Sunday, January 26, 2014

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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Tuesday, January 14, 2014

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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Saturday, January 4, 2014

The Vagai Storm of Tamil Film Comedy.
















      Starting from the days of N.S.Krishnan,Tamil cinema has come across comedians of different looks and calibre at various times. There were, ever lean comedians like Ezhumalai, Chandrababu, Friend Ramasamy, Nagesh,Surulirajan,Loose Mohan and Omakuchi Narasimhan and burly or bulky comedians like T.S.Dorairaj,Kottapuli Jeyaraman,Pulimoottai Ramasamy and Usilaimani. The other list of actors who with their normal constitution,substantially took care of the comedy side of Tamil Cinema includes actors like K.A.Thangavel,A.Krunanidhi,Thengai Srinivasan, Cho Ramasamy, A.Ramarao, otherwise  known as Appulaachaari, S.V.Sekar, Y.G.Magendran, Goundamani, Senthil, Vivek,Karunas and Santhanam.But there is one actor who made his debut as the thinnest comedian and slowly grew in size, stature and popularity. Quite often he took the audience by surprise through a stormy exposition of talent not only for generating humour but also for expressing a variety of emotions in their original form. It is his native touch and rugged sense of humour that have carried him through on a track of steady growth. This vastly talented comedian called Vadivelu is greatly known as Vagaipuyal {the storm of  the Vaigai river}because he hails from Madurai where the Vaigai keeps flowing.
     The humour waves of Vadivelu have been surging as naturally as the waters of the Vaigai dam. Though credit goes to director-cum-actor Rajkiran for introducing Vadivelu to Tamil Cinema,the fact that Vadivelu has grown by his own efforts, as one among the greatest comedians surpassing competitions at various levels in various forms, becomes a stamp of recognition for his extraordinary potential to convincingly portray humour on the big screen without a trace of impediment on his part. Vadivelu has ever been dynamic both in individual and collective show of the gusto of comedy with accurate time sense and amazing body language. People who saw him dancing for the song ''Poda Poda Punnaakku'' wearing just a piece of loin cloth, in Raj Kiran's 'En Rasaavin Manasile' would never have thought that he would reach the stage where he is today. His lean body frame and black complexion did not and could not obstruct his spontaneous delivery of acting. He could dance like Nagesh, deliver dialogues like K.A.Thangavel and sing like Kalaivaanar. So he is three in one. It is this unique aspect that has projected him as a classic comedian.
     Vadivelu is a special kind of comedian, in the sense that he can excel both in verbal and physical comedies with equal degree of comfort.In most films Vadivelu has taken prefixes along with the names of his characters such as Veecharuva Veerasamy {Rajakumaran}, Kuppai Thotti Govinda samy {Minor Mappillai},Oomathurai P.C{Gambeeram}Kaipilla,{Winner}Telex Pandian {Ennamma Kannu},Vibration Vadivelu {Baghavathi},Encounter Ekaambaram{Marudhamalai},Bullet Paandi{Koil}Theepori Thirumugam {Englishkaaran} Naai Sekar {Thalai Nagaram} and Snake Babu{Aaryaa}.What makes his comedy scenes very powerful, is his vigorous voice modulation quite often in the line of Madurai slang. He has hardly lost his space to any comedian, be it Goundamani-Sendhil or Vivek, when it comes to a joint performance.
     In films like Pongalo Pongal and Manadhai Thirudivittai, he proved to be a perfect foil to Vivek, maintaining his competitive spirit in every scene. He would have bowed to Goundamani like Sendhil, only to take Goundamani for a ride later. But it is only as independent comedian, he has risen to an enormous stature, ruling the audience to the roost. His success formula in this regard, has been effectively framed in a kind of team spirit with heroes like Paarthiban, Arjun ,Vijay, Suriya and Prasaanth.The verbal banter  between Parthiban and Vadivelu or between Arjun and Vadivelu has been immensely captivating, sometimes taking the viewers, to the zenith of laughter.Though Vadivelu appeared in a few scenes with Rajinikanth in Muthu, it was in the film Chandramugi he made highly hilarious scenes, in company with the superstar. Most memorable laughter waves prevailed in Chandramugi, as in other films like Winner, Giri, Marudhamalai, Otran, Vetrikodi kattu, Friends, Thimiru, London, Thalai Nagaram,Enga Anna,Yei,Poekkiri and Aadhavan,to mention a few.
    The present hiatus of Vadivelu is nothing but a political accident. He has definitely created unbeatable records of kinds, through his comedy specials. He kept the audience consistently energized and relieved from mood swings, by his innovative humour therapy, carefully contrived and devoutly delivered. Unfortunately, his flair and capacity for an unlimited flow of humour, was stalled later, by his fatiguing focus on a repeated course of physical comedy. It is Vadivelu among all comedians, showed the guts to act in dual roles in a film based on a royal story line. Though it was a parody type of movie, Imsai Arasan Irubathumoonraam Pulikesi, directed by Simbudevan of the Shankar School, showcased Vadivelu in both humorous and serious forms, making indelible impressions, thereby making the film a commercially viable project.
     The movie on the whole and the performance of Vadivelu  as hero in particular, created the impact, that the original version Uthamaputhiran, starring Chevalier Sivaji Ganesan had created long ago. Nagesh had acted earlier in dual roles in Anubavi Raja Anubavi but that was out- and- out a comedy parade. Whereas, Vadivelu played his dual roles differently, for a gorgeous show of events and he did create a fine impression for that special mock epic. No one can say no to Vadivelu singing and dancing. In character roles, he proved his mettle much early, in a convincing performance in the role of Esakki in Devar magan. Unlike Vivek and Santhanam, he has acted both with Kamal {Singaravelan,  Devar Magan and Kadhala Kadhala}and Rajini. He has been a special favourite of directors like V.Sekar, Hari,K.S.Ravikumar, Siddique,Sundar C. and Sankar.Similarly, he has been comfortable almost with all kinds of heroes, holding the top and middle level positions.
     However, it should be stated here, that he has always been more popular with the rural block, than with the urban audience. As the larger audience consists of those from villages his success graph has been consistently growing upward. He has no messages to offer like NSK or Vivek. What he does is mostly a street show of comedy demonstration, either in isolation or in a group; at times, he would resort to bullying tactics but would ultimately surrender when he finds himself cornered and his escape chances go high and dry. It is always a delightful thing, to watch him in a pitiably gullible crisis, getting roughed up by others. What makes such scenes exulting, is the way he bullies and is finally cowed down.   
    Vadivelu’s innate passion for humour and his conviction to make the audience laugh,firmly place him on the higher slot, among the present day Tamil comedians, with his infallible trademark of laughter programme. One could accept without any grudge, the adage Vagaipuyal, that has been added to  his name, with relevance and truth and without any exaggeration.
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