Paasa Malar for Human Values

[JamesFague]

Great news. Expecting Mr Rajasekar to rock in BO.

[adiram]

In this era of erratic human relationships, loss of passions, keeping a busybee life.... Pasamalar will be a relief to help resume human relationships.

All NT-Bimsingh combined movies are superb in showcasing family relationship.

Padhibakthi,
Bagappirivinai
Padikkatha Medhai
Paava Mannippu
Padiththaal Mattum Podhuma
Pachai Vilakku etc are excelled in potraying family relationship.

In my openion Paasamalar and Paalum Pazhamum are lesser in that line. Paasamalar is just about brither - sister attachment and Paalum Pazhamum in seperate way.

[eehaiupehazij]

dear adiram sir. Paasamalar is not only a tearjerker but also a right mix of entertainment too thanks to Thangavelu. Also, fot NT, the stiff acting competition is from GG and Savithri with their neat portrayal and characterization that helps boost the acting prowess of NT frame by frame. Paasamalar is a unique never before never again movie as far the brother-sister relationship is concerned and remains the bench mark for comparison of any other movie of the same genre. Though B/W the movie is very effective to make one get involved and go along with NT sharing his pains till the end. NT has shown remarkably the character changes from an innocent worker to an aristocratic rich boss with a heavy head but a soft centered steel with his sister. We await the arrival of our Rajasekaran with his famous pose engraved in my heart forever.

[JamesFague]

The movie is highly enjoyable even now. Without any
boring scene. NT rocks frame by frame.

[eehaiupehazij]

Paasamalar is eagerly awaited. This time without much fanfare, as VM has taught us some lessons? Now, can we think of converting NT's b/w classics in to color versions like Mughal-e-azam and Maaya Bazaar telugu? Our Sivaji Peravai and other ardent NT followers have to throw attention on this because Mughal-e-azam color version has been so impressive even in the old technicolor pattern. Uththama Puththiran, Paasa Malar, Paalum Pazhamum, Uyarndha Manithan, Pattikkaadaa Pattanamaa, Thookkuth Thookki, Thangappadumai, Parasakthi, Aalaya Mani, Deiva Magan, Pale Paandia, Navarathiri, all these are memorable for their story content and the multi-dimensional acting of NT. It is pleasing to imagine or dream these in color whenever I see them on TV or DVD. Or as an experimental trial, one or two scences or songs of Paaasa Malar during this rerelease can be converted to color?

[adiram]

Paasamalar ?. to be converted to color..?.. why..?.

In what way the color will promote Pasamalar..?.

Are you weighing Mugal-e-azam and Paasamalar in same scale..?.

What is the use of converting Pattikkada Pattanama to color..?. It will be nothing but another Savale Samaali.

For that better re-release Savale Samaali in brand new print.

The make-up of Dheiva Magan, Babu etc are suitable only for black and white.

By the way, who is ready now to convert NT's b & w movies in to color..?.

[mahendra raj]

Dear Mr, Raghavendra,

Thanks for reproducing an almost exhaustive write-up of Pasa Malar by Mohan Rangan.

However, please permit me to comment on the omissions of Kaviarasar Kannadhasan, M.R. Santhaanam and Sugumari in the credits. Kaviarasar's lyrics contributed a great deal to the colossal success of Pasa Malar. In fact, Shivaji hosted a grand party especially for Kannadhasan for writing the immortal songs for this film. He publicly announced to all and sundry present there with these words "kavingan endraal nee thaanda kavingnan'. Thereafter he embraced him and all earlier animosity between the both of them ended instantly. Although he had written earlier for 'Bhaga Pirivinai' and 'Paalum Pazhamum' (1959/1961) they were not on speaking terms due to certain political issues.

M.R. Santhaanam too played his role well as the father-in-law of K.A. Thangavelu. By the way, was he the same Santhaanam who tutored Shivaji during his earlier drama troupe days?

Who can ever forget the ubiquitous wedding song 'Vaarai En Thozhi Vaaraiyo' mimed by Sugumari? Although she appeared for this song scene only nevertheless she had made an impressive mark with her excellent dance and teasing movements. She was recognized as an artiste to reckon with after this song. Even L.R. Easwari who sang it shot to immediate fame. The lyrics in this song ('malaaratha pennum malarum')were initially not approved by the Censor Board as it was deemed too vulgar. After much explanation as to the literary meaning in the song's context to the Censor Board was it reluctantly given the go-ahead. By the way, did Bhimsing marry Sugumari after this film?

There is one split-second scene which went unnoticed in the song 'Mayangigiraal Oru Maathu' but worth mentioning for its novelty. Halfway through the song Shivaji blushingly turns the photo frame of Gemini Ganesh (playing the sitar) and Savithri and it happens to be a still taken for this song itself!

Pagoda Kader's maiden venture as a small and chubby-looking errand boy.

Baby Padmini's maiden appearance too as the child Savithri.

Aroordass mentioned in his book that Shivaji did not mind the importance given to extra dialogues written for Gemini as it portrayed the former (Shivaji) negatively.

Was this Rajamoney Pictures the fore-runner to Shivaji Films?

Bro. Raghavendra your valuable comments to the above will be appreciated. Thanks.




