New Wine in Old Bottle.

    ‘Old wine in new bottle’ is a well known maxim. In film circles,if a theme or story line is repeated but narrated differently it could be called old wine in new bottle. Films like 'Neerum Neruppum', 'Uthamapurushan', 'Sagalakala Vallavan', 'Ullathai Allitha' and 'Imsai Arasan Irubathumoonram Pulikesi', for instance, repeated the  themes and scripts of earlier hits like M.K.Radha’s 'Aboorva Sagodharargal', Sivaji Ganesan's popular films 'Iruvar Ullam','Pattikkaadaa Pattanamaa', 'Sabash Meena' and 'Uthama Puthiran' respectively.But at times, a new theme or story line is incorporated under an old film title. The reason for the repetition of an old film title could be attributed more to the film maker’s fancy for the title concerned, rather than creative paucity to generate a new title. In Tamil, quite a number of films have appeared repeating recent or past film titles.

    Vijay Antony’s 'Naan' released recently was the title of a run away hit of the Nineteen Sixties starring Ravichandran and Jeyalalitha. Theme- wise, both the films spoke of impersonation but the story line and the mode of narration of the new 'Naan' were totally different from the older version. But in terms of entertainment value and audience support, the old bottle proved to be far superior to the new wine. The veteran  film maker T.R.Ramanna of the old 'Naan', never used to disappoint the film viewers as far as entertainment component is concerned.

    'Maaman Magal' is the title of two movies; the former, a grand comedy show of  Gemini Ganesan, teaming up with T.S.Dorairaj and J.P.Chandrababu and the latter a jubilant joint parade in humour,carried on vigorously by Sathyaraj  Manivannan and Goundamani. The story of the new 'Maman Magal' would remind one of Sivaji Ganesan’s 'Pattikkaadaa Pattanamaa' and Kamal's 'Sagalakala Vallavan' rather than the Gemini Ganesan original. 'Uthamaputhiran' a Sivaji  super film, telling the story of twins, became the title for one of the films of  Danush. However, other than the title there was nothing similar between the two films.While Sivaji's Uthamaputhiran celebrated a royal theme with the amazing narration of  a wonderful story,Danush’s Uthamaputhiran was a comedy- cum family entertainer. 
    'Ninaithale Inikkum',K.Balachander's music extravaganza with an underlying tragic note, became the title of the Tamil remake of the Malayalam hit 'Classmates'.But the Tamil remake neither did full justice to the Malayalam original nor did it add merit to its wonderful title lifted from the Balachander bonanza.'Ethir Neechal' another Balachander fame pronouncing film, has become the title of a recent Siva Karthikeyan- starring film. Balachander's film was a remarkable portrayal of the plight of an orphan[played by Nagesh]  struggling against odds and the narration was commendable as a combined show of humour and pathos. Whereas, Durai Sendhilkumar's version convincingly narrates the plight of an under- achiever, whose strange name causes him comically delicate situations, at every stage in his life.The film shows how the hero crosses the hurdles and wins fame by changing and restoring his original name.Both the films have closely justified the choice of their title.

    A unique case of title repetition relates to the two versions of 'Parthiban Kanavu',the first one a historical narration of events of aesthetic love and a royal picture of the Pallava empire;whereas, the second release, beautifully described a love story linked to marriage on mistaken identity, temporarily affecting one’s marriage routine. The earlier movie starring Gemini Ganesan and Vaijayanthimala was a romantic and historical fantasy.The later film with the repeated title was a fascinating tale of romance, lovably portrayed by the delicate performance of Srikanth and Sneha. The title alone being the binding factor between the two films,both made a mark as refreshing ventures in history and family drama with their respective creative visions. 
     A few movies of Danush like 'Maappillai' 'Polladhavan' and 'Padikkadhavan' have repeated the titles of some Rajini blockbusters{Prior to Rajinikanth's Mappilaai,there was another version of Mappillai of the early Nineteen Fifties,with a completely different story background, starring T.R.Ramachandran  P.K.Saraswathi,Narsimha Barathi and T.K.Raamachandran}.However, apart from Mappillai, the other two films have nothing in common with the Rajini films excepting their title similarity.The stint of charming rudeness revealed  in Rajini’s 'Polladavan' and the load of family sentiment watched in the Super star’s grand show 'Padikkadhavan' were replaced by a theme of obsession for a motor bike and the ridiculous predicament of the hero not being educated, in the two title-repeated  Danush movies, respectively.

