மடி தேடும் மனசு

 

   வள்ளுவனின் குறள்களில்,'மடி'எனும் சொல் பெரும்பாலும் சோம்பலையே குறிக்கும். ஆனால், உடல் தளர்ந்து, மனம் தளர்ந்து, இளைப்பாற மடிதேடுவதே, மானுட இயல்பு. அதுவும் குறிப்பாக, தாய் மடி தேடுதலில் தனிச்சுகம் உண்டு. ஆணாக இருந்தாலும், பெண்ணாக இருந்தாலும், அன்னையின் மடியில் இளைப்பாறுதல்,மண்ணில் மாபெரும் சுகமாகும். 

"உலகம் பிறந்தது எனக்காக;

ஓடும் நதிகளும் எனக்காக; 

மலர்கள் மலர்வது எனக்காக; 

அன்னை மடியை விரித்தாள் எனக்காக." 

  என்று எம்.ஜி.ஆருக்காக டி.எம். சௌந்த ராஜன் 'பாசம்' திரைப்படத்தில் பாடிய கண்ணதாசன் வரிகள் மூலம், தன்னிறைவு காணத்துடிக்கும் நெஞ்சம், தாய் மடியே தனக்காகக் காத்திருப்பதாக தன்பெருமை போற்றும்.ஆனால், தாயின் மடியில் கிடக்கும் சுகத்தை, 

"தாயின் மடியில் தலைவைத்திருந்தால் 

துயரம் தெரிவதில்லை; 

தாயின் வடிவில் தெய்வத்தை கண்டால் 

வேறொரு தெய்வமில்லை" 

  என்று தாய்மடி என்பது, தவமிருந்து பெறத்தக்க,துன்பம் போக்கும் தத்துவத் தலையணையாகும் என்பதை, 'தாயின் மடியில்' எனும் திரைப்படத்தில்,அதே எம்.ஜி.ஆருக்காக கண்ணதாசன் எழுதி, கே.வி மகாதேவன் இசையில் உருவான, தன்னிகரில்லா பாடல், வலியுறுத்தியது. 

   அதேபோன்று கிடைக்காத தாய்மடிக் காக தவிக்கும் ஆன்மாவின் ஆற்றா மையை, அற்புதமாய் வெளிப்படுத்தியது, 'முதல் மரியாதை' திரைப்படத்தில் மலேஷியா வாசுதேவனும் எஸ்.ஜானகி யும் இணைந்து பாடிய, 

"பூங்காற்று திரும்புமா? 

ஏம் பாட்ட விரும்புமா?

பாராட்ட, மடியில் வச்சு தாலாட்ட, 

எனக்கொரு தாய்மடி கெடைக்குமா?" 

எனும் அற்பதமான பாடல்.

  வைரமுத்துவின் வலியுணர்ந்த வரி களும், இளையராஜாவின் இதயத்தில் கோலோச்சும் இசையும், இப்பாடல்மூலம் இமயம் எட்டிய இயக்குனர் அமரர் பாரதிராஜாவின் ஆன்ம வேதனையை, அனைவரின் நெஞ்சங்களிலும் ஆழப்பதித்தது. தாய்மடிக்காக எங்கும் இதுபோன்றொரு இணையில்லா பாடல், இனிவருமா என்பது, தாய்மடிக்காகத் துடிக்கும் நெஞ்சங்களின் தீராத் தாகமாகும். 

   தாய்மடி மட்டுமே சுகம்தரும் என்பது கட்டாயமில்லை.அன்பால் அரவணைக் கும் எவர்மடியும் இன்னுயிர்காக்கும் என்பதை உறுதிப்படக்கூறிய பாடலே , 'கற்பகம்' திரைப்படத்தில் வாலி வரிகள் தொடுத்து, விஸ்வநாதன் ராமமூர்த்தி இரட்டையர் இசையில் P.சுசீலா பாடிய, 

"அத்தை மடி மெத்தையடி;

ஆடிவிளையாடம்மா. 

