# Nandanar (1942 film)

Nandanar (தமிழ்: நந்தனார்) is 1942 Indian devotional film, based on the Nandan, a low-caste farmhand, and his deep devotion to Lord Nataraja of Chidambaram. Nandanar was a major success, in part because of an innovative prize scheme.
The film was directed by Muruga Dossa and produced by S. S. Vasan under his production company Gemini Studios. The film script was written by Ki. Ra. (Ki. Ramachandran), with music by M. D. Parthasarathy and S. Rajeswara Rao. Starring M. M. Dandapani Desikar (his played titled role) and Serukalathur Sama played lead role and M. R. Swamynathan, Sundari Bai and other played portraying supporting role. Actor Ranjan appeared as Lord Shiva in one scene in the film.

## Background

The story of Nandanar was told as a musical title by Gopalakrishna Bharathiyar's Nandan Charithram in the early 19th century. Bharathiyar's work was an immensely popular example of Harikatha.
This was the fifth series of films on Nandhanar made in Tamil. The earlier versions were made in 1923 (silent), 1930 (talkie), 1935 (talkie) and in 1942. The most successful among these versions was made by Gemini Studios in 1942 with M. M. Dandapani Desikar, a well known Carnatic musician with a melodious voice and one of the early singing stars who played the role Nandhan. Its concept was similar to Nandanar (1935 film) (also known as Bhaktha Nandanar), which starred K. B. Sundarambal as Nandhanar. Though earlier films on Nandhanar failed, this 1942 version was a huge commercial success. The film made an impact among the audience, especially among Harijans (pariah), who were considered untouchable at that time.

## Plot

Nandan (M. M. Dandapani Desikar), a pariah (Untouchable) by caste, is a simple farmer. He is the bonded slave of Brahmin landlord Vediyar (Serukalathur Sama), who is an ardent devotee of Lord Shiva (Ranjan). Vediyar's assistant Jambu (Narayana Rao) treats the slaves badly. However, Vedhiyar has a soft corner for Nandan for his devotion and disciplined way of living. Nandan, who lives with his mother, prays to Lord Shiva all the time and propagates good living by praising the lord to his fellow villagers. Valluvan (M. R. Swaminathan), a priest at the village's Karuppuswamy temple, gets angry with Nandan's propaganda on Lord Shiva. When Valluvan and the villagers try to sacrifice goats at the local temple festival, Nandan stops them and convinces them that animals are also like human beings, so no God will demand animal sacrifice.
Nandan explains the greatness of Lord Shiva; when other villagers want to see the lord, he takes them to have his Darshanam at Sivalokanathar Temple, Tirupunkur. Nandan and the villagers are grieved when the Nandi statue blocked the view of Lord Shiva there. Nandan sings in praise of the lord, the statue miraculously moves aside and Nandan and villagers get a darshanam of the lord. The word spreads on the power of Nandan's prayer; more villagers join him and start chanting Lord Shiva's name. Valluvan gets upset and complains to Vedhiyar about Nandan's behavior of converting the villagers and stopping the sacrifices. Vedhiyar calls Nandan and warns him to stop such activities.
However, Nandan seeks Vedhiyar's permission to go to Chidambaram to see Thillai Nataraja Temple which is his long-cherished dream. Vedhiyar refuses and instead, forces him to work even more in the farm. Nandan works in the farm mechanically without even eating for many days with the hope of getting permission to go to Chidambaram. He keeps singing in praise of lord Nataraja, joined by other workers in the field. Finally, to put him in his place, Vedhiyar permits him go to Chithambaram with the condition that he can go only after cultivating the crop in 40 acres (veli) land. Nandan is shocked with his impossible condition and pleads with the landlord to reconsider. However, Vedhiyar refuses and insists that Nandan can go only after cultivating the entire vast area.
Nandan gets dejected, chants Lord Shiva's name and faints. Lord Shiva comes to his rescue and cultivates the entire land overnight. Next day, this miracle in the village astonishes everyone. Vedhiyar realises his mistake, understands the power of Nandan's prayer, falls at his feet, seeks his forgiveness and allows him go to Chithambaram. Nandan goes to Chithambaram but remains outside the temple as, being an untouchable, he cannot enter it. At night, Lord Shiva appears in the dream of the Chithambaram temple priests and informs them that Nandan has come to see him, is waiting outside the town, and orders them to bring him to the temple. The priests locate Nandan and ask him to accompany them to the temple. When he is about to enter the temple, a few Brahmins in the gathering object to a pariah entering the sacred temple. The priests then decide to carry out the fire ritual by which Nandan has to go through fire to clear his pariah status. The sacred fire is prepared; Nandan goes around the fire, and with the lord's name on his lips, walks into the fire. He emerges from the fire with a new holy body, with sacred ashes smeared all over and the holy thread. He is taken inside the temple by the priests. He worships Lord Nataraja, then disappears and unifies with Lord. Nandan's prayers to be with Lord Shiva are finally answered.

