SIVAJI SEASON - SONG 5

தாழையாம் பூ முடிச்சு

BAAGHA PIRIVINAI

ACKNOWLEDGEMENT

1. Mr. Lenin Editor cum Director and s/o of Bheemsingh who was kind enough to throw light on the backdrop, the creation, execution and celebration of the film Baagha Pirivinai.

2. Mr. Mohanram - again without whom the contact and conversation with Mr. Lenin would not have been so easy.

3. EN SUYA SARITHAI NADIGAR THILAGAM Book published by Sivaji Prabhu Trust.

4. Various film magazines of yesteryears in particular script writer Aroordass interview

DEDICATION

காவிய தாயின் இளைய மகனுக்கு,

தமிழ் அன்னைக்கு தன் கவிதைகள் மூலமாக

தங்க கீரிடம் அணிவித்த கவியரசுக்கு

நான் நிரந்தரமானவன் அழிவதில்லை

எந்த நிலையிலும் எனக்கு மரணமில்லை

என்று சாகாவரம் பெற்ற அந்த கண்ணதாசனுக்கு

INTRODUCTION

A movie that proved to the world (if at all any proof was required) about the calibre of NT. A film, through which the people were able to understand how the title Nadigar Thilagam conferred on him suited him to the core. A film that witnessed a new combination and which also saw the joining together of two great actors for the first time. In our series so far all the songs have been solo and for a change we will take up a duet song.

Yes, we are again going back to the great combination of NT- Bheemsingh- Kannadasan- VR.

A song that touched the hearts of many and which still continues to rule the hearts of millions.

START UP OF THE MOVIE

The movie was the second of Paa series. Bheemsingh had launched Buddha Pictures and did Pathi Bakthi. G.N. Velumani, the famed producer of yesteryears, was one of the partners in Budhha Pictures. He came out of the company and floated a new production company called Saravana Pictures. He wanted to make a film with NT- Bheemsingh combo and he was trying to get both of them for his next film. He used to regularly visit the sets of Pathi Bakthi. The year was 1958. During one such visit, he was there in the set watching the shooting. People who have seen Pathi Bakthi would be aware that NT enacted the role of an Army person who would have come back to his native village. He would be carrying a gun.

It is a known fact that NT was very much interested in hunting and often used to go for hunting in the forest. He had a penchant for guns and during the shooting he was using an actual gun. During this particular incident, he was checking the gun when accidentally it went off. Velumani who was sitting nearby and in the trajectory of the bullet was hit but he had a miraculous escape. The bullet injured his thigh. The entire crowd was stunned. Nobody could realize what was happening. It took some time for everyone to regain their senses. NT was terribly upset. He had never injured a man with a gun and this accident shook him. He profusely apologized to Velumani. Velumani was taken to a hospital and his injury was treated. Though a bit shaken Velumani regained his normal self. To make amends, NT confirmed the call sheet then and there. Not only that, he decided to do the film free of salary. Scriptwriter Aroor das who was present on the occasion vividly remembers the same.

NT & CHARITY

That takes us to another topic. There is a talk in cinema circles that NT normally is a kanjoos and doesnt give away much. Without publicity, he had carried out so many charity works and had helped many people. He never blew his own trumpet. Not only that, he had helped many producers with this type of help. When he felt that Banthulu was not getting quick returns for Karnan, he decided to do Muradan Muthu free of cost. Another example that comes to mind is Kaaval Deivam, where he did a cameo. S.V.Subbiah was the producer of this movie and NT was to play the role of Chamundi, the character that climbs up the tree for tapping toddy. This was a guest role and NT had almost finished his work. Only few days work remained but NT was very busy. SVS and AVM Saravanan were thick friends and SVS approached Saravanan for getting the call sheet of NT. At that time NT was acting in Uyarndha Manidhan and when Saravanan told about Kaaval Deivam, NT told him that his call sheet is full. Saravanan told him that he would swap 3 days shooting dates with Kaaval Deivam. NT though initially reluctant later agreed. Thus NT took off from Uyarndha Manidhan and acted in Kaaval Deivam. After this one day SVS bought Tiffin in a tiffin box for NT. When NT opened the tiffin box, there was tiffin alright but the last box contained Rs 15000/- meant for NT. He became livid and shouted at SVS. The money was kept by SVS as salary. On hearing this NTs anger knew no bounds and he simply bombarded SVS. He told SVS if he [NT] had wanted money, then SVS need to give him Rs 1.50 Lakhs because that was the salary he was paid by AVM for UM. NT didnt accept the money and did the film free of cost. This shows how he cared for the producers. Now let us come back to the film.

