Category Archives: Theater

From Book to Celluloid : Thaneer Thaneer

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By Sugeeth Krishnamoorthy

The late 1800s saw a cultural renaissance in what is Tamil Nadu today. Several art forms, including traditional dances and performing arts  like Sathir, Poi Kaal Kuthirai, Thol Paavai Koothu, Bommalatam, and so on, saw a revival, that was not just culturally driven but also strongly driven by the nationalistic movement. Legends like U.V. Swaminatha Iyer discovered and published literature that sought to explain the culture, history and life of the ancient Tamils.

The origins of modern theatre began in the second half of the 19th century. Its success can largely be attributed to two doyens: Sankaradas Swamigal and Pammal Sammanda Mudaliar. These two dramatists strongly defined theatre, as it would be, in the years to come.

While most of early theatre was based on puranic themes, several of the plays Mudaliar was involved in writing had modern themes adapted or inspired from English plays or based on contemporary social commentary. Several of Mudaliar’s works like ‘Sabapathy’, ‘Manohara’, ‘NallaThangal’, ‘Yayati’ and ‘Dasi Penn’ were adapted to film formats. There were also nationalist’ plays attempted to be made into film, like Inbasagaran[1], based on Kovai Ayyamuthu’s stage play of the same name. The early actors of the Tamil talkies were also sourced from stage[2], as they had the ability to sing and thereby influence the audience through their melodious voice, although the initial acting during the first decade of Tamil cinema, was, at times, very rough and crude. The oldest surviving film today, is Pavalakkodi[3], which D.V.Balakrishnan, says was a filmed version of a stage drama.

‘Free India’ was reeling under immense poverty. This became a hot-bed for intellectuals and writers, who inspired by communist principles sought expression through literature and film. Subsequently, several films in the 60s, 70s and early 80s were made that were based on interlinking themes of unemployment, poverty and communist ideology.

Thanneer….. Thanneer is one such story. This story, penned by Komal Swaminathan,resulted from a discussion among a group of intellectuals in the late 70s, on what could possibly become a defining ‘Tamil stage drama’ in a global arena[4]. Interestingly, the writer rated this work as his best. The play, is based on the characters who live in a remote village, and their daily struggle to fetch water— a basic commodity, that eludes them.

It is their trials and tribulations that form the story. Using water as a metaphor, Swaminathan has woven a tale about the social injustices faced by marginalized sections of society. The writer challenges these inequities by asking, for instance, why villagers are allowed a ration of only 1kg of sugar, whereas urbanites are permitted 5kgs. More over, being denied the basic necessities of life existence like Water, The writer also, at various points in the story, points out how the ‘communist party’ targeted these groups, winning their allegiance through their overt challenges of authority using tools such as ‘unions’ and ‘boycotts’. The author also makes references, sarcastically at times, to the impending “River Integration” schemes’ and the presence of Seemai Karuvelam marams’ surrounding the village. For a state that has no natural river springs and that is dependent on three rivers from neighbouring states, these issues are only too relevant even today.

Another aspect that the writer brings in vote-bank politics. This divisive strategy used by politicians is as if not more relevant today as it was then. The writer speaks of the plight of these groups of people, exploited by politicians and left high and dry after they come to power.

When Vellaisamy, a nomad with a murky past, comes across this tiny village and its people reeling from  drought, he tells the villagers, “If the State and the Administration will not help you, then you must take things into your own hands.”   He leads the villagers and is yet one among them, helping them launch a campaign to regain their rightful claim to that vital fluid, water. And when all seems lost, he provides the villagers, hope and the courage, to do the unthinkable—build a canal; break the hills and divert the water towards the village[5]. When the villagers attempt to do this, the State opposes, puts an end to an undertaking that will alleviate the suffering of the villagers, instead declaring it unlawful. What follows is the climax of this play.

Although the play seems most obviously influenced communist ideals, it is easy to see past it objectively to the dominant and apolitical issue of human rights violation. It makes one wonder what crime the poor villages committed to be denied, even the most basic necessities? The author concludes, adopting a communist stance that if these things continued to happen, social revolution will be inevitable.

