Film Appreciation:

Further advancement in Tamil cinema

K S Sivakumaran

Films in Focus

* Kanvanae Kun Kanda Deivam
*Missi Amma
* Kalyanap Parisu
*Naan Avan Illai
*Parasakthi
* Mudalali
* Naanum Oru Penn

In Tamil Cinema M K Thyagarajah Bagavathar, P U Chinnappa, Honappa, Ranga Rao, Rama Rao, Nageswara Rao, V Nagiah, Asokan, T R Rajakumari, P Kannamba, Bhanumathi, Anjali Devi, Savitri, and Padmini were prominent in the early stages.

Then came the saga of Sivaji Ganeshan and M G Ramachandran and they were followed by Jeya Shankar and Ravichandran, Saroja Devi, Devika, Vijya Kumri and others.

Popular director

We must talk about a little of Gemini Ganeshan (father of the Hindi actress Rekha). He has acted with Sivaji Ganeshan in films produced by Bheemingh, a very popular director who brought some well made entertaining films with strong storylines. During the second half of the 1950s Gemini Ganeshan figured prominently, especially acting with a fine actress Savitri. His films include “Kanvanae Kun Kanda Deivam” ( Husband is the Visible Deity), an enjoyable comedy “Missi Amma”, a well-scripted and Hollywood inspired serious film-maker Sri Dhar’s film and “Kalyanap Parisu” (The Wedding Gift). Moving into the 1960s and 70s, Gemini Ganshan acted in “KalathoorKannamma” (Kanamma of Kalathoor), Katpagam (in which another fine actress K R Vijaya acted) and “Naan Avan Illai” (I am not He)

S S Cnidarian, who had acted with Sivaji Ganeshan’s first film “Parasakthi”, made a mark in “Mudalali” (The Boss ) against Devika), Thai Piranthaal Vali Pirakkum ( (Once January comes the way opens) and “Naanum Oru Penn” (Me too, a Woman) against his former wife Vijaya Kumari.

Jeya Shankar who acted in films of action and suspense and melodramas brought a new kind of acting style with his film Iravu Pahalum (Night and Day), Vallavanukku Vallavan (Mighty to the Mighty), “Poova Talaiya” (Head or Tail), and Nootukku Noorru ( Hundred out of Hundred).

Ravi Shankar having come from Singapore brought ultra modern mannerisms for a conservative actor. He shot to fame in his comedy film “Kaathalkka Neram Illai” (No time for Love) made by Sri Dhar. His other notable films were: “Ithayk Kamalam” (The Heart that is Lotus, “Kumrip Penn” (The Lass), and “Moontru Eluththu” (Three Letters)

Muthu Raman was another fine actor and his son Karthik also made a mark in Tamil Cinema.

We must remember also the contributions made by Aswathama, M S Subbulakshmi, P Kannamba, T R Rajakumari, B S Saroja, P Bhanumathi, Anjali Devi, M V Rajamma, Pandari Bhai, l Savitri, Saroja Devi, K R Vijaya, Lakshmi, and others who became household names in Tamilnadu and Lanka.

Director’s art

Next, we turn the pages of a different kind. Earlier the film stars got prominence. The viewers were not worried about the directors. But later the role of film directors, (who replaced the publicity given to the players), with their individual talent became to be appreciated. As knowledgeable would know Cinema is a director’s art while Drama is an actor’s art.

Some of the notable film directors up to the late 60s were C V SriDhar, A.Bhimsingh, K S Gopalakrishnan, Muktha V. Srinivasan, Chinappa Devar, Ramanna, Krishnan-Panju, P. Madhavan, C V Rjhendran, K. Balachandar, Bharathi Raja, Bagiya Rajah, Balu Mahendra, Mahendran, and T.Rajendar. This list includes both old and new. Some brief notes about a few:

A dramatist turned script writer Sri Dhar was greatly influenced by the Hollywood style of film-making. His first film Kalyana Parisu (Wedding Gift), a story based on the triangle of love became a hit in 1955.

Then he made Thean Nilvu (Honey Moon) with the noted actress and dancer Vyjayanthimala and Gemini Ganeshan. In 1962, his film Nenjil Ore Aalayam (Temple in Heart), which was an offbeat film in meticulous direction, cinematography music and meaningful dialogues. Sridhar made (Kaathalika Neram Illai (No Time to Love) an entertainer in colour and shot outside the studio. His film techniques were unique at that time.

Bhim Singh became famous using talented actors at that time with strong melodramatic themes that the audiences were thrilled.

Music by the duo Visvanathan –Ramamurthi was another plus point in such films as Paava Manippu ( Forgiveness of Sin), Paalum Palamum ( Milk and Fruit), Padithaal Maddum Pothumaa (Would Studies alone be Enough), Paarthaal Passi Theerum ( Mere look will satiate Hunger), all very popular films made in the early 1960s.

Technical devices

Tamil film continued to rely on the dialogue rather than images. Lyrics and songs substituted for images as the audiences could not understand tight editing, flash backs and other technical devices.

Although the middle class and the upper class were educated to understand the film as a different medium from the theatre, a vast majority of viewers from the illiterate classes needed everything explained to them through dialogue, songs etc.

K S Gopaslakrihnan was thus a successful director through his dialogue.

His films Katpgam and Kai Kodutha Deivam (The God like one that helped) also became a turning point in the 60s.

We shall peep into the Tamil cinema of the 1960s a little further next week.

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