Not sure.I was there in early 90's .People told me it was once owned by sivaji all sivaji movies released there in 70's.Quote:
Originally Posted by bingleguy
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Not sure.I was there in early 90's .People told me it was once owned by sivaji all sivaji movies released there in 70's.Quote:
Originally Posted by bingleguy
the last movie i saw in prabath was :roll: Dasavadhaaram ! -> the old movie ....
NT oda films edhuvumae naan anga paathadhu illa ... probably it was in the 70s when i wasnt even born :-)
NT oda color films were not that attractive as his BW movies ...... sometimes when i see movies like Andaman kaadali time movies ... i dont see much delivery from him ...
His Jallikkattu with Sathyaraj was awesome !
Digression :Quote:
Originally Posted by bingleguy
Bingle
How do u attribute the colour factor as the reason for not attractive :oops:
Havent u seen Mudhal mariyadhai ?
Leave it . So many movies of Shivaji were in colour . See Gowravam first pls . :D
adaa daad ...i didnt mean that way yaar ..... i was talking about the period when his andaman kaadalai n all came ...
:lol: you are too sharp!Quote:
Originally Posted by Nakeeran
he dint mean the colour factor!..
when nt is young(black and white)...he did good movies than when he is old(colour)
really his acting in many colour films is over-acting!..black and white movies are better!
Vicky :clap: :-)Quote:
Originally Posted by nilavupriyan
:lol: you are too sharp!Quote:
Originally Posted by "nilavupriyan
Digression :
Bingle
How do u attribute the colour factor as the reason for not attractive :oops:
Havent u seen Mudhal mariyadhai ?
Leave it . So many movies of Shivaji were in colour . See [b
he dint mean the colour factor!..
when nt is young(black and white)...he did good movies than when he is old(colour)
really his acting in many colour films is over-acting!..black and white movies are better![/quote]
N. Priyare :D
Ippadina appadi ....appadina ippadi :D
Now, you have ( knowingly or unknowingly ) given a new dimension to this superb thread !
Pl define what you mean by over acting & also highlight specific movies where according to u , he overacted so that I can give a befitting response
FYI, Shivaji's even steps are measured . Every inch of his had a message .
over actingna ennaanu theriyadha?
remember the telephone conversation with k.r.vijaya?
i dont want to degrade shivaji in his thread...but he did better in movies like karnan,pagapirivinai or navaraathiri!..
guys, stop your petty squabbles in this thread. each person has his own opinions. leave it be.
I am a newcomer, but I did take my time to go through the entire thread before contributing.
If you guys do the same, you will find explanation to overacting, colour/B&W films, etc.
The best way to explain NT's peformance whether overacting or not, is not to explain at all.
You need film by film analysis. That is why participants of this forum do. We write about a film we had seen and do an analysis.
In that analysis we sometimes describe the technical part...meaning not only the cinematography, but what comprises the environment at that time.
If you read the excellent articles of Murali Srinivasan, you will realise the turmoil that was going through at that time, politically and socially.
Filmakers had something to say, and they say it loud. Actors act it out loud as well...there were no TV and internet at that time. Cinema, like stage, need to reach the people sitting right at the back.
As I mentioned, do take your time to go back and reread the thread, there are wealth of information on NT and you will understand why he acted, overacted or underacted.
As for me, overacting is an art by itself. Hollywood actors do it all the time. Look at Al Pacino...watch films like Devil's Advocate or Heat, The Insider. What you see is overacting at its most glorious, especially the ending of Devil's Advocate.
Overacting is an art not easy to master. It is so much better that what is happening these days...which is no-acting.
The term overacting belongs to NT and NT alone. Watch other actors who overact, they look like they are mimicking NT. Anytime an actor emotes strongly, enunciates very clearly, he will be accused of trying to be like Sivaji. Such is the power of NTs performance...so much so that he owned the legacy of overacting.
