Dad remembered him making a trip down to Kluang. But it was for Arthamulla Indhumadham tour, not much on his cinema life. Wish he had lived longer and still competing with Valee :sad:
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Dad remembered him making a trip down to Kluang. But it was for Arthamulla Indhumadham tour, not much on his cinema life. Wish he had lived longer and still competing with Valee :sad:
was he ever competing? :shock:
anyway, its best to go when one is on the top...
I know they were not, and Valee reveres him (referenced him several times in the 80s songs). Chumma sonnen, competing like Rajini is competing with Kamal. But yeah, he could have contributed a lot more.
:notworthy: chanceless.. Didnt know the full meanign of it.. thought there will be some kaai's used just for teh sake of it. but no words to say .. just unbelieveable..can the present poets including vairamuthu/vaali come up with a sogn like this?Quote:
Originally Posted by Kanchana
"..தலைவர் மாறுவர் - தர்பார் மாறும் தத்துவம் மட்டுமே அட்சய பாத்திரம்.." என்று பதிவு செய்து தன் விலாசம் சொன்ன, உண்மை சொன்ன கவிஞன் கண்ணதாசன்.
"..ஆளாளுக்கு தலைவன் ஆக ஆசைப்பட்டு - தனக்குத்தானே கட்சி துவங்காது - ஒரு தலைவனை ஏற்றுக் கொள்ளவேண்டும்" - என்று சொன்ன கவிஞனெல்லாம் - தன் தலைவன் சொன்னான் என்பதற்காக, மனசாட்சிக்குப் பூட்டுப் போட்டுக் கொண்டு, அவன் கால் நக்கி வாழத் துணிகிறான்.
ஆனால் உண்மையான விடுதலை விரும்பியான கண்ணதாசனால்தான் "அதோ அந்தப் பறவை போல வாழ வேண்டும்!" என்கிற உன்னதப் பாடல் எழுத முடிந்தது. ("ஆயிரத்தில் ஒருவன்" - 1964)
"ராமன் ஆண்டாலும் ராவணன் ஆண்டாலும் எனக்கொரு கவலை இல்லே" என்று சுதந்திரக் கூவல் பறைசாற்ற முடிந்தது! ( "முள்ளும் மலரும்" - 1978).
சொல்வேறு செயல் வேறு என்றிருக்கும் பேடிக்கவிஞனுக்கு மீசை மயிரு ஒரு கேடா?
"மீசை வரால் மீனுக்கும் இருக்கு!"
raaman aandaalum raavanan aandaalum ' by Gangai AmaranQuote:
Originally Posted by geno
Regards
சார், நீங்க எப்போதுமே இப்படித்தானா? ஒருத்தரைப் புகழணும் என்றால் கூட உங்களால் இன்னொருத்தரை வசை பாடியே புகழ வேண்டியிருக்கு. உங்களுடைய தமிழ் நடையை இப்படிப்பட்ட சிலை உடைப்புகளிலேயே விரயம் செய்யாதீர்கள். நாளடைவில்Quote:
Originally Posted by geno
மனச் சோர்வுதான் மீதமிருக்கும். கலை உலகம் என வரும்போது படைப்பாளிகளை அவர்களின் தனிப்பட்ட குணங்கள், அணுகுமுறைகளைக் கொண்டு எடை போடவேண்டாமே!
My son's status on Facebook:
Quote:
When the creditor comes asking for his dues, will he leave you alone if you say no?
Even if you cry citing your loved ones and their misfortunes, can you escape death?
Making a scene won't help and this is one case that you can't win in court.
Once you enter this fort, there is no turning back.
From: Sathiya Keerthi (@ panorama.nus.edu.sg) on: Sun Oct 19 23:56:12 EDT 1997
Naan paalum pazhamum patri ezhuthiyavatrai paaraattiya ellOrukkum mikka
nandri. I saw Aalaya MaNi in the weekend (Thanks to NOV for telling me that
this movie was being shown on Malaysian TV) and I am compelled to write another
long posting. Although the movie has excellent songs such as thookkam un
kaNgaLai thazhuvattumE, ponnai virumbum boomiyilE, and kallellaam maaNikka
kallaagumaa, I just want to write about the song in the movie, satti
suttadhadaa. The song is usually classified as one depicting sadness (see
TMS sOha geedhangaL.. thread, but I want to argue that it is just the
opposite.
There are good (divine) and bad (animal) qualities in-born in every human being.