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K.Balachander, made this play into a movie with the same name -— “Thanneer…Thanneer’. Keeping the basic structure of the play intact, Balachander has made a few changes that have added value to the film. In stark contrast to other Kollywood directors of his time, K. Balachander was known to give a lot of importance and ‘central’ roles to his female leads. In this story, there is only one female character, Sevanthi. Balachander has altered her role significantly, to make her the mother of a new born, who is spending her early motherhood at the place of her birth. This enables Sevanthi[6] to be in the village ‘Athipatti’, the place where the story takes place, and thereby play a central role in the film.

At various points in the original play, one can observe a generational difference in thinking between the older men, who prefer being subservient to their boss and the younger rebellious group, lead by Goval. By introducing a female character, Sevulli, at the ‘cheri’, and creating a love interest for Goval, K.B has also tried to raise issues about caste-based geographical segregation, which was and is quite common in rural India. By making Sevulli, a victim of paralysis, Goval’s love interest ,K.B brings the issue of ‘poisoned flouride well’,  beside the cheri[7]into focus in a powerful way. Unlike in the movie, Swaminathan’s play does not dwell too much on this part of the story.

There are two other important characters in this film. Being the most educated person in the village, Vaidhyanathan, the school teacher represents the ‘experience of age’ and yet at the same time, has the power to command respect amongst the hasty youth. Originally a nomad, Vellaisamy, a run away convict, finds the village ‘Athipatti’ as his new home. He becomes one of the dynamic leaders of the village and offers solutions and plays a major role in the attempts of the villagers to bring water to them. His presence in the village grows to  a point where the villagers on coming to know of his past, offer to protect him rather than hand him to the police, inspite of a bounty on Vellaisamy’s head. Balachander has retained the essential elements of both these characters, right across the film.

Aligning with the theme of the film, K.B also introduces several dramatic elements that add more value to the story, as film is a visual medium. There are certain scenes—such as the one where the poosari tricks Sevanthi into fetching a pot of water, threatening to otherwise curse her; the man who opposes the village’s rules and enters the polling booth to drink as much water as he can; , the conversation between Sevanthi and the engineer who asks for water for his Jeep; and the one where the Nayakar in his thirst laps up the soda he brings with him in his vehicle—that are apt examples of the use of such elements to elevate the film.

Another invaluable aspect of this film is the music. Without wasting footage, several dialogues in the film, which were cut out at the editor’s table were, used in the title track, as audio fillers. There is also the clever use of silence to convey climactic emotion — such as when the rain clouds betray the expectant village-folk ( with the camera panning on Sevanthi), when the womenfolk with their mud pots block the passage of the politician, and when a battalion of police face-off against the shocked village-folk at the site where the mountain is to be broken. The film makes good use of natural sounds like baby-cries, breaking of wood and wooden pots, among others. The short folk songs, which were there in the original play itself, keep with the tone and mood of the film.

The end climax sees a couple of major changes. In the play, the teacher ‘Vaidhyanathan’ continues to take classes for the children in the evening, but in the film version, he volunteers to go to jail claiming he was responsible for hiding Vellaisamy. Another surprising element is that, in the climax, Sevanthi removes her thaali’ and throws it at her husband Alagiri, who threatens her. She tells him to put it around his neck, along with the several medals that he is going to receive after arresting Vellaisamy. This scene would have invariably added more value to the ‘characterization’ of Sevanthi. It would have added weight to K.B’s portrayal of ‘the independent woman’, but alas this scene was omitted.

The death of Vellaisamy is tragic, yet poetic. The man who started things with a ‘hiccup’ and went on to attempt to save the village, thanks to Sevvanthi’s act of kindness, did not get any water when he was chased by the police and died of thirst. Goval, who was shown to have a rebellious streak,joined similar groups. And in an unresolved pre-climax, several people leave the village while those that chose to live behind, lived in hope.

The film ends with a montage shots:government officials engaged in water conservation programmes’ and ‘River integration’ discussions;. Nayakar going to the village and pleading with his caste members (the same ones who boycotted him earlier) for votes and. Sevanthi laughing to his face; and finally a paddy field covered with flags of political parties.

The writer of the play must have had tremendous foresight and politico-social insight if the dominant themes of the film continue to be relevant 35 years later. The film “Thanneer…Thanneer” does the play justice by staying true to its content and spirit while adapting it to the medium and the ethos in an evocative and sensitive manner. The movie is sure to leave you with a lump in your throat!

