sivakavi was a 1943 indian tamil-language film directed , initially , by p. k. raja sandow and later , s. m. sriramulu naidu .

it starred m. k. thyagaraja bhagavathar , s. jayalakshmi , serukulathur sama , thripuramba , t. r. rajakumari , n. s. krishnan and t. a. madhuram .

the film 's screenplay was written by thiru muruga kirubanandha variyar .

the film was shot at central studios and released by pakshiraja films in coimbatore .

sivakavi

here is the visual of the ever green song ‘vasantha ruthu’by mkt in the film sivakavi ( 1942 ) .
into limelight : rajam as muruga in ‘sivakavi ' and ( right ) as rama in ‘seetha kalyanam . ' photos | photo credit : photos : hindu archives
naidu’s second film ‘sivakavi’ ( 1943 ) with mkt in the lead was also a grand success . raja sandow initially directed this film but since he fell out with naidu , the latter took over its direction .
g . ramanathan and alathur subramanya iyer , guru of mkt , have done the background music . the bhagavathar - sivan - g . ramanathan - elangovan team continued in bhagavathar ' s subsequent pictures sivakavi and haridas .
chennai : yesteryear actor s . jayalakshmi , who had acted with thygaraja bhagavathar in ‘sivakavi’ ( 1943 ) , died of old age at her residence in besant nagar on saturday at 6 a . m . she was 87 .
this film was directed by raja chandrasekhar . g . ramanathan and alathur subramanya iyer , guru of mkt , have done the background music . the bhagavathar - sivan - g . ramanathan - elangovan team continued in bhagavathar ' s subsequent pictures , sivakavi and haridas .
in the early timeframe of his career , he worked with comedians like ts durairaj , pulimootai ramaswamy , cs pandian and kali m rathinam and later worked in most of the films of mk thiagaraja bhagavathar as hero . krishnan was also a gifted singer and his numbers in ‘sivakavi’ , ‘raja rani’ and ‘manamagal’ became immensely popular .
before the dravidian movement took roots in tamil part of south india , tamil cinema produced music whose peaks have never since been scaled . papanasam sivan ' s lyrics and mkt ' s singing resulted in numerous superhit songs . mkt was the first superstar of south indian cinema . this song is from the movie sivakavi , 1943 - enjoy .
this is the familiar story of one of the sixty three tamil savants of lord shiva , thiruneelakanta nayanar . wonderfully directed by raja sandow , thiruneelakantar was a great success and contains immortal songs and brilliant acting by mkt and seragalathur sama . the acting skills of mkt revealing the ' bhakthi bhaavam ' ( devotion to god ) in the fullest measure continued to dazzle in the subsequent films , sivakavi and haridas .
tagged ellis r . dungan , g . ramanathan , ghantasala , lyrics , marcus bartley , mk thyagaraja bhagavathar , mkt , modern theatres studios , moon , music , nila , papanasam sivan , pathala bhairavi , pon mudi , rajalakshmi , randor guy , sindhubairavi , sivakavi , song on moon , t . r . sundaram , t . v rathnam , tamil film , tamil lyricist , tamil movies , tamil songs , vennila
the run away hit “sivakavi” ( 1943 ) , produced by sreeramulu naidu , featured m . k . thygaraja bhagavathar & the ravishing t . r . rajakumari . the latter played the role of a court dancer who loved the poet hero . the song & dance sequence , “kavalaiyai theerpathu” earned its place in the galaxy of immortal movie melodies of south india . t . r . rajakumari was considered the dream girl of tamil films in the forties .
tagged acharya , avm , avm studios , bharatanatyam , choreographers , dance in cinema , devadasi , guru muthukumara pillai , hemamalini arni , kannika , kumari rukmini , lakshmi , m s sarojini , m . k . thyagaraja bhagavathar , mangamma sabatham , mkt , nukambakkam janaki , papanasam sivan , rajeswara rao , randor guy , s s mani , sivakavi , sri valli , sriramulu naidu , t r mahalingam , t s rajakumari , vasundhara devi , vazhavoor ramaiah pillai
in film music this raga has been used effectively , though in small measure . one of the earlier songs in vasantha is from the film
sivakavi
sung tunefully by m . k . thyagaraja bhagavatar –
vasantha ruthu mana mohaname
. in the lines
mana mohaname
the notes
m , d , m , d
establish the unique identity of vasantha . vasantha is a lively raga and the happiness it exudes is contagious in this bright piece .
tagged avm , d . k . patammal , ellis r . dungan , films , filmy ripples , fim screening , g n balasubramaniam , haridas , j . p . chandrababu , m l vasanthakumari , m s subbulakshmi , mk thyagaraja bhagavathar , mkt , mlv , mm dandapani desikar , mss , nandanar , old tamil films , old tamil songs , s . v . venkataraman , sakunthalai , sivakavi , subramanyam , tamil film , tamil movies , tamil songs , vv sadagopan
an interesting anecdote relating to the making of sivakavi . papanasam sivan was writing the songs for this movie . he wrote a song in the raga sindubhairavi , mugam adu chandra bimbamo . when the song was recorded , the song sounded as ' muhamadu ' chandra bimbamo . when this was pointed out by mkt and others , papanasam sivan immediately realised that mohamad has no role to play in the life history of poyyadamozhi pulavar and changed the words as vadaname chandra bimbamo which became a super hit afterwards !
famous directors who operated out of the studio were s . m . sriramulu naidu , ellis r . dungan , a . s . a . swamy , a . p . nagarajan and popular duo krishnan - panju who directed their first movie in central studios . india ' s pioneering cinematographer adi merwan irani worked in this studio for sivakavi and haridas . sando chinnappa thevar , a local lad who would later become one of the successful tamil cinema producers started his career as an actor in this studio .
many films in those days had more than one title . ' poyyamozhi pulavar ' or ' sivakavi ' was another superhit . it further reveals , just as the earlier movies did , the exceptional ability of mkt to sing pure carnatic music in a way the common man could relish . this is the story of the poet named ' poyyamozhi pulavar ' who derives that name from a boon by the mother goddess , the presiding deity of vairapuram . he is initially opposed to singing in praise of lord muruga but later undergoes transformation through muruga ' s grace .
with the unprecedented success of “chintamani” ( released earlier in 1937 ) and “ambikapathi” , bhagavathar became a superstar , and elangovan , a sought - after dialogue writer . he wrote for the bhagavathar hits , “thiruneelakantar” ( 1939 ) , “ashok kumar” ( 1941 ) , “sivakavi” ( 1942 ) and the biggest hit of them all , “haridas” ( 1944 . ) all these films had besides the two stars , the legendary music composer papanasam sivan . the three became a sure formula for success and at one stage bhagavathar insisted that producers engaged sivan and elangovan even before meeting him !