In some people, one or more of the bad qualities such as fear, jealousy, anger,
etc., are present in an extreme level, causing deep mental agony. The hero of the
movie is one such person; the problem in him is extreme jealousy. If he loves
a certain thing and if someone else sets eye on it, he loses control and becomes
furious. When he was a small boy, he even caused the death of a dear friend who set
his eyes on a doll that the hero loved. The hero, who otherwise is a person of
good character, has been having this deep feeling of guilt that he (the deep
jealousy in him) was the cause of his dear friend's death. Hence he
has been consciously making an effort to control jealousy whenever it
arises, and is also doing so many good deeds to others as atonement. BUT, the fact
was that jealousy was always rooted inside him, just waiting for a chance to explode.
Naayagan oru azhagaana peNNai kaNdu mayanginaan; avan perum paNakkaaran aanadhaal
avaLudaya petrOrai sulabhamaaga convince paNNi avaLai maNam mudikka nichchayamum
seydhaan. Avanukku oru uyir naNban. Andha naNbanukkum thanakku varappOgum manaivikkum
kaLLa uRavu irukkindradhu endru kELvippattu naayaganum avargaLai sandhEgikka
aarambikka, uLLil idhuvarai adangi irundha poRaamai endra mirugam viswaroopam eduththu
varugiRathu. Than uyir naNbanai kolai seyya andha mirugam thooNdugiRathu; naNbanai
thaniyaaga oru malai uchchikku kootti selgiRaan thaLLivittu kolvadhaRkku. Kolai
seyyap pOgum tharuvaayil avanudaya uyir naNban uNmaiyai sollugiRaan: oru kaalaththil
avanum appeNNum kaadhalargaLaaga irundhadhu uNmai; aanaal, naayagan avaLai virumbugiRaan
endru therindhadhum avaLai naayaganukkaaga vittu koduththuvittaan; avaLum konjam
konjamaaga naNbanai maRandhu naayaganai nEsikka thodangivittaaL!
Indha uNmai therindha nilaiyil naayagan enna seydhaan? Enna seydhaan enbadhai
konjam postpone paNNivittu, enna seydhiruppaan endru aaraaivOmaa? Nam manadhukku
iraNdu solutions thOndra vaayyppirukkiRadhu. Avai enna endru paarppOm.
uNmai enna endru naNban solliyum, naayagan manadhil viswaroopam eduththa poRaamai
ennum mirugam avanai thodarndhu aagramiththu, indha naNban iruppadhu unakku
eppOdhum aabaththuthaan; avanai kondruvidu, adhuthaan unakku nalladhu endru
thooNda, avanum adhanpadi nadandhirukkalaam. I call this as the animal solution.
Naayaganukku idhu nadakkavillai. En? Let us analyze.
Manidhan, poRaamai pOndru manadhil irukkum mirugaththai iraNdu muRaiyil deal paNNalaam.
He can just accept that as a part of him and act whatever that animal instinct asks him
to do. If this had been the case, the animal solution would be the most natural
result.
But, nammudaya naayagan was not so; he had always considered jealousy as a
disease and had been fighting and resisting it all his life. Adhanaal, naNbanidamirundhu
uNmai therindha pin avan, chE chE, ennai indha poRaamai ennum mirugam engkE koNdu
sendruvuttadhu paar endru sindhiththu adhanpadi manidhanaaga seyalpattiruppaan.
(avargaLudaya vaazhkkaiyai patri avan enna mudivu seygiRaan enbadhu ingku mukkiyamalla.
So I will not go into that.) I call this as the human solution. The key thing
to note here is that jealousy is still present in him; indha muRai adhu viswaroopam
eduththa pOthu adhai avan adakkivittaan, avvaLavudhaan; pinnar avan vaazhvil adhu vERu
oru kaaraNaththiRkkaaga paayndhu veLi vara vaayppu irukku innum.
uNmai therindha andha nEraththil avanukku, mElE solliya reNdu solutions-um nadakkavillai.
AppuRam ennadhaan nadandhadhu? naNbanidamirundhu uNmai therindhadhum avan udanE ninaiththaan
(Oh how stupid I have been):
budhdhi kettadhadaa nenjai thottadhadaa
naalum nadandhu mudindha pinnaal nalladhu kettadhu therindhadhadaa
avan vaazhnaaL muzhuvadhum poRaamai-yai resist seydhu manadhilum seyalilum nallavatraiyE
seydhu vandhaanE, avaiyellaam avan manadhil dheyvam vaLarvadhaRkkaaga pOtta viththukkaL.
