Nadigar Thilagam Sivaji Ganesan Part 9

[joe]

முரளி சார்,
மிக அருமையா சொன்னீங்க ..அப்படியே வழிமொழிகிறேன்.

[NOV]

Dear Mr. Gopal

ungal sEvai ingu thEvai..... http://www.mayyam.com/talk/showthrea...neration/page3

[Gopal.s]

I accept all your suggestions and I am not against any individual or group.My apologies to Vasu Sir,Raghavendar Sir again.
My objective is simple-
1)To take NT to all the sections and demography by establishing that he is the best in the world and select the best ones to kindle the interest in the young minds and neutral readers.
2)To reserve the appreciation sessions on the hubbers on the occasions and not doing it like Rani,Dhinathanthi Vasagar Kaditham.It creats boredom and the good and purposeful articles on NT getting buried in such trivial compliments.
3)Seperate informations and Stills from critical analysis in seperate threads to justify both.
4)It is not a place for Sycophancy and yes group who rates all his movies as the same.Even NT had preference for some of his movies.All movies are equal but some movies are more equal.
5)Others can not put condition that if you are a fan,you have to weigh Deiva Magan and Sandhippu in equal scale which is not at all acceptable.
6)When I wrote about Deiva Magan and Uthama Puthran,I was compelled and advised to write about Harischandra and Sumangali which I cant do it whole heartedly.
7)No thread can operate without some sanity and purpose ,the objective is not to fill pages after pages without quality content.It becomes a Fan Club Pamphlet.

[Gopal.s]

I also make it very clear that dividing line between good and bad is not success.Success or Failure is not a baro meter of Quality.It is only the relevance to contemporary taste and timeless classics that I am suggesting.Again Vasu Sir,All the after 1981 indicated in your excellent write up figured in my short-list.
Pl.have an objective re-look at my articles and my short-list.
Even now,I dont consider myself equal or in the league of Pammalar Sir,Vasu Sir,Raghavendar Sir ,Murali Sir who all will be looked up for directions and I follow.No problem.But say yes or no to my suggestions after a review.

[ScottAlise]

Movie with many firsts

• When first released, Karnan was the first of the mythology series that made a comeback in the 1960s. It was an answer to the “rationalistic” dialogue that was catching up in the early 50s and almost drowned the mythology genre — a trendsetter, even then.

• With its re-release, Karnan became the first Tamil classic to be fully digitally restored.

• The first to be re-released in 72 centres across Tamil Nadu.

• The first to be re-released in 10 screens in Chennai City.

• The first re-release to celebrate 25 days in 30 centres, 5 in Chennai and 4 in Madurai.

• Despite the Examination season and the IPL, it is enjoying a healthy collection with many shows sporting the ‘Houseful' sign.

[ScottAlise]

Nagesh on Thiruvilayadal

In his autobiography, Nagesh wrote, “Everyone kept telling me that I had done a superb job and at times stole the scene from the hero, so I was extremely scared it might not see the light of day as the director was struggling to trim the film's length. One day when I was in the recording theatre, Sivaji walked in and wanted to see the “Dharumi” piece. He did not notice me in the dark sound engineers' room. He watched it once and then wanted to see it again — by this time I was sure that my scene, especially the solo lamenting, would be axed. To my astonishment, Sivaji turned and said, ‘Do not remove a single foot from this episode as well as the episode featuring T. S. Balaiah. These will be the highlights of the film. This is my opinion, but as the director, you have the final say. Whatever dubbing additions have to be done, get that fellow (Nagesh), lock him up in the studio and don't let him run away till he completes it to your satisfaction. He has done outstanding work.' Such was his generosity to his fellow actors.”

How prophetic, for these two turned out to be all-time favourites and the backbone for the film's success.

