Nadigar Thilagam Sivaji Ganesan Part 12

[chinnakkannan]

//தன்னலம் இல்லா மனிதர்கள் பிறப்பார்
ஆயிரத்தில் ஒரு நாளே // இப்போ நாளும் ஜாஸ்தி ஆகிட்டது. ம்ம் நல்ல பாட்டு..டாங்க்ஸ் ரவி..

[uvausan]

Repeat posting
கேட்டவைகளில் பிடித்தது -14
படம் : லக்ஷ்மி கல்யாணம்
theme : It is a long journey between human being and being human
ஒரு அருமையான எந்த காலத்திற்கும் பொருந்த கூடிய பாடல்



யாரடா மனிதன் இங்கே - கூட்டிவா அவனை இங்கே
இறைவன் படைப்பில் குரங்குதான் மீதி இங்கே

யாரடா மனிதன் இங்கே - கூட்டிவா அவனை இங்கே
இறைவன் படைப்பில் குரங்குதான் மீதி இங்கே

மனிதரில் நாய்கள் உண்டு , மனதினில் நரிகள் உண்டு
பார்வையில் புலிகள் உண்டு , பழக்கத்தில் பாம்பும் உண்டு

நாயும் , நரியும் புலியும் ,பாம்பும் வாழும் பூமியிலே
மானம் , பண்பு ,ஞானம் கொண்ட மனிதனை காணவில்லை

யாரடா மனிதன் இங்கே - கூட்டிவா அவனை இங்கே
இறைவன் படைப்பில் குரங்குதான் மீதி இங்கே


சிரிப்பினில் மனிதன் இல்லை , அழுகையில் மனிதன் இல்லை
உள்ளத்தில் மனிதன் இல்லை - உறக்கத்துள் மனிதன் உண்டு

வாழும் மிருகம் தூங்கும் தெய்வம் , நடுவே மனிதனடா
எங்கோ ஒருவன் இருந்தால் அவனை உலகம் வணங்குமடா

யாரடா மனிதன் இங்கே - கூட்டிவா அவனை இங்கே
இறைவன் படைப்பில் குரங்குதான் மீதி இங்கே

[uvausan]

கேட்டவைகளில் பிடித்தது -15
படம் : பராசக்தி
Theme : Together we can succeed - there is no 'I" in a TEAM


கா கா கா கா கா கா ஆகாரம் உண்ண எல்லோரும் ஒன்றாக அன்போடு ஓடிவாங்க என்ற அனுபவப் பொருள் விளங்க – அந்த அனுபவப் பொருள் விளங்க – காக்கை அண்ணாவே நீங்க அழகான வாயால் பண்ணாகப் பாடுறீங்க அண்ணாவே நீங்க அழகான வாயால் பண்ணாகப் பாடுறீங்க – காக்காவென ஒண்ணாகக் கூடுறீங்க – வாங்க கா கா கா


எச்சிலை தனிலே எரியும் சோத்துக்கு பிச்சைக்காரர் சண்டை ரோட்டிலே பிச்சைக்காரர் சண்டை ரோட்டிலே ..ஏ எச்சிலை தனிலே எரியும் சோத்துக்கு பிச்சைக்காரர் சண்டை ரோட்டிலே இளைத்தவன் வலுத்தவன் இனச்சண்டை பணச்சண்டை இளைத்தவன் வலுத்தவன் இனச்சண்டை பணச்சண்டை எத்தனனையோ இந்த நாட்டிலே எத்தனையோ இந்த நாட்டிலே பட்சி ஜாதி நீங்க எங்க பகுத்தறிவாளரப் பாக்காதீங்க பட்சி ஜாதி நீங்க எங்க பகுத்தறிவாளரப் பாக்காதீங்க பட்சமா இருங்க பகுந்துண்டு வாழுங்க பழக்கத்த மாத்தாதீங்க – எங்கே பாடுங்க கா கா கா

சாப்பாடில்லாமே தவிக்குதுங்க ஜனங் கூப்பாடு போட்டு மனம் குமுறுதுங்க சாப்பாடில்லாமே தவிக்குதுங்க ஜனங் கூப்பாடு போட்டு மனம் குமுறுதுங்க – உயிர் காப்பாத்தக் கஞ்சித் தண்ணி ஊத்துங்க என்றால் தாப்பாளப் போடுறாங்க பாருங்க – உயிர் காப்பாத்தக் கஞ்சித் தண்ணி ஊத்துங்க என்றால் தாப்பாளப் போடுறாங்க பாருங்க அந்த சண்டாளர் ஏங்கவே தன்னலமும் நீங்கவே தாரணி மீதிலே பாடுங்க – பாடும் கா கா கா




தொடரும்

[KCSHEKAR]

பார்த்ததில் பிடித்தது -26
இந்த பதிவில் நாம் பார்க்க போகும் படம் 1993 ல் வந்த கல்யாணியின் கணவன் . நடிகர் திலகம் , mr ராதா , ரங்கா ராவ் , சரோஜா தேவி , ராமசந்திரன் என்று பெரும் ஜாம்பவான்கள் நடித்து பக்ஷிராஜா ஸ்டுடியோஸ் தயாரித்த படம்

டியர் ராகுல்ராம்,

நான் நீண்ட நாளாகப் பார்க்கவேண்டும் என்று எண்ணியிருந்தபோது, முரசு சேனலில் திரையிடப்பட்டபோது பார்த்தேன். மீண்டும் சில நாட்களிலேயே sun life லும் பார்த்தேன். அலுப்பு தட்டாமல் இருந்தது - அதனால்தான் சில நாட்களிலேயே repeat ஆக பார்க்கமுடிந்தது.

[sivaa]

திருப்புமுனை திரைப்படங்கள்(சினிமா எக்ஸ்பிரஸ்)

[sivaa]

[chinnakkannan]

*
கல்யாணியின் கணவன் வெகு நாட்களுக்கு முன்னால் பார்த்தது..கொஞ்சம் புகையாகத் தான் நினைவில்..ஆனால் இளமை துள்ளும் சிவாஜி மிகப்பிடித்திருந்தது..கூடவே அன்யூஷுவலாக சர்ரோஜா தேவி கொஞ்சம் கூடுதல் அழகாயிருந்தார்..ம்ம் எ.ரா.ச ஒ. ச பாட்டும் எனக்குப் பிடிக்கும்.. பாடல் பிக்சரைஷேஷன்.. ந.தியின் ரொமாண்டிக் நடிப்பு மிக நன்று..(மறுபடி பார்க்க வேண்டும்)

இப்போ பால குமாரனின் நாவல் – தலையணைப்பூக்களில் ஒரு சிறு பகுதி (ஆரம்பிச்சுட்டான்யா) ( டைவர்ட் பண்ணுகிறேன் என்று எண்ண வேண்டாம்..ந.தி base..அவர் பாடலின் அழகைப் பற்றிச் சொல்வதற்காகத் தான் இது.. தவறாக இருந்தால் எடுத்து விடலாம்)


**

“ஆமாண்டி தாயி.. உனக்குக் கொழந்தை பொறந்தா என் பையன் நடராஜூக்கு சந்தோஷம்..அவனுக்கு ஒரு சந்தோஷம் நா எனக்கும் தான்”

“மாறவே மாட்டேளா”

“நீ மாறப் போற பாரு..என்னை மாதிரி எல்லாரையும் எல்லாவிதமாகவும் சந்தோஷப்படுத்த முடியாது பெண்ணே.. உன் காரியத்தை நீ ஒழுங்கா செஞ்சா போறும்..உன் காரியம் என்ன புருஷ்னைச் சீராட்டறது..அவன் மேம்மேல வளரதட்டிக் கொடுக்கறது..அவன் வந்து இளைப்பாற இடம் கொடுக்கறது..அவன் பொறுப்புக்கு குழந்தைகள் பெத்துத் தரது..”

