The Three-in-One T.S.Balaiah.

             

  Tirunelvei S.Balaiah was a villain-cum-comedian-cum-character actor.In this aspect, he was likethe veteran M.R.Radha; the only difference was he could not play with his tongue or meddlewithhis voice as Radha could do.Further unlike Radha who did a mighty anti hero  role in'Rathakanneer',Balaiah came as a handsome dignified hero paired with Madhuridevi,intheJupiter Pictures'film' Mohini',in which MGR also starred as second hero.

   Balaiah had his own variety in voice modulation, that always helped him change his mood as well as that of the audience.He was the only actor of his days, who could play villainy blended with an obvious mixture of cowardice.This could be clearly seen in movies like 'Madurai Veeran','Pudumai Pithan' and 'Thooku Thooki' wherein,he would try to hide himself or avoid receiving a blow in stunt scenes.However he displayed his fencing skill in the film Rajakumari,in which he was seen fencing with M.G.R..T.S.Balaiah  was equally capable of the brutal side of the villain, hellbent in achieving his fiendish schemes in movies like 'Maman Mahal''Pudhaiyal' and 'Pazhani'.
    In performing character roles,Balaiah was a stable achiever.No one can forget his sterling performance in 'Kalathoor Kannamma' 'Paava Mannippu' and 'Bagapirivinai' in this regard. He was perfectly fit for father roles and he always adorned it with ease like the duo S.V.Renga Rao and S.V.Subbiah .His acting style was unique as a tension ridden father and his voice modulation could exactly pass on the tension to the viewers. His voice used to shuttle between the serious and silly extremities with a ready made switch over and this was always his asset in delivering dialogues. His voice could boil and melt at regular intervals and it was the melting side of his voice that endeared him to the audience.
   Balaiah  was exceedingly comfortable on the comedy track and he performed comic roles with consummate skill; at times he did this,outshining the comedy actors themselves.His earliest best comedy role was in the film Vaazhavaitha Dheivam as V.K.Ramasamy's sidekick,running after the comedienne T.P.Muthulakshmi with his romantic overtures.He also performed a comedy cum character role in the film 'Padhi Bhakthi'.Sridhar's 'Kadhalikka Neramillai' projected Balaiah's outstanding flair for comedy putting the veteran comedian Nagesh quite often at the receiving end.No one could forget Balaiah's unswerving gusto for humour in 'Thillana Mohanambal' in the train scene.The other movie that capitalized on the comedy potential of Balaiah was 'Ootivarai Uravu' that abounds in hilarious scenes of the helplessness of a character,carrying stories of an extra marital affair in the past.This film was a successful contextual comedy revealing Balaiah's spontaneous outlet of nervousness coupled with the humour instinct.
    Later,it was K.Balachander who put to exceptional use, the comedy grandeur and character control of Balaiah in his movie 'Bama Vijayam' by assigning him the role of a loving but corrective father. Balaiah performed this role with ease and grace by mixing comedy with common sense.The movie is remembered for Balaiah's role teamed up with that of Nagesh, Muthuraman and Major Sundarajan. 
    Yet another film that brought out Balaiah's amazing calibre of acting was Sivaji's 'Thiruvilaiyadal' in which the thespian put up a brave show as Hemanatha Bagavathar with his masterly facial expressions for the song 'oru nal podhuma?'and finally submitted defeat with remarkable dignity.This epoch making actor  remained a boon to Tamil Cinema at its founding stage and contributed his best in the acting sphere,by setting great examples of various shades of acting.T.S.Balaiah did not live long;but his name and fame have been beautifully carved in the annals of Tamil film history to find a lasting place in the memory of Tamil film lovers.This is because he was a fantastic character actor a fascinating villain and a fabulous comedian,all the three layers fixed in a single mould.

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The Myriad- Tongued M.R.Radha.

           

    What made M.R.Radha,the marvellous actor of Tamil Cinema,quite different from others, was his tremendous capacity to meddle with his tongue and voice,in delivering dialogues.One would wonder if his voice was naturally like that,or he made it so to stamp a special identity for himself as actor.His voice would be simultaneously gruff,sonorous and soothing and one would miss the intended meaning of his utterances, if one did not follow his sense of timing of dialogue delivery. The beauty of the whole exercise was that there would be a perfect symmetry between his facial expressions and manner of dialogue delivery.