## Cast

Cast according to the opening credits of the film:

## Soundtrack

Music was composed by M. D. Parthasarathy and Rajeswara Rao. Lyrics were written by Papanasam Sivan and Kothamangalam Subbu. Some of the original compositions of Gopalakishna Bharathiyar were used in the film. Papanasam Sivan composed one song in the film. The song "Sivaloga Nathanai Kandu" was composed (in raga "Nathanamakriya" and Bharathiyar composed it in Senjurutti), "Vazhi Marathirukirathey" (in raga "Thodi"), "Ellarum Varungal" (in raga Bilahari; Bharathiyar composed in Behag) and "Pitham Theyliya" (in raga "Sankarabharanam". The songs "Sivaloka Nathanai", "Pirava Varam" and "Ananda Nadamidum" were based on ragas Mayamalavagowla, Lathangi and Kedaragowla respectively. "Ayya Methakadinam"(raga Malika Bharathiyar composed it in Punnaagavarali, "Varugalaamo" (Maanji) and "Chithambara Darisham" (raga in Mukhari and Bharathiyar composed it in Asveri). S. S. Vasan's demanding recording process made the best of Desikar's singing talents, but angered the star in the process.
| No | Songs | Singers | Lyrics | Length(m:ss) |
| 1 | "Anandha Nadamedum" | | Papanasam Sivan | 02:28 |
| 2 | "Ellai Pidariyae" | | Papanasam Sivan | |
| 3 | "Unaiyellar Kaathi Yaar" | Serukalathur Sama | Papanasam Sivan | |
| 4 | "Thillai Ambala" | M. M. Dandapani Desikar & Serukalathur Sama | Papanasam Sivan | 01:56 |
| 5 | "Paavi Paarayan" | M. M. Dandapani Desikar | Papanasam Sivan | 02:40 |
| 6 | "Enakkum Irangi" | M. M. Dandapani Desikar | Papanasam Sivan | |
| 7 | "Ellorum Varungal" | M. M. Dandapani Desikar | Papanasam Sivan | 01:11 |
| 8 | "Kana Kann Vendumo" | M. M. Dandapani Desikar | Papanasam Sivan | 01:36 |
| 9 | "Ulaganathan Thaalam" | M. M. Dandapani Desikar | Papanasam Sivan | |
| 10 | "Veeraadum" | M. M. Dandapani Desikar | Papanasam Sivan | 03:13 |
| 11 | "Sivaloga Nathanai" | M. M. Dandapani Desikar | Papanasam Sivan | 03:07 |
| 12 | "Sambo Sankara Samba" | M. M. Dandapani Desikar | Papanasam Sivan | |
| 13 | "Varugalaamo Ayya" | M. M. Dandapani Desikar | Papanasam Sivan | 03:44 |
| 14 | "Vara Vara Kettu Pochu" | M. M. Dandapani Desikar | Papanasam Sivan | |
| 15 | "Jathiyillum Kidaiyaen" | M. M. Dandapani Desikar | Papanasam Sivan | 02:20 |
| 16 | "Vazhi Marathirukkirathe" | M. M. Dandapani Desikar | Papanasam Sivan | 5:33 |
| 17 | "Hara Hara Jagatheesa" | M. M. Dandapani Desikar | Papanasam Sivan | 02:03 |
| 18 | "Piravaa Varam Tharum" | M. M. Dandapani Desikar | Papanasam Sivan | 01:53 |
| 19 | "En Appanallavaa" | M. M. Dandapani Desikar | Papanasam Sivan | 01:49 |
| 20 | "Piththam Theliya" | M. M. Dandapani Desikar | Papanasam Sivan | 02:44 |
| 21 | "Ayyae Mettha Kadinam" | M. M. Dandapani Desikar | Papanasam Sivan | 03:14 |
| 22 | "Kaamamagatriya" | M. M. Dandapani Desikar | Kothamangalam Subbu | 02:22 |
| 23 | "Ambala Paatte Arul Paattu" | M. M. Dandapani Desikar | Kothamangalam Subbu | |
| 24 | "Kaakkavendum Kadavule" | | Kothamangalam Subbu | |
| 25 | "Manja Kulichavale" | Pottai Krishnamoorthy | Kothamangalam Subbu | |
| 26 | "Veeran Irulan Kaataeri" | M. D. Parthasarathy | Kothamangalam Subbu | |
| 27 | "Natta Nadavu Chezhikka Venum" | Kothamangalam Subbu and group | Kothamangalam Subbu | |
| 28 | "Ellai Pidaariye" | Kothamangalam Subbu and group | Kothamangalam Subbu | |
| 29 | "Vara Vara Kettu Pochchu" | Kothamangalam Subbu and group | Kothamangalam Subbu | |
| 30 | "Uyarap Panai Mael Kalayam" | M. R. Swaminathan | Kothamangalam Subbu | |
| 31 | "Vandiyit Paaram Pottu" | M. S. Sundari Bai | Kothamangalam Subbu | |

## Reception
### Marketing

The film is based on a musical Nandan Charithram by Gopalakrishna Bharathiyar. Wellington theatre, where the film was released, was decorated like a temple and the Nandhi statue used in the film was kept inside the theatre. For many, coming to this film become an experience like visiting at Temple. S. S. Vasan well - known for the innovative marketing of his films, announced an unbelievable Rs. 10.000 prize song contest for Nandhanar. Moviegoers were asked to choose the three best songs in the order of merit and the drop the answer sheet along with counterfoil of the cinema ticket in a box provided at movie houses where the film was being screened. This was the first time such an innovative scheme was introduced in South Indian films. Vasan had deposited the pre - chosen list of best three songs in a sealed envelope with Indian Bank at First Line Beach (now Rajaji Salai) well before the prize scheme was announced. Since the gramophone records of the film were not released (release after 100 days of the film), a person wishing to participate in the contest had to watch the film and submit his reply with the ticket counterfoil. This plan of S. S. Vasan contributed immensely to the box office success of the film. The contest drew huge crowds; 20 winners were selected and prize money was equality distributed among them by S. S. Vasan.