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Filmy Ripples : Dancing Queens of Tamil Screen (Part 2)

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By P V Gopalakrishnan

Vyjayanthimala

Vyjayanthimala, born  1936, got a break in an AVM’s Tamil movie, Vazhkai, when she was just fifteen. Director M. V. Raman, spotted the young Vyjayanthi in one of her Bharathanatyam recitals at Gokhale Hall, Madras & recommended to AVM. The movie was a great success and also was remade in Hindi as Bahaar (1951). She acted in a few more Tamil movies like Then Nilavu before moving on to a highly successful career in Hindi movies.

Here is her graceful dance sequence with the popular number “Nanda gopalanodu naan aaduvene” in the film ‘Vazhkkai”. The singer was MLV.

 

Travancore Sisters:

Travancore Sisters

The Travancore sisters in Ananda Vikatan 1966 PC: From the archives of TCRC

Several noted actors in the past were dancers and had performed on screen. The three sisters ‘Lalitha-Padmini-Ragini’ from Kerala came and ruled the Tamil industry in the forties, popularly known as “Travancore Sisters”.

Born to Thankappan Pillai & Saraswathiyamma in a large Nair family from Thiruvananthapuram, they took to arts at a very early age. Lalitha and Padmini began their training from Kathakali exponent Guru Gopinath.

When the family migrated to Madras they continued their dance training under the great Nattuvanar and Dance Director for films Vuzhavoor Ramaiah Pillai who groomed them to perfection.

The sisters debuted in the film ‘Kannika’ (1947) as dancers in Shiva-Sakthi dance, choreographed by Bharathanatyam Guru Vazhuvoor Ramaiah Pillai. This was the maiden movie produced by Sriramulu Naidu of Pakshiraja Studios, Coimbatore.

The sisters had an active performing career, both as classical dancers and as dancers and actors in South Indian cinema and Hindi cinema as well.

The highlight of “Vanjikottai Valiban” (1958) was the scintillating ‘dance duel’ between Padmini and Vyjayanthimala, which had come to be regarded as one of the best dance sequences in Indian cinema. Bharatanatyam Guru, Dandayudhapani Pillai, choreographed this.

Sai – Subbulakshmi Duo

The dancing duo sisters, Sai & Subbulakshmi were very popular with their brisk movements & performance like a spinning ‘Top’ in early Tamil  & Hindi films. This was in quick departure from the earlier dance formats, which were rather slow.

Sai – Subbulakshmi are said to be the off springs of P.A.Periyanayaki , a well-known play back singer of early Tamil films. This duo dancers were very well sought after & mesmerized the cine goers with their captivating dance numbers. Dancing in perfect harmony, the sisters seem to merge effortlessly with the song and the situation and it is easy to see why they were such a draw and came to perform not just in Tamil films but in a series of Hindi films too. They were trained under Muthuswamy Pillai and had tutelage in Kathak from well-established dance masters. They interpreted their dance compositions effortlessly their moves were very fluid. Sai of the duo was also the daughter in law of Actress R. Padma, (the beautiful heroine of “Sabhapathi’ & the then Lux Soap model ) and V.S. Raghavan  (Sound Engineer of AVM).

Here is a visual of the Sai-Subbulakshmi duo’s swift dance from the film ‘Malaikannan’.

 

Kumari Kamala

‘Kumari’ Kamala, as she is generally known even today, is a noted Bharatnatyam dancer and actress of yesteryears. Born in 1934 in a family of artists, where her sisters, Radha and Vasanthi were also dancers, she learnt Kathak from famous Lachhu Maharaj at a tender age. The Tamil film director A.N. Kalyanasundaram Iyer happened to watch her doing a dance concert and debuted her in ‘Valibar Sangam’ (1938) and later Ramanama Mahimai (1939), when she was a baby of four years then. So she was initially known as Baby Kamala. She also appeared as a child artist in Hindi films like Kismet and Ram Rajya in 1943. In Chennai she learnt Bharatnatyam from Muthukumara Pillai and Vazhavoor Ramiah Pillai. She appeared in Tamil movie, Jagathalaprathapan (1944) where she performed the Snake Dance. In her next film Sri Valli (1945), she played double role. Her film Nam Iruvar, based on Bharatnatyam theme made a great impact on audience. In 1953, Kamala performed during her coronation festivities of Queen Elizabeth II.

She has acted in more than 100 films belonging to Tamil, Hindi, Telugu and Kannada

She is the recipient of Padma Bhushan, Kalaimamani & Kendra Sahitya Academy award.Here is a popular dance number ‘Theeratha vilayattu pillai’ from the AVM film “Vedhala Ulagam”.

