Can we let go uncelebrated here the birth anniversary of the greatest actor of all times? The annals of
Tamil cinema are filled with glorious chapters bespeaking the greatness of the thespian. The 50s and the 60s and even part of the 70s had the actor enact roles that are enshrined forever in the memories of generations of Tamils- I have seen people from all walks of life recall with awe some minute nuance of his in some movie- a stare, a sneer, a chortle, a cough, a swagger, a twinkle, a frown, a shrug, a groan, a reproach, a smirk, a glint… an eyebrow raised in disapproval, a shoulder slumped in disappointment, an eye cringed in amusement, a head lowered in discomfiture, an arm stretched in supplication, a moan muffled in mortification, an upper lip pursed in steely determination….. It might have appeared for a fleeting second on the screen…but oh, the impact! It is but natural that the glorious memories of the Nadigar Thilagam fill our memories and the facebook walls of like-minded friends today.
Taking advantage of having a day off with Arvind away at school, we went to Citi Center and watched ‘Chekka Chivantha Vaanam’. In a particular sequence, one of the characters mocks at another thus ‘Edhukku Sivaji maathiri scene podara?’ (With the English subtitle showing ‘Why this high melodrama?’) I was left ruing at the callous contempt for a Colossus- would he be recognized as such by the current generation?
The astute performer knew the pulse of his audience and played his parts to perfection. It was only towards the late 70s and 80s that filmmakers could not come up with roles that befitted his age and stature and he was panned by merciless critics for most of his movies of the time. Movies such as Bharatiraja’s ‘Muthal Mariyathai’, Mukta Srinivasan’s ‘Pareekshaikku Neramaachu’ and Durai’s ‘Thunai’ were silver linings amidst these dark clouds of the 80s.
But there is one another movie from the 80s, a movie that is seldom remembered by even most die-hard Sivaji fans- strangely so, for it was a movie in which the Sivaji Ganesan gave a riveting performance- eschewing his famed histrionics, he appeared mellowed and restrained and lit the screen with subtle touches, grace and a dignity that was heartwarming. A diamond that remains buried in the remorseless sands of time….
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Kovai Thambi (he of Motherland Pictures fame) was a name to reckon with in Tamil cinema of the 80s. Powered by the genius of Ilaiyaraja, his movies rocketed to success. Despite being a staunch MGR devotee and a member of the AIADMK, KT was filled with a desire to make a movie with Sivaji, sometime in the mid-80s. It was then that Bharatiraja recommended to him his brother-in-law Manoj Kumar who had an interesting script with an appropriate role for Sivaji. Sivaji was in Hyderabad at the time. KT flew there with the script and narrated the story to Sivaji. Sivaji was impressed with the story, but asked KT if MGR was aware of this project. It was only after KT assured him that MGR was happy about this project that Sivaji agreed to come on-board.
The movie was titled ‘Mannukkul Vairam’. Along with the thespian, actors such as Sujatha, Rajesh, Murali, Ranjini, Pandian, Vinu Chakravarthi, Goundamani and Vani Vishwanath offered credible support to the engrossing screenplay. Playing the village headman with an endearing majesty, Sivaji filled the frames with brilliant understatements- the forgiving glance to a repentant villager, the fury and shame in his eyes when he knows of his nephew’s misbehavior with a girl, the love with which he pampers his unfortunate granddaughter, his relief and happiness when he is able to secure a life of marital joy for her, his anguish when things move to a gruesome tragedy…. Emotional highpoints tempered with muted shades, the King stood tall and proud in the dusk of his illustrious career…
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Kovai Thambi, who had struck gold repeatedly with Ilaiyaraja (Payanangal Mudivathillai, Ilamai Kaalangal, Naan Paadum Paadal, Unnai Naan Sandhithen, Udhayageetham), fell out with the Maestro after Idhayakoyil and brought in V.S. Narasimhan for Aayiram Pookal Malarattum and Laxmikant- Pyarelal for Uyire Unakkaga. His next experiment was with the new composer Devendran for Mannukkul Vairam.
And Devendran worked painstakingly to come up with a stellar album. SPB and S. Janaki, the reigning monarchs of Tamil film music, honoured the humble debutant composer by rendering the songs. And it is to Devendran’s credit that at a time when the Maestro had the Tamil populace under the spell of his magic and when his songs monopolized the airwaves night and day, Devendran’s compositions for Mannukkul vairam such as ‘Idhazhodu idazh serum neram’ and ‘Pongiyadhe kaadhal vellam’ managed to sneak into the popularity charts and remained ensconced therein for a while. However, much like other contenders, after the spark of brilliance in initial albums such as Vedham Puthithu and Kaalaiyum Neeye Maalaiyum Neeye, Devendran could not sustain this streak of success, and after a few mediocre efforts, disappeared soon in the relentless mists of time…
Penned by Vairamuthu and composed by Devendran, this poignant song is sung so feelingly by SPB for Sivaji Ganesan- The richest man in the village, and alas, also the saddest- for his granddaughter, the apple of his eye, is a child-widow.
