pattinathar ( தமிழ் : பட்டினத்தார் ) is 1962 tamil biographical film was directed by k. somu and produced by film center with distribution by j. r. productions .

the film script was written by thanjai ramaiah doss and akilan .

music by g. ramanathan is an added asset to the movie .

the film stars t. m. soundararajan who played the title role and m. r. radha played the antagonist .

that film was directed by t. c. vadivelu nayakar and the male lead actor was m. m. dhandapani desikar .

pattinathar ( 1962 film )

pattinathar ( 1936 film ) , tamil film directed by t . c . vadivelu nayakar
1962 and as “chirikkudukka” - 1976 in malayalam ) but the corresponding songs in these films – “nazar bacha ke…… “ ( rafi ) and “chithra kanyake… . “ ( yesudas ) .
tms composed music for the tamil film “balapareekshai” ( 1976 ) . the film or its music could not impress the audience .
free wallpapers download of pattinathar movie , hero , heroine , etc is available in our gallery section .
tamil mythological film written and directed by t . c . vadivelu nayakar and produced by m . t . rajan . music by gopal sharma is an added asset to the film . the film stars
at his ardent request . saint pattinathar accepts the king as a discipline and order him to report at tiruvadamarudur . at tiruvadamarudur pattinathar and his discipline station themselves at the eastern and the western gates of the temple . one day a devotee begs ( lord shiva disguised ) to pattinathar but , the saint replies to the devotee ,
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the film was initially released 1936 film was directed by t . c . vadivelu nayakar and male lead actor as m . m . dhandapani desikar .
murattu kaalai ( rough bullock ) was a blockbuster rajnikanth ' s film of 1980s . this was the first film for rajnikanth with avm production . . .
. the film distributed by vel films . starring m . m . dhandapani desikar as played pattinathar role to protagonist with v . n . sundaram , d . r . muthulakshmi , t . k . rukmini , m . s . radhabhai and p . g . venkatesan . the film cinematography by k . ramnath and art director by a . k . sekhar . the film was super - hit at the year . the film ran at
and produced by m . t . rajan . the film script was written by
pattinathar - another film with the same name , was released earlier in 1936 . it was a black and white tamil mythological and biographical film directed by t . c . vadivelu nayakar and produced by m . t . rajan . the film script was written by t . c . vadivelu nayakar . the film was distributed by vel films . starring m . m . dhandapani desikar who played pattinathar ' s role as protagonist , and other actors like v . n . sundaram , d . r . muthulakshmi , t . k . rukmini , m . s . radhabhai and p . g . venkatesan . the film ' s cinematography was by k . ramnath and art direction by a . k . sekhar . the film was super - hit at that year . the film ran at chennai broadway theatre for 25 weeks .
the film message that one should for true meaning of life . not waste it in pilling up wealth seemed to have gone deep in to the psyche of the film going public of the 30s snd the film become a range . the impact of the film was so great that it popularly believed that young man even married young men , gave up social life and donned saffron robes after seeing the film ! .
nandanar ( tamil : நந்தனார் ) or bhakta nandanar is a 1935 tamil film directed by manik lal tandon . it marked the film debut of the carna . . .
pattinathar - produced by lotus films . 1935 . directed by v s k padam . starcast – c s sundaramoorthy othuvar , k r saradambal
the film ' s message that one should search for the true meaning of life , not waste it in pilling up wealth seemed to have gone deep into the psyche of the film - going public of the 30s and the film become a rage . the impact of the film was so great that it is popularly believed that some young men , even some married men , gave up worldly life and donned saffron robes after seeing the film .
. music by g . ramanathan is an added asset to the movie . the film stars
chithiram pesuthadi tms music t g lingappa 1958 lyric ku . ma . balasubramaniam film sabaash meena
pattinathar was subject made thrice in tamil cinema . the first version was made in 1935 by lotus pictures with c . s . sundaramoorthy odhuvaar as the saint , the second was made in 1936 by vel pictures with m . m . dandapani desikar ( this film ) and it was made again in 1962 with t . m . soundararajan as the saint . in those days , only actors trained in theatre were given roles in films , but occasionally , good musicians were also given opportunities when the film demanded good singing from actors m . m . dandapani desikar , a musician well versed in thevaram recitals , was picked to play eponymous hero .
another film of the same name was previously released in 1936 . that film was directed by t . c . vadivelu nayakar and the male lead actor was m . m . dhandapani desikar .
in the tamil film “avar enakke sontham “ ( 1977 ) , tms sang the hindi film lyrics from the film “kabhi kabhi “ ( 1976 ) – the title song – “kabhi kabhi mere dil mein… . . “ as a kacheri . ! ! . the song sequence became a hit .
the film ' s message is that one should look for the true meaning of life , and not waste it in pilling up wealth . it seemed to have gone deep into the psyche of the film going public of the 30 ' s and the film become a rage . the impact of the film was so great that it is popularly believed that some young men who were even married to young women , gave up wordly life and donned the saffron robes of a mendicant , after seeing the film ! . unfortunately there are no prints of this film available now . [ 4 ]
pattinathar heard invisible voice of lord shiva , shiva told where the bottom of sugarcane gives to sweet taste , that place his attains salvation . after visiting various saivite shrines pattinathar finally comes to tiruvottiyur and eaten sugarcane and it gives sweet taste . at tiruvottiyur beach he requested some yadhava youths to cover him with a big mud pot . the boys accedes to his wish but twice time pattinathar way out and again sit inside mud pot . third time the boys are closed the pot and grip to tightly and opening the pot they are stunned to fine shivalingam instead of the sage . meantime , sivakalai pattinathar wife sees a vision of him at tiruvottiyur about attain salvation .
played the antagonist . another film of the same name was previously released in 1936 . that film was directed by t . c . vadivelu nayakar and the male lead actor was m . m . dhandapani desikar .
pattinathar was a subject made thrice in tamil cinema . the first version was made in 1935 by lotus pictures with c . s . sundaramoorthy odhuvaar as the saint , the second was made in 1936 by vel pictures with m . m . dandapani desikar ( this film ) and it was made again in 1962 with t . m . soundararajan as the saint . [ 2 ] [ 3 ] in those days , only actors trained in theatre were given roles in films , but occasionally , good musicians were also given opportunities when the film demanded good singing from actors . m . m . dandapani desikar , a musician well versed in thevaram recitals , was picked to play the eponymous hero . [ 2 ] [ 4 ] [ 5 ]
few years back , i was shocked to see him in the advertisement programmes of some medicines in some tv channels . the film world , the tinsel world turned face from the legendary singer who was once the king of tamil film music . the singing voice of legends like mgr , sivaji ganeshan etc . but the gems that he filled in the treasury of tamil film music – those gems remain most valuable in the khazana of south indian film music .
is a 1936 indian tamil mythological film written and directed by t . c . vadivelu nayakar and produced by m . t . rajan . music by gopal shara assets to the film . the film starring m . m . dandapani desikar played titled role with v . n . sundaram , d . r . muthulakshmi , t . k . rukmini , m . s . radhabai and p . g . venkatesan played portraying supporting role . the film was a major success , ran for 25 weeks and established desikar as an excellent singer - actor on the ladder of success . pattinathar is about saint who lived in kaveripoompattinam , his closeness to lord shiva and the miracles he performed .
music composed by gopal sharma and lyrics had the original compositions of the saint pattinathar himself and some other songs were written and composed by papanasam sivan . the film had 52 songs , most of rendered by m . m . dandapani desikar . [ 7 ] the songs were great hits and popular among them . [ 6 ]
the film had 52 songs , most of them rendered by dhandapani desikar . the songs were great hits and popular among them were
ലേഖനം - 13 “paattum neeye , bhaavamum neeye…… . . “ – tms – the “laya” and “bhava” of tamil film song is no more… .
the film was a major success , and ran for 25 weeks and established desikar as an excellent singer - actor on the ladder of success .
tms is defined by some film music critics and his fans as “paattu nadikan” , meaning playback singing actor . because one could feel the emotions of the character who sings the song . for example the hero lamenting and praying for peace of mind – “enkey nimmathi… . . “ ( puthiya paravai - 1964 ) , “andha naal njaapakam… . . “ ( uyarntha manithan – 1968 ) , “devane ennai parunkal… . “ ( gnana oli – 1972 ) etc . tms acted in a few films , as a singing star ,
pattinathar
( 1962 ) ,
arunagirinathar
( 1964 ) ,
kallum kaniyakum
( 1968 , as hero and co producer ) ,
kavi kalamegham
( 1978 ) . his performance in the key roles as the saint poets in the films pattinathar and arunagirinathar was very impressive . but the films failed to attract the audience and were box office failures . the box office failure of the films – pattinathaar , arunagirinathar and kavi raja kalamegham enacted by tms is attributed to the unusual success of tamil films of the same story released in the past . the indelible impression that these films created in the minds of the film lovers discarded the tms films though these films also were well directed and presented . the classics of the past are –
