Sunday, October 15, 2017

The Five Fabulous Roles of Sivaji Ganesan.


      'Give him any role,he will excel'.That was the acting spirit of Sivaji Ganesan,who was born with theatrics in his blood.He was the first Tamil film hero,to don nine roles in a single film and the film Navarathiri was a big hit.Like Oliver Goldsmith the illustrious English writer, who is said to have left not even a single field of literature untouched and whatever he touched he adorned,this great actor, would not have left any role not portrayed and whichever role he did,he did to his best.But there are certain roles which remain extraordinarily brilliant, making them timelessly incomparable.I am giving here five such roles that appear to me immortally magnificent.Of these, three are historical roles and the other two are mythological and spiritual.
    Fictitious characters are at times easier to play than any historical or mythological roles.This is because, the first type is more open than the latter.The pressures are usually more on an actor who attempts to play important historical or mythological and spiritual characters, that have gone deeper into the socio-cultural roots,as well as into the human psyche of a region. Tamil cinema has periodically visited some of the important historical events relevant to the Indian and Tamil soil with a view to throwing light on life's real time occurrences with verity and value.But all such shows do not yield the intended result on account of either poor narration or actors' lack of involvement in becoming the real life characters.Even Sivaji Ganesan's films like Ambikapathi and Chittor Rani Padmini became failures in bringing history back to life with its inherent layers of interest.
    But there are three historical characters that Sivaji Ganesan played as a poet,a provincial ruler and  a Swadeshi business man, that live as monumental roles purely because of Sivaji Ganesan's indisputable authenticity in role performance.Yes,as the ripe, Telugu Poet Tenaly Raman who was the incarnation of intelligence,Sivaji Ganesan demonstrated his highly committed acting skills with poise and perfection. In fact it was one of the earliest roles of Sivaji Ganesan. The movie was simultaneously made in Telugu and Tamil, with N.T.Ramarao doing the role of King Krishnadevarayar in both the languages,while Nageshwararao depicting the role of Tenalyraman in Telugu and Sivaji Ganesan in the Tamil version.
   Being a Telugu remake with quite a few Telugu actors moving through the screen, the film did not reflect Tamil fragrance.But the fact remains that, it was Sivaji Ganesan who brought the film closer to the Tamil audience and made a Telugu poet pass through the linguistic barriers and become part and parcel of the Tamil soil. The film Tenaly Raman might not be said to have become a great hit.But the character Tenaly Raman got closer to the Tamil people, mainly because of the realistic presentation of role by the actor par excellence.
     Sivaji Ganesan who created dramatic waves by his very first movie Parasakthi, began to rule Tamil cinema not only through his verbal efficacy for lengthy ranting dialogues, but also through his credentials for natural acting. Tenaly Raman was an early sample of this marvelous actor's flair for underplay of characters with effortless humor and instant punch.Today if any one makes a reference to the historical character Tenaly Raman,those who know the days of nascent Tamil Cinema, would instantly fix Ganesan's profile on this historical figure of literary fame.
   After this film, it was no wonder that this actor whose body and mind were consummately made up of the acting stuff, spontaneously poured forth his entire energy levels for becoming Veera Pandiya Kattabomman,a provincial ruler who fought tooth and nail, against the British Raj and bluntly refused to be enslaved by the invading forces, indulging in a process of taxation and hateful enslavement.
    This epoch making film produced and directed by the Padmini pictures' B.R.Panthulu, was a Summer release in 1959 and was the first Tamil film to be made in Technicolor. Sivaji Ganesan became the personification of a firebrand rebel, stoutly raising his voice against the alien oppressive rulers,who came to India, in the guise of the East India Company.The story line for this war film was written by M.P.Sivagnanam,a famous Tamil scholar and political representative and the dialogues were written by Sakthi T.K. Krishnasaamy. 
    The force of the dialogues and the way Sivaji Ganesan uttered them made the film a lasting show of historical events on the big screen.Every aspect of the film was invincible and every actor made their role play precisely true to life.It was a block buster film and would ever be one of the most fabulous shows of Sivaji Ganesan.
   Following the victory of this film B.R.Pantulu was inspired to make another film based on some notable events that took place in Tamil Nadu as a close corollary to the Indian Freedom Movement.This film Kappalottiya Thamizhan which was a Deepavali release of 1961,biographically narrated the life story of V. O. Chidhambaram Pillai,who founded a Swadeshi Stream Navigation company, to lift the image of India in the midst of the aggressive East India Company, which came to India under the auspices of the imperialist forces, to conquer and suppress both the business and freedom of Indians. Sivaji Ganesan lived as V.O.C. 
    Unlike in Veerapandiya Kattabomman there were no ranting dialogues in Kappalottiya Thamizhan.It was a black and white film,for which the story line was provided by the same M.P.Siva gnanam but the dialogues were penned by'Chitra' Krishna swami.Though the film was a moderate show, no one could fault the natural, down to earth performance of Sivaji Ganesan and the equally impressive acting of Gemini Ganesan,Savitri, S.V.Renga Rao,K.Balaji, S.V.Subbiah,T.K. Shanmugam and others.
   As poet Bharathi and as Subramanyam Siva S.V.Subbiah and T.K.Shanmugam gave a brilliant performance.The narration was so realistic that the scenes showing the last days of V.O.C and Poet Subramanya Bharathi brought tears to the entire audience at the theatres. Perhaps the low profile dialogues and the composed acting of the cast, failed to take it to the level of the very lively narration and vigorous action display witnessed in Veerapandiya Kattabomman.Though the film fizzled out at the box office, till date when one thinks of V.O.C it is Sivaji Ganesan with his turban would stand before them bringing to one's focus the aristocratic nobility,the righteousness in approach and the historically recorded commitment of V O C to the Swadeshi movement,as an inspiring force of the Freedom Movement of India.
    Besides the dazzling shows mentioned above,Sivaji Ganesan performed two other awesome roles,one from Hindu mythology and the other from the life of a divine Hindu saint. Sivaji Ganesan played both the roles with utmost veracity and credibility in looks and portrayal of emotions.The first one was that of the Surya Puthra Karna and the second was the sacred Tamil, Hindu saint Thirunavkkarasar also known as Appar.
   It was again B.R.Pantulu who made the outstanding mythological film Karnan produced under his Padmini pictures and released in 1964.While A.P.Nagarajan took up the screen play it was Sakthi T. K. Krishnaswami who wrote the dialogues for the film,after Veerapandia Kattabomman.This color film had most of the Kurushetra war scenes shot in outdoor locations in Jaipur.The film had an excellent cast with Sivaji Ganesan as Karnan S.A.Asokan as Dhuriodhana,N.T.Ramarao as Lord Krishna and R.Muthuraman as Arjuna.The female cast included Devika and Savitri as the wives of Karna and Dhuriyodhana respectively and M.V.Rajamma donning the role of Kundhi Devi,the mother of Karna and his half brothers the Panja Paandavas.
     Sivaji Ganesan as the most wronged and harmed Karnan, passionately embraced the character and literally made an outburst of his pent up emotions of anguish and despair,that necessarily formed the base of the characterization of the forlorn hero of the Maha Bharatha. He would roar against the injustice that was serially meted out to him and at the same time melt down the moment he saw his mother who disowned him.Charity,chivalry,and gratitude were the three major virtues that Karna, inhaled as his life breath and he remained as the incarnation of those virtues till his last breath. So perfect was Sivaji Ganesan's portrayal of Karnan in body and spirit, that words go wanting,if one tries to talk about this peerless hero's perfect role absorption of Karna.
   The fifth in my favored list is that of the character of the Tamil Savaite saint Thirunavukkarasar who was also called Appar. Sivaji Ganesan took up this role for A.P.Nagarajan's spiritually inspiring film Thiruvarutchelvar. It was one of the most difficult roles,even for a highly involved and talented actor like Sivaji Ganesan. Besides the flawless make up manual meant for the saint's aged looks,the excellent way Sivaji Ganesan imbibed and delivered the sacred intricacies and subtleties of the role, carried a venerable demonstration of the saint on the screen.
     The two songs"Pithaa Piraisoodi Perumaane"and ''Naadharmoodi Melirukkum Nallapaambe"were beautifully pictured to enhance the quality of portrayal, by creating saintly vibrations in celluloid form.In looks, gait and governance of words,Saint Appar was unquestionably reborn on the screen.I doubt if any other hero could have succeeded to this extent, in taking the body and soul of a saint, closer to the audience.
    This article is born of my life long love and admiration for a Tamil hero, who frequently crossed the conservative,stipulated barriers of acting, to conquer the unconquerable.Though the much deserving Chevalier title was conferred upon him, it was really unfortunate that this high profile actor's grandeur was less recognized in India, in terms of awards and titles.The numberless challenging roles he took up to deliver, are all being listed and remembered only by Tamil film lovers, who are known for evaluating an actor's credentials mostly in terms of their emotional admiration for his/her inspiring and appealing portrayal of roles.
    While a majority of Sivaji Ganesan's roles were born of creative imagination,the five fabulous characters focused here,were reflective of history, mythology and Hindu spiritual reality.That Sivaji Ganesan made all the five characters revive and reverberate in the larger than life spectrum of cinema and that he left indelible impressions of those five roles,are the undying  wonders of Tamil film history.