He brings for her rich and varied delicacies to taste, exquisite dolls to play with, but, in keeping with the cruel customs of the village –only austere white clothes to wear. 'Thatha, why cannot I wear colourful clothes like other girls? ' she wails. He is heartbroken at her grievance. Unable to give her an appropriate answer, guilt-ridden at his own helplessness and hiding his angst at her wretched state, he pacifies her gently and pats her to sleep, singing this soft, caressing lullaby…She sleeps, he remains awake...a long night ahead; his heart wrecked by torment...
இது சினிமா சம்பந்தப்பட்ட ஒருவர் 1993ல் என்னிடம் விவரித்தது. அப்போது ஆடிட் அசைன்மெண்டுகள் வேறொருவருக்கு செய்து கொண்டிருந்தபோது சினிமா சம்பந்தப்பட்ட பலருடன் பேசும் வாய்ப்பு கிடைத்தது. சித்ராலயாவில் ஆபீஸ் நிர்வாகத்தில் இருந்த இவர் அப்போது(1993) வேறொரு சினிமா கம்பெனியில் கணக்கெழுதிக் கொண்டிருந்தார். ஹிந்தியில் பேய்படங்கள் எடுத்துக் கொண்டிருந்த ராம்சே சகோதரர்களின் அப்போதைய ஹீரோயின் ஸ்ரீப்ரதாவின் கால்ஷீட் வைத்திருப்பதாக என்னிடம் சொல்வார். சற்று பாவமாக இருக்கும்.
16.2.1967
சிவாஜிக்கு காமராஜரின் தேர்தல் பற்றிய பயங்கர ஸ்ட்ரெஸ். லேசான ஜுரம் வேறு. ஸ்ரீதருக்கோ பட ரிலீஸ் பற்றிய ஸ்ட்ரெஸ். மார்ச் 2 1967 ரிலீஸ் செய்தாகவேண்டும். இன்றைக்குள் இந்தப் பாட்டை எடுக்கவேண்டும். வாலி எழுதி எம்.எஸ்.வி இசையில் பாடல் நன்றாக வந்துவிட்டது. இன்றைய அண்ணா சதுக்கத்திலிருந்து லைட் ஹவுஸ் வரை படமெடுக்க அனுமதி வாங்கியாகிவிட்டது. திடீரென பசுமார்த்தி ( நடன இயக்குநர்) வரவில்லை. உதவி சுந்தரம் மட்டும். ரிகர்சலுக்கு நேரமில்லை.
ஸ்ரீதர் சிவாஜியிடம் " இந்தப் பாட்டுக்கு இன்று ஒரு நாள் தான். படம் 10 நாளில் ரிலீஸ். நீங்க ஆடறதுதான் டான்ஸ். முத்துராமனும் கோபாலகிருஷ்ணனும் உங்களை ஃபாலோ செய்வார்கள்". பசுமார்த்தியும் சுந்தரமும் முதலில் கம்போஸ் செய்த கோரியோகிராபி நினைவிருக்கிறதா" .
சற்று யோசித்த சிவாஜி சரி என்று சொல்லிவிட்டார். (முத்துவும், கோபுவும் சிவாஜியைப் பார்த்து ஆடுவதைப் பார்க்கலாம். தெலுங்கு கிருஷ்ணா , ஹீரோயினைப் பார்த்து ஆடுவதை மகேஷ்பாபுவிற்காக மன்னிச்சிருங்க!) காலை 10 மணியிலிருந்து 2 மணிக்குள் ஷூட்டிங். வெய்யில் மண்டையைப் பிளக்கிறது. கடற்கரை சாலைக் கல்லூரி மாணவர்களை சமாளித்தாகிவிட்டது. ஆனால் சிவாஜியைப் பார்க்க வந்த பெண்கள் கல்லூரி மாணவிகளைச் சமாளிப்பது பெரும்பாடாகி போலீஸ் வரவழைக்கப்பட்டது !
மூன்று ( அல்லது 4-5) இளைஞர்களை வைத்து பல படங்கள் ( உத்தரவின்றி உள்ளே வா, மூன்று தெய்வங்கள், வறுமையின் நிறம் சிவப்பு, நிழல்கள், பாலைவனச் சோலை, புது வசந்தம்) இவற்றில் உ.உ.வா தவிர மற்ற படங்களில் வேலையில்லாத திண்டாட்டம், வறுமை ஒரு பொது விகுதி. ஆனால் இந்தப் படம் மட்டும்தான் நம் நெஞ்சிருக்கும் வரை.
