Nadigar Thilagam Sivaji Ganesan Part 10

[ScottAlise]

Hello Hubbers

Vasu Sir has rightly pointed out the pitfalls made in Vasantha Maligai re release it was quite a disappointment considering Karnan's success & watching Thiruvilayadal print

My suggestion is kindly select 50 movies of NT & decide about restoration, colouring B/w (if needed in case of Navarathiri, Uthamaputhiran) & make it a slow process make it a point to release it at least 3 in a year with a healthy gap.

As Ragavendran sir pointed out For bringing out the product in best quality: THIRUVILAIYADAL
For promoting the product in an appropriate manner: KARNAN
B/w was very well coloured in Mayabazar telugu( unwanted scenes were deleted) even DVD copy of colour movie was released

The release must be made in multiplexes like Karnan (in Sathyam) which attracted youth & Family audience though the cost was around Rs 120/-

As usual we hubbers are there to promote through our hub, face book etc

It is a pain considering a mamoth movie like Vasantha Maligai not getting its necessary recognition

The print was blurred the left corner had a mark constantly , the colours were either too dark even DVD print was too good
which played a spoilsport in the movie success

It is a right time to showcase NT capacity to this generation & I hope the further presenters won't get complacent of Karnan's success & get carried away by it instead work out meticulously like Shanti Chokkalingam( Hope he releases Sivantha Mann, VPKB, Navarathiri(Coloured)

Hope all hubbers give their views in this regard

[vasudevan31355]

நன்றி ஆதிராம் சார். கலெக்ஷனில் எந்தக் குறையும் இல்லை. நன்றாகவே வசூல் பார்த்திருக்கிறது. எங்களூரில் கடலூரில் இரண்டு ஷோவாக ஓடிய படம் திங்களில் இருந்து வியாழன் வரை 4 காட்சிகளாக மாற்றப்பட்டு நன்றாக ஓடியுள்ளது. தமிழ்நாடு முழுதும் நல்ல கலெக்ஷன்தான் என்று தகவல்கள் வருகின்றன. ஆனால் பிரிண்ட்டின் மோசமான நிலைமை காரணமாக பெரும்பாலான இடங்களில் கட்டாயம் எடுக்க வேண்டிய துர்பாக்கிய சூழ்நிலை. பாண்டியில் கூட நன்றாகப் போனதாகத்தான் செய்திகள் வந்துள்ளது. சென்னை பேபி ஆல்பர்டில் இரண்டாவது வாரமாக தினசரி மாலை 6.30 மணி காட்சியாக தொடர்கிறது. இன்று வந்த சென்னை தினத்தந்தியின் மிக சிறிய விளம்பரம் சற்று பெரிதாக உங்கள் பார்வைக்கு.

[vasudevan31355]

டியர் ராகவேந்திரன் சார்,

திரையுலகச் சக்கரவர்த்தியை கிரிக்கெட் சக்கரவர்த்தியாக மாற்றிக் காட்டிய தங்கள் ரசனைக்கும், திறமைக்கும் ஒரு சபாஷ்!

[vasudevan31355]

Well said Raghul. Thank u.

[RAGHAVENDRA]

தங்கள் பாராட்டிற்கு உளமார்ந்த நன்றி வாசு சார்

[ScottAlise]

Thiruvilayadal


I have written about Thiruvilayadal in this thread when the movie was released in September end and about my experience of watching it in theatre. But somehow I feel it was not a complete one from my side which was a constant itch in my mind which prompted me to write again . The reason is oblivious Iam going to Palani this Friday by padayatra,

It was in the year of 1965 due to propaganda carried by various parties worshipping of God was not popular & people were slowly losing interest in mythological, raja rani stories and movies depicted social themes. In such a situation NT was approached by APN after starting his own company ( he made Navarathri already) . It must be a carrer defying move by both NT & APN considering the then situation about how audience would receive the movie they also made it in a lavish budget right from costumes, sets, casting etc .

Though APN has made so many movies the most popular among them are Navarathri, Thiruvilayadal, Thillana Mohanambal, Thiruvarutchelvar, and Saraswathi Sabatham. My favourite Raja Raja Chozan( pl excuse)
The most popular among his movies, & also the most entertaining, is Thiruvilayadal, which provides an account of Lord Shiva’s Thiruvilayadal i.e. grace of Lord Shiva in helping his devotees through a series of episodes.
APN’s strength has always been his team be it art director Ganga, Music Director: Mama KV Mahadevan, Lyrics by Kannadasan etc . It was multi starrer with stellar cast Starting with ‘Sivaji’ Ganesan , Savithri, Muthuraman , Devika, Balaiah, KP Sundarambal 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 Which is also evident that it comprises Audio played during thiruvizha( This is end of March so get ready to hear dialogues of Thiruvilayadal in temple). The movie has become an integral part of every Hindu, Tamilan life
Right from the beginning it has been a pattern of APN films of letting out the basic premise of the movie in his own voice, the techniquie which is now followed by SJ Surya

This film is based some of the most prominent episodes from puranas and tries to recapture the same playful nature of the Lord on-screen, and is entirely successful in doing so.
These initial sequences are slow considering today’s movie grammer. 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 lasts for around 7 minutes
There comes Lord Shiva (‘Sivaji’ Ganesan), followed by well known “wisdom-fruit” sequence. The ever-mischievous Naradha provides the God with what he calls a unique “wisdom-fruit.” The God, 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. Lord 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)
The movie takes its own sweet time to settle down after KPS’s song (Gnana Pazhathai Puzhindhu.) and . Podhigai Malai.

