Myriad Music Composers of the Last Century.

      During the last century, apart from G.Ramanathan,Viswanathan Ramamurthy and K.V,Mahadevan there were more than half a dozen other music directors who competed for higher level positions and made in roads, as music makers of individual merit and popularity. Each one’s music  could be identified by a kind of trade mark that sweetened their compositions and helped them get firmly rooted to the ground. Similarly, each one had the sum and substance of musical richness that retained their career undeterred. This article looks upon them with esteem and special recognition.

    T.R Papa who entered Tamil film music almost at the time of G.Ramanathan, was known by his music direction of films of Sivaji Ganesan such as Anbu,Raja Rani, Rangoon Radha and Kuravanji. The two MGR films for which he composed music were Nallavan Vaazhvaan and Thaai Magalukku Kattia Thaali. His two Gemini Ganesan movies were Aasai and Mallika. Apart from Malliga he was the music composer for a few other films of the Citadel Pictures house like Vijayapuri Veeran,Iravum Pagalum and Kaadhal Paduthum Paadu. His music greatly helped the success of Rambaiyin Kaadhal in which K.A.Thangavelu played the hero. Songs like ‘Samarasam Ulaavum’ and ‘Baghavaane Mounam Aeno’from Sirkazhi Govinda- rajan’s scintillating voice are life time melodies.The movie Kumara Raja which had the most popular song of J.B.Chandrababu ‘Onnume Puriyala Ulagathula’ owes its remembrance to the lovable music of T.R.Papa. His other immortally popular songs are from Nallavan Vaazhvaan.
     Similarly, songs like Iravum Varum Pagalum Varum,Ullathin Kadhavugal Kangalada,{both sung by TMS} Ullathile Uram Venumada [A.M.Raja} and ‘Iraivan Enroru Kavignan’ {sung by SP.Balasubramanyam from Aein} made his contribution memorable.T.R.Papa continued to compose music for films of the Nineteen Seventies like Teecharamma,Aein,Maru- Piravi,Vairam and Avasara Kalyaanam. A few other lasting tunes of T.R.Papa are ‘Aasai Pongum’{Aasai} 'Varuvein Naan Unadhu Maaligaiyin Vaasalukke’ {Mallika}’Nee Sollaavidil Yaar Solluvaar Nilave’{Kuravanji}.

     S.M.Subbaiah Naidu, the other early contemporary of G.Ramanathan,started his musical career with the MGR films  Abimanyu,Mohini  Raajakumaari and Marmayogi. His later works for MGR films include films like Malaikallan,Nadodi Mannan,Thrudaathe,Aasai Mugam and Thaayin Madiyil .Some of his most exciting songs from  this list of films are ‘Ethanai Kaalam Dhaan Yematruvaar Indha Naattile’ ‘Kannil Vandhu Minnal poel’ ‘ThoongaadheThambi Thoongaathe’’Thirudaathe Papa Thirudathe’ and ‘Ethanai Periya Manidhanukku Ethanai Siriya Manmirukku’ Three of his well known Sivaji Ganesan films were Annaiyin Aanai, Maragatham and Kalyaniyin Kanavan, The songs ‘Annaiyai Poel Oru Dheivamillai’ 'Vaazhvinile Vaazhvinile' became instant hits. Some of his other films that need a special mention are Velaikkaari, Thigambara Saamiyaar, Thirumanam,Nalla Theerpu, Konjum Salangai, Pandhayam, Mannippu, Naalum Therindhavan,Panakkaara Pillai and Aindhu Latcham.The song‘Nee Enge En Ninaivugal Ange ‘ from Mannippu will ever remain as one of his most powerful  musical pieces. SMS as he was briefly called in film circles is specially known for his singularly striking use of percussion instruments.

     Another noted music composer of this period was T.G.Lingappa who was closer to B.R.Pantulu and directed music for the latter’s earlier movies like Kalyaanam Panniyum Brammachaari, Thangamalai Ragasiam,Sabash Meena and Muradan Muthu. His other Sivaji Ganesan films were,Mudhal Thedhi, Naane Raaja and Bommai Kalyaanam. Two other films for which Lingappa composed music were, S.,S.Rajendran’s  Sangilithevan and Gemini Ganesan’s’ Ellorum Innaattu Mannar.P.Suseela’s'Amudhai Pozhiyum Nilave’ from Thangamalai Ragasiyam,'Kaanaa Inbam Kanindhadhenoe’ from Sabash Meena and ‘Thingal urangidum Nerathilum’ from Sangilithevan are enough to perpetuate the memory of this great music composer.

     Ghantasala has found a special place in Tamil Cinema not only by his vocal contribution but also by his most soothing musical composition. He has enriched films like, Devadas,  Paataala Bhairavi,Tenali Raman,Anaarkali,Lila Majnu,Maayaa Bazaar,Engal Veettu Mahalakshmi and  Anbu Sagodharargal by his beautiful musical capability. In his music one could experience a soul sustaining process of peace and happiness. It would be like listening to the songs of a Mukesh or Magendra kaboor or Mannade of the Hindi film music world.It is always a pleasure to listen to Ghantasala’s music at bed time for a peaceful sleep without any onslaught of nightmarish dreams. Same is the case with A.M.Raja who composed music for a few Tamil films like Kalyana Parisu,Vidi Velli, Thein Nilavu and Adi Perukku. Eternal melodies  are the extraordinary legacy of these two men. There were a few other Telugu musicians like S.Rajeswara Rao {Missiamma,Madharkula Manickam}T.Chelapathi Rao {Amaradeepam, Meenda Sorgam and Punar Jenmam}and Aadhi Narayana Rao{Adutha Veettupen and Manalane Mangaiyin Bagyam} whose musical work in Tamil cinema is limited but great.

     R.Sudharsanam the other famous face of Tamil film music has to his credit ‘Parasakthi’ the first film of Sivaji Ganesan  followed by other wonderful films like Rathakanneer, Kuladheivam, Sellapillai, Thilagam, Sagodhari, Dheivapiravi,Kalathur Kannamma, Annai , Naanum Oru Penn, Anbukkarangal and Kaakkum Karangal. Songs like  ‘Nenju Porukku dhillaiye’‘Kutram Purindhavan’ ‘ Anbaale Thediya En Arivu selvam’{all in the unique voice of C.S.Jeyaraman} 'Kangalin Vaarthaikal'{A.M.Raja and P.Suseela}'Annai Enbaval Needhaanaa'
{P.Banumathi }'Kannaa Karumai Nira Kannaa’{P.Suseela}'Kagidhathil Kappal Seidhu'{TMS} and 'Allithandu Kaalgaleduthu'{TMS and P.Suseela} carry the charm of his distinct musical thrust.

     Among the late entrants, V.Kumar became the chosen music director of K.Balachander for many of his films and his prolific contribution of melodies supported by the use of limited musical instruments, added to the strength of  K.B's quality-oriented films.Films like Naanal {Kuyil Koovi Thuyil Ezhuppa, by Soolamangalam Rajalakshmi},Velli Vizha {Kaadhoedudhaan Naan Peisuvein by L.R.Eswari}Edhir Neechal {Thaamarai Kannangal by PB Srinivas and P.Suseela} Nootrukku Nooru{Naan Unnai Vazhthi Paadugirein by P.Suseela} Neerkumizhi {Aadi Adangum Vaazhkai yada, by Sirkazhi Govindarajan}Major Chandrakanth {Oru Naal Yaaroe,by P.Suseela} and Iru Kodugal { Punnagai Mannan Poovizhi Kannan, by P.Suseela and Jamuna Raani} will refresh nostalgic memories of many a worthy movie of K.Balachander. I have mentioned only some movies here. Besides Kala Kendra films, Kumar has also worked for a few Muktha Pictures’ films like Niraikudam and Bommalaattam {Nalla Naaal Paarkavoe, by TMS and P.Suseela }.His other films include Panakkaara Penn, Veguli Penn{the famous TMS song Engellaam Valai Osai Keitkinradhoe} and Thein Sindhudhe Vaanam .None of the songs of Kumar would create a jarring note and the soothing combination of vocal and instrumental components of music has always been the trade mark of Kumar.

