bhaiyya bhaiyya ( theatrical name : bhayya bhayya ) is a 2014 malayalam-language comedy film directed by johny antony and scripted by benny p. nayarambalam starring kunchacko boban and biju menon in lead roles .

the film also features nisha agarwal ( in her debut malayalam film ) , vinutha lal , innocent , suraj venjarammood , salim kumar and vijayaraghavan in other important roles .

it features music by vidyasagar and cinematography by vinod illampally and was largely shot at kottayam , tamil nadu and kolkata .

produced by laisamma pottoore under nobel andre production , bhaiyya bhaiyya released on 5 september 2014 .

bhaiyya bhaiyya

on the whole , bhaiyya bhaiyya does provide a few chuckles , but nothing substantial .
johny antony’s bhaiyya bhaiyya is an entertainer that unfolds in the backdrop of kerala’s migrant labourer population .
bhaiyya bhaiyya is a romance - comedy entertainer directed by johny antony , movie features hit combo kunchako boban and biju menon in the lead role . bhaiyya bhaiyya plots the life style and field work of bengali workers in kerala .
telugu heroine nisha aggarwal plays the lady love of kunchako boban in bhaiyya bhaiyya , whereas vinutha lal for biju menon .
bhaiyya bhaiyya is produced by laisamma pottur under the banner of nobel andre productions . story , script , and dialogues are penned by benny p nayarambalam .
rate of change of focus of the plot of the movie bhaiyya bhaiyya is directly proportional to blink of your eyes . yes i am saying this because the film does not have a specific goal . constructed with all the compartments of almost all the benny p nairambalam movies , bhaiyya bhaiyya is a flawed attempt from director johny antony to get back into the business . except for those witty dialogues , bhaiyya bhaiyya just goes on and on without a destination .
movie potrays the love shared between two brothers ( biju menon and kunchako boban ) . they are from a well sound family . innocent plays there father role in bhaiyya bhaiyya . the movie tells us a clear lesson that true love has no boundaries .
bhaiyya bhaiyya official trailer malayalam 2014 ( bhayya bhayya ) starring kunchako boban , biju menon , nisha aggarwal and vinutha lal . directed by johny antony produced by laisamma pottoore written by benny p nayarambalam music vidyasagar cinematography vinod illampaly edited by ranjan abraham lyrics murugan kattakada santhosh varma rithu sen officially addicted to social media @ urltoken
bhaiyya bhaiyya is a disappointing film that fails to utilize the hit combo of kunchako boban and biju menon . you may not want to leave the hall while watching it , but you may wonder what happened inside the hall after watching it . the rating is 2 / 5 . the “switch off logic” disclaimer is a must for this movie .
khiladi bhaiyya song from khiladi 786 . this song is sung by vineet singh , aman trikha , yashraj kapil , alam gir khan & rajdeep chatterjee . this son… | pinteres…
in bhaiyya bhaiyya biju menon plays the role of a bengali who came to kerala as a little boy , while kunchacko boban , with whom he has struck up a hit partnership on screen , dons the role of bengali babu . the latter is an agent who brings labourers from bengal to kerala . “innocent stars as bengali babu’s father . it was he who brought biju menon’s character to kerala , ” says johny . benny p . nayarambalam has written the script . “i was an associate director of kunjikkoonnan , the screenplay of which was written by benny . he had promised to write a script for me at the time , but each of us ended up being busy with other projects . then , two years ago , we decided to team up and that was how bhaiyya bhaiyya was born , ” says the director .
you cannot miss them in kerala these days – migrant labourers from bengal and other northern states who have come to the state in search of greener pastures . director johny antony focusses on their lives in his new film bhaiyya bhaiyya . “the film is an entertainer with an accent on humour . it’s not an attempt to address migrant labourer issues in kerala , ” stresses johny , the director of films such as cid moosa and thappana .
marandi , a former national vice - president of bjp and union minister , besides being the first chief minister of jharkhand , was critical of nda government ` s performance when arjun munda was reappointed as chief minister in 2005 after his removal from the top post . in 2006 , he floated jvm - p with five sitting bjp mlas ravindra rai , vishnu bhaiyya , kunti devi , manohar tekriwal and pradeep yadav throwing their weight behind him . barring pradeep yadav , all left marandi after jvm - p ` s debacle in 2009 lok sabha elections . while rai and devi went back to bjp , bhaiyya and tekriwal joined jmm . only devi and bhaiyya could win their their seats this time .
he says the film is aimed at family audiences . “a large part of the film was shot in bengal , with artistes from bengali cinema and theatre . ” another highlight of the film is the music by vidyasagar . “i have been working with him since my debut film cid moosa and we share a great working relationship , ” he says . vinod illampally has cranked the camera . bhaiyya bhaiyya also marks the malayalam debut of nisha agarwal , sister of actress kajal . the film also stars makarand deshpande , shammi thilakan , salim kumar and suraj venjaramoodu .
