Tuesday, November 22, 2011

Movie Dam 999: depicts collapse of Mullaiperiyar Dam

MDMK, PMK demand ban on release of 'Dam 999'

PTI | 05:11 PM, Nov 22,2011

Chennai, Nov 22 (PTI): Two political parties in Tamil Nadu MDMK and PMK today demanded a ban on the release of Hollywood film 'Dam 999' in the country, saying it depicts the scenario of the collapse of century-old Mullaiperiyar Dam over which the state is locked in a row with Kerala. 

MDMK leader Vaiko, in a statement, said the film, financed by Keralites, starring Indian and Hollywood actors and directed by Sohan Roy has been named 'Dam 999' referring to the legal rights held by Tamil Nadu over the Mullaiperiyar dam for 999 years. Vaiko said he has appealed to the South Indian Film Chambers, Tamil Film Producers Council and the South Indian Artistes Association not to allow the screening of the film in Tamil Nadu. If cinema houses in the state screen the film, his party would organise demonstrations against it, he said. 

PMK founder Dr S Ramadoss said the film was screened before the Supreme Court appointed expert committee, headed by retired judge Justice A S Anand, to back Kerala's claim that the reservoir was unsafe and needs to be replaced. He urged Tamil Nadu Chief Minister Jayalalithaa to take up the matter with the Centre. The dam, located in the Iddukki district of Kerala, is under the control of Tamil Nadu Government and meets the irrigation needs of farmers in southern districts bordering Kerala. While Kerala had proposed construction of a new dam to replace the old structure saying it posed a danager to the people living downstream, Tamil Nadu has been opposing the move. 

PTI SR VS BB

Courtesy_

Also visit the following related links:

Info about Movie Dam 999 in Wiki at: http://en.wikipedia.org/wiki/Dam_999

Official Website of Movie Dam 999: http://www.damthemovie.com/

Official Trailer of Movie Dam 999: http://www.youtube.com/watch?v=U_DqMgtjlNI

Saturday, September 3, 2011

Jayalalithaa kicks off Arasu cable services

Jayalalithaa kicks off Arasu cable services

SPECIAL CORRESPONDENT

CHENNAI, September 2, 2011

The Hindu (left to right) DRO Suresh Kumar, District Collector K. Baskaran, Tamil Nadu Minister for Housing and Urban Development R. Vaithilingam and MLA N. Rengasamy, view on television Chief Minister Jayalalithaa inaugurating the operation of Arasu Cable, in Thanjavur. Photo: M. Srinath

Says corporation will provide the services at nominal rates to subscribers

Chief Minister Jayalalithaa on Friday launched, through video-conferencing, services of the Tamil Nadu Arasu Cable TV Corporation, covering all districts but Chennai.

The Chief Minister, at a brief function held at the Secretariat, explained how one family had reaped enormous profits by monopolising cable TV operations.

Referring to the assurance in the AIADMK election manifesto, she said that in fulfilment of the promise, the corporation would provide the services at nominal rates to the people.

Cable TV operators would collect Rs.70 from their customers towards monthly subscription.

This would result in the savings of Rs.70 to Rs.100 per month for the people.

An official said that 90 channels would be offered to subscribers. The plan was to include pay channels too. The government would shortly issue an order, constituting a committee for holding negotiations with the representatives of pay channels. The committee would include two non-official members – experts from the broadcasting industry. The scope for revenue through the corporation to the government was Rs.60 crore a month.

In response to the corporation's call, 34,344 local cable operators and multi-system operators, claiming a subscriber base of 1.45 crore, had applied for enrolment.

On the question of extending the services to Chennai, the official said that it would be done in a phased manner.

Asked whether there was any plan to offer DTH (direct to home) services, the official responded that after an analysis, the authorities had come to the conclusion that cable TV services were more reliable and suitable.

Another official said that through the analog mode of transmission to be used by the corporation, 95-96 channels could be viewed with clarity.

