andreea bibiri ( born may 3 , 1975 ) is a romanian film and stage actress , dubber and theatre director .

she graduated from the caragiale academy of theatrical arts and cinematography in 1996 and has won two uniter prize awards as an actress .

she is best known outside romania for the role of ana , in tudor giurgiu 's " of snails and men " .

andreea bibiri

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andreea bibiri was born on may 3 , 1975 in bucharest , romania . she is an actress , known for despre oameni si melci ( 2012 ) , stare de fapt ( 1995 ) and vertiges ( 1997 ) . she was previously married to alexandru berceanu .
with : victor rebengiuc ( niki ardelean ) , razvan vasilescu ( florian tufaru , known as flo ) , coca bloos ( poucha ardelean ) , mihaela caracas ( doina tufaru ) , serban pavlu ( eugen tufaru ) , dorina chiriac ( angela tufaru ) , marius galea ( mihai ardelean ) , andreea bibiri ( irina ardelean ) and alexandru bindea ( fratele irinei ) .
“niki and flo” spends time with a variety of characters , including eugen and angela ; their mothers , poucha ( the marvelous coca bloos ) and doina ( mihaela caracas ) ; and mihai’s widow , irina ( andreea bibiri ) . its center of gravity , however , is unquestionably niki , whose suffering is all but invisible to everyone around him . his evident struggle to uphold an ideal of capable , selfless , patriotic manhood—an ideal no one else seems to care about or even recognize—is the axis of the film’s drama , and it turns into something larger , more complicated and more frightening than the quiet sorrow of an old man .
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the animated film that started it all . produced by walt disney feature animation in burbank , california , this unassuming stop - gap project grew to become a mythic phenomenon , setting record numbers for box - office sales and merchandising revenue around the world , and inspiring thousands of fans to build on its story with their own creativity .
image archive hundreds of high - quality screen images , clip art , and more ! sounds & music dialogue clips , midi songs , and cd track information . texts & fan - fiction essays , reviews , production notes , and hundreds of fan stories . video clips video files of memorable scenes , and many more interesting movie files . character profiles pictures and descriptions of all the lion king characters and their roles in the story .
the long - awaited sequel . a direct - to - video production by walt disney television animation , simba ' s pride adds new characters and another chapter to the circle of life mythos begun in the original theatrical film .
the circle of life begins anew with a fresh , satiric retelling of the original film ' s story , from the comic perspective of the meerkat timon and the warthog pumbaa . a tribute to the grandeur of the original as much as it is a satire , this direct - to - video production ( from walt disney tv animation australia ) appeals to wistful nostalgia as much as to our funny bones .
premiering in minneapolis in 1997 , the lion king : the broadway musical has found a permanent home as a fixture on 42nd street , the heart of the theatre district on times square in new york . numerous other productions have set up in other cities around the world to showcase julie taymor ' s revolutionary stage rendition of the original film ' s story .
was translated into and released in 44 languages for markets around the world . this page lists the voice actors for as many as possible of these languages .
select language : english - the lion king french ( français ) - le roi lion spanish ( español ) - el rey león german ( deutsch ) - der könig der löwen italian ( italiano ) - il re leone japanese polish ( polski ) - król lew finnish ( suomi ) - leijonakuningas swedish ( svenska ) - lejonkungen norwegian ( norsk ) - løvenes konge danish ( dansk ) - løvernes konge dutch ( nederlands ) - de leeuwenkoning portuguese ( português ) - o rei leão korean russian - korol ' lev urdu ( pakistani ) zulu - inkosi ubhubesi turkish - aslan kral slovenian croatian romanian other . . .
there is no information for the cast in languages other than those listed in the menu . if you have information to contribute , please feel free to e - mail me to help complete this site !
își conturează personajul cu trăsături clare , fără ezitări , cu energie contagioasă , fără , însă , a - i agresa în vreun fel vulnerabilitatea . ( … ) sp
ectacolul ”o femeie singură” devine , astfel , o mică și strălucitoare bijuterie pe care o iei cu tine , acasă , pentru a te mai minuna de ea o bucată de vreme . ” –
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the sign of taurus gives people who were born under it calm and patient nature , and a sense of appreciation for beautiful and pleasant things in life . people born under the sign of taurus are often quite introverted and they like to keep their distance , even from their best friends . - »
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person who was born under the rule of poplar learns fast and understands quickly . just like poplars , people born during the time of their rule are direct and straightforward . they often have artistic talents and a sense for beauty . - »
these people are mentally alert and have creative minds . they are creative and original , and they have a good imagination . they hate boredom and like to cooperate with others . they are charming and witty . they are critical of others and they should therefore learn how to be more diplomatic . they need to work freely and without restraints . - »
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romanian girls ; their dress appears more provincial and less like a
costume .
wish i knew more about this eastern european people - - very near neighbors of . apr 1 , 2016 . premiu pentru cel mai bun portret . date , 6 january 2009 . source , membru in cercu rosu . author , alexandru uiuiu . alexandru uiuiu este scriitor , fotograf si . un om , care vrea sa tina timpul pe loc in imagine si cuvint . aici gasiti citeva incercari ! : ) razboiul este din . skype ? kokia karma english romaji hd . banda zaluzejo ? justin bieber in zombie apocalypse unturned gameplay . alexandru uiuiu text edit , doom wow add - ons . this is
alexandru uiuiu , reprezentant al ministerului culturii ? n bistri ? a - n ? s ? ud -
? i ? tiin ? a face parte din cultur ? .
by .
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the aro car factory went bankrupt and is about to be privatized in a week . it will be bought by a french company that intends to turn it into a snail farm . the currently factory has 3000 workers and only 300 will keep their jobs . union leader george ( andi vasluianu ) , ( ana ' s husband , father of viorel ) lives with a modest monthly sum , like all the other workers in the city . not able to sleep , one night she sees a television commercial about a sperm bank that pays $ 50 for each donation . that ' s the mad idea to save workplace of his colleagues . if 1 , 000 workers sell their sperm for a week , they could raise enough money to save the factory from bankruptcy . written by lament
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jermaine fowler and omari hardwick of sorry to bother you take us back in time to the worst jobs of their careers .
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bucharest non - stop
is a romanian feature film that tells the story of a neighborhood of bucharest . more specifically , the film is a night of non - stop life of a store located in a . . . see full summary »
cristian , a young idealistic prosecutor whose career is on the rise , tries to crack a case against a senior colleague accused of corruption . the dilemma of choosing between his career and . . . see full summary »
love . it just happens . no rules . it may look sick , but it ' s deep and it hurts . for everyone , alex and kiki are just good friends . they happen to be two girls experiencing another kind of love . for their family , kiki and sandu are sister and brother who sometimes fight . they happen to be lovers . love sick is about their stories .
marius is a divorced man in his late thirties . his five year - old daughter sofia lives with her mother , which causes marius a deep frustration . on the day marius arrives to take his daughter . . . see full summary »
a newbie agrees to deliver the wrong merchandise for money . he will learn soon that this trip will change his views about life , forever .
velicanu considers himself a fulfilled person . he ' s got money , a new villa , married a younger woman and has a son from a previous marriage . before the holidays he has to leave everything in . . . see full summary »
two weeks before his release , a teenage prisoner learns that his mother has returned home . meanwhile , he finds himself in love with a student working in the penitentiary as an intern .
after the terrible news of a fatal car accident involving her son , a desperate mother will do anything in her powers to set her child free .
delia , a young romanian girl , drives to bucharest with her parents to collect a prize she won in a contest .
in 1911 - 12 , the romanian movie director grigore brezianu and the financial tycoon leon popescu made together the 2 hours long movie
romania ' s independence
- an as faithful as possible . . . see full summary »
in a small isolated village , in 1953 , a wedding is interrupted by the news about the death of stalin . because any public celebration is forbidden , they decide to turn the happy event into a silent wedding .
the aro car factory went bankrupt and is about to be privatized in a week . it will be bought by a french company that intends to turn it into a snail farm . the currently factory has 3000 workers and only 300 will keep their jobs . union leader george ( andi vasluianu ) , ( ana ' s husband , father of viorel ) lives with a modest monthly sum , like all the other workers in the city . not able to sleep , one night she sees a television commercial about a sperm bank that pays $ 50 for each donation . that ' s the mad idea to save workplace of his colleagues . if 1 , 000 workers sell their sperm for a week , they could raise enough money to save the factory from bankruptcy .
