Nadigar Thilagam Sivaji Ganesan Part 11

[vasudevan31355]

சந்திரசேகரன் சார்,

தாங்கள் நடிகர் திலகம் சிலை தொடர்ந்து அதே இடத்தில் இருப்பதற்கான முயற்சிகளில் ஈடுபட்டு வருவதற்கு நன்றி! தங்கள் முயற்சி வெற்றி பெற நாங்கள் அனைவரும் உறுதுணையாய் இருப்போம்.

[Gopal.s]

நம்மை காக்கும் சிலையை நாம் என்ன காப்பது? அந்த கடவுளே துரோகிகளுக்கு பாடம் கொடுத்து, தன் நிலையில் உயர்ந்து நிற்கும்.

வாழ்க ஒரே தமிழ் கடவுள் புகழ்.

[rangan_08]

Hope we all know that YGM is writing about NT in Dina Malar. In this week's issue has has shared an interesting incident.

Since YGM has acted in films like Moondram Pirai, Un kannil neer vazhinthal etc., directed by Balu Mahendra they maintained a good relationship. Once they were having a chat and Balu revealed his desire to direct NT in one of his films as he is a big fan of the veteran. YGM conveyed this to NT and a meeting was scheduled.

Accordingly, Balu visited NT's house and after having lunch, Balu narrated a story to NT. It was about the ordeals of a father who is in search of his daughter, who has been forced into prostitution. NT was so moved by the story and he immediately gave his nod to go ahead and also suggest that YGM should play an important character in the film. It was decided that Sri Devi should play the character of NT's daughter. Balu said to NT that he wanted the actor to be himself in the film sans any make-up.

Every body was so excited about the project and firmly believed that it is going to be a milestone in Tamil cinema history. But unfortunately due to reasons unknown, the project was shelved. How sad !!

I was always yearning to see NT as Don Corleone in our Tamil version...but it never happened. Now after reading the above piece of information I felt that we have missed another masterpiece by the great actor and that too with an ace director like Balu Mahendra.

[Russellfcv]

Will ever someone try to remake and perform like this?

Brilliant performance from the Son of Goddess Saraswathi, Nadigar Thilagam Sivaji Ganesan ! Karnan in conversation with Kunthi Devi.

[Russellfcv]

இததானே எதிர்பாக்கறா...

எப்போடா கீழ விழுவானு எதிர்பாக்கறா !

நடக்காதுடி ! He is prepared to face anybody's challenge..!

ஹி இஸ் திலகம் ....நடிகர் திலகம் !

[Russellfcv]

The First Tamizh Film that was nominated for OSCARS in the year 1969 !

Nadigar Thilagam's Cult Classic "Deiva Magan"

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The first Indian Film, Indian Film Music Director, Indian Film Actor to win an International Award in Asia - Africa Film Festival in the year 1960 was as follows:

Best Foreign Film - Veera Pandiya Kattabomman
Asia-Afro Best Actor Award - Nadigar Thilagam Sivaji Ganesan
Best Music Director - G.Ramanathan

[Russellfcv]

A doyen among actors

Sivaji Ganesan, 1928-2001.

D.B.S. JEYARAJ

SIVAJI GANESAN, 72, one of the brightest stars on the Tamil film firmament for nearly five decades, passed away at a Chennai hospital on July 21. With more than 300 film roles to his credit, he inspired a whole generation of artists, virtually creating a new school of acting.

His acting career, which began at the age of eight, could be divided into three phases - 1936 to 1952, when he acted only on stage; 1952 to 1974, when he acted for the big screen and also gave stage performances; and 1974 to 1999, when he acted only in films. (His last film was Pooparikka Varigirom.)

Villupuram Chinniah Ganesan, or V.C. Ganesan, was born on October 1, 1928, in Villupuram, which was then in Tamil Nadu's South Arcot district, to Chinnaiapillai, a railway employee and freedom fighter, and Rajamani, in whose name he was to launch later a successful film company, Rajamani Pictures.

Smitten by a street drama about Kattabomman, the feudal Polagar of Panchalan-kurichi who defied the British, young Ganesan became enamoured of acting and abandoned school when he was in Class Two. Forsaking home, he joined the Madurai-based Bala Gana Sabha drama troupe first, and later the troupe run by Ethaartham Ponnusamipillai. From child roles he graduated to female roles and then on to the "raja part", the role of the hero, as it was known then. The first landmark in his career was his portrayal of the Maratha warrior Sivaji in the drama ''Sivaji Kanda Samrajyam'' written by Dravida Munnetra Kazha-gam leader C.N. Annadurai, who went on to become the Tamil Nadu Chief Minister. E.V. Ramaswamy, the patriarch of the Dravidian movement, acclaimed his stellar performance and referred to Ganesan as 'Sivaji' Ganesan. This was in 1946. The sobriquet stuck.

The big break in Sivaji's career came in 1952, when he acted as the hero in Parasakthi, a film directed by Krishnan-Panju. The dialogue, written by DMK leader and former Chief Minister M. Karunanidhi in fiery and flowery prose with a surfeit of alliterations, the hallmark of Karunanidhi's style, came powerfully alive in a stunning performance by Sivaji, unparalleled in Tamil cinema. The monologue uttered as an address to Tamil Nadu in the earlier scenes and the courthouse speech in the closing stages of the film were classic instances of delightful oratory. A star had arrived in Tamil cinema.

The Karunanidhi-Sivaji combination made an explosive impact. The writer's rich prose, brimming with vitality, was given emotive and impressive expression by the actor. Every film in which they collaborated was a success. Notable among them were Thirumbi Paar, Manohara, Kuravanji and Iruvar Ullam.