 

Waheeda Rahman

The wellknown Hindi’s heroine of yesteryears, Waheeda Rehman, was in fact originally from South, as her family lived in Chengalpattu near Madras. She and her sister learnt Bharatnatyam  under Guru Trichunder Meenakshi Sundaram Pillai in Chennai and Guru Jayalaxmi Alva, later in Bombay.

Kaalam Maari Pochu

An ad for the film ‘Kaalam MaaRi Pochu in the magazine Pesum Padam PC; From the archives of TCRC

She appeared as a dancer in movies like “Kaalam MaaRi Pochu” (1956), Alibabavum naaRpathu thirudargaLum” (1956). Here is the famous dance sequence of Waheeda in the former film.

Waheeda was proficient in Bharathanatyam. Guru Dutt, who cast her in the Hindi film ‘C.I.D’, spotted her. Then she went on to appear in many of his films. Her pairing with Dev Ananad was  very popular.

Rajasulochana

Rajasulochana, born 1934, was a classical dancer and film actress who debuted in Kannada film ‘Gunasagari’ in 1953, since which she acted in more than 250 movies belonging to different languages.

She learnt classical dance forms from various Gurus such as Lalithamma, K. N. Dhandayuthapani Pillai, Vempati Chinna Satyam, Krishnakumar, Vishnu Vysarkar, and Kalamandalam Madhavan. Rajasulochana founded her own Dance School, ‘Pushpanjali Nritya Kala Kendram’ in 1961 at Chennai.

Here is a dance sequence featuring her in the popular song “Vasantha mullai pole vandhu” from the film. ‘Sarangdhara’.

 

Down the time line, there were more trained & accomplished classical dancers who were also actors in Tamil Cinema such as E.V.Saroja, Jayalalitha, and VennirAadai Nirmala.

Tamil Cinema continues to feature dances to date, but of different genres to suit the modern tastes of cine goers. However, Dance as an Art Form, no doubt, continues to be patronized by the Films.

 

Filmy Ripples: Moonlit Movies (Part 2)

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By P.V.Gopalakrishnan

4) Moon in ‘Happy hour’: “Aaha inba nilavinile” from ‘Maya Bazaar’ (1957)

Maya Bazaar

Song book of Maya Bazaar PC: From the archives of TCRC

“Aaha inba nilavinile” was a lilting number from the Magnum Opus, ‘Maya Bazaar’ in the music of Ghantasala, filmed on Savitri as Vatsala & Gemini Ganesan as Abhimanyu, as they row their decorated boat in the serene waters of Ennore lake. This scene is highlighted by blissful music of Ghantasala (duet rendered by P.Leela & Ghantasala) & the raving cinematography of Marcus Bartley.

This evergreen song was actually shot by him at noon on Ennore lake and you can see, with the limited technology of those times, how they could create the illusion of pleasing moonlight!

The first mythological film produced by their studio, Maya bazaar marked a milestone for Nagi Reddy and Chakrapani. In addition to the technical crew, 400 studio workers – including light men, carpenters, and painters – participated in the development of the film. The film is considered a landmark cinema, with praise for its cast and technical aspects, despite the limitations of technology at the time.

5) Moon as an Arbitrator: ‘Varayo vennilave” from ‘Missiyamma’ (1955)

Another unique situation where both the hero & heroine address their complaints to the supreme Moon, thereby letting their thoughts known to each other without direct interaction has been picturised on the voices of A.M.Raja & P.Leela in Vijaya Productions’ “Missiyamma’.

The lead pair of this blockbuster constituted Savithri & Gemini Ganesh. Originally the female lead was to be done by Bhanumathi with whom some shoot was done. But owing to some misunderstanding the producers replaced her with Savithri. A trivia associated with this movie, as per Mr.Narasimham in his Article in The Hindu of October 2014, goes like this: “While watching the Missiyamma at Roxy theatre in Madras in 1955, a woman gave birth to a baby girl in the theatre. The mother and child were rushed to the hospital, where the baby was named Missiyamma by her parents.”

6) Moon as a spinster sees it:  ‘Amudhai pozhiyum nilave’ in ‘Thangamalai Ragasiyam’ (1957)

This beautiful solo, in the fresh & pristine voice of P.Suseela, was composed by T.G.Lingappa for the film ‘Thangamalai Ragasiyam’ & picturised on the pretty Jamuna as she wonders as to why the Moon could not descend & come proximate to her, as she sings by the studio pond.

