Poet Laureate Kannadasan

[RAGHAVENDRA]

தமிழ் இலக்கியத்தின் மகுடத்தில் மற்றோர் மாணிக்கம் கவியரசர் கண்ணதாசன். அவர் புகழ் வாழ்க

[Gopal.s]

ஆனால் கண்ணதாசனின் சிறந்த பட வசனங்கள் எல்லாம் 50களில் வந்தவையே.

[NOV]

ஒரு கோப்பையிலே என் குடியிருப்பு - ink bottle
ஒரு கோலமயில் என் துனையிருப்பு - pen
இசைபாடலிலே என் உயிர்துடிப்பு - kavithai

[Brianengab]

[omeuforivo]

oh, neenga malaysiaraa?

10.30am - Vaanampadi
2:30 pm - Kavalai Illatha Manithan
6:00 pm - Sivaganggai Seemai

Thank you.

[mahendra raj]

ஒரு கோப்பையிலே என் குடியிருப்பு - ink bottle
ஒரு கோலமயில் என் துனையிருப்பு - pen
இசைபாடலிலே என் உயிர்துடிப்பு - kavithai

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.

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.

[masanam]

Mahendra Raj Sir

Your nostalgic write-up about Raththa thilagam is superb.

[Gopal.s]

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.

[NOV]

amazing write up by Mahendra... now I want to re visit the film again

[mahendra raj]

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!