he is taken to the king , who orders his execution on the spike , but the spike catches fire . king badragiri thereupon abdicates his crown in favour of his son . at his ardent request , saint pattinathar accepts the king as a disciple and orders him to report at thiruvidaimarudur . at thiruvidaimarudur , pattinathar and his disciple station themselves at the eastern and the western gates of the temple , till years later badragiri attains salvation . after visiting various shaivite shrines , pattinathar comes to tiruvottiyur at the behest of lord shiva . at tiruvottiyur beach , he requests some yaadhava children to cover him with a big mud plastered basket . the boys accede to his wish . on opening it , they are stunned to find a shivalingam ( lord shiva ' s image ) , instead of the sage . meantime , sivakalai , pattinathar ' s wife sees a vision of him at tiruvottiyur , about to attain salvation . by divine grace she becomes a bilva tree by the side of the sivalingam and thereby attains salvation . [ 6 ]
then pattinathar realised the philosophy and wisdom of the words and renounced everything , his wife , his wealth , kith , kin and with only a loin cloth he left his home . he began singing many philosophical songs to enlighten people on the blissful state of renunciation .
malliswari ( telugu : మల్లీశ్వరి ) is a 1951 telugu musical film directed by b . n . reddi and produced by vauhini studios , with songs penn . . .
music was composed by g . ramanathan . there are a number of songs composed by the saint pattinathar himself included in the film . lyrics for other songs were written by t . k . sundara vaathiyaar , thanjai n . ramaiah dass , ku . ma . balasubramaniam and a . maruthakasi . singer is t . m . soundararajan . playback singers are p . leela , soolamangalam rajalakshmi , thiruchi loganathan and p . susheela . [ 8 ]
in this film . it was such a great success that the gag has been used in tamil cinema over and over by many a comedian after nsk with equal success .
in the 1951 film
devaki
, tms acted as a beggar and sang a song ,
theeratha thuyarale paazhakiye . . .
under the music of g ramanathan . it was the 1954 film
thookkuthookki
that escalated the name and fame of tms and there was no turn back after that . the playback singer tiruchi lokanathan was first approached by the producer to sing for the film , but due to some dispute with him the chance came to tms . tms sang all the 8 songs for the hero sivaji ganeshan in the film . tms first sang for sivaji ganeshan in the film
koondukkili
the same year , but it was the film thookkuthookki that stamped the voice of tms as the singing voice of sivaji . tms sang for mgr for the first time in the 1954film
malaikkallan
. and after that for about more than a decade , tms was the preferred voice for the two super stars mgr and sivaji . tms sang for the other super stars of 1960s like jayasankar ( first in
iravum pakalum
1964 ) and ravichandran ( first in
naan
1967 ) .
ranjan and vasundhara became stars with this film and the heroine’s exotic dances are still recalled by old –timers . also one of the early box - office bonanzas of s . s . vasan .
“paattum neeye , bhaavamum neeye…… . . “ – tms – the “laya” and “bhava” of tamil film song is no more… . | പാട്ടും നീയെ . . ഭാവവും നീയെ . . ടി എം എസ് മണ്‍മറഞ്ഞു
pattinathar is a tamil movie , directed by k . somu , starring t . m . soundarrajan , leelavati , m . r . radha along with others . here , on the movie page , you will find every thing that you need to know . check out what others are saying about the movie on twitter .
more than the box office success of running for over 2015 weeks , the film brought in a strong social change on the need to find the true meaning of life rather than amassing wealth . [ 6 ]
on reading the scroll , realisation of eternal truth and teaching of life dawn on him and he renounces all his worldly possessions . poignant scenes take place on his exit from his house as an ascetic . thereafter , thiruvengadar becomes pattinathar and leads the life of a mendicant living on alms . meenakshi , his elder sister , feeling that the dignity of her family will suffer by his conduct , decides to kill him by giving him a poisoned appam ( breakfast pancake ) . discovering her plot through divine grace , he throws it on the roof of her house which catches fire immediately . but the miraculous fire is extinguished by him when she begs his pardon and then pattinathar goes on his way .
romantic duets – it is the monopoly of the hero and the heroines , is it not ? there is a romantic duet sung by tms with radha jayalakshmi in the film “mullaivanam” ( 1955 ) . and a special and unique song , a romantic number it is ! ! the villain sings the song with the heroine ! ! . tms singing for p s veerappa . sreeram was the hero of the film , and this was the first “cowboy” film of the south . the song – “enkiruntho inku vandha rathiye… . “ was a hit of those days . in few films tms sang playback for singing stars of yester years like chittoor v nagiah also .
the film had 52 songs , most of them rendered by dhandapani desikar . the songs were great hits and popular among them were desam nilaiyailave . . oru mada maadhu . . irukkum yedam thedi and vettililum thottililum ' ' .
the film had 52 songs , most of them rendered by dhandapani desikar . the songs were great hits and popular among them were desam nilaiyailave . . oru mada maadhu . . irukkum yedam thedi and vettililum thottililum . [ sic ]
he also performs the cremation of his dead mother by placing her on a pyre of plantain stems : by divine grace , it catches fire and her body gets cremated . thereafter , pattinathar leaves the city of his birth and wanders from place to place . one night , feeling hungry , he peeps into a hut . the villagers mistakes him for a thief and beat him . deciding not to beg for alms in future , he goes to a lonely lord ganesha ' s temple in the jungle and sits behind the vigragam ( god ' s idol ) for meditation . a band of robbers returning from a successful loot of king badragiri ' s palace , throw a necklace at the vigragam as their offering . it accidentally falls on pattinathar ' s neck as he is sitting behind the vigragam . he gets arrested by the king ' s sentries for having the stolen necklace .
but marudesan was not in the room and his wife sivakalai gave him to a small box the son had given before he disappeared . thiruvenkadar read the scroll he wrote a needle with an eyelet . then pattinathar realised the philosophy and wisdom of the word and renounced everything his wife , his wealth and kith and kin with only a loin cloth he left . he sang many a philosophical song to enlighten people on the blishfull state of reunication .
, was the first major gemini studios - s . s . vasan production made on a mammoth scale , which became the hallmark of a gemini - vasan product . it was only after this film , critics and crowds used the hollywood adjective ‘colossal’ for a madras - made movie .
tms was awarded “padmasri” in 2003 . several other awards including the “kalaimamani” award of tamilnadu are to his credit . he was awarded “swaralaya kairali yesudas award” for his lifetime contributions to indian film music in 2012 . thanks to the jury and the fans of tms in kerala for honoring tms with this award .
was a blockbuster and made vasan a very rich man . it also set him firmly on the ladder of success . vasundhara and ranjan became household names . interestingly , the film also turned out to be vasundhara’s last hit . her career declined fast and the few films she did thereafter , did not help .
the movie started once his dream , lord shiva appeared and told him , he would find him siva as a baby at certain spot . hand over the baby boy to thiruvenkatar ( t . m . soundararajan ) . he would give gold equal to the weight of the baby . the saint devotee found the baby and took him to pattinathar and his wife sivakalai ( gemini k . chandra ) . he adapted child and gave the couple and more wealth . the divine child grow up and follows in his father food step .
n . s . krishnan and t . a . mathuram , working for gemini for the first time , provided their own brand of comedy . nsk trained hard to learn tightrope walking so that he could do those scenes in the film without a double . he lifted the famous glass window - breaking scene from charlie chaplin’s immortal classic
acharya worked on the screenplay giving it a modern touch . he made mangamma look glamourous when she comes disguised as a sultry gypsy to seduce her husband with her song and dance and make him spend the night with her . vasundhara , the glamour girl of the south indian art world who made a splash with her first film s . soundararajan’s
“chayam” ( 1973 ) was the only malayalam film in which tms sang . the song – tamil lyrics – kannadasan . music – devarajan . the song – “mariyamman thaaye… . “ ( tms , madhuri ) . the captivating voice of tms , enthrall the new generations also , and will continue to haunt the minds of the music lovers of all time
then deciding not to beg for alms in future he goes to a lonely lord ganesha temple in the jungle and sits behind the idol for meditation . a band of robberies returning from a successful loot of king badragiri palace throw a pearl necklace at the idol as their offers . it accidentally falls on pattinathar neck as he is siting behind the idol . he get arrested by the king sentries for having the stolen necklace . he is taken to the king , who order his execution on the spikes . but spikes catches fire king badragiri there up abdicates his crown in favour of his son .
therefore thiruvenkadar becomes and leads the life of medicant lying on alms , meenakshi ( s . d . subbulakshmi ) his sister feeling that the dignity of her family will suffer by his conduct , decides to kill him by giving him poisoned appam ( for english cake ) . discovering her plot through divine grace . he throw it on the roof of her house which catches fire immediately . but the miraculous fire is extinguished by him when she begs his pardon and pattinathar on goes his way . one night feeling very hungry he peeps into a hut . the villagers mistakes him for a thief and beat him .