The previous AIADMK regime (2001-2006) had proposed to nationalise cable TV business by passing in the Assembly in January 2006 a legislation – Tamil Nadu Acquisition, Transfer and Taking Over of the Administration of Cable Television Network (Including Multiple Service Optical Transport System) Bill.

In April 2006, the then Governor Surjit Singh Barnala returned the Bill to the government, on the ground that the relevant powers vested with the Centre. In June 2006, the Dravida Munnetra Kazhagam regime decided to withdraw the legislation.

A year later, the DMK government decided to establish the Arasu Cable TV Corporation to provide high quality cable signals to the public at affordable cost. The entity was incorporated on October 4, 2007.

High-quality digital head ends were installed at a cost of approximately Rs.8 crore each at Thanjvur, Coimbatore, Tirunelveli and Vellore. But, in about two years, the operations of the entity became defunct.

The AIADMK government, which came to power in May, decided to revive the four digital head ends and run the existing machinery of analog head ends in 27 districts which have been offered by private operators to the government entity on rental basis, the official said.

Courtesy_

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Tuesday, April 5, 2011

Two decades on, MGR is still a vote-catcher

Two decades on, MGR is still a vote-catcher

S. GANESAN

TIRUCHI, April 5, 2011

Artistes perform to MGR's popular hit songs at an AIADMK campaign rally in Tiruvarur constituency. Photo: M. Srinath

Artistes perform to MGR's popular hit songs at an AIADMK campaign rally in Tiruvarur constituency. Photo: M. Srinath

'Koduthathelam koduthan, avan yarukkaka koduthan, orutharuka koduthan, illai oorukaka koduthan' (Whatever he gave, he gave it for all and not just for one) … belts out the lead singer of a small-time orchestra in a small village near Tiruchi. The boisterous crowd of avid MGR fans and AIADMK cadre goes into raptures at this popular MGR number from yesteryears.

The orchestra's job is to keep the crowd entertained until party general secretary Jayalalithaa arrives. The music troupes and the accompanying dancers may not be big crowd pullers by themselves, but there is little doubt that the politically-loaded MGR songs continue to sway the masses. More than two decades after his death, they stand the party that he founded in good stead.

For MGR fans and the party cadre, this is a valuable inheritance, and a singular legacy which no other party can lay claim to. "There is no doubting their (MGR hits) popularity, especially in the rural areas. They seem to give the audience a sense of déjà vu and bring MGR back before their eyes," observes M. Sivaraman alias Jayanthi Siva, who runs the Shadjam Music Troupe, which played in many of the villages during Ms.Jayalalithaa's recent visit to Tiruchi.

For troupes such as Shadjam, the opportunity to perform at election rallies offers a platform to exhibit their talents and brings in some seasonal income. Most of these small time groups are made up of amateurs, but some have some good professional musicians too, waiting for a break. "We can compete with anybody. But recognition is hard to come by," says Mr. Sivaraman, who is about to celebrate his troupe's 1000th performance soon.

Son of late morsing Mahadeva Iyer of Pudukottai, Mr. Sivaraman has been running the troupe for the past 15 years. An AIADMK supporter, he has been playing at party election rallies since 2009. His troupe has 28 members, including a lecturer and an employee of BHEL. Some, like C. Sahayaraj, a lead singer from Jayamkondam, are well grounded in music. Sahayaraj has studied music at the Kalai Kaviri College of Fine Arts in the city. Many among the troupe entertain ambitions of becoming playback singers.

"I am hopeful of getting a break, right now I manage by singing for local troupes and bringing out albums," says Mr. Sahayaraj.

"Recognition depends on your performance. We constantly strive to improve our quality," says S.Arun, a singer who runs the Geetanjali Music troupe in Thanjavur.

The troupes get paid about Rs.20,000-30,000 for a performance, which is split among the members, which means a paltry remuneration of Rs.1,000 to Rs.2,000 per head.

