Golden Period of Tamil Cinema

[Scale]

//60s is the Golden Period of Tamil Cinema//

Brother NOV,

Can you please list 10 good films of 60's with Artist Name, MD, Lyricsist & Director's name which I may not aware of. I absolutely adore these giants (+KVM/Vaali...) and have no doubt on what you say but I would like to judge by the quality of films.

app_

Though you didn't intend to draw a decade comparison it sounds that you are more likely devoted to Raaja' entry. Well that doesn't emphasize anything late 70's & early 80'snu solrathukku pathila 80's la Raaja/Mahendran's/BR pottu paarkalam.
[/u]

[Scale]

If interested, we shall take it to a new thread 'Golden Period of Tamil Cinema '

[Vivasaayi]

NK
Mahendran & IR வாழ்க :-)

Makes one think whether some of kurumbus in post-marriage-MR movies had his wife's inputs...

Also re-emphasizes the fact that the best movies in TF happened in late 70's / early 80's :-)

yep! :)

[Plum]

I can certainly see it if we talk about 60's being the golden age for music, lyrics etc. Although I, along with app, might consider 70's for that also, one can see why 60's can be held as the pinnacle for music as well. Lyrics - well, there cant be any doubt, Kannadasan strides like a colossus and his peak IS TFM's peak on lyrics

But what I cant see is the 60's being the pinnacle for movies. A colossal waste of Sivaji's talent is the theme of 60's tamil filmdom. If we didnt have NT, then we can justify the kind of standards we had in 60's, but the fact that with such a talent on board, TF only managed to churn out what it did is a shame.
Dont get me wrong NOV, I will watch many of those movies with relish now but to call them the golden age is quite taking it too far. Mahendran is really the peak of Tamil Cinema. And he has never got enough credit for that.

[Plum]

And what a waste that Mahendran didnt have a role for Sivaji Ganesan although NT was active and kicking in the late 70s and early 80's. I wonder if the people around NT pushing him into meaningless sandhippus and the like were the reason for this. Maybe MS can clarify.
I cant believe that Mahendran didnt even think of doing a movie with NT.

(Btw, I do know about thangapadhakkam )

[MADDY]

A colossal waste of Sivaji's talent is the theme of 60's tamil filmdom. If we didnt have NT, then we can justify the kind of standards we had in 60's, but the fact that with such a talent on board, TF only managed to churn out what it did is a shame.
Dont get me wrong NOV, I will watch many of those movies with relish now but to call them the golden age is quite taking it too far. Mahendran is really the peak of Tamil Cinema. And he has never got enough credit for that..

agree on each and every word except i would add maniratnam/bahrathiraja/balu mahendra "creating" at the same time period along with mahendran as the peak of tamil cinema.....highest peak that cant be scaled again IMO 8-)

[VENKIRAJA]

agree on each and every word except i would add maniratnam/bahrathiraja/balu mahendra "creating" at the same time period along with mahendran as the peak of tamil cinema.....highest peak that cant be scaled again IMO 8-)
+1.

[Sarna]

A colossal waste of Sivaji's talent is the theme of 60's tamil filmdom. If we didnt have NT, then we can justify the kind of standards we had in 60's, but the fact that with such a talent on board, TF only managed to churn out what it did is a shame.
Dont get me wrong NOV, I will watch many of those movies with relish now but to call them the golden age is quite taking it too far. Mahendran is really the peak of Tamil Cinema. And he has never got enough credit for that..

agree on each and every word except i would add maniratnam/bahrathiraja/balu mahendra "creating" at the same time period along with mahendran as the peak of tamil cinema.....highest peak that cant be scaled again IMO 8-)

KB illaama 70's and 80's'aa .... peak of tamil cinema'va ?

[NOV]

guys, we can never come to a consensus on this one as each of us have our own standards.
a person (much) older than me would probably consider MKT days as the best. :lol2:

I posted that in response to a_e to actually pinpoint this. ;)

[app_engine]

app_
Though you didn't intend to draw a decade comparison it sounds that you are more likely devoted to Raaja' entry. Well that doesn't emphasize anything late 70's & early 80'snu solrathukku pathila 80's la Raaja/Mahendran's/BR pottu paarkalam.


Scale,
I posted in another thread about my "movie-watching-sabbatical" from 76 to 81 save a lone dharam-veer :-) That way, though I got immensely attached to Raja's music in those years, my interactions with on-screen stuff was nil :-)

I've revisited some of those classics over the years - actually still visiting , seen uthirippookkaL & NK only in the last 10 days, yet to watch muLL-malar, haven't watched avaL app etc. OTOH, I have watched a good % of BR, BM, MR movies as well as the yesteryear classics like the 'pA' series movies of Bheemsingh and other acclaimed Shivaji movies of 60's. Those are great movies, phenomenal music no doubt but the offerings of Mahendran are a class altogether different, superior!

Watching three within a short span of time - UP, Johny & NK within a span of 10 days - has kind of changed my perception of TF history and I'm at awe with this colossal talent called Mahendran :-) These are Padmarajan kind of stuff, for which there are equivalents only in MF, IMO.

[app_engine]

Also, now I seem to understand why many consider SKV as the biggest blow to TF quality :-(

[Plum]

Yes, it delayed Kamal by 7-8 years in pursuit of a certain type of Cinema. Who knows? Marudhanayagam might have happened earlier?
(Considering that ALAvandhAn was written in early 80's, there is a huge gulf between his mind and the average movie he churned out in 80's)

[P_R]

a person (much) older than me would probably consider MKT days as the best. :lol2: :roll:

[app_engine]

I was revisiting pAsamalar a couple of days back (a movie which drained the eyes completely the first time I watched in the college audi).

20 years older now, while I still find it impressive and the on-screen performances phenomenal, as a movie there are a lot of speed breakers, boring stuff, sudden switch to "senthamizh" sounding funny etc. In other words, there are a lot of avoidable stuff :-)

Sure, there are such "compromises" in UP (kalyANam pAru) / Johny (Asaya kAththula thoothu vittu) / NK (mummy pEru mAri), but they seem to be the minimum.

Well, let me watch muLL-malar & avaL app & then continue this discussion :-)

[NOV]

Brother NOV, Brother Thulaabaram, if you are really interested in the gems of the 60s, please go thru the list here: http://en.wikipedia.org/wiki/Tamil_films_of_the_1960s



a person (much) older than me would probably consider MKT days as the best. :lol2: :roll:well, technically, you are much older than me.
btw, I have yet to open the plastic foil of the CD you gave me. :oops:


.... In other words, there are a lot of avoidable stuff :-)in that case, lets talk abt Mahnedram in 2030 :P
I doubt I will be alive to see you change your opinion :cry:

[P_R]

:x NOV One of the finest voices of all time.

[NOV]

:x NOV One of the finest voices of all time.Possibly.
I may recognise it when I reach your age, if at all I reach it. :oops2:

[app_engine]

NOV,
மாறிமாறி வரும் என் போன்றோரின் ஒப்பீனியன்களைப்படிப்பதற்காக நீர் குறைந்தது இன்னும் ஐம்பது ஆண்டுகள் ஹப் வரும்படியாக, இதோ, பிடியும் சாபம் :-)

P_R,
Sure golden voice (i.e. my dad's most preferred) :-)

However, to sit through original version of haridAs won't be quite easy (not anymore, not even for my dad) :-)

[equanimus]

Also, now I seem to understand why many consider SKV as the biggest blow to TF quality :-(
Actually, I think this is ascribing way too much importance to Kamal and his films. சகலகலா வல்லவன் வணிக வெற்றி பெற்றதோ, ராஜ பார்வை பெறாமல் போனதோ, கமலுக்கு பெரிய பாதிப்பை ஏற்படுத்தியிருக்கலாம். (அதுவே அவர் பல இடங்களில் இவ்வாறு கூற காரணம் என நினைக்கிறேன்.) ஆனால், தமிழ் சினிமாவையே பாதிக்கும் அளவிற்கு இருந்திருக்க முடியுமா என்ன?