written and directed by lawyer - turned - filmmaker t . g . raghavachari ( acharya ) , this film created a sensation all over south india . a popular folktale , it was about a sprightly tough village girl , mangamma , who when insulted by a woman - chasing crown prince vows to take revenge ( hence the title mangamma’s vow ) by having a child through him and make the child whip the father in court . the salacious prince too takes a vow to marry her and have her imprisoned in a lonely palace . how she builds an underground tunnel from her gilded cage to her village home , outwits her husband and has a son without his knowing her identity and the son then trapping his father form the rest of the film story .
then deciding not to beg for alms in future , he goes to a lonely lord ganesha temple in the jungle and sits behind the vigragam ( god ' s idol ) for meditation . a band of robbers returning from a successful loot of king badragiri ' s palace throw a pearl necklace at the vigragam as their offering to god . it accidentally falls on pattinathar ' s neck as he is sitting behind the vigragam . he gets arrested by the king ' s sentries for having the stolen necklace . he is taken to the king , who orders his execution on the spikes . but the spikes catch fire and burn . king badragiri gives up all worldly pleasures and abdicates his crown in favour of his son .
in modern theatres’s “valaiyapathi” ( 1953 ) tms sang a duet with jamunarani under the music of s dakshinamoorthy – “kulunkidum poovilellaam… . . “ . this is an example of successful “imitation song” – it was true copy of roshan’s composition for the hindi film “malhar” ( 1951 ) , the perennial hit duet , “bade arman se rakha hai balam… . “ ( mukesh , lata ) . the tamil imitation became as popular as its hindi original . the soulful voice of tms made the romantic duet an all time hit . this is considered as the best duet of jamunarani with tms . k v mahadevan was a composer who encouraged and supported start from the beginning of the versatile singer’s career . k v mahadevan was associated with hmv company . he recorded two devotional songs in the voice of tms for hmv records . the playback singer was paid rs . 80 / - , a reasonable remuneration during that time . k v mahadevan directed tms to avm company . a v maiyyappa chettiar , “all in all “ of avm company was not impressed by the voice of tmsat first . tms was asked to sing a comedy number . tms sang a popular comedy number of that time , a film song , from the film “marmayogi” ( 1951 ) – “nalla kazhuthai mika nalla kazhuthai… . “ ( k v janaki ) . tms proved his metal by rendering this song , meiyyappa chettiar was taken a back by tms’s singing . tms got a chance to sing in avm’s “chellappillai” ( 1955 ) . the comedy number “naadu nadakkira nadappile… . “ and “gullapp podanum naisaa … . “ went un noticed . tms gave playback to the comedian thankavelu in this film . but before the release of “chellappillai “ in 1955 , tms’s fate was decided by the songs of “thookku thookki” ( 1954 ) . later on tms became a favourite playback singer for avm company . tms sang several super hits for avm films .
chronicles of chaste women from the vedas such as “anusuya” , “savithri” , “ahalya” , “sulochana” were treated as subject - matter for films during the early and later years of indian cinema . kunjan nambiar’s poetic work “sheelavathi naalu vritham” published in 1874 was probably the first indian movie that narrated this story as “sheelavathi” in celluloid . the story revolved around a chaste woman ( k r vijaya as sheelavathi ) and her husband ( sathyan as ugrathapas ) who contracts leprosy . while sheelavathi nurses him , ugrathapas was cursed by sage mandavya to death by sunrise while travelling to the palace of royal courtesan ( vijayalalitha ) . how sheelavathi saves ugrathapas and brings him back to life becomes the rest of the plot . directed by p . b . unni & with some great casting , the film tasted dust at the box - office for reasons unknown . even the extraordinary musical score of maestro g devarajan with lyrical support from the renowned p bhaskaran could not salvage the film .
legendary stars and singers , when they are in the peak of popularity , media , fans , encircle them . people crowd wherever they move . in most cases , when they are out of the field , when they are just ignored . in the case of tms also , late 1970s and 1980s , tms was not in popularity . what an injustice , the voice of tamilnadu kept away from the selfish film world . he conducted musical programmes to keep himself engaged and to earn the livelihood .
interestingly this film had few songs rendered by s janaki ( rare indeed ! ) under maestro’s baton . maestro devarajan composed 9 songs – including this romantic duet ‘valkalamooriya vasantha yamini” ( k . j . yesudas – p . susheela ) , “surabhi maasam vannallo” , “uthareeyam” , “muttathu prathyusha deepam” ( all by s janaki ) , “om saraswathim namami” ( devarajan , p . b . sreenivas , k j yesudas ) , “chirichu kondodi nadakkum” ( k j yesudas ) , “karthika manideepa’ ( s janaki , p jayachandran ) , “mathi mathi janani” , “maheswari” ( both by p susheela ) .
the songs which crowned tms as the voice of the super stars – mgr and sivaji ganeshan were – songs from thookkuthookki for sivaji ganeshan and the philosophical number ‘ethanai kaalam than… “ from malaikkallan for mgr . the rest was the history . tms became the singing voice for most of the films enacted by the legendary stars - the two “thilakams” of tamil cinema – makkalthilakam mgr and nadikarthilakam sivaji ganeshan . tms’s voice modulation for these stars was wonderful . the voice modulation and the style of singing that tms adopted for these two stars to a greater extent distinguishes themselves the super star who sings the songs on the screen . one who is keen on tamil film somgs can easily identify whether the song is a mgr number or sivaji number . ! ! here is an example for his voice modulation . the song , a philosophical cum comedy number , from the film “bhama vijayam” ( 1967 ) – ( this was remade in hindi as “teen bahuraniyan – 1968 and later in malayalam as “sreekrishnapurathu nakshathra thilakkam” - 1998 ) - “varavu ettana chilavu patthana… . . “ tms sang playback for t s baliah , nagesh , muthuraman and major sunderarajan who acted in the song sequence ! ! the voice modulation was that much perfect that the listeners did not feel that it was tms that sang for all the four actors in the song scene . a god’s given gift , that was the magic of tms’s voice modulation .
saint paṭṭiṉattār tamil : பட்டினத்தார் was a saivaite and a spiritual leader . he was born to sivanesa chettiar and gnanakalai . his father was a trader in tiruvidaimarudur , thanjavur district . his birth name was swetharanyar after an epithet of lord siva of swetharanyeswarar temple . he was also called as thiruvenkadar by the people . when he was five years old , he lost his father . like his father he spent money on siva devotees , and fed them daily . he was a trader and had enough wealth . at sixteen years , he was married to sivakalai , daughter of another trader by the name of sivasithamparam chettiyar and his wife sivakamy . even after fifteen years of marriage they had no children . meantime there was a very poor saivaite by the name of sivasarumar who spent all his wealth in feeding the siva devotees . when all his wealth was spent he sold his wife ' s nuptial chain ( thali ) and fed the devotees of lord siva . once in his dream , lord siva appeared and told him , he would find him ( siva ) as a baby at a certain spot .
hand over the baby boy to thiruvenkadar . he would give gold equal to the weight of the baby . the saivaite devotees found the baby and took him to pattinathar . he adopted the child and gave the couple , gold and more wealth .
tms ' s first music lessons started from his father who taught him bhajans . tms was very much fond of films songs , and m k thyagaraja bhagavathar , v a chellappa and p u chinnappa , the singing stars of early tamil cinema were his matinee idols . tms sang their songs in family get togethers and functions . meenakshi iyengar could not afford to send his son for music lessons under established music teachers . the urge to study music forced tms to approach two gentlemen in madurai – kuppu swami iyer and babu iyer who were associated with film producing companies like “murugan talkies “ and “royal talkies” . both of them were leaders of the saurashtra brahmin community . two other rich men joined hands for the “sponsorship” to educate tms in music . all the four sponsored rs . 15 / - each to meet the fees for tms’s music lessons .
thuguluva meenakshi iyengar soundararajan , the iconic playback singer of tamil cinema popularly known by the initials , the three letters – t m s , is no more . the voice that shaped tamil cinema , who was 91 , passed away on 25 away , the buddha purnima day of 2013 , saturday , 25 of tms and left to the eternal world of heavenly music . and it was the vaishakh pournami too for the hindus , an auspicious day for the hindus , especially for the vaishnavites . an ardent devotee of the varadaraja perumal of madurai , tms bid goodbye to this mortal world on an auspicious day , leaving the immortal melodies sung by him as his footsteps in the path of south indian film music . the voice that emerged as the voice of tamil language and people , kannadasan’s poems and the passionate voice that absorbed in its singing the navarasas , quite impressing way left us for ever ! a look back into the life and career of the versatile artist – playback singer , actor and producer .
the film is about pattinatthar , the saint who lived during10th century in kaveripoompattinam intamil nadu . lord shiva , on the report of dharmavathi about the atrocities committed by men in the world , sends kubera from kailas to be born as thiruvengadar at kaveripoompattinam . at the age of 20 , thiruvengadar , marries sivakalai and leads a happy , successful and pious life with her , with the only sorrow that they are childless . siva sarama , a poor brahmin of thiruvidaimarudur , finds a child under a bilva tree and presents the child named marudhavaanan to thiruvengadar , who offers gold equal to the child ' s weight to the temple and brings him up as his son . when marudhavaanan is 16 years old , he goes on a pleasure trip on a boat and encounters a big fish . by his touch , marudhavaanan ends the curse of the gandharva ( cursed to be the giant fish ) . [ 2 ] marudhavaanan goes on business voyage with merchandise and returns with only a small box and two bags of sand .
