Nadigar Thilagam Sivaji Ganesan Part 14

[Russellbpw]

Sivaji Ganesan: Tamil cinema’s versatile actor par excellence

Published : 4:14 am July 26, 2014 | 4,617 views Print This Post | E-mail to friend
Share Button
[Twitter] [Facebook] [Google Plus] [Pinterest] [Linkedin] [Delicious]

The first Tamil film which impacted on me greatly during childhood was ‘Veera Pandiya Kattabomman’. It was a kind of bio-picture about a ‘Paalayakkaaran’ or Polygar (feudal chieftain) who defied the British during the last decade of the 18th Century and paid the supreme penalty. Kattabomman whose full name was Veera Pandiya Kattabomma Karuthaiyya Nayakkar governed an area known as Paanchaalankurichi which is in the Thoothukkudi District of Tamil Nadu state in India.
I was five years old when I first saw the film with my parents at Elphinstone Theatre. The upper portions of the theatre were encased in hardboard, resembling the structure of a fortress. There were two cut-outs on either side of two men with upraised swords on horses. In the middle was another cut-out of a man literally taking a bull by its horns. The two horsemen were Kattabomman played by the actor Sivaji Ganesan and his brother Kumaraswamy alias Ommaithurai played by OAK Devar. The man taming the bull was Vellaiyhathevan, the commander of Kattabomman’s forces. The actor was Gemini Ganesan.
My family was living in Hulftsdorp then. The film which played at Elphinstone, Maradana moved on to Gaiety, Kotahena. I can recall seeing the film four times at Elphinstone and twice at Gaiety. This was because several relatives and family friends took me along when they went to see the film as those in our family circle knew how crazy I was about this particular film Kattabomman. Even in later years I never missed seeing it when an old print was screened in a theatre. Nowadays in Canada I have a DVD of the film which I view occasionally if not regularly.


The magic of the movie


The magic of the movie to me at that time was the portrayal of Kattabomman by the doyen of Tamil actors, Sivaji Ganesan. The highlight of that performance was the powerful delivery of fiery dialogue by the film hero Kattabomman played by Sivaji. I memorised the dialogue (written by Sakthi T.K. Krishnasamy) from ‘Veera Pandiya Kattabomman’ in those days and repeated them with appropriate mannerisms to entertain family, relatives, classmates and friends.
Two remarkable passages lingering in memory still are the verbal duels between Kattabomman and Jackson (played by C.R. Parthiban) and Kattabomman and Bannerman (played by Javer Seetharaman). Unlike most of the actors seen in the Tamil films of today, Sivaji Ganesan spoke Tamil on screen the way the mellifluous, vibrant language should be spoken. It is no exaggeration to say that he was the role model for many of my generation in pronouncing Tamil dialogue in dramas.
It is in this context of reviving memories about the first Tamil film to impact upon me greatly that I focus the ‘Spotlight’ this time on its hero Sivaji Ganesan, about whom I have written extensively in the past. The man regarded as the greatest thespian of post-Independence Tamil cinema passed away on 21 July 2001, three months short of his 73rd birthday. Though known as Sivaji, that was not his real name. It was a name bestowed upon him for playing the role of Sivaji in a popular drama.


No stranger to Sri Lanka


Sivaji was no stranger to Sri Lanka. His movies ran to packed houses in the island. Several of his films were adapted and remade in Sinhala. Substantial portions of the films ‘Pilot Premnath’ and ‘Mohanapunnagai’ starring Sivaji were shot in Sri Lankan locales with Sri Lankan artistes Malani Fonseka and Geetha Kumarasinghe in the lead female roles.
‘Pilot Premnath’ in 1978 was an Indo-Sri Lankan co-production directed by A.C. Trilokachander. Shot in many scenic places in Sri Lanka, the film had a lively Baila type song ‘Udarata Menike’ sung in lilting tones by L.R. Easwari and A.E. Manoharan, which had audiences’ foot-tapping in India and Sri Lanka. But the most popular song was ‘Ilankayin Ilankuyil’ (the young cuckoo of Sri Lanka) with Vani Jayaram lending her voice to Malani, and T.M. Soundararajan voicing for Sivaji. Music was by M.S. Viswanathan. Shot in Eastman colour, this film was about an Air Ceylon pilot and his family. It ran for more than 100 days both in Tamil Nadu and Sri Lanka.
‘Mohana Punnagai’ starring Sivaji Ganesan and Geetha Kumarasinghe was made in 1981. The film directed by C.V. Sridhar did well in Sri Lanka but had an average run in Tamil Nadu despite the fact that it had Sivaji in the lead. The beautiful song sequence picturised on Geetha bathing in a waterfall-stream with Sivaji taking photos from different angles was unforgettable. The song ‘Thennilankai Mangai’ (south Sri Lanka maiden) is sung by S. Janaki to music composed by M.S. Viswanathan.
P.K. Balachandran, the ‘New Indian Express’ Correspondent in Colombo, in a recent article interviewed both Malani and Geetha about Sivaji Ganesan. Here are excerpts:
“Sivaji Ganesan was a great actor and a great human being too,” enthused Malani Fonseka, who was his leading lady in the 1978 Tamil blockbuster Pilot Premnath. “It was Sivaji who urged me to become a producer. He would say ‘Malani, you should make a No. 1 Sri Lankan creation,’” Malani disclosed. “A warm and friendly man, Sivaji introduced me to his wife and children and invited me for dinner at his house. I was very happy to work with him. In fact, it was an honour to work with him,” Malani said in a fulsome tribute to the thespian, who is no more.
Geetha Kumarasinghe, the Lankan leading lady of yore, who was paired with the Tamil thespian in Mohana Punnagai (1981) directed by C.V. Sridhar, said Sivaji was a thorough gentleman. “We got along very well even though he was in his fifties and I was only 26. He was very knowledgeable, not just on film making, but about many other subjects, though he had not gone to any university,” Geetha recalled. Geetha said she got offers from Madras film makers after Mohana Punnagai but could not take them because she got married.


