மலர்ந்தும் மலராதவை # 12

மலர்ந்தும் மலராதவை #12

சித்திரப்பூ சேலை...

Rajaram Theatres’ புது செருப்பு கடிக்கும் was based on a short story by Jayakanthan. The story was written in 1971, and came out as part of a collection of short stories, published by Meenakshi Puthaga Nilayam, Madurai.

The story revolves around three characters- Nandagopal, Girija and Vatsala. Nandagopal enjoys his bachelorhood till he is 30 years old. He harbours bitter memories of his father physically torturing his mother day after day, and thus he develops an aversion towards marriage. He meets Girija, who works as a sales girl besides doing various odd jobs to eke out a meager living. He is attracted to her cheerful disposition and caring ways. One day, when seeing her hungry state, he treats her to a meal and buys groceries for her. She suggests that he move in with her and share the monthly expenses. He readily falls in with the scheme, and their friendship assumes new dimensions. They share the expenses....and some more...

He tells her of his mother’s constant nagging, asking him to get married. Girija encourages him to take the step. He tells her of his cousin Vatsala who is very pretty. Girija masks her disappointment, and congratulates him on his decision. When the wedding day looms near, she suggests that he move out, as it would not be appropriate for them to share the same roof any more. There is a hint of tears in her eyes as she tells this….

Nandagopal finds marital life not at all what he had bargained for. Vatsala and he rarely see eye to eye, and arguments, unpleasantness and humiliations become a daily affair. One night, after some bitter exchanges, he suddenly remembers wistfully his carefree days with Girija. He takes a sudden decision to pay her a visit, even at that unearthly hour. Girija is surprised at his sudden visit, but gives him a warm welcome. To her eager queries on his married life, he responds by listing the complaints he had against Vatsala, and adds that he is suffering for the callous way in which he had treated Girija.

She admonishes him gently, and explains to him how Vatsala must have felt to leave all that is
familiar and dear to her, and come to a strange place and that even the male species may appear strange to her. Girija adds that Nandagopal was ‘experienced’ in the ways of women (in a wry reference to their living together), and she too was ‘trained’ in the ways of men- but men do not want “trained” wives! Nandagopal understands the truth. Presently, seeing that her foot is injured, tenderly enquires about it. She replies that she had bought a new pair of slippers, and was suffering from acute ‘shoe bite’ Then come her punch lines “A new pair of slippers necessarily hurts, but would that make anyone go in for an old pair”?!!! She smiles as she says this…. he breaks down….

What a moving, stark story- Jayakanthan had expanded it into an evocative black & white movie running for just more than an hour. I believe Srikanth & Saradha played the lead roles. Sadly, JK could find no distributors. The movie never made it to the marquee, while Jaganmohini, released around the same time, ran to packed houses.

However, பது செருப்பு கடிக்கும் remains in our memories for the two wonderful songs penned by Jayakanthan and tuned by the genius M.B. Srinivasan.

The first of them was a Radio Ceylon regular in the late 70s. A song of aching memories of a lost love, a wistful window of vistas of a past that is gone… the man remembers his lady love, and recalls in vivid detail his impressions of her striking appearance… The song is a sigh, a tender throwback…JK’s refreshing lines with the adjectives that are are truly inventive, sit so snugly into the MBS trellis. JK’s friend Mr. Kuppuswami recalled in an interview to The Hindu that the lines came to Jk when they were bathing in the Cauvery. SPB conjures up the wistful ache, the unhurried rumination that the mood demands…

https://www.youtube.com/watch?v=oijasCnOmNg

The other is the haunting Vani Jairam solo ‘உடல் என்பார்.’ Vani renders it with great depth of emotion. I found the song to be tranquil, but more like the peace one finds in the company of a lingering sorrow. Alone and at a loss.

Has the sorrow of a girl whose love has gone unrequited, ever been depicted more poignantly- each line is redolent of this suffering- the suffering that only people who have loved and lost can understand……the wait is endless, futile, yet still she waits….

The lyrics are truly remarkable, of a kind seldom encountered in film songs. MBS adds spellbinding sheen to the lyrics by his unobtrusive and masterful use of Veenai, Flute and Violin- each interlude is a short but effective statement.

Vani brings to the song a Ghazal like aura- how much hushed pain peeps out in her song! The song is a celebration of heart-rending sorrow, of forlorn disappointment, of benumbing betrayal, of eerie emptiness that knows no solace...

https://www.youtube.com/watch?v=QhEp3aGfzGM

Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/1832702163428168/

மலர்ந்தும் மலராதவை # 8

மலர்ந்தும் மலராதவை # 8:

அலைபாயுதே கண்ணா....

In tune with the music season, here is a classical treasure by Ilaiyaraja from an unreleased movie- a celluloid adaptation of a story by none other than the redoubtable Jayakanthan...

* * * * *

‘Who asked you to believe in me? You must first believe in yourself!’

This was JK’s stern rejoinder when the young Ilaiyaraja, his brother Bhaskar and Bharathiraja visited JK in his house, and told him that they have come to Madras trusting that JK would help them find their moorings. IR had known JK well from the days when he used to accompany his brother Pavalar Varadarajan in his concerts featured in meetings of the Communist Party wherein JK was the star speaker. IR was always an ardent fan of JK and his writing. And now when IR, Bhaskar and Gangaiamaran arrived in Madras in search of livelihood, they thought it appropriate to call on JK. In a recent speech, IR said that it was only in jest that they sought the support of JK, but JK took it seriously, and JK’s words inspired IR to develop self-confidence and motivated him to expand his horizons even further.

In later years, as IR became the monarch of all he surveyed in Tamil film music, he continued to admire JK. IR was among the chief speakers when JK was felicitated on being conferred the Jnanpeeth Award in 2006. In his tribute laced with wit, IR recalled the long years of his association with JK and the experiences of accompanying his brother to conclaves of the Communist Party. IR showered encomiums on JK, and said humbly that to speak on JK, one needs to be a greater genius, which he was not. He even read out a verse in wherein he equated JK with Bhararthi.

IR’s speech on JK:

http://www.youtube.com/watch?v=ZxWLc9hZ0wU

When IR constituted a literary forum called "Isaignani Ilakkiya Perumandram" in 2007 to encourage Tamil writers, he invited JK to serve as the president of the forum. IR then produced a celluloid tribute to his friend in 2008. The docufilm titled ‘எல்லைகளை விஸ்தாரித்த எழுத்துக்கலைஞன்' was directed by Ravi Subramanian and the haunting background score was composed by IR. In fact, the movie opens with a soulful song sung by IR, even as JK is shown going on an early morning drive.

* * * * *

However, this was not the only instance of IR composing music for a film associated with JK. In the early 80s, B. Lenin sought to craft JK’s ‘எத்தனை கோணம், எத்தனை பார்வை’ on celluloid, and engaged IR to compose the songs for the movie. It is pertinent to note that Lenin’s father Bhimsingh had made brilliant movie adaptations of JK’s ‘சில நேரங்களில் சில மனிதர்கள்’ (1977), ‘ஒரு நடிகை நாடகம் பார்க்கிறாள்' (1978) and ‘கருணை உள்ளம்’ (1978) which had fetched widespread critical acclaim. ‘எத்தனை கோணம், எத்தனை பார்வை’ is said to have been based on ‘காத்திருக்க ஒருத்தி’, a novel that JK had written in 1980. I have not read the novel, but have vague memories of a friend relating the story to me- it seemed to be woven around a woman who takes the bold step of separating from a wayward, alcoholic husband. Interestingly, way back in 1965, JK had written a short story titled ‘எத்தனை கோணம், எத்தனை பார்வை ’, which showed the startlingly varied angles at which different members of a family, and even the man and woman concerned, view a marriage proposal.

The movie never saw the light of the silver screen, though I believe the video cassette of the movie was released a few years later. I have seen the EP record of the movie. The record sleeve showed images of Thyagarajan, Sripriya, Suresh, Nalini and Charuhasan. I have vague memories of Vadivukkarasi being part of the cast as well. The year of manufacture of the record was 1983. JK drafted the screenplay and scripted the dialogues. Lenin must have been disappointed at the movie finding no takers. But years later, in 2001 to be precise, Lenin was in the news again, and this time it was because he had won the National Award for the Best Director for his work in ‘ஊருக்கு 100 பேர்’, adapted from JK’s eponymous novel.

The person who must have been most saddened with ‘எத்தனை கோணம், எத்தனை பார்வை’ proving to be a non-starter is Ilaiyaraja, for he had composed an outstanding set of songs for the movie. However, his labour was not wholly lost, for as its wont Radio Ceylon went to town with the album, and the songs turned out to become quite popular in their time.

IR inserted some scintillating classical songs in the album. 'பாஹிமாம் ஸ்ரீ ராஜராஜேஷ்வரி’ by Yesudas is a veritable feast for learned connoisseurs. Then there are several delectable bits such as ‘கௌரி கல்யாண வைபோகமே’, ‘நிதி சால சுகமா’, ‘கல்லானேயானாலும்’ and soulful bits of aalaaps, all by Yesudas. ‘புகழ் சேர்க்கும் புது வாழ்வு’ accentuates the softer, sentimental side of Malaysia Vasudevan, while ‘நிமிர்ந்த நன்னடை’ has the same Vasu in his usual strident strain. 'என்ன வித்தியாசம்’ is a ditty full of philosophical mischief, rendered by Malaysia Vasudevan & Gangaiamaran. ‘எத்தனை கோணம் எத்தனை பார்வை'’ has Malaysia Vasudevan & Chorus ruminating on the vexatious issues that plague the society and prescribing socialist solutions to the ills. I believe JK had written the lyrics for ‘புகழ் சேர்க்கும்’, ‘என்ன வித்தியாசம்’ and the title song.

