நடிப்புலக சக்கரவர்த்தி
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நடிப்புலக சக்கரவர்த்தி
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முந்தைய விவாதங்கள்
நடிகர் திலகம் சிவாஜி -பாகம் -1
நடிகர் திலகம் சிவாஜி -பாகம் -2
முக்கிய பக்கங்களின் இணைப்புகள்**********************************
1.நடிகர் திலகம் - சிறப்பு இணையத்தளம்
திரைப்பட விமரிசனங்கள் / பார்வைகள்
-----------------------------------
1.அம்பிகாபதி -திரைப்படப் பார்வை -பாலாஜி
2.என்னைப் போல் ஒருவன் -திரைப்படப் பார்வை -சாரதா
3.ராஜா -திரைப்படப் பார்வை -சாரதா
4.பொன்னூஞ்சல் -திரைப்படப் பார்வை -groucho070
5.சவாலே சமாளி -திரைப்படப் பார்வை -சாரதா
6.அன்பைத் தேடி -திரைப்படப் பார்வை -சாரதா
7.எங்க மாமா,மூன்று தெய்வங்கள் -திரைப்படப் பார்வை --சாரதா
8.புதிய பறவை-திரைப்படப் பார்வை -பாலாஜி
9.அந்த நாள்-திரைப்படப் பார்வை -பாலாஜி
10.அந்த நாள்-திரைப்படப் பார்வை -சாரதா
11.கப்பலோட்டிய தமிழன் - groucho070
<a href="http://www.mayyam.com/hub/viewtopic.php?t=7685&postdays=0&postorder=asc&star t=105">
12.பிராப்தம்,மூன்று தெய்வங்கள்,தர்மம் எங்கே,ராஜராஜசோழன்,சிவகாமியின் செல்வன்,வாணிராணி -ஒரு பார்வை - முரளி ஸ்ரீனிவாஸ் </a>
13.தங்கச்சுரங்கம் - - சாரதா
14. ஊட்டி வரை உறவு - - rajeshkrv
15. ஆட்டுவித்தால் யாரொருவர் - அவன் தான் மனிதன் - - சாரதா
16. பாசமலர் - - பாலாஜி
17. நிறைகுடம் - - முரளி ஸ்ரீனிவாஸ்
18. நிறைகுடம் ,கல்யாணம் பண்ணியும் பிரம்மச்சாரி - - groucho070,முரளி ஸ்ரீனிவாஸ்
19. இரு மலர்கள் - - முரளி ஸ்ரீனிவாஸ்
20. விடிவெள்ளி - - NOV
21. நெஞ்சிருக்கும் வரை - - முரளி ஸ்ரீனிவாஸ்
22. மரகதம் - - முரளி ஸ்ரீனிவாஸ்
23. பாக்கியவதி - - NOV
24. அமர தீபம் - - முரளி ஸ்ரீனிவாஸ்
25. அன்னை இல்லம் - - NOV
26. உத்தம புத்திரன் - - முரளி ஸ்ரீனிவாஸ்
27. கூண்டுக்கிளி - - முரளி ஸ்ரீனிவாஸ்
28. இளைய தலைமுறை - - சாரதா
29. பலே பாண்டியா - - முரளி ஸ்ரீனிவாஸ்
30. படிக்காத மேதை - - முரளி ஸ்ரீனிவாஸ்
31. எங்கிருந்தோ வந்தாள் - - சாரதா
32. சுமதி என் சுந்தரி - - சாரதா
மற்றவை
---------
1.உலக அளவில் விருதுகள்! -விகடன் கட்டுரை
2.நடிகர் திலகத்தின் வெற்றி பரணி (1971-1975) -முரளி ஸ்ரீனிவாஸ்
3.நடிகர் திலகத்தின் திரைப்படங்களின் முழுப் பட்டியல் - நக்கீரன்
4.நாட்டிய மேதையும் நடிகர் திலகமும்!-விகடன் கட்டுரை
5.நடிகர் திலகம் பிறந்தநாள் விழா நிகழ்ச்சி தொகுப்பு ,நடிகர் திலகம் சினிமாவும் அரசியல் பயணமும் (1980) -முரளி ஸ்ரீனிவாஸ்
6.சிவாஜியும் அப்துல் ஹமீதும்
7.நமது கலை மரபின் சிறந்த பிரதிநிதி -எழுத்தாளர் ஞானி
8.இமயம் -சிபி இணையத்தளம்
9.நடிகர் திலகம் நினைவுநாள் விழா நிகழ்ச்சி தொகுப்பு -முரளி ஸ்ரீனிவாஸ்
<a href="http://forumhub.mayyam.com/hub/viewtopic.php?p=1187325#1187325">10. நகைச்சுவைப் பாத்திரங்களில் நடிகர் திலகம் -karthik_sa2
</a>
<a href="http://forumhub.mayyam.com/hub/viewtopic.php?p=1194997#1194997">11. நடிகர் திலகம் பிறந்தநாள் விழா -2007 -முரளி ஸ்ரீனிவாஸ்
</a>
12. நடிகர் திலகத்தின் விருந்தோம்பல் - மோகன்லால் -முரளி ஸ்ரீனிவாஸ்
வாருங்கள் தோழர்களே!
