The comedian's tragedy - N S Krishnan

Source http://www.hindu.com/mp/2008/12/15/stories/2008121551290800.htm

The comedian's tragedy

S. MUTHIAH

There's one more centenary I must remember before the year is out - and that is that of N.S. Krishnan, whom film historian Randor Guy calls `The King of Comedy'.

NSK, as he was known, was born in Nagercoil in 1908 to parents too poor to send him to school. But even if he had gone to school, it is a moot question as to how long he would have stayed in it, for even as a child he was fascinated by the stage. NSK was in his teens when he started working with one of the most famous Tamil travelling theatre companies of the time, TKS Brothers. It was a warm and successful relationship that lasted 10 years.

During that decade, NSK, who knew every role in every TKS play and could step into any of them at a moment's notice, moved from serious roles and the occasional singing one to comedy quite serendipitously. When the troupe's comedian went missing one day, NSK offered to play his role - and did so so innovatively, he became the troupe's comedian thereafter.

In 1935, when the whole cast of the TKS Brothers' play Menaka was hired for a film to be adapted from it, Krishnan's success in it launched him as a film comedian who became a legend in Tamil cinema. Film followed film - and when Vasanthasena came along he found himself not only starring with a new actress, T.A. Mathuram, but also falling in love with her. Till his death in 1957, they were a couple on stage as well as off it. In his later years, it was she who did much to keep the home fires burning.

It was in the mid-1940s, heading out to qualify as an engineer, that I got fascinated with journalism after reading The Hindu's splendid and detailed reporting of the Lakshmikantham Murder Case. The only better newspaper report of a trial I've come across was the one in The Times, London, on what became known as `The Trial of Lady Chatterly's Lover', the famous obscenity case that followed publication by Penguin of the D.H. Lawrence story that had long been banned in Britain. (For the record, Allen Lane, after winning the case, published the entire trial as a Penguin title!)

A major figure in the Lakshmikanthan murder case was NSK, who was one of the main accused. Thyagaraja Bhagavathar and Krishnan were found guilty and awarded life sentences. But on appeal to the Privy Council, they were acquitted in 1947. Thyagaraja Bhagavathar was never the same again - and the matinee idol of the Tamil cinema called it a day after a few flops. NSK fared better - and that had a lot to do with Mathuram.

While the case was going on, she did what she knew best to make the money necessary to fight the case; she started a drama troupe and had the best in the business to help her with it. She then started a film company - and its first production was just getting underway when NSK was released. He came out of prison, addressed a public meeting that had the crowd in splits hearing him narrate his prison experiences - and then he was ready to appear before the lights in Ennesskay Films' first production, Paithiakkaran.

Several successful films followed. At the same time, NSK, once a Periyar follower, became one of the leading lights of the Dravidian Munnetra Kazhagam. Between the film world and the world of politics, the hangers-on and sycophants were many. But he and Mathuram not only became unwisely generous with their money but they also began to burn the candle at both ends. All this contributed to NSK's death - and Mathuram having to live in near poverty till she died 10 years later. In their good days, however, there was no one else in their class in Tamil, nay Indian, filmdom when it came to comedy. If he was the `King of Comedy', she was, as Randor Guy emphatically adds, `The Queen of Indian Cinema Comediennes

Pavalakodi 1934

Blast from the past

Pavalakodi 1934

M. K. Thyagaraja Bhagavathar (debut), S. D. Subbulakshmi (debut), S. S. Mani and K. K. Parvathi Bai

Box office hit: Pavalakodi

Pavalakodi created history for many reasons - it marked the debut of the first superstar of south Indian cinema, Thyagaraja Bhagavathar, and that of stage and movie star of the early decades S. D. Subbulakshmi (later Mrs. K. Subramanyam). It also saw the introduction of the sadly neglected pioneer of Indian cinema, lawyer-turned-filmmaker K. Subramanyam as director.

Though, according to scholars, the story of Pavalakodi and Arjuna finds no mention in the Mahabharata, it was a successful play in Tamil in which Bhagavathar made a mark as a stage actor. Bhagavathar who reigned supreme on stage after the early demise of the iconic S. G. Kittappa had ideas of turning producer with this play, but SM. Letchumanan Chettiar (better known as `Lena'), a drama contractor of Chettinad, persuaded him to give up such plans and act in the film. It was produced by Meenakshi Cinetone and a wealthy distributor Al. Rm. Alagappa Chettiar was the moving force behind it.

Al. Rm. and his partners had a studio in Adyar which later became Neptune, Satya, (now MGR Janaki College). It had no compound walls then. One of the disgruntled partners took advantage of this situation and would begin to sound his car horn whenever Subramanyam said, "Start Camera"! Left with no option, the producers bought him out, but then a new crisis arose. from the crows of Adyar!

Adyar was more wooded than it is now. Numerous crows hovered over the food packs meant for the cast and crew of the film. In those days, all involved in a movie irrespective of their status ate the same food.

With shooting taking place in bright sunshine, the cast and crew would break for food only if a cloud cast its shadow on the sun. The artistes would rush as soon as the cloud cleared, abandoning the food packets, and the crows would swoop down to peck at the food. Their incessant cawing interfered with the recording of dialogue and song (as artistes had to sing songs on location just as they delivered dialogue). The exasperated director brought on board an Anglo Indian to shoot an air rifle into the sky to scare the crows away before he started shooting.

That was not all. There was a credit card in the titles, `Crow Shooter - Joe'. Perhaps the only one of its kind in movie history! The studio had no laboratory and Subramanyam and his team had no way of knowing whether a shot had been properly canned; they just hoped for the best. Not an ideal way of making movies perhaps, but that was how our pioneers worked .. The post production was done in Bombay.

Bhagavathar and Subbulakshmi excelled in their acting and singing (music composer Papanasam Sivan). The film was a box office hit and established Bhagavathar, Subbulakshmi and Subramanyam as stars of Tamil cinema.

A solitary print of this historic film is preserved at the National Film Archive of India at Pune.

Remembered for the debut of Bhagavathar, Subbulakshmi and Subramanyam, and for the fine music.

RANDOR GUY

A connoisseur’s delight

source - http://www.hindu.com/fr/2008/11/07/stories/2008110750980300.htm

A connoisseur’s delight

V.BALASUBRAMANIAN

A six-CD pack of Tamil songs sung mainly by Vani Jairam traverses many musical genres.

LAUDABLE EFFORT:M. Sakthinathan with Vani Jairam

An engineer from Sathyamangalam now settled in the U.S., who is an ardent fan of Vani Jairam, wants to produce a music album as a tribute to her. Surfing the Internet, he searches for a music director. After watching A.V. Ramanan’s TV show ‘Saptaswarangal’ that has wind instrument exponent M. Sakthinathan as the judge, the engineer takes the next flight to Chennai and meets Sakthinathan to tell him that he would wield the baton for his production. Sakthinathan is awe struck, for the technocrat is none other than his bosom school friend and neighbour in Sathyamangalam, Neelamyle V. Dhandapani.

