criminal with  retrospective pressures on the mind,the respective individual becomes a threat to society.Wronged individuals always become doubly armed to wrong,with vengeance and virulence.
     Mysskin is a specialist in telling crime stories.It does not mean that he is trying to justify crimes.Starting from petty street crimes narrated in films like Chihiram Pesudhadi, Anjaadhe, and Mukamoodi he moved on to subtleties in narration of thrillers,with a riper comprehension of the intricacies hovering around the acts of crime,as narrated in Onaayum Aattukuttiyum and Psycho.
  Mysskin's Pisaasu was intensely supernatural, reflecting the truth that sometimes  motiveless acts of crime could be blessed by the victim of such a crime,transforming into a benevolent ghost.This is because the person who gets involved in an accident, is under an illusion that somebody else has committed it and he is struggling to save the victim of the accident,who dies during the act of saving.The victim is a little girl who turns into a ghost, and understands the psychological predicament of her killer.Hence the ghost does not harm him.Later when the hero realizes that he was the cause of the accident, a deep sense of guilt and compunction pushes him to commit suicide.But the ghost saves him by cremating itself.
   In addition to being a film maker,Mysskin donned the the protagonist role of a mentally retarded adult in Nandalaala and as the baddie Wolf Edward, in Onaayum Aattukuttiyum with guilt dominated  patterns of behaviour. Mysskin has also acted in his films Super Delux,Savara Kathi and Suttu Pidikka Utharavu. In Mysskin's purview, crime and punishment or sin and retribution frequently get juxtaposed for reformation and atonement,depending upon the the psychological journey undergone by the respective criminal or sinner.
   In other words,for Mysskin,acts of crime/sin should be judged more by their reasons than the actual events of crime/sin.May be Mysskin believes that the untold stories of the mind have to be taken into consideration,while assessing the actual revelations of the mind.It is in this respect,Mysskin surpasses other film makers and their ways of handling the highly creative medium of cinema.
    The distinct directorial ability of Mysskin travels into the mind of man,looks upon its good and bad sides and deals with their consequences,by relating them to a precise psychological ambiance.His characters are controlled by the inner psyche as much as by the external happenings.As a director, Mysskin seems to share a little bit of the mindset of Bala,who focuses more on external crimes and their impact on the victims.Bala's negativity in perception and narration,is a product of the actualities that prevail and are visible.Whereas Mysskin's negative trajectory is a far deeper phenomenon, passing through the barriers of the mind and creating psychological protocols for stranger,vitally influential vibrations.Streets,Orphans,Physically or mentally challenged individuals,nuisance lovers,musical relief promoters and even dogs and pigs,fill the shots of Mysskin one after the other.
   On the whole, it is not only a different world but also a difficult one that Mysskin creates for the grasp of the common man.With his indecipherable mind sweats, Mysskin  is a rare find for Tamil cinema and he makes the Tamil film industry rarer than ever.
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Tuesday, April 21, 2020

The Two Telugu Delights of Tamil Cinema

 