Watch the screening of this film at Ashvita Bistro on the 17th April at 7.30pm

Notes:

[1] Inbasagaran’ was made into a film, as well. Unfortunately, it met with a tragic fire accident just before release. The reels were lost and the film was never released. The film was produced by Mahalakshmi Studios, a film production company.

[2] Successful actors like M.K.Thiyagaraja Bhagavathar, S.D.Subbulakshmi, N.S.Krishnan, S.V.Sahasranamam all came from the stage.

[3] Pavalakkodi (1934) and Sathi Sulochana(1934) are the oldest surviving Tamil Films. Both of them have been preserved at the N.F.A.I

[4] Komal Swaminathan’s own words : ‘Thaneer.. Thaneer’ – Vanathi Pathipagam.

[5]Such an event has happened for real in our History. The Mulla Periyar dam was built to divert water from Upper Kerala to Lower South Tamilnadu, a century ago. Less than a tenth of the water has been diverted, yet this water which reaches Tamilnadu takes care of the drinking and irrigation needs of 6 districts in Tamilnadu. The Dam was built by a British man, John Penny Cuik, who is revered in Theni District.

[6]In the original play, Sevanthi is married off to a policeman, Alagiri and leaves the village after marriage. She returns for Aadi, and plays a prominent role in the climax. She does not have any children in the play.

[7]The play tells us that the people of Athipatti did not use the water of the cheri, because the well was poisoned. Alternatively, we may speculate that they refused to do so, also because of caste- based differences. However, there is a scene in which Goval and his friend, drink water from this ‘fluoride well’ due to unbearable thirst, as no water sources existed in the vicinity.

 

Major Chandrakanth : From Stage to Celluloid

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By Karthik Bhatt

Major Chandrakanth

Song book of Major Chandrakanth PC: From the archives of TCRC

‘Major’ Sundarrajan was one of Tamil cinema’s most well-known character actors.  His dialogue delivery which mixed English and Tamil phrases was sophisticated and unique and rather unsurprisingly, he was the first choice when it came to portraying characters such as a rich father. For someone with no connection to the armed forces whatsoever (he was employed with the Telephones Department), his identity as ‘Major’ Sundarrajan was came about thanks to Major Chandrakanth, the successful stage play and movie.

Tamil cinema over the years has seen many directors who can be considered trendsetters. One of the biggest names in the list is that of Dadasaheb Phalke awardee, late Kailasam Balachander. Born in Nannilam in 1930, Balachander developed a keen interest in Tamil theatre at a young age and as a boy used to write, act and direct small skits in his village. He moved to Madras around 1949-50 after graduating from the Annamalai University and a brief stint as a teacher and joined the Accountant General’s office. It was around this time that the amateur theatre movement, which would see its heydays in the 1960s and 1970s had started to take roots, with the likes of United Amateur Artistes, Triplicane Fine Arts Club, Mylapore Fine Arts and Indian National Artistes (run by VS Raghavan) regularly performing to packed audiences. Added to this were the recreation clubs of the various Government and private sector offices. The Accountant General’s office had an active recreation club and soon K Balachander started becoming part of the theatre circuit, writing and acting plays.

‘Major’ Chandrakanth was born in the Accountant General’s office. A new Accountant General from Bengal had taken charge in Madras and a function had been organised to welcome him. The mantle of writing a play to be staged on the occasion fell on K Balachander, who decided that it had to be in English to ensure that the Accountant General understood the play. The story, titled “Courage of Conviction” revolved around a blind Major. K Balachander played the role of the protagonist and received great appreciation for his authentic portrayal of a blind man’s mannerisms.

K Balachander decided to expand the play into a full length script for Ragini Recreations, the troupe that had been formed by his friend PR Govindarajan (later Kalakendra Govindarajan) in 1958. By this time he had developed close friendships with people such as S.Raman (later more famously known as ‘Nair’ Raman), Harikrishnan, ISR and Venky. They were an integral part of the plays staged by the troupe. Over the next few years, the troupe would attract the likes of Nagesh, Major Sundarrajan and Sowcar Janaki, making it one of the most formidable ones on the amateur theatre circuit.