Let us listen to the remaining 2 songs from the album. The first is Uthukkaadu Venkata Subbaiyer's
famed ‘அலைபாயுதே கண்ணா’ by Yesudas & S. Janaki set in Kaanada. Shankar-Ganesh had sought inspiration from this ancient composition for setting the tune of the pallavi of ‘ஆசைகளோ கோடி’ by Janaki (அர்த்தங்கள் ஆயிரம்/1981). Years later ARR stuck to the traditional tune when he had to include the hoary composition in ‘அலைபாயுதே’ (2000). The song was sung by Kalyani Menon, Harini and Neyveli Ramalakshmi.

Ilaiyaraja waves his baton, and lo- the violin and flute set the stage for enchantment. The interludes- the first with interesting moments where the Veenai flirts with the Guitar and the second dominated by a bewitching flute are simply ethereal, even as the mridangam provides unobtrusive support all through the song. Yesudas, who keeps singing this song on many a December stage, brings to the fore his impeccable pedigree, while the singular Janaki matches Yesudas valiantly note by note. She soaks her rendition with the tremulous ache of being in love with Lord Krishna.

https://www.youtube.com/watch?v=yJtak7kc8Yg

We have next ‘விதைத்த விதை தளிராய் எழுந்து’ a joyous duet of hope, sung by Deepan Chakravarthi & B.S. Sashirekha, with IR at his creative best. This time the maestro’s glance falls on Darbaari Kaanada and he conjures a tune that weaves the nuances of the Raaga as a tantalizing trellis. The prelude and interludes are vintage Ilaiyaraja. The first interlude opens with the guitar, and then the violins make merry with the tabla offering some sedate moments before the guitar and veenai escort the tune to the charanam… The intriguing veenai- guitar dalliance continues in the second interlude as well, while this time it is the flute that beguiles the tune back into the charanam. Lyrics by the birthday boy Gangaiamaran.

https://www.youtube.com/watch?v=oKAaQcNwNOs

Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/1810478982317153/

Sila Nerangalil Sila Manithargal - The conclusion

Saravanan Natarajan writes:

JK & Tamil Cinema: Part 4

Sila Nerangalil Sila Manithargal- The conclusion

RKV, the alter ego of JK himself, watches Ganga getting into Prabhu’s car. Ganga and Prabhu are strangers to him, but he becomes one with them as he lets his imagination fill in the blanks. For as JK says, “A lot of things happen in life and there are newspapers to report them. I am not doing that. Based on something that happened, with all good intentions, I use my imagination to write a story. But I am not defending anybody or accusing anyone. I am telling a story.”

So after dwelling on the cataclysm, RKV finds a solution that cleanses and distils; Ganga thus continues her journey, unsullied.

But Ganga’s mother did not share RKV’s vision. And when years later he meets Ganga, he finds her still bearing the cross of the guilt. The conversations that RKV has with Ganga are interspersed with humour, sarcasm and wistfulness.

At the instigation of Vengu Mama, Ganga seeks out and traces Prabhu…RKV helps her in this pursuit. However, what happens thereafter is something that she did not reckon with... the sequences that follow depicting the blossoming of a rare, platonic relationship between Ganga and Prabhu are some of Tamil Cinema’s finest moments…the early morning walks, the long drives, the late night conversations... each day brings a joy hitherto unknown in her life... unfortunately such a relationship can never be given a formal tag, or pegged down to a label... she fights the system as much as she can... the end is inevitable...she is pushed to ask something that he can never give.. and she is then forced to give him up... what does the future hold for her... whither flows the Ganges?

https://youtu.be/8BT_BMgOKI8



The open end, with a lonely Ganga, hugging tightly a coat left behind by Prabhu, leaves the viewers with a lump in the throat.. And then there is this song: Ganga ruminates on her past, present and future...her life presents a question that has no ready answers... Vani invests the profound lines with the intensity they demand.. . she is brooding and bleak, forlorn and fragile...
And how daring of the makers to end the movie with a song!

https://www.youtube.com/watch?v=HXkpklmE9LM



* * * * *

First Part of Sila Nerangalil Sila Manithargal here:

https://www.facebook.com/groups/1018417744856618/permalink/1599735460058174/

Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/1601034369928283/

JK & Tamil Cinema: Part 4

Saravanan Natarajan writes:

JK & Tamil Cinema: Part 4

Sila Nerangalil Sila Manithargal

For us, avid readers of JK, not a day goes by when even for a fleeting moment we do not turn to JK when a twist of phrase, a peculiarity of characterization, an attitude or a turn of events, or even a quizzical glance or a pregnant silence brings in a sense of déjà vu… for didn’t JK draw all his stories from life itself?

Having dwelt on Paathai Theriyuthu Paar, Yaarukkaga Azhuthaan & Kaaval Deivam earlier, let us resume our journey today tracing his tryst with Tamil Cinema… Sila Nerangalil Sila Manithargal…

With his earlier forays into cinema filling him with dissatisfaction and worse, disillusionment, JK took a conscious decision to steer clear of the tinsel town in the late 60s, and concentrated on his writing in the years that followed.. He never saw a movie in those years not did he keep himself abreast of the changing trends or the new generation of artistes and technicians.

Sometime in the early 70s, Director A. Bhimsingh had approached JK, through his son Hridayanath, evincing an interest to take up JK’s Sila Nerangalil Sila Manithargal for celluloid adaptation. Writer Poovannan also met JK with the same message from Bhimsingh. JK gave his acquiescence to the emissaries. However, Bhimsingh was preoccupied with his other ventures and this project was put on the backburner…

Everything happens only in its own good time… In the meantime, in an interview to Kumudam, director C.V. Rajendran showered encomiums on JK and his works and revealed that he was working on a screenplay for SNSM. Accompanied by actor Srikanth, who was part of JK’s friends circle, Rajendran even met JK at his residence in this connection. It was this turn of events that spurred Bhimsingh and his associates into action and they approached JK again for the rights to the story.
And it is at this juncture that I ask myself the question that has had me bewildered- what made Bhimsingh, of all persons, venture into what is known as 'parallel cinema', and then make such an exciting success of the experiment?! For Bhimsingh, the ‘Monrach of melodrama’ is more remembered for his sentiment-filled family epics, star-studded affairs presided by Sivaji, emotional conundrums that had the viewers sobbing happily and asking for more. Surely, Bhimsingh turning to Jayakanthan is one of Tamil Cinema's most exquisite ironies!

But was this change of mind as sudden as it seems? As I muse over Bhimsingh's life and times, I conclude that it could not have been so. For I recalled that even as the 'pa' series movies were petering out in the mid-60s, Bhimsingh set about making some pioneering off-beat movies. No, he didn't direct them himself, but elevated his assistants Thirumalai-Mahalingam to call the shots, satisfying himself with financing the projects (under a new banner 'Sunbeam Productions'), besides drafting the screenplay. Saadhu Mirandaal (1966) and Aalayam (1967) were interesting experiments in this line. Both were made within modest budgets and defied valiantly the vicious 'hero-heroine-love-family-villain-action-all is well that ends well' permutations.

Bhimsingh had heard a lot from others about what a difficult man JK was. And so, it was with some trepidation that he called upon JK at his residence to discuss the making of SNSM. But he was in for a pleasant surprise, JK welcomed him with warmth and affection and happily gave his nod for Bhimsingh to proceed with making SNSM the movie. He asked Bhimsingh to develop his own screenplay and to feel free to use the dialogues from the story.

Having given Bhimsingh carte blanche to develop his own screenplay, JK was not entirely happy. For, as he says in his ‘Oru Ilakkiyavaathiyin Kalaiyukaga Anubhavangal’, even while writing a story, JK would visualize each situation ‘frame by frame’, would see his characters move, converse and react, and only then put pen to paper. So he felt that a screenplay by someone else for his story would not have the same effect as what he had envisaged. So when Bhimsingh’s associates came back to him with the screenplay that the team had attempted, JK did not give it even a cursory glance. For nearly a month and a half, he kept aside all his other commitments and dictated the screenplay and dialogues, scene by scene to Thirumalai and Mahalingam.

Bhimsingh was delighted with the excellent shape JK had given to the screenplay and dialogues. Even the minutest details were written down and filed, which proved to be of immense help when the actual filming commenced. JK recommended Srikanth for the role of Prabhu and Lakshmi was the unanimous choice for Ganga. JK did not interfere with the choice of the rest of the cast and crew. He penned the two songs and then left it all to Bhimsingh. Bhimsingh recounts JK’s reaction upon seeing the movie: ‘idhanai idhanaal ivan mudikkum endraaindhu adhanai avankan vidal’, a contended JK quoted an apposite Thirukkural, filling Bhimsingh with unsurpassed elation.

Sila Nerangalil Sila Manithargal, the movie (1.4.1977/ ABS Productions) won critical acclaim for its sensitive adaptation of the novel. A National Award winning, heartwarming performance by Lakshmi was backed by stupendous performances by Srikanth, Nagesh, YGP and Sundaribai. A realistic look at middle-class values, on-screen characters whom we meet in everyday transactions, scintillating conversational dialogues, (some entirely in English!), effective use of silence, brilliant black & white frames, taut editing and two unforgettable songs… they all added immense value. The film remains among the best Tamil movies ever made, and surprisingly for its genre, was a modest commercial success as well, crossing 100 days in the urban centers.