STORY & SCREENPLAY

Bheemsingh always looked for a story and when a suitable thread came up, he used to build on that with the help of his writers team. But in the case of Baagha Pirivinai, writer M.S. Solaimalai had come up with a good story. It had a village backdrop for most part of the story that shifts to the city later culminating in an absorbing climax. Unlike the present day films when the protagonist alone is given importance, the stories of that period gave importance to all characters and Baagha Pirivinai was no exception. With a joint family and its members occupying the main plot, there were multiple characters with each one having an importance of its own.

When Solaimalai narrated the story, what attracted Bheemsingh and NT was the fact that the hero was a handicapped person. It was 1959 and till that time NT had not done a handicapped role in its true meaning, if you could count out Thangapadhumai and Koondu Kili [characters lose their eyesight midway through and at the climax respectively]. This handicap of Baagha Pirivinai had a twist to it in the sense it was an induced one. That made it more interesting to handle. Though it is highly debatable whether electricity can impair or repair a limp, logic took a back seat purely due to the emotional quotient the film offered, which the audience simply lapped up.

BREAK UP

This was a movie that saw NT and Kannadasan reuniting after a self induced gap. There was a tiff off between them due to the political leanings, which led to their separation at the first place. Readers and public in general think that NT started his political career in DMK. The fact is he was never a member of either DK or DMK in the first place. He was close to the two parties due to the loyalty factor. EVR had given the title of Sivaji to him. While Annadurai gave him the required break on Stage by making him play the role of Sivaji, MuKa penned the dialogues for his debut film Parasakthi and the fact that MuKa and NT were close friends also played a part in people identifying NT with DMK. In fact NTs marriage with Kamala Ammal took place in presence of MuKa on 1st May, 1952 at Swamimalai. The subsequent period after Parasakthi saw many films getting released with the NT-MuKa combo such as Thirumbi Paar, Manohara, and Raja Rani to name a few. Though NT was moving with the leaders of the Dravidian party, his soul was not there. Having born to a father who took part in the freedom struggle, it was difficult for him to think otherwise. Moreover, the non-belief in God was something that he could not bring himself to endorse. It was an uncomfortable living for him. Things began to happen in both political and cine fields, which were, intertwined right from the beginning as for as Tamilnadu was concerned.

MGR who had started as a Congressman had moved away from it and he was slowly getting dragged into DMK. MuKa here also played an important role and he was able to convince MGR. By this time MGR was establishing himself as a hero who can carry a film on his own. With Malaikallan providing the required impetus, he was moving into the top bracket. Come 1956, he had Madurai Veeran, which pushed him to the stardom. NT having tasted success with his very first film was already there and by this time the greatest rivalry ever witnessed in the Tamil film Industry started taking root. That was the period when a new phenomenon called Rasigar Mandram started taking shape and soon they were mushrooming all over TN. Now a group in DMK wanted to take advantage of this as they felt that MGR would serve their interests more in the party than NT and so a move was orchestrated to oust NT from the scheme of things. Talks in private and public targeted him and it was slowly paying dividends and causing frustration to NT. One such incident took place in 1955-56. There was a cyclone that hit Tamilnadu and the damage was immense. Annadurai had asked his party men and film fraternity to collect and contribute funds and essential items for the affected public. NT who was in Virudhunagar did a tour in an open vehicle. On seeing their hero in flesh and blood, the public contributed handsomely. NT gave the collected materials to a trusted person along with his share also and asked him to handover it to DMK headquarters. Having done his part, he went for his shooting. He heard that there is going to be a public meeting where the contributors would be facilitated. But he never received any invitation and when he checked up with his home, they had not also received anything. Not losing heart, he came to Chennai on the day of function but nobody bothered to call him. To rub salt into the wound, NT came to know that the man who is going to be felicitated is MGR. The irony was NT had done the maximum collections but MGR who was not even in the scheme of things found himself in the center stage. This upset NT. Annadurai had enquired கணேசன் வரலியா? The group which had worked overtime for ousting NT told Anna that அவர் வரலேனு சொல்லி அனுப்பிச்சிட்டார்..