Yet they are game enough. "At times we are called to perform at short notice. We have to be ready. Our troupe can play about 500 numbers from MGR films any time," says Mr. Sivaraman, who plays the drums and sings too.

Very often, he says, his troupe has to play for three to six hours at election or political meetings. "It is our job to hold the crowd together." Most of the AIADMK cadre are crazy about MGR songs. "I have seen MGR fans moved to tears on hearing us play his songs," he says.

According to him, "ethanai kalam thaan aemattruvar intha nattilae," (how much longer will you fool this nation?) "neenga nalla irukkonam nadu munnera," (you have to be taken care of if the nation is to progress), 'naan aanai ittal, athu nadanthu vittal' (if my commands can become reality), and 'ninanithathai mudipavan naan,' (I do what I set out to do) are among the most sought after hits. They also have some popular numbers from MGR-Jayalalithaa starrers such as 'Amma Endral Anbu' to play to the gallery.

Courtesy_


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Monday, April 4, 2011

63 நாயன்மார்களின் வாழ்க்கை வரலாறு ஒளிசித்திர வீடியோ......

63 நாயன்மார்களின் வாழ்க்கை வரலாறு ஒளிசித்திர வீடியோ மற்றும் தேவாரதிருமுறை பாடல்கள் இணையத்தில் கேட்க & இலவசமாக பதிவிறக்கம் செய்துகொள்ள......

சென்று பாருங்களேன்......


For further queries please drop mail to Mr.Veldharma who is the Original Author of the above site, whose mail ID is: veldharma@yahoo.com

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Saturday, March 19, 2011

Kalyanam Panniyum Bramhachari 1954

Kalyanam Panniyum Bramhachari 1954

RANDOR GUY

March 19, 2011

T. R. Ramachandran, Sivaji Ganesan, Padmini, Ragini, B. R. Panthulu, J. P. Chandra Babu, Thangavelu, 'Pottai' Krishnamurthi, K. T. Santhanam, 'Gundu' Mani, M. N. Krishnan, Krishna Bai and Saradambal

Kalyanam Panniyum Brahmachari.
Kalyanam Panniyum Bramhachari, featuring T. R. Ramachandran, Sivaji Ganesan, Padmini and Ragini in lead roles, was a comedy written and directed by Pa. Neelakantan, a playwright-turned- director. It was produced by B. R. Panthulu, who made successful movies in Tamil, Kannada and Hindi under his banner, Padmini Pictures. This film proved a hit but ran into problems over copyright issues, ending up in a suit for damages at the Original Side of the Madras High Court. The hearing of this suit before Justice N. Rajagopala Ayyangar with V. C. Gopalratnam appearing for the producer and director witnessed many comical moments raising laughter in court. Indeed some senior lawyers present remarked that the hearing had more comedy than the film!

Vedam Venkataraya Sastri was a well-known Telugu scholar, playwright and amateur stage actor. His grandson bearing the same name wrote a play in Telugu called 'Vyamoham', which was staged in Madras a couple of times. When the film Kalyanam Panniyum Bramhachari was under production, he came to know that it was "a wholesale reproduction and a light hearted appropriation' (as described delightfully by his lawyer later in the plaint for the copyright infringement suit, N. K. Mohanrangam Pillai, a Justice Party member and successful Original Side lawyer). A notice was sent through Pillai to B. R. Panthulu, who offered a handsome compensation to Sastri Junior not to create trouble before the release of the picture. Sastri somewhat surprisingly wanted his name to be shown in the credits of the film, which was flatly refused by the producer.

Consequently, a case for infringement of copyright was filed by Sastri with Pillai as his lawyer and while giving evidence to substantiate his claim, standing in the witness box, he began to act out the scenes he claimed were really his. He started by saying "I am an MA of the Madras University… First Class…First Class", comically turning his head this way and that way, raising laughter in court. When the Presiding Judge Ayyangar asked him why he repeated the word twice, he replied shaking his head that he got First Class in two subjects and so he was a double MA. Dramatically he added, "But I am not a mama!"