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bucharest , romania ( ap ) —media tycoon dan diaconescu drives a white rolls royce , looks like a used car salesman in his shiny mauve jacket , promises to create thousands of jobs and has emerged as a key player in romania ' s bitterly contested parliamentary election .
the owner of two television stations , diaconescu ' s populist party is running third in sunday ' s vote , according to polls . the gray - haired , multimillionaire talk show host from romania ' s disenfranchised south appears to be tapping into widespread discontent with traditional political parties seen as arrogant , sniping and corrupt .
people cling to me like i ' m their only hope ,
the lanky 44 - year - old said in an interview with the associated press this week , after driving six hours from the poor mining town of targu jiu , where he is running for a seat in parliament .
they say i ' m the one who ' ll save them from poverty , they ascribe to me qualities that i don t really have , or they consider me some sort of messiah , a savior of romania .
even by romanian standards , politics have been tumultuous this year . the impoverished balkan nation has seen three prime ministers and cabinets , huge anti - austerity protests , and a government criticized by the european union and the united states for failing to respect the rule of law during a failed bid to impeach president traian basescu .
many in the country of 19 million are fed up with a bitterly personal power struggle between basescu and prime minister victor ponta , especially as the country remains one of the poorest and most corrupt members of the eu , and endures deep austerity cuts in return for a €20 - million ( $ 26 - million ) bailout to help its foundering economy .
polls give ponta ' s center - left governing coalition a comfortable 57 percent of the vote . but a fresh political crisis could break out after the election if , as threatened , the center - right basescu refuses to nominate ponta—whom he recently called
a pig ,
a compulsive liar
and a
little cat .
diaconescu is frequently dismissed by mainstream politicians as an unsophisticated arriviste from the backward south , whose marathon talk shows on his otv channel — with the slogan
live sensationally
—made him a star . but he has taken votes from both basescu and ponta , and will likely be a pivotal voice in the new parliament . basescu ' s allies are expected to rely on him for support .
he has earned admiration from everyday people as a sort of romanian oprah winfrey , a man from a modest background who made good and hasn ' t forgotten his roots . though he drives a luxury car , he has never fixed his crooked teeth and is very quiet about his personal life and assets .
i like diaconescu because he is pleasant and respectful to everyone whatever their class ,
said lucia popescu , who works as a security guard in bucharest .
he thinks before he speaks , he is gentle and people have had enough of mudslinging all day long , on the tv and in the newspapers .
in a country where corruption is virtually a way of life , diaconescu has not been immune to such allegations himself . ponta accused diaconescu of being a con man over his failed attempt to buy a chemical plant for €45 million ( $ 59 million ) , saying the entrepreneur never had the money and that it was just a pre - election publicity stunt .
diaconescu himself is under investigation for two fraud - related cases , for allegedly trying to blackmail a mayor to stop him airing damaging information , and for fraud in the chemical plant deal . he claims the charges were trumped up—and calls himself an outsider who understands business better than many in government .
diaconescu , whose campaign is awash with his
lucky
color purple , promises to slash sales tax from 24 to 10 percent , create thousands of jobs and give €20 , 000 ( $ 26 , 000 ) to budding entrepreneurs . he told the ap he would find the funds from public money that is currently siphoned off by corrupt officials .
we believe that if this money is no longer stolen by our new political class , romania would have 40 percent more , and here i ' m talking about wages or pensions ,
he said .
his populist party , which was only created two years ago , is polling 15 percent , trailing just behind basescu ' s allies , the just romania alliance , a new grouping of center - right parties .
we work 15 hours a day for 1 , 000 lei ( €225 ) a month , is that normal ?
said ioana stoian , a 27 - year - old vendor , wrapping a sweet cheese pastry .
diaconescu will do something . they ( politicians ) do nothing apart from steal and fill their pockets .
diaconescu ' s party emerged
due to the disappointment of the electorate and romanian society toward unfulfilled promises made by president basescu and governments ,
said stelian tanase . but he predicted the party might not have the staying power to last .
the romanian director cristian mungiu has never won an academy award , but he is nonetheless part of oscar history . in 2008 , his “4 months , 3 weeks and 2 days , ” a drama about an illegal abortion that had won top honors at the cannes film festival the previous spring , was considered a shoo - in for an oscar nomination , but ended up being snubbed by academy voters . that led to a change in the rules , taking some of the power to choose nominees away from voters and conferring it on a special committee .
now mr . mungiu , 44 , is back and competing with a new film , “beyond the hills , ” that has again scored big at cannes , with awards for screenplay and the performances of its two lead actresses . set in an orthodox monastery , it examines the friendship of two women who grew up together in an orphanage but have taken strikingly different paths as adults . one has become a nun , finding inner peace , while the other has migrated to germany and is so deeply troubled that when she returns to visit her friend that she ends up being subjected to an exorcism . ( it’s based very loosely on a 2005 case in which a romanian novice died in an exorcism . )
“beyond the hills” was shown at the new york film festival this fall , when mr . mungiu was in town and sat down for an interview , and it will close the festival making waves : new romanian cinema at lincoln center on wednesday . here are edited excerpts from that october conversation :
q . the real - life incident on which your film is based has been amply written about in the press and in two books by tatiana niculescu bran . what compelled you to go back to this episode ?
a . i knew about this story for a very long period , because this was in the press a lot , and i was preserving all the clips and i read the books . eventually i googled to see what the reaction of people was seven years later , only to discover that people were still so concerned and preoccupied and polarized by this that , apart from the books , i couldn’t find any balanced position about what happened .
for me it was very important to see all the things this story can reveal . and this is why i decided to make a film out of it . actually , the great difference between the books and what i did is the relationship between the girls , which never existed in reality but which gave me a reason for everything that happened .
q . for those two vital roles , you chose performers who had never acted in a film before , and they ended up sharing the best actress award at cannes . how did you achieve that ?
a . well , this is the crucial decision you need to make on a film like this : who are you going to work with ? we had the kind of liberty we’ve never had before to just experiment with them , in the rehearsals and at the shooting . we rehearsed a lot during casting , read a lot , and i acted a lot for them , so i am giving them directly the tone of voice , the energy , the rhythm , the body language that i want . guidance , but not with words . i’m not telling them what to do , i show them how to do .
but it’s fair to say that by the end , i had adapted as much to them as they adapted to me . we did what was there in the script , but each time it wasn’t possible to get the dialogue exactly right , i was adapting what i wanted to do and editing the scene to what they could do . because you can’t push onto the actors something that does not belong to them .
q . for many foreigners , their main image of romania , to the extent they have one at all , is of a strange and superstitious place , with transylvania and vampires and all of that . are you worried that “beyond the hills” could reinforce those stereotypes ?
a . i hope the film will not be seen and interpreted like this . i think this is a local story speaking about things that are very general . what people are asked to do in the name of love for god , for example , this is the same in a lot of different religions . it’s the same mechanism , the way it works . sin and the way evil works into the world , the way violence evolves into people .
one of the things that really interested me to investigate was , how does violence find a place in this community ? they are very mild people who start by sitting at the same table with this girl , and somehow a few days later they feel they are not fighting her , but demons inside her , and are entitled to make decisions about her life . how does this happen , practically ? where is this moment ? i don’t think this belongs to a society that is underdeveloped , i think this can be understood to speak about things in a more general way .
q . having seen three of your films , i have a sense that certain themes fascinate you , such as women in a situation of duress . is that fair to say ?
a . yes , but in “ tales from the golden age , ” there were also episodes that involved men in difficult situations . so it’s not exclusive . actually , i am much more interested in the situation than the character . i don’t start from characters . i need a situation that is very complex and layered and gives me the possibility to speak about a lot of things at the same time . i can’t handle very simple things . i always need to have first of all a strong conflict between some people , and a world behind . at first this was the world of the end of communism , and now it’s this religious world .
q . i also want to ask you about the oscars . you know , don’t you , that you’re already famous in oscar history ?
a . ( laughs ) yes , in a very strange sense . but i don’t think it’s fair to expect too much from the oscars for the kind of films i do . i hope that people will watch the film and have the patience to understand that there is a kind of cinema that is different but that is also cinema , and there’s nothing wrong with that .
a . i’m talking about the oscar committee and also the oscar voters . what’s important in cinema is to have options and allow spectators to say , “let’s see , i’m going to see this kind , ” to have this liberty , to be able to choose . but you can’t have a film which is going to be appreciated the same everywhere — in cannes , at the oscars , in romania . you just do the kind of cinema you are interested in , and then the film will have its fate , in different contexts with different people .