     Telugu film world has substantially enriched Tamil cinema,during the pre-independent and post independent decades of  India. Eminent film makers like L.V.Prasad,T.Prakash Rao, P.Pullaiah, D.Yoganand,K.Prakash Rao,Vedantam Ragavaiah,Tapi Chanakya and many others,enhanced Tamil Cinema's glory,during their respective periods.There were also wonderful singers like Ghantasala, P.B.Srinivas P.Susheela,S.Janaki Jikki and Jamunarani and mesmerising music composers like Adhi Narayana Rao. Actors like S.V.Renga Rao and V.Nagaiah contributed enormously to the acting tempo on the big screen,besides the early Telugu heroes like N.T.Ramarao, A.Nageswara Rao and Suman.
   Similarly, there were great heroines like Savithri,P.Bhanumathi,Sowcar Janaki, Sharadha and Rajasulochana. But there were two great Telugu artists who with their sparkling eyes and identical acting dimensions of feminine grace and sublime sensibilities,delighted the audience and glued them to the Tamil Silver screen.Both these actresses had their historic innings,with Sivaji Ganesan as the hero.They were Devika and Vanisri  the two magnificent actresses of a significant era of Tamil cinema.
    Devika who was five years older than Vanisri  and who is no more,shuttled between Telugu and Tamil language films,with an equal focus on both the languages.Where, as Vanisri's Telugu contribution was twice that of Tamil films,though a majority of her Tamil films continue to make her remain as an eternal delight of the Tamil film audience.Both Devika and Vanisri had acted with the three illustrious heroes,M.G.R, Sivaji Ganesan and Gemini Ganesan.Devika's single film Anandha Jothi with M.G.R,is still rolling in audience mood not only for the P.Susheela's timeless song "Ninaika Therindha Maname Unakku Markka Theriyaadhaa" but also for her fear stricken role,with her little younger brother,{the little rebellious boy Kamalahasan},unpleasantly gulping the threats of the crude villain,P.S,Veerappa.Vanisri did three films with MGR{ Kannan En Kadhalan,Thalaivan and Oorukku Uzhaippavan} and all had less scope for her to perform with independent merit.
   It would have been an exuberant journey in acting for these two women,to be a pair of the Chevalier.Devika was seen with Sivaji Ganesan in myths like Karnan,Thiruvilayaadal and Saraswathi Sabadham{she was not paired with Sivaji Ganesan in the last two}family dramas like Shanthi,Annai Illam,Paava Mannippu,Pazhani, Bhandha Paasam,Muradan Muthu and Anbu Karangal,romantic ecstasies like Neelavanam and Aandavan Kattalai and situational comedies like Bale Pandia. For Vanisri it was always a fantastic romantic experience with Sivaji Ganesan, in fabulous films like Uyarndha Manidhan,Sivakamiyin Selvan,Vasantha Malikai  Vani Rani, and Rojavin Raja,family dramas like Niraikudam, Kulama Gunama{in which she was paired with Jai Shankar}and Nallathoru Kudumbam.
   The profound layers of man woman relationship sailing on a lovely stream of romance, always carried the fairy touch of a fantasy experience,in the minds of the audience,whenever  these two women happened to fall into the hands of that mighty hero,who knew how to showcase them along with him,as ravishing benefactors and beneficiaries of a mind blowing romantic experience.This is what we positively witnessed in films like Neelavanam, Aandavan Kattalai, Uyarndha Manidhan and Vasantha Maalaigai.
   With the other hero Gemini Ganesan,Devika's best film was Vaazkai Padaku followed by Idhayathil Nee and Sumaithangi{which was a tragic tale of romance}.Vanisri's two unforgettable films with the king of romance were,Thamarai Nenjam and Velli Vizha.In both the films Vanisri played the role of an ideal woman symbolising the power of Platonic love. Incidentally,both were K.Balachander's beautiful films.If K.Balachander rightly identified the acting merits of Vanisri,C.V Sridhar had perfectly tapped Devika's inherent  passion for romantic roles by offering her the right opportunity in his films like Nenjil Oer Aalayam, Nenjam Marappadhillai and Sumaithaangi.
