Old is Gold - Movies Portal

பிறந்தநாளையொட்டி "ஆசை முகம்" திரையீடு: தியேட்டரில் எம்.ஜி.ஆர். ரசிகர்கள் ஆரவாரம்

2012-01-18T19:31:00.001+05:30

பிறந்தநாளையொட்டி "ஆசை முகம்" திரையீடு: தியேட்டரில் எம்.ஜி.ஆர். ரசிகர்கள் ஆரவாரம்

எங்க வீட்டு பிள்ளை மீண்டும் ரிலீஸ்: எம்.ஜி.ஆர். படம் பார்க்க திரண்ட ரசிகர்கள்...

Courtesy_

Maalaimalar ePaper

http://www.facebook.com/notes/sooriyan-fm

1972: MGR meets Pressmen

2012-01-18T16:47:00.001+05:30

1972: MGR meets Pressmen.............

Courtesy_

Dinamalar ePaper

Movie Dam 999: depicts collapse of Mullaiperiyar Dam

2011-11-22T20:21:00.001+05:30

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_

http://ibnlive.in.com

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

Jayalalithaa kicks off Arasu cable services

2011-09-03T10:34:00.001+05:30

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_

http://www.thehindu.com

Also read the related stories

http://www.tn.gov.in/seithi_veliyeedu/pressphoto.php?id=2331

http://www.tn.gov.in/seithi_veliyeedu/pr02Sep11/pr020911_541.pdf

Visit me at:

Selvam Murugan Temple visits

Part 01: Selvam Agricultural Land visits

Part 02: Selvam Agricultural Land visits

Part 03: Selvam Agricultural Land visits

Treak Earth Images

Visit my Blogs at:
http://selvamblog.blogspot.com

Two decades on, MGR is still a vote-catcher

2011-04-05T01:26:00.001+05:30

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

'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_

http://www.thehindu.com

--
Visit my Blogs at: http://selvamblog.blogspot.com

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

2011-04-04T23:06:00.001+05:30

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

சென்று பாருங்களேன்......

www.devarathirumurai.wordpress.com

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

Visit my Blogs at: http://selvamblog.blogspot.com

Kalyanam Panniyum Bramhachari 1954

2011-03-19T22:32:00.001+05:30

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 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_

http://www.thehindu.com

--
Visit my Blogs at: http://selvamblog.blogspot.com

MGR make-up man Peethambaram died

2011-03-04T16:34:00.000+05:30

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

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

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

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_

http://www.thehindu.com/arts/cinema/article1506236.ece?homepage=true

http://www.thehindu.com/arts/cinema/article1506236.ece?viewImage=1

http://www.thehindu.com/arts/cinema/article1506236.ece?viewImage=2

Saga of success: Actress Anjali Devi

2011-02-18T09:10:00.000+05:30

Saga of success

MALATHI RANGARAJAN

February 17, 2011

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 20^th 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_

http://www.thehindu.com

--
Visit my Blogs at: http://selvamblog.blogspot.com

Jaya formally opens Website for Official Newspaper

2010-11-05T21:26:00.001+05:30

Courtesy_

Dr. Namathu MGR ePaper dated 03-11-2010

Visit AIADMK Party's Official Newspaper at: http://www.drnamathumgr.com

--
Visit us at: http://selvamblog.blogspot.com

Useful Tamil Links

2010-10-26T23:32:00.001+05:30

English to Tamil Dictionary

http://www.dictionary.tamilcube.com/

Popular Tamil proverbs

http://www.tamilcube.com/res/proverb.html

Tamil Calendar

http://www.tamilcube.com/tamil_calendar.aspx

Tamil Quotes for motivation

http://www.tamilcube.com/res/motiva.html

Thirukkural Search in Tamil and English

http://www.tamilcube.com/thirukkural

Thirukkural Search online

http://www.tamilcube.com/thirukkural/

Tamil PDF eBooks for Download

http://www.tamilcube.com/res/tamil_ebooks.html

Indian spices and pulses

http://www.tamilcube.com/res/indian_spices.html

Indian herbs and plants

http://www.tamilcube.com/res/indian_herbs.html

Indian vegetables

http://www.tamilcube.com/res/indian_vegetables.html

Fruits names

http://www.tamilcube.com/res/indian_fruits.html

Flowers names

http://www.tamilcube.com/res/indian_flowers.html

Birds names

http://www.tamilcube.com/res/Indian_birds.html

Animals names

http://www.tamilcube.com/res/Indian_animals.html

Fishes names

http://www.tamilcube.com/res/fish_names_tamil.html

Visit Our Picasa Web Albums

2010-10-24T12:14:00.001+05:30

Dinamalar and Dinamani Clippings:

http://picasaweb.google.co.in/selvalbum

General Web Album:

http://picasaweb.google.com/selvamrpr

Madurai Meenakshiamman Koil:

http://picasaweb.google.co.in/spiritualitydivinity/MaduraiMeenakshiammanKoil#

Spiritual Web Album:

http://picasaweb.google.co.in/spiritualitydivinity

Tamil Nadu Highways:

http://picasaweb.google.com/tnhighway

Tamil Nadu Places Web Album:

http://picasaweb.google.com/tnplaces

THE HINDU: Sivaji Ganesan photo gallery

2010-10-24T12:02:00.000+05:30

" A world class actor who remained a regional star" ... Sivaji Ganesan. Pic. by K. Pichumani

Consummate villain and a suave hero... for the first time the villain had more admirers... Sivaji in a dual role (one good and the other bad) seen here with Nambiar in the ever-popular `` Uthama Puthiran''

The very pose speaks volumes about the caring husband that he was in ``Thangapadhakkam''

Another milestone in ``Vietnam Veedu'' Sundaram's career that found Sivaji in two diametrically opposite roles...``Gauravam''

The giants meet... Sivaji Ganesan and Marlon Brando

The unmatched hero and the inimitable villain... with M.R. Radha in ``Paava Mannippu''

``Tenali Raman''... wit and humour at its best

A perfect portrait... Sivaji sharing the joy of the Dada Saheb Phalke award with his wife - recognition well-deserved

The deeply pious Periazhwar... in ``Thirumaal Perumai''

The stylish romantic... ``Kalyaniyin Kanavan''

Excellent screen presence... and what an enchanting pair the two made - Sivaji and Saroja Devi in ``Paalum Pazhamum''

A take-off on Shakespeare's ``Taming of the Shrew''... the ``Arivaali'' with Banumathi - hilarious to the core

Gesture with the hands said it... Sivaji and Padmini in ``Paaladai''

An illiterate married to a highly educated haughty girl... Sivaji bowled audience over with an innocent charm in ``Padithal Mattum Podhuma''

Our all-time Great with the Hollywood Greats...(L to R) Standing:Jim Garner,Jack Lemmon, Charlton Heston. Sitting:George Chandler, Sivaji Ganesan, Walter Pidgeon

He blended well with the modern generation too... with the ``Devar Magan'' group

One of the many shades... with Savithri in ``Navarathiri''

No genre was a tough proposition... and that included comedy. Sivaji, Nagesh and Jayalalitha in ``Sumathi En Sundari''

Steeped in devotion... as Appar

The torment of Sundarar...

He excelled in light roles too.. in "Balae Pandiya"

The lion roars... in "Veerapandiya Kattabomman"

"Long live Bharathan"... Rajaji's pithy statement said it all -- Sivaji as Bharathan in "Sampoorna Ramanayanam"

A poignant moment... "Vietnam Veedu"

The foreign spy of "Andha Naal"... the last word in versatility

As "Kappalottiya Thamizhan" ... realistic portrait of a patriot

Courtesy_

http://www.hindu.com

--
Visit us at: http://selvamblog.blogspot.com

All about MGR................

2010-10-23T14:16:00.001+05:30

All about MGR:

http://www.lakshmansruthi.com/cineprofiles/mgrindex.asp

--
Visit us at: http://selvamblog.blogspot.com

Dinamani: Living Legend MGR passed away

2010-10-17T14:10:00.001+05:30

Dinamani: Living Legend MGR passed away.............

Courtesy_

Dinamani

For more details, please visit the following links:

http://srimgr.wordpress.com/page/6/

http://mgr-peran.blogspot.com/

http://mgrroop.wordpress.com/

http://mgrroop.blogspot.com/2008/01/91st-birth-day.html

---

Visit us at: SelvamBlog

A virtuoso recalls of Veteran Actor V.S.Raghavan

2010-10-07T22:51:00.001+05:30

A virtuoso recalls

MALATHI RANGARAJAN

October 7, 2010

Versatile: V.S. Raghavan. Photo: R. Ravindran, THE HINDU

Veteran stage and film actor V.S. Raghavan takes a stroll down his eventful past.