q . does winning prizes mean anything to you ? because your films have done very well at cannes .
a . this has a very precise meaning . it helps the film to be seen , that is the benefit of awards . and the romanian new wave , this exists just because of cannes , honestly . we wouldn’t represent anything , even in romania for our spectators , unless there was this kind of appreciation . actually , in romania people haven’t seen my films a lot . but they appreciate the fact that i’m appreciated . this is it . i’m carrying the banner , like a football team and nadia comaneci , stuff like that .
cosmina stratan , left , and cristina flutur in “beyond the hills , ” directed by cristian mungiu .
ordinarily , a change of government in a balkan capital would be little cause for concern at the film society of lincoln center . but when you sponsor a romanian film festival , and your romanian partner comes under attack by the new authorities in bucharest , thus jeopardizing your joint undertaking , you may find yourself thrust into a political imbroglio .
the festival , making waves : new romanian cinema , will begin as scheduled on thursday night at lincoln center , running through next wednesday . but the film society has severed its connection to the romanian cultural institute , the festival’s original government - financed co - sponsor , in favor of collaboration with a new , private entity , called the romanian film initiative , run by the former director of the institute’s new york office .
in the last decade , the emergence of a romanian new wave has been one of the most startling developments in world cinema , with one film after another winning prizes at cannes and elsewhere . in new york a festival of romanian movies was first held in 2006 in tribeca under the auspices of the cultural institute , and last year was invited to move to lincoln center .
but the arrival of a new administration in bucharest “sent us back to square one , ” said corina suteu , who resigned in september , along with her deputy , oana radu , as director of the new york office of the romanian cultural institute . “the present authorities have gone back to a discourse on culture that is very archaic , and they do not consider new wave cinema as being ‘representative’ of romania . ”
at lincoln center , film programmers said there was no hesitation about continuing their partnership with ms . suteu and her associates and they opted not to explore the possibility of an officially sanctioned event .
“under this leadership , the cultural institute did incredible things to make the new romanian cinema visible in the united states , so there was never any question in our minds , ” said scott foundas , associate program director at the film society . “our feeling always was that we think very highly of these people as curators , have very similar taste in cinema and are very pleased to have them as part of the extended lincoln center family . ”
the government of prime minister victor ponta , which came to power this spring , is a seemingly unlikely coalition between former communists and a conservative party . in june it issued an emergency ordinance modifying the 2003 statute setting up the romanian cultural institute , which had previously reported directly to president traian basescu , mr . ponta’s political rival .
“it’s an ionesco - like government , ” said mihai chirilov , the artistic director of the film festival , referring to the romanian playwright who is considered a father of the theater of the absurd . “it’s a very unexpected combination that shows their only aim is power . ”
as a presence on the new york cultural scene since shortly after the fall of communism in 1989 , the romanian cultural institute has not limited itself to promoting its national cinema . the institute has also helped bring romanian writers to the annual pen world voices literary festival , supported visual artists in their efforts to get their work shown locally , and collaborated on shows featuring romanian music , both classical composers like the pianist dinu lipatti and pop groups like timpuri noi .
in place of that longstanding emphasis on making romanian culture better known in the west , under the new emergency ordinance the institute’s primary task is “to uphold the identity” of romanians living abroad . the previous , outward - looking policy was condemned in the ordinance as “highly negative” because it “impairs on a permanent basis the feeling of belonging to the romanian nation in the case of those temporarily living in other countries . ”
the romanian director andrei ujica has made several critically praised films , including “videogram of a revolution” and “ the autobiography of nicolae ceausescu , ” shown at the new york festival in 2010 , that examine the relationship between political power and media manipulation . in a telephone interview from berlin , where he teaches cinema , he described the new government policy as an “abusive change” and “anticultural . ”
“it’s a kind of attempt at a small cultural revolution , in a maoist meaning , but in a new form , coupled with the new tabloid culture that has become so strong in east european countries , ” he said . “that is a new and dangerous mixture , with a very rigid nationalist focus . ”
on the web site of mr . ponta , the government has denied any intention to seize control of the cultural apparatus or limit freedom of expression . “the decisions that have been adopted are meant only to build a more comprehensive democratic framework for the romanian cultural institute’s functioning and to redress the problems pertaining to its spending of public money , ” an official statement said .
with government financing ruled out , ms . suteu and her associates did what everyone does these days : they began a kickstarter campaign that raised $ 22 , 000 from some 300 people . in other gestures of support , leading romanian artists , writers and film figures , both in the diaspora and back home , signed protest petitions and also contributed money , and the trust for mutual understanding , which promotes cultural and other exchanges between the united states and the former soviet bloc , supplied a $ 50 , 000 grant .
the festival opens on thursday with “of snails and men , ” an absurdist comedy by tudor giurgiu , and will conclude with cristian mungiu’s religious drama “ beyond the hills , ” which won two awards at the cannes film festival this spring .
in between , the bill includes several works by promising new directors and a retrospective of the films of alexandru tatos , who died in 1990 and is considered a major influence on the new wave .
unusually , the program also includes two panel discussions , titled “creative freedom through cinema : romania and hungary , ” that will be linked with screenings on saturday and sunday . hungary , romania’s neighbor , is included in the discussion because the nationalist government there has been criticized as curbing freedom of expression .
“corina and oana have been very quick on their feet to make this happen , which i’m not sure everyone could do , ” mr . foundas said . “it was a very bold move on their part , and without skipping a beat , they have created an entity to protect the independence of this festival and to continue going forward in the way we want to see . ”
late american actor larry hagman , who died last week , came to romania in the 80 ' s , when the soap opera dallas , where hagman played the famous oil magnate j . r . ewing , was becoming popular in the then communist country as well .
the british newspaper sunday times recently published an article about hagman’s trip to romania in the 80 ' s and the money he received from the communist regime for letting them use his image on a billboard in bucharest .
larry hagman had told this secret to an american journalist , but asked him not to publish it while he was still alive . “hagman said he had no objection provided a bag filled with hard currency was left in the ladies’ lavatory of a government office for his wife to pick up the next day , ” according to the sunday times article bylined by john harlow . his wife indeed picked up the brown bag with money and the couple spent it fast .
in 2011 , hagman said the soap opera dallas had a huge influence in international politics and that he was convinced that broadcasting the series in the 80 ' s in a communist country like romania could have been one of the triggers for the 1989 revolution which led to the fall of communism . the ceausescu regime agreed to broadcast the movie to show its people the bad ways of the west , but the plan backfired , hagman believed . romanians saw how life could be elsewhere in the world and ended up wanting to live that very life .
larry hagman died last friday at a hospital in dallas . he has been diagnosed with liver cancer 20 years ago and for the past year he had been fighting neck cancer , which stemmed from his initial liver disease . hagman , 81 , was performing the role which made him famous around the world , j . r . ewing , in the soap - opera reboot for tnt .
“larry hagman was a giant , a larger - than - life personality whose iconic performance as j . r . ewing will endure as one of the most indelible in entertainment history . he truly loved portraying this globally recognized character , and he leaves a legacy of entertainment , generosity and grace , ” wrote warner bros in a statement .
having brilliantly documented the horror of stalin’s soviet terror machine in her pulitzer prize - winning “ gulag , ” anne applebaum now offers a bulky sequel , “iron curtain , ” about the brutal effort of that same machine to crush and colonize eastern europe in the first decade after world war ii . her evidence , once again drawn from archival research and some survivor interviews , is overwhelming and convincing . but the heart of her story is hardly news .
applebaum tracks the salami slicing as typically practiced in poland , hungary and germany , and serves up not only the beef but also the fat , vinegar and garlic in exhausting detail . she shows how the knives were sharpened before the war’s end in soviet training camps for east european communists , so that trusted agents could create and control secret police forces in each of the “liberated” nations . she shows how reliable operatives then took charge of all radio broadcasting , the era’s most powerful mass medium . and she demonstrates how the soviet stooges could then , with surprising speed , harass , persecute and finally ban all independent institutions , from youth groups and welfare agencies to schools , churches and rival political parties .
along the way , millions of germans , poles , ukrainians and hungarians were ruthlessly driven from their historic homes to satisfy soviet territorial ambitions . millions more were deemed opponents and beaten , imprisoned or hauled off to hard labor in siberia . in stalin’s paranoid sphere , not even total control of economic and cultural life was sufficient . to complete the terror , he purged even the communist leaders of each satellite regime , accusing them of treason and parading them as they made humiliating confessions .
