Filmstars and Politics.

       When George Bernard Shaw said that politics is the last resort of scoundrels,he would not have meant that persons from other walks of life are unfit to cherish ambition for a political career.In fact,politics has also been the bastion for many intellectuals and right thinking people, who have made it a field for fair play.Whatever be the motive for an individual's entry into politics,it is one's personal charisma and popularity that determines one's success and survival as a politician.  
      A few decades ago,when the political leaders in India,earned distinct positions through their selfless service and honest handling of vital issues,popularity was not viewed as a means for meeting political ends; but it emerged as the end result of selfless service, rendered to people through a track record for honesty and personal integrity. However,during the process of political evolution,concepts began to change and a platform other than political,became necessary for taking the new ideas closer to people with a view to revolutionizing the  society in tune with the changing trends and attitudes..
    The drama stage became one such platform and stage actors began to play pivotal roles in casually indoctrinating the changing values to the common man and thereby  absorbed the imagination of  the audience through a spell of''willing suspension of disbelief''.Tamil society in particular, which was always known for its profound  admiration for theatrics and effective portrayal of character types, used to be carried away by a kind of star worship and image idealization  to the extent of identifying the actor with the role he played.

      The transition from the stage to the celluloid world, made things easier for the actor to create for himself, a screen image,much more improved and periodically updated by human imagination and technology advancement. An actor consistently playing  the role of a  good Samaritan or of an upholder of women’s liberation and social emancipation,could always magnify his star image and get emotionally fixed in the hearts of a glorifying audience.One who is constantly shown as a staunch fighter of corruption in public life, gets the maximum recognition.Such a hero's popularity always grows by leaps and bounds and the adored hero, eventually looks for other avenues  to perpetuate his image, during his lifetime.Politics is most often looked upon by film heroes,as the right ladder for achieving a place of prominence and the MGR formula comes in handy for them, for a smooth journey from stardom to politics.

      M.G.Ramachandran affectionately called and remembered as M.G.R is a legendary name both in films and politics. Many of the political  aspirants from stardom today, seem to be drawn to his hero formula as an entry ticket to catch people's imagination, in terms of their   democratic ideologies for exemplary governance and collective well-being. But there are two important facts that will make the MGR legacy difficult for exact emulation. Firstly, MGR's growth as a star and politician, was a simultaneous process well established by a symbiotic link between the two fields that he most dynamically represented. Secondly,MGR' star image was groomed with the objective of rationalizing  the society for a dramatic change, through an existing political party of which he was a member.The later developments leading to MGR’s    formation of a new political party and the repeated success stories that followed, added fresh fascinating chapters to the political history of Tamil Nadu.S.S.Rajendran was the other hero of this period who was an active promoter of the Dravidian Movement and he was successful in politics as a member of the legislature.However,he knew the limits of his political capacity and personal popularity and did not develop greater ambitions in this regard, despite the fact that his Tamil accent always remained an endearing aspect and carried an influencing appeal.

      Many heroes in the South Indian film industry, were inspired by the M.G.R model and were drawn in to the political arena, only to be  rewarded partially or rejected with a drubbing at the hustings. Even a classic actor like Sivaji Ganesan,who was a close contemporary of M.G.R , failed miserably at the political front.Similarly, the God image of  N.T Rama Rao could not help him remain as  the Chief Minister of Andhra Pradesh for a longer period. Chiranjeevi,the gloried Telugu hero,started a new political party but soon merged it with the congress party, at the opportune time. Malayalam super star Prem Nazir and the Kannada demi - god  Rajkumar were the wise political drop outs.Kerala being a land of freethinking people,who know to keep each individual in their respective place,would hardly think of resorting to a hero worship programme. Prem Nazir knew this factor and wisely avoided any serious political move from his side.
    However in Tamil Nadu, a soil potentially vulnerable to emotional exploitation,people would keep themselves ever ready to give a chance for political aspirations to fructify from the film front. Ms.Jeyalalitha, whose long term film association with MGR helped her develop interest in politics,has not only reflected a charisma almost similar to that of MGR,but has also proved to be a perfect competitor of her political rivals, by a sheer capacity to wield a controlling whip over the Dravidian break away party, launched by her political senior.She seems to sustain the power game, through a kind of courage, that she alone is capable of.
    In the north, quite a few Bollywood actors and actresses joined political parties and became MPs and MLAs sharing the spirit of their own film popularity and the prevailing victory mood of the political parties.But rarely any big star like Sunil Dutt, Amitab Bachan,Raj Babbar and Satruhun Sinha was inclined to start a party of their own.May be, they rightly understood the difficulties involved in running an independent political outfit.From the South, Soundharya joined the BJP but unfortunately she died in a plane crash.Vijayashanthi is doing her round in politics,representing different parties at different times. Jeyapradha has also been active in politics for quite sometime.

