The Two Handsome Tamil Comedians.

    At a time, when the theory that performing heroes need not look handsome is becoming an acceptable phenomenon,to talk of handsome comedians may sound paradoxical. However,let us give the individuals the tag that is reasonably due to them.I would also like to say categorically that this title is not intended to undermine the looks of other talented comedians of the huge Tamil film industry.To me the appearance of these two comedians, gives them a hero status, by certain conservative norms held so far, as a determined yardstick for developing a commanding screen image.The two comedians who would honour this title without prejudice to others, are Vivek and Santhanam.
     Both in terms of age and time of entry into the field of acting,Vivek is a clear senior to Santhanam by at least a decade and a half. Vivek also holds the proud position of being a K.Balachander  product.His first two films Manathil Urudhi Vendum and Puthu Puthu Arthangal directed by K.B made Vivek  establish a solid foundation for himself as an actor meant to reckon with. Particularly as a character with a loose tongue, he made his role distinctly memorable in Puth Puthu Arthangal. But what a meteoric growth it has been to Santhanam, after his firm entry in Manmadhan that made his earlier role in Kadhal Azhivadhillai insignificant.With in a decade, he has become the busiest ever actor to be seen almost in every other release, with small,big and selling comedy shows.Starting his film career with the renowned T.Rajender  and his son Simbu, Santhanam continued to act in Simbu's films like Kaalai,Vallavan,Vaanam and Osthi,the last two in this list showing him in the best comedy form. 
     The skit matters a lot for the success of a comedy scene, that takes the comedian closer to the audience for their continued acceptance and patronage.Gone are the days of decent comedy scenes, without any semblance of vulgarity and scatological connotation.We do not know if the decline in quality of humour is due to an itch to satisfy the audience mood, or the inherent calibre of the comedians themselves.Quite often, even decent comedy providers like the duo Goundamani and Sendhil  resorted to  toilet humour as though comedy could generate only in the rest rooms. Vivek  and Santhanam are no exception to this kind of comedy presentation. Vivek's comedy scenes were particularly undesirable in the film Shajahaan and Santhanam periodically takes his humour  skit to the toilet side.
     Both Vivek and Santhanam  have excelled in verbal comedy by taking their fellow comedians and sometimes even their team heroes for a ride.In the same spirit, they have allowed themselves to be bullied and exploited by their fellow comedians as Goundamani  very many times, let Sendhil make him a scapegoat.Incidentally, it should be mentioned here, that both Vivek  and Santhanam have acted in a few movies, without any significant scenes for a meeting point.Some of the films in this list are, Ajith's Kireedom,Suriya's Singam2 and Vinay's Jeyamkondan. But they did have a meeting ground in Sundar C's Veeraappu. Both these comedians have contributed solidly to the comedy spirit of Sundar.C. In films like Naam Iruvar Namakkiruvar,Unakkaaga Ellaam Unakkaaga, Ullam Kollai Pogudhei, Sandai, Auyudham Seivom and Aindhaam Padai  Vivek added wonderful moments of laughter.In the same manner, Sathanam made his mighty humour shows, in movies like Rendu, Kalakalappu and the most fabulous comedy film Theeyaa Velai Seiyyanum Kumaru. 
     Not less than twenty five popular films could be recommended for a healthy and happy watch of Vivek's intelligent and appealing comedy scenes.Unlike Santhanam,Vivek has effectively demonstrated his strength for mimicking several great actors of the last generation like Chevalier Sivaji Ganesan,M.R.Radha M.N.Nambiyar  and later his own contemporary heroes like Rajini and Kamal.No one can forget his parodying the court scene of Sivaji Ganesan's  debut film Parasakthi and then the Sivaji- Radha platonic love episode in Mudhal Mariyaadhai. Srikanth's Paarthiban Kanavu scored an additional point for repeated audience view because of Vivek's  parody of the famous scenes from Mudhal Mariyaadhai. He has also mimicked the voices of Rajini and Kamal  and their style of dialogue delivery.Some of the films of Kamal that he has parodied are Guna and Nayagan.
     Vivek has the time sense and aptitude to include song and scene sequences from other films relevantly to his own comedy scenes, as he pointedly did in Dhool and several other movies. Vivek was found doing an amazing job in the line of N.S.Krishnan, by performing comedy with social sense, with deliberate inclusion of messages of social awakening through comedy scenes. This is how he went on to impress the audience by his clean performance in films like Kaadhal Sadugudu,Youth,Samy,Thirunelveli  and quite a few other movies.
     Besides these films,the other movies of Vivek  that would go a long way into the memory interiors of the audience are Run, Pennin Manadhaithottu,Kadhal Mannan, Dhool, Minnale, Poovellaam Un vaasam, Perazhagan Azhagi,Dum Dum Dum, Sandhitha Velai,M.Kumaran S/o Mahalakshmi, Thirumalai, Kushi, Middle Class Madhavan,Whistle,University,Anniyan, Thenkasipattanam, Thambikku Indha Ooru,Sivaji, Uthama Puthiran of Danush, and Singam1. One can hardly ignore Vivek's hilarious comedy ride with Vadivelu,  in films like Pongalo Pongal, Looty and Manadhai Thirudivittai .
     Santhanam too has in his kitty more than a dozen great films out of his numerous rapid releases,that  would vouchsafe his capacity to tickle humour. However, unlike Vivek's continued flow of humour generating dialogues,Santhanam can be proud of  his one line verbal strokes that would spontaneously augment the comedy feel with  utmost relevance to sense of timing.Some of the historic comedy scenes of Santhanam are from films like Siva Manasula Sakthi,Boss Engira Baskaran,Oru Kal Oru Kannaadi, Velayudham, Kandein Kadhalai, Theeeradha Vilaiyaattuppillai, Thillaalangadi, Settai, Thaandavam [very sensible play of humour to the extent of taking out the patience of the police officer played by Nasser}, Mirattal, Naan Yee,Kanna Laddu Thinna Aaasaiyaa,Raja Rani, Vanakkam Chennai and the three films Siruthai,Saguni and Alex Pandian in which he carried on the taunting team celebration of comedy with Karthik Sivakumar.
   The similarities between these two comedians have certain significant traits.Both are quite often loud mouthed because comedy needs audible delivery of dialogues more than any other segment of cinema.Both are fair complexioned with a kind of charm in their appearance that helps them have a pleasing reach with the audience.Both have a flair for dancing and Vivek  in fact donned the role of a dance master in Kushi .Both have acted with all leading actors including the Superstar and both have not so far shared the screen space with the world class hero Kamalahasan. Santhanam would perhaps be a happy man now, looking forward to the scope of sharing screen space with Kamal, in the proposed film Uthama Villain, to be directed by Ramesh Arvind. Both Vivek and Santhanam have been directed by Shankar  but not by Manirathnam.
    But the rocking note of difference between the two, is the most cherished sense of continuity and coherence in the comedy skits meticulously developed and delivered by Vivek, that seem to be invariably void in the one- liner- bound comedy drive of Santhanam. I personally feel that Vivek has an inspiring spirit of latent humour like the noted, other commendable comedian S.V.Sekar. But unlike S.V.Sekar,  who has a sense of control over his comedy delivery,Vivek appears to be more unbridled in enjoying his job of making others genuinely laugh for a while,without any reservation. 
    Vivek's  comedy could be compared to the traditional mode of poetry composition;whereas, Santhanam's comedy track could be equated with the free verse category.To me, Vivek seems to be a perfect combination of N.S.Krishnan and K.A.Thangavel Whereas, Santhanam appears to travel on the track of Goundamani without the support of a soul-sustaining companion like the innocently mischievous Senthil, boosting the energy levels of not only the comedy mood of Goundamani, but also that of the audience.But to carry on the laughter wagon evenhandedly,without a solid team mate is not that easy. It is in this respect, Santhanam gains his winning streak.
   As far as the comedy track of new wave Tamil Cinema is concerned,one could notice the obvious absence of female pairs for the present day comedians, unlike T.A.Madhuram M.Saroja and Manorama{ and Madhavi too} joining hands with the best comedians like N.S.Krishnan, K.A.Thangavel, Chandrababu ,Nagesh and Thengai Srinivasan of the previous generation.Starting from Goundamani, the new generation comedians have mostly been playing humour games without female partners.Nevertheless,Tamil film industry should really be proud of being endowed with a galaxy of talents in all areas, more significantly, in the ever important comedy side of screen play and presentation.In this regard,these two handsome comedians definitely hold an important place. 