"If an award were instituted for the most credulous person who's been taken for a ride several times in life, I deserve to get it," veteran stage and screen actor V.S. Raghavan laughs sardonically during our conversation at his home in Mandaiveli, Chennai. The past master has seen a lot in life, both good and bad, and has emerged unscathed. "That's because acting, particularly theatre, which began as a pastime became my passion. When you love your job you tend to forget the problems it posed or the hassles it caused," he says.

In a career spanning almost six decades Raghavan has acted in around 1,000 films, even while he was busy with his theatre jaunts! Also a television actor till a while ago, he's not often seen on screen these days. "That was till a fortnight ago. I've just accepted a role in 'Vaadagai Veedu,' a daily soap. I took a break because TV proved too taxing and I had decided to take it easy," says the ever-active octogenarian. "Don't ask me why I've gone back to it again! Frankly it was on an impulse. As they say, once you've donned make-up, it isn't easy to wipe it off," he smiles.

Always a dad

Throughout the conversation his incredible memory power has me dumbfounded. "I only take a second or two to recollect the names of films and plays I've acted in. Names of people I never forget," he says when I ask him about director Sridhar's classic features Raghavan has worked in, beginning with 'Nenjil Oar Aalayam' and 'Kaadhalikka Naeramillai,' and almost instantly adds, "Sridhar also gave me fabulous roles in 'Sumai Thaangi' and 'Nenjirukkum Varai,'" with a see-I-got-it look on his face.

From age 30, when he began his cinema sojourn with the film, 'Vaira Maalai,' most of the time he has played the hero's or heroine's dad. "But in real life, I got married only at 40," he guffaws, "and that was only to please my mother." Yet whatever the role he has made his presence felt. The grandpa in KB's serial 'Anni,' which rained accolades for Raghavan, is a case in point.

He has been directed by the best in the field and has acted with the most popular heroes of the past and present. "Once a maker uses me, invariably I become a permanent part of their projects. That included MGR," says Raghavan. 'Oli Vilakku' was his first film with 'Puratchi Thalaivar,' from when Raghavan had a role in every MGR film. It has always been so. A more recent example is Chimbudevan, who has cast Raghavan in all his three films – 'Imsai Arasan 23{+r}{+d} Pulikesi,' 'Arai Enn 305-il Kadavul' and 'Irumbu Kottai Murattu Singam.'

The same was the case with K. Balachander. Raghavan played a memorable part that had negative shades in KB's 'Iru Kodugal.' "The strict, Anglo-Indian dad I portrayed in his 'Nootrukku Nooru' also earned me plaudits. Unforgettable role," recalls Raghavan. K.S. Gopalakrishnan and A.P. Nagarajan were other formidable makers who frequently took him on board.

His association with Balachander dates back to the time when the director was an amateur actor, who was also penning one-act plays. "He wrote the dialogue for a couple of our plots and also acted in a few of them," says Raghavan. One such play was 'Chadurangam' -- an adaptation of well-known Welsh dramatist Emlyn Williams' 'Someone Waiting,' a murder mystery. Raghavan was so taken in by the book his friend Lenin had given him that he wrote to Williams seeking his permission to stage it in Tamil, which he magnanimously granted. KB handled the translation.

Arguably for the first time in Tamil theatre, Raghavan used the one-set technique. "Thanks to Ranganna's imaginative screen décor," says Raghavan. "He helped us achieve it, with the screen coming down to close one part of the stage, and going up on the other." Those were the days when Raghavan's troupe, INA Theatres, was a name to reckon with on the stage circuit. From their first play 'Engirundho Vandhaal' to 'Gowri Kalyanam,' 'Vazhi Naduvil,' and others Raghavan always plumped for storylines published in books or serialised in magazines. An avid reader, and an aspiring journalist from his youth, he had an eye for selecting concepts that would make worthy plays. "Serious family themes were our forte, probably because basically I'm a serious man," he says.

But this sober actor's close friend was the inimitable comedian and character actor Nagesh. "He should have lived for at least two decades more. He neglected his health a lot," he rues. Nagesh was a regular at Raghavan's home. "'Janaki coffee!' he would call out even while entering the house, and ask again for his second cup before leaving. He loved my daughter-in-law's preparation," Raghavan remembers. "Can you find a versatile actor like him? Yet did he get his due?" Rhetorical posers which kindle ire in connoisseurs of acting!

Ironically it was Nagesh who persuaded Raghavan to quit the stage because it was proving a strain for him. "'Take care of your health, Raghava,' he would advise me," he sighs. Anyway with the onslaught of satellite channels the theatre scene wasn't conducive and it was curtains on INA. "But even now you find Y.G. Mahendra, TV Varadharajen, Augusto and a few others dedicated to it," he says.

Probably it is Raghavan's philosophy in life that keeps him contented and happy. "I'm a man of simple needs. My two sons are engineers and they are well-settled. I've had no great aspirations. I believe everything is ordained and I move with the tide. When I set off on my own as a young man, after my father passed away, the balance sheet was perfect – no debts, no assets. Today it's the same -- no commitments, no wants," he smiles.

Courtesy_

http://www.thehindu.com

Also view the following Photos:

With R.S. Manohar in 'Vairamalai'.

V.S. Raghavan being honoured with the Devar Award by M.G.Ramachandran during the first anniversary of IDA.

Veteran actor V.S. Raghavan. Photo: R. Ravindran

Courtesy_

http://www.thehindu.com/arts/cinema/article818054.ece?viewImage=1
http://www.thehindu.com/arts/cinema/article818054.ece?viewImage=2

http://www.thehindu.com/arts/cinema/article818054.ece?viewImage=3

Actor NSK alias N.S.Krishnan 53rd Death Anniversary

2010-08-30T10:21:00.001+05:30

Courtesy_

Maalaimalar ePaper

BR Panthulu Centenary

2010-07-28T19:27:00.001+05:30

BR Panthulu Centenary

IndiaGlitz [Wednesday, July 28, 2010]

This year is the centenary year of Boodgur Ramakrishna Panthulu a doyen of Indian cinema. Better known as BR Panthulu, the marvel was an actor, a producer and a director all in one. Though BR Panthalu contributed immensely to the entire south Indian cinema it is only the Kannada Chalanachitra Academy (KCA) is celebrating the 100th year of the legend with a year long celebrations.

At the same time BR Panthulu's contributions to Tamil cinema are also no less to others. He started his career as an actor but son learned the art of cinema thoroughly and emerge as a successful producer, director.

Some of the immortal films of the greats like MGR and Sivaji came out of the brain of BR Panthulu. His first tryst with the legends started in 1957 for the film Thangamalai Rahasiyam. The bond he developed with Sivaji gave us some of the most memorable films like Sabash Meena, Veerapandiya Kattabomman, Kappalottiya Thamizhan, Bale Pandiya, Karnan and Murudan Muthu.

Veerapandiya Kattabomman was a reinvention of sorts and the film fetched Sivaji Ganesan and music director G Ramanathan the best actor and best music director awards at the Afro-Asian Film Festival in 1959. Former Prime Minister Indira Gandhi was so moved by Kappalotiya Thamizhan that the iron lady ordered permanent tax-free status to the film. Past legends were brought to life in Panthulu films. We never knew how Kattabomman, VO Chidambaram or Karnan would have looked. But BR Panthulu created an impression that they would have possibly looked like what he showed in his films. Proving that would be this fact. When a life size statue of Veerapandiya Kattabomman was erected at Kayatharu (the place were Kattabomman was hanged by the British) the statue was medelled on Sivaji Ganesan performed character in the film.

Later BR Panthalu had to part ways with Sivaji to make another legendary combo in Tamil cinema. BR Panthulu joined with MGR and gave hit after hit with films like Aayirathil Oruvan, Nadodi, Rahasiya Police 115 and Thedi Vandha Mappillai.

It was BR Panthulu who introduced Jayalalitha to cinema. She was first introduced in Kannada film 'Chinnada Gombe' directed by BR Panthulu. Later when he started his first film with MGR he brought Jayalalitha to Tamil with Aayirathil Oruvan. Ironically when a new legendary pair of MGR-Jayalaliths was created in Ayirathil Oruvan, the film was the last film of the legendary duo Viswanathan-Ramamoorthy. PR Panthalu also introduced Bhrathi (Vishnuvardha) to Tamil cinema with Nadodi opposite MGR.

BR Panthulu was active until 1973 and the golden era came to an end in 1974. PR Panthulu passed away in 1974 but his films are still proving gold mines. His films may be few but all his films are landmark films in Tamil cinema and its our duty to recognize the legend.