ஆடும்வரை ஆடிவிட்டு, 

அல்லிவிழி மூடம்மா" 

என்ற நெஞ்சில் நீங்காமல் நிறைந்த பாடல்.

இப்பாடலில் தொடர்ந்து வரும், 

"மூன்றாம் பிறையில் தொட்டில்கட்டி 

முல்லை மல்லிகை மெத்தையிட்டு,

தேன்குயில் கூட்டம் பண்பாடும்; 

மான்குட்டி கேட்டு கண்மூடும். 

இந்த மான்குட்டி கேட்டு கண்மூடும்." 

  எனும் வரிகள், கவிதைக்களத்தில் இலக்கியதூவல்களை காலமெல்லாம் களிப்புற விட்டுச்சென்றன. இதுபோன்ற வரிகளால் கண்ணதாசனைப் போன்று வாலியும், தமிழ்த்திரையில், மண்ணுக் கும் விண்ணுக்குமிடையே வெற்றிமுரசு கொட்டினார்.

  கருணை மழை பொழிவதுபோல்,கன மான நெஞ்சங்களை இளைப்பாற்ற தாய்மடிக்கு இணையாக யார் மடியும் அமையக்கூடும். அன்பும் அரவணைப்பும் அகல் விளக்கென காயமுற்ற மனங்க ளுக்கு காலமெல்லாம் ஒளியூட்டும்!. 

"மடிமீது தலைவைத்து 

விடியும் வரை தூங்குவோம்  

மறுநாள் எழுந்து பார்ப்போம்"

   என்று காதல் வயப்பட்டோரோ, அல்லது இல்லறம் பற்றியோரோ, ஒருவர் மடியில் மற்றவர் இளைப்பாறும் உத்தி காணலாம். 'அன்னை இல்லம்' திரைப்படத்தில், கே.வி.மகாதேவன் மெல்லிசையில் டி.எம்.எஸ்ஸும் P. சுசீலாவும் மெய்மறந்து பாடிய இப்பாடல், நம்மில் பலரையும் மடித்தேடத் தூண்டியிருக்கும். 

   இல்லத்தரசியின் இதயம் நாற்திசையில் துடித்திட,கட்டிய கணவனை நோக்கி,

"மாலையிட்ட  நேரந்தொட்டு  

மனைவியாகினேன்  

உன்னை மடியில் வைத்து கொஞ்சும் போது

அன்னையாகினேன்

சேவை செய்யும் வேளையிலே 

தாதியாகி னேன்.

என்றும் தனிமையிலே இரவினிலே 

துணைவியாகினேன்"

.  எனும் வரிகளை சுசிலாவின் தேன் சுவைக்குரலில் கேட்கையில், 'பால்குடம்' திரைப்படத்தில் எம்.எஸ்.விஸ்வநாதன் இசையில் வாலியின் வளமான"முழு நில வின் திருமுகத்தில் களங்கமில்லையோ' எனும் இப்பாடல்,ஆடவர் நெஞ்சங்களில் அளவற்ற ஆவல்களைத் தூண்டியிருக் கக்கூடும்.இன்றைய கருத்தோட்டத்தில் இப்பாடல் பிற்போக்கு சிந்தனையாகத் தோன்றினாலும், மடி தேடும் மனசுக்குள் மத்தாப்புகளை மிளிர வைக்கும் ஒரு ஒய்யார உணர்வாகவே, இவ்வரிகள் என்றென்றும் உலாவரும்.

