pakkaradhukku recommendation irukkanu kaetaen... rightu udunga..
Printable View
pakkaradhukku recommendation irukkanu kaetaen... rightu udunga..
Thanks Plum. I think if you love the film & the characters, it automatically gets into you and stays there forever.Quote:
Originally Posted by Plum
Pala talendugal pala pala roobangallla veliya anga thirinjikitirukku....this is nothing.
From old TFM Page....Quote:
Originally Posted by Saravanan
VV, I hope you are watching... very engaging story
http://www.buycinemovies.com/images/...0390-vcd72.jpg
Thanks Mohan. As Plum rightly pointed out, you have the ability to get into the skin of the characters you love. As you have said innumerable times, Barrister and Sikkalar have a prominent place in your heart and it shows. Also thanks for that Saravanan's article on Rathha Thilagam. Though I could watch only the last 30 mins today, what I observed was the print was good and that portion was gripping.
Regarding the court room battle for Thiruvilayadal, though matter is sub judice, APN's son is banking on an earlier verdict it seems. Court has ruled [in another case] that due to giant leaps in technology many new products may spring up from the parent product and just because at the time of leasing/pledging the parent product the original owner, unaware of the future prospects that technology may throw up, had signed the agreement doesn't take away his rights for any new product that can be derived from the parent product due to technological advancement.
If this is taken as the yard stick then Vijayalakshmi Pictures or read APN's son has got the lawful rights to digitise is what I heard.
Regards
NOV,
Expected a write up about Rathha Thilagam. Especially after Madhu posted in this thread after a yugam highlighting the songs. Of course unfortunately தாழம்பூவே தங்க நிலாவே was not there in the movie. Just as you were asking in the Karnan thread whether anybody missed மகாராஜன் உலகை ஆளலாம், the same question arose here also though தாழம்பூவே was relatively less popular than மகாராஜன்.
Regards
I still remember a songs in rathha thilakam sivaji in mountain sceen "pani padanthe malayin mealea" super songs with super performance
Thanks Murali sir.
The one thing i see difficult to accept, or to be honest, cannot accept about Ratha Thilagam is the pairing of NT with Savithri. Needless to say, after watching Pasa Malar, like many other rasigars, we have been fixed on a particular mind set. A few scenes from Navarathiri also makes me quite embarassing. I can never watch them in a duet.....of course Thiruvilayadal is an exception ( just cut off the Meenavan episode .. smile ).
I am extremely aware that this is just a movie and they are just actors enacting the characters given to them. I am also aware about what Sir Lawrence Olivier commented about Dustin Hoffman during Marathon man. My rational mind gives me all the logical reasons....but still....Pasa Malar was just not a movie according to me...NT & Savithri were not just actors....it was not just plain performance...it's something more than that...it's divine...and to me, in the form of art, I experienced GOD.....just the kind of experience i get when i watch Chaplin's boxing match in City Lights or his Globe dance in Dictator. There are many such moments.....
I don't know about others, but to me, watching NT & Savithri in a duet or in an intimate scene would be as weird as watching K.B. Sundarambal in the character of an anglo-indian woman dressed up in a frock and saying, " Inna man ? epdi irukkudu ??? "
Mohan,
I understand. Not only you but there are many people who share the same feeling when it comes to NT- Savithiri pair. I have a feeling that they themselves knew this and started avoiding it. Even in Rakthha Thilagam, they didn't have a duet together or for that matter in Navarathiri [if you discount the therukoothu song]. After Ellaam Unakkaga that came immediately after Pasa Malar, there were only 4 fllms that had this pair as jodi out of which 3 films [Vadivukku Valaikappu, Navarathiri and Thiruvilayadal] were of APN who had a liking for them and the other one was Rakthha Thilagam. There was a strong feeling among the cine industry people and a section of NT fans who used to argue that a younger actress instead of Savithiri would have certainly helped Praptham to do better business. But as you said the fact remains that as for as Tamil Cinema is concerned,they are the ever lasting brother - sister combo.