[Plum]

irundhudhE! If Rajapaarvai had won and SKV lost, distributors would have been more lenient to his indulgences, illaiyA? Opportunity cost-pA!

[NOV]

when Astro Vellithirai started, the first movie shown was Haridas. I could take in the movie but had some urgent appt to catch an hour later.
one day I will see the whole movie I say..

[equanimus]

irundhudhE! If Rajapaarvai had won and SKV lost, distributors would have been more lenient to his indulgences, illaiyA? Opportunity cost-pA!
But that's very hypothetical. Kamal might argue that he'd have never done an SKV had 'rAja pArvai' done well. But is that really true? May be, he'd eventually have, when the next 'rAja pArvai' from his stable failed!

[app_engine]

equa,
Warning - long post :-)

I think that has more to do with the general psychology of the film industry.

In the prior era, MGR meant masAlAs (dance songs / comedy / fight sequences / "no more tears") while Shivaji was kind of symbolism for "alternative cinema" :-) Though this was not strictly true, at least in the psyche of general public and industry.

Though KB was successful with his "conversion of stage dramas into screen versions", it was more like facilitating drama watching in many places, without the full impact of cinema (not just my opinion, the overall perception away from Chennai).

Then came these bunch of talents - KH / RK / IR / Mahendran / BR / BM who made a bunch of movies that I'm trying to complete watching and can any day give a run for the golden movies made in MF during 80's.

When KH-RK chose to take different route and emerge as the next MGR-Shivaji, the obvious expectation was KH to continue to spearhead the "alternate cinema". SKV was the first and big blow to that and it affected the psyche of most film makers is probably the perception.

Well, this is the picture I see as of now :-)

[P_R]

equa,Warning - long post :-) இதெல்லாம் ஒரு long-nu warning குடுத்து public perception-ஐ mislead பண்ணாதீங்க. ஒரு பத்திக்கு மேல இருந்தாலே படிக்கிறதுக்கு மூச்சுமுட்டுற மாதிரி ஒரு சொல்லி சொல்லியே இப்பொல்லாம் ஈக்வர் twitter ரேஞ்சுக்கே maindain பண்றார். :-|

[equanimus]

And as for why this is ascribing too much importance to Kamal, why is the same not being said of any other relatively offbeat venture in the late 70s or early 80s. For instance, what if 'avaL appadiththAn' had been a blockbuster?

What, I think (and I'm of course venturing into conjecture here), signifies SKV for Kamal is that he consciously chose to do the kind of films that did big business. That is, with that film, he was asserting his own star power in the wake of the big hits that Rajini and others had started delivering.

[equanimus]

a_e,
I think I more or less agree with everything you've said. The crucial point here is that that film wasn't "ahead of the curve" in any sense to influence the overall course of Tamil films. It's the other way round. Kamal was "behind the curve" and did that film in the wake of the big success of films of that kind, isn't it?

[app_engine]

Actually A-A was a commercial success and such movies continued till 81-82 (moondRam piRai was 81).

Kamal didn't continue doing such after SKV affecting the psyche of such filmmakers (TTT, kAkki sattai, kaidhiyin diary etc continued till MR kind of broke it with nAyakan - surprisingly, Mahendran waned and BR was also confused).

Well, these are all generalizations. If one keeps analyzing, AVM / SPM appear to be the biggest offenders...

Well, salangai oli kind of happened in-between (but it was in Telugu).

[app_engine]

a_e,
I think I more or less agree with everything you've said. The crucial point here is that that film wasn't "ahead of the curve" in any sense to influence the overall course of Tamil films. It's the other way round. Kamal was "behind the curve" and did that film in the wake of the big success of films of that kind, isn't it?

equa,

Yes, may be it was not SKV but murattukkALai.

[Bala (Karthik)]

But what I cant see is the 60's being the pinnacle for movies. A colossal waste of Sivaji's talent is the theme of 60's tamil filmdom. If we didnt have NT, then we can justify the kind of standards we had in 60's, but the fact that with such a talent on board, TF only managed to churn out what it did is a shame.
Dont get me wrong NOV, I will watch many of those movies with relish now but to call them the golden age is quite taking it too far. Mahendran is really the peak of Tamil Cinema. And he has never got enough credit for that.
+1
Often, credit that must go to NT is being apportioned elsewhere

[Bala (Karthik)]

equa,Warning - long post :-) இதெல்லாம் ஒரு long-nu warning குடுத்து public perception-ஐ mislead பண்ணாதீங்க. ஒரு பத்திக்கு மேல இருந்தாலே படிக்கிறதுக்கு மூச்சுமுட்டுற மாதிரி ஒரு சொல்லி சொல்லியே இப்பொல்லாம் ஈக்வர் twitter ரேஞ்சுக்கே maindain பண்றார். :-|
:lol:

[Scale]

NOV,

ayyo, wiki linkslam enakku theriyaadha? I have spent almost 2 hrs in the morning going thru wiki/discography of KB, Sridhar, MSV, Kannadaasan, Sivaji, MGR, IR, Mahendran, BM,BR + the link of 60's & +.

IMO

KB - ? (This may wreck some but look at his discography seriously a director who has more than 100 films haven't left anything to his credit while the directors of the following eras has hardly 10 films to their credit. I really cant take Mahendran+BM+BR as the peak of tamil cinema with just 2-3 good films infact both MM & particularly UP came as a breakthrough between commercial cinema. Johny oru mokkai except songs.)
Sridhar - Mahendran
KVM/MSV- IR (Agreed 100%)
Kannadaasan - ?
Sivaji - KH (somehow)

Infact, only Raaja have achieved this pinnacle and KH to certain extent.

I somehow not convinced with this type of celebrity/combo analysis instead I would like to go by films of that era and estimate what so colossal unique about it. Day by Day & Era by Era I feel the story, narration has really lost its depth. For once I can take a movie for its screenplay and technical brilliance but the next one I can't. Be it novel, movie or a painting.

Some films which immediately comes to my mind of 60's.

1. Thiruvilayaadal
2. Thillaana Mohanaambaal (APN/KVM)
2. Aayirathil Oruvan
3. Ethir neechal, Neerkuzmili, Major Chandrakanth,Iru Kodugal, (Kb's) 4. Karnan
5. Kaadhalikka Neramillai, NOA (Sridhar)
6. All P's (ABSingh)
7. Galatta Kalyaanam (CVR)

There could be many. Like NOV said story, screenplay, acting, music, songs, lyrics, comedy & what not .

The advantage of having 10-15 tamil channels is really paying me off. Watching leisurely at your choice of these classics/songs is priceless rather wasting time and money on every new wretched films.


[/u]

[Nerd]

1000-il 1, Kaadhalikka Neramillai in the list and Johnny won't feature :lol:

Blasphemy alert - uLLaththai aLLiththaa >> Kaadhalikka Neramillai.

[venkkiram]

60s is the Golden Period of Tamil Cinema.


வழி மொழிகிறேன்.

அறுபதுகளுக்கு அடுத்து வந்தவர்கள் தொழில் நுட்பத்தில் வளர்ந்திருக்கலாம். செறிவுள்ள படங்கள் மின்னல் கீற்று போல அவ்வப்போது வந்து சென்றிருக்கலாம். நான் இன்னொரு திரியில் எழுதிய பிராந்திய மொழி வசனங்களை கொண்டு வந்திருக்கலாம். ஆனால் தொடர்ச்சியான சிறந்த படைப்புக்கள், பரந்த கற்பனை வளம் என எல்லாவற்றிலும் முயற்சித்து பார்த்த எழுபதுகளுக்கு முந்தைய படைப்புக்களே இன்னும் கவர்கிறது.

[Bala (Karthik)]

Blasphemy neruppu moottufying alert:
Nerd,
Humor na naama dhairiyama blanket statement-e vidalaam

P.S: Nagesh scenes in Thiruvilayaadal > Kadhalikka Neramillai

[Scale]

Instead of moottufying or anachifying why dont you post what do you feel as best. 10 list pannungha atharkappuram pesalam. If Johny features any of your list, I am ready to rip it apart. kayil :theepandham:
UAT >> potatharkum serthu thaan

[app_engine]

Just finished watching முள்ளும் மலரும், fantastic!