On seeing NT and his plight, it was Bheemsingh who told him not to worry and asked NT to accompany him to Tirupathi. NT feeling let down by the group (on whom he had placed his faith) decided and went to Tirupathi. There were heavy rains but still he and Bheemsingh had the darshan of Lord Venkateswara. It was a early morning seva called Viswarooba dharisanam. Dinathanthi the paper that had a knack of breaking news as for as cine stars were concerned smelt this and the next day the headlines screamed நாத்திகரான சிவாஜி கணேசன் ஆத்திகரானர். திருப்பதியில் சாமி கும்பிட்டார்.

For the group, which was waiting for an opportunity to oust him, it was God sent. Suddenly the group became vociferous and calls were made in public to remove him from the party because he had violated the party discipline (Thirupathi Ganesa! Thirumbi Paar), without even realizing that he was not even a party member. This made NT to severe ties with the leaders of DMK and its partymen. (It is another matter that the same DMK men came and asked for his call sheet for their movies. NT, the gentleman he is, heeded their request and acted in Puthaiyal and Kuravanji.)

Unfortunately the groups tactics saw Kannadasan falling prey to their designs and he staunchly opposed NT. The fact that Kannadasan was supposed to contest the 1957 Assembly elections on the DMK ticket must have also played a part in his decision. [He contested from Thirukoshtiyur (the constituency was removed subsequently), but lost]. He was running a magazine called Thendral. At that point of time, he used a still photograph of NT from the film Tenali Raman. In that film there would be a scene where the king would order the execution of Tenali Raman by burying him neck deep in the sand and putting the elephant to dismember his head. Kannadasan published this still photograph (NT buried skin deep with the elephant standing nearby with its feet up) and captioned it as Sivajis Ethirkaalam with a question mark. It indirectly implied that he had no future. This evoked a strong reaction in NT camp and NT himself was pricked. So when they happened to meet at a studio within a few days of this still coming out, it led to serious arguments between them and at one stage it seemed that things would go out of hand. But nothing untoward happened. But one thing that emerged thereafter was Kannadasan would not be writing songs for NT films. While others did the job for NT films, Kannadasan started writing more for MGR. He also went to the extent of writing dialogues for MGR films with Madurai Veeran and Nadodi Mannan were the significant ones. Following years saw the rivalry between NT and MGR deepening and when two advertisements for the film Utthama Puthiran came out on the same day announced separately by two different companies with one starring NT while the other had MGR in the lead, it led to a flash point. Since that is out of our preview, we will talk about Kannadasans rift.

By this time Banthalu had started producing the epic Veerapandiya Kattabomman. Kannadasan probably irked by this started his own movie based on the same subject. While Banthalus movie talked about the brave palayakaran of Panchalankurichy who refused to be cowed down by the British Empire, Kannadasan took up the story of Marudhu brothers of old Ramanathapuram district and named the film as Sivagangai Seemai with SSR in the title role. NTs camp didnt take this lightly and it further eroded the chances of reconciliation. The cine field and the entire Tamilnadu watched this tussle taking shape. But when the products were brought out for public scrutiny, Kattabomman went on to become a roaring success whereas SS failed miserably. Even Kannadasans flowery language failed to rescue the film. Now Kannadasan understood the folly of opposing NT, the born genius and NT on his part realized what he was missing out by not allowing Kannadasan to write for his films. Both were waiting for the opportune moment, which Baagha Pirivinai provided.

PATCH UP & SONGS

Bheemsingh was a person who always took a liberty with NT and he on his turn always had a soft corner for his Bheem Bhai. So Bheem Bhai could put it across and with the music duo of VR fully backing it, NT decided to accede to their wishes. But before this happened, Marutha Kasi and Pattukottai Kalyanasundaram had been contracted to write the songs. Pattukottai had written all the songs for Pathi Bakthi. So Kannadasan when contacted, told Bheemsingh to proceed with Pattukottaiyaar, as he was a good poet. But Bheemsingh stood his ground and Kannadasan agreed to write. Marutha Kasi wrote one song and Pattukottaiyaar wrote 2 songs. Nevertheless with Kannadasan coming in, most of the songs went to Kannadasan and all were gems.

