Friday, September 15, 2017

The Dialogue Component of Tamil Cinema.

     If the story of a film is the skeleton,dialogues constitute its flesh and blood and characters bring life to the dialogues.In other words, dialogues and the actors who deliver them, become complementary components of the cinematic process. Each language has its special attributes towards expressing thoughts and emotions in a way that would make the power of language closer to its soil.Cinema as a creative medium became full fledged only when it came out of its silent movie days.The sound track of cinema is its soul, setting the process of communication as a prerequisite for transporting the events on the screen into the grasp of the audience, as factors of entertainment,enjoyment and enlightenment.
    Film dialogues delve into a comprehensive course of introspection and revelation of a galaxy of human experiences, in individual and collective compartments.However, dialogues find their relevance and magnitude,only when individuals come together as friends,families and wider social groups.The nature and quality of dialogues will vary, in terms of the social base and the contexts,generating dialogues.So a good dialogue writer should first take these two aspects into his mind and then formulate the right course of dialogue.A realistic and relevant study of the dialects of the respective regions of any language, becomes the most important criterion for dialogue writing, besides the family and social layers involved in the portrayal of themes and characters.
    As far as Tamil films are concerned,the pertinence and force of  Tamil language as film medium, gained its significance only during the Dravidian era.Till then Tamil was under the spell and impact of the Devanagari sound and script.If one has to talk about the grip of chaste Tamil trying to find its strong foothold in Tamil Cinema, one has to gratefully acknowledge the contribution of Kalaignar M.Karunanidhi for his forceful and enriching quality of Tamil dialogues that he wrote for films like Parasakthi,Manohara ,Raja Rani and so on.In writing dialogues he could be said to have surpassed Arignar Anna himself, by adding greater semantic thrust,twist,punning and alliteration, to the dialogues that he wrote.Even these days, Tamil film directors and actors proudly recall the powerful dialogues, from the fertile and fiery imagination of this great creative force, in Tamil Cinema.
    There were many films which were enriched by the dialogue component.Various dialogue writers with a right perception of the diverse strata of society and regions of Tamil Nadu, contributed their stuff to the most vital, dialogue segment of Tamil Cinema.For instance,many of the successful films of A. Bhimsingh, owed their grand dynamics of  narration to the probing dialogues of M.Karunanidhi, M.S.Solaimalai, Kannadasan, A.L.Narayanan, Aroordas, Javert Seetharaman, Jeyakanthan and several others .Of these,A.L Narayanan and Aaroordas made their long time, emphatic contribution as dialogue writers of many popular films.Jeyakanthan created indelible impressions as a meritorious fiction writer and it was actually his two critically acclaimed  novels Sila Nerangalil Sila Manidharkal and Oru Nadikai Naadakam Paarkiraal that A.Bhimsingh made as films and it was  these two films that were adorned by Jeyakanthan's dialogues.
    Later K.S.Gopalakrishnan not only wrote the screenplay and directed his films but also wrote gripping dialogues, reflecting the power of family values and the unique cultural base of the rural soil of Tamil Nadu.Some of his films specially treasured for dialogues are Karpagam,Panama Paasama,Kai Kodutha Theivam,Vaazhaiyadi Vaazhai and Kulama Gunama.Great actors like Sivaji Ganesan Gemini Ganesan, S.Varalakshmi, Padmini,Savithri and Pramila added life and vocal splendor to the dialogues penned by K.S.G.One of his most memorable dialogues from Panama Pasama is that of the words spoken by the heroine to her mother who hates her son in law and plans to do away with him"Mom, I have had of mothers who want their sons dead because they want to see their daughter in law a widow.But you are one who thinks that even if your daughter becomes a widow, you want to see your son in law dead"