bhaiyya my brother malayalam full hd movie on indian films , featuring ram charan , allu arjun , shruti haasan , kajal aggarwal and amy jackson . dubbed from yevadu telugu movie . bhaiyya my brother movie also stars brahmanandam , sai kumar , rahul dev , jayasudha , kota srinivasa rao . directed by vamsi paidipally , music composed by devi sri prasad and produced by k manju . click here to watch : eecha malayalam full hd movie - urltoken businessman malayalam full movie - urltoken indian films is an exclusive destination for telugu , tamil , hindi , malayalam , kannada full length movies on youtube . indian films is your free shop for hd movies across all genres . browse no further , subscribe to indian films for a wonderful movie experience ! like us on facebook for more updates - urltoken follow us on twitter for more updates - urltoken watch all your favourite movies here . also subscribe to urltoken for full movies . happy watching !
the film muzaffarnagar baaqi hai has been in the news recently , and not always for the right reasons , having attracted disruptive and abusive protest at some screenings . following a day of counter - protest in which the film was screened all over the country , a friend teaching in a delhi university college suggested screening it in her college , only to be told by the student representative that it would “cause trouble” ( “bawwal mach jayega ma’am ! ! ” ) . she asked what that meant and if he had seen the film , and he simply said , “nahin , bhaiyya logon ne kaha hai ki woh film bahut buri hai” ( no , but our elder brothers have said it’s a bad film ) .
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in an atmosphere where political self - censoring comes as easily to the current generation of students as scouring the net for “blocked content” we present below two readings of the reception of the film , the first ruminating on whether the film addresses the complexities of communal mobilisation adequately ; and the second inquiring in the context of social media and particularly facebook , what constitutes the ‘liking’ of an image or idea . the idea of posting these comments is as much to give space to these arguments as it is to make a larger point that the ‘sickular left’ voices that are presumably behind the film love discussion , critique and disagreement . that to my mind is the way forward , not pre - empting the always - already hurt sentiments of the bhaiyya log whosoever they may be .
by casting kunchacko boban and biju menon ( a pairing with proven track record ) , as if that is enough to guarantee success .
the film written by benny p nayarambalam follows the formulaic path trodden by its two heroes in the past . biju menon is once again a dim - witted but sturdy bengali fellow who can take on any opposition single - handedly reminding us of marykkundoru kunjaadu ( 2010 ) that came out of the pen of the same writer . kunchacko boban too has very similar role as the one played by dileep in marykkundoru kunjaadu where he takes advantage of menon ' s physical strength to settle scores with his adversaries . here boban makes him do the work while he himself enjoys playing angry birds on his phone .
there are efforts to make social comments here and there but they are subdued by the laughter that ensues them . for example , the film begins with an ambulance ride from kerala to bengal , carrying the mortal remains of a labourer who had worked in a construction site and boban starts narrating the back story sitting in the passenger seat , while the ambulance is driven by menon . everything that happens in the story can be guessed beforehand as if we have seen this before and now we are watching it all for the second time .
menon provides impetus to humour by mispronouncing malayalam words . he has the responsibility of carrying the thrills by fighting streetwise goons . boban has to support him through out . innocent , who has lost his mental balance due the loss in his business of supplying labourers for construction sites , is supposed to be funny . suraj venjaramoodu , as a typical malayalee worker who desires to be paid wages without really working , does get a couple of interesting lines . tezni khan as the loud sex worker goes unintentionally overboard . vijayaraghavan and shammi thilakan as the father - son politicians are the villains of the piece but , they lack the sharpness to make any impact .
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sporadically bringing out a laughter or two , this is a film that very rarely engages us emotionally and which fundamentally falls apart at the seams .
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benny p nayarambalam is one scriptwriter who has a particular ability to tell stories mixed with quality humour . he has managed to make many films with simple stories to greater hits , mainly due to soaking them in lighter vein . his one latest attempt for this onam is ‘bhaiya bhaiya’ directed by johny antony . a movie which tells a relatively fresh story in the backdrop of migrant workers , the movie has plenty of ordinary jokes planted in a relatively fresher narratives .
the movie is told as a monologue by babumon ( kunchakko boban ) , who is currently travelling to bengal with the dead body of a migrant worker . in the driver seat of the ambulance is babulal chatterji ( biju menon ) affectionately called ‘bhaiya’ by babumon . since the arrival of babulal to their home at the age of ten , both of them has grown together just as brothers , taking intense care of each other . also travelling with them is angel ( nisha agarwal ) , who is eloping from her house to get married to her childhood friend babumon . another tamil migrant worker shanthi ( vinuthalal ) has alighted the vehicle so that she can save her money for travelling to her home town near salem . adding to them is soman , a construction worker from kerala who is taking it as a chance to see bengal . how they happens to be together in this eventful journey forms the rest of the story .
though the basic tale by benny p nayarambalam is not that elaborate , it has elements that could have worked pretty well . added to that the return of comedy artists like suraj venjaramoodu and salimkumar . but apart from the wits that makes you laugh at intervals , the movie doesn’t offer much to carry home . it seems to have been directed in a lighter mode , not taking anything seriously enough . so the maoists’ in the tale to the ‘planned filmy fights’ in the climax doesn’t make sense and the necessary impact . had it been treated more wisely , the movie could have got scenes like those in the league of ‘ramjirao speaking’ . the coincidences galore in the climax also doesn’t work well for the movie .