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The Namesakes of Tamil Cinema.

                                

     Tamil Cinema has witnessed the strange phenomenon of namesakes occupying distinct positions as actors directors and music directors.These names have been distinguished either by their initials or some sort of prefixes and suffixes for gaining an independent identity.I do not think any other Indian film circle would have witnessed such a phenomenon to this enormous proportion.

    Though MGR,the three letters, became the heart throb of Tamil film fans and the Tamils in general, the name M.G.Ramachandran of the mass hero, had to be distinguished from T.R.Ramachandran, the hero -cum comedian and T.K.Ramachandran, the bold eyed villain, of the same  period. V.C Ganesan and R.Ganesh became  Sivaji Ganesan and Gemini Ganesan with their prefixes adding a state of grandeur to their similar names.While K.R.Ramasamy was an actor-singer carrying a singular voice frame,V.K.Ramasamy established himself as a stable actor meant for a longer, louder and larger space in Tamil Cinema.Besides these two,there was another Ramasamy who had acted as comedian and villain's henchman and was popularly known as Friend Ramasamy,with that positive prefix.The other interesting fact about namesakes is about the two noted film personalities T.K.Baghavathi and T.S.Baghavathi, of whom the former was a powerful male actor and the latter a dynamic woman playback singer. 
    P.U.Chinnappa was known as a powerful hero with a great throw of his singing voice and acting vigour. His films Aariyamaala,Manonmani and Jagadhalapradhaaban are still fresh in my memory as my childhood treasures. M.M.A. Chinnappa Devar with his community suffix added to his name, had a greater role to play in Tamil Cinema as a famous producer, director and stunt master. M.K.Radha was a vibrant hero, making himself memorable through his clean performance, in films like Aboorva Sagodharargal, Samsaaram and Chandralekha. But M.R.Radha’s wings as an actor of versatility, flew high for more than a quarter century, stealing the hearts of Tamil film fans.

