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REMINISCENCES
I have come across many unforgettable incidents through which I have learnt the practicality of life and which have also added pride to my life’s achievements. One of it involves eminent actor Sivaji Ganesan. I was once offered a program in Mangalore, Karnataka, for which I planned to perform a dance drama called Dharmamoorthy (on Jesus Christ). Sivaji Ganesan was to preside over the function. Unfortunately due to very bad climatic conditions, all the flights were cancelled. Despite the difficult and risky journey by road, Sivaji Ganesan opted to drive all the way from Chennai to Mangalore because of the respect and love he had for me since I had worked with him in many films as a choreographer.
- Udupi Laxminarayan
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Conversations Over Chai
Come in, sit down, converse... Let's talk movies, music, books
I have always been wary of watching Sivaji Ganesan on screen. My introduction to the thespian came through watching him on Oliyum Oliyum, the Tamil version of Chitrahaar. And on the occasional regional language film that DD showed on Sunday afternoons. And, frankly? Weaned on Amitabh and Dharmendra, Rajesh and Vinod, a corpulent man, jowls quivering with emotion and eyes red with anger, whose dialogue delivery was more a declamation than speech was not very enthralling. When Sivaji Ganesan thundered, yenna da? even the heavens trembled.
And of course, there was the slight Malayali snobbishness – our actors were better than their actors. I conveniently forgot that MG Ramachandran and his arch nemesis MN Nambiar were both Malayalis. And that neither believed in restraint. And if I thought about it at all, then I would have shrugged it off as all the Tamil film industry’s fault – they demanded over-the-top theatrics.
And then, some time in 1997, I got to watch a Malayalam film called Oru Yaathramozhi. I was blown away by the pathos the Nadigar Thilakam brought to his role as a man who meets his only son as an adult, develops a close relationship with him; not knowing that the son is on the lookout to kill the father who abandoned his mother and him.
It was a revelation. I began to understand just why the veteran actor commanded the respect that he did. And so when I got a chance to watch Muthal Mariyathai, a movie that had released more than a decade earlier, I grabbed it.
In a dilapidated hut on the banks of a river, an old man, Malaichami (Sivaji Ganesan) lies ailing; it is the talk of the village; he had been their headman. The villagers have all massed at his wife Ponnatha’s (Vadivukkarasi) place begging her to stiffen her upper lip and go get him. He will not step into the house of his own volition, of that they are sure. The wife’s voice rises in indignation – why are they all blaming her? She had hoped that some of the village elders would have gone to bring her husband back. The villagers move to the hut; they are indignant on the ailing man’s behalf. The wife has not only not come to visit, she hasn’t allowed her daughter to come to her father.
The patient overhears the discussion; there’s a resigned smile on his face. Suddenly, as he draws a painful breath, far away, its pang is felt by a young woman who is in jail. He is waiting, waiting, and no one has any idea why, or for whom. She is suffering too – each mile that she travels cannot be too soon, and she does not know what she will find at journey’s end.
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One of the village elders comes in to the hut – the man’s wife, daughter, son-in-law and grandchild have all come to see him. Could he open his eyes and see them? He doesn’t. His wife is infuriated. Who else but she would have put up with this man for over thirty years? And now, he is languishing in love? As her voice rises and falls in condemnation, the scene segues effortlessly into a flashback.
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If it is not her husband, then it is her husband’s orphaned nephew who is at the receiving end of her sharp tongue. At least her husband had a stick and four goats, she tells him; you don’t even have a piece of cloth to call your own and yet you sit there begging for food. As she desultorily serves her husband lunch with the same hand she used to wipe her nose, he quietly leaves in disgust. She is unperturbed.
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But the skies are clear; the sun is high up and there’s a pleasant breeze; Malaichami cannot be unhappy. He proceeds to the fields. As he sees his workers toiling in the fields, he bursts into song while they join in the chorus. It is clear that he is regarded with affection and respect.
A lone voice, clear and pure takes up the refrain from across the fields. Malaichami is upset when he sees someone step across the fence. They are immigrant workers who have left their village due to the famine, hoping to see if they can earn a living somewhere else. While the father is humble and subservient, the daughter (Radha) doesn’t take kindly to Malaichami’s teasing comments.
When he asks who she is, the girl informs him that she has a name – one that has been bestowed upon her in a temple, in the presence of the deity and many thousand relatives and friends. She is Kuyil (Cuckoo); spirited, independent and very much no-nonsense.