PoRaamai ennum mirugam viswaroopam eduththu nindra pOdhu, uNmai therindhu, enna
madaththanam seyyavirundhEn endru avan ninaiththa pOdhu, andha instant-il (as JK
says, you can even say that time was not involved here; it happened instantaneously)
avanuL vaLarndhu vandha dheivam innum periya roopam eduththu poRaamai endra mirugaththai
azhiththu saambalaakkiyadhu! He was free of jealousy for ever! This is what they
call as God's Grace or as a spiritual experience, something that cannot
be planned and executed via the mind process! I call this as the divine solution.
As JK says, when there is a snake right in front of you ready to bite and you truly
realize how deadly it is, what do you do? You immediately take action to get rid of it!
This is what happened to him. IdhaRkku Kavinjar azhagaana uvamai kodukkiRaar paadalil.
Soodaana oru sattiyai (compare this with the jealousy-animal which had taken a huge form)
kaiyil pattadhum (he realizes the stupidity of following jealousy), by reflex action you drop
it (he becomes free of jealousy instantaneously):
satti suttadhadaa kai vittadhadaa
Kavinjar follows this with beautiful lines that describe, in a nutshell, what happened
in his mind from birth till now:
paadhi manadhil dheivam irundhu paarththu koNdadhadaa
meedhi manadhil mirugam irundhu aatti vaiththadhadaa
aatti vaiththa mirugam indru adangi vittadhadaa
amaidhi dheivam muzhu manadhil kOyil koNdadhadaa
(Actually I would have preferred the word azhindhu instead of adangi.)
aaravaarap pEygaLellaam Odi vittadhadaa
aalayamaNi Osai nenjil koodivittadhadaa
dharma dhEvan kOvililE oLi thulangudhadaa
manam shaanthi shaanthi shaanthi endru Oyvu kaNdadhadaa
(As said already, spiritual experiences such as this cannot be planned; the are god-given.
So, avanuL irundha poRaamai azhindhadhu kadavuL avanukku koduththa pichchai; andha dheivaththai
dharma dhEvan endru kavinjar solvadhu kuRippida thakkadhu.)
Gnanam endra vaarththaikku Knowledge endru podhuvaaga naam translation
solvadhuNdu; aanaal Gnanam innum aRpudhamaana ondru. Hindu philosophy-yil
Gnannam is used to denote the the ultimate understanding of the Aathman
that comes from a profound spiritual experience. Naayaganukku vandhadhu spiritual
experience (yaanai) enbadhu uNmai; aanaal adhu vandhadhu avanuL irukkum poRaamai
(eRumbu) endra mana nOyai kolla; avanukku muzhu Gnanaththai koduppadhaRkkaaga alla;
after the experience he is not a realized soul or any such thing; it's just
that he got rid of jealousy from the roots! Idhai kuRippida kavinjar thErndheduththa
varigaL:
eRumbu thOlai uriththup paarkka yaanai vandhadhadaa
en idhaya thOlai uriththup paarkka gnanam vandhadhadaa
Being so thrilled at the peace that has come in him, our naayakan further sings:
piRakkum munnE irundha uLLam indru vandhadhadaa
iRandha pinnE varum amaidhi vandhuvittadhadaa
Summarizing, ip paadal sOhap paadal alla. In fact, it is sung by the character
in great happiness, no, actually more, it is in esctacy! Paadalukku kavinjar
Kannadhasan varaindha varigaL aRpudham. Saanthamaana tune pOttu, kadalin alaiyOsaiyum,
aaravaarap pEygaL kaththuvadhaiyum, aalayamaNiyin Osaiyum sariyaana idangaLil izhaya
vittu paadalai unnadhamaaga aakkivittanar mellisai mannargaL; paadalai nalla uNarchchiyudan
paadi asaththivittaar TMS. Padaththil, Shivaji Ganesan-in nadippu indha paadalil avar kaattum muga bhaavanaigaL
pramaadham endrE sollavENdum. Overall, it is a beautiful song perfectly made for a
wonderful situation.
