KURINJI, SINDHU BHAIRAVI, YAMUNA KALYANI.
saarasam
vaseegara kaNgaL
seer tharum
mugam chandra bimbam
saarasam
vaseegara kaNgaL
seer tharum
mugam chandra bimbam
saarasam
kaN aadidum Oviya
peNNaai
vaaiththaal
paerinbam
saarasam
kaN aadidum Oviya
peNNaai
vaaiththaal
paerinbam
saarasam
vaseegara kaNgaL
seer tharum
mugam chandra bimbam
aadum mayilaaL
abinaya mozhiyaaL
aadum mayilaaL
abinaya mozhiyaaL
ivaL anbai naadum puvimaiellaam
aadum mayilaaL
abinaya mozhiyaaL
aah haa
ivaL anbai naadum puvimaiellaam
eedillaa
deva kumari singaari
eedillaa
deva kumari singaari
ithikaasa suga rasa vaathi
saarasam
ithikaasa suga rasa vaathi
saarasam
vaseegara kaNgaL
seer tharum
mugam chandra bimbam
saarasam
vaseegara kaNgaL
seer tharum
iru kaNgaL seer tharum
vaseegara kaNgaL seer tharum
mugam chandra bimbam
Krishna Bhakthi 1948
| P. U. Chinnappa, T. R. Rajakumari, K. R. Ramasami, SP. L. Dhanalakshmi, D. Balasubramaniam, N. S. Krishnan, T. A. Mathuram, P. A. Periyanayaki |
memorable performances From Krishna Bhakthi
A concoction of mythology, historical characters, novels and imagination kindled by foreign films, Krishna Bhakthi was produced by one of the most colourful personalities of south Indian cinema, S. M. Lakshmanan Chettiar, better known as “Lena”.
‘Lena’ Chettiar had a roaring automobile business in Karaikudi; he bought and sold used cars. He circulated handbills about his vehicles in Tamil, then a novelty. Most Chettiars had no knowledge of English and were delighted to see ads about foreign cars in a lingo they understood well. Besides, Lena had an interest in the arts, especially the Tamil Theatre and its business side as ‘drama contractor.’ Soon, Lena promoted ‘Krishna Pictures’ in the early 1940s under which he produced films in Tamil and Telugu for nearly 15 years.
Krishna Bhakthi is the tale of a hypocrite saint, (Chinnappa) who lusts after a chaste court dancer (Rajakumari), and his ultimate redemption. The film was under production for nearly five years due to many difficulties. R. S. Mani, editor-turned-director who had directed the 1942 hit Kannagi, made it. The script on which Mani and his assistant S. Ramanathan worked for six months was inspired by Rasputin, the notorious Russian monk, and a French novel “The Monk” translated into English, which Ramanathan bought in Moore Market for one rupee! The dialogue was written by noted writers of the day — S. D. S. Yogi, Suddhananda Bharathi, Ku. Pa. Sethu Ammal and Chandilyan.
P. U. Chinnappa as the woman-crazy devotee of Lord Krishna (K. R. Ramasami) came up with a memorable performance old-timers talk about even today. One particular sequence worth mentioning for its technical excellence as well as Chinnappa’s amazing performance is a song-discourse (music: S. V. Venkataraman; and lyrics: Udumalai Narayana Kavi), Here, Chinnappa narrates the tale of a dancing girl named Sengamalam who refused to yield to any man and devoted herself to Lord Krishna. The recording of this ‘Harikatha’ lasted nearly six minutes and Chinnappa finished it in one ‘take’! Perhaps, this is the only such feat in the history of Indian cinema after pre-recording of music was introduced in the late 1930s.
Along with Chinnappa, others sang in chorus and a well-known artiste, S. V. S. Narayanan, played the mridangam. Krishnan and Mathuram provided comic relief. Not many are aware that Carnatic music icon M. L. Vasanthakumari appeared on screen in a regal court sequence, and sang ‘Entha Vedukonthu O Raghava….’ in Raaga Saraswathi Manohari. This was her only on-screen appearance. But, she sang off-screen. Indeed she was engaged to play the second wife of the potter-saint Gora Kumbhar inSudharshan, a Jupiter Pictures production. But for personal reasons, she opted out after a few reels were shot and (Yogam) Mangalam replaced her.
RANDOR GUY
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