` ` radhey unakku kopam . . . . . ' ' ( chintamani ) . . . . ` ` natakame ulagam . . . . . ' ' ( chintamani ) . . . . ` ` gnana kann ondru . . . . ' ' ( chintamani ) . . . . ` ` sivaperuman kripai . . . . . ' ' ( satyaseelan ) . . . . ` ` maa ramanan uma ramanan . . . . ' ' ( seva sadanam ) . . . . ` ` manamey kanamum maravathey . . . . ' ' ( savitri ) . . . . ` ` manmathan leelayai . . . . . ' ' ( haridas ) . . . . ` ` krishna mukunda murarey . . . . ' ' ( haridas ) . . . . ` ` dheena karunakaraney nataraja . . . . . ' ' ( thiruneelakantar ) . . . . ` ` characharangal varum . . . . ' ' ( thiruneelakantar ) . . . . ` ` vun azhagai kaana . . . . ' ' ( thiruneelakantar ) . . . . ` ` unnai kandu mayangaatha . . . ' ' ( ashok kumar ) . . . . ` ` satrey sarinda kuzhaley . . . . ' ' ( ambikapathi ) . . . . ` ` vadanamey chandra bimbamo . . . . ' ' ( sivakavi ) . . . . ` ` kavalayai theerpathu naattiya kalayey ' ' . . . . ( sivakavi ) . . . . ` ` soppana vaazhvil . . . ' ' ( sivakavi ) . . . ` ` nee illaamal anuvum asaiyumo . . . . ' ' ( pankajavalli ) . . . ` ` enthan idathu tholum kannum . . . . ' ' ( sakunthalai ) . . . and hundreds more ! papanasam sivan created them all . . .
starting from the film ‘sivakavi’ ( pairing m . k . thyagaraja bhagavathar & s . rajalakshmi ) it had very beautiful song sequence where the hero compares his heroine’s face to a moon’s crescent , though the frame does not show any moon , per se . the musical score was by g . ramanathan , the lyricist being papanasam sivan . by the by , the heroine of the sequence was s . rajalakshmi , the elder sister of late veena maestro s . balachandar . this song , “vadaname chandra bimbamo” , showing the romantic overture of hero & heroine , was a super hit song in the film .
between 1922 & 1943 raja sandow ruled the roost in silent ( such as ‘veer bhemsen’ ( 1923 ) & ‘the telephone girl’ ( 1926 ) ) as well as talkie films in tamil & hindi . later he took to film direction and even had scripted for talkies . the ‘reformist’ sandow brought many reforms to tamil cinema & spearheaded making social themed movies with messages . he was also initially handling the directorial part of the celebrated mkt movie , “sivakavi” but was replaced by sriramulu naidu . a pioneer in the first generation of indian film making , he also used to act in tamil & hindi till his sudden demise at his 48 in1943 .
in film music , thodi has been used sparingly . its complexities have been handled only by the best musical minds and to keep the character of such a raga intact is indeed a daunting task . ‘ellam sivan seyal endre’ from the film ‘sivakavi’ was one of the earliest appearances of this raga on the silver screen . the opening phrase ‘srgm / d , , ns’ clearly establishes the raga and the gamaka in the mpd region is most typical . in the line ‘inbutriruppor periyor . . . ’ the pancama and sadja are eschewed and the resultant varja phrase ‘gmdnrndm’ is beautiful , yet again typical of thodi . this composition holds semblance to a few thyagaraja kritis here and there , and why not ? after all , thyagaraja paved the way for thodi’s bright presence .
the popular ' vadaname chandra bimbamo ' in sindubairavi , the rare gem ' manam kaninde ' in ratipatipriya , the duet song ' vasantha ruthu ' in ragamaliga , the everlasting ' amba manam kanindu ' in panthuvarali , the ' ninda stuti ' ( censuring prayer ) ' vallalai padum ' in chenchuruti , the sweet ' thamiyen painthamil ' in sahana , the classic ' ellam sivan seyal ' in thodi , the short but superb ' kulirntha mugamanum ' in kharaharapriya , the dance song ' nattiya kalaiye ' in natakurinji , the well known ' soppana vazhvil ' in vijayanagiri bhuvanagandari and the finishing song ' sri kalyanaguna ' in ragamalika still echo in the hearts of ardent mkt fans . apart from the above songs , there are a few more short pieces in classical ragas such as the song in kurinji , ' thiruvarul thara innum ' and a few other songs which go on to make sivakavi a memorable musical treat .
tagged 1936 , 1957 , a . bhimsingh , a . karunanidhi , a . rama rao , amara kavi , ambikapathi , arya mala , baliah , c n annadurai , chandrababu , chandrakantha , chandralekha , charlie chaplin , comedian , cs pandian , dr . savithri , ellis dungan , haridas , harischandira , indu nesan , kakka radhakrishnan , kala megham , kalaivanar , kalaivanar kalai arangam , kali m rathinam , kali n rathinam , kaveri , krishnan - panju , kuladeivam , lakshmikanthan , m . k . tyagaraja bhagavathar , m . saroja , madurai veeran , managaiyarkkarasi , manamagal , mangamma sabatham , menaka , mk thiagaraja bhagavathar , mudhal thethi , muthulakshmi , n s krishnan , n . s . k nataka sabha , nagerkovil sudalamuthu krishnan , nallathambi , nsk , paithiyakaran , paithiyakkaran , panam , pavalakodi , pulimootai ramaswamy , purasawalkam , raja desingu , raja rani’ , raja sandow , ramasami , rangin radha , rathnakumar , s s vasan , sakunthalai , sarangapani , sathi leelavathi , sathi leelavathy , sivakavi , t r ramachandran , t . a . mathuram , t . s . dorairaj , ta mathuram , thangavelu , tks brothers , ts durairaj , udumalai narayana kavi , uthama puthiran , v . l . ethiraj , vana sundari , vasantha sena , villu paattu , villu paatu , wedding
a raga that is suitable for singing in the evenings , a raga that ushers in the festive spirit and one that dispels fear and instills hope – it ' s the raga vasantha .
vasantha
means springtime , and this raga has been suitably named since all that is associated with it is hope and positivity .
a vakra raga , the scale assumes colourful zig - zag patterns and has characteristic curves that make it very easy to identify . the notes in the ascent are sadja , antara gandhara , suddha madhyama , chatusruti dhaivata , and kakali nishada , not necessarily sung in that order . in the descent the suddha rishabha joins the string of notes completing the scale . vasantha is an ancient raga and has been prevalent for more than a 1000 years .
the classical pieces in this raga are numerous and usually medium - or fast - paced . thyagaraja ' s
sitamma mayamma
and
etla dorikithivo
, dikshitar ' s
maragathalingam
,
brihadambikayai
and
hariharaputram
, papanasam sivan ' s
maal maruga
and
maa dayai
are all outstanding compositions in this refreshing raga . one cannot forgetthe dancers ' favourite in this raga –
natanam adinar
by gopalakrishna bharati .
the songs of the maestro ilayaraja in this raga have a charming appeal . the exemplary piece by ilayaraja in this raga is
andhi mazhai
from
raja paarvai
. sung by s . p . balasubramaniam and s . janaki , this song stands out in the minds of music lovers for its classy presentation and the aalaap s that feature in it . the very opening
mmmm / gmdmg . .
hits the nail on the head and sets the tone for a vasantha - raga treat .
maan kanden
from
raja rishi
, sung by jesudas and vani jayaram , explores a sensual facet of vasantha raga . the song is presented in a grand manner with rich orchestration and brilliant background scores . in the lines
naan ennai kaanen
the suddha rishaba touch is pronounced and lends regality .
vandanam en vandanam
from
vaazhve maayam
is a lesser - known composition in vasantha . the composer gangai amaren brings forth a fresh flavour in the raga and this piece is sung by s . p . b .
the song
minsara kanna
from the film
padayappa
, with music by a r rahman , is a mind - blowing piece in vasantha . the robust voices of srinivas and nityasree coupled with tongue twisting jathi - s and massive orchestrations made this song popular . the starting note , the antara gandhara in the upper octave is striking and the numerous frills and forays are stunning .
