The 'R' Series Heroines of Barathiraja and Others.

             

        K.Balaji,the great producer of Tamil remakes and originals,was sentimentally tied up with the names Raja for his heroes and Radha for heroines. Barathiraja,the buoyant film maker of creative sharpness and subtlety,seems to have been obsessed with a similar sentiment to introduce his heroines with their names starting with letter R. This resulted in half a dozen R series women getting regenerated as actors for their long and short spells of screen magic.
       Radhika the first among the six, came to limelight with the poetic director's second film 'Kizhakke Pogum Rayil'. From her entry point, she established her spirit of dynamism and dare-devil attitude to remain demonstrably as the most wanted female artist of Tamil Cinema.She continued to play the female lead in her mentor's other movie' Niram Maraadha Pookal.' But it was in the great director's 'Kizhakku Cheemaile',as Vijayakumar's sister,did she win people's hearts as an emotional artist of very high standard. She played as the Superstar's love interest in nearly six movies,of which 'Nallavanukku Nallavan' showed her as the woman behind the success of her husband and her death at the end of the movie made the audience leave the theatre with a heavy heart.In 'Oorkaavalan' too,as a village girl aggressively after the hero,to marry him ,she sacrifices her life in the end.It was a heavy role for her in both the movies and she did not miss the opportunity.
      The other actors with whom she was paired were,Vijayakanth,Bagyaraj, and Prabu.Her films 'Ninaivuchinnam' with Prabu and 'Poondhotta Kaavakaaran' with Vijayakanth helped her retain her name as an actor of great mettle.'Later,in a heavy character in 'Pasumpon' [another film from the Barathiraja production house] as the daughter of Sivaji Ganesan, she essayed an emotion packed role with subdued grace. Similarly, with Kamal in 'Sippikkul Muthu',she came out with one of her best performances. Her virulent performance as a virago, in Shankar's 'Jeans' was a proof of her capacity to play negative roles, besides making herself true to the characters she played. Radhika's profile would perfectly fit into aggressive,feminist roles too. Barathiraja's first introduction of heroines should really have made him proud.
       Barathiraja's another award winning movie 'Alaigal Oivathillai' exposed the wonderfully talented  Radha, whose charm and acting merit got her an acclaimed position in the film industry. Like Radika, she too started with a film that beamed at the box office.Following her first movie, Radha was lucky to be signed for other success shows like 'Oru Kaidhiyin Diary' 'Vellai Roja' Amman Koil Kizhakkaale' and the most talked about 'Mudhal Mariadhai'.
     Radha was a great combination of glamour and lovely acting potential.She had acted with all the popular actors of her time,mostly as a glamour addition with Rajini,[except for a solid role in the earlier 'Engeyo Kettakural'] Kamal, Prabu,Karthi,Vijakanth and Bagyaraj. Her performance with Sivakumar in 'Manidhanin Marupakkam' and with Mohan in 'Mella Thirandhadu Kadhavu' deserve higher recognition.Like her actor sibling Ambika, Radha retained an estimable position in her career.She is another lovable addition of Barathiraja into the film industry.
        Revathi, the third in the list to hit the screen with her debut performance in 'Manvaasani' marvellously helped her director to present the smell of the Tamil soil.She is an actor belonging to the category of Sri Vidhya,Sujatha and her contemporary Suhasini. This classification is due to the fact that she is also an actor capable of underplaying her emotions and like Sujatha and Suhasini,she too has a hidden spirit of revolt against the forces suppressing the legitimate rights of women.Her feminist tone of resistance was explicit in AVM's 'Pudumaipen' directed by her mentor.Her suppressed sense of anger against the erring male tribe could be felt in Balu Mahendra's 'Marubadium' 
    Revathi's portrayal of a pathetic blind woman in Mahendran''s 'Kai Kodukkum Kai' was a true reflection of her histrionic capability. Her roles in 'Kizhakku Vaasal' and 'Dheiva Vaaku' were on a similar line because in both, she appeared as a bonded soul under the suppression of a lustful local bigwig in the former and a greedy man who had adopted her as sister for the pecuniary benefits she would bring by soothsaying.In both the films Karthik Muthuraman  was her pair and in both Revathi was extremely appealing with elements of modesty and dignity.   
    The movies that showed Revathi's smartness and charm were 'Pagal Nilavu' 'Oru Kaidhiyin Diary' 'Punnagaimannan' 'Mounaragam' and 'Magalirmattum' Her specialty is that her roles were always taken care of by eminent directors like Barathiraja, Balachander, Balu Mahendra, Magendran and Manirathnam.The other movies that showcased her emotional appeal were 'Vaidehi Kaathirundhal' 'Anjali' and 'Priyanka'.Aan Paavam with Pandiarajan and Kanni Raasi with Prabu also reflected the graceful performance potential of Revathi.She knew her limits on the glamour side and her ability for character delineation was her asset.
       Of the remaining three R stars,it was Rekha who after her debut in 'Kadalora Kavidhaigal' could withstand the storm of competition.She made a brief appearance in Kamal's 'Punnagai Mannan' and created sensation in a kissing scene at the start of the movie. Lack of considerable opportunities deprived this talented artist of higher positions in acting and so she became contented with the offers of elderly roles that keep her busy even now. Ranjani introduced in 'Mudhal Mariadhai' as a supporting actor,did one movie 'Aayiram Vaasal Idhayam' with Mohan and disappeared from the scene may be, for want of opportunities.Ranjitha who was paired with Karhik in her debut movie 'Nadodi Thenral' could vindicate only her glamour stint in some of her other movies like 'Jaihind' but could not form a  stable film career.
      A few other actresses who were the close contemporaries of the R heroines but were not from the school of Barathi Raja, were making a vital contribution to the acting field during their period.They were Suhasini a product of the Hasan Family, Shobana,related to the [late] legendary actress Padmini,Nadhiya introduced by Fazil, Seetha who became popular with Parthiban's 'Pudhiya Paadhai' , Amala brought to light by T.Rajender and  Gauthami, who made her debut in the Rajini starring 'Guru Sishyan'.
