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கேள்வி பிறந்தது! நல்ல பதில் கிடைத்தது! - 160
கே: "பட்டிக்காடா பட்டணமா" படத்தில் ஹிப்பி சிவாஜி, மூக்கையன் சிவாஜி - எது சிறந்தது?(எஸ்.ஆர்.ஹரிஹரன் & நாராயணன், பம்பாய்-89)
ப: அது வெல்லப் பிள்ளையார்! எல்லாப் பக்கமும் இனித்தது!
(ஆதாரம் : பேசும் படம், அக்டோபர் 1972)
அன்புடன்,
பம்மலார்.
Watching Thenum Paalum . what a movie and what a performance .. NT - amazing performance caught up between 2 ladies.
in the heroine department Sarojadevi slightly scores over Padmini since her character is like that.
Very nice movie with great songs
oruvanukku oruthi by PS
Manjalum thandhaal Jikki,Sjanaki
நேற்று ராஜ் டி.வி.யில் "சிவகாமியின் செல்வன்"
ஆகா... என்ன அருமையான படம். துவங்கியதும் தெரியாமல், முடிந்ததும் தெரியாமல் அவ்வளவு அழகு, ரம்மியம், உற்சாகம் அனைத்தும் நிறைந்த படம். எத்தனை முறை பார்த்தாலும் அலுக்காத படம். 'என்ன இந்தப்படத்தை அருமையான படம்னு சொல்கிறாளே' என்று நடிகர்திலகத்தின் ரசிகர்களுக்கே புருவம் உயரலாம். என்னுடைய பதிவுகள் பலவற்றைப்படித்த நண்பர்களுக்கு தெரிந்திருக்கலாம், நான் என்ன விதமான சிவாஜி ரசிகை என்று.
நான் எப்போதும் விரும்பும் ஒல்லியான நடிகர்திலகம். அதன்காரணமாக சிக்கென்று பொருந்தும் அனைத்து உடைகளும். கொள்ளை அழகு.
முழுக்க முழுக்க பாடல்களினாலேயே பிரபலமான 'ஆராதனா'வின் ரீமேக் என்றபோதிலும், ஒரிஜினல் மெட்டில் ஒரு பாடலைக்கூட தொடாமல், அதே சமயம் அத்தனை பாடல்களையும் அட்டகாசமாக சாதித்துக்காட்டிய மெல்லிசையின் இமயம் எம்.எஸ்.வி.யின் அற்புதப்பாடல்கள்...
'உள்ளம் ரெண்டும் ஒன்றையொன்று மிஞ்சும் வண்னம் ஓடும் வேகம்'
'இனியவளே என்று பாடி வந்தேன்... இனி(ய்)அவள்தான் என்று ஆகிவிட்டேன்'
'மேளதாளம் கேட்கும் காலம் விரைவில் வருக வருகவென்று'
'எத்தனை அழகு கொட்டிக்கிடக்குது.. எப்படி மனதை தட்டிப்பறிக்குது'
'எதற்கும் ஒரு காலம் உண்டு பொறுத்திரு மகளே'
'என் ராஜாவின் ரோஜா முகம் திங்கள் போல் சிரிக்கும்'
'ஆடிக்குப்பின்னே ஆவணி மாதம் வருவது உண்டு'
நடிகர்திலகம் இரட்டை வேடங்களில் கலக்கியிருப்பார். அதிலும் மகன் ஆனந்த், தன் தாய் சிவகாமி(வாணி)யை அடையாளம் கண்டுகொண்டபின் அவரிடம் காட்டும் அந்த பரிவு.
இணைந்து நடித்தது ஒரே படமென்றாலும் நடிகர்திலகத்துடன் லதாவின் கெமிஸ்ட்ரி, பயாலஜி, பிஸிக்ஸ், மேத்ஸ், நேச்சுரல் சைன்ஸ் எல்லாமே அட்டகாசம்.
நான் எப்போதுமே நடிகர்திலகத்தின் 'பதினைந்து பட வட்ட'த்துக்குள் சிக்காதவள் ஆதலால் ரொம்பவே ரசித்தேன். நடிகர்திலகத்தை அழகாகக் காண்பித்து என்னைப் போன்றவர்களின் ஆவலைப்பூர்த்திசெய்யவே அவதாரம் எடுத்த சி.வி.ராஜேந்திரன் இயக்கம். Super.
சகோதரி சாரதா,
"சிவகாமியின் செல்வன்" மினி பதிவு மெனி விஷயங்களை விளக்கியது. நெஞ்சார்ந்த நன்றிகள்!
அன்புடன்,
பம்மலார்.
