Nadigar Thilagam Sivaji Ganesan Part 10

[vasudevan31355]

'அன்புள்ள அப்பா'(16.5.1987)









'அன்புள்ள அப்பா' சிறப்பு நிழற்படம்



அன்புடன்,
வாசுதேவன்.

[ScottAlise]

NT movies can be digitalised but there is no need for 3D for VPKB as it the subject does not have scope for 3D. Speed breaker Comedy scenes,Pathos songs can be deleted. Pudhiya paravai will be very well received as the present generation loves thriller. Imagine the RR of MSV in digital it would be mind blowing. But distributors must never

take audience for granted following the success of Karnan maximum 3 movies of NT movies a year can be released, Genere must be different

[ScottAlise]

Sivaji Ganesan was an ageless wonder. If the current generation were to study his career they would emerge completely confused about the chronology of his movies. Would anyone believe if I say that he did Navarathiri, Karnan and Puthiya Paravai in the same year? Or for that matter Thillana Mohanambal and Ooty Varai Uravu? Or again Thiruvarutchelvar and Iru Malargal? And to think that he was just thirty one when he played Kattabomman, the macho Tamil chieftain who dared the British or as the venerable V.O.C just a year later! For him acting was a series of different states of mind and the moment his mood shifted to the latest role on hand, the inner spirit automatically generated the relevant body language and expressions.He was the most gifted actor of our times and a complete artiste in whom voice, diction, looks, face, expression, posture, gesture and presence miraculously combined to create a histrionic charisma of haunting intensity and awesome dignity.


Sivaji scaled a new and brilliant standard of histrionics in the 1960s in a captivating series of films of family melodrama directed by Bhimsingh: "Bagappirivinai", "Padikatha Medhai", "Paava Manippu", "Paasamalar", "Palum Pazhamum", "Paarthal Pasitheerum", "Padithaal Mattum Podhumaa", "Paar Magale Paar" and "Pachai Villaku". Whether it was a patriot like V. O. Chidambaram Pillai or a mythological character like Karnan or a saint like Appar or a monarch like Raja Raja Chozhan or a middle class householder or a village idiot or even the Lord himself, Sivaji composed manifold portraits of attractive form and soulful depth.

The simpleton Rangan with a heart of gold in "Padikatha Medhai," the struggling, sacrificing gentleman Raghu in "Nenjirukkum Varai," Lord Siva rescuing the poverty-stricken poet Dharmi with resplendence and rage in "Thiruvilaiyadal," the love-struck brilliant nadhaswaram vidwan Sikkil Shanmugasundaram in "Thillana Mohanambal," the disfigured and disowned son Kannan in "Deiva Magan", Prestige Padmanabhan, the good-hearted Brahmin factory manager heart-broken by family tragedy in "Vietnam Veedu," Saapaturaman, the epileptic village bumpkin in "Raman Ethanai Ramanadi," Rajnikanth, the glamorous and hypersensitive Brahmin barrister stuffed with self-importance in "Gauravam," the long-suffering village elder refreshed by a breeze of love in middle age in "Mudhal Mariyadhai" and the hired suave "foreign"-father in "Once More" are among Sivaji's many unforgettable roles.

Sivaji was an actor's actor. There was hardly anyone who wasn't influenced by his acting style, whether it was a schoolboy acting as Othello on Parents' Day, an amateur artist mourning his mother's death in a play or unabashed admirers of him who took pride in aping him.
All Tamil actors found Sivaji's style, mannerisms, range of emotions and dialogue delivery having an influence on them as individuals and actors.






Sivaji was a national treasure but was also sadly a victim of regional bias. In a milieu dominated by Hindi film intellectuals who moulded filmi opinion at the national level, Sivaji was deliberately overlooked, though international recognition came his way unsolicited. While he threw his lot with a national party, he was promptly sidelined owing to the dominance of Dravidian politicians of the sixties, who had appointed themselves as the sole custodians of Tamil.Though Sivaji Ganesan brought glory and world attention to the State and his mother tongue, it is also a fact that he was badly let down here. An artiste of international stature was confined to totally local terrain.

I still remember a line in Dinamalar next day after NT funeral

" Actor has passed leaving a message how not to treat an actor"

[ScottAlise]

Since Pasamalar cuttings are to be displayed next let me write something on that. Some may be repeated as most of them are veterans here pl excuse

Many movies with core theme BROTHER-SISTER relationship have come before and after this .

But till date the portrayal of PASA MALAR can never be surpassed . It can be said like this before PASA MALAR . After PASA MALAR

It’s a magnificent presentation of blood relationship between a brother and sister who gives his heart and soul for the sake his sister’s welfare which is reciprocated equally well by the sister as both die at the end .

The movie is full of emotions.