I hope I got some sinuses cleared. Again, reread the thread, it will clear your mind.
To do overacting ,one must know how to act first!
NT is the KING in over acting ,under acting ,Style acting etc etc whatever acting ,he knows what people expected from him at that period of time.
He is not the one project himself in movies .He wanted to deliver what directors and fans expected from him at that time.
I dont wish to talk about over-acting ... coz i second Joe n saying "To do overacting, one must know how to act first"
My point was just not about the way the characters chosen by Sivaji in his films that came around during 70s .... but just the factor of his importance in the movie.... I just felt the earlier movies had more than 100% of Sivaji than some movies which just used him to be a doll !
I am a Great FAN of Nadigar Thilakam :-)
சாவு வீட்டிற்கு சென்று பாருங்கள். அம்மா, தங்கை போன்ற நெருங்கிய உறவினர்களை இழந்தவர்கள் வாயிலும் வயிற்றிலும் அடித்துக்கொண்டு அழுவார்கள்.
அதே சமயம் படங்களில் தாயை அல்லது தங்கையை இழந்த நடிகர் திலகம் வாய்விட்டு கதறி அழுதால் அதுக்கு இவர்கள் கொடுக்கும் பெயர் 'ஓவர் ஆக்டிங்'.
அந்த மாதிரி சமயங்களில், எந்த உணர்ச்சியும் இல்லாமல் மரக்கட்டை மாதிரி முகத்தை வைத்துக்கொண்டிருந்தால், அந்த போலித்தனத்துக்கு இவர்கள் சூட்டும் பெயர் இயல்பான நடிப்பு.
இது 'மகேந்திர* மணிரத்ன காப்பியங்க'ளால் ஏற்படுத்தப்பட்ட (தவறான) தாக்கம். அவர்கள் இது போன்ற உணர்ச்சிகளை விஜயன்களிடமும், அரவிந்தசாமிகளிடமும், பிரபுதேவாக்களிடமும் எதிர்பார்த்து ஏமாந்ததன் விளைவு.
அப்படிப்பார்த்தால், 'நாயகன்' படத்தில் மகன் நிழல்கள் ரவியின் பிணத்தைப்பார்த்து கமல் அழுவாரே... ஸாரி, ஒருமாதிரி சவுண்ட் கொடுப்பாரே அதைவிடவா ஒரு ஓவர் ஆக்டிங் இருக்க முடியும்?.
As Mr groucho70 said, instead jumping directly to the 97th page, it is better for the new comers to come from first page.
Because these topics were analysed and discussed deeply in the earlier pages of this thread about the 'Boundry for Over-acting' and all.
Saradha ji ... am not able to read the thamizh fonts here ... can u tell me why ? is it my sys prob ??
Absolutely True!Quote:
Originally Posted by saradhaa_sn
Just a small request.
If we dont have anything good to say abt other actors it is better we avoid giving negative comments abt them. For proving the greatness of Shivaji there is no need to pull other actors. Everyone have negative sides. I have seen several times, Few could not even tolerate any kind of criticism against Shivaji even it is +ve.
Then i think we shd maintain the same when we talk abt other actors. This is not the thread for critizicing other actors.
If everyone is ready for open discussion it is absolutely fine.
Thanks for the understanding.
Am able to readh this .... :clap:Quote:
Originally Posted by joe
I believe comparison does not make hay ... it is just degrading one to bring up the other .... Everybody is just not the same .....
in Nayakan .... the character of kamal ... expected him to show a shocking (vaayadaithu pona) situation ... he is initially unable to react and though he wasnt attached much on things .....will not be so very emotional and cry out loud ! Wat was his reaction when his family was shot ???? wat was his reaction when vaapa was hanged ???? wat was his reaction when his wife was murdered .... at that time, he was young .... and now when his son dies ... he starts to feel that he is losing everybody ....