the actors in the fray has not much to do , though biju menon impresses with his one liners and carry on his fine chemistry with kunchakko boban who is another cakewalk role . suraj manages to crack some wits but salim kumar appear totally lacklustre . vinutha lal as shanthi and nisha agarwal as angel does their parts as per demand , though they have nothing too demanding to do . vijayaraghavan and shammi thilakan are in their usual roles while sudheer impresses as the goonda leader .
in the technical sides vinod illampilly’s shots are fine and adds to the quality of the movie while ranjan abraham has also evenly paced the narratives . the three songs by vidyasagar are good of which the first couple are sure to take a place in the hit charts .
if you are in the mindset to watch a fun movie without giving any big thinking or asking for logic , ‘bhaiya bhaiya ‘ has some that may fill your time . evenly paced and filled with comedies , this light hearted film entertains in parts . had it been directed with a little more care , ‘bhaiya bhaya’ could have worked relatively well . as of now it may not be a painful onetime watch .
, it will be a crime even to compare the two films . while the former is a sheer delight to watch , the kunchacko boban ? biju menon comedy is a colossal bore .
? bengali ? babu ( kunchacko boban ) is a supplier of labourers , while the other babu ( biju menon ) is a bengali by birth . the two have grown up together and share a bond of brotherhood that is quintessential for masala movies .
a series of events follow and actually it is a tough ask to recollect it in order , by the time the end titles start rolling . a baddie , who yells his dialogue at top volume , comes at times . then a corrupt politician and his son , who is forced to marry a prostitute is there . the heroines and the hullabaloo that ensue don ? t help things either .
after a while , all the important characters are on a trip to kolkata .
with a script that is shaky from the word go , director johny antony is on a weak ground here . the film has perhaps been churned up to make use of the popularity of kunchacko boban and biju menon as a pair . but of all the things , you need a credible storyline and script to make it all engaging , right ?
kunchacko boban sleepwalks through the role and so does biju menon . the latter tries in vain to come up with a new style of dialogue delivery to evoke laughs , maybe like ordinary . among the heroines , nisha aggarwal seems to have no acting bones whatsoever and vinuda lal makes only a limited impression .
have just mixed melodrama , crass comedy , song n dance routines and some action sequences , without a proper recipe . just like what happens in cooking , they end up making a tasteless dish . try this one at your own risk please .
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a malayalam comedy about togetherness and brotherhood , portraying the importance to a group of people whom we refer to as ' bengali babus ' in our social life . babumon ( kunchacko boban ) and . . . see full summary »
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a malayalam comedy about togetherness and brotherhood , portraying the importance to a group of people whom we refer to as ' bengali babus ' in our social life . babumon ( kunchacko boban ) and bengali babu ( biju menon ) have a peculiar relation which dates back to the day the elder one among the two , came to kerala . the film revolves around a journey to bengal carrying the mortal remains of a laborer .
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babu and babu are brothers ( not by blood ) . the elder babu ( biju menon ) was adopted by younger babu’s father from bengal . both babu’s are very much attached to one another . younger babu is a labor supplier and the movie basically focuses on the journey of these brothers to bengal for a purpose .
by this bengali babu title , i expected some elements in the film that are related to the recent development in our state were too many bengalis are coming here for labor . but except for the job title of the character played by kunchako boban , there isn’t anything in the film that has any contemporary relevance . the script is a disjoint canvas where benny p nairambalam has written unbaked scenes taken from his own filmography . the romance reminded me of marykkundoru kunjaadu and sound thoma . rest of the sequences was also somewhat familiar through many films we have seen in the past . some scenes still doesn’t make any sense . and those climax chaos made me laugh at many points but if i rethink why those scenes were there ? i have no idea !
on screen kunchako boban is okay as the younger babu . senior babu played by biju menon was funny but that was kind of a used out idea ( again sound thoma reference ) . nisha agarwal’s dubbing and facial expressions had no connection . somewhat a better role for vinutha lal compared to her till date films . dracula fame sudheer may get more chances after this film . suraj and salim kumar were nice . nice performances from shammy thilakan , vijayaraghavan and thesni khan . a lot of irrelevant characters are there in film .
johny antony doesn’t show any improvement in his making . a large portion of the movie is dull and the humorous section is isolated from the film . the script would have been a hit if the same actors presented it in any award shows or television comedy skits . disappointing music and satisfactory cinematography . bgms were really poor .
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allu arjun ( as sathya ) is left fighting for his life after rahul dev and gang kill his girlfriend ( kajal aggarwal ) . sathya is saved by a miraculous face transplant surgery and he returns to take his revenge . the face belongs to a guy called charan ( ram charan ) and his past catches up with sathya . how the new sathya ( ram charan ) deals with both the enemies of sathya and charan is the rest of this action packed movie .