* * * * *

Recalling again the famous JK quote on what a writer does:

“Nothing has a right to live without a purpose. We don’t create our lives, but we create in our lives. Sometimes people may not be able to articulate the purpose in their lives. That's what a writer does. He gives... voice to those who can't speak; eyes to those who can't see; a mind to those who can't think; a heart to those who can't feel….”

And so JK gives himself a role in the proceedings of Sila Nerangalil Sila Manithargal. R.K.Viswanatha Sharma (played by Nagesh with nonchalant brilliance) a library attender who is a writer as well, notices a college girl accepting a lift from a stranger on a rainy evening. Thereafter his imagination takes over; he spins a story of what could have happened, and with a rare catholicity, gives his surmise a cathartic conclusion; a solution that is an exercise in compassion, common sense and courage. He titles his tale ‘Agnipravesam’, for he deems his heroine’s redemption a trial by fire…

But is that what actually happened? Did Ganga’s story really have this happy ending? Years later, Ganga happens to read the tale and is riveted by the startling resemblance it bears to what had happened to her, though she was not as fortunate as the girl in the story. She seeks out RKV, and thereafter commence some of the movie’s delectably poignant moments.

The raconteur himself playing a part in his parable is nothing novel- it is as ancient as our ancient epics, but Sila Nerangalil Sila Manithargal remains the only instance in Tamil Cinema wherein the writer slips into the story as one of the characters, and ensures that the movie has adequate allusions to its wellspring.

For Agnipravesam was the short story that JK wrote in 1966, and it appeared as part of Suyadharisanam, a collection of JK’s sort stories (1967/Meenakshi Puththaga Nilayam) I believe that the revolutionary ending of the story evoked some protests. As though bowing to popular demand, JK altered the ending to a conventional, convenient conclusion, but had the last laugh as he developed the story further into a remarkable novel spanning situations that are far from conventional or convenient. Sila Nerangalil Sila Manithargal (1970/Meenakshi Puththaga Nilayam) won the Sahitya Akademi Award in 1972.

* * * * *

As a child, movie outings were very rare for me, but I did manage to tag along with my parents when they went to watch a late night show of Sila Nerangalil Sila Manithargal at Leo Theater, Chennai ( then Madras). Quite naturally, I did not understand the proceedings at all and soon went to sleep. But I woke up at this song, and even now recall laughing aloud at Nagesh’s antics….he sits in a park with a sheaf of papers, and a sudden gust of wind blows some of them away…as he runs to retrieve them, it is the turn of the papers he has left behind on the bench to fly…. and he now runs behind these with an expression of comical dismay…What a gifted performer he was!

M.S.Viswanathan wisely sings JK’s profound lines himself, for his mystic voice rings as the voice of the soul, the voice of the conscience within that seldom manages to get heard without…the guitar strings lending their approbation throughout, the violin and whistles painting a melancholic hue into the interludes, the unobtrusive percussion providing scintillating support…the master is in his elements here…

https://youtu.be/dtWMrA98Gjs



- Sila Nerangalil Sila Manithargal to continue

Discussion at:

https://www.facebook.com/groups/1018417744856618/permalink/1599735460058174/

S.V.Subbiah & Kaaval Deivam

Saravanan Natarajan writes:

JK & Tamil Cinema Part 3: S.V.Subbiah & Kaaval Deivam (Continued)

So this was the story that Subbiah desired to take up for celluloid adaptation. JK agreed to give Subbiah the rights to the story, with the disclaimer that he would not involve himself in writing the screenplay or dialogues. JK himself changed the title to ‘Kaaval Deivam’. A befitting title, considering the remarkable characterization of Superintendent Raghavan. This, juxtaposed with the Aiyanaar statue, considered to be the guarding deity in the village, which plays a silently evocative role in the story, must have inspired JK to come out with the apposite title of ‘Kaaval Deivam’.
Subbiah enjoyed the goodwill of all in the film fraternity, and many of them came forward to appear in guest appearances in his ‘Kaaval Deivam’.

Thus the movie boasted of stalwarts like Sivaji Ganesan, Muthuraman, T.S. Baliah, Nambiar, Nagesh and V.K. Ramasami who all appeared in well-etched roles. Subbiah played the pivotal role of the benign Superintendent Raghavan; yet in the titles, the humble artiste chose to place his name way below that of Sivakumar (Manickam) and Ashokan (Marimuthu). Sowcar Janaki essayed the role of the jailor’s understanding wife Alamu, while Lakshmi played the role of Kokila. V. Gopalakrishnan, Sriranjini and G. Sakuntala were the others in the cast.

Vijayan did a magnificent job for a first-time director. The narration never sags, and the movie seems to have been refreshingly off-beat for its time. The jail settings, by Art-Director B. Nagarajan are realistically conceived. Considering the rural milieu, Vijayan inserts bits of folk arts such as Karagam by Kalaimani & Party, and Naiyaandi Melam by Madurai Aavaiyapuram P. Sundararaj & Party in the sequences showing the rural fair. And Vijayan added an astute touch by inserting the Prahalada therukkoothu depicting the ‘Narasimha Avataram’ episode by Purisai Natesa Thambiraan & Party in the sequence where Chamundi escapes from his cell and kills his daughter’s molester. The prison guards desert their posts and slip out to watch the play being staged in the adjoining street, and Chamundi makes use of this opportunity to seek his revenge. Playing the radical jailor Raghavan, Subbiah’s performance was simply brilliant. Eschewing flamboyant histrionics, Subbiah brings across a rare dignity in his delineation.

* * * *

For composing the songs of ‘Kaaval Deivam’, Subbiah did not go the reining composers of Tamil Cinema; instead he sent for G. Devarajan. And assisted by R.K. Shekhar, Devarajan Maash made a grand entry in Tamil with ‘Kaaval Deivam’. Subbiah’s choice of lyricists was also way off the beaten track- he roped in Mayavanathan, Thanjaivaavan and Nellai Arulmani. There are 4 songs in the album. The ‘Aiyanaaru’ villupaattu, beginning with ‘AiyennenbOm appanenbOm’ written by Thajaivaanan and performed by Kuladeivam V.R. Rajagopal & Party is a rare rustic delight. For a sequence depicting an evening of entertainment for the prison inmates, Vijayan inserted a Bharatanatyam performance by danseuses Sarala and Kanaka, choreographed by K.J. Sarasa. For this sequence, Devarajan chose the Muthuthandavar piece ‘Maiyal migavum meerudhe’ and got the dulcet-voiced (Radha) Jayalakshmi to render it. Another song is the brooding ‘Porappadhum poradhum iyarkkai’ which Chamundi (Sivaji Ganesan) sings on the eve of his hanging. Written by Nellai Arulmani, the song is rendered by TMS accompanied by chorus voices.

The most popular song in the album is the duet ‘Aiyanaaru neranja vaazhvu kodukkanum’ written by the forgotten Mayavanathan. Manickam and Kokila gambol along the fields and meadows, and sing a song of hope for their future. They dream of the joys of marital life that seem to beckon to them. The future looks tranquil and blissful, and it is this mood of a serene happiness that Devarajan infests the song with. Dharapuram Sundararajan was indeed a good choice for this caressing pastoral delight and Suseela is a treat as always.





There are several interesting incidents associated with ‘Kaaval Deivam’; let us look at some of them revealed by different celebrities in their memoirs.

JK reveals that Subbiah had originally asked him to write the lyrics for the song to be filmed on Chamundi on the night before his execution. JK wrote the song with suitable philosophical lines. Even in the novel, JK had depicted Chamundi murmuring a folk song beginning with the lines ‘Kullanchaavadi sandhai, naan kooththu parka vandhen’. But when the movie was nearing completion, JK heard that his song was replaced by one written by Nellai Arulmani, as Subbiah had found it more suitable for the sequence. The short-tempered JK rushed to Subbiah’s house and reprimanded him in harshest tones. JK admits in his memoirs that he hardly knew what he spoke, but he recalls the gentle Subbiah’s eyes filling with tears at this verbal assault. Subbiah got into JK’s car and traveled with JK back to JK’s house, all the while pacifying him with profuse apologies. Subbiah’s car followed them. After reaching home, JK realized what he had done, and apologized to Subbiah for his outburst. They agreed to forget this unpleasant incident, and Subbiah returned home, his mind at peace.

Next we have AVM. Saravanan reminiscing on ‘Kaaval Deivam’. AVM. Saravanan counted among his close friends only 2 actors- one was Ashokan, and the other was S.V. Subbiah. Saravanan recalls that Subbiah’s ‘Kaaval Deivam’ and AVM’s ‘Uyarndha Manithan’ were being made at the same time.

Subbiah wanted Sivaji to spare few days for completing his scenes in ‘Kaaval Deivam’, but Sivaji was too busy to comply with Subbiah’s request at that time. AVM. Saravanan know that this delay meant mounting financial costs for Subbiah, and so when Subbiah pleaded with him to speak to Sivaji on his behalf, Saravanan did so willingly. He volunteered to give away a few days from the days that Sivaji had allotted for ‘Uyarndha Manithan’, and it was thus that Subbiah got Sivaji to complete his portion in ‘kaaval deivam’.

