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Thread: Reviews of Old Tamil Films

  1. #21
    Moderator Platinum Hubber P_R's Avatar
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    Hi,
    I think Aval Appadiththaan was directed by Rudrayya.

    Your review was rather brief
    I'd also like to highlight Rajni's perfomance in that. One of his best (nearly up there with Avargal Ramanathan). Unrepentantly caddish and blase about it, he executed the riole with ease.I remember this one exchange where he responds to Kamal's sensitivity with signature blatantness

    Kamal: Unakku yEn Pengal maele ivvalo veruppu ?
    Rajni : (visibly shaken)..veruppa ?... vAzhkkaile Eppo ponnnunge
    maele veruPPu varudho, annikku tharkolai pannikkuvaen.
    (Kamal is speechless)

    Rajni just steals the show from under Kamal's nose. Sigh ! where's that guy nowadays ?

    Moreover, you said:
    Men! Their ways to deceive....and women, their ways to fall for it time and again. After all thats how world functions!

    I think that's a rather narrow (and convenient) reading of the movie.In fact the movie was a little more panoramic than just following Sripriya. Kamal's earnestness throughout the movie was highlighted, thus the men were not completely compromised. If we
    try to reduce Kamal's character to a oneliner it may seem like an 'Oorukku Ubadesam' story (like that of the social-service lady they jointly interview). But his sincerety towards Sripriya was also depicted throughout the film.

    In fact Kamal's final falter, marrying the country girl, is shown as a result of a protracted fruitlessness of his relationship with Sripriya. There was a thorough distinction in characterization betwee Kamal and Sivachandran. To sweep all that under the bromide 'all men are the same' mutes the richness of the film.

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  3. #22
    Administrator Platinum Hubber NOV's Avatar
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    Pani Thirai

    Pani Thirai

    Actors: Gemini Ganesan, Saroja Devi, S.V. Suppiah, Thangavelu, Balaiah, etc
    Lyricists: Kannadhasan
    Music: KV Mahadevan
    Director: Muktha V. Srinivasan

    Storyline:

    Basically the film is about superstition and how it affects normalcy in life. Sakunthala (Saroja devi) is born to SV Suppiah, whose wife dies at child birth. Thus Sakunthala is labelled as abasagunam. She is tortured throughout her growing years, with her father as her lone supporter. When she comes of age, marriage is arranged for her. This is the situation for the song varuga varuga endru solli azhaippar by P Susheela,

    However, the money saved by her father in a chit fund is lost, with the closure of the fund. This time SV Suppiah curses her ill-luck. After a while he realises his mistake and alls well until the family who had seen Sakunthala rejects her, due to public talk of her abasagunam. Heart broken, SV Suppiah dies. Sakunthala now has to live up to the name of having caused the death of both her parents.

    In the meantime we are introduced to Mohan (Gemini Ganesan) and his father Balaiah and Mohan's friend Santhanam (Thangavelu). Mohan is a man who is totally agaionst superstition and makes fun of the gardener who had delayed his departure because of the crossing of a cat on his path. The PB Srinivas song EthO manidhan pirandhuvittaan appears here.

    The now orphaned Sakunthala finds solace in Santhanam's house. Santhanam promises her a job at Balaiah's office. Sakunthala meets Mohan who happens to be doing some gardening. Sakunthala assumes Mohan is the gardener, before the truth dawns upon her. They fall in love and sing orE kElvi orE kElvi endhan nenjilE - PBS and PS duet.

    Mohan considers Sakunthala as his Lakshmi and introduces her to his family. And that's when the parents realise that Sakunthala is the girl they rejected earlier. Mohan's step mum is convinced that Sakunthala only can bring bad luck and is against the marriage. Marriage occurs in any case and the next day Mohan loses his job as a pilot! His superiro than tells him that it is an april fool's joke! Leading to the song April fool april fool engalOdu jaadhi by AL Raghavan and LR Eswari.

    Several misunderstandings happens in the meantime, mainly caused by the stepmum and eventually Mohan is required to fly with confidential papers to somewhere. Stepmum prevents Sakunthala from bidding goodbye to Mohan for fear of unfortunate events. True enough the plane crashes! Sakunthala does not believe that Mohan has been killed and is furthered tortured and finally droven away from the house. She sings Irukkum idam engE iraivaa by P Susheela.

    In the meantime, there are accusations that Mohan didnt die and sold out to foregn powers. Is Mohan alive? What happens to Sakunthala? The answers to this and the conclusion.... to be seen on the silver screen.
    Never argue with a fool or he will drag you down to his level and beat you at it through sheer experience!

  4. #23
    Senior Member Platinum Hubber Shakthiprabha.'s Avatar
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    Any one seen

    'RAJA RANI'

    old movie cast shivaji padmini.

    Socrates dialogue would be AWESOME.