     Suhasini whose introduction was from the reputed Director Mahendran's' Nenjathai Killaadhe' had another opportunity to prove her remarkable acting stuff in Manivannan's 'Gopurangal Saaivadhillai' and later in Balachander's great movie 'Sindhu Bairavi'.She also co- starred with Rajini in 'Thaimeedhu Sathiyam' and 'Dharmathin Thalaivan'. Her performance in Fazil's 'Bommukutti Ammaavukku' could be another memorable entry in her career diary. After becoming director Manirathnam's spouse,she continues acting in character roles. 
      Shobana being very busy in the Malayalm film field has acted only in a limited number of Tamil movies.From Balu Mahendra's 'Azhiyada Kolangal',it was a brief stint of acting for her in Tamil. Being a good traditional dancer she exhibited her flair for dancing in Kamalahasan's 'Enakkul Oruvan'.She has also acted with Sathyaraj,Bagyaraj and Vijayakanth in films like Malluveitti Mainer,Idhu Namma Aaalu and Ponmanachelvan respectively.She had costarred with Rajini in K.Balachander's 'Siva'  before acting again as Rajinini's love interest in Thalapathi  directed by Manirathnam. Her acting vein has reflected a perfect combination of boldness and feminine grace.
    Nadhiya who appeared in Fazil's 'Poove Poochoodava' became the heart throb of many youngsters by her decent mode of acting, pushing glamour much behind her priority list.She acted naturally and gracefully in films like 'Chinna Thambi Periya Thambi','Uyire Unakkaga' 'Raajaathi Raja' and a few more. .But she did not stay for long here.Then she reappeared with a bang as the young and lovely mother of Jeyam Ravi, in 'M.Kumaran,Son of Mahalakshmi' and later as heroines' mother in 'Thamirabarani' and 'Sandai'
    It was a gripping performance that Seetha delivered in Parthiban's  'Pudhia Paadhai'  his first and best movie as director. But after that she was not lucky to get meaty roles for her calibre. Her roles  in 'Guru Sishyan' and in Balachander's 'Unnaal Mudium Thambi'as Kamal's pair, only showed her as a graceful and charming person without adding merit to her acting capability.
   Two other women of beauty, acting vigour and dancing verve made an indelible mark during this period and they were Banupriya and Ramya Krishnan. Of the two the former with her captivating bold eyes was paired with Kathik Muthuraman{Gopura Vaasalile},Sathyaraj {Bramma and Kattalai},Mohan and Sivakumar{Porandha Veedaa Pugundha Veedaa}.She also did one movie each with Kamalahasan,{Maharasan}Mammootty {Azhagan} and Raguvaran {Aaahaa}Her dancing flair and emotional performance carried a special effect with the audience. Ramya Krishnan whose looks of sustaining youth, keep the audience surprised{like that of Nadhiya of course} can perform both as a modest and arrogant woman with invincible charm and efficacy and will be remembered for her wonderful performance as Neelaambari in Padayappa of Rajinikanth. It was an amazing display of role performance reflecting wealthy arrogance of womanhood.In another film Paattaali paired with Sarathkumar and directed by the same K.S.Ravikumar, Ramya appeared as a rich woman endowed with feminine grace, modesty and wifely devotion.She has also starred with Prabu {Budget Padmanaban} and Vijayakanth {Vaanchinathan}. 
     Amala who fascinated every one in Maidhili Ennai Kadhali' and 'Mella Thirandhadhu kadhavu' joined Prabu, Kamal and Rajini as their finely matching co star. Some of the leading movies like 'Sathya''Vetri Vizha' [both with Kamal] 'Agni Natchathiram','Uthama Purushan'[with Prabu] and'Velaikkaaran' and 'Mappilai'[with Rajini] speak of her convincing  performance combining  grace, glamour and emotion. Her other graceful role was with Mammooty in Kovai Sezhiyan's 'Mounam Sammadham'.Her dancing flair added to her fascinating place as an actor.
      Guathami's contribution has been both voluminous and meritorious. She has costarred almost with all the heroes of her time like Rajini,Kamal,Sathyaraj Prabu,Bagyaraj Sarathkumar and Vijayakanth. Particularly,she performed impressively in Vasanth's 'Nee Paathi Naan Paathi'  [for which she got an award] 'Rudra' 'Sandhanakkatru' and 'Darmadurai'.Her other films with the superstar include Guru Sishyan and Raja Chinna Roja With Kamal,her movies like 'Aboorva Sagotharargal','Nammavar' 'Devar Magan' and 'Kuruthipunal' emphatically established her position as an actress of both  stylish and subtle performance.Her concept of glamour was usually confined to a voice play of  emotion relevant to titillate the audience mood and she was known for clarity in her over all perspective of acting.More than the glamour side,it was in the sober characters,she always excelled.On the whole, she was another talent addition to the Tamil film industry. 
      The R heroines of the truest Tamil face among directors, and the other actresses mentioned here, have made one thing very clear. However creative a director is, an actor's survival depends basically on one's own inherent or acquired base.The director can stimulate and steer the process of acting.But it is the actor, who should emote and excel with an earnest,confident and competitive zeal to participate in the process. 
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The Agents of Change in Tamil Cinema.

                 

      No medium of art can remain static.Change is the determiner of dynamism in any field and the success of all art forms depends solely on the refreshing changes taking place, every other day. The agents of change may be human beings or their inventions.These agents keep the goings- on under their close watch and active control.Cinema being the most popular form of art,has to tap new directions for its enhanced creative dimensions and come out with an appeal that indicates and justifies the change factor.Tamil cinema has also necessarily come under the scanner of dramatic change- makers in every interlinked parameter of film making. 
     Until at least the early fifties,Tamil cinema could not be said to represent the Tamil language and its literary spirit,because of the fact, that Tamil Nadu was still under the larger Madras Composite State.To put it simply,Tamil vocabulary was still under the influence of the Devanagari languages, especially Sanskrit.One could easily understand this pivotal aspect in the  use of Tamil, in movies released during the forties and early fifties.The All India Radio's news bulletin in Tamil,was also using words that were not Tamil in its original sense.
