Radha Mohan's Quest for Quality.

   


     Each creditable film maker,would like to have a firm base, on which they plan to build their creative empire or foundation.Some are ambitious to leave an empire behind themselves;some are contented to have at least their creative fundamentals well utilized during their life time.This is how a mighty film maker like K.Balachander who left a legacy of life time achievements behind him, did not hesitate to boldly and beautifully bulldoze Tamil cinema through controversial dialogues, unconventional narration of events and characters and  aggressive scenic expositions of thematic content in films like 'Arangetram','Aval Oru Thodarkadhai',' Aboorva Raagangal 'and 'Manamadha Leelai'.But his empire was strongly built on an unshakable base of films like 'Naanal','Edhir Neechal', 'Iru Kodugal','Punnagai','Major Chandrakanth','KaaviyaThalaivi','Bhama Vijayam' 'Velli Vizha' 'Poova Thaiyaa' and 'Nootrukku Nooru',besides several trend setting films with Kamalahasan and Rajinikanth.Even some of the controversial films succeeded because of the socially shocking new approach.
    But there are several other film makers in Tamil who stick to their core values strongly, in spite of their modest low profile ventures.They are a vital part of the stream of clean cinema.Radha Mohan is one such film maker who relentlessly sails his film boats on this stream selling his stuff without sound and fury.Quite often he creates a nostalgic mood for me, taking me to the times of Tamil Cinema of the early Nineteen Eighties when the duo film makers  Bharathi -Vasu {Sathanabaradhi & P.Vasu}sailed their modest film boats,reaching high quality shores as films,known as 'Panneer Pushpangal' and 'Mella Pesungal'.
    Be it the choice of titles of his films or the style of narration Mohan's aesthetic interlinks of film making are well set to protect his films from the virus of vulgarity in narration.From 'Azhagiya Theeye' down to' Uppu Karuvaadu' his journey has been on a stream without ripples and needless noise.He makes a simple action plan that incorporates a story line, expanding into men and matters mixing up mellifluously for a seamless show of events on the screen.For Radha Mohan it is dialogues and events that matter more than the performing individuals because the focus is mostly on the cinematic interpretation of the human mind in relation to men and matters.It is a kind of intellectual exploration leading to the grasp of a situation through ideas and their presentation.I started this article with a reference to one of my most beloved film makers,[Late] K.B because Radha Mohan's platform like that of KB,opens up diverse channels for formalizing and reinforcing a proper understanding of life's intriguing situations caused by intriguing people.
    Among the six Tamil films made  by Radha Mohan so far, Prakash Raj has been of energizing support to five of his films, excepting the recent 'Uppu Karuvaadu'.'Mozhi' and 'Abiyum Naanum' have been critically reviewed and have received awards.Prasanna.Ravi Krishna,Prithviraj,Nagarjun and Karunakaran have all joined his bandwagon as heroes.His line of heroines includes Navya Nair, Gopika, Jyothika Trisha,Nandhitha and Rachitha,of whom the 'Mozhi' heroine achieved an award winning position through her distinct performance.Radha Mohan's films in general, are known for cherishing the dignity of women. Vidya Sagar has been the music composer for three of his films,while Ramesh Vinayagam, Pravin Mani and Steve Vatz have done the musical score for the rest.Radha Mohan is in the line of Sridhar the renowned film maker of the last century,in giving a feather touch, feel good factor, to his films, worthy of family watch.Similarly like  director Vikraman,he infuses a lot of positive energy, promoting a healthy experience of viewing events on the screen, that do not hurt the viewers' imagination or emotion.But for Vikraman's films, it is perhaps the big star impact, that claimed greater recognition and audience support.
    Radha Mohan should be credited for not repeating the same theme in all his films.Apart from romance, he has dealt with interesting aspects like the trauma of a facially disfigured youth{Ponniyin Selvan}the niceties and psychological subtleties embedded to the routine of a hearing and speech impaired woman,{'Mozhi'} a breezy capturing of the perfect bonding in a father and daughter relationship{'Abiyum Naanum'}an incident of flight hijack pictured in a lighter vein {'Payanam'}and now in 'Uppu Karuvaadu' {Salted Dry Fish},the  aspiration and plight of a youngster,earnestly entuned to the creative path,towards making a qualitative film.In all his makings, there lies a genial sense of humour and healthy element of satire passing smoothly and soothingly, as the underlying layers of narration.
     Coming to his latest venture,the title 'Uppu Karuvaadu' seems to be symbolic of the sum and substance of  creative inspiration and involvement in performance, filling the drier side of creativity with taste and refinement so that the created product becomes worthy of its salt.One can imagine the unpalatable quality of dry fish without its salt.Similarly without involvement, nothing happens to merit an acknowledgement.In other words, what one does, gains valued acceptance only by how it is done.
    The absence of Prakash Raj is very difficult to to be compensated in a Mohan movie.But  his absence is fairly filled here, by half a dozen actors.M.S.Bhaskar who would have frequently worked with Radha Mohan appears in a vibrant role with a menacing profile surpassed by his poetic whims ,Ilango Kumaravel, a regular addition in a Radha Mohan film does a neat job in correcting the dialogue segment of the hero's film venture, While Chaams comes upon with a Thirukkural piece matching the context, Narayan Lucky does the second fiddle. Mayilusamy provides the back up support. Karunakaran as hero,seems to be always in the grip of tension, with a tightened attitude, with regard to his role performance.His capacity for humour has taken the back seat,may be, not to let down the sober nature of his character in the film.There is always a clamor for perfection hitting the mood of the hero and his crew,through a collective clash of brains. Here and there, they come out with some dynamic delineation of scenes to their own enjoyment.The Malayalam singer's continued,clumsy interruptions do not enrich the humour component intended by his addition.The dialogue referring to the agony of erasing the name of a dear friend from one's mobile phone upon his death, adds a fresh dimension to the narration.
   However,apart from  all the positive intersections,the over all feel of the film is one of longing for more tempo and gusto, in the presentation of characters and events, so that the final impact could have been more impressive and memorable.In fact, one would be compelled to compare this film with R.Parthiban's 'Kadhai Thiraikkadhai Vasanam Iyakkam' released a year ago and in retrospect, give a little more credit to that film, for the simple reason that the latter struck a more cordial note with a larger section of the audience, through the cheeky sense of humour and tricky banter, that is part and parcel of the maker of Pudhiya Paadhai.Both these films do run the risk of throwing stones from inside a glass house, in a mood of professional introspection,as insiders, through a humorous and satirical assessment of the world of cinema. Comparatively Parthiban's potshots can be said to have made more powerful inroads in the minds of the audience. Setting aside the temptations to make such comparisons,if one looks at the overall stuff of Radha Mohan,the truth remains that his quest for quality is ever infallible, towards getting him a  lovable place in Tamil Cinema.
                                  ========================================        

The Energizing Music makers of Modern, Tamil Cinema.