“அப்ப என் சந்தோஷம்கறது

“இது பண்ண பண்ண சுத்தி சுத்தி வருவான் எந்தப் புருஷனும் புர்ஷன் தன்னைசுத்தி வர்றதை விட பெண்டாட்டிக்கு சந்தோஷம் உண்டா..அதைவிட கர்வம் உண்டா..

அடித்துபோட்டாற்போல் மருமகள் அமர்ந்திருக்க மாமனார் பேசினார்..

“உன் கல்யாணத்துல நான் ஒருகோடி மங்களம் ஒரு கோடி இருந்தோம்.. நடராஜூ தாலிகட்டி முடிச்சதும் பளிச்சுனு இவளுக்கு அழுகை வந்துடுச்சு..அந்தக் கோடிலருந்து ஒரு பார்வை கண்ல ஜலம் வழிய பார்த்தா.. எனக்கும் கண்ல ஜலம் பொங்கிடுத்து..பதிமூணு வயசுல இவ கையைப் பிடிச்சது ஐம்பத்தொமப்து வயசுல அஞ்சு குழ்ந்தைகள் பெத்து ஒண்ணை வாரிக் கொடுத்து நாலுக்குக் கல்யாணம் பண்ணி நான் மறுபடி நிமிர்ந்து நிக்கறேன்னா ..எனது கடமை முடிஞ்சதுன்னு நிம்மதி வரதுக்கு.. யார் காரணம் இந்தப் பொம்மனாட்டி யல்லவா.. நாப்பத்தாறு வருஷக் குடித்தனத்துக்கு இவள் பொறுப்பில்லையா..இவ இல்லாத இது நடந்திருக்குமா.. இது நாங்க பேசிக்கவேயில்லை அனிதா பார்த்துண்டோம்..”

அனிதா சுருண்டு மாமியார் மடியில் விழுந்தது..அம்மா ஐலவ்யூ எனச் சொன்னது..
**

இதையேதான் கல்யாணியின் கணவன் பாடலில் வருகிறது..அது என்னவென்றால்

உருவத்திலே இளமை சென்று முதுமை வந்தாலும் நம்
உள்ளத்திலே முதுமை சென்று இளமை உண்டாகும்..

வெகு அழகான வரிகள்.. அழகான ஜோடி பாட மனதில் பதிவதில் ஆச்சர்யமென்ன..

*

இனி முழுப்பாடல்: (வீடியோவில் கேட்டு டைப்படித்தேன்.)

*
எனது ராஜ சபையிலே ஒரே சங்கீதம் – அதில்
இரவுபகல் தூக்கமில்லை ஒரே சந்தோஷம்

மனதில் ஒரு களங்கமில்லை ஒரே கொண்டாட்டம் அதில்
மைவிழியாள் பாடுகிறாள் காதல் வண்டாட்டம்..

இந்த முகம் எனது வானின் சந்திரனன்றோ இதழ்
எடுத்துச் சொல்லும் வார்த்தை எந்தன் மந்திரம் அன்றோ

இந்த முகம் எனது கோவில் கோபுரமன்றோ..இது
எனது நெஞ்சில் மெத்தையிட்ட தாமரையன்றோ..

காதல் என்ற கடலினில் நீ தோணியல்லவா

என்னைக் கை கொடுத்துக் காக்க வந்த ஞானியல்லவா
ஜாதி மலர்ப் புன்னகை என் வேதமல்லவா

அதில் சத்தமிடும் உனது இதழ் நாதமல்லவா

பருவகாலம் மாறும் போதும் மாறுவதில்லை அது
பனியென்றாலும் மழையென்றாலும் வாடுவதில்லை..
உருவத்திலே இளமை சென்று முதுமை வந்தாலும் நம்
உள்ளத்திலே முதுமை சென்று இளமை உண்டாகும்..

**

ம்ம் நன்றி ராகுல் ராம் ரவி..

[Murali Srinivas]

சிவா சார்,

நான் உங்களுக்கு புரியும்படியாக தெளிவாக எழுதவில்லை என்று நினைக்கிறேன். நமது இந்த மய்யம் இணையதளத்தில் ஜீவ் என்ற id-யில் பதிவிடும் நண்பர் ஒருவர் இருக்கிறார். இலங்கையை சேர்ந்தவர். நடிகர் திலகத்தின் ரசிகர். நமது திரியில் இலங்கையில் நமது படங்கள் ஓடிய விவரங்கள் பற்றிய பதிவுகள் வரும்போது அவற்றில் ஏதேனும் பிழைகள் இருப்பின் அவற்றை சுட்டிக் காட்டுவார். அண்மையில் கூட எம்ஜிஆர் அவர்கள் திரியில் நண்பர் வினோத் பதிவிறக்கம் செய்திருந்த திரை உலகம் பத்திரிக்கையில் வந்த சிவாஜி எம்ஜிஆர் படங்கள் இலங்கையில் ஓடிய நாட்கள் பற்றிய பிழைகளை சுட்டிக் காட்டி அந்த படங்கள் ஓடிய சரியான நாட்களை குறிப்பிட்டிருந்தார். அதற்கு பதிலளித்த நண்பர் வினோத் அவர்கள் திரை உலகம் ஒரு பக்க சார்புடையதுதான். ஆயினும் ஜீவ் அவர்கள் சொல்வதற்கும் பத்திரிக்கை விளம்பர ஆதாரங்கள் இல்லையே என்று சொல்லியிருந்தார்.

அப்படி சொல்லிய அவர், நீங்கள் இருவரின் படங்களையும் ஒப்பிட்டு நமது திரியில் பதிவிட்ட போது நீங்கள் (அதாவது சிவா) சொல்லுவதற்கெல்லாம் ஆதாரம் இருக்கிறதா என்றும் கேள்வி எழுப்பியிருந்தார். அந்த கேள்வி அடங்கிய பதிவு அவர்கள் திரியில் வந்திருந்தது. அந்த கேள்விக்குதான் நான் சிவா அவர்கள் குறிப்பிடும் தகவல்கள் பிழையாக இருக்கும் பட்சத்தில் ஜீவ அவர்கள் அதை சுட்டிக் காட்டியிருப்பார் என குறிப்பிட்டேன். நான் எழுதிய விதம் உங்களை சற்று குழப்பி விட்டது என நினைக்கிறேன்.

அது போன்றே தவறான தகவல்கள் "தருவதை" என்று நான் எழுதியிருந்தது யாரைப் பற்றி என்றால் அப்படி தவறான தகவல்களை அன்றும் இன்றும் கொடுத்துக் கொண்டிருப்பவர்களை பற்றிதான். அதற்குத்தான் சில உதாரணங்களையும் குறிப்பிட்டேன். என் பதிவால் ஏற்பட்ட குழப்பங்கள் இந்த விளக்கத்தின் மூலமாக விலகியிருக்கும் என்ற நம்பிக்கையில்

அன்புடன்

[Murali Srinivas]

Sivaji Season - Song No 4 posted in Paadalgal Palavitham thread. Reproduced here for people who had not seen the other thread.


SIVAJI SEASON - SONG 4

அந்த நாள் ஞாபகம்

UYARNDHA MANIDHAN

Acknowledgement

1. Mr.AVM.Saravanan – who was kind enough to share his experience about this movie and song

2. Mr.Mohanram – again the bridge who helped me not only to get the vital information from Saravanan but also kind enough to share his very personal moment with me and permitting me to write the same.

3. AVM – 60 – Cinema – Book by AVM.Saravanan

4. Mellisai Mannar M.S.V – Book by Rani Maindhan

5. Various film magazines of Yesteryears

6. NAANUM INTHA NOOTRAANDUM by Valee

7. ITHU RAJAPPATTAI ALLA by Sivakumar

8. Oru Kuyilin Vaazjkai Sangeetham by Kavitha Albert

Dedication:

Fellow hubber Rajesh – a dedicated fan of Vaalee.

