Filmy Ripples – The ‘spirited’ Screen Characters

By P.V. Gopalakrishnan

The human society has inherited drinking from time immemorial. But when a person drinks considerably over a long time period & has difficulty cutting down, such condition could result in shirking from responsibilities, social problems, health issues & risky situations. Alcoholism, in short, implies alcohol abuse having to do with mental or physical health problems. Therefore, the society is by and large shy of acknowledging drinking, even as people go unabated in taking to drinks. This is in real life.

Our films too routinely deal with story subjects involving alcohol, with a message in some. Thus Tamil cinemas have had their heroes drinking like a fish – owing to the character’s trouble ridden life – in typical situations such as love failure, encountering bad economic situations and so on. Most of our cine heroes have had to grab a bottle on screen before the whirring camera, on some pretext or other, dependent upon the script and the director.

But in earlier films such characters were far too few when compared to the intoxicated characters in later movies.

‘Devadas’ (1953) had a subject of the Hero taking heavily to drinking alcohol after his ex-love deserts him owing to certain circumstances. This was one of the early Tamil films where alcoholic hero was perhaps prominently featured.

‘Kalathur Kannamma’ (1959), produced by AVM, had a song ‘Arugil vanthaal’ in the voice of A.M.Raja as Gemini Ganesan, enacted as a drunken man post his skirmishes with her lady love.

Modern Theater’s Vanna Kili (1959) had a very popular song sequence ‘Adikkira kai thaan anaikkum’ (voices: Tiruchi Loganathan & P.Susheela), excellently picturised by Director T.R.Ragunath. It featured ‘Poochie’, a habitual wife beating drunkard village toughie played by R.S.Manohar & his screen wife played by B.S.Saroja. Of course, the song had some deep meaning lines.

Vannakili

Song book of Vannakili with the page containing the song ADIKKIRA KAI THAAN ANAIKKUM PC: From the archives of TCRC

In Pana Thottam (1963), starred by MGR & Saroja Devi too there was a scene where the hero & heroine mimic as drunk in a popular duet song sequence ‘Javvadu medai ittu’. However, MGR never played any screen character with vices in his meticulously orchestrated path of portraying himself as ‘Unga veettu pillai’ which went a long way in his carefully projected image as people’s Hero.

Panathottam

Song book of Pana Thottam with the page containing the song JAVVADU MEDAI ITTU PC: From the archives of TCRC

The movie ‘Vasantha Maligai’ (1972), which was later remade as ‘Prem Nagar’ (1974) with Rajesh Khanna, also had its hero Anand a rich, alcoholic playboy character donned by the late legend Sivaji Ganesan.

In Salangai Oli (1983), Kamal Hassan played a classical dancer cum critic who becomes an alcoholic owing to a broken love affair. In Kaakki Sattai (1985), the song “Namma Singaari sarakku nalla sarakku, summa gummunu erudhu kick­u enakku” was too picturised on Kamal Hassan. Another alcoholic hero was featured in Uyarntha Ullam (1985), by Kamal Hassan, as a spoilt young man with a huge inheritance, boozing away his awake hours and gambling with his peers. The ‘club’ songs such as ‘Elamai idho idho’ (Sakalakala Vallavan, 1982); & ‘Aasai nooru vagai’ (Adyta Varese, 1983) became instant hits.

Sakalakala Vallavan

Working Still from the Film SAKALAKALA VALLAVAN for the song ELAMAI IDHO IDHO PC: From the archives of TCRC

In contrast to all the above characters,  he advocated prohibition in Unnal Mudiyum Thambi (1988).

Sivakumar, in the role of an upright classical musician turned alcoholic in the cult movie Sindhu Bhairavi (1985) had this song, ‘Thanni thotti thedi vantha’ rendered by Yesudas, depicting how a person degenerates as an addict.

‘Padikkathavan’ (1985) too had the character played by Rajnikant often visiting liquor shop, reeling out empathy seeking songs like ‘Oorai therinju kitten’

In earlier cinemas, the drunk hero was afforded ample opportunities in displaying various emotions and were designed to draw audience empathy to him, despite his drinking habit, as the script embedded logic in the story, to justify their intoxication. The hero visiting a ‘club’ or the sinister looking villains in his den with his female sidekicks – took to drinks. Almost all the heroes had played such roles in our films.