    MGR’s  popular movies like 'Nadodi Mannan' and'Nam Naadu',became the chosen titles of two very modest films of Sarathkumar, and the late mass hero's 'Pudhumaipithan' filled the bill as the title of a Parthiban film. Similarly,Vijay's blockbuster 'Vettaikkaaran' was already popular, as the title of a memorable MGR black and white film. New themes and scripts thus got into the old titles. However, it got established that the films of Sarathkumar with the titles of two MGR films could not reach anywhere near the incomparable standard and quality of the late hero's movies. Luckily, the theme content of Parthiban’s Pudhumai -pithan, reminded  us very much of the MGR film with the same title, in justifying the Shakespearean concept of 'method in madness’ noticed in Hamlet. Besides,the story line of the Parthiban film, conquered our imagination with modern political trends,adopting sophisticated manipulations in the name of insanity.Though Vijay’s Vettaikkaaran was a hunting expedition against antisocial elements, it had least to do with the animal kingdom that consistently occupied the creative imagination of the Devar Films unit. Nevertheless, with its interesting twists in narration, Vijay’s Vettaikkaran was an authentic experience in fresh film watching, consisting of adequate speed and new generation perspectives of heroism.

    The titles of Sivaji’s two amazing films have crowned the new dimensions of creativity  titles, for the currently released 'Gouravam' of Radhamohan and the upcoming 'Iruvar Ullam' from another production house. Sivaji’s stupendous film 'Gouravam' effectively spoke of an individual’s personal pride and prestige in the form of one’s cherished name and fame, in his vocation. But Radhamohan's 'Gouravam' on the other hand delves at length into the social barbarity instigating the practice of honour killing, prevalent among the caste activists.Director Radha Mohan has already been acclaimed as a qualitative artist with creative capabilities calling for recognition of merit.Though the new release of Radhamohan speaks of the value of collective endeavour in taking up a crucial social issue for presentation and focusing it impressively,the one man show of Sivaji Ganesan under the masterly supervision of Vietnam Veedu Sundaram,continues to haunt our imagination with its firm hold on that dignified title, by perpetuating memories of a stunning course of  dramatic events on screen.
    L.V.Prasad’s 'Iruvar Ullam'  beautifully penetrated into the vagaries of bachelorhood and the  complexities of valued partnership in meaningful marriage. We are eagerly looking forward to see how far the old title will refresh the viewers with a different story line and narration in the newer version. A review of the title  repetition syndrome will bring to light, the paradox of either the old bottles outliving the new wine, or the new wine surpassing the quality and endurance of the old bottle. And the final ruling will be whether the bottle is old or new, it is the richness in taste of the wine that matters. After all, the preference of the old bottle presupposes an ornamental attitude and fascination for charming exteriors of one’s products, with an undying obsession for a previous pattern.

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The Titillating Voices of Two Tamil Playback Singers.

        

  

    
     Female playback singers generally make a stronger impact of their voices, as great melody makers, high pitch deliverers of eternal numbers and at times, as titillating singers with an intoxicating appeal of sweetness and sensuous ecstasy. The last category of singers is special and even rare to come across. During the Nineteen fifties and Sixties, a voice of charm and stimulation,ruled Tamil film music, with an authentic sense of attraction.It was Jamuna Rani, who with her nasal voice frame and mesmerizing way of singing, conquered human ears with a challenging reach and force of clarity.