  5. #24
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    Nenjil Oru Aalayam

    Nenjil Oru Aalayam

    Actors: Kalyana Kumar, Muthuraman, Devika, Nagesh, Manorama, VS Raghavan, Kutty Padmini, etc.
    Lyricist: Kannadhasan
    Music: MS Viswanathan
    Singers: TMS, PS, PBS and ALR
    Direction: Sridhar

    Storyline:

    Unlike the common old movies where the actual story begins only after 30 mins of introduction, Sridhar’s Nenjil Oru Aalayam comes to the point immediately.

    Dr. Murali (Kalyana Kumar) is pressured by his mother to get married but he refuses. Venu (Muthuraman), a lung cancer patient is admitted to Dr. Murali’s nursing home. Venu’s wife, Seetha (Devika) is none other than Dr. Murali’s ex-girlfriend! Thus the plot is set. The rest of the characters – Nagesh as attendant Peter, Manorama as patient Navaneedham, VS Raghavan as a Father and Kutty Padmini as another patient are mere dressings to this tale.

    Dr. Murali summons other doctors to examine Venu and all conclude that the surgery will be risky, but both Seetha and Venu are adamant in going through it. From that day, 10th November, the date of surgery is set for 15 days later i.e the 25th of November. The entire story is narrated within that span. There are no flashbacks explaining neither the love affair between Murali and Seetha nor why it did not culminate into marriage. The whole movie is dark and the songs (not simply good songs but fantastic songs) further accentuate the situation.

    Realising that his lover is another man’s wife, Dr. Murali contemplates in his song engirundhaalum vaazhga by AL Raghavan. The explicit lyrics underlines the fact why old songs have such a great effect on the listener, for it is very evident that the lyricist writes the song for the story, unlike these days where songs are mostly fill-in-the-gap variety with no relevance to the story line. For a sampling, ALR sings:

    engirunthaalum vaazhga
    un ithayam amaithiyil vaazga
    manjal valaththudan vaazhga
    un mangala kungkumam vaazga
    vaazhga vaazhga


    see this verse, that explains Dr. Murali’s position very clearly

    varuvaai ena naan thanimaiyil nindrEn
    vanthathu vanthaai thunaiyudan vanthaai
    thunaivarai kaakkum kadamaiyum thanthaai

    thooyavalE nee vaazhga vaazhga vaazhga



    The movie goes on a fast pace with Dr. Murali hiding a photo of his former lover in a magazine, with Venu borrowing the same magazine to read to sleep! However, Venu learns of the real identities of the duo during a conversation between his wife and his doctor. He then sings the monumental thathuva song, ninaippathellaam nadandhuvittaal deivam Edhummillai. Pay attention to the lyrics.

    ninaippathellaam nadandhu vittaal deivam Edhummillai
    nadanthathaiyE ninaiththirundhaal amaidhi Edhummillai
    mudindha kadhai thodarvadhillai manidhan veettinilE
    thodarndha kadhai mudivathillai iraivan EttinilE

    aayiram vaasal idhayam adhil aayiram ennangal udhayam
    yaarO varuvaar yaarO pOvaar varuvadhum pOvadhum theriyaadhu
    oruvar mattum kudi irundhaal thunbam Edhummillai
    ondrirukka ondruvandhaal endrum amaidhi illai


    engE vaazhkkai thodanggum adhu engE evvidham mudiyum
    idhuthaan vaazhkkai idhuthaan payanam enbadhu yaarukkum theriyaadhu
    paadhaigalai maatrivittaal payanam maarividum
    maaruvadhai purindhu kondaal mayakkam theerndhuvidum


    In the meantime, Seetha and Kutty Padmini become very close and the only “happy song” comes on now, muththaana muththallavO.
    Since it is a Sridhar movie, Kutty Padmini dies and a pathos version of the same song appears.

    Venu then confronts Dr. Murali and asks him a favour, ie to ensure his wife remains a sumangali after his (certain) death. Dr. Murali, in the tight situation, agrees provided Seetha is acceptable to the arrangement. Knowing Dr. Murali’s position, Venu then confronts his wife. She replies to him, sonnadhu needhaanaa

    sonnadhu needhaanaa sol sol sol ennuyirE
    sammadham thaanaa En En En ennuyirE
    En En En ennuyirE


    see this part…

    deivaththin maarbil soodiya maalai theruvinilE vizhalaamaa
    theruvinilE vizhundhaalam vErOr kai thodalaamaa
    oru kodiyil oru muraidhaan malarum malarallavaa
    oru manadhil oru muraidhaan valarum uravallavaa



    Days fly by and the date of surgery arrives. With jittery hands Dr. Murali performs the surgery on Venu. Tense moments follow. Dr. Murali seeks solace in his room, unable to face the outcome of his surgery. The situation is akin to being between the pot and the fire. If Venu survives, Dr. Murali will forever lose his lover. On the other hand, for Dr. Murali to reunite with Seetha, Venu must die! If Venu dies, was it because Dr. Murali does not want him to live? Would Dr. Murali have a hand in his death?