     Quite a few from among the present day popular heroes in Tamil,have been working out a magical shift from stardom to politics with a blind faith in converting their committed fan base into a political core group.They do not want to leave their luck untried, perhaps because of their belief, that, fallacy might become fact any time and what had happened to M.G.R  might happen to them too.This is how heroes like Ramarajan,Vijayakanth and Sarath Kumar began to show a keen interest in politics.Ramarajan in fact began to follow each and every mannerism,makeup and costume sense and theme focus of MGR, in all his movies and finally became an MP for a brief spell,representing the AIADMK party founded by MGR.Even now he is campaigning for this party's candidates, contesting the upcoming parliamentary elections.While Vijayakanth and Sarathkumar have launched their own political parties, the former is aggressively moving coins, with the fond hope of becoming the Chief Minister of Tamil Nadu, one day or other.Other actors like Vagai Chandrasekar,Nepoleon and Comedian S.V.Sekar have also evinced keen interest in politics and contested elections to become MLA or MP. 

      The power of popularity breeds tendencies of narcissism and creates greed for more power, generated by public acclaim and accumulation of wealth made possible, through the invincible charm of the tinsel world.The star image spontaneously boosts one's self image and makes one crave for undeserving recognition of merits that one does not possess.As most of the mega stars are just the product of the director's creative imagination and professional control, the other side of what they really are, becomes known to the people,only when they  are noticed as,off- screen performers of political or social roles of their own making. So long the stars twinkle in the wonder world, they look awesome and admirable. But once they start gliding from their fancy mountains to the valley of reality,some of them begin to glare.Above all, the political ambition of any film star is nothing but the outcome of hero worship and the deifying attitude of their much excited fans.The fans would do better by letting their heroes twinkle from where they are,like diamonds in the sky.  
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Fine Family Dramas in Tamil Cinema.

