Tag Archives: Kalidas

The Pioneers of Tamil Cinema

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I DIRECTORS: THE CAPTAINS – MASTERS AND COMMANDERS WITH AN IMPACT TO LAST THE AGES

4a) THE RAOS – I

This week, we are going to talk about the Raos, a set of people who can truly be said to have ruled the Tamil film industry in the 1930s. These were Y. V. Rao, P. V. Rao, B. N. Rao and Sundar Rao Nadkarni – in some ways, the first royals of the Tamil industry.

4b) Y. V. RAO

Y. V. Rao alias Yaragudipati Varada Rao, born 30 May 1903, was rather prominent during his time as an extremely talented filmmaker; he does, however, seem to have been tragically largely forgotten today. A multifaceted mover in the industry, he donned many hats: as an editor, a director, an actor, a producer and even a screenwriter. His wife Kumari Rukmani, daughter Lakshmi, his granddaughter Aishwarya and even his mother-in-law, Nungambakkam Janaki, were all heavyweights in the industry as actors in their own right. His daughter, Lakshmi, and granddaughter, Aishwarya, are active in the industry to this day; Lakshmi, in fact, is well-known across languages and is National Award winning actress.

Y. V. Rao probably has the honour of bagging the most firsts in the South Indian film industries, collectively.  He made a number of multilingual films in Tamil, Kannada, Telugu, Konkani, and even Hindi, not to mention the plethora of silent movies in his filmography. He was the first to make motion pictures in so many languages; in fact, he holds an international record for this honour according to the film historian Randor Guy. His directorial venture SATI SULOCHANA was the first talkie ever made in the Kannada language. The battle scene in this film, shot using four cameras simultaneously, stayed with many viewers and was all the rage at the time of the film’s release. 

He was also the first filmmaker to ever make a film on the glittering world of cinema in his Telugu film VISWAMOHINI. At a time when most films were either mythological or based on social issues, VISHWAMOHINI was a pathbreaking film.  

Other notable works in the Tamil language by Y. V. Rao include: 

  • 1936: BHAMA PARINAYAM  
  • 1937: CHINTAMANI 
  • 1938: BHAKTA MEERA  
  • 1938: SWARNALATHA
  • 1941: SAVITHIRI

His film CHINTHAMANI, in particular, broke many box office records and catapulted its hero, M. K. Thyagarja Bhagavathar, to Superstar status. He, of course, went on to create a stunning legacy of his own. Ashwatama, the Kannada actress in the eponymous role, made her Tamil debut with this film. She, too, rose to dizzying heights with her acting and singing skills. However, she tragically succumbed to early death due to tuberculosis in 1939. The film itself ran for a year in single screen theatres – the first film to pull this feat off. It was not only a raging success in South Indian films, but went on to become one of the highest grossing films in India after its release. 

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Working Still from the Film CHINTHAMANI Featuring Y.V.RAO himself with L.NARAYANA RAO

PC: From the archives of TCRC

CHINTHAMANI, in later years, acquired a kind of cult status, and continues to be considered a historical event in South Indian cinema. Later, when Rao began producing films, he named his production company Chinthamani Pictures. The profit of this film as of such a magnitude that the distributors of the film, Royal Talkies, constructed a new cinema theatre in Madurai and named it after the film: Chinthamani Talkies.

With SWARNALATHA, Y. V. Rao bagged yet another first. This was the first film to be shot in one of the most famed studios of Chennai, Newtone Studios. 

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An advertisement for the Film SWARNALATHA

From the magazine CINE ART REVIEW 1937

PC: From the archives of TCRC

Although the movie itself wasn’t a raging success, commercially speaking, it did make a significant mark in the history of Tamil cinema – largely due to Y. V. Rao’s acting skills and careful direction, not to mention the distinction of being the first film to ever be shot at one of the busiest studios in the country during the period spanning 1940-1970. The studio was also was leased to the noted filmmaker A. Bhimsingh, who shot many of his films there. Later it was sold to Bharathiya Vidya Bhavan. This film grappled with many complex social issues such as alcoholism and unemployment. 