Date of Posting: 16.06.2008
Link for the Post: http://www.mayyam.com/talk/showthrea...l=1#post304273

Thank you Rangan[/QUOTE]

[Georgevob]

[QUOTE=mahendra raj;1043477]Dear Mr, Raghavendra,



Aroordass mentioned in his book that Shivaji did not mind the importance given to extra dialogues written for Gemini as it portrayed the former (Shivaji) negatively.


Dear Mr.Mahendra Raj,

Am sorry to intervene to a question that you asked to Mr.Raghavender.

The one that Mr.Aroordhas mentioned was true to a large extent. Nadigar Thilagam never believes in controlling the performances of any talented artist. Infact, his films, if you notice will have all dominating artists who are highly capable of stealing the scene if left for a second. His films will have Sri.SVRangarao, Sri.MR Radha, Sri.Balayya, Sri.Geminiganesan, Smt.Savithri, Mr.Thangavelu, etc., all in one film. Nadigar Thilagam is a Director's Artist. He doesn't believe in making anyone Dummy in his film in the name of giving opportunity. If you see Karnan, even, the small boy Master.Sridhar would have given free hands to perform similarly, the son of Karna will equally chant fierry dialogue before the war headed by Karna starts....Many directors or yesteryear or thereafter, had said in many interviews that Nadigar Thilagam will not leave the set even if his portion gets completed. He will wait till the shoot completes and packs up for the day. Even if other artists leave once the shot was over and if Nadigar Thilagam was present, He would stop them and suggest to wait till everything completes because only then they could react for the act of the rest of the scenes...! Such was his commitment and dedication !
Nadigar Thilagam was able to grow and reach heights that others could not even dream of only because of this nature. !

[mahendra raj]

[QUOTE=Sowrirajann Sri;1043539]

Dear Mr, Raghavendra,



Aroordass mentioned in his book that Shivaji did not mind the importance given to extra dialogues written for Gemini as it portrayed the former (Shivaji) negatively.


Dear Mr.Mahendra Raj,

Am sorry to intervene to a question that you asked to Mr.Raghavender.

The one that Mr.Aroordhas mentioned was true to a large extent. Nadigar Thilagam never believes in controlling the performances of any talented artist. Infact, his films, if you notice will have all dominating artists who are highly capable of stealing the scene if left for a second. His films will have Sri.SVRangarao, Sri.MR Radha, Sri.Balayya, Sri.Geminiganesan, Smt.Savithri, Mr.Thangavelu, etc., all in one film. Nadigar Thilagam is a Director's Artist. He doesn't believe in making anyone Dummy in his film in the name of giving opportunity. If you see Karnan, even, the small boy Master.Sridhar would have given free hands to perform similarly, the son of Karna will equally chant fierry dialogue before the war headed by Karna starts....Many directors or yesteryear or thereafter, had said in many interviews that Nadigar Thilagam will not leave the set even if his portion gets completed. He will wait till the shoot completes and packs up for the day. Even if other artists leave once the shot was over and if Nadigar Thilagam was present, He would stop them and suggest to wait till everything completes because only then they could react for the act of the rest of the scenes...! Such was his commitment and dedication !
Nadigar Thilagam was able to grow and reach heights that others could not even dream of only because of this nature. !

Dear Sowrirajann Sri,

Thanks for the reply and I fully agree with you that Shivaji rarely interferes with the work or role of others. On the other hand he was known to guide his co-artistes with the nuances and finer points of acting especially if it is a continuity shot. This he used to do voluntarily for the sake of the films' success.

What I wanted to point out is the fact that 'Pasamalar' was Shivaji's own production and naturally prominence has to be given to the protagonist and not to the secondary role of Gemini Ganesh. As the film was progressing it was realized that Gemini Ganesh had more 'heroic' dialogues than Shivaji who was unwittingly relegated to a villainous role. That was the issue.

Shivaji confined mostly to his acting business unlike MGR who was involved in almost all the technical aspects. Both had a common aim -to bring out the best in the interest of viewers, albeit in their respective skills.

[Georgevob]

[QUOTE=mahendra raj;1043887]

Dear Sowrirajann Sri,



Shivaji confined mostly to his acting business unlike MGR who was involved in almost all the technical aspects. Both had a common aim -to bring out the best in the interest of viewers, albeit in their respective skills.

Dear Mr.Mahendraraj,

Often we find this comment from many of them. Seldom they know that every actor involves in almost all technical aspects to a permissiable limit and not DOMINATE the other departments and its head. In case of Nadigar Thilagam, if you notice, the number of films that he had to accommodate was Double when compared.

His films will not have the same storyline...You will see ....PachaiVillakku, Karnan, Annai Illam, on one hand....While Raja, Gnanaoli, Pattikaada Pattanama, VasanthaMaaligai on the otherside...

Every film of his will have different characterisation, makeup, mannerism, shooting spot etc., And he was working at about 3 shifts in 24 hours which is close to 20 hours..

Had he involved to the extent of domination like Legend Mr.MGR in all the departments, his films would have got affected thereby incurring wastage of time ..and TIME is Money..! But, had he done that, he would have ruled the world.... ! That's for sure...That doesnt mean he did not do it...Up to a level he did involve...not thorough..which is not expected out of an actor who gets paid for his performance .....and anyways, technicians jambavans are there already to take care of that...Why to poke nose unwantedly.