Saturday, April 26, 2014

Three Felicitous Tamil Playback Singers, from Other Regions.

















      Tamil film music was known for its native glory, during the founding years of Tamil Cinema. Apart from tunes and different genres of music composition, songs those days had the special identity of native accent, besides carrying the base of lyrical grandeur. Tamil songs emanating from the core of the soil, were categorically distinct from those of other regions, on account of the emotional undercurrents symbolic of the Tamil language and because of inspiring singers like  M.K.Thiagaraja Bagavadhar, D.K.Pattammaal,P.U.Chinnappa,M.S.Subbulakshmi,Dhandabani Desigar, T.M.Soundarajan,Sirkazhi S.Govindarajan, C.S.Jeyaraman and Thiruchi Loga nathan.All these native singers, articulated Tamil with utmost precision in accent and without a trace of vocal error. Subsequently, persons from the Malayalam, Telugu and Kannada regions became Tamil play back singers, taking Tamil Film music to newer dimensions, though precision in Tamil accent was a bit missing here and there, in the case of one or two singers like P.B.Srinivas and K.J.Yesudas.
     Many of these singers from other regions added memorable and immortal songs into the Tamil Film music gallery. Then, during the closing years of the last century, singers from regions like Mumbai and Nepal, gave their own felicitous wings to Tamil film songs, fetching a mood of ecstasy to the listeners. In this list, we are fortunate to have a fabulous singer like Asha Bhosle, whose melodious number'Shenbagame Shenbagame' and the ever rocking song 'September Maadham' could simply exalt the mood of music lovers with boundless joy.     
       In the recent two decades, three singers,two from Mumbai and one from Nepal, have significantly contributed to the enhancement of quality, of Tamil film songs.As a matter of fact, all the three singers are endowed with an exquisite nasal tone;but even here, the nasal fabric is distinctly identifiable by a considerable alien charm in one, a gliding,zig zag tone in another and a bold open wield in the third.The first voice frame referred to here, belongs to the fascinating Nepal-born singer Udith Narayan and the second and third are that of Hariharan and Shankar Mahadehevan, respectively.
      The Nepali tongue is naughtily felicitous, with an incomparable energy quotient creating a possessed feel.It is the strange Tamil accent in his voice that is alluring. Words like 'Parvaayillai' for 'paravaayillai'{the song Kaadhal Pisaasu from Run}and the peculiar mode of utterance of the proper noun Eswara in that song from Kannedhire Thoenrinaal,make Udit Narayan a singer of unusual charm.Be it a duet song, or a chorus number his voice reaches our ears with a magnetic appeal.Songs like 'Kokkara Kokkarekko',{Ghilli}'Achacho Punnagai'{Shajahan} 'Vaadiyamma Jakkammaa' {Thirumalai}'Kuluvayile' {Muthu}'Rani Rangamma' {Padikkadhavan of Danush}'Sahaanaa Saaral' {Sivaji}'Thein Thein' {Kreedom} and 'Engeyo Paartha Mayakkam'{Yaaradi Nee Mohini},with an enchanting nasal sweetness, remain an eternal aural treat.His other popular number'Romeo Aattam Poettaal' sung along with Hariharan from Mr.Romeao abounds in gusto and wield. Udit carries an alien fascination in his voice, that makes his rendering of songs, totally different from that of others. Precision of Tamil pronunciation may be found wanting in his songs, but it is this lack of precision that lets in, an exquisitely delightful trait in rendition.
       Shankar Mahadevan,the bold voice from Mumbai,has the exuberance and might to govern our ears with force,clarity and energy.I am an ardent admirer of the magnificent thrust in his voice and three of his mighty songs that always keep ringing in my ears are his 'Enna Solla Poegiraai'{Kandukondein Kandukondein}'Neeya Pesiadhu'{Thirumalai} and 'Thaniye Thannandhaniye'{Rhythm} and the energy packed casual song ''Machan Peru Madhura'' from the film Madhura.He has a stentorian voice like that of TMS and the striking difference is the nasal tinge like that of M.K.T.In a way,to me,he seems to carry the magical charm of both M.K.T and T.M.S.A song like 'Varaaha Nadhikkaraiyoram' {Sangamam} would easily bring to one's memory a nostalgic feel of the voice of M.K.Thiagaraja Baagavadhar. He can deliver vigorous kuthu songs like 'Allthoetta Bhoopathi Naanadaa' {Youth}'Sarakku Vachirukkein'{Shajahan} 'Manmadha Raasaa'{Thiruda Thirudi}and 'Maambazha maam  Maambazham'{Pokkiri} or a breezy duet like 'Aasai Aasai' {Dhool}with convincing zeal and enchanting appeal. Mahadevan who seems to have sung more number of songs for Vijay films, genuinely fulfills the musical expectations of the new generation.