Can you spot all the celebrities?
https://fbcdn-sphotos-a.akamaihd.net...48186476_n.jpg
I see veegopalji - vera yaaru celebrity irukkA? :think:
:roll:
Chevaliar Sivaji Ganesan
Kavignar Kannadhasan
Mellisai Mannan MSV
Kumarasami Kamaraj
AL Srinivasan
Gemini Ganesan
Dr. J. Jayalalitha
her mother Sandhya
Legend P. Susheela
Anjali Devi
Savithri
Dhevika
Raja Sulochana
V. Gopala Krishnan
KCC Chithan
I did identify almost all.. (that was 2 days back)
except
I still dont know where is devika. Face between vgk and gemini I thought was SHEELA (mallu acrtress)
I could not recognise raja sulochana (though looked familiar)
I did not know al srinivasan
It took solid 3 mins to recognise where is msv, even after u mentioned
I did think its anjali devi, but had second thoughts ( i thought may be sivaji's wife)
I thought man next to kamaraj was someone like sp muthuraman or the like
Who is k.c. chitan and where is he?
Who is next to kannathasan who looks like moopanar?
ofcourse rest I identified :ashamed:
Power...
neengale ippadi sollalaama ?
What happ? is it mandatory that a persno should know kcc chitan?
:confused:
I really could not place person next to kannathasan.
i think u r rong.. Vairamuthu is next to kannadasan in present day..Quote:
Originally Posted by Shakthiprabha
I think there is lack of clarity in what I posted. Let me brief it this way.
I already (3 days back) IDENTIFIED.
Sivaji
Gemini ganesan
Savithri
JJ
Sandhya
PS
Kamaraj
Kannathasan
Anjali thevi (i also thought it may eb sivaji' sife ...but clear after nov's post)
v gopala krishnan
__
after nov answerd
I COULD SPOT
al srinivasan
rajasulochana (though familiar I failed to recognise her..shame on me)
devika :roll: ( I assume the only lady left, standing next to gemini...and I thought its sheela or someone else)
I still COULD NOT PLACE (as of now)
Who is KCC chittan? and where is he in the pic?
Who is the person next to kannathasan (who looks like moopanar) ?
Who is the person next to kamaraj (I find him too familiar....) (some producer or director i am sure :oops: ) ?
avlo thaan.
now someone clarify only the last 3 queries which I did not place..
Kavignar with his grandson... what a simple man!
http://sphotos-a.ak.fbcdn.net/hphoto...88476163_n.jpg
போட்டோ படத்துல கூட கண்ணதாசன் கிட்ட வைரமுத்து நிக்கலை -ன்னு யாரும் சொல்லப்போறாங்க!!!Quote:
Originally Posted by Rock star_KB
Astro Vellithirai celebrates Kannadhasan's anniversary tomorrow:
Maalaiyitta Mangai
Sivagangai Seemai
Kavalai Illadha Manidhan
Saravanan writes in TFM Page in 2004:
Quote:
‘thendral vandhu veesaadhO’ from Sivagangai Seemai. Sung by S.Varalakshmi & T.S. Bagavathi. Lyrics by Kannadasan. Music by Viswanathan-Ramamoorthi.
Kannadasan Productions’ Sivagangai Seemai- 1959 was Kannadasan’s labour of love, He wrote the script & lyrics; and produced the film. It was his second venture in the wake of the success of Maalaiyitta Mangai the previous year. Sivagangai Seemai was directed by K.Shankar, and had a talented star cast led by T.K.Bagavathi, SSR, P.S.Veerappa, S.Varalakshmi, Kumari Kamala, M.N.Rajam and others.
Much has been discussed in these pages about Sivagangai Seemai- that Kannadasan embarked on this project as a challenge to Sivaji’s Veerapandiya Kattabomman which was also being made at the same time, and this flamed further the simmering animosity between Kannadasan and Sivaji. Unfortunately for Kannadasan, Sivagangai Seemai was consigned back to the cans within no time of its release while the successful Veerapandiya Kattabomman was acclaimed as a magnum opus. Kannadasan ended up with a huge financial loss.
Sivagangai Seemai might have been a failure, but it was surely a failure that made history. For it remains among the best historical films made in Tamil. Kannadasan's native soil was the canvas, and he was familiar with its history and geography. He had a keen sense of the period, and his passion ensured that Sivagangai Seemai was much more than a commonplace costume drama. The film is immortal for another irrefutable factor- its wonderful songs.
Kannadasan had not written mere situational lyrics here, the lines pulsate with poetic magnificence. Each song ought to be savored conscientiously, for the sheer poetry bedecked in V-R’s imaginative tunes, feelingly rendered by a galaxy of talented singers, fetches this album a place of pride in the annals of tfm.