This film had Sivaji Ganesan playing a Tarzan like role, growing up as a ferocious caveman till he meets the petite Jamuna, who turns him into civility.

7) Moon in separation times : “Idhaya vaanin udaya nilave” from “Vanjikottai Valiban’ (1958)

This is a pathos number, nevertheless very melodious, whereby both the separated heroine & hero sing to the Moon declaring their separation vows. Amazing music composition by Vedha who has deployed Vibrafone, Piano, Violins & Flute to touching effect on the listeners’ soul.

The lyrics of the subject song were of Vindhan.

8) Moon in times of ecstasy: “Aghaya veethiyil azhagana vennila” from ‘Manjal Magimai’ (1959)

This is a joyous situation where both the Hero & Heroine are together & are enjoying the beauty of a full moon . The voices were P.Suseela & Ghantasala & the music score was by Master Venu. The song features Pipofone & Univox organ which is the forefather of the modern synthesizers.

9) Moon in lighter moments: “Nilavum malarum paduthu” from “Then Nilavu’ (1960)

A boat ride by Gemini Ganesan & Vyjayanthimala in the serene waters of Dal lake in Kashmir, lip-syncing to a duet voiced by A.M Raja & P.Suseela, features in this visual. The song refers to the Moon & the Flower in concert to describe the pair’s romantic overture, as the serene tune by the Music Director A.M.Raja is soothing with Hawaiian-Guitar notes & serenading violins.

10) Moon’s dilemma: “Athi kaay kaay..kaay” from ‘Bale Pandiya’ (1962)

This Moon scene features two pairs of lovers appealing individually to the Moon whereby each pair urges that the Moon shines on the other person. This is another unique situation with a tinge of Lucknowi tradition of “pehle aap”!  Again, a studio moon but this time meeting the pairs involved, as they plead her to shine on the other. Quite a quandary for the Moon as to whereupon to shine, indeed!

The lyrics of this song is a great master piece by the legend Kannadasan, as the names of fruits & vegetables have cleverly been used in the lyrics to convey different interpretations through the song.

11) Moon as witness to pathos:  “Nilave ennidam nerungathe” from ‘Ramu’ (1966)

A beautiful composition in the Raga Bagheshri, this song has become an iconic one. Filmed in a sequence where the hero warns the Moon not to near him as he was in a dilapidated state of mind. This situation is in complete contrary to what the heroine of ‘Thangamalai Rahasiyam’ desired, where she invited the Moon to come proximate to her! This shows that the Moon was omnipresent in every unique situation like love, courtship, separation, dispute resolution, frustration and what not, in various movies.

This song, from the film ‘Ramu’ music scored by MSV, is a cult song, liked by all owing to its classical base as well as impeccable rendering by P.B.Srinivas in his sonorous voice timbre.  Incidentally, this was also the song that SPB sang before MSV when he was first auditioned him! By the by, this writer came across an Article, ”The song and its sweep”,  by Rangnath Nandyal in The Hindu dated 20.6.13 that this song was composed by Telugu Composer Pendyala for the Telugu version of the film.

12) Moon listening to a decree: “Paal polave vaan meedhile” from ‘Uyarntha manithan’ (1968)

In this song song “Paal Polave”, the picturisation is about a Nayika who is suffering solitude due to her Nayaka being away & thereby ordaining the Moon to vacate seat & return the next day, when she would be united with her love.  This sequence has been borrowed from early Tamil literature. Another unique occasion for a Moon song, indeed!

The filming of this song sequence, originally scheduled to be shot at Kodaikanal, had to be called off due to weather conditions. However, Art Director, A. K. Sekhar, constructed a special set at AVM studios, that mimicked the misty ambience of Kodaikanal, and the song was picturised in this set.

This was an award winning song as it won the National Film Award for Best Female Playback Singer for P. Susheela, making it the first Tamil film to win a National Award under that category.

‘Uyarndha manithan’ was produced by A. V. Meiyappan under AVM Productions and had the legend Sivaji Ganesan (his 125th movie) and Sowcar Janaki in the lead roles. The film was written by Javar Seetharaman, based on Bengali fim ‘Uttar Purush’ and directed by the noted duo Krishnan–Panju, who had directed over fifty films in South Indian languages and Hindi.

We have seen, as detailed above, as to how the Tamil screen was obsessed with Moon in various emotive scenes. And they had their magic effect with alluring songs that accompanied them on screen. But times have changed & the Moon has disappeared from the silver screens, only to occasionally show itself up in movies, in rarity!