[ScottAlise]

Nagesh on Thiruvilayadal

In his autobiography, Nagesh wrote, “Everyone kept telling me that I had done a superb job and at times stole the scene from the hero, so I was extremely scared it might not see the light of day as the director was struggling to trim the film's length. One day when I was in the recording theatre, Sivaji walked in and wanted to see the “Dharumi” piece. He did not notice me in the dark sound engineers' room. He watched it once and then wanted to see it again — by this time I was sure that my scene, especially the solo lamenting, would be axed. To my astonishment, Sivaji turned and said, ‘Do not remove a single foot from this episode as well as the episode featuring T. S. Balaiah. These will be the highlights of the film. This is my opinion, but as the director, you have the final say. Whatever dubbing additions have to be done, get that fellow (Nagesh), lock him up in the studio and don't let him run away till he completes it to your satisfaction. He has done outstanding work.' Such was his generosity to his fellow actors.”

How prophetic, for these two turned out to be all-time favourites and the backbone for the film's success.

[ScottAlise]

The recent release and success of the classic Karnan has prompted a lot of interest in the revival of other mythological classics in Tamil cinema. Myths and legends were the predominant subject in the early years of both Silent and Talkie Cinema. By the late Fifties, social themes took over and the contribution of Dravidian leaders to this cannot be denied. The one person who brought mythological stories back to the screen was A. P. Nagarajan.

His son, C. N. Paramasivan, an NRI businessman, says the warm response to the re-released Karnan has encouraged him to seriously consider restoring his father's films such as Thiruvilayadal, Saraswathi Sabatham, Thiruvarutchelvar and Thillana Mohanambal. “As they have all been watched over and over again by people on television, the restoration has to make a marked difference to moviegoers. We need to offer them something more than just a good quality print — like converting them to 3D. Some of the other films of my father such as Kandhan Karunai, Karaikal Ammaiyar, Thirumalai Deivam and Sri Krishna Leela too will be taken up if the restoration costs come down,” says Paramasivan.

Akkammapettai Paramasivan Nagarajan was born in a family of wealthy landowners on February 24, 1928, and christened Kuppuswamy. His father, Paramasiva Gounder, died when Nagarajan was a young boy; within a few months, he lost his mother, Lakshmi Ammal, too. His maternal grandmother, Manicka Ammal, took charge of the boy. Afraid that he might not be cared for by the family, she admitted him to a drama company without informing them of the boy's antecedents. Later he shifted to Avvai T. K. Shanmugam's drama company. As there were many Kuppuswamis, his name was changed to Nagarajan. Nagarajan learnt the basics of theatre and rose to play the lead in the play “Gumasthavin Penn.” A remarkable actor, he brought to life all the roles he donned, his early “sthreepart” roles being very popular with the audience. He worked in the Madurai Jayarama Sangeetha Boys Company as well as Sakthi Nadaga Sabha, along with Sivaji Ganesan and Kaka Radhakrishnan.

Nagarajan started his own drama company, the Pazhani Kadiravan Nadaga Sabha, and, in 1949, married Rani Ammal. He wrote and acted in several plays and one of his plays “Nalvar” was made into a movie. Nagarajan wrote the screenplay for his own story and play the hero in this film. His film career thus began in 1953. In an interview to a magazine, he mentioned his father's name as well as his ancestral village Akkammapettai. Some of his family members read this article and came down to meet him and he was re-united with his family after almost 20 years.

He also acted in many movies for producer M. A. Venu, formerly of Modern Theatres, such as Mangalyam, Nalla Thangal and Pennarasi. He wrote the screenplay for Town Bus and by 1956 decided to focus on writing. He wrote Naan Petra Selvam and Makkalai Petra Maharasi — in the latter, he introduced the ‘Kongu' Tamil accent for the hero. The first of his many mythological films — Sampoorna Ramayanam (1958) — was a big success, and Rajaji, who had little regard for cinema, watched this film and praised Sivaji Ganesan's performance as Bharatha in it. He then started to produce in partnership with actor V. K. Ramaswamy. Some of the works of this period include Nalla Idaththu Sammandham (1958), Thayai Pol Pillai, Noolai Pol Selai (1959) and Paavai Vilakku. He made his directorial debut with Vadivukku Valaigaappu (1962). He launched his own production company with Navarathri and then went on to make a mark in the field of mythological cinema as well.

