சிரிக்க வைத்து எம்மை சிறையிலிட்டாய்...
He was thrilled at the summons from Chitralaya, for it was every aspiring actor's dream at the time to act in a movie directed by Sridhar. He said a silent thanks to his bosom friend Balaji who taken it upon himself to fetch for him the big break that had seemed elusive so far, and had got him introduced to Sridhar. He was now part of the cast of 'Nenjil Or Aalayam', the movie that Sridhar was making wholly inside a hospital set. He was slated to play a rather insignificant part of a villager who comes to the hospital.
However, the Gods seemed to smile at him that day. For Ramarao, who was to play the relatively bigger role of the ward boy was unexpectedly delayed, and cameraman Vincent wanted to check the lighting for a sequence involving the ward-boy. Vincent's gaze fell on this newcomer who was watching the proceedings, and asked him to enact the role of the ward-boy just for the rehearsal. The scene was that of the ward-boy searching for a mischievous little girl who is hiding somewhere to avoid another dose of a bitter medicine.
Our man did not take the instruction lightly as a mere stand-in; he decided intelligently to do something different and comical. Rather than to merely search behind the door or under the bed, with perfect timing and droll seriousness he also looked under the pillow and inside a table drawer!
Sridhar and Vincent exchanged a few words, and the talented newcomer was told that the ward-boy's role was his! Nenjil Or Aalayam went on to become a colossal success, and his innovative comedy fetched Cheyyur Krishnarao Nageswaran instant stardom and mass appeal. Though after his screen debut much earlier in Thamaraikkulam (1959) Nagesh did get to make sporadic screen appearances, it was after eliciting notice as Peter in Nenjil Or Aalayam that he soared high in the firmament of filmdom.
Nagesh soon became a mandatory inclusion in most movies; he had to work day and night to fulfill his commitments. There were even occasions when MGR and Sivaji Ganesan had to wait for Nagesh to turn up in the sets, so much was he sought after in the next decade. By provoking instant and unreserved laughter at his endearing antics, he walked into the hearts of the Tamil filmgoers like none other.
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"If I get a hard audience they are not going to get away until they laugh. Those seven laughs a minute…I've got to have them!" declared Comedian Ken Dodd.
Likewise, our own Nagesh was similarly determined to make us laugh, and so we did. And we will keep laughing for only Nagesh has passed on, Dharumi would still be lamenting aloud at not being able to win the 1000 gold coins promised by the King. Chellapa will forever scare his father with his gripping narrative of a horror sequence. Given a chance, Ramiah would once again let out the sprawling guest house of the absent owner. Vaithi, unscrupulous as always, would no doubt continue to fare well in his detestable profession... Truly, the characters donned by Nagesh seem so life-like, that they have acquired a halo of immortality as each successive generation of Tamil moviegoers discovers anew the genius of Nagesh.
The full-length role of a nagging old woman in ‘Naan’ (with her 'Komattula kuthtthuven!' refrain), the son who disguises himself as an old woman to rob his banker father in Kudiyundha Koyil, the hilarious triple role of grandfather, father and son in Panakkaara Kudumbam, the hen-pecked husband in Chandrodhayam, the doctor determined to win a reward by tracing a missing girl in Ooty Varai Uravu, and my personal favorite- the absent-minded LIC agent Panju in Poojaikku Vandha Malar (with utmost seriousness, he even asks Manorama if her name was Krishnamoorthi!) - how much have we laughed outright at Nagesh's convincing antics! Pudhiya Paravai, Pachchai Vilakku, Saadhu Mirandaal, Soapu Seepu Kannaadi, Madras to Pondicherry,Then Mazhai, Ninaivil Nindraval, Bommalaattam, Adhe Kangal, Uththaravindri Ulle Vaa, Veetukku Veedu- memories of Nagesh in these movies bring an involuntary smile.
And even while extracting hilarious performances from Nagesh in movies such as Bhama Vijayam and Anubavi Raja Anubavi, K. Balachander brought to focus on the serious side of Nagesh- Server Sundaram, Neerkumizhi, Major Chandrakant, Ethirneechal, Paththaam Pasali, Poova Thalaiya, Navagraham, Nootrukku Nooru, Thamarai Nenjam and Aboorva Raagangal had Nagesh donning roles of dazzling dimensions. Nagesh played himself with panache in the hilarious Thillu Mullu.
Chinnanjiru Ulagam, Thenkinnam, Hello Partner, Kai Neraya Kaasu were some movies in which Nagesh played the lead role. JK and Bhimsingh brought out arresting facets of Nagesh in their landmark adaptations of ‘Sila Nerangalil Sila Mnaithargal’ and ‘Oru Nadigai Nadagam Paarkiraal’. Even earlier, Nagesh was picked by JK to essay the role of the simpleton Joseph in his ‘Yaarukkaga Azhuthaan’, and in his memoirs JK recalled with gratitude that Nagesh, then at the peak of his career, came to enact his scenes in the middle of the night after a packed day.