The KCA has organised a BR Panthulu film festival where his 19 of his films will be screened. A book on Panthulu is also being released.

At the launch of the year long celebrations, BR Panthulu's daughter BR Vijayalakshmi handed over the script of the movie Shri Krishnadevaraya, which is one of his important movies. BR Panthulu's daughter BR Vijayalakshmi is Asia's first woman cinematographer. She was launched as an independent cinematographer by K. Bhagyaraj in his film 'Chinna Veedu'.

Courtesy_

http://www.indiaglitz.com

News about Veera Pandiya Kattabomman Movie

2010-07-26T16:01:00.001+05:30

THE MAN WHO INTRODUCED JAYALALITHA

July 26, 2010

Shri. Boodgur Ramakrishnaiah Panthulu, born on July 26th 1910, has produced and directed 57 films in all South Indian languages under the banner Padmini Pictures and is one of the pioneers of the Indian film industry. Many of his films have won National and State Awards. His portfolio includes legendary films like Veera Pandiya Kattabomman, which won the Afro-Asian Film Festival award, Kappalotiya Thamizhan, and Karnan. A futuristic thinker of his times, he has made the first ever Techni Color film in India in Tamil (Veera Pandiya Kattabomman) and the first Color Film in Kannada, Shri Krishna Deva Rayalu.

Shri. B.R. Panthalu was closely associated with veterans such as N.T. Ramarao, Nageshwara Rao through his Telugu Films; Shri Sivaji Ganesan through Veera Pandiya Kattabomman, Kappalotiya Thamizhan, Karnan, Sabash Meena and the likes and with Shri MGR in Aayirathil Oruvan, Ragasiya Police 115, and Madurai Meetiya Sundara Pandian to name a few.

Shri B.R. Panthulu has introduced Ms.Jayalalitha to the silver screen first in the Kannada film Chinnada Gombe and later introduced the MGR-Jayalalitha duo in Aayirathil Oruvan. He has also introduced other artistes like Bharathi, given the opportunity to his assistant Puttana Kannagal to direct his first film School Master. Many of his films were remade in all languages including Hindi.

Even after the demise of Shri B.R. Panthulu on Oct 8th, 1974, Srimathi Indira Gandhi previewed the film "Kappalotiya Thamizhan" and was so deeply moved that she granted Entertainment Tax Exemption for the film, forever...

Karnataka is celebrating the entire year starting with a function tomorrow and screening two films in each district every single week and documenting Shri. B.R. Panthulu's biography at the end of the year.

Courtesy_

http://www.behindwoods.com

மேதையான (கி)ராமராஜன்

2010-07-24T22:48:00.000+05:30

மேதையான (கி)ராமராஜன்

புதன்கிழமை, 21 ஜூலை 2010 02:32

ஒரு காலத்தில் சூப்பர் ஸ்டார் ரஜினிகாந்தையே திரும்பிப் பார்க்க வைத்த வெற்றிகளுக்கு சொந்தக்காரார் ராமராஜன். தான் நடிக்கும் ஒரு படத்தின் பாடலில் வந்த ஆபாச வரிகளை ஆட்சேபித்த 'மாபெரும் குற்றத்துக்காக' அதுவரை அவரது படங்களின் வெற்றிகளுக்கு பக்க பலமாக இருந்த ஒரு பிரபலத்தின் கோபத்துக்கு அநியாயமாக ராமராஜன் ஆளாக, அதன்பிறகு அவருக்கு இறங்குமுகம்.

---என்று சாதாரணமாக ஒற்றை வார்த்தையில் சொல்லி விட முடியாது . மலை உச்சியில் இருந்து அதலபாதாளத்துக்கு உருண்ட முகம் என்று சொல்வது கூட கம்மிதான்.

நாற்பத்து மூணு படங்களில் கதாநாயகனாக வலம் வந்த ராமராஜன், திடீரென்று தமிழ் சினிமா உலகினின்றும், காற்றில் கரைந்தது போல ஆனார்.

ஒரு நிலையில் பல படங்களில் அண்ணனாக மாமனாக மச்சானாக நடிக்கக வாய்ப்பு வந்தபோது எல்லாம் மிக சிரமப்பட்ட போதும்கூட அவற்றை மறுத்தவர் ராமராஜன். தவிர எத்தனையோ தொலைக்காட்சி வாய்ப்புகளை மறுத்தவர். அவ்வளவு ஏன்..? புகழ் உச்சியில் இருந்தது முதல் இதுவரை தனிப்பட்ட முறையில் எந்த ஒரு தொலைக்காட்சிக்கும் (தான் சார்ந்த கட்சியின் ஜெயா டிவி உட்பட) ஒரு பேட்டி கூட கொடுக்காதவர். 'என் முகத்தை திரையில் காட்டத்தான் தயாரிப்பாளர் எனக்கு சம்பளம் தருகிறார். நான் அதை டிவியில் காட்டினால் அதன் மூலம் சில ரசிகர்களை, திரையரங்குக்குக்குப் போகும் ஆர்வத்தில் இருந்து நான் விலக்கி, தயாரிப்பாளரின் வயிற்றில் அடிப்பதாக அர்த்தமாகிவிடும் ' என்று அறிவித்தவர்.

சரி, இதெல்லாம் இப்போது எதற்கு என்று கேட்பவரா நீங்கள்? காரணம் உண்டு.

பீனிக்ஸ் பறவை போல மீண்டிருக்கிறார் ராமராஜன்.

ஆம்!

கலைமகள் கலைக்கூடம் என்ற நிறுவனம் என்.டி. ஜி. சரவணன் இயக்கத்தில் தயாரித்திருக்கும் படத்தில் மீண்டும் ராமராஜன் கதாநாயகனாக இரண்டாவது ரவுண்டில் குதிக்கிறார் . கௌசிகா என்ற கல்கத்தா பெண் ராமராஜனுக்கு ஜோடியாக நடிக்கும் இந்தப் படத்தில் ராமராஜனின் சொந்த ஊரான மேலூர் அடங்கிய வெள்ளூர் நாடு என்ற பகுதியில் 32 கிராம மக்கள் சேர்ந்து நடத்தும் திருவிழா ஒன்று சிறப்பாகப் படம் பிடிக்கப்பட்டுள்ளது. தனுஷ்கோடி தீவிலும் இதன் படப்பிடிப்பு நடந்துள்ளது.

ராமராஜனை புதிய கோணத்தில் காட்ட வேண்டுமென்பதற்காக கடலூர் பகுதியில் நடந்த உண்மை சம்பவத்தை வைத்து எடுக்கப் பட்டிருக்கும் இந்தப் படத்தில் ராமராஜனுக்கு ஆசிரியர் கதாபாத்திரம். ஆனாலும், என்ன? பாடல் காட்சிகளில் இதுவரை இல்லாத புதுமையாக நவீன உடைகள் நவீன நடனம் என்று புது ஆட்டம் போடுகிறார் ராமராஜன்.

படத்தின் பாடலிசை வெளியீட்டு விழா அண்மையில் சென்னை பிலிம் சேம்பர் திரையரங்கத்தில் நடந்த போது... என்ன அதிசயம்! வழக்கமாக காஸ்மாபாலிட்டன் குரல்கள் கேட்கும் அந்தப் பகுதி, எதோ கிராமத்து திருவிழா நடக்கும் இடம் போல ஆகியிருந்தது. தமிழ்நாட்டின் பல பகுதிகளில் இருந்தும் ஆட்டோ, வேன். மூணு சக்கர சைக்கிள் இவற்றில் ஸ்பீக்கர் கட்டி வந்திருந்த (காசுக்கு மாரடிக்க வராமல் நிஜமான பாசத்தோடு வந்திருந்த) ராமராஜன் ரசிகர்கள் பலரால் அதகளப்பட்டது அந்தப் பகுதி.

திரையிடப் பட்ட பாடல்களில் கோட் சூட் கறுப்புக் கண்ணாடி என்று ராமராஜன் நடனம் ஆடுவது கொஞ்சம் (அவருக்கு) புதுசுதான்.

விசி குகநாதன், சார்லி, பார்த்திபன், இயக்குனர் ஹரி என்று பலரும் கலந்து கொண்ட அந்த விழாவில் நடிகர் சார்லி பேசும்போது 'ராமராஜன் எப்பேர்பட்ட மனிதர்! எத்தனை புது தயாரிப்பாளர்களை உருவாக்கியவர். இடையில கஷ்டம் வந்த போதும் அவரு இறங்கிப் போகல. இன்னும் ஏதாவது ஒரு சேனல்ல அவரு படம் ஒளிபரப்பாகிக்கிட்டுதான் இருக்கு.