  It would be difficult for one to differentiate between his fast changing facial expressions from a frown to an endearing calm,and the voice from its harsh notes to a comforting level of harmony. At times, his face would mean more than his words.Though he repeated this course in all his films,the audience would continue to enjoy him perform,because the variety quotient was there in the subject matter that Radha would deal with and react to. 
    Was M.R.Radha a villain or a comedian or character actor?Like the combined medley of his voice,he was a perfect combination of all the three .He need not even play the three roles independently.He would casually mix comedy and geniality with villainy and make himself acceptable in all the three at one stroke. He has also played dual roles as the heroine's father and as villain in movies like 'Dharmam Thalaikakkum' and 'Bale Pandia'.

  Though his debut film was 'Rajasekaran Emaandha Sonagiri'{1937} it was 'Ratha Kanneer  produced under National Pictures[1954],that became an instant hit with the audience,in thematic content and character delineation.In an anti hero role Radha excelled in his role play and got rooted to the solid ground of Tamil cinema.The other films that showed him as a male chauvinist ill -treating his wife were, Nalla Idathu Sambandham and Chithi. No one can forget his rude and hateful villainy in movies like 'Pava Mannippu''Bagapirivinai' Karpagam' 'Kai Kodutha Dheivam' and 'Chandrodhayam'.His comedy sense was vitally felt by his roles in' Iruvar Ullam' 'Paalum Pazhamum' and 'Bale Pandia' [particularly in the song sequence 'Neeye unakku enrum nigaranavan'].

    M.R.Radha was a part of the revolutionary movement initiated by Thandhai Periyar and he never failed to voice the iconoclastic views of Periyar in one way or the other, through the roles assigned to him.However,he did not hesitate to act in movies based on mythical themes like 'Dasaavathaaram' directed by K.S.Gopalakrishnan. Spontaneous inclusion of his own dialogues to the original script assigned to him, is said to be a periodical issue raised against him by many script writers.But quite often,it has resulted in enriching the entertainment segment of his films.
   Radha has frequently worked with film directors like K.S.Gopalakrishnan and A.Bhimsingh and he has also remained as a value addition in Devar Films and Modern Theatres' productions. He has successfully shared the screen space with all the front line heroes of his time,such MGR, Sivaji Ganesan, Gemini Ganesan and S.S.Rajendran. His last performance with MGR in a character role as the elder brother of the heroine in 'Petraldhan Pillaiya?' was substantially memorable. The growth of Tamil Film industry owes him a lot in terms of variety of roles and depth of performance.With spontaneity,unswerving dedication  and sense of perception of the role that came in his way,M.R Ratha was truly a model actor for emulation, by successive generations. 
    M.R.Radha was a dedicated stage artist who grew in his levels of performance by leaps and bounds.His meteoric growth as a film actor, did not deter his interest in stage performance.Till the last breath of his life, his priority for theatrical display of his amazing acting potential, remained intact.After M.R.Radha,Tamil Cinema has come across many a villain and character actor but not the one like him,whose acting fundamentals were honed by a direct delivery of acting on the stage and taken to new heights,at every move initiated by him to invigorate Tamil drama and Tamil cinema.Radha stands in the line of  the great heroes like Sivaji Ganesan and MGR to remain as one of the monumental makers of the sum and substance of Tamil Cinema.     
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The Archetypes of Villainy in Tamil Cinema {Updated}

 

         