    Someone else arrives at Dr. Murali’s room and announces the outcome…..
    Dr. Murali, with mixed feelings rushes to Seetha to inform her about her husband.
    Seetha does not open the door…..
    What happens next? Did Venu survive the surgery? What happened to Seetha? What happens to Dr. Murali?

    See the movie for the answers.

    Unlike other movies, Nenjil oru Alayam ends with a extremely touching song – in full! Oruvar vaazhum aalayam.

    OndraiyE ninaiththirundhu oorukkE vaazhndhirundhu
    uyir koduththu uyir kaakkum
    uththamarkkOr aalayam

    oruvar vaazhum aalayam uruvamillaa aalayam
    nilaiththu vaazhum aalayam nenjil Or aalayam

    karunai deivam kaigal neetti anaikka thaavum aalayam
    kaalamellaam thirandhu kaanum kadhavillaatha aalayam
    paasamennum malargalaalE poojai seyyum aalayam
    thyaagam ennum oliyinaalE dheebam Etrum aalayam
    Never argue with a fool or he will drag you down to his level and beat you at it through sheer experience!

  6. #25
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    Iru Malargal

    Quote Originally Posted by Murali Srinivas
    Iru Malargal

    - A Black and White poem on celluloid, I would say. Even after 40 years, it attracts you, absorbs you and makes it a compulsive view and I finished it in one go.

    It talks about a man caught in between his lady love and his devoted wife and the upheavals in his life due to that forms the basis of this film.

    NT and Padmini are studying(!) in the same class and they always have a fight on their hands. But NT is very much in love with Padmini and when they perform in a Dance - Drama competition at Madurai and later move on to Kodaikanal, he expresses the same. Padmini asks him to climb up a peak so that she will consider his love. NT suffers from Agoraphobia (fear of heights) and he feels giddy while climbing up and almost swoons down when Padmini realises the problem and she accepts his love.

    Back home, NT has a cousin residing at his house (Murai Penn) played by KRV who takes care of the the entire household works as her parents are no more and NT's mother had also passed away. She is so fond of NT that she would do anything for him. She has a desire to marry him and NT's father (Nagaiah) being her uncle also wants the marriage to take place. But KRV accidentally comes to know of the love between NT - Padmini and changes her mind. Nagaiah asks NT to marry her but he refuses revealing that he is in love with another girl. His father becomes furious and starts looking for another bride groom to marry KRV.

    Meanwhile Padmini leaves for her Brother's place. He is the only relative of her and she goes there to obtain his permission. She informs NT that she would be sending a letter on a particular date (Oct 10th). NT waits for her letter. The day comes and letter arrives. Alas! Padmini informs that she is getting married to another person as she could not go against the wishes of her brother. That literally shatters NT who becomes bed ridden.

    But what actually happened was Padmini's brother, an Army Major gets killed in a road accident along with his wife and his three children have nobody left to look after other than their aunt Padmini. She decides to renounce her love and take care of the children. So she tells a lie so that NT doesn't come after her.

    NT unaware of all these things is very upst and dejected. KRV takes care of him all the time which leads to the unpleasent incident of the bridegroom who comes to see her, accusing her of having a relationship with NT. That makes Nagaiah go wild and when NT realises how much his father and his cousin had suffered because of him decides to marry KRV. Interval

    The second half opens and we are told 6 years have passed by. NT is now a big successful businessman settled in Kodai and has a daughter (Roja Ramani) studying in a prestigious school there. Nagesh who was earlier the professor of the College wher NT - Padmini studied is the Principal of the College and Asokan is the Correspondent. Padmini who had put her nephews and niece in a boarding school has now joined in this school as a teacher with the recommendation of Nagesh and she is the class teacher for Roja Ramani. KRV makes her accept to take Private tuition for her daughter and she comes home or taking classes.

    Eventually the meet between the old love flames happens and that starts an emotional upheaval in NT and Padmini's lives. The Family life of NT - KRV also takes a beating and the child being a witness to a emotion charged meet between her father and teacher is also physcologically affected. Added to that the correspondent who has an eye on Padmini spells trouble for her by getting her dismissed from service because she has not played ball to him.

    Seeing things going out of hand, NT and Padmini decide to meet up and this is overheard by KRV who also decides to leave NT's life as she feels that Padmini should take her rightful place. In a place in the hill where once they expressed their love the old lovers meet up and Padmini asks NT whether he is ready to renounce everything including his wife and daughter and come with her. What NT replies paves the ending of the story. Of course no prizes for guessing. It is within the conventional cultural parmeters but your heart feels for the lead characters.

    Will come back on performances

    Regards
    Never argue with a fool or he will drag you down to his level and beat you at it through sheer experience!