இப்பல்லாம் எந்தப் படத்தோட பாடலிசை வெளியீட்டு விழானு போனாலும் ஓஓஓஒ ன்னு பத்து நிமிஷம் கத்திட்டு பங்க்ஷன் முடிஞ்சு போச்சு போங்கன்னு சொல்றாங்க. ஆனால் இதுல தினா போட்டிருக்கற ஏழு பாடல்களும் தெளிவா வார்த்தை புரியற மாதிரி இருக்கு. அதுக்காக பாராட்டுகள். படிக்காத மேதை படம் ஹிட்டு. படிக்காதவன் ஹிட்டு. அதனால இந்த மேதை படமும் ஹிட்டு' என்று வித்தியாசமாய்ப் பாராட்டிவிட்டுப் போனார்.

குகநாதன் பேச்சு ரொம்ப ஆழமானது என்றாலும் சில பகுதிகள் மட்டுமே இங்கே உங்களுக்காக

' புரட்சித்தலைவர் எப்படியோ அப்படியே நடிகர்களில் ராமராஜனும்! எம். ஜி. ஆர். மிகப் பெரிய சூப்பர் ஸ்டாராக இருந்தாலும் ஏவி.எம்., ஜெமினி வாகினி போன்ற நிறுவனங்களுக்கு ஒரு படமோ இரண்டு படமோ தான் செய்தார். ஆனால், தன்னோடு முப்பத்தைந்து ரூபாய சம்பளத்தில் உடன் நடித்த சின்னப்பா தேவருக்கு இருபது படங்களுக்கு மேல் நடித்துக் கொடுத்தார். சிவாஜி தன்னோடு இருந்த டைலருக்கும் காஸ்டியூமருக்கும் படம் நடித்துக் கொடுத்தார்.

அதன் பிறகு ராமராஜன்தான் எத்தனயோ எளிய மனிதர்களை தயாரிப்பாளராக்கி அழகு பார்த்தார். பேனர் பின்னால் ஒளிந்து கொள்ளாமல் தன்னை நம்பி பலரை வாழவைத்த இவர்தான் நமது உண்மையான ஆண்மகன்.

அதுவும் ராமராஜன நடித்த படங்கள் எல்லாம் கண்ணியமான, கலாச்சாரம் கெடாத படங்கள், எளியவர்கள் தயாரிப்பாளராக உயர்ந்து படம் எடுத்து, அப்படி சிறு படத்தயாரிப்பாளர்கள் வளர்ந்தால் சினிமா வளரும் என்ற உண்மையை தனிமனிதனாக சாதித்துக் காட்டியவர் ராமராஜன். இப்போது சிறு படத் தயாரிப்பாளர்கள் நிலைமை சரியில்லை. எனவே தமிழ் திரையுலகின் நலனுக்காக ராமராஜன் மீண்டும் எழுச்சியுறுவது அவசியமானது. ' என்று கூறிய குகநாதன், 'இங்கே வந்திருக்கும் இயக்குனர் ஹரி ராமராஜனை வைத்து ஒரு படம், இயக்க வேண்டும். அது தமிழ் சினிமாவுக்கே நன்மையாக இருக்கும்' என்று வேண்டுகோள் வைத்து விட்டுப் போனார்.

பார்த்திபன் பேசும்போது ' ராமராஜனுக்கு இங்க இவ்வளவு பெரிய மாலை போட்டாங்களே. அதுல உள்ள ரோஜா இதழ்கள் எல்லாம் உங்களோட இதயங்கள். அதான் உங்க கூட்டத்தைப் போலவே மாலையும் பெருசா இருந்தது.

நாங்க எல்லாரும் அசிஸ்டண்டா கஷ்டப்பட்ட காலத்துல எங்கப்பாவுக்கு உடம்பு சரியில்லன்னு நான் போய் நின்னப்ப, அன்னிக்கே ஐநூறு ரூபாய பணம் கொடுத்தவர் ராமராஜன். சாப்பாட்டு நேரத்துல கரெக்டா அவர் ரூமுக்கு போய் நான் பலமுறை சாப்பிட்டுருக்கேன். அதனால அவரு அன்னிக்கே மக்கள் நாயகனாதான் இருந்தாரு.

மக்கள் நாயகன் என்ற பேர்ல கூட மக்கள் என்ற வார்த்தைதான் முதல்ல வருது. நீங்க இன்னிக்கும் அவருக்கு தந்து கொண்டிருக்கும் ஆதரவு பிரம்மாதமானது' என்று வியந்தார்.

பலத்த ஆரவாரத்துக்கு இடையே அமைதியாகபேசினார் ராமராஜன். 'நான் சாதரணமான நிலையில இருந்து வந்தவன். நம்மளை மாதிரி சாதாரணமான மனுஷங்களுக்கு கை கொடுப்போம் என்ற எண்ணத்துலதான் என்ன மாதிரி எளிய மனிதர்கள் பலரை தயாரிப்பாளரா ஆக்கினேன். மத்த படி பெரிய தயாரிப்பாளர்கள் படத்துல நடிக்கக் கூடாதுன்னு இல்ல.

ஆனா பெரிய சரிவுகளை சந்திச்சேன். வருஷத்துக்கு எட்டு படம் கொடுத்த நான் கடந்த எட்டு வருஷமா ஒரு படம் கூட கொடுக்கல' என்று கூற

' இல்ல தலைவா.. பத்து வருஷமா படமே தரல' என்று கத்தும் ரசிகரை ஆதுரமாகப் பார்த்துவிட்டு, தொடர்ந்த ராமராஜன், ' ஆனா... இத்தனை வருஷ இடைவெளிக்குப் பின்னாடியும் என்னை மறக்காம இன்னிக்கு இவ்வளவு பேர் என் பின்னாடி இருக்கீங்கன்னா.. நான் என் தாய் தந்தைக்கு கூட உண்மையா இருக்கணும்னு அவசியம் இல்ல... உங்களுக்கு உண்மையா இருந்தா போதும்னு நினைக்கிறேன்' என்று சொல்லிவிட்டு மேல பேச முடியாமல், கண்ணீர் விட்டு அழ ஆரம்பித்தார்.

அரங்கமே நெகிழ்ச்சியில் இளகி உறைய 'இந்தப் படம் உங்க எல்லோரையும் சந்தோஷப்படுத்தும்' என்று கூறி முடித்தார்.

அப்புறமென்ன... அரங்குக்கு வெளியே மீண்டும் பல்வேறு வாகன ஒலிபெருக்கிகளில், மதுர மருக்கொழுந்து வாசமும் செண்பக வாசமும் மாங்குயில் பூங்குயிலின் குரலும் பெருமையுள்ள பேச்சியின் ஒலியும் கேட்டுக் கொண்டே இருந்தன.

Courtesy_

http://www.ilakku.in

Palakkad to honour its another great son MGR

2010-07-11T19:48:00.000+05:30

Palakkad to honour its another great son MGR

STAFF REPORTER

PALAKKAD, July 11, 2010

A file picture of former Tamil Nadu Chief Minister and founder of AIADMK M.G. Ramachandran.

The district that had produced some of the greatest artists and musicians of the country is honouring its yet another great son, the well known silver screen icon 'Makkal Thilakam' and the late Chief Minister of Tamil Nadu M.G. Ramachandran by constructing a memorial for him in his ancestral village of Vadavannur in Chittur taluk, 15 km from Palakkad.

The memorial – a Community Hall – constructed by the Vadavannur Grama Panchayat will be inaugurated by Union Minister of State for Home Mullappally Ramachandran on Monday.

The ancestral house of MGR 's mother Sathyabhama is nearby and a distant relative of him is living there now.

Though MGR was born in Sri Lanka, his father Maruthur Gopala Menon belonging to the nearby Nalleppilly village returned to Vadavannur after his retirement as the Magistrate of Kandy in Sri Lanka and stayed for some time in their ancestral house.

After his death MGR 's mother left with her another son M.G. Chakrapani to live with her elder brother at Kumbakonam in Thanjavur district.

While living there both the brothers entered the film world.

M.G.R had married from Kuzhalmannam in Palakkad. His first wife was Ammukutty alias Sadanandavathy, daughter of Kadukunni Nair and Mokambika Amma.

After her death only MGR married actress Janaki. In fact some of the relatives of Janaki had married from Vadavannur.

Though the family left Vadavannur MGR had visited his ancestral house on a number of times even after becoming Chief Minister of Tamil Nadu, the local people said.

The Grama Panchayat President of Vadavannur K.S. Sheeja said that the Panchayat has constructed the memorial which will be used has a conference hall and Kalyana Mandapam. An amount of Rs.52 lakh was spent from the M.L.A's local area development fund of K. Achuthan.