    So intoxicating were the songs like ‘Aasaiyum En Nesamum’ [Gulebahavali], ‘Kaalai Vayasu’ [Dheivapiravi] ‘Maamaa Maamaa’[Kumutham] and the two songs 'Athikkai Kai Kai' and ‘Aadhi Manidhan Kadhalukkupin’ from Bale Pandia. The other sensually exciting numbers were ‘Pakkathile Kanni Pen Irukku’, {Padikkadha Medhai}'Paalaatril Theinadudhu,' [Koduthu Vaithaval] 'Yaaradi Nee Mohini', {Uthama Puthiran } ‘Kadhalai Sodhithu Paarkattuma,’ [ Kaidhi Kannaayiram ] and 'Sollattuma Sollattuma' {Thai Pirandhal Vazhi Pirakkum }. Except the first two solo numbers mentioned here,all the other songs were mostly duets, with one or two, forming the group song type.
    Jamuna Rani could also bring out the essence of deep sorrow through her voice magic as it could be felt in the songs 'Kaavirithaaye Kaavirithaaye' from Mannaadhi Mannan and ‘Sithirathil Pen Ezhudhi Seerpaduthum Maanilame’ from Rani Samyuktha. Though Jamuna Rani frequently joined A.L.Raghavan and Sirkazhi Govindarajan for quite a few fascinating duet songs, it was her solo numbers that carried a special charming appeal.Among the songs  for which she shared her voice with other female singers,the most remarkable and remembered song is 'Punnagai Mannan Poovizhikannan' that she sang with P.Suseela in 'Iru Kodugal'.Jamuna Rani was ruling the roost with her distinct voice attraction, until L.R.Eswari took over the reins in the Nineteen Seventies.

   L.R Eswari's singing style could be said to have perfectly replaced the titillating voice of Jamuna Rani, in Tamil Film Cinema prone to rope in multi talents.Though both the singers have  substantially adorned the Telugu film music with equal efficacy, L.R.Esawari’s contribution to Tamil film music as well as to Tamil devotional songs, remained stable and voluminous. The  records of her high voltage song, ‘Elandha Pazham’ from Panamaa Paasamaa played vigorously at every nook and corner of Tamil Nadu,made her a busy playback singer,for the next decade. Her notably intoxicating songs were ‘Vandhaalenna’ {Nee} ‘Palingunaloru Maaligai’'Ammammaa, Kannathil Kannam vaithukkollu’ {Vallavan Oruvan}‘Kadhodudhaan Naan Pesuvein’{Vellivizhaa} Mounamdhaan Pesiadho Mayakkamdhaan Pesiadho"{Edhir Kalam}"Idhu Maargazhi Maadham’ {Praaptham} and 'Pattathu Raani' {Sivandha Mann}.The two similarly focused, happy-go lucky numbers were, ‘Adi Ennadi Ulagam’ {Aval Oru Thodar kadhai}and ‘Adi Podi Paithiakkaari’ [sung with P.Suseela] from Thaamarai Nenjam. 
     The other song delivered by L.R.Eswari, in a similar mode to that of Jamuna Rani's 'Punnagai Mannan' {Iru Kodugal} was 'Malarukku Thenral Pagaiyaanaal' with P.Suseela {Enga Veettu Pillai}. Some of her most popular duet songs were,' Thulluvadho Ilamai' { Kudiyirundha Koil} 'Muthukkulikka Vaarihala'{Anubhavi Raajaa Anubhavi}’Idhu Maalai Nerathu Mayakkm’ {Karpooram} 'Singapporu Machaan’ {Singapore Seemaan}'Naan Maandhoppil Ninrirundhein’ {Enga Veettuppillai}and 'Inimai Niraindha Ulagam' [Ninaithaale Inikkum}.Her most celebrated song was 'Pirandha Idamthedi Nadandha Thenrale' {Naan Aanaiyittaal}.The three famous group songs with which she got fully involved were, 'Vaaraayen Thoezhi Vaaraayo’ {Paasa Malar} ‘Manamagale Marumagale Vaa Vaa’ {Saradha} and ’Kangalum Kaavadi Sindhahattum’{Enga Veetuppillai}.