P.V.RAO

P. V. Rao was one of the foremost filmmakers in the South Indian film industry. His name is, perhaps a little oddly, often confused with the initials V. V. or T. V. However, according to compelling evidence available in publication, his name is stylised as P. V. See: the advertisement below, published in the year 1937. He directed many films in Tamil: VALLI, VALLI THIRUMANAM, SAKUNTHALA, SRI KRISHNALEELA, BHAKTHA DRUVAN, NALLA THANGAL, LEELAVATHI SULOCHANA, BALAMANI and DEVADAS

Interestingly during the shooting of BALAMANI (1937), it is said that the TKS brothers were unhappy with P. V. Rao’s discipline when it came to filmmaking. Unfortunately, as was anticipated, the film didn’t do well at the box office and was declared a flop rather swiftly. In startling move of creative revenge, the TKS brothers made a spoof of him, a character named V.P. Var – which cleverly reversed Rao’s name – in their next film, GUMASTHAVIN PENN. This film, curiously, was also directed by yet another Rao, B.N. Rao. This character, played by K.R. Ramasamy, was hilarious, and became quite popular and well loved! 

He also made the first of many DEVADAS films made in India – the first ever to me made in South India. It was released in 1937, where he himself played the lead role, opposite G. B. Rajayee.

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An advertisement for the Film DEVADAS

From the magazine ANANDHA VIKATAN DEEPAVALI MALAR 1937

PC: From the archives of TCRC

[To be continued] Next week we will talk about two more Raos – who were each immensely influential in establishing the trends in Tamil cinema.

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.

The Pioneers of Tamil Cinema

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I DIRECTORS: THE CAPTAINS – MASTERS AND COMMANDERS WITH AN IMPACT TO LAST THE AGES

This week, we bring you yet another mover and shaker from the world of Tamil Cinema: Raja Sandow, a prominent filmmaker as well as a trendsetter — in every sense of the word!

3) RAJA SANDOW

P.K. Nagalingam, better known as Raja Sandow to the world, was born in Pudukottai, Tamil Nadu in 1895. There’s an interesting story behind the origin of this new name: the story goes he acquired this unique moniker due to his impressively toned physique, built through his pastime of choice, bodybuilding and wrestling. Once he was satisfied with his bodybuilding, he opened a gym for the world — and a very successful one, at that. He went on to earn many accolades through his wrestling career, and was even featured in the Bombay Chronicle.

This popularity eventually paved his way into the glittering world of show business, and he began acting in silent films in the City of Dreams, Bombay. Right from his very first film, BHAKTHA BHODANA, he performed his own stunts. This attracted the attention of many filmmakers of the time, as a result of which he went on to act in more than seventy silent films.

Once he climbed to the very top of his acting career, Raja Sandow turned his attention behind the scenes, to the art of filmmaking. A keen observer, he had been watching and learning from the films he starred in from the very first one. When opportunity knocked on his door in the form the filmmaker R. Padmanabhan, who offered him a chance to make his own film in Madras, he jumped at it. And thus was made the film ANADHAI PENN in 1929. 

The films Raja Sandow made aimed to portray deep social messages, particular the terrible ways the poor, and women, were treated in society. His films NANDANAR and RAJESWARI, released  in the 1920s, were some such films that were truly remarkable for the times in which they were made.

He was responsible for many firsts and beginnings in the Tamil film industry. In his MENAKA, for instance, the lead and actor and actress were pictured interacting very closely and even touching each other. This was revolutionary at a time when the norm was to place the hero and heroine at a two feet distance from each other at all times. He was, clearly, one of the first and foremost trendsetters of the Indian film industry as a whole.

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An advertisement for the Film MENAKA

From the magazine ANANDHA VIKATAN DEEPAVALI MALAR 1935

PC: From the archives of TCRC

MENAKA also marked the debut of the famous N.S. Krishnan, who went on to become one of the pioneers of comedy in Tamil films. It was also the first film appearance of the TKS Brothers, who were the foremost stars of the theatrical world at the time.