   Unlike K.S.G who wrote dialogues in an open and direct form, his contemporary K.Balachander had his package of dialogues written in subtle and suggestive mode as well as in clear argumentative style, with a flair for rationalizing and modernizing the dialogue format.His dialogues for films like Punnagai,Major Chandrakanth,Iru Kodukal,Arangetram,Aval Oru Thodar Kadhai, Apoorva Raagangal,Thamarai Nenjam, Nootrukku Nooru,Thanneer Thanneer, Varumaiyin Niram Sigappu, Thappu Thaalangal,Puthu Puthu Arthangal and Kalki had a lot to suggest things through hidden meanings and punch in dialogues.Whereas his other films like Server Sundaram Ethir Neechal, Velli Vizhaa,Bhama Vijayam, Kaaviya Thalavi ,Poova Thalaiya and Sollathaan Ninaikiren, were full of direct thrust of words with their mind blowing meanings. 
    K.B's play with anagrams like 'life' and'file' in Iru Kodukal was discussed as an exceptional aspect of the dialogue form those days.In Arengetram the heroine would tell her mother. "There can be any number of skirmishes between a mother and daughter, but not that of two wives of the same husband, fighting over him."Similarly,in Sollathaan Ninaikirein, Kamalahasan doing the role of the Casanova, would proudly declare after seducing his last victim,"the last in the list is lost at last"This single utterance simultaneously brought out the filth of male arrogance and the ace director's ability to play with English words.It was no wonder that the driving pull of his dialogues and  his directorial excellence,fetched him awards for his films like Ethir Neechal,Iru Kodukal,Thamarai Nenjam, Apoorva Raagangal, Aval Oru Thodar Kadhai,Thappu Thaalangal and Thanneer Thanneer.
    A.P.Nagarajan took Tamil Cinema to a different level through his impressive dialogues written in pure literary Tamil format for his movies depicting religious and spiritual themes. His mega hit films like Thiruvilaiyaadal,Saraswathi Sabadham, Kandhan Karunai,Thiruvarut Selvar and Thirumaal Perumai bear clear testimony to his grasp of literary Tamil.He also handled colloquial Tamil with its local and contextual dialect varieties in these films as well as in his other films like Navarathiri,Thillaanaa Mohanaambaal,Vaa Raja Vaa, Thirumalai Thenkumari, and so on.In the peerless thespian skill  of actors like Sivaji Ganesan,Nagesh,T.S Balaiah, Padmini and Savithri and many others, all these films ruled to the roost, with Nagarajan's resplendent dialogues.The argument between Lord Shiva,played by Sivaji Ganesan and Tamil Poet Nakeeran portrayed by A.P.Nagarajan himself, showed not only the might of Nagarajan's creative mind but also his brilliant Tamil accent, intonation and clarity of utterances. Sivaji Ganesan as usual demonstrated the grandeur of his body language,with infallible verbal flair.
    Following these eminent dialogue writers there was a line of other qualitative dialogue writers like Sornam,Vietnaam Veedu Sundaram,Kaaraikudi Narayanan,Panju Arunachalam,Rama Arngannal,Valampuri Somanadhan,Malliyam Rajagopal, R.C.Shakthi,Madhurai Thirumaran,Visu,K.Bharathiraja K.Bhagyaraj, R.Parthiban, Liaqat Ali Khan,CrazyMohan, Vikraman, Agathyan K.S.Ahiyaman, K.S.Ravikumar,Bala kumaran, P.Vasu A.R.Murugadoss, Seemaan, Pandiraj and a few others. Most of them in this list have got awards for their dialogue composition. 
   But the present scenario is slowly changing with a clear shift in priorities from language heard to visuals expressed with minimum words.Most of Manirathnam films have dialogues less said, than visuals more seen.The slowness in dialogue delivery and the use of minimum words with maximum focus on wordless narration are the specialties of directors like Manirathnam.
  The last time we witnessed forceful dialogues were in Ramana and Thambi for which A.R.Murugadoss and Seeman wrote the dialogues, respectively.May be these days people do not want to listen to too many utterances in the place of impressive action play.Already language has shrunk on account of the social network exigencies.The decline of dialogues in Tamil Cinema is perhaps an indicator of the situation calling for the maxim"the less said the better"But let not film makers forget the fact that dialogues are the teeth of the film medium.If you pluck the teeth,cinema loses its power of place,by missing its focus on the sheen and charm of the human race.
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Friday, September 1, 2017

The Unconventional Hero of Tamil Cinema.