Introduction

The 125th movie of NT that gave the evergreen song Andha Naal Gnaabagam. The movie that saw the combination of AVM – NT- Krishnan Panchu joining together after Parasakthi. The movie that brought the first national award for the music queen P.Susheela. A song in which Vaalee proved that he too can give a hit in the combination of NT like Kannadasan. Let us go back in history to savour that Andha Naal Gnabagam.

Starting of the Movie

It was in 1966. AVM had offices in all metros as they were actively into Hindi films production. The person who was taking care of the Calcutta office was Mr.V.A.P.Iyer. He used to regularly interact with Saravanan and during one such call he told about a Bengali movie that was running successfully in Calcutta. He was telling Saravanan that the movie has a good storyline and if made in Tamil, it is bound to be a success. On hearing this, AVM brothers went to Calcutta and saw the movie “ Uttar Purush”. They liked it and got a print of the same. AV. Meiyyappa Chettiar also liked it.

During those days Javer Seetharaman was a part of AVM Story Department. So Javer was assigned to write the screenplay and was asked to make suitable changes keeping in mind the taste of Tamil audience. The discussions took place and the screenplay was nicely shaping up.

Till that time AVM had not given a thought about the star cast. They had only decided to put Krishnan Panchu in charge of direction. So when the screenplay was nearing completion, they started discussing about the star cast and everybody involved said in one voice that NT should play the lead role. But there was one problem.

FLASHBACKS

During that time AVM was not in good terms with NT. There was a misunderstanding between them. After Paarthaal Pasi Theerum that came in 1962, NT had not acted in AVM movies.

AVM co-produced Pachhai Vilakku in 1964 along with Vel Films but since Bheemsingh was the director of that movie, the differences didn’t come to the fore. So with this background, Saravanan had a hesitation to approach NT. He told about his dilemma to his father and AVM Chettiar asked Saravanan to go and meet NT and sort out the issue. Kumaran, Saravanan and Murugan (the eldest brother of Saravanan) went and met NT at his Annai Illam.

During that period NT had suffered an attack of typhoid and was taking rest. After enquiring about his health, Saravanan broke the ice by broaching the subject and asking NT to act. NT always held AVM in high esteem and he didn’t even talk about the differences. He said that he would do the movie. He told them that once he recoups, he would watch the original. He did not even talk about his salary and told that his brother Shanmugam would come to AVM office. Shanmugam informed Saravanan that NT would accept whatever salary was offered to him. But AVM decided to give him the market rate that he was getting for other movies.

NT fully recovered from the illness saw the Bengali movie. Afterwards, he told Saravanan that the movie is not so great and he felt that the lead character didn’t have much scope for his acting. If at all AVM wants to do the movie, he would act in the guest role of the friend, the Doctor character who is a close confidant of the hero. NT even suggested that they could announce that he (NT) is playing a “guest role” and he also gave them the freedom to choose any hero for the lead character. But Saravanan did not accept and he spent hours and days to convince NT. Then NT asked Saravanan about the Doctor character and Saravanan replied that they had sounded Asokan for the role. This was another shock for NT. That was the time when NT and Asokan were not in good terms.

TWO CONFLICTS

Both NT and Asokan belonged to Tiruchy district and everything was going fine between them. Asokan did act very much earlier in a small role in Ethirpaarathathu. Then he acted with NT in Padikkadha Medhai, and when Banthalu cast Asokan as Duriyodhana in Karnan, NT had no objection. They continued to act together in Aandavan Kattalai, Muradan Muthu and Kandhan Karunai. But that period (post 1962) saw the polarization of fans and the rivalry between NT and MGR was growing day by day. This had its reflection not only among fans but inside the cine field also. Artists who were regularly acting with NT/MGR were branded as persons belonging to either units and they were not considered for the films from the opposite side (the only exceptions were the performing artists like MSV, TMS, PS and KVM).

So Asokan was perceived to be of MGR unit. To make matters worse, it was rumoured that Asokan spoke ill of NT during election campaigns. Here Saravanan was a very close friend of Asokan and he had earmarked this role for him. NT respected Saravanan’s decision and asked him to proceed with Asokan. NT always looked for the betterment of the cinema he acted in and he never thrust his personal wishes on others. Another example other than this is Iru Malargal again involving Asokan. The director AC Tirulokachander was a very good friend of Asokan and when he wanted Asokan to act the School correspondent role, NT gave his nod.

On his part Asokan was also apprehensive about acting with NT but Saravanan persuaded him to accept. Now came the next shock for NT. Till that time he was not aware that Krishnan Panchu were going to direct the movie. On hearing this NT told Saravanan that it would be difficult for him to act under KP and especially he had problems with Panchu. Again the problem dated back to 1963. Rajamani Pictures after the all time classic Paasa Malar had started their next movie Kungumam and KP were assigned the direction of the movie. The film (as many of the readers here would be aware) was planned as a different movie as far as storyline was concerned. It had a racy story in the form of a thriller. NT donned different get ups in the movie that included a lady get up (the only movie NT appeared in a woman get up though he had enacted so many lady characters on stage).

Again it had a multi star cast with NT, SSR, Rangarao, Saradha (debut) and Vijayakumari. Shooting was completed and film was sent for censorship. Having completed the movie, NT left for Jaipur to take part in the 2 month long schedule of Karnan. Kungumam ran into censor issues. The story had one twist, which the censor board felt degraded a highly sensitive family relationship. They wanted the said portions to be cut and the director duo of KP could not convince the board members. The cuts were implemented. Now the film lacked continuity and people who saw it were confused. The only option available was to re shoot the modified sequences that were cut. But NT had already started working for Karnan and it was impossible for him to break that schedule because Banthalu would incur huge loss. NT informed that only after that outdoor schedule was over, he could come. But the problem was the other stars like Rangarao, SSR etc were all busy and to pool everybody’s call sheets together was a Herculean task. So KP had no other go but to release the movie as such. They tried to edit the movie to their best of their ability but still the jumps would show. This resulted in the movie failing to perform in the Box office. (It is another matter that Kungumam, with some of the best songs and emotional performance of NT during its subsequent re release did excellent business). KP and in particular Panchu felt bad about this and it is rumoured that he voiced his displeasure in open. The NT camp was upset it seems and they felt it was not the fault of NT. They explained that it was their own production and asked whether anybody would sabotage their own product? It was purely due to unavoidable circumstances, they said. The irony is NT for the sake of Banthulu had gone out of the way to help him even at the cost of antagonising Krishnan Panchu the directors who introduced him but Banthulu forgetting all the gratitude shown by NT switched over to the other camp just because his movie was not declared as the 100th movie.

With this background in mind, NT voiced his concern to Saravanan and again Saravanan had to convince him. Now with everything settled, AVM named the movie as “Uyarndha Manidhan” and started the shooting. But again new problems cropped up one after another.

CASTING

AVM started finalizing the star cast. With NT and Asokan already decided, artists need to be found for rest of the characters. There were two heroines. One was a short role but a powerful one. The second one, the wife character was a full-length character. For the lover role, AVM looked up at top-level heroines but later they decided that it would be better if a new face or a heroine, who had not acted with NT before, did this role. So they zeroed on Vanishree, who was relatively new at that time having made her debut in “Kaadhal Paduthhum Paadu”. The other role had to be played by an established actress as the character was steeped in arrogance and pride usually associated with rich people and Sowcar was the automatic choice. Major was cast as the friend cum driver and Bharathi another relatively newcomer as his daughter. SV Ramadoss was fixed for NT’s father’s role and Nagaiah, V.S.Raghavan, VKR and Manorama were drafted in for servant characters.