THIRUNEELAKANTAR, made in 1939, went on to become one of the biggest hits in the history of Tamil cinema. During its release period, shows were running in cinema halls even a year — 52 weeks — after the films initial release. This film, too, featured an extremely popular soundtrack by M.K. Thyagraja Bhagavathar. The songs were composed by Papanasam Sivan and became sensational runaway hits elevating the stardom of Thyagraja, known fondly as M.K.T. Songs from the movie such as Deena Karuna Karane Nataraja were all the rage. Songs from this film were catapulted to cult status, and remain both well-known and beloved by music lovers even today.

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Working Still from the Film TIRUNEELAKANDER Featuring M.K.T and TIRUNELVELI PAPA

PC: From the archives of TCRC

The comedy duo N.S. Krishnan and T.A. Madhuram— who were, incidentally, husband and wife in reality too — were quite the comedic sensation; many flocked to the cinema to see their exceptional comedy.

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Working Still from the Film TIRUNEELAKANDER Featuring N.K.S and T.A. Madhuram

PC: From the archives of TCRC

In 1943, Raja Sandow tragically suffered a heart attack and died in Coimbatore on the 25th of November. His last film was SIVAKAVI, which he had, in fact, quit due to creative differences with the producer, S.M. Sriramulu Naidu. Naidu went on see the film to its conclusion himself.

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Working Still from the Film SIVAKAVI Featuring M.K.T

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.

The Pioneers of Tamil Cinema

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I DIRECTORS: THE CAPTAINS – MASTERS AND COMMANDERS WITH AN IMPACT TO LAST THE AGES

This week is dedicated to an oft-forgotten legend of Tamil Cinema: Krishnamurthy Subramaniyam, also known as K. Subramaniyum, who played a truly vital role in the establishment of Tamil film industry.

2) K. Subramaniyam

Born in Kumbakonam, Tamil Nadu, K. Subramaniyam entered the professional world as a lawyer. Eventually, he gave up the practice of law to chase his sparkling dreams of making films. One of the first and foremost filmmakers of his time, Subramaniyam made films that were simultaneously grounded in a refined aesthetic sensibility even as they foregrounded social issues. His films were often centred on the freedom movement, and showcased the most pressing social issues of his time, from untouchability and child marriage to child marriage, the dowry system, and the treatment of widows and women. 

He was also responsible for the introduction of many actors who went onto become stalwarts of the industry:S.D. Subbulakshmi, the legendary music composer Papanasam Sivan, `Baby’ Saroja, who was Subrahmanyam own niece,the Bharatanatyam trio Lalita, Padmini andRagini, B. Saroja Devi and K.J. Mahadevan. His daughter, who went on to become an extremely well-regarded dancer, Padma Subramiyum, made her film debut as a child artist in his GITA GANDHI. His wife, on the other hand,Meenakshi, held the distinction of becoming southern India’s first female music director and lyricist.

Subramaniyam had been active in the industry right from the Silent Era, when he undertook his first directorial venture, PAVALAKODI,in 1934. This was an important era in the history of the industry: the film also marked the debut of the actor M.K. Thyagaraja Bhagavathar, who went on to become one of the first superstars of the industry, gaining immense popularity through his acting as well as his immaculate singing prowess as a vocalist. 

Once the film was completed, Subramaniyam married S.D. Subbulakshmi, for whom the film was also a debut. The songs of this film were composed by the legendary Carnatic music composer and singer,Papanasam Sivan, who earned the moniker of Tamil Thyagaraja.

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Working Still from the Film PAVALAKODI Featuring S.D. SUBBULAKSMI

PC: From the archives of TCRC

He went on to have a stellar career as a filmmaker, making many successful films such as NAVEENASADARAM, NAVEENASARANGADHARA, KUCHELA AND BALAYOGINI. He also founded his own production company, The Madras United Artistes Corporation, with the critically acclaimed film NAVEENA SADHARAM.

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Working Still from the Film NAVEENA SADHARAM Featuring S.D. SUBBULAKSMI

PC: From the archives of TCRC

Subramaniyam was once felicitated in his own home town and was invited to perform stage show during the Mahamaham. The Mahamaham marks an important and richly celebrated Hindu festival that is celebrated once every twelve years in Kumbakonam, Tamil Nadu. It is said that the show mesmerised the audience. During this show, his wife, S.D. Subbulakshmi introduced a young female singer to him and to the audience of the show. Her performance was magical, utterly enthralling all who were present, including Subramaniyam himself. This young girl? M.S. Subbulakshmi. She went on to become one of the most celebrated and revered Carnatic musicians of her generation. Subramaniyam inducted her into the world of film through his SEVASADHANAM. 