I'm not sure whether it was MM or UP that was dissed prior to seeing with BGM (or at least the story written about one of these two movies). If that was about UP, I'll kind of agree half-heartedly.

OTOH, if the story was about MM, vehemently disagree! This doesn't need songs / music / any such paraphernelia :-) It would have still been wonderful!

Mahendran, Rajini, Shobha, fadAfat (IR is obviously an extra extra bonus for this movie), great job!

Sarath Babu :-( Why is he punishing the steering in senthAzham poovil :lol:

[Bala (Karthik)]

Instead of moottufying or anachifying why dont you post what do you feel as best. 10 list pannungha atharkappuram pesalam. If Johny features any of your list, I am ready to rip it apart. kayil :theepandham:
UAT >> potatharkum serthu thaan
I wonder if there is necessarily any one single period which can be called *the* golden age for the industry as a whole. There have always been pockets of greatness surrounded and dwarfed by mediocrity, right till this point in time, illaya? IMO NT, rose above the mediocrity of his time. The same with the other big guns in their respective times. OK. munna pinna irundhirukkalaam but not by a distance, where we have a clear golden decade. Personal a namakku porkaalangal irukkalaam.

P.S: I like Mahendran and Johny but please feel free to rip apart Johny or any film for that matter :)

UAT > because i laughed heartily in many scenes, something which i cannot say for KM. Generation gap, maybe but it works both ways, right?

[Scale]

Mod,

Please merge (http://www.mayyam.com/hub/viewtopic.php?p=2094500&highlight=#2094500)from the Films thread?

[app_engine]

http://www.hinduonnet.com/thehindu/fr/2007/07/13/stories/2007071350330100.htm

'மணிரத்னம் டேஸ்ட் நம்ம மாதிரி'ன்னு காலரைத்தூக்கி உட்டுக்கலாம் :-)

BTW, I've read this article long back and searched in the web after watching MM :-)

[Scale]

Avvalavu complicated onnum illai its between 60's & 70 and 80's may be... paarpom. unga lista podunga paarpom.

P.s: Johny, sure I will (if it features in your list).

End Digression.

[Scale]

app_e

mahendran wiki linkla morning paarthen. decade vaisa pirichiyum paarthen.

[app_engine]

மொதல்ல 'என்ன காலப்பகுதிகள்'னு விவாதிக்காமல் மொட்டையா 50கள் 60கள்னா எப்படி?

There has to be better classification of the list. I think it's more about "group of talents around" than a simple chronological division..

[venkkiram]

found an one year old post of me from karuthu.com and feel its good time now to reread..

-------------------------------------------

YGee. Mahendra on behalf of Bharath Kalachaar had organised a meeting today, titled Saluations to the King of Comedy. The function was arranged to celebrate Nagesh (YGeeM said it is celebration and not condolence because Nagesh brought cheers all around). Meeting was addressed by Cho, Chitralaya Gopu, Sachu, V.S. Raghavan, Vietnam Veedu Sundaram, Mrs. Y.Gee.P and Manorama.

Mahendra was right. There was more laughter and joy around as the anectodes told by the speakers revealed the humour side of Nagesh much more. Some excerpts

Cho: Since he had to go for another function, Cho spoke first. He talked about the general things. How Nagesh was an unavoidable factor in Tamil cinema even for films which had Sivaji and MGR in the lead. How he used to be there in 45 out of 55 films released in a year.[நானும் தேங்காய் சீனிவாசனும் மிச்ச பத்து படத்திலே நடிப்போம்>. Cho said that when he started a drama troupe, there were so many doing so much variety and that's the reason why he took up political subjects.

Chitralaya Gopu recalled the earlier days of Nagesh. He remembered having met Nagesh while he and Sridhar went to meet Balaji and it was Balaji who strongly recommended Nagesh to Sridhar. They booked him for Nenjil Oru Aalayam. Gopu said on the first day Nagesh called him Mr.Gopu, later as Gopu sir and within a day it became டேய் கோபு. Gopu recalled that while shooting for Nenjil Oru Aalayam, there was a shooting planned at Chengalpattu and Nagesh who was engaged in another shooting was supposed to come directly there. But as Devika was indisposed the shooting was cancelled. Nagesh who had reached there could not even get the information from the shooting spot and had to catch a bus back to Chennai finally. Gopu added that after Kadhalikka Neramillai, their bond strengthened. Nagesh always used to publicly admit that it was gopu's dialogue that gave him the scope. Gopu dwelt about one particular aspect of Nagesh's character. He was uncompromising on the renumeration part. He would not complete the film without getting his full payment. He would always demand and get it. But at the same time Gopu recalled with gratitude that Nagesh had acted around 10 films directed by gopu and he never demanded anything from the producer. He quoed one particular incident. Both went for a marriage. Gopu had enquired எவ்வளவு மொய் எழுதப் போறே? Nagesh replied நூறு ரூபாய். Gopu "நீ எவ்வளவு பெரிய ஆளு, நீ போய் நூறு ரூபாய் எழுதலாமா?" Nagesh's counter "அதுக்காக என் வீட்டையே எழுத முடியுமா? உனக்கு மாசம் அஞ்சு இன்விடேஷன் வருது. எனக்கு ஐந்நூறு இன்விடேஷன் வருது. என் நிலைமையை யோசி. இனிமே என்கூட கல்யாணத்துக்கு வராதே". Gopu talked about the பாரதி விழா function organised by NT at எட்டயபுரம் and people swarming Nagesh much to the discomfort of Thangavelu who was also present there.

Next was V.S. Raghavan. He recollected his frienship with Nagesh and spoke about the same aspect as highlighted by Gopu and said that Nagesh had advised him about this also. He had a strong reason for such a behaviour.[உழைக்கிறோம். அதுக்கான காசைத்தான் கேட்கிறோம். இதிலே வெட்கப்படறதுக்கு ஒண்ணுமில்லே>. Raghavan recalled two incidents. The first one was about Nagesh having to act with Sivaji for a particular movie. Sivaji was waiting and Nagesh was in another set. Knowing about NT's punctuality, Nagesh had called up the electrician of the Studio and asked him to cut the power supply. The electrician did it. Nagesh finished his portion at the other spot and once he entered this studio gave the signal to the electrician and power was restored.[என்ன கரண்ட் இல்லையா? பார்த்தீங்களா, நான் வந்தேன் கரண்ட் வந்துடுச்சு>. The second was about Poovellam Un Vaasam. Raghavan had casually told Nagesh that the producer had approached him for a grand father's role for that movie. After a day or two when the producer had approached Nagesh for acting in the same movie for the grand father's role, Nagesh refused stating that he will not do what Raghavan was supposed to do. Only when it was clarified that both were there as grand fathers, he agreed to act.

Sachu came to the mike and said that if at all she had learnt acting it was only due to Nagesh. She said that in her earlier days, she would simply stand dumb because Nagesh would do spontaneous dialogue delivery with his own words. She recollected the scene from Kadhalikka Neramillai where Nagesh teaches her how to act [என்ன கையை நீட்டறே சுண்டலா?>. She talked about the dance sequence of Malarendra mugam ondru from KN and said that even she a learned dancer found it difficult to cope with Nagesh's speed and timing. She talked about one outdoor shoot of Baghdad Perazhagi. They had finished the shooting but while doing the dubbing they found that the dialogue sheet had been lost. Nagesh observed the lip movement and they wrote the dialogue based on that and dubbed. Such was his mastery, Sachu said.

Vietnam Veedu Sundaram was the next one. he said that he came to Madras and on the very first day of arrival which was very early morning and he without any money in his hand had found a name board saying club house and there was a bed in the thinnai, unoccupied. He slept on it. In the Morning he was tied to the bed and questioned as the inmates thought that he was a thief. Nagesh was one among the inmates and he asked him why he had slept on the bed. VVS replied அசதியா இருந்தது. Nagesh immediately gave a counter வசதியானவன் படுக்கிறதுடா பெட். But from that day onwards, VVS stayed with Nagesh. He recalled about a recent incident when he had met him to tell him about the revival of Vietnam Veedu play by Mahendra and Nagesh had blessed him. Making fun of his own health Nagesh had remarked நான் முந்திண்டா நேக்கு, நீ முந்திண்டா நோக்கு.