It sounded like a fairy tale cinema script when Sakthinathan spoke about how he got the break. “Neelamyle was very particular about the lyrics being in pure Tamil set to some unique music, never heard before. The most important thing was that he was all for using acoustic instruments than sampled sounds”.

“My friend had already decided about various situations and he sat with me only for the first song. He left for the U.S. the next day and the rest of the songs were all approved only over the phone.” The poets (the numbers within brackets indicating the number of songs penned by each of them) Andal Priyadarshini (1), Gangai Amaran (2), Kadhalmadhi (2), Kalyankumar (1), Kamakotiyan (8), Krithiya (6), Muthulingam (7), Neelamyle (5), Piraisoodan (6), Sakthinathan (1), Thenmozhi (3) and Tholkappiyan (8) have let their imagination run wild and coaxed pure Tamil from their pens, to depict various moods. That they have hit the bull’s eye is not be an exaggeration.

Amazing orchestra

The orchestra size is something unheard of, even for a mega budget film song or re-recording, leave alone a private album. “I have used all the musicians available in Chennai. I can never forget their co-operation and the passion with which they played.”

Sakthinathan has had no formal training in music. His first brush with music was when he tried to play film songs with a flute he got from a friend, when he was bedridden for a year after an injury during a game of football. When he was fit enough to play again, Sakthi dropped football and joined the Angingu orchestra at Dindigul where he learnt notations. Having acquired the skills to play reed instruments such as the saxophone and clarinet, Sakthinathan moved to Chennai. He has since then been part of film and other recordings, playing for MSV, Deva, Harris Jeyaraj and many others. However, he does remember with reverence, the Sabesh-Murali duo, who provided him with food and shelter till he became self reliant.

Each song in the discs titled ‘Puzhudhi Kattray’, ‘Thathai Nenjam’, ‘Virali’, ‘Vellaithalilay’, ‘Netrichutti’ and ‘Mazhaikala Paravaigal’ has Sakthi going atonal, which is something unique. Just when you settle down on the pattern of a song, it takes a roller coaster dive to meander into another scale, and smoothly traverses back by the end to the original scale. He has used heavy orchestra, but never once do they dominate the songs. Sakthi says the rhythms conceived by him were all played live.

Vani’s views

Did Vani Jairam find it difficult to croon his songs, what with so many twists and turns. “No, she was at ease and it was a full song take only,” reaffirms Sakthi.

Vani Jairam recalls her experience, first by singing at least a dozen of the songs over the phone, “I have to thank Neelamyle for having thought of me for the albums. It was a great experience working on the compositions of Sakthinathan with myriad scale changes. His music covers all genres such as jazz, jazz blues, oriental, flamenco, classical western, country, pop and our folk too in an authentic way.” TMS, SPB, Jayachandran, S. N. Surendar, Uma Ramanan, Deepan Chakravarthy, Krishnaraj, Srinivas, Balaram, Karthik, Harish Raghavendar, Haricharan, Harini, and Saraswathi have also lent their voices, adding variety to the fare. Vincent Raj, the sound engineer, has done a wonderful job, to make the listening a pleasant experience. Vijayarangan joins him on three albums.

An aural experience of a different kind, this collection is for connoisseurs of true music.

Produced by: STONEWALL CREATIONS, USA, Marketed by: NEW MUSIC, INDIA,

PRICE of each CD: Rs.100.

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Sridhar Will Live on ....

Source- http://www.hindu.com/fr/2008/10/24/stories/2008102451180600.htm

Sridhar will live on …

MALATHI RANGARAJAN

Those with a penchant for healthy humour and classy romance will always remember him.

Photos By Special Arrangement.

CONNOISSEUR OF MUSIC: Sridhar and (right) With musician Balamuralikrishna recording the song ‘Thanga Radham…’ for Kalaikkovil.

The boat with two figures and the flag bearing the name Chitralaya flying aloft … C.V. Sridhar’s banner at the beginning of a film was enough to tell the audience that a worthy fare awaited them. More than four decades ago, when chaste Tamil was the language of the screen and social themes in a natural milieu were rare, came a young man who ushered in a new and appealing trend in filmmaking. And for the first time a star struck audience sat up and took notice of a director and the technical crew!

The first film under his Chitralaya banner was ‘Thaen Nilavu,’ with Gemini Ganesan and Vyjayanthimala. And when the beauty of Kashmir, where he had shot the film failed to woo the audience, he gave them a story on just a single set — ‘Nenjil Oru Aalayam’ and ‘Dil Ek Mandir’ in Hindi, and both turned out to be runaway hits. His stories were strong and his treatment ever fresh.

Sridhar began his film career as story and dialogue writer of ‘Rathapaasam’ and was catapulted to success with his first directorial venture, ‘Kalyana Parisu’ — a bi-lingual in Tamil and Telugu, both blockbusters. A love story with well etched characters played by Gemini Ganesan, Saroja Devi and Vijayakumari, ‘Kalyana Parisu’ had excellent performances from the cast.

Looking back, very few have dealt with romance, particularly, triangular and unrequited, in its various dimensions as Sridhar has.

Triangular love

Beginning with ‘Kalyana Parisu,’ be it ‘Nenjil Oru Aalayam,’ ‘Avalukkendru Oru Manam,’ ‘Nenjirukkum Varai,’ or ‘Ilamai Oonjaladugirathu,’ the basic strand of the story was three-sided love. But his story and treatment for each were amazingly different. And he tried out unique genres — ‘Nenjam Marapadhillai’ is a classic example. And without exception, the creations spelt class.

The serious storyteller who came out with excellent narratives was also a connoisseur of music. With M.S. Viswanathan’s scintillating compositions as bolstering factors films such as ‘Policekaaran Magal’ and ‘Kalaikkovil’ have gained immortality.

Then you have the ever-popular Ilaiyaraja numbers for ‘Ninaivellam Nithya’ — the launch pad of Gemini Ganesan’s daughter Gee Gee. You can go on and on …

Sridhar introduced a host of noteworthy actors to the Tamil screen, even as he directed giants such as Sivaji Ganesan and MGR. From Jayalalitha and Kanchana to ‘Vennira Adai’ Murthy and many more, his finds exemplify his acumen for talent spotting.

Healthy humour was also Sridhar’s strong point. Decades may pass but the comedy element even in a serious story such as ‘Nenjil Oru Aalayam’ remains unforgettable.

Nagesh’s fun fare in the film with Manorama, juxtaposed with the staid and sedate performances of Devika, Muthuraman and Kalyan Kumar, weren’t just a comic relief but an evergreen treat.

And who can forget the humour ride Sridhar offered with ‘Kadhalikka Naeramillai?’ The carnival feel and gaiety, the freshness of the cast, the hill station back drops in Eastman colour and the comedy that every actor projected so well, with Nagesh and T.S. Balaiah at the helm in ‘Kadhalikka Naeramillai’ will live as long as Tamil cinema does!

Even today the Thangavelu-M.Saroja track in ‘Kalyana Parisu’ is a stress reliever you can recall and enjoy!