      Villainy is a concept of value addition to fiction, drama and most importantly for the world of cinema, irrespective of nationality, language and culture. This is perhaps due to the fact that life is always a mixture of good and evil;the latter quite often bent upon destroying goodness  in any form. A film in any language, can hardly have its take- off, without a character denoting traits of villainy.If no such character is there,nature or the circumstances  surrounding the characters ,will carry the villainous effects . Even the most popular Harry Potter series have notorious villain characters like Voldemort and Beatrix.Most of the action movies and thrillers sustain the interest and entertainment aspects for crowd pulling, only through a catchy conceptualization of the villain roles as a formulaic addition.
    Tamil cinema in this regard,has almost celebrated the inclusion of villainy as a potential ingredient ever since its inception. The very thought of villainy would bring to one's mind the wicked faces of the various villain actors of Tamil films,who personified evil in their exemplary style.During the time of P.U.Chinnappa,one could not forget the villain actor R.Balasubramanian whose performance as the cantankerous Kudilan in 'Manonmani' created an indelible impression. Can any film goer among the senior audience ever forget the suave but cruel role of determined villainy by so stylish an actor like Ranjan in 'Chandralekha'? Another actor of this period who made villainy an adorable trait was S.A.Natarajan, who claimed immortality for evil by his inimitable performance in movies like 'Mandirikumari' and 'Manohara'.
     With the assertive entry of MGR anchoring goodness as the one and only trademark of  a hero, villainy became inevitable to create the stage for a fighting ground between good and evil and then establish the supremacy of the essence of goodness.The difference between MGR and his strong contemporary SivajiGanesan was that ,villains created the circumstances causing challenges and sufferings for the hero in MGR movies; whereas,in Sivaji movies, the circumstances themselves quite often became the source of villainy putting the hero in a fix .
      If Sivaji was ready to accommodate fellow heroes in his movies with a friendly spirit, MGR had all embracing approach to  villain actors like P.S Veerappa, M.N.Nambiyar, S.A.Asokan and R.S.Manohar who maintained an all time rapport with him. T.S.Balaiah and M.R.Radha have been deliberately excluded from this list because,they need a different space,for their varied dynamics of acting. However,it should be mentioned here that these two actors were unique in being villains on the screen without indulging in notable fisticuffs or in any other serious fighting scene.It was their singular scheming frame of mind in reflecting villainy that counted a lot. They were villains of a distinct mould. While Radha would periodically raise and pull down his decibel with profuse mischief mongering, Balaiah would articulate dialogues with a voice that would foretell the impact of his performance.
     Among these veteran villains,it appeared as though P.S Veerappa was born for the only purpose of performing villain roles with an innate passion for it.His cruel looks,wicked serial laugh and his terrorizing delivery of dialogues were his highly complimentary traits of acting. Veerappa's crude display of villainy in movies like 'Mannadhai Mannan',' Albaabaavum Naarpadhu'Thirudargalum' ''Mahadevi' 'Anandajothi' 'Vanjikkoattai valiban' and 'Kaidhi Kannayiram'  will ever remain an intimidating factor, especially among the child audience.
       M.N.Nambiyar,who started his career as a comedian in 'Bhaktha Ramadas' and 'Vidhyapathi'  became a classic villain actor in a lot of MGR movies besides doing villain and character roles in movies of Sivaji and Gemini Ganesan. Nambiyar's depiction of evil was always characterized by scheming efficacy, dramatic gesticulations and formidable voice modulations.His role as Rajaguru in 'Mandirikumari' and his crude display of villainy in movies like 'Sarvaadhikaari' 'Uthama Puthiran'' 'Kudiyirunda Koil' 'Naan Anaittal''Pudhia Boomi' 'Naalai Namadhe' 'Sirithu Vaazhavendum' and 'Thirisoolam' is a haunting replica of horror. He was an incorrigible bad man in 'Kavalkaran' though he played the role of MGR's father-in-law in that movie.But he was a redeemable villain in' Enga Veetu Pillai' 'Ayirathil Oruvan' 'Rajapart Rengadurai' and 'Thillana Mhanabbal'.He has also played the role of an honest police officer in some movies and ended up his career with a beloved grandpa screen image. 
      S.A Asokan was always a boisterous villain and his hell-bent voice and mannerisms made him a villain of verve and vigour. His extraordinary performance as villain in movies like 'Naan' 'Nam Naadu' 'Adimaipen' 'Ulagam Sutrum Valiban' 'Rickshakaaran''Thedivantha Mapillai' and 'Vandikkaaran Mahan'  will live long in the memory of regular film goers.But he also did wonderful character roles as father,elder brother and a loyal friend.No one can forget him as Duriyodana in 'Karnan' and as Gopal in 'Uyarndha Manithan'.
      R.S.Manohar like M.N.Nambiyar,came to Tamil Cinema from the drama troupe.He played mostly as the main villain's henchman and his astounding physique effectively contributed to the role he played particularly for the stunt scenes.He was closely associated with MGR movies for quite long but his independent performance as hero in 'Kaithi Kannayiram' and in 'Vannakkili' in the role of Poochi were of a unique kind. He was a sure inclusion in all the movies of the Modern Theatres and he made his roles unforgettable in movies like 'Vallavanukku Vallavan','Iru Vallavargal' and 'Vallavan Oruvan'.He was also a regular addition in Sathya Movies films.
