Sivaji Ganesan–Bondarchuk Film Academy to be opened
Special Correspondent
— Photo: S.R. Raghunathan
Chennai: Sivaji Ganesan – Bondarchuk Film Academy will be opened in the city soon to serve as a bridge between Indo–Russian arts and cultures.
The academy has been named after one of the finest actors of Tamil cinema and legendary Russian film-maker who brought to the screen the Tolstoy classic ‘War and Peace,' said P. Thangappan, secretary general, Indo – Russian Cultural and Friendship Society.
The film academy is a joint venture of the society and Russian Centre of Science and Culture. The academy would function from the space allotted in the Russian Cultural Centre in Alwarpet. It would have an archival section and mini theatre.
Earlier, Nikolai Listapadov, Consul General, Russian Federation in South India, dedicated a film festival dedicated to the 66 {+t} {+h} anniversary of the USSR victory in the Great Patriotic War and the 64 {+t} {+h} anniversary of Indian Independence. V. Raghavendran of Nadigarthilagam.com presented a short film on Indian Independence through the films of Sivaji Ganesan. Vladimir Mariy, director, Russian Centre of Science and Culture and Ramkumar Ganesan of Sivaji – Prabhu Charities Trust participated.
// In a film “Shanthi”, the music maestros Viswanathan-Ramamurthy, came out with an astounding composition, a Cliff Richard-like number, with continuous strumming of the bass, rhythm and jazz guitars (song: Yaar Antha Nilavu”). This song produced the magic of the three musketeers, Viswanathan - Kannadasan and Sounderrajan and they did produce a masterpiece. Sivaji, who usually is present in the recording, missed it and got to know about this song and requested director K.Shanker more time to picture this sequence. //
Sivaji Ganesan
in Parasakthi (Supreme Energy/Goddess), 1952
In his cinematic debut, Sivaji Ganesan (1928-2001) plays a man from Burma who visits his hometown in India to attend his sister’s wedding, only to become a victim of frauds and crooks, losing everything except his sense of justice. This plays out in a court scene towards the climax. The scene is a heady mix of sober photography, hard hitting dialogues (written by M Karunanidhi, Tamil Nadu’s former chief minister), and a passionate performance by Sivaji. His acting evolved over the years, but the core elements that defined him—he could speak a thousand words with a mere gesture, and could mesmerise audiences, like Morgan Freeman, by reading out a telephone directory—were all there.
A tribute to the greatest actor and one of the great Tamilians that we all know of:
Sivaji Ganesan's voice and diction not only changed the course of dialogue delivery in Tamil films and plays, but also had a deep impact in the manner in which the language is spoken by narrators on Radio and Television.
ALTHOUGH WE are constantly aware that we are all mere mortals, we are unable to reconcile with the mortality of some people. ``Sivaji'' Ganesan is one such - an immortal in our minds.
``Long live Bharathan....'' blessed Rajaji, after the film ``Sampoorna Ramayanam'' was screened for him. Sivaji Ganesan had performed the role of Bharatan. Those brief words of Rajaji, who rarely watched films, were unconsciously pregnant with identical ideas of film historians and researchers on Tamil Cinema. ``In the desert of Tamil films, an actor by name Sivaji Ganesan is an oasis'', I had said, in my article on Tamil films for an American arts magazine in the 1970s. Earlier, Erik Barnouw and I, in the first edition of our book ``Indian Film'' (1963), had commented, ``Seldom has substantial talent been used more recklessly or profitably''. A world-class actor remained a regional star, essentially because the ethos of Tamil Cinema was never in the wavelength of world cinema - celebrated as the Seventh Art. But even a diehard enthusiast of realism in films, had to sit up and watch Sivaji. That one hand gesture of Bharatan, meaning ``lets go'', in ``Sampoorna Ramayanam'' is not merely etched in my memory, but has been adapted, and re-enacted by a hundred film actors, and even classical dancers on stage.
It was often worth spending the nearly three hours watching immature story lines and inept directorial handling, to experience those sparks of true genius of an inimitable actor - Sivaji. His performance was stylised - drawing from the immeasurable depth of India's racial memory of many millennia, from artistes of ancient Tamil and Sanskrit Theatre. This was often erroneously described or even criticised as ``over- acting''. Well, if your theme is melodrama, your performance has to match it. But Sivaji Ganesan's range and immense versatility, did not confine him to this stylised performance alone. He could challenge any actor of the realistic school, when the need, the story and character demanded it. His career's best performance (in my opinion) as V. O. Chidamabaram Pillai in ``Kappalottiya Thamizhan'', puts him on a pedestal among the all-time- greats of world cinema, as an actor. The biographical, which was well researched, gave him the scope to re-create the ambience, maintaining the integrity of character - the realistic human side of a great patriot of the Freedom Struggle.