it is good to be reminded of these sordid events , now that more archives are accessible and some witnesses remain alive to recall the horror . still , why should we be consuming such a mass of detail more than half a century later ?
in her introduction applebaum says it is important to remember that “historically , there were regimes that aspired to total control , ” not only of the organs of state but also of human nature itself . we should be studying how totalitarianism worked , she maintains , because “we can’t be certain that mobile phones , the internet and satellite photographs won’t eventually become tools of control” in other places . well , vladimir putin may yet make her a prophet , but so far this century , technology has become a welcome defense against tyranny .
more relevant to contemporary discussion are some themes applebaum evokes along the way but never develops . she begins her tale by insisting that the united states and britain , having promised the east europeans a democratic future , quickly abandoned them to soviet domination . true enough . yet what were the west’s alternatives ? the door to europe was left open for stalin in 1945 because the americans were rapidly redeploying to fight japan and eager to enlist stalin in the pacific war . applebaum does not speculate about how soviet colonization might have been forestalled or what methods of intervention for freedom we should be applying now in cuba or north korea , syria or china .
similarly , she barely touches on the contrary claims of some historians that it was not the west’s appeasement but rather hostility against the soviet union that provoked stalin’s aggressive responses . these scholars accuse the united states of having triggered the cold war , thus baiting stalin into taking crude defensive countermeasures . applebaum’s evidence provides a telling rebuttal to those “revisionist” theories , but she never really engages them .
most conspicuously missing is any sustained examination of soviet motives for the rape of eastern europe . what did the russians want ? revenge against germany and its allies ? compensation for their enormous loss of life and suffering in the war and the spoils due a victor ? was the domination of neighboring states a wildly arrogant policy of defense so that no conqueror could ever again follow napoleon and hitler to moscow ? or was it a revival of russia’s imperial desire to annex at least half of poland , to secure a rebellious ukraine and to incorporate the baltic states and various adjacent balkan lands ?
applebaum’s overriding interest is in stalin’s deranged tyranny , which aggravated the postwar horror inside the soviet union at the same time that it was being slavishly imitated by his east european henchmen until his death in 1953 . yet stalin’s successors were just as intent on preserving their dominion . why ? applebaum contends that stalin , having once postponed the soviet dream of igniting an international communist revolution , “was preparing to relaunch it” in 1944 as the red army rolled westward . but that passing comment — and debatable premise—is all she offers to explain soviet policy .
while her documentation of the soviet takeover is impressive , at this late date fewer facts and more analysis would have been welcome . the seeds of the communists’ ultimate failure in east europe are strewed throughout her book , but with little explanation . she shows how poorly the communist regimes provided for their consumers and how they alienated the workers in whose name they governed . why ? and does not this subject require lengthy discussion of how communism collided with the deeply rooted nationalisms of the region ? applebaum incisively demonstrates the moral confusion that haunted roman catholic leaders and other opponents of the communist regimes , some openly hostile , some reluctantly cooperative , many simply passive . but how should we evaluate their choices ?
“iron curtain” is not a full history of the iron curtain because of applebaum’s decision to end her history in 1956 , just as poles and hungarians openly rebelled against soviet control . there then followed a 30 - year effort in the kremlin to stabilize and reform all communist societies , but the east europeans remained restive , held captive only by soviet armed might . the colonization became a huge burden on the soviet economy , and the lures of western democracy and economic achievement produced corrosive holes in that curtain . finally , when mikhail gorbachev refused to shoot to preserve his costly empire , the curtain collapsed altogether and dragged down the soviet center as well .
applebaum rightly concludes , long before that climax , that the totalitarian spell could never be sustained for long . but she declines to generalize about the reasons or the defenses we all may need against other totalitarian threats . instead , what she has given us is a concrete and sad record that honors the memory of the millions who were slaughtered , tortured and suppressed in the mad pursuit of totality .
max frankel , former executive editor of the times , reported for many years from moscow and eastern europe .
saul steinberg ' s
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( 1948 ) , ink on paper .
saul steinberg , the pre - eminent cartoonist of the 20th century , specialized in high - i . q . humor . in an age when cartoons were populated by henpecked husbands and conniving wives in hair curlers , he found his inspiration in the unlikely realm of philosophical inquiry . long associated with the new yorker , he once filled four pages of the magazine with a field of hand - drawn question marks .
his best - known work was perhaps too famous . he complained about being known as “the man who did that poster . ” he was referring , of course , to “view of the world from 9th avenue , ” his myopic , manhattan - centric map that was scaled and skewed to capture the interior cartography of new yorkers , where places like kansas city and china do not exist except as dots in the irrelevant beyond .
deirdre bair , in her gripping and revelatory “saul steinberg : a biography , ” redraws the world map , pushing ninth avenue into the background and foregrounding the view from bucharest . steinberg spent his first 19 years in romania , a primitive and repugnant “sewer” of a country , as he liked to say . he was among the waves of jewish refugees who fled to safety here during world war ii . it says something about his ethnic - tinged sense of humor that he once described picasso , after visiting him at his villa outside cannes , as “an old jewish man in the florida sun—all torso and shorts . ”
who was saul steinberg ? his acquaintances thought of him as an elegant dandy who seemed catlike in his refinement . in his prime , he lived on the upper east side of manhattan , dined out most every night and held forth at dinner parties with piquant erudition and wit . but behind the thick glasses and mandarin mask lay a haunted figure , a fearful man who visited indignities upon himself and those around him . as bair reveals , his love life was a string of infidelities , and crabbiness was his default mood . he eschewed interviews and spurned the company of very young children .
he was born in 1914 , at a time when romanian jews were still deemed unworthy of the rights of citizenship by their own government . his father , moritz , earned his living designing and manufacturing cardboard boxes , and the family’s circumstances became precarious with the rise of the ultraright iron guard . everywhere he turned , the young steinberg was faced with the sting of exclusion and state - sanctioned insult . he claimed , only half - jokingly , that “even dogs gazed at us reproachfully . ”
his high school diploma stigmatized him as a jew , a person professing the “mosaic” faith , which gave him a theme . it allowed him to see how a document that purports to confer identity can obliterate identity . in later life , his artistic output included a series of humorous diplomas and certificates . in fact , much of his work appropriated and satirized the visual conventions of government documents , with their seals and rubber stamps , their flowery signatures , their clumps of text that no one ever read . a government document , as much as any fine - art print , is made from ink on paper . this is the medium on which steinberg staked his career and gained his citizenship in the art world .
he was seldom without a suitcase . after studying architecture in milan , he sailed to new york in june 1941 by way of lisbon . he arrived at ellis island , only to be refused entry because the quota for romanian refugees had been surpassed . he was put on another ship , this one to the dominican republic , where he slept beneath mosquito netting and waited his turn to enter the united states . a year later , he finally got to new york and , after a euphoric interlude exploring manhattan , received an inconvenient assignment : the united states navy was sending him to china .


idhayakkani ( english : the fruit of the heart ) , is a 1975 indian tamil-language action thriller film starring m. g. ramachandran in the lead role , with pandari bai , r. s. manohar and radha saluja among others enacting supporting roles .

the film was directed by a. jagannathan , produced by r. m. veerappan under his banner sathiya movies and had musical score by m. s. viswanathan .

the film was the highest-grossing tamil film of the year , running for 150 days in theatres .