In later years, Kamalhasan, always an ardent fan of Nagesh, gave him memorable roles in movies such as Aboorva Sahodarargal, Michael Madana Kamarajan, Magalir Mattum, Nammavar, Avvai Shanmugi, Panchathanthiram, Vasoolraja MBBS….Nagesh’s last screen appearance was in Kamal’s ‘Dasavatharam’. An animated version of Nagesh was seen in Kochadiyan.
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Much as he made us laugh, Nagesh's life had more than a fair share of sorrows. Initial success did not come easily; his pock-marked face came for repeated derision and he had to face rejection and humiliation in plenty. He did taste success at length, but legend has it that when he piled his car with riches and rushed to his hometown, he was too late even to watch his mother's mortal remains being consigned to flames.
When he married Regina, he supposedly faced ostracism from his family and community. And when he thought he had settled to a life of tranquil matrimony, Nagesh was embroiled in a criminal case pertaining to the murder of a close family member, and the accompanied notoriety played havoc with his personal and professional life. A misunderstanding with his onscreen pair- Manorama led a parting of ways. Then years of alcohol abuse took their toll- Nagesh fell dangerously ill-indeed it was indeed a miracle, aided by the medicine that Balaji procured from the U.S. just in the nick of time, that Nagesh lived to tell his tale of woe.
A movie titled ‘Athirshtakaran’ with Nagesh playing the hero came out in 1978. Amateurishly made with a hackneyed story line, it brought Nagesh only ignominy. A slump in his career lead to financial worries; even the theater that he constructed in his name was besieged with troubles and he had to ultimately sell it. Despite being among the finest actors of the country, Nagesh never received the recognition that he deserved; the National Award for the Best Supporting Actor that he received in 1994 for his superb performance in ‘Nammavar’ was a tardy and tightfisted acknowledgement from the powers that be.
'Paartha Gnyabagam Illaiyo', a movie that Nagesh made to bolster the sagging fortunes of his son Anandbabu saw his finances dwindling further. Anandbabu's battle with alcohol and drugs filled Nagesh with depression, and after his wife's demise, Nagesh lived the life of a recluse. After a fall in November 2008, his health witnessed a rapid deterioration; his death on 31 January 2009 was perhaps a blessed release he was craving for.
Ten years have passed by. We salute his memory with awe; we celebrate the laughter he has left behind….
Fear no more the heat o' the sun,
Nor the furious winters rages;
Thou thy worldly task hast done,
Home art gone, and ta'en thy wages...
- William Shakespeare (Cymbeline)
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In memory of the brilliant performer, let us recall an obscure little movie titled 'Engal Vaathiyaar'. Released for Deepavali of 1980 and directed by Durai, the movie had Nagesh essaying the role of an impoverished village schoolmaster Krishnadas trying to muster the funds required to get his daughter married. His daughter Lakshmi falls in love with the village bigwig’s son, and Rs. 25K is demanded as dowry. Unable to bear the tears of his daughter and coaxed by his wife, a reluctant and shamefaced Krishnadas travels to Madras to seek help from some of his former students.
The heartwarming sequences that follow are filled with moments that sparkle with the offhand brilliance of the actor. His body-language, gestures, reactions and even silence are riveting in every frame- a magnificent performance that went sadly unnoticed. The movie itself, released on the same day as Varumaiyin Niram Sigappu, Moodupani, Nizhalgal, Pollathavan and Viswaroopam, made an unobtrusive exit from the marquee.
Here is a song filmed on Nagesh. The song is sung by the schoolmaster during his stay the house of one of his former students who is a now a Police official. The master plays with the children of his student and sings, lamenting on his penury, the expectations of his wife and daughter back home and his own helplessness and discomfiture at having to seek alms from his students.
The song opens with the ancient verses ‘Naaraai Naraai’ written by a poet called ‘Sathimutra Pulavar’. The poet had traveled to meet the Pandiya King Maran Vazhuthi with the hope of singing his glory and receiving a reward. However, he could not meet the King, and sings to the birds ( Storks), imploring them to fly past his house and inform his wife of his piteous plight. Our bard then takes over in style, writing lines that flow like poignant tears of profound philosophy. Our Master chooses to render the song himself, and his numinous tones, baring the heart of a fatigued, disconsolate soul, leave the listener deeply moved.....
https://www.youtube.com/watch?v=kpZC7-6NFCA
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