    Music has been the most vital segment of Indian Cinema.Tamil films have most often hit the highest mark in terms of their musical glory.Starting from the days of G.Ramanathan,music has occupied the imagination of film makers as the foremost ingredient of the creative order of Tamil Cinema.Even after six decades, a vast number of songs of the last century are eagerly listened to,sung in musical contests and have attracted music composers of the existing generation for a fascinating remix.At the same time, there have stepped into the field,many new faces who are capable of stimulating the musical thirst of the audience, for an exuberant and rewarding experience.This article of my blog proposes to give due credit and appreciation to three music composers who have been distinctly enriching Tamil film music, by their celebrated contribution of songs and musical notes in new style and gusto, with the sole intention of energizing and entertaining the audience.They are Vidyasagar,Baradwaj and Harris Jeyaraj.
    Of these Vidyasagar is the oldest, who started his career in the late Nineteen Eighties with the Tamil film Poomanam. After this Vidyasagar's concentration turned to Telugu and Malayalam films winning quite a few awards particularly for Malayalam films.His most popular and strongest musical scores in Tamil were for Lingusamy's Run and Dharani's Dhil,Dhool and Gilli.He has been the preferred music maker for the films of Arjun such as En Thangai,Jai Hind, Karna, Ayudha Poojai and Vedham. Besides Gilli,his other Vijay movies include Thirumalai, Madhurey. Kuruvi and Kaavalan. With Ajith his films were Ji and Poovellaam Unvaasam.He has also been the favourite of directors like Radha Mohan [Abhiyum Naanum and Mozhi].His other reputed entries include K.V.Anand's Kana Kandein, R.Kannan's Jeyam Kondan and Karu Pazhanaiappan''s Paarthiban Kanavu.
    The other outstanding film known for his musical composition, is the Superstar's Chandramugi.I would have left out some other worthy films in my reference.But it is not the number of films that matters. Vidyasagar is always known for a special kind of rhythm that is closer to our heart beat.His music is rich in speedy energizers like 'Ichuthaa Ichu thaa','Theradi Veedhiyil','Kaadhal Pisaasu'[All from Run}'Kokkara Kokkarakko''Appadi Podu' { both from Gilli,},'Machaan Peru' {Madhurey}, 'Dhevudaa Dhevudaa' {Chandramugi} and unique melodies such as' Poi Solla Koodaadhu' from Run 'Malare Mounamaa'[Karna}'Aasai Aasai' from Dhool,'En Samayalaraiyil' from Dhil 'Neeya Pesiyadhu' from Thirumalai and 'Thathindhom' from Chandramugi.
    What is singularly absorbing about Vidayasagar's music, is the stupendous way of blending instrumental grandeur with vocal wield and the exceptional word clarity of lyrics, in his musical compositions. In other words,he would always see to it that the power lyrics is not eroded by instrumental monopoly.This is how he has amazingly exploited the power of singing of Shankar Mahadevan in songs like 'Aasai Aasai','Neeyaa Pesiyadhu' and 'Machaan Peru Madurey' by creating different moods with the voice magnificence of just one singer.'Neeyaa Pesiadhu' is in fact, one of my life time favourite songs.
    Unlike Vidyasagar,Bharadwaj and Harris Jeyaraj  have shown that their instrumental throb and reach, have a magnetic appeal, at times even to the extent of surpassing lyrical grandeur and vocal excellence.If Bharadwaj is a Saran favorite,Harris Jeyaraj has continued with Gowtham Menon in his journey towards hitting new rhythms of film making.Starting from Saran's first film Kadhal Mannan, Bharadwaj has added incomparable energy in his musical stuff, with songs like''Unai Paarthapinbu' {Kadhal Mannan} 'Satham Illaadha Ulagam Kettein'{Amarkalam}'Nenjuporukkudhu Gemini Gemini' 'Pennoruthi Pennoruthi'{Gemini} and ''Kalakkappovadhu Yaaru'{Vasool Raja MBBS}.He has given us energy packed songs in all the films of Saran.'His ever fascinating melodies are 'May Maasam Thonnuthettil' {Jay Jay}''Ovvoru pookalume'' {Autograph} and 'Unnodu' [Amarkalam} 'Paarthein Paarthein Suda Suda Rasithein' {Paarthein Rasithein}which prove his capacity for lyrical clarity and musical charm.The other notable films of Bharadwaj are Rojavanam,Pooveli and Rjakkoottam. But as a Saran team musician he has never failed to hit the mark in all the films of that juvenile director.He has also got an award for the film Gemini, a Saran hit.
     Harris Jeyaraj who began to enchant the audience by his most popular ''Vaseegara'' sung by Bombay Jeyashri in his first film Minnale,which also happened to be the first film footing of Gautham Menon,continued his exceptional musical magic in the other Gautham Menon hits like Kaakka Kaakka,Vettaiyaadu Vilaiyaadu,Pachaikkili Muthucharam,Vaaranam Aayiram and Ennai Arindhaal. Apart from 'Vaseegara' {Minnale}his melodies like ''Idhudhaanaa''{Samy}''Paartha Mudhalnaale''{Vettaiyaadu Vilaiyaadu}'Unnaale Unnaale'{Unaale Unnaale}''Oru Maalai'' {Ghajini} 'Ennamo Yedho'{Ko} 'Idhayathai Yedho Seidhaai''{Yennai Arindhaal} and 'Aathaadi Aathaadi' {Anegan}are of the rarest kind.Some of his energy packed numbers are 'Rahathulla Rahathulaa' {Ghajini}''Thangaamaari Oodhaari'{Anegan}and 'Adhaaru Udhaaru'{Ennai Arindhaal}
     Harris Jeyaraj has also made an impressive show in Hari's Saamy, in which all the numbers were mega hits.His other Hari films were Kovil and Arul. Shankar who would not think of any one other than A.R.Rehaman for his films,deviated twice to induct Harris Jeyaraj for his films Anniyan and Nanban whose success also depended upon the captivating songs like 'Iyengaaru Veettu Azhage' 'Kaadhal Yaanai''Andangkaakaa  Kondaikaari'and 'Kannum Kannum Nokiyaa'[ all from Anniyan] and 'Enfriendapola Yaaru Machaan','Olli Jelli' [from Nanban].His felicitous musical component enriched the over all quality of films like Ayan, Aadhavan,Gajini,Unnaale Unnaale,Ko Maatraan, Enrenrum Kaadhal,Thuppaakki, Oru Kal Oru Kannaadi and Anegan.
    While the music directors of earlier generation were making miracles in music from the existing raagaas and swarams,the new generation composers keep on exploring the nuances of the human voice and the plausible reach of stringed,wind and percussion instruments in newer dimensions. Moreover,the keyboard in their hands becomes the key to unlock the doors,to a fantasy zone, for a panoramic reach of their auditory imagination for never experienced musical niceties. To put it in a nutshell, it is the freshness of music in a kind of research perspective, that has led Tamil film industry to a hugely exalting proportion.
    Though all the three music composers have struck a note of individuality and charm Harris Jeyaraj appears to have moved closer to the younger audience, to stay as their heart throb in the line of A.R.Rehaman.The fact that he is the youngest among the three, could be a reason for this, because only a youngster can read the pulse of the youth and their preference for a particular brand of music. Again,of the three men,it is Harris Jeyaraj who commands a greater instrumental wield to capture the imagination of music lovers.But it can not be ignored that the other two musicians will also find an immortal place in Tamil Cinema, because of their extraordinary contribution of energy and solace, through their fast and soothing numbers.It would not be an exaggeration to say that all the three music makers, have wonderfully modernized Tamil film music, through their independent musical might and punch.
                    =========================0========================

A Film Maker of Crime,Justice and Punishment.

     


     To be consistently focused on a particular theme and genre is the mindset of some film makers. This is how A.Bhimsingh specialized on family drama and K.S Gopalakrishnan and Barathraja chose to set their films on the rural stage.In a similar way,director S.A.Chandrasekar loved to portray a huge galaxy of crime and punishment,in different forms,both within and outside the legal parameters. Starting from his very first film Sattam Oru Iruttarai,he has been concentrating on this most vital aspect of human life with storyline and action fitting the ambiance of criminality and justice in a variety of style in exposition.
   In exhibiting the world of crime and justice Vijayakanth became his right hand hero, fighting crimes with fire, sheen and gusto.Vijayakanth was not just the hero of his first film but nearly twenty of his films.Apart from Sattam Oru Iruttarai. some of their significant joint journeys on the road to justice were Sivappu Malargal,Sattam Oru Vilaiyaattu,Jaadhikoru Needhi, Needhiyin  Marupakkam, Enakku Naane Needhipathi, Needhikku Thandanai,Rajanadai,Rajadurai, Saatchi and Vetri,the last one produced by P.S.Veerappa,the last century's pride of villainy in Tamil Cinema.
   Even their other two popular films Sendhoora Paandi and Periyanna. were not free from their struggle for goodness and justice though these two films carried the romantic element of young heroes like Vijay [son of this director] in the former and Soorya in the latter.One could say that it was S.A.Chandrasekar who shaped the early film career of Vijayakanth.The other fact is like P.Neelakandan who directed a large number of MGR films,it is S.A.Chandrasekar who has directed Vijayakanth's role performance in a maximum number of movies.It should also be mentioned here that for the film Needhikku Thandanai, it was the DMK leader Dr.M.Karunanidhi who wrote the story.
    S.A.Chandrasekar's film journey with his son Vijay, consisted of romance,crime and punishment.  'Once More' was perhaps the only film, from the father and son combination, which was an exclusive tale of freak romance and had the pride of enrolling Sivaji Ganesan and  B.Sarojadevi, in meaty roles, pleasantly recalling their romantic experiences of the Ninteen Sixties' famous film Iruvar Ullam, directed by the most renowned film maker L.V.Prasad.
   All the other films of Vijay such as Nalaya Theerpu, his debut film as hero,and others like Vishnu, Deva,Rasigan,Maanbumigu Maanavan,Nenjinile and Aadhi showed the hero fighting injustice besides doing romance.But unfortunately,excepting Thamizhan, for which S.A.Chandrasekar wrote the screen play,almost all the films of Vijay directed by his father, did not do well at the box office. No doubt films like Aadhi,Nenjinile and Vishnu were all fast in narration and were not of the boring category.But it is a bitter truth that Vijay who takes the credit for giving the maximum hits among the younger heroes,could not play the hat trick in the case of his father.
   The most talked about film of S.A.Chandrasekar was the Superstar's blockbuster, Naan Sigappu Manidhan.It was a consummate narration of crime and justice neatly presenting the gruesome plight of a college professor who had to take law in his hands, to punish a most crooked and brutal anti social gang.The fascinating addition of Bagyaraj in the role of a private detective{ as CID Singaram}  was an added telling point, for the entertainment component of the film.The grandeur of the movie and its title were so deeply imprinted in the minds of the audience and the film makers that the same title was recently used for a Vishal movie, to treat an altogether different story line. S.A.Chandra Sekar's film had Sathyaraj playing the villain and Ambika as the pair of Rajinikanth.Released in the mid Nineteen Eighties, the film not only drew huge audience to the theatres, but also received very positive reviews.
     Like 'Once More' there were a couple of pure romances from the creative kitty of this director. They were Vasantharagam{another Vijayakanth film}and Nenjirukkumvarai.Pandhayam was also a love story but it was action packed. Some of his latest popular releases were Sattapadi Kutram and Touring Talkies.S.A.Chandrasekar has directed about eighty films of which I have included all the important films here.Besides being a reputed director, S.A.Chandrasekar is the proud father of a very talented mass hero, who has made victory as his trade mark, besides his name itself symbolizing victory.But the point here is that S.A.Chandrasekar has constantly made his thrust on a society, free from crime and illegality. In this respect, he could be fairly called the most prominent director of films, based on the core of crime and punishment.
                                  ====================================
            

The Status of Heroines in Tamil Cinema..

