Nadigar Thilagam Sivaji Ganesan - Part 5

[RAGHAVENDRA]

DEAR RAGHAVENDRAN SIR,
I'm senthilkumar from bangalore who gave you the details of NT's birthday celebrations in bangalore.Harish is my nickname.Thankyou for the information on rasigan programme,but sir,rasigan is being telecast on sundays and it may be on 14th not 13th a saturday.

Dear Senthil,
Happy to read your mail. I do not know the exact dates of telecast but as you said, it would be on a Sunday only. I stand corrected and thank you for pointing out the same.
Sincerely,
Raghavendran.

[groucho070]

[tscii]Murali-sar, at last the Saraswathy Sabatham. I know you must seen me in other threads having fun and thinking, “Saraswathy Sabatham review kodukkureen, kodukkureen-nu sollittu, ingga looty adichikichikittirukkaa….”


Saraswathy Sabatham

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Written & Directed by A.P. Nagarajan.
Music: K. V. Mahadevan
Starring, Nadigar Thilagam Sivaji Ganesan, Savithiri, Deviga, Padhmini, Gemini Ganesan, K.R. Vijaya, Nagesh, Manorama, and many others.



Disclaimer: I am treating the characters of this film as just that – movie characters. Not as gods and goddesses. That is in different forum. This is film forum, and is for the film industry alone. So, for the religious types, I apologise beforehand if you find anything offensive (Discussing APN’s religious epic hardly can offend), as I only treat them as fictional characters. Hope you can bear with me.



Imagine a debate session turned into a three hour movie. Well, in case of Saraswathy Sabatham, it becomes a very interesting and tremendously entertaining debate movie.

In Saraswathy Sabatham, three goddesses are in loggerheads with each other, and instead of zapping each other with their powers – as would other films with fueding deities would resort to – they decide to test it out with their chosen taskbearers.

The goddeses are Saraswathy played by the proto-Mery, Streep, Savithiri (I say this specifically because Streep reminds me of Savithiri, look-wise, and of course talent-wise too), with Letchumi played by super gorgeous Devika (now you know why they say “Mahaletchumi mathiri irukka) and Shakti by Padmini (good actress, better dancer).

The argument between them is simple: who is greater. It’s not the ego, but it’s more of competition between departments. All office going employees know this. Sales department thinks they are the heart of the organization. Marketing thinks they are the brain. The administration feel that they are the senses. “Oh yeah, without heart, human life cannot function” “You say that, without brain there is even no reason to live” etc. You know. You’ve been there.

This is the same thing that happens at the beginning of the movie. And the first 20 minutes of arguing and debating is so intense, and is so intellectual, I got brain tired. Granted I am not exactly a bright person, I did take time to absorb what is going on and what reasoning behind the arguments was.

The culprit behind the argument between these powerful goddess is none other than NOV. Sorry, I mean, the Loki of east, Narathar, played with adequate humour, mischief and with that twinkle in the eye that only NT can.

Carrying his Veenai (?) and the claps, swaying literally towards and from one goddess to another, Narathar becomes the victim of his own little joke as we discover later. I watched delightfully as he suffers comically trying to talk each other out.

But before I go on, I would like to remember this as more of a NT the Star epic, not NT the Actor masterpiece. This is an “issue film” with NT in it, not a character study that we need NT to suffer from on screen (we love to see him suffer onscreen, don’t we NT fans?). Granted the beginning scene of the mute requires NT the Actor, it moves on as he brings pure presence and charisma that assure us that, hey, take it easy, the good guy will take care of the situation.

As NT fans let’s get few things out of the way. The things we want from NT the Star.

a) laser sharp dialogue delivery – check.
b) Majestic walk – check
c) Outperforming composer, lyricist and singer during song sequence – check
d) Electrifying screen presence – check
e) Oozing charisma – check
f) looking good? – you betcha!

Alright, we got them out of the way. Let’s look at the issue.

It’s education versus power and wealth. It has been ongoing issue ever since the cavemen decided that thinking can get them one step ahead in search for survival. The wise one led, but later, the brave one did, and then, the ones which amassed wealth, got the wise ones to advice and the wealthy ones to finance, became the leader.