       Hariharan on the contrary,has a travelling voice, rolling joyously for a while, making roller coaster movements with a gliding sense,taking U turns or zig zag tilts in a manner of music, known only to his instinct.Be it the most soothing melodies like 'Konja Naal Poru Thalaivaa'{Aasai}'Thamizha Thamizha'{Roja}'Yaarindha Devadhai'{Unnai Ninaithu}'Telephone Manipoel Sirippaval Ivalaa'{Indian}and 'Vennilave Vennilave' {Minsaarak kanavu}or the tremendously mind piercing high pitch renderings like 'Uyire Uyire' {Bombay} and 'Vidukadhaiyaa En Vaazhkkai' {Muthu} his wriggling,soothing and disarming voice carries an amazing style and charm in rendition. Like the fabulous Hindi Playback singer Mukesh,Hariharan's voice keeps on digging and filling and digging again for a refill.It creates a longing for his voice to visit our souls, for an aesthetically enhancing experience.The two songs,'Mazhaithuli Mazhaithuli' and 'Aalaala handa' from Sangamam for which he shared his voice with M.S.Viswanathan, reflect the vocal potential that Hariharan is capable of,to compete with the boundless high pitch of that veteran music director. Some of the other fascinating numbers of Hariharan are,'Aval Varu vaalaa' {Nerukku Ner} 'Kandu kondein Kandukondein'{ Film with the same title}'Romeo Aaattam Poettaal' {Mr.Romeo} 'Vaaji Vaaji'{Sivaji} 'Thaaliye Thevayilla' {Thamirabarani} 'Aiyyangaaru Veettu Azghage'{Anniyan} and 'Amali Thumali' {Ko}.The softest and fantastically framed voice of Hariharan, with its mild nasal undercurrent, causes an electrifying sense, that can hardly be replaced by any other voice.Both Hariharan and Shankar Mahadevan appear to be the favoured singers of A.R.Rehman and both have proved to be the extraordinary brand ambassadors of a new variety of music .
     These three singers have injected in each one's way,a rejuvenating and exalting sensuous ecstasy by their independent and mind blowing contribution to Tamil film music.They have infused new trends in their vocal representation of the dignity and supremacy of music, over other parameters of our routine.They deserve a special acknowledgement, as distinguished providers of empowering, as well as, enslaving music.
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Tuesday, April 15, 2014

A Malayalam Film That Marks a New Beginning. {Philips and the Monkey’s Pen}

                 

                           
    The Monkey’s Paw  is a horror short story,  written by W.W. Jacobs with a theme cautioning human beings not to play with their fate. The monkey’s paw  in that story was nothing but a jinx. But the  Malayalam film ‘Philips and the Monkey’s Pen’ released in 2013 does not have any such horror base. On the other hand this critically reviewed film, seems to sing a  corrective melody with a variety of themes, as notes and ragas. One would initially feel a bit confused about too many layers getting into a single narration. One would  even doubt if it is a  historical anecdote or a mythical mystery or a social malady the film is trying to project.
     A few vital factors, as life’s standard norms, are focused without raising the volume of the  didactic voice. One is about truth and falsehood. The clear statement is ‘Truth might appear to be bitter, but falsehood is too sweet to taste’. The second thumb rule  is, one should solely depend on oneself to come up in life. The other refreshing perception  is  about the demarcation of learners into meritorious, mediocre and mischievous categories with their respective percentages of 20+60+20  and with a categorical emphasis on the last segment, becoming memory pointers and value indicators for an Alma Mater.
     Aggressive adolescence, has been the chosen theme of a small group of film directors of all languages. This film made me a considerably  nostalgic about late Balu Mahendra, whose ‘Azhiyadha Kolangal’ that  came in the Nineteen Seventies, created indelible impressions of the vagaries of adolescence, through a different mode of narration. Recently the Tamil film Pasanga,directed by Pandiraj, also dealt with memorable adolescent  days at school with an inseparable mark of mischief and pranks and the freshness in narration made the film eligible for a National Award. The concept of drawing a longer line, parallel to an already existing line in order to make it smaller, owes its courtesy to director K.Balachander ,whose title and theme impressively discussed its significance in the film’ Iru Kodugal’.