   

     Four decades ago, when Rajinikanth hit the big screen, he was considered to be an unconventional actor because of his novelties in portrayal of roles and his brave new style that broke the earlier conventions meant for donning the role of a hero.As a negative hero with ruffian roots, he created new waves and sensations and this soon began to create a new chapter in Tamil Cinema.But soon Rajinikanth was seen to consolidate his style components in acting, to become a conventional hero in the line of MGR and Sivaji Ganesan, besides capitalizing a favorable situation that transformed him into a Superstar.In the early years of the new millennium there entered another unconventional actor into Tamil Cinema, so far unrelenting to change his unconventional approach and that is the brave Vijay Sethupathi, born afresh, in each of his new releases.
      After playing insignificant roles in films like M,Kumaran S/O Mahalakshmi,Puthupettai, Lee Anjaadhe,Vennilaa Kabadikkuzhu,and Naan Mahaan Alla, he played the lead role in Seenu Ramasamy's award winning film Thenmerku Paruvakatru. Then we saw him in Sasikumar's 'Sundarapandian', playing a silent, negative role, with some excusable reason to be a baddie.At that time, no one would have thought that here was a person with his own hidden agenda for acting, with a grit to drive the audience imagination, to a maddening craze for seeing him more and more as a hero of unconventional stuff.Well, when the audience first saw Rajinikanth  playing the role of the sickly, docile husband of Srividya, in 'Aboorva Raagangal', who would have thought that he was going to  rock in his next film Monnru Mudichu with a rebellious and unconventional pull in his body language and dialogue delivery.This is how Vijay Sethupathi continues to haunt the imagination of the audience, by playing even serious roles with a self surrender, towards creating glimpses of a hero, without an iota of heroism and personality projections.There is a perennial store of innocent mischief in him, waiting to take a new avatar in each film.
      Film after film,Vijay Sethupathi's  irreverence to the conventions of hero norms, took him to greater reception and higher acclaim from the audience.There is an unending list of films like Pizza,Naduvula Konjam Pakkatha Kaanom,Soothu Kavvum,Idharkuthaan Aasaipattaaya Balakumara,Kadhalum Kadandhupogum,Sethupathi,Orange Mittai,Naanum Rowdy Thaan,Rekka, Dharmadhurai,Aandavan Kattalai,Kavan and the recent blockbuster Vikram Vedha. Most of the films fetched him awards from one source or the other.What is special about this new wave hero is the special impact he creates in not claiming to be a hero.In this respect he reminds me of Nivin Pauly of Malayalam Cinema.{His film "Action Hero Biju"is one big sample of his quest to crush the image of the action hero}.Vijay Sethupathi's big image is born of blowing off the projections of being a hero.When you break and crash the existing norms of the hero base, a new base is constructed and this new base takes wings like a phoenix and creates wonders.We do not know whether Vijay Sethupathi does it purposely, or it is his way of acting.But the end result is the fresh appeal and the new lease he has given to what it means to be a hero.
      There is always the layer of a thug in most of the role performances of Vijay Sethupadhi and there is ever a uniqueness in making the thug look clumsy and funny.Humor -blended negative role play, always carries a charismatic touch. Rajinikanth and Sathyaraj were successful in negative roles because of their singular stylish approach to display villainy.The Superstar's sense of humor began to reflect itself only from the film Ninaithaale Inikkum directed by the commendably professional K.Balachander. Whereas Vijay Sethupathi like Nivin Pauli, makes himself a butt of ridicule and silently pushes himself along with the character he plays,for an instant reach with the audience.No one can forget how he beautifully destroyed the rowdy image, in Naanum Rowdythaan. Even in the latest, wonderful movie Vikram Vedha, it is the fun impact during every encounter between the Cop Madhavan and the Rowdy Vijay Sethupathi that rules  every frame of presentation and makes the film a trend setting phase, in Tamil Cinema.
    As matters stand, Vijay Sethupathi  has come to be a broadly acceptable hero, without being a hero.How long this unconventional endearment will continue with the audience,will be decided by factors like difference in story line, characterization and the actor's unflinching motivation to preserve the ongoing gusto.However as on date, let us wish him well for a long journey through the Tamil big screen for being one of the most viable and desirable segments of the Tamil film industry. The number of entries he makes every year shows how much viable and desirable, this unconventional hero is.If this trend continues it will create new records for Tamil Cinema.
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Sunday, August 13, 2017