Regards
Murali sir agreed but somehow this did not affect that much in telugu when NTR-savithiri did the rakthasambandham , they went on and paired in movies and those were hits as wellQuote:
Originally Posted by Murali Srinivas
:rotfl2:Quote:
Originally Posted by rangan_08
I heard that just because people consider NT-Savithri as brother-sister "ellam unakkaga" which was released immediately after "pasa malar" was not successful. Is it true ?
Sivaji and savitri paired 9 or 8 films i think
Vanangamudi 1957
Kathavarayan 1958
Annaiyin Aanai 1958
Kuravanchi 1960
Ellam Unnakkaga 1961
Vadivukku Valai Kappu 1962
Raktha Tilakam 1963
Praptham 1971 savitri;s own production
Out of this Kathavarayan and Annaiyin were success ohers didnt success
their pair compination in those films is nothing much and aslo not welcome
their brother sister compination super thats why prodcers are not willing to produce a film as a pair with them
I was wondering about that here.
Quote:
never felt invested much in Savithri's Bhanumati and particularly one song she's in it. There seems to be an attempt to tap into all living and dead sibling chemistry there, though I'm known to be wrong in these matters.
There are other films like Amara deepam, ThiruviLaiyadal, Navarathiri, Vanangamudi and kai kodutha deivam which are certainly had rave reviews.Quote:
Originally Posted by lovedeva_pj
vanangamudi and kai kodutha deivam were before pasamalar
I think vanangamudi is before pasamalar. But kaikodutha deivam was released only in 1964, after pasamalar.Quote:
Originally Posted by rajeshkrv
ThiruviLaiyadal, Navarathiri, and kai koduthadeviam there is no pair compination thereQuote:
Originally Posted by madhu
Dear Hubbers,
It is great to see the development of our brothers' thread and I am happy to summerise my appreciations and impressions.
Pammalaar continues to be the kingpin and his hard work is making it a great experience for viewers.His old Dinathanthi cuttings of 1965,Chevalier postings,150 Day extensive coverage on Karnan function(Pesum Padam stills),his 3000th deserving Iruvar ullam(Thank god ,a small slip would have lead to Sandhippu as 3000,a deadly nightmare),Independance Day postings are all enjoyable to the core. Thanks a trillion Sir.
Esvee,a surprise gift to the thread has given some unforgettable old Photographs and Rare evidences . Great to see your postings and I am thankful to you.
Vasu Sir, Your NT heroines,Stunt Scenes are very Novel themes and we are eagerly waiting further.Your rarest other language stills like Baktha thukkaram,Thanga Pathakkam are delight to see .Seetha aur Geetha(Vani-Rani Coverage),Enga mama, Idhayam Pesukirathu coverage are timely and exclusive.But the highlights are your Muthiah Theatre writing(Very touching,interesting and engaging) and Mr.Easwar's line drawing highlights and tributes are taking the thread to different plane.Keep it up.
Raghavendra Sir-Your NT and Acting concepts are thought provoking and shows your class.Old Times of India ID exhibit is amazing.
Plum- Amazing writing about Andha naal in the same league of writing from Murali and PR.(Thillana)
Parthasarathi Sir's participation after long gap is very well done.
Karthik Sir's write ups on Muthiah Theatre,Enga mama thoughts,Stunt scenes are very informative and shows his depth with wealth of information.
KC(Old Still),Gold Star,Satish,Rahulram,soft sword,Rangan are all chipped in with nice postings.
Joe- I enjoy your clarity of thought and uncompromising stand on things.PR's reply for unnecessary provocations is measured and matured and Joe's subsequent post is a good one.