பாட்டு எடுப்பதில் ஸ்ரீதர் தொட்ட சிகரங்களை யாரும் தொடவில்லை. இந்தப் பாடல் மற்றுமோர் உதாரணம். ஆனால் இந்த பாட்டுக்கு சிவாஜி என்ற ஒரு கலைஞர்களின் கலைஞன் இல்லாவிட்டால் எம்.எஸ்.வியின் விசில் டியூனும், வாலியின் நட்சத்திர வரிகளும் ( இருந்தால்தானே செலவு செய்ய , அக்னி நட்சத்திரத்தில் வரவும் இன்றி செலவும் இன்றி வரவும் செலவும் உண்டு ஆனது!) , ஸ்ரீதரின் இயல்பான இயக்கமும் , இன்றும் நாம் பேசக் காரணமாயிருப்பது இந்த ஆள் சிவாஜிதான். சரியான மாலுமி இல்லாது தமிழ் சினிமா மூழ்கடித்த டைட்டானிக் கப்பல்.
மவனே! என்னா ஸ்டைலு! நீ ராசாய்யா! உனக்கு இத்தினி ரசிகர்கள் மணிமண்டபம் மனசுல கட்டி வச்சிருக்கோம், தனியா எதுக்கு ?
Yesterday being the death anniversary of the great Nadigar Thilagam, I was happy to see numerous heartfelt posts in tribute of the actor nonpareil. Here, on this day last year, we watched his scintillating performance as Samrat Ashokan in Annaiyin Aanai and also had a detailed discussion on Veerapandiya Kattabomman here: https://www.facebook.com/groups/1018417744856618/permalink/1278781972153526/
Revisiting that post, I watched the songs of the movie, including ‘Vetri Vadivelane’ sung by veteran V.N. Sundaram for Sivaji Ganesan. That set my chain of thoughts on Sivaji and his songs. It is inevitable that when we think of Sivaji’s songs, the first name that pops up is TMS. What a magnificent partnership between the singer and the actor…. A greatly enriching, remarkably unique association that transcended decades- from Koondukkili (1954) to Gnanapparavai (1991)… None understood the thespian and his needs better than TMS, and for many of us, TMS seemed merging into Sivaji when he sang for him….the dynamics were just perfect…
However, there were other singers, both before and during TMS’s time, who got to sing for Sivaji, and many of such instances were memorable, resulting in some lovely songs. Of course, acceptance would have been grudging, and perhaps not forthcoming, for the absence of TMS- his majesty and empathy would have would have doubtless found stiff resistance in general perception…
Yet, as I lay awake last night, I commenced listing the singers, other than TMS, who did get to sing for Sivaji Ganesan. And that becomes the subject of today’s post....Presenting the list below, with many of the songs close to my heart:
8. G.K. Venkatesh in Sethamarai (could not find a video of the movie). ‘Ezhaiayi nin kovilai’ (Panam) is another fantastic number by GKV- again video of the movie does not have the song.
As I was about to go to bed late Wednesday night, Jaya TV’s Thenkinnam cajoled me to stay awake, for songs from movies directed by Muktha Srinivasan were being featured…. Songs that I have loved, grown up listening to, and tug at my heartstrings making sigh with wistful memories… And while the venerable Muktha Srinivasan has worked with other composers such as K.V. Mahadevan, T. K. Ramamurthy, V. Kumar and Chandrabose, encouraging them to come up with memorable albums, it was with MSV that he seems to have shared a very special rapport… MSV’s tunes for the Muktha movies are precious testaments of an enduring and endearing bond.
And even when even the producers and directors who had reaped enormous successes with MSV were moving away from him one after another in the late 70s and early 80s, Muktha Srinivasan was one director who remained a staunch MSV loyalist and retained the Mellisai Mannar to score the music for his movies.
Presenting here a song from the early 80s that has remained close to my heart from the very first listen. ஒரு ஓசையின்றி மவுனமாக from பரீட்ச்சைக்கு நேரமாச்சு. Sung by P. Jayachandran. Lyrics by Vaali. Music by MSV.
பரீட்சைக்கு நேரமாச்சு (14.11.1982/ Mukta Films) starred Sivaji Ganesan, Sujatha, Y.G. Mahendran, Poornima Jairam, ‘VA’ Moorthi, Manorama, V. Gopalakrishnan and others. It was produced by Muktha Ramaswami and directed by Muktha Srinivasan.
The film was based on a play having the same name, staged by United Amateur Artistes. Founded in 1952 by Y.G.Parthasarathi and his versatile friend Pattu, UAA is among the oldest surviving Tamil theater troupes today. Varadakshinai (1952) was the first play that was staged by UAA, and over the years, besides Pattu, others who wrote plays for UAA include PYV Raman, Vietnam Veedu Sundaram, Mouli, Venkat, Visu, and YGM. Nagesh, Cho, Jayalalitha, Lakshmi, Srikanth, and V. Goplakrishnan were some of the many artistes who learned the basics of acting at UAA. Many of UAA’s landmark plays are remembered to this day - It happened at midnight, Oh, what a girl, Dial Mr. Sanjeevi, Under Secretary, Imperfect murder, நலந்தானா, Flight 172, ரகசியம் பரம ரகசியம், Paatti & The Naughty Boys, செய்திகள் வாசிப்பது UAA –the list goes on…. YGM revived பரீட்ச்சைக்கு நேரமாச்சு for the stage anew in 2014 to resounding success. Even this summer, I was fortunate to witness a hilarious stage adaptation of the epic காசேதான் கடவுளடா scripted afresh by the talented Chitralaya Sriram for UAA.
