SAARASAM VASEEGARA KANGAL - KRISHNA BHAKTHI

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.

Remembered for the melodious songs of Chinnappa, and MLV’s solitary on-screen appearance.

RANDOR GUY

UNAI KANDU MAYANGADHA - ASHOK KUMAR - MKT

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DHYANAME ENADHU - ASHOK KUMAR 1941 - MKT

Ashok Kumar 1941

M. K. Thyagaraja Bhagavathar, Chittoor V. Nagaiah, P. Kannamba, T. V. Kumudhini, M. G. Ramachandar, N. S. Krishnan and T. A. Mathuram

music, dominating factor From Ashok Kumar

A popular folk myth drawn from Buddhist tales built around Asoka the Great, his son Veer Kunal and young amorous wife was filmed more than once as a silent film in Hindi as Veer Kunal, and in Tamil as Ashok Kumar. (Kunal became Gunaalan in Tamil.) However, there is no historic proof of the story which has many parallels with another oft-filmed folk myth Sarangadhara.

Bhagavathar’s career was now on an upswing and the South Indian movie-goers eagerly awaited his next film. He was in such a position that he could afford to take life easy which he did. He gave himself to many exciting things in life such as bathing in Ghazipur rose water. Besides, he was in great demand for his Carnatic music concerts. So his films took longer to make, a year and more. Anyway he pleased the public with Ashok Kumar, directed by Raja Chandrasekhar, another noted South Indian filmmaker of those days.

Ashok Kumar is about Asoka’s son Gunaalan, whom Tishyarakshita, the Emperor’s young wife, lusts after. Shocked, he rejects her amorous advances, and like the proverbial woman scorned, she tells her husband that his son tried to seduce her! Enraged, the ageing emperor orders his son to be blinded and banished. The condemned, but innocent, prince suffers, loses his child and is reduced to beggary. Ultimately, the Buddha restores his sight, rights all wrongs and all, except the Queen, live happily thereafter!

Bhagavathar played the role of the prince, while Kumudhini was his devoted spouse. Nagaiah and Kannamba played Ashoka and the queen. The duo with a wide range of talent came to be deservedly regarded as two of the greatest artistes in Indian cinema.

Pasupuleti Kannamba who hailed from Andhra Pradesh made her debut in Tamil with Krishnan Thoodhu (1940) and Ashok Kumar was her second film. She did not know Tamil then and had her lines written in Telugu phonetically, and spoke with ease, which was indeed remarkable.

One of the highlights of the film was a song and dance sequence, ‘Unnai kandu mayangaatha…’ sung by Bhagavathar to which Kannamba danced. No dancer, she worked hard for the sequence which was shot brilliantly during a single night at Newtone Studio by the sadly neglected Indian movie maestro, K. Ramnoth, without credit.

MGR played a minor supporting role and was credited as ‘M .G. Ramachandar’!

A newcomer playing a bit role as the Buddha was Ranjan, his first film, who in a few years’ time was to take the sub-continent by storm with his stunning performance in S. S. Vasan’s Chandralekha (1948).

Like any Bhagavathar film, music was the dominating factor in Ashok Kumartoo. Songs such as ‘Satvaguna bhodhan…’, ‘Bhoomiyil maanida janmam…’, and ‘Unnai kandu…’ became instant hits and the credit should go to Papanasam Sivan. Indeed, during his heyday, Bhagavathar insisted that his producers hire Sivan and Elangovan to handle the music and script respectively.

NSK and Mathuram provided the comedy as usual.

Remembered for Bhagavathar’s melodious songs.

RANDOR GUY

Movie: Ashok kumar
MD: Papanasam Sivan
Lyrics: Papanasam Sivan
Cast: MKT


dhyaaname enadhu manadhu niRaindhadhu
chandra bimba vadhanamthanil dhinam
dhyaaname......

kaantha sakthiyai innaaL aRiyen naan iru
kaN mayangi saavenO
dhyaaname.......

lokamum adhile thondrum indhriya
bogamum yaavum thuRandhen vishaya
bogamum yaavum thuRandhen kamala
mukamum vaseegara neeLiru vizhigaLum
mOhana uruvum peyarum aagavum
dhyaaname.......

courtesy:

rajraj  

ISAI SANGAMAM - PUDHIYA THALAIMURAI

Artistes featured: Injikudi subramaniam, Embar kannan, Shri Flute Ramani

Ragas featured : Karaharapriya, Kiravani, Chalanattai...