The story of ‘Major’ Chandrakanth dealt with an honest and morally upright blind army officer who gives asylum to a murderer on the run from the police for having killed a person in a fit of rage. The victim had been his sister’s lover, who had cheated her on promise of marriage leading to her suicide unable to bear the shame. On the case to find the murderer is the Major’s elder son, a police officer. It then comes to light that the person who had been murdered was the Major’s younger son and that both the Major and the murderer were unaware of each other’s identity for a long time. The story ended with the officer arresting the murderer and the Major for having harboured a criminal.

The role of the Major was played by Sundarrajan, who was then performing small roles with the Triplicane Fine Arts, while that of the elder son was played by Venky. Govindarajan donned the role of the younger son. Interestingly, the character of the sister was an invisible one with only references to her being made onstage and was developed into a full length role only in the movie, while the brother’s character was played by Gokulnath. The play was a stupendous success and before long, it had been adapted into a movie. The adaptation was in Hindi, the movie Oonche Log. Produced by M/s Chitrakala Films and directed by Phani Majumdar, it won the Second Prize in the Hindi movies category at the 13th National Film Awards for the year 1965. It was Feroz Khan’s first major hit, where he held his own against veterans such as Ashok Kumar (who played the Major) and Raaj Kumar. The Tamil version of the movie was produced by AVM Productions and came out the following year. Directed by K Balachander himself, the movie was a stupendous hit.

The play led to two other christenings. Venky, who was then employed in the American Consulate was named Srikanth after the character by K Balachander. He would go on to feature in several other plays and movies by Balachander and become a popular actor in the 1960s and 1970s. A decade or so later, Balachander gave the name of the younger son’s character to a person who today is the country’s biggest superstar, Rajinikanth.

Vietnam Veedu : From Stage to Celluloid

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By Karthik  Bhatt

Monikers over a period of time become so deeply entrenched with one’s identity that it becomes impossible to identify the person without it. While Sundaram may not ring a bell readily, Vietnam Veedu Sundaram would immediately bring to mind the successful stage and cine writer from the 1960s and 1970s. This post on the film that gave him his identity.

Born in Trichy in 1940, Sundaram came to Chennai around 1955. His formal education had been cut short by poverty. Perhaps as an indicator of how his life would unfold, he found accommodation with and company of two others at the famed Club House in T Nagar (opposite the Siva Vishnu temple) who were already on their way to becoming well-known names in the tinsel world, Nagesh and Srikanth.  He joined the Dunlop Tyre Company as a machine operator even when their factory was under construction on a night shift.

It was around this time that the world of Tamil theatre was undergoing a transition of sorts.  A new order so to speak was developing, with the era of professional drama troupes (made up of members with acting as their chosen profession) slowly giving way to amateur troupes, where members juggled their day jobs with theatre. One of the earliest such troupes to be founded was the United Amateur Artistes (UAA) by YG Parthasarathy and N Padmanabhan (Pattu). It had its genesis in 1952, ironically in the tennis lawns of the Suguna Vilasa Sabha!

A chance encounter with YG Parthasarathy resulted in Sundaram becoming a part of UAA. He soon became an integral part of the support cast, taking care of costumes and set properties. His role included that of a copywriter for Pattu, who wrote the scripts for the troupe. Y.Gee.Mahendra in an interview recalls that Sundaram would unobtrusively add a few dialogues of his own, which would be retained as they were so good. Then came the script that would propel Sundaram to fame.

Vietnam Veedu was Sundaram’s first full length play. It dealt with the story that contrasted the pre and post retirement life of an honest company executive, Prestige Padmanabha Iyer and his family. Those were the days when retirement was looked upon as an event that brought about with it significant changes in lifestyle and was considered ominous, especially if there were family obligations still to be fulfilled by the householder. On completing the script, Sundaram took it to his mentor YG Parthasarathy in the hope that it could be staged by UAA. Much to his dismay, it did not find favour with him and it seemed that the script would remain on the shelves. Destiny would have other plans though.

The script caught the attention of Sivaji Ganesan, who by then had risen to great heights as one of Tamil cinema’s biggest stars. His passion for stage had remained undiminished though and he continued to be a busy drama artiste running his own troupe, the Sivaji Nataka Manram. Impressed by the script and its dialogues, he decided to stage the play. In his biography Enathu Suyasarithai he says that he was so impressed by the dialogues that he spoke them verbatim and did not improvise them, as he was prone to do at times. Yet another interesting incident he narrates in his biography is from the inauguration of the play. The first scene had Prestige Padmanabha Iyer paying tribute to the supreme sacrifice and love of his mother who had worked at a hotel, grinding batter and bringing him up with great difficulty. Sivaji Ganesan says that the moment he spoke the dialogue, he heard the sound of a person sobbing in the audience. It was SS Vasan, the boss of Gemini Studios, who was reminded of his mother who had brought him up under similar circumstances. At yet another staging, a visibly moved Vasan went up to Sivaji Ganesan’s father who was in the audience went up to him and hugged him.

