Tag Archives: Cinema of India

The Pioneers of Tamil Cinema

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Introduction

Cinema is easily one of the most fascinating and compelling of all human endeavours – both in the realm of storytelling and otherwise. The history of Indian cinema, in particular, can be said to have truly begun with the Silent Era – way back, late in the 19thcentury. The first Tamil Talkie, KALIDAS, changed the face of Tamil cinema and Indian film in 1931.

In this series, we bring to you the fascinating stories of the people behind and in front of the screen – people who were originally responsible for taking the Tamil film industry to dizzying heights. 

We begin with the captains of these majestic ships: directors. 

I. Directors

The Captains: Masters and Commanders With An Impact To Last The Ages – Part 1

Although we intend to discuss film directors of a different era altogether – and the profound impact their work had on the development of Tamil cinema – we cannot speak of this industry without invoking the name of Shankardas Swamigal, the Father of Tamil Theatre. He and Pammal Sambhanda Mudaliar are considered the true pioneers of Tamil theatre. He was instrumental in shaping the careers of stalwarts of the craft, such as Nawab T.S. Rajamanickam, M.R. Radha, S.V. Venkatraman, K.B. Sundarambal, S.G. Kittappa and K. Sarangapani.

THE SILENT ERA

NATARAJA MUDALIAR

Nataraja Mudaliar began his career as a businessman trading in bicycles, and later, in the import of American cars. Greatly inspired by the first feature film to ever be released in India, Dadadsaheb Phalke’s RAJA HARISCHANDRA, which was released in 1913, he decided it was the world of filmmaking that was his true calling. 

After reaching out to a close friend, Pammal Sambhanda Mudaliar, one of the foremost pioneers of theatre in Tamil, he decided to tell the story of Draupadi and Keechaka from one of the greatest epics of India, the Mahabharata. The first feature film of his career was released in 1917, and was called KICHAKA VADHAM. It holds the honour of being the first South Indian silent film ever made and released in India. 

And thus was born the first ever production company in Southern India: The Indian Film Company. He donned many helms for the film; he was producer, cameraman, editor, as well as the director for the film. He went on to make many more films, often rooted in the rich heritage of Hindu mythology: DRAUPADI VASTRAPURANAM, LAVA KUSA, RUKMINI SATHYABAMA and MAYIL RAVANA.

However, as they say, all good things must come to an end, and so was the case with his time in cinema. After the devastating loss of his son and a catastrophic fire accident in his studio – which was already taking heavy losses – he went back to his trade of automobiles.

Despite this difficult end, he rightfully earned the moniker of being the Father of Tamil cinema, and was ultimately responsible for sowing the seeds that led to the fertile growth of the industry’s future. 

RAGHUPATHY SURYA PRAKASH

Raghupathy Surya Prakash, also known as R.S. Prakash, was one of the most prolific directors of silent films in Southern India. He also directed the first Telugu feature film, BHISHMA PRATINGNA, in 1921, which was produced by his father, Raghupathy Venkaiah Naidu, who was responsible for the construction of the first movie theatre in Chennai, Gaiety Talkies. He was also the man behind the first film studio in Chennai, Glass Studio, which was believed to run from Vepperi to Sangam Cinemas, now in Kilpauk. The film company was named as Star of the East Films, and BHISHMA PRATINGA was produced under this company. 

The formidable father-son duo went on to make many silent films for both Tamil and Telugu audiences in the 1920s and early 1930s, which was when the revolutionary shift from silent films to talkies finally took place. 

The 1930s

H.M. REDDY

H. M. Reddy is India’s first multilingual film director. In his film, KALIDAS, he featured and utilised dialogue in both Telugu and Tamil. The film went on to earn the shining distinction of the first film in India to have sound in more than one language, as well as being the first Talkie in both the Tamil and Telugu film industries. Reddy, who assisted Ardeshir Irani in the production and direction of the first Indian talkie film, ALAM-ARA, was deeply inspired by his experience and decided that he must make a talkie film with sound in the South as well. Thus, KALIDAS was conceived. L.V. Prasad, the founder of the famous Prasad Studios, who also played a small role in ALAM-ARA, became an integral part of the cast of KALIDAS as a comical priest as well.