வான் புகழ் கொண்ட நம் நடிகர் திலகம் புகழ்பாட!!
Thank you very much dear hubbers and thanks a lot for those kind and encouraging words showered on me. I am really delighted to hear such kind words from you for which I am indebted.
With all your support and encouragement let me try to add my bit to this wonderful thread on the ONLY ACTOR on earth.
Thank you all once again.
I am delighted that we have crossed "Thirisoolam" and entering "Kavariman".
This is regarding the post by 'joe' on Vishali Kannadasan's programme. I have not seen the programme now. I strongly feel that it is a re-telecast of the programme with the same name, telecast a few years ago by the same person, in the earlier avataar of Vijay TV.
Joe has written exactly the same thing which I had opined during the watching of the programme at that time.
Today's (02/07/07) "Then Kinnam" (Jaya TV) was indeed a boon for a NT fan. The programme was presented by an upcoming cine actor ( I am unable to recall his name). I could see only the last three segments of the programme. Four songs from "core" NT movies were telecast.
1. Ponaal pogattun poda - Paalum Pazhamum
2. Iravinil aattam - Navarathiri
3. Malarthum Malaraadha - Paasa Malar
4. Irandu Manam vendum - Vasantha Maaligai.
After watching the songs I could feel a lump in my throat.
As if this not sufficient, two songs from NT movies were telecast at KTV at 12:30 pm.
1. Vandhene (theru koothu song) - Navarathiri
2. Neeye unakku yendrum nigaraanavan - Bale Pandiya
As I was watching the 'theru koothu' song I recollected the appearance of NT in both the songs from the same movie. What a marked difference. NT looked bulky in 'Iravinil aattam' song and slim in the later song. How this could be possible in those days. Of course, this was discussed at length in the previous thread, which came to mind during the watching of the songs.
Once again the words uttered by that unknown person, during the final procession of NT, as told by Rajinikanth, came to mind:
"IRUNDHADHU ORU NADIGAN DHAAN"
And I thanked my stars that made me sit at home today and watch these immortal songs which made my day.
Tributes to NT from some of the members of the public.
http://www.chennaionline.com/article...+of+a+colossus
Some more tributes for NT
http://www.rediff.com/news/2001/jul/27ganes1.htm
The ultimate scene that set Kodambakkam on fire
http://www.youtube.com/watch?v=yl8rh...elated&search=
A touching tribute on NT
http://thehindujobs.com/thehindu/200...s/04232236.htm
Reports on NT's funeral day
http://thehindujobs.com/thehindu/200...s/04232232.htm
http://www.thehindujobs.com/thehindu...s/04242233.htm
I have one query nagging in my mind for quite some time. Who was the director for "Motor Sundaram Pillai"? I was under the impression that it was Mr. Balasubramanian, S/O Mr. SS Vasan, producer of the movie. The credits of the movie pronounce the director as "Balu". But may websites, claim that the movie was directed by Balu Mahendra, the veteran cameraman-Director.
I request my senior hubbers to kindly clarify this. Following is the link to one of such websites.
http://www.tourintalkies.com/news/Fe...xclusive24.asp
Standing tall, shining still
T R JAWAHAR
That Sivaji Ganesan's statue has become sub-judice should be of little concern for his admirers. The actor non pareil stands tall in the hearts of the people.
Born into a poor family, Ganesan took flight from home at the tender age of seven to meet his tryst with destiny, on the stage and screen. The spark was evident from his early days. In fact, he defied all logic and rules of artistic evolution. Sivaji Ganesan was a consummate actor from day one!
'With my first movie itself, I landed on the moon', he once told this writer. In fact he said, 'moo...o oon' in his typical booming baritone with that all too familiar drag that was vintage Sivaji. For a prolific performer of his calibre he was too humble and ever remained an ardent student of his vocation, even after he had written and re-written the grammar of acting several times over. ' What do I know? I only did what my directors bid me to do. All credit goes to them'.