tms entered the tamil cinema world when playback singing was not that much popular , or was not having wide acceptance . in 78 rpm discs of the songs sometimes the credits were not given to the playback singers . and it was the names of the characters who sing the song that was given on the discs . even in song booklets of the films the names of playback singers was not given . tms sang in the tamil film “manthrikumari” ( 1950 ) produced by modern theatres . the song “annam itta veettile… . . “ that he sang for an “extra artist” subbiah ( he acted in minor roles in films like “digambara samiyar “ ) became a hit . but name of tms is not included in the list of playback singers that appeared in the song book . ( see the relevant page of the song book given along with the article , . ) . those times names of playback singers was not included in the title cards . tms fought against such practices and though a bit late , playback singers got the acceptance and their names were inscribed in the labels of the 78 rpms and also in the song books .
the second charanam or lyrical narrative begins with a therapeutic voice of gana saraswathi p susheela engulfing “puspabhanan sharamundakan” and her enthusiasm is intense & compelling making yesudas’s initial narrative ( pallavi ) under - par ? he tackles “marakatha pullil nin madiyil” with such ease and mesmerizes you with “mayangi mayangi onnukidanotte” , a technically demanding line – singing it with such vigor and feeling – a finest performance by dasettan . what can go wrong ? both yesudas & susheela’s voices blended magnificently , styles meshed equally well and they sang with finesse and great presence – a keen understanding & absorption of their lyrical material and indulging in the film sequence . a lyric and vocals should complement & contain aesthetics , rhythm , symmetry , harmony . in maestro devarajan’s school they are a must and always become integral part of the score – bright and new , without overdone orchestration leaving the scope of interpretation to the vocalists . you can usually sense yesudas & t m soundararajan holding back somewhat in their duets so as not to steamroll their singing partners . now in his early seventies , he’s still got the strong , mellifluous voice ; the impeccable inflections ; the emotional range and power ; and the pure communications skills of a great vocal artist .
tms is distinguished from other playback singers by some special features related with his playback singing . some of these features might be quite accidental , and some the singer acquired by his own efforts and dedication to the fine art of music . for example , tms sang with the singing star of 1940s , u r jeevaratnam . in an interview tms himself narrated the story . u r jeevaratnam was one of his favourite singers , and he adored her singing voice from his childhood . it was his ambition to sing with the versatile singer who was specially known for her high pitch singing . his ambition was fulfilled , tms sang with her in the film “vaazhvile oru naal” ( 1956 ) . the duet – “thenrale vaaraayo inpasukham thaaraayo… became a super hit . this song was included in the album released by hmv in the super hits series - in the 1956 album . and , in this song sequence the singing star u r jeevaratnam sang playback for another singing star g varalakshmi . this is a special feature of the song itself - a singing star singing playback for another singing star . in this aspect this might be a unique song , so far no other song is located with such special feature .
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pattinatha . . .
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and when he came brought back sacks full of paddy husks and cow dung cakes , marudesan friends gaves his father to one box , the box inside three cow dung cakes and borrow document . the angered father threw the cow dung cakes out , what was his surprise to see they were all gold and gems . thiruvenkatar hurried home to see his son .
nothing else to give for you
. then he told the devotee to go to the western gate where he can find a family man sitting near the temple tower . you beg to him , may be he can give you some thing
. the devotee comes to the king and begs to him . the king was shocked , to know that he as called a family man just for having a begging bowl with him . at the very moment the king threw the begging blow away and it hit the dog which dies . after the incident till years later badragiri attains salvation . think of
audiography = m . b . valkay , francis a . samy and r . kannan
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music director g . ramanathan actors m . m . dhandapani desikar , muthulakshmi , v . n . sundaram
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the movie starts with a dream by a pious couple , where lord shiva appeared and told them that , they would find a baby boy at a certain spot . they were to take that baby to poompugaar ( kaveripoom pattinam ) and hand over the baby boy to thiruvengadar , also called pattinatthar , ( played by t . m . soundararajan ) and he would give gold equal to the weight of the baby to the pious couple . the saintly devotees found the baby and took him to pattinatthar and his wife sivakalai ( gemini k . chandra ) . a similar dream had also appeared to pattinatthar and his wife ; who then adopted the child and gave the pious couple wealth , as told in their dream . they name the child marudhavaanan , the divine child grows up and follows in his father ' s footsteps .
once , the father pattinatthar sent his adopted son marudhavaanan on a ship with merchantile goods for overseas trading . when the son came back , there was a severe storm and he arrived safely at home . marudhavaanan ' s merchant friends from his business trip meet his father & say that they had lost all their goods in the storm at sea , but marudhavaanan had only brought back sacks full of paddy husks and cow dung cakes . then marudhavaanan gives his father just a small box containing three cow dung cakes and palm leaf documents which are loan promissory notes from his friends . the angered father throws the cow dung cakes out , and to his surprise sees there are gold coins and precious gems like diamonds & pearls in them . thiruvengadar hurries home to see his son . [ 5 ]
but marudhavaanan was not at home and sivakalai gives thiruvengadar a very small box , which the son marudhavaanan had given her , to be handed over to his father , before the son had disappeared . inside the box , thiruvengadar sees a palm - leaf manuscript and a needle without an eyelet . on the script were the following words ( in english for understanding ) :
not even an eyeless needle will accompany you in the final journey of life .
thereafter thiruvengadar becomes and leads the life of a mendicant relying on alms . meenakshi ( s . d . subbulakshmi ) his sister feels that the dignity of her family will suffer by his conduct , and she decides to kill him by giving him poisoned appam ( breakfast pancake ) . discovering her plot through divine grace , he throws it on the roof of her house which catches fire immediately . but the miraculous fire is extinguished by him when she begs his pardon and pattinatthar forgives her & goes on his way . one night , feeling very hungry he peeps into a hut . the villagers mistake him for a thief and beat him .
at his ardent request , saint pattinatthar accepts the king badragiri as a disciple and asks him to come to thiruvidai marudur temple . at thiruvidai marudur , pattinatthar and his disciples station themselves at the eastern and the western gates of the temple respectively . one day a devotee ( lord shiva himself disguised ) begs for food to pattinatthar but , the saint replies to the devotee ,
i have no food to give for your hunger
. then he told the devotee to go to the western gate where he can find a family man sitting near the temple tower .
you beg to him , may be he can give you some food
. the devotee comes to the former king and begs him for food . the former king who became a renunciant is now shocked , to know that he was called a family man just for having a begging bowl and a dog with him . at the very moment , the former king threw the begging bowl away and it accidentally hit the dog , after which it dies . after this incident and several years later badragiri attains salvation by thinking of lord shiva and surrendering to god ' s feet . [ 6 ]
at that time pattinatthar heard the voice ( divine voice made without bodily presence ) of lord shiva , which told him that , where the bottom of sugarcane stalk gives a sweet taste , at that place he will attain his salvation . after visiting various shaivite shrines , pattinatthar finally comes to tiruvottiyur and eats sugarcane and its bottom stalk gives a sweet taste . at tiruvottiyur beach , he requested some yadhava children playing in the beach , to cover him with a big mud plastered basket and to hold it tightly closed . the boys accede to his wish but twice , pattinatthar got out by using his siddhis and without opening the basket , while the children were holding it closed and standing guard . the third time , again he sits inside . this third time , the boys closed the basket & grip it very tightly closed . after a while , they open it . they are stunned to find a shivalingam instead of the sage . in the meantime , sivakalai , pattinatthar ' s wife sees a vision of him at tiruvottiyur about to attain salvation .
( in tamil ) . manivasagar publishers , chennai 108 ( ph : 044 25361039 ) . first edition november 2016 . p . 74 — 75 .
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set in raga “shuddha dhanyasi” , today’s pick was an instant hit and showcases the raga interpretation as adapted to light music & trance - like preludes and interludes of maestro , the lyrical beauty of p bhaskaran’s words , the transcendental voices of ma saraswathi swaroop / gana saraswathi susheelamma & gana gandharvan k j yesudas .