Nov-(Last but not the least)-Good coverage on Karnan in Malaysia.
what do you mean by NO pair combination ? Of course, they are pairs in all these pictures. Though in Navratri NT has taken 9 roles, the hero Anandan is paired with Savithri only. In kai kodutha deivam even after the death of the heroine, the mangalsutra was tied by the hero. In Thiruvilaiyada, how can we say that Shiva and Parvati are not Jodi ? :)Quote:
Originally Posted by lovedeva_pj
அனைத்து இஸ்லாமிய பெருமக்களுக்கும் ஈஃத் முபாரக்.
அன்புடன்
Karthick,
Wonderful write up on kappalottiya Thamizhan. It has all the elements required for a short story. Biginning,Development,climax, Character outline,relate to the readers,twist, flow . Even if it is published as a short story,it could have won accolades.
Congrats!
konjam nalla thamizh kEtpOm (as announced in SLBC those days, I'm reminded of Mayilvahanam Sarvananda) :
http://www.youtube.com/watch?v=ozgQL...feature=fvwrel
Hi MS,
kid-glove watched it in SJ, CA.
I actually saw it in Sathyam. My thoughts (in brief) recorded after watching it, but didn't feel encouraged enough to post here. But what the heck, I say..
--------------
The essence of acting lies in making and breaking of a man. But is it really played out in sequence or hand-in-hand(!). How do you at once make the man with supereme gravitas and then unmake it, without losing the warrior in him. The majesty isn't established by way of dialogues, but in postures & gestures in the very opening. The grip on the arrow remains firm, even as Karnan overhears and then questions his foster parents. The nuances when the camera dollies back would almost certainly be missed on TV. The flow of emotions and its suppressed facade, then a quick close-up, the corner of the brows unbrows every syllable of 'ennai petraval?'. It is to this key response, he 'chose' to lose control, but the control is lost self-willed. And this is where it accentuates beyond 'ticks', precisely because there is a 'protocol'. The expression is of course registered on the face, but the 'nod' of the body language, with some of the best of hand-acting, that I'd been accustomed to, by silent AND sound era. From Conrad Veidt to Daniel day-Lewis, this mode 'lives' on. It is with no reservations, this thespian should be placed among creme de la creme.
Not to be reduced for gags, or stroking of hair, Karnan's emblematic manners characterizes him. NT establishes the 'mode' of hand-acting, not necessarily mechanically induced (to make up for the stasis of the frame), is 'gesticulating' the internalised feelings in thoroughly specified externalized gestures and movements (the subtleness is in the peripheral details), at the same time. This externalization shouldn't disregard or preempt(therefore never undermine) the internalization involved. So on one hand(to pun), the grip reaffirms the great archery skills, but the 'internalized' anger & hurt is externalized to the appropriate gears for the emotional strictures with which we ought to interpret the character.
Take for example, how the restoration of honor in public, and seedlings of indebtedness is established, one could mute the lines and still 'get' that with imagery of Karnan's hands firmly pressed on Duryodhanan's arms. The whole-heartedness there is symptomatic of Karna through-out, but it is not without nuance. The scene with the Orphaned child, the hand-acting is best seen there. One hand is always 'on guard' (bow, or the kavasam even) for the warrior at heart, the other to caress. The man who would carress & ask 'forgiveness' of the child, without the loss of any of textural coordinates of the M'Lord. The charisma of the great leader and a great warrior. Because the pride isn't to be dropped, even at times of 'forgiveness' from orphaned child.
Devendra sequence, we see him not falling for a poetry of 'disguise', but for actuality of the guise, he unbares the kavasam. The following sequence is the key, when he'd say the inner 'valour' is steely than one's armour. Saguni's verbal scheming manipulates and services Karnan's friendship and would connive him into Brahmastra tutelage. (it's about time, we saw more of the glorious beard in Tamil cinema, KH & RK apart, we need more of it, without the necessity to deglamourize). Here we see Karnan's murderous rage of destruction(of Arjun in particular) once the skill's acquired. The gigantic bug sequence (awful as it is), there's a simultaneous suffering and suppression of impulse, or the post-horse/cliff sequence, the simultaneous nobility and flirtations. Flux of emotions entrance the viewer, never disturbing the trance with which the character's rendered to us.