   Among the four fine villain actors described above,P.S.Veerappa,and M.N Nambiyar were good at fencing and the latter was equally comfortable with boxing. Asokan had shown his skill in boxing and wrestling sequences and R.S.Manohar both in fencing and boxing. Some of the character actors of the last century, who made indelible impressions as villains were S.V.Rengarao in films like Annaiyin Aanai,Raja and Nam Naadu, T.K.Baghavadthi in Sabatham,V.K Ramasamy in nearly a dozen films of which Parasakthi and Thiagam are ever remembered. and T.S.Balaiah with memorable strokes, in films like Pudhayal and Maman Mahal. Interestingly T.S.Balaiah performed humor tinged villainy in many films of which Thookku Thookki and Madhurai Veeran need a special recognition.
    With the disappearance of traditional concepts of Villainy in Tamil cinema,the archetypes have changed to satisfy the new generation expectations in the display of wickedness and cruelty. Consequently,the villain today reflects the diverse levels of the negative side of the human psyche.The villain of Tamil films like his counterpart in other languages,is the ripe incarnation of the murkier macabre mould of the underworld. Today's villain will tease,taunt,indulge in banter and bullying, besides grooming his ulterior motives to achieve his personal ends by hook or by crook.The greed for power and money becomes the motivating factor for wicked governance in addition to craving for sex and violence.The highly prevalent context of terrorism also vitally contributes to the presentation of the forces of villainy on screen.
       To day, anybody can don the role of a villain. Even the softest Chaaruhasan appeared as villain in 'JaiHind '.Super star Rajini,Sathyaraj  and Sarathkumar made impressive entries as villains before turning into heroes.The fresh and stylish utterances of Rajini,the taunting style of villainy of Sathyaraj and the formidable physique of Sarathkumar, enriched their position as villains on screen.
     Raguvaran, who  turned into a classic villain after appearing as a hero did wonders by his husky voice and its distinct intonations. His performance as villain in 'Puriyada Pudir' was a brilliant show.Just by repeating the sentence'I know I know' several times he made himself  the real portrait of a horrifying sadistic husband. As a villain in many Rajini films,he was always impressive.He was menacing and formidable in 'Oorkaavalan' and 'Raja Chinna Roja',gruesome in 'Badsha', challenging in 'Arunachalam' and deceptive in 'Muthu'
    Nassar is generally a suave villain with a controlled display of wickedness.As a corrupt police officer turned politician he performed with force in Walter Vetrivel. He was the crudest villain in 'Thevar Mahan' refusing to mend his inherent badness and brutality that he perpetuated in the name of his community. Nassar's intrinsic ability to grasp the hidden layers of the character he plays,makes it easier for him to perform the role with its valid proportions of the dynamism of villainy. His villainy is  always free from the back stab type.His villain roles in Thennavan and Thavasi need a special mention.
    The villainy of Praksh Raj was noisy and hell bent in 'Pokkiri' ,noisy and comical in 'Gilli',double tongued and scheming in 'Vaanavil',of the betraying type in 'Perarasu',a redeemable and convincing model in 'Aiyya' and of the crudest Machiavellian brand in 'Aaasai'. Prakash Raj is in short, the brand master of Villainy with a right mix of noise,violence,brutality and at times, a clean show  of comedy.
    Anandaraj has usually delivered a bloody kind of villainy in a gripping and controlled manner.As a criminal auto driver in Pula Visaaranai and later in many films of Prabu and,Sarathkumar Anandaraj stays in our memory as a special brand of villai actor.His effective demonstration of villainy, added considerable fillip to the film Baasha.  FEFSI Vijayan through his menacing looks and formidable physique has made villainy an intimidating show of horror in films like Dhil and Villain.Vincent Asokan has not been utilized properly to become the true villain actor of his father's brand. Kota Srinivasa Rao's villainy is always noise bound through a peculiar type of his voice modulation. Asish Vidyarth and Sayaji Shinde have been  quite unique in discharging their impressive villainy  either as typical gangster heads or as villains in police uniform. 
     The one time heroes like Jaishankar and Ravichandran did not hesitate to do villain characters towards the end of their film career. The former, appearing as an open type of villain and the latter representing the villainy of a crude ,perverted mind were equally successful in their respective villain roles. Producer Umanath did a refined villain role in Mani Ratnam's Agni Natchatram.as director J.Magendran made a crude show of villainy in Vijay's Theri. Director Manivannan has appeared as villain in a few movies. His portrayal of villainous characters reminds us of the comedy- mixed villainy of [Late]  M.R.Radha and T.S.Balaiah. The screen villains and their types are ever on the increase based on the directors' perception of the world they live in. 
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Heroes' Spirit of Sharing Screen space.

