Thursday, December 27, 2007

MGR learnt Bangra for a month to dance with L.Vijayalakshmi

MGR learnt Bangra for a month to dance with L.Vijayalakshmi 

December 24, 2007

T.A.Narasimhan

— Photo: TAN
L. Vijayalakshmi
L. Vijayalakshmi

Chennai: Song and dance sequences of some movies leave an imprint in the hearts of the audience forever.

Figuring in this list is the famous Bangra beat in ‘Kudiyiruntha Koil’ (Aadaludan Padalai Kettu Rasippathilethan Sugam ... Sugam) featuring L. Vijayalakshmi and M.G. Ramachandran.


For her performance, Viji, as the leading lady of yesteryear is popularly known, was hailed as the dancing genius. The heroine of more than 100 films in Tamil, Telugu, Malayalam and Hindi is today a merry-tempered chartered accountant working as Budgeting Officer of Virginia Polytechnic University in the United States. Dance has been a passion for L. Vijayalakshmi. And, that was why her family shifted from Pune to Chennai in search of a Bharathanatyam guru for her. She was a quick learner and acclaimed dancer Kumari Kamala, who was her inspiration, presided over her ‘arangetram’.


New find


Critics and magazines had then praised her as a new find - a combination of Kamala and Vyjayanthimala. She used dance as a ladder to films, fame and fortune.


Film directors and producers took a fancy to her dancing skills; they sensed that a dance sequence by Viji in their film could be useful. The first offer was a Telugu movie. It was a dream come true for her. Telugu industry was fond of classical dance, and almost all films in Telugu opted for Viji’s dance sequence.


“It was then that Tamil industry opened its doors for me,” says Viji. ‘Bhavani’ was my first Tamil film. Modern Theatres’ ‘Edhirigal Jakkirathai’, ‘Iru Vallavargal’, ‘Vallavan Oruvan’, ‘Kaakkum Karangal’, ‘Ayirathil Oruvan’; Sridhar’s ‘Sumai Thangi’ and ‘Panchavarnakili’ made me a big star.”


“Jayakanthan’s ‘Pathai Theriyudhu Paar’ was produced by Nimai Ghosh in Hindi, and I acted with Meenakumari. Then, I acted with Mehmood in ‘Shabnam’, which gave me recognition in the Hindi belt. And, then I turned to Malayalam. I acted with Prem Nazir in three movies, including ‘Laila Majnu’.


“‘Ooti Varia Uravu’ was my last film [in the late 1960s]. It was during this film that my brother’s friend, Suraj Kumar De Datta, an agricultural scientist working in the Philippines, saw my photograph and fell in love with me. He proposed to me on the sets.”


Tough decision


With a prosperous film career ahead of her, it was not easy to take a decision. But, her parents helped her make the choice by highlighting the significance of getting married at the right time.


After ‘Ooti Varai Uravu’ she bid adieu to the film industry.


A pure vegetarian, Viji found it difficult to take a bite of the fish she was offered as part of the Bengali marriage ritual. In 1969, she settled down in Manila, and with nothing else to do took up higher studies. Agriculture was her chosen subject.


In 1977, when the then Prime Minister, Morarji Desai, visited Manila, the Indian Embassy there asked her to give a dance performance at a function organised in his honour. “Morarji ‘bhai’ called my husband lucky when he saw my Bharatanatyam performance,” Viji said. “I shifted to the U.S. in 1991 and studied CPA (Chartered Public Audit) and got a job as Budgeting Officer in Virginia Polytechnic University.”


On her Bangra dance with MGR in ‘Kudiyiruntha Koil’, she said: “You know... I am yet to receive my payment for the dance. Bangra sequence was new to Tamil movies then. Chopraji master had introduced the dance to the State for the first time in that film. And that is why it is still a superhit. On the shooting day, MGR watched me dancing and was horrified. ‘Ayyayoh… I cannot match Viji’s fast movements…’ he said, and withdrew.”


“I saw him discussing something with Chopraji and the shooting was put off. The song sequence was shot after a month. I was told that MGR had practised Bangra for a month to dance with me. It seemed full of fun… Even today people sing this song whenever they see me…”


Vijayalakshmi acted with the leading actors of the day, including MGR, Sivaji Ganesan, Prem Nazir, Jaishankar and Muthuraman. She acted with Jaishankar in many films. According to her, Nagesh is the best dancer the industry has produced, and she had the opportunity to dance with him in ‘Kaakkum Karangal’. L. Vijayalakshmi now lives with her husband and son in the United States.