Sunday, October 1, 2017

A Mellifluous Malayalam Actor.

       There are voices that vibrate like that of the Superstar, Rajini kanth.There are voices that conquer our ears in a mighty majestic frame, like that of Sivaji Ganeasan. But there are mellifluous musical voices too, that do not sing, but deliver dialogues in a soothing manner, making the hearing process a wonderful experience.If in Tamil films,we have had such a voice in Muthuraman, in Malayalam cinema it is the enchanting voice of Nedumudi Venu, that creates a mellifluous effect.Never in his dialogue delivery does Venu hurt the ears.The more he talks,the more lovely it is, to listen to him.It is not just an anguished tone but is also one of contextual control and authority.Besides,it is also a reassuring voice,a voice ever willing to comfort and console.
   I have not seen too many movies of this winsome character actor.The first I saw him was in Fazil's film Manjil Viringna Pookal {Incidentally it was Mohanlal's debut film too}.This was followed by Bharathan's Vishaali. Nedumudi Venu has been the most favored character actor in many of the films of Mohanlal. The list of films that I watched,would include Mohanlal's great hits like Chitram,HisHighnessAbdullah,Thalavattam,Then Maavin Kombath,Thacholi Verghese Checkavar,Bharatham Chathurangam,Akkare,Uncle Bun, Kaakka Kuyil,Madampi, AkkareAkkareAkkare,Devasuram,Spadikam,Thandavam
Life is Beautiful,Manichitrathaazh,Nirnayam,Mithunam, Pavithram,Alexander the great and the most recent Oppam.
   With Mammootty, Venu's entries do not appear to be many.I could only recall films like Lekheyude Maranam Oru Flash back,The King and the Commissioner and the most memorable Prajabadhi in which Nedumudi Venu played a very impressive, villain role.It is very difficult to imagine Venu in a baddie role,because his profile and pattern of acting would resemble those of the venerable Telugu and Tamil actor V.Nagaiah of the last century,who could breezily fit into lovable character roles.But Venu excelled as a villain too, making indelible impressions in every scene of the movie.
    Nedumudi Venu also seems to have found space in a good number of films with Dileep playing the lead.The latter's films like Ishtam,Vettam,Vinodha Yaatra,Maya Mohini,Sringaara Velan, Mr.Marumagan,Nadodi Mannan and Villaali Veeran had a notable role play for Nedumudi Venu.The first three films in the list, would find a special place in Venu's career.I am not here to talk about the favorable position that Venu enjoys with the heroes of Malayalam Cinema.But I am here, to categorically state,that Venu has certainly demonstrated an endearing camaraderie and warmth with Mohanlal in films like Chitram,Thenmaavin Kombath, Bharadham and Oppam.The team spirit between these two actors could be reasonably compared to the endearing rapport between Sivaji Ganesan and R.Muthuraman.
     What makes Nedumudi Venu as one of the true faces of Malayalam Cinema, is the element of poise in his delivery of characterization in almost all his films and the natural way he embraces his characters, without violating the yardsticks of realistic presentation of character portrayal, that always forms an integral formula of Malayalam film making.
   The fact that Venu was associated even at the start of his career,with distinguished  men of the Malayalam film industry, like actor Bharath Gopi and directors G.Aravindhan and Padmarajan is an indicator of the creative stuff that Nedumudi Venu is made of.His entire career has come under the aesthetic scanner of fine film makers of Malayalam Cinema,like Bharathan G.Aravindhan, I.V.Sasi Padmarajan,Sathyan Andhikkad, M.T.Vasudevan Nair,Fazil,Pryadharshan,Sibi Malayil and so on.
     Nedumudi Venu's under play of characters and avoidance of melodramatic traits in acting, have secured him a prestigious position in Malayalam Cinema.Venu has also done a few Tamil films of which Indian and Anniyan directed by Shankar need a special mention.In certain frames,his grasp of role and the anguished tone in acting, might carry a semblance of Late Murali's style of deliberation. But Murali's show was always of a sober type. Whereas,Venu would spontaneously reflect a comedy flair wherever necessary, without deterring the dignity of the role he is vested with.
    Beyond his ever controlled body language,it is his perfectly captivating voice mould, blended with a unique kind of rhythm and flawless intonation of utterances,that crisply carry his roles closer to the audience.I love his voice and I can imagine his right mode of acting, just by listening to his mellifluous voice and the singular effect it creates, on his subtle depiction of the character that he naturally dons and neatly delivers.