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muzaffarnagar baaqi hai is no longer a mere documentary film . it is a powerful political symbol against the sectarian social engineering , manufacturing of communal tensions and state sponsored violence that litter the path of the bharatiya janata party’s ( bjp ) recent political ascendancy . the film’s success lies in rubbishing the development sans communalism claim of the new - age hindutva . it is a film that will compel those who have chosen to accept the above - mentioned claim , particularly young voters with weak memories of the post - godhra gujarat carnage ( 2002 ) , to rethink their positions . the film also cautions those who have used the claim as a cover to express their hindutva sympathies more freely than ever .
thorough in its portrayal of the anatomy of the violence , the film highlights the essentially manufactured nature of the muzaffarnagar “riot” . three pillars of indian democracy – election - oriented political parties , administration , and media – had converged on muzaffarnagar with sinister intentions , the film points out . it is sensitive to the way communalism translates itself into existing tensions around caste and gender and in turn reconfigures them . the pathetic effects of sectarian violence on the lives of existing communities – their men , women , children and elderly – are granted the attention that they deserve .
despite the thorough reading of that anatomy , however , some questions linger . one can hardly disagree with the director nakul singh sahwney’s key observation : shrewd strategic manipulation has been central to the outbreak of the violence and to the upswing in the bjp’s political fortunes . but are people innately so passive and readily susceptible to political manipulation ? what were the long - term processes within the village communities of muzaffarnagar that made them susceptible to communal provocation ? how did a union as powerful as the bharatiya kisan union fall prey to communal polarization ? or was the famed communal unity of the sugarcane farmers of the region indeed so fragile ?
the film excels in the anatomy of the communal violence as it happened but tells us little about the long - term trends that made such violence possible . trends that perhaps escaped our eyes , until they suddenly boiled over in the form of massive communal polarization all over the country over the last two years . why did the bjp’s machinations coincide with the samajwadi party ( sp ) and even the bahujan samaj party ( bsp ) turning their back , even if temporarily , on the muslims who have served them so well electorally ? were these political miscalculations ? or did an already - rising tide of hindutva put them on the back - foot ?
politics , after all , is more often about drawing on existing social tendencies and enhancing them , rather than creating new tendencies . the hindu right has stolen a march over secular forces in identifying the social currents that could be potentially receptive to hindutva and have repackaged hindutva accordingly . could these currents have been given non - sectarian , democratic directions ?
as the secular camp basked in the glory of defeating the bjp during the days of united progressive alliance – i & ii , the rashtriya swayamsevak sangh quietly expanded its operations to new social and cultural terrains all over the country . it has , over the last decade , seemingly done enough to produce hindutva as an identity that is flexible yet stable ; suited to fulfil a diverse set of cultural roles . it can , at one and the same time , provide an identity to a socially uprooted and globally mobile work - force , rally the unemployed rural youth for corporate - championed industrialization , hold out the promise of social recognition for economically upwardly mobile lower castes , and reinvigorate the missionary zeal of the hindu fundamentalist . what were the currents in muzaffarnagar that lent themselves so readily to hindutva ?
striking an affirmative note , muzaffarnagar baaqi hai implicitly suggests possible antidotes to sectarian politics instead of limiting itself to an expose . but in this case too , some questions linger . the film laments the way the class unity of the peasants has been fractured by divisions along religious lines , and in turn posits class unity and humanist ideals as potential unifiers . is religious faith – that inseparable element of life in south asia – then necessarily divisive ? do the vast traditions that pass by the name of “religion” have no democratic potential whatsoever ? is there nothing that can be mobilized from within them to counter hindutva ? the paltry presence of secular forces within the domain of faith gives the communal forces a free hand to convert faith into sectarian ideology . unless we integrate questions such as these into our anatomy of communalism , the deep - rooted causes of the massive communal polarization of our times will probably not come to the fore . neither will the roads towards democratic futures .
for the past one month various images related to the protest screenings of the documentary film ‘ muzzafarnagar baaqi hai ’ by nakul singh sawhney are being circulated on facebook after the screening of the film was interrupted by members of the akhil bhartiya vidyarthi parishad ( abvp ) at kirorimal college ( kmc ) in delhi university . some of the images floated on my ‘newsfeed’ as well but i didn’t know what to like and share in these images . i began to ask myself ; what do i like here ? or to be more precise what would my liking the image signify ? would it seem that i like the event that took place in muzzafarnagar or would it present me as liking the event that took place in kirorimal college ? do i like the fact that the image expresses concern or symbolizes the resistance against what happened in kmc ? it took me time to like or share the images and in the next few pages i have tried to communicate the way through which i got there .
one functionality that i don’t like on facebook is that the timeline and the newsfeed is delimited or restricted by the size and borders of the screen , in fact it’s a problem of ‘virtual reality’ in general ; whatever we view and read is carried out within a frame . the problem stares right into my face on facebook as i scroll down on my for moments of virtual life that i might have missed but most often the internet connection is too bad and it takes too much time to load . however , even when the connection is better , the virtual life or the timeline is not available to us all at once . virtual life in this way is mimetic of actual life , the only difference being that in virtual life i can scroll down for ‘old stories’ and scroll up for “new stories” but in actual life though we reflect back upon things and plan ahead as well , there is no readymade availability of old and new stories . the facebook timeline traces our life back to the time we were born . the birth is symbolized through a plain graphic faceless image of a child in nappies . if i consider myself and people of mine and older generations then we can say that , for all good and bad reasons , our birth was not an event which generated ‘likes’ and ‘shares’ on facebook but the kids who were born after 4th february , 2004 and most of whom were ‘shot’ into the virtual life as soon as they ‘came out’ into the real life by their parents , siblings or relatives who opened facebook accounts for them . it is a common practice to have parents opening accounts or posting pictures of their young ones or opening full pages dedicated to them . thus for these kids the virtual timeline mimics and can be a record of the actual timeline of their life because every event in actual life is marked by a ‘post’ or an ‘image’ on the screen . thus , the virtual replicates the actual ; it becomes an identical twin of the life we choose to believe as ‘actual’ and not the virtual , without even realising that most of the time we are moving as a blue dot on gps , traversing the two dimensional space of a screen , taking a right here and a left there or circulating as an image of ourselves or our activities on facebook , switching between screens , ‘liked’ here and ‘shared’ there or not being viewed at all because the ‘timeline’ is delimited by the frame for the screen .