SEVASADHANAM, released in 1938, undertook an ambitious project: advocating for the reformation of society. The film took on a complex topic: ancient traditional practices of marriage where in young girls were forced to marry aged men and lead miserable lives with no say or agency. The film also showcased the dowry system and the devastating social inequality faced by women at the time. 

One scene, in particular, made quite a mark. At the end of the film, an aged Brahmin man realises the fundamentally evil core of these practices, and cuts off his sacred thread, his poonal, and throws it away. This was seen as a thundering blow and staunch rejection of the regressive practice of Brahmin orthodoxy.

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Working Still from the Film SEVASADHANAM Featuring M.S. SUBBULAKSMI with other artists

PC: From the archives of TCRC

His films were often deeply critical of the patriarchal and male dominated nature and structure of society. His, BALAYOGINI, tells the story of the trials and tribulations of a young widow after her husband dies.The film highlighted one of the most pressing issues of its time: the horrifying treatment of widows in society, especially when they were married off young and the death of their aged husbands inevitably followed.The film vividly and movingly depicted the heart rending condition of a young widow in a middle class family. Broadly speaking, Subramaniyam was quite successful in creating awareness on the problem

This film marked the debut of Baby Saroja, known famously as the Shirley Temple of India. Her performance was lauded greatly by audiences and critics alike. Her popularity skyrocketed after the film, and she was called on to endorse many products being advertised. BALAYOGINI holds the honour of being the first children’s film of India. It is also seen by many historians as a trendsetter when it comes films that dealt with social issues. 

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An advertisement for the Film BALAYOGINI by Madras United Artists Corporation

From the magazine ANANDHA VIKATAN DEEPAVALI MALAR 1936

PC: From the archives of TCRC

The film THYAGA BHOOMI is considered the crown jewel of Subramaniyam’s work as a director. Based on the novel by Kalki, also called Thyaga Bhoomi, this film was the first in India to ever be banned by the British Raj. Why? It featured scenes glorifying Mahatma Gandhi and the increasingly popular struggle for freedom in India. Despite the ban, however – in fact, even before the British had a chance to impose the ban – the film already had become one of the biggest hits of its time, and one of the greatest successes of the industry.

Baby Saroja, S.D. Subbulakshmi and Papanasam Sivan played important roles in the film. A young female singer, D.K. Pattamaal, also made her debut as a playback singer in the film. She later went on to form the holy trinity of Carnatic music along with M.S. Subbulakshmi and M.L. Vasanthakumari.

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An advertisement of the Film THYAGA BHOOMI from the magazine ANANDHA VIKATAN DEEPAVALI MALAR 1939

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.

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 world cinema, 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

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.

I. 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. 

2. The 1930s

1) 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.

Filmy Ripples : Tamil Cinema’s evolution from Theatre (Part 1)

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By P V Gopalakrishnan

Tamil cinema was literally born in 1910, with the release of the first silent ‘Tamil’ film ‘Keechaka Vadham’, produced, directed, shot and edited by R. Nataraja Mudaliar, known today as the father of Tamil cinema. The film was based on an episode from the epic Mahabharata & was received very well.

It is said that Nataraja Mudaliar met one Stewart Smith, a cinematographer from Britain who was then filming a documentary on Lord Curzon & learnt the basics of cinematography from him. Later, in 1915, Mudaliar also established South India’s first film studio at Purasawalkam, Madras. In this first silent Tamil movie, stage artistes of that time, Raju Mudaliar and Jeevarathnam played the roles of Keechaka and Draupadi respectively. The cost of this 600 feet length film is said to be Rs. 35,000, then considered expensive. The production was completed in just five weeks, with Pammal Sambandha Mudaliar writing the screenplay.