None can say Sridhar is no more — the auteur will live forever through his films. Those familiar with the wealth of his repertoire will vouchsafe for the fact that he’s a winner nonpareil!

Poonthanam in Tamil

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Poonthanam in Tamil

S. SIVAKUMAR

Dr. Giridharan’s Gnana Virutham has the fervour of the Malayalam original.

Laudable effort: Giridharan.

Bhakta Kavi Poonthanam Namboodiri, who lived nearly four centuries ago, belonged to Angadippuram, a village in north Kerala. He was the contemporary and peer of Melputhur Bhattatrippadi, author of Narayaneeyam.

Poonthanam (that happens to be his house-name), whose real name is unknown, poured out in verse form, the “Gnana Paanai” in Malayalam, with naamasmaranam being singled out as the unfailing route to salvation.

The fervour contained in the original is present in the Tamil translation, titled Gnana Viruththam. This “capture of the original” has been done by Dr. U.R. Giridharan, who possesses a deep understanding of the cultures of the Tamil, Malayalam and English languages enabling him to do his work with effortless ease.

(Professor Dr. N. Subramaniam, in his scholarly preface, mentions this aspect significantly and also elevates the Tamil poetic style (nadai) above the prevalent forms of worship of the Almighty).

Dr. Prema Nandakumar, in her remarks, traces the saintly ambience of Poonthanam, whose poetry she says is characterised by the use of simple phrases, has philosophical strength, shows his deep bhakti and has in it immense literary quality.

Dr. Nandakumar compliments Dr. Giridharan, whose natural abilities in the art of “Sandhakkavi” has made him adopt this as his paradigm. Each one of these verses carries valuable footnote references from Thiruvaaai Mozhi indicating the continuity of thought that has been in existence over the centuries.

Immediate agenda

Dr. Giridharan is a spontaneous translator whose works include Tamil versions of Hanuman Chalisa and Lalitha Sahasranamam and another entitled “Singavele! Pirane!” a 12-metre-styled-poem (Panniruseer Aasiriaviruththam) requiring extraordinary mastery of Tamil grammar.

Vishnu Sahasranamam is also on his immediate agenda.

Dr. Giridharan narrated a few instances he could gather from the life of Poonthanam to show how he was an ascetic and his aim was to enlighten the common man and to liberate him from his daily humdrum existence and distinguish the real from the unreal.

Chinmaya Sisters, Uma and Radhika, have themselves set to tune and sung this flowing poetry in choice Carnatic ragas such as Nattai, Panthuvarali, Ranjani, Dhanyasi and Madhyamavathi.

An audio CD has been made out with the typical Kerala music as background score. The composer is Mohandas. The CD released by Devadatham Music has the verses in song and virutham format and is marked by an unmistakable and sensitive diction and bhava-laden rendition.

Cover of Gnana Virutham.

Dr. Giridharan recalls with warmth the “commitment and painstaking orientation towards perfection” the sisters exhibited during the recording sessions.

An illustrative excerpt from “Gnana Virutham” goes thus:

Hari Naamam Ullavarai Endha Naalum Sarivenbadhillai — Ariveer,

Ariya Vedhadhi Noolgalum, Geethaiyum Pugazhum Adhanai…Undu Maghizhveer…

(Realise that Harinamam, the prescription of the Gita and other scriptures will never bring you down and it is for you to savour this HariNamam). And this, says it all.

A mirror to human nature

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A mirror to human nature

SUGANTHY KRISHNAMACHARI

Five of Devan’s titles were released at the 95th birth anniversary celebration.

Photo: K. V. Srinivasan

PRINTED AGAIN: Devan’s books were released recently. At the function (Top, from left) Ashokamitran, columnist Vannanilavan, Badri Seshadri of Kizhakku Pathippagam and Viswanathan of Devan Trust.

A function was recently organised by Devan Trust and Kizhakku Pathippagam at Smt. Sivagamy Pethachi Auditorium to mark the 95th birth anniversary of Tamil author Devan. New editions of five of Devan’s titles were released on the occasion by writer Ashokamitran. Vannanilavan, who has written extensively on Devan in the Tamil magazine Tuglaq, received the copies.

Ashokamitran said that Devan tried his hand at every kind of writing — short story, novel, travelogue and reporting and analysis of news. During the Second World War, Devan wrote Yudha Diary, which gave a brilliant analysis of the war, making Ananda Vikatan one of the best sources for war news.

Devan’s books always ended on a positive note. He would put his characters in all kinds of difficult situations, but in the end he would untie all the knots and end the story on an optimistic note. Badri Seshadri of Kizhakku Pathippagam proposed a vote of thanks.

Devan’s ‘Parvathiyin Sankalpam,’ was read by the members of Gurukulam Boys Company, which transported the audience back to the 1950s.

Although it was only a play reading, the excellent voice modulation of the artists made the story come alive.

A quick glance at the titles:

Justice Jagannathan

Devan wrote this when the jury system was still in vogue in India. We are first introduced to the jurors, who are themselves colourful characters. Varadaraja Pillai is in the dock for the murder of his father in law. Devan, who served as editor of Ananda Vikatan for many years, must have had experience in legal reporting, and this is evident in the trial scenes. The book is taut with suspense, and one is left guessing till the end about the innocence or otherwise of Varadaraja Pillai.

Lakshmi Kataksham

Kantamani, the beautiful daughter of Pasupathi Pillai, is ill-treated by her step mother, who wants her to marry a rich, old philanderer. Kantamani gets a reprieve as childhood friend Duraisami marries her. But her troubles are far from over. Lakshmi Kataksham is about the trials and tribulations Kantamani faces in life. A touching story, evocative of an innocent era, in which, family ties and even loyalty to the company one worked for, guided one’s decisions in life.

Kalyani

For Sundaram, it is love at first sight, when he sees Kalyani. He follows her to Kumbakonam. Kalyani’s grandfather had married young Alamelu, shortly before his death. Everyone in the household tries to lay their hands on the jewels that rightfully belong to Kalyani. Sundaram, who cannot stand by and watch his beloved’s jewels being stolen, jumps into the fray. The story is reminiscent of the sort of hilarious mix up one finds in PGW’s Blandings Castle stories.

Mr. Vedantham

His father’s death comes as a jolt for Vedantham, who has been frittering away money and neglecting his studies. Now it is a mountain of debts he faces. Without wealth or a college degree he lands in Madras, which teaches him lessons. The beauty of the book is that it holds a mirror to human selfishness and envy, without being preachy or soppy.

C.I.D.Chandru

Chandru, a confirmed bachelor, is a man whose keen observation makes him a kind of local Sherlock Holmes. His deductive abilities help him solve the case of the stolen bag. What does the bag contain? Why was it stolen? And why do different characters in the story have different stories about the bag? Chandru solves all these puzzles. A racy read, with Devan’s characteristic humour.

* * *

Man of few words

Photo: K. V. Srinivasan

Vannanilavan.

He should be given an award for refusing awards. But then he would probably turn that down too. He craves anonymity, has stage fright, and is a man of few words. How few I realise, as he answers in monosyllables.