Hence he is unable to react initially and then starts to show the emotion slowly ......... infact oru stage kku appuram background music overtakes his cry .... so sound illaama azhardha paathaa we will not be able to judge things :-)
This is my humble feeling ... NT reaction aiyum Kamal reaction aiyum compare panna mudiyaa ... both depends on characters ......
groucho070,
I am reading the same with opera now .I don't know why you can't ..But I have ekalappai tool installed to type in unicode tamil .is it the difference?
// NT reaction aiyum Kamal reaction aiyum compare panna mudiyaa ... both depends on characters ......//
True! But problem starts when people critise NT's acting in some character is overacting .Saradha already explain that clearly .when your dear and near died nobody will hide behind a pillar and cry ,instead they may cry as if others may think it is over-expression .It depends on the person's character .NT didn't give same expression in all his movies .His reaction is based on the nature of the character.
Absolutely Correct Joe :-)
NT's reaction cannot be criticized in comparison with anybody ! coz he offers what the character expects :-)
I really cherish his reaction when he says ... "nee mundhindaa noku, naa mundhindaa nekku"
you should see his expressions :-) wow awesome ...
He is a drama artiste from initial stages ... in dramas every single cell in the body has to ACT ..... which when they see on screen call it overacting ..... When the situation warrants ...
I dont know why ppl clap when the hero sustains a bullet in his body, and still stands .... while they call NT's natural acting of pain in Thillana Mohanaambal when he was attacked by a knife :roll:
He is still the hero ... but his character basically shows him to be a person who is not an action hero :-) so he has to show that pain !
:clap: for his performance in that MOVIE ... i cherish every scene of the movie !
I am surprised that there had been very few discussion on Avanthaan Manithan.
This is another movie that shows tremendous restrain on NTs part. From beginning he shows a very composed performance, very intelligent, very knowing of his environment and still acting to the core.
Witness the scene where he is told that his ship has sunk. What he does? He just 'sinks' into his sofa. Stunned, no exaggerated body language, no shouting, screaming.
Or, the scene when JJ's daughter dies. He goes to the graveyard and cries, silently, all those repressed emotion 'trickling' out slowly. Brilliant.
Oh, I forgot, Avanthaan Manithan is a colour movie by the way.
My weekend movie will be Avanthaan Manithan. I shall write more about it next week.
Joe,
Where do I get ekalapai (?)? Is it a font? I am a bit mandu when it comes to tech, so you gotta show me where to get it and what I should do with it. Appreciate it, thanks.
:clap: shld have been really awesome to look at .......... Must Watch !Quote:
Originally Posted by groucho070
I read from the other thread about MIRUTHANGA CHAKRAVARTHI.
Comment says "I came to know that even we can play MIRUTHANGAM through mouth". Indirectly meaning NT over acting in this scene.
I would like to point out that my cousins one is good carnatic singer and other one is MIRUTHANGA VIDWAN. He is normal person never shows off. While playing MIRUTHANGAM he tend see side ways up and down (so many reactions). I asked him why you do all these things? he replied I never know that I am doing all these things :)
NT might closely watched some VIDWAN before playing MIRUTHANGA CHAKRAVARTHI. people who does not know natural element or behaviour one adopts during day to day life will not be able to appreciate particular character reaction which will come automatically without knowing.
Even in THANGAPATHAKAM NT will enter very silently (KRV death scene) and slowly reacts to the situation before blown out. This is normal humanbeing reaction and each tend to react differently.Some may cry silently/some may express loudly.
Here people labelled as over acting.
I have noticed criticism about face expression. NT use to give face expression in close up shots(nowadays noone dare to do that).Have any one watched your father or brother /sister/neighbour while reacting to the situation? just absorb their body language and face expression. You will appreciate NT performance.
regards
ramesh
groucho070,
Regarding e-kalappai,I sent you a Personal message.Pls chk your PM.
Sorry to bring this again. But wanted to share this with you.