He was certainly not acting when he said this, but the remarkable under-statement reflected the character and disposition of the man to life and to his career. 'I can never become a director. I can only act and this I can and I want to do till my last breath. I am not so talented as these youngsters who could write, act, sing, dance and direct'.
I still remember those bulging, probing eyes rolling in mock seriousness when he made the statement. Sivaji never wavered from his karmic duty as an actor. He was never even tempted into lofty rhetoric when lesser beings in the industry used to harangue endlessly on the pros and cons of acting. But then Sivaji did not have to speak. His portrayals spoke a million words, wrote a thousand theories on the art and science of acting and has spawned generations of actors, all trying to imitate and emulate him.
The sheer volume of his output is astounding and the versatality and vitality of his performances confound all. The breath-taking array of his roles makes one wonder if it was really just one man who did all this. He could switch from extreme roles in a jiffy. The regal gait of a monarch and the clumsy walk of a village idiot, the cunning viles of a villain or the utopian goodness of a hero, a doting father or a wayward son, a sanguine saint or a senseless maniac, as Lord Shiva or His devotee, from a short-tempered musician to a soft-spoken family man, you name it, and a visage of Sivaji would pop up your mind's screen. He was the undisputed master of melodrama and little wonder that the people of Tamilnadu, have laughed and wept with him for over five decades and will do so for time immemorial by watching his immortal performances.
Sivaji Ganesan was an ageless wonder. If the current generation were to study his career they would emerge completely confused about the chronology of his movies. Would anyone believe if I say that he did Navarathiri, Karnan and Puthiya Paravai in the same year? Or for that matter Thillana Mohanambal and Ooty Varai Uravu? Or again Thiruvarutchelvar and Iru Malargal? And to think that he was just thirty one when he played Kattabomman, the macho Tamil chieftain who dared the British or as the venerable V.O.C just a year later! For him acting was a series of different states of mind and the moment his mood shifted to the latest role on hand, the inner spirit automatically generated the relevant body language and expressions on the exterior. Here was a man whose every cell, every drop of blood, every sinew and muscle could act, thus creating a colossal facade that was much, much more than the sum of all its parts.
Such was the range of his histrionic abilities that he dwarfed all his peers and strode the tinsel world like a towering titan. Bestowed with an imposing demeanour, a powerful screen presence, a resonating voice that could also melt into a cool stream and vibrant eyes housed in a remarkable face, Sivaji was a make-up man's delight and a director's dream.
Sivaji was often accused of over emoting, but then with his bottomless ocean of skill, he could carry on till eternity unless the director bothered to say 'cut'. And few directors had the heart to stop the deluge and often left it to his fans to consume to their fill. In a way such directors did him a dis-service, but Sivaji had also proved that he was capable of 'restraining' himself if the director wanted it that way and movies like Sridhar's Nenjirukkum Varai, Balachander's Yethiroli and Savale Samali stand testimony to this facet of the actor. Sivaji was a gold mine of talent. He could be presented as raw gold, cut to size, polished to taste, made into any kind of jewellery or moulded into any shape. It was wholly upto the director to take his pick. But he was gold all the same, pure and pristine.
Sivaji was a national treasure but was also sadly a victim of regional bias. In a milieu dominated by Hindi film intellectuals who moulded filmi opinion at the national level, Sivaji was deliberately overlooked, though international recognition came his way unsolicited. For them Dilip Kumar and Raj Kapoor were pan Indian icons but Sivaji never figured in their scheme of things just because he hailed from a regional filmdom and spoke a local tongue. And paradoxically for him, in Tamilnadu he suffered because of the reverse effect. While he threw his lot with a national party, he was promptly sidelined owing to the dominance of Dravidian politicians of the sixties, who had appointed themselves as the sole custodians of Tamil. Could there ever be a greater protagonist of Tamil than Sivaji Ganesan or has anyone else enriched and elevated the language as he did, beyond paroachical walls and transcending State borders? Though Sivaji Ganesan brought glory and world attention to the State and his mother tongue, it is also a fact that he was badly let down here. An artiste of international stature was confined to totally local terrain.
All said, Sivaji Ganesan would ever remain the mascot for acting, for admirers and critics alike.
courtesy:
http://govikannan.blogspot.com/2006/...g-post_02.html
An article by famous film critic Randor Guy, on NT
http://sify.com/movies/tamil/fullsto...3273571&vsv=37
Been out of action for sometimes now.
And our Danusu has been working overtime. He out-Joe-ed Joe in collecting links, including my own. Thanks Danusu. I still haven't read some of the links. I'd do so soon.