     Thanks to the fast emerging Dravidian Movement in Tamil Nadu, prompt awareness of this anomaly began to spread to the Tamil speaking mind and spirit, and necessary steps to infuse nativity into the Tamil language, became a gradual reality. This refurbishing upheaval, was not confined to language alone.It triggered a kind of impetus, to install a social awakening launch pad, to extricate people from their age old superstitions and make them fly into new creative zones with modernity in thought and imagination. The film medium came in handy to initiate this process.
     It was at this stage, stalwart political leaders like Thandhai Periyar, Thiru.C.N Annadurai and Kalaignar M.Karunanidhi. took up the onerous task of evolving revolutionary ideals in order to rejuvenate the Tamil society. Of the three,Periyar did not directly get into the movie world.But his iconoclastic views reached the people, through the films for which, story line and dialogues were written by the other two creative experts. Both these leading voices, became the foremost agents of an unforeseen transformation, in Tamil cinema. The changes envisaged, were to liberate people's thought and behaviour from the erstwhile forces that had enslaved their Tamil identities in terms of cultural and linguistic propositions. While both their writings and force of elocution carried the ignition to kick- start the restoration and reorganization of Tamil identity,it was Kalaignar M.Karunanithi who sanctified the Tamil language with its native moorings. We can say Tamil was reborn with its dynamism and dramatic vibrations, with fire and speed, to drive a great following towards attaining the true fundamentals of the language for its functional use.
      Kalaignar revolutionized Tamil cinema with his fiery literary Tamil in the form of immortal dialogues that reached the Tamil speaking world through more than a dozen films of which 'Panam' 'Parasakthi', 'Mandirikumari','Manohara','Devaki',and 'Poompuhar' deserve a special mention.The rich and ranting dialogues delivered by the captivating voices of MGR Sivaji Ganesan and SSR, gained historic significance in Tamil cinema.The actors themselves were the epitome of  change factors transforming their roles into image building and talent exposure. The use of literary Tamil from the script writer's pen and from the voices of the respective heroes, should have goaded other Tamil scholars to establish the original version of Tamil vocabulary, at all levels.A veteran comedian like N.S.Krishnan can also be rightly included as one bringing a new face to Tamil Cinema by his responsible  addition of comedy with purpose and meaning, aimed at effecting much needed social transformation. He infused social values like equality and egalitarianism through his dialogues and songs. 
       Following the emergence of pure Tamil in script,Tamil films began to accommodate changes in other significant areas such as, lyrics, music, direction and screen play presentation,and other technical aspects, like photography, editing and so on.Next to the script, the most vital segment that requires periodical change is the song sequences which have always remained as an invaluable addition to aesthetics of film making.The lyric component got enriched by the meaningful evolution of ideas and imaginative use of appropriate Tamil words.Lyricists like Pattukkottai kalyana Sundaram, Udumalai Narayana Kavi, Kaviarasu Kannadasan and Vaali took the lead as the grand agents of change in lyrical composition. Kannadasan had the extraordinary poetic wings to take human emotions to unseen dimensions and newer peaks of imagination.The richness of his lyrics was a result of the felicity of the Muse that he was endowed with. Like John Keats,the renowned English poet,Kannadasan also had an 'indescribable gusto' in his thought process and a fascinating flow of words that made it easier for the music composers to set tunes for his songs.
     Melody Kings G.Ramanathan, Vedha,Viswanathanand Ramamurthy, the classic music doyen K.V.Mahadevan, and the emphatic rural music Maestro Ilayaraja were all agents of the changing phase of music celebrations in Tamil Cinema. Ilayaraja in particular, evolved the soul of music in its original form, incorporating a galaxy of  nativity notes that promptly filled the urban- rural gap. Starting from 'Annakkili' he almost carried on a musical revolution, for bringing into focus, the neglected tunes closer to the soil and dearer to our hearts.Behind the silence of this felicitous king of music, is the hand of God, playing every instrument and singing every song, that can claim another Oscar for a Tamil music composer.There is an unspoken grandeur resting as an eternal crown on his head and it is the Maker's mystery.
   While the new lyricists like Vairamuthu Pa.Vijay and many others are busy with fresh similes and metaphors,the Oscar winner A.R.Rehman's invigorating new notes have crossed the regional barriers to make Tamil music a world rhythm so as to reach the global ears.
    When it comes to direction, there were many who made Tamil films reach higher levels of growth through successive changes in perspective. Among those, there was A.P.Nagarajan whose ornamental use of  literary Tamil in his mythological movies, was not only appropriate but was of an inspiring order. Malliam Rajagopal became the true voice of the underdog and the down trodden sections of Tamil society,making his voice heard and his purpose known to everybody. K.Balchander, an unflinching new wave brain became the proudest directorial profile of Tamil Cinema.He knew where to be traditional and where unconventional.Starting as a script writer, he became a major source of change in presenting social issues, with a newer thrust on individuality and feminism through the vision of a responsible director.
    Like Balachander,his new find Rajinikanth created a cellular storm by his completely fresh style of acting, that incorporated new vibrations in body language and dialogue delivery.Whereas, Kamalahasan crossed all the directorial boundaries,became an innovative actor rediscovering himself in every new venture with a new avatar and thereby breaking all world records.This ceaseless inventive urge is something rare among actors and speaks of universal excellence.
    The other directors like A.Bhimsigh ,A.C.Thirulogchandar P.Madavan,Krishnan Panju  dwelt elaborately on family emotions ,sentiments and the psychological entanglements and bondage of human relationship. Sridar  focused on exalted themes of sacrifice sprouting from selfless love.
K.S.Gopalakrishnan believed in the power of argument to establish long standing values of life with special lenience to the rural model. Later, Barathiraja electrified the spirit of the audience, by a dramatic shift in location and characters wedded to the rural milieu.