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Nataraja Mudaliar PC: unknown

Some sixteen long years later, ‘Kalidas’ was the first Tamil Talkie film (shot at Bombay) to be released in October 1931 on Diwali Day, as produced by Ardeshir Irani & directed by H.M.Reddy.  P. G. Venkatesan and T. P. Rajalakshmi did the lead roles in the movie, which, though principally in Tamil, also contained additional dialogues in Telugu and Hindi.

When the film reels arrived by train at Madras Central Station from Bombay, thousands flocked there to follow the reel box, showering flowers all the way to Kinema Central, the theatre where it was screened (later known as Murugan Theatre).

However, according to Randor Guy, Kalidas was a “crude experiment” with poor lip sync. Despite the numerous technical flaws the film had, it received critical acclaim & became a major commercial success. I understand, no print of this landmark talkie film is available now.

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PC: unknown

It is a relevant point to ponder here, as to how, when the films took avatar as above, did the film ‘industry’ then get their actors! Well, the actors for cinema were sourced from stage plays. The evolution narrated below would explain the anthology in that regard.

The stage plays had their antecedent in street plays literally called ‘theru koothu’, which, as a form of entertainment, has its origins to the Sangam periods of Tamil Nadu & forms part of its ancient Tamil culture. The subjects of Koothu have been from religion or history. Even today ‘therukoothu’ happens in rural areas particularly on special days or during temple festivals. With Its informal dance structure, therukoothu depicted scenes with little dialogues but with abundant songs, often sung by Artists in their own voice. They were dressed in complex heavy costumes and bright elaborate makeup. Males often played even female characters.

Over the time, stage plays got evolved. In Tamil Nadu there were formidable stage play troupes some of which created artistes who became to be absorbed as cine actors, when cinema appeared. As such the early cine actors had the characteristic that profiled characteristic stage actors with stopping dialogue delivery, often loud. There seems to have been seamless supply of actors to cinema, this way, as there was no other institutionalized training places like Film Institutes!

In the bygone era, many renowned Drama Companies such as Madurai Bala Meena Rasika Ranjani Sabha, Sri Bala Shanmukananda Sabha, Kannaiyar Company, Madirai Sridevi Bala Vinodha Sabha, Tiruchi Rasika Ranjani Sabha kept the flag flying high in the field of Tamil Dramatics and produced great Artistes like S.G.Kittappa, K.B.Sundarambal, T.K.S.Brothers, N.S.Krishnan, KaLi.N.Rathnam, K.P.Kesavan, K.K.Perumal, K.P.Kamatchi, P.U.Chinnappa, M.G.Ramachandran, S.V.Sahasranamam, M.V.Mani, Thyagaraja Bhagavathar & many more.

There were personalities like Sankaradas Swamigal & Pammal Sambanda Mudaliar who brought dignity to stage plays, in which people from respectable backgrounds did not part take in the prior period. They gave grammar to the stage and in their own way institutionalized play stages with astute discipline.

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Sankardas Swamigal PC: unknown

Sankaradas Swamigal, who is largely considered as the father of Tamil Theatre, started in 1910 his own drama company known as ‘Samarasa Sanmarga Nataka Sabha’. It was here that the legendary actor S.G.Kittappa learnt his ropes. Around this time, the concept of “Boys Company” – some sort of Gurukula System was slowly gaining popularity. In this system, boys stayed together residentially and learnt under masters of drama.

Sankaradas Swamigal was involved with Bala Meena Ranjani Sangeetha Sabha which had on its rolls several boys who would go on to become subsequently big names in the world of theatre and cinema, such as Nawab T.S.Rajamanickam, M.R.Radha, S.V.Venkatraman and K.Sarangapani. Swamigal thus had the privilege & distinction of having mentored several stalwarts.

In 1918, Swamigal with likeminded few started his own Boys Company, ‘Tattva Meenalochani Vidwat Bala Sabha’. It was here that the celebrated T.K.S. Brothers were brought under the tutelage of Swamigal. T.K.Shanmugam, who was later known as “Avvai Shanmugam’ (Lloyds Road was renamed after him as Avvai Shanmugam Road) was the favorite of Swamigal.