[quote="saradhaa_sn"]
நான் எப்போதும் விரும்பும் ஒல்லியான நடிகர்திலகம். அதன்காரணமாக சிக்கென்று பொருந்தும் அனைத்து உடைகளும். கொள்ளை அழகு.
me too.... madam
SIVAJI & PADMINI: a retrospective
Published on 12-08-2001 in Deccan Herald
By A. BHARAT remembers a screen duo whose careers took off at the same time and who shared an empathy that continued to flourish through all the films the two acted in together.
Let us begin this survey with a breezy romantic exchange between a young man called Sunder whom we discover lying in bed with a book in an obvious effort to swot up for his examination and the young girl called Sumati who happens to be the daughter of his landlord and who has just come upstairs with a cup of coffee to help him keep awake. The young man takes a sip, and looking up at her eager face, says, “Sumati, this coffee is just like you; your innocent heart resembles the milk, your qualities resemble the sugar in it, and.. and-” As he hesitates, desperately searching for the appropriate word to complete his simile she she helpfully supplies the word, “and my colour resembles the coffee powder?”.
When we were watching this witty sequence featuring Sivaji Ganesan and Padmini, back in November 1954, in Saravanabhava & Unity Films’ Classic Ethirparathathu, we had no reason to suspect that this romantic partnership which had begun hardly two years earlier in a tepid fashion in a mediocre film called Panam was to span three decades, chalk up dozens of films and become a legendary one.
Sivaji had burst into films in Parasakti (51) and in his very next film had gained Padmini as his partner. She however had been in that business for a long time. Throughout the 40s she had been appearing in dance sequences in AVM films playing second fiddle to her successful elder sister Lalita. She got an adult lead role in Manamagal the same year as Sivaji. And next year when she appeared as the other woman in Kanchana where her fragile beauty simply put the heroine in the shade.
If the Sivaji-Padmini duo did not take off in their initial pairing in Panam, they really got the show going in their second film Anbu (53). The film was actually centered around T R Rajakumari who played Sivaji’s brother’s wife, but the romantic scenes were all given to the new pair. Who can forget the scene where Sivaji climbs up the stairs to the opening bars of Padmini’s piano playing and within the span of the song “enna enna inbame” adds impromptu notes on the piano, decorates her hair with a rose and finally persuades her to accept his proposal – all without a line of dialogue?
1954 was not only a vintage year for the Tamil cinema with Anda Naal (Sivaji) Malaikallan (MGR) and
Koondukkili (MGR & Sivaji) -- it was also a bumper year for our romantic pair. Out of the seven Sivaji films four as the female lead.
In Karunanidhi’s Illara Jothi, Padmini was an heiress obsessed with a married Sivaji. As was the fashion in those days the film had a play within the film. And this time it was-Anarkali. The three pages of lamentation Sivaji pours out on Anarkali’s tomb used to boom out of thousands loudspeakers all over the south as was also the fashion then when the dialogue sets of the films used to be issued on records along with the songs.
B R Panthulu began his series of films featuring Sivaji that year with Kalyanam Panniyum Brahmachari, a rip roaring comedy in which Sivaji completely outshone the titular comedian T R Ramachandran. But Padmini put both of them in their places with a dazzling performance aptly symbolized by the romantic duet “Medhaavi pole” wherein she makes Sivaji literally slap his cheeks and beg her pardon.
Then there was Thookku Thooklu an old chestnut about five riddles which was given fresh life by a witty script, lovely music by G Ramanathan, the enchanting presence of Padmini with her sisters and an over-the-board performance by Sivaji. He also found his “voice” T M Sounderrajan in that film Sivaji being a trained dancer himself found no difficulty in keeping pace with Padmini and Ragini in the hilarious “Kurangilirundu pirandavan” dance sequence.
The fourth film that year was Ethirparathathu, which was C V Sridhar’s first film script and which was specifically tailored to fit the talents of the three principals Sivaji Padmini and Nagaiah. Starting like a romantic comedy the film abruptly turns into tragic paths midway with Sivaji reported dead in a plane crash and Padmini marrying his aged father Nagaiah. When a blind Sivaji turns to claim his romantic due he encounters a stubborn Padmini with her own ideas of marital rectitude. In a climactic sequence, in pouring rain Sivaji pours out his heart in a reprise of their earlier romantic song “Sirpi sedukkada por silaiye”. Drawn irresistibly by that haunting refrain Padmini rushes out
to him and for a few minutes allows herself to participate in his fantasy. Suddenly snapping out of the dream and suffering a terrible reaction she literally slaps poor Sivaji around savagely and leaving him hurt and sodden in the mud runs back to the house. Never before or after in their long partnership did they reach the emotional intensity of this early film.
