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

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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’.

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NAALAI NAAMORU RAJANGAM AMAIPPOM - PUNNAGAI

Saravanan Natarajan writes:

நாளை நாமொரு ராஜாங்கம் அமைப்போம்

It was the birth anniversary of Gemini Ganesh yesterday. Remembering the actor with a song from a movie to which I believe he bequeathed one of his finest performances ever…

* * * * *

An honest man's the noblest work of God.
- Alexander Pope (Essay on Man)

Narain Sanyal is a name well known in Bengali literary circles. His wide-ranging works include insightful studies on science (Vaastu Vignaan), politics (Cheen-Bharat Long March), literature (Parikalpita Paribar) and Art (Biography of Rodin). His repertoire of fiction is no less enviable- Timi Timmingil, Abak Prithbi, Laadlibegum, Bakulthala P.L. Camp, Sutanuka Kono Devadasir Naam Nay, Mahaakaler Mandir, Ashlilater Daye- novels ranging from science fiction, history, and various social issues. He has been honoured with the coveted 'Rabindra Puraskar' in recognition of his worthy literary efforts.

And lying hidden among Sanyal's numerous works was a simple story that looked at the relevance of being principled in a largely unprincipled world. Titled 'Satyakaam', it traced the travails that an idealist young engineer Satyapriya has to undergo just because he has chosen the path of truth. For him, there is only black and white in moral issues; there is no grey. He has to bear the backlash of the jeering world when he places his sublime scruples atop a lofty pedestal high over all compulsions and commitments. He suffers, yes, but with a serene smile. For the trials and tortures that the world taunts him with can only trouble his physical well-being; his mental bliss is invincible. Indeed, the smile on his lips is but the reflection of the smile of his joyous, pristine soul. And he so dies, with the smile firmly in place.

It was this story then, that Hrishikesh Mukherjee chose to craft on celluloid. Satyakaam (1969/ Panchi Arts) had Dharmendra playing the chief protagonist Satyapriya Acharya, with Sharmila Tagore, Sanjeev Kumar, Ashok Kumar and Baby Sarika playing other pivotal roles. Hrishikesh Mukherjee turned the story into an inspirational saga of epic proportions, extracting unbelievably riveting performances from his actors. The film is held as a hallowed classic in the history of Hindi Cinema, yet I believe it didn't send the cash boxes jingling when it was released.

* * * * *

Our KB was so moved by Satyakaam, that he felt compelled to tell it in Tamil. புன்னகை was the name he gave his version, and the title said it all. For the only armour that shielded Satya from the weapons that the treacherous world let loose on him was his disarming smile. புன்னகை (1971/Amudham Pictures) had Gemini Ganesh essaying the lead role and coming out with a magnificent performance, punctuated with understated histrionics and subtle nuances. Jayanthi, Muthuraman, Nagesh, MRR Vasu, S.V. Sahasranamam, V.S. Raghavan and Ramdas were others in the cast.

To me, புன்னகை is a work of art that transcends the very notion of watching a film, for its frames are chiselled with wonderful high points, emotionally surcharged moments that fasten their tentacles and tug at ones' heart. The heart-warming exchanges between Gemini Ganesh and Jayanthi in the aftermath of CID Shakunthala's scandalous accusation, the divine smile that lights up the dying Gemini Ganesh's face and the cascading love and understanding that parade in Jayanthi's smile as she tears up the fraudulent papers that he had just affixed his signature on, a repentant Sahasrananam's wonderstruck look when Jayanthi's son (Baby Mythili), tells him with a beatific smile that he knows that Gemini was not his father…Oh.. these surely are moments that touch the innermost core of our hearts!

I have seen the movie thrice. I first saw it on TV when I was in my early teens, and I remember letting the tears roll down my cheek, unhindered. But they were not tears wholly of sorrow, they were mixed with awe and yes, faith. I saw it again when in my 20s; and saw it again few years back. The halo around Satya remained intact. Punnagai's Satya, much like The Fountainhead's Howard Roark, seems an old school teacher whom we revered as children, and keep turning to even now to seek inspiration and guidance. புன்னகை , for me is not merely a movie, but a cathartic magic potion, to be treasured, savoured and imbibed every now and then.