('Mama' is used pejoratively in Tamil as a synonym for the word 'pimp'! There were many such hilarious moments during the trial and V. C. Gopalratnam added his own with his wisecracks!)

However Sastri lost his case both in the trial court and later on appeal.

The Tamil screen story was written by actor and dialogue writer T. K. Govindan, while the script was by Pa. Neelakantan.

Ganapathi (Ramachandran) has no intention of getting married. His parents have a village girl in view (Ragini) and ask him to come to Madurai. He goes along with his friend Ambalavaanan (Sivaji Ganesan) who wants to meet his college girlfriend (Padmini) who is from the same family as Ragini. Ganapathi falls for Padmini not knowing that his pal is already in love with her! The hero rejects the rural girl. Padmini changes her name, lifestyle and get up, and introduces her to Ganapathi. He falls for her and marries her. Soon he realises the truth. However, the problems are solved with the couples living happily thereafter.

Ramachandran was a top comedian and star who played the hero in many movies such as Vazhkai, the AVM box office hit. The film was indeed built around him with Sivaji Ganesan who had entered filmdom a few years earlier with Parasakthi (1952) more or less playing a supporting role.

The film had melodious music (composer T. G. Lingappa) with lyrics by K. D. Santhanam and others. Today not many are aware that a peppy song, 'Jolly life….jolly life …' was filmed on Sivaji Ganesan with Chandra Babu lending his voice! The song became popular.

According to the celebrated Kannada filmmaker Puttanna Kanagal, the Tamil screenplay was indeed a wholesale reproduction of the Telugu play. A couple of other filmmakers of that period also confirmed it.

Remembered for: the interesting storyline, melodious music and good performances by Ramachandran, Sivaji Ganesan and Padmini.

Courtesy_


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Friday, March 4, 2011

MGR make-up man Peethambaram died

Man who had the magic touch

S. SHIVPRASADH

March 3, 2011

MGR in Adimaippen. Peethambaram had to camoufalge the bullet wound scar the actor had on his neck. Photo: Special Arrangement
MGR in Adimaippen. Peethambaram had to camoufalge the bullet wound scar the actor had on his neck. Photo: Special Arrangement

The make-up that transformed S.V. Ranga Rao into a 105-year old man for "Paadhala Bhairavi" announced the arrival of Peethambaram, who did not look back.

This should have been written when the great man was alive. His magic touch transformed actors, legends during their lifetime, into the characters that they played. Muthudhuta Peethambaram (MP), who passed away recently, was a master of the craft. Known as the personal make-up man of MGR, it was possessive affection that the legend had for him, a feeling Peethambaram reciprocated.

MGR and MP were neighbours at Elephant Gate in Chennai and were bosom pals. Both mothers were friends too and it was to MP's mother to whom MGR turned after the passing away of his own.

Young Peethambaram accompanied K.V. Mahadevan to the studios to learn the nuances of music but destiny had something else in store for him. He ended up as costumer assistant but the turning point came when Hari Babu, renowned make-up artist was brought over from Calcutta by director K. Subrahmanyam for Gemini Studios. Peethambaram joined him as assistant, thanks to the intervention of M.G. Chakrapani.

Ranga Rao transformed

MP joined Vauhini in 1945 and the make-up that transformed S.V. Ranga Rao into a 105-year old man for "Paadhala Bhairavi" announced the arrival of Peethambaram, who did not look back.

Peethambaram shifted from Elephant Gate to Pudupet and thereafter to Triplicane to finally settle down (1960) at No.1, Ganesh Street, Gopalapuram, Chennai. MP's son, film director P. Vasu, recollects his having seen Gemini Ganesan, Savithri, K.R. Vijaya, Ranga Rao, Sheela, Sowcar Janaki and others waiting for their turn to have make-up done. MP was personal make-up artist for Hindi actors Ashok Kumar, Dilip Kumar and Pran whenever they had their shooting in Madras.