  சோகம் சுருக்குக்கயிறாகும்போது,மனம் நொந்து மடிப்பிச்சை கேட்பதுண்டு.அதே மடிதனில், பாசமாய் படுத்துறங்கிய பிள் ளைகள்,பாவச்சுமையாகும் தருவாயில், சோதனைகளின் உச்சம் கண்ட மனம்,

"அடிதாங்கும் உள்ளமிது இடி தாங்குமா

இடிபோல பிள்ளை வந்தால் மடி

தாங்குமா"

. என்று பீறிட்டு கதறுவதுண்டு.தாலாட்டிய மடி,தாளாத கனம் கண்ட இப்பாடல் வரி கள்,'தங்கப்பதக்கம்'திரைப்படத்தில் எம். எஸ்.விஸ்வனாதன் இசையில், கண்ண தாசன் வரிகள்சுமந்த,"சோதனை மேல் சோதனை போதுமடா சாமி"பாடலின் இடையே தோன்றி,டி.எம்.எஸ் குரலில்,மடி யின் சுமதைனை நம் நெஞ்சங்களில் இறக்கி வைத்தது.

. முடிவாக, அழுதுமுடிக்கா நேரங்களில், பொழுதே மடியாகி,நம் மனதில் நாமே ஆறுதல் காணச்செய்யும். தான் உண்ட உணவை மீண்டும் தானே அசை போட்டு ரசிக்கும் ஆடு மாடுகளைப் போல, நம் துன்பங்களை நாமே அசைபோட்டு ஆறுதல் பெறுவதற்கு, உலகமே உறங்கும் இரவுப்பொழுது, மடியாகி நம்மை இளைப் பாற்றும்.'சரசா B.A 'எனும் திரைப்படத் தின் எஸ்.வேதாச்சலம் இசையில் P.B. ஸ்ரீனிவாஸ் பாடிய கண்ணதாசன் வரி களிலமைந்த, 

"இரவின் மடியில் உலகம் உறங்கும் 

நிலவின் அழகில் மலரும் மயங்கும் 

என் மன வேதனை யார் அறிவார் 

உண்மையைச்சொன்னால் யார் உணர்வார்" 

  என்று ஆதங்கத்தின் முழுமையை இர வுக்கு அர்ப்பணித்தது.இரவின் மடியில் இளைப்பாறத்துடிக்கும் இப்பாடல் மூலம், ஒரு மனிதனின் ஆதங்கத்தை நாம் உணர்கிறோம். 

  இது ஓர் மடிக்கணினிக் காலம்.இங்கே கணினிக்கென மடிகள் ஏங்காதிருக்க லாம்.ஆனால், மடிகளுக்கென ஏங்கும் மனசு கனத்தால் மயங்கிக்கிடக்கிறது. தாயோ தாரமோ,தமக்கையோ தமைய னோ, மாமனோ அத்தையோ,நண்பனோ தோழியோ, ஆறுதல் தேடும் மனதிற்கு, அரவணைக்கும் மடி யாருடையதாயினும், அது காலமோ இறைவனோ,நமக்கு சுமையிறக்க நல்கும், சுத்தமான இருப்பிட மான மடியாகும். இவற்றில் தாய்மடிக்கு இணையான மடியேதும் இப்புவியில், இதுவரை மானுடம் கண்டதில்லை. மடிதேடும் மனசு, மடிகளால் இறக்குமே கனம்.

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Bharathiraja the Paragon of Tamil Cinema

  

                                        

      Homage to the genius of Tamil cinema.

                          10th June 2026

       The glory of Tamil cinema rests with its fantastic film makers of fascinating creativity and felicitous narration. From the days of A.Bhimsingh,Tamil cinema has been gifted with film makers of prolific creative stuff in presenting themes, and events related to the themes, with enormous credibility, acceptability, and inimitable grandeur. Besides.A.Bhimsingh directors like P.Madha van,the duo Krishnan Panju, K.Balachander K..S.Gopalakrishnan, A,P.Nagarajan, A.C. Thirulokchandar, Balu Mahendra, J.Mahen dran and several others made Tamil Cinema stand up uniquely and occupy a proud place in the Indian celluloid panorama. 

