"சினிமாவை பத்தி எதுவும் கேட்டுடாதீங்க"-அப்துல்கலாம்

அடிப்படை தத்துவம் அறிந்த தலைவர்

சென்னை அண்ணா பல்கலையில் சிறப்பு பேராசிரியராக டாக்டர் அப்துல்கலாம் பணியாற்றிக் கொண்டிருந்தார்.அவரை ஜனாதிபதியாக தேர்ந்தெடுக்கப் போகிற தகவல் கிடைத்ததும் அவரை பேட்டிகாண சென்றிருந்தேன். மலர் கொத்து கொடுத்து வாழ்த்து சொல்லிய பின் "பேட்டி வேண்டும்" என்றேன் . "நான் என்ன சார் பெரிசா சாதனை பண்ணிட்டேன் ..பேட்டி கேக்குறீங்களே ?" என தன்னடக்கமாக சொன்ன கலாம்
"நீங்க பொலிடிக்கல் ரிபோர்டரா ?" என்று கேட்டார். "சினிமா நிருபர், ஆனால் உங்களை பேட்டி எடுக்கும் அசைன்மென்ட் என்னிடம் கொடுக்க பட்டிருக்கு!" என சொன்னேன். "சினிமாவை பத்தி எதுவும் கேட்டுடாதீங்க .அப்புறம் நான் திருதிருன்னு முழிச்சிருவேன்" என அவர் சொன்ன போது ,எல்லோருமே சிரித்துவிட்டோம். அவருக்கு வாழ்த்துச் சொல்ல நிறைய பேர்கள் வந்து கொண்டே இருந்தார்கள். வாழ்த்த வந்திருப்பது மாணவ மாணவிகள் என்று தெரிந்தால் உடனே அவர்களை தன் அருகே வரவைத்து அவர்களுடைய படிப்பு, எதிர்கால லட்சியம் என பல விஷயங்களை விசாரிக்க ஆரம்பித்து விடுவார். ஒரு தகப்பனைப் போல ஒவ்வொருவருக்கம் அட்வைஸ் செய்தார். இதில் ஆச்சரியப் படும்படியான விஷயம் என்னன்னா .......
சொன்ன அட்வைசையே சொல்லாமல் ஒவ்வொரு மாணவருக்கும் ஒவ்வோவோருவிதமாக அட்வைஸ் செய்தது தான்! மாணவர்கள் சரியான பாதையில் சென்றால் தேசம் சரியான பாதையில் செல்லும் என்கிற சூழ்நிலையால் அவரால் பேட்டிக்கு நேரம் ஒதுக்க முடியாமல் போனாலும் கூட..
அவரோடு பழகிய அந்த சிலமணி நேரங்களில் சிறந்த மனிதரை சந்தித்த சந்தோஷம் மனதில் நிறைந்தது ! தலைமைப் பண்பிற்கான இலக்கணம் என்பது எளிமையும் , அடுத்தவர் மீதான அக்கறையும் தான் என்பதையும் அவரை பார்த்த பொது அறிய முடிந்தது."கனவுகள் எண்ணங்களை உருவாக்கும்! எண்ணங்களை செயல்களை உருவாக்கும் !

அகவே கனவு காணுங்கள்" என்றார் கலாம். நானும் கனவு காண்கிறேன். என் கனவு முழுக்க அப்பழுக்கற்ற அப்துல்கலாம் முகம் வந்து கொண்டே இருக்கிறது .

நன்றி.-
நக்கீரன் 18-12-௨009

from my CINE DIARY

Thiraichuvai

-MAJORDASAN
Senior Tamil Cinema Reporter &
Cinema P.R.O

ASHTAVATHANI


P. Bhanumati, celluloid queen of yesteryears was an exemplar of bravery, honesty and hard work. She was a short-story writer and a person of assorted talents. She was talented in screenplay, dialogue writing, music and composing, editing, cinematography, direction etc. Due to this versatility she was referred to as ‘Ashtavathani’. When I took her to Erode in May in the year 1985 to participate in a function, she was surrounded by the members of a ladies’ club there who put her questions. Bhanumathi was very quick and crisp in her replies.



Here are some of those interesting questions and Bhanumathi’s replies:

Q: You are afraid of what kind of people?

A: I am not afraid of anyone …only others are afraid of me! I am submissive only to the voice of my conscience.

Q: Out of the movies you had directed, which is your favorite?

A: ‘Ippadiyum oru penn’…

Q: What are your hobbies?