The story does not end there. It seems that Sivaji had not asked for any particular amount as his remuneration for ‘Kaaval Deivam’. After Sivaji had completed his portion in the movie, Subbiah sent him a tiffin-carrier one day, with the message that he had packed some home-made delicacies for Sivaji in it. True, the upper section of the box did contain some snacks, but the lower section was crammed with rupee notes amounting to Rs. 15,000! Sivaji was startled at this, and called Saravanan to look into it. They sent for Subbiah, who came to the studios and explained that since he did not know how and how much to pay to Sivaji, he did so in this manner. Sivaji exploded with anger, telling Subbiah that his current remuneration was 10 times that amount, and he never expected to be paid for his work in ‘Kaaval Deivam’. Sivaji returned the money to Subbiah even as an overwhelmed Subbiah expressed regret for any unintended affront.

In his ‘Idhu Raajapaattai Alla’, actor Sivakumar too recalls happy memories of working in ‘Kaaval Deivam’. He recalls that the day ‘Kaaval Deivam’ was released, he went to the Globe Theater (known later as Alankar after renovation) in Mount Road to look at the banners. Seeing the banners giving his face giving equal prominence to that of Sivaji, the young and upcoming actor was thrilled. He recalled his childhood fascination with movie hoardings and posters, and how he had nursed an ambition to be a banner painter. Later he had even undergone training for painting banners in ‘Mohan Arts’ before enrolling in the Madras School of Arts. Now observing his own face painted by his friends in ‘Mohan Arts’, Sivakumar was filled delirious joy.

Sivakaumar also recalls the favorable reviews in the magazines. Commenting on the Sivakumar-Lakshmi pair in ‘Kaaval Deivam’, the Kumudam reviewer said ‘kizhakkattaigaLaiyE paarththu aluththu pOna kaNgaLukku, uNmayilEyE iLamaiyOdu irukkum iraNdu iLam uLLangaLin aLavaana uRavaadalgaLai paarkkumpOthu ivargaL nandRaaga irukkattum endRu vaazhththa thOndRugiRadhallava?’

Sivakumar goes on to express his admiration of the qualities of head and heart that Subbiah was known for. He ends his reminiscences on a sad note- he recalls attending the funeral of Subbiah- as Subbiah’s mortal remains were being buried in his farm, Subbiah’s little son Saravanan shrieked that his father would feel suffocated if they covered him with soil…

Time marches on it its remorseless stride. Subbiah’s son Saravanan appeared in the TV serial ‘Suryavansam’. And revealed that he has inherited his father’s thirst for doing something different- he produced and acted in ‘Vidya’, a 30-minute short film that had an interesting take on the relationship between a manager and a subordinate.

* * * **

The movie was a modest success, and earned favourable reviews. Even the fastidious JK expressed overall satisfaction at Vijayan’s adaptation of the novel. In his ‘Oru ilakkiyavaadhiyin kalaiyulaga anubavangaL’, JK reserves warm words of praise for the performances of Subbiah and Sowcar Janaki.

Encouraged by the favorable outcome of ‘Kaaval Deivam’, S.V. Subbiah set about his next venture- this time he picked JK’s ‘Brahmopadesam’, and titled the movie version ‘Guruve Deivam’. Subbiah acted as Sankara Sarma and Sivakumar acted as an Odhuvaar. However, after completing few schedules of shooting, Subbiah could not continue with the movie due to various insurmountable hurdles.

Nevertheless, ‘Kaaval Deivam’ stands testimony to the determination of Subbiah to dare to be different and to succeed at that…

* * * * *
Discusion at:

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First Part of Kaaval Deivam here:

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JK & Tamil Cinema Part 3

Saravanan Natarajan writes:

JK & Tamil Cinema Part 3: S.V.Subbiah & Kaaval Deivam

' உமது பத்திரிகையில் நீர் அரசாங்கத்தை தாக்கி எழுதியதால் உம்மையும் ஒரு ராஜத்வேஷி என்று நான் கூறுகிறேன்!'

'கூறிக்கொள்ளும், நன்றாக 400 முறை கூறிக்கொள்ளும், கவலையில்லை !'

'சரி.. நீர் போகலாம்'

'போகிறோம்!'


I first saw Kappalottiya Thamizhan on TV as a child. So many years have flown past since, yet even now the image of a majestic, defiant S.V. Subbiah comes to mind whenever I open my copy of Bharathiyaar’s verses. Such was the performance of Subbiah- straight from the heart, marked by a rare, simple, dignity. Generations of Tamils have grown up believing that this was how the revolutionary bard must have looked, this was how he must have walked, talked…

Subbiah (1920-1980) was born in Senkottai. Spurning academic pursuits, he joined a drama troupe called ‘Senkottai Ananda Sakthivel Paramananda Boys Company’ when he was 11 years old. Later, he was part of hoary drama troupes such as Balashanmukhananda Sabha and Sakthi Nadaga Sabha.

Subbiah’s performance as Kavi Anandar in S.D. Sundaram’s play ‘Kaviyin Kanavu’ (Sakthi Nadaga Sabha/1945) fetched rave reviews. He made his debut in cinema with ‘Vijayalakshmi’ (1946). His fine performance in the movie ‘Kanjan’ (1947) elicited critical approbation. Throughout the 50s and 60s, Subbiah was a much sought-after artiste, for he would intersperse a subtle, heartwarming empathy into his performances and make even a minuscule cameo stand out.

The unjustly accused servant who seeks a terrible revenge in ‘Velaikkaran’ (1952), the platform philosopher in ‘Porter Kandan’, the unscrupulous railway clerk with a peculiar twitch in the neck in ‘Sugam Enge’, the understanding and loving elder brother in ‘Mangaiyar Thilagam’, the chief protagonist in ‘Valliyin Selvan’, the duet-singing womanizer in ‘Naane Raaja’, the long-suffering suppressed farmer in ‘Kaalam Maarippochchu’, the loyal employee who belatedly realizes the true colours of his employer in ‘Irumbu Thirai’, the timid family man in ‘Baagappirivinai’, the loyal boatman in ‘Parthiban Kanavu’, the Christian gentleman in ‘Paava Mannippu’, the gifted musician in ‘Kalaikkoyil’, the fanatical devotee of the Goddess in ‘Aadhi Parasakthi’….. Subbiah essayed the varied roles with a simple elegance and uncommon finesse.

Even in the 70s, Subbiah stands out in unforgettable sketches such as the widower with 3 daughters in ‘Sollathaan Ninaikkiren’ and the irresponsible patriarch in ‘Arangetram’. Why, even as late as 1978, and in a fiasco called ‘Mariamman Thiruvizha’, Subbiah showed dignified restraint in his performance as the father of a woman whose is accused of infidelity by her husband.

And around the mid 60s, Subbiah decided to venture into film production. Being a voracious reader and an ardent fan of Jayakanthan, he was firm that he would adapt one of JK’s stories for cinema. At that time JK was not too favorably inclined towards cinema and people associated with the industry. His experiences in producing and directing ‘Unnaippol Oruvan’ and ‘Yarukkaaga Azhudhaan’ had left him bitter and rueful. But when Subbiah approached JK expressing his desire, JK could not refuse, as he had often admired Subbiah’s performances, and had known him well from the days when Subbiah worked in ‘Paadhai Theriyudhu Paar’.

Further, JK had wanted Subbiah to play the role of Govindasami Pillai in ‘Yarukkaaga Azhudhaan’ and had visited Subbiah in his Karanodai farm one night with the offer. Subbiah who had been deeply impressed with the story, had already envisaged himself playing the lead role of Joseph. So his reply, gentle and firm at the same time, was that if JK could consider him for the role of Joseph, it was agreeable to him, otherwise they both had better pass their time talking of other unconnected matters. And so JK stayed the night as Subbiah’s guest in the tranquil farmhouse and they discussed on philosophical matters of mutual interest till the wee hours of the morning.

Besides his liking for Subbiah, another factor that made it difficult for JK to refuse Subbiah’s current request to give one of his stories for making into a movie, was that Subbiah had appointed K. Vijayan as the director, and Vijayan, was of course, JK’s close friend. A railway employee of Ponmalai Station and a fellow comrade, Vijayan had appeared in the lead role in ‘Paadhai Theriyudhu Paar’. Subsequently, Vijayan took up whatever film offers that came his way and also acted in the plays of Sahasranamam’s Seva Stage.

However, Vijayan was more interested in the technical aspects of film making, and would observe keenly cinematographers, editors and directors at work. Like JK, Vijayan was wholly disenchanted with the type of Tamil movies that were being made, and they often discuss avidly how they would stray off the beaten track if given a chance. When JK decided to make a movie of ‘Unnaippol Oruvan’, Vijayan was one among the few close associates who helped him in every way. In his ‘Oru ilakkiyavaadhiyin kalaiyulaga anubavangal’, JK recalls how with masaal vadai and tea as their only sustenance, the entire screenplay of ‘Unnaippol oruvan’ was written in 10 days in the one-room tenement of Vijayan in Chidambarasami Koyil Street in Mylapore when Vijayan’s family was away.

Vijayan assisted JK in directing both ‘Unnaippol Oruvan’ and ‘Yarukkaaga Azhudhaan’. In fact, JK asked Vijayan to direct the first shot of ‘Unnaippol Oruvan’, for at that time JK had no clue of how directors go about their work!

So when JK learned that Vijayan was finally getting a well-deserved break as director through Subbiah, he agreed readily to give them any of his stories for filming. When Subbiah enquired from JK as to the payment JK expected, JK said that he would be happy even if Subbiah would pay him 5 paise. Subbiah replied since JK had mentioned the number 5, he would pay JK Rs.5,000. JK acquiesced with a smile. The story that Subbiah and Vijayan selected was ‘Kai Vilangu’, a novel that JK had written in Kalki in 1961.