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 a reward 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 “” dialogue is probably one of the most famous quotes in Tamil cinema
Director A.P. Nagarajan makes a cameo appearance as Nakkeran in the first episode and delivers the one critical dialogue Nettrikkan Thirappinum Kuttram Kuttrame with enough zeal to firmly etch the role in our minds





The second episode does not impress me the reason is it may be after stupendous show of all greatest stalwarts in Dharmi episode . This episode sees Dakshan (Parvathi’s father)(OAK Devar) starting 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 purpose of highlighting Sivaji’s dancing capabilities.(Rudrathandavam) Going by Thalaivar’s Kochadayan Posters , one can easily make it , that it is impressed by this episode

The third episode, in comparison, is definitely much stronger, and sees Parvathi forget her origins and be born as a fisherman chieftain’s daughter.(A curse for dis obeying her husband) Though it starts off slowly with another song, Sivaji’s appearance as a fisherman , his peculiar walk, colour, combined with KVM’s BGM music begins with a hilarious fight and the episode itself concludes with an imaginatively fight sequence in water, as Sivaji fights off and defeats a killer whale to win back Parvathi. NT laughter, ruffain behavior are like a glove
Finally, the fourth episode begins in Madurai, Hemanatha Bhagavathar (T.S. Balaiah), a renowned carnatic singer, has finally dropped to Madurai to sing in the King’s presence and prove his superiority once and for all. He challenges the King that if somebody 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.
This episode was grandeur in all sorts right from Balamurali Krishna’s heavenly voice, sets, Hemanathar’s assistants, musical instruements etc
NT makes his appearance as a wood cutter having fun and singing song like Paarthal Pasumaram. His get up is topless with a vibuthi covering his forehead and kungumam light blue colured dothi like material. His revelation about his musical knowledge and talking about his Guru Baanapathrar to Hemanatha Bhagavathar drew a huge applause . Particularly in song like
Paatum Naane, Baavamum Naane 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 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.
Looking back 1965 is a memorable in the history of NT, APN, Tamil cinema and people who love devotional flicks as it is, was a trendsetter of various stories packed in a single movie and was a silver jubilee flick.

[Murali Srinivas]

Ragul,

Over a period of time, I am seeing the level of maturity building up in your writings and you are able to present the details coherently. Thiruvilayadal is one such example and it was pleasant reading. Hope you keep up this good show and continue to post interesting write ups.

Regards

[Gopal.s]

RahulRam,
I read your postings regularly and I am proud of a young boy's dedication to our NT and regular contributions. Pl.Keep it up.

[vasudevan31355]

Raghul,

Very good analysis. Keep it up.

[RAGHAVENDRA]

Dear Raghul,
Your analysis on the movie and on the making of it is interesting. NT always was at peak he and APN very well knew a mythological / puranam based film will be a hit. They predicted its success and it was overwhelming.

நடிகர் திலகத்தின் உருவத்தைக் கிண்டல் செய்து ஏளனம் பேசிய காலம் 1960களின் முற்பகுதி. 1964ம் ஆண்டு குறிப்பிடத் தக்கதாகும். பல்வேறு கேலிகளையும் கிண்டல்களையும் உச்சக் கட்டமாக அவர் சந்தித்து வந்த நேரம். ரசிகர்களின் மோதல்கள் அதிகமாகத் தொடங்கியது அப்போது தான். அது வரை நாகரீகமான வரைமுறைக்குள் இருந்த விமர்சனங்கள் அவர் மேலான தனிப்பட்ட முறையிலான தாக்குதல்களாக மாறத் தொடங்கிய கால கட்டம். மிகச் சிறந்த படங்களும் இந்த தவறான பிரச்சாரங்களுக்கு பலியானது உண்மை. அது மட்டுமல்ல அப்போது நிலவிய அரசியல் சூழல், அவர் சார்ந்த அரசியல் இயக்கத்தின் மீது மக்களுக்கு தொடங்கிய வெறுப்புணர்வினை அவருடைய படங்களுக்கு எதிராக பயன் படுத்தத் தொடங்கிய கால கட்டம் அது. நடிகர் திலகத்தின் வாழ்க்கையிலேயே அரசியலால் அவருடைய படங்கள் பாதிக்கப் பட்டது 1960 களின் மத்தியில் தானே தவிர அதற்கப்புறம் அவருடைய படங்களின் தோல்விகளெல்லாமே அவற்றின் தன்மையைப் பொறுத்து தான் அமைந்தன. இதற்கு ஒரே ஒரு விதிவிலக்கு பாட்டும் பரதமும் படம்.

... தொடரும் ...