பரீட்ச்சைக்கு நேரமாச்சு was not the first instance of a UAA play was being adapted for a Sivaji film; it was UAA’s play பெற்றால் தான் பிள்ளையா written by Pattu, that became பார் மகளே பார் and கண்ணன் வந்தான் written by Vietnam Veedu Sundaram that became கவுரவம். பரீட்ச்சைக்கு நேரமாச்சு was a play jointly written by Venkat & YGM and first staged in 1978.
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Venkatachari Ramaswami (1925-1988) and his brother Srinivasan were born into a pious family near Nagappattinam. Forced by circumstances to to eke out a living at an early age, Ramaswami found a job as a typist in Modern Theatres, Salem. Winning the confidence of the legendary T.R. Sundaram by his diligence and honesty, Ramaswami rose to become Sundaram’s executive assistant. Following the footsteps of his brother, Srinivasan started working in the accounts section of Modern Theatres. Later drawn towards filmmaking, he had an enriching stint as assistant to stalwart directors such as K. Ramnath and S. Balachander. He turned director with முதலாளி (1957/ MAV Pictures).
Sensing his brother’s keen inclination, the enterprising Ramaswami came to Madras and formed his own company called ‘Muktha Films’. Starting with பனித்திரை (1961), over a period of nearly 40 years, 40 films have rolled out from the Mukta banner. And though generations of actors from Gemini Ganesh to Vikram have acted in the Muktha ventures, it was with Sivaji that the Muktha brothers shared a special relationship. Ramaswami, like Balaji, remained a Sivaji loyalist till the end, and was counted among Sivaji’s closest friends.
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பரீட்ச்சைக்கு நேரமாச்சு was a family drama, revolving around the upright Narasimhachari (Sivaji), his understanding wife Vedha (Sujatha), and their dunce of a son Varadhu (YGM). Ragothama Rao (VA Moorthi), his wife Subhadra aka ‘Noon Show Mami’ (Manorama) and their daughter Jayanthi (Poornima Jairam) are their immediate neighbors and close friends. How fate repeatedly deals the same cruel bow, first by snatching their beloved Varadhukkutti, and then his look-alike whom they adopt, forms the crux of the tale.
Those were the years of decline for the thespian; even his ardent fans were filled with indignation at most of the insipid films and ludicrous roles that came his way, roles that were ill-suited considering his advancing age and girth. However, there were a few instances where the ‘Nadigar Thilagam’ could still cast his unparalleled spell and rekindle the magic a bygone era.
In 1982, a year which unleashed a series of unmitigated miseries like Hitler Umanath, சங்கிலி, ஊருக்கு ஒரு பிள்ளை, கருடா சவுக்கியமா, தியாகி, நெஞ்சங்கள் and ஊரும் உறவும், two movies came as welcome breaths of respite: Durai’s துணை was one and Muktha’s பரீட்ச்சைக்கு நேரமாச்சு was the other; in both movies Sivaji enacted roles that suited his age and stature, and he played them with majesty.
In பரீட்ச்சைக்கு நேரமாச்சு Sivaji’s heartwarming performance had riveting moments of sheer brilliance- inviting his boss (Goplalakrishnan) for lunch while secretly hoping to lure him into offering Varudhu a job; trying to procure a question paper illegally for Varadhu’s forthcoming exam though filled with misgivings, and then the humiliation at being caught red-handed; valiantly coping with the twin calamities of losing Varadhu and Vedha becoming a living corpse; going to a ‘military’ eatery shamefacedly to buy ‘Chicken-65’ for the new Varadhu—oh, the King was in his elements here, and seemed to ascend his throne for a brief while again, after years of mortifying exile!
October 1st marked the birth anniversary of Sivaji Ganesan. Let us remember the great ‘Nadigar Thilagam’ and how his magical presence lit up the screen for decades. We salute his revered memory.
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‘சுமைதாங்கி சாய்ந்தால் சுமை என்னவாகும்?’ fretted an anxious Inspector Choudhary as he attended to his ailing Lakshmi. The same scene is enacted again, here Narasimhachari has lost his only son, and a benumbed Vedha is but a living corpse. Putting aside his own sorrow resolutely, he takes care his wife; like a mother would tenderly nurse her infant, he attends to Vedha’s needs with solicitude and fortitude--தாரம் என்னும் ஆதாரம் சாய்ந்திடும் நேரம், அதை தாங்கும் பாரம் பெரும் பாரம் தலைவனை சேரும்...Vaali’s evocative lines find moving, compassionate delineation in Jayachandran’s honeyed, mellifluous rendition.