What then this story that had so fascinated Subbiah?
* * * *

Stone walls do not a prison make,
nor iron bars a cage;
Minds innocent and quiet take
that for an hermitage…

- Richard Lovelace (To Althea, from prison)

Aanaikundram Jail. Superintendent K. Raghavan is a man of integrity and humaneness who views the 500 inmates as 500 books that need to be perused. He stays with his wife Alamu in the bungalow adjoining the penitentiary, and the childless couple treats the prisoners with compassion and love, for they look upon the inmates as the children they never had. Chamundi who is serving a life sentence for killing one of the 2 villains who had fatally molested his teenaged daughter Sivakami, Syed who is yet to see his 9 year old son, Kesavan who ensures that he is arrested ever so often on trivial crimes, for he prefers the comforts of the prison to the uncaring outside world….

With the unusual backdrop of a prison, JK endows each character with an interesting history and subtle idiosyncrasies.



In the nearby Allikkulam village lives Manickam- an honest, hardworking youth who is the leaseholder of Raghavan’s lands. Manickam and Kokila love each other. The scoundrel Marimuthu, an unwelcome suitor of Kokila, sees his dreams of marrying Kokila coming to nought, and schemes with his accomplices to harm Manickam. They spy Manickam and Kokila singing and romancing, and this increases their ire. Marimuthu accosts Manickam near the Aiyanaar statue. When Marimuthu speaks deprecatingly of Manickam’s lineage, Manickam sees red. He plucks the sword from the hands of the Aiyanaar statue and injures Marimuthu. Manickam is arrested and sentenced to 5 years imprisonment. Superintendent Raghavan consoles him and treats him with kindness.

The story then captures the interesting events in the prison. Of particular interest are the sequences that involve Chamundi. Chamundi sees the other man who was responsible for his daughter’s death as an inmate in the prison and manages to hack him to death one night. For this crime, Chamundi is sentenced to death, and the death sentence is carried out.

In the meantime, Manickam gets the news that his mother is seriously unwell. He grieves for her and longs to pay her a visit. On his own accord Superintendent Raghavan takes the unprecedented step of permitting Manickam to go to Allikkulam to see his mother, after eliciting a promise from him that he would return to the prison by daybreak. The next day is Raghavan’s last day in service, and Raman Nair arrives to take charge as the new superintendent. Manickam has not yet returned, and Raman Nair refuses to take charge until the headcount tallies with the roster. Raghavan is confident that Manickam will return, and his confidence is not misplaced. Manickam arrives just in the nick of time. Raghavan retires; his honour and reputation untarnished.

- Kaval Deivam to be continued....

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Yaarukkaga Azhuthaan

Saravanan Natarajan writes:

JK & Tamil Cinema Part 2:

Yaarukkaga Azhuthaan (Continued)

What then was this story that had attracted so many celebrities over the years? As we know, it had appeared in Ananda Vikatan, and had then been published as a book by Meenakshi Puththaga Nilayam, Madurai in 1962.

‘Nataraja Vilas’, an unpretentious lodge located near the railway station in a nondescript town forms the backdrop of the proceedings. The story narrates the happenings of a Monday night and the subsequent Tuesday in the lodge. The chief protagonist is the simpleton Joseph, a hardworking employee in the lodge. An inebriated guest, Gopinath Seth entrusts his wallet stuffed with money to the owner Ratnavelu Mudaliar for the night. Forgetting all about it in the morning, he accuses the innocent Joseph who had entered his room with his morning coffee of stealing his wallet. Mudaliar, who is in dire need of money, seizes this opportunity and remains silent, even as Gopinath thrashes Joseph asking him to accept the theft and return the wallet.

A stoic Joesph’s response remains that he did not steal the wallet. A small-time fraudster who occupies another room in the lodge sees an opportunity to share in the loot, and taking Joseph aside, cajoles him to own up so that they can make good their escape with the wallet. When Joseph reiterates that he did not take the wallet, the scoundrel along with his accomplice beat him mercilessly.

A woman who had been abandoned by her paramour is another guest in the lodge. She has always held Joseph in high regard, and yells at the two men to stop beating Joseph. She then takes him to her room and bathes his wounds and comforts him. Joseph goes down to Mudaliar’s room. A nervous Mudaliar asks him blusteringly if he had stolen the wallet. Joseph does not reiterate his innocence now, he looks at Mudaliar unflinchingly. Joseph had witnessed Gopinath handing over his wallet to Mudaliar the previous night, but chooses to remain silent rather than reveal Mudaliar’s duplicity.

Unable to meet Jospeh’s gaze, Mudaliar falls silent. Govindasami Naidu, the head cook returns just then from his weekly visit to his village. He had always held a soft corner for Joseph and seeing him torn and bleeding, he flies into a rage. He insists that Joseph would have never committed this theft. After ascertaining that no one had left the lodge since morning, Naidu urges that the police are summoned so that they could search the premises and find the wallet. Mudaliar trembles in fear, and when Naidu asks him to lock all the rooms, he sees a way out of his predicament. Going up to Gopinath’s room, he places the wallet behind a statuette of Gandhiji’s 3 monkeys that Joseph had placed there. When Gopinath goes in to take his coat, he notices the wallet and announces the discovery.

Gopinath Seth is now profuse in his apologies to Joseph and offers him money, which Joseph refuses. Mudaliar is unable to look at the honest Joseph. The fraudsters and the other employees of the lodge who had thought Joseph to be guilty look at him sheepishly. Naidu and the girl look at him with compassion. And what does Joseph do? He cries. Joseph who had never shed a drop of tears all his life, even when his mother died, even when he had caught his wife and his best friend locked in a moment of illicit intimacy, even when he had been unjustly accused of theft, weeps now with unabashed abandon… What does he weep for? Is it enough if the hidden wallet comes to light? When would the deceit, falsehood, avarice and suspicion that men harbour in their hearts come out? Hugging his statuette of the 3 monkeys who see no evil, hear no evil and speak no evil, does Joseph weep for the evils that remain hidden deep inside every man?
* * * *

This then was the story that JK set about making a movie of. He picked on Nagesh to play the lead role of Joseph. It was the time when Nagesh was riding on an unprecedented high as the most sought after actor in Tamil cinema- his very name spelled magic at the box office, for his mere presence in a scene would kindle guffaws from elders and children alike. JK had held Nagesh in high esteem for his unquestioned talents. And for his part, Nagesh reserves words of warm appreciation for JK in his ‘Sirithu Vaazha Vendum’.

Nagesh’s close friend Srikanth who was an ardent fan of JK’s works. When JK met Nagesh for the first time in a railway station, Nagesh, who had not read much of JK’s books, told him that Srikanth used to speak high of JK to him. Later Nagesh attended some of JK’s public speeches and found himself drawn to the maverick writer. One morning JK woke up to see a huge crowd gathered in front of his house.

When he rushed down to know the cause, he saw Nagesh seated calmly in his drawing hall. Nagesh said that he had heard that JK would be at home only early in the morning and so he had dropped by at that unusual hour. After exchanging pleasantries, Nagesh invited JK to come and watch his ‘Ethirneechal’ play. JK willingly obliged, and after watching the play, JK refuted the rumours floating around that the play was inspired by his ‘Yaarukkaaga azhuthaan.’ This incident served to pave the way for a budding friendship between the writer and the actor, which strengthened further during the making of ‘Yaarukkaaga azhuthaan’.

Nagesh agreed happily to play the role of Joseph, indeed he treasured it as a singular honour for having been picked by JK for the coveted role. However, his dates were wholly booked much in advance, and hence JK shot all the sequences involving Nagesh in the middle of the night. In his memoirs Nagesh recalls an incident wherein they were relaxing after a stint of shooting.

An altercation with some taxi drivers led to JK and Vijayan joining in the brawl and bashing up some of the taxi drivers. However, the very next day JK sent for those taxi drivers, apologized to them and gave them twice the amounts they had demanded earlier. In another incident, JK and Nagesh were traveling together for the shooting one night when they were held up at a railway gate. To while way the time, at the suggestion of a mischievous JK, Nagesh and JK removed their shirts, and in the dark roadside they posed as beggars seeking alms. Nagesh adds that it was JK who managed to collect a higher amount!

As the financiers wanted popular actors of the day in the cast, JK selected his cast accordingly. A slim and beautiful K.R. Vijaya, a much sought after heroine by all the top actors of the day, agreed willingly to play the role of the sympathetic female guest in the lodge and even went to the extent of adjusting her dates to accommodate JK. T.S. Baliah enacted the role of the lodge owner Ratnavelu Mudaliar who gives in to temptation and remains silent when Joseph is unfairly accused. For the playing the role of the good-hearted Govindasami Naidu, JK’s first choice was S.V. Subbiah, but when Subbiah refused the offer, JK engaged another veteran S.V. Sahasranamam to play the role. Raja Wahab Kashmiri was well cast as the North-Indian Gopinath Seth.

The gifted Nimai Ghosh, who had earlier directed ‘Paadhai theriyudhu paar’ was the cinematographer of ‘Yaarukkaaga Azhuthaan’. Koteeswara Rao composed the background music. Editing was by Jambulingam and Selvaraj. JK’s total budget was Rs. 3 Lakhs, which Chempi Traders handed over in 6 installments. JK was assisted by his associates K. Vijayan and Malliyam Rajagopal. JK demanded and secured a higher remuneration than Nagesh, but recalls in his ‘Or ilakkiyavaadhiyin kalaiyulaga anubavangaL’ that he was taken aback when the financiers informed him that part of the remuneration would be in black!