In 1965, a year after the release of Karnan, Thiruvilayadal hit the screens and set box office records. This was followed by Saraswathi Sabatham, Kandhan Karunai, Thiruvarutchelvar, Thirumal Perumai, Agasthiyar, Thirumalai Deivam, Karaikaal Ammaiyar and Sri Krishna Leela. He made Thillana Mohanambal and Raja Raja Chozhan, both of which too deserve to be restored.

A. P. Nagarajan passed away in 1977 — a self-taught man whose life was as much an epic as were his movies.

[RAGHAVENDRA]

The postings no. 2855 and 2858 by ragulram have been quoted from The Hindu. The link for that page is given below:

http://www.thehindu.com/arts/cinema/article3314719.ece

Thank you ragul.

[RAGHAVENDRA]

டியர் கோபால்,
தங்களுடைய கருத்துக்களில் இங்கு பெரியதாக யாரும் மாறுபடவில்லை. அதே போல் உருப்படாத படங்களையெல்லாம் யாரும் இங்கு தலையில் தூக்கி வைத்து ஆடவும் இல்லை. ஒவ்வொரு படத்திலும் நடிகர் திலகத்தின் பங்கு அவருடைய ஆற்றல் இவற்றைத் தான் இந்தத் திரியில் 7 பாகங்களைக் கடந்து 8ம் பாகம் வரையிலும் அனைவரும் எழுதி வந்திருக்கிறார்கள். ஆனால் தங்களுடைய தொனி தாங்கள் தான் புதிதாக நடிகர் திலகத்தை நேர்மையாக விமர்சிப்பது போலவும் இதுவரை செய்தவர்கள் அனைவரும் வெறுமனே ஜால்ரா தட்டி எழுதி வருபவர்கள் போலவும் தோன்றுகிறது. தாங்கள் இது வரை வந்த அனைத்து பாகங்களையும் முழுமையாக ஒரு தரம் நேரம் செலவிட்டு படிக்கவும். இங்கு எல்லோருமே விமர்சனங்களை பாரபட்சமின்றி செய்து வருகிறார்கள். யாரோ ஒரு காலத்தில் நடிகர் திலகத்தை நடிப்பைத் தவிர மற்ற அனைத்து கோணங்களிலும் செய்த விமர்சனங்களை, அதுவும் தற்போதைய தலைமுறை சற்றும் கவலைப்படாத விமர்சனங்களை மீண்டும் நாம் ஏன் கிளற வேண்டும். தற்போதைய தலைமுறையில் ரசிகர்கள் தனிப்பட்ட மனிதனை விட அவருடைய திறமையை வைத்து எடைபோடத் தெரிந்த புத்திசாலிகள். நிறைகுறைகளை சரியாக எடை போடத்தெரிந்த அறிவாளிகள். அவர்கள் 80க்குப் பிறகு தான் பிறந்திருப்பார்கள். அவர்கள் காலத்தில் நடிகர் திலகத்தை அவர்கள் பார்த்ததை வைத்தே ரசிகர்களானோர் பலர். அப்படிப் பட்ட உள்ளங்களில் நாமே வலியச் சென்று இந்தப் படங்களைப் பற்றி - தவறான கருத்தை திணிக்க வேண்டும் அதை அவர்கள் தீர்மானிக்கட்டுமே... அப்படிப் பட்ட படங்களில் அவருடைய நடிப்பை நாம் அலசுவதில் என்ன தவறு உள்ளது. தோல்விப் படங்கள் எல்லா காலகட்டங்களிலும் எல்லா கலைஞர்களும் சந்தித்தவை.

இந்தக் கண்ணோட்டத்தில் தான் நான் நடிகர் திலகத்தை ரசிக்கிறேன். நேர்மையான விமர்சனம் என்கிற மூகமூடியை அணிந்து அவரைத் தாறுமாறாக விமர்சிக்கும் தைரியமும் எண்ணமும் எனக்கு இல்லை என்பதில் நான் பெருமைப் படுகிறேன்.