Courtesy_

Tuesday, October 16, 2007

All about Makkal Thilagam Dr.MGR

Name

:

Dr.M.G.Ramachandran

Lovingly called

:

v MGR

v Yezhai Pangalan

v Pruatchi Nadigar by Karunanidhi

v Ponmanachemmal by Kirupanda variar

v Makkal Thilagam by Thiru Tamilvannan

v Kalaivendhan by Singapore fans

v Nruthiya Chakravarthi by Sri Lankan fans

v Puratchi thalaivar, , vaathiyar - by his fans

Profession

:

Politician, Actor, Producer, Director, philanthropist

Date of Birth

:

17th January, 1917

Birth Place

:

Kandy, Sri Lanka

Died

:

Dec 24, 1987

Family

:

v Father: Marudhar Gopalan Menon

v Mother: Satyabhama

v Brother: M.G. Chakrapani

v Sisters: Kamalakshi, Sumitra

v Brother: Balakrishnan

Wives

:

v Bargavi (a) thangamani - She died early due to illness.

v Sathanandavathi also died soon of TB

v V.N.Janaki

Education

:

Upto Third Standard

Early life

:

v He lost his father, a brother and a sister very early in his life.

v After the death of his father, his family moved to Kumbakonam from Kandy to live with his uncle who was working in the 'Original Boys' Company.

v He was not able to continue his studies and to overcome poverty he joined the 'Original Boys' Company where apart from acting, he learnt to read and write.

v His initial salary was Rs.5/- per month.

v His first role in acting was as 'Uthran' a character in Mahabaratham who helps Arjunan.

Milestones in his movie career

:

v Sathi Leelavathi (1936) directed Ellis R.Dungan

v Acted in a film titled Chaya as hero which was not released.

v Rajakumari (1947) directed A.S.A.Sami - was a breakthrough and he was noticed by the public.

v Nallavan Vaalvaan (1961) by P.Neelakandan - 50th film

v Oli Vilakku (1968) by Sanakya - 100th film

v Siriththu Vaazhavendum (1974) directed by

v S.S.Balan- 125th film

v Maduraiyai Meetta Sundara Paandiyan (1978)directed by P.Neelakandan ( last film) Only two of his films were given an 'A' certificate

v Koondukkili(1954) - Only movie he had starred with Sivaji Ganesan

v Ulagam Sutrum Valiban(1973) - Shot mostly in Foreign locations

v "Unnai Vida Matten" supposed to be the last film that was never released.

Other language movies

:

v Hindi - Ektha raja(1951)

v Telugu - Sarvathikari(1951)

v Malayalam - Jenova(1953)

Policies & formula in his films

:

v would never smoke or take alcoholic drinks

v would never physically or mentally abuse women

v Robin Hood formula—champion of the underdog, who is truthful, generous and totally honest.

Political ascendancy

:

v 1952 - met Arignar Anna

v 1953 - joined the Dravida Munnetra Kazhagam.

v 1962 - became the member of the state Legislative Council(MLA)

v 1967 - Was elected as MLA from Parankimalai constituency and was the minister for Small Savings.

v 1969 - was the treasurer of DMK after Mr.Karunanidhi became the chief minister.

v 1972 - October 16, he founded the Anna Dravida Munnetra Kazhagam (ADMK), which contested and won the subsequent elections.

v 1977 - changed his party name to AIADMK(All India Anna Dravida Munnetra Kazhagam)

v 1979 - he contested the elections from Madurai and became the Chief Minister for a second time.

v 1984 - he contested the elections for a third time that too when he was undergoing treatment in US and won the election and became the Chief Minister from Aandipatti.

Trademark

:

Always seen wearing a white gulla and dark sun glasses.

Party Symbol

:

Two leaves

Sivaji Ganesan

:

Originally MGR was the one supposed to act in Anna's play ' Shivaji kanda Indu Samrajyam' but V.C. Ganesan acted in it and later became our famous Sivaji Ganesan.

Anna

:

about him - "þó¾ì ¸É¢ ±ý ÁÊ¢ø ÅóРŢØó¾Ð. «¨¾ ±ý þ¾Âò¾¢ø ±ÎòШÅòÐì ¦¸¡ñ§¼ý"

some of his achievements

:

v Fifth world Tamil conference in Madurai in 1981

v Krishna Water Project

v Mid-day Meal Scheme

v Thanjavur Tamil University

v Mother Teresa Women's University

Visited

:

Sri Lanka, Burma, Singapore, Japan, Hong-Kong, France, Mexico, USA and USSR

Awards

:

v Posthumously awarded "Bharat Ratna" by the President of India.

v 1983 the University of Madras conferred on him, Honoris Causa, the degree of Doctor of Laws

v A doctorate from the Arizona University, US.

