PAAR MAGALLE PAAR

Talk to anyone about the golden era of Tamil films and one title that is sure to come up is Paar Magalle Paar, the super hit film directed by one of the top directors of the time, A.Bheemsingh.

In my opinion, this is one of Sivaji Ganesan’s most outstanding performances and one of the most memorable protagonists of all of Bheemsingh’s films.

Sivaji Ganesan plays the role of Zamindar Sivalingam, a wealthy businessman, incredibly bigoted, stubborn, domineering and altogether quite an obnoxious person.

While he is away on business, his wife Lakshmi gives birth to a baby girl but when he rushes back, eager, excited and delighted, there are two babies in the cradle and he is told that Lakshmi had given birth to twins – both girls.

For how long can any wife keep a secret such as this from her husband? When the secret is revealed, all hell breaks loose = but this is only the beginning of the problems.

Sivaji Ganesan’s performance in this film is outstanding and must surely rate as one of the best of his career. Sowcar Janaki plays the hapless wife who has to contend with the tantrums and vicious temper of her unreasonable husband.

M.R.Radha (father of Radharavi and Radhika) plays a most unusual role in this film and displays once again that he was a very classy actor decades ahead of his time.

Vijayakumarie, Pushpalatha and R.Muthuraman also put on impressive performances.

Paar Magalle Paar was also the very first film of comedian Cho (now an insightful political and social analyst). His is a very impressive debut performance.

Also appearing in major roles in Paar Magalle Paar are V.K.Ramasamy, Manorama and comedian Karunanidhi.

Music by Mellisai Mannargall Visvanathan-Ramamoorthy is on par with excellence of the rest of the film, with every song a melodious hit. My favourites are the title song and Avall Parrandha Ponaalle.

Scripting by Aaroor Dhaas makes it a film that one can watch over and over.

Paar Magalle Paar was a major milestone in Director Bheemsingh’s career and it is easy to see why.

Paar Magalla Paar scores 8 points out of 10.

Ootyvarai Uravu

I have, on numerous occasions, sung the praises of veteran director Shridhar. I have always believed that Shridhar was much too advanced for his time and this film, OOTY VARAI URAVU has only served to strengthen that view. Having cast Nadigar Thilagam Sivaji Ganesan and Punnagai Arasi K.R.Vijaya in the lead roles, one would expect Shridhar to weave a powerful emotion-packed drama and the initial scenes of the film lead one to expect just that. Then Shridhar displays his unquestionable artistic talent in gradually changing the focus from drama to comedy, while not ignoring the seriousness of the plot.

Co-starring with Sivaji Ganesan and K.R.Vijaya in OOTYVARAI URAVU are T.S.Baalaiah, R.Muthuraman, C.K.Naagesh, V.K.Ramasamy, L.Vijayalakshmi, Sachu, Sundhariebhai and Senthaamarai.

Ravi – played by Sivaji Ganesan – is a hardworking youngster whose business skills and dedication to duty has seen him take over the family business started by his father, Vedhaachallam – played by T.S.Balaiah. On a trip out of town, Ravi comes across a young girl who was a victim of a hit-and-run accident. After admitting her to hospital, Ravi resumes his journey. On the train, he glances through a newspaper and comes across a Missing Persons notice. Thinking nothing of this, he settles down to enjoy the journey when he, for the first time, notices that the other passenger in the compartment was the same person the person reported missing.

On questioning her, the girl – played by K.R.Vijaya – refuses to say anything about her reasons for running away but begs Ravi not to reveal to anyone that he had seen her. Later in that journey, the girl’s luggage falls from the luggage compartment and when Ravi leans over to pick it up, he is stunned to see a photograph of his father, with another woman. Letters accompanying the photograph reveal that Vijaya is the result of an extra-marital affair by Ravi’s father. When Ravi gets over the initial shock, he decides to handle the matter in a rather surprising manner but – as would soon be revealed – the events are much more complicated than they initially appear to be. To find out what happens next, watch Shridhar’s magnificent family entertainer, OOTY VARAI URAVU.

This is one of the most entertaining of Shridhar’s films I have seen thus far. The plot is filled with twists, some dramatic – others comic and, carrying the events through, are very realistic, believable characters. Sivaji Ganesan is once again in riveting form in yet another complex character.