idhayakkani

idhayakkani’s father is killed by seena thana . angered by the death of his son , idhayakkani’s grandfather retaliates by killing seena thana’s son .
idhayakkani ( original motion picture soundtrack ) by m . s . viswanathan on spotify
how idhayakkani manages to diffuse this volatile situation with his wit , charm and humour forms the rest of the story .
idhayakkani full cast and crew - m . g . ramachandran , pandari bai , r . s . manohar | sulekha movies
is a tamil drama movie , directed by jagannathan . the cast of idhayakkani includes m . g . ramachandran , radha saluja .
movie title - - - idhayakkani unknown facts imdb rating and complete report imdb rating - - 7 . 3 director a . jagannathan and music director m . s . viswanathan joins for 3rd time . cast - - idhayakkani at the internet movie database movie details - - running time - 160 mins
idhayakkani is among the biggest hit films of mgr , and also the only indian film to be screened at the tashkent international film festival in 1978 .
meanwhile , idhayakkani meets thamarai ( bindu madhavi ) , seena thana’s daughter , at a temple festival and falls deeply in love . chaos ensues when both realise who their families are and the respective sets of parents and villagers object to their romance .
idhayakkani ' is the story of the kind - hearted mohan ( mgr ) whose theory of life is ' equality ' and who puts it in practice by sharing equally the income of his estate with his labourers . he . . . see full summary »
idhayakkani ( vimal ) , who hails from the village of killioru , is a firm believer in non - violence . the ongoing feud between his family and the family of seena thana from the neighbouring village of pulioru is a source of constant worry for him .
parotta suri , who plays thamarai’s ' murai mama ' ( maternal uncle ) and singampuli , who is idhayakkani’s uncle , have given an impressive performance . other supporting cast members include ravi mariya , charle and aadukalam narain vadivukkarasi , while mukta bhanu makes a cameo appearance .
idhayakkani repeats the logic that was formulated in nadodi mannan . in the latter , monarchy is to be abolished by the monarch himself . but for this purpose , mgr has to appear in a dual role as both the king and his rebel subject . as a king , he will implement what , as a peasant leader , he envisions as a future without inequalities . “monarchy will end with me . ” this statement is both an affirmation of revolutionary change , and an assertion of the indispensability of the last monarch . his apotheosis alone will ensure the passing of the age of monarchy and the advent of equality . similarly , it is for this reason that no contradiction is perceived in the radical planter’s luxurious life in idhayakkani .
meanwhile , idhayakkani meets thamarai ( bindu madhavi ) , seena thana’s daughter , at a temple festival and falls deeply in love . chaos ensues when both realise who their families are and the respective sets of parents and villagers object to their romance . idhayakani marries thamarai at a temple and seenathana gets killed by henchmen of idhayakani ' s grandfather . thus thamarai develops hatred towards idhayakani for her father ' s death .
watch tamil superhit old song - neenga nallayirukkanam from the blockbuster movie , idhayakkani . starring : m . g . ramachandran , radha saluja , manohar , ' tengai ' srinivasan , venniradai nirmala , pandaribai , s . v . subbiah , p . s . veerappa , v . s . raghavan . singers : tm . sounderarajan , seerkhazhi s . govindarajan , janaki . music : m . s . viswanathan . director : a . jagannathan . to watch more videos , click urltoken subscribe now for more updates urltoken join & like our facebook rajshritamil fan page urltoken join us on google + urltoken follow us on twitter urltoken
idhayakkani was directed by a . jagannathan , who had worked as an assistant under noted directors like tatineni prakash rao , pa . neelakantan and r . m . veerappan of the noted unit sathya movies , the company that gave him his much - needed break . he went on to make more than 60 films , even though this film was the biggest of his career . music , by m . s . viswanathan , is a big plus point . the story was written by s . jagadeesan and the screenplay by r . m . veerappan . radha saluja , the actress of this film , later moved to the u . s .
we must first assume the pre - eminence of mgr as the precondition for the very existence of the film . if so , the opening scenes must be taken as both integrated into and separated off from the plot of the film . the personal references are an indication that the sequence was a separate party advertisement of sorts . continuity is suggested simply by making the plantation the setting for both the staging of the farmers’ collective and the appearance of mgr as the zamindar in the very next scene . thus , the story of idhayakkani , begins only when mgr , a rich but large - hearted zamindar , helps a woman in distress who is almost run over by his car .
the setting is standard , a village milieu which has the usual vazhukkumaram , local festivities and a hero who practically vaults over the entire village before landing on the slippery log with ease . this is how you ' re introduced to him and his pretty , ideal and cinematic family . he ' s idhayakkani ( adhi ) , his father is bakkiyanathan ( prabhu ) with an obsession for mgr and his films ( his children are named after those ) , wife kalaiyarasi , and daughter rani samyuktha . bakkiyanathan ' s parents are ravichandran and k r vijaya , and according to the time - tested custom of grandparents in tamil cinema , have nothing to do but smile , wear expensive clothes and apparently sit on rocking horses at their familial home .
idhayakkani ' is the story of the kind - hearted mohan ( mgr ) whose theory of life is ' equality ' and who puts it in practice by sharing equally the income of his estate with his labourers . he has another passion - he wants to serve the country - and for that , he has joined the police force as an officer . he meets a needy girl , lakshmi , and on the advice of and elderly domestic help , he permits her to stay in his house . tongues start wagging and mohan decides to marry the girl . however , his happiness is short - lived . he gets the shock of his life when he comes to know that his wife is involved in the murder of a leading scientist . what is the truth ? did lakshmi murder the scientist or is she innocent . if so , then who is the culprit ? how does mohan go about finding the truth ?
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mgr started his career in acting ( small roles ) from 1937 . by 1947 his leading role movie rajakumari was released . from 1948 to 1950 he has acted as hero and as well as second hero character , then from 1950 to 1977 ( or 1978 ) he was the hero .
total films released up to 1978 is 136 , hero acted movies are 117 . in this 117 , one movie is telugu movie sarvathikari and one malayalam movie jenovah . both these movies are released in tamil version also . the tamil movies only taken into account that is 115 . his success rate follows :
mgr movie ithayakani was the block buster film for the year 1975 . entertainment tax was raised from 1973 and tamil cinema found difficulties . here is an example , laudatory from one of the tamil movie producer muktha srinivasan on the achievement made by mgr films in 1975 .
the movie ithyakani was released on 22 . 8 . 1975 all over the south .
chennai ( or ) madras – sathyam , maharani and uma . madurai – chinthamani coimbatore – central . salem – alankar thirunelveli – central trichy – palace erode – royal vellore – krishna
some theatres which released the above movies are ( 1 ) mekala ( 2 ) select ( 3 ) liberty ( 4 ) natraj ( 5 ) albert ( 6 ) baby albert ( 7 ) noorjahan ( 8 ) muralikrishna ( 9 ) ganapathi ram ( 10 ) vijaya ( 11 ) mahalakshmi ( 12 ) kamadhenu ( 13 ) broadway ( 14 ) minerva ( 15 ) gopi krishna ( 16 ) golden eagle ( 17 ) sri brinda ( 18 ) star ( 19 ) bharath .
nadodi mannan was released end of july 2006 and reached 24 centres in just 5 months .
records provided by ma . ki . venkat , ( organiser / amaipalar – central chennai ) ponmanachemmal mgr bakthargal kuzhu and thamizhaga makkal thilagam mgr pothu nala mandram .
these are the re - release of mgr movies in trichy , madurai theatres . the photos are sent by madurai s . kumar an ardent mgr devotee . he writes about mgr records in and around madurai to several mgr books , special editions and in news papers . a mgr fan wearing a dhoti and checked shirt seen near “ninaithathai mudipavan” banner is s . kumar . most of mgr movie records i post are given by madurai s . kumar .
“enga veetu pillai” released in madurai central and this image is taken on 28 . 10 . 2007 .
“ninaithathai mudipavan” released in madurai meenatchi from 13 . 10 . 2007 , this image on 15 . 10 . 2007 . the following image is also “enga veetu pillai” madurai central on 28 . 10 . 2007 .
this movie “neethiku thalaivanangu” was released on 2 . 9 . 2007 madurai meenatchi note the various pictures of mgr .
mgr pictures ulagam sutrum valiban also released recently this deepavali along with other new deepavali release movies . as per the rule survivor is the fittest this movie completed second week ( photo soon in this blog ) amongst other films such as vijay’s azhagiya tamil magan , surya’s vel , dhanush pollathavan . these films failed to over shadow mgr’s old movie ulagam sutrum valiban .