    Veteran director K.Balachander and actor-cum film maker S.Balachandar were contemporaries in Tamil Cinema. However, the former was to become the powerful voice of Tamil Cinema, for several decades.The latter who had acted in about ten films that include popular ones like Devaki,Penn,Dr.Savithri and Maragatham, was rated with esteem for making four critically reviewed films such as Andha Naal, Avana Ivan,Nadu Iravil and Bommai. Besides, he was a highly talented musician with an extraordinary flair for playing the Veena and he came to be known as Veena Balachandar. Similarly,between K.S.Gopala- krishnan and V.Gopalakrishnan,one retained his success formula as a valued director and the other held his estimable position, as a high quality actor. S.P.Muthuraman the renowned director of many Rajini films has also directed a couple of films of his namesake, actor R.Muthuraman. 
   D.Balasubramaniam and R.Balasubramaniam were notable actors, playing villain roles in the Nineteen forties and fifties.In the Nineteen Seventies, there appeared the stupendous singer S.P.Balasubramaiyam, who with his rolling tongue and charming  clarity of voice, enslaved the music lovers. His  histrionic ability has also been proved effectively, by his endearing performance in films like Kadhalan, Keladi Kanmani,Ullaasam and so on.
     This trend of same-name-personalities, seems to continue even now, with the mass hero Vijay being differentiated from Thalaivaasal Vijay with the prefix of a film title,Pa.Vijay the lyricist-cum actor,Arun Vijay the actor son of the illustrious character actor Vijayakumar and A.L.Vijay the promising film director. Besides, we have Nizhalgal Ravi and Jeyam Ravi with their first,film titles preceding their names.To avoid confusion between the two Karthiks,the senior is called Karthik Muthuraman. Similarly, the music maestro's son and music director, is called Karthik Raja. While Suriya,the elder son of Sivakumar has established his position as an enchanting hero,S.J.Soorya,the noted film director of Ajithkumar's Vaali and Vijay's Kushi has also apeared as hero in a few films.We also have two Srikanths, one introduced by C.V.Sridhar and the other, a soft romantic hero, who made his debut, in Rojaakkoottam. It would be an unfair thing for the new generation film watchers, to forget the contribution of the former Srikanth, who created waves as hero, villain and character actor, through his brilliant performance in films like Aval, Thanga Padhakkam, Sila nerangalil Sila Manidhargal and Oru Nadigai Naadagam Paarkiraal.
    Mohan,Poovilangu Mohan [named after the film Poovilangu in which he acted]and Mohan Sarma are the other namesakes, of whom the first in the list remained as a very popular and busy actor  for a decade or so,winning the hearts of his fans, as an unrelenting romantic hero.While the noted comedian Senthil is almost a home name,a hero with the same name is to appear on the big screen, after establishing his position as a TV serial hero in Vijay T.V's one of the most popular serials,Saravanan Meenakshi.    

     Among women, there were P.Banumathi, the dauntless heroine of the last millennium  and M.Banumathi who played first as heroine and later as second level actress. Padmini the dynamic heroine and ebullient dancer saw her name sake Kutti Padmini, who rocked as a child artist but failed to sustain her position later, as a heroine. There was another Kumari Padmini, who played as hero’s sister in a few movies and disappeared. M.S.Subbulakshmi the noted Carnatic singer, who is known for her fabulous voice,had her less popular namesake, S,D.Subbulakshmi an actress of the last millennium. While B.S.Saroja was paired with MGR in his earlier movies, M.Saroja who played as comedienne, later married K.A.Thangavel and settled down into family life. The other E.V.Saroja with her great dancing credentials had acted with MGR, Sivaji and Gemini. With her grace and acting ability she also became the most chosen actress for the films of T.R.Ramanna. 
    G.Varalakshmi and S.Varalakshmi were contemporary actresses who adorned Tamil big screen initially as heroines and later in powerful mother roles. G.Varalaksmi's performance in films like Aaravalli and Gulebahavali was known for charm and grace. However, in the role of a mother, S.Varalakshmi wielded great power and energy, in films like Panamaa Paasama Poovaa Thalaiya and Needhikku Thalaivanangu. G.Varalakshmi of course, gave a convincing performance as a wealthy and arrogant mother, in A.V.M's Kuzhandhaiyum Dheivamum. Both P.K.Saraswathi C.K.Saraswathi were old timers in the Tamil Tinsel world. Of the two C.K Saraswathi will ever stay remembered as the most cruel stepmother and mother-in law on screen. Whereas, Bagyaraj with his bonhomie,gave prominence to C.R.Saraswathi who played a memorable role as the hero's stepmother in Enga Sinna Raasaa..

    I do not think the name sake syndrome is so prevalent in Indian Cinema of other languages. However, beyond the similarity in names, it is the individual’s personal attributes and merits that bring them closer to the audience as MGR,Sivaji Ganesan,Gemini Ganesan, M.R.Radha, VKR,Vijay, Banumathi and Padmini.
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Infinite Thespian Voices of Tamil Cinema.

                                

     The recorded voices catching synchronously the lip movements of actors, generate dialogues of different hues for a theatrical show.This would make everyone awe inspired by the magical process of blending audio visual operations that constitute the foremost concept of  film making.It is this stage of film making, that successfully transfers the import and significance of a scene of action to the audience.The voices of heroes,heroines ,villains, comedians and character actors delivered off screen, would fascinate the audience as an aural treat, based on their sense of appeal and harmony with their body language.Truly speaking,each human voice is made of easily identifiable marks of tone and vibration,though some voices carry the nearest similarity in reach and a few voices are also capable of mimicking others' voice frames.
    For quite long, most of the heroes and heroines reigned the movie world with their singing core and dialogue delivery. Most often the singing component in their voices would carry a dominating impact and hence the dialogue delivery would reflect a musical attitude of intonation as found in the sonorous and scintillating pattern of dialogue delivery of MKT Bagavadhar, P.U.Chinnappa ,T.R.Mahalingam, the renowned comedian N.S.Krishnan and K.B.Sundarambaal. However, this factor underwent a drastic  change in the Nineteen Fifties, when actors without singing talent began to occupy the scene. There began to emerge,voices of distinct frame and vibration carrying an influence of individuality and voice throw, for an invisible reach with the film goers. 