The Kalyana Mandapam will be rented to poor families on a lower rate as MGR had helped many poor families in conducting marriages.

It is in the memory of that great noble heart, the memorial hall will be leased out for marriages also, the president said.

Courtesy_

http://www.thehindu.com

Rare MGR pictures

2010-02-22T14:33:00.001+05:30

Courtesy_

http://www.tamilthunder.com

Rare MGR Pics u have not seen b4!!!!

2010-02-02T22:44:00.001+05:30

MGR Pics u have not seen b4!!!!

Source:

http://goodtamilnews.blogspot.com/2009/12/mgr-pics-u-have-not-seen-b4.html

Rajni's Enthiren is 90 pc complete

2010-01-06T12:45:00.001+05:30

50th Death Anniversary: M.K.Thyagaraja Bhagavathar

2009-11-03T12:23:00.000+05:30

Courtesy_

Dinamani ePaper

Also read the related stories at:

http://en.wikipedia.org/wiki/M._K._Thyagaraja_Bhagavathar

Ulagam Sutrum Vaaliban - (1973) - Behind the Screen

2008-10-28T14:05:00.000+05:30

Movie: Ulagam Sutrum Vaaliban - 1973

Movie : Ulagam Sutrum Vaaliban

Cast : M.G.Ramachandran (Dual-Role) Latha Chandrakala Manjula S.A.Ashokan R.S.Manohar M.N.Nambiyar Nagesh

Music : M.S.Visvanathan
Production : Mgeeyar Pictures
Direction : M.G.Ramachandran
Release Year : 1973

Ulagam Sutrum Valiban was the most challenging work for MGR. When he filmed shots in Thailand, Hong Kong, Japan, Singapore and Malaysia in 1970 he had limited time and finance. Therefore he was very thrifty, nay stingy in working out the budget. He was counting on financial assistance from close friends as well. Although MGR earned high, much of the income went for charity, and he had little in saving.

He knew that the highlight of the movies would be the EXPO 1970 in Osaka as this film had no proper story line. But Japan had high standard of living and one of the costly areas in the world. So he had to make the tour of the countries within few days and limited cash. To be careful in spending he sent Idhayam Pesukirathu Manian to conduct a survey and make the necessary arrangements. Manian went early and made all the arrangemetns. However MGR was not to show up with his team. In Madras he had to struggle with many things, including Jayalalitha who was demanding a role in this mega movie with MGR's name and fame running highest.

Finally he came down and stayed in a bungalow already booked by Manian. On the following day, MGR's car was denied entry into the packed Expo area. But the survey had to be done. MGR carried the camera on his shoulder and walked tirelessly the entire length and breadth of the Expo area. this was to the amazement of youngsters who could not cope up with the aging, and yet energetic who was about 53 then. MGR was a genius. He spotted all the interesting and useful areas. On the following day the shot was made.

The song Ulagam Azhagu kalaikalin Sigaram had 200 shots altogether. The editor was amazed at the number of shots. Finally the song

was reduced to just 4 minutes. This was the first Tamil song to have contained the most number of shots. This song alone covered almost all the important exhibits at the EXPO, and turned out to be a kind of documentary in its own way.

Why was this movie released in hurry? Politics and nothing else. MGR's popularity was growing high. In 1971 there was a thought that Indira Gandhi will kill DMK. Somehow DMK won ar too many seats and Congres was moved into oblivion. This threatened Indira gandhi and boosted the ego of Mu karunanithi. MGR went to Kashmir for shooting of Idhaya venai and phoned karunanithi and asked for a post as minister in his cabinet-as Trade Minister. Mu Ka told him the constitution did not allow for an actor to hold such a post while still acting. karunaithi asked MGR to leave acting. But that would kill MGR. Then MGR requested mu ka to speak to Annai Indira on the adjustment in the constitution. Mu ka refused and told him to come back and discuss at home. When he came back the conversation between them was not cordial.

Meanwhile Mu ka had built up Mu ka Muthu in MGR style and made him start fans club Mu ka rasikar mandram. As the Mandram grew, Mu ka told him to abolish the Mandram on the grounds that party members acting infilms should not have such mandrams. MGr knew where karunainthi was arriving at. His club would be the next target. Apparently while in Kashmir,Indira had used Mohan Kumaramangalam to get MGr to release hic accounts of the expenses overseas when he went to shoot Ulakam Sutrum valiban. MGR could not provide the account. A compromise was made. MGR was to leave the party (break DMK). A pretext was worked out. MGR was to ask for accounts of the DMK misters who were corrupt then.

In a DMK meeting in madurai MGR asked those gathered "Congress is blaming DMK as a corrupt party. Do you all think so?" The people denied DMK as a corrupt party. MGR replied "Makkal Theerppe Magesn Theerppu" but the following month MGR, as treasurer of DMK asked all the ministers to give their accounts as there were accusations of DMK ministers piling up wealth. All refused. Mu Ka said the treasurer's duty is to give accounts, not ask for accounts. heated arguments pursued. MGR left the meeting. Navalar and MU KA met and decided to sack MGR. Then MU KA announced the sacking of MGR. Immediately after the announcement, Cho ramasamy phoned his very close friend Kannadasan and mentioned about this most shocking news. As Kannadsan put down the receiver. Mu Ka himself phoned Kannadasan and asked "YOW! Ethavathu Kevli Patteera?" Kannadasan said "AMMAMAIYA. IPPOTHAAN CHO PHONE PANNAAN" Mu KA's next question was "What do u think fo my decision?" to which the poet laurel said " Yow Avanudaya balathai Kuraithu Edi Podatheer! Kalattaa kattayam Varum" Mu Ka said "I know, but I shall manage"

The dismissal of MGR was conveyed to MGR who was taking a break at the shooting of Amalraj pictures NETRU INRU NAALAI. AS MGR heard it he was so happy (plot worked well) and supplied payasam sent to him to all the workers. "This is my Birthday" he said. he finshed Netru Indru Naalai with much political message.

As his party was kick started, the MLA of Dindigul passed away and a by election was called for. "Thamby naan padichen Kanchiyile NEtru" in N I Naalai shows a flag of ADMK and a poster of K. Mayathevan standing for election in Dindikul under ADMK ticket. Then he worked on U SU Valiban's early release. the DMK was using the government machnery to block all efforts of ADMK in winning the votes of Dindigul. Madurai Muthu challenged MGR he would cut off his ears should the movie be released. They crossed each other and MGR and Muthu almost had a physical fight, if not for the presence of supporters form both side. (I was in Kaaraikkal in 1977 when Parliamentary elections took place. At a party rally Muthu was already campaigning for ADMK, and his ears were intact)

But MGR took the challenge. he finished the movie. But Karunaithis was giving trouble in teh censorship Board. MGR had to settle his income tax. Finally the movie was released in the midst of high tension. In Kanchipuram ( later) a procession was held. The film box was paraded along thousands of supporters and taken to the theatre. But before that the original film roll had already reached the theatre. the film box that came with the procession had only sand and stones inside. That much fear of opposition was there) the ADMK party was only 6 months old when the by election took place. So MGR had to either make it or break it-life and death problem.

DMK did all the preliminary campaign and indications were there that DMK was prepared to win. But just 10 days before the by election, against tradition, this movie's first release was in Dindigul. Peopel saw the movie at the box office and then went to the election box. MGR won. It was U SU valiban, among other factors, that paved way for MGR to become the Chief Minster.

Title song" Vetriyai naalai Sarithiram Sollum- Ippadai Thorkin Epadai Vellum?"

So such was the impact of the movie.

Want to know what happened in Malaysia? In 1969 there were racial riots in Malaysia following which all midnight shows were banned. Midnight shows were screened on Saturdays. Only famous and first time releases were screened this way. However the ban was lifted for Ulagam Sutrum valiban. What was the use? Tickets were already sold out 12 hours ahead. Many came and were disappointed. What used to be just one dollar ticket was sold for 30 dollars and yet tickets were not enough. the film started at midnight. Hundreds were stranded outside the theatre with indescribable frustration and ANGER! the theater owner purposely increased the volume. As someone waked out o the theatre door to purchase some sweets, the door opened and sound of songs came drilling into the ears of those stranded. Tension ran high. IN the uncontrollable anger some threw stones at the theatre and broke the window panes. Police was called. The crowd dispersed. The theatre decided not to screen midnight movies. Malaysia too had die hard MGR fans. That was for Deepavali 1973.