Sivaji Ganesan’s acting career


Sivaji Ganesan’s acting career, which began at the age of eight, could be divided into three phases – 1936 to 1952, when he acted only on stage; 1952 to 1974, when he acted for the big screen and also gave stage performances; and 1974 to 1999, when he acted only in films. Despite achieving stupendous success on the screen, Sivaji remained faithful to his first love, the stage, and acted in plays for decades. With more than 300 film roles to his credit, he inspired a whole generation of artistes, virtually creating a new school of acting.
Essentially a creature of the stage when he entered films, Sivaji Ganesan brought that baggage with him and superimposed it effectively on the film medium. Yet his brilliant acting made this so-called violation of screen norms the accepted norm of film acting. Generations of Tamils learnt to appreciate the beauty and power of the Tamil language because Sivaji Ganesan breathed new life into it.








Vizhuppuram Chinniah Ganesan, or V.C. Ganesan, was born on 1 October 1928, in Vizhuppuram, which was then in the Arcot District of the former Madras Presidency. His parents were Chinnaiapillai Mandrayer, a railway employee and freedom fighter, and Rajamani, in whose name he was to launch later a successful film company, Rajamani Pictures. Ganesan belonged to the Kallar division of the Mukkulathor caste. His ancestors hailed from Soorakkottai in Thanjavoor district.

Smitten by a street drama about Kattabomman, the feudal Polagar of Panchalan-kurichi who fought the British, young Ganesan became enamoured of acting and abandoned school when he was in Class Two. Forsaking home, he along with his boyhood chum “Kaka” Radhakrishnan (veteran comedian who passed away in 2012) joined the Madurai-based Bala Gana Sabha drama troupe first, and later the troupe run by Ethaartham Ponnusamipillai.

From child roles he graduated to female roles and then on to the “raja part,” the role of the hero, as it was known then. The first landmark in his career was his portrayal of the Maratha warrior Sivaji in the drama ‘Sivaji Kanda Indhu Rajyam’ written by Dravida Kazhagham and later Dravida Munnetra Kazhagam Leader C.N. Annadurai, who went on to become the Tamil Nadu Chief Minister. E.V. Ramaswamy, the patriarch of the Dravidian movement, acclaimed his stellar performance and referred to Ganesan as ‘Sivaji’ Ganesan. This was in 1946. The sobriquet stuck.


Big break


The big break in Sivaji’s career came in 1952, when he acted as the hero in ‘Parasakthi,’ a film directed by Krishnan-Panju. The dialogue, written by DMK Leader and former Chief Minister M. Karunanidhi in fiery and flowery prose with a surfeit of alliterations, the hallmark of Karunanidhi’s style, came powerfully alive in a stunning performance by Sivaji, unparalleled in Tamil cinema. The monologue uttered as an address to Tamil Nadu in the earlier scenes and the courthouse speech in the closing stages of the film were classic instances of delightful oratory. A star had arrived in Tamil cinema.

The Karunanidhi-Sivaji combination made an explosive impact. The writer’s rich prose, brimming with vitality, was given emotive and impressive expression by the actor. Every film in which they collaborated was a success. Notable among them were Thirumbi Paar, Manohara, Kuravanji and Iruvar Ullam.
Sivaji had an extraordinary flair for dialogue delivery. He pioneered an exquisite style, diction, tone and tenor. Later other scriptwriters, such as Solaimalai, Sakthi Krishnaswamy, Aroor Das, and ‘Vietnam Veedu’ Sundaram, were to provide dialogue that tapped his diction, which rendered the Tamil language euphonious.

There were many notable films where his remarkably resonating dialogue delivery delighted and enthralled fans. Starting from his brilliant debut in ‘Parasakthi,’ film after film made indelible impressions in this regard.
Thirumbipaar, Manohara, Thookkuthookki , Illara Jyothi, Anbu, Rajarani, Ethirpaaraathathu, Annayin Aanai, Kuravanji, Maruthanaatu Veeran, Ambikapathy, Veera Pandiya Kattabomman, Kappalotiya Thamizhan, Paasamalar, Aalayamani, Karnan, Thiruvilaiyaadal, Saraswathi Sabatham, Kandan Karunai, Thirumaal Perumai, Sivantha Mann, Gauravam, Rajaraja Chozhan, Thangapathakkam, etc., are but some of the films remembered still for the Sivaji’s sparkling ‘vasanam’.

A generation of actors and aspirants modelled themselves on his style. Despite this mass attempt to imitate and emulate him there was no replicating or duplicating the veteran. This stylish, dramatic presentation was essentially considered to be a feature suitable for the stage rather than the screen.

A device used frequently in his earlier films to give an outlet to his histrionic talents was the inclusion of short historical dramas – on the Chera King Senkuttuvan, Akbar’s son Salim or Jahangir, Socrates, Emperor Asoka among others – within the main plot, often dealing with a social theme. His acting ability received maximum exposure in the bantering arguments Veerapandiya Kattabomman has with his British adversaries in the eponymous film. Sivaji received the best actor award for this role at the Afro-Asian film festival held in Cairo in 1960.