Peethambaram's association with MGR began in 1962 with the film 'Paasam' and continued till the legend's last film 'Maduraiyai Meeta Sundara Pandiyan' in 1978. It was for art director Angamuthu to draw a sketch of the character MGR was going to play and MP would bring that alive. The first stop was at wig maker Model Chandra's with the sketch. Only after MGR was satisfied with the wig would MP start his work. M.G. Naidu was in charge of costume. Nagaraja Rao, still photographer, would click MGR as the film's hero. All these took a month and then began shooting. This regimen never changed.

MP took special care to cover the bullet mark on MGR's neck when he acted in 'Adimaippenn.'

Man who had the magic touch
MGR and NTR: Shared a fine rapport. Photo: Special Arrangement

MGR and NTR: Shared a fine rapport. Photo: Special Arrangement

The real test came whenever MGR played a dual role – 'Kudiyirundha Kovil,' 'Neerum Neruppum,' 'Enga Veetu Pillai,' 'Maatukkara Velan,' etc – but Peethambaram passed with flying colours. Once, MGR wanted to appear as Jesus in a film. All make-up formalities were done and photographs taken.

They had a stunning likeness to the image of Christ so much so that MGR backed out saying that it was not correct to leave pictures that might confuse the younger generation.

And there was a sentiment that MGR strictly followed. Every heroine he was introducing would have her first make-up done by MP and the photograph taken by Nagaraja Rao. If Sivaji Ganesan needed a beard to be fixed after make-up was done, it was Peethambaram who had to do it.

MP was also the personal make-up artist for NTR from the film 'Lava Kusha' in 1947 to 'Eenadu' in 1982.

Both NTR and MP would observe vritham whenever the former played Krishna or Rama. The work was laborious and invariably Peethambaram would develop painful blisters on his fingers. But undaunted he would continue with ten of his assistants engaged in the task of making the blue paste. It was work round-the-clock. Was there no conflict with the same make-up man serving two icons? No, thanks to the excellent rapport NTR and MGR shared.

Peethambaram decided to quit when both MGR and NTR stopped acting. It was only after great persuasion personally by A.V.M. Saravanan and Rajinikanth himself that he decided to apply make-up for Rajini in Lord Krishna's get-up in the film 'Murattu Kalai' (1982). That, incidentally, was his last assignment.

Man who had the magic touch
Peethambaram receiving an award for his work in Maattukkara Velan. Photo: Special Arrangement
Peethambaram receiving an award for his work in Maattukkara Velan. Photo: Special Arrangement

All his make-up materials came from Calcutta and the right combinations from T. Nagar, Usman Road's KRISHCO. MP has left a number of disciples - Chakrapani who is Sridevi's make-up man, Sundaramoorthy and others.

It is unbelievable that Peethambaram did not receive high level recognition, apart from Kalaimamani as late as in 2004 (the then Chief Minister Jayalalitha expressed regret for the delay), and the lifetime achievement award from the Andhra Pradesh film industry. "One of life's ironies," observes son Vasu.

Peethambaram was the founder of the Make-up Artists Union in 1964 and he was its president. He was the vice-president of FEFSI in the 1970s.

Director S.P. Muthuraman, whose association with the late Peethamabram dates back to the days of "Anbe Vaa" has this to say: "He led a life of contentment. He was the best in the field, his skill honed to perfection. His profession rose to new heights thanks to his dignity."

Act of generosity

Director P. Vasu reminisces:

My father was one of the few artists, who had a car, in the 1950s. So successful was he in his career. Our house teemed with people, at least 40 of us living together.

My father loved to be surrounded by relatives – sisters, their children and so on. Food was excellent and it was my father who bought vegetables and meat. Thus it came as a rude shock (1973-74) to be served gruel and something equally unpalatable to go with it. What had happened?