    Not more than half of her rich Tamil play back singing has been mentioned here. L.R.Eswari was the most  sought after singer for more than two decades, for her unique voice frame, throw of energy and sensuous appeal. The difference between Jamuna Rani and Eswari was marginal, in the sense that Rani always carried the nasal richness with which she sensually excited, stimulated and soothed the human ears.; whereas, Eswari with her open voice, was ever ready to bring in a variety of sensations and sentiments that would charm, challenge and checkmate even those determined not to hear her voice. In a  world of melodies, Jamuna Rani and L.R.Eswari had their voices ruling, with titillating and enchanting rhythms, with a kind of influence, surpassing linguistic and psychologically restrictive aural barriers. 

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The Two Famous Banana Scenes .

 

  Scene 1

              Tamil audience would have been very much familiar with the most popular joke of Goundamani and Senthil over the issue of banana in Karahaattakkaaran. It was all about a number issue’ and how Senthil manipulates in handling the issue. That Gaundamai gives one rupee to Senthil and asks him to buy two bananas is known to the audience and is not disputed by Senthil himself .But the issue is about the absence of one  of the two bananas. Starting from Gaundamani everybody asks in their own style and manner what had actually happened. Goundamani asks him how much he gave. Senthil says it was one rupee.Then  comes the next question if he went and asked the shopkeeper for two bananas.Senthil is also asked if he got two bananas. Senthil’s answer to all the questions is in the affirmative. Finally when Gaundamani says one banana is here and where is the other banana,pat comes the reply from Senthil that what they see is the other banana.Every time when every one asks the question in different ways Senthil's answer is the same.This scene became a blockbuster comic sequence in Tamil film history. But I do not know how many among the Tamil film goers are familiar with the other famous comedy scene concerning banana in a very famous film released during the Nineteen Sixties and the scene is narrated below..

    Scene 2

           The striking comedy scene appeared in the historic Sivaji film Padikkadha Medhai. The memorable humorous event is as follows. Sivaji playing the role of innocent Rengan, an orphan brought up by a rich family headed by S.V.Renga Rao, is sent out of home all of a sudden under enforced circumstances.The helpless Rengan goes to a petty shop and plucks a banana from a bunch, without asking the shopkeeper {played by Nambirajan}.The fraudulent shop keeper, demands twenty five rupees for the banana and threatens him with dire consequences if he does not pay the money. Sivaji grudgingly pays the money with his eyes full of tears. At this juncture, there comes T.S.Dorairaj,one of the amazing comedians of the last millennium. He enquires about the happenings. Meanwhile, Dorairaj also notices the shopkeeper’s goat eating the banana skin. It is here ,the wisdom of Dorairaj begins to capitalize the situation. He endorses the payment of twenty five rupees for the banana but asks for the banana skin, that is also legitimately due to the buyer. The shop keeper says as the goat has eaten the skin, it cannot be given. Then Dorairaj demands that the buyer be given either the goat or fifty rupees, as compensation for the loss of the banana skin. The shopkeeper is inescapably caught in a trap caused by his greed and is forced to part with fifty rupees, of which Dorairaj takes twenty five rupees and gives the other half to Sivaji Ganesan.

            Though the audience would have enjoyed both the banana banters,a comparison of the two scenes cited,will clearly vindicate the presence of common sense behind the comedy situation, in the latter.But the gusto of banter would certainly have dominated the popular viewing in the former, thanks to the contemporary element of human intelligence involved in fooling the opponent, apart from the collective energy levels, displayed by Gaundamani,Senthil,Sarala and others.

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The Enchanting Elder Son..

 





