Sivaji’s talents were by no means restricted to his oratorical prowess and powerful dialogue delivery. He could emote all the nine moods (navarasas) realistically. This skill found scope in all his films but came out into full play in his 100th film Navarathri in 1964, in which he played nine different characters signifying wonder, fear, compassion, anger, gentleness, revulsion, romantic passion, courage and happiness. His other commendable multi-role performances were in Uthama Puthiran and Enga Oor Raja in dual roles, and Thrishoolam, Deiva Magan and Bale Pandiya in which he did three roles each.


From god and king to commoner

Sivaji Ganesan played a wide range of characters, from god and king to commoner. Whether it was the mercurial Chola emperor Raja Raja Cholan, Lord Siva, Lord Muruga, Saivite saint Appar, Vaishnavite saint Periyaalvar or Tamil poet Ambigapathy, Sivaji was always at his scintillating best. He was equally splendid in contemporary roles and stereotypes making every performance a memorable one. Superb among them are his roles as Bharatha in Sampoorna Ramayanam, the patriotic lawyer Chidambaram Pillai in Kappalottiya Thamizhan, the nagaswaram player Sikkal Shanmugasundaram in Thillana Mohanambal, Prestige Padmanadha Aiyer in Vietnam Veedu, Barrister Rajanikanth in Gauravam and Police Superintendent Chaudhury in Thangapadhakkam.

Scenes from some of his films remain etched in memory: the ‘Yaaradi Nee Mohini’ song sequence in Uttama Puthiran, where Sivaji’s mannerisms would remind present day movie-goers of Rajnikanth’s style; the physically challenged Ponniah in Bhagapirivinai, the inimitable gait as the fisherman in Thiruvilayadal and the clash with Tamil scholar Nakkeeran in the same film; his duel over artistic superiority with Padmini in Thillana Mohanambal; particularly during the ‘Nalanthaana?’ song sequence; and the Othello drama sequence in English with Savithri as Desdemona in Iratha Thilakam.


Sivaji had an astounding capacity to synchronise lip and body movements to playback renditions making it appear as if he was actually rendering these songs. Singers Chidambaram Jeyaraman,’ Seerkazhi Govindarajan and A.M. Raja in the earlier days and T.M. Soundararajan later gave voice to his songs, making the singing and speaking voices blend as an indivisible entity. T.M. Soundarajan’s voice suited Sivaji most. Sivaji’s own voice was woven into songs at times. Two memorable songs are ‘Vannathamizh Pennoruthi Vandhaal’ by C.S. Jayaraman in Paavai Vilakku and ‘Thendrolodu Udan Piranthaal Senthamizh Pennaal’ by T.R. Mahalingam in Rajarajachozhan. There is also ‘Poatrippaaradi Pennae|in “Devar Magan’.

Several directors, among them Krishnan-Panju, T.R. Sundaram, L.V. Prasad, B.R. Panthulu, T. Prakash Rao, A. Bhim Singh, K. Shankar, A.P. Nagarajan, A.C. Tirulokchandar, Sridhar, P. Madh-avan, K.S. Gopalakrishnan and K. Vijayan, directed Sivaji in vastly different roles, bringing out his versatility. Sivaji himself paid tribute to L.V. Prasad saying it was Prasad who taught him the rudiments of acting for the camera.


“Sivaji was no stranger to Sri Lanka. His movies ran to packed houses in the island. Several of his films were adapted and remade in Sinhala. Substantial portions of the films ‘Pilot Premnath’ and ‘Mohanapunnagai’ starring Sivaji were shot in Sri Lankan locales with Sri Lankan artistes Malani Fonseka and Geetha Kumarasinghe in the lead female roles
Sivaji Ganesan played a wide range of characters, from god and king to commoner. Whether it was the mercurial Chola emperor Raja Raja Cholan, Lord Siva, Lord Muruga, Saivite saint Appar, Vaishnavite saint Periyaalvar or Tamil poet Ambigapathy, Sivaji was always at his scintillating best. He was equally splendid in contemporary roles and stereotypes making every performance a memorable one”


Sivaji’s chief lead actor contemporaries were “puratchi nadigar” M.G. Ramachandran (MGR), his namesake Gemini Ganesan (kadhal Mannan) and “ilatchiya nadigar” S.S. Rajendran (SSR). The only film he acted together with MGR was the controversial ‘Koondukkili’ by T.R. Ramanna. With Gemini he acted in many hits like Pennin Perumai, Pathi Bhakthi, Veerapandiya Kattabomman, Paarthaal Pasi Theerrum, Paasamalar, Pandha Pasam, Kappalottiya Thamizhan, Saraswathy Sabatham, Thiruvarutselvar and Unakkaaha Naan. He also acted with SSR in films like Parasakthi, Rajarani, Aalayamani, Shanthi, Pachai Vizhakku, Pzhani, Kaikodutha Deivam, etc

His younger son Prabhu known as “Ilaya Thilagham” has also made his mark in films as an actor. Prabhu was a very successful hero in the eighties and nineties with many of his movies breaking box office records. Sivaji’s elder son Ramkumar keeps the home production company Sivaji films ticking. The box-office record breaking ‘Chandramukhi’ starring Rajnikanth was their production. Now Prabu’s son and Sivaji’s grandson Vikram Prabu too has begun acting and done well in films like ‘Kumki’ and ‘Arima nambi’.