The movie had a single song, which comes right after the opening speech by JK. The song was written by Kannadasan. In his initial years, when Kannadasan was associated with the DMK, JK did not entertain any high regards for the poet, as JK was vehemently against the party. However, with Kannadasan breaking away from DMK and associating himself with the Congress, JK found himself addressing joint meetings with Kannadasan and came to know him well. Kannadasan had openly declared once that one book that was always to be found at his bedside was JK’s ‘Yaarukkaaga Azhuthaan’.

When JK called Kannadasn to write the song for ‘Yaarukkaaga Azhuthaan’, the bard came willingly one morning to the ‘Asia Jyothi Films’ office. After accepting ‘a peg’ offered by JK, Kannadasan’s pen flew with its known felicity, and the verses were written in no time at all. The bard then departed flashing his gracious smile. JK had kept aside in a cover the money to be paid to Kannadasan for the song; the cover was lying intact with JK for many months, and then JK used the money to meet some expense. JK adds that Kannadasan never asked for the payment!

Kannadasan poratrays the noble character of Joseph in simple, yet arresting lines:

uruvaththilE ivan manithan-
koNda uLLaththilE oru paRavai
paruvaththilE oru kuzhandhai-
nenjin paasaththilE oru thandhai

JK sent for S.V. Ramanan to set the verses to tune. JK had listened earlier to the music composed by Ramanan for the documentaries produced by his brother S. Krishnaswami and for few devotional songs and radio jingles. Even earlier Ramanan had assisted his gifted mother Meenakshi Subramaniam when she, along with C.N. Pandurangan, composed music for ‘paaNdithEvan’. Ramanan had also assisted Pandurangan when the latter composed music for Sridhar’s ‘ethirpaaraathathu’. He was among Salilda’s assistants when the music for ‘chemmeen’ was composed. JK had come to know Ramanan well when Ramanan assisted Chittibabu in composing the background score for ‘unnaippOl oruvan’, and when a song had become mandatory for ‘yaarukkaaga azhuthaan’, he called Ramanan to compose the music.

The movie version of the song begins with the lines ‘piRandhapOdhu piRandha paarvai maaRavEyillai- indha piLLai koNda veLLai manam vaLaravEyillai’ rendered by Dharapuram Sundararajan. This song is among the early forays of Yesudas in Tamil Cinema, and his honeyed tones tinged with an inexplicable melancholy bring alive the vision of the bard.

The song serves as an introduction to the noble character of Joseph with silhouette shots of him working hard at his menial tasks. As the verses unfold, Joseph is seen kneeling in front of a cross, his eyes closed deep in prayer. As the song progresses, we see Joseph reacting to all situations with the same serene smile… when he gives all his food to a beggar, when a street urchin throws a stone at him, when Mudaliar pours a bucketful of water at him when he oversleeps- he even mops the water cheerfully, when he massages Mudaliar’s feet at the end of the day, when he spies his wife and friend in an intimate embrace… Joseph’s response is the same always … the tranquil smile that comes from his heart and escapes from his lips, not before lighting up his eyes… The song, with its lyrics and visuals establishes firmly the credentials of Joseph…

http://www.veoh.com/watch/yapi-Vpdfvitmyao

With JK’s meticulous planning and determined execution, the movie was shot in a start-to-finish schedule at the Newtone Studios and was completed in 3 months. The movie was released on April 14 1966. K. Balachander, who was among those who watched the movie in its very first show in Casino Theater, was effusive in his praise. JK who watched the movie along with the audience that day felt encouraged at the response. But when he returned from a 10-day trip to Kerala, he saw that the movie was running to empty halls, and was taken off from all the theaters at the end of a mere 2 weeks.

The reasons were not far to seek. JK admits that a story that could not be extended beyond 7000 feet had been ‘dragged like rubber’ to satisfy the whims of the financiers. The original story takes place wholly in the premises of ‘Nataraja Vilas’, but the movie had extended external sequences such as Naidu taking leave of his family after his weekly visit in the village, the girl’s lover being unable to return to her due to family pressures, Mudaliar seeing a mother beating her child for stealing, Mudaliar imagining himself standing as an accused in a court and then languishing as a prisoner in a cell… For prolonging the length of the movie, JK even had to introduce new characters not present in the original story such as Mani Panikkar played by K. Vijayan. As another ‘stretching tactic’, the movie opens with a speech heard in JK’s voice, followed by the longish song.

Notwithstanding the unseemly speed with which it was returned to the cans, ‘Yaarukkaaga Azhuthaan’ remains one of the stray realistic ventures of Tamil Cinema. In fact, it has a place of pride in the ratings of learned film historians such as Theodore Bhaskaran. Nimai Ghosh captured the soul of JK’s story with his haunting black & white frames. Nagesh was simply astounding as the unjustly accused Joseph, and Vijaya was a revelation with her stark, brilliant performance. In future years, Nagesh would go on to gather honours with his sensitive portrayals in JKs projects such as ‘Sila nerangalil sila manitharga’ and ‘Oru nadigai naadagam paarkiraal’, while Vijaya would come out with another stunning delineation in JK’s ‘Karunai ullam’.

Discussion at:

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JK & Tamil Cinema Part 2

Saravanan Natarajan writes:

JK & Tamil Cinema Part 2:

Yaarukkaga Azhuthaan

“They hold a notion that I have all along been writing about people of the lower strata. However, haven’t I really been writing about high level people among the so-called lower strata? Who belongs to the higher strata and whom to the lower strata? That cannot be determined by their position or by their place of living. It is based on how they are-how they live-that a determination should be made….”

- Jayakanthan

Sometime in the late 50s, Jayakanthan’s story ‘Yaarukkaaga Azhuthaan’ had appeared in Ananda Vikatan, fetching widespread critical acclaim. Actor Chandrababu had befriended Jayakanthan during that time, and expressed his eagerness to adapt the story for the screen and act in the lead role of Joseph. However, the ideas that Chandrababu put forth on the screenplay were not to JK’s liking.

It was a little later that actor A. Veerappan came to JK with the news that Producer G.N. Velumani was desirous of making a movie of ‘Yaarukkaaga azhuthaan’, and wanted to meet him in this regard. JK met Velumani and agreed to give him the rights to the story on the condition that Veerappan play the lead role of Joseph. Velumani agreed to JK’s terms at the spur of the moment, but when the press announcements were made, it was Sivaji Ganesan who was playing the lead role! The movie was to be a star-studded affair with Savitri, Rangarao and Baliah taking on the supporting roles. Velumani had appointed Sridhar to direct the venture.

Though Velumani had gone against his word, JK remained silent as he felt that a producer who was investing money in a project could not be bound by a mere verbal assurance. Later on, Velumani informed JK that Sridhar was desirous of holding discussions with him on the adaptation, and requested JK to meet up with Sridhar. JK called upon Sridhar at the latter’s Chitralaya office, and Sridhar elaborated his ideas on making the movie. With mounting frustration, JK felt that his story was being mangled beyond recognition. Reminiscing on this incident in his ‘Or ilakkiyavaadhiyin kalaiyulaga anubavangaL’ JK says that when Sridhar related to him how he would film the end of the movie with Joseph kneeling in front of a wooden cross and breathing his last, JK lost his cool and retorted that considering Sridhar’s ideas, it would be more appropriate to rename the movie ‘yaarukkaaga seththaan!’

With that, JK kept away from the making of the movie. Reports reached him, however, that Velumani had started expressing apprehensions on Sivaji fitting into the character of Joseph, and that Sivaji had become aware of the producer’s misgivings. JK, who was nowhere in the picture by then, suddenly found himself in the center of a controversy as there appeared some false reports in certain sections of the vernacular media that it was JK who was not in favour of Sivaji donning the role of Joseph.

Subsequent reports indicated that Chandrababu was now being considered to play the role of Joseph. When the press sought JK’s reaction, all that JK said was it did not matter who would be playing the lead role, what was important was how realistic performances would be extracted from the actors and how the story would be filmed. This was again misrepresented in some sections of the press that JK was not happy with Chandrababu as Joseph either. The next day’s Dhinathandhi carried Sridhar’s irked reaction that if JK did wanted neither Sivaji nor Chandrababu, would JK himself play the role? A furious JK gave a prompt rejoinder to Sridhar in Janashakti. In later years, JK regretted the harsh terms he had employed in his response.

The partially made movie was then abandoned after several lakhs of rupees had been expended on it. Chandrababu came to JK’s house soon thereafter, offering Rs.75, 000 for the rights to ‘Yaarukkaaga azhuthaan’. When JK informed Chandrababu that the rights were still with Velumani, Chandrababu replied that as Velumani had given up the project, he would give the rights to Chandrababu if JK urged him to do so. JK refused to do this, and with this the idea of filming ‘Yaarukkaaga Azhuthaan’ was shelved.

In the meantime, as we have seen earlirt, along with a horde of talented communist comrades, JK involved himself in the making of Paadhai Theriyudhu Paar (1960/ Kumari Films). Though it was a commercial failure, JK was satisfied with the way the off-beat movie had shaped up. Soon thereafter, Producer ‘Venus’ Krishnamoorthi professed a great admiration for JK and wanted him to make a movie for them. JK expressed his opinion that none of his stories would suit the screen. At Krishnamoorthi’s request JK wrote the screenplay and dialogues for the Tamil adaptation of a Bengali movie titled ‘Takka Aanna Paisa’. However, Krishnamoorthi had lost interest in the project, and now asked JK to work on the script of another Bengali story involving a dual role for the heroine. JK had completed penning the ‘treatment’ of the screenplay when he felt a torrent of misgivings overcome him and informed the producers that he was no longer interested in the assignment. The movie came out later as Kaathirundha KangaL (1962/ Vasumathi Pictures).