SIVAKUMAR’S BIG BREAK

AVM Chettiar told Saravanan to fix Sivakumar for the son’s role. There were reasons behind it. Sivakumar was introduced by AVM in their film Kakkum Karangal but due to unavoidable circumstances, most of his scenes had to be cut and Sivakumar was very much upset by this. AVM wanted to compensate but the movies they did after Kakkum Karangal like Kuzhandaiyum Deivamum, Anbe Vaa and Ramu did not have a character suitable for Sivakumar. In the meantime, AVM Chettiar came to know that APN was looking for an actor to portray Lord Muruga in his Kandha Leela recommended Siva. This was done without Sivakumar being aware of the recommendation. APN was impressed by Sivakumar and cast him as Lord Muruga. [It is another story that Kandha Leela got struck in the middle but APN cast Sivakumar as Lord Vishnu in Saraswathy Sabatham. Later Kandha Leela with the induction of NT as Veerabagu was rechristened as Kandhan Karunai and got released]. So when the innocent son’s role came up in Uyarndha Manidhan, it fitted Sivakumar to the T.

STOPPAGE OF SHOOTING

The movie started rolling. Normally NT’s movies never used to get struck and would finish in quick time. But due to his illness his films which were on floors at various stages had to be given the priority and the shooting of Uyarndha Manidhan was being done in small schedules.

At this time AVM was producing Kuzhandhaiyum Deivamum in Hindi. Titled Do Kalian, the movie was progressing. Kuzhandhaiyum Deivamum story was based on an English film Parent Trap Another bollywood production company was producing a movie called Vapaas, which was also based on the same English movie. When AVM came to know of this, they decided to complete Do Kalian at the earliest before the other film hit the screen. So they concentrated on the Hindi movie and UM shooting was stopped. When they completed the Hindi movie, another trouble cropped up.

WORKERS ON STRIKE

The workers of AVM coming under trade union gave a list of demands to be implemented and when the management did not accede to their request, they struck work. Since both the sides stuck to their respective stand, the strike got prolonged. Most of the stars, who were acting in UM, now concentrated on their other commitments. But again the actor who felt he lost out was Sivakumar. During the period preceding the strike, Venus Pictures had approached Sivakumar. They had planned a movie “En Annan” with MGR in the lead. In that there was a role of a Doctor who loves and marries the sister of the hero and they had come to Sivakumar for the same. But Sivakumar could not commit because the shooting of UM was about to restart (Period after Hindi movie was completed but before labour strike). For MGR movies, the producers used to block the call sheet of other artists for a longer period because with MGR, you never knew and the artists may be required at any point of time. Knowing this Sivakumar explained his position. But came the strike and with it inactivity also set in.

Sivakumar on seeing this decided to meet Venus Pictures owners to find out the possibility of he doing the role. But the next day morning when he saw the Dina Thanthi, he was shocked. The advertisement of En Annan had come and there was this still photograph of Muthuraman given in the ad along with MGR and JJ. Sivakumar realized that his hope had crashed. He had acted with NT in 2 or 3 movies and though he did a role in Kavalkaran with MGR, it was a smaller one. He felt that he had lost an opportunity. But nothing could be done. It is another irony that after this Sivakumar did only one more movie with MGR. It was Idhaya Veenai.

STRIKE RESOLVED

There were no sign of the strike coming to an end and AVM almost decided to close down their studio and convert it as a godown. By this time there had been change of government at Tamilnadu and DMK had replaced Congress. Anna was the Chief Minister. MuKa was the minister for Public Works Department. Anna and MuKa both had a very soft corner for AVM and the very thought of this studio getting closed down upset them. Anna directed MuKa to initiate the conciliation process through Labour welfare ministry. MuKa took the initiative and finally the strike was withdrawn. But it took some time for AVM to restart the shooting of Uyarndha Manidhan. There was a gap of 8 months. It was such a long gap that NT even had a doubt whether AVM had dropped the entire movie itself. But AVM decided to go ahead.

THE FEEL OF THE MOVIE

Since the movie was written on the basis of Bengali movie, the whole film had a tone of underplay and audience can feel the same while watching the movie. NT beautifully did the role of Rajasekharan, a born rich man who could not go against his father, his family customs and later his dominating wife. There were certain scenes where he would have performed in a exemplary manner. People would immediately recall the scene where his wife accuses him of telling a lie. He first tries to ignore it but when his wife insists on his explanation, he bursts out with a dialogue “20,000 hectares of fertile land” and pours his heart out. One another scene that stood out was the one where he tastes the food brought by Sivakumar. He relishes the spicy food and you have to see it to enjoy. There is a reason behind me highlighting this scene. There is a section of people that always used to say that Mudhal Mariyadhai is the best thing to have happened for NT and invariably you can see most of them quoting the scene in MM, where NT would eat the fish cooked by Radha in her house. Though MM was a splendid movie and the scene mentioned is a superb one, it must be noted that NT had already done such a situation some 17 years before MM happened. But the UM scene never got its due. It was in Paalum Paazhamum that NT won the hearts of the female movie goers, as he played the role of a very loving husband who dearly missed his wife. Following that it was in UM that he once again moved the audience with his emotion as to what extent he missed his first lover.

When we talk about UM, another talk that we can commonly hear is that Asokan outperformed NT. Again people who somehow wanted to prove that NT was beaten in acting spread this. But the real fact was, it was NT who taught Asokan how to do that scene. Asokan’s role was an author backed one. He develops a one sided love for Vanishree and he is the only person who knows who Sivakumar is. Coupled with that he is a heart patient and is it not enough to get the sympathy of the audience? Before the shooting of the crucial scene where he comes to the party to disclose the true identity of Sivakumar and falls dead without telling the truth, there was a discussion among the directors and actors about the way it needs to be enacted.

NT (though it would sound cliché) always thought about the scene and ways to make it good. He showed Asokan how he needed to do the particular scene. NT during the entire course of shooting never showed his differences in open whether it was with Asokan or with director Panchu. So forgetting his personal feelings, he enacted the scene to Asokan. But Asokan it seems had a doubt whether, what NT showed would be the right way. Saravanan present at the set during this scene advised Asokan to do exactly what NT had done. But Saravanan says that Asokan performed only 1% of what NT had done. Still that itself was good enough.

SONGS

Having carried out the major part of the talkie portion shooting in studio, AVM decided to go for outdoor shooting and the location chosen was Kodaikanal. The song situation scenes were marked in the screenplay. Accordingly a solo song for Vanishree, a duet for NT – Vanishree, a duet for Sivakumar – Bharathi and a solo song for Sowcar were pre decided. Again if you check, the Naalai indha velai song was shot inside the studio, though it was supposed to be outdoors. The song Athhaanin Muthhangal for Sowcar was also indoors. En kelvikkenna badhil when it came on screen was filmed in studio. But earlier it was filmed in outdoor. There was a story behind this.

Old timers might remember that the lyrics version of En Kelvikkenna badhil that came out in records before the release of the movie and the one that finally came in the movie were different. People were under the impression that there might have been some censor objections that must have played a part in the change. Their thinking was not off the mark because many such changes were happening at that point of time. But it was not censor issue that prompted the change. AVM Chettiar used to regularly see the rushes of the movie under production and on seeing this song, he called up Saravanan. As per the story, Sivakumar’s character was an innocent one and it is Bharathi who teaches him the essential things in life. So such a person singing such lines and doing physically intimate love scenes would not go down well with the audience, said Chettiar. Saravanan realizing the logic behind this informed the directors to re shoot the song after modifying the lines. The lyrics were changed and the song was recorded again and the lead characters kept a distance throughout the song. Here I would like to add the reactions of the fans, which I had seen and heard personally. Those days when the songs came out in records, fans used to imagine about the picturisation and develop expectations about it.

The same thing happened with this song. Fans were discussing among themselves about how NT would do it. But came the release day and opening show and fans were in for a shock. They could not believe that this song was not for NT. Of course here more than anything else, the fact that the song was sung by TMS was the main reason for the fans to believe that it would be for NT. The hardcore among them protested and there was trouble in theatres in the initial days, which subsided later.