Sivaji’s tragedy


It was Sivaji’s tragedy that, as the years progressed, opportunities for him to display his acting talent became scarce. But he did act in cameo roles, often stealing the scenes, as in Thevar Magan, which won him the National Awards Jury’s Special Jury award in 1993. (Sivaji, incidentally, declined the award.)
Ironically, the man hailed as the greatest actor of Tamil cinema never won an Indian national award for best actor. He was conferred the Dadasaheb Phalke lifetime achievement award for meritorious service to Indian cinema in 1997.The Tamil film journal Pesum Padam gave him the honorific ‘Nadigar Thilagam’ (doyen of actors).
Sivaji was honoured with the titles Padma Shri and Padma Bhushan and the Tamil Nadu Government conferred on him the Kalaimamani award. The French Government honoured him with Chevalier in the Order of Arts and Literature. In Sri Lanka he received the title ‘Kalaikkurusil’ from the then Radio Ceylon.
Sivaji Ganesan passed away at a Chennai hospital on 21 July 2011. Although the brightest star in the Tamil film firmament is no more, Sivaji Ganesan’s films are there to provide pleasure to his fans and keep his memory alive.

[Russellbpw]

Sunday Celebrity: ‘Ceylon’ Chinnaiya—his look-alike Sivaji image, dialogue makes him popular


Chennai, 18 April (Asiantribune.com):

He was certainly bitten by film bug even as a small boy. And the acting style of Sivaji Ganesan mesmerised him. And so his interest was not in studies. He would beg, borrow or steal, only for seeing a film of Sivaji Ganesan, walking 60 miles to Kandy in Sri Lanka from his estate (Krugamey estate), where his father was a plantation worker.

He later became a film artiste in Sri Lanka and in Tamil Nadu, known in Sri Lanka as S S Chinnaiyan and in Tamil films here, Ceylon Chinnaiya. He did not make it to lead roles, but sure captured important character roles. He is a successful character artiste.

It was writer-director R Selvaraj, in whose number of films he had acted, who had given him the ‘Ceylon’ prefix. Even at the height of conflict in Lanka, and anything Ceylon was not safe to have a link with after the killing of Rajiv Gandhi, Chinnaiya did not drop the prefix given by his mentor director, he said in a chat with the Asian Tribune.

“My origin is here in Tamil Nadu (Pudukottai). I am only a second generation Lankan Tamil, my father having gone there in the ship ‘Ramanujam’ to work in the tea estate. I have confidence here that no harm would come.”

Chinnaiya says when there was a ‘Malaysia’ Vasudevan, a ‘Delhi’ Ganesh, ‘Bombay’ Sisters, why not a ‘Ceylon’ Chennaiya. So he continued his ‘Ceylon’ prefix.

Repeatedly seeing Sivaji films, he almost molded himself as that great actor. He would act like Sivaji, rolling out his famous dialogues which are known to run to greater lengths, the delivery has to be made holding full breadth. Talking with us Chinnaiya poured out the ‘Parasakthi’ dialogue of Sivaji. It resembles the Thespians’ style, reminds him.

Chinnaiyan has been enthralling the audience wherever he goes, with the famous dialogues of Sivaji Ganesan, whom he calls his ‘manaseega’ Guru. The famous dramatic dialogues are from “Parasakthi,” the lines of Kalainger Karunanidhi, “Seran Senguttuvan” and the dialogue of Socretes from “Raja Rani” both penned again by Karunanidhi, the dialogue of “Samrat Asokan” penned by Murasoli Maran, the dialogue of “Veerapandia Kattabomman”, “Satrapati Sivaji” and the dialogue of Kandy Raja Vikramarajasinge in “Pudayal”—all of Sivaji Ganesan delivery.

These sub plots in films being popular, and Chinnaiyan’s delivery being almost the imitation of the Nadigar Thilagam, he finds instant audience wherever he goes, and finds appreciation too. He said last week in Valparai tea estate, where his friends and relatives live, there was repeat request from the audience.

Presently he is settled in London for the past 15 years. Imitating Sivaji dialogue engages him full time here in India and Sri Lanka and there (England). What is more, Chinnaiyan almost looks like Sivaji Ganesan. And so he looks and acts like him.

But has he met Sivaji Ganesan? He says he got that opportunity in 1974, when he was invited from Sri Lankan film industry to participate in his gala birthday party at Salem, which was also a jubilee celebration of his film “Thangapathakam.” He thanks Kavinger Muthlingam for the invitation. On a sudden impulse, coming face to face with his beau ideal, he says he wanted to do something—a garland or bouquet was not enough-- he took out his own gold ring from his finger and slipped it into the finger of his ‘manaseeka’ guru. It gave him at most bliss, the moment, he says.

Acted two films with Sivaji

Has he acted in any film with Sivaji? Chinnaiyan says he got that opportunity when there was an Indo-Sri Lanka joint cooperative venture film titled “Pilot Premnath”. Sivaji was the lead man and Malini Fonseka of Sri Lanka was cast his hereoine and K. Vijaya directed it. Chinnaiyan got a role of ‘kanakkapillai’ (accountant) to Sivaji who acted as pannaiyar of tea estate. What is more, Chinnaiyan says, the film was shot in the same Krugamey estate where he was born and bred. And to be teamed with the actor of his dream in the same estate, was immense pleasure, he says.

He has also acted another film with Sivaji. “Enn Tamil, Enn Makkal” was the title.

Chinnaiyan says his beginning was with two great Tamil film stars in a way—MGR and Sivaji. When he was a small boy, the successful Tamil films will be played as a drama in the estate. In the 50s, Sivaji starrer “Parasakthi” was being enacted as drama. He would beg for a role, the seniors would brush him aside. They relented with his cries and put him in the role of a statue. He has to sit like a stone, no dialogue. That was his maiden venture in acting. As “Parasakthi” film was Sivaji’s. Comparing with himself with MGR, he says like MGR he a Kandy born. Thus he carries something of both in him.