in the film
pirivom sandhippom
, composer vidyasagar has come up with a piece in vasantha that merits mention . the song
kanden kanden
is a catchy one , and as with all raga - based songs it forms an instant rapport with the listener .
the hindustani raag girija closely resembles vasantha . our young readers would relate to vasantha raga through the varnam
ninnu kori
. such pieces are evergreen and well - loved .
s . rajam , veteran classical musician , musical savant , guru and much applauded painter with a style of his own recently turned 90 . rajam , blessed with an agile mind and good health , rajam has been felicitated by many cultural associations in the city . at ‘ulagaayudha’ ( cinema as weapon of the world ) , an event organised recently few days ago at the chennai trade centre , filmmaker jahanathan , rajam was felicitated as the oldest living tamil cinema hero and was presented a purse of rs . 10 , 000 . interestingly this amount was contributed exclusively by the crew of assistant directors of jahanathan’s latest offering now on sets .
during the 1930s , rajam enjoyed a brief but bright innings as a movie hero playing the lead role in three films out of which his first , ‘seetha kalyanam’ ( 1934 ) , was the most successful . papanasam sivan had just relocated to madras in search of greener pastures .
in the metropolis , the capital of the sprawling madras presidency , he found a good samaritan in a mylapore lawyer , v . sundaram iyer . sivan taught music to the lawyer’s children , the eldest son , a strikingly handsome artistic teenager , and his sister jayalakshmi . this handsome lad , hardly fourteen and charismatic was rajam . he became the first disciple of papanasam sivan .
rajam , who went to p . s . high school , had a flair for drawing and painting and his father had him admitted into the madras school of fine arts . besides all this and those were not all . rajam was also an avid moviegoer . rajam saw many silent films in a tent cinema located in an open space behind the p . s . high school compound . to this day he remembers the name of a movie he saw — ‘nal damayanthi’ ( hindi ) .
v . shantaram , wrote to a madras - based movie magazine , ‘sound and shadow’ seeking help to make a tamil film using the sets , props and all of his hindi film , ‘sairandhri’ ( 1933 , india’s first film in colour ) . the film had not done well and the company was trying to cut its losses by launching a tamil film using the same re - usable materials . the magazine was being run by the talented trio , muthuswami iyer ( later filmmaker under the name , ‘murugadasa’ ) , a . k . sekhar ( art director , production designer , and master of all , and later a big name in south indian cinema ) , and k . ramnoth . a rich impresario and fine arts - lover , and talent scout and all , g . k . seshagiri , financially backed them .
soon the trio , seshagiri , the mylapore lawyer , his children , rajam , jayalakshmi and the youngest son , the seven year old prodigy , s . balachandar , and members of an amateur drama troupe boarded a train at madras to miraj en route to kolhapur . accompanying them was papanasam sivan , unaware that his journey to fame had just begun .
rajam faced a movie camera for the first time in ‘seetha kalyanam’ ( 1934 ) . a prabhat production it was directed by the well known marati and hindi filmmaker of his day , baburao phendharkar . the success of ‘seetha kalyanam’ brought its handsome singing hero rajam into limelight . that was the period when most tamil movie heroes came from theatre and not many were as handsome and charismatic as rajam ! his aristocratic bearing , sharp features and slim figure made him a favorite of women of all ages !
one of the interesting — and unexpected — reactions to ‘seetha kalyanam’ deserves mention . in the movie jayalakshmi who was the real life sister of rajam played sita . some prudish prurient sordid - minded folks objected to such pairing . according them it was incest ! and a gross insult to the epitome of female decorum and chastity sita , and to the epic ramayanam ! they took v . sundaram iyer , their father ( he played janaka ) for permitting such ‘immoral casting ! ’
some of the songs that rajam sang in ‘sita kalyanam’ became popular . ‘nal vidai thaarum…’ ( raga kalyani , based on ‘amma raavamaa…’ ) … . ‘kaaranam ethu swami… . ’ ( raga kaanada based on the purandaradasa composition , ‘sevaka kana ruchirey . . . ) with that papanasam sivan had made his debut in cinema .
rajam’s next movie was ‘radha kalyanam’ ( 1935 ) . it was produced by meenakshi movies and directed by c . k . sathasivan better known as ‘saachi . ’ rajam played lord krishna while radha was the noted star of yesteryear , m . r . santhanalakshmi . a married brahmin woman from the temple town , kumbakonam , she entered tamil theatre and made a mark with her good looks , buxom figure and singing talents and skills . saachi , a keen talent scout brought her into movies with this film . santhanalakshmi was much older to rajam and not surprisingly he felt embarrassed in doing the romantic sequences !
later in 1948 rajam worked as music composer ( with no credit ) and also sang a song off - screen , ‘kaathal puyalthaniley thurumbupol…’ in v . shantaram’s ‘nam nadu . ’ the celebrated indian filmmaker made a hindi film ‘apna desh . ’ he dubbed it in tamil and released a hindi version in andhra with songs in telugu ! m . l . vasathakumari sang off - screen for the heroine , ( pushpa hans ) .
this writer found in his modest ‘archives’ , a magazine interview with rajam by the icon of tamil literature , kalki ( ra . krishnamurthy ) . it appeared in ‘ananda vikatan’ of 1930s when kalki was its associate editor . here follow extracts translated from the tamil original…
s . rajam : certainly ! acting is important and equally important is the delivery of dialogue . but in tamil cinema nobody really bothers about it ! much of it is written only a few days before the shooting and what does it prove ?
more or less you are right ! dialogue writers should know something about cinema and acting . but here it is not so ! they write long sentences in high - flown language and nobody talks like that ! so you cannot act in a realistic manner… it’s all stagy and stilted… . artificial ! they don’t take any care about minor roles… in a film all roles big and small are important…
let’s take my recent film , ‘rukmini kalyanam . ’ the director did not know tamil but in a way it helped us ! he ( balji phendharkar ) was also the writer . his dialogue was translated and we spoke them . if we made any mistakes he would spot them at once ! he was also a fine actor… and he was very brilliant . . . of course all are not so !
jayalakshmi acted as seetha in ‘seethakalyanam’ ( 1934 ) , directed by v . shantharam . in fact , her whole family acted in the film . her father , sundaram iyer , played dasarathar while her brother s . rajam played ramar . another brother , veena exponent s . balachandar , who later became a popular director - actor , also did a role in the movie .
jayalakshmi’s granddaughter is actor jayashree , who played the female lead in movies ‘thendraley ennai thodu’ and ‘thirumathi oru vegumathy’ .
jayalakshmi is survived by her husband k . swaminathan and three children . her body was cremated at the besant nagar crematorium .