      If V.Kumar remained the favourite of K.Balachander, the duo Shankar Ganesh were  the regular music composers for the Dhandayudhabaani Pictures of  Devar film circuit.Films like Magarasi, Akka Thangai,Aattukkara Alamelu,  Sorgam  Naragam,Vellikizhamai Viradham, Ranga,Thaai Veedu, Thaayillaamal Naanillai,Komadha En Kulamadha and Adhisiappiravigal for which the duo composed music were from the Devar Production house..Besides, they have the proud position of composing music for MGR films like Idhaya Veenai and Naan Yen Pirandhein. For the AVM banner they have worked for the film Samsaaram Adhu Minsaaram. They have also been associated with the Sujatha Cine Arts' films like Mangamma Sabatham,Vidhi ,Billa etc.Their other popular movies are Neeyaa,Darling Darling Darling,Kanni Paruvathile and Vandi Chakkaram. If V.Kumar tried to bring out the voice mould and efficacy of the singers Sankar Ganesh believed more in the instrumental wield over songs and their musical tuning.
     Chandrabose,the other well-known music director of this period, had his merit and talent recognized by the AVM banner by composing music for the two most successful Rajinikanth films Manithan and Raja Chinna Roja,besides being the music director for Rajini's earlier film Mangudi Minor.He has also composed music for two other AVM films like Sankar Guru, and Maanagarakkaaval.He carries the pride of making music for the National award winning film Pudhiya Paadhai and the Sathyaraj entertainer Anna Nagar Mudhal Theru. What is very special about Chandrabose music is his high level of lyrical clarity and optimum instrumental thrust.He has given us many hits like 'Kaala Kaala' as well as the title song from Manithan,'Super Starru Yarunnu Ketta' from Raja Sinna Roja and 'Medhuva Meduvaa Oru Kaadhal Paattu' from Anna Nagar Mudhal Theru   

     Besides these musicians, the violin maestro Kunnakkudi Vaidhiyanathan has also joined the wagon of music directors once a way by directing music for A.P.Nagarajan’s films like Thirumalai Thenkumari, Kaaraikkal Ammaiyaar,Raja Raja Cholan and Mel Naattu Maru Magal. Similarly the Devar films unit also had the privilege of availing the musical support of Vaidhiyanathan for their films Dheivam and Thiruvarul. All these films  either had a spiritual  theme or a Carnatic base.With his profound understanding of traditional music,Vaidhyanathan could substantially enrich the musical component of the films mentioned above.Like Kunnakkudi Vaidhyanathan, Soolamangalam Rajalakshmi the noted Carnatic singer also composed music for films like Karpooram,Dharisanam,Magizhampoo,Manam Oru Kurangu, and Jeevanaadi. The songs from Karpooram and Dharisanam deserve a special place for quality stuff  music.

     While all these music directors made Tamil Cinema reach higher positions in creativity and entertainment, some have been acknowledged more than the others or some have not been given their due recognition.The objective of this article is to reasonably record their service and respect them with a sense of gratitude and appreciation. 
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Tamil Film Directors as Actors.

   