the question that emerges then is ; how does this delimitation affect our virtual life , which is most often the life we live . according to data , if facebook were a nation it would be the third largest in the world . it reflects the extent of the virtual life . however , more than being a problem of the frame and the consequent delimitation , the problem is of the speed at which the timeline is filled with posts or the speed with which circulation of images happens in the virtual world . these speeds are too huge and so is the corresponding flow of stories , then what is left for us to ‘like’ , ‘share’ , ‘comment’ or act upon in general is what we see right in front of the eyes that which grabs and somehow holds our attention , that which has voyeuristic potential .
i have been paying close attention to my ‘timeline’ for quite some time now particularly in the time post bjp’s victory in the general election and have been , called a ‘facebook activist’ at times , so are my other friends who share posts which are critical or informative of the state and society in its oppressive and coercive avatars . i spent time thinking about it and realized that the discourse which builds around the statement i . e . “facebook activism” misses or rather highlights some very important points . first of all , the division between ‘user’ and the ‘activist’ here doesn’t stand when every ‘like’ and ‘share’ is telling of the person that you are or the way you present your ‘self’ in the virtual world . infact , according to a study the “likes” on facebook can predict personal attributes such as “political leaning , age , gender and sexual orientation” ( ehrenberg 2013 ) . in this light “social networking sites provide different possibilities for both revelation and concealment of aspects of personhood and social reality” ( dalsgaard 2008 ) . so essentially we are all users here who present themselves in different ways on the screen like goffman argues for a “presentation of self in the everyday life” ( goffman 1959 ) and like we have activists in the world outside the screen we have them here in the virtual world as well . ‘facebook activist’ becomes then one of the different modes of presenting our being . in other words , while presenting our ‘self’ in the virtual world we behave quite similar to the way we do in actual life . we maintain and cultivate an image which we hold as ideal .
there are times when i am sitting in the library and some interesting thought strikes me , i type it down and put it up on facebook for a simple reason that it’s convenient and there are not many people who would want to listen to me otherwise , so the best way to convey a message and have someone listening to you is through facebook or other social media . some of my friends who are not or choose not to be loud and vocal about their political standpoints are very straightforward or make it clear through their ‘activity log’ on facebook . thus a facebook account more than a presenting of our self becomes an extension of our actual self . we mould it according to our needs and ‘usage’ which is reflected in the stuff we share . someone may choose to share or like a photo of a god for fear of some warning about bad luck and disease that may befall if it is not shared or liked and someone may share articles and news expressing concern about a social issue or the sad political scenario . the range is indeed baffling like it is in actual life .
i keep sharing news pieces and articles related to state sponsored violence in kashmir or anywhere else and i noticed that there are people who ‘like’ these posts , similarly one can see people even liking gory images of violence e . g . the recent image of the muslim man who was stripped naked in mangalore . most of the time i try to look for people who have liked the image and if i know that person then i rest assured that what is being liked is not the image but perhaps a ‘concern’ for something which affects that person . but if i don’t know the person then it’s quite confusing sometimes . we like an image of violence on facebook whereas the same image generates repulsion in actual life e . g . the image of the man with folded hands and tears in his eyes during the gujarat riots shakes and stirs us up and infact has a destabilizing effect but if the same picture is put up on facebook it will generate likes and shares . this is telling of the behavioral changes that a technological object , facebook in this case , can produce or create . firmly supported by an ‘economy of likes’ , where images are circulated at high speeds the violent image gets normalized and becomes one more among the many that are already there .
in my opinion what facebook along with the images that are circulated does is that alongwith ‘cathexis’ , where one invests energy and emotion into an object , it also triggers a process of ‘de - cathexis’ where that energy and emotion is lost in the flow images which momentarily stare at you through the screen and then disappear into the unknown under the borders of the screen . in other words the banality of violence as it exists in actual life is also reproduced in the virtual through the circulation of images .
in this light the recent images of the “protest screenings of the movie muzaffarnagar baaqi hai ” proved to be very innovative as they gave a way which circumscribed the logic behind liking images on facebook to a certain extent and infact made an attempt to escape the schema . the images of the protest screenings were not out of the usual or full of awe , these simply showed people sitting and watching the movie on a screen . it is simply image of an event where moving images are displayed on a screen . but it attains immense symbolic value and produces a series of likes and shares on facebook because it expresses concern about the event at kirorimal college . it becomes a signifier of protest and rallies people around it . it sets itself apart from so many other images because here the image in itself becomes a mark of protest and holds testimony to the fact that freedom of speech was violated in the event in kmc and also claims back that freedom . so a like on this image can’t be confusing , here you are indeed ‘liking’ the event , unlike my kashmir news stories .