The late 70s and early 80s were some exultant years in Paliyathu Jayachandran’s unfairly unfulfilled tryst with Tamil film muisc; MSV, Ilaiyaraja Shankar--Ganesh, Gangaiamaran and T. Rajendar reaped repeated successes in his enchanting voice in that brief period. When I met him earlier this year for a leisurely tête-à-tête, his worshipful reverence for MSV was a joy to behold. Hark at his rendition of this song- the astute Master restrains the orchestration to a bare minimum, just adequate to accentuate the melancholy of the sequence and allows the singer and lines to bask in the prominence that the sequence demands…
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In a recent post, Muktha Srinivasan sir revealed that his first choice for the role of Vedha was Jayalalitha. Before the casting could be finalized, Jayalalitha became preoccupied with her political commitments and it was then that Sujatha was picked for the role. No doubt Jayalalitha with her sagacity would have surely elevated the proceedings to a sublime level of perfection; nonetheless Sujatha essayed the role with her characteristic dignity and empathy-indeed her performance in this movie would rank among her best ever.
Cutting across party affiliations and unmindful of his own frail health and advanced age, Muktha Srinivasan sir went to the temple to offer special prayers for the speedy recovery of the Chief Minister, his beloved Ammu. I join him and countless others in the same prayers.
வறுமை முழுவதும் தீர்ந்த பின்னே...மறுபடி ஒரு நாள் நான் வருவேன்..
உனக்காக நான் (1976/ Sujatha Cine Arts) had Sivaji Ganesan, Gemini Ganesh, Lakshmi, veNNira aadai Nirmala and Nagesh playing the lead roles. Dialogues were by A.L. Narayanan. The film was directed by C.V.Rajendran.
It was a remake of Hrishikesh Mukherjee's Namak Haraam (1973/ RSJ Productions), a great movie with a finely etched storyline further enhanced by riveting performances. However, உனக்காக நான் could not repeat the success story, it was in fact the first time Balaji was facing failure with his collaborations with Sivaji. With no offence meant, perhaps younger actors playing the lead roles could have made it more appealing?
Hrishikesh Mukherjee's story (drawing some inspiration from the 1964 English movie Becket, which itself was adapted from the play Becket or the Honour of God by Jean Anouilh ) was a wonderful admixture of two sure to win ingredients: friends turned foes and capitalism versus socialism.
Amitabh played the rich industrialist Vikram and Rajesh Khanna played his bosom pal Somu. The two lit up the screen with their heartwarming portrayal of the two friends who see their friendship breaking up due to clashing ideologies, leading to Somu's gory end and Vikram taking the blame for his father's dastardly act. Gulzar's dialogues and R.D.Burman's music added to the film's appeal.
உனக்காக நான் had Sivaji in the role of the rich Raja and Gemini Ganesh in the role of his loyal friend Ramu.
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Namak Haram had some scintillating songs composed by RDB - 'Diye jalte hain' and 'Nadiya se dariya' hogged the air waves all over the country at the time and retain their appeal to this day. However, the song that had held my heart in its tenacious thrall all these years is a wistful Kishore Kumar rendering Gulzar’s poignant, poetic lines tinged with philosophy - ‘Main shayar badnaam’ https://www.youtube.com/watch?v=PleWU2pdK-I
This sequence is probably the turning point in the story. It is when reluctantly rendering these lines penned by a dying poet Alam (Raza Murad) that Somu wakens to the miseries of the poor labourers. And thus develop gradually the initial fissures in his friendship with Vikram. In உனக்காக நான், Nagesh played the idealistic poet with leftist leanings, and took on the daunting task of ensuring some fine moments in this exercise in ennui.
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'Ramu…..I love you- Raja……I love you'- avid radio listeners of the 70s would surely be familiar with this ode to friendship by TMS & Yesudas, for it found frequent airtime then. The other songs in the film were 'No..No..No..I won’t say no' (SPB & Vani Jairam), காடு கண்டா வெறகு வெட்டுறது (S.C. Krishnan, Manorama & chorus) and நீ என்னை சந்தித்ததுண்டோ (L.R.Eswari & Joseph Krishna).
However, here again, it is இறைவன் உலகத்தை படைத்தானாம், the equivalent of ‘Main shayar badnaam’, rendered by a ruminative Yesudas, with its profound lyrics set into an unhurried, lingering tune by MSV, that found its way effortlessly to the softest corner of my heart.
In my college years, I have had a bitter struggle with Economics (among other subjects!) And one of the most complicated concepts was Vilfredo Pareto's fat-tailed graph for distribution of wealth. I understood it only after testing severely the patience of the lecturer. And I also realized anew the genius of Kannadasan, for he has encapsulated in these beautiful lines what generations of learned economists have theorized in elaborate, pompous terms. For that matter, references to class distinction and appeals for a more orderly distribution of wealth have found place in literature of all languages. Munshi Premchand's Godaan and Pearl S. Buck's The Good Earth are works that readily come to mind- works that cut across time and geographical barriers in depicting the pathetic deprivations of the poor as juxtaposed with the incredible luxuries of the rich. But Kannadasan is in a league of his own as he nonchalantly waves sheer poetry into the lyrics...
