Sunday, October 29, 2017

A Rich 'Mersel' Made Richer by Resistance.



     it is nearly two weeks since the film Mersel was released. There were many reviews, oppositions and rejoinders making the film reach more audience, than its stakeholders could expect.I happened to watch it in a theatre abroad only today.While reviews are the natural outcome of any movie, objections and rejoinders have also become  fashions of the day.The film as on today, has become a top slot product, yielding very high dividends.The film is an action bonanza,with Atlee's inheritance of the Shankar touch,Vijay's brilliant role play and exceptional visual splendor and singular speed in narration.
   I wonder what made the critics raise a hue and cry about the hero's reference to building a hospital,instead of a temple, so long the decision is born of frustrations,caused by failures of the health care system and not of the hero's preference for any specific religious group.The unfounded resistance of a section of the political groups,certainly failed on account of absence of logic.The film's reference to cashless economy and G.S.T anomalies,are also a part of the existing social and economic realities.After all, how many film makers succeed in making a lengthy film enjoyable in spite of its length.No doubt Atlee and Vijay have done it to an amazing extent.
  But there are three things that personally put me into a questioning mood.1}Why should Rehman fail to come out with his positive dynamism and professional exuberance, if it is not either a Shankar film or a Manirathnam film.This is the second time this great music composer has made a Vijay film, with less endearing numbers.In Azhagiya Thamizh Magan excepting 'Madhuraikku Pogaadhadi',no other song was worth remembering.In Mersel apart from the sound track portion,the songs seem to be meant for the theatres only and not takeaways after the show.2} Can the brothers who carry an age difference of at least four years, look like twins? A little bit of make up sense would have made a lot of difference.3}The hero who is referred to as an eminent surgeon,mentions in one scene that he is an M.B.B.S MD when he is asked by one of the doctors in his hit list, if he is a Sidha doctor.Perhaps these negatives get dissolved in the pageantry parade of Atlee and Vijay.
   The film's success owes a lot to the dual, high voltage energy of the Atlee /Vijay combination.When I left the theater the impact of the climax scene made it difficult for me, to extricate myself from a nostalgic recall of the climax scenes of MGR's Enga Veettu Pillai and Kudiyirundha Koil that I watched  almost five decades ago.There was also a feeling in me, that Thuppaaki of A.R.Murugadoss still remains as an unsurpassed
Vijay film.
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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 struggle in 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.
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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.