Vannanilavan, whose real name is Ramachandran, however, sheds his diffidence and gentleness when he writes. His column in the magazine Tuglaq, which he writes under the name Durvasar, is famous for its zing and sting. Why did he choose the pseudonym Durvasar? “Cho gave me the name, because I get very angry when I see any injustice.”

His film reviews in Tuglaq in the 70s and 80s under the title ‘Post Mortem,’ were just as harsh as his Duravasar column. Did his reviews lead to trouble for him? “Not always. I must mention Sp. Muthuraman’s sporting spirit. He once asked me why I had been mild in my criticism of one of his films. He said he liked the pungent tone of my reviews.”

Popular novels

Vannanilavan has written five novels and 90 short stories. His most popular novels are “Kadalpurathil” and “Rhenius’ Iyer Theru.” “Kadalpurathil” was inspired by the riots that broke out at Kulasekarapatnam, near Thoothukudi, when motor launches began to be used by some fishermen. Those who until a few days earlier had been friends, suddenly became divided into two camps — those with catamarans and the others with motor boats. “I was in Thoothukudi at the time, and these riots saddened me.” Kadalpurathil was the expression of that anguish.

“Rhenius’ Iyer Theru” is the story of the Christian families that live in Rhenius’ Street in Palayamkottai. “In Tirunelveli district, Christians refer to pastors as Iyer. In this novel, there is no dialogue. I have used only narration. It was well received.”

Vannanilavan happens to be one of the three dialogue writers for the film ‘Aval Appadithan,’ starring Kamalahasan and Sripriya.

Coming back to awards, has he ever accepted any? “Yes,” he says apologetically. “I was given the Tamil Nadu Government Award for my short story collection “Dharmam.” “Kadalpurathil” was given the Ilakkiya Chintanai Award. In 1997, I was conferred the Ramakrishna Dayal Award for Tamil literature, given by the Birlas.”

The awards he has turned down are more in number than the ones he’s accepted. But why this aversion? “Well, I feel, once a person has got an award or two, he should be content with that. Why should the same person get many awards? Young writers must be encouraged.”

And what does his family have to say? Vannanilavan recollects with a smile: “Once my wife received an award on my behalf. I was away at the time. When I learnt later that my wife had accepted the award, which I had refused, I was very angry, and fought with her. My children ask me if I am crazy to shun awards.”

“I never speak before an audience,” says Vannanilavan. And true to form he did not make a speech at the Devan Trust’s function.

The man who lived for literature - U.Ve. Swaminatha Iyer

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The man who lived for literature

MALATHI RANGARAJAN

On the life of U.Ve. Swaminatha Iyer whose untiring efforts have made 2000-year old Tamil literary works immortal.

‘…Thaaththaa’ drew attention at places such as the American Tamizh Sangam at Pittsburgh and elsewhere. It was accolades galore for writer-director- producer A. Jagannathan the world over.

At a time when people cry themselves hoarse about the glory of the Tamil language, has the man who devoted his life to restore its rich literature and pass it on to posterity been given enough thought? Filmmaker A. Jagannathan did, and the result was the 13-episode serial, ‘Tamil Thaaththaa’ that traced the relentless search of U.Ve. Swaminatha Iyer who travelled to remote places and retrieved palm leaf manuscripts of invaluable works such as ‘Seevaga Chinthamani,’ ‘Purananooru,’ ‘Paththu Paattu’ and Silappadikaaram.’ Despite financial crunch he had them all printed and preserved for us to read, learn and glean knowledge about the social life and cultural milieu of yore.

Accolades galore

Telecast on Doordarshan more than a decade ago, ‘Tamil Thaaththaa’ was honoured by the Mylapore Academy as the Best Serial of the Year (1996). Jagannathan who had written, directed and produced it, won the Best All rounder Award. ‘…Thaaththaa’ drew attention at places such as the American Tamizh Sangam at Pittsburgh and elsewhere. It was accolades galore for Jagannathan the world over.

‘Tamil Thaaththaa’ has been released as a twin-DVD pack (Rs.200) recently. The litterateurs who have helped U.Ve.Sa resurrect the manuscripts from near destruction have been juxtaposed with those who failed to see the literary wealth around them and burnt them for rituals.

“Veerakesari, published in Sri Lanka, carried a wonderful review of it,” says A.V. Ramanan, who played Swaminatha Iyer in the serial. “I’ve heard that in Sri Lanka and closer home in Kallidaikurichi, schools ensured that children watch the serial regularly and after every episode teachers had students writing about it in class the next day,” he says. And every week he was showered with compliments. Soundara Kailasam was a regular caller. “‘You sound lively but I’m yet to come out of the emotions that your portrayal of U.Ve.Sa has kindled,’ she would say,” Ramanan recalls.

After his U.S. trip Jagannathan told him that many who had seen him live on stage here as a cheerful singer, couldn’t quite believe that it was the same Ramanan who had donned the role of the calm and sedate U.Ve.Sa.

Interspersed with soothing music by K.V. Mahadevan’s assistant Pugazhendhi, the serial also has Ramanan singing many of the pieces, besides other well-known singers such as Dr. Sirkazhi Sivachidambaram.

Love for Tamil

Jagannathan, who has directed MGR, Sivaji Ganesan, Kamal Haasan, Rajinikanth and Vijayakanth among others, in his heyday, took up this project for the sheer love of the Tamil language. The hurdles were many but none deterred him from completing it successfully. “With proper resources he would have done it on a larger scale. But I did my bit for the love of my mother tongue by not accepting any payment for my work,” smiles Ramanan. The scenes at the printing press were shot at Ramanan’s own printing unit.

The cast of ‘Tamil Thaaththaa’ is a trip in nostalgia. Many popular actors such as Jai Ganesh and ‘Major’ Sundarrajan, who featured in it, are no more. Each has performed with involvement.

Subdued style

Leading the acting team is Ramanan. In subdued style, Ramanan aptly brings out anguish whenever he finds priceless literature lost and joy at moments when he retrieves the treasure. ‘Delhi’ Ganesh’s portrayal of U.Ve. Sa’s understanding father deserves mention. Charuhaasan, Peeli Sivam, Sethu Vinayakam, Amara Sigamani and Periyar Dasan are others who have done a commendable job.

Ramanan informs that the actual guru maha sannidhanams of Thirupanandal, Tiruvavaduthurai and Dharmapuram Adheenams gladly agreed to appear as themselves in the serial.

Jagannathan’s dialogue that makes the tale very clear for even the uninitiated is appreciable. Appearing to have been made on a shoestring budget, the docu-feel of the discs is inevitable.

But it is an eye-opener for many interested in Tamil literature and a splendid learning tool for school goers. As it is a lengthy story, watching it parts is the way to go about it. A must-possess for true Tamil language lovers!

Tamil Thaaththaa

DVD – two discs

Produced & directed by A. Jagannathan

Price: Rs.200

Bond of Tamil Screen

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Bond of Tamil screen

RANDOR GUY

Action-oriented thrillers earned Jaishankar the sobriquet.