The film had 16 songs in all:
Saanthu pottu thalalanga - P.Leela, Jamunarani & chorus
Veerargal vaazhum Dravidar naattai vendravar kidaiyaadhu -TMS
Muthu pugazh padaithu - S. Varalakshmi & (Radha)Jayalakshmi
Kottu melam kottungadi kummi kotti paadungadi- Jikki & chorus
Chinna china chittu Sivagangaiyai vittu- Jamunarani & chorus
Vaigai perugivara- C.S.Jayaraman & P.Leela
Maruvirukkum (traditional verse) - V.N.Sundaram
Aalikkum kaigal (one verse) -V.N.Sundaram
Kannankaruthaa Kili kattazhagan thotta kili - P. Leela & chorus
Kanavu kandaen (happy) - TMS & T.S.Bagavathi
Thanimai naerndhadho - S.Varalakshmi
Thendral vandhu veesaadho - S. Varalakshmi & T.S.Bagavathi
Megam kuvindhadhamma - PS
Sivagangai cheemai -TMS, Seergazhi Govindarajan, A.P.Komala & chorus
Vidiyum vidiyum endrirundhoam - T.S.Bagavathi
Kanavu kandaen (pathos)- T.S.Bagavathi
* * * *
Circa the last years of the eighteenth century---
The (East India) Company is gradually establishing its complete control of the land using its crafty ‘divide and rule’ policy to subjugate the local chieftains and rulers.
Kattabomman had just been vanquished and hung from a roadside tamarind tree.
Oomaithurai, Kattabomman's brother escapes from the Company's penitentiary and seeks refuge with the Marudu brothers (elder played by T.K.Bagavathi, and the younger played by Mustafa)
The Marudu brothers were Poligars (or PaalaiyakaarargaL/ Feudal Chiefs) who were ruling what was known as Sivagangai Seemai..(consisting of Thekkoor, Okkoor, Siruvayal, Poongudi, Tirupattoor, Narikkudi, Tirumayam, Mukkulam, Naalukottai and Nattarasankottai).
The Company gets a hint of Oomaithurai’s whereabouts and Major Welsh (played by Wahab Kashmiri) comes to arrest Oomaithurai.The Marudu brothers realize the strength of the company's army and ammunition...and do not want an open confrontation. They plead for Oomaithurai's life.
But Major Welsh does not set much store by dignity or respect; and in the very presence of the Marudu brothers make bold to arrest Oomaithurai.This brings matters to a boiling point-- in the film, S.S.R, called Muthazhagu, the fiery army chief of the brothers, has been purveying inflammatory remarks all the while -- in time the younger Marudhu is also provoked into challenging the Company's men--
Welsh and co. beat a hasty retreat, but make no secret of the action against the Marudhu brothers that is sure to follow. The senior Marudhu in fact chastises the younger for precipitating the state into war.
It is at this juncture, when the rumble of the white man’s guns seem imminent, when turbulent clouds of war loom threateningly...and the feudal land and its traditions seem on the verge of being annexed by the almighty Union Jack...that the Marudhu brothers’ wives sing this heartrending lullaby to their babes.. the infants who are blissfully unaware of the historical forces that are crisscrossing their destinies. This lullaby is sung in the shadow of the clash between sword and gun...You know which is set to win...
The lullaby, sung by S.Varalakshmi and T.S.Bhagavathi, was picturised on S.Varalakshmi and Tambaram Lalitha (if I remember right)--they are the wives of the Marudu brothers.
* * * *
We’ll keep for another day dwelling at length on Varalakshmi (she was the enchanting common factor to both Veerapandiya Kattabomman and Sivagangai Seemai) and Bagavathi (a favorite singer of Kannadasan, he had her sing ‘Annaiyin naattai pagaivargal soozhndaar’ in Maalaiyitta Mangai and ‘Kannodu vin pesum jaadai’ in Kavalai Illadha Manithan). in fact both these gifted singers find laudatory references in Kannadasan’s Sandhithen Sindhithen.
Kannadasan lives on in songs such as these. Though a fire-spewing Dravidian orator at that time, his essential humanity and aversion to blood and gore came through in this lullaby and he expressed it in sublime pathos!