 

 








    There is a famous saying in English literature, that Shakespeare the most renowned dramatist, has in his plays, no heroes, but heroines .This statement is perhaps the outcome of the fact that in many plays of Shakespeare,the women protagonists are more resourceful and inspiring, than the men characters.But in Tamil Cinema, the approach to women characters has generally been the other way round. The status of heroines in Tamil Cinema has hardly been ever different from that of Indian women in general and Tamil women in particular.
    Starting from the inception of the Tamil film industry, heroines were always on a slippery or unstable ground, when compared to heroes.The industry has mostly been hero-centric, with some heroes found dominating the stage, more than others.We have come across all time heroes, as well as short time heroes.But as far as heroines are concerned, a majority of them would not have reached the fifty films mark.Even before reaching that magic number, many of them would have been pushed to the role of elder sisters and mothers of  the all time heroes.
    This is how actresses like Pandaribai,G.Varalakshmi,S.Varalakshmi and even T.R.Rajakumari were seen within a short span of time as elder sisters and mothers of heroes and upcoming heroines. Except G.Varalakshmi,the other three heroines later acted as the mothers of MGR. Among the senior most actresses,excepting  Padmini, others such as V.N.Janaki, B.S.Saroja, Madhuri dhevi T.R.Rajakumari and P. Banumathi could not dream of doing at least fifty movies as heroines in Tamil.All these women were either married off and left the scene, or remained contented with roles other than that of heroines.
   The number of films released during the Nineteen forties and fifties, were considerably less than those released later.Perhaps this would also have restricted the opportunity for the heroines to maintain a stable position in the industry.Though competitions were much less then,because of film acting being considered as a taboo or even a stigma,some of the actresses like P. Banumadhi, Vaijayanthimala,Anjalidhevi and Padmini could make greater innings than others,because of their singing or dancing calibre. Of these women, Vaijayanthimala could find a permanent place in Bollywood, after doing not less than a dozen films in Tamil with the topmost heroes of Tamil Cinema, like MGR,Sivaji Ganesan and Gemini Ganesan.
     Padmini who achieved stardom in Tamil Cinema also had a meaningful stint in Hindi films. Padmini  was perhaps the first heroine, who found a status for herself as a longstanding heroine in the Tamil film industry.This was because,her contemporary heroine P. Banumathi was shuttling between Telugu and Tamil films, making a more vital impact on Telugu cinema,as  her mother tongue being Telugu. Anjalidevi was also in a similar position.
    After Padmini,it is known to all those well versed with information on Tamil films, that it was four other actresses who found an enviable place in Tamil Cinema, as the most outstanding heroines.They were,Savithri,Sarojadevi,K.R.Vijaya and J.Jeyalalitha. All the other heroines, despite some of them being greatly talented and being award winners, have stayed way far behind these four women.One of the vital objectives of this article is to throw light on the mettle of  some such heroines, whose contribution to Tamil Cinema could have been brief but solidly memorable.
    The value of a heroine till the mid Seventies, was in fact measured by their ability to withstand for a longer period, as the favoured heroines of MGR and Sivaji Ganesan.MGR's pet heroines from the middle Nineteen Fifties were,P.Banumathi,Sarojadevi,Jeyalalitha, Manjula and Latha. Here and there he would have made some adjustments for other heroines like Savithri K.R.Vijaya and Vanisree. Whereas Sivaji Ganesan had a huger list of heroines, with himself being cast as hero.Besides his most frequent heroines like Padmini,K.R.Vijaya and Jeyalalitha,he would have been paired with' heroines like Sowkar Janaki, Devika, Vanisree, Manjula and Usha Nandini,He would also have opted for younger heroines like, Sujatha, Srividhya,Sripriya, Saritha,Ambika and Radha.
    However,in spite of domination of heroes and hero based stories, once a way, there came films based on the importance and achievements of women.There were hits like Penn,Adhisia Penn, Adutha Veettu Penn,Naanum Oru Penn, Pudhumai Penn,Mangaiyar Thilagam, Bagyalakshmi, Kalathur Kannamma,Annai,Chithi,Kula Vilakku,Namma Veetu Lakshmi, Vaani Raani, Thaamarai Nenjam, ,Mayor Meenakshi,Vandhaale Maharaasi Avalukkenru Oer Manam, Aval Oru Thodar Kadhai and so on.There were also movies bearing women's name as titles such as Devaki,Dr.Savithri,Saratha, Karpagam, Malathi, Vaijayanthi IPS Pavithra and Bhavani.All these films distinctly and poignantly, presented the struggles and accomplishments of different types of women making a tremendous mark, both at the domestic fold and in their career field.The variety in story and character formation, handled with imagination and intelligence, by amazingly qualified film makers, made these films a wonderful treat for the viewers.
    Moreover, unlike MGR, in many of the Chevalier's films, the heroines would not remain as mere  glamour pieces but would substantially emote to claim their valued position, as heroines adorning meaningful roles.Films like Mangayar Thilagam, Iru Malargal,Kai Kodutha Dheivam, Engirundho Vandhaal,Savaale Samaali,Sivagaamiyin Selvan,Thillaanaa Mohanaambaal and Mudhal Mariyaadhai would prove the fact that Sivaji Ganesan would ever like to draw a line for competition and appreciate the talent of the heroines exhibited well in his films.
    Actresses like Devika and Vanisri made a telling impact on the Tamil audience for more than fifteen years, though they would not have ruled Tamil Cinema with more number of films,like K.R.Vijaya and Jeyalalitha.No one can forget Devika's sterling performance in films like Nenjil Oer Aalayam, Aandavan Kattalai,Karnan, Sumaithaangi and Vaazhkai Padagu.She had also acted in films like Paava Mannippu, Annai Illam,Muradan Muthu,Anbukkarangal,Pazhani and Bale Pandia with Sivaji Ganesan. The only movie she did as MGR's pair was Aanandha Jothi.She was known for admirable charm and grace, always fond of reflecting beautifully, the spirit of submissive womanhood.She could not be thought of playing feminist roles and she was a fascinating pair of Sivaji Ganesan,Gemini Ganesan and Muthuraman Notwithstanding her enchanting looks and subdued acting skills, she could not reach the status of heroine stardom.
    The other vibrant and  ebullient performer Vanisri deserves a commendable place for her remarkable performance in films like Uyarndha Manidhan,Vasantha Maaligai,Vaani Raani and Kulama Gunama.Resembling Savithri, in appearance and acting style, to a great extent, she was a perfect match for Sivaji Ganesan though she would have paired with Jai Shankar in more number of movies.She had also been the heroine of MGR, in films like Kannan En Kaadhalan,Thalaivan and Oorukku Uzhaippavan. But she is remembered for her exuberant performance in Balachander's beautiful films Velli Vizha and Thaamarai Nenjam[in which she and Sarojadevi as intimate friends, were trying to outwit each other in giving up their love interest for the sake of the other].She was a sparkling and sprightly performer, but unfortunately she focused more on Telugu films like P.Banumadhi.
    There were a few other heroines, who made a brief but brilliant stint in Tamil films.Take for instance,the National award winner Oorvasi Saradha, whose remarkable role performance in Thulaabaaram still remains green in our memory.In reflecting the mood of anguish and agony she remained unbeatable.Starting from Kungumam,she was seen growing up the ladder of acting, with an extraordinary strength to emote beautifully and powerfully. She acted as the younger sister of both Sivaji Ganesan{Gnana Oli}and MGR{Ninaithathai Mudippavan} and was last seen as the unwed mother of the Superstar in AVM's Mr.Bharath.
   There were two great Kannada artists who made a striking mark in the minds of the Tamil audience. They were Barathi Vishnuvardhan and Jeyanthi.The latter was a Balachander favourite and performed amazingly with the able guidance of her mentor, in films like Edhir Neechal, Punnagai,Iru Kodugal,Velli Vizha and Baamaa Vijayam. She could adeptly handle comic and grief stricken roles with equal efficacy and found a lasting place in Tamil Cinema, through her short but scintillating verbal throw and display of emotions. Her ever grumbling tone with a nasal touch, was her special asset.
    Bharathi was a perfect pair of Jai Shankar and Ravichandran. If B.Sarojadevi resembled Vijayanthi mala to some extent,Bharathi looked like Sarojadevi. Though she could not attain the dream girl status,Bharathi made a sterling performance in Avalukkenru Oer Manam,under the ace direction of Sridhar.She was the second heroine in MGR's Nadodi and was paired with Sivaji Ganesan in T.R.Ramanna's Thanga Surangam. But her Tamil dialogue delivery could not escape the intrusion of her mother tongue Kannada.She was also a favourite of the Malayalam film industry and made a striking role performance in Mohanlal's Narasimham.
   Saritha and Archana whose black complexion did not deter their classic levels of acting,were wonderfully groomed by directors like Balachander and Balu Mahendra.While Saritha got an an award for her unique show in Agni Saatchi,her other Balachander films like Achamillai Achamillai and Thanneer Thanneer were great hits.Later she did a remarkable role in Sivaji Ganesan's Keezh Vaanam Siakkum as the latter's daughter-in-law.Her belligerant performance in Mouna Geedhangal would have been a tough challenge for Bhagyaraj, the most cheerful face of Tamil Cinema.ForArchana,the award for her performance in Balu Mahendra's Veedu, was a highly deserving point.Both these women overcame their shortcomings in appearance by an admirable delivery of emotion -packed and refined performance of well- marked characters.