The 'threshold point' of 'separation' & ensuing conversation with bride's father, the facade is masked with enraged animalistic emotions, muted in 'words' only. Here the actor's not merely 'overacting' (like Pacino, for exaple), but to externalize the internal non-verbal feeling, the audience thoroughly in trance. At no time, is the idea of 'act' apparent. There's no staginess here (there are moments, at worse of times in NT's oeuvre, but this isn't the case when he's fully 'in' it, none more so than a tour-de-force like Karnan).
Round about mid-half of the film, the consideration of length is never felt. Even for the canvass and magnitude of the epic, the 'domestic' harmony disturbed by 'invitation' of the in-laws seems 'relevant'. As Pasolini would put, People and places, invariably bear the indelible marks of the present in some form of other.
Although to be fair, never felt invested much in Savithri's Bhanumati and particularly one song she's in it. There seems to be an attempt to tap into all living and dead sibling chemistry there, though I'm known to be wrong in these matters.
Though the bigger shock was to follow when the most interesting exchanges are shot with absurd choreography, the shot-reverse shot is then made into a static med-long shot for a chunk of it, then it cuts back to s-rs, NTR-NT at its best. So one still wonders why this was to be interrupted. Known for my distrust of the medium-abusers, I had put it down to incompetence. But then one realizes it is for the parallel bursts and overlaps in dialogues, the array of cuts might be less inviting. And the entire geography of the chaotic exchange actually sucks-in. The dialogues are especially enacted with such 'period' panache, but the ruckus over wealth, once again bears the imprint of real issues. The parallel singular framed contrast of Krishna and Dhuryodanan, the play of emotions within the frame, then cut perpendicular to Karnan-Krishna. Within the flamboyance of the 'epic' people & places, the insults & in-fights, the momentary underhanded remark of Krishna and immediate 'no offense meant' to Karnan. NTR And in-laugh
NTR's make-over deserves attention here. Not only is the frame enriched, it doesn't drive away with any jarring effects. NTR is perfection in every sense, Balakrishna puts us to unease in SRR. Virtuoso shots with Krishna-Kunti again is blended to conversation, not for its own sake here. The Omniscience eyebrows a strong counterpoint to Karnan's, in the dolly shots.
The pivotal Karna-Kunti encounter, here's where NT puts in to words of this 'inner' soul, the lack of statis in its wavering, concurrent joy, hatred, sadness, and reconciliation, it is in this manifold, lies its subtlety. There's no boundary to alleviativeness of one's heart. The eternal pain, hurt is put in to words, as the close-up is suffocatingly (in a good way, as intended) 'heavy', but it's in the nuance of every meaningful emotion that he expresses facially, gesticulates every muscle in his body, externalize/internalize, all at once, is where the 'act' loses its stricture and turns in to 'being', organically. It is here, that we see him lose complete control, stripped back to infancy momentarily, but regaining the warrior within. Karna taking in to reality of Krishna's Omniscience that alreadys puts him in serious unfavor vis-a-vis Arjun.
The Battle sequence begin with Krishna's sermon with purpose in mind, cloaked in righteousness of dharma, with the luxry of the 'collateral damage' being absorbed. This is followed by death of the child, the low-angle shot of the warrior placed with 'victorious' (a cardboad-esque goof-up on their part) Krishna-Arjuna, but at least the moves are already in place to underline the 'wronged' righteousness. This deceiving, blaming and various other mral dilemmas suffer exposition in form of that epic song. I managed to stay till the end.
