Nadigar Thilagam Sivaji Ganesan Part 12

[uvausan]

விரைவில் திரியில் ராகுலின் தயாரிப்பில் வெளிவரவிருக்கும் மூன்று முத்தான படங்கள் - அட்வான்ஸ் reservation started - கதை வசனம் , பாடல்கள் , தயாரிப்பில் கவனம் , direction - ராகுல் ராம்

முதல் வெளியீடு

அருணோதயம் -





" I have directed 11 films with original stories for Sivaji Ganesan and it stands as a record. " - முக்தா ஸ்ரீநிவாசன்

[uvausan]

அடுத்த வெளியீடு

மாடி வீட்டு ஏழை

[uvausan]

அடுத்த வெளியீடு

நாம் பிறந்த மண்

[uvausan]

நேற்று திருவருட்செல்வர் படம் பார்த்துகொண்டிருக்கும் வேளையில் என் நண்பர் ஒருவர் இந்த படத்தை அனுப்பினார் - இதை நம்பித்தான் ஆகா வேண்டும் என்று சொல்ல வரவில்லை - அது ஒவ்வருவர் நம்பிக்கையை பொறுத்தது - NT யின் தத்ரூபங்கள் , எதார்த்தங்கள் , உண்மைகள் இப்படித்தான் எதோ ஒரு வகையில் நிஜத்துடன் தங்களை சம்பந்தபடுத்தி வெளி வந்து கொண்டிருக்கும் என்பதை மட்டும் நம்பலாம் -----

[uvausan]

அடுத்த வெளியீடு

மாடி வீட்டு ஏழை

[gkrishna]

dear gopal sir
excellant writing .
while reading sueaysu
Some of the ever green light movies list came into memory.just for sharing (all are not NT movies)

1.Galatta kalyanam
2.sabash meena
3.veettuku veedu
4.bommalattam
5.thikku theriyadha kaatil
6.utharavindri ulle vaa
7.kalyanam panniyum bramahachari
8.manmatha leelai
9.anubavam pudumai
10.ninaivil nindraval
11.then mazhai
12.indru poi naalai vaa
13.then kinnam

regards

Gkrishna

[Russellbpw]

A LANMARK BOOK NAMED " INDIAN FILM " written by Eric Barnouw & S.Krishnaswamy published in the year 1963 writes about NADIGAR THILAGAM !

LET OTHERS WHO MAKE BIASED STATEMENTS READ & UNDERSTAND THE TRUTH AS TO WHO WAS TAMIL CINEMA's MOST PREFERED ACTOR OF YESTERYEAR !!!!

MOST IMPORTANTLY......Mr. ERIC BARNOUW & Mr. S.KRISHNASWAMY WERE NO RELATION (or) SUPPORTERS (or) KITH & KIN OF SIVAJI GANESAN - FOR YOUR INFORMATION !!



In the first edition (1963) of their landmark book, Indian Film, Eric Barnouw and his protégé S.Krishnaswamy, allocated three paragraphs to Sivaji’s role and relevance to Tamil movies. (Krishnaswamy was the son of K. Subramanyam, one of the pioneers in Tamil films.) However, in the second edition (1980) of the same book, the three paragraphs had been condensed into a single paragraph. For record, I provide the first, adulatory paragraph that appeared in the first edition below, to reflect the importance of Sivaji the actor in the then Madras in late 1950s and early 1960s, when his influence was at its peak.

“In Madras one of the most astonishing phenomena is film star Sivaji Ganesan. Among southern film stars only M.G. Ramachandran, the star associated with the Dravidian movement, has in recent years come close to him in status.

For some years a leading Madras theatre has shown only films starring Sivaji Ganesan. This has not been difficult, for he stars in innumerable films. For some years it has seemed risky for any producer to produce a Tamil film not starring Sivaji Ganesan. [italics, as in the original.]

He produces films himself but also appears in the production of others. He is always involved in many projects simultaneously, doling out a morning of shooting time here, an afternoon there, while numerous producers wait nervously for his next moment of availability. It is common for films made under these circumstances to be in production one, two or three years, or even more.

For some years in the Madras film industry scores of film workers – producers, directors, actors, writers, technicians – have at all times been dependent on the favorable decisions of Sivaji Ganesan.

His nod secures financial backing. Because of his central importance, script, cast and choice of director are all subject to his approval.

During his precious appearances at the studio he works with speed and precision, and can be so charming to co-workers that he is adored by all. Then he is off again, leaving anxiety as to when he will return once more.

In appearance he does not especially conform to any hero pattern. He is, on the contrary, squat and stockily built. But his fine voice has a large range of expressiveness, and he can play such a variety of roles that almost any starring role is offered to him – comic or tragic – without regard to suitability. Such is his standing, so precious his time, that no director dares direct him, and his scenes are often completely out of key with other portions of a film. Seldom has a substantial talent been used so recklessly – or so profitably. He has amassed a fortune and carries on well-organized and well-publicized charities.”