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nostalgia his dialogues had a literary flourish that could be enjoyed even by the common man . know more about tamil cinema ' s first star writer elangovan
h e created waves as a dialogue writer for tamil films in the late 1930s . elangovan ' s lines were invested with all the richness of the ancient language . besides , he was the first to introduce lilting rhythms , sonorous strains of poetry , metaphor , simile , hyperbole and more into his writing . that was the happy period when actors and actresses spoke in their own voices , and ‘post - synchronisation ' or ‘dubbing ' was unknown .
t . k . thanikachalam , who wrote under the name of elangovan , was born in kanchipuram in 1913 . a tamil scholar , he wrote short stories which appeared in many magazines , especially in manikodi . then he joined the tamil daily dinamani as a sub - editor which enabled him to live in madras . he looked around to write for cinema and got a major break in ellis r . dungan ' s “ambikapathi” ( 1937 ) .
while he heard the storyline , dungan at once noticed the striking similarities between the love tale of the immortal poet kamban ' s son ambikapathi and the princess amaravathi , and the shakespearean tragedy ‘romeo and juliet ' . the celebrated hollywood filmmaker george cukor ' s “romeo and juliet” ( 1936 ) was then being screened at madras , and dungan took elangovan to see the film several times and suggested incorporating some of the scenes of the english classic into the tamil script . one of them was the balcony scene . that was not all . dungan gave the text of the shakespearean play to elangovan marking some of the lines he wished to have in the tamil film .
in the balcony scene , when the poet - lover ( mkt bhagavathar ) takes leave of the princess ( m . r . santhanalakshmi ) after secretly meeting her , he says , “thookkam unn kangalai thazhuvattum… ! ” ( let sleep embrace your eyes ! ) . these words were taken from the english play , “sleep dwell upon thine eyes… ! ' ( interestingly , years later celebrated lyricist kannadasan used these words as the opening lines of a hit song . )
after “kannagi” he was on top and continued to be in demand and wrote films such as “mahamaya” ( 1944 ) , “arundathi” ( 1943 ) , “inbavalli” ( 1949 ) , “ezhai padum paadu” ( 1950 ) and “pavalakodi” ( 1949 ) . regretfully , the phenomenal success made him intellectually arrogant which began to have an impact on his career .
not many are aware that he was at first engaged by the producers to write “manohara” ( 1954 , the box - office hit had sivaji ganesan , kannamba and t . r . rajakumari in major roles ) . but due to his delaying ways , the producers had no option but to take him off the project and bring in mu . karunanidhi who had by then tasted success with his cult classic , “parasakthi” ( 1952 ) . the rest is history !
gradually , elangovan lost his hold and his later years were a struggle . he passed away in 1971 when he was only 58 .
during the dawn of the 1930 ' s papanasam sivan , then virtually unknown , relocated to madras in search of greener pastures . here in the metropolis , capital of the sprawling madras presidency , he found a good samaritan in a mylapore lawyer , v . sundaram iyer . mylapore was then the stronghold of successful lawyers . sundaram iyer became his friend , guide and patron . sivan taught music to the lawyer ' s children , the eldest son , the strikingly handsome artistic teenager , and his sister jayalakshmi .
this handsome lad , hardly sixteen and stunningly charismatic with a wide array of inborn talents and acquired skills was sundaram rajam . he became the first disciple of papanasam sivan in madras and the guru boarded with the affluent amiable lawyer during the early days . rajam learnt carnatic music from the soon to be famous teacher and quickly acquired high degree of proficiency and professional skills . being a lawyer ' s son his education was not neglected . he studied at the famous p . s . high school then on north mada street in mylapore .
he had flair for drawing and painting . and those were not all . rajam was also an avid moviegoer . not many are aware that in the 1920s - early 1930 ' s mylapore had its share of ‘tent cinemas ' where silent films were regularly screened . the tickets were cheap with the ‘floor ' going for one ' kalana ' or 3 ' dambidis ! ' rajam saw many silent films in a tent cinema located in an open space behind the p . s . high school compound .
meanwhile far away in kolhapur , v . shantaram , one of the greatest filmmakers of india then feeling his way in cinema with the celebrated prabhat pictures wrote to a madras - based movie magazine , sound and shadow seeking help to make a tamil film using the sets , props and all of his hindi film , ‘sairandhri ' ( 1933 , india ' s first film in colour ) . the film had not done well and the company was trying to cut its losses by launching a tamil film using the same material . the magazine was being run by the talented trio , muthuswami iyer ( later filmmaker under the name , ' murugadasa ' ) , a . k . sekhar ( art director , production designer , and master of all , and later a big name in south indian cinema ) , and k . ramnoth ( brilliant technician and genius of south indian cinema , sadly neglected today ) . a rich impresario and fine arts - lover , and talent - scout and all , g . k . seshagiri , financially backed them .
soon the trio , seshagiri , the mylapore lawyer , his children , rajam , jayalakshmi and the youngest son , the seven year old prodigy , s . balachandar , and members of an amateur drama troupe boarded a train at madras to miraj en route to kolhapur . accompanying them was papanasam sivan as music composer blissfully unaware that he was on his way to fame and fortune…
rajam faced a movie camera for the first time in ‘seetha kalyanam ' ( 1934 ) . a prabhat production it was directed by the well known marati and hindi filmmaker of his day , baburao phendharkar .
the success of ‘seetha kalyanam ' ( 1933 ) brought its handsome singing hero , s . rajam into limelight . that was the period when most tamil movie heroes came from theatre and were not as handsome and charismatic as rajam !
his aristocratic bearing , sharp features and slim figure made him a favourite among women of all ages ! jayalakshmi , his sister played sita . ( that some prudes raised an objection to this pairing is a different issue ) .
some of the songs that rajam sang in ‘seetha kalyanam ' became popular . ‘nal vidai thaarum… ' ( raga kalyani , based on tyagaraja ' s ‘amma raavamaa… ' ) … . ‘kaananam ethu swami… ' ( raga kaanada based on the purandaradasa composition , ‘sevaka kana ruchirey… ' ) the music composer was papanasam sivan making his debut in movies .
rajam ' s next movie was ‘radha kalyanam ' ( 1935 ) . it was produced by meenakshi movies and directed by c . k . sathasivan better known as ‘saachi . ' ( remembered as the mentor of now sadly forgotten musician , n . c . vasanthakokilam ) .
c . k . saachi hailed from a family of noted and successful lawyers of coimbatore . he was drawn to the new medium of cinema and he sailed into it with glee and gusto . he gave up law and learnt the rudiments of filmmaking and also underwent limited training in london .
a man of wide contacts in madras in its social and cultural circles he worked as associate director with the noted american tamil filmmaker , ellis r . dungan in his historic maiden movie ‘sathi leelavathi ' ( 1936 ) .
rajam played lord krishna while radha was the noted star of yesteryear , m . r . santhanalakshmi . hailing from the temple town of kumbakonam , she entered tamil theatre and made a mark with her good looks , buxom figure and singing talents and skills . saachi , a keen talent scout brought her into movies with this film . santhanalakshmi was much older to rajam and not surprisingly he felt embarrassed while doing the romantic sequences ! the film did not do well and few remember this movie today…
by now rajam married and as his wife was not in favour of his acting in movies , it was goodbye to cinema , romantic scenes with elderly heroines and all that… ! but later in 1948 rajam worked as music composer ( with no credit ) and also sang a song off - screen , ‘kaathal puyalthaniley thurumbupol… ' in v . shantaram ' s ‘nam nadu . '
( randor guy found in his modest ‘archives ' a magazine interview with rajam by the icon of tamil literature , kalki ( ra . krishnamurthy ) . it appeared in ananda vikatan of 1930s when kalki was its associate editor . extracts translated from the tamil original . )
s . rajam : beshaaa ! acting is important and equally important is the delivery of dialogue . but in tamil cinema nobody really bothers about it ! much of it is written only a few days before the shooting and what does it prove ?
sr : you are right ! dialogue writers should know something about cinema but it is not so ! they write long sentences in high - flown language and nobody talks like that ! so you cannot act in a realistic manner… it ' s all stilted… . artificial ! they don ' t pay attention to minor roles… in a film all roles are important…
sr : let ' s take my recent film , ‘rukmini kalyanam . ' the director did not know tamil but in a way it helped us ! he ( balji phendharkar ) was also the writer . his dialogue was translated and we spoke them . if we made any mistakes he would spot them at once ! he was also a fine actor… and he was very brilliant . . . . of course all are not so !