    Sowkar Janaki who also belongs to this category of less glamorous heroines, was never lagging behind men in her portrayal of highly challenging roles.In most of her roles, as Sivaji Ganesan's pair,she could noticeably give him tough times, in competing with him, in films like Padikkadha Medhai,Paar Magale Paar,Motor Sundaram Pillai,Paarthaal Pasitheerum and Uyarndha Manidhan.She would also have been a challenge for  Veteran K.Balachander in casually creating records  both as a sobre and comic performer in films like Iru Kodugal, Kaaviya Thalaivi, Edhir Neechal,Bhaama Vijayam and Thillu Mullu.I would call her an encyclopedia of acting, because her performance was a combination of modesty and arrogance,love and hatred,humour and grief.
    Kaanchana,whose beauty earned her a rightful place in Tamil Cinema,has acted with MGR, Sivaji and Gemini,though in MGR's films she was only the second heroine.Her best show was in movies of the thriller genre such as Adhe Kangal,Saanthi Nilayam and Ponnu Mappillai. Sivantha Mann with Sivaji Ganesan could be called her biggest show of performance with utmost reach.She was also good at the comedy spot, in films like Kaadhalikka Neramillai, Bhama Vijayam and Utharavinri Ulleva.She was the greatest scoring point of the mythological film Veera Abhimanyu.
     Lakshmi the other great performer, did not just remain a glamour piece though some of her earlier films with Sivakumar, Jaishankar and Ravichandran carried the glamour stamp.But she has to her credit, films like Jeevanaamsam,Mannippu,Kannippenn,Nootrukku Nooru, Veettukku Veedu, Akkarai Pachai,Unakkaaga Naan,Thiaagam and the most magnificent list of movies like Sila Nerangalil Sila Manidhargal,Oru Nadigai Naadgam Paarkiraal,Sirai and Samsaaram Adhu zminsaaram.No other actress can display a mood of suppressed emotions as enchantingly as Lakshmi.Even Sujatha and Sri Vidhya will occupy only the second position in this regard.
    Successive heroines like Sujatha,Srividhya, Jeyachitra Sumithra,Sridevi and Sri Priya held the stage for more than a decade as popular heroines of Tamil Cinema.Of these Sridevi created a magic spell in Kamalahasan's films like Padhinaaru Vayadhinile, Moonru Mudichu,Sigappu Rojaakkal, Varumaiyin Niram Sigappu, Moonraam Pirai[one of her best roles] and Vaazhve Maayam.She would have acted the maximum number of films with Kamalahasan as Padmini and K.R.Vijaya did with Sivaji Ganesan. But later she moved to Bollywood to succeed the dream girl status of Hemamalini,for a while.Excepting Dharma Yudham and Jaani,her films with Rajinikanth were more on the glamour side.May be, if she had stayed back with the Tamil film industry she would have attained a place equal to that of K.R.Vijaya and Jeyalalitha. Her prominence in Bollywood literally pulled her away from Tamil Cinema,
    Though Sujatha and Sripriya firmly stuck to the ground realities of acting,Sujatha like Sri Vidhya and Sumithra took up mother roles faster and Sri Priya who after a dozen big entries with Kamal and Rajini almost bade goodbye to Cinema.Similarly Jeyachitra was a part of quite a few successful films of Jai Shankar [mostly comedies] and Sivakumar [Sollathaan Ninaikirein Ponnukku Thanga Manasu and Vellikkizhamai Viradham need a special mention]left the centre stage after a decade of busy acting schedule, to reappear later as the arrogant mother of heroines in a couple of films.
     From Nineteen Eighties onward,there was an exodus of actresses claiming special heroine status based on looks, aptitude and motivation for performance in terms of grace, glamour, emotion and courage .Some of them like Ambika, Radha, Radhika, Revathi, Meena, Kushbu, Simran and Jyothika got themselves imprinted in the minds of the audience as favourites and passionate symbols of woman- hood. Other actresses like Sulakshana,Sukanya, Poornima Jeyaram, Suhasini, Ramya Krishnan Suvalakshmi, Devayani and Kausalya, who made themselves compactly impressive in traditional roles, soon settled down in family life or moved to other film industries like Malayalam or Telugu. Sulakshana's Thooral Ninnupochu, Sukanya's Walter Vetrivel and Chinna Gounder,Poornima's Darling Darling and Thanga Magan,Suhasini's Gopurangal Saaivadhillai and Sindhu Bhairavi, Suvalakshmi's Aaasai and Devayani's Kaadhal Kottai and Suriya Vamsam are their special entries not only for their personal remembrance but for the memory of the Tamil audience.Several others like Sneha and Trisha known for their cute looks of feminine fitness have not yet made any special impact on account of yet wanting to do roles of significance and value.
    While Ambika's initial, innings were similar to that of Sri Vidhya, she had more opportunities to perform well, in films like Sakalakala Vallaban,Andha Yezhu Naatkal,Naan Paadum Paadal, Padikkadhavan and Vaazhkai,the film in which she was paired with Chevalier Sivaji Ganesan, Radha who created a telling impact in her very first film Alaigal Oivadhillai continued her journey on the glamour side with actors like Rajinikant,Kamalahasan,Karthik and Sathyaraj. But the film Mudhal Mariyadhai with Sivaji Ganesan established the fact that she was an excellent actor supported by strength of emotions and feminine independence.Her other great film was Engeyo Kettakural with Rajinikanth,at the initial spell of her acting career.
     Rathika was literally a firebrand during the beginning period of her acting journey.But her subdued acting grandeur got a face lift in films like Ninaivu Chinnam,Poonthotta Kaaval kaaran, Nallavanukku Nallavan,Sippikkul Muthu,Thaavani Kanavugal,Keladi Kanmani, Kizhakku Cheemaiyile, and Pasumpon.Her fiery acting stamina, was beautifully displayed in films like Oorkaavalan,Poisaatchi and Jeans. 
    Revathi ,one of the finest R heroines of Bharathiraja,could be called an outstanding performer like Lakshmi,with regard to suppressing emotions but at the same time setting her firm ground of powerful feminine stand well understood, through her focused  role delivery. Films like Man Vaasanai,Pudhumai Penn,Kizhakku Vaasal,Mouna Raagam,Devar Magan,and Marubadiyum are the hallmarks of her power of feminist grace expressed either clearly or in a subtle style.At the same time, films like Oru Kaidhiyin Diary and Punnagai Mannanan would demonstrate her capacity for smart portrayal of roles.In reflecting pathos she would stand out as  the best, in films like Kai Kodukkum Kai and Vaidhehi Kaathirundhaal.
     Simran and Jyothika are the other two impressive heroines of Tamil Cinema.Simran was of course more on the glamour side but in expressing suppressed anguish and anger she has expressed a special identity for herself through films like Thullaadha Manamum Thullum, Vaali,Kannedhire Thonrinaal, Arasu,Ezhumalai and Natpukkaaga.Her proven dancing credentials were an asset to Tamil cinema like those of Ramba.Jyothika has ever been her original stuff in powerful delivery of emotions and dialogues in the line of Savithri and K.R.Vijaya. Her performance in Chandramugi, Mozhi and 36 Vayadhinile, are her best scores.She is one actress capable of evoking a mood of self dignity of womanhood in the midst of grief and a sense of longing for being accepted for what she deserves, as an individual, rather than as a woman treated on conditions of gender equations.
     Kushbu has  been adored in Tamil Nadu as a wonderful actress of brilliant charm and glamour and her roles in films like Chinna Thambi,Annamalai,Varusham 16,Kizhakku Vaasal Naattaamai and several others have made her part and parcel of the Tamil soil, though her origins belong to the Northern part of India. Meena a distinguished  heroine of sweetness, charm and mellowed mode of acting, has been a fascinating part of Tamil Cinema from her childhood.As a child artist,she won the hearts of the audience, through her captivating performance in Anbulla Rajinikanth, as the Superstar's fan and later co starred with him, in films like Ejamaan,Veera and Muthu.Her enchanting appearance could be tagged to her roles in films like Sethupathi IPS, Maaman Magal,Muthu,Avvai Shanmugi and Harischandra.As a modest character she has been fine in Bharathi Kannamma,Oru Oorla Oru Rajakumari and Aanandha Poongaatre.She has sufficiently proved that she is a right mix of grace, modesty, sweetness and glamour.Malayalam Cinema has been meaningfully utilizing her talents and her latest entry in this regard, is her charming and impressive role play in Drishyam.
    Whereas Roja and Ramba have been categorically on the glamour track, though the former has come out with creditable performance in films like Unnidathil Ennai Koduthein,Maakal Aatchi and Vallal.The new millennium has a long list of newer addition of heroines getting into the groove of genuine acting.to carry forward the objectives of Tamil Cinema to more challenging heights and greater glory.Two dynamic actresses whom this blog would like to glorify are Fadafat Jeyalakshmi and Soundarya,who died young.
    Though the world is by and large in the grip of macho might and grip,many women have shown that they are as great as an MGR or Sivajiganesan,a Rajinikanth  or Kamalahasan a Vijay or Ajith.But most of these heroines could not see their one hundredth film as heroes do. What we need is a frequent release of purely heroine- oriented films, with a  hearty thrust on the prominence of womanhood, in forming the story base and characters that could outshine the role of heroes.
    But such things happen rarely, like oasis in a desert.It is the lack of adaptability for and acceptance of,what a heroine deserves, that pulls her down to the secondary position.That is why, we have no heroines but heroes. That is why, we have not frequently come across immortal heroines like Padmini, Savithri, Sarojadevi, K.R.Vijaya and Jeyalaitha.It is this immortality that will give meaning and status to the heroines of Tamil Cinema.Otherwise the status of heroines will stay where it is,just on the cosmetic line of film making, adding fleeting moments of glory to the physical side of womanhood, at the cost of its emotional and intellectual niceties.
                                   ==================0==================
   