When someone asked about his over-acting to the great NADIGAR THILAGAM, he said
(Please forgive me since I donno the exact words)
"Actors are like ink in a pen. The one who writes with that pen (directors) have their own writing style. Sometime, while writing, it might look a bit BOLD (He refer to Over-acting here) and most of the time it might look normal. So, ultimately if people are telling that I am over-acting then it depends on HOW MY DIRECTOR WANTED ME TO PERFORM RATHER THAN MYSELF DOING THAT"
Veterans, I heard this information in a TVShow. NOt sure about the source as well.. Just a recollection. If I am wrong, please correct me :)
pls dont waste time justifying sivaji's acting. he is an imayam. avar thotta sigaram thaan nadippu. avar nidippin encyclopaedia. matra nadigar ellaam andha encyclopaedia lErndhu sila pagudhigalai eduththu kollalaam thavira sivajiyiin uyaraththai thoda mudiyaadhu.
avan thaan manidhan (which was the inspiration for uyarndha ullam) has this brilliant song....
aattuviththaal yaaroruvar aadaadhaarE kannaa
aasai ennum thottililE aadaadhaarE kannaa
nee nadaththum naadagaththil naanum undu
en nizhalil kooda anubavaththin sOgam undu
pagaivalargalai naanum vellvEn
aanal nanbaridam thOtruvittEn paasaththaalE
kadalalavu kidaiththaalum mayanga maattEn
adhu kai alavE aanaalum kalanga maattEn
ullaththilE ulladhudhaan ulagam kannaa
adhai unarndhu kondEn thunbam yaavum vilagum kannaa
unarndhu kondEn thunbam yaavum vilagum kannaa
panjaali unnidaththil sElai kEttal
andha parththan avan unnidaththil geethai kEttan
naan irukum nilaiyil unnai enna kEtpEn
innum nanmai seidhu thunbam vaangum ullam kEtpEn
Phew!!! When I saw Nov's name I thought we NT hubbers are in trouble. Thank god, he's here to share his delight as well.
As for the song, its one of the best scene in the movie. A fantasy scene in an otherwise realistic movie.
Nov, I think there is one word change in that line. It should read, "unarnthu kondal tunbam ellam vilagum kannaa".
What a great line for those with trouble. I mean who don't have problem, but listening this line (and of course, "Unakkul Kizhe Ullavar Kodi" line), you just get on with the life.
And who can forget the other song, Manithan Ninaippathundu. Again, simple picturisation. He just walks and walks (this scene follows the graveyard scene I mentioned earlier), and its the walk and the facial expression that does most of the work.
More, when I get to see it this weekend.
Guys Mudhal Mariyadhai too had fantastic acting repetoire by sivaji even though there was more focus on the story and vadivukarasi's performance in the film.
Watch the scenes when his emotions just flow when he is tied between a love which he rather have and a marriage that he does not want to disgrace. And especially the scenes towards the climax when he has to answer alot of criticisms from the village people. Neither his body language nor dialogue delivery cast their stamp...its just his emotions all the way through.
I enjoyed watching this movie for the songs and the rustic realism displayed by bharathiraja in the film. But this was also the first exponent of Sivaji's immaculate talent to me. I never knew who sivaji was till i saw this movie. Such swift display of emotions when he wonders whether to pursue his love and drop the marriage or just get on with his already miserabler life. :clap:
I also liked his dheiva magan film. It really is soulful and makes you heart melt when he lets his body language do the talking for the disformed sivaji. Its like your really staring at a handicapped who wishes to be sympathised with.
Rakesh, ;)
long before I became a moderator, I was initiated as a fan. :D
this reminds me of his acting with Asokan in "andha naal gnyaabagam nenjilE vandhadhE nanbanE nanbanE nanbanEQuote:
Originally Posted by groucho070
indha naal andru pOl inbamaai illaiyE adhu En En En nanbanE"
what a song! what an acting! :hatsoff:
Yeah, I know, Nov. Your presence as a fan is much more preferred than a moderator, hehe.