                         


       A popular hero sharing  screen space with fellow actors playing lead roles, with an accommodating attitude,reflects his  understanding of the principle of co-existence, besides  revealing his confidence in his own acting credentials.In this regard,Sivaji Ganesan willingly shared his acting space with fellow heroes like S.S.Rajendran,Gemini Ganesan,Muthuraman,Jai Shankar,Ravichandran and Sivakumar.Later,he even acted with his most junior heroes like Rajinikanth, Kamalahasan and Sathyaraj.It is said Sivaji quite often used to patronize and support his fellow actors.
      But MGR was a different phenomenon.As MGR's films had more scope for villain roles,he would always feel at home with the most popular villain actors like P.S.Veerappa,M.N.Nambiyar, S.A.Asokan and R.S.Manohar.It is a known fact that almost all MGR movies were built on the principle of poetic justice where,virtue will always conquer vice, in the prolonged battle between good and bad. MGR preferred to be shown only as the good Samaritan and this perhaps restricted the space for another hero of equal, or less importance.However,MGR acted one movie with Sivaji,['Koondukkili']one with Gemini Ganesan['Mugarasi'] a couple of films with S.S.Rajendran {Raja Dhesingu Kanchi Thalaivan} five films with Muthuraman[Arasilan kumari,Kannan En Kadhalan, Ther Thiruvizha,Oru Thai Makkal 'and 'En Annan'] two films with Sivakumar['Kavalkaran' and 'Idhayaveenai'] one  with A.V.M. Rajan[Engal Thangam].MGR did not act any film with Jai Shankar or Ravichandran.
     The  co-existence team spirit on screen,has been a genial affair with many popular heroes of Hindi Cinema and with the two mega heroes of Malayalam movies Mammootty and Mohanlal. This pair would have acted together in almost fifty movies and are ready for future parades too. Among Tamil heroes who succeeded MGR and Sivaji Ganesan it was Kamalahasan and Rajinikanth who would have acted together in about ten movies of which Avarkal, Ninaithaale Inikkum and Ilamai Oonjalaadukiradhu were extraordinary films.Similarly Prabu and Satyaraj were endearing fellow heroes reflecting perfect coordination and spirit of geniality in films like Paalaivana Rojaakkal , Chinna Thambi Periya Thambi and AnnaNagar Mudhal Theru.
   The same way, Prabu and Karthik worked together in the manner of their respective fathers Sivaji Ganesan and Muthuraman.Agni Natchatram directed by Mani Rathnam was the best in their combination.Among front line heroes of of the new millennium,Vijay and Ajit have acted together only in one movie[Rajavin Paarvaiyile].Vijay was seen twice with Suriya ['Nerukku Ner' and 'Friends']and his other movie that contained equal space for many heroes was 'Nanban' where Vijay,Jeeva and Srikanth put up a friendly show.
     Tamil audience are looking forward to the continuance of this real team spirit and friendly feel among all heroes,so that self obsession in any form, takes the back seat in creative ventures and movie watch truly becomes worthy of its entertainment norms, aimed at providing an aesthetic experience to film watchers.Heroes' fans' associations should also realize the fact that movies matter more than their heroes and hero worship. 
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The Long and the Short of It.