The Twirled Moustache of Thamizha.


 

                                                          Meesaya Murukku.jpg



     Aadhi known as Hip hop Thamizha in his twenties, has ventured upon a rap mixed genre of music with Tamil words bearing the Afro American musical notes, in association with his musical mate Jeeva. Flying his alien musical wings from behind the scenes he has now flown into the fairy land of Tamil cinema,After making some soundtrack contribution to films like Aranmanai,Aambala and Thani Oruvan,Aadhi has now come to display his versatile skills in acting ,composing music and dialogues and in direction through his debut film Meesaya Murukku,under the production of Sundar C, the multi faceted Tamil film personality.
    Films on School and College life, with their inherent attributes of ragging, friendship and calf love are there in plenty, as part of the variety component of Tamil Cinema.There were trend setting films on these aspects such as Late Balu Mahendra's Azhiyadha Kolangal and Thangar Pachan's Pallikoodam showing the vagaries of adolescence in different dimensions.Tamil cinema's entries on college campuses, are so numerous, that it would be quite a lot to talk about.Similarly movies on career aspirations have made indelible impressions through Vikraman's Pudhu Vasandham and Ajith's Mugavari.So this almost autobiographical film entry of Aadhi cannot be expected to make wonders with the audience.
  But still it makes wonders on one count.The courage of a man who is yet to see his thirties to take up the onus of too many tasks of film making on his shoulders and making his first project a watchable show, doing visible justice to all the tasks he has taken up. make the film a wonderful outcome.The most awesome thing is the impression he gives, as if he has acted in a dozen films and knows his job by the tip of his fingers.Each generation wants to do something different or at least do the same thing differently.Hip hop Aadhi hardly fails to deliver the relevant emotions in all the scenes.His dialogue delivery is absolutely natural and he dances at ease.His musical scores create the intended effect and his focus on the humor element of the film successfully takes the film on the humor track.So Aadhi succeeds both as an actor and film maker.
    The next positive aspect of the film is the role of Vivek as the father of Aadhi. From a Comedian Vivek has transformed into a character actor in the line of K.A.Thangavelu and Nagesh.The last time I fully enjoyed his comedy show was in Danush starring Uthama Puthiran.In Radha Mohan's Brindhavanam he appeared as himself and delivered a character role mixed up with humor. Vivek is one of my pet comedians and I do enjoy seeing him in character roles of this kind and talking proudly about the grandeur of Tamil.If only Hip hop Thamizha also comes out with songs like 'Thamizhan Enroru Inamundu Thaniye Adharkor Gunamundu' ,'Thamizhukkum Amudhenru Per' and 'Thamizha Thamizhaa Naalai Un Naale',it would add more meaning to the language and the race.Perhaps Hip hop Thamizha wants to take Tamil closer to the global instinct, by mixing Tamil words with alien tunes.May be this is what the new generation expects and Aadhi has presumably felt the pulse of his generation.With these factors in mind, let us congratulate Aadhi and welcome him as another valuable addition to Tamil Cinema.
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Saturday, August 12, 2017

A Unique Narration of A Cop and the Gangster Story.