As for AnthaNaal Nyabagam...I have cousin who innocently asked his mom (one of my Old movie source) whether it was NT singing! I think by then TMS got NT's style down pat that normal audience you can't tell the difference.
For that song - I learned from a TMS interview - he ran a couple of rounds around the studio before singing. Good homework.
Now, I think if it was for someone else, he would not have bothered. Knowing very well that NT is (again) going eat up the song and overshadow all those behind it (Kannadhasan, MSV, TMS), he better do somework on it. The result is one of the most memorable song, with playback singer and actor outperforming each other.
Uyarndha Manithan, of course, is another example of restrained acting. His internal performance very much contrasts Ashogan's very external outbursts.
Note: Each time I revisit this movie...I kinda get sidetracked. One, for Vaneesree's beauty. Yummy! And secondly, Sowcar's performance. Rarely you see her doing this kind of role.
I am entering into the 100th page.
NT in an interview with T.R .Jawahar, he said that 'I can never become a director. I can only act and this I can and I want to do till my last breath. I am not so talented as these youngsters who could write, act, sing, dance and direct'.
NT was an ageless wonder. If the current generation were to study his career they would emerge completely confused about the chronology of his movies. Would anyone believe if I say that he did Navarathiri, Karnan and Puthiya Paravai in the same year? Or for that matter Thillana Mohanambal and Ooty Varai Uravu? Or again Thiruvarutchelvar and Iru Malargal? And to think that he was just thirty one when he played Kattabomman, the macho Tamil chieftain who dared the British or as the venerable V.O.C just a year later! For him acting was a series of different states of mind and the moment his mood shifted to the latest role on hand, the inner spirit automatically generated the relevant body language and expressions on the exterior. Here was a man whose every cell, every drop of blood, every sinew and muscle could act, thus creating a colossal facade that was much, much more than the sum of all its parts.
Such was the range of his histrionic abilities that he dwarfed all his peers and strode the tinsel world like a towering titan. Bestowed with an imposing demeanour, a powerful screen presence, a resonating voice that could also melt into a cool stream and vibrant eyes housed in a remarkable face, Sivaji was a make-up man's delight and a director's dream.
REGARDING OVER ACTING :
NT was often accused of over emoting, but then with his bottomless ocean of skill, he could carry on till eternity unless the director bothered to say 'cut'. And few directors had the heart to stop the deluge and often left it to his fans to consume to their fill. In a way such directors did him a dis-service, but Sivaji had also proved that he was capable of 'restraining' himself if the director wanted it that way and movies like Sridhar's Nenjirukkum Varai, Balachander's Yethiroli and Savale Samali stand testimony to this facet of the actor. Sivaji was a gold mine of talent. He could be presented as raw gold, cut to size, polished to taste, made into any kind of jewellery or moulded into any shape. It was wholly upto the director to take his pick. But he was gold all the same, pure and pristine.
NT was a national treasure but was also sadly a victim of regional bias. In a milieu dominated by Hindi film intellectuals who moulded filmi opinion at the national level, Sivaji was deliberately overlooked, though international recognition came his way unsolicited. For them Dilip Kumar and Raj Kapoor were pan Indian icons but Sivaji never figured in their scheme of things just because he hailed from a regional filmdom and spoke a local tongue. And paradoxically for him, in Tamilnadu he suffered because of the reverse effect. While he threw his lot with a national party, he was promptly sidelined owing to the dominance of Dravidian politicians of the sixties, who had appointed themselves as the sole custodians of Tamil. Could there ever be a greater protagonist of Tamil than Sivaji Ganesan or has anyone else enriched and elevated the language as he did, beyond paroachical walls and transcending State borders?
Though Sivaji Ganesan brought glory and world attention to the State and his mother tongue, it is also a fact that he was badly let down here. An artiste of international stature was confined to totally local terrain.