A man of principles Jaishankar

The arrival of Hollywood’s latest Bond revives memories of our very own version — the unostentatious Jaishankar, who would have been 70 this year. One of the most popular Tamil cinema stars of 1960s and 1970s, he was involved in several action-oriented, thrilling entertainers and family drama. But justice has not been done to this actor, who was an excellent human being too.

Subramaniam Shankar was born on July 12, 1938. His father was a judicial magistrate. A typical Mylaporean, he went to the famous P.S. High School and on to Vivekananda College, where he did his Honours degree. He enrolled for Law but gave it up after a year because of his interests in fine arts.

A brief stint with Cho’s Viveka Fine Arts was followed by playing the lead role in Kalki’s “Amara Thara,” staged by Koothabiran’s Kalki Fine Arts. That, however, did not pave the way for his entry into cinema. Disappointed, he took up a job with Simpson and Co in Delhi. But he soon returned to Chennai and this time he was lucky.

His first success

A fine performance in a historical play drew the attention of Joseph Thaliath Junior, who cast him in his production ‘Iravum Pagalum’ (1965) in which he was christened Jaishankar.

The low budget movie produced by Citadel Productions and directed by Thaliath JR. also had a pretty new face, T.K.S. Vasantha. The taut thriller turned out to be a surprise package scoring well at the box office. Jaishankar had arrived.

The same year got him another success — AVM Productions’ ‘Kuzhandaiyum Deivamum.’ His charming manners, total absence of airs and ability to get on with people endeared him to the movie world. And opportunities poured in.

‘Panjavarna Kili,’ directed by editor-turned-filmmaker K. Shankar and written by noted screenwriter-filmmaker, Valampuri Somanathan with Jai and K.R. Vijaya in lead roles was again a hit.

Rama Sundaram, T.R. Sundaram’s son who took up production under the family banner Modern Theatres cast him in a number of films. Ramappa (as he was affectionately known) was an engineering graduate and the two men became close friends.

Jai was hero for many of Modern Theatres’ thrillers — ‘Iru Vallavargal’ (1966), ‘Vallavan Oruvan’ (1966), ‘Kaadalithaal Podhuma’ (1967), ‘Naangu Killadigal’ (1969), ‘CID Shankar’ (1970), ‘Karundhel Kannaayiram’ (1972) and others. And this earned him the sobriquet James Bond of Tamil cinema.

Jai’s hits in other genres include ‘Pattanathil Bootham’ (1967, directed by editor turned noted multilingual filmmaker M.V. Raman and written by Javert Seetharaman), ‘Nilagiri Express’ (1968, written by Cho, it was a well done suspense thriller with Vijayanirmala the female lead) ‘Jeevanamsam’ (1968, written and directed by Malliam Rajagopal. It was the launch pad for Lakshmi) ‘Nil-Gavani-Kaadhali’ (1969, directed by C.V. Rajendran and written by Chitralaya Gopu), ‘Poovaa Thalaiya’ (1969, produced by politician film producer Rama Arangannal and written and directed by K. Balachandar, the film was an excellent domestic comedy) ‘Nootruku Nooru’ (1971, written and directed by K. Balachandar ) to mention a few.

Sympathetic, he never made an issue when the cheques given by producers came back like a bad penny. He volunteered to step in when a new star scheduled to preside over an entertainment show let down the organiser.

The audience went hysterical seeing their James Bond on the dais. When the sponsors insisted on presenting him cash, Jai requested them to donate it to charity outfits. A man of principles, his support to the needy was always quiet and steady.

The family is continuing the good work, the best tribute that can be paid to a philanthropist and man of principles, which Jaishankar was.

Andha Naal

BLAST FROM THE PAST

Andha Naal 1954

Sivaji Ganesan, Pandari Bai, ‘Javert’ Seetharaman, P. D. Sambandham, Suryakala and T. K. Balachandran

landmark in Tamil cinema Andha Naal

Andha Naal created history in Tamil cinema as the first movie sans song, dance or stunt sequence and is still being talked about. It is impossible for any producer to even dream of making such a movie today! The emerging Indian movie mogul AV. Meyyappan created history when he produced Andha Naal, which was less than 12,500 feet long, while most Tamil films of that day were 15,000 feet and above. The film was written and directed by the multi-faceted S. Balachandar who later attained fame as a veena player. The dialogue was written by ‘Javert’ Seetharaman and the film was photographed by talented lensman Maruthi Rao.

Many people to this day are under the impression that the film was an adaptation of the Akira Kurosawa classic Rashomon. Interestingly, the Japanese film was released in theatres in India soon after it created history in the international movie circuit and in the first international film festival held in India in 1952, thanks to the efforts of Pandit Nehru. The Japanese film was a brilliant narration of a single event seen through the eyes of the protagonists, each at variance with the other about what was the truth. However, Andha Naal, though bearing thematic resemblance to the Kurosawa classic, was actually an intelligent adaptation of a British movie Woman in Question made by Anthony Asquith (son of the British Prime Minister Lord Asquith), one of the three British movie maestros, the other two being Carol Reed and David Lean. Asquith’s film was a flashback on the murder of a woman with several people claiming to be the killer. Andha Naal was about the killing of Sivaji Ganesan by his wife (Pandari Bai, revealed to the audience) and many people claiming to be the killer. This film won a Central Government Award, and critical and public acclaim.

However, it did not fill the coffers of Meyyappan who understandably never thought of making a similar film later. Balachandar had an assistant in the directorial department, young and talented who later emerged as a successful filmmaker, Muktha V. Srinivasan.

The cast consisted of Sivaji Ganesan as a traitor, leaking secrets to the Japanese during the Second World War, Pandari Bai as his patriotic wife, ‘Javert’ Seetharaman, T. K. Balachandran, Suryakala, Menaka and P. V. Sambandam. Even today after five decades and more, this film sustains interest.

Balachandar, a brilliant technician had acquired vast knowledge of the art of cinema by watching movies from abroad, mostly from Hollywood. He put to good use his acquired skills and talents in this film, especially in the lighting to create mood and character. Sample this: in a sequence the anti-hero (Sivaji Ganesan) is totally in the dark while his abandoned sweetheart is brightly lit to bring about the contrast in the mood and the characters. In Hollywood lingo, it is known as ‘painting with light.’

Remembered for being the first Tamil film which had no dance, song or stunt sequence and for Balachandar’s impressive direction and fine performances by Sivaji Ganesan and Pandari Bai.

N S Krishnan- The generous comic genius

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The generous comic genius

RANDOR GUY

N.S. Krishnan, ‘the Charlie Chaplin of India,’ used laughter to expose the inequalities in life. Big-hearted, he also donated, along with his wife, to deserving causes. A tribute in his centenary year.

Cult figure: N.S. Krishnan

Critics and cognoscenti hailed him as ‘the Charlie Chaplin of India.’ This comedian was a genius and perhaps, there will never be another quite like him. He was N.S. Krishnan.