I owe this thread many posts. Alas, my new job is pretty demanding time-wise.
We need to go back discuss elements in NT's performance. The last time I think we had a lively discussion on NT's on screen anger. We should do that soon. Sorry everybody. I'd be back and post some more (ivan post pannulaa-nu yaar azhutha :D )
:evil: ..No excuse! Come soon and post more :)Quote:
Originally Posted by groucho070
Dear DhanusuQuote:
Originally Posted by DHANUSU
I also watched that programme...
The programme was started with the evergreeen NT number
"Enge Nimmathi" (Puthiya Paravai)
Ho... What a poor knowledge...Quote:
Originally Posted by DHANUSU
Dhanusu, you are 200% correct. Motor Sundaram Pillai was directed by S.S.Balasubramanian (alias) S.S.Balan (alias) Balu, under supervision of his dad Thiru S.S.Vasan. It was released on 26th January 1966. It was produced by Gemeni banner.
But Balu Mahendra became director only in 1980 through a Kannada movie (Kokila) and his first Tamil movie was 'Azhiyatha Kolangal'.
எங்கள் அண்னன் நடிகர் திலகத்தின் புகழ் பாடும் தளம், தன்னுடைய மூன்றாம் பாகத்தை துவங்கியிருப்பது கண்டு மனம் ஆனந்தக் கூத்தாடுகிறது. நிச்சயம் 500 வது பக்கத்தையும் தாண்டும். அவற்றை வெற்றிகரமாக நடத்திச் செல்ல ரசிகக்கண்மணிகள் வந்துகொண்டேயிருக்கிறார்கள்.
இத்தளத்தின் தகவல் களஞ்சியமாக வந்திருக்கும் திரு. தனுஷ், பல்வேறு பூக்களில் இருந்து தேனைச் சேகரித்து ஒரு கூட்டில் கொண்டு வந்து சேர்க்கும் தேனீயாய், சுறு சுறுப்பாக இயங்குகிறார். வாழ்த்துக்கள்.
இரண்டு பாகங்களை அற்புதமாய் கொண்டு சென்ற அருமை சகோதரர்கள்
Joe
Murali Srnivas
S.Balaji
groucho070
tacinema
Usha Sanker
mr_karthik
Jilaba
Nakeeran
Thirumaran
Dhanusu
(விடுபட்டவர்கள் மன்னிக்கவும்)
கூடவே ராமருக்கு உதவிய அணிலாக நானும்
மீண்டும் முழுமூச்சுடன் தங்களின் பங்களிப்பைத் தந்து இந்த மூன்றாம் பாகத்தை விரைவாக நடத்திச் செல்வார்கள் என்று ஆவலுடன் எதிர் நோக்குகிறேன்.
நடிகர் திலகம், தலைமுறைகளைக் கடந்தும் வாழ்வார்.
wow 3rd thread.
starts with a bang with kalakkal pics ! :clap:
Thanks for including my name. But i did not do anything compared to others :oops:Quote:
Originally Posted by saradhaa_sn
Hope i can be a active part in this episode :)
Dear Dhanusu & Jilaba....Quote:
Originally Posted by Jilaba
அந்த கூத்தை ஏன் கேட்கிறீர்கள்.......
1972ல் 'கனிமுத்துப் பாப்பா' என்ற படம் துவங்கப்பட்டபோது ஒரு பத்திரிகை மேதாவித்தனமாக செய்தி வெளியிட்டது.
"இதுவரை குணசித்திர நடிகராக பல படங்களில் நடித்து வந்த முத்துராமன், முதன்முறையாக கனிமுத்து பாப்பா படத்தை இயக்குகிறார். அப்படத்தில் ஜெய்சங்கர், லட்சுமி ஆகியோருடன் படத்தை இயக்கும் முத்துராமனும் நடிக்கிறார்"
உண்மை என்ன தெரியுமா?. அப்படத்தில் இயக்குநராக அறிமுகமானவர் எஸ்.பி.முத்துராமன்.
இதேபோல 1973ல் 'ராணி' பத்திரிகையில் அல்லி பதில் பகுதியில் ஒருவர் கேள்வி கேட்டிருந்தார்.
"கௌரவம் படத்தில் ஒல்லியாக ஒருவர் சிவாஜியின் கார் டிரைவராக நடிக்கிறாரே. யார் அவர்?"
பதில் : "அவர் பெயர் ஒய்.ஜி.மகேந்திரன்" (பதில் சொன்னவர் இதோடு விட்டிருக்கலாம். தன் அரைவேக்காட்டுத்த்னத்தை பறைசாற்ற எண்ணினாரோ என்னமோ, கூட சேர்த்துச்சொன்னார்) "இவர்தான் தங்கப்பதக்கம் படத்துக்கு கதை வசனம் எழுதுகிறார்".