A Telugu film my father had produced had flopped and there was a possibility that the palatial house wouldn't be ours anymore. MGR, who had learnt about the situation from a friend, was furious that he was not informed. He was hurt that his close pal did not take him into confidence. At once he arranged the announcement of a film to be produced by my father. Presto! Distribution rights were snapped up even before details were made known and my father cleared all the debts.

But that was not all. NTR was indignant that he was not informed and insisted that he should be the one to do a film for my father. MGR found a solution by giving away the dates to Sethu Madhavan, allowing NTR to have the privilege.

The Telugu film was a hit and so was 'Naalai Namade' of Sethu Madhavan.

The make-up that my father had done for MGR in 'Engal Thangam,' where he appears presenting Harikatha intrigued many. The tonsured head with a small tuft was the talk of the industry for a long time.

Recently I was told that in Andhra Pradesh a picture of NTR was used to make a statue of Krishna.

(As told to Geetha Venkataramanan)

Courtesy_

Friday, February 18, 2011

Saga of success: Actress Anjali Devi

Saga of success

MALATHI RANGARAJAN

February 17, 2011

Anjali Devi in Anjali Pictures 'Swarnamanjari' (Telugu) and 'Mangaiyar Ullam Mangatha Selvam' (Tamil).

Anjali Devi in Anjali Pictures 'Swarnamanjari' (Telugu) and 'Mangaiyar Ullam Mangatha Selvam' (Tamil)

Anjali Devi, who swept filmgoers off their feet with her beauty and elegance, some decades ago, takes you into her rewarding past.

Can you believe that this heroine entered cinema with husband and two sons in tow and went on to work in 500 films in Tamil, Telugu and Hindi in a wide range of roles, before calling it a day? Known for her bewitching looks and elegant dancing skills in her youth, she has acted with the greatest heroes of her era. Meet Anjali Devi, whose religious slant and spiritual thinking have in no way diminished her zest for life! "It involves 64 years of experience ma," she chuckles.

Friendly and cordial, she makes me feel comfortable, when I meet her at her home in Raja Annamalaipuram, Chennai, adjacent to 'Sundaram,' where believers of Sathya Sai Baba throng.

Anjali Devi began as a child artist on stage at the age of eight. A theatre troupe had come to Peddapuram, to enact the play 'Harischandra,' when the boy who was to play Lohidas fell ill. Anjali's father, Nokkiah, a tabla player, who wanted his only child to pursue the arts, suggested his daughter's name and the child who was taking her Class IV exam was whisked away. It was her first brush with acting. "Soon my father left me with the amateur troupe, Young Men's Happy Club, in Kakinada, just a few kilometres away. Doctors, lawyers and officers were members there and brisk theatre activity was going on. The club was my Rangasthalam," she laughs. And that was where she met her husband Adhi Narayana Rao, writer, lyricist and musician. She refers to her husband as "guru, father, mother …everything." The girl was hardly nine then. But by the age of 14, she knew that he was her life partner. And at 18, she was a mother with two sons!

Despite winning several medallions and certificates for her stage performances that included dance, Anjali only wished to bask in the glory of her husband's music skills, when well-known director C. Pullaiah, who had introduced actors such as Bhanumathi and Pushpavalli knocked at their door with a film heroine's role. Anjali's husband advised her to take it up and after much hesitation, she agreed. Her second son was a new born then. 'Gollabhama' was the first film and soon a plethora of offers in Telugu, Tamil and Hindi followed. "In Tamil I did 'Aadhithan Kanavu' and 'Mangaiyarkarasi.' I was taught Hindi at the club, but Tamil was entirely alien. I diligently learnt the language and dubbed in my own voice," she smiles. On the sets, heroes such as MGR would help her with the Tamil diction.

Dhirubhai Desai's 'Shukh Rambha' was her launch pad in Hindi.