      Actor Sivakumar should be the happiest father of two dynamic sons making an eventful career in the film industry.Not all film personalities are blessed like this during their life time.  Suriya,the elder of the two who made a modest beginning with Vasanth's Nerukku Ner, sharing the screen space with Vijay, looked exactly as his father did in films like Uyarndha Manithan, Kaavalkaaran and Kannipen. Suriya did another film four years later, with Vijay and the film 'Friends',a remake from Malayalam, offered abundant acting scope for him; he performed it with the power of emotion, meant for an excellent reach with the audience. His role in 'Periyanna' joining hands with Vijayakanth,did not boost his energy levels.However, the failure of a good start was compensated, later by a substantial range of roles and radiance in performance resulting in a series of hits.
     It was Bala's 'Nanda' that brought to light the latent stuff of brilliance in Suriya. The film showcased Suriya as a highly emotion- packed actor endowed with great ability for a poignant  performance. The sharp note of vibration perceived in his tone whenever he said 'Ma' was deeply disturbing because of  the underlying pressure of grief. Despite the negative layers wedded to the characterization of Nanda it was the intensity of the tragic story background that dominated the narration of 'Nanda'.It reflected not only Bala's  mastery over the narration but also the hidden vibe of Suriya's acting width.
   'Pidhamagan',the other movie of Bala triggered Suriya's journey on a spontaneous track with juvenile gusto and charm, to reach enchanting levels of presentation.It was a tremendous show of energy reflecting Suriya's genuine enjoyment of the role that was assigned to him.The seemingly innocent looks, and the speedy, deceitful dialogue delivery needed for the role of a peddler, the taunting tone of mischief running through out the narration made that character become a leading landmark in Suriya's acting career.Suriya's  effective role performance legitimately deserved an award along with Vikram. It was really unfortunate he missed it. What a palpable difference in role conception and how extraordinarily Suriya essayed the two characters that he did, in 'Nanda' and 'Pidhamagan'!  Bala,the expert on negativism, positively and firmly laid the road for the hero's success march with capability, dynamism and distinction.
     Later,it was A.R Murugados, who showed Suriya as a suave and highly refined business tycoon, with ravishing looks of masculine appeal in his most remembered 'Gajini'. This film was epoch- making in the  career of Suriya and placed him amazingly on the ladder of  growth.The grandiose characterization of a youth under the clutches of  memory loss caused by a brutal attack by gangsters, was not new to Tamil Cinema .But the freshness in narration and the most beautiful flashback of a high quality romance, enriched the charm of the movie besides the music of Harris Jeyaraj, haunting the ears of many, for a pretty long time. Gajini was a unique box office hit and it made the elder of the Sivakumar sons, one of the most wanted and busiest heroes in Tamil Cinema.