AWARD FOR PS

The solo song for Vanishree brought the first National award for melody queen P.Susheela. She must have got it much earlier but it was destined that Naalai Indha Velai should bring her the first award.

(While composing the song, MSV who was inspired by the music challenged that P Suseela would bag a national award through this song. And as he predicted she received a the national award. This song is very close to the heart of P Suseela for other reasons as well. Following her husband’s death, PS was performing at a stage show. She started to sing this song, and as she sang the line Indru Enthan Thalavian Illai…” She started to sob and stopped singing. The fans understood why she was sobbing. They stood up in respect for hr husband who had passd away recently. With this encouragement from the fans PS continued the song).

The duet between NT and Vanishree – Vellikinnamthaan (a first night –honeymoon song) would again start in the set and move out to cool locations of Kodai. Here it is a solo song by TMS but punctuated by the humming of PS, which she would have done it exceptionally well. [A song sequence which every NT fan would relish in addition to the song which we have taken up discussion. The reason being this is one sequence where one can see a joyful NT. Fans would wait for the scene that would come in between the first and second charanams when NT would put his two hands in front and do a small dance movement, the theatre would reverberate with sounds of applause]. PS had a major share in all the four songs and would steal the show. TMS was waiting for his turn and that came unexpectedly.

The original Bengali movie didn’t have so many songs and the song situation in discussion was created as an after thought. AVM always used to review the movie under production at various points and it struck them that the protagonist didn’t have a song sequence after the first 45 minutes. During those days, it was sort of a mandatory thing that the films of NT should have a philosophical song. AVM wanted to do it differently and at the same time they wanted the song to bring out the suppressed feelings of the protagonist. Now let us take a brief look at the story of the movie, which leads into this song.

STORY

Rajasekaran affectionately called as Raju is the only son of a multi millionaire at Madurai. His father is a typical arrogant rich man who would not even tolerate his servant wearing slippers in front of him. He wants his son to marry his sister’s daughter but son is not interested. Raju has a close confidant in Dr. Gopal, who always accompanies Raju to all places. During one such trip to their Kodaikanal estate, Raju chances to meet Parvathy, the daughter of the estate caretaker and it is love at first sight for him, which the girl reciprocates. Gopal who also meets Parvathy loves her but when he comes to know that his friend and the girl are in love with each other makes way and conducts their marriage. The newly wed couple starts their life.

All these things happen without the knowledge of Raju’s father. Parvathy conceives and Raju is the happiest person but his joy is short lived. His father on hearing about the happenings rushes to Kodaikanal along with his musclemen and in a swift operation sets fire to the house of Parvathy. Raju and Gopal are forcefully evicted from that place and they are brought back to Madurai. Raju is crest fallen and his father arranges his marriage with his cousin and Raju is threatened by his father that he would commit suicide if Raju is not agreeing. Raju reluctantly agrees and marries his cousin Vimala. Years roll by.

Now Raju is one of the leading business magnets of Madurai. His father is no more and he has his good old friend Dr. Gopal as his only confidant. Raju is unable to forget Parvathy and he just goes through the motions when it comes to enacting the role of a good husband.

Gopal now a heart patient is also unable to forget his old flame and he constantly pokes his friend about his cowardice. Enter Sathyan (Sivakumar) into the picture and somehow Raju and Gopal take a liking for him. It transpires that Sathyan is the son born to Parvathy through Raju.

Parvathy had escaped from the fire and had taken shelter in a relative’s house. She had passed away without informing anybody about the identity of her husband. Gopal chances to see the photo of Parvathy and he comes to know of all that happened. But before he could divulge the truth to his dear friend, he succumbs to cardiac arrest.

Sathyan faces a hostile atmosphere in the Bungalow and his only solace is Bharathi, the daughter of Major, who serves as a car driver and he is an old classmate of Raju. Vimala and Raju fall out on many issues and Sathyan happens to be the reason for most of them.

Things start to move out of control when Raju decides to go on a short trip to Kodai. Major, Sivakumar and Bharathi accompany him and there comes the situation where Raju does a trip down the memory lane triggering the song.

BACKGROUND OF SONG COMPOSITION

At that time the English movie “My Fair Lady” was running in Chennai and it was a quite a popular movie. Like all film personalities, AVM brothers had also seen the movie and Kumaran had a flash in his mind when UM song situation came up. In My Fair Lady, the hero Rex Harrison had acted in a song sequence that had a mixture of Dialogue and song. Harrison in that song used to carry a stick in his hand. Kumaran asked MSV to see the movie and he along with Vaalee went and saw the movie. As per wishes of the Kumaran, MSV composed the tune of the song on the lines of the song [Not the tune, only the model was taken as inspiration].

Even much earlier, in 1965 MSV was very impressed by the movie The Sound of Music, by July Andrews. In that movie there were many good songs. He had wanted to do a movie along that line and only much later he could do almost a replica of Sound of Music in Shanthi Nilaiyam. Shanti Nilaiyam was even called the Indian Sound of Music in the banners. But what inspired MSV was one song in the Sound of Music that had dialogue in it. He wanted to compose one in Tamil as well. But when My Fair Lady came along, it added his resolution to complete a movie along the same though he had harboured earlier. MSV also used to say hat the song Antha Naal was inspired by the song in Sound of Music ( Oru Kuyilin Vazhkai Sangeetham.)

Vaalee had to write the song. Vaalee had come into the cine field long back but it was Karpagam (1963) that catapulted him to fame. Vaalee within a short time rose to fame and MGR who was looking for someone to bring up in place of Kannadasan gave his full support to Vaalee and within no time Vaalee reached the top rung. But he had one grouse. He could not get into the movies of NT and the fact that he was branded as a MGR camp man, also did not help matters. But he patiently waited. He finally got his chance in Anbu Karangal in 1965. To be precise it was NT’s 102nd movie. After that he wrote for Selvam, Nenjirukkum Varai (Nenjirukkum engalukku naalai), Pesum Deivam, Iru Malargal and Galatta Kalyanam. Of these Selvam (3 songs), Pesum Deivam and Iru Malargal were Super Duper hits. But these films did not give a chance to Vaalee to write a philosophical song in the mould of Kannadasan. True, he wrote Kakithathil Kappal Katti, a philosophical song in his very first film for NT, Anbu Karangal. The song tuned by R.Sudharsanam had become a hit but since the movie on the whole did not do well at Box Office, it failed to fetch the desired credit for Vaalee. He nursing this at the back of his mind saw an opportunity when UM song sequence was explained to him. He decided to give out his best and was amplyrewarded with an appreciation he had longed for. But it should be noted here that credit for many such songs written by Vaalee invariably went to Kannadasan. I am sure that there is a large section of people who believed/believe that the song in discussion was also written by Kannadasan.

The song beautifully captured the basic human nature in the Pallavi itself. The human mind always thinks and believes that the period went by was the happiest one and the present period is not a happy one. It stems from a comparative mindset. One is always inclined to think and pronounce the famous adage “good old times” in this context and always loves to go for a trip down the memory lane. Vaalee brought out this thinking when he wrote

அந்த நாள் ஞாபகம் நெஞ்சிலே வந்ததே நண்பனே நண்பனே நண்பனே

இந்த நாள் அன்று போல் இன்பமாய் இல்லையே அது ஏன் ஏன் நண்பனே

The composing got over. It had been composed in the manner of the driver cum friend rekindling the (g)old memories buried in the heart of his friend cum boss in the form of dialogue and boss replying in the song format. A thought struck MSV. How would it look like if NT himself sung the song and Major spoke the dialogue? The very thought inspired him and AVM brothers gave him the freedom to do that. MSV sounded this to NT. He initially thought that MSV is making fun of him. But MSV was serious. After all NT was from the stage background and was trained adequately to sing. So with a little effort, NT could do it, believed MSV and asked NT to refrain from smoking for a period of one month. This would soften the rough edges and voice would become suitable for singing. But NT refused. (Visu, ethukku indha visha paritchhai?). He asked MSV to record the song with TMS. MSV realizing that NT would not play ball, arranged for the song recording.