Many of us would have been struck with gloom at each reading of the lines ’Rose a nurse of ninety years, set his child upon her knee - Like summer tempest came her tears-‘Sweet my child, I live for thee.’ (Alfred, Lord Tennyson/ Home They Brought Her Warrior Dead); admiration tinged with sorrow would have overcome us when we read ‘“You ’re wounded!” “Nay,” the soldier’s pride touch’d to the quick, he said: “I ’m kill’d, Sire!” And his chief beside, smiling the boy fell dead’ (Robert Browning/ Incident Of The French Camp); we would have been plagued with despair at ‘Two noble sons fell by their guns, their names in glory shine; And a mother weeps on the River Thames, and a mother weeps on the Rhine’ (Eric Bogle / The Thames And The Rhine); but ‘thendral vandhu veesaadhO’ is in a league of its own--each line is redolent with poignant lyrical beauty, and moves the listener to moist eyes, and to sigh at the futility of war and the wanton devastation that it brings in its wake--
The two women wonder wistfully whether tranquil times will visit their abode ever again--they sing musingly of the rich culture, glorious traditions and ancient history of their land and speculate if all this would be snatched away by the war, and express helplessness over the deprivations that their children may have to endure. The highpoint is of course, Varalakshmi’s emotional cascade, proclaiming with pride the courage of their warriors who are to take leave of their womenfolk and children and march on to the warfront, at the same time she tremulously expresses apprehension about their fate, whether their valiant men would return from the battlefront, or perish fighting for their land--
http://farm7.staticflickr.com/6213/6...44dbd43f3f.jpg
கவியரசரின் கடைசிப் பாடலை இசையமைத்த இசைஞானி இளையராஜா கூறுவதைக் கேளுங்கள்
http://youtu.be/fQ_HHdRHq8k
இந்தப் பாடலின் ஒரிஜினல் வீடியோ
http://youtu.be/H2WUTmlAv7g
கேட்கும் போதே நெஞ்சை உருக்கும் குரலில் என்ன அருமையான பாடல் .... ஜென்சியின் குரல் உயிரில் அல்லவா ஊடுருவுகிறது.
Hi Everybody, is this thread still active? I hope to share some additional stories of Kaviarasar which I was privy to when I was in Chennai just recently.
http://3.bp.blogspot.com/-hidQ1RA8sC...kannadasan.jpg
He would have been 86 today!
thamizh mannin pokkisham 54 vayadhilE maraindhadhu.... neer vanangum kannanukku appadi ennathaan avasaramO :cry:
Malaysia's Astro Vellithirai celebrates the great Kavignar by featuring these films today:
Malai Itta Mangai, Sivagangai Seemai, Kavalai Illatha Manithan and Vanampadi
கண்ணதாசன் நல்ல வசனகர்த்தா கூட. ஆனால் காலம் அவரை பாரதியாரின் தொடர்ச்சியாக்கி விட்டது.
what time sir..?Quote:
Originally Posted by NOV
oh, neenga malaysiaraa? :)Quote:
Originally Posted by ganse
10.30am - Vaanampadi
2:30 pm - Kavalai Illatha Manithan
6:00 pm - Sivaganggai Seemai
தமிழ் இலக்கியத்தின் மகுடத்தில் மற்றோர் மாணிக்கம் கவியரசர் கண்ணதாசன். அவர் புகழ் வாழ்க
ஆனால் கண்ணதாசனின் சிறந்த பட வசனங்கள் எல்லாம் 50களில் வந்தவையே.
http://www.youtube.com/watch?v=ICSeUl6j66E
ஒரு கோப்பையிலே என் குடியிருப்பு - ink bottle
ஒரு கோலமயில் என் துனையிருப்பு - pen
இசைபாடலிலே என் உயிர்துடிப்பு - kavithai
Thank you.Quote:
Originally Posted by NOV
I must have seen this movie an umpteen times nebut only recently when it was aired in the Malaysian satellite station did I notice what a masterpiece it was. The whole film boasts of originality, save for the war footages lifted from Hollywood movies. But the lifted war footages were so realistic that it was as though shot for Karuppu Panam, The camera work was excellent and the Peking settings were too good to be believed. The Chinese characters appeared original without the usual expected unnatural accent.Quote:
Originally Posted by NOV
Nagesh, who was a budding comedian, unbelievably portrayed himself as a seasoned actor.
Savithri lived her role as a China-born Indian and what a surprise to see her crooning away a full-length English song. I thought it was Usha Uduo who was the first Southerner to sing English songs. Savithri's lip movements for this song was very natural. To know that this versatile actress did not give the expected cooperation to Kaviarasu Kannadhasan while filming was in progress is quite hard to digest. Her off-screen husband, Gemini Ganesh who was a buddy of Kaviarasar had to apologise for her erratic attitude. And to know further that she, along with Chandrababu who also did not cooperate in the climax shooting of 'Kavalai Illatha Manithan', were close buddies in the later stages of their respective lives. Yes, they were known to share the pethadine drug whenever one or two amongst them ran short of stock.