    Roaring quite often like a lion, letting out a plethora of human emotions in their original form, and making a stentorian effect with clarity and masculine vigour, the voice of a mighty Tamil hero, ruled the ears and hearts of men and women, for several decades on the big screen. His Tamil accent  and genuineness of local dialects were so infallible that it was always a pleasure to listen to his grand and masterly delivery of dialogues. That is the immortal voice of Chevalier Sivaji Ganesan, who lived as the icon of Tamil Cinema, during his entire acting career.

   A Dravidian voice with its force of thrust and power of charisma  guided and controlled the Tamils not only inside the talkies and theatres but outside too, in towns and villages alike, by drawing crowds, like the sky drawing clouds for a full rainy season. It was a leading voice, transforming myths into reality, forming  dedicated fan clubs from the audience and later converting die hard fans into the electorate. It was the magnificent voice of a three lettered legend called MGR. Prior to the day when his full throated voice was stunted by a gunshot as well as after the mishap, this splendid voice ever remained as the symbol of success.  

   The other clarion voice with an emphatic sense of dynamism and dramatic variation was that of S.S.Rajendran and it could positively wield a winning effect towards enlightenment and aesthetic appeal.Besides his, the easily identifiable and meritorious male voices of those days were the enchanting romantic tongue of Gemini Ganesan,the mellifluously distinct tone of Muthuraman, the emotion- packed voice of AVM Rajan, the harsh, villainous voice of P.S.Veerappa with its serial cruel laugh, the singular intonation in the  dialogue modulation of M.N.Nambiyar with a little bit of Malayalm base, and the rough and soft medley in the voice frame of myriad mouthed M.R.Radha. The voice of OAK Thevar, a villain actor of fame of the last millennium, had a majestic appeal with a potential both for a roar and a mellifluous ease.  
    The memorable nasal effect in the voice mold of K.R.Ramasamy and S.A.Natarajan would haunt the ears of the audience even after they left the theatres. S.V.Rengarao had a vibrating voice that could hit,penetrate into and soothe the mood of the audience at one go. V.K.R was naturally identified by his loud open voice. 

  Between the TKS brothers,Bhagavathi had a squeezing voice but Shanmugam had a forcefully open voice deliberation. T.S.Balaiah was vested with a distinct tone and mannerism that could create an endearing effect with the audience be it a villain or comedian or character role he performed. S.V.Subbiah's voice carried a peculiar pattern of tone modulation that reflected robustness and grace. 

   Later, the force in the winning voice of Jaishankar and the gruff element in the voice  structure of  Ravichandran transmitted genuine energy and freshness that made them both, wonderful additions to Tamil Cinema. While Sivakumar’s tone reflected innate grace,Sathyaraj never failed to create a taunting effect by his set pattern of dialogue delivery, besides infusing a kind of shivering, coupled with speed as his natural voice characteristic, whenever  he happened to deliver emotions such as anger and rage.The ever excited, forceful voice modulation of late Manivannan,the hearty team mate of Sathyaraj,was proved to be a lovely treasure for the listeners.The distinctly jarring,jammed voice of Bagyaraj  greatly contributed to his winning streak.

    In the mid Nineteen Seventies,Tamil film watchers were introduced for the first time, to an amazing voice of alien charm, that came to embrace their emotions with an unheard of gusto and vibration and that was the stylish voice component of Rajinikanth, whose refreshing gusto in voice thrust, became one of the many unusual factors about him that went on to make him the Superstar. Speed, force, and the majestic appeal in intonation, are the invincible intricacies of Rajini’s classic celluloid voice. The ruling force of his voice resembles that of Sivaji Ganesan but the charisma it carries is similar to that of MGR. Kamalahasan the close contemporary and the true actor prototype, is well known for his capacity to meddle with his voice for a variety reach, adding to his zeal to come out with something creatively different, in all his ventures. The variety in his voice play, is just a sample of his tremendous versatility as an actor.

    Among the heirs of actors, Prabu’s voice quite often reminds us of his great actor-father Sivaji Ganesan; whereas, Karthik Muthuraman hardly made any one feel that he has inherited the voice of Muthuraman. To some extent, like Kamalahasan, he too resorts to tongue twisting while delivering dialogues. Of the two sons of Sivakumar, the elder one’s voice goes more perfectly with that of his father and the younger son has imbibed a kind of taunting voice frame in the manner of Sathyaraj. Simbu's voice has retained a separate identity never falling in line with the emotion packed,native voice pattern of his father T.Rajender.

   The immaculate clarity and force in the voice of Vijay, is a vital factor adding up to his victory march. Ajith’s graceful voice is in the line of Sivakumar’s. Among the new generation villains Prakash Raj continues to enjoy the benefit of his loud and open voice throw.[Late] Raguvaran’s husky, manipulative voice  had been his major asset. The effortless voice modulation of Nasser has helped him with a distinct composition of his own.
   The voices of leading Tamil comedians have also been a mixed lot with each one claiming a unique appeal from behind the screen.The persuasive voice of Kalaivaanar N.S.K,the straight bold and simultaneously amicable voice of K.A.Thangavel and Thengaai Seenivasan,the piercing tone of T.S.Dorairaj,the juggling and rolling voice of Chandrababu,the jingling throat of Nagesh, the husky bass voice of Surulirajan, the rustic mold of Gaundamani,the mischievous voice frame of Senthil,the pleading voice of Vivek,the whimpering,wailing tongue of Vadivelu and the boldly taunting and bullying tone of Santhanam, have all been keeping the comedy track of Tamil Cinema, as a cascade of entertainment flowing in varied degrees, with a galaxy of talents. 