      Family dramas on the big screen,if presented neatly and with conviction,create a mind blowing impact much more than other genres.This is because,an individual's life, gains greater significance only in relation to one's association with others, in the form of one's family or society.Of the two, it is the family that generates,supports and fulfills an individual's dreams and aspirations and supplements one's character formation, for one's own benefit as well as that of humanity at large. That is why fiction and films dealing with family formulations,patterns and emotional intricacies, win over readers and audience preference, more overwhelmingly than other forms of creative excellence. The Tamil soil with its deep rooted emotional moorings,has embraced family dramas with great enthusiasm and involvement.Tamil films released from the Nineteen Fifties  to the Seventies, simply excelled in family dramas, through brilliant narration and spirit of authenticity, because those were decades of sentimental celebration of family love and unity.The perfect bond of well founded joint family institutions,existed purely on the solid fundamentals of respect for  elders, inherent attitudes of mutual love,tolerance at all levels and readiness to sacrifice anything,anytime. Invariably, only these themes formed the base of a vast number of films, dealing with family drama during that period.
     There were primarily,films discussing only the family factors without incorporating any other element such as romance,friendship,crime and social concepts.There were also others, relating the above said external aspects to the family environment,thereby focusing on how conflicts were caused in the family routine,by characters and events not directly linked to the family foundation. Directors like A.Bhimsingh and the duo Krishnan Panju, cleanly excelled in the narration of pure family themes,characters and events.There were also Telugu directors doing a remarkable job in the depiction of family themes and stories.My childhood memories of family oriented films,take me to the days of watching films like Kudumba Gowravam and Devar Film's Vazha Vaitha Dheivam both starring Gemini Ganesan,Sivaji Ganesan's Makkalai Petra Magarasi,MGR's Thaikkuppin Thaaram {another movie from Devar Films},Kuladeivam, directed by Krishnan Panju, Engaveettu Mahalakshmi of A.Nageswara Rao, and the two long titled films 'Thaayai Poela Pillai Noolaippoela Selai' and 'Maamiyaarum Oru Veettu Marumagale'.
     All these films released during the Fifties,beautifully and firmly projected precious family sentiments and values that constituted the quality of life those days.Most of these films also at times, went out of the family fold, to meet events and characters that were mandatory for socializing and strengthening interactions with the world.But there was one movie of this particular decade, that became a standing model of the family edifice, with an underlying vital thrust on the stronghold of the joint family system and that was the movie Baagappirivinai,directed by A.Bhimsingh.This film had all necessary ingredients to evolve into a fine demonstration of family experience,and struck everybody's imagination by its richness of narration and magnificence of characterization.Amazing actors like Chevalier Sivaji Ganesan,Sarojadevi,M.N.Nambiyar, T.S.Baliah, S.V.Subbiah, C.K.Saraswathy and above all the exuberant actor M.R.Radha, made the film a monumental revelation of the joint family stronghold, cherished intensively by a value bound generation.
    Sivaji Ganesan was of course, the natural choice to play the protagonist of the family drama because he truly fitted himself into characters carrying the load of emotions and sentimental layers, reinforcing the base of such films.It was the element of grandeur in his acting,that helped Sivaji Ganesan to make a serial success show,as the one and only hero of Family drama.The other fact is the omnipresence of A.Bhimsingh, as the most acceptable narrator of family drama, on account of his creative potential to present precisely  scenic sequences that could create a lasting impact.This is how, he made exemplary films worthy of family watch.As the trend continued during the Sixties, there were many of his hits like Paava Mannippu, Padithaal Mattum Poethuma,Bantha Paasam, Pazhani,Paar Magale Paar and so on.Gemini Studios'Motor Sundarampillai would also rightly belong to the category of  fine family dramas.The later releases of Sivaji Ganesan's films like Baratha Vilas,Thanga Padhakkam andThirisoolam also contained a lot of family emotions though these films had other vital aspects of life to deal with.
   Interestingly,like Baagapirivinai, during the Sixties,there was another blockbuster that carried the family sense, heart and soul into the mind of the audience and this movie Padikkaadha Medhai, starring Sivaji Ganesan and directed by A.Bhimsingh, became an instant success because of the natural role performance of Sivaji Ganesan, S.V.Rengarao and P.Kannaambaa.It was an eventful film in the career of Sivaji Ganesan and a timeless reflection of the greatness of Tamil Cinema.Each and every scene of this film, would remain as an unforgettable life experience for the great lovers of family drama.
   Two other outstanding films of Sivaji Ganesan on family emotions are, Vietnaam Veedu and Vaazhkai,released during different decades.Both these films discussed poignantly the fall out of family unity, arising out of filial selfishness and ingratitude.The first one was the story of a very prestigious man called Padmanaban, who cherished the longstanding values of the family bond and was a model of dignity,discipline and dedication to exemplary family norms.With his much devoted wife Savithri,{played by the fabulous actress Padmini}Padmanaban simply extolled into the height of glory as the vital pillar of the family, but finally fell dead, not being able to withstand the load of privation and disappointment.The latter film Vaazhkai bordered on a similar story line, pictured the amazing growth of a man from scraps to success, with the strength and support of his wife {played by Ambika}but was finally left alone by his sons, whose selfishness finally took away the life of his noble wife.