The play was a resounding success and Ananda Vikatan published the entire play in a series of issues. Its success meant that it was not long before it was made into a movie. Produced by Sivaji Ganesan under his own banner Sivaji Productions, it was directed by P Madhavan and was released in 1970.

Vietnam Veedu Sundaram’s went on to write successful scripts for UAA such as Kannan Vandhaan (which was made into a movie as Gauravam) and Nalamdhaana.

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Song Book of Vietnam Veedu PC: Archives of TCRC

Vietnam Veedu2

A still from the film Vietnam Veedu PC: Archives of TCRC

Kaasethaan Kadavulada: From Stage To Celluloid

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By Karthik Bhatt

Chitralaya Gopu is one of Tamil cinema’s most well-known humour writers. His association with his classmate and close friend from school, the legendary director CV Sridhar and his unit Chitralaya has been responsible for some of Tamil cinema’s most memorable movies such as Then Nilavu, Nenjil Or Alayam, Policekaran Magal and the evergreen Kadhalikka Neramillai.

Unlike many of his colleagues from the film world who came from a theatre background, Gopu’s association with stage came about quite by chance.  “It was the time of the Chinese aggression. The Tamil Nadu Government requested Sivaji Ganesan and Sridhar to arrange for an entertainment programme involving all the top stars of that time that could be staged across all the major districts of the State for fund raising. I was asked by Sridhar to write short plays for the programme. I wrote two pieces, one a ten minute skit involving Gemini Ganesan and Savitri titled Naveena Dushyanthan Sakunthalai and the other, a multi-starrer 45 min play about a man and his attempts to get his four daughters married. This was Galatta Kalyanam, which was later made into a movie by the same name. It was my first proper attempt at stage plays”, says Gopu.

“It was around this time that an amateur theatre troupe called the Unity Club was functioning in Triplicane”, he continues. “Primarily comprising members who were lawyers or employed with various offices, its star attraction was Major Sundararajan. Following his exit, the troupe was on the lookout for a suitable replacement, who could help their cause with obtaining performance opportunities. Thanks to my film connections, I was roped into the troupe by my cousin who was its secretary. I managed to get Manorama to act in a script written by Ananthu, who was part of K Balachander’s unit. Since I had approached her to be part of the troupe, I was given a role in the play too. It was probably a way of ensuring that I was committed to be present at all times”, chuckles Gopu, who soon started writing full-fledged plays. The troupe continued its journey continued with fairly successful plays such as Sreemathy and Dhikku theriyadha veetil. Its biggest hit was however Kaasedhaan Kadavulada”.

The story of Kaasedhaan Kadavulada revolved around the matriarch, the boss of a wealthy family. The second wife of a henpecked husband, her miserly ways cause great consternation with the son of the first wife and his cousin, who forever look for ways to make her part with the wealth. Taking advantage of an opportunity that arises with the news of the arrival of a Swamiji to their home, they enlist the services of a petty thief turned tea shop owner, a childhood friend to impersonate him and steal the money. The hilarious sequence of events that follow his arrival form the crux of the story.

“By this time, we had managed to rope in the likes of Muthuraman, Venniradai Moorthy and V Gopalakrishnan to act in our plays. The first three were part of Kaasedhaan Kadavulada. Muthuraman played the role of the son, while Venniradai Moorthy played his father. The role that was the biggest hit was however that of the Swamiji. It was essayed by Ramani, a popular mimicry artiste who was a colleague of K Balachander at AGS office and also a part of Ragini Recreations. Manorama played Muthuraman’s love interest”, remembers Gopu.