Mrs. Y.G.P recalled the olden days when Nagesh was part of their U.A.E troupe. She said that even after making big in cinema, he had the same respect for her and YGP. She jokularly said that if Nagesh calls her during the academic year admission, definitely it would be for a seat. But he would not straightaway come to the subject and after talking about all other things, would ask and he would not take a No. She also recollected how he used to take money from both her and YGP without the other knowing about it.

Last was Manorama. But Achhi was emotional and brief. She talked about their first film together. She talked about Deivathin Deivam directed by KSG where a duet song recorded for Nagesh and Manorama had to be dropped because Nagesh could not dance. The same Nagesh learnt dance from Sundaram master who was working as an assistant to Thangappan Master. And he developed a style of his own. Manorama further added that people used to say that Nagesh was influenced by Jerry Lewis. But she asked can Jerry Lewis ever do Dharumi, Vaithi and Maadhu?. She fondly recalled the function organised to facilitate her on winning Padamshree and Nagesh on his own coming to the dias and congratulating her. She finished her speech by saying that there can be only one Nagesh.

But it was Mahendra who acted as the compere gave so much info on Nagesh and his timing. His comments were

About the Thangavelu incident, Mahendra talked about a scene in Nam Nadu - second half. Nagesh comes in as the servant of MGR and holds a big dog. Thangavelu would come near him and ask நாயா? Nagesh immediately countered him with பின்னே நீயா. Thangavelu taken aback by this went and requested MGR to cut the scene. MGR agreed but in the end decided to retain it.

About Nagesh's timing and his boldness to speak on his own even against MGR and Sivaji was highlighed by YGeeM. He recalled in Galatta Kalyanam, in a particular scene, when NT asks என்னடா டயலாகா for which Nagesh replied on his own ஏம்பா, உனக்கு முன்னாடி யாரும் டயலாக் பேசக்கூடாதா?.

With MGR he went a step further. In Anbe Vaa when MGR asks இந்த வீட்டிலே யாரு இருக்காங்க for which Nagesh replies கண்டவனெல்லாம் இருக்கான், உன்னையும் சேர்த்து. An unimaginable dialogue in a MGR film and that too in a face to face scene.

Mahendra recalled about Nagesh's comment on the current comedy crop. சில பேருக்கு டைமிங் நல்லா இருக்கு. சில பேருக்கு டைம் நல்லா இருக்கு.

Mahendra said that Nagesh's humour sense is so great that even when he is in a midst of grief, he used to joke. He recalled that Nagesh was sitting by the side of YGP's body all night when he passed away as Mahendra was not in station. It seems that Mahendra's cousin had helped him with coffee, tea etc and Nagesh enquired with VV Sundaram whether the boy is a Bank employee. Sundaram nodded his head and asked him how did he find out for which Nagesh replied இல்லே, எதை பேசினாலும் on account of -னு ஆரம்பிக்கிறான்.

Mahendra requested the media people not to confer the title of Genius on all and sundry. He said that Tamil cinema had/has only four geniuses and they are Sivaji, Nagesh, Kannadasan and MS Viswanathan. We have not honoured the first three while they were alive and so he requested all to atleast honour MSV.

There was clippings from various Nagesh movies under different titles. First was Nagesh with Gopu and Sridhar. Kadhalikka Neramillai story narrating scene and a scene from Kalaikovil where Nagesh comes in an intoxicated state were shown. Then Nagesh and his comedy tracks were shown. Naanum Oru Penn and Kadhalikka Neramillai scene [the one which I described earlier> were screened. His various expressions and walking styles from the film Server Sundaram was shown.

Then came Nagesh as the dancer. Avalukkenna song from Server Sundaram and Vanna Vizhi medai from Neerkumizhi [what a dance- the whole auditorium clapped> was shown. Ammano Samiyo from Naan and Appappa Naan Appanalada from Galatta Kalyanam followed. Nootrukku Nooru was shown for Mahendra -Nagesh combo.

Nagesh's combo with MGR. Anbe Vaa and Kasikku pogum song from Chandrodayam were screened. Then came Then Mazhai scene involving Nagesh, Cho and Major.

Nagesh - Manorama combo was the next. Saraswathy Sabatham and Anubavi Raja Anubavi movie song முத்து குளிக்க வாரீகளா were shown.

NT- Nagesh combo started with கேள்வி பிறந்தது அன்று from Pachhai vilakku followed by the greatest Dharumi. Savadal Vaithi came next and Ooty Varai Uravu followed.

The next was KB- Nagesh combo and we were treated with clippings from Ethir Neechal, Poova Thalaiyaa, Iru Kodugal and Bama Vijayam [என்னமோ ஒரு படம்.ஒரே படம். இவங்க நல்லா நடிச்சிருப்பாங்க>.

The curtains came down on the clippings with the scene from Nammavar. The whole auditorium gave a standing ovation.

Anand Babu thanked everyone on behalf of the family.

It was a simple function but even a function arranged on a larger scale of grandeour could not have been better. A real tribute to Nagesh, one of the great actors. Hats off to YGeeM.

[Scale]

app_e

list your late 70's & early 80's best what you have emphasized.

[Nerd]

Its extremely easy to rip a film apart. Be it Johnny or andha naaL or Hey Raam or Sivaji the BOSS or Vettaikkaran. Is it not? :-)

[Scale]

I hate to do that and I want to tell that sprucely to VenkiRaja. pir kaalathula perusa varuva thambi, but I am worried:( . You can't force someone's opinion to change, the merits and demerits of the film needs to be highlighted and to be left unrequited.

btb, gandhi buddhanaya thitta poren.

[Avadi to America]

found an one year old post of me from karuthu.com and feel its good time now to reread..

-------------------------------------------

YGee. Mahendra on behalf of Bharath Kalachaar had organised a meeting today, titled Saluations to the King of Comedy. The function was arranged to celebrate Nagesh (YGeeM said it is celebration and not condolence because Nagesh brought cheers all around). Meeting was addressed by Cho, Chitralaya Gopu, Sachu, V.S. Raghavan, Vietnam Veedu Sundaram, Mrs. Y.Gee.P and Manorama.

Mahendra was right. There was more laughter and joy around as the anectodes told by the speakers revealed the humour side of Nagesh much more. Some excerpts

Cho: Since he had to go for another function, Cho spoke first. He talked about the general things. How Nagesh was an unavoidable factor in Tamil cinema even for films which had Sivaji and MGR in the lead. How he used to be there in 45 out of 55 films released in a year.[நானும் தேங்காய் சீனிவாசனும் மிச்ச பத்து படத்திலே நடிப்போம்>. Cho said that when he started a drama troupe, there were so many doing so much variety and that's the reason why he took up political subjects.

Chitralaya Gopu recalled the earlier days of Nagesh. He remembered having met Nagesh while he and Sridhar went to meet Balaji and it was Balaji who strongly recommended Nagesh to Sridhar. They booked him for Nenjil Oru Aalayam. Gopu said on the first day Nagesh called him Mr.Gopu, later as Gopu sir and within a day it became டேய் கோபு. Gopu recalled that while shooting for Nenjil Oru Aalayam, there was a shooting planned at Chengalpattu and Nagesh who was engaged in another shooting was supposed to come directly there. But as Devika was indisposed the shooting was cancelled. Nagesh who had reached there could not even get the information from the shooting spot and had to catch a bus back to Chennai finally. Gopu added that after Kadhalikka Neramillai, their bond strengthened. Nagesh always used to publicly admit that it was gopu's dialogue that gave him the scope. Gopu dwelt about one particular aspect of Nagesh's character. He was uncompromising on the renumeration part. He would not complete the film without getting his full payment. He would always demand and get it. But at the same time Gopu recalled with gratitude that Nagesh had acted around 10 films directed by gopu and he never demanded anything from the producer. He quoed one particular incident. Both went for a marriage. Gopu had enquired எவ்வளவு மொய் எழுதப் போறே? Nagesh replied நூறு ரூபாய். Gopu "நீ எவ்வளவு பெரிய ஆளு, நீ போய் நூறு ரூபாய் எழுதலாமா?" Nagesh's counter "அதுக்காக என் வீட்டையே எழுத முடியுமா? உனக்கு மாசம் அஞ்சு இன்விடேஷன் வருது. எனக்கு ஐந்நூறு இன்விடேஷன் வருது. என் நிலைமையை யோசி. இனிமே என்கூட கல்யாணத்துக்கு வராதே". Gopu talked about the பாரதி விழா function organised by NT at எட்டயபுரம் and people swarming Nagesh much to the discomfort of Thangavelu who was also present there.