பொன்னகை அணிந்த மாளிகைகள்-
புன்னகை மறந்த மண்குடிசை
பசிவர அங்கே மாத்திரைகள்-
பட்டினியால் இங்கு யாத்திரைகள்...
The haves/ have-nots divide has been so thought-provokingly portrayed by the bard and a brooding Yesudas is just the person to bring to life the moving, melancholic lines.
The embittered question that Kannadasan poses remains unanswered however; it would probably always remain so....
Fifteen years may have passed on since the mortal remains of Vizhuppuram Chinnaiah Ganesan were consigned to flames; however he will continue to live on in the hearts and memories of generations of Tamils, for whom he will forever be the Nadigar Thilakam, the greatest actor ever.
Today, for a change, let us listen to some powerful dialogues in the voice of our Nadigar Thilagam- the famed ‘Samrat Asokan’ drama from Paragon Pictures’ Annaiyin Aanai- 1958.
It was from his ‘Boys’ Company’ background and the innumerable parts that he got to play on stage that Sivaji honed his histrionic skills. His spellbinding performance in the play "Sivaji Kanda Hindu Samrajyam" led to Periyaar EVR conferring on him the sobriquet ‘Sivaji’.
Sivaji’s eloquent oratorical skills were marvelously put to use by intelligent filmmakers of the 50s, who inserted such stage plays in their films. Other instances of such memorable insertions were ‘Anarkali’ in Illara Jothi-1954 and ‘Socrates’ in Raja Rani- 1956. The Therukkoothu in Navaraathiri was another brilliant insertion. And years later, the magic was still evident in films like Raman Ethanai Ramanadi- 1970 and Rajapart Rangadurai-1973.
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When I got the songs of Annaiyin Aanai recorded many years back in Chennai, the old-timer in charge (from whom I learned lot about Tamil film music), told me with an enigmatic smile that he had inserted a rather unusual ‘filler’ as there was some space remaining in the cassette. I had chastised him earlier for using the same ‘Beat it’ filler in all the cassettes I had got recorded from him, and he was obviously trying to make amends. And when I got home and listened to it, imagine my pleasurable surprise when I heard this celebrated drama!
This play was written by Thanjaivaanan (real name Govindaramanujam), who wrote many such plays for Sivaji. He also wrote lyrics for a handful of film songs, the most popular one being ‘Mannulagil indru devan irangi varugiraan’ (Punitha Anthoniyar)
Listen on to the majestic roar of our SimmakkuralOn….
“I wish to tell you how happy I am at setting foot on the sacred soil of Kayathar. It finds an honored place in the history of Free India because of its association with the immortal memory of Veerapandya Kattabomman. He was one of the first martyrs of India’s freedom struggle who was hanged by the British in the 18th century. I am sad that the name of Kattabomman and the heroic exploits of him and his brother are not very well known to the people in north India” (A.B. Vajpayee, then PM of India, July 5, 2000).
“The tendency is to refer to the 1857 battle as the First War of Independence. But long before the North woke up to British imperialism and fought the foreign rulers, here in this land, you had Veer Pandya Kattabomman.” (L.K.Advani, then Home Minister, May 27, 1997).
I guess these statements by these leaders have had little effect, for at the time of the release of Amir Khan’s ‘The Rising’ in 2005, the promos, the ads and write-ups, the hoardings and the flyers all glorified the image of Mangal Pandey as the ‘India’s First Freedom Fighter’; the same tag-line has crept into reviews on the film in various websites.
None of my North Indian friends have heard of Veerapandiya Kattabomman who waged his war more than 50 year before 1857, while we have all read Mangal Pandey’s act as part of our history lessons.
True, I never had Kattabomman’s exploits as part of my school syllabus, yet I knew all about him. For Sivaji’s majestic portrayal of the hero made an indelible impact on me, as it would have surely made on anyone who has watched it. Even Advani, while speaking on Kattabomman had this to say: “I have not seen many Tamil films. But a long time back, I saw a Tamil film by the name Kattabomman. Sivaji Ganesan's portrayal of the local folk hero was superb!”
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Panchalankurichi is a hamlet 18 Kms from Thoothukkudi. It was here that Veerapandian, the 47th king of Panchalankurichi was born on January 3rd, 1760 to Jagaveera Kattabomman and Aarmugathammal. The Kattabommans traced their ancestry to Bommu, who was a minister in King Jagaveera Pandian’s durbar in Azhagiya Veerapandiapuram, as Ottapidaram of today was known as. Bommu, or Gettibommu was he was called, had migrated from the Vijayanagar region of what is Andhra Pradesh today and was a fearless warrior as well. After Jagaveera Pandiyan died issueless, Bommu ascended the throne.