After MGR was expelled from DMK in 1972, MU KA did all tricks to block the release of USV - but could not succeed. At that time, DMK was running the Madras Corporation. They suddenly increased the tax on wall posters just to stop the advertisement for USV. MGR decided not to put any wall poster for USV. The film was released in Devi Paradise and two other theatres. Till now, nobody would have seen such a crowd for advance booking. Even the queue for advance booking went beyond Anna Silai on Mount Road. A super hit picture. I don't remember how many times I have seen this movie, both in theatre and in VCD.

MSV's music / songs also played a big part in the success of the movie. Especially, the background score when MGR/Chandrakala/Nagesh going to the Floating Market in Bangkong, chased by Ashokan & CO.

When the movie was in the making, MGR told to Vali in a light jest, "You will not be given a chance to write songs for this movie" to which Vali replied "This movie will certainly include my name"

MGR was puzzled and sought clarification. Vali replied my name Vali is already buried within the film title- VALIBAN. MGR laughed it off.

The original title of the movie was ULAGAM SUTRUM THAMIZHAN. For reasons not known to us he later changed it to Valiban.

The strength of MGR movies had always been the music and songs. More than anything else MGR gave most attention to the lyrics, tune and the song scenes. For this film he sat with MSV and kept on changing the tunes, until MSV almost dropped dead. Finally MGR approved the tune and went home. Upon reaching home he would phone MSV and request him to improve further. This trend continued for a few days. This unstable mind of MGR became a sore point for MSV and finally MSV told MGR off. He told MGR to look for other composers. On the following day, MGR sent for MSV. When MSV refused to go, MGR told him the tunes had come out so well and told him to collect the cash of Rs 15,000. Just compare with the rate today's' composers are demanding.

MGR gave chance to many singers:

TMS- gave life to the film
PS- most appropriate female singer
Seergazhi Govindarajan- title song with political theme
SPB- upcoming then
KJ Jesudas- MGR was building him
S. Janaki- suited the Expo scene
LR Eswary- suited for Banzayee- a Japanese atmosphere.

The film ran for 28 weeks, taking the number two slot in MGR's fim career. The best runner was Enga Veettu Pillai scoring 33 weeks.

Scenes of songs:

1. Lily malarukku Kondattam start in Kashmir, then to Malaysia, Hong Kong and finally in Singapore. The Malaysia Airport scene is only for a few seconds. That was taken in just one shot.

2. Sirithu Vazha Vendum is in Tiger Balm Gardens in Singapore, the background statues of old men with 'big bellies' are supposed to be ghosts (in Chinese tradition). They have been used for illustrating 'uzhaithu vaazha vendum, pirar uzhaikka vaazhndhidaathe' with children laughing in the foreground.

3.Nilavum Oru Pennagi is in Hong Kong

4. Pachai Kili is in Thailand - had the native music.. Commendable work by MSV

5. Thanga Thoniyile is in Hong Kong sea.

5. Banzayee is in Japan. The tune and music amazed me.

6. Avaloru navarasa nadakam is under water belle in Japan.

7. Ulakam Azhagu Kalaikalin Surangam is in Osaka Expo.

Though USV was released in 1973, all the songs except 'namadhu vettri' were recorded and released in 1970 itself.

I have seen the LP record having 9 songs (4 in one side and 5 on the other side).

It is said that though the film was successful, MGR could not make any money as the film was delayed for 3 years and cost of production was very high having taken the film for almost 6 to 7 hours, reduced to three hours later.

I still remember the Thailand actress "metha" came to Chennai to complete some scenes for the song "pachchai-k-kili", MGR fans gathered at Chennnai Airport to receive her. (the scenes of MGR/Meta wearing Raaja/Raani dress were shot at Sathya Studio)

Courtesy: Ulagam Sutrum Vaaliban - (1973) Article on 123indianonline.com

Interview with Subramaniapuram movie Director

2008-08-24T00:13:00.000+05:30

Youth, the seamy side

T. SARAVANAN AND D. KARTHIKEYAN

It was not easy to recreate Madurai of the 1980s for ‘Subramaniapuram.’ But the effort has paid rich dividends.

It was like walking on razor’s edge. Masking modern day sophistication was strenuous, for instance, the overhead cable television network wires…

Photo: G. Moorthy

A scene from his Subramaniapuram

The success of ‘Subramaniapuram,’ has heralded the arrival of yet another promising director, M. Sasikumar, from the school of popular filmmakers Bala and Ameer to Kollywood.

If you think the film is an outcome of decades of mulling over a plot by the creator, you are mistaken. For, it took hardly 12 months for Sasikumar to conceive and write the script.

The idea to make a period film germinated when Sasikumar was working with Ameer for ‘Ram.’ He wanted to make a subject on youth, throwing light on the darker side.

“Immediately, after the movie, I walked up to Ameer making my intentions to become a director clear. For long, I wished to portray the other side of the youth and I feel happy for having done justice to my urge,” he recounts.

A gripping start and narration — a mixture of romance flavoured with comedy — culminating in tense moments, was the recipe the director adopted to convey his message convincingly. Right from the word ‘go,’ the movie transports the audience to Madurai in 1980.

Recreating the past

Promising director: M. Sasikumar

The challenge was recreating the past with an authentic touch. “We put in serious efforts to make sure that anything representing the contemporary would not creep in. We bought most of the articles used in the picture. The task called for extensive homework. Starting from hairstyle to costume design, the movie demanded a lot and we were equal to the task. You might have noticed that each character wears clothes of a distinct design pattern. For instance, ‘Paraman’ (the role donned by me), bosom-friend of the protagonist, always prefers shirts with checks while ‘Azhagar,’ his friend, selects shirts with motley designs,” he says.

The film has won critical acclaim for its authentic presentation of things that were in use during 1980s.

“It was like walking on razor’s edge. Masking modern day sophistication was strenuous, for instance, the overhead cable television network wires that snaked over the walls of almost all the houses. However, the dividends have been rich, Sasikumar beams.

On choice of music director and use of Ilaiyaraja’s popular number ‘Siru ponmani’ as a sort of love theme, Sasikumar says: “We wanted to use that song from ‘Kallukkul Eeram’ as an alternative to the background score and it worked well.

“James Vasanthan was our first choice since he was my music teacher at school and we do complement each other. I was able to extract work, which a debutant cannot expect from an established music director. The songs, re-recording with its spaces for silence synchronised well with the narration.”

More than the entertainment, the accent was on documenting the past. The anguish of the unemployed youth, who are made scapegoats in the political power struggle, is well-captured by him, reflecting the political ethos.

The presence of the portrait of freedom fighter V.O.Chidambaram Pillai at the heroine’s house, shifts the focus to the political and caste equations that have always played a significant role in the history of Madurai.

Azhagar is hacked to death and the heroine’s uncle says to her, “You have proved that you are one of us.”

It comes as a rude shock to the viewer savouring the romance beautifully portrayed up to that point. The man betrayed by his sweetheart?

“The family bond is stronger here than the love. If the girl and the boy had united, the film would not have become a talking point now. But this is reality,” asserts Sasikumar. “I did not discuss the script with any of my cinema friends. Instead I told the story to a friend totally unconnected with the field. When he understood what I was trying to say, I knew I would make it.”

The film does not show that it was the failure of the State to provide employment, as quite a few films made at that point of time sought to show.

Courtesy_
http://www.thehindu.com

Saroja Devi: I dedicate the award to Mahatma Gandhiji

2008-08-13T23:56:00.000+05:30

‘I dedicate the award to Mahatma Gandhiji’

Wednesday August 13 2008 16:14 IST

Y Maheswara Reddy

Actor Saroja Devi

Padmabhushan and Padmashri Dr B Saroja Devi will be seen sharing honours along with dignitaries — Dilip Kumar, Lata Mangeskar and Tapan Sinha —at the 61st Independence Day celebrations in New Delhi.

Though awards are not new to Dr Saroja Devi, the veteran artiste considers the Lifetime Achievement Award very special. “I will dedicate it to Mahatma Gandhiji. I like his principles, but unfortunately many people are not following the footprints of Gandhiji,” says Dr Saroja Devi.

She had made her debut in the film Mahakavi Kaalidasa reluctantly. Though she was not fond of acting in films, the success of her maiden film made her famous over night.

So far, Saroja Devi has acted in more than 180 films in different languages including Tamil, Telugu, Kannada and Hindi. She won a number of awards and was felicitated on a number of occasions. “God has given me enough to lead a content life,” says the veteran actress.

However, Saroja Devi desires to play the character of a mother-in-law who not only controls the joint family but is also a role model for family members. Her last film was Thimma in which she acted as the mother of the psychopathic hero.

“I am ready to play such character roles but not filler roles. Why should I accept insignificant roles? I am not willing to act as the mother of an unknown hero or heroine. I will have no problem if any producer or director comes forward with a good script, and if I get due respect during the shooting and even in the title listing.