.  But in the mid Seventies there came a different kind of film maker with a wholesome rural comprehension and commitment to reflect the multifarious features of aspiration of the rural block of Tamil Nadu. Yes! It was K. Bharathiraja who is now adored as the Himalayan height of Tamil cinema.

    What was distinct about this extraordinary film maker was his commendable gift hamper of themes of variety, harboring rural romance, rural casteism, rural gossip, rural superstitions, rural rivalry, rural stigma and rural concept of right and wrong, fixed by the village chieftains, held in high esteem by the respective villages.Bharathiraja has introduced long standing and meritorious actors like Karthik Muthuraman,Vaagai Chandrasekar,Nizhalkal Ravi,Vijayan, Sudhakar Radhika, Radha,Revadhi and Ranjani into Tamil Cinema. 

   Starting from his very first film Padhinaaru Vayadhinile {for which he received the best director award from the state of Tamil Nadu} his focus on villages continued in films like Kizhakke Pogum Rayil,Puthiya Vaarpukal, Niram Maaraadha Pookal, Alaigal Oivadhillai {for which he again got the best director award from the TN government} Man Vaasanai,Muthal Mariyaadhai {which won the national award for the best feature film} Kadalora Kavidhaikal,Vedham Pudhithu{for which also won the national award for the best film) Puthu Nellu Puthu Naathu,Nadodi Thenral, Kizhakku Cheemaiyile Karuthamma{ A national award winning film}and Pasumpon.

     All the films mentioned above, were of a worthy watch and the two very special films in this list are Vedham Puthithu and Muthal Mariyadhai on account of the serene element of humanism in the former and the exalting romantic appeal in the latter, with its soul sustaining reach. The beauty of Bharathi Raja's films is the unifying sense of actors becoming one with the characters, lyrics and music creating an extolling oneness, and songs unifying the moods of the listeners.

   The Bharathiraja,Ilayaraja Vairamuthu combination is a special kind of trio seeking and setting the unifying process, at all levels. Majority of songs in Bharathiraja's films carried an enchanting musical core and no film could be said to have gone without leaving at least a couple of songs ringing in our ears and reaching our souls, to get deeply implanted there.

    Romance excelled in films like Padhinaaru Vayadhinile,Kizhakke Pogum Rayil,Kadalora Kavdhaikal Muthal Mariyaadhai.and Alaigal Oivadhillai.While religion and casteism prevailed in Alaigal Oivadhillai and Vedham Pudhithu, the soul's inner cry for someone to give a soothing touch to the scars of the undue wounds, heaped upon a venerable human being, became the sparkling undercurrent of Mudhal Mariyadhai. 

    It is doubtful whether any other film maker has travelled into the inner self of the characters of their films, as Bharathiraja has done. It is this special trait that makes Bharathiraja an ever-engrossing film maker. The fraternal bonding was firmly clicked in the film Kizhakku Cheemaiyile and it was almost similar to the emotional depth witnessed in Pasamalar. While feminism was explicitly witnessed in films like Puthumai Penn, womanhood was cherished both in Karuthammaa and Mann Vaasanai.

    Bharathiraja did not simply stop with the rural stuff. His creative wings were so wide, that they could fly into a variety of zones, such as the conflict between politics and the police& administrative edifices, as seen in films like Kodi Parakkuthu and Thamizh Selvan.{with Rajinikanth in the former and Vijayakanth in the latter}. Bharathiraja's dynamic hands tackled even action thrillers like Tik Tik Tik, Oru Kaidhiyin Diary,{which was also produced by Bharathiraja with its story line rendered by his disciple Bhagyaraj who later on turned into another most popular film maker} and the psychologically intricate Sigappu Rojaakkal. After Padhinaru Vayadhinile Kamalahasan starred in all the three films. Captain Magal was another film with a totally different thematic content with elements of politics and thriller effects. En Uyir Thozhan was another political film made by Bharathiraja.

