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Thread: Nadigar Thilagam Sivaji Ganesan Part 8

  1. #731
    Senior Member Seasoned Hubber KCSHEKAR's Avatar
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    துளி விஷம், திருவிளையாடல் என்று பொக்கிஷ அணிவகுப்புகள் திக்குமுக்காடச் செய்கின்றன. நன்றி திரு. பம்மலார் & திரு.ராகவேந்திரன்.
    அன்புடன்

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  3. #732
    Senior Member Senior Hubber abkhlabhi's Avatar
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    நடிகர் திலகத்தின் படங்களையும், அவரை பற்றியும் தினம் தினம் அள்ளி வழங்கும் தகவல் திலகமே, வெறும் நன்றி என்ற வார்த்தை உங்களை கேவல படுத்துவதாகும். அவர் நடிகர் திலகத்திற்கும், அவருடை ரசிகர்களுக்கும், செய்யும் சேவை பாராட்ட வார்த்தை இல்லை. தொடருட்டும் உங்கள் சேவை.

  4. #733
    Senior Member Senior Hubber abkhlabhi's Avatar
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    Thiruvilayadal written by Balaji

    A.P. Nagarajan is mostly famous as the director of various epics based on mythological characters or Hindu Gods that are often characterized by riveting performances, spellbinding music, and by virtue of them being based on well-known history/religion. Arguably the most popular of his movies, certainly the most entertaining, is Thiruvilayadal, which provides an account of Lord Shiva’s grace in helping his devotees through a series of episodes. Starting with ‘Sivaji’ Ganesan’s arresting performance, K.V. Mahadevan’s timeless music, and Nagesh’s legendary comedy to name a few, I would be amazed if there is an aspect that can be used to qualify film masterpieces absent here. The film has been telecasted on TV every now and then, but it has still lost none of its charm and remains one of the greatest movies in Tamil cinema history.
    As the director kindly informs us through a background voice heard during the beginning, Lord Shiva’s benign and kindly nature toward his devotees has been widely written about in the form of various epics, ithihasas, and puranas. This film borrows some of the most prominent episodes from such writings and tries to recapture the same playful nature of the Lord on-screen, and is entirely successful in doing so. Throughout the course of these four episodes, which see Lord Shiva appear in various forms, the film is highly entertaining, while also conveying a variety of messages through each of them.
    The film opens with an introduction for Lord Shiva (‘Sivaji’ Ganesan), followed by the fabled “wisdom-fruit” sequence. The ever-mischievous Naradha provides the God with what he calls a unique “wisdom-fruit.” The God, playing along with the former, hands it over to Goddess Parvathi (Savithri), who decides to test her two sons and give the winner the prize. The test is who can complete a round-trip around the world first. Lord Murugan takes his trusted peacock and “actually” completes the task, while Lord Ganesha completes a circle around his parents and equates it to completing a trip around the world, thereby winning the prize. Murugan gets angered on his return as he sees this as his parents favouring their first child, and abandons them without heeding calls from his mother or avvaiyar (K.B. Sundarambal) that this is also one of his father’s playful acts.
    If there is a single downside in the entire film, it is that these initial sequences can be inordinately slow by any standard. The elaborate set-design and dances that accompany the Sambo Mahadeva… song which introduces Lord Shiva are good, but this sequence itself is quite long and drawn-out. And, three songs immediately follow the “wisdom-fruit” sequence, further slowing down everything to a degree where we want the actual episodes to start. However, once the “movie” itself kicks off, with Parvathi recounting Lord Shiva’s playfulness to a very furious Murugan, it never flags and keeps things moving at a decent pace.
    The first episode will be the most instantly recognizable to even people who have not seen the movie. The King of the Pandya land, Shenbaga Pandyan (Muthuraman), announces a flattering amount of gold to anyone who can solve his puzzle relating to the scent emanating from a woman’s hair (in this case, his wife, played by Devika). Inspired by the prize amount, a poverty-stricken poet, Dharumi (Nagesh), does what any person in his situation with his level of talent would: pray to God – who as usual solves his troubles by appearing in humane form. The highlight of this episode (or the movie, for that matter) is of course the verbal duel between Sivaji and Nagesh which has become the stuff of legend, with many a modern movie paying homage to it in its own way. And the “Nettrikkan Thirappinum Kuttram Kuttrame” dialogue is probably one of the most famous quotes in Tamil cinema and popular culture. Notwithstanding the other episodes, the movie touches its apex inarguably in this sequence.