But as the society outgrew the old morals & gradually shed its taboo against drinking & smoking, such urbane ideas slowly seeped into films too. And soon, the acceptance levels of a drinking and smoking hero drastically went up. They did not bother whether the script overtly needed such scenes or not!  It just started looking okay to drink on screen. So this trend clearly established less demarcation between good and bad screen characters. Thus, every leading hero was shown with the booze bottle or a cigarette in some sequences, even as heroes.

Down the years, there have been too many such film characters that routinely consumed liquor on screen, either to drown their worries or to acquire enough courage to do things they would otherwise abstain from when sober! Audience took no serious objection to this.

Prabhu Deva and his cronies sang as to how it never mattered if they drank and then ate, in Ninaivirukkum Varai (1999). Simbu and associates had drinks on the roadside in Silambattam, 2008. Vikram as the stern cop drank even on duty as an undercover (Saamy, 2003). Surya in Vaaranam Aayiram (2008) pined for his dead lover (Sameera Reddy) by appearing before his father utterly intoxicated. The most controversial of them all was a song sequence ‘kadhal en kadhai’ by Dhanush in Mayakkam Enna (2011), as he sang about love and loss, amidst intoxication.

As such, songs that appeared to uphold drinks, as the ultimate solution to every hero’s problems, have been firmly in place for quite some time now.

As per Film historian Theodore Baskaran, “The traditional attitude in Tamil cinema is to consider liquor as an anti- depressant to life’s problems, which is misleading. Very few films like Dikkatra Parvathi [1974] espouse an anti-drinking message”.

Dikkatra Parvathi

Working Still from the Film DIKKATRA PARVATHI PC: From the archives of TCRC

While the earlier cinemas were very permissive in allowing men to take to drinking, as for a female character with their own issues, it depicted them on screen as simply settling for sulking or scurrying to their bed to sob eternally, but not resorting to bottle. The Hindi films started showing inebriated young women with their wine glasses or beer bottles while their counterparts in Tamil Cinema were largely depicted as refraining from liquor, as it is believed that women and ‘thanni’ simply did not go hand in hand.

But this trend too slowly changed and there were umpteen exceptions, to this belief.

Kanavane kan kanda Deivam (1955) had a popular song & dance sequence, ‘Unnai kaN theduthe’ sung by P. Suseela, where the character in the movie is shown in a inebriated state, complete with hiccups, while cleverly avoiding any other suggestive props such as bottles and bars. (P.Bhanumathi is said to have rendered & acted originally this song. Later, on her ceasing to be part of the film, the song was re-recorded in the voice of the then new comer P. Susheela. As per Randor Guy, the hiccup sounds made by Bhanumathi was, however, retained in the version by Susheela.)

 

Kanavane Kan Kanda Deivam

Working Still from the Film KANAVANE KAN KANDA DEIVAM for the song UNNAI KAN THEDUTHE PC: From the archives of TCRC

There were also other occasional women characters that were not chastised for on screen drinking. Of the few women’s drinking scenes, In Puthiya Paravai (1964), Sowcar Janaki was shown coming home drunk to her husband, along with her boyfriend.

There have been, since, more instances of women & drinks in Tamil movies, few of which are cited below.

Revathi’s character in Marupadiyum (1993), where she drinks at a party to drown her sorrow over the affair of her spouse; Then there was Sneha’s role in Pammal K. Sambandam (2002), where she informs her spouse that she is his “better half” and so could claim half share of his whisky; Reema Sen and Andrea Jeremiah getting kinky along with Karthi, as they explore to find out the missing Chola empire, in the movie Aayirathil Oruvan (2010); Vasundhara who downs plenty of beer in a pub purges on the hero, in Sonna Puriyathu (2013); In ‘Jeeva’ (2014) two school going girls are caught red handed by their neighbor boy for consuming drinks and confronts them with a dialogue ‘pombalaiya irunthuttu wine sapidalama?’ (SIC) and more recently, Nithya Menon, in Oh Kadhal Kanmani (2015), who consumes liberal vodka despite Dulquer warning her to go slow.

We are not trying to be judgmental here about the morality of such ‘spirited’ scenes in our films. Some times they are apt to screen play & its character but some times they are not. But then filmmakers always claim that they reflect the real life. On the other hand, it may also be that the society often draws reference from films.

I thought, the audience pays as little attention, to the statutory warning about these vices appearing briefly at the bottom of the screen, as they would to the Safety Demo on board a flight!