A: Story-writing. I am now gathering details about farming and cultivation.

Q: Today, no artiste is able to sustain in the field. What is the reason?

A: They don’t remain at a place even in the movie! They keep running and rolling! How can they remain steadily in the hearts of the film fans?!



I had met Bhanumathi at her T. Nagar residence for interviews for Tamil magazines including Kumudam and Saavi. She told me to put her name as Bhanumathi Ramakrishna, telling that if she was able to function with so much freedom in cinema and public life, her husband was responsible for that. “My native place is Ongole in Andhra Pradesh. Both my parents had formal training in Carnatic music. They had two sons and two daughters, I was the eldest. I also learned music even when I was young. In the year 1939, I acted as the second heroine in the film ‘Vara Vikrayam’, directed by P. Pulliah. After that, I acted in many films. When I was working in the film ‘Krishna Prema’, Ramakrishna, an assistant director of the film and me fell in love with each other. We got married with the full consent of our parents. ‘Sorga Seema’, in which I acted after my marriage, hit the box-office in both the languages - Tamil and Telugu. I acted with the leading heroes of the time in all the languages – Tamil, Telugu, Hindi and Kannada. Before signing any film I would put the condition that I would not allow indecency or closeness with the hero in love scenes or any other scene. So, the producers, directors and actors always remained at a distance,” Bhanumathi said with a hearty laugh. When I asked her for some unforgettable experiences, she said, “In the year 1975, the Andhra Pradesh Government conferred doctorate title on me. In 1984, Venkateswara University honored me with the same title. I organized All India women writers meet on 27th April 1965 in Hyderabad. Vijalakshmi Pandit was the chief guest. My son was born in Bharani star. We named him Bharanivenkatasubramania Sarma. We started a studio and a production company in his name. N. T. Rama Rao appointed me along with Rajnikant and Rajkumar as a trustee of Thirupati Devasthan committee. S. S. Vasan held a felicitation function to congratulate me and Sivaji Ganesan for the award of Padmashree title to both of us. In 1985, MGR, the then chief minister appointed me as the director and principal of the Government Music College. Indira Gandhi, who was present at the award function at Delhi told me that she had listened to all my songs and also had seen a few Hindi films of mine. These are the unforgettable occasions in my life,” Bhanumathi told with humility in voice. Bhanumathi a rare and versatile personality died on 24th December 2005 at the age of 81. Her husband Ramakrishna died at his son’s residence in America when MGR was the chief minister. MGR helped bring his body to India.
My request and wish is that either the Government of India or the Government of Tamil Nadu should institute a title “Ashtavathani Bhanumathi” and award it to the best actress of the year in honor of Bhanumathi Amma.

from my CINE DIARY

Thiraichuvai

-MAJORDASAN
Senior Tamil Cinema Reporter &
Cinema P.R.O

INSPIRING DIRECTOR

Director Sridhar ushered in an era of new concepts in Tamil cinema. Among his many achievements, introduction of informal language for dialogues was the most appreciated and received with great response. He was born to Vijayaraghavalu Reddiar – Thayarammal on 22 July 1933 at Siddhamur village near Mathuranthakam. He was encouraged by his classmates in school and college as well when he used to write and enact dramas. He came to Madras seeking opportunities in cinema industry. He wanted to become a scriptwriter. But Jupiter Pictures employed him as a distribution representative. The job required delivering film boxes at theatres and sending collection details. But during this time, he continued to write stories and dialogues in notebooks.



When he offered his script ‘Latchiyavadhi’ for production, it was rejected by all the directors. But T. K. S. Brothers, the doyens of stage drama were impressed by the theme and its presentation. T. K. Shanmugam was very much fascinated by Sridhar’s talents. The script, renamed as ‘Rathapaasam’ was enacted as a stage drama at Rasika Ranjani Sabha by the troupe on 11 November 1951 in Madras. The play received much applause. During the interval, Sridhar who was only 18 at that time was introduced to the audience as the scriptwriter of the play by T. K. Shanmugam. Subsequently, the play was filmed by Jupiter Pictures with T. K. Shanmugam and Anjali Devi in the lead roles in the same name. Sridhar wrote the dialogues. R. S. Mani directed. The movie, released in the year 1954 became a blockbuster. The same film was remade in Hindi by AVM under the title ‘Bhai-bhai’ with Ashok Kumar and Kishore Kumar in the lead roles as brothers. The Hindi version also proved a run-away success. The entire Indian film industry threw open its doors to Sridhar and welcomed him with open arms. ‘Uthama puthiran’ is one of the hits Sridhar gave. Kalyana parisu, Nenjil or aalayam,Vidivelli, Then nilavu, Sumai thaangi, Kaadhalika neramillai, Vennira aadai, Sivantha mann, Nenjirukkum varai, Kalai koil, Avalukkenru or manam, Uthiravinri ulle vaa (the film was directed by Sridhar’s assistant director Chakravarthy), Ilamai oonjalaadukirathu, Ninaivellaam Nithya, Thudikkum karangal, Vaira nenjam, Urimaikural and Meenava nanban were among his popular movies. Many of these films were remade in other languages including Hindi.