the umbrellas of cherbourg ( french : les parapluies de cherbourg ) is a 1964 french-german romantic musical film directed by jacques demy , starring catherine deneuve and nino castelnuovo .

the film dialogue is all sung as recitative , including casual conversation ( similar in style to an opera ) .

it was styled full of color .

umbrellas is the middle film in an informal " romantic trilogy " of demy films that share some of the same actors , characters and overall look ; it comes after lola ( 1961 ) and before the young girls of rochefort ( 1967 ) .

the film was very successful in france with a total of 1,275,00 - admissions .

it was also shown internationally , introducing deneuve to a larger audience , and was nominated for several academy awards , including for best foreign film , best song , best soundtrack , and best original screenplay .

it won three awards at the 1964 cannes film festival , including its top prize , the palme d'or .

the film critic jim ridley has called cherbourg " the most affecting of movie musicals , and perhaps the fullest expression of [ demy 's ] career-long fascination with the entwining of real life , chance , and the bewitching artifice of cinematic illusion . "

the umbrellas of cherbourg

the art of love … kneehigh ' s the umbrellas of cherbourg . photograph : tristram kenton
once upon a time . . . “the umbrellas of cherbourg , ” a 2008 documentary
once upon a time . . . the umbrellas of cherbourg ,
a 2008 documentary
jacques demy’s film , more than the umbrellas of cherbourg , elevates the banal vicissitudes of lives spent dreaming .
french films like the umbrellas of cherbourg may have showed chazelle a path to avoiding traditional happy endings .
nino castelnuovo and catherine deneuve navigate the stormy channels of romance in jacques demy ' s proletariat opera
the umbrellas of cherbourg .
barbra meets french composer michel legrand (
the umbrellas of cherbourg
) and they discuss collaborating on an album .
looking for movie tickets ? enter your location to see which movie theaters are playing the umbrellas of cherbourg near you .
the summer theme in la la land is called
madeline .
madeline is one of the more melancholy main characters in the umbrellas of cherbourg . chazelle also borrowed the names of two the umbrellas of cherbourg characters for his first film , guy and madeline on a park bench .
i’ll never forget the first time i saw jacques demy’s the umbrellas of cherbourg while i was still in university in the early ’90s .
now let ' s move on to the more subtle references a true the umbrellas of cherbourg fan like me may read into .
in her play , mia ' s main character is named geneviève , the name of catherine deneuve ' s character in the umbrellas of cherbourg .
jacques demy and michel legrand’s pop art operatic masterpiece , ‘the umbrellas of cherbourg , ’ stars a young catherine deneuve in the role that made her an international star – the beautiful cherbourg shopgirl swept up in the delirium of doomed first love .
what ' s so overpoweringly beautiful about the umbrellas of cherbourg is that it matches human - scaled feelings of regret with the color and intensity of the movies demy loved as a boy .
i ' m writing a play that ' s inspired by the movie called the umbrellas of cherbourg . it ' s called las tortillas de los angeles .
the kneehigh theatre company ' s stage adaptation of the umbrellas of cherbourg will play its final performance on may 21 at the west end ' s gielgud theatre . the musical opened on march 22 and originally planned to run through october 1 . in the umbrellas of cherbourg , based on the 1964 jacques demy film of the same title , young french auto mechanic guy . . .
the umbrellas of cherbourg and la la land use jazz music , saturated colors , and the eschewing of a neat , happy ending to bring to life a rich and realist presentation of young love .
weather comes into play in the intro scene for both movies . in the umbrellas of cherbourg , constant rain comes down on the city of cherbourg . in la la land , we see the unrelenting sun . in both instances , the rain or sun is unyielding and indifferent to the moods of the characters .
one of the storefronts on the studio lot where mia works has a
parapluies
sign on it . much of the umbrellas of cherbourg takes place in the parapluies ( umbrella ) shop where geneviève works with her mother .
the film was part of demy ' s romantic trilogy , which included ' ' lola ' ' ( 1961 ) and ' ' the umbrellas of cherbourg ' ' ( 1964 ) . its restoration was undertaken mostly because of the determination of agnes varda , the filmmaker and demy ' s widow . ' ' the umbrellas of cherbourg , ' ' which made ms . deneuve a star , was also re - released , in 1995 .
if you have not seen the umbrellas of cherbourg but loved la la land , i suggest you stream the french film asap . ( feel free to come back to this post after . )
seasoned a . p . c . collaborator vanessa seward reinvents mod french chic in her costume designs for a stage version of * * catherine deneuve’ * * s sixties breakout film the umbrellas of cherbourg .
la la land ' s song
madeline
also sounds very similar to a song from the umbrellas of cherbourg . judge for yourself : listen to la la land ' s
summer montage
/
madeline
and the umbrella of cherbourg ' s
la terrasse du café
.
the film , starring ryan gosling and emma stone as a pair of star - crossed dreamers muddling through life in the city of angels , is also something of a crypto - remake of french new wave director jacques demy’s 1964 masterpiece the umbrellas of cherbourg —a fact chazelle himself was only too eager to admit at a special film independent at lacma screening of umbrellas on january 5 .
the umbrellas of cherbourg is inspired as much by rené clair ' s innovative french classic of 1930 , sous les toits de paris , and the prewar pagnol marseilles trilogy ( marius / fanny / césar ) as by hollywood .
to demonstrate how it follows in the footsteps of the umbrellas of cherbourg , let ' s start with la la land ' s explicit references to the french classic , perhaps added by chazelle as a homage to his apparent favorite movie .
watching la la land , i couldn ' t help but notice references to the umbrellas of cherbourg , whether they were intentional easter eggs , stylistic choices , or plot points that left me with the same overwhelming emotions . the films may be of a different time and place , but both the umbrellas of cherbourg and la la land use jazz music , saturated colors , and the eschewing of a neat , happy ending to bring to life a rich and realist presentation of young love .
as spun - sugar holiday treats go ,
umbrellas
is hard to resist .
it ' s hard for me to talk about the umbrellas of cherbourg
because i think it is one if the most romantic , bittersweet movies ever made . denueve looked so ethereally beautiful it ' s almost laughable .
as in the umbrellas of cherbourg , the young lovers of la la land don ' t end up together . chazelle uses a similar device as demy — a flash forward to the future , allowing the audience to see how much has changed . before time and distance brought an end to the relationships , the couples in the umbrellas of cherbourg and la la land told each other they would always love each other . and that may be true — but life gets in the way of them being together forever . french films like the umbrellas of cherbourg may have showed chazelle a path to avoiding traditional happy endings . professor joshua blaylock , who teaches courses on french cinema at texas christian university , explains that
filmmakers in france have tended to focus more on psychology and really play with the inherent ambiguities of human relationships .
i have already said that i love jacques demy’s the umbrellas of cherbourg , but i must admit : before i re - watched it recently as part of the criterion collection’s new the essential jacques demy boxset , i was a bit worried i wouldn’t like it as much as i once did . from what i remembered , it was a relatively simple story and i don’t like musicals as much these days as i used to ( the umbrellas of cherbourg is , famously , entirely sung ) . was i merely vulnerable when i last saw it over a decade ago ? no . if anything , i underrated it . the umbrellas of cherbourg has expanded . i see now that it is ever expanding . the film’s edges are porous ; it cannot contain all of the ghosts — ghosts that materialize due to absence , due to chance , due to choices not taken , due to the intractability of time — that roam the streets of cherbourg .
the umbrellas of cherbourg has been described as a
love tragedy .
and despite all the similarities , la la land chooses a more positive ending . professor phil powrie , who teaches cinema studies at the university of surrey and has authored many books on french cinema , explains how the films depart :
although seb and mia don ' t end up together , they both realize their dream .
the characters in the umbrellas of cherbourg , on the other hand , seem indifferent to each other at the end of the film . powrie continues ,
seb and mia smile knowingly to each other after he plays ' their ' theme . the umbrellas of cherbourg is melancholy ; la la land plays into the american dream .
la la land may take inspiration from french film , but its optimism is all american .
years later chazelle showed umbrellas to composer justin hurwitz as they began to develop the idea for la la land . soon , hurwitz “became even more obsessed , ” than chazelle himself . chazelle then recalled bringing would - be financiers to hurwitz’s spartan apartment , which was completely empty except for a piano and a single umbrellas of cherbourg poster .
directors influence each other with their work . sometimes that influence is overt — “ la la land ” clearly evokes “singin’ in the rain” and “umbrellas of cherbourg” — but other times it is more unexpected , hinging on storytelling choices or structure .
without doubt one of the west end ' s most imaginatively staged shows
( tweet from lyn gardner , guardian writer ) the innovative theatrical creative force kneehigh return to the west end with their exciting new adaptation of cult french musical film the umbrellas of cherbourg by jacques demy . featuring the beautiful songs of michel legrand including
watch what happens
and
i will wait for you
, and directed by award - winning director emma rice , the umbrellas of cherbourg is making the west end fall in love until the 21st may 2011 . find out more at urltoken video produced by matthew titterton , advision tv ltd
koch lorber ' s dvd of the umbrellas of cherbourg is good news all around . criterion ' s old laserdisc and the earlier fox - lorber dvd were both time compressed ( pal conversion ? ) and slightly cropped at the sides , and this release solves those problems ( i think ! ) .
the quote resonated with me , as i ' ve seen the umbrellas of cherbourg at least a dozen times and can remember the emotional impact of the first time i saw it as a teenager . the film is a colorful masterpiece that will leave you heartbroken . you could say the same thing about chazelle ' s la la land .
it’s the anniversary of the release of jacques demy’s the umbrellas of cherbourg and you can imagine what the birthday cake should look like : icing and candles of bright blue , pink , green and yellow . for if ever a film pops out of the screen with vibrant colour it’s this 1964 musical classic , in which every dress , every shop front , every vividly wallpapered room seems freshly minted from a rainbow .