உண்மையில் தங்கப்பதக்கத்துக்கு கதை வசனம் எழுதியவர், இயக்குநர் மகேந்திரன்.
ஆகா... என்ன ஒரு தெளிவு..!!!!.
Nice to see you Saradha Madam.
Ungaluku ivlo thannadakkam vendaam. Unga contribution pathi yellarkum theriyum. Yennoda ore aasai neenga marubadiyum neraiya reviews yezhudanum.
It was so nice to read your reviews in Tamil. Please carry on
Few days back, I was watching Sangili re make of Hindi film Kalicharan * Satruhan Sinha
When Sivaji, who was in jail was shown, after few scenes,
I, for a moment, forgot it was Sivaji and I thought it someone real and
few shades of Satruhan Sinha, came to my mind.
I was dwelled into the storyline-and only later I realised it.
He mesmerised me.
Quote:
Originally Posted by saradhaa_sn
Putting me amidst those name is a joke. I did nothing. And Saradha mdm's contribution. Tremendous.
And everyone else, congratulations for making this thread a big success.
And Saradha mdm and others, we need to continue writing reviews. I promise in a day or two to give one. Hope we can all analyse them movie by movie basis. Joe and now Danusu are doing brilliant job providing links (Joe-vukku rest kodukkuraru). We need more analysis in this thread.
Today I happened to watch last 30 mins of 'Sathyam Sundaram' starring NT ,KRV ,Vijayakumar,Madavi,NaLini kanth,SurLi etc ..Can veterans like Murali sir give more info on this movie? :)
Dear Dhanusu,
Again by your link waves, I could not post in Page 1.(just kidding).I was also watching the Thenkinnam and I started watching it only from Ponal Pogattum and I was wondering whether I missed any other song. Only one, I had missed it seems.
Today morning due to some other job, started late from home to office and saw the first 4-5 songs of todays episode. Two songs were there
1.Itho Endhan Deivam - Bapu
2. Malar Koduthen - Trisoolam.
When I started Sittukuruvi from PP was begining to get telecast. Must watch it in the night. One vignette from Bapu is during the interludes NT would hold Sri's hands and do a circling and then it would be a different shot when he starts singing but still he would studder (when we go round in circles and stop, our body cannot stop and we would find our body studder towards one side). What an observation and enactment. Must watch in the night also.
Saradhaa,
Ellorum sonna piragu naan sonnal adhu formality-yaga irukkum but naan ungalai pona II part-leye varavetru vitten.
Joe,
SS was a remake from Telugu where NT and KRV played the elderly couple role who would go out of the way to help others and they would have a sorrowful flashback. If you could check the post on NT's political innings during 1980 -82, I had mentioned about this movie and some interesting side info involving Sowcar. A 100 day movie, it hit the screen in 1981. Can we expect a review from our fellow fans?
Regards
A letter from an 18-year old boy from Mumbai, mourning the death of NT
O Shivaji!
Sir: A man who arose after a hundred deaths has finally fallen into eternal sleep. One of the most versatile actors of all times, who had played every role a man can ever imagine in the best possible way, has died.
‘V.C. Ganeshan’ was the name with which Shivaji Ganeshan entered films first. One veteran of the Tamil film industry, who saw him play the role of the great Maratha king, Shivaji, pronounced that he can no longer be separated from the name ‘Shivaji’. Hence, just like a saint gets a new name on enlightenment, this thespian got the name, ‘Shivaji Ganeshan’.
From then on, he went on to play a variety of roles from grandson to grandfather, patriot to traitor, hero, villain, comedian, singer, poet, artist, sportsman, a handicapped person, you name it and he has played it. These movies will keep him immortal.
So magnificent was his career that even I, an 18-year-old, born and brought up in Mumbai, cannot stop crying at the thought of his death. His life is, was, and will be an inspiration for every young man who has the power to dream.
— S.G. KRISHNA
On e-mail
courtesy:
http://www.narmada.org/archive/ie/20010725.letter.html
A classic song sequence from an all time classic movie. Watch out
http://www.youtube.com/watch?v=0wSgu5DFN6Q
Naan asainthaal asaiyum agilamellame
http://www.youtube.com/watch?v=iWJGq...elated&search=
Incredible charisma on screen
The passing away of Sivaji Ganesan on July 21, 2001, will remain a dark hour in the history of Tamil cinema. A year has gone by, but the immense talent of the actor will be remembered and revered forever, writes A. V. ASHOK.
Sivaji Ganesan... a complete artiste in every sense.
SIVAJI GANESAN raised an amazing body of work from "Parasakthi" (1952) to "Thanga Padakkam" (1974) that is unequalled in the history of Indian cinema. He was the most gifted actor of our times and a complete artiste in whom voice, diction, looks, face, expression, posture, gesture and presence miraculously combined to create a histrionic charisma of haunting intensity and awesome dignity.
Endowed with a sterling voice that he magically modulated, Sivaji excelled in histrionics of aural splendour that beautifully brought to the fore the glory of the Tamil language.
It is no exaggeration to say that Sivaji's heroic outpouring as Veerapandiya Kattabomman is an integral part of the Tamil cultural psyche. Alongside his enchanting voice, Sivaji was gifted with a malleable face that so naturally accepted any type of moustache and hairstyle and that inflected an infinite range of expressions from royal majesty to rustic simplicity.
Superadded to voice and face was Sivaji's singular gift of mesmerising bodily postures and gestures that he aesthetically used with inventive embellishment in his art of characterisation.
All the intensity, wonder, and dignity of Sivaji's histrionics were in place even in his very first film and in that poignant courtroom "still" deeply etched in the Tamil imagination.
Sivaji scaled a new and brilliant standard of histrionics in the 1960s in a captivating series of films of family melodrama directed by Bhimsingh: "Bagappirivinai", "Padikatha Medhai", "Paava Manippu", "Paasamalar", "Palum Pazhamum", "Paarthal Pasitheerum", "Padithaal Mattum Podhumaa", "Paar Magale Paar" and "Pachai Villaku". Whether it was a patriot like V. O. Chidambaram Pillai or a mythological character like Karnan or a saint like Appar or a monarch like Raja Raja Chozhan or an aristocrat or a middle class householder or a village idiot or even the Lord himself, Sivaji composed manifold portraits of attractive form and soulful depth.
The veteran had a flair for comedy too... with `Thengai' Srinivasan and Nagesh in "Anjal Petti 520".
The simpleton Rangan with a heart of gold in "Padikatha Medhai," the struggling, sacrificing gentleman Raghu in "Nenjirukkum Varai," Lord Siva rescuing the poverty-stricken poet Dharmi with resplendence and rage in "Thiruvilaiyadal," the love-struck brilliant nadhaswaram vidwan Sikkil Shanmugasundaram in "Thillana Mohanambal," the disfigured and disowned son Kannan in "Deiva Magan", Prestige Padmanabhan, the good-hearted Brahmin factory manager heart-broken by family tragedy in "Vietnam Veedu," Saapaturaman, the epileptic village bumpkin in "Raman Ethanai Ramanadi," Rajnikanth, the glamorous and hypersensitive Brahmin barrister stuffed with self-importance in "Gauravam," the long-suffering village elder refreshed by a breeze of love in middle age in "Mudhal Mariyadhai" and the hired suave "foreign"-father in "Once More" are among Sivaji's many unforgettable roles.
It is not so much the staggering range of Sivaji's roles that inspires awe but far more importantly that Sivaji crafted his infinite roles from the inside with uncanny understanding. All the memorable roles of Sivaji are manifestations of one sovereign role: that of a custodian of culture.
With lip-sync of stunning perfection, Sivaji revealed an unattainable dimension of his own, in rendering songs. T. M. Soundararajan's resonant voice and Viswanathan-Ramamoorthy's lilting music also made Sivaji's songs a perennial delight.
Sivaji enacted philosophical songs with gripping seriousness and love songs with vivacious joy. His songs sung as a husband in the company of the wife while musing over an hour of sorrow in the family are deeply moving images of conjugal spirituality. Sivaji was much more than an actor. For an entire generation, he was synonymous with "excellence". Sivaji is the only Indian actor who leaves us awestruck by the stupendous scale of his achievement and makes us curious about the source of his genius.
(The writer is a professor, School of Critical Humanities, Central Institute of English and Foreign Languages, Hyderabad.)