Kannadhasan was not joking when he wrote, “Kaasey-taan, kadavulapaa, andtha kadavullukm ithu theriyumapaa”, Kannadhasan was not kidding too when he said, in respect of people before him (and us), “Nam munoorgaal moodargal alla”. I look at this film and I agree, our recent munnoorgal, NT and the talents of his time, are not “moodargal.

Moving on, we realize now, that education, alas, became just the tool you needed occasionally to fix thing. In a poem, poet Vairamuthu wrote that Saraswathy (education) is washing dishes in a politician’s house.

The writer director A.P. Nagarajan understood this centuries old dilemma and covered the three cornered fight in a three hour cerebral visual extravaganza. And he did a brilliant job, not because he did well, but because he understood very well who the winner should be. He know what the poor and powerless among us, which is a majority, who worship knowledge, want as an outcome of this film.

Of course, throughout the course of the film, we know who the winner is, and also helped by the fact that the winner is played by NT. Of course, the climax tells you differently, but in the entire journey from the films start, you know where the filmmakers stand. Look at NT’s character and you know what I am talking about.

Once blessed with wisdom and powerful intellectual diction, NT’s Vidhyabathi is a cool cat that smiles his way to the victory even when subjected to some really intellectually insulting moments (you know by the look of his face that the others challenging them are morons and deserves kick in the rear ala Goundamani/Senthil), or physically torturous moments.

Note the moment in the temple, after the verbal clash with the queen. The people in the background (it’s always them!!) disses him for talking back to queen, to which he promptly response, “Selvaakku, Sollvaaakkai adakkalaamaa!”, and walks away disgusted, and clearly very irritated. Queen or not, don’t waste his time.

Later, when he walks into the palace when was challenged for a debate (he didn’t want to, his dad pressures him), he measures the scene as he walks and notes with a smirk that everything around him are just glitter and pompous nothing that should actually bow to his intellect. Oh, how I love that scene. NT, walking majestically, with that knowing smile in his face, looking at others like lion looking at the poor victim it has just forgiven and let go. Brilliant!

The film is full of bham, wham, and explosive moments that owes to brilliant writing by A. P. Nagarajan. When you feel one issue has been addressed, he throws in another. You have in one corner, a very self assured, and smiling Vidhyabathi, the wise one just wanting to throw himself in entirety into service to god. But on the other corners, are the prosperous queen (K.R. Vijaya delivering an average performance) and the courageous chief in command (Gemini Ganesan, who is basically miscast but did his best) are at each others throat as well. This is a much needed subplot because we know the wise one stays away from power struggle, he just wants to be one with the ultimate truth.

I keep moving away from what I should actually do: recommend this film to those who haven’t seen it. The new NT fans who should also appreciate great work by the writers and directors who knew how to utilize the talents of the greatest actor Tamizh film industry so far.

There is so much in this film that one or five viewing is not enough. As I told Joe recently, I watched it again in a space of one week (DVD, good copy) and I was again struck by the brilliance of it all.

My grouses? Oh, apart from the casting of KR. Vijaya and Gemini Ganesan, who did their best, I always have this nagging dissatisfaction for the composer K. V. Mahadecan’s background scores. Maamaa (as he is known in the industry) is excellent in composing songs. All the songs in this film are wonderful. But when it comes to background score, I am afraid I have been too spoilt by the mesmerizing hooks by M.S. Viswanathan.

I suppose I have said what I wanted to say. This film is now threatening to take over Karnan as my favourite Purana/historical epic Tamizh film. Of course, Karnan is huge…but this one has bigger brain.

Before I sign off, here is a parting shot by NT as Vidhyabathi when he is ordered to be taken as prisoner: “Nalla Aatchi, Uyarntha Arasu, Sirantha Talabathi….paavam makkal!”. Sounds familiar?

[NOV]

Good analysis Rakesh.

Saraswathy Sabatham is like eating home made idlies.

But if comparisons were to be made, SS will be slightly below epics like Thiruvilaiyadal and Karnan. My opinion of course.

[groucho070]

NOV, thanks for the pix.

There are typos in the review, too lazy to edit it out.