All said, Sivaji Ganesan would ever remain the mascot for acting, for admirers and critics alike.
I am entering into the 100th page.
NT in an interview with T.R .Jawahar, he said that 'I can never become a director. I can only act and this I can and I want to do till my last breath. I am not so talented as these youngsters who could write, act, sing, dance and direct'.
NT was an ageless wonder. If the current generation were to study his career they would emerge completely confused about the chronology of his movies. Would anyone believe if I say that he did Navarathiri, Karnan and Puthiya Paravai in the same year? Or for that matter Thillana Mohanambal and Ooty Varai Uravu? Or again Thiruvarutchelvar and Iru Malargal? And to think that he was just thirty one when he played Kattabomman, the macho Tamil chieftain who dared the British or as the venerable V.O.C just a year later! For him acting was a series of different states of mind and the moment his mood shifted to the latest role on hand, the inner spirit automatically generated the relevant body language and expressions on the exterior. Here was a man whose every cell, every drop of blood, every sinew and muscle could act, thus creating a colossal facade that was much, much more than the sum of all its parts.
Such was the range of his histrionic abilities that he dwarfed all his peers and strode the tinsel world like a towering titan. Bestowed with an imposing demeanour, a powerful screen presence, a resonating voice that could also melt into a cool stream and vibrant eyes housed in a remarkable face, Sivaji was a make-up man's delight and a director's dream.
REGARDING OVER ACTING :
NT was often accused of over emoting, but then with his bottomless ocean of skill, he could carry on till eternity unless the director bothered to say 'cut'. And few directors had the heart to stop the deluge and often left it to his fans to consume to their fill. In a way such directors did him a dis-service, but Sivaji had also proved that he was capable of 'restraining' himself if the director wanted it that way and movies like Sridhar's Nenjirukkum Varai, Balachander's Yethiroli and Savale Samali stand testimony to this facet of the actor. Sivaji was a gold mine of talent. He could be presented as raw gold, cut to size, polished to taste, made into any kind of jewellery or moulded into any shape. It was wholly upto the director to take his pick. But he was gold all the same, pure and pristine.
NT was a national treasure but was also sadly a victim of regional bias. In a milieu dominated by Hindi film intellectuals who moulded filmi opinion at the national level, Sivaji was deliberately overlooked, though international recognition came his way unsolicited. For them Dilip Kumar and Raj Kapoor were pan Indian icons but Sivaji never figured in their scheme of things just because he hailed from a regional filmdom and spoke a local tongue. And paradoxically for him, in Tamilnadu he suffered because of the reverse effect. While he threw his lot with a national party, he was promptly sidelined owing to the dominance of Dravidian politicians of the sixties, who had appointed themselves as the sole custodians of Tamil. Could there ever be a greater protagonist of Tamil than Sivaji Ganesan or has anyone else enriched and elevated the language as he did, beyond paroachical walls and transcending State borders?
Though Sivaji Ganesan brought glory and world attention to the State and his mother tongue, it is also a fact that he was badly let down here. An artiste of international stature was confined to totally local terrain.
All said, Sivaji Ganesan would ever remain the mascot for acting, for admirers and critics alike.
Here are excerpts of an interview given by NT during 1990s, done when there was no inkling that he would soon be gone:
Among the numerous awards that you have been given in your career, which is the one that you cherish the most? ?
I would say that the award I got for my role in Veerapandiya Kattabomman at the Afro-Asian Festival is very dear to my heart. Maybe it is because the award was the first in my career. I treasure it very much to this day.
Does it bother you that your signal contribution to the film industry has gone unrecognised for so long? ?
I am way past awards now. But, yes, there is a corner in my heart that does wonder why I wasn't acknowledged at a time when I was actively performing on screen. It hurts me to think about it sometimes.
Even the Dadasaheb Phalke award was conferred on you after a long time. Do you think that politics might have played a part in it?