     Even before Gajini,Gautham Menon's Kaaka Kaaka saw Suriya in police uniform for the first time, adding pep to his smart looks.Though it had a disturbingly tragic story line,the graceful romantic element was its catchy score. Joythika soon became Suriya's pet heroine finding a place in almost half a dozen movies that include 'Poovellaam Kettuppaar','Uyirile Kalandhathu', Perazhagan and 'Sil Enru Oru Kaadhal' .The perfect pair later became life partners too. Vikraman's 'Unnai Ninaithu' with Suriya, Sneha and Laila, was a refreshing romantic narration, showing Suriya and Sneha as positive characters with a will to sacrifice anything for the sake of their true love.The softer emotions emanating from  selflessness,  were gracefully revealed by Suriya, as something naturally inherited from the histrionic genes of his father, Sivakumar.
    Gautham Menon's 'Vaaranam Aiyiram' was another movie that helped Suriya exhibit higher and subtler shades of acting in dual roles as father and son, in an intricate flow of narration.Similarly, AVM's Perazhagan with dual roles as a handsome but sobre youth and as an ugly hunch back with an inherent lenience to mischief, threw a great challenge on Suriya's way and he convincingly showed a striking difference in characterization between the two roles.However,it is in the character of the hunchback did he revel more, with the great comedy support sensibly provided by Vivek. He also gave a convincing performance in Manirathnam's 'Ayudha Ezhuthu' .Almost all the films listed here, brought out the varied acting dimensions of Suriya and sustained his image as an actor of quality and standard.
   Attempts were made to dump Suriya in type cast roles in the name of action genre.But luckily, he became conscious of the negative impact that such roles would make and began to choose roles carefully. 'Mounam Pesiayadhe' was another movie that enhanced Soorya's quality of performance. K.V.Anand's 'Ayyan 'and K.S.Ravikumar's 'Adhavan' continued the success show of Suriya with their strong fundamentals of story line and entertainment factor.Then came the super hit film 'Singam' under Hari's racy direction.Though Hari had given earlier two modest hits with Suriya, [Aaru and Vel] 'Singam',with fire, force and rage,made the lion roaring towards its victory march without a hitch. Everything about the film was commendable and Suriya's manly appeal became a true talking point.The tremendous success of the film prompted Hari to make Singam2 with most of the actors from the former and the release of the film is eagerly awaited. Most of the films of Suriya have not so far failed to carry the winning streak.
    There were of course a few failures like 'Ezhaam Arivu' and 'Ratha Charithiram'. Even K.V.Anand's 'Maatraan' did not live up to the expectation of the director or the audience.For that matter,who has given only hits and no flops? The enchanting elder son of Sivakumar has always proved to be the best bet, for many production units and directors.He keeps his loving audience closer to his side, by his endearing looks and exalting appeal, rooted firmly to a convincing performance, irrespective of the character he played. He is surely the heart throb of many of his fans.His position as an actor is like that of a constant shining star, forming part of a steadfast galaxy.That he confidently carried on a popular TV show on Vijay T.V sponsored by the Sun Feast Group under the banner 'Neengalum Vellalaam Oru Kodi'[You can also win one crore rupees]with pomp and brilliance, became another factor that demonstrated his growing potential as an all rounder and performer of great acumen,awareness and aptitude.The graphic line of progress in his career, is a clear indicator of his enchanting appeal and his inherent capacity for enthusiastic performance.
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The Indian Music Maestro at the Oscar.