TMS himself says how the song came to be recorded. This song was recorded during pre Ilaiyaraja era where there was no stereo effect in Tamil films. In the 1950s singers used to sit on the floor and sing the songs with microphone hanging above their heads and facing them.

Then stand mikes came into picture and the singers and musicians had to sing in the same room. Later came separate rooms for the musicians and the singers. After that came track recording where the composers, singers and musicians need not meet face to face at all.

MSV had used only the Sitar and sung out the song and recorded it. MSV then gave it to TMS to go through. TMS got the background information of the song scene and decided to make it more natural. TMS was told that in the song scene Sivaji would run, and at the same time sing out the song. That is to say Sivaji was to pause and pant in the song. Then came the brilliant idea of TMS. He suggested to MSV that he would run in the studio a few rounds and as soon as he started to pant, he would give the signal to MSV and immediately TMS would sing and speak out the dialogue. Major recorded his voice for his dialogue part. But listeners of the song and the movie goers thought that it was Sivaji who was singing the whole song.

Now came the picturisation part.

GRACEFUL WALKING GESTURE OF NT

The two friends along with their “son” and daughter would be strolling on the park when they would decide to go for a running race. They do it seriously and when they come back, the old memories start gushing out and the words pour out from their heart. This song is a testimony to the walking style of NT. He is not only the emperor of acting but also the emperor of walking. When you say walking, his style is not monotonous. He had different styles of walk for different type of characters. He had a Raja Nadai when he portrayed Kings, he had an aristocratic walk when he did rich businessmen roles, he had a authoritative walk when he was a police officer, he walked majestically when he donned the roles of professionals. Even in the sub categories he had different walks for the same professional. For example, his Doctor role in Paalum Pazhamum had a different walk when compared to the Doctor role of Navarathiri. Dr.Siva was different from Annan Oru Kovil though all were medical professionals. We can extend the same logic for all his characters. Of course we can spend an entire session on his walk alone. We would do it separately. Let us come back to the song.

PICTURISATION

The song in place too had different walking styles as per the mood of the lines. The song would start in NT’s voice, which would be gasping for breath. While dubbing for the film, before this scene came up, NT excused himself came out of the dubbing theatre and did a running, circling the dubbing theatre and straightaway went inside the theatre and dubbed “அந்த நாள்”. He did it to get the exact effect on screen. Again an act that speaks volumes about his dedication.

The pallavi is like this

அந்த நாள் ஞாபகம் நெஞ்சிலே வந்ததே நண்பனே நண்பனே நண்பனே

இந்த நாள் அன்று போல் இன்பமாய் இல்லையே அது ஏன் ஏன் நண்பனே

At the end of the pallavi, Major comes up and says

பாடம் படிப்பு ஆட்டம் பாட்டம்

இதை தவிர வேறு எதை கண்டோம்

That triggers the memories of the happy by gone days in the mind of NT and he sings

புத்தகம் பையிலே புத்தியோ பாட்டிலே

புத்தகம் பையிலே புத்தியோ பாட்டிலே

பள்ளியை பார்த்ததும் ஒதுங்குவோம் மழையிலே

See here how Vaalee makes use of the age-old adage மழைக்காக கூட பள்ளிகூடத்திலே ஒதுங்கினதில்லை and manipulates the lines to suit the situation here. The next lines expresses the happiness they enjoyed and see NT’s face conveying them.

நித்தமும் நாடகம் நித்தமும் நாடகம்

நினைவெல்லாம் காவியம்

நித்தமும் நாடகம்

நினைவெல்லாம் காவியம்

At the end of this charanam, NT would do the majestic walk, which the camera would capture from the top angle and then it changes to sideward when he would try to balance the walking stick in his right hand index finger without losing his rhythm.

Now Major comes up and talks about the second phase of the life. About Life after marriage and commitments that come with it.

பள்ளியை விட்டதும் பாதைகள் மாறினோம்

கடமையும் வந்தது கவலையும் வந்தது

The mood of the protagonist changes and with a tinge of sadness creeping into his voice he acknowledges

பாசம் என்றும் நேசம் என்றும்

வீடு என்றும் மனைவி என்றும்

நூறு சொந்தம் வந்த பின்னும்

தேடுகின்ற அமைதி எங்கே

நூறு சொந்தம்வந்த பின்னும்

தேடுகின்ற அமைதி எங்கே

அமைதி எங்கே

The final line he repeats and with a saddened heart. The camera captures him standing alone under a tree sans growth with tears rolling. His walk is now different. Slow, thoughtful and sad. The energy seen before has come down.

Major now philosophically concludes

அவனவன் நெஞ்சிலே ஆயிரம் ஆசைகள்

அழுவதும் சிரிப்பதும் ஆசையின் விளைவுகள்

This further triggers the hidden emotions of our hero. He is repenting for the mistakes he committed in the past and is getting reflected in his words. The situation when he stood helpless when his wife was burnt alive in front of his eyes had left a deep scar and he carries that moment of inaction due to which he lost his wife as a huge baggage which he is unable to put it down even after so many years and this gets reflected when he sings

எண்ணமே சுமைகளாய்

இதயமே பாரமாய்

தவறுகள் செய்தவன் எவனுமே

தவிக்கிறான் அழுகிறான்

தவறுகள் செய்தவன்

எவனுமே அழுகிறான்

எவனுமே அழுகிறான்

He is repenting for his mistakes and the burden increases because he is unable to redress it. See his face and eyes. The face lost in deep thought and eyes welling with tears, he portrays the agony of the man that strikes a deep chord in you.

Now after this his walk again changes and we see the body language of a man, a prisoner of his own actions, repenting for the mistakes he committed, searching for a miracle to relieve that burden and finds nothing before him making him to pour out his heart, the only thing that he is able to do. He manages to retrieve the situation and concludes the song with a degree of joy.

Here is one song that swings from one extreme to another and the audiences were also taken along that roller coaster ride. Here was an actor who proved how a walk and body language could convey emotions on the extreme. Keen observers would also notice that how even the walking stick was used to convey the moods. In the Pallavi the walking stick is directly pointed at major’s heart to symbolize the happy memories and in the next shot, he hooks the stick on to his friend’s neck and pulls him along with him again indicating that he is trying to pull him into that trip down memory lane. In the first charanam when he sings உயர்ந்தவன,his grip on the stick would be firm and the stick would be pointing skywards in an erect position. The next word he utters தாழ்ந்தவன்and now the stick points down. But see the difference, the grip would be loose, stick not erect, implying that he was a person who gave least importance to the economic status of his friends. By a simple gesture the character comes alive. What an output?

No director could have taught this and the greatest actor ever to have “walked” on earth had it in him that got embedded on to the celluloid. At the end of the first charanam, during the walk the stick is moving in cross circles in the line of sword and later it is getting balanced in his index finger indicating the difficulty he is facing in balancing his present life. Again in the second charanam when he says நூறு சொந்தம் வந்த பின்னும் தேடுகின்ற அமைதி எங்கே,the stick is held at the back of his neck probably to balance him while he walks. See how he uses the stick to convey that. The stick further becomes loose in his hand when you see his drooping shoulders indicating the heavy burden that he has been saddled with. A great song with a lilting tune, thoughtful and expressive lyrics that conveyed the mood and it was brought alive by the genius on screen. With everything falling in place, the director duo simply had to say start and cut. With shooting completed and editing done, AVM was sure about the success of the song but the reception it got exceeded their expectations.

MOVIE RELEASE

As most of the people knew, Uyarndha Manidhan was the 125th movie. But it was not planned that way. The movie when compared with normal NT films took a much longer time to complete. It was almost ready for a Deepavali release in 1968 (October) but AVM knowing that “Enga Oor Raaja” produced and directed by P.Madhavan is getting released, postponed UM and now they got the statistical information that EOR is the 123rd.