In contrast however, many fans remember him for his melodramatic portrayal of Kattabomman. Although made by the same creative team which was responsible for the suave, artistic and authentic ``Kappalottiya Thamizhan'', ``Veerapandiya Kattabomman'' was historically far from accurate. It was more like a costume drama or a mythological. Sivaji's performance was in tune with that treatment. Even today, nearly four decades after the release of the film, when enthusiastic parents bring their children for audition to perform in our TV serials, the boys invariably deliver Sivaji's dialogue from ``Veerapandiya Kattabomman'' to demonstrate their histrionics. Sivaji Ganesan's voice and Tamil diction not only changed the course of dialogue delivery in Tamil films and plays, but also had a deep impact in the manner in which Tamil is spoken by narrators on Radio and Television.
Unique among the film styles of the world, song sequences in our films constitute an inheritance from ancient Indian theatre. There was indeed, no one to beat Sivaji in ``rendering'' the songs. Never for a moment would you feel that he was lip-wagging for the playback singer, since his gestures and mannerisms were emotive manifestations of consummate skill, artistry and flair, unlikely to be matched even by original singers.
Apart from the infrequent courtesy calls, I have had the privilege of talking in-depth to ``Nadigar Thilakam'' - as his fans reverentially called him - three times.
First was my hour- long interview for the first edition of ``Indian Film'', in 1962;
the second in the 1970s for a Bombay-based film magazine and
the third for an American Academic journal in the 1980s.
He has sometimes been described as one constantly wearing an actor's mask - that he conversed as though he was delivering a dialogue. On the contrary, at least some parts of my interactions with him revealed a simple, transparent personality.
For instance, soon after his return from his first trip abroad (to America as an invited guest of that Government), I asked him ``How was America?'' He first said, ``You have studied there. What am I going to tell you about America?''
``I mean your own reactions - how did you enjoy the visit?'' I asked.
With hardly a moment of hesitation there was a sincere answer. ``First I was struck with wonder. Then I was uncomfortable and felt embarrassed. Gradually, I felt very happy'', and then he expanded,
``The first impression of wonder was with the sights which were beyond what I had imagined.
I was then uncomfortable because, I felt I was just another face in the crowd. Having got used to the attention of my people back in Tamil Nadu, it was a strange embarrassment to walk in crowded streets without anyone taking a second look at me.
Gradually, I felt it meant at the same time, a rare liberty to be myself. And I enjoyed that''. It was candid, childlike and unpretentious.
In another session, I asked him ``Do you feel that you are not being used to your fullest potential, because of the limitations of Tamil cinema?''
He said ``I can put it this way. I want to function as a fountain pen. My ambience expects me to perform as a pencil.Sometimes this results in my writing as a ball-point pen'' he described, in graphic terms.
In 1986, I was addressing The Washington Institute for Values in the US Capital, on the subject ``Culture As Political Phenomena''. In the small group of high profile audience, a senator, surprisingly well-informed about India, asked, ``Why is your great actor Sivaji Ganesan not politically successful like your M.G. Ramachandran?''.
I quoted from the narration of my biographical TV documentary on MGR. My narration says, ``The MGR Phenomenon was an amalgam of fact and fiction, dream and reality. The only archetype character he performed in all his films was of a hero who combined in himself the strength of a Hercules, the modernity of a James Bond and the love and compassion of a Jesus Christ''. The political value of this ingenious image is unparalleled in the history of media.
On the contrary, Sivaji Ganesan was the last word in versatility, performing any role of any shade - often that of a tragic hero, the self-pitying brother, the negative womaniser of ``Thirumbipaar'', the treacherous foreign spy of ``Andha Naal''.
He performed these different roles as a true artiste, interpreting every shade of character with ingenuity, involvement and ``finesse''. There was no fusion of an off-screen image and an on-screen image, to create a political mascot. Hence Sivaji Ganesan's attempt to build a political brand-equity failed. It was certainly a price worth paying - for he will be remembered as one of the greatest actors of modern India.
In my ``MGR Phenomenon'' I had said, ``Although MGR was an actor by accident, he was a mature politician by deliberate choice''. It will be equally true to say, ``Although Sivaji Ganesan stumbled into politics, he was a born actor par excellence - a thespian of whom India will be eternally proud''.
Whenever I watch many of Sivaji ganesan's movies of 60's. one thing that come into my mind earlier is "man, what an overacting!"....But those finer points/nuances of acting which differentiated versatility of Sivaji - his body langauge, facial expressions etc etc, I realised recently.
Not through one of his movies, but through a movie awards function.
A seasoned actor like Prakashraj was dancing for "Engay Nimmadhi" song of "Puthiya Paravai"...he did his best, but those subtle yet profound body movements , the powerful expressions through his eyes, twitch of lips/facial muscle of a man in absolute stress was missing. No discredits to Prakashraj. But it just dawned on me the versatility of Sivaji Ganesan.