It was during this time that JK’s friends, K. Vijayan and N. Bhaskaran in particular, were urging him constantly to take upon himself the filming of any one of his stories. Their argument was that just as DMK had ingratiated itself into the psyche of the populace solely through cinema, they too could counter this assault through the same medium, making truly good movies in the bargain. JK then decided to make a movie of his ‘Unnaippol Oruvan’ and approached Venus Krishnamoorthi with the idea. Krishnamoorthi agreed readily to finance the project. However, when the script was read out, Krishnamoorthi expressed an opinion that the proceedings seem to drag on with the characters eating and sleeping all the time.

JK walked away in a rage, and then with the encouragement of his friends floated his own film company, calling it ‘Asia Jyothi Films’ after Nehru who had passed away just then. The starkly realistic ‘Unnaippl Oruvan’ (1965) scripted and directed by JK under this banner, won critical acclaim and the National award for the 3rd Best Feature Film. The movie, however, could not run beyond a week. In his memoirs, JK reveals how the movie was removed after just a week from Krishanveni Theater in Madras, though the collections were more than average, and how he had to sell the movie to a Soviet Film Entity called Sovexport. However, despite all this, the financial woes of ‘Asia Jyothi Films’ were such that JK and friends decided to recoup their losses by making another movie.

This time JK picked his ‘Karunaiyinaal Alla’ for adaptation. A new found acquaintance called Mothi Rajagopal agreed to finance the project in part. JK then approached the Film Finance Corporation (FFC) for funds. However, the stringent conditions imposed by FFC filled JK with reservations. It was at this opportune moment that an old friend and owner of Mars Advertising, Udhuman Mohaydeen who went by the name Minnal accosted JK with the welcome tidings that his friends who were owners of a company called Chempi Traders were willing to wholly finance the celluloid adaptation of ‘Yaarukkaaga Azhuthaan’ if JK was ready to make the movie. So JK gave up his efforts to film ‘Karunaiyinaal Alla’ and approached Velumani to get back the rights to film ‘Yaarukaaga Azhuthaan’. The good-hearted Velumani returned the rights to JK without a demur, and wished him all the best to make a successful movie of it.

Thus JK commenced making ‘Yaarukkaaga Azhuthaan’. He felt intuitively that this particular story was such that the impact the book could never be reproduced on the screen. However, the financiers insisted on ‘Yaarukkaaga Azhuthaan’, and considering the livelihood of the members of Asia Jyothi Films, JK went about making the movie.

- Yaarukkaga Azhuthaan to be continued.

Discussion at:

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Paadhai Theirudhu Paar (The conclusion)

Saravanan Natarajan

JK & Tamil Cinema: Part 1

Paadhai Theirudhu Paar (The conclusion)

Reminisces JK in his ‘ஒர் இலக்கியவாதியின் கலையுலக அனுபவங்கள்', - " பல முற்போக்குத் தோழர்கள் முயற்சியினால் குமரி பிலிம்ஸ் என்னும் ஒரு படத் தயாரிப்பு நிறுவனம் துவக்கப்பட்டிருந்த்தது. அதில் சம்பந்தப்பட்ட அனைவரும் கம்யூனிஸ்ட்களாகவும், கம்யூனிஸ்ட் அனுதாபிகளாகவும், தொழிலாளர்களாகவும் இருந்ததால் அவர்களோடு எனக்கு தொடர்பு நெருக்கமாய் இருந்ததது. தோழர் எம்.பி. ஸ்ரீனிவாசன் இந்த நிறுவனத்தின் தோற்றதிற்கு முக்கிய காரணமானார்.

திரைக்கதை எழுதுகிற பொறுப்பை நாங்கள் அனைவரும் ஆர். கே. கண்ணனிடம் ஒப்படைத்தோம். நான் இரண்டு பாடல்கள் எழுதினேன். "

Thus the comrades sat together, and the story titled Paathai Theriyuthu Paar took shape over many animated discussions. Comrade R.K.Kannan drafted the screenplay and penned the dialogues. K. Vijayan, who was working as a railway employee in Ponmalai Station and acting in the plays produced by Comrade Simon’s Valluvar Kalai Mandram was roped in to play the fiery, principled hero. S.V.Sahasranamam, T.K.Balachandran, S.V.Subbiah, Muthuraman, V.Gopalakrishnan, L.Vijayalakshmi and Sundaribai and were the other actors.

The storyline goes thus. Sundaram Pillai works as an accountant in a large company. He is known for his integrity and discipline. Shankar and Meena are his children. He also brings up his late friend’s son, Murugesan. Murugesan had imbibed all the noble principles from Sundaram Pillai and works as a labourer in a cotton mill. Murugesan and Meena fall in love. Stung by the oppressive policies of the management, Murugesan becomes an aggressive member of the Labour Union. He manages to form a co-operative store to help the poor get essential commodities at fair prices. The labourers raise their voice against black-marketeering and hoarding, and notch significant victories after a bitter struggle.

* * * * *

Nimai Ghosh took on the twin responsibility of cinematography and direction.

Music was by M.B.Srinivasan. The comrades were very particular that the songs should not be incongruously inserted into the story; all the song sequences appeared in perfectly natural situations.

Thus we have the the hilarious ‘Rasa maga polirundhe’ by A.L. Raghavan & Chorus, the poignant ‘Azhudha kanneerum paalugumaa’ sung by the dulcet P. Susheela and the clarion ‘Unmai oru naal veliyaagum’ by Tiruchi Loganathan.

Giving here the links of the remaining songs available in YouTube.

The uplifting Thevaram 'மாசில் வீணையும்' sung by Janaki & A.S. Mahadevan.

There are three pieces (maasil veeNaiyum, namachivayavE gnanamum kalviyum, viragil thEyinan) from Thirunavukkarasar's Thevaram that feature in this song.

Those were S Janaki's early years. It is a matter of ceaseless wonder that SJ, who underwent very little formal training in music, was entrusted with so many classical and semi-classical songs in films in all languages, and she did ample justice to all of them. Hark at the light brigas with which she adorns the lines in this song.. It adds so much luster to the fervent traditional lyrics.

https://www.youtube.com/watch?v=XFUgMTIddt4

Next is the haunting 'சின்ன சின்ன மூக்குத்தியாம்' sung by TMS.

'Communism has nothing to do with love' declared Mao Tse-tung with smug disdain. I wish he could have read the romantic verses of Turkish poet Comrade Nazim Hikmet or 'Chinna chinna mookuthiyaam' of Comrade KCS. Arunachalam! Perhaps the great leader would be mollified when he hears KCS, even in this moment of throbbing passion, showing his true colours, in lines like 'sigappu kallu mookuthiyaam' and 'vetthila pOtta un vaai sivakkum, kannam vetkathinaalE sivandhirukkum!' The romantic heart hidden in the crusty comrade reveals itself in 'kazhuthai chutthi Or attiyalaam, un kattazhagE oru pattiyalaam!'

I can never get enough of this vintage TMS! How dreamy and lovelorn he sounds as he croons the lines, and how joyful and exuberant is that 'Hey' in the middle of each charaNam! Old-fashioned, leisurely romance, where sunny afternoons merge into balmy evenings. and balmy evenings make way for dream-laden nights.

https://www.youtube.com/watch?v=pM1W5HuZNLg

And then we have this song of timeless enchantment 'தென்னங்கீற்று ஊஞ்சலிலே' penned by Jayakanthan. Sung by the salubrious P.B. Srinivas and the soprano Janaki.

https://www.youtube.com/watch?v=wplkczKa3Zg

With his flute, piano and violins, MBS composes a song that summons the sublime; a tune that lingers over decades with unhurried allure, and ந் add caressing flourishes like the gentle breeze in the still of the night. PBS sings only the pallavi, Janaki sings only the charaNams, and two unite in that immortal humming, like the lines, ‘vaanai bhoomi azhaikkuthu, thoduvaanil iraNdum kalakkuthu…’

The song remains one of the favorites if PBS himself. Of his only film song for MBS, he is said to have wondered with awe, ‘ ஒரே ஒரு பாட்டுத்தான், அதனாலென்ன எப்பேர்ப்பட்ட பாட்டு!' Today happens to be the anniversary of his demise. We salute the memory of the gentleman singer and celebrate the rich legacy he has left behind.

As late as in 2000, during a concert in Chennai, PBS felicitated Janaki on the stage and they joined to sing this bewitching duet. Age told, but the magic was still intact. So many of us jumped from our seats and gave the living legends a standing ovation!

A moment…An eternity…

* * * * *

M.R. Venkataraman presided over the unpretentious event, and Jeevanandam cranked the camera for the first shot of Paathai Theriyuthu Paar. The shooting proceeded at a brisk pace, for each shot had been planned in meticulous detail and much in advance. Nimai Ghosh worked to create a movie that brought into the portals of Tamil Cinema shades of European Neo-Realism, Russian Avant-Garde and Bengali Leftist Theater.