Last year, on the way to Tiruvannamalai, I was thrilled to observe that புன்னகை was being screened at an old roadside theater…I managed to click a picture of the half-torn poster on the walls even as our car turned around the corner….

* * * * *

KB's screenplay didn't leave any avenues for song sequences, and so quite unlike most of his movies, the songs here seemed forced inclusions. And sorry to say, KB inadvertently filmed a song that can perhaps effortlessly walk away with the award for most absurd song sequence ever- Jayanthi singing when she is being molested! That Kannadasan, MSV and Janaki came up with a good song ஆணையிட்டேன் நெருங்காதே even within the shackles of this preposterous scheme speaks volumes of their talents. The other song is the satirical நானும் கூட ராஜா தானே (TMS) filmed on Nagesh in a running train.

* * * * *

And so we come to this song.

As Rajbabu (Nagesh) narrates to Major, this was the day the five friends (Gemini Ganesh, Muthuraman, Nagesh, MRR Vasu & Gopalakrishnan) graduated. They take a solemn oath of honesty in front of the statue of the Mahatma. And then they go painting the town red in celebration, little knowing that only four of them would remain at the end of the day! Their speeding car goes out of control, and Gopalakrishnan is the casualty. In the coming years, Mandiramoorthi (MRR Vasu) would turn out to be a corrupt scoundrel, Rajbabu (Nagesh) would drift aimlessly from place to place, and even Ranjan (Muthuraman) who starts off with noble intentions would allow himself to be drawn gradually into the vortex of the wily world. Satya alone would be steadfast in holding to the pledge of truth.

All this, however, comes much later. Today they are all delirious with joy and sing excitedly with hope and confidence of a bright future that beckons with a radiant smile.

நாளை நாமொரு ராஜாங்கம் அமைப்போம்
ஆண்டு பாருங்கள் தோழர்களே
நாளை எண்ணி எண்ணி நடத்துங்கள் வாழ்க்கை
காலம் உங்களின் கைகளின் மேலே

MSV matches the ebullience of the lyrics in his attractive arrangements. TMS, SPB, Saibaba and Veeramani give a spirited performance- each repetition of நாளை எண்ணி எண்ணி நடத்துங்கள் வாழ்க்கை is nothing short of encapsulated euphoria! A class song from a classic movie.

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

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NICHAYAM NAANE NATURAL BEAUTY - SOAPU SEEPU KANNADI

Sridhar Trafco writes:

'சோப்பு சீப்பு கண்ணாடி'



முழுநீள நகைச்சுவை மற்றும் அருமையான பாடல்களுக்காகவே இப்படத்தை பார்க்கலாம்.

டைட்டில் இல்லாமல் இப்படத்தை பார்ப்பவர்கள் இது நிச்சயம் பாலச்சந்தர்-வி.குமார் கூட்டணிப்படம் என நினைப்பார்கள். 90களில் பிரம்மச்சாரிகளான நாங்கள் நாலைந்து நண்பர்கள் பம்பாய் செம்பூர் அறையில் தங்கியிருந்தபோது வார இறுதிகளில் 'டெக்' எடுத்து தமிழ் படங்கள் பார்ப்போம். அதில் அதிகமுறை பார்த்த படம் 'சோப்பு சீப்பு கண்ணாடி'.

ஆரம்பத்திலிருந்து கடைசி வரை விழுந்து விழுந்து சிரிக்க வைக்கும் காட்சிகள் கொண்ட முழு நீள நகைச்சுவைப்படம். திருமலை-மகாலிங்கம் இயக்கத்தில் 1969.. 70 வாக்கில் வந்த இப்படத்தில் நாகேஷ், விஜய நிர்மலா, சகஸ்ரநாமம், சி.கே.சரசுவதி, ஏ.கருணாநிதி, வீரப்பன், உசிலைமணி, ஐ.எஸ்.ஆர் நடித்திருக்கிறார்கள்.

கதை என்ன?

பணக்கார குடும்பத்தில் பிறந்த நாகேஷ், வீட்டில் திருமணம் செய்துகொள்ள வற்புறுத்தியதால், வீட்டை விட்டு வெளியேறி சென்னைக்கு டிக்கெட் இல்லாமல் ரயில் ஏறுகிறார். அதே ரயிலில் டிக்கெட் இல்லாமல் அவருடன் மாட்டிக்கொள்ளும் வீரப்பன் அவரது நண்பனாகிறார். உசிலை மணியின் 'குரங்கு' மார்க் டாய்லெட்ஸ் கம்பெனியில் நாகேஷ் சேல்ஸ்மேனாகவும் வீரப்பன் டிரைவராகவும் சேர்த்து கடைகளுக்கு சப்ளை செய்வார்கள்.

பணக்காரர் சகஸ்ரநாமம் வீட்டில் நாகேஷ் நுழைய, சமையல்காரன் ஏ.கருணாநிதி வீட்டுக்கதவை பூட்டிக்கொண்டு வெளியே சென்றுவிட, நாகேஷும் சகஸ்ரநாமத்தின் ஒரே மகள் வி.நிர்மலாவும் வீட்டினுள்ளே தனியாக மாட்டிக்கொள்ள, பயத்தால் மிரண்ட வி.நிர்மலா திடீரென நாகேஷை கண்டதும் முதலில் மயக்கமடைந்தாலும் பிறகு காதல் மயக்கமுறுகிறாள். வெளியே எல்லோரும் நாகேஷை தேடுகிறார்கள்.

சில திருடர்கள் நாகேஷிடம் பணம் இருப்பதாக நினைத்துக்கொண்டு அந்த வீட்டினுள்ளே நுழைகிறார்கள். படம் படு சுவாரசியமாக செல்கிறது. கடைசியில் திருடர்கள் பிடிபட்டு, நாகேஷ் வீட்டில் பார்த்த பெண் வி.நிர்மலா தான் எனத்தெரிய, அவர்களது திருமணத்துடன் படம் சுபமடைகிறது.
படத்தில் கதை என்று பார்த்தால் ஒன்றுமே இல்லையென்றாலும் படம் முழுக்க நகைச்சுவை.. அதிலும் 'தகர டப்பா தலையா...' போன்ற கவுண்டமணி, சந்தானம் ஸ்டைல் காமெடி இல்லாமல் இயல்பான நகைச்சுவை. பணக்காரர் வீட்டு சமையல்காரராக வரும் ஏ.கருணாநிதி இப்படத்தில் பட்டையை கிளப்புவார். நாகேஷுக்கே சவால் விடும்படி ஒரு படி மேலே இவரது நகைச்சுவை.

ரயில் சீன் இப்படத்தில் முக்கிய நகைச்சுவைப்பகுதி.. ரயில்களில் எப்போதுமே கூட்டம் இருப்பதாக சலித்துக்கொண்டு பிரயாணிகளுக்கு மத்தியில் தனக்குத்தெரிந்த ஆங்கிலத்தில் அலட்டிக்கொண்டு பேசும் டிக்கெட் இல்லாத நாகேஷ் ஒரு கிராமத்து பிரயாணியை சீண்டுகிறார்:

நாகேஷ்: 'இங்கிலீஷ் தெரியும் உங்களுக்கு?'
பிரயாணி: 'தெரியாதுங்களே!'
நாகேஷ்: திஸ் வில் நெவர் கம் டு ய க்ளோஸ் ஐ டெல் யூ.. ய செட் ஆஃப் இடியட்ஸ் டிராவல்லிங் இன் தேர்ட் க்ளாஸ் இற்ரெலவன்ட்..இற்ரெகுலர்.. அன்ட் இற்ரெஸ்பான்சிபிள்..'
மற்றொரு பிரயாணி: 'அட! அவருக்குத்தான் இங்கிலீஷ் தெரியாதுங்கறாருய்யா!'
நாகேஷ்: 'அதனால தான் அவருகிட்டே பேசறேன்!'
பிறகு மாட்டிக்கொள்ளும் நாகேஷை டீடீயார் பிடித்துச்செல்லும்போது சீட்டுக்கடியில் இருக்கும் வீரப்பனையும் டீடியார் பார்த்து விட,
டீடீஆர்: 'யாருப்பா அது? வெளிய வா'
சீட்டுக்கடியிலிருந்து வீரப்பன்: 'ஹி.. ஹி.. வீட்டுக்கு தெரியாமெ வந்துட்டேன்'
நாகேஷ்: வீட்டுக்கு தெரியாமெ வந்து பிரயோஜனமில்லப்பா.. டீடீயாருக்கு தெரியாம வரனும்..வா வெளிய..'
டீடீஆர்: 'எங்கேர்ந்துரா வற்ரே'?
வீரப்பன்: 'பெஞ்சுக்கடியில இருந்து சார்'.