thus , both the event at kmc and the multiple private screenings afterwards are reproduced and relived on screen as well . the image can’t escape a fleeting life because the screen is delimited and scrolling down is a task but because of the inherent symbolic value of the image it need not be a particular image that has to be found by scrolling down , with every screening in actual life there is an image up on facebook which repeats the same message . thus the image lives and sustains by repetition and not by a voyeuristic logic of facebook . but what is missed , if not lost in this series of repetitions is the ‘event’ i . e . ‘muzzafarnagar’ itself . it lives as a remnant symbolized by the distant screen in the image , the screen which holds testimony to the event . it continues to be “baaqi” in a chain of circulation of images where the screen which is its signifier slides under the signifier of the event that took place in kmc . perhaps we also need to realize that it is time to shift focus from the event to the event because facebook or social media might have made conveying a message easier but as far as conveying the meaning is concerned that has been complicated further .
dalsgaard , steffen . “the presentation of self in virtual life and its role in the us elections . ” anthropology today , dec 2008 : 8 - 12 .
ehrenberg , rachel . “what a facebook ‘like’ reveals . ” science news , 2013 : 14 .
goffman , erving . the presentation of self in everyday life . new york : garden city , 1959 .
no matter how the hindutva elements percolate into the life - fabric of muzzaffarnagar , the secular resistance…baaqi hai ( remains ) . even if pseudo - secular forces show apathy proactivism…baaqi hai . if proactive elements are rounded up and jailed , the idea of communal harmony… . baaqi hai . if harmony and the notion of co - existence is threatened , mobilisation of people …baaaqi hai . if nothing works…struggle baaqi hai… .
xmuzzafarnagar is every where with varying intensities . muzzafarnager is a replica of a socio - political system where every policy supersedes logic and the economic system rests on this superstructure .
striking thoughts about what activism and extending support means in social networking sites . sns in itself remains incapable of mobilizing minds if its not followed by an action in the world outside . a kind of complimentary formations should unfold .
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after staying in the shadow of bjp for nearly three years , former jharkhand chief minister babulal marandi today emerged as the biggest winner of assembly elections as his newly - floated jharkhand vikas morcha won 10 seats .
ranchi : after staying in the shadow of bjp for nearly three years , former jharkhand chief minister babulal marandi today emerged as the biggest winner of assembly elections as his newly - floated jharkhand vikas morcha ( prajatantric ) won 10 seats .
i stand by my principles . . . i have been saying congress - jvm - p will emerge as the single largest alliance ,
marandi told newsmen .
congress had tied up with jvm ( p ) for the elections and the party bettered its showing , moving from nine seats in 2005 to 14 this time .
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anandha jodhi ( flame of happiness ) is a 1963 tamil-language drama film directed by v. n. reddy and a. s. a. sami .

the film features m. g. ramachandran , m. r. radha and devika in lead roles , while kamal haasan played as child artist .

the film , produced by p. s. veerappa , had musical score by viswanathan – ramamoorthy and was released on 28 june 1963 .

the film was average at box-office and ran for 70 days .

it was the only film of devika with m.g.r.

anandha jodhi

anandha jodhi movie wiki page provides information about anandha jodhi ( 1963 ) movie with complete information about anandha jodhi cast & crew , its release date , story / plot , critics reviews and fans comments . it gives you complete information about the anandha jodhi film but in case we need any correction or omission , please contact us here .
along with the movie reviews , stills & photos and anandha jodhi movie trailer hd video .
anandha jodhi ( 1963 ) directed by v . n . reddy • film + cast • letterboxd
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is a tamil drama movie , directed by v . n . reddy . the cast of anandha jodhi includes m . g . ramachandran , devika .
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subscribe & stay connected : urltoken anandha jodhi is a tamil language film starring mgr in the lead role of the protagonist . kamal haasan played as child artist . directed by v . n . reddy , a . s . a . sami produced by p . s . veerappa written by javar sitaraman starring mgr , devika , kamal haasan , s . a . asokan music by viswanathan ramamoorthy for more videos visit : urltoken subscribe & stay connected : urltoken also stay tuned with us on : - google plus - urltoken category : film & animation license : standard youtube license category people & blogs license standard youtube license
physical education teacher in a school , anand ( mgr ) sees accusing of a murder , while he is totally foreign to this crime . in his escape , for his innocence , he can count only on his beloved jodhi ( devika ) and his younger brother , playful bâlu ( kamal haasan ) , anand ' s schoolchild ! watch the full movie , ananda joythi online , only on eros now .
subscribe & stay connected : urltoken . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . anandha jodhi is a tamil language film starring mgr in the lead role of the protagonist . kamal haasan played as child artist . directed by v . n . reddy , a . s . a . sami produced by p . s . veerappa written by javar sitaraman starring mgr , devika , kamal haasan , s . a . asokan music by viswanathan ramamoorthy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . subscribe & stay connected : urltoken also stay tuned with us on : - google plus - urltoken category : film & animation license : standard youtube license
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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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, directed by a . s . a . samy & music by viswanathan - ramamurthi .