    Though social revolution was the chosen field of MGR,he too became a substantial part of many family films such as Kudumbathalaivan,Periya Idathu Penn,Neethikkuppin Paasam, Panakkaara Kudumbam, Panam Padaithavan, Naan Yei Pirandhein and a few more films like OruThai Makkal and Thaikkuthalaimagan,However, as far as MGR was concerned,the spirit of justice was of paramount importance for him and he could not let it down for the sake of family emotions.It was true that MGR also played here and there, the role of an affected and sacrificing member of a large family;but it was Sivaji Ganesan who created a tremendous impact, as a character falling a prey to  the schemes and strategies of other characters in the family fold and finally turning into an embodiment of sacrifice.There was certainly a cathartic sense in the role performance of Sivaji Ganesan and he never failed to create a heart rending effect of family drama, causing tears to flow naturally from the eyes of the viewers.
   What made the family dramas capture the sensitivity of the audience was the all pervading spirit of goodness, imbibing tendencies of tolerance and sacrifice,as something essential for promoting the well being of the family cluster.The good elements in a family, will always act as a catalytic force strengthening and protecting each layer with concern and care.Quite often, the good elements would be subjected to exploitation and humiliation and it was at this juncture,the mood of tolerance would set in, to carefully avoid any kind of eventuality, leading to the disintegration of the unified segments of the larger family dispensation.
    The greatness of a family drama, relies mainly on its structure of nobility and goodness kept in compact form, by emotions of love and affection.The fifties and sixties were a golden era, honouring the highness of family unity, as part and parcel of healthy and happy living.The sacrifice note was poignant in films like Paava Mannippu,Bandha Paasam, Pazhani and Padikkadha Medhai. Apart from A Bhimsingh,veteran directors like K.Balachander {His films such as Arangetram,Aval Oru Thodarkadhai and Bama Vijayam} and K.S.Gopala krishnan{Movies like Vaazhayadi Vaazhai,Kan Kanda Dheivam,Kulavilakku}truly brought home the value of family unity and the spirit of sacrifice both seriously and humorously.Even a renowned director like B.R.Pantulu,who tried his hand on a variety of subjects like mythology and history,also dealt with a family theme in his film Namma Veettu Lakshmi.Later a credible and valued director like Visu successfully handled many family stories ,of which AVM's Samsaaram Adhu Minsaaram tops the list.
    During the Seventies as well as Eighties, there were wonderful family dramas like Aarilirundhu Arubadhuvarai,Padikkaadhavan and Dharmadhurai all starring the Superstar in the role of a sacrificing elder brother. Rajini's performance in these films was as much convincing as that of Sivaji Ganesan clearly transmitting the changing trends in emotional vibrations of the new generation.It is strange that Rajini's close contemporary and versatile actor Kamal did not evince much interest and involvement in family drama, though a couple of films like AVM's Per Sollum Pillai and K.Balachander's Unnaal Mudiyum Thambi projected him as the central force of family stories.Perhaps an actor like Kamalahasan with a rationalistic mindset, does not believe in sentimental exhibitions in role performance.
    Even during the new millennium, we came upon an extraordinary film like Lingusamy's Anandam that fascinatingly narrated a joint family story, with all its intricacies and nuances, laying considerable emphasis on the longstanding family values like tolerance,flexibility and unrelenting faith in the trusted family member, be it an elder brother, or a younger one.Mutuality prevailed as the most significant aspect of this catchy story with clean perspectives. Ananadam was definitely the new millennium gift of  the Tamil  Film industry, to those who continue to cherish family norms.Besides this Lingusamy treat, there were two delightful family films each, from the hands of M.Raja and Mithran Jawahar.The former's Unakkum Enakkum and Santhosh Subramanyan and the latter' Yaradi Nee Mohinand and Uthama Puthiran took us to a new family environment,with members of larger families, enjoying each and every moment of living together.However,romance was the core of these family dramas.The other emotional family film, with a rural background was, Mayaandi Kudumbathaar.
    Old or new,family dramas hardly fail to reach the audience favour, with an exceptional quality of fineness and perfection.The story background may carry great joyous moments like Baamaa Vijayam,Santhosh Subramanyan and Uthamaputhiran, or sad and sorrowful sequence of events as seen in Bagapirivinai,Padikkadha Medhai,Kulavilakku and Aarilirundhu Arubadhuvarai. Some will shuttle between lighter and heavier emotions as we witnessed in Aval Oru Thodar kadhai  and Anandham. Whatever be the mode of presentation,family oriented films without deviating from the mainframe, with a bird's eye view of romance or social events, have struck a solid note on our memory lane with sensitive,aesthetic,exalting and realistic creative dimensions, to last for a lifetime. Family dramas on the whole offer us, the finest moments of film watch.
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The Smart Major of Tamil Cinema.