One of the song situation was about a man who is physically handicapped throwing questions at the maid servant of his home about love and affection and she replying to the same assuring him that women loved men even with their defects. The second situation was a Thalaatu song and contrary to normal practice, here was a man who was singing a lullaby to make his son sleep. Not a normal sweet lullaby but a one heavily coated with sadness and pessimism. Kannadasan came up trumps on both occasions.

CONTROVERSY

There were two more songs. One was the thiruvizha song Therodum Enga Seeranan Maduraiyile, where again the oyilaatam feel and melody went hand in hand. Then there was the first night song and it again brought bouquets and brickbats equally for Kannadasan. Bouquets for the simple and effective lyrics and brickbats for the same lyrics. The songs pallavi Thangathile oru kurai irundhaalum adhu tharathinil kuraivadhundo was the reason for Kannadasan getting the flak. People rather pundits questioned the line asking how Kuraiyulla Thangam can be called as Tharamana Thangam. Kannadasan later admitted that though logically what he had written was wrong, he wrote it for emphasizing the character of the hero. He cited the charanam lines Singathin Kaalgal Pazhuthupattaalum Seetram Kuraivadhundo in support of his argument. Lata Mangeshkar sang the same song in Hindi. Tuned by a Music director called Ravi, this song Thum Hi Meri Mandir won the Filmfares best female singer award for Lata. Let us go to the background of the song sequence in the story that goes like this.

SONG BACKDROP

The story is set in Alanganallur, a suburban village in the outskirts of Madurai. (Bheemsingh seems to have had a special place for Madurai and especially his Paa series movies such as Baagha Pirivinai, Paava Mannippu, Paar Magale Paar had a backdrop of Madurai and even Paalum Pazhamum has a part that takes place in Madurai). The Joint family consists of two brothers. While the elder brother and his wife are at loggerheads always, the younger brother and his wife are a perfect couple. While the elder doesnt have a child, the younger is blessed with two male children. The elder of the two children Kannaiah during childhood climbs up a lamppost to remove the kite from the electric lines, where it got struck up and he accidentally touches the live wire and fells down. This results in his left limps becoming paralysed and leads to a bend in his left hand and a limp in his left leg while walking. This prevents him from studying further and he stays at the house and confines himself to agricultural work but he happens to be the pet of all except his Periamma, who always finds fault with him. Kannaiahs younger brother Mani is doing his college at Chennai. The Elder brothers wife Akilandam has a nephew and a niece at Singapore. She receives a message that they are coming to visit her and her joy knows no bounds but her husband is skeptical and is not favourably inclined towards their arrival. Kanniahs mother who regularly visits the market happens to meet a girl called Ponni, an orphan and she brings her home. Kannaiah takes a liking to her and she is attracted by his innocence. While he is in the agricultural field, Ponni comes from the Sandhai and the song comes up.

STAR CAST

Before proceeding with the song, let us look at some interesting information about the star cast. There were two great artists in this film who joined hands with NT for the first time. Abinaya Saraswathy or Kannadathu Paingili (as she was affectionately called) B.Saroja Devi acted as the jodi for the first time with NT. Sarojadevi made her debut in Kannada movie Mahakavi Kalidasa opposite Honnappa Baghavathar in 1955. Banthalu who had a knack of identifying the real talent saw in her immense potential and he took her for his film School Master. Though a small role, she was noticed. Meanwhile MGR looking for a good heroine material for his Thirudaathe happened to see her and booked her. He also contracted her for his own movie Nadodi Mannan. There started one of the longest duration of the same pair in Tamil Cinema and Sarojadevi went on to do 27 films with MGR, which was later broken by JJ, who did 28 films with him. Banthalu gave Saroja Devi a dancer role in a song sequence in Thangamalai Rahasiyam and later cast her opposite Chandra Babu in his Sabaash Meena and that was a role that appeared throughout the movie. By this time Nadodi Mannan was released (Aug 1958) and she had become a hot property. The next year (1959) saw the release of Kalyana Parisu and with that she had reached the Super stardom. In this background, she was approached for the film Baagha Pirivinai. When she was told that she had to act opposite NT, she was more than happy. She was the only person who was able to easily switch over from MGR films to NT films and vice versa. Just as we discussed in the previous songs, an actor was branded as an X camp men or Y camp men depending upon the roles he/she played in NT/MGR films regularly. But Sarojadevi was the only heroine who acted in both NT and MGR films simultaneously and she fitted both the Thilagams to the proverbial Tee. Again she had done a good role in Baagha Pirivinai as the Orphan girl, Ponni. This jodi continued to be the main attraction and they proved that in many films. The chemistry between the two was still intact and it was proved when NT and SD did Once More in 1997.