   Bharathiraja has also directed his son Manoj's entry film Tajmahal. It is unfortunate that such an endearing film maker had to witness and endure the passing away of his son Manoj. Apart from making Tamil films, Bharathiraja has also directed a couple Hindi and Telugu films. Later he took to acting and he has done paternal, grandfather and other types of roles in about thirty films.

   Appearing first as a Station master in his own film Kizhakke Pogum Rayil,he did significant roles in Mani Ratnam's Ayutha Ezhuthu,Thamira's Rettai Chuzhi ,Suseend hran's Pandi Naadu, Kennedy Club, Kutram Kutrame, and Eswaran,Vikraman's Ninaithathu Yaaro,Nithilan Saminathan's Kurangu Bommai, Namma Veettu Pillai of Pandiraj,Mithran R.Jawahar's Thiruchitram balam,Thangar Bachan's Karu Megangal Kalaiginrana,Nandha Periyasamy's Thiru. Manickam.Venky Atlury's Vaathi his son Manoj Bharathiraja's Margazhi Thingal, Harish Prabhu's Thiruvin Kural and in his self-directed film Meendum Oru Mariyaadhai. In addition to this,he has also appeared in the latest Malayalam film Thudarum. All the important films in which Bharathiraja has donned a role, have been listed here. Some of the television serials that included his role play are, Thekkathi Ponnu and Appanum Aathaalum.

     From Theni to Kollywood, Bharathiraja's journey as an exuberant film maker and actor, became an exemplary point of reference, reverence and reverberation for Tamil cinema. Each of his films will start with his celebrated utterance My sweet Tamil folks {En Iniya Thamizh Makkale }and penetrate into the souls of lovers of Tamil and Tamil cinema. There was least exaggeration of events or characters or dialogues in any of his films. 

     Bharathiraha was poetic even in rendering titles for his films.Titles like Nadodi Thenral ( Nomadic Breeze ) Kadalora  Kavidhaikal (Seashore Lyrics ) Puthiya Vaarpukal ( Fresh Castings)Niram Maraadha Pookal (Never Colour Changing Flowers and Alaigal Ouvadhillai ( Waves never rest)are a few captivating titles of his films. 

  The audience would be made to travel into every nook and corner of villages and not just view but participate in the course of events. Many film makers have come and gone in Tamil cinema. But the top notch respect {Muthal Mariyaadhai}will always be shown to Bharathi Raja, who will ever remain at the peak of film making grandeur of Tamil cinema.That is why he remains as the paragon among Tamil film makers.

Note: - Also read, "The Two Big Bs of Tamil Cinema" in my Blog:-

 mymovieminutes.blogspot.com

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Movies, memories friends and colleagues

   Mymovieminutes.blogspot.com is a blog born of my extraordinary love for films cherished from my childhood. Besides watching movies with family members and family friends, my memories of watching films with my close friends and colleagues, belong to a distinct category of my film watching experience.

  As an undergraduate of B.A. English Literature, I had a very close friend who was studying B.A.Economics with whom I watched Sri Vinayaka Pictures' films like Naan {1967}and Moonrezhuthu {1968} {both films directed by T.R.Ramanna} at the Roxy Theatre Tiruchirappalli. He was a hosteller, and he used to come home during weekends for lunch and take me for film shows.

  During my undergraduate times, I remember to have bunked the afternoon classes a couple of times, with another close friend, doing Bachelor of Economics course, to watch matinee shows. We both watched A, C, Tirulogchander's Irumalarkal at the Prabhath theatre and Sridhar's Oottivarai Uravu at the Raja theatre. Both theatres were located at Tiruchirappalli. Both were Sivaji Ganesan films released in 1967. 

   Those were times when the students of the final year programme used to have a Social Break up event at the end of the final year, and this celebration would mostly end up with a film visit to a theatre, mostly for a night show. In 1968, our final year batch, watched the MGR mega hit film Kudiyirundha Koil {1968} at the Jupiter Theatre,Tiruchirappalli. This blockbuster, was a Saravana Pictures film, produced by G.N. Velumani and directed by K. Shankar.