“veetaikaran” released 19 . 8 . 2007 in madurai central , note the number of garlands and the size of the garlands . and also mgr unseen photo from the movie ‘adimai penn” .
i thank mr . s . kumar for allowing me to use these images in my blog .
after madurai veeran , mgr pictures nadodi mannan reached the 1 crore mark collection .
this was the first film to surpass 100 days for the second time re - release in the same theatre . thiruvannamalai krishna .
first and only movie released subsequently in 6 movie halls in srilanka to cross 100 days .
on the function side , mgr was awarded from anna durai 110 sovereign gold sword . late in 1985 he gifted the sword to moogambigai temple , karnataka .
mgr is the first director to get the best director award on his debut as director .
nadodi mannan which was released in salem town is the only film which reached 25 weeks this record was unbroken until mgr became the chief minister .
nadodi mannan has run time of nearly 4 hours . it is the lengthiest mgr movie so far .
this movie nadodi mannan holds the record for the most number of special edition issued by 10 national newspapers and the indian movie news of singapore has also issued a special edition on the success of nadodi mannan .
and the first movie in the world to show a political flag as a banner .
all the actors and actress who participated in the film gave a memento , 6 feet silver cup which is now in mgr memorial house .
nadodi mannan was released on deepavali festive in singapore and malaysia , the record follows : below is the ad for nadodi mannan release in singapore and malaysia .
nadodi mannan re - released again . some info related to nadodi mannan date of release 22 . 8 . 1958
chennai : paragon 161 days sri krishna 161 days uma 147 days photo showing the crowd when ‘nadodi mannan’ was released .
mgr’s adimai penn record : “n the number two slot , in spite of heavy rains , is the re - release of the mgr classic adimai penn that took a decent opening . ”
box office records created by mgr films were surpassed by other mgr movies and not other movies .
ulagam sutrum valiban released on 11 . 5 . 1973 in india and abroad .
reservation was opened in chennai on 9 . 5 . 1973 and within 3 hours 100 shows were full i . e . 1 month . ( the record still not broken by any movie )
no posters , no advertisements in radio , no ads in newspapers including leading news papers such as daily thanthi , malai murasu .
people are standing from devi paradise theatre to anna statue on 8 . 5 . 1973 before the booking 9 . 5 . 1973 . police and horse mounted police were in action to control the crowd .
within 3 hours of opening of reservation all the shows for 30 days were filled in devi paradise , 25 days for agasthiya and 22 days in uma . record unparallel in history .
with 66 days and 28 days respectively . totaling 94 days the record was not beaten by any malayalam movie on those days
ulagam sutrum valiban surpassed the record created by mckenna’s gold which was released in devi and grossed rs . 12 , 85 , 358 . 00 and mgr’s movie released in devi paradise grossed rs . 13 , 63 , 914 . 75 which is also the first indian movie to break mackenna’s gold record .
ulagam sutrum valiban generated 1 crore 35 lakhs in 40 theatres in just 6 months as tax to government . calculate how much theatres should have earned remember it was 1973 .
and it is also the first movie to generate tax more than 1 crore in south indian cinema .
source : photos and statistics taken from various mgr related books , special edition of mgr movies 2005 and enga veetu pillai mgr magazine . provided by yukesh babu , sathya of sri ponmanachemmal sri mgr bakthargal kuzhu .
madurai is historically a famous city and to mgr madurai people are the first to introduce mgr fans club in the year 1950 , which later spread to all of india and the world .
mgr was very sentimental about madurai . his first 25 weeks film was madurai veeran and his last acted movie was madurai meeta sundarapandian . many of the titles also came from madurai some are kaliyuga pari and kalai sudar . mgr contested from madurai west constituency in 1980 and won by substantial vote difference . madurai was said to be mgr’s fort as far as the film and political life are concerned .
pictures posted here are taken presently and during the re - release of mgr films such as kulabaghavali , thaiyai katha thanaiyan , engal thangam , ayirathil oruvan , ninaithathai mudipavan , nadodi mannan , ithayaveenai etc . note the decorations on mgr .
the film records in madurai : source sarithiram padaitha makkal thilgam mgr , special edition – released as kalaiventhan mgr bakthargal trust silver jubilee year issue 2006 .
01 . rajakumari 02 . mohini 03 . maruthanatu elavarasi 04 . manthiri kumari 05 . marmayogi 06 . sarvathigari 07 . en thangai 08 . jenovah 09 . malaikallan 10 . kulabaghavali 11 . alibabavum narpathu thirudargalum 12 . thaikupin tharam 13 . chakravarthi thirumagal 14 . puthumaipithan 15 . mahadevi 16 . nadodi mannan 17 . baghdad thirudan 18 . thirudatha 19 . thai sollulai thatatha 20 . thaiyai katha thanaiyan 21 . neethiku pin pasam 22 . panakara kudumbam 23 . ayrathil oruvan 24 . anba vaa 25 . kavalkaran 26 . oli vilaku 27 . nam nadu 28 . en annan 29 . engal thangam 30 . kumarikottam 31 . rickshawkaran 32 . nallaneram 33 . idhyaveenai 34 . netru indru nalai 35 . sirithu vazha vendum 36 . ninathathai mudipavan 37 . idhyakani 38 . pallandu vazhga 39 . indru pol endrum vazhga 40 . meenava nanban
meenakshi theatre first film screened was oli vilaku , and mgr has attended various functions in meenakshi theatre particularly on the 100th day function for nam nadu , 175th day function in chinthamani theatre , 175th day function in central theatre for enga vetu pillai . and grand function for nadodi mannan in thamukam grounds in 1958 .
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star cast : m . g . ramachandran , radha saluja , rajasulochana , r . s . manohar , pandari bai , s . v . ramadas , ‘vennira aadai’ nirmala , v . gopalakrishnan , v . s . raghavan , ‘thengai’ srinivasan , ‘isari’ velan , ‘kavartchi villain’ k . kannan , rathna , s . leela s . v . subbaiah , vishwaprasad kanakadurga
the film is about mohan ( mgr ) , a kind - hearted person who believes in equality , and therefore donates all the profits of his estate to the workers , without taking any share for himself . in fact , the opening song in the film , running to six minutes , ‘neenga nalla irukkanum naadu munnera’ ( lyrics : pulamaipithan ; voices : t . m . soundararajan , sirgazhi govindarajan and s . janaki ) says as much , and projects mgr as a leader .
in due time , mgr becomes a senior police officer and is assigned the duty of solving the murder of an atomic scientist ( vishwaprasad ) . he meets an impoverished girl , lakshmi ( radha saluja ) , and following the advice of a domestic help , permits her to stay in his house . mohan eventually decides to marry the girl . however , the happiness of his married life is short - lived . it turns out that his wife is the prime suspect in the murder mystery that he is investigating . the rest of the story deals with mohan trying to nab the real murderers .
‘vennira aadai’ nirmala plays the role of a dancer in this film , and performs a western dance number with mgr for the hit song ‘hello lover mr . right’ ( lyrics : randor guy ; voice : usha uthup ) . rajasulochana and r . s . manohar play the villains in the film .
the film was used as a vehicle of political propaganda for mgr , and to emphasise his devotion for his guru , arignar c . n . annadurai . in the beginning of the film , there are shots of anna , with a voiceover explaining why mgr is called ‘ithayakkani’ ( fruit of the heart ) of annadurai .
remembered for : good performances by mgr , radha saluja , and pandari bai , hit songs , and excellent dance performance by nirmala .
mgr came to movie world from drama stage in 1935 and acted to the end of june 1977 .
mgr fans are asked to check the release date of some movies which are not available to me .
the bold letters indicate silver jubilee movies . out of 11 silver jubilee movies 9 movies mgr was the lead artist .
thank you for your list . please share with me where can i download mgr ' s dvdrip full movies ( not torrent file ) .
suresh thanks for the comment , and regarding the dvd rip , sorry i do not know .
selva , 20 / 01 / 13 . nice work , really appreciate . i am also mgr fan .
mr . vaithisvaran thanks for the visit and writing the comment . as you have mentioned that puratchi thalaivar mgr died in 1987 how a movie could have released after his death ? his last movie released in 1978 january 14th . then after been elected by the people of tamil nadu and remained the chief minister till his last breath never acted / faced the camera in movies after june 1977 . regarding the question two movies avasara police 100 and nallathai nadu ketkum were released in 1990 , both the movies are unfinished mgr lead role movies . baghkiaraj used
anna nee yen deivam
mgr portion & including his character , finished and released the movie as avasara police 100 and likewise jeppiar used nallathai nadu ketkum some mgr portion and released the movie . the movies are available now as dvds and you can also watch the movies in youtube . in avasara police 100 , mgr footage runs for 25 minutes with two songs . in nallathai nadu ketkum mgr scenes lasts for 9 minutes .
excellent work . you can post collection particulars of hit films of mgr . young people can know the vasool power of mgr on those days ( ticket rate is 31 / 54 / 66 paise and rupees 2 is the max ticket charge .