It was so apparent that the "engay nimmadhi" song depicted exactly of a person who has lost his nimmadhi (sense of peace). He simply brought lease of life to the lyrics of that song. I could realise how tough it was, even for a seasoned professional like Prakash raj
Post this programme, I saw a couple of Sivaji Ganesan movies merely out of curiosity.
a humorous movie where he acted with MR Radha, his face would show complete "asattuthanam" [the one that has two sivaji, two mr radha]
"tiruvilaiyadal" - the careless gambeeram - his face, his walk, his dialogue delivery - as Sivaperumaan - the creator
Absolutely stressed in "Puthiya paravai"
I am hooked onto Sivaji Ganesan's movies from a very new perspective now....
V.C.GANESAN (Villupuram Chinnaiahpillai Ganesan) was born in Villupuram, Tamil Nadu, India on October 1, 1927, to a middle class kallar family. the title "Sivaji" was given to Ganesan by the great Rationlist,Thanthai Periyar E.V.R.Ramasamy for his best performance in the role of Sathrapathy Sivaji in the stage play "Sivaji kanda Indu Saamraajyam" in the year 1946.
His father, P.Chinniah Mandraiyar, and mother, Rajamani Ammal, had two more sons, one elder and the other younger to Ganesan, and also a daughter. Chinniah Mandraiyar was working in the South Indian Railway. The day Ganesan was born, his father was arrested for anti British activities and suffered a term of imprisonment. During Ganesan's tender years, he sought interest in being part of stage plays. He joined a drama troupe and spent most of his early years acting in stage plays, eventually dropping out of school.
Ganesan married Kamala on May 1, 1952. They had two daughters named Shanthi Ganesan and Thenmozhi Ganesan. They also had two sons named Ramkumar Ganesan and Prabhu Ganesan, who are now film producers. Prabhu Ganesan had starred in many films.
Acting career
Ganesan's first film was the Tamil film Parasakthi in 1952, co-starring actress Pandari Bai. The script for the film was written and directed by the now-Chief Minister of Tamil Nadu, M. Karunanidhi.
In most of Ganesan's films, he played multiple roles, commercial roles, and roles of a Hindu deity specially the Lord Shiva role. The portryal of Lord shiva in the movie Thiruvilayaadal won him lot of accolades in and around the film industry. In the film Navarathiri (1964), Ganesan donned nine different roles that represented the nine emotional states of a person. Hindi actor, Sanjeev Kumar, was inspired by this film and reprised the nine roles in Naya Din Nayi Raat in 1974. Ganesan could strike a balance between commercial cinema,Mythological cinema and experimental cinema where his contemporaries in the neighbouring Indian state, N. T. Rama Rao and Rajkumar came just near him but could not match him in an apple to apple basis . Sivaji was always unique when compared to other actors in India during his generation. Expert analyst from cinema admitted the three best versatile actors from India at that time are Shivaji, Rajkumar and N. T. Rama Rao. He experimented in films like Thiruvilayaadal, Thiruvarutselvar, Thirumal Perumai, Karnan, Veerapandiya Kattabomman, Thillana Mohanaambal and Raja Rishi. His role in the film Veerapaandiya Kattabomman made him the first South Indian actor recognized outside India in the Afro-Asian film Festival at Egypt. He was also applauded for his acting in the film Aalyamani which was remade later by N. T. Rama Rao. Apart from his immense success and reception in Tamil cinema, he has also acted in Hindi-, Telugu-, Malayalam-, Bengali and Kannada-language films.
Sheer variety of Ganesan's roles gave him much acclaim and honour. He co-starred with his counterpart, M. G. Ramachandran in one film, which was Koondukkili. He has worked with many of the leading actresses of his time, including J. Jayalalitha, B. Sarojadevi, K. R. Vijaya and Padmini. He also co-starred with Gemini Ganesan, another lead actor at the time, during the 1960s.
Though he accumulated awards throughout the FIfties and Sixties, it was in 1972 that Ganesan delivered his first all-time blockbuster Vasantha Maaligai. After this film, he was graded as a superstar by distributors. In 1979, he delivered his second and final all-time blockbuster Thirisoolam. After this, he went into semi-retirement signing up cameo roles.
Nearing retirement
In the 1990s, as Ganesan was aging, he co-starred with several other actors. His notable films supporting roles were Veerapaandiyan, Jalli Kattu, Pudhiya Vaanam, Thevar Magan, Pasumpon and En Aasai Raasaave. His last film before his death was Padayappa in 1999 which was also a blockbuster.