Before I go further, let me add that Karnan's imperfections do not out weigh its virtues. It has many tonal inconsistencies, and the effects do not translate well. Poor props for the bugs, the representation of Gods, etc - the gigantic imagery of Krishna in the war field the lone exception. And above all, enraged NT in red light when the man's already channeling it. The palace & spaces are vast (on big screen than on TV, as it should be) in fact the exterior scenes seem impressive in theatrical experience. The grandness of interiors carries a bit more brightness when contrasts could have helped. For all hindsight wisdom, this is still a supremeachievement for the time. In fact, one is lost for any contemporary 'period' film (or otherwise?) to be compared favorably to the 'bramandam' here. The misuse of the word ought to be stopped in future.
He
Originally Posted by kid-glove
It is to this key response, he 'chose' to lose control, but the control is lost self-willed.
The scene with the Orphaned child, the hand-acting is best seen there. One hand is always 'on guard' (bow, or the kavasam even) for the warrior at heart, the other to caress. The man who would carress & ask 'forgiveness' of the child, without the loss of any of textural coordinates of the M'Lord. The charisma of the great leader and a great warrior. Because the pride isn't to be dropped, even at times of 'forgiveness' from orphaned child.
Very well written.
I've said this earlier and I say again, no-one is as precise as K_G in analyzing acting.
Oftentimes it is about films and performances I don't appreciate. But pieces like this make me want to go back and watch the other films he writes about, which seem to have 'stuff' which I miss
Yuhi Sethu: appo ivan solradhai pArthA..ivan kolai seyyalai pOla irukku dA
Originally Posted by kid-glove
The 'threshold point' of 'separation' & ensuing conversation with bride's father, the facade is masked with enraged animalistic emotions, muted in 'words' only. Here the actor's not merely 'overacting' (like Pacino, for exaple), but to externalize the internal non-verbal feeling, the audience thoroughly in trance. At no time, is the idea of 'act' apparent.
Well put.
Originally Posted by kid-glove
the shot-reverse shot is then made into a static med-long shot for a chunk of it, then it cuts back to s-rs, NTR-NT at its best. So one still wonders why this was to be interrupted. Known for my distrust of the medium-abusers, I had put it down to incompetence. But then one realizes it is for the parallel bursts and overlaps in dialogues, the array of cuts might be less inviting.
Interesting perspective.
I want to watch this scene again...I don't recall now.
Originally Posted by kid-glove
the lack of statis in its wavering, concurrent joy, hatred, sadness, and reconciliation, it is in this manifold, lies its subtlety.
Well put again. ada pOyyA...solli solli bore adikkudhu.
Originally Posted by kid-glove
This deceiving, blaming and various other mral dilemmas suffer exposition in form of that epic song.
Please elaborate (5 marks).
Originally Posted by kid-glove
the gigantic imagery of Krishna in the war field the lone exception.
The same Krishna dwarfed by the mound of corpses he walks over. Whoa!
ஆழமுன்னா என்னா? அது ரொம்ப டீப்பம்மா...
Reply With Quote
21st August 2012, 06:43 PM #930
kid-glove
Senior Member
Diamond Hubber
Join Date
Apr 2009
Posts
6,231
I don't have the lyrics with me. I wanted to know from someone 'in the know', of the Epic. Maybe you could answer here. Isn't Karna's life ultimately a deception? So when Kannan negates the blame by singing that they are all one and the same. There's also a 'victory pose' kind of smile/jubliation shot when the child and Karnan is put down. Hopefully, that's unintended subversion on their part. It was crude, even to a man like me.
Isn't it morally problematic for the 'omniprescient' Krishna to do all this (with pleasure) but once it's done, trying to negate it with the song? In this divine determinism, the higher Being making the difficult choices he has, moral relativism at play. Also in the Gita, as Zizek quotes, "if the external reality is ultimately just an ephemeral appearance, even the most horrifying crimes eventually do not matter.". What's your take here?
Also on Bhanumati, to extend B(K) point, was there extra-marital affair?
He handles the business.............. I handle him.