Ultimately, it is all about changes brought out by the new generation, as Vairamuthu wrote in the film Pudhu Kavithai, “Thalai muRaigalum maaRumpothu nadaimuRaigalum maaRume”!

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Filmy Ripples: Train spotting in cinema (Part 2)

By P.V.Gopalakrishnan

A major, gory train accident happened in November 1956, in real life, involving Tuticorin Express at Ariyalur near Trichy. This left 142 passengers dead and 110 injured, with many more missing, their bodies never to be recovered. Torrential rains had swollen the river Maruthaiyar to a level where the waters almost touched the rails on the railway bridge near Ariyalur, causing flash floods.

In fact, Sri. Lal Bahadur Sastri, who was then the Railway Minister even resigned on moral grounds.

The filmmaker T. Prakasa Rao rushed his crew to the scene of Ariyalur train accident and shot much footage, which he included into his Tamil movie, ‘Madhar Kula Manickam’ (meaning ‘Gem among women’) starring Gemini Ganesan & Savithri in the lead, released the same year. This movie was based on Rabindranath Tagore’s story ‘The Wreck’. Later, S. S. Vasan remade this film in Hindi as ‘Gharana’ which turned out to be a big hit.

(Watch the real footage of the train wreck after the 39th minute in the below video from the film Madhar Kula Manickam)

‘Neelagiri Express’ (1968) was a successful thriller movie involving a train journey, whose screenplay was written by Cho. Jayashankar, Asokan, Vijaya Laltha were among the prominent actors besides Cho. The movie was a remake of Malayalam movie ‘Cochin Express’, which was also remade in Telugu & Kannada. The Hindi version ‘The Train’ had Rajesh Khanna as its hero.

nilagiri-express

A song book of Neelgiri Express. PC: From the archives of TCRC

The scene in ‘Thillana Mohanambal’, where Sikkal Shanmugasundaram  & Danseuse Mohanambal travel with their parties aboard a train cannot be forgotten. The old wooden coaches of Indian Railways featured in the sequence were fitting to the film, set to some early period in time.

The movie ‘Raman ethanai Ramanadi’ (1970) too had a song ‘Chithirai madham pournami neram’ by P.Suseela, filmed aboard a train by Director P.Madhavan. Penned by Kannadasan, the music for this song was set by MSV to the chugging of a steam train, complete with its long whistles.

Coming back, to later films you may recall the flash dance performed by Kamal Hasan and troupe in the Tirumayilai Rapid Transit Station in the film ‘Avvai Shanmukhi’ or the dramatic interactions in ‘Anbe Sivam’ between Kamal & Madhavan at Pollachi Junction? Who could forget those intense dramatic scenes shot in Railway Stations or Rail crossing gates (Moonram Pirai, Puthiya Paravai)?

Bharathiraja’s ‘KIzahkke pogum rayil ‘, which debuted Radhika, is still remembered for its hero and heroine communicating through their graffiti on the rear of the last van.

kizhakke-pogum-rail

Song book of Kizhake Pogum Rail. PC: From the archives of TCRC

In the film Thalapathi the train played mother to none other than Superstar Rajinikanth, as Srividya abandoned her baby in a goods train, as the haunting melody ‘Chinna thaay aval, thanga raasa’ played off screen. The wailing whistle of the train in the opening of the song, indeed, added much dramatics to the pathos.

In another Mani Ratnam film ‘Alai Pauyuthe’, suburban trains and railway stations figure as major locations, as the hero waits at a railway station every morning to catch a glimpse of the heroine. In ‘Gentleman’, the song chikku bukku raile is dedicated to trains.

The ever popular ‘thaiya thaiya’ song & dance sequence filmed atop a moving Nilgiri Mountain Rail is ever remembered from the film ‘Uyire’.

In Gautam Menon’s ‘Vinnai thandi varuvaya’ the leading pair is shown to share their first moment of intimacy in a train journey.  Even in the recent ‘Kakka Muttai’ the child workers are shown collecting coal pieces strewn around the Basin Bridge yard for a living.

The recent movie ‘Thodari’ featured Dhanush as a Railway pantry worker.

The list is endless, as many more instances of bondage of trains to Tamil films.