The play was a resounding success. AV Meiyappa Chettiar and his wife enjoyed it immensely and their sons watched it in succeeding shows. “Manorama told me that it was sure to be made into a movie, as the entire family had witnessed the play. Sure enough, I was soon called to AVM Studios. AV Meiyappa Chettiar was particular that I direct the movie. It marked my debut as a director. Muthuraman and Venniradai Moorthy reprised their onstage roles. As Manorama was not a regular heroine artiste, she was made the matriarch of the family, while Lakshmi was brought in to play Muthuraman’s love interest. For the pivotal role of the Swamiji, the name of Thengai Srinivasan was suggested, to which I readily agreed. The onstage success of the character was replicated on celluloid. A huge hoarding of Thengai Srinivasan was put up by AVM at Pilot theatre, where the film was running to packed houses”, recollects Gopu.

One of the highlights of Thengai Srinivasan’s performance was the gibberish he speaks in an effort to pass it off as Sanskrit.In the video clip below, you can see him even uttering the names of all the actors in the scene as he enters!

An interesting anecdote revolving around the play which was written about in the media was the death of a man who had come to watch one of the shows. His hearty laughter apparently caused him seizures due to which he had to be hospitalised, only to pass away shortly after!

That the movie attracts a great fan following and continues to be regularly shown on television channels to this date is perhaps the greatest tribute to the genial Chitralaya Gopu and his brand of clean humour.

The play has been recently revived by YG Mahendra’s UAA, with a few modifications by Gopu’s son, Chitralaya Sriram.

(Special thanks to Chitralaya Gopu for his inputs and to his son Chitralaya Sriram for having facilitated the interview).

 

Naam Iruvar : From Stage to Celluloid

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By Karthik Bhatt

The next in the series of from Stage to Celluloid we visit AVM’s baby Naam Iruvar.

The AVM productions banner occupies a pride of place in Indian cinema. With movies not only in Tamil but also in other languages such as Hindi, Kannada, Telugu, Bengali and even Sinhalese, its seven decade journey has been a remarkable one, launching the career of many a star.

Born in Karaikudi in 1907, AV Meiyappa Chettiar as a teenager joined his father’s general stores business, AV and Sons. In 1928, they acquired the distribution rights of gramophone records of SG Kittappa and KB Sundarambal for the southern districts and thus began AV Meiyappa Chettiar’s tryst with the world of cinema. In 1932, he along with his friends started Saraswathi Stores in Madras, dealing in gramophone records. His foray into film making in 1934 had a disastrous start with a hat-trick of losses over the first few years (Alli Arjuna, Aryamala and Nandakumar). These movies were produced under various partnerships with his associates.

In 1946, AV Meiyappa Chettiar decided to strike it out on his own. Thus was born AVM Productions. This post is about its first production, Naam Iruvar.

Meiyappa Chettiar had great regard for theatre. In his autobiography Enathu Vaazhkai Anubavangal (My Experiences in Life), he writes about its importance and how a good stage circuit was essential for new actors and technicians to develop in cinema. Many of his early movies were based on stage plays.

Pa.Neelakandan, born in 1916 began his career as a journalist, working for a couple of Tamil magazines. His first play, Mullil Roja was staged by TKS Brothers in 1942 and won him instant fame. He then wrote a play called Thyaga Ullam, which was awaiting a troupe for its staging. It was around this time that NS Krishnan had been sent to jail in the sensational Lakshmikantan murder case. The responsibility of running his troupe, NSK Nataka Sabha fell on his close friend and associate SV Sahasranamam. The troupe was undergoing troubled times, with a split causing actors such as KR Ramaswamy and Sivaji Ganesan to move out. Sahasranamam was looking for a suitable script to stage when he heard of the success of Mullil Roja. He wrote to TK Shanmugam and requested to be introduced to Pa.Neelakandan.

Neelakandan met Sahasranamam the following week and narrated the script of Thyaga Ullam, which was based on the relationship between two brothers. Sahasranamam liked the script and it was decided that the troupe stage the play. He however suggested to Neelakandan that a character portraying the sister of the two brothers be included, which was agreed to. The play was renamed Naam Iruvar. In his autobiography Thirumbiparkiren, Sahasranamam says that the songs for the play were written by KP Kamakshi Sundaram, who would later go on to become a well-known lyricist. The song ‘Parakkum Bharatha Manikkodiye’ particularly was a hit with the masses. A few songs of Subramania Bharathi which were also used added immense value to the play. Sahasranamam also says that the concept of playback singing in a stage play was introduced in this production. The play, whose inauguration was presided over by noted journalist and author, Va.Ra was a tremendous success, with over 100 shows being staged.