           
          This is about titles of Tamil movies.Choosing a title for one's  movie is like selecting a name for one's child. But a title for a movie is more significant because it has to sensibly fit into the theme or plot of the movie.In other words it has to symbolically convey or make people guess what the movie is going to be. In this context, director K.Balachander was always very cautious in the choice of titles for his movies.Some of the titles that symbolized the scope of his movies were 'Naanal','Moonru Mudichu','Punnagai' 'Iru Kodugal' and 'Nootrukku Nooru'. Barathi Raja was another creative director known for his poetic titles like 'Niram Marada Pookal' Pudia Vaarpugal', 'Kadalora kavidaigal' and  'Vedam pudhithu'.
         The title of a movie may be short as the shortest 'Nee',[starred by Jai shankar and Jeyalalitha] or 'Naan'[ the old one starring Ravichandran and Jeyalalitha and the new version of the same title starring music director Vijay Antony] and long as the lengthiest 'Aayiram Thalai Vangiya Apoorva Chinthamani',''Thayai Pola Pillai Nolai Pola Selai'' Kanavane Kankanda Deivam' Manalane Mangaiyin Bakkiam', ''Mangaiyar Ullam Mangatha Selvam' 'Maamiyarum Oru Veettu Marumagale' and so on.Even Sridhar  at times went in for lengthy but beautiful titles like 'Azhage Unnai Aaradhikkiren' 'Avalukkenru Oru Manam' and 'Ilamai Oonjaladugirathu' In order not to make the title an issue, many directors name their  movies after the name of the chief characters of the film or the roles played by the protagonist.
       There is also a kind of demonstration effect not only in choosing themes and stories  prevalent during a particular period but also in choosing suitable titles for the movies.Some times, the same director can not help the temptation to repeat the type of themes and titles in his movies as the most popular director K.S Gopalakrishnan did.Most of his films centered around the affirmation of established values of the rustic soil and the titles he chose were 'Kulamaa Gunamaa?',' Panamaa Paasamaa?' and 'Uyiraa Maanamaa?' When 'Ilamai Oonjaladugirathu' became a hit there were similar titles like 'Oru Othappoo Kansimittugirathu' and 'Oru Velladu Vengaiyagirathu'.The success of 'Alaigal Oivadllai'  paved the way for similar titles of movies like 'Payanagal Mudivadillai' 'Gopurangal Saivdillai' and 'Kaadal Azhivadillai'.
        Does it mean there is nothing in a name as Shakespeare felt in Romeo and Juliet? The long and the short of it is,  the title of a movie is the soul of it, because, the movie will ever live by its name with the memories of it, falling in line. 
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The MGR Legacy.

     

                                   
     

                             
       No other Tamil actor would have successfully created an image for the posterity as this legend.Though MGR and Sivaji were contemporaries,it was MGR who could turn into to a mass hero of all times.His screen space helped him to establish himself as the icon of the Dravidian Movement. It was a symbiotic relationship between him and the Dravidian party which he represented. His revolutionary roles and the type of lyrics and music he chose for his movies put him to his greatest advantage at the delivery point. Hence,he always delivered his roles with ease and  charm. His physical appearance and complexion were his additional glamour counts that drew the imagination of both the male and female audience.
     MGR was an unfailing giver of hope and succour to the masses and the positive characters he played in films, did magic of kinds for his ardent fan base.The element of macho pride he reflected through his repetitive roles,was duly reinforced by his thrust of moral values, unflinching adoration of motherhood and assertive deliverance of women in trouble. He could ever remain as a young hero undeterred by factors of ageing and he never appeared in elderly roles. Age could not wither him until he left the film world to play an active role in politics.
    MGR would not have been a Tamil, at least by his birth and in geographical terms of the place where he was born.But he was a Tamil in mind and spirit, from the beginning till the end.The Tamils as a race are known for their genuine emotional moorings and would go to the extremes to show their love to a person whom they value most.
     MGR,the three lettered name penetrated in to their subconscious mind and they gloried and deified the name.This was an indisputable truth,especially,with regard to the socially and economically lower ranks of the Tamil society.It was they, whom MGR reached out in their day-to-day dreams and aspirations both as an actor and then as an invincible leader of the masses. It was this emotional bond that kept him as the interminable political head of the state, until his demise.It is this legacy of immortality of  an emotional mutuality, that MGR had achieved during his life time.
      MGR's costume sense,his choice of themes,his deep sense of optimism and his style of delivering songs on screen, were his grand package of film legacy that would tempt a number of successive heroes to imitate his formula.The lyrics for MGR songs, were composed with the deliberate intention of projecting him as a maker of destiny of the masses by elevating their standard of life through revolutionary ideals and rewarding goals.His songs were specially meant for revolutionizing the society entangled in superstitions and indifferent to its environment and responsibilities.This was one of the salient factors taking MGR closer to the hearts of the poor and the downtrodden.
    In every film, there would be at least one song ,a solo number sending out a clear message on individual and collective values as strongholds for self actualization and inclusive growth.The songs in the voice of T.M.Soundarjan would positively pass into the thought process of every one and make  them breathe a fresh positive energy.The songs will ask every one to see with in themselves, ,realize what they are and struggle for their personal and collective goals.They would say that the world is there for you,with its ever flowing rivers and beautifully blossoming flowers, as if all is meant for drawing the spiritual energy for a vigorous existence.They would ask you to move forward, with the hope that, the world does not exist without you and there is a share of the world's riches for each and every one.
     His songs will ask children to earn a worthy name, by following the well said maxims of great thinkers and poets, because the country depends mostly on what they are going to become.They will also ask children not to believe the stupid tales of ghosts told by lazy people who have nothing else to do in life. Above all this, this legendary hero would ask every one to wake up from their slumbering attitude and  see what is happening outside, besides telling them categorically, that,those who sleep away most of their precious time are not only a burden to the soil but they also ruin their country and themselves.    