      Themes forming the base of story line in movies, can cause dynamic changes in one's thinking and behaviour particularly if they are reformative or generative of positive energy. Films like 'Anbe Sivam', and 'Vasool Raja MBBS' of Kamalahasan and Shankar's 'Nanban' were capable of revising an individual's attitude and outlook in terms of one's personal and social objectives.
     The recent and current developments happening in the Tamil Film zone would make one awe- struck by the astonishing changes in every layer of the released product.The gigantic expanse of technical intelligence, facilitates aesthetic wings in graphics.The Tamil language that got rid of its Devanagari pressures,is now in the grip of English,the language of the people from whose rule, the country got liberated .Technology has made it imperative for the Tamil film industry to tie up with this language of a major chunk of the world. Starting from the titles down to the use of dialogues, English necessitates its inclusion, wherever possible,in Tamil movies.
    The key board has become a quality addition to the play of musical instruments.The electronic imagination can make catchy film locations move into one's pre-fixed spot. Cameras are now being endowed with exotic control systems to mix,edit and delete thousands of vision programmes at the click of the mouse.The new wave theories of film making can make and unmake things like a child's play. All of a sudden,the globe seems to have shrunk. Along with this shrinking process is the truth, that Tamil cinema is a vital part of global cinema, as Tamil race is a limb of humanity at large.   

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The Sathyaraj Stuff.

                               Reposted, to honour his month of birth{October}

      These days,a galaxy of young men, get introduced straight away, as heroes.How many of them stick on to a solid ground of their own,is a matter of fitness and fortune.Previously, men who came as villains,were kept waiting to prove acceptability as hero, as if they were put under a course of wild card rounds.Sathyaraj is one such person who with the hero's stuff, was made a villain and an old man,before getting affixed with the hero stamp.It was really one of his most fascinating moments in acting,when he as villain,would ask the hero about a small tin sheet that contained a secret code.The way he uttered the word'Thagadu'{tin sheet}twice,in Kamalahasan's Kaaki Chattai, became one of the most mesmerizing moments on the Tamil big screen and an impressive talking point about a great hero in waiting.
    Though Sathyaraj and the Superstar were not seen together on screen after'Mr.Barath' they have two things in common.Both of them installed uncommon styles of villainy with unseen dimensions in the execution of negative roles.Similarly,both of them passed through a gradual spell of transition from villain frames to the hero image through middle level,rugged and ruffian type roles implying the ramifications of masculine might.If Rajini's'Kazhugu''Kaali''Thappu Thaalangal' and 'Mullum Malarum' were the escalating scales of  growing into a full time hero, films'Makkal En Pakkam,''Dravidan,''Kadamai Ganniyam Kattuppaadu,' and Vidinja Kalyanam briskly took Sathyaraj on the higher rungs of the the hero ladder.Fazil elegantly supplemented the evolution of Sathyaraj as a distinct hero,through his films'Poovizhi Vaasalile' and 'En Bommukutti Ammaavukku'
     In the mean time,Sathyaraj did the unusual. He became one among the the few,to take up elderly roles before becoming a full fledged hero.He did not seem to bother about the repercussions it might cause, by dumping him for ever into a repeated show of such characters and be typecast in that model of role. How gallantly did he get into such crude and  hurting characters of old men,in films like 'Pagal Nilavu','Mudhal Vasandam', 'Mangamma Sabadam' and finally, as the last- minute redeemable father of Rajinikanth  in 'Mr.Barath'.Who can forget his highly dignified appearance as Balu Thevar in 'Vedham Pudhidhu'?This is one sample to show the classic stuff of Sathyaraj, stealing people's hearts at his budding stage,as an amazing actor.Even after becoming a hero,Sathyaraj did the role of a middle aged man in 'Vallal' and 'Senathipathi'.
    Fortune favoured Sathyaraj in the guise of his bearded friend-cum director Manivannan with whom the hero was found to enjoy warmth, team spirit and unfailing trust.Manivannan graphically lifted the degree and level of acting of Sathyaraj through his regular hits like Nooravathu Naal,24 Mani Neram,'Mudhal Vasandham'Paalaivana Rojakkal''Chinna Thambi Periya Thambi' 'Vidinja Kalyanam' and 'Vaazkai Chakkaram'.The maximum number of Manivannan films would have  gone into the hero kitty of Sathyaraj. Years later,'Amaithipadai' became another most impressive joint parade of the duo.
     During the same period,Sathyaraj came under the eminent grooming of another bearded director who took him for a victory ride making worthy movies for him.It was P.Vasu who made Sathyaraj a hero of high standard,through his block buster movies like 'Vela Kedachiduchu' 'Walter Vetrivel' 'Nadigan' and later his 'Malabar Police'.As the uncompromising police officer, Walter Vetrivel,he was full of fire and rage against the corrupt and criminal breed. He was equally aggressive as Chinnasamy,the man in uniform, in 'MalabarPolice'.His self- styled sense of humour as a clever youngster, capable of impersonation,brought him accolades in 'Nadigan.' The Sathyaraj- Goundamani  combination,indulging frequently in satirical revelry and mutually taunting banter created records of kind,in many of their movies. Sathyaraj also did a convincing role in P.Vasu's 'Ponnuveetukkaran'.
    Among fellow heroes,Sathyarej seemed to enjoy greater friendliness in the company of Prabu in films like ;Palaivana Rojakkal','Chinna Thambi Periya Thambi' and 'Anna Nagar Muthal Theru'.He should also have enjoyed his acting with Prabu's father,the Chevalier, in 'Muthukkal Moonru' 'Jallikattu' and 'Pudhiya Vanam', in different roles.
    Sathyaraj has mostly done rough and tough roles in the movies of Manivannan and P.Vasu. But there is another side of this wonderful hero with his natural handsomeness and urban elegance. This has been brought out with chic and charm, by people like Pratap Pothan in 'Jeeva', Joshi in 'Airport,' Subash in 'Bramma' and Guru Danapal in 'Mamanmagal'. He was equally appealing in AVM's 'Ulagam Pirandhadhu Enakkaga',P.Vasu's 'Ricksha Mama' and Guru Danapal's 'Thaimaman.' In between the rude and soft extremes is the beaming Sathyaraj with his healthy banter and hilarious mind set,as revealed in 'Nadigan' and 'Maman Magal'. Sathyaraj has admitted on several occasions that he is a hard core fan of MGR.But he may not know that he himself looks like the eternal mass hero in quite a few frames. 