He is thankful for the Subramaniya temple festival in the estate, which fed his acting urge. He says he would wait for the festival to come, so would may dramas. He would find berth in as many as possible.

Chinnaiya started his career after his college studies as a Tamil teacher in Ambitya Tamil Kalavan Patasalai, and he bowed out after 12 years of service as Head Master. Off and an he was acting in dramas and films in Sri Lanka. The films are “Nirmala,” “Manjal Kungumam,” “Meenava Penn,” “Pudiya Katru” and “Naan Ungal Thozhan.” Altogether he had acted 15 films in Sri Lanka.

His acting interest pulled him to Chennai. He found a mentor in R.Selvaraj, one of the trimurthis, the other two being Ilaya Rajah and Bharathyrajah, of later cinema.

All Character roles

His first film was A.C. Thirulokachander’s “Neeindri Nan Illai”. Selvaraj cast him in his film “Ponnu Oorukku Pudusu” when Goundamani was busy and he fitted well. Their association went on with rest of Selvaraj’s films. In “Karai Kadantha Oruthi” he acted the role of a Kuravan. Selvaraj’s next film “Agal Vilakku” he had a through running character role. “Nee Thana Andha Kuyil,” K Vijayan directed “Aani Veer,” Ilayarajah’s blrother R T Bhaskar disrected “Geethanjali”, Karthik starrer “Bhagavathypuram Railway station,” Kamashenu,” Visu-directed “Kavalan Avan Kovalan,” a Prabhu starrer and another Selvaraj directed “Pudiya Adimaigal” which film Thondaman senior was given a special screening at AVM studios for the sake of Chinnaiyan.

Chinnaiyan has also acted in Television serials—all character roles and side roles. He has three films on hand, even after settled in London. Every now and then he comes here for shooting. One is Vivek starrer “Naan Than Baala” directed by R Kannan, R Selvaraj’s own brother; “Aathoor 2 Mile” directed by Gurunath; the third is by London producer T. Kannan titled “Enakkul Oru Sivaji” where Chinnaiyan plays a main role, enliving the various roles of Sivaji. The films is tailor-made to bring out his potential of Sivaji in him.

Chinnaiyan went to London in 1993 for he has not made much money in films. He wanted to earn something for his family, and so he set aside his acting interest for off and on. There he became associated with “Malayaha Makkal Ondrium” whose president is Muthu, Subramaniam, secretary and Kalai joint secretary. His role in it is Cultural wing. He has organized several cultural programmes. Recently he has invited ‘Surangani’ A E Manohar, the singer from Tamil Nadu.

Chinnaiyan also became an activist of the Labour Party there, and has earned a lot of Asian friends. In that his ‘Sivaji” image is useful he says.

[Russellbpw]

Leading ladies of Sinhala cinema fondly remember Sivaji Ganesan


By A Correspondent

The film industries of Sri Lanka and Tamil Nadu may have drifted apart because of the clash of perceptions about the Tamil question in the island. Decades of very close collaboration based on a shared love for the art and craft of cinema may have ended. But in the Sinhala film industry there is still a deep appreciation of the contribution of the Chennai-based artistes and technicians to the growth of Sinhala cinema.

Leading artistes of the era of friendship and bonhomie continue to nurse fond memories of interactions with their peers across the Palk Strait.


"Sivaji Ganesan was a great actor and a great human being too," enthused Malani Fonseka, who was his leading lady in the 1978 Tamil blockbuster Pilot Premnath.

"It was Sivaji who urged me to become a producer. He say: Malani, you should make a number 1 Sri Lankan creation."

With Nirupamamala in 1983, Malani did become Sri Lanka's first female producer and director of teledramas. She became a producer and director of feature films in 1984 with Sasara Chetana

"A warm and friendly man, Sivaji introduced me to his wife and children and invited me for dinner at his house. I was very happy to work with him. In fact, it was an honour to work with him," Malani said in a fulsome tribute to the thespian, who is no more.

She enjoyed working with the South Indian unit. "It had a good hairdresser called Ravi. And I came back to Sri Lanka with a lot of good sarees too!" she laughed as she recalled the bonanza.


Pilot Premnath

Pilot Premanath was an Indo-Sri Lankan co-production directed by A.C. Trilokachander. The Sri Lankan co-producers were D.M. Chandrasena and Joe Devanand. T.M. Menon was their Indian partner. Other Sri Lankans in the unit were J. Vincent, the co-Art Director, Chandrakala, the dance director, and actors Marasinghe, Manimekalai, Abraham, Vijayendran, Chinnaiah and Sri Ganga.

Shot in many scenic places in Sri Lanka, the film had a vigorous Baila Udarata Menike crooned by L.R. Easwari and A.E. Manoharan, which had audiences' foot tapping in India and Sri Lanka. But the most popular song was Ilankayin Ilankuyil with Vani Jayaram lending her voice to Malani, and T.M. Soundararajan crooning for Sivaji. Music was by maestro M.S. Viswanathan. Shot in Eastman colour, this film was about an Air Ceylon pilot, had a lot of romance, but it took on the flavour of an absorbing thriller in the latter half.


"It ran for more than 100 days both in Tamil Nadu and Sri Lanka," recalled Filmnews' Anandan, who did the publicity for it. "Malani was very beautiful, winning the hearts of the viewers," he said. Critics too gave kudos to the Lankan actress saying that she "combined acting talent with glamour."

Though a smashing hit, Pilot Premnath did not fetch Malani more offers from the Madras film industry.

