It is a known fact that no film can hit the mark without a catchy script.Story and scrip writers could be called the soul of a film.However good a director is and how great the actors are,the ultimate success of a film solely depends upon the weight of its story and its script that form the backbone of any great movie.Language is just a medium.But how effectively that medium is used to take the story and its characters closer to the audience solely depends upon the sparkling impact made by the dialogues. The relevance of word power, to the depiction of a scene and the characters rolling around the scenic sequences,strikes a potential balance in the process of film making.Tamil Cinema has come across renowned names ruling the script dynamism in film making.One such dynamic script writer is Vietnaam Veedu Sundaram who is no more today.
Late Mr.Sundaram takes his magnificent prefix from the most successful Tamil drama Vietnaam Veedu splendidly staged by him in the Nineteen Sixties, with the grand participation of Sivaji Ganesan as its protagonist. In fact, this face lifting prefix,was bestowed upon him by none other than Sivaji Ganesan himself. Later in 1970 when the play was released as a movie under the eminent direction of P.Madhavan,it was Sundaram who wrote the script for the historic film, that became another milestone in Sivaji Ganesan's career,performing the most memorable role of prestige Padmanaban. The film is remembered as much for the vigorous role play of the Chevalier as for its most impressive dialogue segment. Sivaji Ganesan as Padmanaban and Padmini as Savithri simply lived as life-like husband and wife on the screen, thanks to the wonderful script of Sundaram and the qualitative direction of P.Madhavan.
Like most other film personalities Sundaram was also a Sivaji devotee.His script for great Sivaji Ganesan's films like Gnaana Oli, [which went on for long, as another amazing stage drama, with the theatrical team spirit of Sivaji Ganesan and Sundaram]Annan Oru Koil,Grahapravesam,Pareetchaikku NeramaachuJustice Gopinath and Sathyam, created celebrated moments for the film audience.On top of it all, came the monumental film "Gowravam"letting Sivaj Ganesan play dual roles as barrister Rajinikanth and his devoted adopted son.This extraordinarily stylish movie which was yet another brilliant stage play of the duo, was directed by Vietnaam Veedu Sundaram himself and I still remember watching the very first show of this film on its date of release,with one of my close friends, another ardent Sivaji fan. Sundaram casually moved a big step forward, on the track of Tamil Cinema, as a powerful film maker and script writer.
The Two MGR films for which Sundaram wrote the script were Naan Yen Pirandhein [a rare MGR film with a solid family base] and Naalai Namadhe[the Tamil remake of the Hindi block buster Yadon ki Baaraat].Sundaram is also a specialist in delineating social mythologies in an exemplary manner,through his captivating stories and scripts.Some of his timeless films in this respect are,Namma Veettu Dheivam, Navagrha Naayagi,Nambinaar Keduvadhillai, Aaiyiram Kannudaiyaal and,Velundu Vinaiyillai.Sundaram has also worked with his next generation actors like Kamalahasan,[Soora Samhaaram]Prabu [Anand] Sathyaraj [Jallikattu] and Karthik Muthuraman[Raja Mariyaadhai].His most favoured female star was K.R.Vijaya.
In his later years, Sundaram also turned to acting in films [Appu,Kanna Moochi Yenada} and Television serials.He has acted in almost twenty serials so far, of which Metti Oli,Athi Pookkal, Marmadesam.,Krishna Dhasi,Rishimoolam,Raja Rajeswari,Pillai Nila and Valli will find a distinct place in the history of the Tamil small screen. Vietnaam Veedu Sundaram's voice modulation carries a calculated charm in dialogue delivery.His family- oriented values behind his writing the script,and his sharp psychological perception of characters and their vocal role play, with an organized understanding of the family and social realities, speak volumes of his concerted focus on the traditional core of life, through his imaginative presentation of dialogues,to be delivered by the respective characters on the screen.
Sundaram's contextual grasp of the harmony between scenes and their semantic revelation is an excellent indicator of his stage and screen sense of creativity.In his passing away,the script component of Tamil Cinema and the thespian side of the small screen, seem to have lost immensely. The views expressed here, are the genuine outcome of the profound regard that this blog writer has cherished for more than the past four decades, for this outstanding film face, of Tamil cinema.
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