la la land ' s first lyrics , and therefore the first words of the movie , in the song
another day of sun
could describe the plot of the umbrellas of cherbourg :
i think about that day / i left him at a greyhound station / west of santa fe / we were 17 , but he was sweet and it was true / still i did what i had to do / ' cause i just knew .
in the umbrellas of cherbourg , geneviève is 17 when she has to leave her love , guy , at the train station . he is sweet and their love is true , but she soon makes the calculation that they can ' t be together .
splurge on criterion ' s 2014 jacques demy box set if possible , but if money ' s tight or you ' re just looking to step into a rain shower before diving headfirst into demy ' s cinematic pool , this wonderful release of the umbrellas of cherbourg is likely the best place to start .
the umbrellas of cherbourg begins a two - week run at ut ' s hogg auditorium beginning friday , july 19 - thursday , august 1 . shows run daily every evening except mondays ; consult listings for daily show times or call 475 - 6666 for recorded info .
kneehigh theatre company , the imaginative british group behind broadway’s recent multimedia romance brief encounter , has a new creation hitting the london stage : a musical reimagining of that classic of french cinema , the umbrellas of cherbourg . catherine deneuve starred in the 1964 jacques demy film , and olivier award winner joanna riding and cabaret artist meow meow star in this stage version . . .
( 2012 ) , the umbrellas of cherbourg is director jacques demy’s third feature , a controversial palme d’or winner , more for its groundbreaking technique than its own substance , nevertheless it instantly launched the starlet catherine deneuve into stardom and has initiated her extended and illustrious career not only limited in the french cinema .
no movie has ever hit me more . i remember seeing it for the first time as a kid and going from annoyed — ' are they really going to do this much singing ? ' — to utterly overwhelmed by the end . it was the combination of fantasy and realism that got me .
speaking to the hollywood reporter , la la land director damien chazelle described his reaction to jacques demy ' s 1964 romantic musical the umbrellas of cherbourg ( les parapluies de cherbourg ) .
in terms of films released in the uk , 2005 was not that strong a year , with the exception of some wonderful revivals , ranging from nashville ( robert altman , 1975 ) and the ‘director’s cut’ of the big red one ( samuel fuller , 1980 and 2004 ) to les parapluies de cherbourg ( the umbrellas of cherbourg , jacques demy , 1964 ) and l’eclisse ( michelangelo antonioni , 1962 ) . but in terms of films i saw premiered at festivals during 2005 , it was actually pretty good . because of this unusually clear split , i offer two separate lists and a note concerning two pieces of work by abbas kiarostami .
directors influence each other with their work . sometimes that influence is overt — “la la land” clearly evokes “singin’ in the rain” and “umbrellas of cherbourg” — but other times it is more unexpected , hinging on storytelling choices or structure . variety asked this year’s directing nominees to help us trace the dna of their movies , [ … ]
soothing , mournful , and delightful exhilaration from the first frame to the last . didn ' t know that the umbrellas of cherbourg was actually a non - stop musical , but after that initial jarring moment , i was completely on board . it ' s a typical story of romance and adolescent passion laid against the harsh realities of the world , but every blooming color , gentle glance and sudden burst of cinematic exuberance swept me into a snuggling ball of warmth .
kneehigh theatre , the company behind the recent broadway hit brief encounter , has announced casting for its newest creation , an adaptation michel legrand’s the umbrellas of cherbourg . olivier award winner joanna riding and cabaret artist meow meow will star in the musical reimagining , directed by emma rice with lyrics translated by sheldon harnick . the show will premiere at the curve leicester . . .
we were there to talk about another matter—her costumes for a musical stage adaptation , opening at the théâtre du châtelet tomorrow , of the umbrellas of cherbourg . director jacques demy’s deliriously beautiful , 1964 palme d’or winner was also catherine deneuve’s breakout film , a tale of missed chances and love gone awry in a provincial french town during the late fifties , at the height of the algerian war . every word of the film’s dialogue is sung to * * michel legrand’ * * s lush score .
kneehigh theatre , which presented the broadway - bound international hit brief encounter in 2008 , will return to london’s west end with its newest musical reimagining , that of michel legrand’s the umbrellas of cherbourg . directed by emma rice with lyrics translated by sheldon harnick , the new version will play the curve leicester from february 11 through 26 , 2011 , before transferring to a west . . .
the umbrellas of cherbourg continues performances ( eves : wed . - sat . 8 pm / mats : sat . & sun . 3 pm ) through october 9 , 2005 at the two river theatre company , 21 bridge street , red bank , new jersey 07701 . box office : 732 - 345 - 1400 ; online urltoken
– which draws as its inspiration from the classic musicals singin’ in the rain and the umbrellas of cherbourg – has provoked such ire , this is the pop cultural world we live in . every piece of art is now politicized and parsed for its problematic elements . these complaints may take some of the joy out of a film intended only to entertain , but they also reveal vital perspectives that have been hidden for too long from our white - male dominated discourse .
the umbrellas of cherbourg koch lorber 1964 / color / 1 : 85 anamorphic 16 : 9 / 91 87 min . / les parapluies de cherbourg / street date april 6 2004 / 24 . 98 starring catherine deneuve , nino castelnuovo , anne vernon , marc michel , ellen farner , mireille perrey cinematography jean rabier production designer bernard evein film editors anne - marie cotret , monique teisseire original music michel legrand produced by mag bodard written and directed by jacques demy
in conjunction with the release of the essential jacques demy box set , criterion has offered up a supplemental look inside the 2013 digital restoration of the umbrellas of cherbourg . above , agnès varda , the couple’s children , mathieu and rosalie , and technical specialists discuss the intricacies of upgrading the film’s sound , color , and image for the modern viewer . it’s depressingly easy to see why so many films fall by the wayside as prints run obsolete , and digital projection cements its spot as the industry standard . the attention to detail is , as criterion notes , painstaking , to say nothing of the expense .
considered one of the most beautiful color films ever made , jacques demy’s the umbrellas of cherbourg —a masterpiece of music and romance and winner of the 1964 cannes film festival grand prize—catapulted the 20 - year - old catherine deneuve to international stardom . the memorable 1960s french romance finds an umbrella shop girl ( deneuve ) distraught when her boyfriend is called for military service in algeria , forcing her to face a life - altering decision alone . the director enlisted michel legrand to compose the music dialogue and songs .
the average imdb vote of the best 5 films of each star gives the ranking . maximum 100 persons .
if the red shoes sent a million girls to ballet lessons , the umbrellas of cherbourg re - popularized taking french in school . i have fond memories of my sister coming home from a french class field trip to the art theater in the next town to see this splendid operetta . considering the level of culture where we lived , it must have been a revelation . somewhere life was beautiful . the french language practically sounded like it was being sung anyway .
if memory serves , when this adaptation was staged at the public theatre in 1979 , it had much greater vitality . i recall the use of screens to provide a cinematic flow , and the employment by the cast of a panoply of brightly colored umbrellas ( most likely during curtain calls ) .
if that makes the umbrellas of cherbourg sound old - fashioned , demy’s film was anything but . the director was one of the great , young , modern - minded filmmakers who emerged during the french new wave of the 1960s . demy was more nostalgically minded than directors like jean - luc godard and alain resnais , but , though his paintbox vision of life in the seaside town of cherbourg is a loving tribute to old hollywood musicals , it’s also a film that tackles very real - world issues , like unexpected pregnancy , the algerian war , parental pressures on their children , and what happens to young love when time and circumstances are against it . the bittersweet climax even occurs at an esso petrol station .
after months of speculation , barbra is announced as the winner of the coveted role of fanny brice in the broadway musical
funny girl .
even before the title appears , demy establishes a universe that fuses the commonplace and the cinematically heightened . the iris that closed on the black - and - white world of his 1961 debut lola opens on the sepia - toned harbor of coastal cherbourg , its workaday fleets of trawlers and naval ships . without cutting—a seamless transition into the realm of stylization—jean rabier’s camera tilts directly down on the waterfront’s stone streets . a light rain begins ; pastel umbrellas seen from overhead engage in delicate spatial choreography with the credits . on the soundtrack , we hear the first wistful iteration of michel legrand’s “je ne pourrai jamais vivre sans toi , ” the theme song that will follow the leads like the fading scent of prom gardenias .
by the mid - 1970s , the received wisdom on demy was that he was a dabbler in irrelevant genres whose time had passed . and none of his films sounded sillier in the abstract than the umbrellas of cherbourg , this oddity in which every line of dialogue is not only sung but sung in french . it didn’t help that his movies grew harder to find in subsequent years , or that the superlatives of his style—brilliant color , exquisite framing , elegantly choreographed camera work—were grotesquely ill served by the aesthetic abattoir of lop - and - chop vhs .
guided tour of the building of 1903 , staircase of honour , big ( great ) lounges ( shows ) , marble fireplaces of different provenances , footbridges passageways , movies of mark ( brand ) real cherbourg in the room of video - conference , museum living on the umbrella , embroidery , factory and shop . and exclusively , enter the strongroom of the old ( former ) bank of france ( lasted 2 h ) guided tour on saturday and sunday 10 h , 14 h and 16 h
3 . the power of nightmares : the rise of the politics of fear ( adam curtis , 2004 ) – television version a film of ideas and provocative , sustained argument . great use of sabu , too .
the movies ' endings also include references from earlier in the relationships that prove the former couples have not forgotten each other . seb names his jazz club
seb ' s
— a suggestion of mia ' s — and uses a logo she made him . in the umbrellas of cherbourg , we find out that both guy and geneviève name their children francoise / francois , a name geneviève loved and they discussed when they were together .