Providing superb support and a healthy dose of glamour is a very youthful K.R.Vijaya. T.S.Balaiyah is in a delightful role but I could not help but think how the role would have been had it been portrayed by Nadigavel M.R.Radha. R.Muthuraman is in an unusual role while V.K.Ramasamy does full justic to his role. Naagesh and Sachu provide some great fun. L.Vijayalakshmi is also impressive. The best of the others are Senthaamarai and Sundhariebhai.

Music in OOTIVARAI URAVU has been scored by Mellisai Mannan M.S.Visvanathan and this is an unforgettable performance from him. Every one of the film’s six songs is a memorable hit from the beaty Thedinen Vandhadhu to the jolly Pudhu naadagathil oruy naayagi to the soulful Poo maalaiyil ohr malligai to the melodious Happy indru mudhal Happy – Every song was a melodious hit and has now graduated to evergreen status. The songs were all penned by Kaviyarasu kannadassan. Dance choreography by Pasumarthi Krishnamoorthy shows lots of experimentation but the end result is not quite pleasing. M.S.Visvanathan’s background score is very good.

Art director Ganga does well but has not broken out of the stylised mode. Cinematographer N.Balakrishnan has made maximum use of the colour format, especially in the film’s many beautiful outdoor locations. Balakrsihnan’s efforts are most commendable in the film’s six songs. His indoor scenes are less impressive.

Produced by Kovai Sezhiyan for K.C.Films, OOTIVARAI URAVU is entertainment at its very best and a film you will want to see over and over. This is a film that no video collection should be without and a film which showcases the immense talent of Director Shridhar.

OOTIVARAI URAVU scores 9 points out of 10.

Nenjil ohr Aalayam

Kalyaankumar, R.Muthuraman, DEvika, Nagesh, Manorama and Baby Padmini star in Nenjil Ohr Aalayam, a black-and-white production of 1962 from Shridhar’s own production company, Chithralaya.

Shridhar, the director of films like Kaadhalikka Neramillai and Vennira Aadai, was a top director of his time. His films were fresh, innovative, thought-provoking and – above all – entertaining.

When I first watched Nenjil Ohr Aalayam, it was a lot of misgivings because, firstly, it was in black-and-white and, secondl;y, the lead star was someone I had never heard about before. However, in the very first minute – literally – it was very clear that Nenjil ohr Aalayam was a film with class.

The entire film is set in a nursing room run by a totally dedicated doctor, Dr Muralli (Kalyaankumar). The hospital and his patients are Dr Muralli’s life, and his dedication is so intense that there are even days when he does not go home.- this despite the fact that he has an ailing mother.

There is, however, a reason for Dr Muralli’s obsession with his job; Seetha, the girl he was so deeply in love with, married another man without a word of explanation to Dr Muralli. This left Dr Muralli not embittered, but emotionally devastated.

As fate would have it, a young couple, Mr and Mrs Venu arrive at the nursing home. The husband (R.Muthuraman) has cancer of the lung which is in a fairly advanced stage….And who is Venu’s wife? Seetha (Devika), Dr Muralli’s ex-lover.

With this as the central story, the film also has sub-plots dealing with the lives of other patients in the nursing home. Some good comic relief comes from Peter (Nagesh), the orderly, who falls hopelessly in love with one of the patients, Navaneedham (a very young Manorama).

Shridhar’s scripting is amazingly realistic and therefore very moving. Kalyaankumar, Devika and Muthuraman all put in splendid performances as does Baby Padmini in the role of Uma.

Nenjil ohr Aalayam marked the acting debut of comedian Nagesh and for South Africans his screen name in the film, Peter, stuck to their memories. Of course, Peter was also the name he took on when he was a Christian.

With Mellisai Mannargall Visvanathan-Ramamoorthy responsible for the music, one can expect some great songs and one would be right. My favourites are Yengirundhaalum Vaazhga and Ninaipathellaam Nadanthuvitaal – both sung by P.B. Srinivos.

Director Shridhar also handles the portfolios of story and scripting and does an outstanding job of all tghree. With an excellent story, a potent script, dynamic setting, melodious songs, moving lyrics and an innovative director, Nenjil ohr Aalayam is a film you simply cannot miss.