     

A Felicitous Film Maker of Family Dramas.

     During the early years of Tamil Cinema, its focus was mostly on family dramas.Here and there we would have come across historical or mythological films and a few thrillers.Family sentiment was the strong core of Indian cinema in general, because of the prevalence of the joint family system and the enormous faith cherished by everyone in the traditional core values of family life.Spouses deriving solace from each other,filial bond,parental love,sibling intimacy and an unfailing association with the paternal and maternal relatives which formed the base of family life, were invariably passed on to the larger than life events on the big screen.
    There were at least half a dozen film directors who had specialized in family drama.Of these,the duo Krishnan Panju, A.Bhimsingh and K.S.Gopalakrishnan were brilliant film makers. While others dealt with family stories with other significant elements such as rural charm, romance and the impact of society on family life, it was A.Bhimsingh who always clicked his camera intensely into every nook and corner of the family routine.The emphasis on family unity, was always a vital parameter of his depiction of family dramas.
    What made Bhimsingh's narration outstanding, was the total absence of artificiality in story telling, character delineation and dialogue delivery.One could always feel that the happenings on the screen were happenings in real life.There was nothing overdone, to call for an assessment of  melodramatic. content,In other words all that happened in a Bhimsingh film could very well happen in each one's family.It is this genuineness in presentation, that made the release of his films the most desired  occasion for theatre visits.
    Starting from his earlier innings such as Ammaiyappan and President Panjaksharam[both starring S.S.Rajendran] it was a race of family emotions supported or disturbed either by the family formation or by external aspects such as career and friendship.The intrusion of friendship into family life as a strengthening bond,was strikingly noticed in films like Padhi Bakthi and Paarthaal Pasitheerum.Films like Paava Mannippu, Paasamalar and Bhandha Paasam discussed  intimate sibling love, Paalum Pazhamum beautifully presented the profound layers of love between husband and wife. Pachai Vilakku, narrated the sad story of an Engine driver[again played by Sivaji Ganesan] of the Indian Railways, who went to the extent of giving up his life, in order to save a running train and its passengers, from the sabotage caused by an anti social wing.
    Whereas, Padikkadha Medhai and Paar Magale Paar were exuberant family dramas, with whole packed emotions, arising from conflicting interests between parents and children as pillars of the joint family fold.Padikkaadha Medhai with a huge cluster of characters, poignantly portrayed the plight of a wealthy family falling into ruins all of a sudden.The consequences of the family's fall were so grievous, that the children and parents were instantly disconnected from the family tree. Sivaji Ganesan as an adopted member of the family, played a key role in reuniting the family members after the pathetic death of the family patriarch.Each and every scene was so true to life, that those who watched the film would still be feeling its impact as an everlasting life experience.
     In Paar Magale Paar, Sivaji Ganesan himself was seen as an aristocratic and status conscious father whose obsession for wealth was awaiting humiliation at the sight of the fact, that one of his two daughters was actually the offspring of a servant woman.The weight of the story lay in the difficulty in tracing the identity of that particular daughter.The confusion was actually caused in the maternity ward, by the accidental death of the nurse, who mixed up the two new born kids while giving them their first bath.The film was a memorable event on the screen with Sivaji Ganesan and Sowcar Janaki as husband and wife, creating the greatest family drama by their gripping performance.
    Baagapirivinai was a still grander show of family experience with members of two generations of a joint family, living together and vested interests trying to break the roots of the grand family, by insisting upon partition of the joint family's wealth and resources.Films like Pazhani,Bhandha Paasam and Padithaal Mattum Podhuma confined the action component to the inner family circle with one or more of the siblings growing either selfish or greedy or suspicious.Almost all these films were award winners either drawing the national award or Certificate of Merit from the Government of India.
    Like A.P Nagarajan who specialized in myths and spiritualism and like K.S.Gopalakrishnan who stuck firmly to rural story backgrounds,,A.Bhimsingh devoutly cherished the core and depth of family drama to take it passionately to the audience, without any pretension what so ever.Music was another amazing supporting factor of all the films of A.Bhimsingh, with the duo Viswanathan Ramamurthy or K.V.Mahadevan stealing the hearts of film goers, with soul sustaining songs.Above all, what made a Bhimsingh  film stand up straight and greet the mood of the audience, was the supreme presence of Sivaji Ganesan as hero, heightening and fulfilling the expectations of the audience with grace, grandeur and governing participation.
    All the films mentioned in the previous paragraphs, were Sivaji starring blockbusters with the prominent support of the other hero Gemini Ganesan or a few other heroes like S.S.Rajendran and R.Muthuraman.His other Sivaj Ganesan films include Raja Rani,Naane Raja, Petramanam,Shanthi, Senthamarai,Paalaadai and Paadhukaappu. No one can say if Bhimsingh's films guaranteed the growth trajectory of Sivaji Ganesan,or if the latter's presence and role play enhanced the quality and ensured the victory of those movies.Whatever be the contention, it is an established fact, that all films of A.Bhimsingh with Sivaji leading the show, were inimitable family dramas.
      Bhimsingh's prominent Gemini Ganesan films were,Thirumanam, Kalathur Kannamma and Ponnu Vilaiyum Bhoomi. Kalathur Kannamma takes the credit for introducing Kamalahasan as a child artist besides being one of the most remembered films of Gemini Ganesan.Thirumanam was a highly talked about movie.Some of the other different films of this high profile director were, Sahodhari, Paadha Poojai,Sila Nerangalil Sila Manidhargal and Oru Nadigai Naadagam Paarkiraal. The last two were based on the two famous novels of Jeyakanthan. Sahodhari will always be remembered as a great movie with the remarkable performance and songs of Chandrababu.Paadha Poojai had Sivakumar and Jeyachitra in the lead roles.An absolutely different film of Bhimsingh was Saadhu Mirandaal, with T.R.Ramachandran playing a neat role.It was a thriller kind of film and could be called a deviation from the professed path of film making, of this great director.
    Two specially distinct features of Bhimsingh's film career were, his preference for the Tamil letter 'ப'as the fist letter of a number of his films and his obvious avoidance of MGR as the hero of any of his films.Though no specific reason could be attributed to this rejection, the fact remains that MGR has not acted in any of his films.Setting aside these observations,it should be categorically mentioned here, that no other film director in Tamil, has gone deeper into the intricacies of a well founded institution, called family.In upholding family values and in portraying characters of exemplary virtues and behavioural patterns,A.Bhimsingh always created records of kind, not just for the sake of winning awards, but positively for the purpose of creating a classic sense of order and discipline in  the family foundation, with its inherent fundamentals of love,understanding,mutual concern and sacrifice.In portraying the true spirit of family objectives, it was A.Bhimsingh who was found to be enjoying what he was trying to project on the screen.It is this innate felicity in narrating family stories, that made him, the master film maker, of family dramas.
                            ======================0========================
   
       

Fantasy Tiger, Fails to Pounce.

    Gorgeous settings,magnificent locales,exquisite presentation of the hero and his charming girl,impressive underplay of villainy by Sudeep,fascinatingly horrid reappearance of Sridevi on Tamil screen after a long spell,convincing graphics,gripping stunt scenes and credible Hollywood style of scenic display,are certainly the most positive features of Actor Vijay's latest film Puli.A couple of throbbing dancing numbers make Devi Prasad's musical score something special.Father Vijay roars and pounces more ferociously than son Vijay. But beyond these the film seems to lack tempo and ceases to entertain with consistency.It really made me long for the film 'Vedhala Ulagam' released by the AVM banner in 1948,starring actor singer T.R.Mahalingam.
  'Puli' altogether seems to be a medley of quite a few Hollywood films including the Academy Award winner Brave Heart and the Harry Potter series.Being stuffed with horror elements in narration it can not be a worthy watch for kids.Being neither a complete supernatural fiction nor a totally out -of -reality narration, it does not seem to reach adults, in its intended form.May be teenagers who are neither free from childhood fantasies,nor  have realized adulthood facts, will enjoy this sandwich.
   As an ardent lover of actor Vijay's films, I was happy when he became careful in choosing his roles and story lines, after a series of failures like Kuruvi,Villu and Sura.That he was able to repeat his hat trick of victory through movies like Kavalan,Velayudham,Thuppakki and Kathi,boosted his capacity for giving only hits.In fact, the tiger in Vettaikaran roared and pounced much more powerfully than this Puli.
   After seeing this film, two points were nagging my mind.Firstly,why should Vijay think of playing such a role, which does not fit him in an acceptable profile?Secondly why should director Chimbu Deven resort to such an alien kind of theme and story line, which obviously lacks relevance, compactness and vigour in its over all impact.Like the character of Vijayakumar which has been wasted without any dialogue delivery,befitting the veteran's capacity for grandeur,huge funds seem to have been wasted in a futile exercise in building this exhaustive world of fantasy. Chimbudeven's portrayal and presentation of Torture King Pulikesi XXlll, was far more enchanting and entertaining than this disappointing 'extravaganza'.

Two Vijay Super Singer Judges, as Playback Singers.