Last but not least, Shivaji ought to have been awarded the national award for his outstanding performance as a patriot-cum-military commandant. No other actor could have portrayed this role except for Shivaji. One particular scene where a war-of-words takes place between the Indian and Chinese army top brass ((Shivaji and Shanmugasundram) is worthy of mention. The calling of names by the two at each other was realistic.
The present Indo-Sino border tension proves that Kannadhasan was a seer as the dialogues which were written more than half a century ago still seems relevant in the current context.
I believe this must be the only Tamil film to have a lengthy English classical drama. The dialogues, body language and lip movements by both Shivaji and Savithri were as though they were acting in an English film. The English accent was not faked and therefore it was like the real-life Shakespeare's Othello in action.
Perhaps Kaviarasu Kannadhasan wanted to prove a point to his erstwhile 'buddy' Kalaignar Karunanidhi that he can prove his mettle even in English literature drama. The bad blood between the both of them first started in the mid fifties when Kaviarasar who was interned in jail for a political infringement. He wrote a short literature drama, besides the story and dialogues, for inclusion in the film 'Illara Jothi' and passed it to Karunanidhi through an emissary for fairing the draft scripts. But the latter took upon himself and claimed credits in the main titles of this film.
Kaviarasar invited Kamraj for a private screening of 'Raktha Thilagam' and at the end of the show sought the latter's opinion. Kamraj candidly told him that the film was too lengthy and suggested that the running time be cut by half. Only later did Kaviarasar realize that this was the first ever film to be seen by Kamraj in his lifetime!
This movie was banned by the Malaysian Government when it was released in 1963. The reasons proffered were that it will not bode well with the harmonious Malaysian Chinese-Indian relations. Only in 1980 was the ban lifted but by then the film was almost forgotten and there was this new wave engulfing the trends in Tamil films. People were less interested in patriotic themes and black & white movies. Hence the movie had a short run only.
When the songs were first aired over the Malaysian broadcast media in 1963 many thought that the song 'Our Koppaiyile En Kudiyiruppu' was by Shivaji. When it was subsequently revealed that it was the producer-cum-lyricist of the movie who appeared more interests were generated just to see how he fared.
When he is being introduced as an ex-student of the alma mater who will be singing a page out of Omar Khayyam the camera slowly pans to take a close-up shot from a long range. It was a novelty to see him in a fully-attired western suit but not many would have noticed a minor but glaring shortcoming. He was wearing slippers instead of shoes!
If at all any song would have been given post-mortems over and over again it must have been this piece. Many accused Kaviarasar for being a braggart and equating himself to Omar Khayyam and God. Some also gave their own interpretations of the meanings of 'kopay' and 'kola mayyil' like the ink well and peacock feather. But in the midst of all Kaviarasar just played cool. I presume he must still be enjoying the immortal lines he penned in this song for himself, literally, even after his death more than three decades ago.
Ironically, the film 'Rani Samyuktha' which had story and dialogues by Kaviarasar was banned by the then Malayan authorities as it was deemed to be injurious to the Muslim-Hindu relations in a multicultural and plural society like Malaya. That was in 1960. Then in 1965 Kaviarasar's 'Karuppu Panam' was also banned. The song 'Ellorum Ellaamum Peravendum' was totally banned by the Malaysian broadcast authorities as it was seen as propagating socialist and communist ideologies.
Again, to think that it was Kaviarasar's song 'Munthaanai thanthaalam' (Nenjam Marapithillai) which was chosen to be performed as the Indian cultural song and dance item in front of a grand official parade with the king and prime minister as chief guests on the day (13.9.1963) Malaya became Malaysia!
In conclusion, 'Raktha Thilagam' is full of nostalgia for me. It is my hope that it will be accorded the classic status for its all-time relevance and outstanding production.
Mahendra Raj Sir
Your nostalgic write-up about Raththa thilagam is superb.
What a coincidence Mr.Mahendra Raj!! I just wrote about this Othello play in Ratha thilagam in my "Indiavin Ore Ulagaga athisayam" covering larger than life Roles of Nadigarthilagam. Yours is eloquent and nice write-up.
:sigh2:
amazing write up by Mahendra... now I want to re visit the film again :p
PADITHAAL MATTUM POTHUMA
Just as I was reeling with the pleasant after effects of 'Raktha Thilagam' another blockbuster which was screened by Star Vijay TV last night in the Astro satellite station has prompted me to write another nostalgic piece. 'Padithaal Mattum Pothuma' was the memory jogger. What a classic!