He used laughter to make the audience think about the inequalities in life, superstitious beliefs and so on. He translated these ideas onscreen in a brilliant and effective manner. This not only made him successful but also a cult figure.

Curious by nature

Nagercoil Sudalaimuthu Krishnan (NSK) was born on December 1,1908, into poverty. His lack of formal education was made up by his curiosity, native genius and enthusiasm. Thanks to the talent-spotting eyes of TKS Brothers, NSK gained entry into Tamil Theatre as a comedian. Soon he was a big draw with his inventive and innovative comic bits.

He faced a movie camera for the first time in ‘Sathi Leelavathi’ under Ellis R. Dungan’s direction in 1934. However, problems delayed its release till 1936. Meanwhile, another movie, ‘Menaka’ (1935), established him as a new talent on the horizon.

N.S. Krishnan with Kannappa and wife T.A. Madhuram in Film Centre’s Nannambikkai.

This comedian was also a filmmaker, screenwriter and social reformer. He and his star wife, T. A. Mathuram, virtually dominated the Tamil film world for over two decades with their own brand of screen comedy. From the mid-1930s to his untimely demise in 1957, NSK was in almost every other Tamil film. He was so popular that his films drew audiences even in non-Tamil areas where they were screened without subtitles or dubbing.

NSK had a unique method of working. After being signed on for a film, he would wait till it was completed. Then, along with a team of writers and artists, he would work on his comedy track. Next, he would shoot it himself, edit the footage and hand over the reels to the producer or director with detailed instructions about how and where to link his comic sequences to the main movie. He charged a lump sum, which also included the salaries of his team members.

NSK usually had a duet in the films. He often sang and composed the music for it using popular folk songs, stage melodies or even brazenly copying them from Hindi movies. He would also record them.

During the making of ‘Vasanthasena’ (1936), he met and fell in love with Mathuram. Their marriage was performed by the icon of early Indian Cinema, Raja Sandow.

NSK established his own production unit based in Coimbatore and produced comedy shorts which were sold to producers and screened along with the main film. Many of these short films proved to be more popular than the main one.

NSK was also known for his generosity and gave away his earnings to deserving causes and the poor.

Then came the sensational Lakshmikantham Murder Case. NSK, whose involvement was never proved, was imprisoned for 30 months. He was released early in 1947. Soon, he turned producer and director. ‘Nallathambi,’ adapted from the 1936 Frank Capra classic ‘Mr.Deeds Goes To Town’ by C. N. Annadurai, is one such example. It became a cult film and is often telecast on television. His ‘Manamagal (with Padmini in the lead),’ about a woman who chooses not to be a wife but remain a bride, was a major success and had social messages.

End of an era

As times changed, NSK also faced health problems and a financial crisis. Although he continued to act, it was not the same. He died in 1957, when he was barely 50.

Mathuram was reduced to a mere shadow after his death. In a chat with this writer she said, “ ...we destroyed ourselves by giving...my husband and I did not realise that one should always think of oneself before thinking of others... generosity should have limits but we did not bother in those days when we were at the top ... eventually we were the sufferers...” She lived for nearly a decade after NSK’s death, in poverty and with failing health, helped by a few friends. Heartbroken, she died in 1968.

One is, perhaps, not likely to see again another husband-wife team with this kind of popularity and success, genius and generosity. With their deaths, an era in Indian cinema had ended.

Chandralekha

MADRAS MISCELLANY

A ‘Cecil B. DeMillean’ Chandralekha

S. MUTHIAH

Sixty years ago, a film was released in Tamil and Hindi that broke all box office records. S.S. Vasan, the person who made the film, has been called the ‘Cecil B. DeMille of Tamil Cinema’ by film historian Randor Guy.

Given how spectacular it was — and the appreciation lavished on it from 1948 till well into the 1950s, which is when I caught up with it — I’m sure that if re-released, it would do better at the box office then most Tamil films today.

“Chandralekha” also had a storyline that, corny though it was, grabbed everyone’s imagination. Film critic V.A.K. Ranga Rao has described it as “the most complete entertainer ever made.”

It was in 1943 that Vasan, following two successive hits, announced that his next film would be “Chandralekha”. Yet, when he launched an advertising blitz for the film, he had nothing more than a name for the heroine — which he had found used in the storyline of a tough, talented woman that he had rejected.

One of his storyboard men, Veppathur Kittoo, then developed a story the ‘Boss’ liked from Robert McCaire the Male Bandit, a novel by G.W.M. Reynolds who was synonymous with one of the most famous pulp magazines of the time, Mysteries of the Court of London.

When shooting began on “Chandralekha” in 1943, few realised it would take five years to complete. With Vasan making his debut as a director halfway through the shooting, scenes were shot and re-shot. In the end, the cost mounted up to Rs. 3 million, the most spent on making a film in India at the time.

Starring in the film as the gentle son of the king was M.K. Radha, who had not wanted to play the villain’s role.

The villainous son was Ranjan (of “Mangamma Sabatham” fame), who replaced Vasan’s first choice, K.J. Mahadevan, the hero of “Thyaga Bhoomi” who had proved too soft in the first shots that were made for “Chandralekha”.

The heroine was T.R. Rajakumari, whom Randor Guy considers “the first dream girl of Tamil Cinema.” Krishnan and Mathuram were part of a circus troupe that was an afterthought — but a key link in the story. And the rest of the cast was as well-known.

Many years later, Kothamangalam Subbu recalled, “During the film’s making our studio looked like a small kingdom…horses, elephants, lions, tigers in one corner, palaces here and there, over there a German lady training nearly a hundred dancers on one studio floor, a shapely Sinhalese lady teaching another group of dancers on real marble steps adjoining a palace, a studio worker making weapons, another making period furniture using expensive rosewood, others set props, headgear, and costumes, Ranjan undergoing fencing practice with our fight composer ‘Stunt’ Somu, our music directors composing and rehearsing songs in a building…there were so many activities going on simultaneously round-the-clock in the same place.”

Out of this mayhem there emerged a super hit whose highlight was the drum dance, to this day one of the most famous scenes in Tamil cinema.

Vasan had Gemini Studios’ 400 dancers preparing for that single sequence, and they rehearsed daily for six months. When they finally executed the scene flawlessly, the sequence had cost Rs. 5 lakh!

Making the film in Hindi sometime later, Vasan opened the doors of Hindi film theatres to films made by South Indians.

He also pioneered making South Indian films in English — a shorter version of “Chandralekha” in English was screened in the U.S. and Europe in the 1950s. All of this helped him make a fortune — but, more importantly, it made him one of India’s greatest film-makers and someone no film committee of the time could do without.

The tragedy is that his home on Edward Elliot’s Road (Dr. Radhakrishnan Salai) and his Gemini Studio, which should have been turned into a Vasan or Tamil cinema museum, have vanished.

MSV

SOUCE

Grand rendezvous

MALATHI RANGARAJAN

IN CONVERSATION A not too well known facet of veteran composer M.S. Viswanathan will come to the fore this weekend.

Photo: S. S. Kumar

IN TUNE: M.S. Viswanathan.