Sivaji had an extraordinary flair for dialogue delivery. He pioneered an exquisite style, diction, tone and tenor. (Later other scriptwriters, such as Solaimalai, Sakthi Krishnaswamy, Aroor Das, and 'Vietnam Veedu' Sundaram, were to provide dialogue that tapped his diction, which rendered the Tamil language euphonious.)

A generation of actors and aspirants modelled themselves on his style. Despite this mass attempt to imitate and emulate him there was no replicating or duplicating the veteran. This stylish, dramatic presentation was essentially considered to be a feature suitable for the stage rather than the screen. A device used frequently in his earlier films to give an outlet to his histrionic talents was the inclusion of short historical dramas - on the Chera King Senkuttuvan, Akbar's son Salim or Jahangir, Socrates, Emperor Asoka among others - within the main plot, often dealing with a social theme.

His acting ability received maximum exposure in the bantering arguments Veerapandiya Kattabomman has with his British adversaries in the eponymous film. Sivaji received the best actor award for this role at the Afro-Asian film festival held in Cairo in 1960.

Sivaji's talents were by no means restricted to his oratorical prowess and powerful dialogue delivery. He could emote all the nine moods (navarasas) realistically. This skill found scope in all his films and came out into full play in his 100th film Navarathri in 1964, in which he played nine different characters signifying wonder, fear, compassion, anger, gentleness, revulsion, romantic passion, courage and happiness.

His other commendable multi-role performances were in Uthama Puthiran in a dual role, and Deiva Magan and Bale Pandiya in which he did three roles each.

Sivaji Ganesan played a wide range of characters, from god and king to commoner. Whether it was the mercurial Chola emperor Raja Raja Cholan, Lord Siva, Lord Muruga, Saivite saint Appar, Vaishnavite saint Periyaalvar or Tamil poet Ambigapathy, Sivaji was always at his scintillating best. He was equally splendid in contemporary roles and stereotypes making every performance a memorable one.

Superb among them are his roles as Bharatha in Sampoorna Ramayanam, the patriotic lawyer Chidambaram Pillai in Kappalottiya Thamizhan, the nagaswaram player Sikkal Shanmugasundaram in Thillana Mohanambal, Prestige Padma-nadha Aiyer in Vietnam Veedu, Barrister Rajanikanth in Gauravam and Police Superintendent Chaudhury in Thangapadhakkam.

Despite achieving stupendous success on the screen, Sivaji remained faithful to his first love, the stage, and acted in plays for decades. Scenes from some of his films remain etched in memory: the 'Yaaradi Nee Mohini' song sequence in Uttama Puthiran, where Sivaji's mannerisms would remind present day movie-goers of Rajnikanth's style; the physically challenged Ponniah in Bhagapirivinai, the inimitable gait as the fisherman in Thiruvilayadal and the clash with Tamil scholar Nakkeeran in the same film; his duel over artistic superiority with Padmini in Thillana Mohanambal; particularly during the 'Nalanthaana?' song sequence; and the Othello drama sequence in English with Savithri as Desdemona in Iratha Thilakam.

Sivaji had an astounding capacity to synchronise lip and body movements to playback renditions making it appear as if he was actually rendering these songs. Singers Chidambaram Jeyaraman, Tiruchi Loganathan, Seerkazhi Govindarajan and A.M. Raja in the earlier days and T.M. Soundararajan later gave voice to his songs, making the singing and speaking voices blend as an indivisible entity.

Several directors, among them Krishnan-Panju, T.R. Sundaram, L.V. Prasad, B.R. Panthulu, T. Prakash Rao, A. Bhim Singh, K. Shankar, A.P. Nagarajan, A.C. Tirulokchandar, Sridhar, P. Madh-avan, K.S. Gopalakrishnan and K. Vijayan, directed Sivaji in vastly different roles, bringing out his versatility.

It was Sivaji's tragedy that as the years progressed, opportunities for him to display his acting talent became scarce. But he did act in cameo roles, often stealing the scenes, as in Thevar Magan, which won him the National Awards Jury's Special Jury award in 1993. (Sivaji, incidentally, declined the award.)

Ironically, the man hailed as a great thespian never won a national award for best actor. He was conferred the Dadasaheb Phalke lifetime achievement award for meritorious service to Indian cinema in 1997.

THE film journal Pesum Padam gave him the honorific 'Nadigar Thilagam' (doyen of actors). Sivaji was honoured with the titles Padma Shri and Padma Bhushan and the Tamil Nadu government conferred on him the Kalaimamani award. The French government honoured him with Chevalier in the Order of Arts and Literature.

Essentially a creature of the stage when he entered films, Sivaji Ganesan brought that baggage with him and superimposed it effectively on the film medium. Yet his brilliant acting made this so-called violation of screen norms the accepted norm of film acting. Generations of Tamils learnt to appreciate the beauty and power of the Tamil language because Sivaji Ganesan breathed new life into it.

Sivaji was no stranger to Sri Lanka. His movies ran to packed houses in the island. Several of his films were adapted and remade in Sinhala. Substantial portions of Pilot Premnath and Mohanapunnagai were shot in Sri Lankan locales with Sri Lankan artists Malini Fonseka and Geetha Kumarasinghe in the lead female roles.

[Russellfcv]

ANOTHER MILESTONE OF NADIGAR THILAGAM - THIS TIME A USED BOOK OF HIM IS SELLING FOR MORE DOLLARS THAN THE NEW BOOK. WATCH YOURSELF !

http://www.amazon.com/Roopa-Swaminat...r_dp_pel_pop_1

[Russellfcv]

A song specifically for useless guys !!