   Among the early,leading actresses, T.R.Rajakumari had a titillating voice and S.Varalakshmi had a nasally powerful and clear voice. Anjalidevi's soothing tone was always a special attraction and Pandaribai could effortlessly pour out grief in full form, through her sorrow generating voice. As far as the leading heroines of the previous generation were concerned, it was the voice of Padmini that was built of bold, clear and impressive parameters to strike a specific emotional identity with the audience. 

  Banumathy could be called a female Rajinikanth in making her voice reach human ears, with singular charm and speed, surpassing native imperatives. While Savithri had a soft but firm voice frame,the shrieking, prattling voice of B.Sarojadevi, contained a mesmerizing charm. K.R.Vijaya’s voice consisted of a modestly endearing emotional appeal raising its level wherever it became necessary. Vanisri had an openly sweet voice similar to that of the famous singer P.Suseela. 
   The sobre and sorrow laden voice of Sowkar Janaki and the ever grumbling voice access of Jeyanthi made them both a special category of actresses.Clarity, force and nativity strength proved to be the dominant factors of the voice of M.N.Rajam Vijayakumari and Manorama. The voice of J.Jeyalalitha used to shuttle between fascinating feminine glory and ruling ecstasy. Laksmi always carried a subdued charm in her voice, deliberately suppressing its reach in emotionally choked performances.

   While Sujatha's voice was a combination of suppressed female pride and feminist resistance, the uniquely graceful element in her voice, was the asset of Sri Vidya. Among the new arrivals of the Nineteen Eighties,the boldest voice was that of Radhika, that was formed of a perfect mix of innocence and bravery, similar to that of Sri Priya and Jeyachitra. The siblings Ambika and Radha reflected  different voice frames in terms of openness and clarity. The former's voice was soft and firm, while the voice of the younger sister was gracefully clear and appealing.A tone fluctuating between a firm grip and an out-of-control shriek, affords the voice of Revathi its unique tag of identity.The self suppressed deepness in the voice of Ramya Krishnan is capable of shunting between modesty and pride with a clear note of equilibrium.
   Gone are the days when the voices of heroines were received and identified as a distinct attributes of the over all acting range of every woman. Today, with borrowed voices doing the great task of dubbing, one of the salient features denoting the identity of actresses is becoming a fading trend. However,neither the film makers nor the audience can ignore the fact, that dialogues recorded in one's own  voice are certainly the major contributory factor for actors and actresses gaining a legendary status in their respective positions.

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The Creative Versatility of Javert Seetharaman.

      Seetharaman came to be known as Javert Seetharaman after his impressive performance as Inspector Javert  in Ezhai Padum Padu that had its story background  from Victor Hugo’s most popular novel  ‘Les Miserables’.Javert Seetharaman  also called Javer Seetharaman, was actually a versatile creative artist like the Kannada film personality Girish Karnard. He was a great Tamil novelist, story, screen play and dialogue writer, and an actor with great looks and voice. With his rotund chubby cheeks and  ball like eyes  he would not take much time to strike the viewers with a blow of charm of a unique kind.

    He wrote novels with three worded titles like Panam Penn Paasam,Minnal Mazhai Mohini and Udal Porul Anandhi. His novels would give a thriller feel with adequate suspense element running throughout the narration. Besides writing novels Javert Seetharaman wrote the story for the critically acclaimed mystery thriller film Andha Naal {1954}produced by AVM pictures and directed by S.Balachandar.The film had a brilliant cast consisting of Sivaji Ganesan,Pandari Bhai, P.D.Sambandam  and Suriya Kala.Seetharaman also played a significant role as a police detective in this trend setting film.
    Later  Javert Seetharaman wrote story and dialogues for three of the films produced by the dynamic Villain actor P.S.Veerappa of the last century. Those movies were, Anandha Jothi starring M.G.R  and the two famous films of Sivaji Ganesan namely,Aalayamani and Andavan Kattalai. The other  films for which he wrote the story/screenplay were,  Kalathur Kannamma, Anbe Vaa,Ramu, Uyarndha Manidhan and Kuzhandhaiyum Dheivamum.It should be noted here that all these films were from the AVM banner.He also wrote the story/screenplay for films like Valar Pirai and Pattanathil Bhootham.
     However  the first time I saw Javert Seetharaman on the big screen screen was in the film Marmayogi,an outstanding venture of the Jupiter pictures,with MGR as hero. He appeared as a loyal minister to the King, and was called Purushothamar.Seetharaman had acted in Panakkaari,another film of MGR.The other very popular film in which I saw him as a dutiful Jail Superintendent was Kaithi Kannaayiram produced by the Modern Theatres .In the Sivaji Ganesan unforgettable comedy Manamagan Thevai,Javert Seetharaman commanded a unique position for himself as the Silver Jubilee principal of a city college, with his memorable mannerism of repeated use of the word 'well' that at times put him at the receiving end.In one scene he would say ''well,water please''.Soon the peon would be seen giving him a glass of salty 'well water', that he would spit out.
   Then I watched him perform as a devotee of Lord Shiva {Sivanadiyaar}in the film Parthiban Kanavu, along with S.V.Rengarao, donning the role of a King in the guise of a well known  Shiva devotee. No one would forget his  performance as Major Bannerman in the film Veera Paandia Kattabomman bent upon liquidating the provincial ruler.It was a hateful role he played and he made himself really hateful.

    But the same Seetharaman endeared himself to everybody particularly to the kids in the character of a benevolent giant in the film Pattanathil Bootham  directed by M.V.Raman. His physical frame looked well made for that role and the spirit of humour he evinced was so genuine that it created an indelible impression in the memory of the audience. His other  popular movies were Thanga Surangam {another release from T.R.Ramanna} and Sridhar’s colossal film Sivandha Man that was completely shot abroad.  

   To sum up,Javert Seetharaman was a formidable figure in Tamil Cinema, with untiring levels of energy and inimitable gusto in his voice. His English accent was pretty good and the process of lip rounding during the course of his dialogue delivery was a very interesting component of his over all acting potential. In appearance and acting, he belonged to the rarest of the rare type .He had a perfect tag of identity that enabled him to perform the role of a giant with ease and comfort. He was truly,another boon for Tamil Cinema.
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The Founding Father of Tamil Film Music.

                  

     When Tamil Cinema was gradually deepening its roots for stable and sustained growth, the factors that were considered to be fundamentally indispensable were, a neat story line,perfect plot conception, narration of events and characters and amalgamation of integrated musical component including intermittent song sequences. In fact, background music and songs were viewed as the greatest selling element. It was at this juncture, music composers of universal appeal, became more and more relevant.Though in every field there are participants of talent and merit, some are fortunate to become the leading light in their field. It was in this respect, a music director with an extraordinary control and grasp for tunes appeared to be a maker of miracles.The initial decades of Tamil film music came under the felicitous influence of a fabulous music maker, whose arrival at the tinsel city from the temple town Tiruchirappalli, generated lifetime tunes, at a time when keyboards were unheard of. It was G.Ramanathan, the predecessor of a vast number of musicians like Viswanathan and Ramamurthy,K.V.Mahadevan and others.
    G.Ramanathan's hey days of music composition started from the release of films like Aariyamaala,Jagdalaprdhaban,Sivakavi and Haridas, which were movies of veteran singers-cum- actors like P.U.Chinnappa and M.K.Thiagaraja Baghavadhar. Mind blowing songs  of MKT such as ‘Ambaa Manam Kanindhu’,'Krishna Muhundhaa Muraare’ and ‘Manmadha Leelaiyai Venraar undoe’ all from Haridas and ‘Soppana Vazhvil Magizhndhu’ from Sivakavi were exuberantly tuned by  G.Ramanathan. During his starting days Ramanathan would really have found it tough to match his tunes to the glorious voice of M.K.T.
    Ramanathan had composed music for M.G.R films like Mandhirikumari. Madhurai Veeran  Sakravarthi Thirumagal  Pudhumai Pithan,Raja Desingu and Arasilankumari. The immortal songs like 'Vaaraai Nee Vaaraa’i,’Ulavum Thenral Kaatrinile’‘Naadagamellaam Kandein’‘Ullam Rendum Onru’ and ‘Sinnappayale Sinnappayale Sedhi Kelada’ were from his golden hands, playing ecstatic tunes.For Sivaji Ganesan, the number is much more.It includes great films like Vanangamudi, Uthamaputhiran,Thookku Thooki, Ambikapathi,Saarangathaaraa,Naan Petra Selvam, Manamagan Thevai,Naan Sollum Ragasiyam, Raani Lalidhaangi, Veera Paandia Kattabomman and Kappaloettiya Thamizhan, the last two were from  Padmini Pictures of B.R.Pantulu .Songs that continue to enchant our ears from some of these movies are, 'Mogana Punnagai Veesidum Nilave' 'Vasanthamullai Poelei Vandhu Asaindhu Aadum Penpuraave’‘Mullai Malar Mele’,’Kaathiruppaan Kamalakannan’’Vaazhndhaalum Eisum Thaazhndhaalum Eisum’ ‘Poovaa Maramum Poothathe’ ’Sundari Soundari Nirandariye’,’'Pambara Kannaale',Vellipani Malaiyin Meedhulaavuvoem’,’Enru Thaniyum Indha Sudhandhira Dhaagam’ and almost all the songs of Ambikapathi, because it was a movie that ran more for its musical richness than for other reasons.

    Gemini Ganesan’s  films Sadhaaram and Karpukkarasi became more popular with wonderful songs like ‘Ninandh Ninaindhu Nenjam Uruguthe’from the former, sung in high pitch through out, by T.M.Soundarajan and the lovely duet 'Kaniyaa Kanniyaa' from the latter

   The three spiritual films that celebrate the memory of Ramanathan’s music are Pattinathaar, Arunagirinaathar and Srivalli. More than Pattinathaar and Srivalli almost all the songs from Arunagirinathar{with T.R.Papa}were magnificent in composition and delivery, the majestic voice of TMS augmenting the grandeur of Ramanathan’s music. The songs of T.R.Mahalingam as Naaradhar  were of course the special features of Srivalli. The other TMS starring Pattinathaar could not  be underrated as far as the tunes were concerned.

    The Modern Theatres’ films such as Ponmudi,Paarijaatham,Maheswari, Mandhirikumaari, Aaravalli, Aayiram Thalai Vaangiya Aboorva Sindhaamani and Thirumbippaar, stood to gain a lot of popularity  because of  Ramanathan’s well composed tunes. The other two  fairly received movies for which Ramanathan composed music were Samaya Sanjeevi and Gomathiyin Kaadhalan The great duet ‘Gama Gamavena NarumalarManam Veesudhe' in the beautiful  voice of P.B.Srinivas and Jikki added to the success of Samaya Sanjeevi. The melting melodies 'Minnuva- dhellaam Ponnenru Enni'{Jikki and Thiruchi Loganathan] and ‘Vaanamaadhil Neendhi Odum Vennilaave’{Sirkazhi Govindarajan}will eternally speak of Ramanathan’s musical depth and influence.