journey from the fall ( ham tran , 2005 ) . who really feels the need of such an embarrassing relic of cold war - era manichaeism to commemorate the thirtieth anniversary of the fall of saigon ?
president and co - curator of the melbourne cinémathèque ( co - curator of the national cinémathèque ) .
his is essentially cheating , because the umbrellas of cherbourg is first and foremost a film . written and directed by jacques demy , it wasn ' t so much released in 1964 as unleashed across cinema screens in an explosion of bittersweet sentiment , soaring music and saturated colour . there are entire scenes in which the actors are outshone by the tropical glare of the wallpaper designs – and rather than take the conventional musical route , demy opts for the quasi - operatic , with every single word of his narrative sung . the only thing not heightened to the hilt is the status of the central characters : a young apprentice mechanic and his girlfriend , the only child of a single mum . we see their
the young girls of rochefort site on the film , from the town’s official site .
the angelically beautiful catherine deneuve was launched to stardom by this dazzling musical heart - tugger from jacques demy . she plays an umbrella - shop owner’s delicate daughter , glowing with first love for a handsome garage mechanic , played by nino castelnuovo . when the boy is shipped off to fight in algeria , the two lovers must grow up quickly . exquisitely designed in a kaleidoscope of colors , and told entirely through lilting songs by the great composer michel legrand , the umbrellas of cherbourg is one of the most revered and unorthodox movie musicals of all time .
the transfer has been ported over from criterion ' s 2014 box set featuring six demy features and the restoration work on the umbrellas of cherbourg remains as impressive on a revisit . the film is so vibrant as to seem otherworldly , yet grain and in - camera effects retain the visual signifiers of the era . the interior of madame emery ' s shop staggers with its wealth of detail and color , while the rain - soaked streets shimmer with a hint of blue amid the balanced blacks . there ' s nary an inch of any single frame that doesn ' t appear to have been tirelessly scrubbed of defect or debris . sound is lossless , with the 5 . 1 dts - hd audio track booming from start to finish .
an unsurpassed work of film as art . the director , the brilliant color cinematography , the actors and the timeless music of michelle le grande all combine to create the story of . . .
fifty years ago today , the world fell in love with catherine deneuve and nino castelnuovo in “ the umbreallas of cherbourg . ” one of the best musicals of all time , and one of jacques demy ‘s finest films , the sweeping tale packs romance , war , drama and music — oh , the music — into an unforgettable 90 minutes that are very much treasured by fans today .
1 . though it has little or no discussion of politics , the umbrellas of cherbourg is a great anti - war movie . it ' s guys like guy who get sent away to be killed leaving lovers to deal with the loss . i saw this film just as it was becoming apparent that i had to make some choices about vietnam . staying home with geneviève or madeleine or even the café pickup ginny is the better choice , believe me . return
the umbrellas of cherbourg contains so many emotional , dramatic , cinematic , and musical riches that it is easy to see why many people consider it not only demy ' s masterpiece but one of the greatest films , musical or otherwise . it reminds us that we can mend our hearts even when they are at their most broken  although in ways which we may never have expected , even as we hold onto our memories of the romantic fantasies which we left behind long ago .
n addition to the marvelous music and the visuals , the film features a very young and fresh catherine deneuve , an actress so pure - looking that the very sight of her was enough to set both roman polanski and luis buñuel scheming for revenge , like villains in a potboiler . for a lone bit of heavy irony in the umbrellas of cherbourg , demy includes a pleasant dockside whore who tries to give the grieving guy some solace . to add to his misery , it turns out her name is jenny , short for genevieve .
jacques demy in the umbrellas of cherbourg essentially reinvents the operetta format . when people aren ' t flat - out singing they ' re speaking in rhythm to the melodies . the direction and especially the vivid color stylize the film just enough to make it all work . even though the streets , apartments and shops are basically naturalistic , the candy colors and manipulation of elements ( mostly rain and snow ) are all carefully orchestrated . we accept demy ' s melodic world as easily as we accept ballet dancers in manhattan in west side story .
she can say that encore une fois . the most salient feature of the screen musical is that , though it has only one real song , the plangent reprised - to - death
if it takes forever ( i will wait for you )
, all the dialogue , including the most thudding banalities , is sung too . i ' m normally a huge admirer of composer , michel legrand . but much of the brush - on - cymbals - hustled jazz music here sounds like so much doodling and the english translation is often risibly flat . so i ' m afraid to say that this account of the umbrellas of cherbourg kept reminding me of the game on i ' m sorry i haven ' t a clue where they struggle to fit the words of one song on to the tune of another .
the colors , the picaresque locales , the entirely sung dialogue , and the angel that is catherine deneuve !
the umbrellas of cherbourgh
is 90 minutes of cinematic joy . simple human melodrama made engaging , profound , and unforgettable in the hands of a master ( demy ) . if the ending doesn ' t make you weep then i guess you ' re just not human . a classic musical and easily one of the finest ever crafted .
with the umbrellas of cherbourg , demy expanded his fictional world , and his filmmaking , through a bold use of such new ( for him ) elements as color and a greatly expanded role for music . but before exploring those aspects , let ' s look at his original screenplay , and what it brings to this extraordinary film . ( demy was a true writer / director , having authored nineteen of his twenty - one films ; the two exceptions were early shorts . )
“of all the new wave directors who once professed their joy in cinema , demy remained most faithful to the delights of sight and sound and to the romance of movie iconography . with loving attention to those atlantic - coast towns—rochefort , cherbourg , and nantes , where he grew up—demy invented a world of benign and enchanting imagination . it is constantly on the verge of fairy story , but never yields to the foreboding of the grimm brothers . instead , demy has his own domain of chivalry and love , born out of perrault and schoolgirls’ novelettes , the rural sentiment of rouquier , and the hollywood scheme of coincidence and happily ever after , but as distinguished and ennobling as , say , the beautiful hours of the duc de berry .
— a biographical dictionary of film , by david thomson
i think the film is one of the best musicals ever written for the screen . the music is gorgeous and the use of color and camera movement is masterful .
the cover states :
original sound track from the french film ( les parapluies de cherbourg ) the umbrellas of cherbourg dialogue by jacques demy music by michel legrand
comes in a thick gatefold sleeve with an 8 page booklet featuring the original french lyrics and their english translation . notes on inside booklet : all selections published and licenced [ sic ] by south mountain music corp . ( b . m . i . ) distributed in the united states by the landau releasing organization noted on back cover : printed in u . s . a . © wayne printing corp . 1964 two sided insert pictured promoting other
connoisseur collection
releases was inside cover .
when the academy film archive embarked on a new restoration of the front page , preservationists stumbled onto a mystery regarding the existing prints of the film .
james ryan endowed professor of film studies , professor of english at the university of nebraska , lincoln , and , with gwendolyn audrey foster , editor - in - chief of quarterly review of film and video .
the umbrellas of cherbourg
did not initiate a new movie style ( although demy tried it again in
the young girls of rochefort ,
in 1967 , with deneuve , her sister francoise dorleac and gene kelly ) . but it is remembered as a bold original experiment , and now that it is restored and back in circulation , it can also be remembered as a surprisingly effective film , touching and knowing and , like deneuve , ageless .
this is life as viewed through demy’s lens . but if umbrellas uses the conventions of the hollywood musical to express the immediate exhilaration of young love , it also subverts them to convey what’s left when the illusions fade . among other things—many things—the film is about how our lives measure up against the romantic ideals we see on the big screen . “people only die of love in movies , ” a character tartly observes—yet her pronouncement has an unmistakable note of regret .
the tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans . it represents the percentage of professional critic reviews that are positive for a given film or television show .
has there ever been an actress in the history of the movies who has changed as little and aged as slowly as catherine deneuve ? here she is in
the umbrellas of cherbourg ,
her first major film , made in 1964 and now restored . thirty - one years later , i met her at the 1995 cannes film festival . to the degree that she had changed , it was simply to ripen , to add experience and sympathy to the raw beauty of a teenager . i am not making empty compliments . her beauty , then and now , is like a blow to the eyes .
heaven and hell michael atkinson’s review of the 2001 re - release of la baie des anges from the village voice .
what demy delivers instead is the most affecting of movie musicals , and perhaps the fullest expression of a career - long fascination with the entwining of real life , chance , and the bewitching artifice of cinematic illusion . more than any other film i know , umbrellas affects people differently at different stages of life . when i first saw it , newly married but still remembering vividly the pang of adolescent crushes , it played as tragedy : the story of a young love snuffed out by war , fate , and economic hardship . over the years , seen in the light of demy’s other films , it has come to seem more properly an exaltation of life’s bittersweet balances and trade - offs—of unexpected triumphs made richer by the dashed hopes that offset them .
but despite the presence of one of hollywood’s most exciting young filmmakers , it wasn’t until the lights dimmed that the real fun began , as the opening moments of umbrellas began to swirl onscreen to legrand’s evocative score . and once the characters started singing they didn’t stop until 90 minutes later , at which point the crowd filtered out of lacma’s bing theater onto an la street that maybe wasn’t quite as magical as the ones found in la la land —but which wasn’t far off .