"Sri Lankan stars and technicians were taken only in Indo-Sri Lankan co-productions," Anandan explained.
Asked whether she would like to work in a Madras film again, Malani replied instantly: "Why not? Definitely I would. I want art to bring Sri Lanka and India together. Art should bring people together and not separate them. I'll be the happiest to see Sri Lanka and India coming together in the field of cinema," she said.

Malani was one of the leading lights of the Adhishtana Pooja conducted by Sri Lankan film artistes in April this year, to appeal for moderation in Tamil Nadu, where film artistes had fasted protesting against alleged 'genocide' against the Tamils of Sri Lanka.


Mohana Punnagai
It was not until 1981 that another Indo-Sri Lankan production came up, giving a chance to a Sri Lankan star to appear in a Madras movie. It was Mohana Punnagai starring Sivaji Ganesan and Geetha Kumarasinghe. Produced by the ace film maker Balaji, in the name of the famous still photographer, R.P. Sarathy, the film was directed by C.V. Sridhar.

It did well in Sri Lanka, being an Indo-Sri Lankan co-production, but had an 'average run' in Tamil Nadu. Anandan said.

"The picture was actually good, but audiences in Tamil Nadu considered the story weak. As for Geetha Kumarasinghe, she did well. Her acting was good. She was beautiful and had sex appeal too. Mention must be made of the song sequence in which a scantily clad Geetha was lolling in a brook under a waterfall, while Sivaji was taking pictures from various angles. No Tamil girl would do such a daring scene those days," Anandan remarked. The waterfall scene stood out for another reason – the plaintive song with a Sri Lankan theme, Thennilankai Mangai, sung by S. Janaki to music composed by M.S. Viswanathan.


Thorough gentleman

Geetha has the greatest respect for Sivaji. "He was a thorough gentleman. He was also very knowledgeable, though he had not gone to university. He was nice to talk to. We got along well even though he was in his 50s and I was only 26!" she recalled.


Her next Tamil film was Raththathin Raththame a Sri Lankan product with Indian star Jaishankar, then known as the South Indian James Bond, in the lead. It also had Radhika on the cast.

"The picture ran well in Sri Lanka but in Tamil Nadu it had an average run of 50 days.

Geetha said she got offers from Madras film-makers after Mohana Punnagai and Raththathin Raththame, but could not take them. "I had opted out of the film industry at the time, because I got married," she said. By the time she staged a comeback as a more 'mature actress,' Indo-Sri Lankan film collaboration had ceased, due to the 1983 riots and the ethnic problem.

Asked if she would like to do a Tamil film now, she said, "I love Tamil culture. And the Tamils too like me. In fact, in Jaffna, I am called Nadigai (actress) Geetha!" she said, happy with her ability to bridge ethnic divides.

[Russellbpw]

NADIGAR THILAGAM SIVAJI GANESAN's INDEPENDENCE RECALL in RAINBOW FM on 15-08-2014 - DURATION OF THE PROGRAMME -45 MINUTES

ஆகஸ்ட் 15 2014 அன்று சென்னை rainbow FM 104.5 அலைவரிசையில் நடிகர் திலகம் அவர்களின் பழைய நேர்காணல் ஒலிபரப்பப்பட்டது

காலை 10 மணிக்கும் பிறகு அதே ஒலிபரப்பு இரவு 10 மணிக்கும் ஒலிபரப்பப்பட்டது !

திரி நண்பர்கள் மற்றும் பொதுமக்கள் , நடுநிலையானவர்கள், இன்றைய தலைமுறயினருக்காக.

விளம்பரமும் ஒரு சில இடம்பெற்றுள்ளது...அதை நீக்க தெரியாததால் அதுவும் இதில் பதிவாகியுள்ளது !

[Russellbpw]

திரைப்படமாக வெளிவந்த அகிலனின் பாவை விளக்கு கதை பற்றி காரசார விவாதம்
பதிவு செய்த நாள் : வெள்ளிக்கிழமை, ஆகஸ்ட் 22, 9:30 pm ist



தமிழ்நாட்டின் சிறந்த எழுத்தாளர்களில் ஒருவரான அகிலன் எழுதிய 'பாவை விளக்கு' நாவல் திரைப்படமாக்கப்பட்டு, அதில் சிவாஜிகணேசன் கதாநாயகனாக நடித்தார். கதைக்கு ஆதரவாகவும், எதிராகவும் பத்திரிகைகள் காரசாரமாக விமர்சனங்கள் எழுதின.

புதுக்கோட்டை அருகில் உள்ள பெருங்களூர், அகிலனின் சொந்த ஊர். அங்கு 1922 ஜுன் 27-ந்தேதி பிறந்தார். தந்தை பெயர் வைத்தியலிங்கம் பிள்ளை. தாயார் அமிர்தம்மாள்.

பள்ளிப்படிப்பை முடித்ததும், ரெயில்வே தபால் இலாகாவில் (ஆர்.எம்.எஸ்.) வேலை பார்த்தார். ஓடும் ரெயில் தபால்களைப் பிரிப்பதுதான் அவர் பணி.

பள்ளியில் படிக்கும்போதே கதைகள் எழுதுவதில் ஆர்வம் கொண்டிருந்தார். அவருடைய எழுத்தில் பக்குவமும், வேகமும், விறுவிறுப்பும் இருந்த காரணத்தினால், அவருடைய கதைகள், யாருடைய சிபாரிசும் இன்றி 'கலைமகள்' முதலான பத்திரிகைகளில் பிரசுரமாயின.