      'What passion cannot music raise and quell'? asked the famous English poet John Dryden. For those,who have a passion for music,the musical notes are a dedication,a submission and a tribute to the Will of God. It is again the Will of God that bestows upon a selected few,the power to rule human hearts with their musical compositions.This is how, God chose the tender hands of a young boy to play with musical notes as per divine directions. In his early twenties, his chosen hands performed his first miracle with the most exciting number 'Chinna Chinna Aasai' for his first film 'Roja' from Manirathnam's production house.It was a moment of great curiosity and exultation for the music lovers and they were told that it was A.R.Rehman,God's child of music, destined to charm the human ears with a feather touch of the keyboard.
      Rehman's music has rarely remained a straight course, through the freeway. It is mostly a fascinating journey through many challenging, zig zag, winding, intricate and intermingling exits.It extracts the greatest amount of voice twists, from the singers. In quite a few twisted compositions, the instrumental impact seems to be much less than that of the vocal wield.The freshness in Rehman is chiefly in discovering and rediscovering the newer dimensions of the singer's voice frequency.Those who can effectively play with their voices and reinvent themselves as singers become the best bets for Rehman. Imagine a singer like Hariharan whose voice can travel straight for a while and then take a winding zig zag course like a reptile wriggling with pleasure.It is such singers, who have their hey days with this musical pride of India.
     There was a time when actors could decide which music director should compose music for their films.While Sivaji Ganesan favoured M.S.Viswanathan,MGR shared his films between MSV and K.V.Mahadevan, the latter doing more number of his movies.During the days of Ilayaraja, everybody wanted him to do music for their movies because of the mass appeal his music carried.Whereas Rehman's musical wings fly high to reach national and international territories; hence not all can get him to do music for their movies.However, he has always remained the most desired and invaluable addition to the films of Shankar and Manirathnam.In the case  of Manirathnam, Ilayaraja has of course given him musical hits like Idhaya Geetham, Mouna Raagam, Agni Natchatram and Anjali. But barring Anniyan,Shankar has always resorted to the musical grandeur of Rehman and his pet music director has hardly disappointed him in any of his ventures.
     I am an old timer with my love for music confined to the melodies of M.S.Viswanathan, besides being an ardent devotee of the profoundly penetrating tunes of Ilayaraja.Nevertheless,I have hardly failed to enjoy the reach of  soothing numbers like 'Chinna Chinna Aasai' {Roja} 'Pachai Kiligal' {Indian} Kannaalane Enathu Kannai'{Bombay} 'Kaadali En Kaadali' [Duet] 'Oru Dheivam Thandha Poove' [Kannathil Muthamittaal]'Sahaana Saaral' {Sivaji}'Vennilave  Vennilave' and 'Pooppookum Osai' {Minsaarakkanna},'Kannaamoochi Yenada'  {Kandugondein Kandugondein} 'Snegithane' and 'Pachainirame Pachainirame'{Alai Paayudhe}and 'Munbe Vaa En Anbe Vaa'. { Sillenru Oru Kadhal} My ears are always wide open to his invigorating songs like 'Veerapaandi Koettayile'[Thiruda Thiruda] 'Telephone Manipoel Sirippaval Ivala'[Indian] 'Mudhalvane' [Mudhalvan] 'Hi re Hi re Hireppa' [Jeans] 'Andha Arabi Kadaloeram' [Bombay] Ale Ale {Boys} 'September Madham' {Alai Paayudhe} 'Thee Thee Jaga Jothi' {Sivaji} and 'Thillaanaa Thillaana' {Muthu} and so on.
     High pitched songs with beautifully gliding variations in stretch, are a special attraction of A.R.Rehman. Songs like 'Chandraleka' starting from its lowest ebb, {Thiruda Thiruda}, 'Thangathaamarai Nilave' {Minsaarakkanavu } 'Enna Solla Poegirai' { Kandugondein Kandugondein} 'Aathangara Marame' {Kizhakku Cheemaiyile} 'Minsaarappove Pen Poove' {Padayappa} 'Nadhiye Nadiye' {Rhythm},'Rojaa Rojaa' {Kadhal Desam} and 'Maargazhi Thingal Allavaa' {Sangamam}belong to this category. Rehman's most heart-rending song with a deep philosophical thrust is 'Vidukadhaiya En Vaazhkai' from Muthu. Rehman's magic wand of music has carried on the transmission of trendy tunes with unfailing spell all through his films, including the recently released Manirathnam movie 'Kadal'.
     Beyond film songs, the most energizing, patriotic number 'Vandhe Mathram' in Rehman's own voice, keeps reverberating in all Indian hearts, with a vibration never experienced by any one earlier. Rehhman is a musician with his soul ever longing to find kinship with God, through his modest surrender of the rhythm of love for humanity, as his best offering to the Almighty.The poise in his face, the balanced attitude and behaviour that remain as his supreme assets, place him at the height of glory, winning laurels one after the other.No doubt, his musical magnificence travelled into the Oscar ears, not just for an award but for an affirmative acceptance of what he, as a maker of music, is capable of.His music made Indians proud, without making himself proud, even to the least extent. All slum dogs can not become millionaires.But,joining hands with Danny Boyle,Rehman did rightly pay a musical tribute to the slum dogs, as he succeeded in drawing global attention on their dismal living conditions,by his suggestive musical thrust.
     Rehman's music is always a solace to anguished souls. His 'Jai Ho' will ever remain a source of strength for now and ever.His latest song goes 'Idhu Podhum Enakku Idhu Podhume, Veiranna Vendum Idhu Podhume', ['This will do for me;what more do I want, this will do for me'].What more do we need  than Rehman's fascinating and mind blowing music?. One of the popular songs for which he composed tune says,''all tributes are due only to God''['Ella Pughazhum Iraivan Oruvanukke' from Azhagiya Thamizhmagan].Similarly, all the tributes of music lovers are due to him. Long live Rehman to revive, rejuvenate and resurrect lost hopes and sow fresh ones for mankind, that will sprout as blooms of eternal joy.
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The Head of Grace,Style and Charm.