The Train related sequences dominated many Hindi films too, to name a few, in random order: Dil Se, Ajnabee (old), Chennai Express, Aashirwad, Dost, Kaala Bazaar, DIl tho Pagal Hain, Dilwale dulhaniya le jayenge, Kuch kuch hota hain, Bunty aur Babli, Julie, Sholay, Burning Train, Kitaab, Mera Naam Joker, Pakeeza, Professor, Waqt, Railway Platform, Toofan Mail (1934), Aap ki kasam, Coolie etc.

Some of the memorable songs that featured in old Hindi films were shot on trains, to name a few: ‘Uparwala jaan hain’ (Kaala Bazaar),  ‘Main chali main chali’ (Professor), ‘Gaadi bulaa rahi hain’ (Dost), ‘Hum dono hain premi’ (Ajnabee). Whereas the immortal song ‘Chalte chalte’ rendered by Lata & filmed on late Meena Kumari (her last movie) in the cult classic film Pakeeza (1972), which was in production for sixteen years, had the hallmark wailing whistle call of a passing steam engine at the end of the song, bringing great emotions to the fore, as set in the storyline.

The Hollywood had its share of romance with trains & locomotives as the following long list of films would suggest: Skyfall, From Russia with Love, French Connection, Spiderman 2, Strangers on a Train, A Passage to India, Bowani Junction, Gandhi, Murder on the Orient Express, The lady vanishes, Arizona Express, Butch Cassidy and the Sundance Kid, Cassandra Crossing, Murder she said, 39 steps, North by North West, Von Ryan Express, The Taking of Pelham One Two Three, Bridge on the River Kwai.

The modern film making even permits the real bogey visuals being replicated by CGI (computer-generated imagery) capabilities. But that’s a different story.

There is an exclusive overseas company by name ‘train chartering’ which provides total solutions to film shoots, whether movie, TV or Ad. Films. They provide train and rail locations & offer consultancy for filming on a Train or Railway Station anywhere in UK, Europe & America, their services spanning Locations, Sourcing trains, carriages, delivering Train carriages to non-railway sites such as studios etc. They claim to have Trains and carriages from 19th century onwards.

The Indian Railways seem undeterred in encashing its popularity among filmmakers, as they recently hiked the hire charges on special trains (of four coaches and one Semi luggage van with a distance cap of 200 km) for film shooting purposes to a whopping      Rs. 4.74 lakhs per day.

The obsession of film makers to trains will only continue to grow and, may be, in times to come, there may even be films shot on the ensuing Bullet Train in India!

RARE: Original LP record of Sivaji Ganesan’s “Thiruvarutselvar” (Tamil, 1967)

"Thiruvarutselvar"  |  LP Record - Front  |  Tamil  |  1967

“Thiruvarutselvar” | LP Record – Front | Tamil | 1967

"Thiruvarutselvar"  |  LP Record - Back  |  Tamil  |  1967

“Thiruvarutselvar” | LP Record – Back | Tamil | 1967

In our archives here at TCRC, we have the original LP records of numerous Indian films, right from the 50s to the 80s. Today, we share with you the photos of the LP record of “Thiruvarutselvar”, a Tamil film starring Sivaji Ganesan, Savitri, Muthuraman, KR Vijaya and others. It was released in 1967 and was directed by AP Nagarajan, the veteran filmmaker whose other hits include “Thiruvilayadal,” “Saraswathi Sabatham,” and “Thillana Mohanambal.” The music for “Thiruvarutselvar” was scored by KV Mahadevan and the lyrics were written by Kannadasan. Even today, one remembers P Susheela’s mellifluous rendition of “Mannavan Vanthanadi,” one of the most popular songs of the album.

In an interview with Mohan V Raman for The Hindu in April 2012, CN Paramasivan, the son of director AP Nagarajan had said that the overwhelming response to the re-release of “Karnan” was encouraging him to look into the restoration of some of his father’s films (click here to read that story). We at TCRC hope to see that happen.

Also, it must be mentioned here that the same team, i.e., actor Sivaji Ganesan, director AP Nagarajan and music director KV Mahadevan, came together for “Kandan Karunai,” which won KV Mahadevan the National Award for Best Music Direction in 1967, the same year in which “Thiruvarutselvar” was released. This was the first time that a National Award was constituted for the category of Music Direction. Since then, the most number of National Awards for Best Music Direction have been won by Ilaiyaraja and AR Rahman, i.e., 4 each.