Courtesy
http://hindujobs.com/thehindu/fr/200...1900990600.htm
:thumbsup:Quote:
Originally Posted by DHANUSU
An excellent blow by blow analysis on a particular scene from the epic "Thillana Mohanambal" with visual aids. Dont miss this
http://marathamizhan.blogspot.com/
A good article on NT with links to some more
http://www.rediff.com/news/2001/jul/21siv1.htm
An interesting anecdote involving Kannadasan and NT
http://www.hindu.com/fr/2005/07/01/s...0103810500.htm
Watch some of the memorable scenes/songs enacted by NT
http://movies.sulekha.com/starvideos/promo230.htm
A lion in his own lifetime
Ramanujam Sridhar
``SHOULD we go home?'' asked the father anxiously of his 9-year-old son who was sobbing hysterically in the darkened theatre hall. The theatre (I guess) was Chitra. The film (I am sure) was Pasa Malar and the boy in question (I am certain) was me. Sivaji Ganesan, who for the best part of four decades made eyes moist without batting an eyelid plunged millions into tears when he breathed his last.
It is perhaps not fashionable to proclaim oneself an unabashed admirer of a film maker, particularly a Tamil one at that. But then, one cannot forget the range of emotions which one experienced, first as a growing boy and then as a maturing (?) adult by watching, analysing and discussing the same films over and over again for several years.
It is difficult to pin down the precise nature of Sivaji Ganesan's influence on the post-Independence-born Tamilian. Being one of those, let me put down a few things which we experienced as children and young adults. We most certainly would have been better students had it not been for the great man's films. We bunked class more often than not. Even a theatre in Tambaram (easier to get tickets) was more interesting than the college in Nungambakkam (which, incidentally, was the best college of its time). It was easier to remember Kattabomman's interactions with Jackson, word for word, than it was to remember the theorem of Pythagoras angle to angle.
We all believed that we were elder brothers born to love, protect and sacrifice (for) their younger sisters. We all believed that families are meant to be united (hence joint) and brothers meant to be forgiven when they were in the wrong. We believed (conveniently) that education wasn't everything. We saw likeminded emotional youngsters burn their terylene shirts after being influenced by Kappalottiya Thamizhan. We assumed that Bharati looked like Sivaji Ganesan in Kai Kodutha Deivam.
Yes, we were young, impressionable perhaps gullible even. But, honestly, the actor was a great influence on our lives, perhaps more so in the life of my friend who saw Nenjirukkum Varai 27 times! I think the influence of being a good son, loving brother and a preventer of the disintegration of the joint family was very profound on us. More so in the context of the Chithis and the Vazhkais of today, where people urge their own children to kill, maim or jail their loved ones. Thankfully, we were spared these heinous influences. For however villainous M.R. Radha was, he at least made you smile.
Sivaji Ganesan was good and very often a great actor. Good actors are good because of the things they can tell us without talking. When they are talking, they are the servants of the dramatist. ``It is what they can show the audience when they are not talking that reveals the fine actor,'' said Cedric Hardwicke.
Early in his career, Villupuram Chinnaiah Ganesan came under the influence of arguably the best dramatist of that time, Karunanidhi, whose radical dialogues he brought to life. His dialogue delivery revolutionised the way films were made in the fifties. Films, which had 60 songs suddenly, gave way to films which had six minutes of dialogue delivery in one stretch.
Sivaji (one knows) had a phenomenal capacity to absorb and memorise his lines, which were invariably read out to him. He also had the distressing habit of knowing the lines of his co-actors, sometimes even better than they did, causing embarrassment. In fact, his dialogue delivery showed a whole generation of people how Tamil was to be spoken. Directors cashed in on this and realised perhaps much later that his ability extended beyond mere dialogue delivery. And yet, it is very often the voice of the lion which is at the top of mind when we recall the great man.
Perhaps it' is also important to remember the times Sivaji lived in. This was before teleprompters, slow motion replays and ready availability of DVD cassettes of the best imported films that one could watch time and time again to borrow a look or a gesture. I would see him come on Friday night to Rajakumari theatre in Pondy Bazaar to watch Marlon Brando in The Ugly American. He was a great observer, always seeking inspiration. Rumour has it that barrister Rajnikanth in Gowravam was a famous, pipe-smoking industrialist whom Sivaji had observed and subsequently portrayed, to win hearts, if not awards. In fact, that was a major disappointment for the thespian.
Lesser mortals (and actors) than him won more awards and he found to his chagrin that it was easier to get recognition at Cairo and France than at New Delhi. Such is the way of jurists and politicians. Sivaji faced equal if not greater disappointments in politics where he was marginalised. To cap it all, on the personal front, the travails of his grandson-in-law were perhaps the most difficult of blows to face.
Sivaji was an actor's actor. There was hardly anyone who wasn't influenced by his acting style, whether it was a schoolboy acting as Othello on Parents' Day, an amateur artist mourning his mother's death in a play or unabashed admirers of him such as Sivakumar and Y. G. Mahendran who took pride in aping him.