       It is a known fact that quite a few Tamil actors here and there take a fancy for directing films once a way. But very rarely did directors show much interest in acting at least till the middle of Nineteen eighties.For quite long,without the facility of television channels,very little opportunity was there even to see the photos of highly esteemed directors like A.Bhimsingh, A.C. Thirulokchander,
 P.  Madhavan, K.S. Gopala krishnan,K. Balachander, Balu Mahendra,J. Mahendran,P. Neelakandan and S.P.Muthu raman.It was A.P.Nagarajan who first appeared as Poet Nakkeeran in his most popular film Thiruvilaiyaadal  and made an eternal mark by his clear and chaste delivery of Tamil dialogues.Then directors like K.Vijayan began to appear at least in a single scene of their films. New Age spokesman Barathiraja too  has acted in a couple of films. Chitra Lakshmanan  who served as Assitant director of Barathiraja,became a regular actor playing character and comedy roles,of  course, simultaneously directing films like Kamal's  Soorasamhaaram and Prabu's Periya Thambi. Same is the case with Director Ramesh Kanna who is now more known as a comedian than film director.
      It was T.Rajender who  after giving his mega hit movie Oruthalai Raagam in the mid Seventies, began to seriously try acting, first in character roles and then as hero in a few movies.Tamil film viewers can never forget his sterling performance  as the elder brother of heroines in films like Thangaikkor Geedham and .En Thangai Kalyani.As a hero he was impressive in Mythili Ennai Kaadhali and Samsaara Sangeedham.His other popular movies were  Oru Thaayin Sabadham Sonnaaldhaan Kaadhalaa,Kaadhal Azhivadhillai and Veerasaamy.What made T.Rajender from the other film makers was his constantly valid sentimental themes and the emotionally intense depiction of scenes and characters in all his movies.Quite often melodramatic outbursts would make his narration and acting very appealing to the viewers.His Tamil specially known for its thrust on alliteration in framing dialogues placed him on a distinct pedestal as a film maker.His lyrics and music composition have never failed to create the intended emotional impact on the audience. T.Rajender could be called a pioneer among directors turning to acting, without losing his grip in the manifold management of film making involving multifarious tasks like direction,acting,music composition,dialogues and lyrics writing, singing,dancing and fighting.He can be called the grand master of film making.  
     From the Nineteen Eighties onward, many film directors vigorously looked upon the tinsel world with a passion for acting.While some have been doing a successful round as character actors,a few of them have played hero roles with zeal and conviction, to the extent of casting indelible impressions on  the mind of the audience,by creating an exclusive space for themselves on the big screen. SomeTamil film  directors occupy distinguished positions in this regard.
      K.Bagyaraj and  R.Parthiban,who began to direct themselves as heroes  created some box office hits.Tamil film audience owe a lot to these two men of meritorious talent, for unfolding an awesome evolution of creativity in celluloid form.Both these men are intelligent performers with ripeness of imagination and right understanding of reality and fiction.As actors,they have excellently brought out the intrinsic layers of ideas and emotions perfectly channelized in the right form, to win the audience mood.It is their sharpness of understanding the right themes and story lines of appealing under- currents ,that enabled them to create waves among the movie goers, and project them as the right type of film makers and actors.The audience earnestly loved to watch the pranks and mischievous deliberations of Bagyaraj and  Parthiban whose focus on dialogues was not only inventive but also thought provoking.Both have consistently reflected their avowed preference for the humour  track  for a valued journey of thoughts and emotions towards an enlightening destination. While Bagyaraj  has attracted everyone by his innate geniality,Parthiban has become closer by his sharpness and witticism.The best of Bagyaraj are  films like Mouna Geedhangal,Andha Ezhu Naatkal,Darling Darling Darling and Mudhaanai Mudichu. Parthiban  has to his credit films such as Pudhiya Paadhai,Housefull, Barathi Kannamma and Kaakkai Chraginile. Despite this restrictive listing one could very well say that as actors,both of them have never failed to entertain the audience by their common sense and commendable wit.A long list of their films would vindicate this observation.  
    Then came Raj Kiran who turned hero in the film 'En Raasaavin Manasile',directed by himself and produced by Kasturi Raja He,continued as hero in a few other movies like Aranmanai Kili,Manickam and a few others for which he was the director too..The first two films were box office hits.Later Raj Kiran  began  to do character roles very impressively and is busy doing a great round in many movies.Films like Nanda, Sandakkozhi, Kaavalan,Vangai,Kirieedom and the most recent Manjappai,have substantially established his capacity for portraying character roles with self made layers of naturally rustic and authentically rural attributes.
     Director Ramarajan,well known for his impressive narration of rural themes,began to cast himself as hero and created a success wave for some time, with his remarkable hits like Enga Ooru Paattuk kaaran, Kargaattakkaaran,Thangamana Rasa, Manasukketha Maharaasaa,Paatuukku Naan Adimai and many other films.Music component was the special attraction of the movies cited and the credit goes to Ilayaraja also.  Ramarajan being a great admirer of MGR,followed his pet hero's principles of film making in choice of costumes,priority to music and projection of righteous men, as heroes of his films.However,after sometime,his successive films began to suffer on account of lack of freshness in story line and absence of tempo in presentation.
     The two contemporary,dynamic directors P.Vasu and K.S.Ravikumar  have joined the thespian journey either for a short duration or for a significant slot.While P.Vasu is  meant  for serious type of roles,K.S.Ravikumar has been doing just the opposite. Vasu  has taken up villain roles{eg Then kasipattanam}or the character of a self-possessed individual as in Seenu.It is  difficult to imagine him perform comedy roles. Whereas Ravikumar has  been compact as a villain {Putham Pudhu Payanam needs a special mention}as well as in stepping into comedy and character performance together.{Arul and quite a few other films} Of late, he is in the habit of appearing at least in a song scene of any film directed by him'.For instance,his appearance for a few seconds for the song sequence 'Ohoho Kicku Yerudhe' in Rajini's Padayappa created a specially fascinating impact.
    Late director-cum-actor Manivannan started his game, first as a villain in Barathi Raja's movie Kodi Parakkudhu and later, in many films as a comedian and character actor. No one can forget his voluminous and qualitative contribution to Tamil cinema for nearly three decades.His exceptional roles were in movies like Ullathai Allithaa,Amaidhippadai,Maaman Magal,Vaanavil,Sangamam and Mettukkudi. Though  he claimed a remarkable position as director,his spontaneity and level of energy in essaying character and comedy roles were of a unique kind in the line of immortal actors like S.V.Rengarao,M.R.Radha and T.S.Balaiah of the previous century.Manivannan could effectively emote in performing father characters and he could beautifully display frames of modesty and arrogance with consummate degree of perception.He seemed to have established unfailing levels of rapport with actor Sathyaraj which remained intact, throughout his life time.
   Following the footsteps of  Manivannan,  several other directors like R.Sundarajan, Manobala, Sundar.C.Cheran and S.J.Surya came into lime light, the first two as character actors and the rest as heroes.Though R.Sundarajan would not have succeeded like Manivannan in the field of acting his involved performance in films like Makkal Aatchi, Marumalarchi,Kaalam Maaripoechu, Paattaali,and Soorya Vamsam has been a clear indicator of his wonderful acting stuff,particularly when it comes to delivering both heavily emotional and humorous roles. Sundarajan has  acted impressively in many films but as a director he has given many silver jubilee hits on a regular basis.Films like Payanagal Mudivadhillai, Naan Paadum Paadal,Amman Koil Kizhakkaale Vaidhehi Kaathirundhaal  Mella Thirandhadhu Kadhavu and Rajini's blockbuster film Rajaathi Raaja will symbolize his Midas touch as movie director.As an actor he has joined the band wagon of great heroes like Vijayakanth,Sathyaraj,Sarathkumar,Vijay and Parthiban. As director he holds the proud position of directing Vijayakanth,Mohan,Parthiban,Sathyaraj and above all Rajinikanth.The Tamil film world owes more to his directorial merit than his role performance.
    Manobala who  directed Rajini's popular film Oorkkaavalan has also given us great movies like Pillai Nila and Karuppu Vellai. He is also known for directing Mallu Veitti  Minor,a well known Sathyaraj film. But today Manobala,with his lanky frame of body,sunken cheeks and disheveled hair,remains as more prominent comedy star capable of generating laughter moments just by his appearance and by his casual manner of notable dialogue delivery.Very often I used to think that if Shakespeare's Julius Caesar is made in Tamil,Manobala will be the fittest person to do the role of Cassius.{Caesar normally would refer to Cassius as 'lean and hungry looking'}Manobala has proved without any reservation that he is ever ready to play the role of a fake Sanyasi or a pimp or a sidekick with spontaneous ease and perfection.He has also been chic in the role of a helpless cop or a hapless father  taunted by his irresponsible son.If R.Sundarajan  has been more successful on the directorial side, Manobala has been a better actor than director.
    Sundar.C has already occupied a vital page in this blog taking a specific article that would add merit to this blog.Starting his film career as a successful director of many comedies and farces,he took to acting hero roles with considerable image and films like Thalainagaram, Veeraappu,and Aaudham Seivom will testify greatly to his acting core.However he has once again resumed his directorial responsibility with a fresh shower of comedy hits like Kalakalappu  and Theeyaa Vela Seiyyanam Kumaru. Cheran,a self- made creative artist owes to his credit critically acclaimed movies like Paaandavar Bhoomi, Porkaalam,Vetrikkodikattu and Autograph,the last one marking his career as a hero.It is Cheran's  dedication and unrelenting conviction for norms that have taken him on the higher side of the movie ladder.His other films like Solla Marandha Kadhai,Maya Bazaar,Raman Thedia Seedhai and Chennaiyil Oer Naal have all shown his unflinching devotion to acting and his sense of sobriety has been his singular trait.If the other directors mentioned above are distinctly humour-prone, Cheran always seems to be laid up with a mood of heaviness and melancholy reflecting most often the negative feel that 'God is not in heaven and all is wrong with the world'.But there is always a feel of dignity,inspiring the actor in Cheran, that places him on a higher pedestal to be noticed, remembered and preserved in a Platonic frame.
     S.J.Surya the ace director of mega hits like Vaalee and Kushi,with Ajith and Vijay  respectively, all of a sudden developed an urge for acting may be due to his stylish,Sharu kahan  kind of looks.Unfortunately, his films like Anbe Aaruyire, Kalvanin Kaadhali, Viyabari and Newtanin Moonraam Vidhi did not yield the expected result,despite the fact that Surya was fascinating and powerful in doing the roles that he took for himself, to portray.His clear,nasally sharp and forceful delivery of dialogues is his special asset.He is good looking and lovely too,as an actor.But success has so far eluded him.
   The latest list of directors launching their acting spell are the 'S' duo Sasikumar and  Samuthirakani and the other equally popular, Mysskin. Roles of  subdued sentimental display have gone to the favourable  side of Sasikumar{Subramanyapuram and SundaraPandian are significant samples} and he has been doing a smart job in this regard. Samuthirakkani  is always down to earth,both as a villain {Subramanyapuram}  and realistic protagonist be it as a cop or school teacher.{ Eesan and Saattai respectively}.Later as the father of Danush in Velaiyilla Pattadhaari,he played his role very convincingly.Besides Tamil films, Samuthirakkani  has become the favourite of the Malayalam film industry,by taking up characters that would stick to one's memory.Mysskin who is much focussed on the darker side of crime and compunction has proved to be a credible performer of poignant and penetrating characters as seen in Nandalaalaa and Onaayum Aattukkuttiyum.
    Among the director-cum-actors, it is Bagyaraj and  Parthiban who were able to create a sustained hero image for themselves for a solid period. Manivannan  and  Manobala as comedians and character actors, have surpassed their directorial position to a great extent. Sundar.C and Cheran have evenly shuttled between directing films and acting in them. R.Sundarajan   and S.J.Soorya could be acknowledged as better directors than actors.Beyond these observations, the fact always remains that most directors are actors first, because it is the acting frame in their centre of creativity that drives them properly, to direct all actors and actresses in their appropriately presentable form.
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The Vagai Storm of Tamil Film Comedy.

        Starting from the days of N.S.Krishnan,Tamil cinema has come across comedians of different looks and calibre at various times. There were, ever lean comedians like Ezhu malai, Chandrababu, Friend Ramasamy, Nagesh,Surulirajan,Loose Mohan and Omakuchi Narasimhan and burly or bulky comedians like T.S.Dorairaj,Kottapuli Jeyaraman, Pulimoottai Ramasamy and Usilaimani. The other list of actors who with their normal constitution,substantially took care of the comedy side of Tamil Cinema includes actors like K.A.Thangavel,A.Krunanidhi,Thengai Srinivasan, Cho Ramasamy,A.Ramarao, otherwise  known as Appulaachaari, S.V.Sekar, Y.G.Magendran, Gounda mani, Senthil, Vivek,Karunas and Santhanam.But there is one actor who made his debut as the thinnest comedian and slowly grew in size, stature and popularity. Quite often he took the audience by surprise through a stormy exposition of talent not only for generating humour but also for expressing a variety of emotions in their original form. It is his native touch and rugged sense of humour that have carried him through on a track of steady growth. This vastly talented comedian called Vadivelu is greatly known as Vagaipuyal {the storm of  the Vaigai river}because he hails from Madurai where the Vaigai keeps flowing.

      The humour waves of Vadivelu have been surging as naturally as the waters of the Vaigai dam. Though credit goes to director-cum-actor Rajkiran for introducing Vadivelu to Tamil Cinema,the fact that Vadivelu has grown by his own efforts, as one among the greatest comedians surpassing competitions at various levels in various forms, becomes a stamp of recognition for his extraordinary potential to convincingly portray humour on the big screen without a trace of impediment on his part. Vadivelu has ever been dynamic both in individual and collective show of the gusto of comedy with accurate time sense and amazing body language. People who saw him dancing for the song ''Poda Poda Punnaakku'' wearing just a piece of loin cloth, in Raj Kiran's 'En Rasaavin Manasile' would never have thought that he would reach the stage where he is today. His lean body frame and black complexion did not and could not obstruct his spontaneous delivery of acting. He could dance like Nagesh, deliver dialogues like K.A.Thangavel and sing like Kalaivaanar. So he is three in one. It is this unique aspect that has projected him as a classic comedian.

     Vadivelu is a special kind of comedian, in the sense that he can excel both in verbal and physical comedies with equal degree of comfort.In most films Vadivelu has taken prefixes along with the names of his characters such as Veecharuva Veerasamy {Rajakumaran}, Kuppai Thotti Govinda samy {Minor Mappillai},Oomathurai P.C{Gambeeram}Kaipilla,{Winner}Telex Pandian {Ennamma Kannu},Vibration Vadivelu {Baghavathi},Encounter Ekaambaram{Marudhamalai},Bullet Paandi{Koil}Theepori Thirumugam {English kaaran} Naai Sekar {Thalai Nagaram} and Snake Babu{Aaryaa}.What makes his comedy scenes very powerful, is his vigorous voice modulation quite often in the line of Madurai slang. He has hardly lost his space to any comedian, be it Goundamani-Sendhil or Vivek, when it comes to a joint performance.
     In films like Pongalo Pongal and Manadhai Thirudivittai, he proved to be a perfect foil to Vivek, maintaining his competitive spirit in every scene. He would have bowed to Goundamani like Sendhil, only to take Goundamani for a ride later. But it is only as independent comedian, he has risen to an enormous stature, ruling the audience to the roost. His success formula in this regard, has been effectively framed in a kind of team spirit with heroes like Paarthiban, Arjun ,Vijay, Suriya and Prasaanth.The verbal banter  between Parthiban and Vadivelu or between Arjun and Vadivelu has been immensely captivating, sometimes taking the viewers, to the zenith of laughter.Though Vadivelu appeared in a few scenes with Rajinikanth in Muthu, it was in the film Chandramugi he made highly hilarious scenes, in company with the superstar. Most memorable laughter waves prevailed in Chandramugi, as in other films like Winner, Giri, Marudhamalai, Otran, Vetrikodi kattu, Friends, Thimiru, London, Thalai Nagaram,Enga Anna, Yei, Poekkiri and Aadhavan,to mention a few.

    The present hiatus of Vadivelu is nothing but a political accident. He has definitely created unbeatable records of kinds, through his comedy specials. He kept the audience consistently energized and relieved from mood swings, by his innovative humour therapy, carefully contrived and devoutly delivered. Unfortunately, his flair and capacity for an unlimited flow of humour, was stalled later, by his fatiguing focus on a repeated course of physical comedy. It is Vadivelu among all comedians, showed the guts to act in dual roles in a film based on a royal story line. Though it was a parody type of movie, Imsai Arasan Irubathumoonraam Pulikesi, directed by Simbudevan of the Shankar School, showcased Vadivelu in both humorous and serious forms, making indelible impressions, thereby making the film a commercially viable project.

     The movie on the whole and the performance of Vadivelu  as hero in particular, created the impact, that the original version Uthamaputhiran, starring Chevalier Sivaji Ganesan had created long ago. Nagesh had acted earlier in dual roles in Anubavi Raja Anubavi but that was out- and- out a comedy parade. Whereas, Vadivelu played his dual roles differently, for a gorgeous show of events and he did create a fine impression for that special mock epic. No one can say no to Vadivelu singing and dancing. In character roles, he proved his mettle much early, in a convincing performance in the role of Esakki in Devar magan. Unlike Vivek and Santhanam, he has acted both with Kamal {Singaravelan,  Devar Magan and Kadhala Kadhala}and Rajini. He has been a special favourite of directors like V.Sekar, Hari,K.S.Ravikumar, Siddique,Sundar C. and Sankar.Similarly, he has been comfortable almost with all kinds of heroes, holding the top and middle level positions.

     However, it should be stated here, that he has always been more popular with the rural block, than with the urban audience. As the larger audience consists of those from villages his success graph has been consistently growing upward. He has no messages to offer like NSK or Vivek. What he does is mostly a street show of comedy demonstration, either in isolation or in a group; at times, he would resort to bullying tactics but would ultimately surrender when he finds himself cornered and his escape chances go high and dry. It is always a delightful thing, to watch him in a pitiably gullible crisis, getting roughed up by others. What makes such scenes exulting, is the way he bullies and is finally cowed down.   

    Vadivelu’s innate passion for humour and his conviction to make the audience laugh, firmly place him on the higher slot, among the present day Tamil comedians, with his infallible laughter skit. One could accept without any grudge, the  fact that the prefix 'Vagaipuyal',has been added to  his name, with absolute relevance and acknowledgement of his credentials as an invincible comedian.
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Two Mighty Voices and Their Voice Alikes.

     There were days when only native singers used to sing Tamil film songs and some of the singers were primarily actors and then singers.This is how the centre stage of Tamil film music was dominated and enriched by many, great film personalities like the actor singers M.K.Thiagaraja Baghavadhar, P.U.Chinnappa,T.R.Mahalingam, and the musical monarchs like T.M.Soundarajan, Sirkazhi Govindarajan,Thiruchi Loganadhan and Chidambaram Jeyaraman among men and the most illustrious women singers like M.S.Subbulakshmi, D.K.Pattammaal and K.B.Sundaraambaal. Then came an amazing line of fascinating singers who were not natives of Tamil Nadu but who could steal the hearts of the audience by their effective rendition of  Tamil film songs.The list would include great singers like A.M.Raja, Ghantasaalaa,P.B.Srinivas,Dr.Balamurali Krishna, P.Susila, Jikki,S.Janaki and so on.Music lovers and film fans in Tamil Nadu were under the spell of these wonderful voices.
     As the Tamil film industry began to grow in leaps and bounds,more and more fresh talents began to occupy the field of Tamil film music.Heroes like MGR and Sivaji Ganesan whose voices were genuinely identified with that of T.M.Soundarajan,when it came to song sequences in their films, mooted a change either intentionally, or as a mark of transition and as a result of this, the voice of TMS was replaced by two fresh voices, that were destined to rule Tamil film music for long.The two mighty voices belong to K.J.Yesudas and S.P.Balasubramanyan.
      In terms of time of entry into Tamil Cinema,K.J.Yesudas is senior to SPB. The song 'Neeyum Bommai Naanum Bommai' had already become popular leaving a mark of identity for Yesudas. But he laid his footing firmly in Tamil cinema only after he delivered the most popular songs like 'Adhisaya Raagam,Aaanandha Raagam' and 'Dheivam Thandha Veedu Veedhiyirukku' from the films Aboorva Raagangal and Aval Oru Thodarkadhai both directed by the most esteemed K.Balachander. But for SPB, the beginning itself was well marked and the very first song Aayiram Nilave Vaa was for the gigantic MGR film Adimaipenn. Of course,during the same time he became popular with the other,first recorded, mesmerizing song 'Iyarkaiyennum Ilayakanni' from the thriller film Santhi Nilayam and both these were duets, in association with P.Suseela. MGR began to simultaneously utilize the captivating voices of these two singers.
    It is a known fact that MGR was always very particular about the quality and richness of musical component of his films.That MGR endorsed the incomparable talent of these mighty singers and that these valued voices contributed significantly for the success of MGR films like Urimakkural, Ulagam Sutrum Vaaliban,Netru Inru Naalai,Sirithu Vaazha Vendum, Pallaandu Vaazhga , Naalai Namadhe and Needhikku Thalavanangu,became remarkable events in Tamil Cinema.Songs like 'Avaloru Navarasa Naadagam', 'AngeVaruvadhu Yaaro Adhu Vasandhathin Theiro' and 'Paadumpothu Naan Thenral Kaatru' from the first two films and the title song from Naalai Namadhe,breezily and powerfully delivered by SPB and 'Vizhiye Kadhayezhudhu'{Urimaikkural} 'Onre Kulamenru''Poivaa Nadhiyalaiye'{ Pallaandu Vazhga},Neela Nayanangalil'{Naalai Namadhe] and 'Indha Pachaikilikkoru' {Needhikku Thalaivanangu} in the gripping voice of Yesudas, remain as the richest legacy of MGR film songs.
      The musical voices of these men contain an independently penetrating charm with a classic structure of clarity,vibration and width.There is a kind of spiritual grandeur in the voice of Yesudas that keeps him endowed with a calibre for dignified delivery of music.I still wonder how he was able to deliver a song like 'Thanni Thotti Thedivandha Kannukutti Naan' for K.Balachander's other critically viewed film Sindhu Bhairavi. The voice of Yesudas is imbibed with an unbeatable soothing profile and it can straight away pierce into one's soul with a kind of intimate access that no other voice is capable of.The musical nuances forming part of this sacred voice belong to a special category.The only drawback{ if one is emboldened to call it so}in his delivery of Tamil songs,is the lack of precision in the utterance of Tamil words like 'Kiliye' and 'Pillai' as experienced while listening to the songs 'Poovizhi Vaasalil Yaaradi Vandhadhu Kiliye Kiliye' and 'Pillai Nila'{ the latter  is from Balu Mahendra's Neengal Kettavai}.
     The voice of SPB on the contrary,is more open,with an innate force to flow and blow at one stroke.He has an invincible mark of clarity in his voice and it is a voice born with a quest and thrust for delivering words and musical notes without a hitch.He may not have the advantage of injecting vibration that is an inherent asset of the voice of Yesudas. But the force in the voice of SPB is like the down pour of the unfailing thick black clouds raining in torrents.The ever immortal Sangaraparanam song will speak of his might, for ever. He sings with full-throated ease and the sharpness and clarity of his Tamil accent is always a bonus to the listeners.
     K.J.Yesudas is ever a melody king exhibiting a peerless pattern of voice magnificence.Most of the Tamil film songs that he sang became a grand audio treat only because of his exquisite mode of rendition.To mention a few, songs like 'Sendaalampoovil' {Mullum Malarum} 'Pazhamudhircholai Enakkaagathaan' {Varusham Padhinaaru}'Nalla Manam Vaazha''{Oru Oothaappoo Kan Simittu giradhu}'Oora Therunchukittein'{Rajinikanth's Padikkaadhavan}, 'Annanenna Thambienna' {Dharmadhurai}are his amazing solo hits.Duets like 'Andhamaanai Paarungal Azhagu'{Andhamaan Kaadhali}'Malare Kurinji Malare'{Dr.Shiva}'Vizhiye Kadhaiyezhudhu'{Urimaikkural}}'Thenral Vandhu Ennai Thodum'{Thenral Vandhu Ennai Thodu}'Thanga Maganinru Singa Nadaipottu' {Baasha}and 'Maasimaasam Aalaana Ponnu'{Dharmadurai}are the eternal musical assets of Tamil Cinema.
    In the same way,SPB has given stunning songs like 'Pottu Vaitha Mugamo'{Sumadhi En Sundari} 'Kamban Emaandhaan'{Nizhal Nijamaagiradhu}''Unakkenna Mele Ninraai Oh Nanda laalaa' {Enakkul Oruvan}' Nalladhor Veenai Seidhu' {Varumaiyin Niram Sigappu} 
'Paadi Parandha Kili'{Kizhakku Vaasal}'Ilamaiyenum Poongaatru' {Pagalil Oru Iravu}{Sagalakalaa Vallavan}'Ilaya Nila Ezhugiradhe'{Payanangal Mudivadhillai} 'Sangeedha Megam'{Udhaya Geetham}'Koottathile Koil Pura' {Idhayakoil}'Manram Vandha Thenralukku Manjam Vara Neramillaiyo'{Mounaraagam} Vannam Konda Vennilave {Sigaram}and'Nalam Vaazha Ennaalum EnVaazhthukkal' {Marubadium} In fact, it would be an unending list of his masterly delivery of film songs, mostly under the felicitous musical composition of Ilayaraja,the venerable prophet of music.
     If K.J.Yesudas has delivered the immortal lullaby 'Kanne Kalaimaane',{Mooraam Pirai}SPB has given us the ever lasting melody "Kalayaana Maalai Kondaadum penne" in the film Puth Puthu Arthangal which would be more than a lullaby if heard at bed time.The former's memorable tribute to motherhood in 'Ammaavai Vanangaadha Uyirillaiye' {Mannan} is perhaps a sequel to SPB's 'Naanaaga Naanillai Thaaye'{Thoongaadhe Thambi Thoongaadhe}and 'Amma Amma'{Uzhaippaali}.