    Vijay Super Singer competitions for seniors and juniors have been making remarkable records in many  aspects.One of its most interesting features is the composition of its judges.The usual bench consists of popular playback singers like Mano,Srinivas,Unnikrishnan,K.SChitra and Sujatha Mphan besides the periodical addition of Usha Didi and T.L.Maharajan. This blog already carries an article on Mano in comparison with S.P.Balasubramanyam.The objective of the present article is to discuss the singing style and impact of Srinivas and Unnikrishnan,leaving the other four, for independent  or comparative inclusion in later articles, under different headings.
    These two singers have been brought under a comparative discussion because both Srinivas and Unnikrishnan made their entry into Tamil Cinema with the A.R.Rehaman label and both made their first shots distinctly memorable.The songs that made them special were ''Manamadhura Maamarathu' from Minsaara Kanavu and ''Ennavale'' from Kaadhalan the former sung by Srinivas and the latter by Unnikrishnan.
    Interestingly,Unnikrihnan who is about six years younger than Srinivas  made his entry first and he also joined Srinivas. for his first song in Minsaarakanavu. Unnikrishnan's voice is as modest as he is,without claiming to be too big on any count,but at the same time making a powerful and indelible impression on the listener.It is a clear, soothing, digging and forceful voice capable of venting a galaxy of emotions at one go.Be it 'Ennavale' or the succeeding songs like 'Uyirum Neeye Uravum Neeye' {Pavithra}'Narumugaiye'{Iruvar}'Meenamma' {Aasai} 'Inninisaipaadivarum'{Thulaadha Manamum Thyullum}'Thenmerku Paruva Kaatru' {Movie with the same title }and'Manam Virumbudhe Unnai'{Nerukku Ner} 'Roja Poondhottam'{Kannukkul Nilavu}they were all felicitously, enchanting, emotional and romantic melodies.
    Whereas,'Kaalamellaam Kaadhal Vaazhga'{Kadhal Kottai}'Roja Roja' {Kadhalar Dhinam}and 'Maargazhi Thingal Allava' {Sangamam}were profound emotional outbursts. There were also great energizing numbers like 'Sonia Sonia' {Ratchagan}'Selayile Veedu Kattavaa' {Aval Varuvaalaa } 'Haire Haire Hairabba'{Jeans}'Mayilu Mayily Mayilamma'{VIP}'Nilavai Konduva' [Vaali} 'Ivan Yaaro'{Minnale}and 'Vennilaa' [Kushi}.In rendering all his songs,Unni krishnan proved his depth and exuberance in pouring forth contextually valid emotions, with a rare kind of style and depth in presentation.There were many more mesmerizing songs of Unnikrishnan, under the music composition of eminent composers like A.R.Rehaman, Ilayaraja,Deva,S.A.Rajkumar and Harris Jeyaraj.
    Unlike Unnikrishnan,Srinivas was not fortunate in lending his scintillating voice, for many block busters.Most of his songs were  for average, or, to-be forgotten films.But there were great hit songs like'Yenge Enadhu Kavidhai'{Kandukondein Kandukondein} Maha Ganapadhi {Amarkalam} Kaalai Arumbi{Kanaa Kandein}'Minsaara Kanna'{Padayappa}and'Apple Penne Needhaano{Roja Koottam} Snehidhane {Alai Payudhe} 'Mouname {Mozhi}' Yarumilaa'{Kaavia Thalaivan}'that carried verry significant waves with music lovers.The song 'En Uyire' from the film Uyire could pierce the soul with an incomparable sense of anguish and agony. Songs like 'Aalangatti mazhai{Tenaly}'En Mannava' {Linga}'Nenjam Enum oorinile' {Aaru}' 'Enrenrum Punnagai'{Alai Paudhe}are some of the most vibrating numbers of this penetrating singer.
    Srinivas has a  travelling voice, similar to that of Hariharan and he is strikingly capable of juggling with his own voice.He is a self exploring singer, with an outstanding musical research attitude, with regard to the conception and delivery of tunes and the effective role play of the human voice,in harmony with the instruments.However in my opinion, the opportunities that came in the way of Unnikrishnan, were more fascinating and dynamic, in delivering quality music and he made the best use of them.On the other hand, despite his tremendous voice potential and singing ability, similar opportunities did not come in the way of Srinivas and there lies the gap between the two,as far as popularity and larger acceptance of  their film songs are concerned.
    Both Unni and Srinivas have an immensely power packed voice.Both have the positive base of their expertise in carnatic/classical music.No one can say 'no' to their songs, because they have all the captivating ingredients involved in the rendition of songs, by their endearing voices.As judges at the Vijay Super Singer programmes,it is Srinivas who always steals the show.But as a singer it is Unni who has stolen the imagination of the audience, by giving more memorable songs for a large number of very popular films.As a commoner,I am always for the songs of both these fabulous voices.It is left to a voice expert like Mr.Anand Vaidyanathan to say, whose voice characteristics can be explored again and again, for the presentation of mind blowing musical magic, of varied kinds.
                            ===================0======================    

An Eight Decade Old, Young Comedian.

 

     Tamil Cinema can be proud of its comedians who have shown a genuine capacity for immeasurable humour.Starting from N.S.Krishnan,we have come across a huge line of comedy makers like T.S.Dorairaj,K.A.Thangavelu,J.P.Chandrababu, A.Karunanidhi, Kuladheivam Rajagopal, Nagesh, Cho Ramasamy,Thengai Srinivasan, Surulirajan, S.V.Shekar,Y.G.Mahendran, Goundamani, Senthil, Janagaraj, Vivek, Vadivelu, M.S.Bhaskar, Karunas, Santhanam and an upcoming group of new comedians that includes Soori.
     Besides these names we have a list of second rung comedians such as Kottaapuli Jeyaraman, Ezhumalai,Friend Ramasamy, Bakoda Kadhar,Appulachari aka Ramarao, Neelu,Mouli,Usilai Mani, Omakuchi Narasimhan,Madhan Babu, Charlie, Cinni Jeyanth, Paandu, Singamuthu,Mayiluswamy Balaji, and Kanja Karuppu.Among these,Charlie, Singamuthu and Mayiluswami have contributed significant laughter moments in a number of films in combination with front line team mates Vadivelu and Vivek.
    Beyond all these names, there is one comedian who has been associated with Tamil Comedy on the big screen, for fifty years and on the small screen for quite some time. This comedian who set his foot into Tamil Cinema with the blessings of  director Sridhar, in his Vennira Aadai,carries his first film title as his name prefix and has silently created a record of acting in more than one hundred films.
   Vennira Aadai Moorthy as he is known to everybody close to Tamil Cinema,is nearing eighty years of age.But his sense of humour is ever in its ebullient youth.His peculiar lip[bilabial] sounds,odd physical gestures and double meaning dialogues, make him a comedian of special breed.Comedians are of two kinds.The first brand of comedians can by themselves, set the stage for humour and evoke laughter sessions,either with or without the support of others.
    Most of these comedians mentioned in my first list, would hold an outstanding position in this regard. A.Karunanidhi could not succeed as much as other comedians of his period. Senthil might also be an exception because without Goundamani it would be difficult for him to run the show.But the second rung comedians,mostly lend the supporting hand to their team leading comedian.At times, some of them even overtake their lead comedians as Mayiluswami and Charlie did with Vivek in Dhool and Thenkasippattanam respectively, or as Singamuthu used to outshine Vadivelu in some films.
    Contrary to the comedians of the first and second types,it is Vennira Aadai Moorthy who has made it possible that there could be a breed of third type of comedians standing on their own, by neither leading a team nor supporting it.Here is a comedian who will be part of a team, but be a main source of humour and not a sidekick of the leading comedian.He will demand his position in a team, simply by his independent level of role play and at times command over others,either by his age factor, or by his cheeky and poking laughter generation with absolute time sense.Like V.K.Ramasamy, he would abuse the other leading comedians by terms such as Moodhevi [ugly spirit]and Mundam[torso] and will get his abuses meekly accepted by others.
    Vulgarity which was at times a part of the comedy show of veteran actor V.K.Ramasamy,is a pet concept of humour for Moorthy too.Like VKR,Moorthy started donning elderly characters much early in his career.But unlike in V.K.Ramasamy where one could rule out the possibility of innocence,Moorthy could stand as a symbol of innocence,even if he is foul mouthed. This is because his face carries a semblance of innocence and very often he lets out only half of the cat out of the bag and the hidden part of the cat, will save him from the blame of exposing the vulgar sight.

  In other words, Moorthy is always capable of safeguarding his half understood, double meaning dialogues, by clothing them with his ready made garment of saner words, that would change an indecent situation in to a perfectly decent and acceptable context.It is in this aspect of special humour promotion,that Moorthy always remains unbeatable.
    Moorthy's deceptive eyes are his boon, making him the right choice of''to believe or not to believe''roles.Equally,in the role of a crack or a gullible person{as he memorably did in Nadikan},no one can excel Moorthy's performance.He can casually be taken for a ride by his pupils if he were a school or college teacher, or even as the head of an educational institution.As a hostel warden, he would be a laughing stock.He is a perfect bet for the role of a hen pecked husband.

  His other cake -walk roles are those of a tout,a deceptive sage and a helpless cop.Some of his movies that would instantly knock at our memory doors, are Kaasedhaan Kadavulada,Nadigan, Aval Varuvaalaa,M.Kumaran S/O Maha lakshmi,Gopala Gopala. Vaadhiyaar, Vedham,Vallakkottai,Manam Kotthi Paravai and many other films from the huge list of his filmograpgy.

  Moorthy may not be fit for a solo comedy show; but he is always a solo comedian in the midst of others, by stamping firmly on the ground with his feet, for a great show of an ever agile, young sense of humour. Moorthy's experience in Tamil Cinema, is fifty ears old.However,taking his actual age into account, he can rightly be called an eight decade old, young comedian.  
                                ========================================   

The Distinguished Director Duo of Tamil Cinema.