Sridhar was also a publisher of a film magazine Chitraalaya. For those who were eager to enter film and media, Sridhar was the inspiration. His wife Devasena was very much attached to him till his end which came on 19-10-2008. People like me, who were close to his family, know this truth. When Sridhar was paralyzed, I met him at his Neelankarai residence. Though he couldn’t talk fluently, he managed to tell me about his script he had in mind for Rajinikant and about another script meant for Ajith. I wept at his words moved both by his zest and inability.



Sridhar’s each and every film can be considered a lesson or even a lexicon for all those who want to enter films.

from my CINE DIARY

Thiraichuvai

-MAJORDASAN
Senior Tamil Cinema Reporter &
Cinema P.R.O

When MGR asked him whether drinking tea often would not harm his health, he replied that he liked tea very much and that he liked another seven ‘T’s. He continued and said – “Duty, Surety, Quality, Security, Responsibility, Sincerity and Punctuality! And, you’ve the eighth ‘T’, namely Personality!” While returning, MGR told me in a lighter vein that Dr. Radhakrishnan had left out the ninth ‘T’, that was ‘Pondaatti’ (wife) and that he had two instead! MGR gave me a book written by the former President and asked me to translate it. MGR enjoyed ‘Madigal’ part of that publication very much. After this incident, on the third day, MGR’s second wife Ammukutty died of tuberculosis despite very good treatment. MGR gave up tea after her death in her memory. MGR’s personality, briskness and the socialistic views expressed through his films attracted all. I remain his fan even today because of the many good things that I learned from his films. Part of the shooting for the film ‘Ther thiruvizha’ of ‘Sando’ Chinnappa Devar was held near Covelong River. The shooting crew included big stars like MGR, Jayalalitha, Muthuraman, Asokan, Vijayakumari, Nagesh and Manorama. The shooting continued for one week and everyday, there used to be huge crowd of fans. The way MGR controlled the crowd and ensured safe return of the artistes to the lodge where they stayed was really amazing. When the police lathicharged to control the crowd, MGR requested the police over mike not to beat the fans and said that if the police continued their action, the shooting would be cancelled and the crew would return to Madras without completing the work. At this, the crowd instantly became disciplined! While leaving the place after completion of the schedule, MGR thanked his fans for their cooperation from an open van. The fans were excited … Script-writer Ravindar, who was close to MGR for more than 35 years, shares with the readers of the film magazine Bommai some interesting anecdotes involving MGR … “The Central Government confers the titles ‘Bharath’ to men and ‘Urvasi’ to women if they excel in their fields. Bharath means fullness. MGR was the first actor to receive Bharath title (Film: Rikshawkaaran). MGR left for Calcutta to receive this honor. A function was got up at Sathya studio in appreciation of this title to MGR. Those, who spoke, referred to MGR as ‘Bharath MGR’. Two days after this function, I explained to MGR the meaning of the title ‘Bharath’. He asked me why I didn’t mention it in my speech at the felicitation function. I told him that I felt it wouldn’t be the right occasion for it. MGR expressed his heart-felt happiness and said that he felt that the title had the result only then. I couldn’t understand what he meant. MGR explained – “Calcutta is famous for rasagullas. My brother Chakrapani and I had been to Calcutta in the year 1936 for the shooting of the film ‘Maya Machindra’. At that time, my salary was only Rs. 200. We felt caged for one month during the schedule. In those days, there were no studios in Madras. I was very eager to eat rasagulla. The cost was four annas per rasagulla. But I didn’t have the money to buy even one. Kuldip, the server who was appointed as our cook fulfilled my wish. When I went to Calcutta now, I thought of this incident. When I came out after receiving the title, the fans were so excited that they shouted in one voice ‘Long live MGR’. In the crowd, I noticed Kuldip, looking very aged, standing in a corner with a garland in his hands. But he hesitated when I approached him. I took him to my room. He said he had two grandsons. I gave him a good sum of money when I realized his condition. He refused to accept it but I insisted and made him accept the money. I didn’t get the feeling of ‘Fullnes’ when I received the title, but I got that feeling when I got an opportunity to show my gratitude to Kuldip.” This was what MGR was …!
EXCLUSIVE M.G.R. ANSWERS
In those days, some magazines were publishing a ‘Question & Answer’ column. They received queries from the readers and got the replies from MGR. I’ll recall some of those very interesting questions and MGR’s very thoughtful replies that would make anyone to think over.