Reply With Quote
30 days of Karnan in Malaysia....!
http://www.mayyam.com/talk/attachmen...7&d=1345725610
Attachment 1707
http://www.behindwoods.com/tamil-mov...-20-08-12.htmlQuote:
Nadigar Thilagam Sivaji Ganesan’s films are on a re-release spree. His Karnan witnessed an incredible response, with the film crossing 150 days. The re-release has also done well in USA. So people holding the rights of Sivaji’s masterpieces are coming forward to release the films yet again.
That said, the next in line is Sivaji Ganesan’s last Telugu film Vishwanatha Nayakudu, which will be released in Tamil. The legendary actor had dubbed for his part in Tamil and Telugu but the Tamil version was not released then even though the film did good business in Telugu. Producer Prasad, who is all set to release the film in Tamil now, is expecting a grand reception among the Tamil audience.
Sivaji to wow as Nagama Nayakar
http://articles.timesofindia.indiati...-tamil-versionQuote:
Touted to be the last Telugu film of Nadigar Thilagam Sivaji Ganesan, Vishwanatha Nayakudu is all set to be released in Tamil. What's more, the audience can listen to Sivaji's own thundering voice in the Tamil version as well!
Producer Prasad, who's releasing the film as Nagama Nayakar in Tamil, says, "Directed by veteran Dasari Narayana Rao, the film has Sivaji playing Nagama Nayakar, father of Vishwanatha Nayakar, a prominent courtier in Krishnadevaraya's kingdom. The film did good business in Telugu when it released in the late 80s. The makers wanted to release it in Tamil as well, and got the Nadigar Thilagam to dub for himself. But due to certain reasons, the Tamil version didn't see the light of the day then."
In my humble opinion , Vishwanatha Nayakudu won't attract general audience like Karnan did .. NT was not the sole hero in this movie ,just father character of Title character .. The producers trying to cash using Karnan heat .. I would like to see ThiruviLayadal , not Vishwanatha Nayakudu to follow Karnan.
:exactly:Quote:
Originally Posted by joe
probably it will only attract hard core fans...
thiruvilaiyadal court case innum resolved aagalayaa? :sigh2:
What? Krishna-NT confrontation scenela Dasari reNdu pErum kondhalichu kikkRadhai(Thandhai-magan in opposite munais of a clash) mAththi mAththi rendu faceiayum close up kAttuvAr. NT - kobam koppaLikkum, Krishna - ngE.....
What is the procedure to get a court stay?
I completely agree with u sirQuote:
Originally Posted by joe
Is this an open-to-all event?
http://themadrasday.in/2012/08/the-t...n-aug-25-2012/
Quote:
The Tamil forms of Sivaji Ganesan – Talk by Mohan V Raman – Aug. 25, 2012
Special tribute on the 100th year of Indian Cinema
At the Park Sheraton, TTK Road.
Tea : 6.30 to 7.00 pm. Programme: 7.00 – 8.00 pm
Lovely presentation!
Actor Mohanram's freeflowing, anecdote heavy presentation was very well annotated and drew attention to several key nuances of Sivaji's acting.
He was able to give an actor's insight into the challenge of the performances and served to highlight how extraordinary Sivaji's achievements were in those performances.
Met Mr.RAGHAVENDRA and Murali Srinivas there. I am sure they will be able to give a more detailed account of the proceedings.
Those of you who were free in Chennai this evening really missed something.
excellent PR.... can you tell us the events of the evening... in your own words.... :D
sory for already share
http://a3.sphotos.ak.fbcdn.net/hphot...71734804_n.jpg
'Sivaji' Ganesan on Egypt
Quote:
Originally Posted by P_R
It was indeed a good attempt from Mr.Mohanraman on Thamizh's of Sivaji but could have been better. However, a pure class program that it could have turned out, failed so in becoming one due to the same "free flowing talk" Manadhil oru Nerudal !!
1) Mr. Mohanraman could have avoided unwanted mentioning (Whether quoted incident is true or not, that is a different question) of "Sowcar Janaki mentioning the Jatti Matter to Late Sri.Javar Seetharaman during the Uyarndha Manidhan discussion" - Indha Maadhiri oru Nadigar Thilagam Exclusive Program la adhu Kevalama irundhuchu. Even if the intention was to bring in some lighter moment this was 100% sub-standard and Maha Kevalam !