  7. #26
    Administrator Platinum Hubber NOV's Avatar
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    Quote Originally Posted by Murali Srinivas
    As for as Sundar character of Iru Malargal is concerned, NT had given out a solid but subdued performance. He portrays two different faces of the character. In the first half he is all agile and brings out a person madly in love with the girl of his liking. Second half shows him as a matured family man and a successful entrepreneur and later when he is torn between the two women, the turmoil he undergoes and how he expresses them!

    The slim looking youngster starting of with the majestic Madhavi Pon Mayilal steals your heart. The gait, the pose and the silmisham he indulges in during the song all make you start liking the person. The way he climbs up the hill and his confession of the fear (again he proves he is beyond any hero as for as the image factor is concerned. Remember this was in 1967 when image mattered a lot)
    The scene where he meets Padmini in the night at Kodai when he expresses his desire to be with her always, you should see his body language. Again Mannikka Vendukiren brings out the best in him. Cut to Madras, he is the son who is little hesitant to stand before his father and speak. He is a person who is loved by his cousin but she is afraid of him. When his father asks him something he replies and it is not audible to his father. "Enna Sonna-e" , NT " naan enna sonnen " endru varthaiyai mendru muzunguvathakattum, when KRV takes care of everything " Shanthi, en melathan unakku evvallu akkarai" atharkku udane KRV " Athu ungalukku theriyutha Athhan" -nu kettavudan dharmasangadamana oru mugabhavam kattuvar, class!

    After refusing to marry KRV, later NT would ask her " en mela unakku viruppama"? She would reply" Enakku viruppam than" . Not expecting an answer like this, he would fumble for words, would not face her and try to say something. Seeing his embarrassment, KRV would say " Neega ennoduiya Mama pillai engiradhanale naan ungalai kaadhalikkanum, kalyanam pannikkanum-nu kattayam illaye". On hearing this his face would change and the happiness would return. Again a class act.

    Waiting for the letter on the D-day, NT room-kkum balcony-kkumaga nadappar. Postman varuvathai ethirparthu alaipayum ullathai avar velipaduthum vitham abaram. Letter kaiyil kidaithathum mugathil sirippum santhosamum thandavamada avasara avasaramai letter-i kizhithu padikka arambippar. Dialogue-a illammal andha face konjam konjamaga maaruvathai avar velipaduthuvai paarka vendume,wow! Since what is written is not registering in,he will ask KRV " Indha letter! letter! konjam padi". She would start reading loud and now his reaction , Great!

    In the second half presiding over the school function, he would ask KRV to speak and when she delivers a neat speech, the astonishment and wonder that you can see on his face would be so natural. The Maharaja song would bring out the child in him. Once he meets Padmini his body language would undergo a complete change. Especially the scene where he goes to Padmini's house along with Roja Ramani where he would literally hurt her with his outpour is a treat to watch. His face would suddenly undergo a change when he realises his daughter had been watching him and how well he hides it and try to look calm.

    Same sort of scene when again he confronts Padmini in the hills and this time Asokan interferes. Incensed by the teasing reamark made by Asokan, he loses his cool and slaps him. Again you can watch a range of expressions criss crossing his face.

    Finally thinking that he is talking to KRV, he opens out his heart in his bedroom only to realise that he had been talking to Padmini instead and when she leaves informing him to meet her next day, he finds to his dismay that indeed KRV also had listened to their dialogue and again caught in between, the face again speaks.

    To make it short, NT is at his best. Padmini carries out her role well but KRV as the all loving cousin initially and dedicated wife later surprises you with her performance without resorting to her customary melodramatic presentation which later came to be associated with her. Nagesh and Manorama provide the comic relief with Asokan making a brief appearance doing well (After Karnan, Asokan did only 3 films with NT. Kandhan Karunai, Iru Malargal and Uyarnndha Manidhan).

    ACT (responsible for the story also), his second film with NT had done a good job. Surprisingly he steers clear of customary cliches. When NT agrees to marry KRV, the scene ends with a nadaswara melam and that's it. Same way when Roja Ramani is introduced, at the end of the scene, NT tells her "Thatha-kku Good night sollittu po", Roja Ramani wishes good night to the photo of grand father hanging on the wall with a garland. Same way in the scene before climax, KRV having asked Padmini to wait in the bedroom goes in to fetch the letter. Meanwhile NT comes in and he opens up thinking he is speaking to KRV. When Padmini runs away, NT finds the old letter written by Padmini and a cup of coffee on the table thus by indicating that KRV had overheard all the conversation. Good work ACT ! When talking about him, I always admire his courage to face competition. Knowing well that this is going to be released along with Ooty Varai Uravu, a rollicking entertainer, he went ahead and released and was rewarded with a 100 days run. (Of course ACT again repeated later this act twice when he again released Engirundho Vandhal [though a Balajee film] along with Sorgam and then released Bharatha Vilas just one week ahead of Raja Raja Chozhan and remember he met with success every time). Another scene where he again stuck to what the story demanded was the scene where NT slaps Asokan. Though anybody would have loved to include a fight there, he clearly avoided. (I remember when I watched it as an elementary school kid during it's first release, I was a bit dissapointed that there was no fight in this scene).