   This  great actor can make you laugh, himself not laughing he can show rage and fury making you share his mood of genuine anger.His forceful and clear outbursts,very often culminating in a shiver,will establish his angry mood in an apple pie order. He has a long list of movies showing his cry of wrath. He is an unpretentious rationalist deserving the right to play the role of the most respected Thandhai Periyar. He is capable of delivering all kinds of emotions including the romantic passion as in Barathi Raja's 'Kadalora Kavidhaigal' and the anguished paternal frame,as in 'Onbadhu Rooba Nouttu'. But his innate voice of anger against atrocity, criminality and injustice and his unadulterated comedy flair are his distinct stuff,besides his boldness to direct a movie of his own acting, in dual roles, in 'Villadhi Villain' The stuff of Satyaraj is certainly raised on a solid and strong base.
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Seven Tamil Films of Epic Grandeur.

     

      An Epic is a high range poetic composition, on a noble or greatly cherished theme,involving a grand story background, with characters of exemplary and heroic stature, leading to a splendid show of events.An epic should sustain its momentum from the beginning till the end. On rare occasions, some films also reach this kind of grandiose position, arresting the attention of all sections of the audience, during their film watching spell besides making them recall that experience,even years after.This page will grind memories of seven such movies in Tamil, which I feel are known for their timeless thrill of enchantment and high quality entertainment . 
      The Gemini Studios takes the singular credit  for producing and releasing two magnificent films with in a time span of a decade.These two movies  were under production, during the crucial period of India's struggle for independence,followed by the concerted efforts of the midnight's children to set the house in order, after the horrendous Partition years. 'Chandralekha'  produced during the years of the freedom movement,was released soon after the declaration of Independence.'Vanjikkottai Valiban', produced during the post Partition trauma period, was released ten years after 'Chandrlekha' .The film based on the novel 'The Count of Monte Cristo' written by the French writer Alexandre Dumos, created records of kinds, as a gorgeous presentation of events, characters and aesthetic components.
      These two films based on the theme of a prolonged and dedicated struggle for restoring kingdoms from the usurpers to the royal heirs, beautifully reflected the epic qualities of the sustaining spirit of heroism and sacrifice without letting the tempo of the struggle sag at any point. Gorgeous settings, the visual impact of scenes of grandeur, the vast number of people involved, and the captivating climax were the common features of both the movies. If  M.K.Radha,Ranjan and T.R.Rajakumari  put up a brave show in 'Chandralekha' ,Gemini Ganesan P.S.Veerappa, Padmini and Vaijayanthimala contributed all their might for a stupendous show in 'Vanjikkottai Valiban'. The entertainment factor in both the movies was unimaginably of a very high order and with a balanced mix of action, music, dance and comedy the impact of these movies was of a lasting kind..
      Then two other movies released in the sixties,genuinely deserved, in my opinion, the epic status, despite the fact that there were other eligible films in the list.The first one that could be called an epic film by merit was the Vijayalakshmi  Pictures' Sivaji blockbuster 'Thillana Mohanambal' that portrayed vividly, a spirited competition between music and dance as two great forms of art. Human talent became the centre of  display with an effectively integrated romantic element.This film beautifully dramatized on a grand scale,love,dignity of the self before money and power,respect for one's cherished artistic career, and a competitive zeal to excel in one's performance, in their respective field of career.The movie marvellously  demonstrated the struggle between male and female pride, between music and dance and finally between man- woman relationship and their dedication to the art form they represented.
     The story was not confined to one's talent of acting as in 'Navarathiri', or a regulated focus on mythology as in 'Karnan' and 'Thiruvilaiyadal' or a fabulous show of history like 'Veera Pandia Kattabomman' or finally,to individual emotions as in 'Paasamalar'.Thillana Mohanabal was a comprehensive show of human talent and human emotions like,love,anger,infatuation [of the King of Madhanpur, for the dancer] and the spirit of sacrifice.The film is also remembered for its fine layers of humour beautifully displayed by T.S.Balaiah,Manorma and Nagesh with his celebration of humorous villainy. K.V.Mahadevan's tremendous musical support was an added credit for the movie, which was not only an award winner but an all round entertainer on a grand scale.
       The next big release of the Sixties was the all embracing MGR movie 'Ayirathil Oruvan'  of Padmini Pictures, that glorified ideals of nobility and forgiveness as the invaluable fundamentals of humanism. The other two contesting movies 'Enga Veetupillai',that coincided with the release of Ayirathil Oruvan and the 1970s release 'Ulagam Suttrum Valiban' lost the race in my perception because the first one,was just a family entertainer with a  story line centering around the twin brothers of a zamindar family, separated in their childhood and their fight for their rights, with their greedy brother-in-law. The later decade's release became more of a travelogue type entertainer rather than getting into the other core aspects of an epic show. 
    'Ayirathil Oruvan' [One in a Thousand ]as the title implies carried an exalted theme personified by the hero, through his words and deeds of magnanimity and forgiveness.The rich script,the costume and settings sense,the scenic portrayal,the high level lyrics supported by felicitous music,the fine choreography and the overall involvement of every segment of the production unit made it an all time audio visual bonanza. The extraordinary thematic content of goodness conquering evil through generosity and forgiveness raised the film to the heights of epic glory.
     Another movie that created a sense of the impossible in the Eighties, was the stunning ,mega hit movie'Aboorva Sagotharargal', depicting a justifiable theme of revenge to undo the brutal wrong committed by a gang of evil forces.It was Kamalahasan  who did the impossible under the astute direction of Singeetham Srinivasa Rao,by boldly taking up three totally different roles as a formidable police officer,an innocent auto mechanic and a clumsy but shrewd dwarf, wreaking vengeance on the wrong doers, by a highly contrived scheme, for killing the killers of his father. With speed in every frame, holding up the tempo from the beginning till the end, and with an amazing entertainment tag binding all sections of audience, in a forgetful spell of watching a world of wonder on the screen, it was a clean sweep of victory,for this magnum opus of the decade .It was a visual ecstasy of song, action, dance and a mind blowing circus show reminding the elders of the spirit of 'Chandralekha'. .Kamal's 'Nayagan' which was a saga of heroic violence and vendetta against the baddies,did not provide this kind of variety.