    Apart from Sivaji Ganesan,Vanisri's regular hero was Jai Shanker with whom she did her debut film Kaadhal Paduthum Paadu produced and directed by Joseph Thalith Jr,on behalf of his Citadel Studios.In fact Vanisri would have acted in  more number of Jai Shankar films, than those of Sivaji Ganesan. With Jai Shankar her special films were Kannipenn  and Kulama Gunama.Devika who was introduced by Muktha V.Srinivasan in his debut film Mudhalali acted with Gemini Ganesan, S.S.Rajendran,Muthuraman and Kalyan Kumar besides Sivaji Ganesan,her most suitable man on screen.With Kalyan Kumar,her remarkable films were Nanjil Oer Aalayam {as his former lover} Nenjam Marappadhillai,KadavulaiKandein and Yaarukku Sondham.She has also acted with Jai Shankar in Dheiveega Uravu. Devika was an actress groomed by eminent film makers like A.Bhimsingh,C.V. Sridhar,P.Madhavan, A.P.Nagarajan K.Shankar ,S.S.Vasan and B.R.Panthulu besides Muktha V.Srinivasan who introduced her.Whereas apart from Joseph Thaliath,directors like Krishnan Panju, K.Vijayan, K.Balachander,Mutha V.Srinivasan ,K.S.Gopalakrishnan, C.V.Rajendran, and B.R.Pathulu fine tuned Vanisri's fascinating portrayal of characters.
   What brings these two actresses together, is not simply their nativity to the Telugu region but their very similar portrayal of womanhood,as something truly endearing and truly lovable. Their sparkling eyelashes speaking more of a shuddering exterior,seem to hide a firm frame of mind that always radiates an identical mark of their profiles and protocols of cinematic presentation of characters.In both of them,one can notice the elements of innocence in looks and an exquisite appeal of  feminine fantasy,capable of conquering the minds of men,without any cosmetic extravagance. Aandavan Kattalai and Uyarndha Manidhan are the two special films of these two women with their romantic gusto invading the heart and soul of the hero and thereby pulling the audience with a magnetic spell,into an equally exciting romantic experience, with an uncontrollable sense of longing to travel along with the hero,on his exotic romantic journey.
    One cannot think of these two actresses as women characters ever raising their tone to talk rudely,or stepping into a course of argumentation with their men counter parts.They were mostly noticed at the receiving end of any emotional bargain,that normally happens between man and woman.It was a generously surrendering kind of role,they both played, to draw the aroma of feminine grace and charm.Devika personified  the essence of feminine dignity through her roles in films like Marakka Mudiyuma and Nenjil Oer Aalayam and Vanisri vindicated selflessness through her characters in Thamarai Nenjam and Vellivizha.If Neelavanam, Aandavan Kattalai, Uyarndha Manidhan Vasantha Malaikai were romantic classics, Nenjil Oer Aalayam,Marakka Mudiyumaa,Thaamarai Nenjam and Velli Vizha could be called the ideal fruits virtuousness,dipped into the honey of ennobling human emotions. Purity was the essence of these films.It is quite natural that these films were pure, because the makers of these films were the masters,perpetuating the best side of  human life.
    With these minimal observations on the two Telugu delights,it could be happily summed up that any devotee of Tamil cinema will feel impoverished in their film watching experience, without duly recalling the golden memories of the succulent contribution  of these two Telugu delights to Tamil cinema,through their commendable films, Mudhalaali, Vaanambadi Neelavaanam,Aandavan Kattalai,Nenjil Oer Aalayam, Marakkamudiyuma and Vazhkai padaku {of Devika} and the mighty entries like Uyarndha Manidhan,Vasantha Maalikai, Sivakamiyin Selvan,Thamarai Nenjam,Velli Vizha, Kulama Gunama,Irulum Oliyum and Annaiyum Pithaavum.{of Vanisri}.With less than 50 Tamil films in each one's archives, these two Telugu delights conquered Tamil emotions,by their submissive but enthralling portrayal of characters on the big screen.Tamil Theatre experience will remain woefully incomplete without these two Telugu delights.
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Tuesday, April 14, 2020