   













       There are a few highly esteemed actors of Tamil Cinema, known specially for their impeccable and forceful dialogue delivery.Among the heroes, no one has so far replaced Chevalier Sivaji Ganesan, in this regard.But among character actors, it was actor Sundarajan popularly known as Major Sundarajan, who could effortlessly occupy that prestigious position of an actor capable of delivering dialogues with utmost clarity,power and enormous reach.One could say without any trace of exaggeration, that it was Major Sundarajan who came closer to Sivaji Ganesan as a mighty performer both on stage and on screen.The other known fact is that it was that immortal hero who remained as the soul mate of Sundarajan.
       Sundarajan would have started his career with T.M.Soundarajan's Pattinathaar and become popular with his noticeable performance in Server Sundaram. But the proud prefix 'Major'that adorned his name after his much talked about stage play Major Chandrakanth{A play of the eminent director K.Balachander which was later made into an unforgettable film,by him}that put him firmly on the thespian journey, destined to go on for long, with merit and grandeur.Major Sundarajan must have felt immensely grateful at least to two people in the Tamil Film industry.One was his actor model Sivaji Ganesan and the other was the most dynamic film maker K.Balachander.

    Nearly one third of the Major's films would have been with Sivaji Ganesan. Of these, the most memorable and the closest to the hearts of the ardent fans of Sivaji Ganesan were, Gnana Oli, Ethiroli,Uyarndha Manithan,Gowravam, Thangapadhakkam,Kalthoon,Unakkaaga Naan, Dr.Siva, Engirundho Vandhaal,Vasantha Maaligai and Avanthaan Manithan.In Ethiroli he appeared as a blackmailer of Sivaji Ganean and proved his mettle and capacity for nagging the hero, to the extent of pushing his victim to the edge of frustration. In Gnana Oli, Sundarajan played the role of a cop and bosom friend of the hero, a vengeful murderer, escaping arrest by the police.It showed Sundarajan beautifully reflecting the sentiments of friendship and a sense of duty with a clear balance of mind.In Uyarndha Manidhan, Sivaji and Sundarajan were again shown as friends from childhood,who would meet later to cherish their childhood days in retrospect.People would have hardly forgotten the eternal number 'Andha Naal Gnabagam Nenjile Vandhadhe' that gloated over a grand model of friendship between them two.In Unakkaaga Naan,the major played the role of a manipulative capitalist father of Sivaji Ganesan, demonstrating his capacity for performing a scheming,self-centred business man.
    His other films with that mighty star include, Raja,Anbaithedi,Thiagi,Sangili,Dr.Siva Engal Thanga Raja,Padugappu and Simma Soppanam.Their team spirit in films,was in fact firmly based on a sentimental foundation, with emotions of friendship and family spirit pouring fourth like a flooding waterfall. The duo, successfully carried on an era of highly dramatic human relationship in celluloid form and exuberantly fixed their performing gusto, in the minds of the audience. No two actors would have so cleanly swept human emotions, with such invincible theatrical thrust, as these two epoch-making individuals. It was a historic association between two actors and they definitely created history of many kinds. 

   Director K.Balachander's success as film maker, mainly reflected his rare acumen in spotting out right talents and mould them in the fittest form, so as to transform his chosen men and women, into remarkable artists of stuff and merit.Not all could fulfill his expectations and live up to his yardsticks and norms of film making.But those who came under his creative scanner, did fulfill his expectations and lived up to his dreams and aspirations.Two great actors who fall in this category were, Nagesh and Major Sundarajan.The trio[the two actors and their passionate director] made many success stories like Major Chandrakanth, Naanal, Neerkumizhi,Edhir Neechal,Navagraham and the ever watchable Baamaa Vijayam. Major Sundarajan consistently enjoyed a similar team spirit with Nagesh as he had with Sivaji Ganesan.