2) Similarly, he could have avoided Thiruvilayadal explanation (Pengalukku Iyarkayilaeyae Koondhalil Manam) - equating the jerk of Nadigar Thilagam when Nakeeran saying "Isanukku idapakkam amarndhirukkum umayaval..." and explaining it as "Ivan eppudida (Nakeeran) Namma pondatti Koondhala Moppam..." - Oru Class Program in the name of "Haasyam" becoming Local.
The worst part is...the audience clapping on both the above moment....Adhudhaan Padu Kevalam !! athudan Nadigar Thilagathukku seidha avamariyadhai endru naan karudhugiraen !!.
Sun TV style review sollanumna - "The Thamizh's of Sivaji" - Sandhanathin mel sindhiya saakadai thuligal..!
:smokesmile:
Here is what Sanjay Subramanian the renowned Carnatic Vocalist has to say about the programme on NT compered by our hubber cum artist Mohanram.
The brilliance of Sivaji
Sivaji was, is and will be one of the most celebrated actors of Indian films. He was such a colossus in the Tamizh Industry, it was quite unbelievable. Yesterday we were treated to a lovely presentation on Sivaji by the actor Mohan V Raman. Mohan is such a passionate fan of cinema and Sivaji in particular that this was as easy as Mohanam was to the Maharajapuram family! The highlights of the presentation for me were
1. Couple of amazing Sivaji facts - Sivaji in his career has on 18 different occasions had 2 films simultaneously being released on the same date in Madras. Of these 36 films, nearly 50% were ran either 100 days or 25 weeks! At a point of time, 85% of the theatres in Madras were screeing Tamizh films which starred Sivaji as the hero.
2. The beautiful manner in which Mohan illustrated how Sivaji could vary the “kaalapramaanam” or tempo in which he delivered dialogues. This is very interesting for me as a musician because it is very very difficult for me to change the tempo in which I sing certain songs. I guess formally trained actors could get this because it is part of their syllabus, but for Sivaji to have got this through sheer observation, native intelligence and hard work is what is exciting to learn about.
3. A brilliant example of the acting of Sivaji from the famous Dharumi episode in Thiruvilayaadal. At one point when the exchange is happening at a brisk pace between AP Nagarajan (Nakkerar) & Sivaji, APN insists that the hair of even the divine Goddess could not have a natural fragrance. At this juncture one generally does not notice what Sivaji is doing. But at that precise moment the Lord realises that by mentioning the Goddess, Nannkeerar is actually to referring to Sivaji’s wife and he takes a slight backward step indicating shock at the audacity of the man! This bit of subtle acting can easily be ignored unless pointed out by an expert like Mohan!!
4. Some lovely examples of Sivaji’s different Tamizh accents, starting from Manohara, Parasakthi, the Tambrahm accents in Vietnam Veedu & Gowravam, the sissy playboy in Deivamagan, the Madras baashai in Bale Pandiya with MR Radha, the Konguththamizh with Sarangapani in Makkalai petra magarasi, the brilliant Mukkulatthor tamizh in Thevar magan, the sophistication in Uyarntha manithan and the list can just go on and on.
5. Finally as a Vote of thanks, Mohan played a 40 sec clipping where Sivaji is seen felicitating Mohan for a programme he had organised, and even there you can see the dignity and stature of the man in the way he operated in that formal space.
Mohan is a huge Sivajiphile. He was instrumental alongwith a few others in getting a postage stamp released on Sivaji in a record time of 71 days after his passing. He ahs organised some terrific philatelic exhibitions showcasing the life of Sivaji through stamps. He and YG Mahendran are running a Sivaji films appreciation society showing his films once a month.
http://sanjaysub.tumblr.com/post/302...ance-of-sivaji
Regards