with the music season going on in full swing , ragas are filling our systems with positivity and good vibes . a regal raga that one very often hears in kutcheris is thodi . thodi is the pride of our system of music , the imposing gamakas , stunning brighas all dazzle with all their glory in thodi . when delivered well , a thodi piece can lift any concert to sublime heights . the notes present in this raga are sadja , suddha rishabha , sadharana gandhara , suddha madhyama , pancama , suddha dhaivata , and kaisiki nishada . thodi evokes karuna and bhakthi rasa - s . the melakarta name for this scale is hanumathodi . bhairavi thaat in hindustani is the carnatic thodi scale .
carnatic compositions abound in this fertile raga and thyagaraja’s contribution to this raga is invaluable . thyagaraja’s ‘kaddanuvariki’ , ‘koluvamaragadha’ , ‘raju vedala’ , and ‘dasarathi’ , among others are glorious compositions while dikshitar’s ‘sri krishnam bhaja’ , ‘dakshayani’ and ‘kamalambike’ are pillars of strength . shyama sastri uses the pleading quality in this raga to his advantage in compositions like ‘raave himagiri’ and ‘ninne nammi’ . tamil compositions in this raga include ‘karthikeya’ and ‘thamadam en swami’ of papanasam sivan , timeless in their passionate lyrical appeal . ragam - tanam - pallavi can be sung in thodi with great aplomb owing to the numerous possibilities its notes hold .
thodi when sung full of plain notes , devoid of gamakas may not be sufficiently strong thodi for a trained classical ear . the varnam ‘eranapai’ is a delicate balance between gamaka laden phrases and plain notes in thodi .
in avvaiyar k . b . sundarambal sings ‘katradhu kai mann alavu’ , avvai’s teachings , in thodi . this little song sequence is attractive in its phrases . the starting note pancama serves as an anchor in thodi . in the phrase ‘ . . . kalai marandhu odhuginraal’ the signature phrase of thodi comes to the fore — ‘dnr , rsnd’ . the refreshing music for ‘avvaiyar’ was by m . d . parthasarathy .
a stunning piece in thodi from the film vanangamudi is ‘ennai pol penn allavo’ . this song tuned by g . ramanathan and sung by p . susheela is exemplary in its classical fervour and raga bhava . this song begins at the pancama and the very first phrase ‘pdn , pdm p , gmd’ , points indubitably at thodi . there are several intricately woven sangatis in this song . the phrase ‘irul neekkum kann allavo’ the phrase ‘gm / md , md , nr , nrg’ sails in the varja pattern , very attractive and noteworthy .
in the ragamalika song , ‘oru naal podhuma’ from the film thiruvilaiyadal , raga thodi is extolled in the phrase ‘isai ketka ezhunthodi varuvaar andro . . . ’ . what a complete infusion of energy m . balamuralikrishna gives as he belts out breathtaking brigha passages in ‘thodi . . . ’ ! k . v . mahadevan at his musical best .
ilaiyaraaja in varusham 16 sets the tone for thodi in his inimitable style in the piece ‘gangai karai mannanadi’ sung by yesudas . this piece set in the 7 / 8 beat combination ( what we in classical music call as misra chapu taal ) is a high octane number , full of energy . the song itself starts off with a viruttam , a fervent appeal of love . in the viruttam line ‘aadai kattum paynkiliye . . . ’ , the rishabha in the upper octave is highlighted and the phrase ‘nrgmggrr’ shines brilliantly in yesudas’s silken vocals .
the film thodi ragam starring t . n . seshagopalan with music by kunnakudi vaidhyanathan has several instances featuring this raga . the song ‘thodiyil paada vandhen’ merits mention and has numerous flowery sangatis and indulges the adventurous trait in the composer , singer , and listener .
the maverick ' s oeuvre : ( from left ) t . r . rajakumari and t . e . varadan in pavalakodi ; mgr and bhanumathi in malaikallan ; naidu with ntr and savithri and dilip kumar .
profile dynamic and hard working , sriramulu naidu made significant breakthroughs in tamil cinema . randor guy
( this is the first of a two - part article on sriramulu naidu . the author had the pleasure of knowing sriramulu naidu well during his brief , ‘brief - less , beardless ' innings as lawyer in the chambers of the noted madras high court lawyer v . c . gopalratnam during mid - 1950s . during those years , he had the opportunity of meeting naidu - vcg ' s client - often when he narrated his experiences in filmmaking . )
h e is the only indian film world personality , perhaps even elsewhere in the world who promoted and managed three motion picture studios , producing and directing movies in more than one language . that was not all . he produced and directed a single film of his – ‘malaikallan ' ( 1954 ) in six languages – tamil ( original ) , telugu , kannada , malayalam , hindi , and even sinhala .
‘malaikallan ' created movie history , and even after half a century and more , it still sustains interest . the hindi version , ‘azad ' starred two icons – dilip kumar and meena kumari .
such a dynamic and creatively brilliant person was s . m . sriramulu naidu ( 1910 - 1976 ) . one of the key figures in the astonishing development of cinema in south india , he can be described the ‘coimbatore movie mogul . '
subbarayulu naidu munuswami naidu sriramulu naidu was born ( 1910 ) in tiruchi , where his father munuswami naidu was a station master with the south indian railway limited ( sir ) , headquartered in trichinopoly .
after retirement , munuswami naidu relocated to coimbatore where he established a bakery under the name and style of davey & company in 1932 , along with hotel davey on a leased premises on bank road opposite the coimbatore railway station . sriramulu naidu joined him after completing the intermediate course in college .
a workaholic , naidu slogged at the bakery . he baked cakes , doubled as carpenter and did hard physical labour . he was strongly disciplined and punctual , and a truly no - nonsense guy .
naidu believed in socialising and as a young man in his early 20s , joined the coimbatore cosmopolitan club around 1932 . he described himself as ‘baker . ' movies had begun to talk tamil in 1931 with ‘kalidas ' directed by the ‘grand old man of south indian cinema ' h . m . reddy and produced by ardeshir m . irani at bombay . that was the period when the few tamil films that were made were mostly produced in bombay , or calcutta or sometimes in kolhapur for there were no facilities for making talking motion pictures in madras till about 1934 .
working from calcutta , samikannu vincent along with others produced ‘valli thirumanam ' ( 1933 ) . sriramulu naidu decided to throw his lot with the motion picture business . he underwent training in premier cinetone studio in coimbatore and developed many movie land friendships and life - long contacts with the some of them . one of them was r . k . ramakrishnan chettiar , ( brother of the famed statesman and onetime finance minster of india , sir r . k . shanmugham chettiar ) , who later founded along with naidu and others the famed central studios in coimbatore .
another friend was the equally dynamic and creative k . s . narayana iyengar in madras , who had promoted narayanan and company , and later , pakshiraja films . at first , naidu worked as iyengar ' s agent and looked after his interests in coimbatore . later he became a partner in pakshiraja films , only to opt out and promote his own company , and make films under pakshiraja studios banner . he built his own studio , pakshiraja studios , taking over kandhan studio and rebuilt it to his requirements and other creative needs . naidu ' s new studio was a model of discipline , cleanliness and one never found a cigarette or a ‘bidi ' butt thrown around the campus .
central studios launched production and their first effort , ‘tukaram ' ( 1938 ) , was made in two languages - tamil and telugu . in the tamil version , the celebrated carnatic musician musiri subramania iyer played the title role , while the famed telugu stage and screen star , c . s . r . anjaneyulu did the same role in the telugu version . at the dawn of 1940s , naidu and iyengar decided to enter movie production and the two launched their maiden tamil production ‘aryamala ' ( 1941 ) . produced under the banner of pakshiraja films at the central studios , naidu supervised production also involving himself in all the aspects of direction .