    The major plus point of the film ‘Philips and the Monkey Pen’ is its overall aesthetics in presentation that includes the natural role play of all the kids, particularly the cute little boy playing the role of Ryan Philip, {Master  Sanoop Santhosh}with consummate understanding of all nuances of acting, the exuberant photographic grasp of human mood and natural landscape, the commendable underplay of  a compact father character by Jaya Soorya and the integrating musical elegance.All these fascinating components of the movie raise it to its deserving heights. Should the beginning of a reformed behavioural pattern  always be preceded by the death of a loved one? The death of a girl student in an accident involving the school bus, becomes a prompter for sermonizing  on parental and social responsibilities, besides forcing an already reforming delinquent, to introspect.
   The Mathematics teacher’s change over from a conventionally flawed approach to one of ripeness in dealing with victims of formative age syndrome, could have been pictured in a little more acceptable way, than as a casual course. But the teacher throwing a party to his wards even after losing the competition, certainly adds a fresh dimension to the change over, that spontaneously drives Ryan to confess  his act of making a phone call to the police, in order to  falsely implicate his teacher by using the latter’s mobile phone.The boy’s crying aloud on account of  compunction comes as a genuine follow up, sharply reflecting his sense of shame and guilt. The other unusual aspect of the film is, the avoidance of blaming parental pampering or negligence, as the sole reason for adolescent misbehavior. After watching the film one would certainly carry solid memories of the events on screen, vibrating deeper some where in the mind, accompanied by a sense of fulfilment of  seeing new talents, getting ready to conquer cinema in its original creative form. It is not that easy to forget this film. In this regard  I am sure, the duo Rojin Thomas and Shanil Muhammed have made  a clean start.
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Friday, April 11, 2014

An Ever Delightful Malayalam Hero.


















     The quality of Malayalam Cinema stands high, not only because of its vital roots of creative brilliance,sprouting its exalting themes and unique style of narration, but also due to the wholesome contribution of a commanding line of heroes, at every point of time.The post independent years witnessed the magnificent show of mighty heroes like Prem Nazir,Sathyan,Jeyan, Sugumaran, Madhu and Barath Gopi.During the Nineteen Seventies, there emerged another batch of greatly talented heroes like Mammootty, Mohanlal,Suresh Gopi,Jeyaram and Mukesh. Within a decade or so, there was a stream of next generation heroes like Dileep, Jaya Soorya, Prithviraj, Indrajit,and Kunchacko Boban. Of these, the first name has established a specially appealing impact, through a distinct style of acting.
     Neither well built with macho norms like Mammootty,nor fascinatingly vibrant like Mohanlal, neither charming like Jeyaram,nor tall and smart like Prithviraj,but combining the best in every one of them,and gracefully adding pep and dynamism to character portrayal,Dileep stands out as a special Malayalam hero,fit to become a member of every Malayalee family.He could be called the most endearing hero of Malayalam Cinema.Who among all Malayalam heroes,has given the best of comedy core like Dileep?While Suresh Gopi would certainly find himself uncomfortable on the comedy track, Mammootty's breezy reflection of the comedy feel, could be beautifully realized by his casual ease of character portrayal, in films like Pranchiettan and the Saint,Kammath& Kammath and Thapanna,Jayaram's  humour path takes credit for his timing of jokes and facial expressions causing laughter explosions.
     Mohanlal's versatility never excludes the humour side {like Kamalahasan in Tamil}and he does it effortlessly through his characteristic style of dialogue delivery. Mukesh is another hero capable of generating vibrant comedy moments. Prthviraj is generally serious in role play, but in the recent years,he has also been sincerely comedy prone{like Vijay in Tamil}.But no Malayalam hero has so far grasped the fundamentals of different types of comedy, like Dileep. He has at his beck and call, the mood changing magic of acting.He can put together physical comedy, contextual comedy and comedy of witticisms and perform with utmost credibility, in providing comedy of the ISI brand.