Apart from his numerous roles as a single star on screen, Ganesan has acted in supporting roles with many leading actors from different eras. Ganesan has co-starred with M. G. Ramachandran, M. N. Nambiar, Gemini Ganesan, Kamal Haasan, Rajinikanth, Prabhu Ganesan, Sathyaraj, Vijayakanth, Mohanlal, Ramarajan, Y. G. Mahendran, Sivakumar, K. Bhagyaraj, Karthik Muthuraman, Arjun Sarja, Joseph Vijay and Abbas. He has also worked with a vast amount of directors and producers. His legacy continues to be remembered today and is looked upon by many leading film actors.
Politics
Until 1955, Ganesan was a staunch sympathizer of the Dravida Munnetra Kazhagam. He was eventually expelled from the party because of his visit to the Tirumala Venkateswara Temple which was not permitted by the rationalistic DMK.[citation needed] In 1961, he become a strong supporter of the Indian National Congress and particularly the then-leader K. Kamaraj. When the congress split in 1969 he remained loyal to the leadership of Kamaraj and the Congress. Only after the death of Kamaraj in 1975, he switched his allegiance to Indira Gandhi. In 1982, Indira Gandhi made Ganesan a Member of Parliament in the Rajya Sabha. After 1987, he left the Congress and floated his own political party, the Thamizhaga Munnetra Munnani. Ganesan and his party were known to be pro-LTTE, when the then-Prime Minister of India Rajiv Gandhi had withdrawn the Indian Peacekeeping Force from Sri Lanka. He later merged his party with the Tamil Nadu faction of the Janata Dal in 1989.
Death
Suffering from respiratory problems, Ganesan was admitted to the Apollo Hospital in Chennai on July 21, 2001. He also had been suffering from a prolonged heart ailment for about 10 years. He died at 7:45pm (IST) on July 21, 2001 at the age of 73. A documentary, Parasakthi Muthal Padayappa Varai was made to commemorate Sivaji Ganesan's legacy. His funeral was attended by thousands of viewers, polititians and personalities from the South Indian film fraternity.
Actors' Day
The former South Indian Film Artistes' Association president Vijayakanth declared that October 1, the birth day of Ganesan, would be observed as Actors' Day in the Chennai film industry.
Domestic popularity
Sivaji Ganesan has remained as the most popular Tamil actor with the most of number of fans. This fact has been confirmed by many independent surveys conducted.
The popular Tamil magazine Kumudam conducted a survey in 1990.
Sivaji Ganesan was voted as the most popular actor with 59% votes followed by
M. G. Ramachandran (54%),
Rajinikanth (51%)
Kamal Haasan (50%).
Though the survey was conducted in 1990, when Sivaji Ganesan had almost retired from acting and Rajinikanth and Kamal Haasan were rising stars in Tamil cinema,
Another survey conducted by Loyola College in 2008 saw Ganesan in 2nd position, second only to M. G. Ramachandran (who was once, unlike Ganesan, a more commercial actor and ex-Chief Minister of Tamil Nadu) but way ahead of the present day stars Joseph Vijay and Rajinikanth.
Few other surveys conducted in a scientific manner have thrown up similar results reaffirming Sivaji Ganesan’s supremacy.
Popularity in the US
During a visit to the U.S. in June 1995, Sivaji Ganesan found himself in Columbus, Ohio. Mayor Greg Lashutka named him honorary citizen of Columbus at a special dinner.
In 1962, Ganesan toured the U.S., where he was given the honour of being the mayor of Niagara City for one day. He along with the former Indian Prime Minister Jawaharlal Nehru were the only two Indians to be honoured this way.
When actor Marlon Brando visited India, he was shown film footage of Sivaji Ganesan. From then on Brando admired Sivaji Ganesan for his acting style. He also admitted that "Sivaji Ganesan may act like me but I cannot act like Sivaji Ganesan
Awards and honours
Sivaji Ganesan's most prestigious award was the 'Chevalier' in 1995, awarded by the National Order of the Legion of Honour in France. This is one of the main decorations of the French Republic which is conferred to honour the most original and talented personalities, for their remarkable contributions in the field of Arts and Literature in France and all over the world. On April 22, 1995, at a ceremony held at the MCA Stadium, Chennai, Sivaji Ganesan was presented the Chevalier title and medallion by the French Ambassador to India, Philip Petit. J. Jayalalitha, the entire Tamil film industry and representatives of all other Indian regional film industries were present at the ceremony.
Other awards
Afro-Asian Film Festival Best Actor Award, 1959
Padma Shri, 1966
Padma Bhushan, 1984
National Film Award - Special Jury Award for Thevar Magan, 1993
Chevalier (Knight of the Ordre des Arts et des Lettres, France), 1995
Dadasaheb Phalke Award, 1996
Kalaimamani, 1997
NTR National Award, 1998
Honourary doctorate
Bookmarks