Veerapandian became the king of Panchalankurichi on February 7, 1790, and ruled for 9 years. He opposed the East India Company’s tyranny openly, and waged a lone war, till he was hanged by the British on October 16th 1799.
It was the story of this brave chieftain that Sakthi Krishnaswami adapted for the stage for Sivaji Ganesan’s drama troupe in the late 50s, and Sivaji won accolades acting in the title role. B. R.Panthulu then expressed his desire to make a film on Kattabomman.
In 1957, the Central Government had celebrated with great fanfare, the centenary of the ‘First War of Independence’, and M.P.Sivagananam, the leader of thamizharasu kazhagam, lamented aloud history forgetting the bravery of Kattabomman.
When Panthulu and Sivaji set about making Kattbomman the movie, Sivagnanam was appointed the head of the committee set up for discussion and research on Kattabomman and his times. ‘varalaaRu, thirai amaippu aaraaichi kuzhu’ , as this committee was called had Sakthi Krishnaswami, Sivaji Ganesan, B.R.Panthulu, K.Singamuthu and P.A.Kumar as its members. They came up with an engrossing story and worked on it to create a superb screenplay. Sakthi Krishnaswami penned the immortal dialogues. Panthulu picked the best artistes that Tamil cinema had to offer at that time, and spared no expense in making the movie.
Lyrics: Ku.Ma.Balasubramaniam
Music: G.Ramanathan
Costumes: M.G.Naidu
Choreography: Hiralal, Gopalakrishnan & Madhavan
Art: Ganga
Editing: R.Devanarayanan
Cinematography: W.R.Subbarao & Karnan
Produced & Directed by B.R.Panthulu
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Veerapandiya Kattabomman, the movie, was a runaway hit and was screened to full houses even after 25 weeks. Every re-release of the film proved to be a crowd-puller as well.
However, the film was not without its share of controversies. Denouncing the glorification of Kattabomman, Thamizhvaanan wrote “kattabomman telungan! koLLaikkaran! avanukku munbE pulithEvan engiRa veera maRavan pOraadinaan!” Kannadasan claimed that the Maruthu brothers were the true sons of the soil who raised their voice against the British. And to bolster his claim, he set about making the movie ‘Sivagangai Seemai’. Veerapandiya Kattabomman was released on May 6, 1959, and Sivagangai Seemai was released on May 19, 1959.
Though the stories surrounding Kattabomman are many, the movie, for most part, ran true to the life and times of Kattabomman as documented in well-researched books. ‘National Movement in Tamil Nadu- Agitational Politics and State Coercion’by N.Rajendran, ‘South Indian Rebellion’ & ‘History of Madurai (1736-1801), both by Professor K.Rajayaan, and ‘Book on Military Reminiscences’ by Colonel James Welsh all narrate the story of Kattabomman. In fact Rajayyan even quotes a letter written by Major Bannerman “it may not be amiss here to observe that the manner and behaviour of the Poligar during the whole time of his being before those who were assembled yesterday at the examination which took place were undaunted and supercilious. He frequently eyed the Etiapore Poligar (Poligar of Ettayapuram), who had been so active in attempting to secure his person, and the poligar of Shevighergy with an appearance of indignant contempt and when he went out to be executed, he walked with a firm and daring air and cast looks of sullen contempt on the poligars to his right and left as he passed” (Major John Bannerman, missive to the Madras Government dated October 17th 1799)
The rich folk music repertoire of the South has many songs that narrate the valour of Kattabomman.
Panthulu went to London to get the Techni-Colour prints made. The editing and camerawork were outstanding. Grand sets and riveting war sequences made the film a visual treat. G.Ramanathan’s songs, especially S.Varalakshmi’s lilting ‘singara kaNNE’ became chart-busters. Sakthi Krishnaswami’s dialogues were learned by-heart and recited in every household. Panthulu’s choice of actors was brilliant- Gemini Ganesh ( a last minute replacement for SSR), Padmini, Varalakshmi and OAK Thevar sizzled on screen in their well-etched roles.
And as for Sivaji, suffice to say that he immortalized the glory of Kattabomman by his powerful performance. To many of us, the very mention of Kattabomman would bring to mind the image of Sivaji spewing valiant words of defiance. The movie was filled with unforgettable moments of his fantastic performance…
The film won critical acclaim at the Afro-Asian Film Festival held at Cairo. Sivaji Ganesan and G.Ramanathan won individual awards for their work in the film.
In an interview in his last days, when asked about the award he cherished most, Sivaji had this to say: “I would say that the award I got for my role in Veerapandiya Kattabomman at the Afro-Asian Festival is very dear to my heart. Maybe it is because the award was the first in my career. I treasure it very much to this day.”
The movie must have meant a lot to Sivaji, for it was after watching Kattabomman’s story being enacted in a Therukoothu as a child, that Sivaji vowed that he would become an actor and play Kattbomman’s role one day! In later years, Sivaji even erected a statue of Kattabomman at Kayatharu as a mark of respect to the great chieftain.
Presenting here two video clips from the movie. To attempt to describe them would be sheer impertinence.
ஸ்ரீதரின் வீழ்ச்சியைக் கண்ட ஒவ்வொரு ரசிகனுக்கும் வைர நெஞ்சம்தான்! சுமைதாங்கியும், காதலிக்க நேரமில்லையும் கொடுத்த ஸ்ரீதர் வைர நெஞ்சத்தோடு உரிமைக் குரல் கொடுக்க வேண்டியிருந்தது. புல்லைத்தின்ற புலியையும் நான் பார்த்தத்ற்குக் காரணம் ஸ்ரீதர் அல்ல, சிவாஜி/எம்ஜியார் ...ம் ம் ம்ம் அதைவிட முக்கியமாக எம்.எஸ்.வி!
வைர நெஞ்சம் (1975) படம் வருவதைப்பற்றி பேசும்படம் தொடங்கி சினிமாலயா வரை ஏகப்பட்ட பில்ட் அப். ( ஸ்ரீதரின் வராத சக்தி-80 போல! அதுதான் "நானும் ஒரு தொழிலாளி" என்றால் குழந்தை கூட நம்பாது. Appalling என்ற வார்த்தைக்கு முழுமையான அர்த்தம் நானும் ஒரு தொழிலாளி!) .
இன்றுவரை வைர நெஞ்சம் படத்தைச் சிலாகிப்பவர்கள் ( வெகு சிலர்!) எம்.எஸ்.வி , ஏ.சகுந்தலாவின் க்ளப் டான்ஸ் பாட்டிற்கு பூர்ய தன்ஸ்ரீ ராகத்தில் போட்ட டியூனைப் பற்றிச் சொல்பவர்களே! அது ஒரு ரணகளம். அந்தப் பாடலைக் கேட்டால் இரண்டு ஆபத்துகளில் ஒன்று நிச்சயம் ...ஒன்று பூர்ய தன்ஸ்ரீ ராகத்தை வெறுக்க ஆரம்பிப்பீர்கள் , இல்லையேல் ஏ.சகுந்தலாவையே பிடித்துவிடும். அது மிக மிக ஆபத்தானது.
இந்தப் படத்தின் பில்டப்பிற்கு மற்றுமொரு முக்கிய காரணம் ஹேமாமலினியின் சாயலில் பத்மப்பிரியா இருந்த்தாக பலரும் நம்பியது. ஹேமாவின் தாயார் ,ஜெயா சக்கரவர்த்தியே "எம் பொண்ணு மாதிரியே இருக்கை!" என்று சொல்லியதாக கதைகள் வேறு உலவின. ஒரிஜினல் ஹேமாமாலினியை ஹிந்திக்குப் பாக் செய்து அனுப்பிவிட்டு ஸ்ரீதர் டூப்ளிகேட்டை நம்புவதாக பாலசந்தர் ரசிகர்களான சில அண்ணாக்கள் பேசுவதைக் கேட்டிருக்கிறேன். பெரியவர்கள் பேசும்போது ஒட்டுக்கேட்கும் நல்ல பழக்கத்தை வைத்திருந்தேன்.
நான் இந்தப் படத்தைப் பற்றி விரிவாக எழுதப் போவது இல்லை. ஜேம்ஸ்பாண்ட் படம் போல் என்று சொன்னால் ஷான் கானரி விஷம் குடித்து , தூக்கில் தொங்கி, துப்பாக்கியால் சுட்டுக்கொண்டு , வடக்கிருந்து உயிர் துறப்பார்.
ஆனால் எனக்குப் பிடித்த இந்த பாட்டைப் பற்றி எழுதுவதற்கு பல காரணங்கள் உண்டு. டி.எம்.ஏஸ் தன்னுடைய குரலை சற்று மென்மைப் படுத்திக் கொண்டு பாடியது போல் தோன்றும். ( இதே சாயலில் உள்ள அலங்காரம் கலையாத சிலை ( * corrected ரோஜாவின் ராஜா) சொர்க்கத்தில் கட்டப்பட்ட தொட்டில் ( மன்னவன் வந்தானடி)பாட்டிலும் அதே போல்) . சந்தத்திற்கு எழுதும்போதும் கவிஞரின் சற்றும் கலையாத கவியலங்காரம்.
பதுமையுடன் புதுமை மது பசியறியும் இளமை நதி
பாராட்ட நீயில்லையா சீராட்ட நானில்லையா
அந்த மிதக்கும் டியூன்! பாடலின் முதல் இரண்டு வரியை யாராவது ஸ்லோ டெம்போவில் கித்தாரில் வாசித்துவிட்டு வேறு ஏதாவது பிரபல பாடல் நினைவுக்கு வருகிறதா? சொல்லுங்கள்!