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Malaichami is amused, and sends them on their way. He is not as amused when he sees them building a hut on the riverbank the next day. The old man explains that they had not been able to find work either in the village or the fields; his daughter had had the bright idea of ferrying the villagers over the river so they could earn their living. Malaichami is not unkind; he agrees, warning them that they should ask permission first. He even inaugurates the boat service.
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Days later, he and his nephew are alone at home, when he spots a sparrow pecking at grains on the window sill. Amused, he breaks into a song begging the sparrow to find a mate and build a nest in their home. As he addresses the sparrow, he is surprised to hear it answer. Or so it seems.
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Kuyil, who was passing by selling fish, couldn’t help but respond. But when she hears him shout, Kuyil hides. Malaichami is intrigued. Who is there in the village who can answer him so well in song?
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The arrival of his wife soon puts a stop to any thought of music or song. At the fields, the workers are happy at the increased yield. Malaichami gently points out that it’s their hard work that has cause the earth to yield so much. And despite their protestations, he asks the overseer to share a sack of paddy amongst the workers.
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As Malaichami wanders around, he cannot keep from singing; once again, a disembodied voice answers him in song. Who is it?
In a bid to find out, Malaichami continues to ask questions in verse; and gets answers in return. Yet, he cannot find the singer. Once again, the song dies on his lips with the arrival of his wife. She is aghast at the idea of a responsible mature man singing in the fields. And furious when she finds out that he has allowed the workers to share a sack of paddy.
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If it were his money, then he would be bothered, perhaps. The workers are disgusted with her attitude, and quietly put back the paddy they had been given. Kuyil is witness to Malaichami’s humiliation.
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Malaichami remembers how his father-in-law had fallen at his feet to save their honour. As always, Malaichami turns to song to express feelings that dare not say out aloud. Kuyil’s sympathy finds her responding to his queries, and when he asks (sings) who she is, she cannot hide anymore.
He is surprised and amused, perhaps even attracted (a bit); it is clear that she thinks of him as she would her father.
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It does hurt his pride a bit, and when she challenges him to lift a heavy boulder, he asks her what the reward would be – it will prove he is young (and not only at heart), she says.
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He teases her – that’s not enough. Would she marry him? Shocked, she stares at him; then, not one to give up a challenge, promises to marry him if he succeeds. He has no intention of following up on his teasing, but when she leaves him, cannot resist trying to lift up the boulder, if only to prove to himself that he is young and strong.
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Needless to say, he doesn’t succeed.
From then on, every time he passes their hut, he cannot resist trying – much to Kuyil’s amusement. It angers her father when he hears about it, but Sengodan, the village cobbler, tells her Malaichami’s backstory. It shakes her to the core, and only makes her more sympathetic to a man who has become a friend.
Their friendship develops slowly with Malaichami helping her sell her goat for three times its worth; and Kuyil cooking the fish he helped her catch and forcing him to eat a meal at her house – she is aware of the hurt and sadness that he hides behind his bonhomie, and from that deep well of pity arises a love she does not care to hide.
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He’s touched by the care with which she serves him, and an affection that he hasn’t experienced for he cannot remember how long. It's the beginning of a beautiful friendship.
Finally, one day, Malaichami succeeds in lifting the stone. Kuyil, who has watched him is astonished, but Malaichami is embarrassed.
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There is a side plot about the romance between Malaichami’s nephew and Sengodan's daughter, Sevuli (Ranjini). When her father fixes her marriage, the two elope. As they belong to a lower caste, Sengodan is afraid that she will be dishonoured. He comes to Malaichami for help. The latter is aghast – a relationship between castes? That’s against tradition, and the family’s honour. As he begins to search for the lovers, Kuyil, who has been helping them is furious – he is more bothered about tradition? Where was this tradition when he became friends with her?
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Better sense prevails and he gets the two of them married. Kuyil finds her affection deepening into love.
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Meanwhile, the two young lovers are deliriously happy. Until one day, Sevuli is drowned. The Panchayat brings in a verdict of accidental death, but her father is not satisfied. He has proof she’s been murdered.
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Malaichami is perturbed – who in the village would commit such a heinous crime? That senseless tragedy is compounded by another. And Malaichami is a broken man. The music is finally stilled.
His only solace is Kuyil, but even that’s not destined to last.
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It brings matters to a head, however, and despite his hurt at the way their relationship is tarnished in public, he stands by her. Kuyil is curious – why did he say what he did?
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When he confesses that he said it in the heat of the moment, she is devastated. Her reaction shocks him. But Kuyil is unrepentant. Her heart beats for him. And can he say he doesn’t care for her?
How can Malaichami respond? And his wife? It’s not in her nature to stand aside. How will the village panchayat respond to the headman’s indiscretions? What is the dark secret that Malaichami is hiding? And Kuyil? Will her self-respect allow her to keep silent in the face of his rejection?
As I mentioned earlier, Sivaji Ganesan was Malaichami; benevolent, playful, paternal – who, bound in a claustrophobic marriage, becomes friendly with the boatman’s daughter; a relationship that matures into love. His sorrow when faced with his wife’s shrewishness, his almost-constant humiliation at her hands, his affection and benevolence toward the villagers, and his wonder at being loved unconditionally by a girl young enough to be his daughter – it was amazing to see all that expressed with very little dialogue. Even when Kuyil asks him to be true and ask himself if he didn't love her, he is adamant he doesn't - because he cannot imagine himself doing so; she's young enough to be his daughter. However, once he admits it to himself (and it's a hard thing to do), he has no reservations about admitting it to her.
Vadivukkarasi as Ponnatha was no less effective – she makes you itch to slap her. She constantly rubs her husband’s face in the fact that it’s her father’s money that allows him to swagger around as the headman of the village. And makes no bones about publicly insulting him, or even calling the Panchayat and her relatives to punish him for daring to consort with a lower-caste woman. Everyone knows her for what she is, her daughter, the villagers, but she is not cowed down – she is dominating, domineering, and absolutely unlikeable, and the actress ensured that we hated her. Yet, in the end, when she is faced with the bitter truth, and she deflates into nothingness, one feels a sneaking sympathy for a woman; you get the feeling that, in that one moment, she has lost something irrevocable. And there’s a fleeting sadness because her pride was all that she had.
Radha. What can I say about her? This was an actress who was known for her glamorous roles. Who sashayed on the screen in false eyelashes, mini skirts and enough make-up to make taking it off an hour-long endeavour, and who was happy to remain arm-candy to the various heroes who happened to be around. She was also the ruling heroine of the time.
Kuyil was a challenge; one that she handled with such ease that one wishes that she had been given so many more opportunities than she received. Her sprightliness and independence is established right in the beginning. Her courage in standing up for what she feels is right comes to the fore when she excoriates Malaichami for giving in blindly to tradition. Her sympathy for the latter, and its slow development into a lasting love, where no sacrifice is too great to ensure his happiness – the actress used her beautiful eyes and mobile face to great effect. It was a role that most heroines would give their eye teeth for. And it’s to Radha’s credit that, nearly twenty-five years later, I cannot imagine another contemporary actress doing it as well.
This was another national award winning performance that got shafted at the National Awards – Radha lost out to Suhasini in Sindhu Bhairavi, and across the border in Kerala at least, shock rippled through cinema-lovers. The reactions to Sridevi’s shocking loss three years before this was being replicated across the state - How could they?
Muthal Mariyathai is a realistic depiction of different relationships between man and woman on one side, and a sensitive exploration of a May-December romance on the other. With Bharatiraja masterfully helming his own script, and Ilaiyaraja’s melodious score (and background), Muthal Mariyathai merged story, music and acting into one harmonious whole. For the first time (that’s what I read somewhere; if it’s not, please let me know), the maestro used Esa paatu – the musical trope where one verse asks questions and the following verse (by another singer) provides the answers.
At the end, I became a diehard fan of Sivaji Ganesan and will now sit through even his most theatrical of films (in small doses). That's the Power of Nadigar Thilagam !!! Puriyaadhavargalukku avar endrum Pudhir...! Purindhavargalukku Endrum Avar Punidham !
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‘Nadigar thilakam’! He was popular as ‘Simmakuralon’ – having the voice of a lion! He was the model for acting for all his successors. Acting meant everything to him. He acquired his acting skills by working on the stage from his younger days and his debut movie was Parasakthi (1952). He was greatly attached to K. B. Sundarambal. He used to ask the great singer render old songs whenever he was free in between his schedules. During the shooting of the film Thiruvilaiyadal, A. P. Nagarajan, the director of the film was preparing a shot for a song sequence with Sundarambal. At that time, Sivaji Ganesan entered the spot and asked the director whether he was going to shoot the ‘sharbat song’! Nobody present there could understand what Sivaji meant. Then Sivaji came out in a lighter vein that he meant “gnana pazhathai pizhindhu …’ song! To this, KBS ridiculed Sivaji as ‘Netrikanna’ in a lighter vein! Then Sivaji pretended as though pacifying KBS and said that he wanted to see the shooting of that particular song because he was very much impressed when he heard its audio version. KBS was teary with joy at Sivaji’s words.
'Kaka' Radhakrishnan continued, "Sivaji Ganesan's father Chinnayya Mandrayar was a great patriot. He took part in the freedom struggle. He plotted with some other men to blow up the train with dynamite that was carrying the British army. But the team was caught by the police and Sivaji's father was also put in jail. Sivaji was born on that particular day, on 1 October 1928. His father, who was released after seven years of imprisonment, took Sivaji, a seven-year old to watch Kattabomman drama. In those days, small boys required for one or two scenes in the drama would be picked up from among the audience, they would not be regular artistes. On that day, Sivaji, who was sitting in the front row, was picked up for stage appearance. He was to stand as part of the British army. Sivaji’s first stage experience was an accident, not planned. But, on returning home, Sivaji’s father beat him severely censuring him for having joined the British army (on stage only, of course)! Sivaji’s mother Rajamani Ammal gave her son fomentation as Sivaji had red patches all over his body due to the beatings."
Radhakrishnan recalled some anecdotes that happened when Sivaji worked with M. R. Radha. “M. R. Radha left our troupe and returned after sometime on his own. Both Radha and Sivaji had a lot of affection for each other. Radha used to comb our hair, clean the rooms and even the bathroom as he was always particular about cleanliness. And he knew to repair electrical goods and automobiles.
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Sivaji donned the role of a woman in a drama ‘Pathibhakthi’. Sivaji was required to push down Radha and hit him with his leg in a particular scene. But Sivaji hesitated because he had great respect for Radha and looked upon him as his own father. Radha tackled the situation cleverly by falling down on the floor and shouting ‘iyayyo …iyayo …’, signaling to Sivaji to hit him with leg. After the scene was over, he censured Sivaji with harsh words for having failed to act. Radha was always for competitive performance. During the next staging of the play, Sivaji excelled Radha in that particular scene. Radha inculcated in Sivaji the feeling of identifying oneself with the character he acted.
Majordasan – "I should thank Major Sundararajan only for my close contact with Sivaji Ganesan. When I interviewed Sivaji for the first time I asked him how it happened that Sivaji acted in the role that was marked for MGR in the ‘Sivaji kanda Indu rajyam’ drama, written by Arignar Anna. 'Madi Oli' Shanmugam tried to defuse the situation by telling Sivaji that I, being very young, didn’t know that I shouldn’t have put that question. But, Shivaji didn’t mind my question. He said, "In the year 1946, Dravidar Kazhagam was making arrangements to hold its 7th Self-respect conference in Madras. The drama was meant for that occasion only. Even the costumes were ready for MGR. But subsequently MGR backed out, I didn’t know the reason. Anna asked me to do the role and gave me the script which contained 72 pages of dialogues. The time left for the staging was only one week. And, Anna came again in the evening. I performed before him delivering the dialogues with suitable modifications in voice. Anna was so impressed and surprised at my performance. The dresses stitched for MGR were altered to suit my measurements. Anna brought Periyaar who used to say that fine arts and artistes were responsible for the degeneration of the society to watch the drama. Periyaar was so pleased and wondered that Anna had conveyed in a single drama what all he had planned to tell at the conference. When Anna introduced me as Ganesan to Periyaar, he told me that I would be Sivaji Ganesan thereafter. I got this title even before I entered cinema."
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Preface
I have nothing to write a preface about Late Sivaji Ganesan as I could only recall a Radio Interview of Ilayaraja during the year 1978 when he was asked to comment on this legend. I quote his comments as under:
"A Rose has its own fragrance. Just because Ilayaraja has told that Rose has a special odour it will never get supplemented. If I talk anything about him, it would be exaggeration, else even if I don't say anything about him, his ledendry is not going to fall.
Shri. SIVAJI GANESAN IS A CLASS OF HIS OWN"
I want to maintain the same status quo except for telling the fact though I never watch movies, I can proudly say that Sivaji Ganesan is the only actor who was born to stay permanently in the hearts of millions of fans all over the world.
Sivaji Ganesan
Viluppuram Chinnaiahpillai "Sivaji" Ganesan (October 1, 1928 - July 21, 2001) was an Indian film actor and one of the first method actors in India , active during the latter half of the 20th century. His fame came from his versatility and expressive prowess in Tamil cinema . He was the first South Indian film actor who won a best actor award in an international film festival, the Afro-Asian Film Festival held in Cairo , Egypt during 1959. Sivaji's legacy of acting is still admired today, also being an influence to many other Indian film actors. Many contemporary actors in South India have confirmed that their acting styles were influenced by Ganesan.
Acting career
Debut as a lead artist
Apart from his immense success and reception in Tamil cinema , he has also acted in Hindi , Telugu , Malayalam , Bengali , and Kannada-language films. Ganesan's first film was the Tamil film Parasakthi in 1952, co-starring actress Pandari Bai . The script for the film was written and directed by the now- Chief Minister of Tamil Nadu , M. Karunanidhi . He took his stage name from Emperor Shivaji , one of the roles he had once enacted.
Donning versatile roles
In most of Ganesan's films, he played multiple roles, commercial roles, and roles of a Hindu deity specially the Lord Shiva role. The portrayal of Lord shiva in the movie Thiruvilayaadal won him lot of accolades in and around the film industry. In the film Navarathiri (1964), Ganesan donned nine different roles that represented the nine emotional states of a person. Hindi actor, Sanjeev Kumar , was inspired by this film and reprised the nine roles in Naya Din Nayi Raat in 1974. Ganesan could strike a balance between commercial cinema,Mythological cinema and experimental cinema. Sivaji was always unique when compared to other actors in India during his generation. Expert analyst from cinema admitted the three best versatile actors from India at that time were Shivaji, Dr.Rajkumar and N. T. Rama Rao . He experimented in films like Thiruvilayaadal , Thiruvarutselvar , Thirumal Perumai , Karnan , Veerapandiya Kattabomman , Thillana Mohanaambal and Raja Rishi . His role in the film Veerapaandiya Kattabomman made him the first South Indian actor recognized outside India in the Afro-Asian film Festival at Egypt. He was also applauded for his acting in the film Aalyamani which was remade later by N. T. Rama Rao .
Appealing to the masses
Sheer variety of Ganesan's roles gave him much acclaim and honour. He co-starred with his counterpart, M. G. Ramachandran in one film, which was Koondukkili . He has worked with many of the leading actresses of his time, including Savithri , Padmini , B. Sarojadevi , K. R. Vijaya and J. Jayalalitha . He also co-starred with other lead actors such as Gemini Ganesan , Muthuraman , M. R. Radha , and many more.
Though he accumulated awards throughout the '50s and '60s, it was in 1972 that Ganesan delivered his first all-time blockbuster Vasantha Maaligai . In 1979, he delivered his second and final all-time blockbuster Thirisoolam , adapted from the Kannada film Shankar Guru in which Dr Rajkumar had played the lead role. After this, Sivaji Ganesan began acting in supporting roles. Due to his popularity and his rival MGR's success in politics Shivaji entered politics and had to face big setback as he lost consecutive elections. But due to his proximity with the then prime minister Indira Gandhi he was made the member of Rajya Sabha in 1983. Indira Gandhi's death in 1984 also brought Sivaji's political career to an end.
Nearing retirement
In the 1990s, as Ganesan was aging, he co-starred with several other actors. His notable films supporting roles were Veerapaandiyan , Jalli Kattu , Pudhiya Vaanam , Thevar Magan , Pasumpon and En Aasai Raasaave . His last film before his death was Padayappa in 1999 which was also a blockbuster.
Apart from his numerous roles as a single star on screen, Ganesan has acted in supporting roles with many leading actors from different eras. Ganesan has co-starred with M. G. Ramachandran , M. N. Nambiar , Gemini Ganesan , Kamal Haasan , Rajinikanth , Prabhu Ganesan , Sathyaraj , Vijayakanth , Mohanlal , Ramarajan , Y. G. Mahendran , Sivakumar , K. Bhagyaraj , Karthik Muthuraman , Arjun Sarja , Joseph Vijay and Abbas . He has also worked with a vast amount of directors and producers. His legacy continues to be remembered today and is looked upon by many leading film actors.
Death
Suffering from respiratory problems, Ganesan was admitted to the Apollo Hospital in Chennai on July 21, 2001. He also had been suffering from a prolonged heart ailment for about 10 years. He died at 7:45pm (IST) on July 21, 2001 at the age of 73. A documentary, Parasakthi Muthal Padayappa Varai was made to commemorate Sivaji Ganesan's legacy. His funeral was attended by thousands of viewers, politicians and personalities from the South Indian film fraternity.
Legacy
Statue
A statue was erected in Chennai , Tamil Nadu to honour the actor in 2006. It was unveiled by the Chief Minister M. Karunanidhi .
Actors' Day
The former South Indian Film Artistes' Association president Vijayakanth declared that October 1, the birth day of Ganesan, would be observed as Actors' Day in the Chennai film industry .
Domestic popularity
Sivaji Ganesan has remained as the most popular Tamil actor with the most of number of fans. This fact has been confirmed by many independent surveys conducted.
The popular Tamil magazine Kumudam conducted a survey in 1990. Sivaji Ganesan was voted as the most popular actor with (35%) votes followed by M. G. Ramachandran (30%), Rajinikanth (20%) and Kamal Haasan (15%). Though the survey was conducted in 1990, when Sivaji Ganesan had almost retired from acting and Rajinikanth and Kamal Haasan were rising stars in Tamil cinema.
Popularity in the US
During a visit to the U.S. in June 1995, Sivaji Ganesan found himself in Columbus, Ohio . Mayor Greg Lashutka named him honorary citizen of Columbus at a special dinner.
In 1962, Ganesan toured the U.S. , where he was given the honour of being the mayor of Niagara City for one day. He along with the former Indian Prime Minister Jawaharlal Nehru were the only two Indians to be honoured this way.
When actor Marlon Brando visited India, he was shown film footage of Sivaji Ganesan. From then on Brando admired Sivaji Ganesan for his acting style. He also stated that "Sivaji Ganesan may act like me but I cannot act like Sivaji Ganesan."
Awards and honours
Sivaji Ganesan's most prestigious award was the 'Chevalier' in 1995, awarded by the National Order of the Legion of Honour in France . This is one of the main decorations of the French Republic which is conferred to honour the most original and talented personalities, for their remarkable contributions in the field of Arts and Literature in France and all over the world. On April 22, 1995, at a ceremony held at the MAC Stadium, Chennai , Sivaji Ganesan was presented the Chevalier title and medallion by the French Ambassador to India, Philip Petit. J. Jayalalitha , the entire Tamil film industry and representatives of all other Indian regional film industries were present at the ceremony.
Other awards
Afro-Asian Film Festival Best Actor Award, 1959
Padma Shri , 1966
Padma Bhushan , 1984
National Film Award - Special Jury Award for Thevar Magan , 1993
Chevalier (Knight of the Ordre des Arts et des Lettres , France ), 1995
Dadasaheb Phalke Award , 1996
Kalaimamani , 1997
NTR National Award , 1998
Honourary doctorate
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Outstanding work surya sir,thank you very much for your efforts
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dear RKS. Like a summer shower with thunder, like an oasis amidst a desert, like a Godzilla emerging from deep blues.....Like NTR's Krishna showing his viswaroopam high blues to NT's Karnan...amazing pages in succession. This thread feared to have had an irreversible plastic sagging, now gets stretched within its elastic range thanks to your மலைக்கவைக்கும் spurt of postings! Thank you Sir...for keeping us warm blooded.
Ravikiran, I am reminded of this Bond title song:
He always runs....while others walk!.....and he strikes....like THUNDERBALL! this song matches your traits too RKS!
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ஆழிப்பேரலைகளாய் (Tsunami) சுழன்றடித்தீர் Ravikiran Surya!!! Congrats!!! எப்ப படிச்சு முடிக்கிறதோ, தெரியலையே!!! சொக்கா!!!
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ஏம்பா , இங்கே வர கூடாதென்றாலும்,மனசு கேக்கலியே.(வாசு மாதிரி கல்மனம் இல்லை எனக்கு) இப்படி அனாதையாய் விட்டு விடுறீங்களே தொபீரென்று?நான் வந்து மாஞ்சு மாஞ்சு எழுதினால் மேலே மேலே போட்டு ஒரே நிமிடத்தில் பதிவை மூணு நாலு பக்கம் பின் தள்ளி சமாதி கட்டுவீர்கள். யாரும் போடாத போது சும்மா கை கட்டுவீர்கள்.என்னய்யா இது? அதுதான் முழுக்க காலி பண்ணி கொடுத்து ,விளயாடிக்கோங்க என்று ஒதுங்கியாச்சே? எங்கே ரவி,ராகுல் எல்லாம் கூட காணும்?
ரவி கிரண் சூர்யா -நெஞ்சார்ந்த நன்றிகளும் ,வாழ்த்துக்களும். அசுர உழைப்பு.தூள் நைனா.பட்டை கிளப்பிக்க.