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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 )
excellent post . i was checking continuously this blog and i am impressed ! extremely helpful information specially the last part : ) i care for such information a lot . i was seeking this certain info for a very long time . thank you and good luck .
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hi to all , it ' s really a fastidious for me to pay a visit this site , it consists of helpful information .
hi , after reading this awesome piece of writing i am too happy to share my know - how here with friends .
hey there ! i just want to offer you a huge thumbs up for the great information you have here on this post . i will be coming back to your site for more soon .
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 . . .
tháyai kátha thanayan | hit tamil full movie | m . g . ramachandran & m . r . radha
chithi │ full tamil movie │ gemini ganesan | padmini | r . muthuraman | k . s . gopalakrishnan | 1966
ice cream full length latest telugu movie | | rgv ice cream full movie 2014 | | full hd 1080p . .
mahadhevi | tamil full moviev1976 | m . g . ramachandran | savithr | p . s . veerappa | m . n . rajam
chandhrodhayam | full length tamil movie│m g ramachandran | jayalalitha | k . shankar | 1966
karnan - movie audio jukebox | sivaji ganesan | n . t . rama rao | r . muthuraman | devika | savitri
koduthu vaithaval 1963 | mgr | m . r . radha | k . v . mahadevan | full tamil movie
ulagam sirikirathu | m . r . radha , prem nazher , muthuraman | tamil superhit full movie
naan yen piranthen | m . g . r , k . r . vijaya , kanjana | evergreen tamil movie hd
dharmam thalai kakkum tamil full movie : m . g . ramachandran and saroja devi
dharmam thalai kaakkum | m . g . r , sarojadevi , m . r . radha | tamil movie hd
chikku bukku rayile | gentleman hd video song + 5 . 1 audio | prabhu deva , gauthami | a . r . rahman
gulebakavali | full tamil movie | m . g . r | t . r . rajakumari | super hit movies | old movies
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physical education teacher in a school , anand ( mgr ) sees accusing of a murder , while he is totally foreign to this crime . in his escape , for his innocence , he can count only on his beloved . . . see full summary »
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lakeith stanfield and his sorry to bother you director boots riley discuss the stress of filming sex scenes .
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this is about a real hero . he still lives in the heart of people
iru sahodarargal ( lit . two brothers ) was produced by parameshwaran chettiar of coimbatore under the banner of parameshwar sound pictures
inspired by namakkal v . ramalingam’s novel . produced in 6 languages viz . tamil , malayalam , telugu , kannada , hindi and sinhalese . won president award
a film in which bhagyaraj uses an old unfinished mgr movie as a flashback in the plot .
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dharmam thalai kaakkum | fu . . .
the youtube account associated with this video has been terminated due to multiple third - party notifications of copyright infringement .
while acting with a top star may be the ambition of many a star in tollywood , balakrishna sure holds a special place . it is being said that actor kalyan ram who has not been having a good phase in the tinsel town is all set to share the screen space with balaiah and kalyan is very happy with this move they say . true or not , it also appears that the other nephews like ntr junior and tarak are showing a lot of interest to act with their uncle . while balaiah - kalyan movie might materialize after ' ranga panduranga ' , it remains to be seen how things take shape with the other two .
in this indian name , the name
maruthur gopala
is a patronymic , not a family name , and the person should be referred to by the given name ,
ramachandran
. the abbreviations
s / o
or
d / o
, if used , mean
son of
or
daughter of
respectively .
maruthur gopala ramachandran ( tamil : மருதூர் கோபால இராமச்சந்திரன் ) ( january 17 , 1917–december 24 , 1987 ) , popularly known as mgr எம் . ஜி . ஆர் . , or puratchi thalaivar ( tamil : revolutionary leader ) , was a leading actor in tamil films and chief minister of the indian state of tamil nadu from 1977 until his death .
he was born at nawalapitiya near kandy , sri lanka , to maruthur gopala menon and satyabhama . he was from a menon family in vadavannur , palakkad , kerala . but his grandfather had migrated with his family to sri lanka . [ 1 ] [ 2 ]
after his father ' s death , he could not pursue his studies beyond the primary stage due to poverty and joined a drama troupe called original boys . gaining considerable experience on stage , he entered the world of cinema , and gradually rose to enviable positions by persistent efforts and endurance . he became an actor , with a huge mass appeal . he was also a very good director and producer , and was also known to be an expert movie editor . mgr married bargavi also known as thangamani who died early due to illness . he later married sathanandavathi who also died soon due to tuberculosis . his third wife was v . n . janaki , a former actress she divorced her husband ganapati bhat , to marry him . he did not have any children . [ 3 ]
mgr was a member of the congress party till 1953 and he used to wear kathar and wear vibhuti on his forehead . in 1953 mgr joined the dmk . he became a vocal tamil and dravidian nationalist and prominent member of the dmk ( dravidian progressive federation ) . he added glamour to the dravidian movement which was sweeping tamil nadu . he became a member of the state legislative council in 1962 . he was first elected to the tamil nadu legislative assembly in 1967 . after the death of his mentor , annadurai , mgr became the treasurer of dmk in 1969 after karunanidhi became the chief minister .