Q: Can students enter politics or not?

A: When a situation arises where the sovereignty of a country or the democratic life of its citizens or the mother tongue is threatened, students can surely get involved.

Q: Which married life can be considered as having ‘fullness’?
A: If there’s mutual love and duty-consciousness, the marriage can be considered the best.

Q: What is it that is not destroyed and that is destroyed by time?

A: Truth can never be destroyed. You can understand what is destroyable.

Q: Where can we see the God?

A: In your good deeds.

Q: When does the man become an animal? When does he become a real man? When does he become the God?

A: The man becomes an animal when he is frenzied; he becomes a real man when he receives love; when he sacrifices himself for the sake of a noble aim, he becomes God.

Q: What do you like, what do you hate?

A: I wish that everyone should live working hard till he breathes his last; now you can as well understand what I hate.

Q: I want to be your heir, I want your approval!

A: There’s no need for anyone who wants to become my heir to get my approval. All those who follow my principles are my heirs.

Q: Who is your role model in the film world?

A: In some of the things, I follow Kalaivanar.

Q: Please name the leaders who were responsible for your entry into politics …

A: Subhash Chandra Bose.

Q: When did you get the desire to don the role of Christ?

A: The wish blossomed when I watched the movie ‘King of kings’ of Cecil Be Demille.

Q: What provokes you, what pleases you?

A: When people keep repeating lies, I am angered. When a person admits frankly his true self, I feel happy.

Q: Do you believe that there’s a power beyond the power and rationale of man?

A: I am alive even after 12 January, 1967 (the day when actor M R. Radha shot MGR)! This itself is an instance to substantiate that there surely is a power above us.

from my CINE DIARY

Thiraichuvai

-MAJORDASAN
Senior Tamil Cinema Reporter &
Cinema P.R.O


Tamil filmdom … they say that film industry is a dream factory …it is true to some extent in the sense that it is translating the dreams of many into reality while at the same time rendering many a dream unfulfilled …! Cinema is the most suitable playfield for talents. But we have no idea about the struggles of great artistes and technicians behind the silver screen. Entry into filmdom is a thing which is almost next to impossible. Only a blessed few are lucky.
M. K. Thyagaraja Bhagavadar, the matinee idol of yesteryears drew crowds with his very attractive looks and his melodious voice. His hit number “kaayaatha kaanakathe …” is remembered and hummed even today. T. R. Rajakumari, the voluptuous beautiful heroine was the dream-girl of all the men of the period. Her hit movie Chandralekha, a block-buster owed its incredible success to this beauty queen apart from many other factors. And heroes like P. U. Chinnappa, M. K. Radha and T. R. Mahalingam still live in the hearts of the Tamils. MGR and Sivaji Ganesan remained uncrowned kings of Tamil filmdom. Those behind the screen – producers, directors, lyricists, music directors, playback singers, script-writers and dubbing artistes deserve credit for helping the stars to a great extent in their impeccable success.

In this series, I am going to share with you some fascinating anecdotes in the lives of the great artistes that could be of great interest to you all...
Nadigar thilakam’! He was popular as ‘Simmakuralon’ – having the voice of a lion! He was the model for acting for all his successors. Acting meant everything to him. He acquired his acting skills by working on the stage from his younger days and his debut movie was Parasakthi (1952). He was greatly attached to K. B. Sundarambal. He used to ask the great singer render old songs whenever he was free in between his schedules. During the shooting of the film Thiruvilaiyadal, A. P. Nagarajan, the director of the film was preparing a shot for a song sequence with Sundarambal. At that time, Sivaji Ganesan entered the spot and asked the director whether he was going to shoot the ‘sharbat song’! Nobody present there could understand what Sivaji meant. Then Sivaji came out in a lighter vein that he meant “gnana pazhathai pizhindhu …’ song! To this, KBS ridiculed Sivaji as ‘Netrikanna’ in a lighter vein! Then Sivaji pretended as though pacifying KBS and said that he wanted to see the shooting of that particular song because he was very much impressed when he heard its audio version. KBS was teary with joy at Sivaji’s words.