MR Radha- he was also called Nadiga Vel. Basically from the stage this man introduced a new method of acting. He had a unique voice that can range from the shrill on the one side to the louder tone on the other. He was elder to NT and he too played a part in NT joining the stage troupe. Though he shared stage space with NT, it would be a surprise to many that this film was the first where they jointly worked together. NT was 7 years old in the industry and this union happened only at that time. MRR by now had created a place for himself in the Tamil film world. His stage play Raktha Kanneer, a successful one at that, was made into a film in 1954 and it catapulted him to stardom. As most of the readers are aware, he was a rationalist and he used to always induct his thoughts into the dialogue with a coat of sarcasm and wit. This was received well by the audience. Starting with Baagha Pirivinai, the combination of NT- Bheemsingh- MRR continued throughout the Paa series of movies except for a few movies say Paasa Malar etc. This movie saw MRR play an important role, which is pivotal to the story. People especially women could be seen cursing him in the theatre. His villainy was through dialogues and not by any physical activity, except in the climax when he would abduct the child of NT for circus show. He would be called as Singapooran (indicating he is Singapore returned) and this word got etched in the mind of the audience. Here in this movie too, his sarcastic dialogue on Kuzhai Puttu is a popular one till this day. பாரின்-லே அவனவன் நீராவியிலே கப்பல் விடுறான் ரயில் விடுறான் நீ என்னடானா புட்டு செஞ்சு உள்ளே விடுறே

Just as we discussed earlier, during those days all characters in the story had equal importance and especially Bheemsingh movies specialized in this. Balaiah as the head of the family, SV Subbiah as his brother and father of NT and Nambiar, MV Rajamma as his wife, CK Saraswathy as the scheming Akilandam (wife of Balaiah), Nambiar as the younger brother of NT, (who falls prey to the machinations of MRR and his sister enacted by Gemini Chandra), everyone had a meaty role and everybody played their part to perfection. Balaiah would be his usual self நாளைக்கு மாட்டு பொங்கல். மாட்டுக்கு பொங்கல். உனகில்லெ , which he tells to tease his wife.

NT AND CHARACTER ESSAY

When it comes to acting do we need to say anything about NT? For an artist like him, you need to only write such a character and he would do full justice to his role. Kanniah gave him ample scope to exhibit his talents and he came out with flying colours. The bend arm and leg was a challenge to him. He relishes such things and worked on it. Critics and detractors alike tried their level best to pinpoint the faults in his walk and gestures but they ended up without success. Not for him the different gaits and gestures. From the introduction scene when he falls into the water tank while trying to tie the buffalo in the shed, till the climax fight when he regains the normal limps by another accident, it was limpness personified (if it could be put like that). There were many scenes where he would have done it so casually but so effectively that you would simply love this man. The way he asks Balaiah about the dhoti (இவ்வளவு சின்ன கரையா இருக்கு. இன்னம் கொஞ்சம் பெரிய கரையா வாங்கிருக்கலாமிலே ), his repeated peeping when he is not allowed to go near his brother when he comes back, his complaint about MRR to Nambiar, his fears that his brother is slowly moving away from his family, his affection and expectation from his brother .ஏன்டா தம்பி எனக்கு நீ பட்டணத்திலிருந்து எதாவது வாங்கிட்டு வருவே-ன்னு நினைச்சேன். என்னை மறந்திடியா; பரவாயிலே

His immediate replies to his aunt and MRR when they make fun of him, you would not find a better actor. Not only that, this film also emphasized the fact that physical handicap need not be a deterrent and the person can be positive in his outlook. In that way the NT character was etched in a positive manner that was evident throughout the movie. When the village girls make fun of him, he replies back in the same coin. Ditto when his aunt and MRR make fun of him. There is a scene where MRR tries to threaten NT with the dog, his replies would be tit for tat. MRR says அமெரிக்காலே பொறந்து லண்டன்லே வளந்து
for which NT replies இப்போ அலங்காநல்லூருக்கு பொறுக்க வந்திருக்கு

Even certain scenes (the earlier one to establish his role falling down on trying to climb the ladder, his inability to pick up the water glass while eating), would have been done to establish the fact how the affection Ponni has for Kanniah turns into love.