    Major Sundarajan was compact both as a character actor and villain.Though he always excelled in character roles,as a villain he made a singular mark, in films like Naanal,Enna Mudalaali Sowkyama, Billa and Andha Oru Nimidam. Among the production houses,big banners like the AVM Pictures, Devar Films and Sujatha Cine Arts, quite often inducted this highly talented actor for meaty roles.Like many other actors who were closer to Sivaji Ganesan,Sundarajan also did not frequently share screen space with MGR.But his roles in MGR films like Rickshakaaran and Thedivandha Mappillai,need a special mention.Among the next generation actors,Sundarajan was comfortable with both Rajinikanth and Kamalahasan.

    Before I conclude,it must be stated here that Major Sundarajan's film career was prefabricated by many dramas and stage shows and in this respect he truly belongs to the line of great actors like the TKS brothers,S.V.Sahasranamam,V.S.Raghavan and R.S.Manohar. One could clearly see the impact of the stage on the screen, in the form of  clear pass over of dialogues and body language from live shows to celluloid formulations.Sundarajan definitely belonged to the tribe of dedicated performers and he rightly deserves a place in the line of grand masters like V.K.Ramasamy, S.V.Rengarao, T.S.Balaiah S.V.Subbiah and M.R.Radha.
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A Voice That Takes Us Along.(Posted Again.)

             (Homage to Vani Jeyaram)
   The myriad voices of film music, rule our ears in different veins. In other words, each one of us takes a fancy to the singing voices, based on our likes and dislikes.Some times, a few numbers and tunes take us closer to the singer.We have sweet melodious voices,possessing voices,high pitched voices,clarion voices, yearning voices and those that are sharp and scintillating.Tamil  film music is a magnificent mix of a galaxy of top ranking singers.Of these, one stands out as a sharp,sweet and captivating singer with a pulling control in her voice and that is none other than Vani Jeyaram.The special charm in Vani Jeyaram's voice is that of an all pervading sense of longing and hidden element of sorrow, that one could genuinely feel as well, in the mind blowing male voice of the noted Hindi playback singer Mukesh.
  Take for instance her two most popular numbers, sung in her nascent days, for the film Aboorva Raagangal of K.Balachander.The most meritorious 'Yezhu Swaranagalukkul Ethanai Paadal' and Kelviyin Nayagane endhan kelvikku padhiledhayya' from that film, were beautifully dipped in the stream of sorrow and they captured our emotions through a process of gripping and tightening tone control.If S.Janaki is well known for her predominantly high pitched voice,it is the sharpness and clarity in the voice of Vani Jeyaram that would take us along.
   Most of the solo numbers like 'Malligai En Mannan Mayangum'{Dheerga Sumangali},Megame Megame (Paalaivana Solai)'Naane Naanaa Yaaro dhaanaa'{Azhage Unnai Aaraadhikkirein}'En Kalyana Vaiboham Unnoduthaan' {Azhage Unnai Aaradhikkirein} and the differently sung 'Nitham Nitham Nellusoru'  {Mullum Malarum},to mention a few,were historic hits of this amazing singer whose voice calibre was specially known for travelling deeper into the aesthetic layers of music enjoyment.For that matter her duet songs sung particularly with K.J.Yesudas stand equal testimony to her ability to pull the human ears into a delightful listening experience.Some of the musical hits in this respect are 'Andhamaanai  Paarungal Azhagu' 'Ninaivale Silai seidhu'{ both from    Andhaman Kadhali} 'Gangai Yamunai Ingudhan Sangamam'{Imayam} and 'Thangathil Mugameduthu' {Meenava Nanban}. Her other felicitous duets were with S.P.B and the most reverberating ones are Ilakkanam Maarudho.  {Nizhal Nijamagiradhu}'Ore Naal Unai Naan'{Ilamai Oonjaladugiradhu}and 'Barathi Kannamma'{Ninaithale Inikkum}.With Jeyachandran her immortal number is 'Inraikku Ein Indha Anandhamo' from Vaidhehi Kathirundhal.
   During the Nineteen Seventies and Eighties it was Vani Jeyaram's songs that were frequent award winners bringing pride both to Tamil and Telugu Cinema.She had a very bold voice frame capable of creating the intended impact through a casual play of her vocal cords without manipulation of any kind.Most of her songs were of the 'Hear Again'category and beyond all the ecstasy of carnatic music that she was capable of,it was a voice with a categorical winning effect by simply taking the music lovers on an exotic journey along with her singing core.In this regard,she always remained unbeatable,through out her film  music career .We miss her today,though her Sharp and sterling voice will be ringing in our ears.
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My Memories of A.Nageswara Rao,The Legendary Telugu Actor.