       Kavithalaya's 'Muthu' that hit the screens in the mid Nineties, had remarkable epic credentials in terms of theme and execution.The movie sent out a clear message that humility and the strength of sacrifice of riches are the cornerstones of human existence.Besides,the film contained the wide ranging ingredients required for an untiring entertainment kit. It was a remake of a popular Malayalam film ['Thein Mavin Kombathu' ]  but got enriched in the escapist formula of film making that would suit the Tamil audience.What I mean here is, the addition of incredible visuals,speed in screen play,impressive costume designs,Rajini's beautiful blend of humour and sobriety, gripping  choreography reverberating music and the controlled comedy element blended with a powerful story background made the audience escape from the world of reality to that of fantasy.The other fine films of Rajini, like 'Padayappa' 'Siavji' and 'Endhiran' might have been extraordinary entertainers but did not make an integrated evolution in terms of epic proportions. 
      The last in the list is another mass entertainer with a refreshing message that proved to be an  innovation in the history of film making. This movie was a trend setter, carrying a positive title that appeared to be paradoxical to both the conception of the plot and the actions of the protagonist. However the theme base of the story became the most convincing argument for the title.Along with the movie,a most challenging director was also born. The film was 'Gentleman' produced by K.T.Kunjumon  and the director of this epic genre movie was S.Shankar .In this first venture,Shankar took  up the noble task of projecting the educational rights of the meritorious, among the economically underprivileged.The movie raised a clarion call, for the right to education To carry on this arduous struggle,the dynamic new face among directors,conceived a Robinhood type of hero who was himself a victim of denial of higher education by the corrupt and greedy political bigwigs.The movie was a clean course of adventure,the chase and run being the inevitable follow up of a high class action play,unheard of in Tamil film history.The social theme was intelligently handled through a demonstration of the growing scales of technology in Tamil Cinema. Action,emotions,stimulating story line,felicitous narration,music,dance and comedy all put together with logistic stipulations, made the movie serve its salient objectives of heroism and became a true epic film.
     The seven films listed here, are purely my personal preferences, taking into account the moments of applause at the theatres and the rave reviews they received from various quarters. While there are chances for other movies being added to the list, I am sure dissent voices to this list will not be many. As a matter of fact,the entertainment sector does a tremendous service in driving people of mixed routine,out of their homes, for a short sojourn in a variety of wonder zones. The best wonder land, is each one's choice.
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Two Chips of Their Old Blocks

          










 

     The Indian film industry as a vehicle of thought and action has travelled far from a state of taboo to that of dynastic deployment. Tamil cinema is no exception to this dynastic journey.'The taste of the pudding is in its making', goes the maxim.The bark of a tree will definitely carry some of its form . Similarly, many children of film personalities step into the shoes of their parents with a prefixed fitness of body and mind.
      Two men adorned grease for the first time in the early eighties to launch a confident career in acting in the name of dynasty.One was Prabhu,the son of fabulous Sivaji Ganeasn and the other M.Karthik, the thespian heir of R.Muthuraman,the actor comrade of Sivaji Ganesan For Prabu,the starting was not that easy,because,his first movie 'Sangili' with his lion brand father, failed to project him as a powerful product of the Sivaji dynasty. But Karthik began his career with a bang in 'Alaigal Oivdhillai' with the blessings of the best film maker Barathi Raja. Emulating their paternal team spirit in acting, Prabhu and Karthik initially acted together in a few films of which ManiRathnam's 'AgniNatchathram' became a super hit  and fetched the film fare award for Karthik. Moreover, Karthik had already stolen the hearts of film goers as a rugged and charming youngster with a brief appearance, in ManiRathnam's first success show 'Mouna Ragam'.
        With Prabhu,the expectations were always higher because of the monumental acting grade he was supposed to inherit from his father.This should have put Prabhu in a fix, during the initial years. Though he acted nearly ten movies with his father,it was 'Vellai Roja' that gave him an identity of his own on account of the interesting story line and his scope for acting.The other movies that gave him the much needed break were,'Kanni Rasi','En Thangachi Padichava','Palaivana Rojakkal', 'Chinna Thambi Peria Thambi' 'Agni Natchthiram' and 'Ninaivuchinnam'. 
        But it was P.Vasu's block buster 'Chinna Thambi' that became the magnum opus for Prabhu. The film was a celebration in innocence,a story of romance without the usual romantic formula.It was a family entertainer with the massive musical support from the maestro Ilayaraja. This movie placed Prabhu in an invincible position as the most endearing actor whose bubbly cheeks with a delighting dimple, made him the darling of a vast section of the audience with an overnight wind in his favour. Prabhu also got the Tamil Nadu Govt.'s best actor award for his stunning performance in 'Chinna Thambi' The greatness of Prabhu is his ever genial looks reflecting the eternal presence of the sanguine humour in his acting mood, unlike his father who could merge all the four humours [Sanguine, choler.melancholy and phlegm] at one stroke.
         Karthik's sucess show became more evident with a flow of awards for his performance in movies like 'Varusham Pathinaru' and 'Kizhakku Vasal',the former, winning the Filmfare award and the latter,both the Filmfare and the State Govt.Award for best actor. Karthic's role in 'Chinna Jameen' as an innocent man,branded as mentally disabled, by his brutal relatives who usurped the Jameen, won the sympathy of the viewers. However,after the success of 'Kizhakku Vaasal',Karthik was cast in similar roles in films like 'Deiva Vakku' and 'Paandi Naatu Thangam' He was awarded again for his best performance in films like 'Ponnumani' and 'Pooveli.'Karthik  always revels in his role performance and creates a breezy,felicitous focus on his acting style.Very often he made it a soothing process in movies like 'Rojavanam','Pooveli' and 'Gokulathil Seedhai'.He was equally lucky  to start his career under the stewardship of an artistic and aesthetic creator like Barathi Raja. Again he came under eminent directors like Fazil,R.V Udhayakumar and  Agathyan  and he could do a few films under the Kavthalaya banner also.