SONG COMPOSITION

Now coming back to the song, Kannadasan when told about the situation understood the same and came out with sandhangal. He was told about the character names and he made use of it in the song (during those days, most of the character names would get reflected in the song. It shows the involvement the artists and technicians had in the making of the film). Kannadasans wifes name was Ponnamma and so Ponni became Ponnamma to rhyme with Kanniah. The character is a villager with no educational background and he is innocent to the core. So his doubts are basic and simple. Though he is positive, he has an inferiority complex when it comes to women, because of his physical defect. The girl though she is also not educationally qualified, nevertheless has a worldly knowledge that is reflected in her answers. If his questions have an expectancy tone underneath, her replies underline the affection and love she has for him.

The poet in him came out with comparisons (uvamaigal) that were simple, yet thought provoking. His personal life happenings had often got reflected in the songs he wrote. He had a feeling that his wife (not from a rich family) may have felt bad, as she had not brought any great seer varisai from her home. This is because Kannadasans brother AL.Srinivasan had got married from a rich family and he had received the seer varisai traditionally associated with Chettinadu families. He puts his question

தாயாரின் சீதனமும்

தம்பிமார் பெரும்பொருளும்

மாமியார் வீடு வந்தால் போதுமா; அது

மானாபிமானங்களை காக்குமா

She consoles him by replying to the adhangam. See how Kannadasan had given an answer. Simple lines, which highlights the life style of Tamil women, belonging to the lower strata.

மானமே ஆடைகளாம்

மரியாதை பொன்னகையாம்

நாணமாம் துணையிருந்தால் போதுமே; எங்கள்

நாட்டு மக்கள் குலபெருமை தோன்றுமே

நாட்டு மக்கள் குலபெருமை தோன்றுமே

Having talked about the status factor, the hero now explores the mind of women in general and this girl Ponni in particular about the mindset of women with regard to handicapped persons. He is aware that she is affectionate and caring towards him but he wants to find out whether the sympathy transcends to love. He asks her whether women would ever think of marrying specially abled persons.

அங்கம் குறைந்தவனை

அங்கம் குறைந்தவனை

அங்கம் குறைந்தவனை

அழகில்லா ஆண்மகனை

மங்கையர்கள் நினைப்பதுண்டோ பொன்னம்மா; வீட்டில்

மணம் பேசி முடிப்பதுண்டோ பொன்னம்மா

மணம் பேசி முடிப்பதுண்டோ பொன்னம்மா

Hurt by the notion that women normally do not marry such men, she replies him explaining the rationale behind womens feelings. She affirms him that women dont go by external or physical attributes but they look only for affection from the men. For this Kannadasan the genius, makes use of a simple uvamai but how effectively conveys

மண் பார்த்து விளைவதில்லை

மரம் பார்த்து படர்வதில்லை

கன்னியரும் பூங்கொடியும் கண்ணையா;

கண்ணிலே களங்கமுண்டோ சொல்லையா

கண்ணிலே களங்கமுண்டோ சொல்லையா

SINGERS

As readers must be aware, the song was by TMS and P.Leela. It should come as a surprise to at least to few of the readers. The reason being instead of PS, it was PL. There was no specific reason for the change. PS had rendered songs for the same film. MSV always tried to use some good voices in his films. PS was the undisputed queen of TFM and there was no question of MSV replacing her. PL was one of the leading playback singers in TFM earlier and she continued to be the no 1 in Malayalam cine field till 70s. So MSV used her for this song and she proved that she is adept in singing rural based folk songs also. What we can say about TMS? The way he rendered the song is a treat to hear, never mind even if you are listening to it for the 1000th time. Even without the visual, if we hear the song, you will get lost in its beauty. The intermittent humming by TMS in between the charanams takes the cake.