AV Meiyappa Chettiar, who had watched the play nearly 10 times at the eponymous Walltax theatre decided to make it into a movie. He bought the rights from Pa.Neelakandan for a sum of Rs 3000 and also hired him as an assistant director for the movie. A few actors from the play were booked for the movie. Sahasranamam was offered the role of the hero, which he initially accepted. He later backed out owing to logistics issues of balancing the running of NSK Nataka Sabha and the shooting of the movie, which was being held in Karaikudi, where AVM Studios was then functioning. However, it would prove to be a big break for another actor who would go on to become of Tamil cinema’s most popular comedian and character actors, VK Ramaswamy. Notable names in the film included TR Mahalingam (who replaced SV Sahasranamam,), BR Panthulu, who would later go on to direct and produce several colossal movies, K Sarangapani and TR Ramachandran. The role of the sister to the two brothers was played by ‘Baby’ Kamala, a child prodigy who would later make waves in the world of dance as Kumari Kamala.

The most interesting side story in the making of this movie is the nationalisation of Subramania Bharathi’s songs. Meiyappa Chettiar decided to buy the full rights to use a few songs in the movie. The rights lay with the famous jewellers M/s Surajmals, who had bought them to reproduce in the form of gramophone records but had not used them. They demanded a sum of Rs 10000, which was paid by Meiyappa Chettiar in full.  After Independence, the Premier of Madras, OP Ramaswamy Reddiar offered to buy out the rights from Meiyappa Chettiar in order to nationalise the works. A magnanimous Meiyappa Chettiar, the ardent patriot at heart he was, gifted the same to the government.

Below is a popular patriotic song from the film by Subramnia Bharathi

 

 

 

 

Pattinapravesam : From Stage to Celluloid

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By Karthik Bhatt

In this article of From Stage to Celluloid we look at the drama Patinapravesam which was later made into a film by K. Balachander.

The 1960s ushered in a new dawn on both Tamil stage and celluloid, with social themes gaining prominence. The 1970s and the 1980s were truly the heydays of this genre. MR Viswanathan, or Visu as he was popularly known was one of the most successful writer-directors of this era. His themes predominantly revolved around problems faced by the middle class families and most of them were commercial successes. Some of them are frequently re-aired on television channels to this day. His foray into cinema was through Tamil theatre and many of his creations on stage were made into films.

Visu’s first play in the official stage circuit was “Deviyar Iruvar”, written for Vani Kala Mandir in 1972. It was directed by AR Srinivasan (ARS) and had actress Sachu playing a key role. Visu was also associated as an actor with YG Parthasarathy’s UAA. Much later, he started his own troupe, Viswasanthi.

Kathadi Ramamurthy, who began his career on stage at the beginning of the social era remains one of Tamil stage’s most recognisable faces. Making his debut as one of the founding members of the legendary Viveka Fine Arts, he launched his own troupe, Stage Creations in 1965 with Shivaji Chaturvedi, TD Sundararajan and Bobby Raghunathan. Visu wrote four plays for Stage Creations and remarkably, all of them were remade as movies. This piece is about the most popular amongst them.

Visu’s first play for Stage Creations was Dowry Kalyana Vaibhogame (Dowry Kalyanam on celluloid), which as the name suggests dwelt upon the social evil of dowry. “The play was first written for V Gopalakrishnan, who did not take it up for some reason. Visu then narrated the script to me. I agreed to stage it, provided he directed the same”, says Kathadi Ramamurthy. It marked Visu’s debut as a director.

Dowry Kalyana Vaibhogame was followed by Pattinapravesam.  The play revolved around a family comprising five siblings (four brothers and a sister) and their aged mother who migrate to Madras from their village in search of a better living and their travails in the city. With their fortunes wildly fluctuating and problems hounding them, they finally decide to return to the village. It is interesting to note that the plot of the play bore a resemblance to Conquerors of the Golden City, an Italian movie.

The play was a remarkable success. “I remember K Balachander watched the play three or four times, each time bringing along a celluloid star. The biggest compliment I cherish was that he said that it was remarkable that the same level of performance was sustained every time he saw the play, which would have been possible only it was a movie”, says Kathadi Ramamurthy. The movie was directedby K.Balachander , produced by R Venkataraman for Premalaya Films and was released in 1976. Notable actors who played roles in the movie were Sarath Babu, Jai Ganesh and Sivachandran. “Three of us from the play took up roles in the movie”, continues Kathadi Ramamurthy.