    Tamil film industry truly owes a lot to these two fabulous voices for their qualitative enrichment of Tamil film music.May be SPB's contribution would be more voluminous than that of K.J.Yesudas.The voice of Yesudas keeps us possessed by a kind of irreplaceable magical spell;the voice of SPB makes us energized and empowered with a driving gusto.What an incredible amount of emotional vigour and energy has been transmitted by powerful songs like 'Ennadi Meenakshi' {Ilamai Oonjalaadugiradhu} 'Unakenna Melei Ninraai Oh Nanda laalaa' {Enakkul Oruvan}'Ilamai Idho Idho'{Sagalakalaa Vallavan}'Vandhenda Paalkaaran' {Annaamalai} 'Naan Autokaaran Autokaaran'{Basha}'Adhaandaa Idhaandaa'{Arunachalam} 'Oruvan Oruvan' Mudhalaali' {Muthu}'Devuda Devuda' {Chandramugi}and 'Ballelakkaa' {Sivaji}.These are not only great Kamal and Rajini hits, but are also samples of the power packed numbers of SPB, demonstrating his immense capacity for breath control as truly noticed in the song 'Mannil Indha Kaadhalanri' from Keladi Kanmani in which he also displayed his extraordinary histrionic skill. If Yesudas has a delving voice SPB is endowed with a leading voice.It is a kind of swinging experience for the listeners between the dynamic voice of SPB and the devotedly soothing tongue of Yesudas. The film music album of these two grand singers is a treasure house, worth visiting for a repetitive aural exaltation.
      It is interestingly a rare phenomenon that these two voices permeate in a form of semblance and similarity in the rendition of two other playback singers who have also vitally contributed for the success and sustenance of sweetness in Tamil film music.One is almost a close disciple of K.J Yesudas earnestly following his voice line, in tone and spirit and that is the effortless melody maker Unni Menon and the other is almost SPB's voice replica,the clear- tongued Mano. The subtle difference between Yesudas and Unni Menon is the absence of the stronger notes of the former's magnificent extent of vibration in the tone and delivery of songs, of the latter.However,heard from a distance, a song like 'Pudhu Vellai Mazhai Ingu Pozhihinradhe'{Roja}rendered by Unni Menon would perfectly bring the voice of Yesudas closer to our hearts.
     Similarly, it is a great  experience listening to the felicity and magic of music, perceived in the most penetrating  songs like 'Kannukku Maiyyazhagu' {Pudhiya Mugam}Poeraale Ponnuthaayee' {Karuthamma}'Ennavilai Azhage'{ both from Kaadalar Dhinam}'Nadhiye Nadhiye' {Rhythm} 'Enge Andha Vennilaa'{Varushamellaam Vasantham}or the joyous numbers such as 'Maanaamadhurai Maamarathukiliye'{Misaarakkanavu}'Dhaandiyaa Aattam Aada'{Kaadhalar Dinam}and 'Minnalaippidithu'{Shajahan}.Starting from 'Pon Maane Sangeedham Paadava'{Oru Kaidhiyin Diary}Unni Menon's  voice has almost been carrying on a proxy parade for K.J.Yesudas both in terms of sweetness and the mesmerizing calibre of singing.His is a softer voice than that of Yesudas but its level of reach and audio impact is no way inferior to that of Yesudas. 
    Both the voices carry a healing touch to the extent of mellowing human emotions with grace and dignity.I have mentioned only a few songs of Unni Menon here.He has sung  under the music composition of the two musical stalwarts Ilayaraja and Rehman and he has been a favourite of film directors like Mani Rathnam and Vikraman. That he has sung most pleasing melodies for films like Unnai Ninathu, Priyamana Thozhi and Vaanathai Pola shows how much his voice has been valued by director Vikraman and his patronized music composer S.A.Rajkumar. If one listens to the musical flow of Unni Menon through a process of 'willing suspension of disbelief' one would faithfully and unquestioningly accept it as the infallible outcome from the vibrant voice of K.J.Yesudas. Like the inseparable Siamese twins, these two riveting voices are of an indistinguishable mould with a predominant clasp of human ears for compulsive listening, leading to spontaneous enjoyment.
     Mano's voice throw,clarity of diction and felicity of singing reflect undoubtedly,a near perfect duplication of an SPB rendition.The subtlest note of difference would be SPB's innate capacity for tongue twisting and voice churning like that of a precise mixing and squeezing equipment letting out the essence of what is being fed with in.It looks as though SPB's tongue would dance in tune with the syllables of the words and the words of the lyrics in accompaniment of the galaxy of instrumental notes.But Mano definitely has the raw voice of SPB and he shapes it as he likes it to be; beyond his self conscious efforts in this direction,the ultimate impact is the feeling of having listened to another song of SPB. This is how I mistook Mano's classic number "Thooliyile Aadavandha Vaanathu Min Vilakke" from Chinna Thambi for one rendered by SPB and even recorded it here in this article by mistake.Thanks to a reader's prompting, I stand corrected.
     Poor Mano,can not help his voice getting dissolved in the boiling Cauldron of the SPB vocal cords.Be it the soft numbers like'Nee oru Kaadhal Sangeedham'{Naayagan}'Malaikkoil Vaasalile'{Veera}"Pattuppoove Thottuppaaru' {Sembaruthi} 'Sandhana Maarbile Kungumam Dheindhadhe'  {Naadodi Thenral}'Ennavale Ennavale Engirundhai Needhaan'{Ninaithein Vandhaai}or the sprightly songs like 'Alli Alli Anaarkali' {Arunachalam} 'Thillaanaa Thillanaa"{Muthu} and "Ohoho Kikku Yerudhe"{Padayappa}it is just a hairline difference that could be noticed between Mano and SPB in their voice pattern and very often the debate continues in fixing the song with the voice of the original singer.
    After listening to such confusion in voice similarities,I would say that it is from Mano's voice and my son would say that it is in SPB's voice.Finally,sometimes I would be right and at times my son would score the point.Such a similarity in voice,would usually raise valid controversies, in fixing the identity of actors, during a course of listening to their dialogues, off screen. But here are two singers, whose voice and way of singing, make them both easily exchangeable on the platform of audition. Like SPB, Mano too has appeared on screen with an acting zeal and his role in Kamal's Singaara Velan stays memorable.But as a singer, Mano has sung songs mostly for Rajini films than those of Kamal. I have recorded here only a small number of Mano's songs from the exhaustive list of his Tamil filmography.This short supply is perhaps due to my inability to firmly differentiate a Mano song from that of SPB.
    These four great musical men, have crossed the linguistic barriers, both intrinsic and external and have meticulously and magnificently participated in the programme of patronizing Tamil film music through a genuine transmission of  energy and the power of music.The language of music is a firm ladder helping mankind reach newer heights of happiness and peace.What transpires vocally and instrumentally, might be the outcome of a human endeavour or the display of human talent, inborn and acquired.But there is always a pair of invisible hands operating from behind everyone and goading every human voice and hand, to play as it should.May be, that is why we say music is divine.The two mighty voices and their voice alikes, do have the backing of the invisible pair of divine hands, in driving them to the higher positions, that they have reached today.
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The Performance Hungry Hero.