‘aryamala , ' the kaathavarayan folk tale , had up - and - coming singing star of tamil cinema p . u . chinnappa as hero . he had made a splash with the modern theater ' s hit ‘utthama puthran ( 1939 ) , in which he played a double role . in ‘aryamala ' naidu introduced a new heroine to tamil cinema , m . s . sarojini .
the younger sister of another actress m . s . mohanambal , sarojini played minor roles in films . naidu gave sarojini the break casting her as the female lead . it also had t . s . balaiah , m . r . santhanalakshmi , n . s . krishnan and t . a . mathuram .
rajan maharajan - - m . k . thyagaraja bhagavathar . - - படம் : ஷ்யாமளா
m . k . thyagaraja bhagavathar - weekend classic radio show | rj mana | m . k . t . பாகவதர் | tamil | hd
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m . k . thyagaraja bhagavathar , s . jayalakshmi , n . s . krishnan
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it is generally said , however , a pathos scene is difficult to naturally enact , it is even more difficult to be successful as a comedian as timing & body language have to contribute to its success . pure , vulgar - free comedy that stands out is a real tough job and all were not cut to deliver that .
in the very early talkie films , there was nothing like a separate comedian . it was only later , as part of the evolutionary process of cinema , comedians came into being in indian films to provide a relief from the main story line , which , often , was heavy with emotions .
the early cinema ( we are talking about pre - nagesh period ) had a bunch of good comedians such as t . s . dorairaj , kali n rathinam , t . r . ramachandran ,
sarangapani , ‘friend’ ramasami , a . karunanidhi , kakka radhakrishnan , ‘kuladeivam’ rajagopal , a . rama rao , chandrababu , thangavelu , muthulakshmi , t . a . mathuram , & m . saroja .
but the monarch of the tamil film comedians , undoubtedly , was n . s . krishnan ( nsk ) .
tamil cine goers laughed their guts out at nsk’s thought provoking jokes . nsk has often been compared to the legendary comedian , charlie chaplin . but , while chaplin scored with his slapstick comedy and body language , nsk relied more on his verbal humour , one - liners and subtle messages to the audience . his comedy , which also had its share of puns , was always wholesome at its best with no double entendre or misogyny involved .
as we cannot justifiably cover all the stalwart comedians who tickled our funny bones in a single article , we hereby restrict our current write up to the monarch of them all – n . s . krishnan .
n . s . krishnan was born as nagerkovil sudalamuthu krishnan in 1908 in a poor family . his childhood years were spent selling snacks in a theatre in his hometown & working as a ball picker in a tennis club . his lack of formal education was amply made up by his native genius & curiosity .
later , in his formative years he joined the celebrated drama company run by tks brothers . he was also proficient in a rural art form known as ‘villu paattu’ .
later he formed his own touring theatre group and traversed the length and breadth of erstwhile madras presidency with his plays , which always drew packed houses .
nsk’s entry into the celluloid world was through s . s . vasan produced and ellis dungan directed film ‘sathi leelavathy’ , where he was introduced as a comedian . though this was his debut film , his second movie ‘menaka’ got released before ‘sathi leelavathy’ could hit the screen . however ‘menaka’ was adjudged the best movie of the year in 1935 .
it was during the shooting of ‘vasantha sena’ ( 1936 ) , directed by raja sandow , nsk ‘met’ co - star t . a . mathuram and both fell in love . their marriage was held in a simple manner , while the shooting schedule moved to pune , with raja sandow presiding over the ‘wedding’ . the couple got the honor of being the first real - life couple acting as couple of reel life too , between 1936 and 1957 , when they did a whopping 122 films , as a pair !
n s krishnan , who popularly goes by his popular title , ‘kalaivanar’ , rose from humble beginnings as a ‘villu paatu’ artiste who became a master in the art of repartee . in tandem with his wife ta mathuram , he regaled audiences , often stealing the spotlight from the lead stars . nsk was known to pen his comedy tracks himself and always ensured that he was never repetitive . noted lyricist udumalai narayana kavi usually wrote the lyrics for krishnan .
he also produced the hit film ‘nallathambi’ , directed by c . n annadurai . he directed films such as ‘panam’ and ‘manamagal’ penned by karunanidhi . ss vasan’s magnum opus ‘chandralekha’ too featured krishnan in comedy tracks . there was a time in tamil cinema when no film was complete without nsk !
he also shared screen space in many films of the leading heroes , mgr and sivaji ganesan , and despite the presence of these titans always stood out with his comedy .
nsk went on to work as unparalleled comedian in as many as 150 films , mgr starred ‘raja desingu’ being the last one , released after his death .
on 8 november 1944 , lakshmikanthan the gossip columnist & editor of ‘indu nesan’ was knifed by some unknown persons in purasawalkam and was admitted to the general hospital , madras as an outpatient . but the next day , lakshmikanthan was murdered mysteriously while still in the hospital . the police arrested eight persons as accused for the murder including m . k . tyagaraja bhagavathar and nsk . this came as a rude shock to their fans and the cine world .
after thirty long months of jail term they were acquitted for want of proof by the london privy council , thanks to the eminent lawyer v . l . ethiraj who argued for them at privy council at london . ( the same illustrious lawyer founded ethiraj college for women ) .
though n . s . krishnan did manage to pick up the threads of his life again as an actor post his release from prison , things were not quite the same & he was financially drained and his fortunes plummeted rapidly .
when krishnan was first sentenced to jail , mathuram took a break from her acting career . later she came out her self - imposed exile to generate revenues for financing her husband’s appeal to the privy council .
when nsk was in prison , t . a . mathuram started a drama troupe called n . s . k nataka sabha , which staged plays written by and starring s . v . sahasranamam . ‘paithiyakaran’ ( 1947 ) was one of those plays . later mathuram converted the troupe into a film production company and made a film based on the play . while the film , being directed by krishnan - panju duo , was in production , krishnan was acquitted released from prison . a new role was written for him in the film . nsk made fun of his stint in prison through the song jailukku poi vantha in which he described in prison life , his fellow inmates and the types of prisoners he met . mgr played a supporting role in the film .


super shastri is a 2012 indian kannada action comedy film directed by raviraj and produced by g. ramachandran .

it stars prajwal devraj and haripriya in the lead roles .

the film is a remake of the telugu comedy seema shastri starring allari naresh and farzana .

rangayana raghu , umashree , bullet prakash and rekha kumar among others play the supporting roles .

deva is the score and soundtrack composer .

the film was declared a hit at the box office .

super shastri

film :
super shastri
; cast : prajwal devaraj , haripriya , umashree , bullet prakash , g . ramachandran , muni , pallakki radhakrishna , kote prabhakar , tennis krishna , mugu suresh , mysore ramachandra , mimicry rajagopal and others ; director : raviraj ; producer : g . ramachandran ; rating : * 1 / 2
shastri , who had previously worked with kohli and co as team director , highlighted the importance of communication between skipper and the support staff .
branch manager films division , min . of i & b , govt . of india , 35 - haddows road shastri bhavan chennai - 600 006
with its substandard technical work and boring narration ,
super shastri
is a real torture for the audience . the telugu film audience may accept some illogical things mainly because allari naresh has a different image . but to project a young hero like prajwal devaraj , who has been seen more as a lover boy in films , is certainly a bad idea .
the story of the movie goes like this - subramanya shastri hails from a traditional family and works as a priest in a temple . he starts loving a girl named sonia gowda , who hails from the vokkaliga community . shastri ' s family opposes this union in the the beginning , but later agrees to the alliance to please their son .