They also came to know that AL.Srinivasan is releasing his NT movie “Lakshmi Kalyanam” on 15th November and AVM announced that 29th November as the release date and the announcement said that it would be NT’s 125th film. The news also pointed out that the same combination of actor – producer-directors doing the 1st and 125th movies of the actor.

Uyarndha Manidhan became a hit right from day 1.

ANNA AND UYARNDHA MANIDHAN

AVM went to thank Anna for helping them out in a crucial situation. Anna’s health by this time had deteriorated. He had to go to USA for the second time for treatment and had just returned. A function was arranged to facilitate NT for crossing the 125th movie milestone at AVM Rajeswari marriage hall and Anna presided over the function. The film was screened to him separately. Anna on this occasion was emotional and told the audience that he would not take the credit for discovering “Sivaji”. He was referring to the speeches made earlier crediting him for the same. Anna went on to add that even if he had not brought him forward, NT still would have made his mark as he possessed an exceptional talent. Anna recalled the days NT spent with him and added that though he may have politically drifted apart, he would be in his heart forever. He concluded his speech by wishing NT “எங்கிருந்தாலும் வாழ்க” .This was the last cinema function that Anna attended as he passed away on Feb 3rd of 1969.

MOHANRAM AND THE SONG

Actor and fellow hubber Mr.Mohanram recalls an equally emotional moment in his personal life, with respect to this song, though it was 23 years later. To be precise it was Dec 4th of 1991. His father Mr.V.P. Raman had passed away on that day. For those who are not aware of him, Mr. Raman was a leading lawyer of Chennai and he was one of the founder members of DMK. He was close to Anna but there was a group, which actively worked to alienate him from the leadership. Not only him, the group had worked overtime to send out NT. NT came out in 1956. Mr. Raman followed him two years later and the group then concentrated on Kannadasan and EVK Sampath and their move succeeded in 1961. All the four who came out remained friends throughout and NT had a special place in his heart for Mr. Raman. For those who are not aware, Mr. Raman owned the property at Lloyds Road that was rented out to MGR. Named “Thai Veedu”, MGR and Chakrapani lived there. At one point Mr. Raman sold the house to MGR. MGR didn’t have money to buy. But Mr. Raman went ahead with the sale and registered the house in MGR’s name, asking him to pay the amount later. MGR stayed in this house till the death of his second wife and moved on to Ramavaram gardens after that.

Mr. Raman served as the Advocate general of Tamilnadu, when MGR was the CM between 1977 –80.

[When it comes to properties owned by the two Thilagams, one coincidence strikes you. NT was residing in Besant Road – Royapettah, MGR stayed in Lloyds Road – Royapettah, a stone’s throw away from where NT stayed. While Sivaji Productions still continue to operate from there, MGR’s brother Mr.MG Chakrapani and his family lived in Lloyds Road. In the same manner, NT bought “Annai Illam” in South Boag Road, MGR bought a house in Arcot Road again a stone’s throw away. While Arcot Road house is now the memorial house of MGR, Annai Illam continues to be the memorial of NT. Same way, when MGR bought a house in Ramavaram, NT also had his garden nearby named Sivaji Gardens. A striking similarity].

Now coming back to Dec 4th of 1991 when Mr V.P.Raman had passed away, NT had come down to pay his last respects. After doing the same, he walked out and Mohanram followed him. Away from the earshot of others, NT sang அந்த நாள் ஞாபகம் நெஞ்சிலே வந்ததே நண்பனே நண்பனே நண்பனே.

Not expecting this Mohanram was taken aback and seeing his startled expression, NT had commented “என்னடா இந்த நேரத்திலே வந்து பாட்டு பாடறானேனு பாக்கிறியா? சும்மா பாடல, நான் சொன்னதுக்கு பின்னாலே ஒரு கதை இருக்கு. உயர்ந்த மனிதன் ஷூட்டிங் கொடைகானலிலே நடந்தது. எல்லோரும் ஒண்ணா தங்கியிருக்கோம். பஞ்சு அண்ணன் டைரக்ஷன். என்னாலே ப்ரீயா இருக்கமுடியலை. அப்போதான் உங்கப்பன் உங்களோட கொடைக்கானல் பங்களாவுக்கு வந்து தங்கியிருந்தான். சாயங்கலம் ஷூட்டிங் முடிஞ்சவுடனே நானும் மேஜரும் உங்க வீட்டுக்கு போயிடுவோம். ரிலாக்ஸ்-டா இருப்போம். ஷூட்டிங் முடியறவரைக்கும் உங்கப்பனையும் ஊருக்கு கிளம்ப விடலே. இன்னிக்கு இந்த நியூஸ் கேள்விப்பட்டதிலேருந்து இப்போ இந்த நிமிஷம் வரைக்கும் அந்த ஞாபகங்கள்தான் வந்துகிட்டே இருக்கு. அத்தான் சொன்னேன்”

The words show how he valued the friendship, recalls Mohanram, his mind drifting to that poignant moment again.

To sign off, Uyarndha Manidhan as said earlier released on 29th of November of 1991 at Madurai Central. I saw the movie a week later. What struck me was the theatre reaction. Compared to other movies of NT during that period, the full house theatre enjoyed the movie without frills.

Except for the two song sequences (Vellikinnamthaan and Andha Naal), there was no outward showing but when the movie ended, everybody had liked it. In the subsequent releases, the film was received with more fun fare.

Here is the lyric

அந்த நாள் ஞாபகம் நெஞ்சிலே வந்ததே நண்பனே நண்பனே நண்பனே

இந்த நாள் அன்று போல் இன்பமாய் இல்லையே அது ஏன் ஏன் நண்பனே

அந்த நாள் ஞாபகம் நெஞ்சிலே வந்ததே நண்பனே நண்பனே நண்பனே

இந்த நாள் அன்று போல் இன்பமாய் இல்லையே அது ஏன் ஏன் நண்பனே

வசனம்:

பாடம் படிப்பு ஆட்டம் பாட்டம்

இதை தவிர வேறு எதை கண்டோம்

பாடல்

புத்தகம் பையிலே புத்தியோ பாட்டிலே

புத்தகம் பையிலே புத்தியோ பாட்டிலே

பள்ளியை பார்த்ததும் ஒதுங்குவோம் மழையிலே

நித்தமும் நாடகம் நித்தமும் நாடகம்

நினைவெல்லாம் காவியம்

நித்தமும் நாடகம்

நினைவெல்லாம் காவியம்

உயர்ந்தவன் தாழ்ந்தவன் இல்லையே நம்மிடம்

(அந்த நாள் ---)

வசனம்:

பள்ளியை விட்டதும் பாதைகள் மாறினோம்

கடமையும் வந்தது கவலையும் வந்தது

பாடல்

பாசம் என்றும் நேசம் என்றும்

வீடு என்றும் மனைவி என்றும்

நூறு சொந்தம் வந்த பின்னும்

தேடுகின்ற அமைதி எங்கே

நூறு சொந்தம் வந்த பின்னும்

தேடுகின்ற அமைதி எங்கே

அமைதி எங்கே

(அந்த நாள் ---)

வசனம்

அவனவன் நெஞ்சிலே ஆயிரம் ஆசைகள்

அழுவதும் சிரிப்பதும் ஆசையின் விளைவுகள்

பாடல்

பெரியவன் சிறியவன்

நல்லவன் கெட்டவன்

உள்ளவன் போனவன்

உலகிலே பார்க்கிறோம்

எண்ணமே சுமைகளாய்

இதயமே பாரமாய்

தவறுகள் செய்தவன் எவனுமே

தவிக்கிறான் அழுகிறான்

தவறுகள் செய்தவன்

எவனுமே அழுகிறான்

எவனுமே அழுகிறான்

அந்த நாள் ஞாபகம் நெஞ்சிலே வந்ததே நண்பனே நண்பனே

இந்த நாள் அன்று போல் இன்பமாய் இல்லையே அது ஏன் ஏன் நண்பனே

அன்புடன்

[Gopal.s]