    .....contd

  5. #734
    Senior Member Senior Hubber abkhlabhi's Avatar
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    Thiruvilayadal - written by Balaji ..... contd.

    The second and third episodes stand to be the weakest of the four, not because they are not entertaining (which they certainly are), but because they obviously lack the visual energy that pervades both the other episodes. The former sees Dakshan (Parvathi’s father) start a yaagam without inviting Shiva, which angers his daughter. Parvathi doesn’t heed Shiva’s calls and still visits her father requesting him to put an end to this madness. When it proves to be futile, she returns to her Lord, but the difference of opinion still remains. This is probably the only episode which doesn’t have any noteworthy aspect except, possibly, Lord Shiva’s “thaandavam” which serves the singular purpose of highlighting Sivaji’s weak dancing capabilities.
    The third episode, in comparison, is definitely much stronger, and sees Parvathi forget her origins and be born as a fisherman chieftain’s daughter. Though it starts off slowly with another song, Sivaji’s reappearance as a fisherman provides some much-needed energy, and the episode itself concludes with an imaginatively picturized fight sequence in water, as Sivaji fights off and defeats a killer whale to win back Parvathi.
    Finally, the fourth episode has Lord Shiva return back to Madurai, this time under the rule of Varaguna Pandyan. Hemanatha Bhagavathar (T.S. Balaiah), a carnatic singer of worldwide fame, has finally made his way to Madurai to sing in the King’s presence and prove his superiority once and for all. He poses a challenge to the King that if somebody from Madurai can defeat him, his voice and talent will be laid at the city’s feet and he will never sing again. However, if that person loses, then every man in the Pandya kingdom should henceforth refrain from singing. After everybody in the King’s court refuses to oblige, Baanapathrar (T.R. Mahalingam), who sings devotional compositions in the temple is chosen. The latter, realizing that he is no match in a straight battle with the famous out-of-town singer, prays to God to find a way out of this trouble. Of course, Lord Shiva appears as a woodcutter and rewards his devotee, while also teaching a lesson to Hemanathar.
    Regardless of all the movie’s minor problems or for that matter its high points, it can be watched and re-watched any number of times just for ‘Sivaji’ Ganesan’s acting alone, whose radiant screen presence and majestic voice are aptly suited for such a role. Ever since its release, much has been written and said about this portrayal, so I would like to highlight my personal favourite sequence from the movie in order to demonstrate just how good a performance this is: The Paatum Naane, Baavamum Naane song.
    Sivaji was one of the very few actors who could make us believe he was actually singing the song. Though T.M. Sounderarajan’s voice and its resemblance to Sivaji’s had a big say in this, the actor’s lip movements and genuine throbbing of the throat are the main reasons. The aforementioned sequence is the perfect example of both this fact and Sivaji’s acting talent. The twinkle in the eye as he gives a fleeting look at the room in which Hemanathar is staying when he sings “Paadum Unai Naan Paadavaithene,” or the rolling of the eyes accompanied by the inimitable smile when he utters “Naan Asainthal Asaiyum Agilam Ellame,” or even the ease with which his various forms handle the Veena, the Flute, and the Mridangam – all provide ample proof as to why he is arguably the greatest actor in Tamil cinema history and why this is decidedly one his best ever portrayals.
    With such a commanding performance, the only other actors who make any sort of impact are Nagesh and Balaiah. As Dharumi, the former creates what is easily one of his most memorable on-screen characters. A variety of accolades has already been heaped on the role, but what I find most impressive about it is the consummate ease with which Nagesh accomplishes the seemingly impossible task of making us take our eyes of Sivaji and fixating them on Dharumi. A hard task in any of Sivaji’s roles, but to achieve it in this movie, and to a degree where we find ourselves incapable of removing our eyes off Dharumi, is proof enough of the late character actor/comedian’s greatness. Balaiah can generally be considered as a much underrated supporting actor who can leave a mark in any movie. As the egoistic singer who thinks the whole world is beneath his talent, he puts in a terrific shift, which injects a lot of energy to the movie, especially after the slower middle episodes.
    With the exception of Sivaji, Savithri has the largest amount of screen time. However, this is definitely not one of the actress’ memorable performances, though she is quite suited and adequate for the role. (It has to be mentioned that this owes a great deal to Sivaji, with whom she shares much of the screen during the movie.) Director A.P. Nagarajan makes a cameo appearance as Nakkiran in the first episode and delivers the one critical dialogue with enough zest to firmly etch the role in our minds. Muthuraman, Devika, and Manorama all have minor appearances which further serves to the highlight the significance of the lack-of-ego argument I mentioned in my review of Saraswathi Sabatham.
    As is a given in all of A.P. Nagarajan’s movies, the combination of K.V. Mahadevan’s music and Kannadasan’s lyrics stands him in good stead throughout, delivering a truly outstanding soundtrack. The standouts definitely are Paatum Naane Baavamum Naane…, Isai Thamizh Nee Seitha…, and Indroru Naal Podhuma…, all from the last episode. Of special note is the latter in which Balamuralikrishna’s voice and Balaiah’s expressions contribute effectively to craft an all-time great song. The other songs that have become very popular are Pazham Neeyappa… and Gnana Pazhathai Puzhindhu… from the first episode, which sing Murugan’s praise. Podhigai Malai… is also a very melodious number, while Sivaji has a lot of fun in Paarthal Pasumaram. The other songs work well within context of the movie, but are definitely not suited for casual listening on the Ipod.
    Looking back at the history of Tamil cinema, few movies would come close to providing the same level of entertainment offered by this one. In a career that has seen him direct such movies as Kandan Karunai, Thillana Mohanambal, Thiruvarutchelvar, and Saraswathi Sabatham, just to name a few, this movie can be argued to be A.P. Nagarajan’s greatest movie. If not, then it is certainly close to the top. And, combined with what can be undeniably termed as a tour-de-force performance from Sivaji at the height of his craft, Thiruvilayadal is certainly one of Tamil cinema’s long standing masterpieces.