        The two heroes could not escape their wonderful stint in comedy, with Karthik's strange voice modulation leading to hilarious moments and Prabhu's body and mind translating his gusto in to a robust show of humour.It was Sundar.C who drew the comic spirit in Karthik for a rib tickling comedy parade with Goundamani, through a series of confusion of identities in 'Ullathai Allitha',a sweet reminder of  the Sivaji-Chandrababu's 'Sabash Meena' an ever green comedy of the fifties shown in a similar vein. Karthik continued this comedy spirit in movies like 'Mettukkudi' 'Pistha' and 'Harischandra.' Prahbu teamed up with Radha Ravi to make a wonderful road show of comedy in 'Chinna Mappillai.'His comedy outbursts were equally enjoyable in 'Vetri Vizha'Vasool Raja MBBS 'Arangetravelai' and 'My Dear Marthandan'  the first two with Kamalahasan as hero. Prabu did not miss the chance to create hilarious scenes with the Superstar in Gurusishyan and later he also did the two serious movies Dharmathin Thalaivan and Chandramugi with Rajinikanth.
       Both Prabhu and Karthik took the audience by surprise by their remarkable performance  as advocates in a special appearance,the former as a drunken sober lawyer in 'Pryanka' and the latter as a sprightly and spontaneous legal professional in 'Devan'. They again shared the screen space for the fairly popular film'Thai Porandachu' and then in 'Gusthi'  that came a cropper While Prabhu is still busy acting in character roles,Karthik for reasons not known,is not seen much on the screen. Prabhu may have in his archives many other popular films like 'Uzhavan' 'Tirunelveli' ' 'Duet' ''Panjalangurichi' 'Parambarai','Periya Kudumbam','Vietnam Colony''Sethamizh Paattu, 'Uthama purushan' [a reminder of his father's 'Iruvar Ullam'] 'Thamirabarani' and  'Vanna Thamizh Paattu'.Karthik's folder might include 'Amaran' 'Seenu','Anandha Poongaatre'' 'Sandhitha Velai' and 'Unnidathil Ennai Koduthen'. Prabhu's acting zeal has not petered out on account of ageing. Hope Karthik  also continues to do a cameo on  the big screen, now and then. 
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S.V.Renga Rao,the Man of Myth and Reality.

                 
          S.V.Renga Rao,an actor of high stature for more than a quarter century from the early days of Tamil Cinema, reigned with his look of majesty and mighty voice,as the most wanted person both in Telugu and Tamil film circles. He was a perfect father figure,besides fitting himself perfectly,for portrayal of mythological characters. His voice was so powerful that it could reflect moods and emotions exactly as if through a process of calibration.
         My memories of this gigantic figure, take me to my childhood evenings spent at the Touring Talkies, shuddering at each and every scene he would appear as an evil magician or mythological giant in movies like 'Sowbagyavathi' and 'Patala Bhairavi', getting attracted to some beautiful princess and kidnapping them, in order to forcefully marry them. He would have also made children cry as Lord Yama in 'Savithri' and King Hiranyakhasib in 'Bhaktha Prahalath'.But he became an endearing spirit in the role of Gadothgaja in 'Maya Bazaar' and made every one enjoy all the scenes he'occupied'.He had also acted as a Pallava King in the guise of a Lord Siva devotee, in the historical fiction based film, Paarthiban Kanavu.In royal roles S.V.Rengarao always created a magnificent image,as cleanly established in films like Gunasundari,Pathini Dheivam and Parthiban Kanavu {all Gemini Ganesan films}.
      Renga Rao was also a formidable villain in films like 'Annaiyin Anai' 'Raaja' both,with Sivaji Ganesan and later in 'Nam Naadu' with MGR. As a cruel character called Parobhakaram, [ which means 'noble service' in English]with an infatuation for his friend's wife,it was a memorable role he played in the first of the three movies mentioned above.He performed it so well that everybody hated him for his role in that movie.Similarly, in the role of a manipulative capitalist with a shady personal past, he performed brilliantly in Gemini Pictures 'Irumbuthirai,starring Sivaji Ganesan and Vaijayanthimala. 
      It was usually in the role of father of heroes and heroines did he make an amazing impact. That too as a wealthy man with notions of status and snobbery or charity and generosity,he would always remain as the one and only choice, because of his innate aristocratic look and demeanour. Movies like,'Sabash Meena','Missiamma','Annai Illam''Padikkadha Medhai','Pachai Vilakku' 'Bandha Pasam' 'Needhikku Pin Pasam''Kumutham'Iruvar Ullam''Padithaal Mattum Poedhuma' 'Kathirundha Kangal''Kai Kodutha Deivam''Enga Veetu Pillai' 'Manidhan Maaravillai''Annai' and 'Vaazhaiyadi Vaazhai' are a few samples in this regard.
    But it was in 'Padikkadha Medhai' as a rich man, who lost his riches and was left in the lurch by his children,he became the true face of fallen aristocracy not failing in spirit.His performance as a powerful family patriarch and later as a pathetic old man not falling into self pity,was the hallmark of perfection.Here,he installed his position as an actor of spontaneity and magnificence. It was his special appeal in playing character roles with extraordinary dynamism, that pulled him closer to director K.S.Gopalakrishnan,thereby making him almost a regular artist in the films of many movies [such as Selvam, Saradha,Karpagam,Kai Kodutha Dheivam 'Pesum Dheivam' Aadhi Parasakthi {as Dakshan}and 'Kan Kanda Dheivam']of this great director.