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Working Still from the Film KALIDAS, Featuring T.P. RAJALAKSHMI and VENKATESAN

PC: From the archives of TCRC

H. M. Reddy went on to produce and direct many more films – BHAKTHA PRAHALDA, GRUHALAKSHMI and TENALIRAMAKRISHNA– primarily in the Telugu language.

He later directed a Tamil Movie MATHRU BHOOMI in 1939. One of the doyens of Tamil music, Papanasam Sivan, composed the music and wrote songs for the film. Kumidhini was the vocalist for many of the songs, which went on to become great hits of their time. The film’s theme was primarily dealing with the struggle for India’s freedom. However, the British Raj’s ironclad censorship would have made the release of such a film impossible. 

To sidestep this problem, he set the story at an entirely different time in history: the invasion of North West India by Alexander the Great. Despite this careful measure, the film did feature songs that were sympathetic to the freedom movement and echoed its sentiments; consequently, the film faced rumours of an impending ban.

MATHRU BHOOMI was made on a budget of two lakh Indian rupees – an enormous budget in that era – and was the most expensive movie of its time.

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Working Still from the Film MATHRU BHOOMI

PC: From the archives of TCRC

[To be continued] We’ll be back next week with more hidden treasure from the history of Tamil cinema. Stay tuned!

About the Author:

V.V. Prasad is a Electronics and Communication Engineer based from Chennai. He is currently involved in the role of a Researcher and Archivist in THE CINEMA RESCOURCE CENTRE.
He takes care of the non film materials like Photographs, Magazines, Lobby Cards, Song books etc of the archives. Cataloguing them and digitizing them are part of his current work.
His interests and passion lie on the research of Cinema particularly South Indian Cinema.

Screening of Ozhivudivasathe Kali (An Off- Day Game)

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The Cinema Resource Centre in Association with Ashvita events is excited to release the critically acclaimed film Ozhivudivasathe Kali (with english subtitles) At Escape Cinemas, Chennai on July 8th, Friday.

The film revolves around a public holiday where five friends meet in a resort deep in the jungles to spend a day drinking and merrymaking. They come from different backgrounds and professions, but they have only one aim – to enjoy life for one day and forget the everyday hassles. But, during the course of the day, the animal instincts within them come to the fore. To resolve the crisis and to end the boredom,they decide to play a game – a game played when they were kids. What happens when an innocent game for children is played by drunk adults?

The film was made in an unconventional way. Says director Sanal Kumar Sasidharan :

“The movie “Ozhivudivasathe Kali” (An off-Day Game) is based on a short story. I have not developed the story into a written screenplay or shooting script. The film is not the story; but it is my reading experience of the story. Making of this film was very interesting
because of the total absence of a written screenplay. Almost all the artistes in the film are new faces. Almost all the dialogues which you hear in the film are spoken by the artistes themselves without any specific written instructions from my part. I was just telling them
the situation, the history of each character and the politics behind the scene. The moment
we switch on the camera, the artistes turned into characters and started uttering their own
dialogues. The decision to go without script helped me to attain a raw and real looking movie”

Don’t miss this film this weekend. Book your tickets here: http://bit.ly/29kAjci

Watch the trailer of the film:

 

 

 

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

 

 

 

 

Mourning the loss of “Film News” Anandan

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We at The Cinema Resource Centre mourn the loss of legendary archivist of Tamil Cinema “Film News” Anandan.

His journey in cinema started as a Photo film journalist and later became the first Public Relation Officer for Tamil Cinema.

A walking encyclopedia of Tamil cinema, Anandan’s recollection of  data about films releases, cast and crew was unmatched even until his final days.

In 1991, “Film news ” Anandan was conferred with the title Kalaimamani, the highest honor from the Tamil Nadu Government. He also received the ‘Honorary director’ title from The Cine Film Directors Association in 1989.
Tamil Cinema and Tamil Cinema History will greatly miss Mr. Anandan.
To know about him read here.