  6. #735
    Senior Member Diamond Hubber RAGHAVENDRA's Avatar
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    கல்கி 22.08.1965 தேதியிட்ட இதழில் வெளிவந்த விமர்சனம்

    விமர்சனங்களுக்கு அப்பாற்பட்ட இறைவன் நடிகர் திலகம்.. கடலின் ஆழத்தை அளந்து விடலாம். நடிகர் திலகத்தின் செல்வாக்கை அளக்க முடியாது... அது பயனளிக்கும் போது தான் அதன் ஆழம் புரியும்....

  7. #736
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    sameebathil ithaya theivam kalakiya Raaja-Neethi-Sorkam combo DVD vangi parthen-Neethi athigam parthathillai-
    what a movie and namma NT yin acting-
    Vazga Sivaji pugaz

  8. #737
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    ithu enna puthu pada releasa mathiri iruuke-rasika vellam-innikku Kowravam CD yil parka ippothe ready ahi villten
    Vazga Sivaji pugaz

  9. #738
    Senior Member Diamond Hubber RAGHAVENDRA's Avatar
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    தொடர இருக்கும் அணி வகுப்புகளின் முன்னோட்டம்

    ஆகஸ்டு திங்கள் - அதிர வைக்கும் பட்டியல் -

    குங்குமம் சிவக்க மன்னவன் வந்தானடி என்று கொண்டாடத் துவங்கி என் ஆச ராசாவே என்று உச்சி முகர்ந்து முடிக்கும் திங்கள் ஆக்ஸ்ட். இம் மாதத்தில் அணிவகுப்பு, அம்மம்மா.. என்னென்ன படைப்பு....

    தேதி, படத்தின் பெயர் (அடைப்புக்குறிக்குள் ஆண்டின் இலக்கம்) என்கின்ற வரிசையில்...


    2 = குங்குமம் (1963), மன்னவன் வந்தானடி (1975)

    3 = மர்ம வீரன் (1956)

    5 – மக்கள ராஜ்ய (கன்னடம்) (1960)

    8 = நிறை குடம் (1969) (சென்னையில் 09.08.1969)

    10 = நான் வாழ வைப்பேன் (1979)

    12 = குங்குமம் (1963), சுமங்கலி (1983), ஜீவன தீராலு (1977)

    14 – மூன்று தெய்வங்கள் (1971), முதல் குரல் (1992), அக்னி புத்ருடு (1987)

    15 – சாரங்கதரா (1958), ராமன் எத்தனை ராமனடி (1970), எழுதாத சட்டங்கள் (1984), முதல் மரியாதை (1985), ஒரு யாத்ரா மொழி (1997)

    19 – மகாகவி காளிதாஸ் (1966)