The quiet Tuesday morning at Musee Musicals on Anna Salai turns vibrant as M.S. Viswanathan enters the premises. Seeing the maestro at the music showroom is a pleasant surprise for the aficionados present. As he is led to the piano on which he would play this Sunday, at the programme, ‘Vaarthaigal Sollum Vaadhiyangal’ (VSV), organised by www. msvtimes.com and presented by Aircel, his eyes reveal the joy of a toddler who is given a freehand with his favourite toy!

An impromptu treat comes your way as the musician’s fingers dance on the keys of the piano with gay abandon. He pauses for a moment to say: “Decades ago I would come to this shop to check out various instruments. The ambience is still the same. It makes me nostalgic.” Getting back to his keys he plays some of his evergreen hits, looks up after a while at the group gathered around him and with a smile asks, “Is it enough for now.”

Amidst posing for pictures and signing autographs, the chat begins. Composer, singer, harmonium player, MSV is all these and much more. He is a seasoned pianist too. “Please! I’ve not mastered it. You can’t accomplish it in one lifetime,” is his typical, modest refrain. But you know that he’s an ace on the instrument.

Why the sudden idea of showcasing his prowess on the piano? “I’ve always wanted to do such a show. So when my friends, Vaidy, Sabesan and Ramki suggested a programme on these lines, I grabbed it. They even have a website, some dom-com they call it, in my name,” he guffaws.

The piano has been an integral part of many an MSV hit, and most of the pieces — such as ‘Ellorum Nalam Vazha,’ ‘Paaduvor Paadinaal’ and ‘Andru Vandhadhum’ — each a fascinating bit, have been played by the composer himself.

“As a boy when I began playing the harmonium my master would give me a whack if the notes didn’t spell out the lyric used,” he recalls and gives a demo on the piano as an explanation. Words are vital. It is the composer’s job to cull out the music hidden within them is his contention. “Just watch this. If I play ‘Kaanilae Enna Undu’ instead of ‘Kannilae’ the word gets distorted and so does the tune. It’s ‘Tha na na’ not ‘Thaa na na.’ Do you follow me?”

So ‘Vaarthaigal Sollum Vaadhiyangal’ will have many instruments such as the flute, accordion, sax and guitar, each of which will be used instead of the voice, with the rest of the orchestra offering the score. What about the piano? “I’ll be there on it throughout. I prefer being in the background,” he laughs. The stage will have singers too, including MSV. But they will be part of the chorus.

Crowning glory

Of the 32 songs that have been selected for the evening, the troupe will have time to play about 25 pieces — the crowning glory will be a medley with the entire orchestra in action. “The crowd should pardon me if I take off on my own on the piano for a while,” he chuckles. Most of the numbers will be those in which piano is the mainstay. “We’ve also planned compositions where I’ve not used the piano. ‘Ullathil Nalla Ullam’ from ‘Karnan’ for example,” says MSV.

Is the programme a pioneering effort? “Way back in 1958 I recorded instrumental mood pieces for HMV. ‘Pongum Poompunal,’ as it was called, had Kannadasan giving his voice to explain the segments. For example the ‘East West Wedding’ piece in the collection had religious mantras chanted alongside a church choir, with a blend of nagaswaram and western instruments,” he remembers. But VSV will be the first entirely instrumental music show on stage by MSV.

Knowledge of Classical music is a prerequisite for any endeavour in the art, he feels. “I’ve composed a variety of numbers to convey various emotions. Proper use of the ragas, be it Hindustani or Carnatic can enhance their beauty. ‘Kannuku Kulamedhu’ (‘Karnan’) in Pahadi is the song that comes to my mind now,” he says.

MSV wishes to present off beat music-based programmes on television to highlight the beauty of classical music, ghazals in particular. The veteran is still smarting from the lukewarm response his album ‘Sangeetham Santhosham’ met with. “The tunes were melodious and Kamakotiyan’s lyrics were remarkable. Only the publicity wasn’t enough.”

For the first time in the interview he becomes wistful. But the next moment he is back to being his cheerful self. “I’m planning to work on another soon,” he says, and gets up to return to the rehearsals that are on in full swing for the show that’s round the corner.

“I’m thankful that I have the drive to keep trying out new things and the heart to appreciate good music wherever it comes from. Today’s youngsters are very talented,” he smiles. The zest is incredible. “You are as old as you think you are. I’m just 22,” he winks.

Sridhar- Trend-setter

(SOURCE)

Trend-setter

RANDOR GUY

Filmmaking got a new definition with the arrival of Sridhar.

Photos: Chitrakala Sundararajan, Kalaniketan Balu and Special Arrangement.

NUGGETS: (Clockwise from top) At the puja for ‘Uthama Puthiran.’ The group (from left): V.C. Shanmugam, Ratnam Iyer, T. Govindarajan, A. Vincent, M.N. Nambiar, A.V. Subramaniam, Kamal Gosh, C.V. Sridhar, Tiruchi Arunachalam, Venus K. Murthi, T. Prakash Rao, K.A. Thangavelu, K.R. Shanmugam, Chitralaya Gopu, K.S. Gopalakrishnan and P.V. Sathyam. Raj Kapoor was a guest at the marriage reception of Sridhar and Devasena, Sridhar as chief guest in a stage show of Policekaran Magal presented by Kala Nilayam, a scene from the film.

“Nenjil Oru Alayam” was shot in a record time of four weeks. Sridhar thus proved that movies could be made with new faces, limited sets and low budgets if one had an interesting, emotionally rich story, tautly narrated on screen with pleasing music. The cast had Muthuraman, Kalyan Kumar (from Kannada cinema), Devika, ( not yet a star) and Nagesh then struggling for recognition. Besides the triangular love story it had excellent music by Viswanathan-Ramamurthi and the innovative cinematography of Aloysius Vincent who had a penchant for unusual angles, then a novelty in South Indian cinema.

This film was remade in Hindi, Telugu (“Manase Mandiram”) and also in Kannada (“Kunkuma Rakshe,” Rajinikanth in one of his early roles, directed by S.K.A. Chari).

Inspired by the success and innovative features of this film Sridhar wanted to enter it at the Cannes Film Festival and had the screenplay translated into French at great cost and sent his administrative manager, Sarma to Europe.

Not many are aware that a few years ago, California-based Indian filmmaker Jag Mundhra was keen on remaking “Dil Ek Mandir” in English and also Hindi, making some marginal changes in the film treatment. This writer took Jag to Sridhar and learnt that Sridhar had assigned it to a film financier for a paltry sum, for eternity. The assignee demanded an exorbitant fee for giving up the rights, which was almost 75 per cent of Jag’s budget!

Moving to Madras (from Maduranthakam, where he worked as a government servant) Sridhar made a name as a dialogue writer and worked on scripts for movies like “Maheswari” (1955, T.R. Sundaram- T.R. Raghunath), “Amara Deepam” (1956, T. Prakasha Rao), “Maadhar Kula Maanikkam” (1956, T. Prakasha Rao), “Enga Veetu Mahalakshmi” (1957, Adurthi Subba Rao) and “Uthama Puthiran” (1958, T. Prakasha Rao. A Venus Picture production in which Sridhar was also a partner).