Swamigal maintained very strict discipline and kept vigil over his wards against any vices and any violators were reprimanded.

In short, Sankaradas Swamigal was a one man institution in those days, which, should we say, was unknowingly emulated by later institutionalized training formats such as Film Institute or other acting schools?

                                                                                                                                                            (to be continued)

 

 

 

 

Filmy Ripples : Cinema Halls of old Madras – An Anthology (Part 2)

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By P.V.Gopalakrishnan
The movies always began after ‘The News Reel’ of the Information & Broadcasting Ministry of the government.
Whenever a song sequence came in the movie the audience fled out to have a soda or smoke or to relieve themselves!
In the very few theatres that were air conditioned in those days, after the first reel was screened, the operator used to quietly switch off the a/c. In those times the word consumerism was unknown and none batted an eyelid at such practice!
On the metal backs of the seats you would find creative engravings by the ‘learned’ audience. In some seats the sponge was found scooped out by some disgruntled theatre goers. The washrooms had a mixed stink of phenyl and human fluids while their walls bore unsharable graffitis.
But the audience inside these halls, with high ceilings sporting sporadic ceiling fans, lived the movies with their favourite chocolate faced Heroes and buxom Heroines.
When Srinivasa Kalyanam was released in Maharani Theatre, in the front foyer a Tirupathi Balaji was installed. On the release of Marma Manithan, cycle rikshaw men were dressed like that character a la style Mr.X, as they distributed fliers about the movie.

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Maharani still standing. PC: V.Harihara Subramanian, Feb 2017

One of the oldest theatres of Madras was Murugan Talkies. It was originally started in 1910 by one Murugesa Mudaliyar as Majestic Theatre where Tamil Plays happened.
This was later converted to a cinema hall. In 1931, Majestic’s name was changed to “Kinema Central” ,  where the first Indian talkie film “Alam Ara” was screened, with People coming by road and rail, packing food,  to watch the first talkie. This theatre also saw the screening of the first “Tamil-Telugu” Talkie ‘Kalidasa’. Classics like Meera, Shakunthala , Avvaiyaar , Uththama Puthiran, Sathi Leelavathi , Thyagabhoomi, Ambikapathy , Thiruneelakantar, Ashokkumar ran at  Kinema Central.The theatre’s name was changed as Murugan Talkies in 1942.This iconic cinema hall was pulled down a couple of years ago, after 80 years.

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An unimpressive shopping complex stands in the place of Murugan Talkies.                          PC: V.Harihara Subramanian

Then the new air-conditioned cinemas such as Safire & Anand came right on Mount Road.
Safire was a pioneer featuring multiscreen complex. It had screens named Safire, Emerald & Blue Diamond. Its Blue Diamond cinema ran continuous shows, where one could buy a ticket and enter the theatre in the middle of a screening and continue to stay as long as one wanted, as the movie was screened non stop, back to back. Safire complex opened with the iconic 70MM movie ‘Cleopatra’, followed by Battle of the Bulge, Mutiny on the Bounty, South Pacific – all in mammoth 70MM. The Safire Complex also had the first ever Disco of Madras, named Nine Gems. It even had a restaurant serving Rajasthani culinary. When ever I pass by, these days, the bush grown compound where once Safire complex stood proudly on the Mount Road, I feel both melancholic & nostalgic.The Anand Theatre owned by an influential Congressman Umapathi had its mammoth electric screen raise before each movie projection started, revealing the silver screen, to the accompaniment of Spanish Gypsy tune, which, by the by, also inspired MSV to compose ‘Thulluvatho Ilamai’.

 

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The projectionist with his projector at the erstwhile Anand theatre.                                            PC: Sruti Harihara Subramanian

Then came the Pilot Theatre in late sixties at Royapettah, started by Mr. Sanjeevi of Pilot Pen Company, with Cine Rama technology.

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Pilot theatre in the process of being demolished on Feb 9th 2017 PC: Srinivasa Ramanujam

This is the anthology to the current generation of cinema halls, which are cartelised screens in corporate run set-ups, such as PVR & Inox, with plush seatings, comfy air-conditioning with snacks served at your seat, if you had pre booked them.
PVR which spearheaded multiplexes across India was a JV by the Indian film distributor Priya Exhibitors and Australian Media company Village Roadshow, from which first letters P-V-R, their multiplexes are known now.
Movies are an experience, indeed, whether in sixties or now.