v 1978 the film 'Maduraiyai Meetta Sundarapandian' won the Tamilnadu Govt's best film award.

v 1972 National Award for the Best Actor for the film "Rickshakaran"

v 1969 'Adimai penn' - Tamilnadu Govt's best film and Filmfare award

v 1968 'Kudiyurindha kovil' - Tamil nadu Govt's best film

v 1967 'Kavalkaran'- Tamilnadu govt's best film

v 1960 he refused to accept the 'Padmashree' award from the Govt of India.

v 1956 Film fans association award for the film 'Ali baba and forty thieves'

v 1954 'Malai kallan' received Govt of India award

Firsts

:

v Alibabavum Narpathu Thirudargalum(1956) was the first colour movie in Tamil.

v AM Raja and Jikki gave their first duet in one of his films.

v Became the first film actor in India to be the Chief Minister of a state.

v Also the first time in history a candidate won an election in absentia especially when he was in a foreign country with a serious ailment.

Travel

:

v He had never ridden two wheelers in Tamil films

v Had phobia for speed and was scared to ride fast on horses

v Always preferred trains instead of Airplanes.

Educational institutions named after him

:

v MGR Memorial Charitable Trust

v MGR Higher Sec School and home for the Speech and Hearing impaired.

v MGR-JANAKI College of Arts and Science for Women

v Dr. MGR Educational and Research Institute(It is a Deemed university has an offshore campus in Sri lanka)

Fascination for

:

Cameras, Watches, Weapons and the country Japan.

Favourite food

:

Kesari and fruits particularly mangoes.

Stamp

:

A stamp was issued in memory of him on 17/01/1990

Famous song

:

"Iraivaa Un maaligayil" from the film Oli Vilakku

Iruvar

:

Manirathnam's movie Iruvar was based on his life and his relationship with Karunanidhi.

Fan Associations

:

v Had the most number of fan associations in the world.

v There were around 35 thousands fan associations.

Shuffle with M.R.Radha

:

Survived a bullet wound when he was shot at by fellow actor M.R. Radha on January 12,1967 (which affected his speech). That did not dither his fans to watch his films.

Kannadasan

:

After the death of Kannadasan, he gave an interview in which he admitted whenever he was down, he used to listen to the song "Acham Enbathu Madamaiyadaa' from 'Mannathi Mannan' written by Kannadasan.

Adimai Penn

:

v He had a fierce clash with TMS during recording of songs for the film Adimai Penn and brought in a new singer called SP Balasubramaniam

v Jayalalitha became a singer through his efforts in this film.

En Kadamai

:

MGR went to the birthday of Mr.Kamaraj and presented him with a diamond ring, and announced that Kamaraj was his leader, and Anna was his guide. This angered DMK supporters who boycotted his movie 'EN Kadamai' and threatened to burn theatres screening MGR films.

Illness

:

v On october 6, 1984 he was admitted in Apollo hospitals for diabetes and kidney failure.

v On oct 16 he suffered from Stroke.

v On November 4 he was admitted to the Brooklyn hospital for treatment.

v On december 19 he received a kidney transplant from his niece Leelavathi and returned to chennai the Feb next year.

LTTE

:

As reported in the Time magazine (May 11, 1987), he thrashed J.R. with the words, ‘Tamil groups are spearheading the war against the dictatorial and fascist actions of the Jayewardene regime, and they should be congratulated and helped.’

Facts

:

v Maruthur was the ancestral village in the Kerala state from where his parents hailed.

v Till 1953 he was in Congress and used to wear kathar and wear vibhuti on his forehead.

v When Naalai Namatehy was in the production stage Kamalahasan was booked to dance with MGR for the song Naan Oru Medai Padagan. Later MGR replaced this qualified dancer for obvious reason.

v Initially MGR feared to dance with L. Vijayalachumy for the song 'Aadaludan Paadalai Kettu Rasippathilethaan Sugam Sugam Sugam' in Kudiyiruntha Kovil. But later he agreed on condition no outsiders are allowed during the rehearsal and filming of the song scene.

v At a time when MGR and Karunanithi were friends, MGR acted free for a Megala Pictures-Engal Thangam, Vali wrote the first line "Naan Alavodu Rasippavan.... and was thinking of the next line. Karunanithi immediately responded with "Ethaiyum Alavindri Koduppavan" for the second line. Everyone accepted.

v In the film Kavalkaran there is a song "Ninaithen Vanthaai Nooru vayathu" in the second half of the song he appears with the kulla. It was after this song that he started to permanently wear the white kulla.