but in umbrellas , demy found an ingenious way to extend the form of the screen musical , restoring its effervescence in part by reducing its scale to something recognizably human . rather than surge and lunge in elephantine production numbers , the entire movie would flow on an uninterrupted current of music . the singing and color would evoke the piercing immediacy of first love , even as the abstraction granted a very contemporary distancing effect .
the films selected for the 2013 edition of cannes classics will be screened in the company of those who restored the films as well as those directors still alive .
has been under the spell of the cinema for half a century . he was involved with the film society movement , assisted with the former national film theatre of australia and was a committee member of the melbourne film festival in the 1970s .
the film print comes appended with various restoration credits that add twenty seconds to the running time . the disc ' s one extra is a pleasant excerpt from an agnes varda docu about her director husband jacques demy . in it we meet the producer of umbrellas - a woman - and see anne vernon , nino castelnuovo and mirelle perrey at the re - premiere of the movie .
when she made
umbrellas
for the french director jacques demy , deneuve was 20 , and her work in this film was a flowering that introduced one of the great stars of modern french cinema . the film itself was a curious experiment in which all of the words were sung ; michel legrand wrote the wall - to - wall score , which includes not only the famous main theme and other songs , but also demy ' s sung dialogue , in the style of the lines used to link passages in opera . this style would seem to suggest a work of featherweight romanticism , but
umbrellas
is unexpectedly sad and wise , a bittersweet reflection on the way true love sometimes does not ( and perhaps should not ) conquer all .
the team behind that great revival of brief interlude a few years ago mounted a surreal production of
umbrellas
in the west end in maybe 2012 or 2013 which i took my parents to see . great director , great cast , but again an insufferably repetitive libretto and score made all of us really eager for the thing to be over well before the folks onstage were done .
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among demy’s few disciples in pushing the film musical in a modern direction – at least until damien chazelle came along – is baz luhrmann , whose paris - set moulin rouge ( 2001 ) scored a similar tale of unrequited love to a mashup of pop songs old and new . but , watching the digitally restored version of the umbrellas of cherbourg ( available on dvd and blu - ray ) , with the colours once again as wet - paint bright as demy intended , it’s easy to see how this world of heightened décor has also been an influence on the films of wes anderson . from the darjeeling limited ( 2007 ) to moonrise kingdom ( 2012 ) , anderson’s films share the same wistful romanticism , the same care and attention to set design and immaculate story worlds .
the restoration teams at warner bros . and criterion explain how they captured the silken texture of the nitrate print of michael curtiz’s classic noir melodrama .
once upon a time . . . the umbrellas of cherbourg is a 2008 documentary , directed by marie genin and serge july . it runs 55 minutes and features a variety of interviews , including some from jacques demy and michel legrand . it was great to hear how these two collaborated to create the film that just affected me so much ( their goal all along ) . it was also wonderful to see legrand sitting at a piano while being interviewed , just popping out the tunes on request . the documentary is more broad that just those two , also going into the film’s place in the context of world events .
the story spans the years 1957 through 1962 , and tells of the romance of 17 - year - old genevieve , who works in her mother ' s umbrella shop , and guy , a 20 - year - old garage mechanic . their relationship is interrupted when guy is called up to fight in algeria . umbrellas is divided into three sections , the departure , the absence , and the return . there is one intermission after the first section , and , although the first section is the longest of the three , it comes very early in the arc of the musical . it would probably work best without any intermission , but that is the least of the problems here .
the umbrellas of cherbourg ( french : les parapluies de cherbourg ) is a 1964 french musical film directed by jacques demy , starring catherine deneuve and nino castelnuovo . the music was written by michel legrand . the film dialogue is all sung as recitative , even the most casual conversation ( similar in style to an opera ) . nominated for the academy award for best foreign language film at the 37th academy awards held in 1965 nominated for four more academy awards at the 38th academy awards held in 1966 , three for legrand and demy , though it did not win any :
best song
( for
i will wait for you
) ,
best original score
,
best scoring - adaptation or treatment
and
best screenplay written directly for the screen
last week , we were saddened to learn of the passing of raoul coutard . our technical director , lee kline , shared some memories of working with the great cinematographer .
founded in 1999 , senses of cinema is one of the first online film journals of its kind and has set the standard for professional , high quality film - related content on the internet .
* follow the bouncing bus * ( all images are iphone photos taken of frames of the film playing off the arrow blu - ray of the film . ) = = = if paul mccartney w . . .
streisand becomes the second woman in history to be honored by the friar ' s club with one of their legendary roasts as entertainer of the year .
barbra is one of the entertainers at the democratic inaugural gala for president lyndon johnson .
emy was himself the son of a small - town auto mechanic . in the documentary
the five stars are simply because amazon had this movie at a decent price . i purchased it for my mother who is 91 and not so nice about my gifts over the years . watching this movie with my mom back in the 60 ' s was always a special treat - we had to wait until it was on television , then we piled into her bed after the little sisters were sleeping , and cried to the beauty of the music and singing , the diplomacy in handling the subject matter , and the soul - tugging sadness of tough decisions and a first love that never dies . instead of an actual gift , my mother will receive a lovely basket of movie night - umbrellas of cherbourg , some canned stuffed grape leaves , her favorite crackers , and a few other items to provide memories of the things i know she used to love .
her work in theater , she says , is “like a breath of fresh air . so much else is involved in fashion—it’s a business . here it’s all about art , but at the same time , you are part of a team , and your work has to serve the production . so for fashion designers , i think it’s a good exercise , and a challenge . ” what’s more , she says , in this umbrellas of cherbourg , “i’m playing with timeless staples . and in my work as a designer , that’s what i try to do . ”
since lola , demy had been cultivating a project for an experimental musical , “a film entirely sung” . ( 3 ) les parapluies de cherbourg ( the umbrellas of cherbourg , 1964 ) continued the path of the lola protagonist roland cassard , but in a completely new form , all of its dialogue set to composer michel legrand’s music . les parapluies , with its color , spectacle , and melodrama , featured an unknown catherine deneuve and opened to wide critical acclaim . demy took this musical experiment further with les demoiselles de rochefort ( the young girls of rochefort , 1967 ) , another legrand musical , starring deneuve , her sister françoise dorléac , george chakiris , and gene kelly , who also choreographed the film’s dance sequences . while les parapluies had ventured into new territory as a quotidian opera , rochefort alternated music and spoken dialogue , in the tradition of american musical comedy . critics in france and abroad criticised demy for replacing substance with spectacle .
the irony is that this hilarious artiste is both the best thing about the show and an unwitting act of sabotage given that her rapport with the audience and her scandalous / mock - scandalised antics serve to expose the enervating wispiness of the central story . at the start , maitresse clambers over the front rows , her legs thrust out in ballet extensions designed to offer the punters a gynaecologist ' s - eye - view of her assets . she then gives us crash course on cherbourg and on its strange customs – the locals never stop singing .
, deneuve plays the 16 - year - old genevieve , who is in the throes of experiencing her first love . she lives in the rainy harbor town of cherbourg with her mother ( anne vernon ) , who owns the ever - colorful umbrella shop called
les parapluies de cherbourg .
genevieve and guy ( nino castelnuovo ) are starry - eyed lovers who coo their proclamations of eternal love , and believe every word they sing . then guy receives his draft notice and departs for his two - year military stint ( made all the more dangerous because of france ' s then - involvement in the algerian war ) . after guy ' s departure , which is followed by his infrequent letters , genevieve learns she is pregnant . deciding what to do and then facing the consequences of that decision form the rest of the movie ' s plot line .
in umbrellas of cherbourg , roland is a successful jewel merchant , and we may question his motives as he becomes friendly with geneviève’s mother . he wants to help this widowed woman and her daughter , so he plans to step in and marry geneviève . he is at least empathetic enough to understand geneviève’s reluctance and he sings about lola . here’s the set of lola , up in nantes , where roland and lola met up again after years and where he realized he was losing her . it’s empty :
the ballad of narayama
is a japanese film of great beauty and elegant artifice , telling a story of startling cruelty . what a space it opens…
none of these films have ever approached the popularity of umbrellas , whose influence turns up in the least expected of places . even if they hadn’t featured the undimmed presence of deneuve , such dramatic musicals as lars von trier’s dancer in the dark and françois ozon’s 8 women would be unmistakable as tributaries of demy’s initial vision . curiously enough , one of the strangest yet most astute homages to the movie is a 2002 episode of the animated science - fiction sitcom futurama , in which the cryogenically thawed hero debates whether to clone a dna sample from his dog , left a millennium earlier with the instruction not to move from his spot . he ultimately decides that the dog must have moved on and leaves the matter be—at which point the show cues a time - lapse montage of the dog waiting faithfully for his owner for years , until the moment he slumps to the sidewalk . the music playing over the montage is connie francis’s recording of “i will wait for you” ( the americanized version of legrand’s song ) —that anthem of a finite forever and an eternally preserved present that never loses its ache .
senior film editor of time out london magazine , programmer of london’s national film theatre and the author of numerous books on the cinema , the most recent being a monograph for the bfi modern classics series on abbas kiarostami’s 10 .