They should give importance for me as per my experience. Why should my name appear on the screen only after the hero's name? I should get preference,” she explains.

Recalling her memorable moments as an actress of four languages, Saroja Devi showers praises on late director L V Prasad for his honesty. “Nowadays, it is very difficult to find such honest people. He promised to give me Rs 25,000 as a gift if Beti Bete completes screening of 100 days.

The film was a big success at the box office. I had forgotten about his promise but he promptly gave me the promised amount. I gave a ring studded with 16 stones to him as a gift," narrates Saroja Devi.

How does she spend her time? “I am leading a content life. Actually, I did not want to live when my husband died, but I had to adapt myself to reality. I always keep myself busy. My principle is not to hurt any one,” says the actress.

How does her day begin? “I get up early morning and walk in my garden for one hour. I love to spend time admiring the beautiful flowers in my garden. I spend only two minutes for pooja because I do not believe in spending more time. I request and pray the God (Hanuman) to take care of me during the day,” explains Saroja Devi.

maheswarareddy@epmltd.com

Courtesy_
http://www.newindpress.com

Gemini Ganesh: `King of Romance', passes away

2008-01-04T22:18:00.000+05:30

Gemini Ganesh, `King of Romance', passes away

By Our Special Correspondent

Gemini Ganesh. — Photo: Bijoy Ghosh

CHENNAI, MARCH 22. Gemini Ganesh, Tamil cinema's first acknowledged romantic hero, (`Kadhal Mannan'), died here in the early hours today at the age of 84 after a prolonged illness. Along with Sivaji Ganesan and M.G. Ramachandran, Mr. Ganesh made up a celebrated triumvirate of actors who dominated Tamil filmdom for three decades from the 1950s.

He was cremated in the evening with full state honours.

Born on November 17, 1920, Ramaswamy Ganesh captured the imagination of an entire generation of film-goers as the archetypal romantic hero with a song on his lips. In about 200 films he essayed a wide range of roles, starting with a minor part in Miss Malini, a Gemini Studio film based on an R.K. Narayan story and script (1947). He starred opposite Pushpavalli, who became the mother of two of his daughters.

Mr. Ganesh did not take the traditional route of the theatre to the tinsel world. His first job was as a demonstrator at Madras Christian College. His first cinema-related work was with the studio that brought the Gemini prefix to his name.

From the casting department, Mr. Ganesh got his first break in films with Miss Malini. This was followed by Chakravarthi, in which he played Lord Krishna. However, not until 1953, when he played the villain in the film Thai Ullam, did people take notice of him as an actor.

The next year, he graduated as a hero with Manampol Mangalyam. The film paired him with Savitri, who became the mother of two of his children — a daughter and a son. From then on, he carved out a niche for himself in Tamil cinema with films that required a lot of `romance' but little `action'. Although Sivaji excelled in films with drama, and MGR dominated movies with thrilling fight-scenes, Mr. Ganesh held his own with sensitive portrayals of the yearning lover.

Kanavane Kankanda Deivam, Missiamma (both 1955), Yaar Paiyan (1957), Vanjikottai Valiban (1958), Kalyana Parisu (1959), Parthiban Kanavu (1960), Paava Mannippu, Then Nilavu (both 1961), Konjum Salangai (1962), and Iru Kodugal, Poova Thalaiya (both 1969) were among his most memorable films. In 1974, he starred in his own production, Naan Avanillai, the story of a man playing many roles. The success of the love story-based films earned him the title of `Kadhal Mannan' or King of Romance.

Later in his career, he switched to character roles. Notable among these was Avvai Shanmughi (1996), in which, quite characteristically, he entered into the skin of an old man longing for an old maid. Towards the end of his acting career he kept himself busy with elegant roles in television serials.

Varied interests

Mr. Ganesh was a man of varied interests. In school, he was captain of the cricket team. A lover of dogs, he had a special liking for Golden Retrievers.

All his life, Mr. Ganesh made it a point not to involve himself in any public controversy. Unlike Sivaji and MGR, he kept his distance from politics. However, he had a close circle of friends, and always remembered those who helped him in his career. A few years before R.K. Narayan died, Gemini Ganesh, quite frail, visited him on a sudden impulse to pay his respects and thank him for "launching him on a film career." Gemini Ganesh won several awards, including the Padma Shri.

He is survived by his wife Alamelu Ganesh (`Bobji Amma'), aged 80, seven daughters, and a son. They are: Dr. Revathi Swaminathan, Dr. Kamala Selvaraj, Ms. Narayani Ganesh, Dr. Jaya Shreedhar; film actress Rekha Ganesh, Radha Osman Syed; Vijaya Chamundeswari, and Satish Kumar.

Courtesy_
THE HINDU

Gemini Ganesh: His daughter speaks

2008-01-04T21:50:00.001+05:30

Pages from the past

There was more to Gemini Ganesh than just being a star of the silver screen, finds his daughter JAYA SHREEDHAR.

Last of the Triumvirate: Gemini Ganesh with Vyjayantimala in a still from one of his films.

HAVING lived with my father all my life, I presumed I was privy to everything about him. Yet, there were several things I could never figure out. How had he managed to live with a breezy unorthodoxy bordering on the bohemian, yet have his feet planted firmly on the ground? Where had he learnt the Houdiniesque skill to wriggle in and out of emotionally knotty relationships, largely unscathed? Why did it seem like he was always one step ahead of retribution? How come society winked indulgently at his "excesses" while reserving stern castigation for the rest? All I can say is that he led a charmed life.

Contradictions

Home was a jumble of seeming contradictions. My grandmother's shaven head, brown madisar-kattu and strict ritualism flowed seamlessly with her loving acceptance of the many inter-community marriages in the family. Appa would switch effortlessly between impeccable English, Sanskrit and the pungent vocabulary of Tamil filmdom. He dashed off syrupy English poems with a gusto that made me giggle with embarrassment; yet he had a refined sense of humour that, regretfully, was never exploited by his directors. He loved my mother and quite a few "others" and yet expected us all to love each other too! He loved chatting up the glitterati; equally, he derived pleasure from teasing vegetable vendors each morning into quoting competitive rates — not movie-star prices. He was a rash driver, yet he taught me to drive for hours each day with patience, stopping the day I learned to apply the brakes. He would often watch me at the NCC rifle practice. When I told him I was going to become a journalist, he asked, perplexed: "But what will you do for a living?" Yet, he burst into tears of pride, giving me a bear hug when I showed him my article in Frontline.

Excerpts

Keen Interest In The World: Gemini Ganesh's diary entry and the clipping from The Hindu, August 1942 .

Once, I stumbled upon Appa's Madras Christian College calendar of 1942 and diary of 1943 with two newspaper clippings from The Hindu. From the pages spoke a young chemistry instructor of 22, who played cricket tennis, badminton and bridge, frequented the city's cinema houses and cafes and who followed politics on and off the campus. Some random excerpts from his MCC almanac:

July 22, 1942: ... in the evening C. Rajagopalachari inaugurated the College Union Society. "On how to speak." People were disappointed because he never talked `Pakistan.' Books recommended (1) John Stuart Mill `Liberty' and (2)Thirukkural.

August 12, 1942: Strike again. Most of the students didn't attend college. Played tennis in the college court. Presidencians indefinite strike. Lathi charge... police open fire everywhere. Mohan Kumaramangalam shouted down. C.R. differs from Gandhi. Cricket practice...

August 14, 1942: Went to city in the afternoon with D. Saw "A Chump at Oxford" Laurel and Hardy at Elphinstone. Had lunch at Udipi...

August 18, 1942: College as usual. Students again plan a strike. Very fickle minded fellows. No organisation. In the evening met one Mr. Mackenzie, a Scotch soldier, was talking with him along with Anantharamiah, Ali... and Samuel Raj. Very interesting communistic views.

August 23, 1942: ... Good report of the match in Sunday `Hindu'. (see clipping)

January 2, 1943: ... Went to city with Murthy and one Mr. Subramaniam of Bishop Heber. Saw "Pardon my sarong" at New Globe... Bud Abbot and Louis Costello. Nice picture. Went to Café Casino... Swell day.

February 19, 1943: Prayer day for Gandhiji's fast. Students' agitation. Mahalaxmi Bhavathi gets arrested. So is Bhopal Easo John, D.. and others. Very anxious situation...

February 21, 1943: News about Gandhiji's worse condition. Trying situation. Prayer for Gandhiji's health

March 7, 1943: Attempted some painting. Went to city in the evening... to Roxy with Gurunandan Mulki, saw the "Great Dictator". Very good picture. Liked it awfully. Went to Hotel Brindavan...