left release dates are as follows : iru sagodharargal - 10 - 09 - 1936sagodharargal - 10 - 09 - 1936 . veera jagadheesh : 28 - 08 - 1938 jenova ( malayalam ) - 05 - 03 - 1953 pudhiya boomi - 27 - 06 - 1968 kanavan - 15 - 08 - 1968 avasara police100 : 17 - 10 - 1990
thanks k . v . nathan sir for giving information about the date of release . in couple of days the post will be updated .
even today three letter word mgr rules the people and his movies attract many . his principles suits even today .
mgr these three letters conquered this state it is a magical acronym even today these letters rule tamil nadu he has never shown wrong path to the viewers he lived as he said a basheer ahmed . 7010905194
very nice site and it is helpful info . also check out upcoming tamil movies 2017 , 2018 list with release dates please visit at urltoken
gowtham ranjith thanks for the comment . please contact mr . thangavel of uk golden movies regarding the full collection of mgr mp3 songs . vetri enterprises , mobile 9841701807 thank you .
he is a legend . . . . no - one can dispute this . have read many articles of his selfless deeds and his humane nature . truly will never find another mgr . every movie teaches us and incalcates human values . . . . love him
thank you sir for your excellent work . . . nanri . . . from south africa
sir . . . just want to know why sirithu vazha vendum and ninaithathe maddipavan full movies are not on you tube . sirithu vazha vendum is not included in his movie list as well .
thank for the comment mgr fan from south africa , it would be good if you have left your name . regarding the movies ninaithathai mudipavan and sirithu vazha vendum which are not uploaded in youtube maybe copyright reasons . sirithu vazha vendum is in the movie list which comes after urimaikural and it is 125th movie of our puratchi thalaivar .
sir my name is mogashvani gilbert from cape town , south africa . thank you for your response with regrds to the movies ninaithathai mudipavan and sirithu vazha vendum . i have noticed that anbe vaa has a duration of 38 minutes . would like to see the full movie . thank you . kind regards , mg
thank you mr . mogashvani gilbert for replying . as of anbe vaa the movie is not uploaded in youtube at present due to copyright problems . some years back i happen to see the movie in youtube . if you notice even we cannot add one clip of anbay vaa in youtube sir . i faced that problem years back so i stopped uploading the scenes which i took from a cinema theatre during re - release .
thank you for your prompt feedback . hoping that the copyright will be lifted sometime in the future so the movies i have mentioned become accessible . regards mrs . mogashvani gilbert
excellent & brilliant job mgr is not a ordinary actor . he is hepling sense inspiring to everyone human . we lose but he is still aliving to our tamilnadu people hearts . . . hand of to you sir dr . mgr ( maruthoor gopalan ramachandran )
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the movie list mgr came to movie world from drama stage in 1935 and acted to the end of june 1977 . read as no . name of the movie & am . . . ;
this image is the screen test for mgr for the movie “rajakumari” his first hero acted movie which was released in 1947 . a phot . . .
sorry the videos that i have uploaded in youtube are been deleted due to copyright problem . the videos will not work . again sorry for the . . .
sri mgr year 95 , 22nd november , thursday emgeeyar pictures ulagam sutrum vaaliban movie is fully uploaded by saregama . we have already . . .
sri mgr year 94 , 25th november , friday mgr devotee t . nagar ramamurthy has room full of mgr images from movies to politics . he has been g . . .
sri mgr year 94 , 23rd march , wednesday this is the image taken from tuesday madurai dinamalar digital edition . the news was forwarded b . . .
sri mgr year 101 , 28th march , wednesday first part of mgr’s memorial account written by the blog author and published by amazon asia - pacific . . .
on # mgr blog mgr ' s help to stunt union and the stunt actors . urltoken
sri mgr year 101 , 20th june , wednesday for the first time in the history of the world , mgr fans is on the way on conducting a world level co . . .
sri mgr year 101 , 8th june , friday most of us who have studied their sslc during 80s and late 80s will remember the photo of our beloved lea . . .
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mgr prances the world trying to find a secret energy formula before villains do .
stars : nagesh , m . n . nambiar , m . g . ramachandran
a disillusioned everyman , frustrated with the corruption he sees all around him , develops multiple personalities in order to restore justice .
uzhaikkum karangal is a 1976 indian tamil film , directed by k . shankar and produced by kovai chezhian . the film stars m . g . ramachandran and latha in lead roles . the film had musical score by m . s . viswanathan .
an evil man kills vengaiyan ' s father and enslaves all his people . vengaiyan is ignorant and wild but jeeva helps him evolve into a valiant and wise man , who then swears to right his people .
a boy raised in a cemetery grows up with no social skills , and leads a turbulent life readjusting once he moves out of the cemetery .
a wanderer / revolutionary is a dead ringer for a monarch , and takes his place .
stars : m . g . ramachandran , bhanumathi ramakrishna , m . n . nambiar
sundaram , a member of a musical band goes to chennai to earn money for his sisters marriage but his look - alike brother ranjit , tricks him . ranjit carries out his illegal trade without any trouble .
a rich industrialist finds romance in comic mix - up at a hill station .
a common man ' s struggles against a corrupt police force put him on the wrong side of the law . he becomes a don , who is loved and respected by many , but his growing power and influence exact a heavy toll .
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director ezhil attempts to infuse a dose of humour into a tale of enemity , writes s saraswathi .
is a simple love story set against the backdrop of a deep - seated animosity between two villages , often resulting in violent clashes and death . director ezhil , however , treats the script with a good deal of humour .
vemal ) , who hails from the village of killioru , is a firm believer in non - violence . the ongoing feud between his family and the family of seena thana from the neighbouring village of pulioru is a source of constant worry for him .
though their rivalry began on a minor issue , many lives were sacrificed over the years .
desingu raja has music by d imman with songs by legendary singers s p balasubramaniam and unnikrishnan . the pick of the lot , however , is the beautiful sensuous number , ammadi ammadi , by shreya ghoshal .
directed by ezhil and produced by escape artists motion pictures , the film has been cleared by the censor board with a ‘u’ certificate and has an entertainment tax waiver .
as far as performances are concerned , ezhil seems partial to his supporting cast .
vemal is comfortable with his character and has given a decent performance . bindu madhavi is very pretty , but the chemistry the two shared in kbkr is definitely missing .
director ezhil tries to convey the message that love and humour can end the vicious cycle of violence . though the concept is interesting , in the end the enmity between the two families is treated more like a joke . since this happens after lives have been sacrificed by both families , the sudden camaraderie is hard to digest .
yet , that’s the way ezhil wants to go and , in the end , everybody forgives each other .
the unconvincing storyline may not hold your attention , but comic elements in the film certainly keep you entertained throughout .
what is a r rahman doing at a dubai mall ? reader talib sends us a picture .
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there was a time in tamil cinema when the filmmaking process was controlled by writers and the narrative was marked by a plurality of themes , plots and ideas . with the emergence of mg ramachandran , better known as mgr , the entire argument was woven around the protagonist . the actor became the end in himself
in his account of film and politics in tamil nadu , k sivathamby divides this history into two phases . the first phase is characterised by the overall control of the film - making process by writers . the writer’s pre - eminence in this period is , however , to be seen in its film - historical context in order for it to make full sense . in the studio era , which lasted well into the 1950s in the south and in which actors continued to be somewhat dependent on studios , the narrative was also marked by a plurality of themes and plots , a fragmentary and episodic form in which different elements were often only very weakly connected with the whole . there was , thus , a dominance of the ‘writer’ in the studio , which extended in the case of the dmk film to these politically - inclined writers . however , they wrote conventional stories into which they inserted dmk messages , rather than attempting to transform the dominant film form as a whole . yet , sivathamby’s main point remains , that in this phase the writers ( and producers / directors ) determined the shape of the film .