    21 – மரகதம் (1959), என் மகன் (1974)

    22 – மாடி வீட்டு ஏழை (1981)

    24 – மருத நாட்டு வீரன் (1961) (பொன விழா நிறைவு)

    25 – சாணக்ய சந்திரகுப்தா (1977)

    26 – கூண்டுக்கிளி (1954), தூக்குத் தூக்கி (1954), மங்கையர் திலகம் (1955), தவப் புதல்வன் (1972), தாயே உனக்காக (1966)

    28 – கிருஷ்ணன் வந்தான் (1987), ஜல்லிக்கட்டு (1987), என் ஆச ராசாவே (1998)


    அன்புடன்
    Last edited by RAGHAVENDRA; 31st July 2011 at 07:46 AM.
    விமர்சனங்களுக்கு அப்பாற்பட்ட இறைவன் நடிகர் திலகம்.. கடலின் ஆழத்தை அளந்து விடலாம். நடிகர் திலகத்தின் செல்வாக்கை அளக்க முடியாது... அது பயனளிக்கும் போது தான் அதன் ஆழம் புரியும்....

  10. #739
    Senior Member Senior Hubber abkhlabhi's Avatar
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    నటవిశ్వరూపం శివాజీగణేశన్* - NATAVISWARUPAM SIVAJI GANESAN

    written by కుసుమకుమారి Published in Visahala Andhra.

    తమిళనాడులో నటులు పూనకం పట్టినట్టుగా నటిస్తారని ఉత్తరాది సినీపరిశ్రమ చెప్పుకునేది.వారు అతి చిన్నరోల్*కూడా అతి పెద్దగానే ఏక్ట్*చేస్తారు. అందుకు కారణం 1950నుంచి 1980 వరకు 30ఏళ్లపాటు ఆటైపు నటీనటులే వచ్చారు. ఎవరిని చూసినా శృతిమించిన నటనతో రెచ్చిపోతుండేవారు. వారిలో అగ్రగణ్యుడు నడిగర తిలకగమ్* శివాజీగణేశన్*. ఆయనతో సిన్మాతీస్తే కథలేకపోయినా చిత్రంలో సరైన పాటలు మాటలు ఏవి లేకపోయినా ఆయనుంటేచాలు తమిళ ప్రేక్షకులు చూసితీరుతారనే నమ్మకం ఆయనతో తీసే నిర్మాతలకు ఉండేది. 80 దర్శకులు ఆయనతో చేసారు. వారిలో భీమ్*సింగ్*, ఏసి.త్రిలోక్*చందర్*, డి.యోగానంద్*, సేతు మాధవన్*, కె.విజయన్*, క్రిష్ణన్*పంజు వంటి వారు ఒక్కొక్కరు 20చిత్రాలు శివాజీతో చేసారు.

    నటన అంటేప్రాణం. ఈతరహానటుడు ఏభాషలో లేరు. శివాజీ సిన్మా షఉటింగ్* జరుగుతున్నప్పుడు ఏకొంత విరామం లభించినా ఆయన ఆ పాత్రతోనే అవే హావభావాలతో తిరుగాడేవారు. పాలేరువేషమైతే లంచ్*లో నేలమీద కూర్చుని ఇంటి నుంచి వచ్చినకేరియర్* విప్పి పనివాడిలా గోడకు చేరగిలబడి ఆబగాతింటుంటే తోటినటులు ఆశ్చర్యపోయేవారు. తను ఈరోజు నటించే సీన్లకు ఇది ఉప యోగపడుతుంది అని చెప్పేవారు. కర్ణుడుగా చేస్తున్నప్పుడు ప్రశాంతగా, గంభీరంగా స్టూడియో లాన్స్*లో బిగదీసుకుని నడుస్తుండే వారు. దర్శకనిర్మాత బి.ఆర్*.పంతులు ఆశ్చర్యపోయేవారు. అది శివాజీకి వున్న నటపిచ్చి. దాంతో కెమెరా ముందు చెలరేగేవారు.
    శ్రీశ్రీ వంటి మహాకవి చెప్పకనే చెప్పారు అయ్యా మీకునచ్చిననటుడు ఎవరు అని అడిగితే ప్రపంచ మహానటుడు శివాజీయే అని కుండబద్దలు కొట్టేవారు. తమిళనాడులో నేటికి శివాజీకి ఫస్ట్*మార్కు వస్తుంది. కుముదం అనే తమిళ వారపత్రిక ఒకసర్వేలో శివాజీకి 35శాతం, ఎమ్*జిఆర్* 30, రజనీ20, కమల్*15 శాతంగా ఫలితాలు వెలువడ్డాయి. అంటే శివాజీ నటనకు తమిళప్రజలు ఎంతగా ఆరాదిస్తున్నారో అర్దమ వుతుంది. అక్కడ నేటికి శివాజీని నటనపరంగా మెచ్చనివారులేరు.