  This group experience was repeated in 1970 when we completed our post-graduation course and had a Social Break up celebration that culminated with a night show film watch, and the film watched was, Vietnam Veedu, directed by P. Madhavan with the story line of Vietnaam Veedu Sundaram. This film had already become a popular stage drama. This movie starring Sivaji Ganesan and Padmini is still green in memory. As I went to watch the film without informing my parents, they were in jitters and the next morning when I reached home, I received a thorough scolding from my father.

   After taking up the teaching Profession my passion for films was invigorated by one of my close friends and colleagues from the Dept. of Commerce. It was he who drew my interest towards Hindi films. Though my elder brother had already taken me to theatres to watch Hindi films like Mere Mehaboob, Love in Tokyo, and An Evening in Paris, this friend introduced some Hindi heroes, villains and character actors with an aesthetic touch and fineness. His focus was on the magnificently stylish heroes like Sanjeev Kumar, Dev Anand and Sashi Kapoor. He would also talk highly about Pran, Premnath and Prem Chopra who used to play negative roles. He had a special admiration for the character actor Iftekher, and the female star Moushmi Chatterjee.

      This friend took me to watch films like Hare Rama Hare Krishnaa[1972] of Dev Anand, Shor {1972} of Manoj Kumar and Ah Gale Lag Jaa[1974] of Sashi Kapoor. With him I watched many Hindi films like Be Iman [ 1972] Zanjeer, [1973] Jugnu [1973],,Bobby [1973] Yadon ki Bharat (1973) Roti Kapada aur Makaan [1974] Sholay (1975)and Chhoti Si Baat[1976]. Most of these films were watched at the Gaiety Theatre Tiruchirappalli , and a couple of them at the Aruna Theatre near Woraiyur, Tiruchirappalli.

   Some of the Tamil films we watched together were Sivaji Ganesan's Gauravam {1973} directed by Vietnaam Veedu Sundaram on the day of its release {(.first show at 9.00 AM at Raja Theatre and Anbai Thedi {1974}, the 7.00 PM show at Palace Theatre and Sridhar's Ilamai Ooonjal Aadukiradhu,{1978}at Roxy Theatre. Even after my marriage this close friend also joined me and my wife to watch K.Balachander's film Ninaithaale Inikkum {1979} at Kalaiyarangam and a few other films, until he got married. A pleasant and unforgettable memory of our film experience was that he used to take me on the carrier seat of his cycle, pedaling all the way to those theatres. Besides the pleasure of watching films, what a great friendship it was, and still is, to treasure in my memory.

. At this juncture, I recall watching the MGR film Kumarikottam( Jan 1971) at the Central Theatre, Tiruchi with my departmental colleague who worked with me for one year and later took up government collegiate service. Kumarikottam was directed by P.Neelakandan who had made more than 25films of MGR. It was a morning show we watched. We both watched the other Sivaji Ganesan film Engirondho Vandhaal (1970) at Karaikudi, when we went there to attend the marriage of the then Head of the Dept. Of Economics. This film came under the direction of A.C. Tirulogchander.

. A week before my marriage I had the pleasure of attending the marriage of a very close friend of mine at Thanjavur. {1979}. I went to Thanjavur with half a dozen close colleagues -cum-friends, a day before that marriage. All of us watched the night show of the film Neeya {1979} the film narrated the story of romance between two snakes, with the female snake being bent upon avenging the death of the male cobra, in the hands of a group of friends }. This successful film was made by the ace film maker Durai.

  In this connection, I should share the information that the bridegroom of that marriage, who hailed from Keerapalayam near Chidambaram always stays emotionally close to me. Once I visited his home at Keerapalayam and spent a couple of days there. That time we both watched the film Vani Rani {1974} at Lena Theatre, Chidambaram. Vani Rani starring Sivaji Ganesan,Vanishree {in dual roles} and R.Muthuraman was a remake of the most popular Hindi film Sita aur Geeta. This film was made by the duo Tapi Chankya and C.V. Rajendran.