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.

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.

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.

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.

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.    

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.

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.

Wednesday, June 21, 2017

A Belated Note on Brindhavanam.

        Normally I do not miss a Radhamohan film, because it always carries a feather touch effect, without creating a melodramatic or exaggerated impact on the viewers.This time it took me a little more time, to watch his latest release Brindhavanam. The title seems to find its relevance because the hero's name is Kannan and it deals with yet another aspect of romance. Though Arulnidhi naturally fits in to the role and delivers a neat performance it is Vivek who becomes the face lift of the film, by his mature adherence to the thumb rules of humour, with his well- tuned associate Cell Murugan who has  not only been the consistent comedy side kick of Vivek but is also reputed for taking Vivek for a ride, quite unexpectedly. M.S Bhaskar the usual value addition to all Radha Mohan films, is his usual self, with a character befitting his calibre of acting.
      Unlike most other Radha Mohan films, there is a lot of enjoyable comedy, thanks to the spontaneity and verbal twists that Vivek is capable of.While the genuine anguish of speechlessness was the poignant note of Mozhi, that captivated our imagination with the qualitative performance of Jyothika, Prakash Raj and Prithiviraj,Brindhavan takes us along the sportive track of pretended speechlessness of the hero, even after his restoration of speech, purely for the sake of drawing love and sympathy, as a survival mechanism. Arulnidhi has taken a lot of efforts in presenting the predicament of speech impairment as impressively as possible and has established himself as a growing actor.Of course,he could do this, only with with the vigorous vibration of the comedy track of Vivek.
    Radha Mohan deserves a pat, for retaining his usual breezy narrative mode, in the line of veteran directors like Sridhar and K.Balachander, in mixing the sentimental decency of the former with the positive pragmatism of the latter.On the whole, the movie is meant for a decent family watch.

Sunday, June 11, 2017

The Father of Tamil Film Comedy.