                                             





                                       

                                                       Vikram Vedha poster.jpg

       Tamil Cinema has come upon quite a few captivating cop and gangster stories that have pointedly found an immortal place in the memory gallery of the audience.The recent sparkling addition to this category of films is Vikram Vedha, with no qualms other than that of not buying his life at the cost of his self dignity. starring the smart Madhavan and the ebullient Vijay Sethupathi. This  is another special addition to Tamil Cinema on account of the niceties in narration similar to those of M.Raja's Thani Oruvan. 
     In Thani Oruvan, all the cops of the team were upright and  the gangster{if you want to call him so} was ravishingly charming, with no qualms other than that of not buying his life at the cost of his self dignity. Whereas in Vikram Vedha,an honest cop unknowingly carries on an encounter mission with his untrustworthy team mates, which fact is brought to his mind, only at the fine close of the movie. The narration of the film might create the impression of being on the track of Vetrimaran's Visaranai,where again an honest cop is taken for a dishonest ride by the higher ups of the uniformed service he belongs to. However the gripping tragic climax of Visaranai still stays fixed in our memory, with a single line, suggestive audio in the dark, stating "both are over"which meant both the honest cop and the innocent victim of police atrocity were done to death.
    But what a natural and true- to -life portrayal of the cop that R.Madhavan comes out with.He is certainly a natural actor in the line of Kamalahasan at least to some extent.That the most fascinating chocolate boy of Alai Paayudhe and Run and the warring great guy of Seeman's Thambi does a great job as an amazing cop, takes the film to its deserving heights.From a cowardly cop in Lingusamy's Vettai, Madhavan has drastically moved on in to the role of a cop, in its neatest and most compact form ,with an absolute commitment to the police uniform {of course not wearing the uniform in any of the scenes}.
    For Vijay Sethupathi, who has grown by leaps and bounds as a new wave sterling actor,the role of Vedha appears to be an easy game and his casually impressive performance is no surprise to the audience.The three contexts with three different stories narrated by Vedha to Vikram, with suitable sub headings for the stories,are the most intelligent patterns of narrative technique adopted by the director duo Pushkar-Gayatri and become a telling factor for the refreshing quality of the movie.
  Both Madhavan and Vijay Sethupathi have effectively underplayed their roles and for this too, credit must be given not only to the two actors, but also to the two directors. Shraddha Srinath and Varalakshmi Sarath Kumar have convincingly contributed their might to the success of the film,by taking on very relevant female roles. one as the wife of Vikram and the other as the love interest of Vedha's younger brother Puli .The same should be said about Prem, who plays the role of the cop Sam and Kadhir, who appears as Puli,the younger brother of Vedha.
    There is not much music here, nor is it needed for a film of this kind.The movie is certainly not an entertainer.But it is a perfect sample of purposeful film making and another qualitative inclusion into the archives of Tamil Cinema, that would make an eternal impact on film lovers, without sound and fury. For all this, the director duo deserve a special pat,because they have meaningfully succeeded in creating a new narrative form, to an otherwise usual cop and gangster story.
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Tuesday, August 1, 2017