in 1967 , he was shot in the neck by fellow actor and political aspirant m . r . radha . the bullet was permanently lodged in his neck and his voice damaged . he wanted the financial details of the party to be publicised which enraged the leadership of dmk and in 1972 , mgr was expelled from the party . mgr then floated a new party named anna dravida munnetra kazhagam ( admk ) which was later renamed all india anna dravida munnetra kazhagam ( aiadmk ) , the only powerful opponent of the dmk . he became chief minister of tamil nadu in 1977 , and remained in office till his death in 1987 . in 1979 , members of his party became the first dravidian and non - congress party from tamil nadu to become ministers in the union cabinet . it is to be noted that the aiadmk won every state assembly election as long as mgr was alive . he was the first film actor to be a chief minister in india .
mgr placed great emphasis on social development , especially education . one of mgr ' s most successful policies was the re - introduction of the
mid - day meal scheme
in the government - run and aided schools in tamil nadu , which encouraged underprivileged children to attend schools .
he founded the tamil university , the tamil nadu dr . mgr medical university and the women ' s university in tamil nadu .
in 1984 , mgr fell sick and was rushed to the u . s . for treatment . mass hysteria gripped tamil nadu and over 100 people attempted self - immolation . mgr died december 24 , 1987 after his prolonged illness . his death sparked off an inexplicable frenzy of looting and rioting all over the state of tamil nadu . shops , movie theaters , buses and other public and private property became the target of wanton violence let loose all over the state . the situation became so hopeless that the police had to resort issuing shoot - at - sight orders , something seldom seen or heard of in democratic india . [ citation needed ] the violence during the funeral alone left 23 people dead and 47 police personnel badly wounded . [ 3 ] , [ 4 ] this state of affairs continued for almost a month all over the state of tamil nadu , bringing normal life to a grinding halt and causing untold misery to millions . around one million [ 5 ] persons followed his remains , around 30 followers committed suicide and lakhs of people had their heads tonsured . some people in southern region of tamil nadu still worship him as god . after his death , his political party , the all india anna dravida munnetra kazhagam , split between his wife janaki ramachandran and his political protégé , j . jayalalitha and later merged in 1988 . in 1989 dr . mgr home & higher secondary school for the speech & hearing impaired was established in the erstwhile ramavaram gardens residense as per his will dated 17 january 1986 .
the bharta ratna citation , the certificate conferred to mgr . critics wonder if mgr would have accepted it as - it has citation written in hindi
• bharat ratna was conferred by the government of india posthumously . critics have questioned if he would have accepted the award , had he been alive .
mgr was always the first to personally offer relief in disasters and calamities like fire , flood , drought , and cyclones , he was the first donor during the war with china in 1962 , donating rs . 75 , 000 to the war fund . he was the founder and editor of thai weekly magazine and anna daily newspaper in tamil . he was the owner of sathya studios and emgeeyar pictures which produced many of the films he acted in . he also founded the mgr schools in kodambakkam giving free education and food for the film workers children in 1953 . he was the president of nadigar sangam - south india film artists association for four terms . he willed all his property for the welfare of the poor and hearing impaired people of tamil nadu .
inspired by namakkal v . ramalingam ' s novel . produced in 6 languages viz . tamil , malayalam , telugu , kannada , hindi and sinhalese . won president award
mid d * * anukunta vadiki . . . . . . . leka musugu veerudu emo >
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best of t . m . soundararajan jukebox | exclusive t . m . soundararajan hits | non - stop old tamil songs
thaai sollai thattadhe ( 1961 ) all songs jukebox | m . g . r , saroja devi | best old tamil melody songs
madapura│tamil movie 1962 | kannirendum | m . g . ramachandran | b . sarojadevi | nagesh |
kudumba thalaivan movie : m . r . radha , and b . sarodja devi , best scene
m . r . radha , nagesh , family comedy | | எம் . ஆர் ராதா , நாகேஷ் , கலக்கல் காமெடி
physical education teacher in a school , anand ( mgr ) sees accusing of a murder , while he is totally foreign to this crime .
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are you in a dilemma on which movies to watch this christmas season ? if your answer is yes , hold on and relax . why movies over the christmas ? … read more
marvel ' s agents of s . h . i . e . l . d .
16 vayathinile is a tamil feature film directed by bharathiraja . the film stars kamal haasan , sridevi and rajinikanth . the film ' s score and soundtrack are composed by ilaiyaraaja . the film marked bharathiraja ' s debut as a film maker / screenwriter and it met with a strong critical reception upon release . it was also rajinikanth ' s first colour film . this is the first film which changed the melodrama of tamil movies of shooting inside the studios and sets . this movie was completely shot in outdoor locations and marked a new era in tamil cinema .
vilimoode… ( விழி மூட… ) | offcial music video | p . i . r . i .
all notions about varalaxmi sarathkumar got completely trounced when bala’s tharai thappattai came . the young girl aced the role of a karagattam dancer sooravali who . . .
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