       Two people working together in any field, especially in the field of Cinema, is not anything new. For instance, in the field of film music,we have come across illustrious music composers like Shankar Jaikishan ruling Hindi Cinema, for decades.Same was the case with Viswanathan and Ramamurthy in Tamil Cinema and later, Shankar Ganesh became noticeable music directors working together.But there were two directors of Tamil films who took over their career almost during the inception period of Tamil Cinema and stayed well knit, as makers of high quality films for a pretty long period.Born in two different places,with an age difference of about six years between themselves, they worked hand in hand, without any thought of who performed better than whom.They were Krishnan and Panju, the latter, younger in age, but the former, outliving his younger associate.Their passion for film making was ever governed by the standard yardstick of decent cinema.
    Starting with their first film Poompaavai and after a couple of low profile films, they came out with the great film Nalla Thambi, starring N.S,Krishnan,for which the then Dravidian leader C.N.Annadurai wrote the dialogues.Then with the A.V.M blockbuster Parasakthi, they carried the pride of introducing Sivaji Ganesan into Tamil Cinema, who later on became its body and spirit.Their grand creative potential continued to inspire the Tamil film audience, through films like,Kula- dheivam, Ratha Kanneer and Mamiyar Mechiya Marumagal. Besides family dramas, they could delineate events and characters with versatile emotions like motherhood,anguish of childless mothers, nobleness of sacrifice and the grandeur of friendship.They were equally good at action movies.
   Krishnan Panju were notable among those, who could work with both MGR and Sivaji Ganesan. They could claim the special distinction of directing MGR with a totally different attitude and frame of mind in their films like Petralthaan Pillaiyaa,Engal Thangam and Idhaya Veenai. Another interesting factor is that these two directors could simultaneously make films of M.K.Muthu and MGR in spite of the fact that MGR came out of DMK and  Muthu was the son of Dr.M.Karunanidhi, the DMK leader and the then Chief Minister of Tamil Nadu.
  It should also be mentioned here that they directed almost all the films of M.K.Muthu,such as Pillaiyo Pillai,Pookkari,Samayalkaaran and Anaiyaa Vilakku. Incidentally,the other fact remains that for Parasakthi it was Dr.M.Karunanidhi who wrote the dialogues.The success story of Parasakthi is a glorious part Tamil film history.Some of their other Sivaji Ganesan hits were Dheiva Piravi, Pudhayal, Kungumam and Uyarndha Manidhan.
   Their close association with the AVM banner is another significant aspect of their success and growth as classic film makers.Their outstanding releases under this banner include Parasakthi, Kuladheivam,Dheivapiravi,Server Sundaram,Annai,Uyarndha Manidhan,Kuzhandhaiyum Dheivamum, Adhey Kangal,Anaadhai Aanandan and Annaiyum Pidhaavum. All these films were reputed for strong story line,neat and impressive narration and beautiful characterization of individuals as vital segments of family and society.
    Clarity in story telling was the unique aspect of all these films. Global events and unforeseen circumstances splitting family members,family interlinks,filial devotion, the evil impact of suspicion between spouses,poverty,romance agony of childlessness, arrogance of wealth and the power of revenge, were all the noted themes of  these films.Almost all these films were mega hits, with their rich ingredients of film making including captivating music.The only exception in this list was Adhe Kangal,which was a thriller but another grand show.The grandest among the works of Krishnan Panju were Parasakthi, Kuladheivam,Server Sundaram, Uyarndha Manidhan Kuzhandhaiyum Dheivamum and Adhe Kangal.
   Some of the other memorable movies of these two eminent creators were Pathu Maadha Bandham Vaazhndhu Kaattugirein,Vaazhvu En Pakkam ,Velliradham and Enna Dhavam Seidhein.Besides MGR and Sivaji Ganesan,.Krishnan Panju have worked with other heroes like S.S.Rajendran,Jai Shankar,Ravichandran,Muthuraman,A.V.M Rajan and Vijayakumar.Veteran heroines like P.Bhanumathi,Padmini,Sowcar Janaki,Sarojadevi,Vanisri,K.R.Vijaya,J.Jeyalalitha and Sujatha have enriched the quality of their films.
   It was known to everybody that a Krishnan Panju film would not fall short of the set yardsticks of a fine family entertainer with traditional moorings and core values of ethical formulations.There was always this fusion of ideals and emotions like the fusion between the two directors who were always seen as one person.It was this inseparable reality that fixed them ever on the higher pedestal, as the best film makers in Tamil .
                                      ==================0====================

Music as Honey and Breeze.

                     

        Life’s aesthetics consists of so many factors. Of these, music is one of the most influential forms of aesthetic enrichment. Only music lovers know its core value.As such, music should have dominated human imagination from time immemorial. Consequently, taking cultural and traditional cues from its foundation, music  has preoccupied human minds, generation after generation, incorporating  the changing aspirations and trends of each section of humanity.Music by its originality, has conquered mankind both by its vocal and instrumental strength displayed by different people in different countries. The strength of music has most often outlived time, by its capacity to journey through the human ears. creating moments of personal peace, happiness and solace.

      The rhythms, the beats and the melodies of music, have remained as the treasures of fine arts through celebrations of live shows, media transmissions and celluloid augmentation. Films in particular, in almost all human languages, have taken the lead, in preserving and propagating the aesthetic functions of music. Some consider music as the flow of breeze and the fall of honey into their mouth. Tamil films in this regard, are never lagging behind those in other languages. Tamil Cinema holds a very proud position, as the base for the progress and spread of music in its richest form, composed and passed on to music lovers by great music makers .
    This blog has already gloried the presence and contribution of several music directors like G.Ramanathan, K.V.Mahadevan, M.S.Viswanathan, T.K.Ramamoorthy, Ilayaraja, A.R.Reheman and many others, through inclusion of independent and collective articles. In this category, music director Deva who has been described in movie circles as a music maker of honey and breeze, also deserves a special place on account of his unique composition of melodies, duets and gana songs.

      Deva is one among the modest musical voices of Tamil Cinema, well known for making silent achievements  through sheer dedication. What is extraordinary about him is his periodical award winning songs,  that have placed him far above many under achievers. Though he casually started his career with Ramarajan’s moderate film Manasukketha Maharasa,it is a known fact that the movie is remembered more for the songs than for other aspects.
     There are a couple of directors  who gave hits not only because of their qualitative narration, but also because of the most popular music component of those movies. In this regard, Vasanth’s two films Aasai, and Nerukku Ner,S.J.Soorya's Vaali and Kushi as well as Suresh Krishna’s Annamalai and Baasha celebrated their success along with the amazing songs composed by Deva.I think Deva got awards for all the movies excepting Annamalai. The songs in Annamalai were also a special treat. Besides these, Deva  got an award for Prashanth’s first movie Vaikasi Porandhaachu.

     Deva has given highly energetic numbers like ‘Vandhenda Paalkaaran’[Annamalai]’Naaan Autokkaaran’ [Baasha] and‘Adhanda Idhanda’[Arunachalam]  that can ignite a spark in everybody through the majestic voice of SPB. Almost all the songs in Aasai, Vaali, Nerukku Ner,Kushi Agathiyan’s Kaadhal Kottai and Gokulathil Seedhai still remain compulsively mesmerizing.Songs such as Panithuli Panithuli'{Aasai},'Manam Virumbudhe'[Nerukku Ner} Vaazhkaiye Porkalam {Vedan}'Megam Karukkudhu''Mottu Onru Malarndhida'{ both from Kushi}'Thangamaganinru Singa Nadaipottu Vandhaan' [Baasha] and 'Aasapatta Ellaathaiyum Kaasirundha Vaangalaam,Ammava Vaanga Mudiyuma’{Viyaabaari} are mind blowing. 

     Some of the songs shuttling between low and high pitches like Vetri Nichayam[Annamalai} and Kaalamellaam Kaadhal vaazhga[ film with the same title}could pierce the ears for a soul making process.His other most popular song is ''Vellarikkaa' from Kaadhal Kottai.Gana songs like‘Aandaalu' 'Sundakanji soruda’‘kavalai padaahe sagodhara’Salomia' and 'Kothavaal Chhavadi Ladi Koyembedu Vaadi'' continue to ring in our ears. Other heroes whose films have been enriched by Deva’s music are Kamalahasan [Avvai Shanmugi, Pammal K. Sambandham and Panjathandhiram] Sarathkumar [Kattabomman Sooriyan, and Vedan}Vijayakanth {En Aasai Machan Vallarasu,Sokka Thangam, Kallazhagar, and Enga Anna]Prabu {Paanchalankurichi},Karthik Muthuraman{Seenu} and Sathayaraj[Senathipathi and several others] Ajith{ Aasai,Vaali,Kaadhal Kottai, Mugavari and Citizen} and Vijay { Minsaarakkanna and Kushi}.I have included here only a selected list of films.
     Deva has never claimed a supreme position as a music composer in Tamil Cinema.But he could effectively transmit the grandeur of tunes to human imagination by rightly gauging audience mood and expectation.In other words, he knew what the audience wanted and gave it in a very simple and acceptable form without pretending to be a classic music composer.It is his humility and the quality of his musical stuff that earned him worthy awards on the deserving side.When M.S.Viswanathan the father figure of Tamil film music, conferred the title 'Honeyed Musical Breeze'on Deva, he perhaps rightly felt that the title would prove to be genuine and perfect, by the standard performance of Deva.
                              =========================================

The Notable Two Hero Films in Tamil.