Sweet Mother Saranya















    This blog has to its credit two articles on motherhood as interpreted through character delineation in Tamil Cinema.The two articles were those that discussed the positive and formidable traits of motherhood and various artists like P.Kannaambaa,M.V.Rajammaa, G.Varalakshmi, Pandaribai, S.Varalakshmi, S.N.Lakshmi and Aachi Manorama  found their relevant place in those two articles.In recent days, another delightfully different  profile of motherhood has drawn the attention of film makers and the popular actress Saranya Ponvannan has got into this new profile, to reflect motherhood in modern dimension.It is the role of an understanding mother with a cheering and humorous attitude that has got into the creative imagination of film makers, for an appealing thrust.Interestingly, like all other previous films which mostly focused on the mothers of heroes rather than heroines,this new trend also lays its projection, only on the hero's mother, helping him out of his financial or love issues, either without the knowledge of her husband or against his interest.
    Saranya is the daughter of noted Malayalam Film director A.B. Raj who has directed about 75 films.She has acted in the films of all the four South Indian languages and is known for her flair for play back singing too. Saranya who made her entry into Tamil Cinema through Mani Rathnam's stupendous film Naayagan and was paired with Kamal in that film could not find a firm footing in the industry for doing a round as heroine.But no one can deny the fact that she got back in to the Tamil big screen as an enchanting mother, making every young man  long for such a sweet mother.From Jeeva's Raam till this day, she has adorned the spirit of motherhood, with meekness and dignity with an addition of humor component.
    As an energetic and understanding mother she has established a very unique position that enabled her to win a national award for her role performance in Themerku Paruvakatru. Even before this she secured another prestigious award from the Tami Nadu State Government, for her vigorous performance in Em Magan. Besides these, she has also won the Film fare award several times.
   She has acted with all popular heroes and exhibited the same amount of emotional equation and compassion reflecting the mother-son affinity with utmost involvement in role play .The vast line of heroes will include  Jeeva {Raam and Thenavettu} Bharath {Em Magan and Thambikku Indha Ooru}Vijay {Sivakasi and Kuruvi}Ajith {Kireedom}Vikram[as his elder sister in Arul and then as his mother in Thaandavam}Ajith {as his mother in Kireedom}Dhanush{Thiruvilaiyaadal Aarambam Velaiyillaa Pattathaari and Kodi}Udhayanidhi Stalin {Oru Kal Oru Kannaadi}M.Sasikumar {Kutti Puli}and Siva Kaarthikeyan { in Remo}.Among these films mentioned, Saranya's humor sense took an upbeat in films like Em Magan,Oru Kal Oru Kannadi and Remo.As a mother she has revealed a sense of absolute confidence in the courage and goodness of her sons, in films like Thenavettu and Kutti Puli.
    The most convincing element in her acting is the casual ease and spontaneity, with which she grasps the base of her character and makes an infallible access to the audience as a natural performer, with a right mix of  submission, warmth and self dignity, that constitute the grace and charm of womanhood and maternal grandeur.There were days when Tamil Cinema was proud of possessing at least half a dozen great women to don the role of motherhood.But today there is truly a dearth of talents to take up character roles, particularly those of maternal grandeur, with commitment and dedication.After the recent death of Manorama, there is certainly a vacuum in this specific domain of acting.No doubt Saranya fills this void both responsibly and beautifully, holding an instinctive frame of mind to embrace the supremacy of motherhood, with an extraordinary dimension of sweetness and modesty.    
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Sunday, July 16, 2017

The Comedy Time of Mayilsamy.


   