     Later, G.Ramanathan also composed music for K.S.Gopalakrishnan’s film Dheivathin Dheivam that is still remembered for its musical component than for other factors.The melting melodies from this film are P.Susheela's  'Nee Illaadha Ulagathile Nimmadhi Illai' 'Engirundha Poedhum Unai Marakkamudiyumaa' and S.Janaki's the most exalting 'Kannan Mananilaiyai'. Ramanathan set the right traditions that would sway their hold for ever in the music governed,Tamil film industry.His instrumental wield was a dynamic factor, in the sense that he never resorted to the use of too many instruments for one song. What ever other music directors have done, could be called a follow up in that direction.As a trend setter, Ramanaathan could justifiably be called the founding father of Tamil film music.

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The Sustained Brilliance of S.V.Subbiah.

             

    

   Tamil Cinema once held the proudest position of holding a galaxy of character actors. This blog has already acknowledged with gratitude the contribution of remarkable character actors like S.V.Rengarao, T.S.Balaiah, V.K.Ramasamy  the T.K.S brothers and S.V.Sahasranaamam.The other distinguished character actor whose participation in Tamil Cinema dates back to the early Nineteen Thirties is S.V.Subbiah who started his career from Nandanar starring  M.M.Dandabani Desigar.S.V.Subbiah’s notable early innings include films like Jupiter Pictures Rajakumari & Abhimanyu(1948).While in Rajakumari he donned the role of a king and father of the princess, after whom the film carried its title,he casually essayed the role of Saghuni in Abhimanyu. A.V.M's Vaazhkai, L.V.Prasad's Mangaiyar Thilakam and director A.P.Nagarajan’s nascent film Vadivukku Valaikaappu.Incidentally the last two had Sivaji Ganesan as hero.

    Subbiah is another traditional mould of actor like S.V.Rengarao and S.V.Sahasranaamam. Like the latter, Subbiah would always look a little conservative in appearance and character performance representing the dignified, classic breed. One could categorically say,that like Sahasranaamam he was also unfit to don villain roles.But again like Sahasranaamam, he did a villain role in M.G.Ramachandran’s Panathoettam and Sivaji Ganesan's Naane Raja.In Devar Films' Vaazha Vaitha Dheivam he was the incarnation of anger and irritation and became an erring husband and father to be reformed before the climax.

   His other films with MGR were Thaayin Madiyil and Idhayakkani. The latter was a Sathya Movies' film and Subbiah has played another solid role in Selvi Movies 'Manippayal. Subbiah's facial expressions for the contextual and reflective song sequence 'Sirithaalum Azhudhaalum nilai onrudhaan' in Kalathoor Kannamma would effectively demonstrate his acting potential without delivering dialogues . 
   Going by the number of pictures he had acted with Sivaji Ganesan, he  seemed to have been the all time favourite actor of the Chevalier hero. Apart from the two films of Sivaji Ganesan mentioned in the first paragraph, it was a long list of movies that Subbiah did with that grand hero. Films like Paavamannippu, Baagapirivinai, Paalum Pazhamum, Irumbuthirai, Ponnoonjal, Needhi, Deepam,Moonru Dheivangal  and the historic [as well as historical] movie Kappalottia Thamizhan in which Subbiah lived as  the most illustrious poet and freedom fighter Subramanya Bharathi. A simultaneous look at the portrait of the real Bharathi and the actor who played as Bharathi would only result in an instant confusion of identity between the original and the imitation. Not only in looks but also in deliberation, Subbiah literally squeezed out the poetic pride and patriotic fervor of Subramanya Bharathi. Veteran directors like A.Bhimsingh, K.Shankar and S.S.Vasan  had the privilege of directing his roles besides others like C.V.Rajendran,and K.Vijayan.

    Two  contemporary directors reputed for following diagonally opposite directorial attitudes  spotted the talent in Subbiah and successfully utilized him in their films. They were the traditional K.S.Gopalakrishnan{ Kankanda Dheivam,Nathaikkul Muthu and Adhi Paraasakthi}and the modern and revolutionary K.Balachander {Arangetram and Sollathaan Ninaikirein].The song sequence in Aadhiparasakthi showing him singing the song 'Solladi Abiraami' in the powerful voice of TMS, will ever remain as a memorable scene.With a face firmly representing the rustic block and with an inborn stiffness in role performance Subbiah was a true symbol of the rural soil of Tamil Nadu,fitting himself naturally into the type of roles that K.S.G idealized.
   But  the creative inspiration of K.Balachander extracted the creamy layer of acting in Subbiah by a flow of melting performance both in Arangetram and Sollathaan Ninaikirein. As an incapable and helpless father  of daughters he exhibited the inherent layers in characterization through utmost precision and perfection in performance. In Sollathaan Ninaikirein each time when men came to his house on a bride seeing mission and put forward demands of different kinds he would seek the permission of his daughters to say a few words.To one proposer's family he would say, ''வெளியே போங்கடா முண்டங்களா.'’[out you go, idiots] and after the exit of the other group, he will cry out ''பொண்ணா  பொறக்கக் கூடாது''{one should not be born as a woman}.Just through voice modulation and tone delivery,he will bring out the relevant emotion.

     As a loyal citizen of a country and as a member of the revolting class against injustice perpetrated by  autocratic and despotic rulers,Subbiah would show his sheen with unrelenting vigour and rage. This was sharply visible by his way of acting in films like Vanjikkoettai Vaaliban and Parthiban Kanavu,both starring Gemini Ganesan.The first was a Gemini Pictures’film and the second was a historical narration from the golden hands of Kalki. In both the films Subbiah had a meaty role and he gave a neat performance.