மன்னிக்கவும். எனக்கு பிடித்த மற்றொரு புத்தாண்டு படத்தை மறந்து விட்டேன். (படித்தால் மட்டும் போதுமா,வியட்நாம் வீடு,சுமதி என் சுந்தரி வரிசையில்)

தெய்வ பிறவி-1960
அதுகாறும் தூய தமிழ் பேசி வந்த (சமயத்தில் பிராமின் மொழி) படங்கள் மக்களை பெற்ற மகாராசி புண்ணியத்தால் வட்டார மொழிக்கு(ஹீரோ மட்டும்தான் வட்டாரம் பேசுவார் ) அறிமுகமாகி பிறகு பேச்சு வழக்குக்கு வந்தது பாக பிரிவினை புண்ணியத்திலும் பிறகு தெய்வ பிறவியிலும் தான். புண்ணியத்தை கட்டி கொண்டவர்கள் கே.எஸ்.கோபாலகிருஷ்ணன்.(மல்லியம் ராஜகோபால் தன கதை என்று சொன்னதாக ஞாபகம்.பிறகு அவரே சவாலே சமாளி எடுத்தார்)

கருத்து வேற்றுமையில் (vpkb vs sgs) இருந்த சிவாஜி,எஸ்.எஸ்.ஆர்.மாமன் ,மச்சானாக,பத்மினி ஜோடியாக.இந்த வெற்றி காவியம் ஏ.வீ.எம். தயாரித்து கிருஷ்ணன்-பஞ்சு இயக்கத்தில்.ஓரளவு ரியலிசம் என்று சொல்லப்படும் படங்களுக்கு தமிழ் முன்னோடி .

#நடிப்பில்,கதையமைப்பில் இந்த படமே நடிகர் திலகத்துக்கு சிறந்த நடிகர் கொடுத்திருக்க வேண்டிய முதல் படம்.(ஜூரிகள் பார்வையில்)(இரண்டாவது மோட்டார் சுந்தரம் பிள்ளை,மூன்றாவது தில்லானா மோகனம்பாள்,நாலாவது முதல் மரியாதை)-உலக தரத்தில் பார்த்து முடிவு செய்தாலும் இந்த படங்களுக்கு அவசியம் அவருக்கு கொடுக்க பட்டிருக்க வேண்டும்.

என்னிடம் விட்டால் ,இந்தியாவின் சிறந்த நடிகர் பட்டம் கீழ்கண்ட படங்களுக்கு கொடுக்க பட்டிருக்க வேண்டும்.(ஆனால் இந்த பட்டமே 1969 இல் தான் துவங்க பட்டது)
1)பராசக்தி- 1952
2)அன்னையின் ஆணை-1958
3)பாக பிரிவினை- 1959
4)தெய்வ பிறவி-1960
5)பாவ மன்னிப்பு-1961
6)கர்ணன்- 1964
7)மோட்டார் சுந்தரம் பிள்ளை- 1966
8)தில்லானா மோகனாம்பாள்-1968
9)தெய்வ மகன்- 1969
10)ஞான ஒளி- 1972
11)கவுரவம்- 1973
12)முதல் மரியாதை-1985.

12 முறை வென்றிருக்க வேண்டும். 1969 இல் துவங்கியுள்ளதால் 4 முறையாவது வென்றிருக்க வேண்டும்.

சிவாஜியே சரவணன் இடம் ஹிந்தியில் எடுக்காதே ,எங்களை போல் உயிரை கொடுத்து நடிக்க ஆளில்லை என்று கூறிய படம்.

பத்மினி கம்போஸ் செய்த பாடல் காட்சி ஹை லைட்.(அன்பாலே)(என்ன ஒரு கெமிஸ்ட்ரி ?? அடடா?இந்த ஜோடி பண்ணும் அதகளம். சித்தாளாய் வரும் போது பேச்சு கொடுத்து கணக்கு பண்ணும் மேஸ்திரி,நோக்கம் புரிந்து மாய்மாலம் பண்ணும் சித்தாள்,பேசா மடந்தை தம்பியை கண்டித்தவுடன் பொறியும் அழகை ரசிக்கும் கணவன்,தற்செயலாக சொரிந்து கொள்ளும் சிவாஜிக்கு அந்த பணியை தொடரும் பத்மினி என்று ரசிக்க ...ரசிக்க... )

சுலபமான குடும்ப கதை போல் தோற்றமளிக்கும கஷ்டமான கதையமைப்பு.மினிமம் காரன்டி காக கதையோடு ஒட்டி திணிக்கப்பட்ட நகைச்சுவையை ஒதுக்கினால் விறு விருப்பாக நகரும் கதை.

நடிகர் திலகம் ஒரு கட்டிட மேஸ்திரி , உரிமையாளராக மாறும் உழைப்பாளி,தம்பியுடன் அனாதையாக வாழும் அவர் தன அன்னையுடன்,தம்பியுடன் வாழும் பத்மினி யை கல்யாணம் செய்து மனைவி வீட்டரையும் தன்னோடு வாழ செய்யும் பெருந்தகை.இவர் தம்பியை மனைவியும்,மனைவி தம்பியை இவர் உம அரவணைத்து வாழ ,அப்பாவால் கைவிடப் பட்ட சிற்றன்னை ,அரை தங்கையை தற்செயலாக பார்த்து அடைக்கலம் கொடுத்து ,உண்மையை யாருக்கும் சொல்லாமல் மறைத்து,அதனால் எழும் பிரச்னை,துரோகம்,சந்தேகம்,முக்கோண காதலில் இருவர் தம்பிகள் என சுபமாய் முடியும் படம்.

நடிகர் திலகத்தின் நடிப்பை வர்ணிக்க என்னிடம் தமிழ் இல்லை.தனது சித்தாளை நோட்டமிடும் அழகென்ன,சம்பளம் கொடுக்கும் பொழுது நாசூக்காக சீண்டும் நயமென்ன,பெண்ண கேட்க போகும் போது உள்ள தயக்கம்,பிறகு அமைதியான மனைவி தம்பியை கண்டிக்கும் போது கொதிக்கும் போது ரசிப்பதாகட்டும்,தாம்பத்யம்,பாசம்,நேசம ,கண்டிப்பு எல்லாவற்றிலும் பாத்திரத்தின் தன்மைகேற்ற படு படு இயல்பாக இருப்பார்.

ஆனால் நடிப்பு கடவுள் வெளிப்படும் நேரம்,சந்தேக நெருடலின் ஆரம்பம்,சொல்ல முடியாத தவிப்பு,இப்படி இருக்காதே என்று உள்ளம் சொன்னாலும் உதடுகள் பாதை தவறி பேசும் காட்சிகள்.(simultaneity of multiple emotions)கடவுளே,என்னை அடுத்த ஜென்மத்திலும் இந்த நடிப்பு கடவுளின் ரசிகனாகவே படைத்து விடு.சந்தேகம் கொண்டு உதடுகள் பேசும் ஆனால் பார்வை நேசத்தை வெளிப்படுத்தும்.உடல் தடுமாற்றத்தை காட்டும்.பிறகு உதட்டின் குற்றத்திற்காக கண்களும்,உடலும் வருந்தும். எடுத்து கொண்ட பாத்திரத்துக்காக நடிப்பு கடவுளின் முக பாவம்,நடை,வசன உச்சரிப்பு,எல்லாவற்றிலும் அவ்வளவு இயல்புத்தன்மை.

எந்த கோணத்தில் நின்று அலசினாலும் உன்னத படம். சிவாஜி,எஸ்.எஸ்.ஆர்.,பத்மினி சம்பந்தப்பட்ட உணர்ச்சிமிகு காட்சி ஒன்று மிகவும் பேச பட்டது.