 

      A majority of heroes perform as the directors want them to.A few heroes exceed the director's expectations,imbibe the spirit of the characters they do and finally end up in living the role bestowed upon them on screen.This is how Sivaji Ganesan very often performed and became the right model of acting for many other aspiring actors.At times, the audience came upon a deified hero like MGR, who generally made the directors direct him as he liked.But very rarely do we have the experience of watching some one with an insatiable quest for doing something different in each of their films.They always carry on an incomparable urge to try something impossible not bothering about the so called image factor.While Kamalahasan has already established his position as a film personality with an appetite for versatility,the only other hero who is ambitious about trying new layers of acting is Seeyaan Vikram.
    Vikram's modest beginning as a soft romantic hero, would not have projected him as a man with a huge agenda for acting and with unquestionable potential and credentials for moving up the acting ladder with self-made whims and convictions.Films like Meera,Ullaasam,Vinnukkum Mannukkum and Samurai would never be in his challenging list of roles.He should feel immensely indebted to an uncommon brand of director like Bala, for opening a broad gauge track and closing all level crossings simultaneously, so that a hero with a hidden treasure of exemplary acting zeal, could have his run fueled by nothing but the hardcore passion for acting. Sethu and Pithamagan were just a couple of sugar canes for a person with an elephantine hunger to perform.
   What makes Vikram different from others is his indifference to the concept of the hero image.If he had bothered about it he would not have taken up films like Sethu,Kasi and Pithamagan at the start of his career and Dheivathirumagal later. But it does not mean that he is unfit for the role of a full fledged action hero.His Dhil,Dhool, and Samy are perfect entertainers as amazing action films.The fact that most of the directors including Shankar,have not just stopped with one movie with Vikram shows how much trust they have reposed in his talent and how much they value his conviction for performing differently in each film. Bala, Dharani,Hari A.L.Vijay and Shankar are all there in the list as directors delighted by the performing vigour of Vikram that forced them to do another movie with him.Director Saran gave him an action bonanza with consummate juvenile gusto and the film Gemini that was released under the AVM banner, became a great entertainer.
   The amount of force and speed delivered by him in films like Dhool and Samy, his pointed underplay of emotions in the action genre of films such as Dhil,Gemini and Thaandavam,his unfailing grasp of vagaries and precision in seamlessly switching over to changed character delineation, in performing as a split personality in Shankar's Anniyan,his clean pass over from a casual and agile character mould to a sudden state of enforced dementia in Sethu and above all the silently delivered powerful role of an undertaker with inexhaustible love and revenge, in Pitha Magan will permanently mark him as a model actor with a mind full of fixations for multilateral performance.
      Like most other prominent heroes Vikram  too had to concede defeat in his ventures to prove himself as a valued actor.Movies like Arul,Bheema, Kandasamy and Rajapaattai were all moderate demonstrations of the hero's fight against the corrupt lobby or samples of gangsterism and did not speak good of the profound acting caliber of Vikram. Kaadhal Sadugudu was a breezy romance but even there, Prakash Raj stole the show with Vivek's comedy also taking the lead.'Maja' a moderate remake of the great Malayalam original Thommanum Makkalum,was also not on the expected line. The most hyped Raavanan that showed him as hero in the Tamil version and villain in the Hindi script did not bring in the expected result to boost either Vikram's performing zeal or Manirathnam's directorial stuff.
      But beyond all these common setbacks and failures,Vikram has never failed to impress as a unique type of hero willing to perform differently in everyone of his films.His impressive body language,graceful dialogue delivery,right perception of the different layers of emotion behind the nature of his character in isolation as well as its scenic fitment core,his readiness to be one hundred percent genuine to the role and the usual dancing and fighting abilities expected of a hero in standing, always put him on the leading side with a keen sense of professionalism and efficacy.Had he been an actor during the hey days of K.Balachander,he would have easily stolen the mind and spirit of that directorial genius.
      It is a known fact that many talented heroes are hard working,aspiring to achieve higher positions in their career,to stay permanently noticed and acknowledged as actors of merit.But the fire in Vikram is of a different kind, burning constantly,igniting his action engine towards remarkable destinations.Number of films does not matter for him.Hero image is immaterial for him.It is his craving to perform differently and excel in doing the job assigned to him without taking himself to the scuffle for limelight, that makes him an actor of singular mettle.His unrelenting desire to perform specially for a personal satisfaction, will always keep him in good stead. Reasonably tall and well built in physique,the performing spirit from with in, should always remain intact, to drive him to many more, award winning positions in his career.
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The Two Elder Sibling Directors of Tamil Films.

      Film directors belong to an extraordinary tribe of makers of myth and reality.Age is no criterion to excel in creativity.In the music field, we have the Oscar winner A.R.Rehman who began to fly high from his teen age.Tamil film directors have begun to rule the game usually from their early forties or may be from their late thirties.But there are two youngsters who started spreading their wings much early, to fly high with an incomparable creative zeal and capacity.Perhaps as a mark of coincidence,both these men have their film ancestry,inheriting the power and will to reign the centre stage.Of the two,one is the elder son of the noted film director Kasturiraja and the other is the elder son of eminent film editor Mohan.These two young talents are Selvaragavan and M.Raja. Both these directors have the other similarity of capitalizing their creative excellence mostly on their younger siblings Danush and Ravi respectively.
     Selvaragavan first wrote the script for the critically reviewed film 'Thulluvadho Ilamai',directed by his father Kasturiraja. His first directorial venture 'Kaadhal Kondein' became an instant success. Following this,he directed his younger brother for a couple of movies like 'Pudhuppettai' and 'Mayakkam Enna' and wrote the script for 'Yaaradi Nee Mohini' starring his brother but directed by Mithran Jawahar{who also directed the other blockbuster film 'Uthamaputhiran' of Danush}.Apart from these films Selvaragavan has directed the most hyped 'Aayirathil Oruvan', that became the second film of Karthik Sivakumar.The other most talked about film of this young director is the latest 'Irandaam Ulagam' starring Aaryaa and Anushka Shetty.In about half a dozen films, Selvaragavan has created a distinct position for himself as a director of fantasies and fascinating romantic extravaganzas.
     What makes Selvaragavan different from others,is his uniquely reflective approach to evolving themes and characters and narrating the story line on a fantasy track.The focus on psychological intricacies of the protagonists of his scripts and the narrative techniques he adopts towards displaying his all round compass of creativity,make us identify his dreams and aspirations as those of a rare kind of film maker.The human mind's flair for guilt and compunction and the extent of criminality that embraces psychic aberrations, find ample scope in Selvaragavan's subtle delineation of scenes and characters in films like 'Kaadhal Kondein' and 'Pudhuppettai'.
      However on the fantasy side,both in 'Aayirathil Oruvan' and 'Irandaam Ulagam',obstructions seem to take the audience by surprise and one wonders if the absence of an impressive link or sense of continuity is accidental or due to lack of perspective in narration.There is definitely an all pervading presence of exquisite visual aspects and freshness in presentation of scenic sequences, but beyond all these,there is a constant feeling that an exuberant creative formulation is going futile,not yielding the intended result.What would strike the mind of the audience is the concern and sympathy for a powerful creative film maker missing the mark, that he very much deserves.Is it a flaw in the genesis of the creative process, or an enigma of the parts of the process not contributing to its wholeness and totality, is a question remains unanswered.
    The other elder sibling M.Raja is an openly vibrant film maker concentrating purely on  the thrills of romance and family sentiment.His is a stuff meant for the larger audience, with an unfailing commercial formula in the line of Lingusamy and Hari. Starting from his first venture Jeyam,almost all his Tamil films have been Telugu remakes and except in 'Velayutham',it is his younger brother who made his debut in 'Jeyam' and became Jeyam Ravi, {to be differentiated from Nizhalgal Ravi}has been shown as hero.His second film 'M.Kumaran S/O Mahalakshmi' was a sensitive family drama, unlike his first energetic show of romance in Jeyam. Besides bringing back Nadhiya to Tamil Cinema,his second film had Prakash Raj doing a powerful father character which he did again in Raja's 'Santhosh Subramanyan',a healthy family entertainer. Santhosh Subramanyan was a very decent film known for a powerful display of paternal responsibilities and filial inheritance of love and family sense.It celebrated the clean movie concept in all respects and became a crowning experience for this young director.
    His other film 'Unakkum Enakkum Something Something'that preceded Santhosh Subramanyan was equally demonstrative of the invincible family link. Raja's 'Thillalangadi',a remake of his Telugu 'Kick' effectively portrayed how the  innate spirit of adventure and longing for thrilling moments could drive an individual to the edge of enchantment and endangering predicaments.In most of Raja's films, either Prabu or Prakash Raj, made a dignifying mark in elderly, character roles.In all the films including  his 'Velayutham', Raja has unflichingly promoted his concept of making life a  self satisfying course of adventures and excitements,be it romance or a riveting family drama.'Velayutham' wonderfully dramatized sibling affection and intimacy in the line of Vijay's Thiruppachi, but the scenic displays were totally different from those of the Perarasu movie .Raja always guarantees that moments of continued entertainment will never be found wanting in any of his films. Unlike Selvaragavan who restrains the scope for comedy in his films, due to their introspective predominance,Raja opens the doors wide, for hilarious moments and consummate joy, mostly with comedians like Santhanam,Sathya and Soori, dominating the humour zone.It was only in M.Kumaran S/O Mahalakshmi Vivek took care of the comedy side of a Raja film.
     As far as romance is concerned,Raja's focus is on the degree of excitement it generates for the lovers and the way it takes the romantic wagon to the family station,initially with resistance and opposition from the family members and then as an energizing addition of a new member to the existing family unit.In Unakkum Enakkum,it was a case of acceptance of a highly positive guy to the girl's side and in the other film Santhosh Subramanyam the boy's family took into its fold,an exuberantly positive minded girl,as an enthusing element.Whereas,Selvaragavan looks upon the romantic experience as purely a psychological drive,either enriching or disturbing the mind of the lovers with a poetic feel of joy,suspense,awe and at times even horror.
     M.Raja invites the audience with an open mind to watch his films and stay delighted for a while.Whereas, Selvaragavan is bent upon involving the audience in an introspectively valid, mystifying and demystifying cinematic experience.One wants to entertain with a hearty sense of light mindedness, geniality and exultation, while the other tries to offer tantalizing,possessing, couple of hours of show, of an incredible world in celluloid form.One has a pragmatic and down to earth formula for success and the other is devoutly abstract in narration.The flow of positive energy is the dominating element in Raja's films;but Selvaragavan's mode of narration can not help pulling him to the negative fathoms as a compulsive psychological push. It is finally the individual's choice, for the kind of show that one wants to watch and enjoy, being glued to the big screen,in one's frame of mind, for a self satisfying course of movie watch.
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Sophisticated Villainy in Tamil Cinema.