In fact, it is no exaggeration to say that all Tamil actors found Sivaji's style, mannerisms, range of emotions and dialogue delivery having an influence on them as individuals and actors. A lot of people (myself included) felt that Sivaji had a tendency to overact. Sivaji himself was aware of this criticism and he once said something very relevant. He said Tamilians in particular and Indians in general were warm, effusive, expressive of emotions, prone to laugh loudly and sob openly at funerals. Even the men. Not stiff upper lip like the British who ruled us but open, sunny, emotional, like the Italians. Perhaps the actor knew the pulse of the audience. He knew his consumer.
`I am not a poet' is a famous line from a song in a Sivaji Ganesan starrer, Padithal Mattum Podhuma. It needs a poet of Kannadasan's stature to pay tribute to the lion-hearted actor who perhaps missed out in not venturing on to the small screen. But his contribution to Tamil cinema and life is not a small one. He leaves behind a race that is devastated and only just realising the value of the great actor who had made them laugh, made them cry and made them feel. Today every Tamilian feels the void.
(Ramanujam Sridhar is CEO, brand.comm, a communications consultancy.)
Thanks
http://www.hinduonnet.com/businessli...s/183044sa.htm
Sivaji: The legend lives on
N. Ramakrishnan
CHENNAI, July 23
THERE was this day in the late 1980s when Sivaji Ganesan was active in politics. He had called for a press conference in the office of the party he was heading and just a handful of reporters had turned up. Being used to seeing the veteran actor on the screen, it was the first exposure for the rookie journalist to see the actor in person.
The press conference itself did not merit more than a couple of paragraphs the next day, but the journalist left the conference dazed. All along used to seeing the Sivaji emote on screen, the journalist got a chance to see first-hand the various facial expressions of the thespian -- a frown here when he did not agree with a point made by one of the journalists, a deep laugh when the question was a trifle uncomfortable or downright humble when the actor-politician wanted to evade a direct reply.
On another occasion, Sivaji had come to pay homage to a former chief minister of Tamil Nadu. He stepped down from his car clad in a starched dhoti and shirt, stubbed the cigarette he was smoking and the next minute had tears streaming down his expressive face. The assembled journalists were stunned. Here was a man who till a minute ago was perfectly composed and was smoking a cigarette and now here he was looking grief-stricken.
That was perhaps the hallmark of Sivaji and what made him dominate the Tamil movie scene the way he did. Contemporaries, admirers and critics alike use adjectives like a colossus, a walking university and what not. None of them perhaps did full justice to the great artiste, who breathed his last on July 21.
The septuagenarian actor had not been keeping well for sometime. However, the news of his death in a private hospital still came as a shock to millions of his fans and admirers. For one, the perennially faction-riven Tamil film industry got together to pay homage to an actor who had done all kinds of roles -- the young man angry at society's cruelty, the charming hero wooing his heroine, the savant, the Hindu God, the musician and the role of a father in his last few movies.
Born V.C. Ganesan, the title Sivaji was conferred on him after his role as the Maratha chieftain. Since then, Tamil film buffs knew and referred to him only as Sivaji.
Sivaji graduated to the screen from the stage, and that probably explains his powerful delivery of dialogues. His first film, the story and dialogues for which were penned by his friend and politician, Mr M. Karunanidhi, shot Sivaji into the limelight. In Parasakthi, through his fiery delivery of the dialogues, a trenchant criticism of society, Sivaji made his mark. There were any number of roles he donned, and film industry personnel never tired of how he lived the roles he played.
Despite all the success he enjoyed on the silver screen, success eluded the veteran actor in another role he played -- as a politician, this one in real life. This was quite in contrast to his contemporary, M.G. Ramachandran, who was Chief Minister of Tamil Nadu for a decade and would have continued for longer but for his illness and death in 1987. Sivaji, a staunch follower of Kamaraj, was for long in the Congress, later the Congress (I) and even floated his own political outfit. He was a member of the Rajya Sabha, but that was as far as he would go in politics.
An actor who played out his life in full, the lasting tribute was thousands of his fans and admirers lining the streets of Chennai as the funeral procession wended its way to the crematorium. V.C. Ganesan may have died, but the legend of Sivaji is sure to live on.
Pic.: THE LAST JOURNEY: A grief-stricken Prabhu, son of Sivaji Ganesan, sits on the cortege along with actors, Rajnikanth, Kamal Hassan and music director, Ilayaraja.
Picture by Shaju John
Thanks
http://www.hinduonnet.com/businessli...s/18244401.htm
Tributes to the legend
http://www.chennaionline.com/article...Sivaji+Ganesan