v In later days made it a point to start his films with shooting on the Thaikkulam first, mainly song scenes.

v Over 2 million people attended his funeral.

v His offical date of birth is Jan17, 1917 but his actual date of birth may be plus or minus six months.

v His third wife V.N.Janaki, a former actress, divorced her husband Ganapati Bhat, to marry him.

v Devar films produced the maximum number of 17 of his films.

v Director P.Neelakandan directed a maximum of 17 of his films.

v His elder sister died of tuberculosis when she was just 20.

v Department of Anna Center for Public Affairs was established in the University of Madras, out of a donation from him on behalf of the AIADMK party during the Post Centenary Silver Jubilee celebrations of the University of Madras in 1983.

v 22 people committed suicide when they heard that he was admitted in the hospital. They hoped that their deaths would make him better.

Extracts of his last will

:

He registered his last will on January 18, 1987:

1. to establish and maintain a free home for the poor speech and hearing impaired in the Ramavaram Gardens.

2. to establish and maintain a memorial at 27, Arcot Mudali Street, Chennai containing a vast collection of books and various articles and awards received by him during his lifetime from various organisations and people.

3. to maintain and derive income from his properties at Sathya Gardens, Saligramam and Sathya Studios, Adyar and use it to maintain the free home for the poor speech and hearing impaired at Ramavaram Gardens and maintain and derive income from the MGR Market, Alandur and use it to maintain the MGR Memorial House, T.Nagar.

Books

:

v MGR, the man and the myth by K Mohandas

v M.G. Ramachandran, my blood brother by Attar Chand

Memorial

:

v MGR samadhi is located on the Marina Beach next to Anna Samadhi

v MGR Memorial House at 27,Arcot Mudali Street, T.Nagar, Chennai 600017.


MGR Photos

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http://mgr-photoalbum.blogspot.com

Smt.P.Susheela - Voice of the Century

About Smt.P.Susheela

Smt.P.Susheela. The very name would evoke memories of many a number rendered in her rich, reverberating and resonant voice to the fans of South Indian movies, be it Tamil, Telugu, Malayalam, Kannada or even Sinhalese. With her mellifluous voice she has breathed life into thousands of lyrics, bringing out the right emotion lying under each word and making the song waft straight into the listener's heart.

A point to be noted here is the care with which she pronounced the words, though she sang in different languages. That is something we are not able to see in most of our present day singers. Words are the victims of rather constricted rhythms and contorted beats, compacted and deformed between the tongue and the teeth. But it was Susheela's school to render them with effortless ease, as they are pronounced by the people speaking each individual language in which the lyrics are written.

Susheela started way back in 1952. She was the recipient of the national award for best singer in the years 1969, 1971, 1977, 1982 and 1983. At the state level, both Tamil Nadu and Kerala have honoured her with several awards. The Tamil Nadu Government recognised her genius in the years 1968, 1980, 1981, 1989 and 1991 with various titles, prizes and awards.

Born in 1935 in Vijayanagaram in a music-loving family, Susheela had an innate talent in music. The seniors in the family arranged for her training in Carnatic music at a very young age. With a properly nurtured talent, she used to participate any competition in music held in her school or in Vijayanagaram and had always come home with the first prize in each competition. She then went to the Music College in Vijayanagaram and passed her diploma in first class. Her natural taste for music and her voice of gold were finely honed by the training she received and Susheela soon absorbed the finest nuances of giving expression to the verses she rendered.

It was in 1950 that music director Nageswara Rao was looking for new talent and approached the All India Radio with a request to refer to him the good singers who used to participate in their programmes. And the radio station sent five persons to him. Susheela was selected after necessary audition tests.

'Petra Thaai' was being made in 1952 in Tamil (Kanna Thalli in Telugu) with A. Nageswararao and G. Varalakshmi in lead roles. Susheela sang her first song - a duet with A. M. Raja - 'Edhukku azhaithaai' for the movie.

She was then an employee of the AVM Studios, receiving a fixed amount as her monthly salary, for several years after her introduction in Petra Thaai. Meyyappa Chettiar, the demanding perfectionist that he was, appointed a Tamil teacher for Susheela to train her in proper pronunciation of words. (Hmmmm… keep praying for the arrival of another Meyyappa Chettiar to save our ears from jarring crudities of mispronunciation that the present generation of singers subject them to.)

The songs that she sung in 'Kanavane kan kanda dheiyvam' (1955) brought her the popularity that she so well deserved. Especially songs like 'Endhan ullam thulli vilyaaduvadhum,' 'unnaik kan thedudhe' brought out her talent for rendition. Then came 'Missiyamma' in the same year. Susheela became very popular with 'Brindha vanamum Nandha kumaranum' and 'ariyaa paruvamada' set to Karaharapriya. Her name soon spread and was respected among the elite and the masses.