      This blog has paid tributes to quite a few comedians, who were and have been, making active contribution to the humor segment of Tamil cinema.There was in fact, a separate article in this blog, carrying the tile "The Changing phases of comedy in Tamil Cinema"making special mention about changing trends in humor transmission and the actors who were involved in changing the trends. Whatever be the benchmarks  in assessing the comedy element of Tamil cinema, the starting point becomes as much important as the process of evolution.In this regard, the origins of healthy and memorable comedy component of Tamil cinema,  could be traced along with the genesis of Tamil cinema itself.The effective fundamentals of Tamil cinema, could be said to have been formed during the early forties which saw a drastic transition from the silent movie days to films with  the sound track.As this blog writer was born at the fag end of that decade, he missed the opportunity of watching the early period Tamil films as and when they were released.But he came to know later that the basement for the comedy structure of Tamil cinema was beautifully and strongly laid by the immortal comedian of Tamil cinema called Nagar Koil Sudalaimuthu Krishnan affectionately remembered by the three English letters N S K.or by the pseudonym Kalaivanar .
    A majority of this fabulous comedian's films were released before this blog writer was born.But still thanks to the repeated screening of some of the hits in theaters during the Nineteen fifties and sixties and the telecast of films such as Nalla Thambi, after the introduction of television, this writer could see at least a dozen great films in which this immortal comedian received an indispensable role assignment and audience acclaim.The writer considers it  good fortune to have been able to watch films like Aariyamaalaa, Manonmani,Jegdhalapradhaaban {all P.U.Chinnappa hits},MGR's Madhurai Veeran,Chakravarthi Thirumagal, and Arasilankumari,Sivaji Ganesan's films like Raja Rani, Ambikapadhi and Thanga Padhumai,Gemini Picures' epic film Chandralekha and Gemini Ganesan's Yaar Paiyyan. The other film that was brought home through the small screen was the astounding Nalla Thambi. It could be said here that N.S.K was associated with the two major Dravidian leaders Arignar Anna and Kalaignar Karunanidhi. While Nalla Thambi in which N.S.K acted as hero,was directed by the former,films like Manamagal,Panam and Raja Rani carried the script of the latter and N.S.K not only played the beloved comedian in these films but also directed the first two films in the list.
    All the MKT-NSK hits like Ambikapadhi, Haridas,Siva Kavi,Amara Kavi and Thiruneelakandar remain in the wish list of the writer.During his early years in Tamil Cinema the two most popular heroes of N.S.Krishnan were M.K.T.Bhagavadhar and P.U.Chinnappa who were then replaced by the two epoch making heroes M.G.Ramachandran and Sivaji Ganesan. Some of the films of these two heroes such as Ambikapathi,and Raja Dhesingu  in which N.S.K performed the role of a comedian were released only after his death.Besides these two heroes, the other Dravidian hero who frequently got himself associated with N.S.Krishnan,was S.S.Rajendran.
    What has always remained as an extraordinary value of this comedian was a galaxy of exemplary personal traits such as geniality,generosity and genuine humanitarian concern, reflected in his most frequent philanthropic contribution to the needy and the under privileged.There are quite a lot of accounts about the charitable  mindset and the give-away attitude, of this great comedian.Some in the film circles have compared him to Charlie Chaplin with regard to the deprived childhood of both the actors.But to me N.S.K appears much more sanguine in mood than the world famous English comedian.In Charlie Chaplin, despite his gorgeous comedy dimensions seamlessly merged with his body language one could always notice a certain amount of melancholy that could rarely be seen in Kalaivanar. However, N.S.Krishnan's personal life was equally laid up with unforeseen misfortunes such as imprisonment in a less proved murder case and the consequential setbacks of penury and privation.
   It was a gentle humor, dipped in soothing satire, that N.S.K always perpetuated.He would not under estimate or insult his fellow comedians or side kicks.Some of the popular fellow comedians of N.S.Krishnan were T.S.Dorairaj,Pulimoottai Ramasamy,Kottapuli Jeyaraman and Kali.N.Rethinam. Kalaivanar's social concern ever formed a vital part of his spontaneous comedy generation.His was a perfect combination of both verbal and physical comedy.But his physical comedy was confined to changing facial expressions of joy,love,contempt,adoration and taunt. In this respect he would definitely have provided the right model for his next generation comedians like K.A.Thangavelu who excelled in verbal comedy and J.P.Chandrababu who reveled in physical gesticulations.But both these comedians could not be said to have imbibed the dual side of N.S.K's comedy fervor.It was Nagesh who later on succeeded in transmitting a balanced mix of  word and deed.
     Something special about N.S.K is the fact that he acted in the two versions of Ambikapadhi,one starring M.K.T.Bhagavadhar and the other in which Sivaji Ganesan played the lead role.Similarly this primary comedian acted in films like Alibabavum Naarpadhu Thirudarkalum{in which N.S.K played the hero}and Uthamaputhiran {starring P.U.Chinnappa}which were later remade with M.G.R as Alibaba and Sivaji Ganesan as Uthama Puthiran.
    N.S.K was a casual singer and he spiritedly passed on the essence of comedy through his vocal celebration of music.Some of his most memorable numbers are "Thedhi Onnula Irundhu"{Mudhal Thedhi}"Enge Theduven Panathai Enge Theduven"Dheena Moona Khaana{Panam},Seermevum Gurupaadham{Chakravarthi Thirumagal}Naattukku Sevaiseiyya Naagareeg Komaali vandhaan Aiyyaa {Nalla Thambi} and 'Sirippu"{Raja Rani}The musical notes might be missing in his rendering of songs.It might also look as if he was speaking through songs.But his soothing voice compensated the missing links. Comedian Chandrababu who in his hey days sang at least one song in each of his films would perhaps have drawn inspiration from this extraordinary actor.
    N.S.K's comedy skit was always a treasure of verbal decency and innocent humor.In most of the films the comedy skit originated from his creative brain and it was his wife T.A.Madhuram who joined him almost as his lifetime comedienne pair. His sense of humor was that of a seeming simpleton with a granary of precious thoughts of social concern and human harmony.Those were decades when the evil side of humanity was less emphatic than it is today.That is why films of those years were free from vulgarity and viciousness that have grown rampant now.
    Responsible film making was the over all general order of the last century.Hence it became the collective responsibility of everyone including those of the leading comedy team, to refrain from hurting individuals as well as the social fabric, while at the same time taking care of the process of social reform,by gently satirizing social taboos and practices, that went against the principles of personal freedom and the quality enhancement of both individuals and society. N.S.Krishnan scrupulously followed all these yardsticks and sensibly paved the way for healthy humor through the celluloid form.It was in this particular respect, he would ever be celebrated in memory as the King or Father of Tamil film Comedy

Friday, June 2, 2017

Kalaignar's Contribution to Tamil Cinema.