' i don ' t need to elaborate too much on what he is good at . it is there for everyone to see , ' said shastri on bharat arun .
as captain , my job was to put every player in this frame of mind . that was my job and that ' s his job ,
concluded shastri .
just a week ago , the kannada film industry felt proud for the huge response to a well - made historical film like
kranti veera sangolli raayanna
, based on the life and times of a revolutionary guerilla fighter , who fought against the imperialist british empire . the whole of the southern film industry took notice of the movie , and now , one gets to see a disaster like
super shastri
.
shastri and his entire family members move out to sonia ' s village where her father venkatappa gowda is leading a faction engaged in fighting another ganglord narasimha gowda . subramanya shastri and his family members enter the scene to profess their support to venkatappa gowda . finally , he comes to know that subramanya and his daughter sonia are in love . this fact will also be known to narasimha gowda , who wants to exploit the situation . finally , subramanya shastri makes the two factions understand the futility in fighting each other and marries sonia with the concurrence of her family members .
situated in noida , this hotel is 1 . 9 mi ( 3 km ) from shipra mall and within 6 mi ( 10 km ) of mahagun metro mall and max super speciality hospital . swaminarayan akshardham temple and worlds of wonder are also within 9 mi ( 15 km ) .
mumbai : after getting his man , bharat arun , for the role of team india bowling coach role , head coach ravi shastri , on wednesday , made it clear why the former india bowling coach deserved the reappointment .
the young actor has proved his mettle on screen by different genres of films - romance , comedy , action . ' gange baare ' , ' tunge baare ' , ' meravanige ' , ' jeeva ' , ' gulama ' , ' kencha ' , ' nannavanu ' , ' kote ' , ' murali meets meera ' , ' mr duplicate ' , ' bhadra ' , ' sagar ' , ' gokula krishna ' , ' super shastri ' , ' galaate ' and ' ziddi ' are some of the films of prajwal devaraj .
while the cricket advisory committee of sachin tendulkar , sourav ganguly and vvs laxman picked zaheer khan as the bowling consultant , shastri pitched for arum , who had worked with the team till 2016 before anil kumble was appointed was india coach .
dicaprio’s next movies were mostly all super hits like , gangs of new york , the aviator , the departed , blood diamond and body of lies . after the release of body of lies in 2008 , leonardo dicaprio reappeared with kate winslet in sam mendes’ revolutionary road the same year . unlike , titanic , this film featured the iconic duo in a dysfunctional marriage and isn’t exactly a happy drama film .
justifying arun’s comeback to the scheme of things , shastri said :
there is track record there . fifteen years of his life has been coaching . he has been with a teams , u - 19 teams , junior world cup teams . he knows the boys better than i do .
fifteen years of his life has been coaching . he has been with a teams , u - 19 teams , junior world cup teams . he knows the boys better than i do ,
said ravi shastri as he justified bharat arun’s appointment as india bowling coach . ( photo : ap / afp )
in the 2015 world cup , our bowlers took 77 out of 80 wickets . if he was a big name , you would have put him on the top of the tree . i don ' t need to elaborate too much on what he is good at . it is there for everyone to see ,
added shastri as he addressed media during the pre - departure press conference ahead of sri lanka series .
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a remake of telugu film
seema sastri
, the film can easily be listed as one of the worst films released during this year . and to think a successful young actor like prajwal and a multilingual actress like hari priya are involved in the film as lead artists , will definitely hurt kannada film audience . certainly kannada films will reach its lowest ebb with films like this .
another point worth to be discussed is that the original telugu version
seema sastri
was a reasonably well made laugh riot and earned some profits for the producer . the film had also endorsed its hero allari naresh ' s credentials as the most successful telugu film actor of comedy - oriented films . but in the kannada remake , everything looks silly , illogical and boring .
the changes made in the film script to suit the nativity of karnataka , has not helped the film , but it has harmed the film by diluting the funny elements .
director raviraj , who comes from tamil nadu , has failed to select suitable artists for the roles as he is totally unaware of the strength of the local artists . to add to this confusion , the film ' s producer g . ramachandran has also been featured in an important role in the movie . it is really a pain in the neck to hear him mouthing kannada dialogues in tamil accent .
prajwal devaraj is a misfit for the role , though his action portions may be liked by his fans . hari priya looks glamorous , but she has little opportunity to showcase her talent . g . ramachandran who plays the role of father to prajwal looks totally out of place . though there are number of veteran artists , nothing looks impressive in terms of their performance .
music by deva is average , while kashi vishwanath ' s camera work does not attain the standards seen in contemporary films made in kannada . the editing is haphazard .
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jio institute picked as an ' institute of eminence ' . selection panel head explains why
devraj , along with his son , popular star prajwal have decided to launch their own production house .
new delhi : veteran kannada actor devraj , along with his son , popular star prajwal have decided to launch their own production house .
speaking to the media , prajwal said ,
the banner is ' dynamic visions ' . while shooting for ' angaraka ' , i heard an interesting subject from kandhas who is a choreographer . i narrated the same to my father and he love the story . so we decided to launch our own production house and producer the film .
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after his wife falls under the influence of a drug dealer , an everyday guy transforms himself into crimson bolt , a superhero with the best intentions , but lacking in heroic skills .
buzzing comedies such as the spy who dumped me await you in our summer movie guide . check in for all the info you need .
want to share imdb ' s rating on your own site ? use the html below .
frank darrbo is a hapless fry cook . when his wife sarah falls off the wagon and dumps him for jacques , a drug dealer , frank tries to get her back by reporting her kidnapped , grabbing her from jacques ' car , and wailing for her to return . after watching christian tv and having a vision , he becomes a superhero to fight evil . he sews a costume , finds a weapon ( a pipe wrench ) and looks for crimes to stop . he has problems : his wrench inflicts real injury , so the cops want him for being a vigilante , his sense of boundaries is flawed , and jacques ' gang has guns . libby , a clerk at a comic book store , becomes his sidekick , and it ' s time to go save sarah . what chance do they have ?
after getting shot , frank drives away and the shadow of the camera man is visible on the crimson bolt . the sun is on the other side ( car has turned around ) in the next shot in the car .
: i ' ve had two perfect moments in my life . the first is when i married sarah . the other , i was downtown .