Centenary Birthday of M.S.Subbulakshmi

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On 16th September The Hindu Metro plus paid a tribute to M.S.Subbulakshmi , the actor to commemorate her centenary birthday. The article written by Srinivasa Ramanujam states : ‘ Madurai Shanmukhavadivu Subbulakshmi, or MS, as she is popularly known, was a musical genius. But there was another side to her; she was also an actor, having essayed fine performances in the films she was part of. Today, on her birth anniversary, we take a look at those projects… ‘

Have a look at the full article with the pictures here.

Meanwhile we have been busy at our archives and we found an advertisement of the film Savitri where MS played Naradar, A male character. The ad was found in the supplement of the Tamil Magazine Ananda Vikatan dated 12-10-41.

savitri

 

Upcoming Shamiana short film screening with TCRC

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Shamiana

TCRC is happy to collaborate with Shamiana, Mumbai for yet another evening of short film screenings @ Ashvita Bistro.

Save the date: Thursday 24th Sept 2014, 7.30pm – 9.30pm

Movies for the evening are:

1) BAGHDAD MESSI
A heart-wrenching story of a little boy, Hamoudi in war torn Iraq around 2009 and the little struggles he goes through just to play football with his friends. Until, one day when his TV breaks down and getting it repaired changes things forever… Simply brilliant!
* Oscar Nominee 2015!

Dir : Sahim Omar Kalifa
Dur: 15 mins
Country: United Arab Emirates

2) INT. CAFE – NIGHT
When the past catches up with the present over a coffee and a bread pudding at a quaint cafe, memories come rushing back. But will they be able to make up for the times they have lost?
A beautiful, multi-award winning short film!

Dir: Adhiraj Bose
Dur: 12 mins
Country: India

3) LEELA
Lila is a dreamy girl who can’t resign to accept reality as flat as she perceives it, hence she uses her imagination and her skills to modify it.
* A Goya Awards nomination.

Dir: Carlos Lascano
Dur: 9 mins
Country: Spain

4) POSTMAN (Tamil)
In times of emails and SMSes, the Postman still forms a very important part of rural India. A touching story of the messenger…
*National Award Winning Film.
(We’ll have the filmmaker with us for discussions)

Dir : Manohar Bana Reddy
Dur : 15 mins
Country : India

Followed by a short discussion.

Entry Free:
RSVP: Sms ” short films” with you name and email to 9791088189 for a slot.

TCRC presents an exclusive screening of ‘ Amma and Appa’

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TCRC is bringing the popular documentary ‘Amma and Appa’ to Chennai on the 23rd of August 2015, Sunday at Ashvita Bistro, Alwarpet. This will be the first time that the film will be screened in Tamil Nadu. The film is in Tamil and German with subtitles in English. The film makers will be present for an interaction with the audience after the screening.

About the film:

Amma & Appa (Tamil for Mother & Father) tells the story of film makers Franziska’s  and Jay’s parents. It is about their first meeting and of them getting acquainted. Both couples are about the same age and both have been married for more than thirty years. But they come from very different cultural backgrounds. Franziska’s live in the south of Germany, Jay’s parents in the south of India. They now come together because their children have fallen in love with each other and have decided to get married. For Franziska’s  parents it will be the first time they visit India and for Jay’s parents it will be the first time they receive foreigners as guests. While Franziska’s parents married out of love, the marriage of Jay’s parents was traditionally arranged. It was thus a great shock for them to learn that their son wanted to marry by his own choice. And what is more: A girl from Germany. His decision challenges their traditions and beliefs.

Against this backdrop the film unfolds its story. It tells the story of two cultures coming together and raises the universal questions what makes it all work- love, affection and living together. The film makers, as a young couple, want to know the recipe for a successful relationship from their parents and aim to find out with their  observation of the interaction of their parents toward and with each other.

Here is the trailer of the film:

Thaneer Thaneer – From Stage to Celluloid

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By Karthik Bhatt

Komal Swaminathan was one of Tamil stage’s most powerful contemporary playwrights. Born in 1935, he came to Madras in 1957 and joined the Seva Stage Kalvi Nilayam, the drama school that had been established by S.V.Sahasranamam. It was here that he learnt the various aspects of drama. He had a particular interest in writing scripts, having already written a few skits during his intermediate course at the Madura College.