        It is not an exaggeration that small time comedians quite often create a sterling impact on the audience.This is how comedians like Kali N.Rethinam,Pulimoottai Ramasamy, Kottaappuli Jeyaraman,Usilai Mani,Omakuchi Narasimhan,Loose Mohan,Ennathe Kannaiah and Kumarimuthu created their memorable marks in spite of their brief appearances in quite a lot of films. Mayilsamy is one such comedian who has been stealing the show as the side kick of chief comedians like Vivek and Vadivelu. From the days of his 'Asathapovadhu Yaaru' programme  on the small screen,Mayilsamy has scored high, in performing brief but remarkable role play, creating laughable moments for the audience in a way that speaks of his grand grasp of time sense and compact deliberation of witticisms, coupled with a commendable capacity for generating comedy gusto.The other notable trait is his extraordinary mimicry potential.
      Mayilsamy who has so far acted in more than 150 movies,first appeared as a retailer's errand boy three decades ago, in Prabhu's early, popular film Kanni Rasi. Some of the  characters that he played, stay remembered over the years, for his mighty shows of comedy.They are, Netrikan Nerkunram {Thai Porandhaachu}Guduvancheri Govindasamy(Kandein Seethaiyai) Kochako (Dhool)Lighthouse Narayanan,{Ghilli} Tidel Park Venugopal {Thiruvilaiyaadal Aarambam}Alex Thambidhurai Napoleon,{Naan Avanillai}Santoshkanth {Uthamaputhiran of Dhanush}Marikkozhundhu{Veeram} Dr.Kuyilsamy{En Purushan Kuzhandha Madhiri}Mokkachamy{Paandi}and Retired Rowdy{ Gori- palayam}.
         Some of the scenes pointedly celebrated for his comedy gusto are, his translation of Srilankan Tamil into Chennai Tamil in Pennin Manadhai Thottu,his claim for a drunken hitch kike, with Pedestrian Vadivelu in Thimiru, his mischievous shuffling of Tirupathi laddu into a jilebi, quoting a fake government order of Chandrababu Naidu,to take gullible Vivek for a ride in Dhool, and the comedy uproar that he unveils at a bar with Dahnush and Karunas,introducing himself as Tidel park Venugopal and politely asking for cigarettes and pegs of drinks at regular intervals in Tiruvilaiyaadal Aarambam,  are a few solid samples of his power and reach of comedy.
    In Dhool he certainly exploited gullible Vivek to the maximum, to create the most hilarious moments, on account of Vivek's misconceived notions of the zodiac cancer and the disease cancer.In another film, the audience would have seen him talking to his sister like Paasamalar Sivaji Ganesan delivering a note of mockery with precision and rejoicing over his capacity for mockery.
     As a drunken lout with vigor for generating spontaneous laughter,he  excelled in films like Ghilli,Raja,Thimiru and several others.As a fake and fraud character he would perfectly fit in, any time. He has ever been a compact inclusion for roles such a fake swamiji,a casual watchman or security guard.One could really pity him for his inability to prove his genuineness and the hypocrisy of Dhanush in the film Uthamaputhiran. With Vivek, his flair for comedy received a unique stamp for creating instantaneous laughter .Pennin Manadhai Thottu,Dhil, Lootty, Whistle, Kandein Seedhaiyai and the ever great Dhool are a few memorable marks.The same way his rib tickling comedy parades with Vadivelu in films like Thimiru,Vaseegara,Giri, Rendu, London and Thillaalangidi need a special acknowledgement and accolade.
     Small and well built in size,but tall and stout, in kindling the laughter of the audience Mayilsamy has gone a long way with stalwart actors like Kamalahasan {Aboorva Sagodharargal, Michael Madhana Kamarajan and Vetri Vizha} Rajinikanth i{Uzhaippali,Sivaji,The Boss}Sathyaraj {Udan Pirappu,Villaadhi Villain} and Prabu Ganesan [Sentamizh Paattu,Duet and Thai Porandhaachu besides his first innings in Kanni Rasi}Ajit {Aasai,Raja,Veeram and Vedhaalam}and Vijay{Ghilli and Vaseegaraa} His name in Tamil,if translated into English, will read as Lord of Peacock.As a second level comedian, Mayilsamy has truly spread his beautiful comedy feathers to the most fascinating extent, to claim a singular place in Tamil Cinema.He could  certainly be called a first grade comedian because his comedy time has never failed to leave its indelible impressions, on the humor -hungry Tamil audience, despite the fact that he consistently performs comedy, holding his face as serious as possible.His best comedy moments are related to his gestures and vibrant articulation of dialogues.By first look, one would think that he is a serious person.But his comedy wings would take everyone into a world of surprising sense of humor, through gestures and dialogues, generating spontaneous guffaws.
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Saturday, July 1, 2017

The Crow Prefixed Actor

 














     Tamil Cinema is famous for actors with strange prefixes.Actors like Thengai Srinivasan,Bakoda Kadher,Thayirvadai Desigan,and Bonda Mani carry unusual prefixes as a peculiar mark of some character they played either on the stage or in films.One such actor who belonged to the old generation of Tamil Cinema is Kaakaa {Crow}Radhakrishnan who takes on this prefix from the film Mangayarkarasi, in which he was shown climbing up the thatched roof tops, to catch crows.
    Radhakrshnan was always a natural actor in the line of character actors and comedians like V.K.Ramasamy. He was ever identified by his characteristic husky voice which he beautifully modulated to deliver the intended dramatic effect.At the out set it would appear as if he had some voice impediment.But his dialogue delivery would make it a unique voice mold capable of causing a cutting effect thereby creating amazing memories as its scars, to remain as the indelible impression of a living experience.
   Radhakrishnan would  have acted in about fifty to sixty films.But most of his films were the popular ones.I first saw him in the great film Manohara that  remains as one of the most memorable films in historical fiction highlighting the most powerful and chaste Tamil dialogues penned by Kalaignar M.Karunanidhi and delivered by the ever great actor Sivaji Ganesan as powerful utterances .In that film Kaakaa Radhakrishnan played as the innocent son of T.R.Rajakumari,the whore plotting to usurp the Chola Kingdom.This remarkable actor had acted with Sivaji Ganesan in films like Thuli Visham, Ulagam Palavidham,Bommai Kalyanam,Chithoor Rani Padmini and later as the Chevalier's younger brother in the monumental film Thevar Magan. In fact it was Kamalahasan who reintroduced this potential actor to Tamil Cinema after a hiatus of more than two decades. Kamalahasan utilized Radhakrishnan's acting stuff, first in Guna and then in Thevar Mahan and later in the highly refreshing film  Vasool Raj M.B.B.S in which Radhakrishnan was offered a meaty role as the father of Crazy Mohan. As an aged asthmatic patient with a craving for the carom Board game, his role would have left a lasting impact on the viewers.
    Kaakaa Radhakrishnan had acted with MGR in Thaikupin Tharam and Thai Magalukku Kattiya Thaali.Among the next generation heroes he was happily associated with Prabu { Vietnaam Colony Mr.Madras and Middleclass Madhavan}Karthik Muthuraman{ Udhavikku Varalaamaa,Unakkaaga Ellaam Unakkaaga and Rojavanam, which gave him another memorable role as a forlorn senior citizen},Soorya {Poovellaam Un Vaasam and Unnai Ninaithu}Prashanth {Hello}Jeyam Ravi {Idhaya Thirudan} and Sarathkumar {Vinnukkum Mannukkum &Maayi}.Apart from these  heroes,two special directors like Mani Rathnam and Fazil have offered him creditable roles in their films Iruvar and Kadhalukku Mariyaadhai respectively.
   Most of the films cited, belong to the  notable category. A senior artist like Kaakaa Radhakrishnan deserved a better place in Tamil Cinema than he was actually offered.In fact credit must be given to Kamalahasan, for having recognized the latent talent of this wonderful actor who could be regarded as the strongest old chip of the nascent tree of Tamil cinema .It should be mentioned here that Kamalahasan also brought in, another forgotten actor called Kallapart Natarajan and gave him a significant role in the same film Thevar Mahan as the father of Revathi. The other senior actor who was restored to the Tamil big screen was Kulatheivam Rajagopal and it was actor director K. Baghyaraj who gave him this recognition, in his film Pavunu Pavunudhaan.
    Kaakaa Radhakrishnan's  special voice pattern  and his bold and big eyes were the glorious audio visual additions to Tamil Cinema.One would have seen Radakrishnan not as an actor performing his role in celluloid form, but as a living individual trying to pass out of the screen and deliberate with the audience as one among them.The other most striking feature of his acting style was his inborn mischief that would accompany his body language and dialogue delivery.One such sample is the way he would touch his hair while  attempting to mention the name Mayil Ravananan as if he misheard the name as Mayir [hair}Raavanan in Saran's film Idhaya Thirudan. So effortless was Kaakaa Radhakrishnan, in delivering his roles and so difficult it would be for the nostalgic audience of Tamil Cinema, to forget this simple actor with a salient acting calibre.
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