 
      Think of a handsome hero of endearing appeal,and there comes before our mind, Ajithkumar, as the leading man of style and charm.His sweetness embedded in his lovely smiles and refined looks, makes him a hero of an exceptional nature.From his very first movie Amaravathi that introduced him as hero, he has been retaining his grace and charm as an outstanding romantic hero.No doubt Saran made him the hero of his film Kaadhal Mannan.[King of Love].The understanding between Saran and Ajith seems to have a strong base because, Ajith and Saran combination has come out with three more hits like Amarkalam, Attakasam and Asal.
    Ajith's acting carries a breezy style, that is rarely noticed among his contemporaries.He has an ability to deliver dialogues in a soothing manner, creating an impact of warmth and softness. On the romantic side, he has been a creditable winner, with a variety in character delineation and an amazing reach in performance.Starting from Amaravathi, it has been a gliding journey for him through Vaanmathi, Kaadhal Kottai,Kaadhal Mannan, Ullasam,Rettai Jadai Vayasu, Aval Varuvaala, Aasai, Kandukonden Kandukonden, Amarkalam, Anandha Poongaatre, Raasi and Vaali.
    Though after some time, like most other heroes,he had to be shunted to the action genre,it could not be said that he has been comfortable with action formula films or he has given hits in a series .Many talented directors, like Lingusamy [Ji] Shaji Kailas[Jana] A.R.Murugados [Deena] Maharajan [Anjaneya] P.Vasu[Paramasivam] and Perarasu [Thiruppathi],for whom action films are an easy game, could not make great hits with Ajith. Even Ajith's most cherished movie Citizen directed by Saravana Subbiah, had only a modest impact on the viewers.No one could fault the dedication and vigour of Ajith's acting in any of the movies mentioned above.May be, roles of rage and fury and forceful melodramatic characters were not in the preferred line of Ajith. It was time for him to change the track and he did change the repeated course at the right time.
     Director Vijay's Kireedom, a remake of the Malayalam movie with the same title evolved Ajith's image as a subdued action hero, without pomp and undue image building, in characterization. From then on wards, one could see Ajith as an action hero of style and charm.A little before this new wave acting, Ajith's talent was beautifully utilized by Ezhil for two of his captivating love stories, Poovellam Un Vaasam and Raja. Interestingly, in both the films Ajith was paired with Jyothika as his enticing romantic pair.Of the two films, the former was in fine family mould, with the grandeur of profound intimacy between two families, passed on as a legacy of friendship, from one generation to the other, for three generations.
    The other film Raja was a kind of triangular love story, emerging from a proxy wooing game played by the heroine, [played by Jyothika] who was passionately in love with the hero. Ironically, the hero began to fall for the girl who happened to represent the heroine's love interest. Another film of enduring fascination, was the beautiful family story Mugavari, showing Ajith as the most pampered member of the family by his parents and siblings, all of them vying with one another to motivate him in his chosen field of music. Ajith performed the role of an aspiring music director, with an inherent perception of the character,reflecting a passionate devotion to music, as well as an affectionate understanding of the family members, who loved him most.The movie beautifully delineated the competitive spirit of sacrifice between him and his siblings and parents. It was one of the cleanest films, in the history of Tamil Cinema.
    Then came the sensational, revised version of Rajinikanth's last millennium blockbuster and the most famous Billa, in which Ajith was presented as a stylish and enchanting don.Following this, came two more films, Aegan and Saran's Asal, both giving prominence to the charming body language of Ajith. The subsequent release,Venkat Prabu's 'Mangaathaa' did a magic by picturing Ajith as a gambling police officer, ready to do anything criminal, for the sake of the lure for money.This anti hero role was delivered with consummate warmth and killing spirit of kindness.It was another suave performance of Ajith teaming up with action king Arjun. This was followed by Billa 2 as a prequel to the earlier one. Ajith continues to rule with his style and charm.
   Before I conclude,a special mention has to be made about the two movies Villain and Varalaru that Ajith acted under the charismatic success maker K.S.Ravikumar. Both the films were great commercial hits and entertainers.Villain in particular carried a mass appeal with a powerful story line ,presented impressively with tempo and speed.The saddest thing is,Ajith,an actor of exquisite versatility, has not so far been accommodated by leading directors like Manirathnam and Shankar in their movies. Ajith is affectionately called 'Thala' [The Head] in film circles. However, Ajith has always been shy of popular acclaim and off- screen prominence.Even his screen image, has been deliberately kept in a low profile, because of his reluctance for blowing up an image, on the ground of publicity.But he is definitely one of the leading stars of Tamil cinema.He has the sweetness of nativity combined with the style of  a Hollywood range that puts him far ahead  of his contemporaries in terms of freshness in appeal and neatness in delivery of roles with an exemplary body language that solely belongs to him. I feel privileged to record my personal views on a highly estimable actor and publish them in the form of an article in my blog, on his birthday.  
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