November 28 1943: Went to Golden Rock by train and played a cricket match for Ormsby Institute against R.A.F. I bowled and took three for 17. Batting ...made 26. We made it for 3...

November 29, 1943: In the evening went to Plaza to see "Dive Bomber" technicolour featuring Eroll Flynn, Quite good. Most of the test cricketers were there.

Records

In his MCC days.

Appa was at the time a married man of two years while my mother was in Trichinopoly, a fact unbeknown to his MCC compatriots. ... until that fateful day when my mother's cousin visited him. That day's entry reads:

February 31, 1943: ... Mr. Krishnamurthy Ayyar from Trichy came unexpectedly. What a drama! I was in a dilemma...

Appa always kept some record of the day's events in the Hoe and Co. diary of the year, an annual compliment from his friend Mr. Chandrasekar of Higginbothams. The MCC diaries, however, are testimony to the memories of a carefree youth that he cherished. And the boy in him never died.

Dr. Jaya Shreedhar, the youngest daughter of Gemini Ganesh, is Health Advisor, Internews Network. Contact her at jaya_shreedhar@vsnl.net

Courtesy_
THE HINDU

Gemini Ganesan - his biography

2008-01-04T21:44:00.000+05:30

His own space

He played everything from college student, to music guru to romantic hero, in a career that spanned nearly half a century. S.THEODORE BASKARAN looks at some of the best roles of Gemini Ganesan.

THE HINDU PHOTO LIBRARY

A long innings in Tamil cinema — Gemini Ganesan.

GEMINI RAMASWAMY GANESAN left us quite a few insights about Tamil cinema to think about. Despite his long innings on the screen, he never got any National award, not even as a supporting actor. He neither dabbled in politics nor did he nurse a fan club. Is there a link between these? Trying to find his space, when the two giants, MGR and Shivaji, backed by a scaffolding of fan following, were striding the Tamil screen, Gemini eventually established his place — by playing roles that suited him.

A freshness

When you look at the film portrayals by Gemini, there is one characteristic that stands out. Unlike his contemporary stars, he did not come from the stage and, therefore, did not carry the customary excess baggage of stage conventions, of frontal positioning, gesticulations and body language. So there was a freshness in his screen presence He brought subdued acting and understatement to the Tamil screen. The lines he delivered seemed to come straight from the heart rather than from the script book. The dear man's singularity was that he remained apolitical in his career. The only time when he got any where near politicians was when he organised a function in 1963 for poet Subramania Bharathi at Ettayapuram.

After getting a degree in Chemistry, he worked for a while in the Madras Christian College, Tambaram, as a demonstrator before he got a job as a casting assistant in Gemini Studios. Actor Ranjan's career was on the wane at that time and with the good will of the boss S.S.Vasan, Ganesan slid into the screen. Fresh-faced and heart-breakingly handsome, he made his debut in the film "Miss Malini" (1947), at a time when the medium he helped to grow itself was young. This was followed by a number of small roles including a cameo appearance in "Avvaiyar" (1953), as the King of Tirukovilur who marries the daughters of Paari.

But it was in "Missiamma" (1955) — where he donned the delightful role of a teacher, a Hindu, who pretends to be married to a teacher, a Christian, to be able to rent a place to live — that established him. This charming film ensured a place for him and the heroine, Savithiri, a place in the film firmament. The pair won the hearts of filmgoers with enduring duets like "Varayo Vennilaave".

His career peaked in the late 1950s and 1960s with films like "Vanjikottai Valiban" (1958).

His role in "Kanavanae Kankanda Deivam" (1955), particularly his portrayal of the hunchback, evidently inspired by the film "The Hunchback of Notre Dame" (1939) brought him fame and popularity. In "Kalam Mari Pochu" (1956), a film with leftist ideology, he played an uncharacteristic role of a struggling farmer; it was a memorable portrayal. It was the era of Kannadasan, Viswanathan-Ramamurthy and P.B. Srinivas. In his long career, that has spanned nearly half a century, Gemini has played everything from college student to music guru. With his signature costume of kurta and pyjama, he projected a romantic hero as he broke the hearts of women: Decades later, through a character in the film "Avvai Shanmuki" (1996) he was to refer to this image.

His was a time when melodrama ruled the Indian screen. The plots of his films were often sentimental, like in "Kalathur Kannamma" (1960). The eroticism he depicted in the love scenes was beautifully understated. By just throwing longing looks, smiling and holding hands he earned the title Kadhal Mannam (The Prince of Love). A typical Gemini hero was zestful, warm and gracious and not given to violence.

In his elements

He was at his best in his films with Savithiri. The Gemini-Savithiri film that I like most is "Prema Pasam" (1956) in which he plays the role of a benevolent thief, an enduring theme in Indian cinema. The song "O..ho Vennilave. Vinnalum vennilave", by Ghantasala, rocked Tamil Nadu and turned out to be one of the most durable songs of Tamil cinema. This pair, frolicking in the garden of Sathanur dam, with Gemini singing "Kalangalil Aval vasantham" ("Pavamannipu", 1961), is one of the most lasting images of Tamil cinema. He was in his element in mythological roles also and the one that comes to mind first is his portrayal of Abimanyu in "Maya Bazaar" (1957).

The tragedy of Gemini is that he got fossilised in one type of portrayal. One reason is that he did not get a director who could harness his potential.

Though he was a director's delight, not trying to dominate by suggesting camera positions, he never reached his artistic peak. When other stars in the Western world, such as Robert Redford and Clint Eastwood, and in India, Kamal Hassan responded to a similar situation by turning to film direction, so that they could have greater creative control over the films, Gemini did not choose that path. His portrayal of the forlorn lover in the film "Kalyanaparisu" (1959), who did not get what he wanted, is the enduring image his admirers and fans have of him.

Courtesy_
THE HINDU

Actor Sathyaraj takes a dig at remake of old films

2008-01-02T18:30:00.000+05:30

Actor Sathyaraj takes a dig at remake of old films

Staff Reporter

Goes down memory lane; narrates how he entered the film industry

— Photo: T. Singaravelou

GREETINGs: Chief Minister N. Rangasamy with actor Sathyaraj at a function organised by Nanbargal Thottam in Puducherry

PUDUCHERRY: After 30 years in the film industry and 170 films, actor Sathyraj said he went to shoot on Day One with a completely blank mind to act as Madhava Padiayachi, the central character in “Onbadhu Rooba Nottu.”

“The director presented me in a totally different light in this film. We started the shooting with a scene where I cry, kneeling down and praying to the land. It was a very poignant one and in one scene brought out the essence of the character, a farmer and his love for the land,” he said.

The actor was in Puducherry recently to participate in a function conducted by Nanbargal Thottam, an organisation that encourages poetry and literary works by young authors.

Taking a dig at remixes and remakes, Sathyaraj said it was not possible for classic films like ‘Parasakthi’ or ‘Nadodi Mannan’ or ‘Pasamalar’ or ‘Adimai Penn’ or ‘Azhagi’ to be remade. “Commercial victory is no doubt needed for films but then films like this one make a mark in the minds of the viewers.”

Recalling how he entered the film industry, Sathyaraj said after completing his B.Sc in Botany, he found that his parents had sold off their lands so that he could complete his course. “I had images of myself riding a Bullet and going around my lands. But since I didn’t have any lands I was forced to enter the industry. People nowadays don’t realise that hard work is needed to give out even one hit film. They think that if a person does not succeed anywhere they might as well try their hand in the industry.”

Chief Minister N. Rangasamy, who felicitated actor Sathyaraj and the film’s director Thankar Bhachan, said the Government was taking all steps to control pirated VCDs. He said the police department had been directed to take stringent action on those copying and selling pirated VCDs. Member of Parliament M. Ramadass said Thankar Bhachan’s films provided the viewers the experience of reading novels. MLA K. Lakshminarayanan said director Thankar Bhachan’s films were of a totally different genre and provided an opportunity to realise the essence of life.

Director Thankar Bhachan said he started writing the novel based on which the film was made nearly 22 years ago. And that it stood the test of time. “It is a tale that happens in a village. It is the turmoil, which a farmer undergoes. The title, ‘Onbadhu Rooba Nottu’ (a Nine Rupee note) signifies that like a 9 rupee currency note (something which is non existent) farmers too are not given their due respect,” he explained.

He said governments must not only take action against those selling pirated VCDs but also against those buying them. “When they buy the pirated version, people don’t realise how much of labour and toil goes into the making of a film,” he lamented.

Courtesy_
THE HINDU

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

2007-12-27T22:09:00.000+05:30

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

T.A.Narasimhan

— Photo: TAN

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.”

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 MGR had practised Bangra for a month to dance with me.”

Courtesy_
THE HINDU