Disciplined life

Somewhat shy and retiring by nature, Sridhar had no airs and led a disciplined life with his regular evening Marina Beach drives in his open maroon Standard Herald car with ‘Chithralaya’ Gopu seated beside him. He ran his office on systematic lines something unheard of in film companies of that era. Files were maintained meticulously and he had Film News Anandan as his PRO and no letter addressed to him or his company went without a reply.

Not many are aware that he launched a film with MGR, “Andru Sindhiya Ratham” and after some reels were shot, differences of opinion arose and the production was closed. Soon it took a fresh avatar as “Sivandha Mann’ with Sivaji Ganesan in the lead. It was mainly shot abroad and a major success, remade in Hindi as “Dharthi” with Rajendra Kumar in the lead.

As star maker he gave breaks to many aspiring and talented new faces which include Muthuraman, Jayalalithaa, Srikkanth, Major Sundararajan, ‘Vennira Aadai’ Murthi, ‘Vennira Aadai’ Nirmala and brought talented actors, such as Kalyana Kumar from Kannada.

What was his impression of working with top stars, MGR, Sivaji Ganesan and Gemini Ganesh? He told this writer that he loved working with Gemini Ganesh because of the top star’s sophisticated, educated middle class background, whereas he did not enjoy that freedom with the other stars for whom, of course, he had great respect. GG was his favourite hero and worked with him in many films.

Sridhar’s wife Devasena is from the famed political family of Nellore district and closely related to the Congress leader Bezawada Gopala Reddi and much respected Justice Party leader Bezawada Ramachandra Reddi.

Tamil Cinema has never witnessed a multitalented filmmaker like Sridhar and the void is most unlikely to be filled in the years to come.

Poornam Vishwanathan

source

In love with grease paint

SUGANTHY KRISHNAMACHARI

A stickler for perfection, Poornam Viswanathan’s passion for the stage never diminished.

MANY DIMENSIONS: Poornam Viswanathan.

A profile on Poornam Viswanathan (his 88th birthday falls on November 15) presents a difficulty. Where does one begin? Should one begin with Poornam as a newsreader of All India Radio, announcing India’s Independence? Or should one begin with Poornam as a writer? As an actor? As a director of plays? Or look at him as a human being, simple and unassuming, who preferred to travel by public transport? It should be mentioned here that he always insisted that all members of the troupe be provided the same kind of accommodation?

Perhaps Poornam, the romantic, will be apt. Poornam Viswanathan’s was a traditional, arranged marriage, and when he returned to Delhi after ‘seeing’ the girl, he sent her a telegram that said, “Returned safe, and dreaming.” In 1950, this certainly qualified to be called romantic!

While in Delhi, Poornam acted in the plays of South Indian Theatre. One of the members was music critic Subbudu. They staged many plays including Kalki’s ‘Kalvanin Kadhali’ and Devan’s ‘Gomathiyin Kadhalan.’ When Poornam was transferred to Madras in 1964, he began to act in the plays of Triplicane Fine Arts and later in those of Kala Nilayam. One of the most popular plays he acted in was Savi’s ‘Washingtonil Thirumanam.’ While in Delhi, Poornam had translated Ramesh Mehta’s Hindi play, ‘Under Secretary,’ and YGP’s UAA staged it with Jayalalitha, her mother Sandhya and Cho in the cast.

At Kala Nilayam, Poornam acted in Marina’s plays — ‘Oor Vambu,’ ‘Thani Kudithanam’ and ‘Kaal Kattu,’ and Sujatha’s ‘Oru Kolai Oru Prayaanam’ and ‘Kadavul Vandirundaar.’ Koothapiran, who played the role of Koda Naidu in Thani Kudithanam, says, “I learnt how to act only by watching Poornam.”

Forming a troupe

Scenes from Oru Kolai Oru Prayanam and Oor Vambu.

In 1979, Poornam left Kala Nilayam and started his own troupe ‘Poornam New Theater.’ Ever on the look out for fresh talent, he welcomed into his fold many youngsters.

The first play they did was Sujatha’s ‘Adimaigal.’ It was a dicey theme about a lecherous patriarch, who tyrannises his nephews. But Sujatha and Poornam handled the subject adroitly, so that there was not a trace of vulgarity in the presentation.

Baldev, who acted with Poornam in Kala Nilayam and had left when Poornam did, played the role of Sundaram, the wronged, cowardly nephew. Venu Arvind, whose real name is Tyagarajan, made his debut in this play. ‘Adimaigal’ marked the beginning of a long association between Poornam and Sujatha, who wrote a succession of plays for Poornam.

Actor Sivakumar says, “I was moved by the play Oonjal. And ‘Dr. Narendranin Vinodha Vazahakku’ was amazing.” Dr. Narendranin Vinodha Vazhakku was staged 175 times. When this writer met Sujatha a couple of years before his death, he said, “I will continue to write plays, if Poornam is willing to act.”

Poornam, was a hard taskmaster, but never failed to compliment talent. He admired troupe member Gowrishankar’s hand gestures. Poornam paid attention to every detail, so that there was never a jarring note or incongruity in any play. “He didn’t like an orchestra in the pit, and would only play taped music,” says M.B. Moorthy. “For Adimaigal, the only music he used was the veena playing of Gayatri,” says Baldev.

Poornam also had definite ideas about make-up. “For the role of Dr. Narendran, he wanted to be made up to resemble Dr. Schweitzer,” says Poornam’s daughter Uma.

Poornam would wince at the slightest mispronunciation, and during rehearsals for the play “Fifty-Fifty,” Viswanathan Ramesh had to say his lines over and over, because he seemed incapable of getting the ‘zha’ right. On the day of the show, his pronunciation was perfect.

Sense of humour

Poornam could always see the humour in a situation. Once during the staging of “Anbulla Appa,” troupe member Malathi Sampath was in the audience with her three year old niece. Poornam had just done an emotional scene, and with his hands on his cheeks, struck a note of despair with his words, “Enna Pannuvaen?” The little girl, who had been quiet until then, walked up to the aisle, put her hands on her cheeks, and in close imitation of Poornam, repeated his words! The audience burst out laughing. Malathi made a hasty exit, niece in tow. At the end of the show, she approached Poornam with an apology, but he said, “I hope this little Poornam will act in my plays, when she grows up.”

“Poornam did many one-act plays, one of which ‘Vandavan’ was enacted on the terrace in Sankara Netralaya,” recalls Baldev.

Poornam last acted in 2000, before passing on the mantle to Gurukulam, a troupe that consists of those he trained. However, he could never bring himself to say that he would no longer act in plays. Wife Susheela, who has seen every single show of Poornam’s, recalls how a few months before his death, he said to his relatives, “I’ll be doing a play soon.” That is perhaps why Susheela wanted make-up to be applied on his face as he made his last journey from home. And that was how Poornam left, with pancake on his face, in death, as in life.