                         

       

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        The MGR legacy is actively retained as a determining yardstick by many a hero- turned politician as well as by those who want to govern in his name.But the present day popular heroes forget the fact, that it was an invaluable period of political grooming MGR underwent in close association with eminent and  most respected leaders of the Dravidian movement including Periyar and C.N Annadurai. Though MGR and Kalaignar M.Karunanidhi had to take opposite political platforms later,people who were watching the political developments for a long time,knew the ripeness of understanding that existed between these two tall men of the Dravidian movement. However, many heroes have been on the political track, with their fan club base as a prequel to the bigger power zone, conveniently forgetting the fact that an unparalleled actor like Sivaji Ganesan started his Tamizhga Munnetra Munnani only to play a losing game. 
     Though MGR, the legend is no more,the songs from his movies are there to earn the support base during election times for various political parties including the one he founded .The songs have become the part and parcel of the immortal hero of the masses, bringing into one's vision his trade mark gestures,his teeming sense of energy and his tremendous mass image. The MGR legacy is truly, nothing but the cherished inheritance of the goodness, that every human being  is capable of, in thought and deed. It was really great of MGR to leave to posterity,the right model of goodness that he consistently and invaluably personified on screen.The legacy of MGR will ever remain as one of the corner stones and governing codes of Tamil Cinema.

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The Actor Singers of Tamil Cinema.

                 
                          