    శివాజీగణేశన్* విళ్లుపురంలో చిన్నయమండ్రాయర్*, రాజ మణి అమ్మయార్*లకు 1-10-1928లో జన్మిం చారు. అప్పటికే తండ్రి స్వాతంత్రపోరులో ఉన్నం దున జైలుకు తరలింపబడ్డారు. పదేళ్లప్రాయంలో శివాజీకి నటనపిచ్చి అంకురించింది. ఎక్కడ నాటకాలు వేసినా చూసి ఆడైలాగులు చెప్పడంతో తల్లి బాలగానసభ అనే నాటక కంపెనీలో చేర్పించింది. దాని నిర్వాహకుడు పొన్నుస్వామిపిళ్లే శివాజీలో నటన పటిమచూసి ఆశ్చర్యపోవడమే కాకుండా నాటకరంగాన్ని ఏలుతావు అని భుజంతట్టేవారు. అప్పటికి వీరపాండ్యకట్టబొమ్మన నాటకం వేయడానికి ఆంగ్లప్రభువులు అప్రకటిత నిషేధాన్ని విధించారు. దాన్ని కంబళా త్తాన్* కూత్తుపేరిట ప్రదర్శిస్తుండేవారు. దాన్ని ఎవరువేసినా చూసేవాడు. అలా శివాజీలో పూనకంతోకూడిన నటన చిరుత ప్రాయం నుంచే అలవడింది.

    1952లో శివాజీ తమిళతెరమీద కన్పించాలనే తహ తహలోఉన్నప్పుడు తెలుగు నిర్మాత ఆదినారాయణరావు అంజలి తాము తీసిన పరదేశి చిత్రంలో ఒకవేషమిచ్చారు. అందుకే ఆయన ఆదంప తులకు ఎనలేని గౌరవమిచ్చేవారు.తర్వాత భక్తతుకారాం తీసినపుడు శివాజీ వేషం వేయమని అప్పటికే ఆయన స్టార్*డమ్*లో ఉన్నందున వేషం చిన్నదే ఎంత ఇవ్వాలో చెబితే ఇస్తామని నిర్మాతలు అడిగారు. నాకు తొలిచిత్ర అవకాశం కల్పించిన మీకు ఈచిత్రం ఉచితంగా చేస్తామని చేసారు. సెట్*లో అంజలి, ఆదినారాయణరావులవద్ద మంచి నీళ్లుకూడా తీసుకోకుండా నటించారు.