Kaveri (55) was a lighter film remarkable only for the reprise of Sivaji’s Bharatanatyam. Towards the end, in a dance sequence, the repetition of the heroine’s name makes Sivaji regain his memory reminding us of Dilip Kumar’s Shabnam. The same year the pair chalked up a hit in Mangigyar Tilakam, which was adapted from Bhabhi ki Choodiyan. Here Padmini played the role which Rajakumari had played in Anbu a couple of years back. Their excellent performances and the melodious score makes for an extremely satisfying film with Padmini’s visual rendition of the
song “Neelavanna kanna vaada” unforgettably stamped on our mental screen.
Raja Rani (56) with a script by Karunanidhi was an absolutely entertaining Comedy package with a paper-thin coating of social comment regarding widow remarriage. In true Roman Holiday style Sivaji gives lodging to adrugged and sleepy Padmini and mistakes her to be a runaway heiress leading to various complications concerning the other comedy team of N S Krishnan -- T A Maduram. This film had two plays within it, of which the second --Socrates -- is justly famous. When the villain Rajendran tries to use this play to feed “Socrates” Sivaji with some real “hemlock”, it is the watchful Krishnan who collars him and brings about a happy ending.
Again in 1957 Karunanidhi came out with an entertaining script for our pair in Pudayal in which Sivaji played a postman. lt had the novel situation of a love-sick Chandrababu sending translations of Shakespeare’s love poems to Padmini who promptly tore them off without reading them to the ire of the Shakespeare fan Sivaji who read them aloud to her thereby starting their romance.
When the writer Sridhar began his own company called Venus Pictures his first film was Uttama Puthiran (58) based on The Man in the Iron Mask in which Sivaji played more than one role for the first time in his career. The film had a lovely Padmini, lilting music by G Ramanathan with songs like “Mullai malar mele” and picturisation of a Padmini dance in Brindavan Gardens.
Through the years Sivaji acted with other heroines like Pandari Bai, Bhanumati, Savitri and so on, and Padmini had her own series of films with Gemini Ganesan and MGR. But that did not stop the regular flow of Sivaji –Padmini films like Bhagyavati (57),Thangppadumai (58) which had an early Viswanathan-Ramamurty score featuring songs including “mugattil mugam paarkkalaam”, Maragadam (59) where Padmini feigns a “dual” role, Deivapiravi (60) with Sivaji as a contractor and Padmini as a coolie etc.
It is appropriate enough that a legendary partnership should have a classic Finale. There was a popular serial in Ananda Vikatan by Kottamangalam Subbu called Tillana Mohanambal about a Nadaswaram player and a dancer which literally called out for the talents of Sivaji and Padmini. Since neither of them were now in their early youth the emphasis was now on their acting and dancing abilities. In his usual thorough manner Sivaji spent months watching and perfecting the mannerisms of a Nadaswaram player. His performance in the film is so lifelike one is instantly reminded of the exactly similar situation of James Stewart playing the title role in the film The Glenn Miller Story. In both cases the nadaswaram and trombone playing looked genuine enough to fool even experts.
The Sivaji-Padmini partnership was remarkable in that their careers began almost simultaneously and had a parallel progress and right from their second film together they had developed an empathy which continued to flourish in all their films. lt is significant that even though Padmini did a large number of films with, say, Gemini Ganesan, nobody talks of a Gemini-Padmini duo. There is only a Sivaji-Padmini duo. And that’s it.
Published in “The Times of India” 11/4/1998
By S. Balakrishnan
'Indian actors are second to none’
MUMBAI: Vettathidal Chinniah Ganesan (70) aka Sivaji Ganesan is easily one of the greatest actors of Indian cinema. Though most of the 300 films in which he played the lead role were in Tamil, his talent has been recognised in other parts of the country and even the world. Ever since 1952, when his classic film Parashakti was released, he has bagged truckloads of awards, including the Dadasaheb Phalke award and the Chevalier award conferred on him by the French government. In fact, acting is in his blood. At six, he left his family and joined a drama troupe. At seven, he put on grease paint and played the role of Sita in a play.
After several years of grind in Tamil theatre, he entered the film world at the age of 22. “I received a major boost from my first movie itself and I never looked back,” the bearded Sivaji, who was in the city to receive the lifetime award instituted by the South Indian Education Society, told The Times of India.
He has made an entire generation of Tamil-speaking people cry and laugh with him and in the process become a part of their psyche. His identification with his roles were so complete that people had difficulty in separating fact from fiction. However, in sharp contrast to his roaring success as an actor, Sivaji, who was active in the Congress, was a failure in politics.
He takes this in his stride. Age has not dulled his ardour for acting as was evidenced by one of his more recent films Thevar Magan. In this 45-minute-long interview, he fielded a number of questions.
Excerpts:
Q) It is said that the camera is playing an increasingly activist role in filmmaking these days and that actors are becoming less central to a movie. Do you agree?
A) Yes. These days cameras talk, run and even sing. Camera techniques have become extremely sophisticated. The camera is playing a very crucial role so much so that even a person without true acting ability can become an actor!