Kaadhalikka Neramillai

Shridhar’s home production company, Chithraalaya is behind the landmark movie, KAADHALIKKA NERAMILLAI – the first Indian movie about young love, played by young actors and written and directed by a youngster. R.Muthuraamanm shares the lead role with a very young Ravichandhran, making his acting debut. They are supported by Naagesh, Raajashri and another debutante, actress Kaanchanaa. Others in the cast of KAADHALIKKANERAMILLAI are T.S.Baalaiah, V.S.Raagavan, Sachu, Radhabhai, Prabhaagar and Veeraasamy.

KAADHALIKKA NERAMILLAI is a romantic comedy entertainer with the golden touch of Director Shridhar all over it. Vaasu – played by R.Muthuraaman – and Ashok – played by debutante actor Ravichandhran – are close friends. Ashok is the assistant manager at a mill owned by the rather highly strung Visvanathan – played by T.S.Baalaiah. Because of an unfortunate altercation with Visvanathan’s younger daughter, Nirmalla – played by Raajashri – Ashok is fired from his job. The one positive aspect that emerges from the incident is that Ashok and Nirmalla slowly fall in love. When Visvanathan one day makes a comment at the dinnertable that he would never allow his daughters to marry into a poor family, Nirmalla is dismayed.

Ashok, on the other hand, is undaunted. He comes up with a zany plan. He gets his friend Vaasu, to disguise himself as an old man and pretend to be his (Vaasu’s) unbelievably rich father. Of course, how could they predict that Nirmalla’s elder sister is the girl Vasu is in love with; or that Visvanathan and Vasu’s father, Satchidhaanandham are old friends. If they did, they would have realised that their elaborate scam would be anything but easy to pull off. Lie follows lie and the deception grows with delightful intensity in this witty, warm and very believable comedy entertainer – made in the way only Shridhar can.

This film is a refreshing break-away from the predictable formula-type movies. There are no fight sequences, no heavy melodrama or even a hint of a moral or political message. Instead, Shridhar had one aim – and only one aim – in mind : Pure entertainment. This he achieves easily, given the wit of his scripting and the talents of his cast.

R.Muthuraaman is excellent in his portrayal of Vaasu. The scenes in which he has to play Ashok’s father will no doubt produce more than a few chuckles and guffaws. T.S.Baalaiah is in the most impressive role I have seen him in. A snobbish bigot – but charming and lovable at the same time, Baalaiah’s role as Visvanathan is the most lingering role of the film.

It is difficult to think of Ravichandhran as a debutante in thsi film. He has all the charm and style of a seasoned actor and his timing in the comedy is nothing short of perfect. The King of Comedy, Naagesh is also in a delightfgul role as the aspiring film director, who himself need direction. Wit, puns and intelligent humour characterise his role in this film. Raajashri and Sachu are both very impressive. Kaanchanna is in a stunning debut and – like Ravichandhran – shows no sign at all of this being her first film. V.S.Raaghavan is the best of the others.

Scripting by Shridhar and Gopu is the most impressive aspect of the film. It must have been very tempting to go the slapstick route when working on a comedy – and one needs also to take into consideration the age of this film as well when assessing the scripting. Razor-sharp wit abounds in the intelligent scripted thsu aming this film eligible to stand up against any of the modern comedies and still come up trumps.

The story – also penned by Shridhar and Gopu follows the perfect pace and is neither too complicated or over simplified. The result is top class entertainment.

Music in KAADHALIKKA NERAMILLAI has been scored by Mellisai Mannargall Visvanathan-Ramamoorthy. It is impossible to ignore their contribution to this film. Their background score makes it obvious that the film was aimed exclusively at the younger generation. The success of the soundtrack of KAADHALIKKA NERAMILLAI has since become legendary. Every song – without exception – is a melodious hit. My favourites are Unga ponnaaa Kaigall, Visvanathan velai Vehnum and Malar yendra mugam yenna sirrikattum. All the songs have been penned by Kaviyarasu Kannadassan.

The songs feature some very modern choreography by dance master Thangappan. The choreography in the songs Visvanathan velai Vehnum and Malar yendra mugam yenna sirikattum are the most impressive. Art director Ganga has done an excellent job of the sets,amazingly steering clear of the stylised route.

Cinematography by A.Vincent is impressive, especially in the many outdoor scenes.

Produced and directed by Shridhar, KAADHALIKKA NERAMILLAI is a fabulous comedy entertainer that everyone simply must see.