    Last but not the least the combo of MSV - Vaalee. Amazing stuff. I am not a well versed in music to go into the nuances of the songs but they are all ever green hits. Again the art of Ventriquilosim had been used in 1967 itself in the song Maharaja oru Maharani song before it was used on a larger scale in Avargal 10 years later. Another interesting info about this song is Shoba Neelakantan who later became Shoba Chandrasekar (Yes, mother of Vijay) had sung for Roja Ramani. Ella paadalkalum then kinnathil thoithu eduthavai.

    Madhavi Pon Mayilal

    Mannikka Vendukiren

    Velli Mani Osaiyile

    Maharaja oru Maharani

    Kaduval thandha Iru Malargal

    Annamitta Kaigalukku (See the writing of Saradha about this song in Vaalee's thread)

    It was a pleasure watching this movie and writing about it here.

    Regards
    Never argue with a fool or he will drag you down to his level and beat you at it through sheer experience!

  8. #27
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    AMBIGAPATHY

    Quote Originally Posted by S.Balaji
    [tscii]Many historical characters were portrayed by Nadigar thilagam. The list is huge like – Raja raja chola, Thirunavukarasar , Periazwar , Kalidas, Veerapandiya kattabomman, Naradha , Karna , Barathan , Veerabadrar

    One such was AMBIGAPATHY

    Let me quickly run through the core theme of the movie and certain incidents which lead to the climax.

    Ambigapathy, the son of the great Poet Kamban , the poet laurete of the Chola king Kulothungan , falls in love with the king’s daughter Amaravathy .

    This Chola king was perhaps the last of the great chola dynasty which also followed the familiar path of great dynasties ending at some point of time.

    There is a saying in tamil – KAMBAN VEETRU KATTU THARIYUM KAVI PADUM

    No wonder that his son Ambigapathy possessed extrodinary talents and he was slated to even overtake his illustrious father who wrote Valimiki Ramayana in tamil.

    Seeing his extrodindary talents and swayed by his youth, Amaravathi also reciprocates.love.

    Any person with extrodinary talent and capabilities tend to be proud and arrogant

    Ambigapthy’s extempore style of expressing things , his bold mannered approach and above all loving an emperor’s daughter was not taken in the best spirits by his peers and also by the king.

    Despite advise by his Father MK.Radha ( Kambar ) , Ambigapathy could not give up his love and the same was the feeling of Amaravathy also despite being warned by the king severely.

    When Kambar was in the process of writing the tamil version of Ramayana, there was another great poet by name OTTAKOOTHAR who was also part of the well recognized and respected poets during that period. The movie depicts this character as a man of jealousy and was always trying ways and means to defame Kambar in any manner possible ( I STRONGLY DOUBT THIS VERSION BECAUSE KAMBAR RESPECTED OTTAKOOTHAR HIGHLY AND INFACT USED A PORTION OF OTTAKOOTHAR’s WRITE UP AS PART OF HIS RAMAYANA TO HONOUR THE GREAT POET AS KAMBAR’s VERSION GETS RECOGNITION, OTTAKOOTHAR TRIES TO PUT HIS WRITEUPS INTO FLAMES WHICH , KAMBAR ON HEARING THIS, RUSHES TO RESCUE THEM. HOWEVER, HECOULD GET THESE LEAFLETS ONLY WHICH HE INCLUDES AS A RESPECT )

    Back to the movie – Probably since Nambiar played the role of Ottakoothar and the director wished that charcter has to be depicted as a villain, Ottakoothar was shown as a very wicked person with all cunnigness to dethrone Kambar by all means possible.

    So when Ottakoothar sees the love affair between Amgipathy and Amaravathy , he jumps into the fray and makes all out efforts to destabilize this development.

    Ottakoothar also sees this opportunity to take a jibe at Kambar and his extremely close wrapport with the King. He poisons the King’s mind in a such a way that the king hates both Kambar and Amgibathy.

    But poor Amaravathy, despite her being a princess was willing to come out of her royal life and wishes to marry Ambigapathy .

    Is there any story of the past which has seen the social imbalance sorted out. Here also the King strongly condemns the relationship and as the situation goes out of control, the King ( under the influence of Ottakoothar ) knowing Amigapathy’s flair for poetry gives a dictum thatAmbigapathy should sing 100 songs without KAMARASAM. In other words, the order was that if Amgibapathy manages to sing 100 songs without any touch on kamarasam, the King promised that both can marry.

    But if even one sentence touches sex or resembling it, Ambigapthy will be sentenced to death.

    Before the D-day, Kambar pleads his son to give up his love life and be a good son as never in the world, this sort of extraordinary imbalance is possible- AN ORDINARY MAN / WOMAN CAN NEVER MARRY SOMEONE FROM A ROYAL FAMILY.