Yes, NOV, Karnan will always take the cake, or idly if you prefer. Thiruvilayadal has so much going for it. Definitely would be more crowd pleasing than SS. And it is heaven sent for DVD as it is actually a film made of various sketches. You can watch the Netrikann episode today and do the Suttapazham tomorrow. SS requires one sitting and you have to make sure that you are clear headed (in my case, no certain beverages even if you are watching it during weekend). The amount of intelligent content in it amazed me. APN is underrated as a scriptwriter.

Joe always reminds me of this: This is Super Star’s favourite NT film. Yes, SS likes SS.

[joe]

Joe always reminds me of this: This is Super Star’s favourite NT film. Yes, SS likes SS.

Nice writeup Groucho

Coming weekend ,i will make sure i allocate time to run full single DVD ,which contains SS ,ThiruviLayadal and Karnan.

[HARISH2619]

GROUCHO,
Intellectual writeup on SS,but i think it did not cover the entire story.please give a review on film's full story which will be more interesting.
MURALI SIR,
We miss you a looooooooooooot,please come soon.

[groucho070]

GROUCHO,
Intellectual writeup on SS,but i think it did not cover the entire story.please give a review on film's full story which will be more interesting.
MURALI SIR,
We miss you a looooooooooooot,please come soon.

Thanks Harish. I usually don't write much about the story. I assume that we all come knowing well some of these films well. Unless they are underrated gems, for which I would include synopsis.

Plus I am not good in storyline and scene by scene review which Murali-sar and Saradha madam has the power in bringing you straight to the screen. Antha talent I don’t have.

Purpose of me writing this review is to take an alternative look at the film. We all used to see it as great epic from APN/NT…but now I see it differently. I see how an important issue can be delivered in such an entertaining fashion by these brilliant team. This is an entirely different film from the usual sketch-based Thiruvilayadal or Thirumal Perumai for instance. This is one long narration centred on the issue of education being pushed aside in favour of power and wealth. It’s a sad issue that is still happening till today…

I am awaiting other comments about the film, including yours Harish. Please share with us your favourite SS moments.

Yes, I am missing Murali-sar too. I want his take on SS too. But his current working environment makes it a bit tough for him to be frequent here.

[saradhaa_sn]

டியர் ராகேஷ் (groucho070)

சரஸ்வதி சபதத்தை வித்தியாசமான கோணத்தில் ஆய்வு செய்திருந்த விதம் அருமை.

பாத்திரப்படைப்புகள் நம் மனதைக்கவர முக்கிய காரணங்களில் ஒன்று, பாத்திரத்திற்கேற்ற நாயகியரை ஏ.பி.என். தேர்ந்தெடுத்த விதம் சொல்லலாம்.

சாந்தமான சாவித்திரியை சரஸ்வதியாகவும் (நீங்கள் குறிப்பிட்டது போல்) அழகான தேவிகாவை லட்சுமியாகவும், விழிகளில் கோபத்தைக்காட்டும் பத்மினியை சக்தியாகவும் காண்பித்ததுடன் அவர்கள் அறிமுகமும் பாருங்கள் எவ்வளவு நேர்த்தி என்று.

மூவரில் சற்று பருமனான சாவித்திரியை கையில் வீணையுடன் அமர்ந்திருக்கும் நிலையில் அறிமுகம் ('கோமாதா' பாடலின் இடையில் வரும் இடையிசைச் செருகல்களை வாசிக்க கே.வி.எம்.மாமா இன்னொரு முறை பிறந்து வந்தால் மட்டுமே சாத்தியம்), அழகான (ஆனால் ஆடத்தெரியாத) தேவிகாவை நின்ற நிலையில் அறிமுகம், ஆட்டத்தில் கரைகண்ட பத்மினியையோ ஆடவைத்தே அறிமுகம் என ஒவ்வொன்றையும் பார்த்துப்பார்த்து செய்திருக்கும் ஏ.பி.என்.னின் நுட்பமே தனி.