Despite all this and the haunting album by MBS, Paathai Theriyuthu Paar, released on 18th November 1960, was a colossal commercial failure. And in hindsight the crestfallen comrades realized that they should not been content with merely making the movie, they should have also taken upon themselves its marketing and distribution. For it was alleged that the big studio owners/ producers were determined to nip in the bud the entry of the communists into Tamil cinema, and after buying the rights of the movie, chose to release it in some obscure suburban theaters, or worse still, not release it all! AV Meyyappa Chetttiar, it is said, secured the distribution rights for Madras, and released the movie for a brief while in a little known Murugan Talkies somewhere in the outskirts. It is not known if the prints of this movie are available anywhere today. In my time, I have never known Paathai Theriyuthu Paar to be screened in any theater or shown on television.

But on second thought, all that the bourgeois barons gained was a pyrrhic victory. The comrades had carried their point home by making a movie all by themselves, and a good one at that, sans any charismatic star or even seasoned technicians. Paathai Theriyuthu Paar was a daring experiment that gave abundant creative satisfaction to the comrades involved in its making.

Perhaps the big filmmakers wished that Paathai Theriyuthu Paar would be forgotten quickly, but here they had not contended with the doughty Radio Ceylon. For by going to town with the wondrous album, thamizh sEvai iraNdu kept the memory of Paathai Theriyuthu Paar alive for decades. True, I have never heard ‘Azhutha kanneerum paalugama’ or ‘Unmai oru naal’ aired, and have only very vague memories of listening to ‘Maasil veenaiyum’ and ‘Raasa maga polirundhe’, but can recollect with avid clarity the unabated pleasure each frequent broadcast of ‘Thennankeetru oonjalile’ evoked and the unanswered questions that it fuelled regarding the song’s picturization, the movie itself, and, of course, MBS. ‘Chinna china mookuthiyaam’ was a Thenkinnam regular, and I listened to it with mixed feelings, for this long song meant one song less in the programme! Be it as may, Paathai Theriyuthu Paar is ensconced snugly in a rightful place of pride in the annals of Tamil Film Music.

I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I…
I took the one less traveled by,
And that has made all the difference!
- Robert Lee Frost (The Road Not Taken)

Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/1557305534301167/

First part here:
https://www.facebook.com/groups/1018417744856618/permalink/1551500981548289/

Second part here:
https://www.facebook.com/groups/1018417744856618/permalink/1555316444500076/

Paadhai Theiyudhu Paar - JK & Tamil Cinema

Saravanan Natarajan writes:

JK & Tamil Cinema- Part 1

Paadhai Theiyudhu Paar (Contd)

Along with bringing about refreshing changes in drama and reviving traditional arts like ‘Burrakatha’ of Andhra and ‘Pawada’ of Maharashtra, IPTA also ushered in a renaissance in music in general and choral music in particular. In fact, the modern choir music in India owes its origins to IPTA. Iqbal’s ‘Saare jahaan se accha’ became hugely popular when composed by Pandit Ravishankar for the Central Cultural Troupe in 1944. Salil Chowdhury, Binoy Roy, Jyotirmai Moitra, Prem Dhawan, Shailendra, Hemang Vishwas, Vallathol, Narendra Sharma, Anil Biswas, Jyoti Prasad Agarwal, Bhupen Hazarika and many others composed stirring songs in many languages, and were also instrumental in spearheading the people’s choir movement. Ruma Guha Thakurta set up the Calcutta Youth Choir; and IPTA nurtured for the South, the great M.B. Srinivasan.

M.B. Srinivasan had gone to Lakshadweep islands to train a youth choir there, when he suffered a massive heart attack and passed away on 9th March, 1988. I was studying for my annual exams when I read of his demise. In the midst of frantic last minute revisions, I still mourned his passing away, for many of his songs had brought me so much joy and many, many hours of listening pleasure.

Manamadurai Balakrishnan Srinivasan was born in 1925 in Chithoor, where his father was working as a Lecturer in an Agricultural College. Music was an integral part of his childhood, as both his parents had great love for it. MBS grew up in times when the freedom struggle was at its zenith.

MBS, though hailing from an affluent family, was attracted to Communist thoughts, inspired perhaps by his uncle M.R.Venkataraman who gave up a flourishing career in law and joined the Communist Party. As a student of Madras Presidency College, MBS joined the Madras Students Organization (M.S.O.) Along with like-minded enthusiasts like S. Damodaran and Baladhandayudham, MBS was actively involved in garnering student support for imprisoned freedom fighters and conducting patriotic meetings, where Bharathiyar’s fiery songs were sung with fervour.

For a while, MBS worked in the office of the Communist Party’s Parliamentary Committee in Delhi. It was then that he got involved with IPTA and helped in bringing about plays and road shows highlighting problems faced by people in everyday life. Whilst going about this, he also got an exposure to musical influences from all corners of the country. He also underwent formal training in classical music.

It was during this period that MBS met and fell in love with Zahida Kitchlew, who shared with ardor, the same passion for both music and people’s causes. Zahida was the daughter of the great nationalist Dr. Saifuddin Kitchlew. In Zahida, MBS found a perfect soul mate and married her- he a Tamil Aiyangaar and she a Kashmiri Muslim- but what does religion matter, when hearts unite! They named their son Kabir, after that wonderful poet, who was celebrated alike by both Hindus and Muslims.


True, he had composed music for only 8 Tamil films- but he had created some songs of timeless enchantment in those few films- from the bewitching ‘Thennankeetru oonjalile’ to the moving ‘Amma undhan kai valaiyaai’- songs that will live on to tell the tale of a genius…A great musician, and a great human being, a noble soul who strove throughout his life to better the lot of his fellow beings, all the while creating songs of eternal allure.

But the same destiny which closed the door of Tamil cinema for MBS, threw wide open for him the portals of Malayalam cinema, and there MBS found enchanting avenues to create his kind of music. Internationally acclaimed filmmakers like KG George, MT Vasudevan Nair, Adoor Goplakrishnan and Aravindan came to MBS repeatedly to set music for their films. MBS bagged the Kerala Government Award for the best Music Director for four years. It was MBS who, in 1961, gave KJ Yesudas his first ever film song, (a short verse by Narayana Guru) in the film Kalpadukal. Jayachandran got the State Award for the song ‘Ragam sriragam’, composed by MBS for the film Bandhanam.

Be it any language, MBS gave his best to all his films. The first film in Baduga language, Kala Thapitha Pailu, had memorable music by MBS. MBS was the pioneer in Radio jingles- Many of the jingles heard in the early 70s were composed by him.

MBS was not content to rest with his laurels in film music. Through music, he wanted to inspire in children the qualities of patriotism and National Integration. The beginning was made when he trained 25 students to sing 6 songs of Bharathiar for the Ilaya Bharatham programme of AIR in August 1970. Under his guidance, the Bharathi Ilaignar Isaikkuzhu was constituted in 1971, which blossomed into the Madras Youth Choir in 1973. MBS was instrumental in setting up such choirs in many parts of India. Songs of Bharathiar, Bharathidasan, Tagore and Iqbal, when sung by hundreds of children in one voice, evoked rare emotional fervour in the listeners.

MBS loved children- most of his Serndisai programmes were by children from the Corporation schools and children from the slums. MBS headed the Madras Youth Choir right from its inception up to his death in 1988. After his demise, Zahida took over the responsibility with enthusiasm. Zahida passed way on 23rd October, 2002.

MBS was honoured with the Award for Creative Music by the Sangeet Natak Akademi in 1986. He galvanized the Cine Music technicians to form a Union and demand prompt payments and fixed wages. He was instrumental in the formation of the Indian Performing Right Society Ltd (IPRS) to give Copyright protection to Music Directors and lyricists.

MBS has left behind a rich, vibrant inheritance. Today performing artistes in every nook and corner of the world remember him with gratitude- Rajkumar Bharathi who sang in his choir, Subha Harinath who teaches music and performs in Australia, Sundar who works with top composers in North America, Karthika Ganesan who is a ‘Naatiya Kalanidhi’ in Sri Lanka, Kaveri Sridhar who formed the Bangalore Youth Choir….these are just a few from the thousands of artistes whose lives MBS has touched in one way or the other.

Even on the fateful day, when MBS left for his heavenly abode, he was engaged in training a Youth Choir in a remote island of Lakshadweep- urugidum vELaiyilum nalla oLi thandha mezhugu thiri….
* * * *

In the late 50s, a group of Communist Comrades used to meet regularly and over innumerable cups of tea and cigarettes, debate on topics close to their heart, including cinema. They were filled with chagrin that Tamil filmmakers could come up only with irksome melodramatic themes, tired rehashes of mythological lore and furtive copies of borrowed ideas. Like Bertolt Brecht, they too lamented, “How much longer are our souls, leaving our ‘mere’ bodies under cover of the darkness, to plunge into those dreamlike figures up on the stage, there to take part in the crescendos and climaxes which ‘normal’ life denies us?” .

Comrade S.Damodaran was the leading light of this enterprising group that decided to venture into filmmaking, and along with like-minded friends like Uthamapalayam Jamal, K.V.Ramasami, MBS, V.M. Pazhanisamy and Somu, formed a company called Kumari Films. A total 45 comrades joined together to form this company, each one subscribing to shares ranging from Rs. 500- Rs. 5000. They refused to accept more than Rs. 5000 from any single individual. Profit was not their only driving motive, they were filled with idealistic fervour and wanted to try their hand at something different.

- Paadhai Theriyudhu Paar to continue....

Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/1555316444500076/

First part here:

https://www.facebook.com/groups/1018417744856618/permalink/1551500981548289/