The film was cast in 1961 and directed by A. Bhimsingh. This film is considered to be one of the greatest Tamil movies ever made. Stellar performances from Sivaji Ganesan and Savitri make this movie a pleasure to watch. This movie was a great hit of its time and the melodious songs are a delight to hear to this day. One of the song, Vaarayen Thozhi Vaarayo, is still played in all Tamil weddings.

When Shivaji produced "Pasa Malar" in 1961 .,it became a milestone of sorts for the Tamil film industry. Shivaji, realising that one feature of the film's success was attributed to the songs, arranged for a grand dinner reception with its attendant booze etc. for Kannadhasan. At that function he publicly embraced Kannadhasan saying that "kavingyan endral nee thaanda kavingyan".
Shivaji further noted that the lines 'nathiyil vilayadi kodiyil thalai seevi' (song: Malarnthu Malaraaga)was a literature song well diluted so that even the illiterate folks could understand the essence. After this incident, their animosity was forgotten. Practically it was kaviarasar's songs for the next decade or so in all of Shivaji's films

[vasudevan31355]

'அன்புள்ள அப்பா' பாடல் காட்சிகளின் நிழற்படங்கள்.

ஸ்டைல் சக்கரவர்த்தியின் வித்தியாசமான முகபாவங்களில்.

"மரகத வள்ளிக்கு மணக்கோலம்"...



"மரகத வள்ளிக்கு மணக்கோலம்"...(video song)



"அன்புத் தாயே...அன்புத் தாயே "...



அன்புடன்,
வாசுதேவன்.

[ScottAlise]

The producers of "Gauvravam" (1973/1974)booked Kannadhasan to pen the songs for their film. But the latter was away in Malaysia.Once in Malaysia he forgets all his reponsibilities back home! It is a well known fact that Kaviarasar had a wide circle of associates in Malaysia. He gets well blended in Malaysia. He once remarked that being a strong believer in reincarnation he hoped that his next birth will be in Malaysia!

His assistant (I do not wish to cite his name for obvious reasons as he is still around and a well known film producer too)urged the producers to give him the opportunity to pen the songs citing Kannadhasan's attitude. Incidentally, this assistant is Kannadhasan's own nephew and he took him from nowhere and groomed him up. If you see films of the sixties and seventies era you can catch up his name as assistant to Kaviarasar in the film credits. The producers of "Gauravam" did not want to take the chance but instead preferred to await Kannadhasan's return. The moment Kannadhasan returned he heard the story of how his assistant-cum-nephew nearly manoeuvered him out of this film. He could'nt stomach the fact that the very child he groomed could do such a thing. But back to business. He penned all the songs but amongst them there were two songs where he really poured out his emotions. The songs fitted the film picturisation well but only those who were close to Kannadhasan knew that they were aimed at his nephew-cum-assistant. The songs are "Paaluti Valartha Kili" and "Neeyum Nanumaa Kanna Neeyum Naanumaa". The next time if you happen to hear these two songs close your eyes and you can feel the emotions of Kaviarasar. Anyway, the whole episode was forgotten as usual as Kannadhasan is a child-at-heart person and was never known to be vindictive throughout his life. He forgives and forgets. Thats his secret of remaining jovial till his last breath in spite of all the shortcomings he faced. See you all again with yet another song background ஸ்டோரி

[ScottAlise]

The producers of 'Avanthan Manithan' were rushing our poet laurete to pen the songs for their film which was scheduled to be shot in Singapore in the month of May 1973. Each opportunity they remind him of the month of May knowing Kaviarasu's attitude of taking everything easy and lightly. Finally, one fine day they insisted that he pens them the songs then and there. Without choice all the songs were written in a jiffy in a suite at Hotel Artlantic, Chennai. Before taking leave Kavirasu requested the producers and Music Director M.S. Viswanathan to take extra care on one particular song. Then he was gone. The group tried to decipher that particular song for a very long time until M.S.Viswanathan found the answer. All the songs in the film to name a few were hits such as 'Attuvithal Yaar Oruvan" "Manithan Ninaipathondru" "Engirintho Antha Kural" "Anbu Nadamaadum Kalaikudamae" etc. The code was broken by MSV. Yes, Kaviarasu got cheesed off with the verbal reminders by the producers when they emphasises the shooting schedule in Singapore in the month of May. He deliberately penned the song "Anbu Nadamaadum Kalai koodumae". To listeners it is just like another of the many romantic songs Kaviarasu has penned. But if you hear the song carefully each and every line ends with the word "May"!! Such is the compensation for incurring the wrath of Kaviarasar. The whole group had a good laugh over this incident whilst acknowledging Kaviarasar's acute sense of literacy and good ஹுமௌர்


The above two postings are from Kannadasan book

[vasudevan31355]

வசந்தத்தில் ஓர் நாள் (7.5.1982)


"வேண்டும் வேண்டும் உங்கள் உறவு"... அட்டகாசமான பாடல் வீடியோவாக



அன்புடன்,
வாசுதேவன்.

[KCSHEKAR]

[KCSHEKAR]

Note book wraper