   

    Celluloid heroes have two objectives.They have to sustain in the field;they have to retain their celebrity status in terms of  continued charisma and popularity.If they have to constantly meet these two objectives,they should not only excel in performance in isolation but also in comparison with fellow artists, in competitive spirit.Perhaps that is why single hero films inspire many heroes, rather than double hero films or films with a galaxy of heroes.Malayalam film industry has considerably broken this theory on a regular basis, by making two hero films and multi hero films.Each hero has beautifully stuck to their unique identity in form style and performance. Multi hero projects are equally successful in Bollywood.But in Tamil Cinema two hero projects come once away like oasis in a desert.There were days when a colossal hero like Sivaji Ganesan showing a keen interest in two hero projects, of which many were mega hits.
    The Senior viewers of Tamil films would have hardly forgotten the one and only movie Koondukkili  that MGR and Sivaji Ganesan acted together.Even in that film the Chevalier did not mind playing a negative role, because for him acting was not an image building exercise, but a passion for bringing out the best in him as a performing hero.Later, he played another villain role,sharing screen space with Gemini Ganesan in Pennin Perumai.He had a perfect understanding with Gemini Ganesan and the two would have done nearly a dozen double hero projects of which Padhi Bakthi,Paava Pannippu, Paasamalar and Paarthaal Pasitheerum are eternal delights of Tamil Cinema.Among these, Pavamannippu could be called a family drama with M.R.Radha,T.S.Balaiah and S.V.Subbiah stealing the show and Sivaji Ganesan gaining greater space than Gemini Ganesan. Pasamalar was out and out a brother -sister sentimental grand show taking sibling affection to its utmost height for a mind blowing impact.There Gemini Ganesan's role got hidden in between Sivaji Ganesan and his sister,played by Saavithri.
     Whereas Paarthaal Pasitheerum was an exemplary double hero film giving equal scope for both the heroes to display their emotions and power of acting.Every scene in which both the heroes appeared, hardly failed to create an indelible impression in the minds of the viewers.The emotionally tormenting moments exhibiting the nobility of mindset of Sivaji Ganesan and the helplessness of the other hero to openly declare that his friend was literally crucified for his own failings, became the crux of this two hero drama.It was an extraordinary experience, to watch the two heroes performing so naturally without any conscious  spirit of rivalry in trying to excel each other in performance.As a result, it was ultimately the characters who outlived the actors and the film stood as a monumental piece on a two hero subject.
     The other equally memorable and magnificent double hero film of these two men was Sujatha Cine Arts' film Unakkaaga Naan that was an action packed show of friendship on the one hand and maneuvering capitalism on the other.This was another film that gave distinct space for both the heroes, to come out with their best demonstration of individual ideology,personal friendship and the noble mind frame for sacrifice of any kind.Here the competition was regarding who would sacrifice more for the other.Both made emotional inroads into the minds of the audience and both lived as role models of friendship.The film was not a great hit like Paarthaal Pasitheerum.But it stays remembered as a classic double hero film.  
     Sivaji Ganesan'e equal parallel heroes  were S.S.Rajendran and R.Muthuraman.Of these two men, S.S.R would have acted as the younger brother of Sivaji Ganesan in quite a few movies.But as friends they made a lovely show in Aalayamani as Sivaji and Gemini created a memorable record of friendship in Paarthaal Pasitheerum and Unakkaaga Naan. Muthuraman would have done not less than twenty films with the Chevalier but their most significant double hero films were, Nenjrukkum varai ,Oottivarai Uravu,Raman Ethanai Ramanadi and Vaani Raani.Of these Oottivarai Uravu was a comedy and Vani Rani was a heroine oriented film.
   But Sridhar's Nenjrukkumvarai sharply portrayed the emotional anguish involving love disappointment,suspicion of genuine love and friendship which formed the inner layers of this great film.Of the two heroes, Sivaji Ganesan as Raguraman loved,lost his love and died for love.The other hero loved,won his love but failed to understand the true meaning of trustworthy friendship and wifely devotion.Nenjirukkumvarai as the title means will last in our hearts as a remarkable double hero movie.In Raman Ethanai Ramanadi, Muthuraman was once again seen as a suspicious husband whileSivaji Ganesan's role was a perfect combination of innocence, epilepsy and grandeur.
     Like Sivaji Ganesan,Gemini Ganesan has also given a couple of memorable two hero films like Pandhayam and Sakkaram.Both these movies inducted A.V.Rajan as the other hero to act with Gemini Ganesan. Ironically the two films had certain similarities with regard to their theme focus.In both the films one could see how the undue desire for money kills one's peace of mind. Pandhayam, which was a remake of the Hindi hit Sachai,showed how circumstances could change a good man into bad ways and transform a baddie in to noble man.Comparatively Pandhayam was a better show at the box office than Sakkaram.
     After Sivaji and Gemini, it was Jaishankar who did double hero films with Ravichandran, Muthuraman and Sivakumar.He would have done nearly half a dozen films with Ravichandran and the best in their combination was the film Akkarai Pachai which had a strong script and carried inspiring dialogues. Though the story was about two sisters one always aspiring for the higher side of life and the other staying contented with what she was,the film also delicately brought out the dignified character formation of the two heroes, both making a strong impression as individuals.This highly reviewed and rated film was a notable double hero delight.
    Rajinikanth and Kamalahasan as heroes buried their ego and made up a team show, in a few movies.This happened of course only during the starting years of their career.The other pointer is, in most of the films Rajikanth took up the mantle of the villain, because the audience loved to see him in negative roles, portrayed brilliantly in an emerging style of freshness, gusto, body language and unseen pattern of dialogue delivery, dipped in speed and unique Tamil accent.Some such films were Moonru Mudichu,Padhinaaru Vayadhinile and Avargal.Rajini began to sweep the shows by his tremendous spirit of individuality.However there were two special films, one showing them as close friends in a music troupe and the other getting them both involved in loving the same woman.
    Both the films were made by the most popular and outstanding film makers of those days.One was K.Balachander who came out with his mega hit film ''Ninaithaale Inikkum'' and the other was the ace director Sridhar of romantic themes,whose refreshing venture ''Ilamai Oonjalaadigiradhu'' created waves by its unique title,screen play,characterization music and performance of all artists especially Kamalahasan and Rajinikanth. Rajinikanth who donned the role of a doctor made a robust and passionate role delivery. Kamalahasan was compactly emotional, with the sense of guilt, of spoiling the life of another woman in an inebriate state.There were many delicate scenes in the film, known for their subtle and graceful presentation.It was one of the best films of Sridhar and as a double hero film, it accommodated both the heroes in their original form and force.Ninaithaale Inikkum was not only a musical bonanza but a powerful demonstration of  love, friendship,and competitive musical thrust. The film had a strong sentimental base, exhibited in a lighter vein.The audience can never forget these two double hero projects of Kamal and Rajini.
    Apart from these most vibrant double hero films, there were a few others in the combination of Rajinikanth and Vijayakumar [Aayiram Jenmangal and Mangudi Minor] and Vijayakumar and Sarathkumar[Natpukkaaga]. Prabuh and Karthik Muthuraman are also known for doing a few worthy double hero films.Of their dual show,Agni Natchatram was a fascinating film because of its vigorous presentation of the deep bitterness between two half brothers{Prabhu and Karthik}and their final moments of coming together as true brothers.This film was full of youthful energy and its popularity also rested with Ilayaraja's amazing songs.
   Satyaraj and Prabhu. also stand up as mighty men of  double hero projects.They have given at least half a dozen films, of which Chinna Thambi Periya Thambi and Paalavana Rojaakkal remain strongly rooted to our memory.While Chinna Thambi Periya Thambi was a  rural drama reflecting the rude and uneducated mindset of two youngsters from a village,both aspiring to marry their beautiful and educated cousin,ultimately who wins the race,was humorously presented.But the race for performance was neck and neck and the film was a clean entertainer.
    Paalaivana Rojaakkal on the other hand was from Kalaignar's beautiful pen that strikingly portrayed the tough struggle carried on by two dedicated youngsters against the powerful lobbies of politics and  its arrogance of power, mixed with corruption. Sathyaraj and Prabhu as the  ferocious youths ,waged a war against the negative forces and finally succumbed to their struggle.It was a realistic film, memorable in the career of Sathyaraj and Prabhu.
    Some of the latest double hero hist were Ullaasam starring Vikram and Ajith, Friends with Vijay and Soorya as heroes and Vettai in which Aarya and Madhavan have shared screen space with equal scope for performance.Of these three films,'Ullasam' was a story of two buoyant youths raised by each other's father in two diagonal directions as per their options of life routine,cherished from their childhood. While Ajith grows as a street rowdy in the hands of Raguvaran,Vikram takes to a decent life path as the adopted son of S.P.Balasubramaniyan.In between there develops a delicate plot of romance, as both the heroes fall in love with the same girl.Who gets the girl's hand is the climax.
   'Friends' was a greater show on account of the strength of the script and the emotional core of the story base.While Friends was an emphatic display of action and comedy,Vettai brought out director Lingusamy's flair for presenting action through a breezy feel of comedy. Vijay and Soorya performed so genuinely and forcefully that it is difficult for any one to ignore them as friends, or the depth of their friendship. Aarya and Madhavan became the high spirited brothers in Vettai, with their gusto revealing their sibling intimacy.
    Besides these,Mammootty and Mohanlal joined Rajinikanth and Kamal respectively for the films Thalapathi and Unnaipol Oruvan. Suresh Gopi was there with Ajith in Dina and with Sarathkumar in Samasthaanam. Jayaram joined Kamal for a team show in a few films of which Tenali was a clear two hero film. Mohanlal's other double hero films in Tamil are Iruvar with Prakash Raj and Jilla with Vijay.
    I would not have brought in here all the two hero films in Tamil.But the films mentioned here, are quite familiar to the audience due to their popularity and success at the theatres.Moreover,in most other films there would not have been equal scope and opportunities for two popular heroes to show their power of performance with equal wield.Unfortunately, the fan base of Tamil Cinema makes each of their respective heroes to be shown, without any erosion in image.This makes it very difficult for our film makers to think of bringing heroes like Rajinikanth and Kamalahasan,Vijayakanth and Sarath Kumar and Vijay and Ajith in one screen.Perhaps that is why MGR and Sivaji Ganesan were not seen together in any film after Koondukkili like Vijay and Ajit after Raajaavin Paarvaiyile.
   If Tamil Cinema had been like the Malayalam field, where Mohanlal and Mammootty have made a joint parade in more than fifty films,we would also have seen more double hero films in Tamil.It is all in the hands of the fans,because they see their heroes as gods and keep them as stars in the sky, with a kind of independent identity not to be compromised at any cost.It is this adoring attitude of fans, that prevents their heroes from undergoing the acid test of being compared and contrasted with others, for the true exposition of what they are, as well as, for the enhancement of creativity.