    What makes most of Dileep's films a delightful watch, is the compactness in fitting the character to the original design.It is this element of compactness in the evolution of the protagonist of each of his movies, that enriches the overall quality of its final outcome.He not only has a middle level body frame but is also a middle level hero, without any assumptions, but with a high degree of perception of the magnitude of a character and its maximum impact on the minds of the audience. He never deviates from the main task of entertaining the film watchers, to the best of his ability.He is one hero, who knows the opportunities to perform well,without ever bypassing the yardsticks of the character's journey, along the stipulated story line and he does this, by a perfect understanding of the dimensions of the character.But he finally fixes the character for its journey, on the Dileep track.It is a broad gauge track, with an even mix of all the entertaining ingredients like comedy, sentiment,action and aesthetics.This is why, even in a story of sobre romance like Chandran Udhikkunna Dhikkil,he could envisage a seamless blend of the Dileep comedy special,to a tale of love disappointment that calls for sorrowful reminiscences.He could not miss his comedy mark even in family dramas like Vinodha Yatra and Kariyasthan.
    The biggest asset of Dileep is his light mindedness and cheering profile.In this particular aspect he could be compared to the Tamil director-cum-actor,K.Bagyaraj,whose geniality and bonhomie in character presentation, made him a special category of hero.Incidentally,it was K.Bagyaraj who led the jury that conferred Kerala State's Best Actor award for Dileep's performance in 'Vellaripraavinde Changadhi'.One could pretty much see a beaming sense of well being, in all the characters portrayed by Dileep.You can not call this levity.But he is an exuberant actor and he can never hit you like a storm and upset your mood. Throughout the time of watching his film,he will make you feel his presence, as some one closer to you,sitting beside you, at the time of movie watch and goading you to enjoy the film without missing any portion of it.He will not tie you to the film with a firm grip, like Mammootty or hug you every now and then, like Mohanlal, through a dialogue pattern, shuttling between emotional heaviness and soothing sedation of humour.The presence of Dileep is mostly within you and beside you, throughout the movie's length and breadth.
    Every hero has their mark of individuality and ability to perform in a manner that would bring them a kind of invincible identity in the long run.More than the award winning potential of an actor, it is the continued flair for maintaining, an inspiring and endearing role play, that guarantees a historical place for a hero, in the film industry.A good hero should make the audience feel that he is there at all times and can not be written off.What is the use of getting a few awards and then disappearing from the scene?Heroes like MGR and Sivaji Ganesan are still there in the thoughts of the Tamil audience.They have found an immortal place in the annals of Tamil film history. Energetic and exemplary heroes like Rajinikanth,Kamalahasan,Mohanlal and Mammootty not only have the capacity for winning  awards, but can also make a long career without dent.But a hero who always makes the audience happy by his endearing presence, besides getting awards, is definitely different.It is in this respect Dileep is distinct.
     I would have watched more than one third of his films that include all his best.Of these,Meesa Madhavan,Paappy Appachan, Paandippada and the latest Kammath&Kammath will be my all time favourites.I admire his impressive role performance in films like Spanish Masala, Ishtam, Vinodha Yatra,Vettam and Kalyana Raman.Some of his action films like Bodyguard, Runway, Chess,July4 the multi- hero film Twenty Twenty and Lion are well marked for speed and tempo in narration. Though his performance in Chaandupottu has fetched him an award I somehow did not like the film.Nor was I inspired to continue watching the film Sound Thoma. May be I do not want to see a hero capable of  a self ridiculing mode,to be seen in a further unpleasant or ridiculous form.
    I would not rate him as a conventional romantic hero{His Spanish Masala is an exception].To me he is an action hero, with an inbuilt grit to generate grace,grandeur and dynamism, incorporating several layers into a single character and unfolding them one after the other, for a broad spectrum of histrionics.This is how he succeeded in clinching his delivery points, in several action films and action -oriented family dramas.His dancing core,fighting style and capacity to adapt dialogue, perfectly to the emotional context, make him an all rounder, as far as the action genre is concerned. The most significant and indisputable fact is, his position as the hero of many commercially viable projects on screen. Dileep must be the favoured hero of directors like Lal Jose,Joshy,Priyadarshan and Rafi Mecartin. He has also worked under other eminent directors like Kamal,Sibi Malayil, Lohitha Das,Siddique,Thomson K.Thomas, Rajasenan,Vinayan and so on.He has done a movie for Fazil too.He has been convincing, as the younger sibling of Mammooty{Kammath& Kammath} Mohanlal{Twenty Twenty}and the dauntless Tamil hero Vijayakanth {Rajjiyam}.Most of his contemporary heroines have been his perfect pairs of whom, Kavya Madhavan needs a special mention.