Next was V.S. Raghavan. He recollected his frienship with Nagesh and spoke about the same aspect as highlighted by Gopu and said that Nagesh had advised him about this also. He had a strong reason for such a behaviour.[உழைக்கிறோம். அதுக்கான காசைத்தான் கேட்கிறோம். இதிலே வெட்கப்படறதுக்கு ஒண்ணுமில்லே>. Raghavan recalled two incidents. The first one was about Nagesh having to act with Sivaji for a particular movie. Sivaji was waiting and Nagesh was in another set. Knowing about NT's punctuality, Nagesh had called up the electrician of the Studio and asked him to cut the power supply. The electrician did it. Nagesh finished his portion at the other spot and once he entered this studio gave the signal to the electrician and power was restored.[என்ன கரண்ட் இல்லையா? பார்த்தீங்களா, நான் வந்தேன் கரண்ட் வந்துடுச்சு>. The second was about Poovellam Un Vaasam. Raghavan had casually told Nagesh that the producer had approached him for a grand father's role for that movie. After a day or two when the producer had approached Nagesh for acting in the same movie for the grand father's role, Nagesh refused stating that he will not do what Raghavan was supposed to do. Only when it was clarified that both were there as grand fathers, he agreed to act.

Sachu came to the mike and said that if at all she had learnt acting it was only due to Nagesh. She said that in her earlier days, she would simply stand dumb because Nagesh would do spontaneous dialogue delivery with his own words. She recollected the scene from Kadhalikka Neramillai where Nagesh teaches her how to act [என்ன கையை நீட்டறே சுண்டலா?>. She talked about the dance sequence of Malarendra mugam ondru from KN and said that even she a learned dancer found it difficult to cope with Nagesh's speed and timing. She talked about one outdoor shoot of Baghdad Perazhagi. They had finished the shooting but while doing the dubbing they found that the dialogue sheet had been lost. Nagesh observed the lip movement and they wrote the dialogue based on that and dubbed. Such was his mastery, Sachu said.

Vietnam Veedu Sundaram was the next one. he said that he came to Madras and on the very first day of arrival which was very early morning and he without any money in his hand had found a name board saying club house and there was a bed in the thinnai, unoccupied. He slept on it. In the Morning he was tied to the bed and questioned as the inmates thought that he was a thief. Nagesh was one among the inmates and he asked him why he had slept on the bed. VVS replied அசதியா இருந்தது. Nagesh immediately gave a counter வசதியானவன் படுக்கிறதுடா பெட். But from that day onwards, VVS stayed with Nagesh. He recalled about a recent incident when he had met him to tell him about the revival of Vietnam Veedu play by Mahendra and Nagesh had blessed him. Making fun of his own health Nagesh had remarked நான் முந்திண்டா நேக்கு, நீ முந்திண்டா நோக்கு.

Mrs. Y.G.P recalled the olden days when Nagesh was part of their U.A.E troupe. She said that even after making big in cinema, he had the same respect for her and YGP. She jokularly said that if Nagesh calls her during the academic year admission, definitely it would be for a seat. But he would not straightaway come to the subject and after talking about all other things, would ask and he would not take a No. She also recollected how he used to take money from both her and YGP without the other knowing about it.

Last was Manorama. But Achhi was emotional and brief. She talked about their first film together. She talked about Deivathin Deivam directed by KSG where a duet song recorded for Nagesh and Manorama had to be dropped because Nagesh could not dance. The same Nagesh learnt dance from Sundaram master who was working as an assistant to Thangappan Master. And he developed a style of his own. Manorama further added that people used to say that Nagesh was influenced by Jerry Lewis. But she asked can Jerry Lewis ever do Dharumi, Vaithi and Maadhu?. She fondly recalled the function organised to facilitate her on winning Padamshree and Nagesh on his own coming to the dias and congratulating her. She finished her speech by saying that there can be only one Nagesh.

But it was Mahendra who acted as the compere gave so much info on Nagesh and his timing. His comments were

About the Thangavelu incident, Mahendra talked about a scene in Nam Nadu - second half. Nagesh comes in as the servant of MGR and holds a big dog. Thangavelu would come near him and ask நாயா? Nagesh immediately countered him with பின்னே நீயா. Thangavelu taken aback by this went and requested MGR to cut the scene. MGR agreed but in the end decided to retain it.

About Nagesh's timing and his boldness to speak on his own even against MGR and Sivaji was highlighed by YGeeM. He recalled in Galatta Kalyanam, in a particular scene, when NT asks என்னடா டயலாகா for which Nagesh replied on his own ஏம்பா, உனக்கு முன்னாடி யாரும் டயலாக் பேசக்கூடாதா?.

With MGR he went a step further. In Anbe Vaa when MGR asks இந்த வீட்டிலே யாரு இருக்காங்க for which Nagesh replies கண்டவனெல்லாம் இருக்கான், உன்னையும் சேர்த்து. An unimaginable dialogue in a MGR film and that too in a face to face scene.

Mahendra recalled about Nagesh's comment on the current comedy crop. சில பேருக்கு டைமிங் நல்லா இருக்கு. சில பேருக்கு டைம் நல்லா இருக்கு.

Mahendra said that Nagesh's humour sense is so great that even when he is in a midst of grief, he used to joke. He recalled that Nagesh was sitting by the side of YGP's body all night when he passed away as Mahendra was not in station. It seems that Mahendra's cousin had helped him with coffee, tea etc and Nagesh enquired with VV Sundaram whether the boy is a Bank employee. Sundaram nodded his head and asked him how did he find out for which Nagesh replied இல்லே, எதை பேசினாலும் on account of -னு ஆரம்பிக்கிறான்.

Mahendra requested the media people not to confer the title of Genius on all and sundry. He said that Tamil cinema had/has only four geniuses and they are Sivaji, Nagesh, Kannadasan and MS Viswanathan. We have not honoured the first three while they were alive and so he requested all to atleast honour MSV.

There was clippings from various Nagesh movies under different titles. First was Nagesh with Gopu and Sridhar. Kadhalikka Neramillai story narrating scene and a scene from Kalaikovil where Nagesh comes in an intoxicated state were shown. Then Nagesh and his comedy tracks were shown. Naanum Oru Penn and Kadhalikka Neramillai scene [the one which I described earlier> were screened. His various expressions and walking styles from the film Server Sundaram was shown.

Then came Nagesh as the dancer. Avalukkenna song from Server Sundaram and Vanna Vizhi medai from Neerkumizhi [what a dance- the whole auditorium clapped> was shown. Ammano Samiyo from Naan and Appappa Naan Appanalada from Galatta Kalyanam followed. Nootrukku Nooru was shown for Mahendra -Nagesh combo.

Nagesh's combo with MGR. Anbe Vaa and Kasikku pogum song from Chandrodayam were screened. Then came Then Mazhai scene involving Nagesh, Cho and Major.

Nagesh - Manorama combo was the next. Saraswathy Sabatham and Anubavi Raja Anubavi movie song முத்து குளிக்க வாரீகளா were shown.

NT- Nagesh combo started with கேள்வி பிறந்தது அன்று from Pachhai vilakku followed by the greatest Dharumi. Savadal Vaithi came next and Ooty Varai Uravu followed.