First the trivia. I remember vividly when it was playing to full house in the Coliseum cinema (it is still in service) in Kuala Lumpur way back in 1962 the film's distributors gave away match boxes as door gifts to patrons. What is so unique about that you may ask. The match boxes had ' Padithaal Mattum Pothumaa' publicity labels affixed instead of the manufacturer's brand label! To my memory there had been no such a publicity campaign for any films, Hollywood included. I mean the novelty in advertising a film in safety matchboxes and converting it to door gifts to patrons and a Tamil film at that. Anyway, I presume it must have been handed out as souvenirs since why should any patron need such an enticement wherein fact he or she is already in the theatre to see it.
And here comes the mother of the story.
The film distributors also held a contest asking patrons to identify whether it was Shivaji or Savithri who caused the death of Balaji. An announcement was made in the Tamil media that the contest has been closed and the panel of judges will choose the winners shortly. A pleasant surprise awaited patrons who had gathered to watch the evening show and also to hear out the names of the contest winners. The chief guest was none other than Shivaji Ganesan himself!
After appearing on stage and presenting he gave a short impromptu speech. News of his presence spread like wild fire and soon the whole area was filled to brim requiring the urgent presence of police personnel for crowd control. It was a surprise to see Chinese, Malay, North Indians and Eurasians in large numbers besides the massive Tamil crowd. (The late Raj Kapoor also made a scheduled visit to this theatre in 1972 when his film 'Mera Naam Joker' played but the crowd present was just a fraction of Shivaji's although the former was internationally popular).
Actually Shivaji was en route to the US from the Cairo film festival where he made history by being the first Afro Asian award winner for 'Veerapaandiya Kattabomman'. While he was in Kuala Lumpur he had an audience with the then Prime Minister and other dignitaries. One sad incident marred his otherwise pleasant maiden trip to the then Malaya. A Malaysian of Sri Lankan Tamil descent died in a mishap while on his way to the Kuala Lumpur International airport based in Sungei Besi then to be part of the anxious crowd to receive Shivaji. It was raining heavily which caused the electric pole to collapse on the road when this unfortunate chap became victim to the live wires.
When this unforeseen mishap was conveyed to Shivaji upon his arrival he immediately condoled and consoled the grieving family members although not in person. This news was splashed in all the main stream papers the following day. During his short stay in Kuala Lumpur he was obviously the talk of the town.
When he went down south to Singapore it was reported in the press that he will be committing to act in a local Malay film with the reigning heroine at that time, Maria Menado. I still remember vividly the make-up artiste doing the touch-up on Shivaji's face who was in a full Malay traditional bridegroom costume with Maria Menado by his side. That photograph which was published in the media was the talk of Singapore. Prior to this Shammi Kapoor donned the Malay attire for the Hindi movie 'Singapore' which had Padmini as the heroine and shot extensively in Singapore. But, thereafter no news were forthcoming and it was assumed that the project has been dropped.
And now back to 'Padithaal Mattum Pothuma'.
Barring 'Pathi Bhakti' and 'Bandha Paasam' all films of Bhimsing starting with the sentimental 'Pa' series had Kaviarasu Kannadhasan as the lyricist and of course, Viswanathan Ramamurthy for the music score, not forgetting the protagonist, Shivaji Ganesan. In my opinion, 'Padithaal Mattum Pothuma' was the best in the series. Although it was the lesser amongst the others like 'Paalum Pazhamum' and 'Paava Mannippu' which became colossal success nevertheless My personal vote will go to 'Padithaal Mattum Pothuma' for its superb production and a heavily-studded star cast who all played out their roles diligently.
Fresh from leaving the DMK which he co-founded Kannadhasan's heart was still with its charismatic leader, Annadurai. It was an open secret that Karunanidhi and his clique were the prime reason for him to abruptly to leave the party. He was annoyed and dismayed the way he was treated in the party's fold. He was even more pissed off with the hypocrisy of the party's commanders. 'Padithaal Mattum Pothuma' provided the impetus for him to vent his frustrations.
The title song 'Oho oho Manithargalae' was a direct criticism aimed at DMK leaders and 'Annan Kaatiye Vazhiamma' was a subtle reference to Annadurai. In both these hit songs Shivaji excelled himself. If he had had horseback songs prior to this they were in period films. How refreshing to see him riding a horse in a social film!