'கலைமகள்' முதன் முதலாக நடத்திய நாவல் போட்டியில், அகிலனின் 'பெண்' என்ற நாவல் முதல் பரிசு பெற்றது. அதைத் தொடர்ந்து, இலக்கிய உலகில் அகிலன் புகழ் பெற்றார்.

அகிலன் தன் குடும்பத்தாருடன் திருச்சியில் வசித்து வந்தார். அகிலனின் எழுத்துக்களுக்கு வாசகர்கள் இடையே பெரும் வரவேற்பு இருந்ததால், எல்லா பத்திரிகைகளும் அகிலனிடம் கதைகளைப் பெற்று பிரசுரித்தன.

1957 மத்தியில் 'கல்கி'யில் 'பாவை விளக்கு' தொடர் கதையை அகிலன் எழுதினார். உணர்ச்சிமயமாக அமைந்த அந்தக் கதை வாசகர்களிடம் பெரும் வரவேற்பைப் பெற்றது.

பட அதிபர் எம்.ஏ.வேணுவும், அப்போது கதை - வசன ஆசிரியராக விளங்கிய ஏ.பி.நாகராஜனும், சேலத்தில் 'சம்பூர்ண ராமாயணம்' படத்தயாரிப்பில் ஈடுபட்டிருந்த காலகட்டம் அது. 'பாவை விளக்கு' கதை முடியாமல் இருந்தபோதே, அந்தக் கதையை சினிமா படமாகத் தயாரிக்க, ஏ.பி.நாகராஜன் விருப்பம் தெரிவித்தார். கணிசமான தொகையை முன் பணமாகக் கொடுத்தார்.

படம் தயாராகும்போது, உடன் இருக்குமாறு அகிலனை ஏ.பி.நாகராஜன் கேட்டுக்கொண்டார்.

ஆர்.எம்.எஸ். வேலையை விட்டு விலகி, முழு நேர எழுத்துப்பணியில் ஈடுபடவேண்டும் என்ற எண்ணம் அகிலனுக்கு ஏற்கனவே இருந்தது. சினிமாத் துறையிலும் தனக்கு வரவேற்பு இருந்ததால், வேலையை ராஜினாமா செய்துவிட்டு, குடும்பத்தோடு சென்னையில் குடியேற முடிவு செய்தார்.

அகிலன் அரசு வேலையை விட்டு விட்டு, திருச்சியில் இருந்து சென்னைக்குக் குடிபெயர்ந்தது, அவருடைய வாழ்க்கையில் ஒரு முக்கிய திருப்புமுனையாகும்.

ஏ.பி.நாகராஜன் ïனிட்டில் எடிட்டராக இருந்த விஜயரங்கமும், ஒளிப்பதிவாளராக இருந்த கோபண்ணாவும் இணைந்து 'விஜயகோபால் பிக்சர்ஸ்' என்ற படக்கம்பெனியை தொடங்கினர். அந்த பேனரில் 'பாவை விளக்கு' படமாகியது.

கதாநாயகனாக (எழுத்தாளன் தணிகாசலமாக) சிவாஜிகணேசன் நடித்தார்.

கதாநாயகனை 4 பெண்கள் காதலிப்பது போல் அமைந்ததுதான் கதை.

1) தேவகி இளம் விதவை. இவளுடைய ஒருதலைக் காதல் ஆரம்பத்திலேயே கருகி விடுகிறது. இந்த வேடத்தில் பண்டரிபாய் நடித்தார்.

2) செங்கமலம். தாசி குலத்தில் பிறந்தவள். செங்கமலமும், தணிகாசலமும் நேசித்தும், அவர்கள் காதல் நிறைவேறவில்லை. செங்கமலம் வேடத்தில் குமாரி கமலா.

3) முறைப்பெண் கவுரி, இவள்தான் தணிகாசலத்தை மணக்கிறாள். இந்த வேடத்துக்கு சவுகார்ஜானகி.

4) உமா. படித்தவள்; பண்புள்ளவள். முதலில் தணிகாசலத்தின் எழுத்தில் உள்ளத்தை பறிகொடுப்பவள், பின்னர் அவனிடமே தன் இதயத்தை இழக்கிறாள். ஏற்கனவே திருமணமாகி மனைவியுடன் வாழும் தணிகாசலத்தை, மனப்போராட்டத்தில் சிக்கித்தவிக்க வைக்கும் உமாவாக எம்.என்.ராஜம் நடித்தார்.

கே.வி.மகாதேவன் இசை அமைக்க, திரைக்கதை - வசனத்தை ஏ.பி.நாகராஜன் எழுதினார். சோமு டைரக்ட் செய்தார்.

அகிலனின் எண்ணங்களை அப்படியே பிரதிபலிக்கும் விதத்தில், படத்தை ஏ.பி.நாகராஜன் உருவாக்கினார். குற்றாலம், மும்பை, டெல்லி, ஆக்ரா முதலிய இடங்களில் படப்பிடிப்பு நடந்தது.

குறிப்பாக, சிவாஜியும், எம்.என்.ராஜமும் ஷாஜஹான், மும்தாஜ் வேடங்களில் தோன்றி, 'காவியமா, நெஞ்சில் ஓவியமா?' என்று பாடும் காட்சி, தாஜ்மகாலின் பல்வேறு பகுதிகளிலும் பிரமாதமாகப் படமாக்கப்பட்டது.

'வண்ணத்தமிழ் பெண்ணொருத்தி என் எதிரில் வந்தாள்', 'சிதறிய சலங்கைகள்போல' முதலான பாட்டுகளும் நன்றாக இருந்தன.