The next was KB- Nagesh combo and we were treated with clippings from Ethir Neechal, Poova Thalaiyaa, Iru Kodugal and Bama Vijayam [என்னமோ ஒரு படம்.ஒரே படம். இவங்க நல்லா நடிச்சிருப்பாங்க>.

The curtains came down on the clippings with the scene from Nammavar. The whole auditorium gave a standing ovation.

Anand Babu thanked everyone on behalf of the family.

It was a simple function but even a function arranged on a larger scale of grandeour could not have been better. A real tribute to Nagesh, one of the great actors. Hats off to YGeeM.

Excellant narraton of the function.... i felt like i attended the function.... :clap:

[venkkiram]

Excellant narraton of the function.... i felt like i attended the function.... :clap:

அது என் சொந்தப் பதிவு இல்லிங்க. ஒரு பத்திரிக்கையில் வெளிவந்த தொகுப்புரை.

[venkkiram]

will be more happy if Scale clubs 50-60 and 60-70 together. Because my favorite films fall on both the periods.

[Scale]

prachaniaye illai. neengha paattukkum unga lista podunga . later pirichikalam (vote pottu thernthedukkura therthal illai idhu). This process is a genuine way of discovering the quality movies* we had/missed for either generation and I sincerely don't want to slide over on hero/MD/Dir worshiping.

If someone comes and says 50's had better movies like Ratha Kaneer & Parasakthi or 2000's has better movies like Kaadhal & PV with some valid/uniquely abstract thoughts sevi saippatharkku readyaga irukkiren. indha pagela close aanalum seri illai 6 maasam kalichi oru mudivu therinjaalum seri. I am glad and waiting for it.

*chance illainu solla vaikkanum illaina indha padam thaan oru adithalamaa irundhadhunnu puriya vaikkanum 1-2 padamla peaknu sonna eppadi ethukka mudiyum.

[Scale]

Thanks for the Moderator whoever merged it.

[groucho070]

From the 50s to 70s there were great talents in all area except, maybe, cinematography. There were experiments, small scale pre-indie indie like Andha Naal, megaforce like Karnan, VPK, Nadodi Manna, wonderful music, great lyrics, fantastic dialogues, clash of ideologies and politics, genre fusion of west and east like Puthiya Paravai, fantasy tales where lack of sfx totally ignored like Maya Bajaar, total exploitation of a single actor's talent like NT in Navarathiri, Bale Pandiya and Deiva Magan in three different genres, wonderful competition from great studios like AVM, Gemini and Sujatha, not to mention vehicle studios like Sivaji films and MGR pictures, Hindi films were remaking Tamizh films and vice versa, Hindi talents were acknowledging Tamizh talents like Sanjeev Kumar's colossal failure to reenact Navarathiri and his own admittance...these are GIGANTIC achievements in their own way, if you ignore comparison to Hollywood or anything Kurosawa had ever made.

And then came the 80s... :roll:*


*with exception of Raja and the other two, you know who, of course.

[groucho070]

But what I cant see is the 60's being the pinnacle for movies. A colossal waste of Sivaji's talent is the theme of 60's tamil filmdom.It was a case of feeding mere keerai to the yaanai, I mean, Ganesan :D That was all they could afford at that time.

[Scale]

Groucho,

This triple jump is superabudant for this 3 decade jr kid.

Thanks for the pointer, Cinematography is one area it clearly lacked.


* - This is what I exactly mean!

[groucho070]

Most films I cited as examples are from sixties, therein lines my leaning :D

[vikatan]

A very interesting poll and a very difficult choice to make ....

But I have voted for the 80's because of the presence of some very talented heroines then. Suhasini, Revathi, Saritha, Sujatha, Radhika and Lakshmi come immediately to mind. They were not just glamorous embellishments to the movie. And a lot of credit goes to the great directors of the 80's ....K.B, Bharathiraja...Bhagyaraj among others who could offer some great roles these talented artistes. I will single out K.B for special praise for this . So many of the films by these ladies in the 80's are classics.

Interestingly, Hindi films had Shabana Azmi and Smitha Patil around the same time. Two all-time greats. And 80's was the age of middle cinema...the genius of Shyam Benegal... who again brought out the best in these two actresses.

And I also chose the 80's because of the one and only Ilayaraja..He was really Ilayamaharaja during the 80's.The great man had the sort of creative output which even he found difficult to replicate in the 90's

[P_R]

ThEvar Magan, Mahanadhi, Michael Madana KamaRajan, Guna, Hey Ram, Kurudhippunal

the defence wrests

[Scale]

Tailgating with much more fire on the axe.

vikatan,

please unga movies lista podunga.

PR, wholeheartedly agree :ty:

[joe]

[tscii:ba5662d44f]சமீபத்தில் ‘தமிழில் எனக்கு பிடித்த 10 படங்கள்’ என்னும் தலைப்பில் வலைப்பதிவில் என்னை எழுத அழைத்த போது நான் குறிப்பிட்ட படங்கள் இவை http://cdjm.blogspot.com/2010/04/10.html

அதை முடித்து விட்டுப் பார்த்தால் 10 -ல 4 படங்கள் 90-களில் :shock: .ஆனால் இதை வைத்து 90கள் தான் சிறந்த காலகட்டம் என சொல்லிவிட முடியாது ..ஏனென்றால் ஒரு காலகட்டத்தில் எத்தனை நல்ல படங்கள் என்பதோடு எத்தனை சதவீதம் குப்பை படங்கள் வந்தன என்பதையும் சேர்ந்து ஒரு பொது மதிப்பீடு செய்வதே சரியாக இருக்கும்.

5 மிகச்சிறந்த படம் , 5 நல்ல படம் ,50 குப்பை படம் என்பதை விட 1 மிகச்சிறந்த படம் 20 நல்ல படம் 30 குப்பை படம் என்பதே நல்லது என்பது என் கருத்து.

அதன் படி ...இன்னும் தான் யோசிக்க வேண்டும் :lol: [/tscii:ba5662d44f]

[P_R]

btw isn't this kinda a hopeless exercise. When we look back, we cannot enjoy the films without giving a time handicap. When we enjoy them we enjoy them as a curiosity.

Even in the breathtakingly ahead-of-its-time andha naaL, has so many dramatic lung-burning speeches.

Of course, in saying this I am assuming here that a movie is storytelling, and the rest are embellishments - which is not a widely accepted PoV around here. :lol2:

[Scale]

PR,

Lets leave it for others to decide. This is a humble request from a hopeless fellaw :)

Just Curious, what do you generally prefer for hydration after exercise 'Water or Sports Drink'? We need to go for a next round to discuss Thevar Magan & Kuruthi Punal.

[P_R]

Thevar Magan & Kuruthi Punal. When you said TM and KP I thought you meant thillAnA mOhanAmbAL and kalyANa parisu. Curiosly the parallel may still be relevant - latter is considered more real and the former is a wholesome feast. Tour-de-force 'mbAingaLE.

[NOV]

ThEvar Magan, Mahanadhi, Michael Madana KamaRajan, Guna, Hey Ram, Kurudhippunalappo, aimbathugal ambOthaanaa? :cry2:

[Punnaimaran]

Sarath Babu :-( Why is he punishing the steering in senthAzham poovil :lol:
:rotfl2:

[PARAMASHIVAN]

But what I cant see is the 60's being the pinnacle for movies. A colossal waste of Sivaji's talent is the theme of 60's tamil filmdom. If we didnt have NT, then we can justify the kind of standards we had in 60's, but the fact that with such a talent on board, TF only managed to churn out what it did is a shame.Dont get me wrong NOV, I will watch many of those movies with relish now but to call them the golden age is quite taking it too far. Mahendran is really the peak of Tamil Cinema. And he has never got enough credit for that.

well said plum, well said indeed :clap:

[app_engine]

Of course, in saying this I am assuming here that a movie is storytelling, and the rest are embellishments

:clap: I agree with some caveats :-) i.e. "the rest" differentiate a movie from other storytelling thingies - book / stage play / neighborhood arattai etc :-)

[app_engine]

P_R,
அவள் அப்படித்தான் பாத்திருக்கீங்களா?