The tune of the song was simple but what lifted the song was the same simplicity and the background humming (reflecting that of the farmers engaged in the field) that had a haunting melody to it. Not only that, in between the charanams, a shepherd crosses them with his flock of goats. The lullaby he uses to goad his flock is so lilting and haunting and it is so especially when he finishes, the volume comes down to a feeble note before resuming. With the use of minimum instruments, Mellisai Mannargal had created a song that was received with great enthusiasm. When the movie got released, all the songs became Super hits. This was the first movie that had its songs released in the vinyl record. It sold like hot cakes. It is almost 55 years old but still the songs even if heard today is refreshingly fresh. For the benefit of readers the songs are

1. பிள்ளையார் கோவிலுக்கு வந்திருக்கும்

2. தேரோடும் எங்க சீரான மதுரையிலே

3. தாழையாம் பூ முடிச்சு

4. தங்கத்திலே ஒரு குறை இருந்தாலும்

5. ஒற்றுமையாய் வாழ்வதாலே உண்டு நன்மையே

6. ஏன் பிறந்தாய் மகனே ஏன் பிறந்தாயோ

7. ஆட்டம் ஆட்டம்

Normally in Tamil movies, handicapped characters were/are used to evoke some cheap comedy, which is to say the least, is disgusting. But Baagha Pirivinai changed it and such specially abled persons felt that they have been projected fairly. In fact on a personal experience, I have met a person who had a problem with his hand, waxing eloquent about this song. It seems that he was averse to marriage but when he saw the movie, he changed his mind and got married, he told me.

PICTURISATION

The song can be watched for the sheer genius of NT. When the song starts, he listening to the lullaby puts up a dance like jumps but he never falters in his step. Same way when the song finishes, if you check he would encounter an uneven piece of land, which would climb up and then come down. See how he manages those steps. After coming down, he crosses a small stream of water and he walks on stones placed to cross and at the end uses his leg to splash water on Saroja Devi. Watch it to relish it.

Another thing (though it would sound like clich) is how he as an actor never thought about his image. During the song, he sits on top of a buffalo and sings. Imagine a top Hero, acting as a handicapped person, with a typical village hairstyle riding on the back of a buffalo. He was Kanniah in the movie and if Kanniah had to ride on a buffalo, so b it. Thats why we still cherish this great man.

The movie was released on Oct 31st of 1959. It was Deepavali and as it always happened most of the time, another NT film Aval Yaar got released on the previous day (30.10.1959) but Baagha Pirivinai was a hit from Day 1, Opening show. It was a stupendous success. In Madurai, it was released in Chintamani Talkies and it ran for 216 Days. If we leave out MKTs Haridas, this film held the record of having run for the highest no days in regular shows for so many years and even now (after 55 years), this movie still holds the record for any Black & White movie as for as the no of days are concerned.

This success was a very sweet one for Bheemsingh. He had started his career as an assistant and is rumoured that he directed the movie Panam (2nd movie of NT 1952) but N.S.Krishnan put his name in the directors slot. So his official first film was Ammaiyappan. Adopted from an English story, the screenplay and dialogues were written by MuKa. At the same time, Modern Theatres was producing Sugam Enge and it was also adopted from the same English story and Kannadasan wrote dialogues. While Sugam Enge became a hit, Ammaiyappan failed. His next film was Raja Rani and again MuKa wrote it. It also failed to make a dent in the Box office when it was first released [but on re-releases went on to collect huge revenues]. But Bheemsingh was not unduly perturbed and he had confidence in his craft. Then Pathi Bakthi happened in 1958, which was a 100-day movie and Baagha Pirivinai celebrated Silver Jubilee. It seems that Bheemsingh always used to say that such sentiments (If the initial two films flop, then the directors luck is bad) should not be given importance.

But in spite of film evoking positive response on this front, the same thing was a deterrent for many heroes (read Hindi heroes). Seeing the success of the movie, Bheemsingh wanted to remake the movie in Hindi. But top heroes were hesitant to do the movie. One they had to act as a handicapped person throughout the movie and second, the role was de-glamourous. But one hero realizing the potential of the story and the character said yes when approached and he is none other than Sunil Dutt. Nutan was paired opposite him. Though they had acted together earlier, this movie gave the biggest break for them as for as their pairing was concerned. Named Khandaan, Bheemsingh himself directed the movie. It was a Super duper hit.