குறிப்பாக, 'வண்ணத்தமிழ் பெண்ணொருத்தி...' பாடலின் தொடக்கத்தை சிவாஜி பாட, தொடர்ந்து சிதம்பரம் ஜெயராமன் பாடியது புதுமையாகவும், ரசிக்கும்படியாகவும் இருந்தது.

பெரும் எதிர்பார்ப்புக்கு இடையே 1960 தீபாவளிக்கு 'பாவை விளக்கு' வெளியாகியது.

படம், பொதுவாக நல்ல வரவேற்பைப் பெற்றது. ஆயினும், 'ஒருவனை 4 பெண்கள் காதலிப்பதா?' என்று பத்திரிகைகள் இரண்டு பிரிவாக பிரிந்து விவாதம் செய்தன.

படம் நன்றாக இருப்பதாகப் பாராட்டிய பத்திரிகைகள் கூட, மூன்று குறைகளைச் சுட்டிக்காட்டின.

சிதம்பரம் ஜெயராமனின் குரல், சிவாஜிக்குப் பொருத்தமாக இல்லை.

பெரும்பாலான படங்களில் வில்லியாகவே நடித்து வந்த எம்.என்.ராஜம், உமா கதாபாத்திரத்திற்கு பொருத்தமாக இல்லை.

சிவாஜிகணேசனை இன்னும் சிறப்பாகப் பயன்படுத்தி இருக்கலாம். சில இடங்களில் அவரை 'படிக்காத மேதை' ரங்கன் பாணியில் நடிக்கச் செய்திருப்பதை தவிர்த்திருக்கலாம்.

இவ்வாறு பலரும் கூறினர்.

நூறு நாட்களைத் தாண்டி ஓடியிருக்க வேண்டிய படம், நூறு நாட்களை நெருங்கத்தான் முடிந்தது.

[Harrietlgy]

[QUOTE=RavikiranSurya;1158825]NADIGAR THILAGAM SIVAJI GANESAN's INDEPENDENCE RECALL in RAINBOW FM on 15-08-2014 - DURATION OF THE PROGRAMME -45 MINUTES

ஆகஸ்ட் 15 2014 அன்று சென்னை rainbow FM 104.5 அலைவரிசையில் நடிகர் திலகம் அவர்களின் பழைய நேர்காணல் ஒலிபரப்பப்பட்டது

காலை 10 மணிக்கும் பிறகு அதே ஒலிபரப்பு இரவு 10 மணிக்கும் ஒலிபரப்பப்பட்டது !

திரி நண்பர்கள் மற்றும் பொதுமக்கள் , நடுநிலையானவர்கள், இன்றைய தலைமுறயினருக்காக.

விளம்பரமும் ஒரு சில இடம்பெற்றுள்ளது...அதை நீக்க தெரியாததால் அதுவும் இதில் பதிவாகியுள்ளது !


You tube ல் முதலில் பார்த்தவன் என்ற பெருமை எனக்கு . Thank you RKS

[JamesFague]

Melodious song from Pattum Bharathamum

[JamesFague]

Enjoy the song from Deepam

[JamesFague]

Fantastic song from En Thambi. Smart & handsome NT with Saroja Devi. Enjoy.

[Gopal.s]

Posted by Vanaja(Vankv)

My top favourite romance scenes of NT:
1. Punar Janmam: When Padmini comes to Sivaji’s house to invite him for their house warming celebration. Very natural and perfect soft romance scene from my most favourite screen couple.
2. Vasantha Maligai: Can’t say one particular scene as the movie itself is a romantic movie, but I particularly liked the famous scene when Anand shows his new palace to Latha who then finds out that the love of his life was her, after all. Soft and a little aggressive romance by my second most favourite screen couple.
3. Thaye Unakkaga: Again Sivaji-Padmini and both did cameo roles in that movie. It was after the song sequence, NT as an army Major, trying to say good bye to his loving wife. Lots of hugs and cuddles! Soft romance.
4. Dr. Siva: I know I shouldn’t mention this as one of the top ones, but I happened to watch the end of that movie recently on TV, which got me checking up it on youtube. I particularly liked the end scene, when Manjula tries to apologize to NT for not believing in him. He did not speak much, but the expressions tell more! Even though immature and inexperienced, Manjula acted mature enough to suit with NT’s nuances.
5. Selvam: NT rushes to KRV’s house, aroused with lust with the back-ground song, ‘enakkagava’ – Eventhough KRV’s expresses all the emotions in the same way, this scene is better because of NT.
6. Mudhal Mariyathai: Even from the beginning when Kuyil meets NT, director brilliantly depicts the mutual attraction between them, which then develop slowly and softly. Even though his age makes him hesitates, it couldn’t stop him loving her deep down. Psychologically woven delicate love between them. No physical touch at all, and it wasn’t needed. Superb!
7. Sivakamiyin Selvan: Another one from my favourite ‘romantic pair’. Even though an erotic love scene comes in the movie with the song ‘ethhanai azhgu’ (that song is way too long!), I prefer the scene when Sivakami hear that Ashok drinks and runs to find him. And the scene following that when they both were next to a river and trying to find their luck. Very soft romance. Nice.
8. Thillana Mohanambal: The train scene, of course! Shanmugam gets down from the train, but still holds his hands on top of Mohana’s on the window bars. The eyes tell the rest! Marvellous!
9. Deepam: When Sujatha comes to NT’s house and he looks at her top to toe and tries to talk something irrelevant to impress her. Funny and nice. He breaths heavily with emotion.
10. Navarathri: The end scene, the couple finally meet!! No words necessary to the scene as well as to my write-up!