குரங்கு மார்க் டாய்லெட்ஸ் கம்பெனி முதலாளி உசிலைமணியின் இன்டர்வியூ சீன்...
உசிலை: 'உனக்கு என்ன தெரியும்?'
வீரப்பன்: 'எனக்கு டிரைவிங் தெரியும் சார்'
உசிலை (நாகேஷை பார்த்து): 'உனக்கு'?
நாகேஷ்: 'அவனுக்கு டிரைவிங் தெரியும்கறது எனக்கு தெரியும் சார்'

டி.எம்.எஸ்சின் 'வாங்கிப்போடு சோப்பு சீப்பு கண்ணாடி (டைட்டில் பாடல்) சிறு வயதில் நான் ரேடியோவில் அதிகம் கேட்டது கிடையாது. அப்போது நாங்கள் ஈரோட்டில் இருந்தோம். நான் இரண்டாம் வகுப்பு. 'யாதும் ஊரடா எல்லாம் உறவடா' பாடல்.. டி.எம்.எஸ் மற்றும் ஏ.எல்.ராகவன் சேர்ந்து பாடும் பாடல் ஆரம்பத்தின் விசில் மற்றும் பாங்கூஸ் ஒலி பாடலுக்கு கூடுதல் சிறப்பு.

அடுத்து தனியாக வீட்டில் இருப்பதாக நினைத்து (நாகேஷ் இருப்பது தெரியாமல்) விஜய நிர்மலா (பி.சுசிலா) பாடும் 'நிச்சயம் நானே நேச்சுரல் பியூட்டி' செம்ம பெப்பி சாங். அதிலும் அட்டகாசமாக பாங்கூஸ் வாத்தியம்.
இந்த பாங்கூஸ், அக்கார்டியன் மற்றும் வயலின் மூன்றும் மெல்லிசை மன்னர் டி.கே.ஆருக்கு மிகவும் பிடித்த வாத்தியங்கள் போலும். 'நாடகமே இந்த உலகம்' மற்றும் 'ஏ ஃபார் ஆப்பிள்' (சாது மிரண்டால்), 'போதுமோ இந்த இடம்' (நான்) ..'மலரைப்போன்ற பருவமே'... 'எந்த எந்த நெஞ்சுக்குள்ளே'..மற்றும் 'பயணம் எங்கே' (மதராஸ் டு பாண்டிச்சேரி).. 'விழியால் காதல் கடிதம்' (தேன் மழை)..
எல்லா பாடல்களிலும் பாங்கூஸ் வாத்தியக்கருவியை பயன்படுத்தியிருப்பார் டி.கே.ராமமூர்த்தி அவர்கள்.

இப்படத்தில் 'தூக்கம் கண்ணிலே.. ஏக்கம் பெண்ணிலே' பாடலும் ' நிச்சயம் நானே நேச்சுரல் ப்யூட்டி' இரண்டுமே சுசிலா அவர்களின் வெற்றிப்பாடல்கள் வரிசையில்..

'நிச்சயம் நானே நேச்சுரல் பியூட்டி
நினைத்ததை செய்வேன் தட்ஸ் மை டுயூட்டி
விழிகளினாலே கதை பல சொல்வேன்
இதழ்களினாலே இன்சுவை தருவேன்'

பாடலின் ஆரம்பத்தில் கிடார், பாங்கூஸ் இசை அருமை.. சரணத்திற்கு முன்னும் நடுவிலும் பியானோ, அக்கார்டியன், கிடார் இசை.. பாடல் காட்சியில் நாகேஷின் சேட்டைகள், வி.நிர்மலாவின் நடனமும் நளினமான அசைவுகளும்.. எல்லாமே பிரமாதம்.

பாடலின் பல்லவி, அனுபல்லவியை உற்று கவனித்தால் கிட்டத்தட்ட 'நெஞ்சத்திலே நீ நேற்று வந்தாய்' (சாந்தி) பாடல் போலவே இருக்கும்.
கேளுங்கள் இதோ...

https://youtu.be/flFXKuv6GoI


(சீதாபதி ஶ்ரீதர்)

Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/1312813718750351/