        Politics and Tamil Cinema became inseparable, ever since the inception of the Dravidian Movement in Tamil Nadu.Rocking  cry for Social Justice and relentless struggle against casteism and superstition, were the fundamentals of the Dravidian upheaval and it took the centre stage on the big screen, after having had a significant stint as street shows and stage plays.Tamil language which was simultaneously undergoing a structural revolution in sound and script, played a key role in taking the core of Dravidian ideology closer to the Tamil society, which was  under the clutches of vested interests, even after the departure of the colonial forces.It was under these circumstances, Dravidian leaders like Mr. C.N.Annadurai and Mr.M. Karunanidhi,affectionately called Anna and Kalaignar, respectively, by the Tamil fraternity, focused their attention on Tamil Cinema, purely with the intention of propagating the legacy of Tamil culture and language.Unlike Anna who had to restrict his love for Tamil Cinema on account of his greater political priorities,Kalaignar pragmatically bifurcated his time between politics and films and expanded his creative width to be duly complimented by the Tamil film industry, with admiration and gratitude.
   Some of the most popular films for which C.N.Annadurai wrote the story and dialogues were Nalla Thambi,Sorgavasal,Velaikaari and Ore Iravu. All these films were great hits with N.S.Krishnan playing the lead in the first and K.R.Ramasamy as hero in the rest.He had also written the story for MGR films like  Thai Magalukku Kattiya Thaali and Nallavan Vaazhvaan. The one Sivaji Ganesan film based on his story was Rangoon Radha for which M.Karunanidhi wrote the dialogues.This film was actually based on an English play called 'Gas Light' written by Patrick Hamilton.His other stories made into films were Edhayum Thaangum Idhayam, Kadhal Jothi and Vandikkaran Magan.
    Though Annadurai was an eminent story writer it was M. Karunanidhi who excelled as a fiery and forceful script writer. Before writing stories and dialogues,Kalaignar had already proved  his ability to perform as an actor, in stage plays. The generally accepted perception in those days was, that Tamil film industry was blessed with two  geniuses, who were actually school dropouts.One was Kalaignar and the other was Chevalier Sivaji Ganesan. Kalaignar himself being an eloquent and astute orator his dialogues were perhaps engendered by an intrinsic formula of impersonation.What I mean here is that whenever Kalaignar wrote the dialogues for the protagonists of his stories, he perhaps imagined himself to be the chief character and hence the force and depth of the dialogues were presumed to be passed on to the actual hero from the original hero.Consequently,both Kalaignar and Sivaji Ganesan ruled Tamil cinema, with the mighty pen of the former and the magnificent voice of the latter.
    In fact, Kalaignar's film journey started with M. G. Ramachandran the other most popular and dynamic Dravidian hero, by gathering momentum with four of his consecutive hits, like Rajakumari, Abimanyu, Marudha Naattu Ilavarasi and Mandhiri kunari.{The Minister's Daughter},all with the budding mass hero.The last in the list, was a stupendous show with Kalaignar's sparkling dialogues and G. Ramanathan's scintillating music.The other remarkable feature of Mandhirikumari was that it was directed by Ellis Roderick Dungan,the well known American film director of those days.The film was produced by the Modern Theatres' T.R.Sundaram. Kalaignar's other MGR films include the run away hit Malaikallan,and other popular films like Arasilankumari, Pudhumai Pithan and Kanchi Thalaivan. M.G.R's dialogue delivery was no less forceful than that of Sivaji Ganesan, particularly when it came to films of historical fiction like Mandhirikumari, Arasilankumari and the true- to- history presentation of historical events in Kanchi Thalaivan.
    However, as far as film relationship was concerned it was the teaming of Kalaignar and the Chevalier that established the hat trick,because of the soul making chemistry that they both enjoyed in the creative process.What a grand show of Tamil script it was, in films like Parasakthi, Manohara, Panam and Raja Rani. Words flowed from the brain of the amazing creator Kalaignar and were articulated with a kind of spontaneity, force and natural thrust of utterances, from the gifted tongue of the unconquerable actor Sivaji Ganesan. Be it the court scene in Parasakthi,the first film of the irreplaceable hero,or the climax scene in Manohara or the rendering of dialogues by Sivaji Ganesan as Socrates, in a mono acting scene in Raja Rani, the Kalaignar-Chevalier combination made a tremendous impact on the audience, with the emphatic dialogues of Kalaignar,delivered with verbal clarity and correctness in accent and intonation,by the Chevalier.
     Mr.M. Kaunanidhi's dialogues were specially marked for their purposeful punch,punning zeal,probing pattern,and precision of language, culminating in perfection at the delivery point. It was Sivaji Ganesan who facilitated the process of felicitous reach of the ranting dialogues. The other great movies of the duo were,Panam,Pudhayal and Thirumbipaar. The last one projected Sivaji Ganesan as an anti- hero, playing the role of a Casanova and a womanizer. Hard hitting dialogues and sense of guilt reflected through verbal force, transformed Thirumippaar into a trend setting film of that century.The other two films pointedly presented the role of money in society,the quest for status, born of wealth  and the excessive greed for acquiring wealth by hook or crook.There was another film Kuravanji in their combine, which created only a moderate impact, in spite of  its memorable musical component involving music composer T.R.Papa and singer C.S.Jeyaraman.
    The third pet hero of Kalaignar was the other truly Dravidian actor S.S.Rajendran, who played the protagonist in movies like Poompuhar, based on the Tamil epic Silappadhikaaram, Poomaalai, Marakka Mudiyuma and Avan Pithana. Among these films Marakka Mudiyuma was the most disturbing film, because of the tragic undercurrents and agonizing plight of the characters caught in a web of miserable circumstances.I personally felt that one would need an extra amount of strength of mind  to watch this colossal tragedy.
      Besides these films Rajendran also became an impressive addition in most Kalaignar/Sivaji Ganesan hits like Parasakthi,Manohara,Panam and Raja Rani and the Kalaignar/MGR's historical film Kanchi Thalaivan. Familiarly known as S.S.R, this hero has outlived his life, by his sheer dedication to Tami language, Tamil culture and the cherished values of the Dravidian movement through his symbolic role performances in films, both as main hero and second level hero.But the credit for all this goes to Kalaignar's script of meaning and might.
   There were quite a few  remarkable films such as Thaayillaa Pillai,Pillaiyo Pillai,Paalaivana Rojaakkal, Paasa Paravaigal, Paasak Kiligal,Paadaatha Theneekkal,Needhikku Thandanai, Niyaayath Tharaasu, Pen Singam, Ponnar Shankar and so on, from the untiring creative brain of Kalaignar. Family emotions and struggle for justice were the prime themes of most of the stories of this reformist story writer and it was the spirit of his dialogues, that controlled the base and course of events that were displayed on the screen.
   Kalaignar has written both the story and dialogues or only the dialogues,for more than seventy films.To me the top ten movies from his hands are Mandhiri Kumari,Malai Kallan, Parasakthi, Manohara,Thirumbi Paar,Pudhayal,Iruvar Ullam,Pillaiyo Pillai,Paalaivana Rojaakkal and Paasaparaivagal in terms of box office records and audience reception.
     However, films like Kaanchi Thalaivan and Poompuhar will occupy a special place in Tamil Cinema, because of the historical veracity of the former and epic lenience of the latter.MGR as King Narasimha Pallavan,SSR as Kovalan,Vjayakumari as Kannagi and K.B.Sundarambal as Kavundhi Adikal will stay as immortal characters in celluloid form, mostly because of the energizing dialogue component of Kalaignar, that they happened to deliver in their respective roles.I am sure the audience will also carry in their memories the passionate cry for justice, through the power of words,in films like Parasakthi, Palaivana Rojaakkal,Needhikku Thandanai and Niyaayath Tharasu.
       The world claims that a man who never went to school, stole the hearts of people as an outstanding English poet and dramatist with his name Shakespeare, surpassing centuries and geographical barriers, striking a note of international creative identity.Similarly,here is another unschooled or less schooled Tamil master craftsman, who has intelligently acquired the nuances of the Tamil language,with a flair for literature and has succeeded in stamping his image as an invincible writer of stories and scripts, besides making indelible impressions as an interpreter of the two line poems of the Tamil classic,called Thirukkural, through his exemplary literary work known as 'Kuraloviam'.
     The power to use any language with a captivating wield, is an innate gift of greatness,to be passed on to generations of people, looking for exalting fulfillment of human intelligence and emotions. Kalignar's exceptional capacity for exuberantly using Tamil, in prose, poetry,fiction/ drama rightly earned him the title Muthamizh Vithagar {i.e an expert in the use of the three forms of Tamil literature }The best way to acknowledge the creative grandeur of such an unschooled or less schooled genius, is to continue to feel inspired, by his thoughts and words,that could pave the right way to universal human progress and enlightenment.A special salute to Kalaignar, who as one of the Titanic Tamil patriarchs, has infused his enchanting appeal of Tamil , into literature, cinema and politics, as a three dimensional force with the charisma and character of words and nothing but words.And the magic of the matter is that he made the fire of language burn passionately and beautifully, both through his eloquence in speech and expertise in writing.