Well, there may have been favouritism, but I wouldn't agree with the idea that there has been any political intervention in awarding an individual. From what I know about this (award), there is a certain committee that approaches the concerned minister with a list of nominees for the award. If the minister isn't biased or influenced, then the award does find its way to the right candidate. If that is not the case, then anybody who has been lobbying for the award gets it.
The award that was given to me apparently was originally "intended" for someone else. Even I got to know about this from some officials in the government whom I was familiar with.
Which role would you describe as your most satisfying?
There was a role that I played in Kappalottiya Thamizhan. I was portraying the famous Tamil freedom fighter V U Chidambaram. That was one of my favourites. In fact, after seeing the film, his son hugged me and said that he could almost see his father in me. I felt truly honoured that day.
Another exciting film was Deivamagan, where I had to play three different roles. I had to work really hard to make all of them appear distinct.
Did you use any method of preparation when you had to act out historical characters like V O C Kattabomman and Subramania Bharathi?
Well, there was nothing specific. I didn't get the opportunity to read up on them, because in those days it was really hard to come upon any authentic material. My only form of preparation would be to thoroughly go over the script and then to employ my own sensibilities to explore the character.
In the 300 films that you have acted in, you played a variety of roles. How hard was it for you to switch characters with every new performance?
I don't think there was anything exceptional in that. A few years of practice and you get adept at it. But I do feel that the best way of going about it is not to limit your involvement with the character to the professional hours alone. One must try and keep the role in mind all the time. The characters would play on my mind even when I was in the bathroom, or in my private time, over lunch or even during my afternoon siesta.
Was it harder for you to act in a comedy?
I enjoyed working in a comic role tremendously. It's extremely hard to play a comedian. It's the kind of creative challenge that you don't get too often. The film industry was always looking to get me to play more emotional characters, so I didn't get to do too much comedy in my career.
Do you have any favourite actors?
Yes, several, in fact. Among international stars, I have immense respect for Charles Boyar, Ronald Goldman, Balmuni. In Hindi cinema, I think very few can compare to Dilip Kumar. I also like Sanjeev Kumar and Nargis. In Tamil cinema, there are stalwarts like M R Radha and Baliah. These actors are irreplaceable.
And among your co-stars?
I liked working with Padmini. She is a fabulous dancer and she could do a variety of roles, from emotional ones to comedy - an incredibly gifted actress.
Is there any particular character you would like to play if given the chance?
There is one character that I have always longed to play. It's that of Periyar E V Ramaswami. He was the man who gave me the title "Sivaji" after my stage play on the Maratha king (of the same name). It's my dream to portray him on screen.
(Sadly enough, Sivaji Ganesan expired before he could fulfil his dream.)
நான் ஏற்கெனவே சொல்லியிருந்தேன். சில நேரங்களில் உண்மைகள் சுடும். ஆனாலும் கடந்த காலத்தை தெரிந்துகொள்ள விரும்புவோர்க்கு சொல்லித்தான் ஆக வேண்டும்.
சிவாஜியை வைத்து படம் எடுத்தவர்கள் எம்.ஜி.ஆரை வைத்து படம் தயாரிக்கும்போது, படம் பாதி வளர்ந்த நிலையில், ஒருசில 'நிர்ப்பந்தங்கள்' காரணமாக அந்த தயாரிப்பாளர் அல்லது இயக்குன*ரிடம் இருந்து சிவாஜியை தாக்கி அறிக்கைகள் வெளியாகும்.
கட்டபொம்மன், கப்பலோட்டிய தமிழன், கர்ணன் படங்களை எடுத்த பந்துலு "ஆயிரத்தில் ஒருவன்' எடுத்தபோதும், பல சிவாஜி படங்களை இயக்கி விட்டு 'உரிமைக்குர'லுக்காக அவரிடம் போன ஸ்ரீதரிடமிருந்தும் அப்படி அறிக்கைகள் வெளியாயின.