    చిన్న తనంలో ఎక్కువగా శివాజీవేషం వేసినందునే ఆయ నకా పేరు వచ్చింది. చిన్నయ్యపిళ్ళై గణేశన్* జన్మనామం.ఇక ఆయన తొలితమిళచిత్రం పరాశక్తి 25 వారాలు నడిచింది. దానికి కరుణానిధి రచయిత ఈ ఇద్దరు కలిసి పలుచిత్రాలుచేసారు. ఇక ఆయన నటించే చిత్రాలలో 100చిత్రాలవరకు 25 వారాలు నడిచి లాభాలు తెచ్చినవిగా శివాజీ చిత్రమాలికలో నమోద య్యాయి. ఆయన తో సిన్మాఅంటే దర్శకనిర్మాతలకు,చిత్రం చూసే జనాలకు పండుగ కర్ణచిత్రంలో ఎన్*టిఆర్* సయి తం శివాజీని చూసి ముచ్చటపడ్డారు. రక్తసంబం దం,కలిసిఉంటేకలదుసుఖం,ఆత్మబందువు కొండవీటి సింహం చిత్రాలు ఎన్*టిఆర్*కు మంచి పేరు తెచ్చినవే అయినా అవి అంతకుముందు శివాజీతో నిర్మితం కావడంవలన నటనకు పరాకాష్ట కావడంతో ఎన్*టిఆర్*కు నటనపరంగా పేరురాలేదు. ఈసమస్య అక్కినేనికూడా ఎదుర్కొన్నారు. ధర్మదాత, నవరాత్రి చిత్రాలు అక్కినేనికి శివాజీకి మించిపోయి పేరురాలేదు. ఇలా శివాజీ నటనకు సరితూగడం కష్టమే అన్నంతగా ఆయన ఉండేవారు. ఎన్*టిఆర్* కొన్నిచిత్రాల్లో శివాజీని తలపింపచేస్తారు. మేజర్* చంద్రకాంత్*లో ఎన్టీఆర్* వీరపాండ్యకట్టబొమ్మన ఉరితీసే సన్నివేశంలో కన్పిస్తారు. అక్కడ శివాజీ అనుకరణతోనే సాగుతుంది. అంటే ఎన్*టిఆర్*కు శివాజీ నటన మీద అంతగురి ఉండేది. తాను స్వంతంగాతీసే చంఢశాసనుడు తమిళ్*లో శివాజీతో తీసారు. రెండుభాషల్లో చిత్రం ఫెయిల్* అయ్యింది. తెలుగు కంటే తమిళ్*లో ఒకింత మెరుగయ్యింది.
    శివాజీ తమిళతెరపై నెంబర్* ఒన్* అయినా ఆయననటనలో పర్వతాకారంలో ఉన్నా ఆయన ఎందుకో రాజకీయంలో రాణించలేక పోయారు.ఎమ్*జిఆర్*తో తెరమీద పోటీ దీర్ఘకాలం సాగింది. అక్కడ కూడా ఎమ్*జిఆర్* ఫస్*్తప్లేస్*లో వుండేవారు. పైగా ఆయనవన్నీ మాస్* చిత్రాలే.ఇకరాజకీయాల్లో శివాజీ ఏమీసాధించలేకపోయారు. నటిస్తునే మరణించాలనే కోరికతో ఆయన చివరివరకు నటించారు. 1960లో కైరోలో బెస్ట్* యాక్టర్* అవార్డు తీసుకున్నారు. ఇక అవార్డులకు కొదవేలేదు. పద్మశ్రీ, పద్మభూషన్* వంటి వాటితో ప్రభుత్వం ఆయన్ని సత్కరించింది.
    ఆమహానటుడు చెన్నరు అపోలోలో తన 73ఏట 21జూలై 2001లో చికిత్స పొందుతూ తుదిశ్వాస విడిచారు.

    மேலே உள்ள கட்டுரையில் உள்ள சில para படித்தால் புரியம் / தெரியும் ----
    நன்றி கடனின் மறு பெயர் நடிகர் திலகம்
    நடிப்பு தன உயிர் மூச்சாக வாழ்ந்த நடிகர் திலகம்
    செய்யும் தொழிலே தெய்வமாக வாழ்ந்த --- உதாரணமாக திகழ்ந்த
    நடிகர் திலகம் ஒருவரே என்று

  11. #740
    Senior Member Diamond Hubber RAGHAVENDRA's Avatar
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    டியர் பம்மலார்,
    தங்களுடைய திருவிளையாடல் விளம்பரப் படங்கள் SUPERB. 1965ல் பிறக்காதவர்கள் அந்தக் காலத்தை உணர்ந்திருப்பார்கள், தாங்கள் உட்பட. பாராட்டுக்கள்.

    திருவிளையாடல் பாடல்/காட்சிகளின் அணிவகுப்பு

    பாட்டும் நானே பாவமும் நானே - ஐந்து இசைக் கருவிகள் - ஐந்து பாத்திரங்கள் - ஐம்புலன்களையும் கட்டிப் போடும் அட்டகாசமான நடிப்பு, இசை, குரல், வரிகள் --

    நடிகர் திலகம், கே.வி.மகாதேவன், டி.எம்.சௌந்தர்ராஜன், கண்ணதாசன் கூட்டணி - கேட்கவும் வேண்டுமோ - காலத்தால் அழியாத காவிய கானம்



    அன்புடன்
    Last edited by RAGHAVENDRA; 30th July 2011 at 06:06 PM.
    விமர்சனங்களுக்கு அப்பாற்பட்ட இறைவன் நடிகர் திலகம்.. கடலின் ஆழத்தை அளந்து விடலாம். நடிகர் திலகத்தின் செல்வாக்கை அளக்க முடியாது... அது பயனளிக்கும் போது தான் அதன் ஆழம் புரியும்....

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