Kaka' Radhakrishnan continued, "Sivaji Ganesan's father Chinnayya Mandrayar was a great patriot. He took part in the freedom struggle. He plotted with some other men to blow up the train with dynamite that was carrying the British army. But the team was caught by the police and Sivaji's father was also put in jail. Sivaji was born on that particular day, on 1 October 1928. His father, who was released after seven years of imprisonment, took Sivaji, a seven-year old to watch Kattabomman drama. In those days, small boys required for one or two scenes in the drama would be picked up from among the audience, they would not be regular artistes. On that day, Sivaji, who was sitting in the front row, was picked up for stage appearance. He was to stand as part of the British army. Sivaji’s first stage experience was an accident, not planned. But, on returning home, Sivaji’s father beat him severely censuring him for having joined the British army (on stage only, of course)! Sivaji’s mother Rajamani Ammal gave her son fomentation as Sivaji had red patches all over his body due to the beatings.
Radhakrishnan recalled some anecdotes that happened when Sivaji worked with M. R. Radha. “M. R. Radha left our troupe and returned after sometime on his own. Both Radha and Sivaji had a lot of affection for each other. Radha used to comb our hair, clean the rooms and even the bathroom as he was always particular about cleanliness. And he knew to repair electrical goods and automobiles.
Sivaji donned the role of a woman in a drama ‘Pathibhakthi’. Sivaji was required to push down Radha and hit him with his leg in a particular scene. But Sivaji hesitated because he had great respect for Radha and looked upon him as his own father. Radha tackled the situation cleverly by falling down on the floor and shouting ‘iyayyo …iyayo …’, signaling to Sivaji to hit him with leg. After the scene was over, he censured Sivaji with harsh words for having failed to act. Radha was always for competitive performance. During the next staging of the play, Sivaji excelled Radha in that particular scene. Radha inculcated in Sivaji the feeling of identifying oneself with the character he acted.

SIVAJI OPEN TALK

I should thank Major Sundararajan only for my close contact with Sivaji Ganesan. When I interviewed Sivaji for the first time I asked him how it happened that Sivaji acted in the role that was marked for MGR in the ‘Sivaji kanda Indu rajyam’ drama, written by Arignar Anna. 'Madi Oli' Shanmugam tried to defuse the situation by telling Sivaji that I, being very young, didn’t know that I shouldn’t have put that question. But, Shivaji didn’t mind my question. He said, "In the year 1946, Dravidar Kazhagam was making arrangements to hold its 7th Self-respect conference in Madras. The drama was meant for that occasion only. Even the costumes were ready for MGR. But subsequently MGR backed out, I didn’t know the reason. Anna asked me to do the role and gave me the script which contained 72 pages of dialogues. The time left for the staging was only one week. And, Anna came again in the evening. I performed before him delivering the dialogues with suitable modifications in voice. Anna was so impressed and surprised at my performance. The dresses stitched for MGR were altered to suit my measurements. Anna brought Periyaar who used to say that fine arts and artistes were responsible for the degeneration of the society to watch the drama. Periyaar was so pleased and wondered that Anna had conveyed in a single drama what all he had planned to tell at the conference. When Anna introduced me as Ganesan to Periyaar, he told me that I would be Sivaji Ganesan thereafter. I got this title even before I entered cinema."
Director K. Subramaniam, the Godfather of Tamil cinema had introduced many new faces. At one time, Azha. Rama. Azhagappa Chettiar and ‘Lena’ Laksman Chettiar invited Subramaniam to Karaikudi. Azhagappa Chettiar wanted to make a film in Subramaniam’s direction. All the three watched the stage drama ‘Pavalakkodi’ there. Subramaniam was terribly impressed with a very handsome young man doing the role of Arjuna and singing in a melodious voice. He was also impressed with the heroine. He then called for both the hero and the heroine and asked them both whether they were willing to act in the cinema ‘Pavalakkodi’. Thyagaraja Bhagwadhar and S. D. Subbulakshmi were the hero and the heroine. MKT got Rs. 1,000 as his remuneration while Subbulakshmi got Rs. 2,000. The director of the film got just Rs. 700 as his salary!

வணக்கம்..... வாழ்க வளமுடன்
உங்கள் அன்பு உள்ளம் மேஜர்தாசன்