I am not suggesting that those without talent can become actors. They should have talent. In fact, they should have more talent. They should understand the technical aspects of film making.
Q) What change do you see in Tamil films of your period and the present day ones?
A) Not much. But technology has improved vastly Actors like myself, MGR and A.P. Nagarajan had a strong grounding. We were products of the ‘gurukulam’ tradition of drama. I can dance better than Pad-mini. I can dance Kathak, Kathakali and Bharatanatyam and sing very well. In the film Kaveri, I did a solo classical dance.
I am not suggesting that we were some kind of super human beings. But we had received intensive training in several fields of art. That is why I was able to retain my position and act in as many as 300 films. Why do you think even senior artistes respect me? Why do you think I was given the Chevalier award? Without training, you cannot go beyond two or three films. Sophisticated equipment may help you, but not beyond a handful of films.
Q) It is observed that Tamil films are essentially extensions of the stage and that there is no subtlety in acting.
A) slightly raising his voice) What do you mean by subtlety?
For instance, in a Tamil film, a typical actor would react loudly to the news of his mother’s death.
How can anybody be subtle to the death of his mother? I just do not agree with the categorisation of acting as natural acting, method acting etc. Acting is acting. There is no question of over-acting. Acting has got to be realistic. There is no place for lies. (He actually demonstrates a scene about the death of a character’s mother). So-called subtlety need not result in good acting.
Q) You have played lead roles in about 300 films. Which are your two most memorable roles?
A) It is very difficult to reply. But Veerapandya Kattabomman and Kappalotiya Tamizhan gave me immense satisfaction.
Q)Is there any role which you wanted to act but could not?
A) No. But I am forever on the lookout for new roles. In my latest film En Asai Rasane, directed by Kasturi Raja, I am playing a village street dancer. For 15 years, I did three shifts from 7 am to 1 pm, 2pm to 9pm and 10pm to 5 am. I had no family life. I slogged day and night.
Q) WHY DDI YOU SACRIFICE YOUR FAMILY LIFE?
A: IT WAS NOT SACRIFICE. IT WAS MY SELFISHNESS. MY BURNING DESIRE FOR GREATER ACHIEVEMENTS. OFCOURSE, IT WAS ALSO FOR MONEY.
Q)How do you rate Kamal Haasan as an actor?
A) Of course, he is among one of our good actors. He tries his best. Even in a non-glamorous role, he does well.
Q) Does your son Prabhu, also an actor, measure up to your expectations?
A) :I can’t say. Ask me about myself. I was the son of a poor father, but he is the son of a rich father. But he is good. He needs greater channelisation of his abilities.
Q) Both you and MGR had a large fan following in Tamil Nadu. How come MGR was successful in politics and not you?
A) That is because MGR was more of a politician than an actor whereas I was more of an actor than a politician (laughs).
Q) Don’t you think that the tragedy of TN is that it never had honest leadership?
A) The entire nation has been unfortunate in not having selfless leaders. Kamaraj was a selfless leader and that is why I was with the Congress.
Q)Any unfulfilled dream?
A) Yes. I want Indian films to get international recognition. In terms of talent, we are second to none.
That's what we've been telling non-fans.Quote:
Originally Posted by abkhlabhi
நடிகர் திலகம் தான் சினிமாவில் வில்லன் வேடங்களில் நடித்து குறித்து :
"நீஜ வாழ்கையில் நடிகர்கள் பல கெட்டப்பழக்கங்கள் கொண்டிருந்தாலும், படங்களில் நல்லவன் போல் காட்டிகொண்டு அரசியலில் நுசைந்து, மக்களின் மனதில் இடம் பிடிக்க வேண்டும் என்று தத்துவம் எனக்கு அப்போது தெரியாது. என்னை பொறுத்தவரை வில்லனா, ஹீரோவா என்பது முக்கியம் அல்ல. நான் நடிகனா என்பது தான் முக்கியம்"
"நடிப்பு என்று வந்து விட்டாலே அது இயற்கைக்கு மாறுபட்டது தானே.
அகராதியை எடுத்து பாருங்கள். Acting என்ற வார்த்தைக்கு Exaggeration of Expression என்றும் ஒரு பொருள் போட்டிருப்பார்கள். An Actor is a Dramtic Performer என்றும் குறிப்பிடப்படிருகும். சரி என்னைத்தான் ஓவர் அக்டிங் செய்வதாக சொன்னார்கள். அமைதியாக, இயற்கையாக, நடிப்பதாக சொல்லப்பட்டவர்களெலாம் இன்று எங்கே? நான் மிகையாக நடித்திருந்தால் என்னை ஒதுக்கி இருப்பிர்கள்ல்லவா ? எழுபது வயதிலும் என்னை நடிக சொல்கிறார்களே , எப்படி ?" - நடிகர் திலகம்
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