     There was always a kind of poise and dignity in the acting pattern of Subbiah.Unlike S.V.Rengarao,Subbiah ‘s face was not meant for myths and mythological films nor would he be comfortable with flowery literary dialogues. He was basically a son of the soil and his language was also rooted to the native stuff. Colloquial Tamil was his highly comfortable and  considered field show. His dialogue modulation would be natural and felicitous revealing a variety of intricacies towards reaching the naive, naughty and noble dimensions of language use and thereby find instant acceptability in the required context. 

  There did not seem to exist any special difference between how S.V.Subbiah lived as an individual and how he represented a character on the screen. It was this aspect of an inseparable link between real life and the celluloid world,that made Subbiah a living reality on screen and bestowed upon him,the distinct status of an exemplary character actor of sustained brilliance.

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The Unswerving Actor- Producer.{ Updated }

      Tamil cinema has seen some actors directing films and many directors like Manivannan, Manobala, Sundar.C , R.Sundarajan  Ramesh Kanna and J.Surya becoming permanent actors after directing quite a few films.Men like K.Bagyaraj and R.Parthiban took up the multiple tasks of film making including acting.The recent addition in this list is the ace director J.Mahendran who did a negative role in Vijay's latest film Theri. But there was a charming actor who became a mega film producer making remakes of hits from other languages like Hindi, Malayalam and Telugu.It was K. Balaji who made a successful stint as a small time hero and later as a villain and character actor.While P.S.Veerappa the last century's famous villain actor made quite a few highly talked about films like Aananda Jothi, Aalayamani,Aandavan Kattalai,Iru Duruvam Saatchi and Vetri, K.Balaji's entries were many. Balaji established himself as much as a film producer as an actor.
     Some of the early roles that Balaji did with charm and style were for films like Paanai Pidithaval Bhagyasaali and Sagodhari. In fact Balaji was more appealing in Casanova kind of roles that he performed with sweetness and undoubted hypocrisy.Films like Policekaaran Magal,,Anbukkarangal and En Kadamai portrayed him either as a confirmed womanizer or as a helpless guy forced to leave women of his choice ,in trouble under unforeseen circumstances.As a self centered individual his character display was perfectly convincing in Sivaji Ganesan films like En Thambi, Engirundho Vandhaal, Vasantha Maaligai and the most unforgettable Padithaal Mattum Podhumaa. These roles with negative shades proved to be effective because of the amount of discomfort and anguish it caused to the protagonist.While he was a self styled baddie in films such as Enga Maamaa and Pattanathil Bootham,he would be one among the prime suspects in thriller films like Adhe Kangal.
    What was special about K.Balaji was the extraordinary spirit of understanding and friendship that he continued to maintain with Sivaji Ganesan.It was this genuine rapport and healthy intimacy that helped the duo, work together successfully for a lasting period resulting in the outcome of great films like Raja,Thangai,Thirudan,En Thambi,En Magan,Engirundho Vandhaal, Needhi, Thiagam, Deepam, Needhipadhi,Unakkaaga Naan Nalladhoru Kudumbam  Vidudhalai and Vaazhkai.All these films were from Balaji's Sujatha Cine Arts Production house and all were remakes of  Hindi Malayalam and Telugu films. Balaji was one among the film personalities who had high regard for the Chevalier .In some of the films Balaji would be either play the younger sibling [En Thambi and Raja}or the elder sibling {Engirundho Vandhaal and Vasantha Maaligai}.So close was their association that it lasted for more than two decades.
     After Sivaji Ganesan, Balaji had worked with the next generation heroes like the Super Star { Billa, Thee,and Viduthalai}Kamalahasan{Mangammaa Sabadham,Savaal ,Sattam and Vaazhve Maayam} Sathyaraj {Makkal En Pakkam} and Mohan {Vidhi}.Balaji had also worked with director actor K.Bagyaraj by inducting him as hero in Rathathin Rathame which was a remake of the Hindi super hit film Mr.India.The most important fact is that Balaji never worked with MGR under his two banners of film production.His frequent heroines were K.R.Vijaya J.Jeyalalitha  and Sripriya besides a brief inclusion of actresses like Sridevi,Madhavi,Poornima Jeyaram and Meenakshi Seshadri.
    What was special about Balaji was the presence of two production houses called Sujatha Cine Arts and Suresh Balaji Combines.His core principle of film making was to entertain the audience.For this purpose he resorted to the route of already tested film skits that became mega hits in other languages. Remaking of existing stories in other languages seemed to him to be the easiest way to hit the success mark.He did this meticulously without letting down either the action segment or the entertainment component of the original version.The latest film from K.Balaji's production house was Ajith's Kireedom, released after the giant film maker's death.
    Balaji could be called the king of remakes and most often his ventures did not back fire.The heroes of the day particularly Sivaji Ganesan,Rajini Kanth and Kamalahasan ensured the repeat of the success feel of the original.In each of his films Balaji made a sentimental appearance taking up a minor or meaty role.The producer always carried the spirit of acting with him because Balaji was basically an actor and then only a producer.Most of his films ran for one hundred days. A majority of his Sivaji films were great shows.An unusual film like Vidhi became a silver jubilee hit.As a film maker Balaji ever remained undeterred and strong willed. Audience used to wait for his films as they would wait for a movie from the AVM banner or Sathya Movies Film house or one from the Devar films circuit.The indisputable truth was that, this unswerving actor turned producer never failed to satisfy the audience expectation in terms of quality of sum and substance.
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