    It is in the police uniform,Dileep has not yet made an impressive show like Mammootty,Suresh Gopi and Prithviraj. His CID Moosa was just a comedy parade as a private detective.The other film 'Inspector Garud' that came later, was not a straight police story and the diversions and deviations in the narration of events, failed to make a focus both on the main character and the theme. However, having  done one hundred films within a fairly short period,Dileep is bound to reach newer heights not only in numbers but also in grasping enviable levels of quality performance, without losing his strong base of being a lovely and lovable hero.His felicitous and breezy mode of character delineation, will continue to push him up the cinema ladder.His action and comedy parameters, will remain fresh for a display of unseen proportions, presenting a periodically updated version, of this Malayalam hero of myriad shades.In all Celluloid parameters,Dileep is an ever delightful hero, on the Malayalam big screen.
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Tuesday, April 1, 2014

The Success Story of Sathya Movies.
























     Every film production house has its stated and implicit objectives towards accomplishing entertainment norms and audience satisfaction.This blog already carries articles on the two gigantic production houses like the AVM studios and Gemini Pictures.There are articles on the Devar Films and  the Modern Theatres too.The other famous production unit that has made history in Tamil film Industry is the Sathya Movies, once proudly managed by RM.Veerappan. This unit owes its genesis and victory chiefly to the most popular mass hero MGR who contributed directly and indirectly to its strong base and steady growth.In other words it was under his blessing and stewardship,the Sathya Studios[the name Sathya forming part of the name of MGR's mother Sathyabama}established its position as an astounding film making institution.
      The victory march of Sathya Movies,started with its very first film Dheivathai,starring MGR and Sarojadevi.This film had several distinct features.It was the only film of MGR directed by P.Madhavan.It was the only film of MGR, for which K.Balachander wrote the dialogues. This film was a blockbuster on account of its creditable story line,the twists and suspense in narration,its extraordinary music quotient,and the amazing character portrayal of MGR, S.A.Asokan, Pandaribai and S.V.Sahasranamam besides the charming deliberations of Sarojadevi.It was a police story involving crime,family sentiment and a clear focus on filial dedication,particularly to one's mother. This film perfectly adhered to the film making yardsticks prevalent in those days and proved to be an exemplary and extraordinary MGR hit.The second film 'Naan Anaiyittaal'of this production house was also an MGR film and captured the audience imagination with a theme of reform of wrong doers and MGR as usual played the role of a good man struggling to reform a gang of robbers.The songs of this MGR film,directed by Sanakya, also became great hits.
   There was another mega hit of Sathya Movies released in 1967 and the film was Kaavalkaaran, with MGR and Jeyalalitha playing the lead roles.It was again a police story carrying a great deal of suspense from the beginning till the end.For the first time, Nambiyar acted as the father-in-law of MGR but as an irremediable baddie waiting to be sent to jail by his son-in-law, anytime.The film was action packed showing MGR as a boxer at the very beginning of the film.Neat narration of an eventful story,subtle displays of the conjugal element and felicitous music, took the film to its great heights, making it a fabulous commercial hit.Then came 'Kannan En Kadhalan',another MGR Jeyalalitha film with a captivating story line that showed Jeyalalitha undergoing the trauma of one side love, coupled with a leg handicap, preventing her from dancing that she loved to perform. Vanisri was the other heroine of this film.The crime aspect without which, hardly any MGR movie could be thought of,was shown through the character of a criminal doctor, played by Asokan. Both these films were directed by P.Neelakandan. 
     Rickshawkaaran and Idayakkani were the other two Sathya movies films in which MGR played the hero.Both these films were amazing hits and MGR despite his ageing,was shown in brilliant form, with enriched looks and enchanting action zeal.While Manjula played the opposite of MGR in the former,Radha Salooja,a noted Hindi actress was his pair in the latter.The stories of both the films had a lot of scope for action, sentiment and social sense.In Rickshawkaaran,Padmini who used to be MGR's pair in his films released in the Nineteen fifties,performed as the hero's elder sister with her usual gusto.It was one of the limited number of MGR films, in which Major Sundarajan had a telling role performance.These two films were directed by M.Krishnan Nair and A.Jeganathan respectively.
    MGR being in active politics,Sathya Movies had to think of alternative heroes when they could not get his call sheets. Jai Shankar replaced MGR as a dynamic police officer in Sathya Movies Kannipen directed by A.Kasilingam and released in 1969.This film was highly acclaimed for its gripping story line and powerful narration. Sivakumar,who had already played as MGR's cousin in Kaavalkaaran,was again inducted almost in a similar role in this film. Vanisri and Lakshmi were the two heroines of the film though, as per the title,it could be said that Lakshmi was the main character of this film. After this film,Sivakumar played the lead in Vellaadu Vengai Aagiradhu and Arjun was the hero of  En Thangai .These two films were of course released when MGR had already become the Chief Minister of Tamil Nadu.
    Later,two other new generation heroes perfectly fitted themselves into the family of the Sathya Movies. They were Kamalhasan and Rajinikanth.Of the two,the superstar became closer to this film house because Kamalahasan did only two films, Kaakki Chattai and Kadhal Parisu of which the first was a grand success with Kamalahasan and Ambika adding glamour, dynamism and tempo, followed by Sathyaraj who brought in a new style of villainy by his inimitable freshness and gusto.Of the two Kamal films,Kaakichattai was directed by Rajasekar and Kadhal Parisu  went into the hands of A.Jeganathan.
    But it was Rajini, who after MGR, gave a successful series  of commercial hits under the Sathya Movies banner. Rajini began his association with Sathya Movies by a grand play of three roles in Moonru Mugam that was received and rated very well.His second movie was Thanga Magan, another run away hit. Ilayaraja's music was an additional strength to Thangamagan that did not leave out any of the trade mark features of the Sathya Movies' films.These two films were directed by A.Jeganathan. Rajini's Raanuva Veeran directed by his pet director S.P.Muthuraman, Oorkavalan made by Manobala and Panakkaaran by P.Vasu, were the other films produced by the Sathaya Movies.Each of them was recognized  for their different theme and narration of events.But Oorkaavalan was more impressive because of Ranjini's combined show of humour and gravity and Radhika's brilliant role play.
     However, after Thangamagan,it was the movie Baasha that hit everybody's imagination with forceful dialogues and Rajini's exuberant style of acting. Raguvaran's villainy after Oorkaavalan, was yet another prominent aspect of this film.Most of the scenes were pictured powerfully, elevating the superstar's image through catapulting his potential for a tremendous projection of his body language.Thus the film became another milestone not only in the career of Rajinikanth but in the history of Sathya Movies'film making.
    When Sathyaraj turned to play the hero after creating a fantastic record of villainy,Sathya Movies offered him two films.They were Mandhira Punnagai and Pudhiya Vaanam. Interestingly,for the first time Sathya Movies came forward to include Sivaji Ganesan in the film Pudhiya Vaanam,in which both Sivaji and Sathayraj performed as cops.It was a known fact that many film houses and directors of MGR{eg.Devar Films and The Modern Theatres} would hardly think of inducting Sivaji Ganesan in their films and Sathya Movies was no exception to this.The other fact here is, Pudhiya Vaanam was produced and released only after the death of MGR.
     A close observation of the films released by Sathya Movies will reveal one fact crystal clear.It is about the two mass heroes MGR and Rajinikanth who at different periods, became the true face of the Sathaya Studios for its success story.The other salient feature is the consistent spirit of adventure, popularized as an inherent layer of all stories taken up by this movie house for effective narration.Like the Modern Studios,Sathya Movies' films were one hundred percent action oriented with dramatic intricacies never sagging at any level of presentation.Like Modern Studios,this Movie House also inducted the stout villain actors R.S.Manohar and S.A.Asokan. Similarly,like Sujatha Cine Arts of K.Balaji,Sathya Movies' films were offered to different directors at different times.What made Sathya Movies different from others was its unique record of creating Silver Jubilee hits every now and then.Actors like V.K.Ramasamy and Thengai Srinivasan,were frequent additions into their films.The strongest and most indisputable thing about Sathya Movies was ever, the story line of all their films, that always kept the audience guessing about the turn of events with an inherent element of suspense.The presence of top level heroes like MGR,Jaishankar Rajini kanth and Kamalahasan facilitated the continuance of their success story.
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