M.G.R's timing for changing his heroines

 

   It is a known fact that MGR,the triple initials,reached a cult status in Tamil cinema,more on account of the social ideologies and moral principles,that he perpetuated through his prioritised characters,than by varieties of roles that his contemporary Sivaji Ganesan stood for.Moreover, unlike Sivaji Ganesan whose straight entry was as a hero,MGR had to struggle a lot,to reach the hero status,only after doing secondary roles in nearly a dozen films with heroes like M.K.Radha P.U Chinnappa, M.K.Thiagaraja Bhagavadhar and a few others.Until the days of Rajakumari, Marudha Naattu Ilavarasi, Marmayogi and Mandhiri Kumari,he had to wait, because he stepped into film career nearly fifteen years prior to Sivaji Ganesan.
   MGR's earliest heroines were K.Malathi, Madhuridevi, B.S.Saroja, S.D.Subbulakshmi, V.N.Janaki and T.R.Rajakumari. It was V.N.Janaki who acted with him in more number of films during his early spell as single hero.Then came the other heroines Anjali Devi, G.Varalakshmi,S.Varalakshmi, E.V.Saroja,P.Bhanumathi and Padmini.Of these,his more frequent female pairs were, Bhanumathi and Padmini,because while the former was a professional singer,the latter was a classical dancer.Of all heroes it was MGR who could effectively read the pulse of the audience and anticipate their mood.He was also good at assessing the popular performers during different periods and accommodate them in his films,depending upon their suitability and compatibility,to his screen expectations.
   Like the themes and story lines of MGR films,which were structurally and ideologically well connected to his socio-political aspirations,his heroines were also participants in his celluloid programme,so as to fix themselves relevantly to his pet ideologies.Even his family dramas were made to rope in women participants,in a routine of cherishing noble emotions of womanhood and motherhood.As such, the scope for a demanding delivery of characters,was much less in M.G.R.films when compared to Sivaji Ganesan films.
   What was different between M.G.R and Sivaji Ganesan in their enrolment of heroines,was the number. Sivaji Ganesan would have acted with more than two dozen women in his entire film career.Whereas,in the case of MGR the number could be a little more than a dozen.The Chevalier's most frequent female pairs were Padmini,B.SarojadevK.R.Vijaya,and J.Jeya lalithaai,followed by Sowcar Janaki,P.Bhanumadhi,Devika and Vanisri.While all these women have also been paired with MGR,{Sowcar Janaki and Devika did one film each viz.Panam Padaithavan and Aanandha Jothi} almost fifty percent of films of this mass hero,were confined to the presence of B.Sarojadevi and J.Jeyalalitha.However Sivaji Ganesan's later pairs like Usha Nandini,Sri Priya,Sujatha,Ambika,Radha,Vadivukarasi and Radhika had no opportunity to act with MGR,
     MGR would do the right thing at the right time,to effect a change in terms of the cinematic value of his films,so that the audience would cherish their film watching experience of an MGR film,with the MGR image,rooted firmly to their conscious and sub conscious foundations.For instance,at a time when only black and white films were making their rounds in Southern India,it was MGR who came out with the first Tamil/South Indian colour film Alibabavum Narpadhu Thirudarkalum{made in Geva Colour} to draw the attention of the production houses,to compete with the commercial trend of Bollywood.
   Though MGR and Sivaji Ganesan were said to have equally ruled the Tamil film industry at one point of time,with their popularity and decision making possibilities,it was also viewed that MGR wielded more power,in deciding the scope and value of many artists,technicians as well as the transitional  patterns of film making,which consequentially increased the budget value of his films,with assured returns of  substantial profit.Hence, besides having a say on most matters of film making, he also had an instinctive forethought to change his heroines as and when necessary.When MGR had already done five films with P.Bhanumathi,and when B.Sarojadevi rose to fame through her remarkable performance in Kalyana Parisu,he rightly made her join his hand in Nadodi Mannan {in which MGR became a debut director too},because as per the story line,the character of P.Bhanumathi was to sacrifice its life, for the sake of the hero.The other interesting fact about Nadodi Mannan was its speciality in being the only Tamil film with a black and white first half and a Geva colour second half. 
    Similarly, after letting B.Sarojadevi to be his chosen female co star for nearly 15 films, he thought his films needed a change of heroine to pass on the freshness of his films to the audience.After watching J.Jeyalalitha's performance in Vennira Aadai,perhaps he would have thought that she would be the best bet for his future projects.Though Aayirathil Oruvan released in 1965,was the first film of Jeyalalitha with MGR,two years later in Arasa Kattalai directed by his brother M G Chakrabani,MGR repeated the same formula of B. Sarojadevi sacrificing her life for the hero,as P.Bhanumathi did in Nadodi Mannan.
    Incidentally,it should be mentioned here that he picked up both B.Sarojadevi and J.Jeyalalitha  only after their mighty show in the two great films of C.V.Sridhar, who had not till then directed any film of MGR.That  MGR gave Sridhar a new lease of life as film maker,when Urimai Kural became a block buster,is another matter.On the whole,B.Sarojadevi was his pair in about 26 films and J.Jeyalalitha in about 28 films.
  After enrolling Jeyalalitha in almost 25 films,MGR went in for a change of heroine in his home production {Sathya Movies}block buster film Rickshakaran,with Manjula as his new find.Later in the mega hit film Ulagam Sutrum Valiban {directed by himself} which had three heroines, MGR did not think of Jeyalalitha as one of them but chose Manjula, Chandrakala and Latha{who became his successful pair after Sarojadevi and Jeyalalitha}.
   Almost all the heroines of MGR films,were conventional additions,because in an MGR film, only those three letters and their charisma that mattered more than anything.MGR repeated the same hat trick with his heroines,after acting a score of films with J.Jeyalalitha to go in for newer faces like Manjula{in three films} and Latha {in about a dozen films}.There were of course other women like K.R.Vijaya, Lakshmi,Vanisri,Radha Salooja and Rathna who had acted in two or three films,in the midst of his regular and  immortal heroines,B.Sarojadevi and J.Jeyalalitha.The third position as the most preferred heroine of MGR would naturally go to Latha.
    M.G.R knew how to fix his mascot,in accordance with the changing times.Be it the replacement of comedians[Nagesh in the place of Chandrababu or Cho/Thengai Srinivasan instead of Nagesh}or singers{K.J.Yesudas and S.P.Balasubramaniyam in the place of T.M.S}or his heroines,his predictions about the success value of his films hardly went wrong .Nevertheless as far as his villains were concerned, after P.S.Veerappa,it was M.N.Nambiyar or S.A.Asokan {or both} who continued to travel with him on the screen,as his regular antagonists.For him, it was always the timing for a change that counted very significant and his perceptions with regard to the timing for change of heroines proved his ripeness and farsightedness,in determining the reach of his films with his innumerable fans and adorers.
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Wednesday, April 1, 2020

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.
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Sunday, March 22, 2020

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.
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