T.R. Mahalingam, Sivaji Ganesan, Gemini Ganesan, Ashok Kumar, N.T. Rama Rao, Nageswara Rao – there wasn't a top hero Anjali didn't work with. "Our first production, 'Poongodhai,' a bi-lingual in Telugu and Tamil, should have been Sivaji Ganesan's debut film. But 'Parasakti' got released first. He was God's gift to Tamil cinema. What an actor!" she goes into a reverie. Rekha too made her bow in cinema with Anjali Pictures' 'Amma Kausam' (Telugu), after which she moved on to Hindi.

Incredible variety

You tend to associate Anjali with sober roles. So her light part in 'Adutha Veetu Penn' with T.R. Ramachandran and Thangavelu must have surprised many. "I was keen on variety. We produced 'Adutha …' with Vedanta Raghaviah as director. 'Pakkinta Ammayi,' the Telugu remake was directed by Pullaiah. (As 'Padosan' in Hindi, it featured Saira Banu and Mehmood.) Pullaiah gave me a negative role (Mohini) in 'Gollabhama', made me play Sita in 'Lava Kusa' and added a comedy to my repertoire with 'Pakkinta Ammayi'," she laughs.

Anjali is very proud of her husband's achievements. "We made 28 films. Nearly all of them were hits. But our film 'Phoolon Ke Sez,' for instance, became 'Khaton Ke Sez,'" she smiles. Adhi Narayana Rao was a reputed music composer, writer and producer. Who can forget his scintillating pieces, such as, 'Thesulavudhae Thaen Malaralae' and 'Azhaikkaadhae'? "He was the only composer from the South to be honoured with a Film Critic Award for the Hindi number, 'Kuhu Kuhu Bhole Koeliya' sung by Lata Mangeshkar. He was also awarded the title, 'Vinodha Vaggeyakara,"' she beams.

Ilaiyaraja, she says, loves Rao's compositions. "In fact, the admiration was mutual. So I requested him to release our album 'Adhi Narayana Rao Hits.'" Rao passed away in 1991 and his 20th year aradhana, organised by the State Government, was held in Hyderabad on January 25. "He was a great man. I miss him," her voice turns soft. But regaining composure almost at once, she laughs, "His day would never begin without a copy of The Hindu. He loved the editorials."

Anjali played Rajinikanth's mother in 'Annai Oru Aalayam' -- the film was released in Telugu too. "I keep saying Rajini and Kamal are my sons. About a year ago, when South Indian Artists Association honoured me, as I had been its first woman president, I said, 'One of my sons is here. Where is the other?' Rajini was present, but Kamal couldn't make it."

It's joy to listen to this great actor re-live her past, even as she touches upon her present, in a quaint mix of Tamil and Telugu, with a few Hindi words peeping in. Daughter-in-law Vijayalakshmi is equally affable. "Do you remember comedian Sarangapani? Viji is his daughter." Elder son Chinna Rao deals in software and Niranjan Kumar, the second, is a general surgeon. Both live in the U.S. "I can't leave Chennai ma. I've lived here since 1946," she says.

Redressal, a must

I'm shocked when Anjali Devi tells me that the Central Government hasn't honoured her, ever! What more achievements are needed for such recognition, I wonder. "I wonder too! Some of our films have won national awards but that's it. The States of Tamil Nadu and Andhra Pradesh have presented me titles and feted me. But somehow the Centre hasn't taken cognisance of my work and life," shrugs the octogenarian. A grievous omission indeed!

A hand that gives

Anjali Devi has served in other areas too:

1. Vice president, Film Chamber of Commerce

2. Senate Member, Sri Venkateswara University, Tirupati

3. The first woman president of South Indian Artists Association

Known for her philanthropy, Anjali Devi contributes a lot for the cause of education. "Helping those who wish to study is gratifying," she says.

Her educational trust in the name of actor Nagaiah, whom she holds in high esteem, allots funds for at least 10 deserving students annually. "I'm also planning a trust in my husband's name," she smiles.


Courtesy_

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