Friday, May 12, 2017

திரையிசைப் பாடல்களில் திரண்ட சிரிப்பும் அழுகையும்.

    சிரிப்பும் அழுகையும் மனித வாழ்வின் மகத்தான முத்திரைகள்.இவை இரண்டும் இல்லையெனில் ஆறாவது அறிவுக்கு ஆதாரம் இல்லை என்றே சொல்லலாம்.தமிழ்த் திரையில், சிரிப்பையும் கண்ணீர்த் துளிகளையும், சிந்தனைச் சுவடுகளாய் வரிகளில் பதியச்செய்த   பாடல்கள், பசிக்கு உணவாய், தாகத்திற்கு நீராய், திகழ்ந்தது மட்டுமல்லாது, நினைவுளில் நீங்கா இடம் பெற்றன.அவற்றில் சிலவற்றை இங்கே பார்ப்போம்.
     முதன் முதலில் சிரிப்பை சிந்தாமல் சிதறாமல் சேகரித்து சிறப்புப்பிரி வுகளாய்  வகைப்படுத்தி  'ராஜா ராணி'  திரைப்படத்தில் கலைவாணர் பாடிய "சிரிப்பு" என்ற பாடல் வரிகளை  நினைக்காவிடில் நாம் திரையில் சிரிப்பை அறிந்தவர் என்று கூறிக்கொள்வதில் அர்த்தமில்லை.அசட்டு சிரிப்பு ஆனந்த  சிரிப்பு, ஆணவச் சிரிப்பு,சதிகார சிரிப்பு, சங்கீத சிரிப்பு, என்று சிரிப்பின் கோணங்களை வரிசைப்படுத்தியும், சகஜமாக நடித்துக்காட்டியும்,  அக்காட்சியினை நிலைபெறச் செய்தவர் கலைவாணர்.டி ஆர் பாப்பா இசையமைத்த இப்பாடல் சிரிப்பை வரலாறாக்கிய பாடலாகும்
   இதே சிந்தனையின் அடிப்படையிஆல் தான்  'ரிக்ஷாகாரன்' திரைப்படத்தில் எம் எஸ் விஸ்வநாதனின் இசையில் எம். ஜி .ஆருக்காக  டி எம் எஸ் பாடிய "அங்கே சிரிப்ப வர்கள் சிரிக்கட்டும் அது ஆணவ சிரிப்பு இங்கே நீ சிரிக்கும் புன்சிரிப்போ ஆனந்த சிரிப்பு ''என்ற பாடல், அரசியல் மற்றும் அதிகார வர்க்கத்தின் ஆணவச் சிரிப்பையும் குழந்தையின் கள்ளம் கபடமற்ற பரவசச் சிரிப்பையும் பாகுபடுத்திக் காட்டியது. மேலும் அப்பாடல் ''வயிறு வலிக்கச் சிரிப்பவர்கள் மனித ஜாதி பிறர் வயிறெரிய சிரிப்பவர்கள் மிருக ஜாதி" என்று சிரிப்பின் தன்மையின் மூலம்  மனிதனில் மிருகமும் கலந்திருப்பதை சுட்டிக்காட்டியது.
   இதேபோன்று எம் .ஜி. ஆர் தயாரித்து இயக்கிய "உலகம் சுற்றும் வாலிபன்" பிரம்மாண்ட திரைப்படத்தில், எம். எஸ். வி இசையில் டி. எம். எஸ் பாடிய "சிரித்து வாழவேண்டும் பிறர் சிரிக்க வாழ்ந்திடாதே" எனும் கருத்துள்ள பாடல் சிரிப்பின் அவசியத்தையும், தவிர்க்கப் படவேண்டிய  ஏளனச் சிரிப்பின் எதிர்மறை பாதிப்பையும், இயல்பாகச் சித்தரித்தது
      சிரிப்பைப் பற்றி முன்னாள் சிரிப்பு நாயகன் ஜே. பி. சந்திரபாபு பாடிய, சிவாஜி கணேசனின் 'ஆண்டவன் கட்டளை' திரைப்படத்தில் வரும்  "சிரிப்பு வருது சிரிப்பு வருது சிரிக்க சிரிக்க சிரிப்பு வருது/சின்ன மனுஷன்  பெரிய  மனுஷன்  செயலப்  பாக்க  சிரிப்பு வருது"என்ற இதமான  பாடல்  வரிகள்  ஒரு  தரமான  நகைச்சுவை  நடிகரின் குரல் வளத்தோடு மனித வர்க்கத்தின் குறைகளை வகைப்படுத்திக் காட்டியது.
      இவரைப்போலவே நடன மாட க்கூடிய,ஆனால் சொந்தக் குரலால் பாட இயலாத, நகைச்சுவை மன்னன் நாகேஷுக்காக  சீர்காழி கோவிந்தராஜன் பாடிய  சிரிப்பைக் கொண்டாடும் இணையிலாப் பாடல் கே .எஸ் கோபால கிருஷ்ணனின்'சின்னஞ்சிறு உலகம்' திரைப்படத்தில் ''சிரிப்பேன் சிரிப்பேன் சிரித்துக்கொண்டிருப்பேன் மூச்சும் பேச்சும் உள்ளவரை '' என்ற வரிகளில் அரங்கேறியது.இப்பாடலில் எல். ஆர். ஈஸ்வரியின் காந்தக் குரலும் இணைந்தது குறிப்பிடத்தக்கது.'ஆண்டவன் கட்டளைக்கு'  விஸ்வநாதன் ராமமூர்த்தியும் 'சின்னஞ்சிறு உலகம்' திரைப்படத்திற்கு கே வி மகாதேவனும் இசையமைத்தனர்