    But Ambigapthy , highly self confident and arrogant, does not heed to his words and takes up the challenge to prove his capabilities

    It’s a perfect setting now for a climax and what a song it turned out to be !!

    Now the whole group of poets headed by Nambiar watch the proceedings

    As Ambigapathy starts with a song on Lord Vinayaka, a flower will be dropped by Amaravathy who watches the event from a balcony from a hideout but not visible to Ambigapathy.

    Ottakoothar insists that this being a Kadavul Vaazthu padal, this should not be considered as part of the 100 and hence the king and others discard this. HOWEVER,NEITHER POOR AMARAVATHY NOR AMBIGAPATHY WERE AWARE OF THIS.

    Ambigapathy proves now that he is a worthy son of his illustrious father Kambar by singing all songs without Kamarasam.

    As he starts the 99th song ( which both the lovers think that this the 100th song ), ONE OF THE EVERGREEN HITS OF THE GREAT COMPOSER G.RAMANATHAN AND ONE OF THE VERY BEST OF NADIGAR THILAGAM’s PORTRAYALS COME OUT.

    Its SINDHANAI SEI MANAME

    A minute observation of Nadigar thilagam will reveal that he actually casually plays the character with consummate ease – the portrayal of a young and proud Poet , unmindful of the harsh realities of life

    This song has a unique pattern – THERE IS NO PRELUDE OR INTERLUDE !

    G.Ramanathan always applied some carnatic raga for his songs . This song was composed using KALYANI You can hear the classic raga being applied in the best manner possible

    Many actors have given lip movements and body reactions to carnatic songs but see the way in which Nadigar thilagam presents this song . OUTSTANDING !
    Whenever the song is in low pitch, NT gives a soft look and when it goes in high tone, NT’s throat movements, the hands , the eyes are sync together and gives a typical impression which an established singer will give normally !
    Well such is the power of NT’s observation which he presents with precision.

    When he sings Sindhanai sei maname ( the starting part ) , he face shows SATVEEGAM . As the song touches the words, ANDAGAN VARUMBODHU AVANIYIL YAAR THUNAI, the whole body of NT reacts instantly.

    Another feature of NT in this song is he shows DEVOTION up the point he completes the 100 numbers. As soon as the count down is over, a cheerful Banumathy comes out of the balcony where she was watching , hidden thinking that NT had successfully completed his challenge.

    But as soon as NT sees Banumathy, HIS FACIAL EXPRESSION CHANGES DRAMATICALLY AND FROM NOW HE BECOMES A TYPICAL LOVER !

    Amazing change in the facial expressions ( muga bhavam ) and words incessantly come out now on lust etc like – SATE SARINDHA KUZAL ASAIYA and from now his mood changes instantly and he starts singing with lust and describes the personality of Amaravathy unmindful of the consequences.

    As Nambiar’s count is less by one, the decision goes against NT and he gets death sentence.

    This movie also featured Kalaivanar NSK who incidentally passed away mid way . So NT gives a short but nice description to a NSK statue praising him aptly.

    The hey handsome M.K.Radha of Chandralekha fame plays the role of Kambar with precision.

    Nambiar was his ever usual self , very aggressive , cunning and like a fox waiting for opportunity and strikes but with an old man make up.

    This movie is a JEWEL ON HIS CROWN for the great G.RAMANATHAN who virtually sprayed the movie with some classical songs like :

    1. Masila nilave nam ( multiple ragas )
    2. Vara amudhe enadhanbe ( Mugari , a raga rarely used )

    Nadigar Thilagam exhibits a youthful exuberance and with a stamp of arrogance and pride looks of a young poet who was willing to take on the challenges of the world through his tongue and flair for poetry.

    This movie was one which was picturised during his youthful years.

    I understand, Banumathy was elder to NT but still the pair had wonderful chemistry

    Hats off to the great TMS for giving a mind blowing song for Nadigar thilagam making us believe as if NT himself had sung this gem of a song

    I have not seen this movie being discussed here . Quite surprising !
    Never argue with a fool or he will drag you down to his level and beat you at it through sheer experience!

  9. #28
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    Ponunjal

    Quote Originally Posted by groucho070
    Ponunjal (1973)


    Directed by CVR
    Written by Shakti Krishnaswamy
    Music composed by MSV

    The real title of this movie should be Pazhi. Its about revenge. It seems just a simple tale of a guy wanting to get the woman he loves but falls prey to basic human folly by the name of vengeance. But this is not a radical, liberal, anti-establishment man with simple request. NT’s character is a simple honest, culturally rooted man who lived his life in love with Usha Nandhini, and knowing well that the girl he loves is the destiny, but obstacles plays the role of fate. Can he defeat this fate (Vithi)? That is the central theme of this movie.

    Usha’s is NT’s own Maaman Magal (uncle’s daughter) in this film. He has been comfortable with the knowledge that a married life with her is his destiny. That has been planted in his conscience since he was a kid.