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with jurassic world : fallen kingdom now in cinemas , we take a look at how imdb users rated the films of the franchise . plus , browse exclusive lego® jurassic world playsets , presented by lego .
films division , ministry of information & broadcasting , government of india , 24 – dr . g . deshmukh marg , mumbai - 26 . tel . 91 22 23551301
022 - 23512670 ( dho ) / 23513176 ( festival cell ) / 23551402 ext . 402
branch manager ( h . q . ) & in - charge festival and outreach cell & nodal officer ( i . t )
branch manager films division , min . of i & b , govt . of india , saroja towers , 2nd floor 35 / 1 , luskar house road nanjappa layout , adugodi bangalore - 560 030
branch manager films division , min . of i & b , govt . of india , sultanbazar , kendriya sadan hyderabad - 500 095
branch manager films division , min . of i & b , govt . of india , room no . 2 & 3 , 5th floor , doordarshan bhawan , 18 / 3 , uday shankar sarani , golf green , kolkata - 700 095
branch manager films division , min . of i & b , govt . of india , cgo complex , poonkulam vellayani p . o . thiruvananthapuram - 695 522
branch manager films division , min . of i & b , govt . of india , 3 - a , cgo complex , auto nagar gate , vijayawada - 520 007
branch manager films division , min . of i & b , govt . of india , 3rd floor , 24 - peddar road mumbai - 400 026
dy . director general films division , min . of i & b , govt . of india , soochana bhavan c . g . o . complex , lodhi road new delhi - 110 003
officer - in - charge films division auditorium , govt . of india , c . p . w . d . assembly hall , mahadeo road , new delhi - 110 001
dy . director general films division , min . of i & b , govt . of india , eastern regional production centre doordarshan complex 6th floor , golf green kolkata - 700 095
dy . director general films division , min . of i & b , govt . of india , southern regional production centre d & f wing , 1st floor , kendriya sadan koramangala p . o . bangalore - 560 034
in its archives , the films division of india holds more than 8000 titles on documentaries , short films and animation films .
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an nri follows his love interest to india and ends up cleaning up the country ' s political system .
the
most anticipated indian movies and shows
widget tracks the real - time popularity of relevant pages on imdb , and displays those that are currently generating the highest number of pageviews on imdb .
each title is ranked according to its share of pageviews among the items displayed . pageviews for each item are divided by the aggregate number of pageviews generated by the items displayed .
go behind the scenes of the mission : impossible movies , check out the latest videos and trailers , and see which spy movies topped the box office in our mission : impossible guide .
this is a psychological thriller movie about a man who calls himself as
naanu
( me ) . it explores the human needs and greeds in the form of a metaphorical comparison to the three female characters in the movie .
an unusual love story between a film director and an actress narrated through multiple flashbacks within flashbacks and reverse screenplay . the film deals with the dark truths of cinema like the casting couch .
a psychological thriller which depicts the fact that
today is a gift - that ' s why it ' s called present
in an unusual way . it is about a man called neenu , who lives in the present . the film . . . see full summary »
satya , the son of a pious priest turns into a rowdy and enters into the underworld for the sake of love .
preetam falls in love at first sight with nandini . the sweet romance set in the monsoons , boosted by too good songs and music .
a man with a dangerous past must protect a girl from those who are hell bent on killing her .
kushal ( rakshit shetty ) is sent by his radio jockey sister rachana to kodagu to meet her boyfriend ' s sister in the hope that the two will take a liking to each other , leading to marriage , . . . see full summary »
when a love story goes awry , two young lovers are forced to take to the road with the police hot on their heels . they escape across karnataka in a roller - coaster ride that is at once enthralling , exasperating and nail - biting .
mysterious events begin to unfold after a reclusive novelist and his wife move back to her ancestral village , followed by a journalist .
a journalist sets out to uncover the truth behind an incident , through the perspectives of different people , unraveling how they and their lives are intertwined with it .
life takes a turn for jackie , a happy - go - lucky chap who has to go in search of a girl for whose disappearance he has taken the blame .
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check out the indian movies with the highest ratings from imdb users , as well as the movies that are trending in real time .
explore popular sci - fi movies and tv shows available to stream with prime video .
i would like to say a huge thank you to the guys at the t - shirt shop . visiting from australia in late june , and leaving the following day to go to the next country on our itinerary ,
arriving and phone ringing non - stop , they got it done . i left a tip for the stressed out printer guy to buy himself a couple drinks after work , because he really deserved it .
also , just a quick sorry for the late review guys . been flat out since we got back to oz , but this was definitely
lf ! ! , and her baby girl is her life ! ! , and is now on a mission to get this equipment for lilly so we can make her smile like we know she can , and the light thingy made our lilly - may smile ! ! , which makes her mummy so happy ! ! . i can ' t believe hue you cope ginell but with this extra support from this shop with the t . shirts we can all can even more publicity and raise what we can for you precious girl ! ! , thanks guys x x x
i wanted something very specific at very short notice . tried some bigger well known online retailers - no joy . walked into this store - they researched
original design lions shirts . hear me roar ! go lannisters ! ! ! !
mens tees 11 . 95 womens tee 11 . 95 kids tees & babygrows 8 . 95
look i know i ' m way past 40 . . . . i ' m just modelling it ok ?
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it was a wonderful experience when i stayed there recently . it started at the reception itself when they were very cordial and efficient . the rooms we . . read all reviews
best room . . . it was owsome i booked it just for rupee 700 rupees . it was an hotel offer going at that time so got this at this price .
all things are good at hotel , one thing can be improved it is food . there is little bit need to improve food quality . . . . read all reviews
awesome hotel . . easy to locate . . nice hotel staff very cooperative and well behaved . . good facilties .
nyc hotel . . little fault in ac . staff behavior was awesome . .
dear guest , thank you for positive comment . and thank you very much for your candid review of your recent stay at our hotel . your feedback is extremely valuable to us , as we strive to improve with each and every stay . we greatly appreciate your comment about aspects of the room that need updating .
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a restaurant , a fitness center , and 24 - hour room service are available at this hotel . free continental breakfast , free wifi in public areas , and free self parking are also provided . other amenities include a business center , dry cleaning , and laundry facilities .
all 65 rooms provide conveniences like refrigerators and coffee makers , plus free wifi and flat - screen tvs with cable channels . other amenities available to guests include 24 - hour room service , free bottled water , and ceiling fans .
the hotel offers a restaurant . guests can enjoy a complimentary breakfast each morning . public areas are equipped with complimentary wireless internet access . this 3 - star property offers access to a business center . this business - friendly hotel also offers a fitness center , laundry facilities , and dry cleaning / laundry services . onsite self parking is complimentary .
a complimentary continental breakfast is served each morning between 7 : 30 am and 10 : 30 am .
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it’s leonardo dicaprio’s birthday ! the actor , who broke his oscar drought this with his 2015 film the revenant , turned 42 today . we’ve seen him grow not just as a person but as an actor too . from that boy , barely in his twenties swept away by the thrill of young love in titanic , to a grown man battling a bear the revenant . on screen , we’ve seen multiple shades of this man . over time , he established himself as a versatile actor and a damn good one at that .
back in the early 90’s , he had delivered hit performances in films like what’s eating gilbert grape and romeo + juliet . it wasn’t until 1997 when starred in james cameron’s titanic that he came into the limelight globally and charmed everyone with his moving portrayal of jack dawson . the chemistry he shared with co - star kate winslet was heavily appraised .
after titanic , offers started pouring in for him and in 2002 , he delivered yet another breathtaking performance in steven spielberg’s catch me if you can . dicaprio quickly turned from an actor to a star .
jumping to another genre yet again , he portrayed the role of edward “teddy” daniels in 2010 psychological thriller shutter island . the film featured him in an absolutely new light which garnered positive critical reception . the same year , he left audiences bewildered with christopher nolan’s inception . around this time , he went from superstar to a living legend !
every single film he did after that has been a global superhit . django unchained , the great gatsby , the wolf of wall street all left audiences amazed with dicaprio’s acting . with his 2015 film , the revenant , finally earned him the much deserved oscar . although the film didn’t highlight his best works but , he still did an amazing job .
sadly though , he still doesn’t have an actual star to his name on the hollywood walk of fame . regardless , the opinion that dicaprio is one of the greatest actors today is shared by many .
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v . harikrishna , arjun janya , shridhar v . samharam , gurukiran , anoop seelin