It was a time when several other women had established their talents already and were reigning supreme - like P. Leela who started her career in 1948; Jikki who allured the audience with her lilting voice; the Carnatic music genius M. L. Vasanthakumari; P. A. Periyanaayagi, actress and singer; Jamuna Rani, A. P. Komala; R. Balasaraswati, Sulamangalam Rajalakshmi and Jayalakshmi, K. Rani, A. Rathnamala, S. J. Kantha among others. Each had a unique and distinct character and quality and had a large number of admirers.

Susheela made her entry when so many singers were displaying their talents and were very popular. But her entry in 1952 outshone others and soon pushed all of them to the background. Right from 1955 there was not a single movie - for a very very long time - that did not have a song in her voice. Her career was at its best in the 60s and the early 70s. Whoever be the music director, whoever be the lyricist, whoever be the co-singer, the song became popular with her finesse. Her popularity among the masses was just unprecedented in the annals of Tamil cinema.

After her splendid performance in Kalyana Parisu, melody itself assumed a new dimension and soon a trend was set in motion that placed equal emphasis on songs on par with story, scenes and sequence. Susheela's contribution to this trend was considerable. She has given hundreds of golden melodies under the direction of stalwarts Viswanathan - Ramamurthy. That her name is well known and is remembered with feelings of joy for more than 50 years now goes to her credit. She continues to rule supreme in the hearts of her fans through the thousands of numbers she has rendered in a very long and enviable career.

The Voice of the Century

Smt.P.Susheela is recognized as one of the greatest stars the world of south indian cinema has ever known and she has always had a high profile with a metrical stability in all of her renderings. She was an artist who scaled the heights and achieved a greatness that is only now coming to be fully appreciated. Her repertoire spans extensive recordings in all the major south Indian languages and are representative of the neglected audiography that she revived in the mind of the listener, that sense of wonder that was so central to the aesthetics of the various periods .

To the music of G Ramanathan, C R Subburaman, S Rajeshwara Rao, Ghantasala, Pendyala and Susarla Dakshinamoorthy, Smt. Susheela brings vocal qualities of both romantic beauty and passionate fervour. Smt. Susheela was identified with the roles of heroines, which she sang shyly introducing herself to the poetic artistry of those early times.

On her colloboration with composers K V Mahadevan, Viswanathan Ramamurthy, Devarajan and later M S Viswanathan, her vocalize presents a well a rounded and totally convincing picture of Kannadasan’s immortal libretto’s, has been singled out as one of the finest gramophone achievements of all time. She performed the Marudhakasi/Kannadasan/Valli’s repertoire to great effect in the recording studio and on the celluloid.

Her hypnotic ambient and silkily beautiful voice and the structure mirroring the character’s inner turmoil in V Kumar/Shanker-Ganesh/Illaiyraaja compositions also proved an endless stimulus and source of inspiration for them , who enjoyed exploiting the descriptive possibilities of Smt. Susheela’s art making her the only communicative recitalist of our times.

As well as comfortably encompassing the entire mezzo soprano range, Smt. Susheela’s voice in its distinctive lower and higher register was rich and powerful, enabling her convincingly to perform music written for other sopranos for she took great pains over their production and treated them as her own, in order to ensure their success, and also to ensure that the performances were faithful to the score. Her vocal lines is always rich in coloratura passages, serve as true representations of nature, but serve as metaphors to express the passions and sufferings of human characters.

Smt. Susheela can create a sense of turbulence which can break out directly in an aria or that determines the constant state of agitation. She does that so well by means of musical figurations which exploit every word in the literary text and exalt its dramatic meaning or by means of chromaticism and an almost unbroken line of semiquavers or add further pathos to a song whose slow progress expresses the burden of real tragedy.

Smt. Susheela’s reputation nowadays rests firmly on her renderings. In all her repertoire, both the composer and the mezzo can be seen to share the same ideas in their creative development, and their aims, the rediscovery of the true function of music.

Her voice could be called as Rolls Royce and in particular when she unleashes it at full throttle, a continued high quality performance. But whenever she rendered a song, her limpid phrases and sumptuous timbre melted hearts of stone for sure.

Courtesy_
http://psusheela.org

P.Susheela Online Songs

Vijayakumar: Daily Thanthi

Courtesy_
Daily Thanthi ePaper

Vennira Aadai Moorthy: Daily Thanthi

Courtesy_
Daily Thanthi ePaper
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