நேத்துத்தான் பார்த்தேன், பிரமிப்பு இன்னும் அடங்கலை. Possibly the least flawed among the most brilliant movies of TF.

[P_R]

Oh yeah....an all-time great film.
Right from the v-o in the start of Kamal presumably arguing with a producer :lol:

[Nerd]

Just finished watching முள்ளும் மலரும், fantastic!

I think you have just exhausted all the good films of Mahendran. Others (I have seen 4) are good only in parts. I recently found saasanam (apparently his last) in techsatish. Should watch it sometime..

[app_engine]

Yes, Nerd :-)

I've finished the acclaimed ones - UP, MM, NK - easily among the best in TF. Powerful, enjoyable, very less dull moments etc.

Remember watching azhagiya kaNNE long back in theater and was bored. I have no plans to watch the declared-duds, like PP, naNdu, metti, KKK, KME etc. May be they have some good moments here and there but I, for one, rarely like movies that got rejected by public :-)

Johny is enjoyable and good but not in the league of the top 3, IMO. Ofcourse, it had the best music among all and the RK-SD portions are as good as any best TF ever made - but the total film makes less impact on me :-)

[MADDY]

mahanadhi, MMKR, Thevar Magan, Iruvar - thats a pretty good line up but yeah late 70s and 80s were belters......en uyir thozhan - 90s?? :roll:

though brain says 80s heart still stays with 90s - rahman, mani and kamal........it would be really sad if, even, i dont vote for this period when rahman was fast pushing the boundaries of tamil music and tamil films vertically i.e north and north-west........

[venkkiram]

But what I cant see is the 60's being the pinnacle for movies. A colossal waste of Sivaji's talent is the theme of 60's tamil filmdom.

நல்லாயிருக்குங்க உங்க பார்வை. விளையாட்டுத் தளத்தில் ஒரு வீரரை அணுகுவது போல சிவாஜியை அணுகுவது முரண். அங்க தான் நாற்பது வயது ஆனவுடனே ஓய்வு கொடுத்துருவாங்க. 50 , 60-களில் வந்த படைப்பாளிகளை மட்டும் கூண்டில் ஏற்ற முற்படாமல் ஒட்டுமொத்த தமிழ்ப் படைப்பாளிகளையும் கூண்டில் ஏற்றணும். 70 களில் அவர் நாற்பதைத் தான் கடந்திருக்கிறார். அடுத்த 30, 35 வருடங்களில் தமிழ்ச் சினிமாவின் ஆகச் சிறந்த படைப்பாளிகள் எனப் போற்றும் பாலச்சந்தர், பாரதிராஜா, பாலுமகெந்திரா, மகேந்திரன், ருத்ரய்யா, கமலஹாசன், மணிரத்னம் இவர்கள் யாரும் சிவாஜியை சரியான அளவு பயன்படுத்தவில்லை. முதல் மரியாதையும், தேவர்மகனும் அகண்ட பாலைவனத்தில் காணப்படும் ரொம்ப சிறிய பூஞ்சோலைகள். அதனால் திருத்தி எழுதுங்கள் இப்படி.

"A colossal waste of Sivaji's talent is the theme of tamil filmdom."

[Avadi to America]

P_R,
அவள் அப்படித்தான் பாத்திருக்கீங்களா?

நேத்துத்தான் பார்த்தேன், பிரமிப்பு இன்னும் அடங்கலை. Possibly the least flawed among the most brilliant movies of TF.

rudriyaa......innum pala padam kuduthu irrukala.....we missed him...

[app_engine]

A to A, his second venture - grAmaththu athyAyam - had 4 sweet songs and created some expectations but terribly bombed, and there seems to be no other movie from him.

Like a successful cricket team, he should have continued association with talents like KH-RK-SP for a few more movies before GA that possibly ended his career.

[tamizharasan]

[tscii:0e48ce52ad]சமீபத்தில் ‘தமிழில் எனக்கு பிடித்த 10 படங்கள்’ என்னும் தலைப்பில் வலைப்பதிவில் என்னை எழுத அழைத்த போது நான் குறிப்பிட்ட படங்கள் இவை http://cdjm.blogspot.com/2010/04/10.html

அதை முடித்து விட்டுப் பார்த்தால் 10 -ல 4 படங்கள் 90-களில் :shock: .ஆனால் இதை வைத்து 90கள் தான் சிறந்த காலகட்டம் என சொல்லிவிட முடியாது ..ஏனென்றால் ஒரு காலகட்டத்தில் எத்தனை நல்ல படங்கள் என்பதோடு எத்தனை சதவீதம் குப்பை படங்கள் வந்தன என்பதையும் சேர்ந்து ஒரு பொது மதிப்பீடு செய்வதே சரியாக இருக்கும்.

5 மிகச்சிறந்த படம் , 5 நல்ல படம் ,50 குப்பை படம் என்பதை விட 1 மிகச்சிறந்த படம் 20 நல்ல படம் 30 குப்பை படம் என்பதே நல்லது என்பது என் கருத்து.

அதன் படி ...இன்னும் தான் யோசிக்க வேண்டும் :lol: [/tscii:0e48ce52ad]

Can you list the movies here? I can't see the site.

[tamizharasan]

ThEvar Magan, Mahanadhi, Michael Madana KamaRajan, Guna, Hey Ram, Kurudhippunal

the defence wrests

The list is really good. All of them are my favorites of KH. What is your take on Udhiri Pookkal, Mullum Malarum, 16 vayathinilae, Moondram pirai, mudhal mariyadhai and Nayagan. Even though they are from different decades?

[app_engine]

தமிழரசன்,

ஜோவின் லிஸ்ட் :

அந்த நாள்
ரத்தக்கண்ணீர்
கர்ணன்
தில்லானா மோகனாம்பாள்
நாயகன்
தேவர் மகன்
மகாநதி
சதிலீலாவதி
குருதிப்புனல்
அன்பே சிவம்

[tamizharasan]

தமிழரசன்,

ஜோவின் லிஸ்ட் :

அந்த நாள்
ரத்தக்கண்ணீர்
கர்ணன்
தில்லானா மோகனாம்பாள்
நாயகன்
தேவர் மகன்
மகாநதி
சதிலீலாவதி
குருதிப்புனல்
அன்பே சிவம்

thanks very much.

[app_engine]

Even though they are from different decades?

That's why I didn't accept the voting choices :-)

The best period, according to me, started in late 70's with the activities of KH-RK-SD-SP-IR-Mahendran-BR-KB-TR and many other youngsters and faded off early 80's, when masAlA started to rule & back to studios / back to expensive and unreal "sets" etc started again - with traces of goodness left in the stream for a couple of years, showcased by MM, SB etc

[Scale]

60's wastenu solrathe thappundren. Tiruvilayadal, Thillana Mohanambal, , Karnan, All Pa's, Kappalottiya Tamizhlan, Navaratri, Motor SP, SS, Galatta Kalyaanam & many more.

[app_engine]

It's a pity that I haven't watched avaL app prior to my Palakkad days - could have replied all those fellows who ridiculed TF to first watch this and then talk about the mahAthmiyangaL of MF.

[P_R]

ThEvar Magan, Mahanadhi, Michael Madana KamaRajan, Guna, Hey Ram, Kurudhippunal

the defence wrests

The list is really good. All of them are my favorites of KH. What is your take on Udhiri Pookkal, Mullum Malarum, 16 vayathinilae, Moondram pirai, mudhal mariyadhai and Nayagan. Even though they are from different decades?

I was making a case for the 90s
16 vayadhinilE and Nayagan would surely be in my all time films list.

Mullum Malarum and Udhirip pookkaL will not. I thought they were good and :? respectively. A revisit to the latter is way overdue.

Moondram PiRai and MM - are again good but not all-time great/flawless films IMO: eg. Silk Smitha and Sivaji hypertwitching in the climax.

BM's Veedu is an all-time great film.