Filmy Ripples : Cinema Halls of old Madras – An Anthology (Part 1)

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TCRC is very happy to introduce our latest contributor Mr.P.V Gopalakrishnan who will be writing the series Filmy Ripples. The series promises to be very different from our earlier ones. Filmy Ripples hopes to share with you stories on Cinema over the last 60 years from the eyes of an avid Tamil film and music aficionado.  – Editor
At the outset, you may wonder why I chose to christen this new Blog with this Title. Well, I am going to share with you Film related subjects, which may be like ripples, forming waves of circles, even as you develop to visualise it in your minds through your own extended thoughts, whilst the ripple itself waning away to merge with the stillness of water!Having said that, we will dwell on the period things relating to films from the bygone era as I have seen, experienced, read about and so on!
In this very debut blog under this fancy title, lets time travel back to sixties and before, to see how people of Madras City saw movies.
In the past, a variety of venues let people witness cinemas. These included touring cinemas, thatched halls, single screen cinema theatres, Multiplex as the movies played there made people dance, clap, shed tears, as they watched the larger than life stars on the big screens, in awe!
The first film I ever watched as a child was in a thatched ‘cinema kottaai’ some where in a desolate village in Kerala, where I was born. (By the by, I am not a mallu!). And the movie was the Thespian Nagaiah starred ‘Chakradhari’ (1948). While Nagaiah played the protagonist Gora Kumbhar, Pushpavalli, mother of yesteryears’ Hindi siren Rekha acted as his wife.
 
Any new film release in these ‘kottais‘ were publicised by a bullock cart borne person throwing colourful hand notices around. Often such carts had huge cone speakers blaring cine music with intermittent vernacular announcements. Occasionally a drummer aboard the cart invited the attention of folks around.There used to be hand pushed carts with pneumatic wheels and slanting banners on either side, publicising the films.
I have experienced a tent cinema too in my younger days. I recollect, the film was  ‘Naya Daur’ (Hindi) starring Dilip Kumar & Vyjayanthimala. Typically tent cinemas had just a couple of rows of chairs in the rear of the ‘auditorium’ , with the forefront seating the cinema goers right on the mother earth. These guys stretched their legs and scribbled on the sandy surface with their fingers. The hall’s sides used to be thatchings spun of dried coconut leaves, with liberal holes through which anyone could have a peep show. The vendors used to crisscross hawking the likes of murukku & groundnuts.
Then there were these stand alone theatres, which have been since giving way to wedding halls, shopping arcades & car showrooms.
Paragon, Roxy, Sri Krishna, Prabhat, Broadway, Gaiety, Casino, Chithra, Brighton, Maharani, Thangam, Kamadhenu, Eros, Kapali, Rajakumari, Bharath, Ashok, Plaza, New Globe, Sayani, Star, Wellington, Odeon, Midland, Krishnaveni, Shanthi, New Elphinstone, Sun were all well known stand alone theatres of the old Madras.
These theatres displayed on them huge banners & cutouts of the sequences from the movie being shown, drawn in bright colours, by renowned Banner Artistes such as Ayakan, Balu Brothers, G.H.Rao etc.

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Star Theatre with a film’s banner at its entrance

Some of these halls used to be of very huge capacity, with those in balcony sporting an air about them.
The doorman, often in soiled lungis, at these cinemas used a vertically held torch to see your seat number and usher you in, sliding the blue curtains, at the door, that went to laundry ages ago!
Besides selling ‘soda, colour’, the vendors inside the hall used to hawk handy booklets, printed on poorest quality paper, containing the songs of the film. They used to print even the synopsis of the film being shown in such ‘paattu pusthakam‘ (song books), withholding as to how the film ended. ‘Matravai Velli thiraiyil‘(The rest on silverscreen)  was the last line, in print!