    காதலியின் சிரிப்பினில் சிறைவசப்பட்டு மீளமுடியாத காதலன் தனை மறந்து பாடுவதோ "சிரித்து சிரித்து என்னை சிறையிலிட்டாள்" என்ற அற்புதமான பாடல்.எம். ஜி.ஆரின் 'தாய் சொல்லை தட்டாதே' திரைப்படத்தில் கே. வி.மகாதேவன் இசையமைப்பில், டி. எம். எஸ் பாடிய இப்பாடல், அமுத கீதமாய் அடர்ந்தது. சோகம் அகன்று இன்பம் தழுவுகையில் பெண்மையின் மனமகிழ்ச்சியின் வெளிப்பாடே, எம் ஜி ஆரின் 'நல்லவன்  வாழ்வான்' திரைப்படத்தில் டி ஆர் பாப்பாவின்  இசையமைப்பில்  சீர்காழி எஸ். கோவிந்தராஜன் பி.சுசீலா  இணைந்து  பாடிய "சிரிக்கின்றாள் இன்று சிரிக்கின்றாள் சிந்திய கண்ணீர் மாறியதாலே" எனும் தேனொழுகும் மெல்லிசை.
      இதயம் நிறைந்து, கள்ளம் கபடமற்றுச் சிரித்து, தங்கள் சிரிப்பொலியில் ராகங்கள் கண்டு, சங்கீத சரசமாடும் காதலர்களின் களிப்பை கனியச்  செய்த  பாடலே, 'எங்கிருந்தோ வந்தாள்' திரைப்படத்தில் சிவாஜியும் ஜெயலலிதாவும் அபிநயித்து கே. வி. மகாதேவன் இசையில், டி. எம். எஸ் மற்றும் பி.சுசீலா ஆகியோரின் ஆனந்த குரல்களில் ஆர்ப்பரித்த "சிரிப்பில் உண்டாகும் ராகத்திலே பிறக்கும் சங்கீதமே" என்ற பிரமிப்பூட்டும் வரிகளாகும்.
     சிரிப்பு, ஒலியாக  மட்டும் நில்லாது, மனதின் உள்ளே எழும் மகிழ்ச்சியில் பிரகாசித்து தீப ஒளியாய் உலகத்தின் வெளிச்சமாய் உருமாறக்கூடியது என்பதைத்தான், 'நாயகன்' திரைப்படத்தில் இளையராஜாவின் இசையில் வெளிவந்த "நான் சிரித்தால் தீபாவளி ஹோய்"  என்ற பாடல், நம் செவிகளை இளைப்பாறச் செய்தது. நீண்ட இடைவெளிக்குப் பின், பழைய பின்னணிப் பாடகிகள் கே. ஜமுனாராணி மற்றும் எம் .எஸ்.ராஜேஸ்வரியின் குரல்களில்,தேனாய் இனித்தது இப்பாடல்.
      சிரிப்பைப் போன்றே அழகையும் மனித உணர்வுகளின் மகத்துவ பிரதிபலிப்பாகும். அழுவதற்கான மன ஏற்புடைமை இல்லாதவன் மனிதனே இல்லை எனலாம் .அதனால்தான் 'கவலை இல்லாத மனிதன்' திரைப்படத்தில் "பிறக்கும்போதும் அழுகின்றான் இறக்கும்போதும் அழுகின்றான்" என்று ஜே. பி சந்திரபாபு மிக இயல்பாக அழுகையின் தன்னிகரற்ற இயல்பு நிலையைப் பற்றி தனது நகைச்சுவை உணர்வை தள்ளிவைத்து மனமுருகி பாடி ஒரு அருமையான பாடலை தமிழ்த் திரையுலகிற்கு விட்டுச் சென்றார். விஸ்வநாதன் ராமமுர்த்தியின் பொக்கிஷப் பாடல்களில் ஒன்றாக அப்பாடல் அமைந்தது.
      அழுகை அபாரமானது ;அழுகை அடர்ந்து பரவக்கூடியது ;அழுகை பாபங்களைக் கழுவக்கூடியது.அழுகை மனதின் கசடுகளை ஒருசில நிமிடங்களுக்காவது அப்புறப்படுத்துகிறது.துன்பத்தின், துயரத்தின் நெகிழ்ச்சியில் மன்னிப்புக் கோரும் மனநிலையின், ஒரே உண்மையான  வெளிப்பாடு அழுகையாகும்.தவறு செய்த கணவன் மனைவிக்காக ஏங்கும் மனநிலையில் "ஏனழுதாய் ஏனழுதாய் என்னுயிரே ஏனழுதாய் நானழுது ஓய்ந்தபின்னே நன்றி சொல்லவோ அழுதாய்" என்று 'இருவர் உள்ளம்' திரைப்படத்தில் நடிகர் திலகம் மனம் கலங்கி பாடும் காட்சியில், டி எம் எஸ் பின்னனிக் குரலில் அப்பாடலைக் கேட்டு மனம் வெதும்பாதவர்கள் இருந்திருக்க வாய்ப்பில்லை. இரட்டையர் இசையில் இதுவும் ஒரு அற்புதமான பாடலே.
    சோகத்தின் உச்சியில் இருக்கும் ஒருவன் தன் வேதனை, தன்னைச் சுற்றி அசுர வேகத்தில் படருவதையும்,   தன் சோகம், தான் சார்ந்த அனைத்திலும் நீக்கமர நிறைந்திருப்பதையும் காணமுடியும் என்பதை, 'புதிய பறவை' திரைப்படத்தில் அதே இரட்டையர் இசையில், டி எம் சௌந்தராஜனின் கம்பீரக் குரலில்  "எங்கே நிம்மதி" என்ற பாடலில் இடையே வரும் :எனது கைகள் மீட்டும்போது வீணை அழுகின்றது எனது கைகள் தழுவும் மலரும் சுடுகின்றது" என்ற ஒப்பற்ற கவியரசு கண்ணதாசனின் வரிகளில், அழுத்தமாக அறியமுடிந்தது.
    சிரிப்பும் அழுகையும் வேறு வேறு மன நிலைகளை பிரதிபலித்தாலும் சிரிப்பிலும் அழுகையிலும் இரண்டறக் கலந்திருப்பது கண்ணீர் துளிகளே.மிதமிஞ்சி சிரிக்கையில் ஆனந்தப் பரவசத்தில் கண்ணீர் துளிகள் இறங்குவதை நம்மில் பலரும் அனுபவமாகக் காணுகிறோம்.சில நேரங்களில் நம் வாழ்வில் பதியும் அனுபவங்கள் நாம் சிரிக்கிறோமா அல்லது அழுகிறோமா என்ற குழப்ப தழுவலைத் தோற்றுவிப்பதுண்டு .இதைத்தான் பாவமன்னிப்பு திரைப்படத்தில் சிவாஜி கணேசன் வாயசைக்க டி. எம் .எஸ் அனுபவித்துப் பாடிய "சிலர் சிரிப்பார் சிலர் அழுவார் நான் சிரித்துக் கொண்டே அழுகின்றேன் /சிலர் அழுவார் சிலர் சிரிப்பார் நான் அழுதுகொண்டே சிரிக்கின்றேன்''என்ற அபூர்வப் பாடல் மனதைப் பக்குவப்படுத்தியது. கவியரசு வரிகளில் இரட்டையர் இசையில் என்ன ஆழமான அனுபவம் வேரூன்றிய பாடலது.
    சிரிப்பும் அழுகையும் ஒருமித்த உணர்வுகளாக, மனித  நெஞ்சங்களை  மடக்கிப்  போடுவதை  'பெண்  என்றால்  பெண்'  திரைப்படத்தில்  வரும் டி. எம். எஸ்ஸும் பி.சுசீலாவும் சேர்ந்து சிரிப்பாய் அழுகையாய் சிந்திய பாடல் முத்துக்கள் " சிரித்தாலும் கண்ணீர்வரும் அழுதாலும் கண்ணீர்வரும்" என்ற பாடலாகும். இதுபோலவே   எங்க வீட்டுப் பெண் திரைப்படத்தில் P.B ஸ்ரீனி வாஸ் நெஞ்சுருகிப் பாடிய ''சிரிப்பு பாதி அழுகை பாதி சேர்ந்ததல்லவோ மனித ஜாதி /நெருப்பும் பாதி நீரும் பாதி நிறைந்ததல்லவோ உலக நீதி''என்ற அமரத்துவம் அடைந்த பாடல்.
   .ஜெமினி கணேசனும்  சரோஜாதேவியும் நடித்த 'பெண்  என்றால் பெண்' படத்திற்கு எம் எஸ் விஸ்வநாதன் இசையமைக்க, 'எங்கவீட்டுப் பெண் திரைப்படத்தில் கே வி மகாதேவனின் இன்னிசை பவனியில்,  ஒரு ஆன்மீக மடத்தின் சாமியாராகத் தோன்றி புனிதத்திற்கு புனிதம் சேர்த்த மரியாதைக்குரிய நடிகர் வி.நாகையா வாயசைப்பில் ஸ்ரீனிவாஸ் பாடிய, நினைவலைகளில் அதிர்வு ஏற்படுத்திக்கொண்டிருக்கும் பாடலே, "சிரிப்பு பாதி அழுகை பாதி" பாடலாகும்.
     இதுபோன்ற எத்தனையோ  பாடல்கள்  சிரிப்பும் அழுகையும் சீர்ப்படச் சேர்த்து மாசிலா மனித உணர்வுகளின் சங்கமமாய், வெண்திரைக்காட்சி களோடு நின்றுவிடாமல்,  திரை அரங்குகளைக் கடந்து,எண்ணற்ற ரசிகர்களின் நெஞ்சங்களில், இசை அலைகளின் தாக்கத்தை இடைவிடாது ஏற்படுத்தி வருகின்றன என்று சொன்னால், அது மிகையாகாது .