“in the second phase of the dmk - oriented films when mgr was the chief personality , ” writes sivathamby , “the entire argument was woven around the protagonist himself . the whole concept was personalised in that it was shown as emanating from the personality of the actor . here the emphasis was equally placed on the actor as it was on the story . here too it is the dramatic narrative that is important , but the world of conflict exists only as a world centred round the hero and his personal emancipation symbolises the emancipation from the social evil depicted . if we accept this position , and see it in the background that the particular actor chooses to act only in particular roles then it becomes easy for the identification of the actor with the character . such was the case with mgr . ” sivathamby adds further , “in the case of mgr there is an additional force of the social circumstance . he played the characters of heroes who are socially relevant to the vast majority of the tamil filmgoers . in such a situation , he emerged as the symbol of the fulfilment of their own wishes . ”
what these remarks bring into sharp focus is the transformation that occurred in the dmk film , whereby the figure of mgr became the dominant signifier in the films , and the message became valid only because it emanated from this privileged source . the rise of mgr as an autonomous signifier that transcended the party programme coincided with the entry of dmk into parliamentary politics . the breaking up of the madras presidency in the course of states reorganisation in 1956 , and the coming into being of the madras state ( later tamil nadu ) , also form part of this background . the film nadodi mannan ( 1958 ) established mgr in his new role , and the party acknowledged this by organising a massive public reception . mgr was taken out in a procession , seated on a chariot against the backdrop of a rising sun , and garlanded by elephants . ( many years later , when asked what he would do were he to become a minister , mgr told the interviewer that he had already answered the question in nadodi mannan . )
the relative strength of the political and the aesthetic domains involved in this process must also be taken into account . dmk intellectuals never tried to transform the film form , but simply employed whatever form was offered by the industry for their own purposes . thus , when mgr appeared in nadodi mannan , it was already a star film of the kind that was then beginning to be made in all south indian languages . the history of the political use of cinema has been , as it were , short - circuited by the history of the evolving relationship of historical audiences to the cinematic image . no doubt , the roles had been reversed , and mgr , instead of serving as a bearer of the party message , had himself become the most important message of the film . however , it would be inadequate if not misleading to describe this as a case of one man’s clever manipulation of the party’s programme to serve his own ends . even though that seems to be very much a part of the story of tamil nadu politics , it is simplistic to say that mgr ‘used’ the dmk film as a vehicle to launch himself before turning the tables on his benefactors . on the other hand , it cannot be denied that the dmk was short - changed in the phase of its dependence on mgr . everything , thus , points to a radical break , rather than merely a shift in emphasis , at the transition point identified by sivathamby .
in 1964 , the popular magazine kumudam carried a ‘review’ of three films , authored by an imaginary subaltern by the name of ‘cycle rickshaw mallayya’ . the longest section of the review is devoted to the mgr release of the week , padagotti . using this fictional mgr fan as a cover , the reviewer offers the prevalent middle class opinions about the dominant stars , especially mgr and sivaji ganesan . the fictional reviewer objects to a scene in padagotti in which the heroine slaps mgr : “i cannot accept this , the director has made a big mistake . ” he also dismisses another spectator’s sceptical remarks about mgr’s stunts , and generally indulges in long , admiring descriptions of the star . the review then turns its attention to navaratri ( 1966 ) , a sivaji ganesan - starrer . here the “review from below” proves to be very even - handed .
during the 1960s , one important change became noticeable . in thaikku thalaimagan ( worthy son , 1967 ) , “as in mgr films usually , rather than showing the hero as falling in love with the heroine , it has become customary to show her as desiring him” .
however , the ‘collective farming’ scene refers not to a collective at all , but to a zamindari . the equal distribution of profits loses its meaning if it is not referred back to the will of the person who decrees it . thus , we can infer a continuity between this scene and the rest of the film , which is a fairly routine action melodrama about a zamindar with a golden heart who turns out to be a policeman . innumerable films have been made in which good zamindars and loyal workers and servants cleave to each other in scenes of heart - wrenching emotion , involving devastating sacrifices usually by the servant .
so , we have seen how mgr , the first of the new - style stars of the tamil cinema , transcended the role assigned to him by the dmk as the bearer of the party message ; mgr himself emerged as the only message .
a man fled after his wife caught him undressing a minor girl , in an attempt to rape her , in birsa area of balaghat district . according to the police , saku netam ( 25 ) tried to rape the 10 - year - old girl , a student of class 5 , while she was alone at her house on friday evening . . .
desingu raja tamil movie | video song | comedy & super scenes | trailer | full movie | vimal | bindu madhavi | d . imman | soori | hd 1080p - youtube
desingu raja tamil movie | video song | comedy & super scenes | trailer | full movie | vimal | bindu madhavi | d . imman | soori | hd 1080p
desingu raja is a indian tamil film directed by ezhil starring vimal and bindu madhavi . the film is a full - length comedy set in two villages which are perpetually at conflict with one another . the film has been extensively shot in thanjavur , kumbakonam and chennai . the film was released on august 23 , 2013 .
according to panchayat , thamarai goes to idhayakani ' s home with her family in order to kill idhayakani but they fail in their attempts .
when chittappa hears that thamarai is pregnant he is determine to kill her child . but surya ( soori ) , thamarai ' s uncle tries to give honey instead of poison to thamarai which makes her safe .
in the climax , killiooru organises kabaddi match in puliooru . chittappa arrives at the place by kidnapping thamarai and her mother insteads kaushik , idhayakani ' s uncle was kidnapped instead of thamarai it turns out that surya had saved her . chitappa arrives to kill idhayakani but the presence of cheergirls makes him undergo a change of heart . he then dances to the tune of gangnam style and accepts idhayakani wholeheartedly .
desingu raja is a indian tamil film directed by ezhil starring vimal and bindu madhavi . the film is a full - length comedy set in two villages which are perpetually at conflict with one another . the film has been extensively shot in thanjavur , kum . . .
vimal bindhu madhavi lip lock - desingu raja | soori | d . imman | ezhil
desingu raja - video jukebox | vimal | bindu madhavi | d . imman | ezhil | soori
pom pom hd video song - desingu raja | vimal bindu | madhavi | d . imman | ezhil
oru ora ora paarvai video song - desingu raja | vimal bindu | madhavi | d . imman | ezhil
nelaavattam nethiyile hd video song - desingu raja | vimal bindu | madhavi | d . imman | ezhil
ammadi ammadi video song - desingu raja | vimal | bindu madhavi | d . imman | ezhil
desingu raja - trailer | vimal , bindu madhavi | ezhil , d . imman
jannal oram tamil full movie hd featuring vimal and parthiban . music composed by vidyasagar , directed by karu pazhaniappan and produced by hemanth and k murugan . jannal oram tamil movie also stars vidharth , poorna , manisha yadav and ramana among others . click here to watch : vedikkai en vadikkai tamil full movie hd urltoken thalapathi tamil full movie hd urltoken meesai madhavan tamil full movie hd urltoken uthama purushan tamil movie hd urltoken for more tamil full movies : subscribe : urltoken like : urltoken share : urltoken jannal oram tamil full movie hd vimal parthiban vidyasagar star movies uploaded on youtube by star movies
watch the tamil movie of kaaval in nagendran . r ' s direction starring vimal & samuthirakani in lead roles . the movie is a high octane action story spinning around the wide web of paid murders & contract killers . with music by g . v . prakash kumar , the film also stars punnagai poo geetha & others in important roles . movie - kaaval starring - vimal , samuthirakani , punnagai poo gheetha music - g . v . prakash kumar director - v . r . nagendran producer - punnagai poo gheetha banner - sg films pvt ltd © 2016 speed audio and video sharjah u a e mob 00971 506977319 mail : [ email protected ] facebook : urltoken urltoken
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although thaanaa serndha koottam is a remake of akshay kumar’s heist crime thriller special 26 , it comes with all the right elements to appeal to the ta . .
sketch , starring chiyaan vikram , has hit screens finally amidst heavy expectations . the film , helmed by director vijay chandar , is touted as an action enterta . .
expectations are huge for velaikkaran , siva karthikeyan’s next after the blockbuster remo in which he played a nurse . after playing the soft and comic cha . .
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a kind hearted man , who desires to serve the country , joins the police force . he provides shelter to a needy girl at his house and later marries her ; a few days later , he learns that his wife is involved in a scientist ' s murder .
pandari bai ( kannada : ಪಂಡರೀ ಬಾಯಿ ; september 18 , 1928 – january 29 , 2003 ) was a prominent actress of south indian languages films mostly in kannada and tamil during the 1950s , 60s and 70s . she is considered kannada cinema ' s first heroine . she has the d
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mgr megahit movie - vettaikaaran - tamil full movie | savitri | m . r . radha | m . n . nambiar - youtube
mgr megahit movie - vettaikaaran - tamil full movie | savitri | m . r . radha | m . n . nambiar
m . g . r . is a hunter and gets married to savithri . savithiri does not like the life that m . g . r . lives . she pleads him to stop hunting animals however , mgr does not hear to her pleas . eventually this causes a rift in the family . the rest of the story revolves around the problems that m . g . r . faces as a hunter . subscribe our channel urltoken like our page urltoken
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