     














      William Shakespeare said'one may smile and smile and be a villain'.Be it reality or fiction, open villainy is always easy to deal with.Crude villainy is of course bloody,horrid and hateful; but the movie villains are admired or condemned depending upon their manner of exposition. Generally,the display of 'motiveless malignity'and suave,sweet coated villainy overpowers the human psyche to a great extent.World cinema in general has dealt with hidden roots of villainy with sophisticated exteriors involving charm and grace.But the thing is, not all actors would physically fit into deceitful villainy, with a comfortable facial leverage.English villains have always excelled in this regard.In Hindi cinema, late Pran was a monumental actor of concealed villainy by his well refined looks and standard of acting. But others like Premnath, Omprakash and Amrish Puri could easily delineate rude and open villainy. Prem Chopra could excel in both.I am not knowledgeable about the new generation villains of Hindi films.
     In Tamil, among the old timers,P.S.Veerappa always belonged to the open gang of villains. Though Nambiyar could be fairly called Tamil Pran, he has been both refined and rude on the screen and the latter mode was more visible in films like Kudiyirundha Koil,NaanAanaiyittaal, Pudhiya Boomi and so on.In reflecting sophisticated villainy S.V.RengaRao usually excelled in films like Annaiyin Aanai, Raaja {both Sivaji films} and Nam Naadu {MGR's}.S.A.Asokan was like Hindi Premnath.
     While most screen villains in Tamil Cinema have tried to be loud and noisy in displaying a particular mode of their histrionic ability for portraying villainy,some have maintained style, charm and sophisticated appeal that generally reflect a classic character of aristocratic scheming and execution of negative motives.Some are capable of combining both varieties as we have seen in the case of M.N.Nambiyar,Nasser,and Prakashraj. No one can forget Nasser's crudest form of villainy in Thevar Mahan. But the same actor gave a brilliant performance as a stylish villain in 'Olympian Antony Atham', one of the most popular Malayalam movies starring Mohanlal as hero.
     Prakashraj who mostly excels in loud verbal villainy of a powerful thug, as shown in films like Gilli, Poekkiri and Singam 1, showed his pep and style of a different attitude, in films like Aasai, Vaanavil and Vaanchinathan. But there are two villain actors, who have constantly reflected smiling and charming villainy of the high class, reflecting a frame of mind specialized in the art of killing with fake kindness.They are Late Raguvaran and the famous Kannada writer and actor Girish Karnard. 
    Interestingly, these two dynamic actors gave a joint performance of grand villainy, in films like Kaadhalan and Ratchagan. Raguran who was initially noisy in some of Rajini's earlier films, began to reach greater heights with his amazing performance in films like Puriyaadha Pudhir,Abhimanyu,Uthayam,Baasha,Arunachalam, Mudhalavan, Vallarasu and Baalaa. As a gangster head and as a prototype of the greedy power block, Raguvaran has rightly fitted into his role with a striking sense of precision and style,his husky voice carrying a singular pattern of modulation, adding charm and perfection to his performance.
      A highly original creative writer,an illustrious playwright and stage actor and a wonderful film actor that he is,Girish Karnard has fascinated my imagination to a great extent.I enjoyed reading and teaching his most popular play 'Hayavadana' {translated into English from his original version in Kannada} to my undergraduate students.My enjoyment of watching his acting skill in movies like Naan Adimai Illai,{A Rajinikanth film} Kaadhal Mannan {A Saran hit starring Ajith},Rajeev Menon's Minsaarakkanavu, Kamal's Guna, K.T Kunjumon's Ratchagan,Shankar's Kaadhalan and Vishal's Chellame made me feel that Karnard has the spontaneous ability for negative portrayals, combining style and refinement of the richest order.It is difficult to imagine him in a role of either a poor man or a middle class person.By his looks and body language, he cleanly represents a section of the wealthy tribe, known for snobbery,personal aggrandizement, power mongering and exploitation of the gullible.   
       Greed for money and clinging to norms of status building, as the innate traits of the pseudo aristocratic class, have been perfectly portrayed by Girish Karnard in the films cited.He truly brought out the fears of the tax evading rich, when raided by the tax regulatory authorities,in the film Chellame. In Ratchagan, he kills his half brother with kindness blended with venom, with a view to avoiding competition in acquiring the huge, ancestral wealth.In many of the other  films, he was a wealthy dad, recklessly trying to prevent the marriage of his daughter with an underdog, thereby exposing his reluctance to surrender his inherited status of wealth and nobility.
      Raguvaran and Karnard could rightly be called the standing models of sophisticated villainy in Tamil Cinema.The other actors who fall in this category are Kitti{Kamal's Sathya} Captain Raj{ Jeeva and Pick Pocket starring Sathyaraj} and Salim Ghouse {Vetrivizha, Chinna Gounder and Vijay's Vettaikkaran }.   

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