    He has a good relationship with her family, until that fateful day when they were deciding the marriage. His father, Sagasranamam, suddenly imposes the financial arrangement to his brother in law (S.V. Suppiah, who married his sister), intending very clearly to avenge the incident long time ago, whereby SV Suppiah demanded a large sum for the completion of Sagasranama’s own marriage. Sagasranamam’s father died, distressed and disappointed, and he had to work the whole thing out. It hurt him badly, and he had always been wanting to get back at SV Suppiah for causing his father’s death.

    NT’s father is only vengeful, he is not evil. He loves his son and he gets remorseful later when NT confronts him. To NT, the question is, why all these years of pairing him with Usha – having it bloom into passionate love affair only to have this age-old revenge to break that?

    The father – son confrontation may not be heated, but is tormentful. The son just want to know why put him on a emotional whirlwind. Death is also discussed and this breaks NT’s parents down. That is how seriously he is in love with that girl.

    Suppiah’s reaction to Sagasranamam’s request for money is only guided by his ego. Simple. He is smart (finds out ‘treasure’ was planted by NT – well intended), and a good man….but ego drives the wedge between these two families further.

    Though the instigator is Nambiar, the real bad guys is his father’s vengeance and his uncle’s ego. Most of the time, NT finds it easy to deride and get rid of Nambiar, but the issue is now the vengeful notion and arrogance that is taking toll to his love life and the memories of growing up with his childhood sweetheart.

    There is an interesting mode of solution here – using different Thali to note sense of belonging. The society now has to ask themselves what to believe. When they were told that the Thali issued for the marriage is not the same Thali planned for it, they begin to question the own culturally rooted belief. The Thali in hand belongs to NT, but Usha is forced to be married to Muthuraman, a local rich man.

    Muthuraman’s character here is not a bad guy. He is just a man used for occasion by Nambiar who is plotting revenge against NT. NT and Usha is now a victim of both NT’s father’s need for vengeance and Nambiar’s intention to get back at him. Muthuraman is just a pawn. But like his character in Savale Samali, he is important in the resolution of the plot. (I have great respect for Muthuraman. Watch Savale Samali and this movie, and you will understand why).

    The casts have all done justice to their role. Suppiah and Sagasranamam were both superb. I have special affinity for Suppiah’s performance – like other greats like MRR, Palaiya (and NT of course), very unpredictable. Usha, who is not really a great actress (the only sore point in Gouvaram) is actually good here.

    Nambiar himself proves what a talent he is. Alternating between comic (after the stage performance, when he is complaining to SV Suppiah about Usha, he’s a riot) and pure evil. What started out as a nuisance, becomes clearer as he charts out his intention. Being a Murai Maaman himselft to Usha, he made sure that she is out of NT’s reach, at the same time is not touched by Muthuraman (you got to see it to understand what I am saying). Pretty smart, for a small time village bad guy, but not impossible considering that those are his needs and man will think of anything to get what he wants.

    Of course, NT is NT. Again, he plays a helpless character. He is strong physically, can shrug of Nambiar with just a few words, but he couldn’t defeat the evil that is his father’s vengeance. The confrontation scene I mentioned really can draw tears. What will you do when your own father, who is a good man, is instrumental in defeating your love affair? NT responded well in these scenes.

    Poet laureate Kannadhasan used to say “Naam Munnorgal Moodargall Alla” (Our forefather’s are not stupid). I concur. At one glance, for present generation, this is just a black and white movie where past actors with white foundation and big wigs overact and cry a lot.

    I don’t see it that way. This film was made during the year I was born, and yet, I see that it was not made by idiots. It was made by individuals who understood the complex emotions that guide human being’s action and reaction. It was made by talents that understood what is the motivation to many human follies. These are the talents that were the strong foundation to what we know as the glorious Tamil film industry.

    This is a small film. But the scriptwriting, performance and of course the music is huge! I can’t cite direction, as it just looks apt and the director really depended on the talents in front of and behind the camera.

    Of course, three of the songs are popular, Muttucharam sudi varum, Nalla Kariyam Nadakattum and the most popular of the lot, Aagaya Panthalile. Since the last song has been played a lot on radio, I find the second song more endearing. Those who are in love, has been in love and going through obstacles can relate to song.

    Ponunjal is a small underated gem that should find audience again. Not an average audience, but who likes thought provoking scenes and great screen performances. It is sad that now most film are made only to please our senses…not our intellect.

    ends.
    Never argue with a fool or he will drag you down to his level and beat you at it through sheer experience!

  10. #29
    Senior Member Seasoned Hubber R.Latha's Avatar
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    [tscii]
    Thyagaraja Bhagavathar’s fame began to soar with his second film Ambikapathi. With the success of Sathi Leelavathi, Ellis R. Dungan arrived in Tamil films. Bhagavathar, already a star, was cast as Ambikapathi and M. R. Santhanalakshmi as Amaravathi. She was already a popular stage actor when she migrated to movies, and this, her first meaty role, elevated her to stardom.