Sivaji concurs with the profile of him provided by Barnow and Krishnaswami.

Before his first invited trip to USA in 1962, he notes: “I had signed up for the film Bale Pandiya. I went into the studios on the second of the month and left the sets on the twelfth after completing the film. I probably hold the world record of completing a film in eleven days time. I had acted in three roles in the film and annan M.R. Radha in two.”

In another page he had stated: “During the period of my life when I was extremely busy, the studios would assign rooms exclusively for me during the different shifts.

I worked in three shifts (7am-1pm), (2pm-9pm), (10pm-5am). I used to work twenty hours a day, and on odd days return home for four hours of rest. Many a time I would run through the day’s schedule and move to the next studio to begin the following day’s work. I compensated for my sleep deprivation by napping whilst traveling in the car and during breaks.”

[Russellbpw]

http://www.ceylontoday.lk/90-51252-n...i-ganesan.html

[Russellbpw]

‘Ceylon’ Chinnaiya—his look-alike Sivaji image, dialogue makes him popular


He was certainly bitten by film bug even as a small boy. And the acting style of Sivaji Ganesan mesmerised him. And so his interest was not in studies. He would beg, borrow or steal, only for seeing a film of Sivaji Ganesan, walking 60 miles to Kandy in Sri Lanka from his estate (Krugamey estate), where his father was a plantation worker.

He later became a film artiste in Sri Lanka and in Tamil Nadu, known in Sri Lanka as S S Chinnaiyan and in Tamil films here, Ceylon Chinnaiya. He did not make it to lead roles, but sure captured important character roles. He is a successful character artiste.

It was writer-director R Selvaraj, in whose number of films he had acted, who had given him the ‘Ceylon’ prefix. Even at the height of conflict in Lanka, and anything Ceylon was not safe to have a link with after the killing of Rajiv Gandhi, Chinnaiya did not drop the prefix given by his mentor director, he said in a chat with the Asian Tribune.

“My origin is here in Tamil Nadu (Pudukottai). I am only a second generation Lankan Tamil, my father having gone there in the ship ‘Ramanujam’ to work in the tea estate. I have confidence here that no harm would come.”

Chinnaiya says when there was a ‘Malaysia’ Vasudevan, a ‘Delhi’ Ganesh, ‘Bombay’ Sisters, why not a ‘Ceylon’ Chennaiya. So he continued his ‘Ceylon’ prefix.

Repeatedly seeing Sivaji films, he almost molded himself as that great actor. He would act like Sivaji, rolling out his famous dialogues which are known to run to greater lengths, the delivery has to be made holding full breadth. Talking with us Chinnaiya poured out the ‘Parasakthi’ dialogue of Sivaji. It resembles the Thespians’ style, reminds him.

Chinnaiyan has been enthralling the audience wherever he goes, with the famous dialogues of Sivaji Ganesan, whom he calls his ‘manaseega’ Guru. The famous dramatic dialogues are from “Parasakthi,” the lines of Kalainger Karunanidhi, “Seran Senguttuvan” and the dialogue of Socretes from “Raja Rani” both penned again by Karunanidhi, the dialogue of “Samrat Asokan” penned by Murasoli Maran, the dialogue of “Veerapandia Kattabomman”, “Satrapati Sivaji” and the dialogue of Kandy Raja Vikramarajasinge in “Pudayal”—all of Sivaji Ganesan delivery.

These sub plots in films being popular, and Chinnaiyan’s delivery being almost the imitation of the Nadigar Thilagam, he finds instant audience wherever he goes, and finds appreciation too. He said last week in Valparai tea estate, where his friends and relatives live, there was repeat request from the audience.

Presently he is settled in London for the past 15 years. Imitating Sivaji dialogue engages him full time here in India and Sri Lanka and there (England). What is more, Chinnaiyan almost looks like Sivaji Ganesan. And so he looks and acts like him.

But has he met Sivaji Ganesan? He says he got that opportunity in 1974, when he was invited from Sri Lankan film industry to participate in his gala birthday party at Salem, which was also a jubilee celebration of his film “Thangapathakam.” He thanks Kavinger Muthlingam for the invitation. On a sudden impulse, coming face to face with his beau ideal, he says he wanted to do something—a garland or bouquet was not enough-- he took out his own gold ring from his finger and slipped it into the finger of his ‘manaseeka’ guru. It gave him at most bliss, the moment, he says.