Today the movie is best remembered for being the celluloid debut of one amongst the three, Delhi Ganesh, who reprised the role of the eldest brother from the play and the melodious “Vaa nilaa nilaa alla un vaalibam nilaa” set to tune by MS Viswanathan. The popular magazine Ananda Vikatan gave a rating of 52/100 for the movie, a more than average score given its reputation for being tough reviewers and a score of 60/100 to Delhi Ganesh (the highest amongst all actors).

After a hiatus of more than three decades, Visu made a comeback to Tamil stage with Konjam Yosinga Boss in 2014.

Below is the cover image of the song book of the film Pattinapravesam from our archives.

Pattina Pravesam

Thanga Padhakkam : From stage to celluloid

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By Karthik Bhatt

Like all top artistes of his era, Sivaji Ganesan, inarguably the finest actor Tamil cinema has seen, came from a stage background. Bitten by the acting bug at an early age, Sivaji Ganesan joined Yadartham Ponnuswamy Pillai’s Madurai Sri Bala Gana Sabha, a well known Boys Company of the times. It marked the beginning of a long and cherished association with Tamil theatre, which he successfully managed to sustain even after he became a top star. That he continued to remain passionate about stage is illustrated by the fact that even at the height of his career, he continued to act in stage plays, with film shootings many a time scheduled to accommodate his stage commitments.

Starting off with the Streepart (Female role) at the Sri Bala Gana Sabha, Sivaji Ganesan’s repertoire expanded to a wide range of roles, all of which stood him in good stead when he made his foray into films. In his autobiography “Enathu Suyasarithai”, he poignantly recalls the struggles associated with life in a Boys Company, where they would often be confronted by poverty and other tough circumstances.

Parasakthi (1952) propelled him to stardom, after which there was no looking back for him as a film star. His passion for stage was however undiminished and he performed for troupes such as S.V.Sahasranamam’s Seva Stage. He started Sivaji Nataka Mandram in the mid-1950s to continue his passion for stage and also to provide opportunities to many actors who were trying to make it big in films and were languishing for roles. Managing the troupe was S.A.Kannan, a stage actor who was part of the Sakthi Nadaga Sabha that had just then wound up. Sivaji Nataka Manram over the course of the next couple of decades went on to produce several hits on stage which would also replicate the success on celluloid when they were remade. Famous plays included Veerapandiya Kattabomman, Vietnam Veedu, Needhiyin Nizhal, Pagal Nila, Kaalam Kanda Kavignan and Thanga Padhakkam, the subject of this piece. In his autobiography, Sivaji Ganesan says that the play, written by J.Mahendran (later of Mullum Malarum fame) was originally being staged by Senthamarai. He watched the play at the Raja Annamalai Mandram and highly impressed by it, asked Senthamarai for the rights to stage it under the Sivaji Nataka Mandram banner and also make it into a movie. Senthamarai agreed and Sivaji Nataka Mandram inaugurated the play in 1972.

The play, which revolved around an upright police officer, Superintendent of Police (S.P) Chowdhry was directed by S.A.Kannan and had Sivaji Ganesan playing the main role. Others in the cast were Sivakami (who played his wife, the role played by K.R.Vijaya in the film) and Rajapandian, who donned the role of his son Jagannathan (Srikanth playing the role in the film). The Kalki magazine review of the play makes special mention of a sequence where Sivaji Ganesan sings and dances merrily in the birthday party of his son, hailing it as a novel attempt. Reviewing Sivaji Ganesan’s performance, it says that calling his acting a majestic portrayal would be akin to saying sugar is sweet!

The play was made into a movie in 1974. P.Madhavan, who directed many hits (including some with Sivaji Ganesan) directed this movie, which was produced by Sivaji Ganesan’s daughter Shanti Narayanswamy for Sivaji Productions. The movie was a great success. The characterisation of the Superintendent of Police became a sort of a benchmark, with many a later movie referring to Chowdhry when mentioning a honest and upright officer! Below are the images of the LP from this film pulled out from our archive.

Thangapadakkam-1 WATERMARK Thangapadakkam-1A WATERMARK