    Dungan who did not know Tamil was, however, resourceful and innovative. He saw in the story parallels with Shakespeare’s immortal play “Romeo and Juliet” and decided to incorporate some of the play into the film script. The writer for the film was a Tamil scholar working under his pen name ‘Elangovan.’ Dungan marked out scenes from Shakespeare, which Elangovan translated into Tamil. One such was the famous balcony scene. The lines as Romeo takes leave of Juliet, “Sleep dwell upon thine eyes, peace in thy breast”, were translated by Elangovan as “Thookkam Un Kangalai Thazhuvattum! Amaithi Un Nenjil Nilavattum!” which MKT spoke. This kind of poetic treatment of film dialogue was new to Tamil cinema and created a sensation. Elangovan set new trends in film dialogue that would have far reaching changes not only in Tamil cinema but also in the political history of Tamil Nadu.

    A Bhagavathar film meant melodious music and Ambikapathi was no exception. The songs were penned and composed by Papanasam Sivan.

    T. S. Balaiah, a stage actor who came to the screen in Sathi Leelavathi, was cast as the villain in this film. A versatile artiste with remarkable range, he made a splash in Ambikapathi and rose to heights of popularity doing an amazing variety of roles in a successful career stretching over 30 years. He had a peculiar way of delivering dialogue, which endeared him to millions.

    Serukalathur Sama, the noted actor was Kamban, and his hairstyle and beard were inspired by Rabindranath Tagore and suggested by Dungan.

    Ambikapathi was produced at East India Studio in Calcutta and the main cameraman was Krishna Gopal. A fine technician, KG, as he was familiarly known, later made films on his own, and designed colour film laboratories, including the internationally acclaimed Gemini Colour Lab in Madras.

    Background music was scored by K. C. Dey, known as the ‘Blind Singer of Bengal’ who blazed a trail in Indian film music. He also acted in many films as a blind street singer!

    Dungan invested Ambikapathi with many features besides its dialogue. He opened a brave new world in picturising the love scenes of Bhagavathar and Santhanalakshmi, erotically suggestive and boldly intimate. He had Bhagavathar carry his beloved to bed, making the audience gasp with visions of what would follow after the fade out! He had Bhagavathar wink at his heroine, something unthinkable in those days. Bhagavathar’s wink not only became famous but was also regarded as his ‘trade mark’. Ambikapathi turned out to be a super hit. Bhagavathar was now a rage and soon would be a cult figure, and phenomenon, the first in South Indian cinema, a legend in his lifetime.

    RANDOR GUY

  11. #30
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    Oru Oothappoo Kan Simttugirathu

    [tscii]
    Oru Oothappoo Kan Simttugirathu (1976)

    Cast: Kamalahassan, Sujatha, Vijayakumar and a host of new faces
    Directed by SP Muthuraman
    Music by Dakshinamoorthy

    Songs:
    Murukku kai murukku – TK Kala
    Aandavan illaa ulagam edhu – TMS & VJ
    Nalla manam vaazhga naadu pOtra vaazhga – KJJ
    Aandavan illaa ulagam edhu (pathos) – TMS & VJ

    Ravi (Kamal) lives next door to Radha (Sujatha) and both fall in love with each other. Ravi’s friend challenges him that he can make Radha fall for him in one week. Unable to prove himself right, the friend attempts to molest Radha. Ravi arrives at the scene and a fight ensues with Ravi killing his friend unintentionally. Ravi is sentenced to life sentence and he requests Radha to forget him and carry on with her life.

    Due to Gandhi’s birthday, Ravi gets a pardon after spending six years in prison. Film begins with Ravi traveling back to his hometown. Ravi happens to meet Radha who in turn spurns him and asks him not to interfere with her life!
    Apparently Radha is already married to Vijayakumar!

    Unable to forget her, Ravi lives a lonely and monotonous life. Radha enters hs workplace and pleads with him to forget her and start his life anew. Ravi says that it is impossible unless……

    BREAK

    Yes… unless Radha spends one whole day with him like as if they were married! “Don’t mistake me,” he pleads, “I will not even touch you.” He explains that he had built a lot of dreams on living together and this “one day” business will satisfy his “hunger.”

    Sure enough Radha is at his door step the next morning and does all the “panividai” for Ravi. Ravi is satisfied and is prepared to go on with his life. But…..

    Now Radha is overcome with emotions and is unable to forget Ravi!!!
    She now requests that there is only one solution………!

    Radha requests Ravi to come over to her house and pick her up that very night. Together they will run away and live together!

    Ravi turns up!

    Radha writes a long letter for her husband!

    And then leaves the house!

    Padi thaandinaal paththini!

    What happens next? Will the lovers elope and live happily?
    What about Vijayakumar?

    See the movie for answers to these questions.
    Never argue with a fool or he will drag you down to his level and beat you at it through sheer experience!

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