Acted two films with Sivaji

Has he acted in any film with Sivaji? Chinnaiyan says he got that opportunity when there was an Indo-Sri Lanka joint cooperative venture film titled “Pilot Premnath”. Sivaji was the lead man and Malini Fonseka of Sri Lanka was cast his hereoine and K. Vijaya directed it. Chinnaiyan got a role of ‘kanakkapillai’ (accountant) to Sivaji who acted as pannaiyar of tea estate. What is more, Chinnaiyan says, the film was shot in the same Krugamey estate where he was born and bred. And to be teamed with the actor of his dream in the same estate, was immense pleasure, he says.

He has also acted another film with Sivaji. “Enn Tamil, Enn Makkal” was the title.

Chinnaiyan says his beginning was with two great Tamil film stars in a way—MGR and Sivaji. When he was a small boy, the successful Tamil films will be played as a drama in the estate. In the 50s, Sivaji starrer “Parasakthi” was being enacted as drama. He would beg for a role, the seniors would brush him aside. They relented with his cries and put him in the role of a statue. He has to sit like a stone, no dialogue. That was his maiden venture in acting. As “Parasakthi” film was Sivaji’s. Comparing with himself with MGR, he says like MGR he a Kandy born. Thus he carries something of both in him.

He is thankful for the Subramaniya temple festival in the estate, which fed his acting urge. He says he would wait for the festival to come, so would may dramas. He would find berth in as many as possible.

Chinnaiya started his career after his college studies as a Tamil teacher in Ambitya Tamil Kalavan Patasalai, and he bowed out after 12 years of service as Head Master. Off and an he was acting in dramas and films in Sri Lanka. The films are “Nirmala,” “Manjal Kungumam,” “Meenava Penn,” “Pudiya Katru” and “Naan Ungal Thozhan.” Altogether he had acted 15 films in Sri Lanka.

His acting interest pulled him to Chennai. He found a mentor in R.Selvaraj, one of the trimurthis, the other two being Ilaya Rajah and Bharathyrajah, of later cinema.

All Character roles

His first film was A.C. Thirulokachander’s “Neeindri Nan Illai”. Selvaraj cast him in his film “Ponnu Oorukku Pudusu” when Goundamani was busy and he fitted well. Their association went on with rest of Selvaraj’s films. In “Karai Kadantha Oruthi” he acted the role of a Kuravan. Selvaraj’s next film “Agal Vilakku” he had a through running character role. “Nee Thana Andha Kuyil,” K Vijayan directed “Aani Veer,” Ilayarajah’s blrother R T Bhaskar disrected “Geethanjali”, Karthik starrer “Bhagavathypuram Railway station,” Kamashenu,” Visu-directed “Kavalan Avan Kovalan,” a Prabhu starrer and another Selvaraj directed “Pudiya Adimaigal” which film Thondaman senior was given a special screening at AVM studios for the sake of Chinnaiyan.

Chinnaiyan has also acted in Television serials—all character roles and side roles. He has three films on hand, even after settled in London. Every now and then he comes here for shooting. One is Vivek starrer “Naan Than Baala” directed by R Kannan, R Selvaraj’s own brother; “Aathoor 2 Mile” directed by Gurunath; the third is by London producer T. Kannan titled “Enakkul Oru Sivaji” where Chinnaiyan plays a main role, enliving the various roles of Sivaji. The films is tailor-made to bring out his potential of Sivaji in him.

Chinnaiyan went to London in 1993 for he has not made much money in films. He wanted to earn something for his family, and so he set aside his acting interest for off and on. There he became associated with “Malayaha Makkal Ondrium” whose president is Muthu, Subramaniam, secretary and Kalai joint secretary. His role in it is Cultural wing. He has organized several cultural programmes. Recently he has invited ‘Surangani’ A E Manohar, the singer from Tamil Nadu.

Chinnaiyan also became an activist of the Labour Party there, and has earned a lot of Asian friends. In that his ‘Sivaji” image is useful he says.

[Russellbpw]

இன்று இணையதளத்தில் ஒரு இடத்தில் ஒரு விஷயத்தை படித்தபோது ...இந்த புகைப்படம்தான் ஞாபகத்தில் வந்தது !

என்ன எழுதுவதென்று தெரியாமால்...அதை எழுதுவதால் என்னமோ பெரிதாக சாதித்துவிட்டதை போல நினைத்து வழக்கம்போல முட்டாள்தனமாக காமாலை வந்தவர்கள் போல பிதற்றியிருக்கும் அந்த அதி மேதாவிகளை நினைக்குபோது சட்டென்று நினைவிற்கு வந்த முதல் படம் ....



என்னமோ சினிமாவின் அகராதிகளே இவர்கள்தான்..எல்லாம் கரைத்து குடித்த விற்பன்னர்கள் போல ...காலங்காலமாக இவர்கள் செய்துவரும் இந்த அரும்பெரும் பாராட்டை பார்த்தபிறகு அளவெடுத்து தைத்தார்போல ஒரு பழமொழி நினைவிற்கு வந்த இரெண்டாவது படம் .....!