கடவுளர்கள் ஜோடிகளாகத் தோன்றுகிறார்களே தவிர (அதிலும் இதில் ஆண் கடவுளர்கள் டம்மிகள், சிவகுமார் உள்பட) ஆனால் அவர்களால் போட்டியாளர்களாகத் தேர்ந்தெடுக்கப்பட்ட மூவருக்குமே ஜோடிகள் இல்லை. அதாவது ஏ.பி.என். அதில் வெட்டித்தனமாக மெனக்கெடவில்லை.

அரசவையில் மாறி மாறி வாதம் செய்யும் அந்த மூவரையும் சற்று நிறுத்தி, அவர்கள் மேல், அரண்மனைத்தோட்டத்தில் பூப்பறித்துக்கொண்டிருக்கும் ஊமையையும், யாரோ போடும் மல்யுத்தத்தைக் கண்ணால் பார்க்கவே பயந்தோடும் கோழையையும், கிழிந்த உடையும் கையில் திருவோடும், பஞ்சடைந்த கண்ணுமாக பிச்சையெடுக்கும் பிச்சைக்காரியையும் சற்றே பொருத்திப்பாருங்கள்.... எப்பேர்ப்பட்ட கலைஞர்களையெல்லாம் நாம் பெற்றிருந்தோம் என்று நம் நெஞ்சு விரியும். ('பெற்றவள் உடல் சலித்தாள் பேதை நான் கால் சலித்தேன் படைத்தவன் கை சலித்து ஓய்ந்தானமா' இந்த வரிகளைக்கேட்கும்போதெல்லாம் படுபாவி கண்ணதாசனை உதைத்தால் என்ன என்று தோன்றுகிறதல்லவா?. கவிஞர் என்றால் அதற்காக இவ்வளவு திறமையா?).

ஆளுக்கு ஆள், மனத்துக்கு மனம் சுவைகள் வேறுபடலாம். அந்த வகையில் இன்னும் எனமனதில் 'ராணி மகாராணி, ராஜியத்தின் ராணி' பாடல் தேவைதானா என்றே தோன்றுகிறது. அது வித்யாபதியின் தரத்தைச் சற்று கீழிறங்கச்செய்வது போலில்லையா?. நரஸ்துதி பாடுவதில்லை என்றவர் அந்நிலையிலேயே உறுதியாக நின்றிருக்க வேண்டாமா?. இது என் கருத்து. அதே சமயம் இன்னும் சிலருக்கு இதுவே படத்திலுள்ள சிறந்த பாடலாக தென்படக்கூடும். அதற்குத்தான் முதலிலேயே பீடிகையைப்போட்டுவைத்தேன்.

இப்படம், புதுமைப்பித்தன் எழுதிய ஒரு கற்பனைக்கதையைத் தழுவி உருவானதுதான். 'திருவிலையாடலை'ப் போல புராணங்களில் இருந்தோ, 'கர்ணனைப்'போல இதிகாச சரித்திரங்களில் இருந்தோ பிறந்தது அல்ல என்பதால் அவற்றை விட இது சற்று மாற்றுக்குறைவு என்பது உண்மைதான் (சுவை சற்று கூடியிருக்கலாம்). இதுவும் தனிப்பட்ட என் கருத்துதான். மற்றவர்கள் வேறுபடலாம், (சூப்பர் ஸ்டார் உள்பட). அதில் தவறில்லை.

[groucho070]

Saradha mdm, I thank you for taking time to read the review.

Your comment on Kannadhasan made me blurt out laughing in the office. I had to control it. You are right about that one!

Yes, I have same feeling about Raani Maharani song. Plus Nagesh’s comedies slowed down the otherwise fast-paced film.

I was waiting to see your comments, because you will add your own favourite moments in your unique and delightful Tamizh written words.

That it is inspired by Pulamai Pithan’s work is news to me. APN did a good job of working an entire script on it (I remember now, there is no story credit for APN in the titles.)

Thanks again, ma’am.

[Vivasaayi]

Today I happened to watch thooku thooki.


"kupa metula kedandhalum manikam manikam thanungale"

"appo idhu kuppai medu..naan manikam"

"apdi illainga ..kadugu siruthalum ..kaaram kuayadhungale"

"naan kadugu...adhuvum siruththa kadugu"