                                        
    Singers like T.M Soundarajan,Sirkazhi Govindarajan and  S.B.Balasubramanian have got into the actor's garb once a way.T.M.S has appeared as Pattinathar and Arunagirinathar in the films bearing those titles.Sirkazhi Govindarajan has donned the role of Agathiyar in the two films Agathiyar and Meenakshi Thiruvilaiyaadal.He also played the role of Nakkeerar in Kandhan Karunai,Naradhar in K.S.Gopalakrishnan's Dasaavadhaaaram and came as Nambiyaandaar Nambi in Raja Raja Chozhan. Dr.Balamurali  Krishna donned the role of Naradha in AVM's Baktha Pragalaadhaa. S.P.B has played the role of a soft loving dad in a few movies.Famous singer Malaysia Vasudevan was seen as dad and villain in a number of filmsBut there was a time in Tamil Cinema, when only persons who could sing would be allowed to act.This is how actors like M.K.Thiagaraja Bagavadhar, and P.U.Chinnappa got into the film world.T.R Mahalingam was another actor best known for his great singing potential. No one can forget the eternal melodies of M.K.T and T.R.Mahalingam.
   The scintillating voice of T.R.Mahalingam in the songs delivered by him in movies like 'Amudavalli', ,'Abalai Anjugam' 'Adavanda Deivam','Malaiyitta Mangai' and later in the most popular 'Thiruvilaiyadal' is always a mesmerizing experience for music lovers.Similarly.M.K.T's most famous 'Amba manam kanindhu', Sopna vazhvil magizhndhu','Neelakarunakarane''Rajan maharajan' 'Vadaname chandrabimbamo' and 'Natiyakkalaiye 'Bhoomiyil Maanida Jenmam adaindhu'are the sweetest songs from an immortal voice.
     Among the female leads,there was Bharat Ratna M.S.Subbulakshmi ,the nightingale of carnatic music ,who performed the role of Meera,and delivered the sweetest song 'Kaatrinile varum geetham' However being a marvellous carnatic musician,her preference was more for singing rather than acting.Her role as Shakunthala was also assertive of the fact that she could fit into only divine roles. K.B.Sundarambal the other singer by choice and merit, proved to be the fittest person to don the role of Avvaiyyar the well known Tamil Saint-cum-Poetess; she is best remembered for her high sounding voice in delivering songs in movies like 'Avvaiyar' 'Thiruvilaiyadal' &Kandhan Karunai and as another saint Kaundhi Adigal, in 'Poompuhar' 
    S.Varalakshmi,an actress with sparkling eyes and powerful voice was a good singer too.She had left a few fascinating numbers of which her songs in Veera Paandia Kattabomman' as the wife of the Tamil provincial ruler Kattabomman [played by Sivaji Ganesan]and later the most powerful as well as melodious numbers like Vellimalai Mannava {Kandhan Karunai} 'Yedu Thandhaanadi Thillaiyile' {Raja Raja Cholan} and 'Indha Pachaikkilikoru Sevvandhi Poovil Thottilai Kattivaithein' as MGR's pampering mother in the film 'Needhikku Thalavanangu' find a special place in Tamil film music history.
    The other bold, actor- singer  whose mellifluous voice enticed music lovers. during this period was P.Bhanumathi She used to render her voice for music in all her movies and the songs she delivered in movies like 'Malaikallan' 'Alibabavum Naarpathu Thirudargalum' 'Thaikkupin Thaaram' 'Makkalaipetra Magaraasi','Arivaali' and the most popular 'Annai' will remain as timeless melodies. Among the next generation heroines,it was only J.Jeyalalitha who gave her voice to her songs in half a dozen movies of which 'Amma Eenral Anbu['Adimaipen' ]and 'Naan Enral Adhu Neeyum Naanum'[ 'Sooryakanthi']  are well known.
     At this juncture, it would become an act of injustice if no mention is made about the wonderful comedians N.S.Krishnan and Chandrababu who captivated the audience by their singing core. N.S.K's clear voice,delivering songs full of fresh ideas worthwhile messages in films like Panam, NallaThambi and Mudhal Thedhi, could easily establish a familiar base with a large section of the audience.With this purposeful endeavour,he could make his comedy roles reach sensible dimensions.
    Chandrababu,the other amazing comedian of this era,fascinatingly rendered very many undying songs,along with his rock and roll movements.His meaningful melodies in movies like 'Annai' ['Buthiyulla Manidharellam']'Aandavan Kattalai' [' Sirippu Varudhu]  'Kavalai illatha Manithan' 'Pirakkum bodhum'] and 'Kumararaja' {'Onnume Puriyale Ulagathile'}made a creditable impact on the theatre goers of that time. However,he is adored for his rendition of hilarious songs like 'Bambarakkannale'' ''Kungumappoove' ' 'Konjam Thallikanum' 'Naan oru Muttalunga' 'Thillaanaa Paatuppaadi' 'Kovamambazhame' and 'Kalyaanam Venum'.The valued voices of all these actor singers, are recorded permanently in the reverberating march of time.Now,among the comedians, Vadivelu has a voice, one that is  confident and capable of delivering tunes with clarity of words and grasp of rhythm.
   Besides,,we have the versatile,innovative and magnificently talented classic hero Kamalahasan, capable of singing with sense in a self- made style.One of his most popular songs is 'Gnaayiru Olimazhaiyil Thingal Kulikkavandhaal'.The emerging mass hero Vijay,has also rendered his good voice for a few worthy numbers.The latest additions in this category,have been the young actors Danush and Simbu,who have made their singing worthy of being heard and enjoyed.At a time when music directors are trying their mettle in acting, more number of actors like Shruthi Kamal have also joined the band wagon of singers giving a vent to their voice, by singing.
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