     Telugu Film industry holds the proudest position among others,in contributing its best to Indian Cinema, both in terms of number of films and extensive quality enrichment, in all spheres of creativity on the film front.Aesthetic sense,impressive narration,appealing characterization,variety of theme focus and exotic action bonanza have always remained the special attributes of Tollywood.Telugu film makers have the special mark of making mythological movies with precision,divine thrust and amazing power of music.Even during times of inadequate technical advancement it was Telugu Film fraternity that effectively introduced trick shots fabulously devised by its technical crew. My childhood days in particular, abounded in visiting touring talkies for watching Telugu films dubbed in Tamil.It fed my imagination with lot of matters of myth and reality.Actors born with a perfect face for playing gods on screen, excellently captivated my childhood fancy.To mention a few names, veteran actors like N.T.Rama Rao, Kanta Rao and A.Nageswara Rao rightly filled the bill when it came to making a film on a divine subject.Of the three, N.T.Rama Rao became synonymous of Lord Krishna and Rama.But the third name in the list, stood closer to the Tamil audience, more by playing characters for family and social themes and stories with charm and grace, than for myths.The fact that he is no more today,after a vastly spread film career,definitely creates a void not to be filled by anyone including his most popular actor son Nagarjuna.
     Not many Telugu films of A.Nageswara Rao were either dubbed or remade in Tamil.But the small number stays stronger in my memory not because of the films but because of the actor. I always felt this immortal Telugu hero is similar to our great Chevalier Sivaji Ganesan in making a grandiose impact on the viewers by perfect observance of performance norms with spontaneity and dedication in doing roles of different kinds with genuineness and understanding of character intricacies.I would say Devadas was the magnum opus of this magnificent actor.He made the character strike at the root of every one's emotion with the pang of a love lorn romantic youth.
    It was a character evolved through Platonic perceptions and in no way did Nageswara Rao deviate from the Platonic formula in role delineation.Devadas became a home name and no one remembered the actor.So natural was the pass over of the character base from the actor to the character that the character outlives the actor even today, thereby making the hero gain permanence by not projecting his hero image into the character that he played.
    Enga Veettu Mahalakshmi and Manithan Maaravillai were two fascinating family stories that would perpetually celebrate the memories of this astounding actor.Both these films carried a lot of scope for humour and the hero did not seem to require the help of a comedian to support the humour base.Nageswara Rao was one of those who could comfortably generate humour without losing his grip over a sobre situation.It was always a great pleasure to watch him being teamed up with heroines like Savithri and Jamuna.If it were an amicable wife he would be an understanding husband.If the spouse were a pampered woman he knew how to tame her.Family was a jolly ride for him and in the role of an endearing husband, he would excel without stooping to the level of an uxorious or henpecked husband.The other Tamil films of A.Nageswara Rao that I saw were Manjal Magimai, Maadharkula Manickam and Kalyana Parisu.The first two were again,fine family dramas and in Kalyana Parisu his role was minimal to appear in the climax as the bridegroom of the heroine who was the victim of  sacrifice of a deep love,helplessly given up for the sake of her elder sister who was also in love with the same man. Even here,Nageswara Rao was shown as a very friendly, understanding and decent man with a lot of respect for his wife. Thooya Ullam was a film of Nageswararao that I missed.
    It is of course a small space that A.Nageswara Rao shared with Tamil Cinema.But small is always beautiful.Dignity grace and sobriety were the yardsticks of A.Nageswara Rao as an actor.One could always remember him as some one closer to their hearts with warmth and unrelenting quest for aesthetics in acting.I had never seen him overdo the role, unless it was warranted by emotional contexts of histrionics.He essayed breezily the characters assigned to him and his dialogue delivery was soft and smooth;he sailed through emotions like a brook or a gliding star and never as a turbulent storm or fierce waterfall.He filled my imagination as an exalting,decent actor and my memories of him in this regard, will ever remain indelible, despite the fact that he is no more today.
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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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