While talking about the Hindi film, one more interesting info is there. G.N.Velumani, the man who had produced the Tamil movie had initially come forward to produce the film in Hindi also. But when Hindi heroes were backing out, Velumani also had second thoughts about the Hindi production and he went for a jungle-based story. So producer Vasu Menon, who was expressing a desire of producing the movie willingly took over and the movie made huge profits for him. The profit margins were so good that Vasu Menon built Vasu studio in Chennai out of it. Velumani who had opted out of the Hindi project went ahead with his movie Rajkumar but it was a big flop and Velumani did suffer a huge loss out of it. A sad irony - Velumani disowned his own baby in pursuit of greener pastures, and he ended up as the loser.

The movie was brought back to limelight in 1977 when 16 Vayadhinile was released. Naturally people started comparing Sappani with Kanniah. Everybody was talking about the inspiration factor. But most of the people are not aware that the inspiration for Kamal came by not watching the movie Baagha Pirivinai but enacting the movie. Yes, Bheemsingh did the remake of Baagha Pirivinai in Malayalam after 18 years. Titled Nirakudam (meaning Niraikudam in Tamil), Kamal and Sridevi did the lead roles. The movie got released in 1977 before 16 Vayadhinile. So having done the remake in the same year, it was smooth sailing for Kamal in 16 Vayadhinile.

Before signing off, let me add my personal note. Since it was released in 1959 (I was not even born), I saw it much later in 1971, when it was released in Madurai- Vellaikannu. Later saw it in Ganesha, when I could relate it to more. i saw it many times after that. As said earlier, it was a Silver Jubilee hit and crossed 100 days in many centers. The Cast and the crew visited most of the cities in Tamilnadu, where the victory celebrations took place. It seems Bheemsingh had remarked that his showcase had started overflowing with trophies. Overflow it did when the subsequent Paa series movies Paava Mannippu, Paasa Malar, Paalum Pazhamum and Paarthhal Pasi Theerum all went on to celebrate jubilees one after another.

Here is the lyric part

ஆண்:

தாழையாம் பூ முடிச்சு

தடம் பார்த்து நடை நடந்து

வாழையிலை போல வந்த பொன்னம்மா;

பெண்:

பொன்னம்மா

ஆண்:

என் வாசலுக்கு வாங்கி வந்தது என்னம்மா

என்னம்மா

பெண்:

பாளை போல் சிரிப்பிருக்கு

பக்குவமாய் குணமிருக்கு

ஆளழகும் சேர்ந்திருக்கு கண்ணையா

ஆண்:

கண்ணையா

பெண்:

இந்த ஏழைகளுக்கு என்ன வேணும் சொல்லையா

ஆண்:

சொல்லையா

(பாளை ---)

ஆண்:

தன்னானே தனனே ----

தாயாரின் சீதனமும்

தம்பிமார் பெரும்பொருளும்

மாமியார் வீடு வந்தால் போதுமா; அது

மானாபிமானங்களை காக்குமா ; அது

மானாபிமானங்களை காக்குமா

(தாழையாம் பூ முடிச்சு)

தன்ன----

பெண்:

மானமே ஆடைகளாம்

மரியாதை பொன்னகையாம்

நாணமாம் துணையிருந்தால் போதுமே; எங்கள்

நாட்டு மக்கள் குலபெருமை தோன்றுமே

நாட்டு மக்கள் குலபெருமை தோன்றுமே

(பாளை போல் ---)

ஆண்:

அங்கம் குறைந்தவனை

அங்கம் குறைந்தவனை

அங்கம் குறைந்தவனை

அழகில்லா ஆண்மகனை

மங்கையர்கள் நினைப்பதுண்டோ பொன்னம்மா; வீட்டில்

மணம் பேசி முடிப்பதுண்டோ பொன்னம்மா

மணம் பேசி முடிப்பதுண்டோ பொன்னம்மா

பெண்:

மண் பார்த்து விளைவதில்லை

மரம் பார்த்து படர்வதில்லை

கன்னியரும் பூங்கொடியும் கண்ணையா;

கண்ணிலே களங்கமுண்டோ சொல்லையா

கண்ணிலே களங்கமுண்டோ சொல்லையா

(பாளை போல் ---)

( தாழையாம் பூ முடிச்சு)

அன்புடன்