     In 'Karpagam' as a thoughtful father-in-law looking for a second wife to his widowed son-in-law,whom he respected a lot, Renga Rao carried on an impressive show of his felicitous acting skill. This grandeur in performance was also noticed in his role as a father-in-law, prejudiced against his blackish daughter-in-law in' Nanum Oru Pen' her blackness being the cause of prejudice.But soon the prejudices were over taken by the credentials of feminine virtues of his daughter in law and the hatred mellowed down into a deep bond of love between a father and daughter.As the father of a mentally immature daughter in 'Kai Kodutha Deivam',he really looked pathetic and finally when that daughter committed suicide because of his scolding,his sadness aggravated with the compunction of having been wild to an innocent soul. 
      Renga Rao's sense of humour was spontaneous and enjoyable in K.S.Gopalakrishnan's 'Pesum Deivam' in which the actor donned the character of a rich old man, with unflinching faith in Lord Venkateshwara. The speed in his voice modulation, from the height of anger and anxiety, to the ebb of calmness and acceptance of reality, was a common characteristic of Renga Rao's acting style.The last film of this distinguished actor that I watched was 'Anbu Sagodharargal',a film on the grandeur and complexities of sibling love and  joint family system.This tall actor played the role of the eldest of all brothers in that film, pouring forth emotions of  joy and depression in his own,inimitable, natural way. Ranga Rao was so passionate an actor that his place as father, as villain and as character actor still remains void.As his face would perfectly fit into both mythological and family roles he could rightly be called the man of myth and reality.
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Thilakan's Titanic role plays

                   
        Not a mega star. Nor a supreme or superstar.But one that would outlive his death with refreshing as well as haunting memories of roles with wide ranging perspectives.That was Thilakan,  whose death was an agonizing loss for the film industry in general and for the talent-hungry Malayalam film family in particular.If you looked through his eyes,you would see there, a galaxy of characters,noble,enlightened,dignified,honest,loving,manipulative,crooked and sex-prone.He was the one and  the only actor in Malayalam cinema, who could impressively portray the Jekyll and Hyde of the human face. With in his husky and hoarse voice was hidden, a cartload of human emotions.
     'Indian Rupee', was the last of Thilakan's movies I saw and in that, as the forlorn and haggard  old man called Achutha Menon, his appearance,delivery of dialogue and delineation of the character of a neglected soul were heart rending.There was a sense of longing in his face that was totally gripping. At the end of the movie, the news of the death of Achudha Menon leaving an unexpected legacy to his new- found young friend [Played by PrithviRaj] would have brought tears  to a large section of the audience as much as it did to the hero.
     Thilagan in father roles, has come out with an impeccable portrayal of several dimensions of paternity.  In 'Sathyam' as the unduly punished head constable Ayyappan Nair, he effectively underplayed the emotions of an affectionate and aspiring father who wanted to see his son as a police officer. Though, it was almost a similar kind of  character,with a different story background  that he had played earlier in 'Kireedam' as Mohanlal's father Thilakan made it a completely different role.In between these two movies was 'Spatikam' in which the veteran played the role of a rigid schoolmaster suppressing the dreams and aspirations of his intelligent son by his old school thoughts.As a strict father with the hidden stigma of running a parallel family,Thilakan beautifully brought out the umpteen shades of a cruel father's role with a hidden store of softness.This character,with Mohanlal as his son,was a milestone in Thilakan's career.
        His other role as a learned judge [Justice Karunakara Menon] and father of  a murder-accused son [again Mohanlal] in 'Narashimham'  became another grand show of an exalted  paternal frame of mind,befitting his position,. 'The Truth' was the other movie in which as Patteri, an enlightened soothsayer-cum-astrologer and as the loving father of a dedicated CBI officer[played by Mammooty] Thilakan essayed his role with ease poise and dignity. As a friendly father in 'Aniyathipravu', [from Fazil's aesthetic brain] it was an endearing display of fatherhood that Thilakan performed as Boban's father.Again in 'Chintamani Kolacase' he was a helpless and pathetic father encountering the mysterious death of his daughter, following the ruthless denial of an MBBS seat on merit. It was another moving demonstration of devoted fatherhood.
        Thilakan's performance as school Principal in 'Makande Achan' and as Nambhoodhiri
in 'Manichitrathazhu' and as Chekutty Mudhalali in 'Kilichundan Mambazham' brought to light his versatility as a character actor.  
          The profile of negative characters played by Thilakan seems to be a heap of the underworld stuff. But before that, a word of appreciation must be said about the Machiavellian stepfather role he played in 'Namakkum Parkaam Mundhirithoppugal' with a fiendish mindset to molest his step daughter.It was a performance capable of  generating a wave of contempt and aversion from the film viewers specially from the woman section of the audience.But an actor of Thilakan's mould would think more of his capacity to perform such a character rather than his image as an actor.He excelled in that role with a passion for genuine portrayal. It was with a similar passion  for variety,he donned a hateful role in Tamil 'Alibaba' [a film of Prakash Raj and Krishna as father and son] as an old man with a lust for voyeuristic sex that made him brutally hunt for girls, without any qualms. 
          For reasons not known,this granary of acting skill, was always used to play negative roles as a criminal and gangster head in all Tamil films starting from 'Ayudha Poojai' of Arjun to the recent  'Bala' starred by Shyam.But his role as a notorious and irredeemable underworld Don  in 'Chathriyan' from the Mani Rathnam banner will be a lasting monument of his contribution to Tamil Cinema. Suresh Gopi's 'Randam Bhavam' projecting him as Govindji was another sample of  Thilakan's stylistic exposure of an underworld Patriarch. Thilakan's performance as a fake soothsayer and village priest in Sundar.C 'Mettukkudi' also needs a special mention. His boldness in not getting his voice dubbed  in almost all his Tamil movies,should be commended.
      Before I conclude,I must confess that I would have watched only a few of Thilagan movies in Malayalam and I had to restrict the tone of my tribute to that actor- titan in terms of only those movies.I really feel bad about missing most of his other quality show of talent. Leaving that apart, how many heroes were, and will be, fortunate to have their funerals observed with State Honours?  Surendranath Thilakan had that credit and he rightly deserved it too.
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