Song book of the film “Rambayin Kadal’ PC: TCRC Archives

 Song Book of the Tamil film ‘Rambayin Kadal'(1956) PC: TCRC Archives
The lowest tickets were at four and three quarter Annas, before the advent of Naiya Paisa. The premium balcony seats costed a whopping Two and a half Rupees.
The tickets were issued out of a small window opening and there would be a winding high walled passage, that could choke you for lack of fresh air. As the tickets were often sold to black marketeers in bulk by the malicious counter staff, you could get tickets in grey market just about near the official counter! Booking tickets was a nightmare. After all, Bookmyshow was not around in those times!

(To be continued)

India’s first indigenously-made feature film in colour: “Kisan Kanya” (Hindi, 1937)

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In our post about Fatma Begum, India’s first woman film director, we had mentioned Ardeshir Irani as the father of Indian talkie films, as he was involved with the making of both “Alam Ara” (the first Indian talkie) and “Kalidas” (the first Tamil talkie), both of which were released in 1931. In fact, “Kalidas” was made on the sets of “Alam Ara” by Ardeshir Irani’s former assistant HM Reddy.

It turns out that Ardeshir Irani has been responsible for other landmarks as well in India’s cinematic history. His production company, Imperial Pictures, backed “Kisan Kanya”, India’s first indigenously-made feature film in colour. The movie, directed by Moti B Gidvani, was coloured using the Cinecolor process that was acquired from an American film by the producers Imperial Pictures. Given below is a still from the film:

"Kisan" | Hindi | 1937. Photo Courtesy: The Times of India

“Kisan Kanya” | Hindi | 1937. Photo Courtesy: The Times of India

The ‘indigenously-made’ tag comes into play thanks to other experiments with colour by pioneer V Shantaram, who co-founded the Prabhat Film Company. In 1933, he produced a Marathi film titled “Sairandhri,” which had some scenes shot in colour. But in the case of “Sairandhri,” the film was printed and processed in Germany, thereby allowing “Kisan Kanya” to be remembered as the first indigenously-made feature film in Hindi. “Kisan Kanya” is said to have had a run time of 137 minutes and its cast is reported to include actors such as Padmadevi, Jillo, Ghulam Mohammed, Nissar, Syed Ahmed, and Gani.

The story of Fatma Begum, India’s first woman film director

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While pulling out playback singer Shamshad Begum’s version of Katiya Karoon, we at TCRC realised that she was one of the earliest female playback singers in the Hindi film industry. This set us off on a search for India’s first woman film director and led us to this interesting piece on Fatma Begum, written by Rohit Vats for IBN Live as a part of their “100 years of Indian cinema” series. Here’s an excerpt from that piece (click here to read the entire story):

Born in an Urdu speaking family, Fatma Begum was related to Nawab Sidi Ibrahim Muhammad Yakut Khan III. She was the mother of Zubeida, Sultana and Shehzadi, who were popular actors of the silent era. She started working in films in 1922 after getting trained in plays. Fatma worked with filmmakers like Ardeshir Irani and Nanubhai Desai before founding her own production company Fatma Films which was later rechristened as Victoria-Fatma Films. ‘Bulbul-E-Paristan’ that released in 1926, became the first Indian film to be directed by a female director. However, acting remained on her wish list and she continued to act till late 1930s.”

Ardeshir Irani, who Fatma worked with as an actor, incidentally is the father of Indian talkie films, having made both “Alam Ara” (in Hindi) and “Kalidas” (in Tamil, with songs in Telugu).

We also tried to find an image of Fatma Begum on the web. While we did come across few images, we couldn’t confirm the veracity of any of them. The Whistling Woods (a film school in Mumbai) blog, for instance,  features this picture:

Fatma Begum, India’s first woman film director.

Cineplot Enyclopedia, on the other hand, features this image:

Fatma Begum, India’s first woman film director.

Clearly different people, don’t you think? It is interesting (and worrisome) to note that the internet doesn’t  have a single undisputed image of the first woman director in one of the world’s largest film industries. On days like these, we at TCRC find renewed vigour in our attempt to archive cinema-related artifacts. Have you found other such examples with respect to information about the early days of cinema? Do share them with us by writing to tcrc.india[at]gmail[dot]com.