அதில் பெரிய கொடுமை என்னவென்றால் 'நவராத்திரி','திருவிளையாடல்', சரஸ்வதி சபதம், 'தில்லானா மோகனாம்பாள்' போன்ற வெற்றிப்படங்களை எடுத்து பணத்தை மூட்டை மூட்டையாக கட்டிய இயக்குநர் மற்றும் தயாரிப்பாளர் ஏ.பி.நாகராஜன், எம்.ஜி.ஆரை வைத்து 'நவரத்தினம்' படத்தை பாதி எடுத்த நிலையில் ஒரு அறிக்கை விட்டார் (நிர்ப்பந்தம்???). அதில் அவர் "நான் சிவாஜியை வைத்து படம் எடுத்தேனே தவிர பணம் எடுக்கவில்லை" என்று மனச்சாட்சிக்கு விரோதமாக சொல்லியிருந்தார்.
அதைப்படித்த சிவாஜி ரசிகர்கள் மற்றும் விவரம் தெரிந்த அனைவருக்கும் கொதிப்பு. நவரத்தினம் படத்தை பெரும் பொருட்செலவுடன் எம்.ஜி.ஆருக்கு ஒன்பது கதாநாயகிகளைப் போட்டு எடுத்தார்.
படம் வெளியானது. ரிஸல்ட்..???. படம் 'அட்டர் ஃப்ளாப்' (படுதோல்வி). ரிஸல்ட்டை அறிந்ததும் ஏ.பி.நாகராஜன் அதிர்ச்சியந்தார். மனத்தளவில் பெரிதும் பாதிப்படைந்த அவர் மாரடைப்பில் காலமானார்.
அப்போது 'நவரத்தினம்' வெளியாகி இருபத்தி ஒண்ணாவது நாள்.
உள்ளம் என்பது ஆமைQuote:
Originally Posted by saradhaa_sn
அதில் உண்மை என்பது ஊமை
சொல்லில் வருவது பாதி
நெஞ்சில் தூங்கி கிடப்பது நீ(மீ)தி
Thanks Saradha. Earlier, I kind of emphasized the same point. MGR made a great self-propaganda stressing that he was very good to the core. Instead, I always believe MGR was a very good manipulator, turning a negative into a positive.
I won't even wonder if somebody claims that MGR's Navarathnam was a silver-jubilee hit movie!!??
If someone says that NT overacts, can he/she define exactly what is an acting? If you define what is an acting, then I will prove you that NT never acted, but "lived" as that character.
Sardhaa,
Let me reiterate the point of Thirumaran anna here ! Whatever be the thing that you are telling might be correct or wrong. But the point here is: Just for proving the vital information on NT, it is not good to degrade MGR !
And we may not be sure (being young) whether all the details are correct or not and we least bother about it until both the legends' fame and pride is retained in everything ! :D
Please don't take this young kid's post as serious it is just a request from my side too ! :D
Selvakumar,Quote:
Originally Posted by selvakumar
We all understand Thirumaran's and yours point of view..We never wanted to degrade Makkal Thilagam ..Pls go and see MGR thread ..Most of us ,Nadigar Thilagam fans contributed a lot there and posted messages .Can you see that with any other fans of rivals?
But here sarada stating some facts since it is related with NT ,how he was projected in wrong side for his humbleness and not being cunning .
Recently I read a book on Chandrababu in which I found real face of 'Pon mana chemmal' ,hard to beleive ,but those are facts..anyway I won't post those info in this hub since I don't want upset anybody.
Joe, All your points are accepted. Infact I have't see any such bond b/w the fans of any other rivals ! (IMO)Quote:
Originally Posted by joe
Yes.. Everymen have their own +s and -s. I mean.. What I felt there was, for justifying the greatness of NT, MGR was brought into the scene :? . Anyhow, I don't want to stop the nice discussion u people are having which can help us in understanding the past :D Thanks a lot for that !