   A couple of similar marriage-bound film watching experiences, trigger my emotional reminiscences here. In 1980,my wife and I, with  my colleagues and their wives, went to Namakkal to attend the marriage of our close colleague,working in the Department of Chemistry.There we watched the evening show of the film Oru Vellaadu Vengaiyaakiradhu, starring Sivakumar and directed by the director duo Devaraj Mohan. Later in 2002, my close friend from the Dept. Of Mathematics and I, went to Athur to attend the marriage of the youngest son of my departmental colleague. As the marriage was held at Ethapur my friend and I had to stay one night at Athur. There both of us watched the night show of Vijayakanth's block buster film Ramana, directed by A.R. Murugadoss.

  I should also record here, watching the Ramarajan film Thangathin Thangam{1990} made by Siraj, with my senior colleague and close friend from the Dept of Mathematics, at the Kalaiyarangam Theatre, Tiruchirappalli. We watched the film after attending a function. Two of my earliest film visits with my friends at the starting spell of my career were, MGR's very old film Chakravarthi Thirumagal at the Prasanna Theatre Thuraiyur, with my close friend and colleague, from the Dept. Of Mathematics and the oldest Sivaji Ganesan film Manohara, at the Touring talkies, located in between two villages, called Vellakalpatti and Valaiyur. I remember having cycled to the talkies with half a dozen colleagues-cum friends, led by one of my junior colleagues from the Chemistry Dept.

   During my outstation trips for central valuation of university examination answer scripts, twice I went to Mayiladudurai. In 1984 when I went there, my senior colleague ( who is now in his early Nineties) from the Tamil Dept, who was redeployed there in a govt. aided college, took me to watch the night show of the film Sirai, which was based on a short story written by Ms. Anuradha Ramanan, and directed by R.C.Shakthi. We saw the film at the Gomathi theatre. On my second visit to Mayiladudurai in 1995, for another spell of central valuation, I took my junior colleague employed in the Dept. Of Physics to watch the evening show of the film Chinna Vaadhiyaar at the Vijaya theatre.Chinna Vaadhiyaar was a film starring Prabhu (in dual roles) and Kushbu, and this film was directed by Kamalahasnan's close associate, Singeetam Srinivasa Rao.

  This article is a brief interaction with my blog viewers/readers, about by inborn love for films as a creative and entertaining medium, that meaningfully connects human realities, imagination, emotions, and intelligence with the audience, as an inspiring and integrating tool for binding experiences with humanity. While reading books is a self-bound experience to be shared with others, either necessarily or relevantly or even casually, film watching, quite often enhances the creative process into a collective timeline, causing interpretation of desirable perceptions of life, absorbed while watching films. 

   Above all, watching films with friends and colleagues, enriches the scope for exuberant socializing and togetherness, through spending time for a precious and pleasurable realization of what life is, and how we should move on. This article could be seen as my autobiographical journey on the memory lanes of my movie watch, with a different note of the aesthetics of celluloid phantasy.

  Note:-Most of the theatres mentioned here might be extinct now. The names of some theatres are missing due to lapse of memory. However, the names of my colleagues -cum friends and student time friends mentioned in this article age-wise, are given below.

      Professors. Dr.A.Ramarathinam, Mr L.W..Abdul Wadhooth, Mr.S. Shanmugam, Mr. T. A. Julius, Mr.M.Natarajan,Mr.S.Manavalan,.  Mr. R.Jenardhanam,Mr.S.Karuppiah, Dr.S. RajaGopalan,Mr.M.Pannirselvam, Mr.K. Nagarajan and my close college batchmates & friends Mr. N. Arumugam and Mr. R. Azhagiya Nambi

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