Having completed the drama course Swaminathan joined Seva Stage as an apprentice to S.V.Sahasranamam, learning the production aspects of staging plays. He wrote his first play, “Puthiya Paathai” in 1960, which was staged by the Gujarati Young Men Association. Thus began a journey that saw the scaling of many heights in the course of the next three decades.

Swaminathan forayed into movies in 1963. He worked as an assistant and script writer to noted director K.S.Gopalakrishnan for the next seven years. This period saw him being associated with successful movies such as Karpagam, Pesum Deivam and Kai Kodutha Deivam. He started Stage Friends in 1971, a troupe primarily comprising of members from his mentor S.V.Sahasranamam’s Seva Stage. The troupe’s first play was Sannadhi Theru, which dealt with the stigma attached to lady artistes and the neglect drama troupes faced. The Kalki magazine review of the play termed it a first rate production, with special mention to Surya Prabha, the actress who played the lead role. The success of Sannadhi Theru was followed by several other productions such as Nawab Naarkaali (which was also later made into a movie), Yuddha Kandam and Chekku Maadugal. His best known and most celebrated play however is the subject of this piece, Thaneer Thaneer.

Thaneer Thaneer dealt with a topic that remains very contemporary, that of water scarcity. The story was set in a drought hit village which suffers as much from official apathy as it does from the failure of rains. With powerful dialogues which were well aimed barbs at the establishment, it was inevitable that it would raise eyebrows at some level. Sure enough, the hurdle came in the form of getting the clearance from the Police before staging the play.

The Madras Dramatic Performances Act, 1954 required that the Police Commissioner had to approve a script before it could be staged. This law had been brought about as a means of censorship to ensure that the popularity of the medium was not misused to propagate ideas that had the potential to create law and order problems. It was under this law that objections were being raised to Thaneer Thaneer. That the play apart from highlighting official apathy was also viewed as being sympathetic to an ideological movement, which probably raised a red flag leading to the withholding of permission. Hectic parleying ensued, with Cho Ramaswamy coming out in support of Komal Swaminathan. The permission came through about an hour before the inauguration on the 10th of October 1980 at the Mylapore Fine Arts Club auditorium.

The play was a stupendous success. The legendary director K.Balachander who watched the play was immediately taken in by the idea and wanted to make it into a movie. Komal Swaminathan agreed, with a request that the stage artistes be used in the film too. Balachander acceded to the request and artistes such as Raj Madan, Vaadhyar Raman acted in the movie too. It was produced by Kalakendra Movies. Certain changes were made to suit the commercial medium. Saritha, Rajesh and Radha Ravi played important roles in the movie, which was both a commercial success and a critically acclaimed one. K.Balachander won the award for the best screenplay and the movie won the Best Tamil Feature Film award at the National Film Awards for 1981.

More recently in 2012, the play was staged in English as Water by the Madras Players. Thaneer Thaneer was revived in 2013 through Stage Friends which made a comeback to stage thanks to the efforts of Komal Swaminathan’s daughter Ms.Lalitha Dharini.

(This author gratefully acknowledges the inputs given by Ms.Lalitha Dharini for this piece).

 

 

The Tamil connect at The Venice International Film Festival

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The 72nd Venice International Film Festival, organized by La Biennale di Venezia has some interesting line up of films. But two films have caught our special attention.

The first is Visaranai (Interrogation) directed by Vetrimaran and produced by actor Danush’s company Wunderbar Films has been selected in the Orizzonti section which is an international competition dedicated to films that represent the latest aesthetic and expressive trends in international cinema. In the history of the festival Visaranai will be the first Tamil feature film to participate in the competitive category. The director of the film, Vetrimaran has earlier made critically acclaimed films like Polladhavan and Aadukalam and was the co producer of the internationally acclaimed Tamil film  Kaaka Muttai (Crow’s egg).

The second film that caught our attention is Rinku Kalsy’s documentary  “For the love of a man” which has been selected in the Venice classics section where a selection of restored classics and documentaries on cinema will be showcased. Rinku’s film explores the phenomenal fan for Superstar Rajnikanth.

Besides the Tamil connect between Visaranai and ” For the love of a man” there is another interesting connection. Danush, the producer for Visaranai is the son in law of Rajnikanth on whom ” For the love of man” is centered around.

Watch the trailer of the two films here: