Down Melody Lane..::..Article on Films, Personalities, Music Reviews and More..

Tamil Cinema is 70 odd years old and has certain unique features like its impact on the people and politics. Only in Tamil cinema have screen writers and actors become heads of states adored as near-divine beings by the masses. Also to Tamil cinema's credit, quite often the writer of a film and not its director, star or producer finds pride of place above the credit title

In the 1930s and in the early '40s, musicals with popular singing stars dominated Tamil cinema. However, in the late 1940s, Tamil cinema took a different direction and purposeful films, with a social content began to be made. Example: C. N. Annadurai's Velaikkari (1949), which was made under the banner of Jupiter Pictures and turned out to be a milestone in Tamil cinema.

The film took Tamil Nadu by storm as it had an unusual story content and pithy dialogue by C. N. Annadurai. Velaikkari attacked the feudal system with its inequities and the callous attitude of the haves towards the have-nots. It also weaved in a tender love story between the feudal land owner's kind-hearted son and the household maid. Though the film, in parts, had the Tamil people complaining that it hinted at atheism, such objections were ignored. Crowds surged on to see the film. Thus Velaikkari starring K. R. Ramasami, a political activist, T. S. Balliah, M. N. Nambiar, V. N. Janaki and M. V. Rajamma in the main roles assumed the status of a classic.

Likewise, several memorable films scripted by Annadurai like Nallathambi, inspired by Frank Capra's Mr. Deeds Goes to Town, produced by N. S. Krishnan and directed by the film-maker duo Krishnan-Panju, was a social satire and brimmed over with cautionary messages. The film touched upon issues like prohibition, untouchability and poverty. Ore Iravu directed by P. Neelakantan and produced by AVM studio was a family drama exposing social disparities, while Sorgavasal was a hard-hitting political film.

Annadurai demonstrated that the powerful medium of cinema could be used to bring about social change. The medium also served Annadurai and his political party, the Dravida Munneta Kazhagam (DMK), to influence the masses, waking them out of their slumber. Thus, the role of Tamil cinema in effecting transformation of political thought has been considerable.

Still from Parashakti

Following in the footsteps of his political mentor and imbibing the ideals of Annadurai, Kalaignar N. Karunanidhi, perhaps more successfully than his guru also used the medium of cinema and the Tamil language to put forward his views and ideas. His film Parashakti (1952), was a stirring story of a family of three brothers and a widowed sister. With its pungent dialogue, it questioned archaic beliefs and outmoded traditions. Moreover, the film marked the debut of the now-legendary actor Sivaji Ganeshan. The highlight here was a court scene which combined Karunanidhi's effective dialogue with the exceptional dialogue delivery by Sivaji Ganeshan.

Through another Sivaji Ganeshan starrer Manohara directed by L. V. Prasad, Karunanidhi fired salvos at religious bigotry and political despotism.

Two films also contributed immeasurably towards stirring patriotic sentiments of the Tamil people. Veerapandiya Kattabomman (1959), produced and directed by B. R. Banthulu, narrated the story of Kattabomman, the Tamil chieftain, who rose in rebellion against the East India Company. One of the earliest freedom fighters in India, he sacrificed life for his motherland. Veerapandiya Kattabomman made a lasting impact on the Tamil audience and earned Sivaji Ganeshan an international award at the Egypt fil festival for his bravura performance. Kappal Ottiya Tamizhan (1961), again produced and directed by B. R. Banthulu, was a valuable film on contemporary Indian history, highlighting the important period of freedom struggle against the British rule. Sivaji Ganeshan played the patriot and freedom fighter, V. O. Chidambaram Pillai. A small town lawyer, he fought against British imperialism in the early years of 20th centuary in Tamil Nadu. The autocratic government treated him savagely in an attempt to break his iron strength. But V. O. Chidambaram Pillai refused to yield and gave up everything in his struggle to break the chains of slavery in his motherland. Towards this purpose, he set up his own Indian steamship company to compete with the British monopoly.

With the 1960s drawing to an end, Tamil cinema saw a change, in the sense that now directors and stars came to the forefront. Director K. Balchander, who began his career in the mid-60s is an obvious example of a star director. He made films with bold themes and devised innovative narrative styles. Among his powerful films are Edhir Neechal (1968), Arangetram (1973), Aval Oru Thodarkathai (1974) and Apoorva Ragangal (1975).

Director Bharathi Raja, who began his career in the '70s specialized in bringing to the screen, films rooted in the soil. More recently, the business management-consultant-cum director, Mani Ratnam has floored audiences with Idayathai Thirudathe, Nayagan, Agni Nakshatra, Anjali and Dalapati, all made with a stylish technical flourish.