BM: Veedu
BR: 16 VayadhinilE
NR: Nayagan
KH: Hey Ram
KB: Nizhal NijamAgiradhu
SB (:P): Mahanadhi

[P_R]

Apart from MM and UP I have not watched any Mahendran film fully.
One had Suhasini in it - so I am justified in skipping it.
One had Sarathbabu and Rajesh fisticuff'ing over Radhika - which I found quite imaginative. But could never watch the film to the end.

[app_engine]

One had Suhasini in it - so I am justified in skipping it.

:)

Her performance is extremely good in that - what a contrast in opinions :-)

[tamizharasan]

ThEvar Magan, Mahanadhi, Michael Madana KamaRajan, Guna, Hey Ram, Kurudhippunal

the defence wrests

The list is really good. All of them are my favorites of KH. What is your take on Udhiri Pookkal, Mullum Malarum, 16 vayathinilae, Moondram pirai, mudhal mariyadhai and Nayagan. Even though they are from different decades?

I was making a case for the 90s
16 vayadhinilE and Nayagan would surely be in my all time films list.

Mullum Malarum and Udhirip pookkaL will not. I thought they were good and :? respectively. A revisit to the latter is way overdue.

Moondram PiRai and MM - are again good but not all-time great/flawless films IMO: eg. Silk Smitha and Sivaji hypertwitching in the climax.

BM's Veedu is an all-time great film.

BM: Veedu
BR: 16 VayadhinilE
NR: Nayagan
KH: Hey Ram
KB: Nizhal NijamAgiradhu
SB (:P): Mahanadhi

I kind of agree with your taste most of the times. But I was really shocked that you did not consider udhirippookkal as one of all time great in tamil movies. Please watch it one more time and let me know your thoughts on it.

[P_R]

Her performance is extremely good in that - what a contrast in opinions :-) I wasn't dissing her performance as much as I was dissing her. :twisted:
Hatred knows no objectivity.

For any louu story to work, the audience should root for the lead couple to get together. When that does not happen it is difficult to enjoy the movie. :lol2:

Manadhil urudhi vEndum - title ellAm statutory warning-A eduthukittavanga naanga.

[app_engine]

P_R:-)

In any case, tastes differ and "the audience" seemed to have enjoyed NK - I think it was a silver jubilee or 300 day runner those days. IMO, it's not really a "louu story" - it's more like a light hearted commentary on human nature. (The statement that MR got mildly inspired for his MR is also not totally incorrect)

[P_R]

"the audience" I meant only me :-)

[Scale]

From my 60's list (http://www.mayyam.com/hub/viewtopic.php?t=14195&postdays=0&postorder=asc&start=30):

Coming to Music & Lyrics (Thiruvilayaadal:KVM & Kannadaasan)


* "Isai Tamil Nee Seitha Arum Saadhanai"...sung by TR Mahalingam himself
* "Oru Naal Pothuma"...sung by Balaiah in film (voice by BalaMuraliKrishna)
* "Paattum Naanae, Baavamum Naanae"...sung by Shivaji (Voice by TM SoundaraRajan)

Chance illaindren.

[tamizharasan]

P_R:-)

In any case, tastes differ and "the audience" seemed to have enjoyed NK - I think it was a silver jubilee or 300 day runner those days. IMO, it's not really a "louu story" - it's more like a light hearted commentary on human nature. (The statement that MR got mildly inspired for his MR is also not totally incorrect)

app_engine

For unknown reasons people hate some of the artists. It is very natural. The only reason they give is "the particular artist is irritating". for example even though Kamal sacrificed his whole life for cinema, many people hate him from bottom of their heart. (not me though :lol: )

[Movie Cop]

BM's Veedu is an all-time great film.
+1.

To me, I would even go as far as rating "Veedu" as the best film of the 80's. Very, very, very good film. Raja's BGM is sheer bliss.

[app_engine]

app_engine
For unknown reasons people hate some of the artists. It is very natural.

I think it's part natural, part forced (fed by peer pressure / propaganda, media, artist off-work behaviour etc).

In any case, I've never been a great admirer of Sripriya. That didn't stop me from appreciating her freak work in AA (especially her voice / dialog delivery is superb - very few can compete).

When it comes to analysis / criticism etc, IMO, one has to shed negative bias :-) (Positive bias need not be shed, but if someone can be that objective, nothing like it!)

[tamizharasan]

app_engine
For unknown reasons people hate some of the artists. It is very natural.

I think it's part natural, part forced (fed by peer pressure / propaganda, media, artist off-work behaviour etc).

In any case, I've never been a great admirer of Sripriya. That didn't stop me from appreciating her freak work in AA (especially her voice / dialog delivery is superb - very few can compete).

When it comes to analysis / criticism etc, IMO, one has to shed negative bias :-) (Positive bias need not be shed, but if someone can be that objective, nothing like it!)

I agree on this. Even if we hate somebody, we need to appreciate good work from them. But we can't expect the same from everyone.

[venkkiram]

ஜோவின் லிஸ்ட் :

அந்த நாள்
ரத்தக்கண்ணீர்
கர்ணன்
தில்லானா மோகனாம்பாள்
நாயகன்
தேவர் மகன்
மகாநதி
சதிலீலாவதி
குருதிப்புனல்
அன்பே சிவம்

ஆகச் சிறந்த பத்தில் எப்படி சதிலீலாவதியை வைத்தார் என ஜோவிடம் கேட்டுத் தெரிந்து கொள்ள ஆசை.

[tamizharasan]

ஆகச் சிறந்த பத்தில் எப்படி சதிலீலாவதியை வைத்தார் என ஜோவிடம் கேட்டுத் தெரிந்து கொள்ள ஆசை.

If you sing this one in chinna chinna aasai tune, then also it sounds good. :D

[Scale]

Such is the powerhouse of Dialoq writing and conversing scenes (http://www.youtube.com/watch?v=6JRjHh91Gx4) have taken a back seat. If someone lists a single movie in their 10 half as good as this I am ready to consider it (Indha lenghthukku oru piece ezhudina padathaye mudichidalaam/ ezhudha mudiyalandradhu vera vishayam) Needless to say about the thespians performance.

[Scale]

I have taken just one film of my 60's (http://www.mayyam.com/hub/viewtopic.php?t=14195&postdays=0&postorder=asc&start=30) and showcasing the pantheons of greats in every department.

[Scale]

Breathtaking & Intemperately Storming!

[Nerd]

Apart from MM and UP I have not watched any Mahendran film fully.
One had Suhasini in it - so I am justified in skipping it.
One had Sarathbabu and Rajesh fisticuff'ing over Radhika - which I found quite imaginative. But could never watch the film to the end.
Metti right? I actually liked that film though not as good as the *Top 4*. Have you not seen Johnny? Asking becuase its a Sun/K TV regular.

[Avadi to America]

ThEvar Magan, Mahanadhi, Michael Madana KamaRajan, Guna, Hey Ram, Kurudhippunal

the defence wrests

The list is really good. All of them are my favorites of KH. What is your take on Udhiri Pookkal, Mullum Malarum, 16 vayathinilae, Moondram pirai, mudhal mariyadhai and Nayagan. Even though they are from different decades?

I was making a case for the 90s
16 vayadhinilE and Nayagan would surely be in my all time films list.

Mullum Malarum and Udhirip pookkaL will not. I thought they were good and :? respectively. A revisit to the latter is way overdue.

Moondram PiRai and MM - are again good but not all-time great/flawless films IMO: eg. Silk Smitha and Sivaji hypertwitching in the climax.

BM's Veedu is an all-time great film.

BM: Veedu
BR: 16 VayadhinilE
NR: Nayagan
KH: Hey Ram
KB: Nizhal NijamAgiradhu
SB (:P): Mahanadhi

Enna boss, ithu telugu remake movie directed by eranki sharma who was a KB's assistant...

[Dilbert]

may I ask why after 90s is not considered as Golden Era?

[tamizharasan]

may I ask why after 90s is not considered as Golden Era?
If you start the thread you can decide anything for the choices.
You can also list one choice of yours and force everyone to vote for it. Ithellam forumla sahajamappa. :lol:

[venkkiram]

KB: Nizhal NijamAgiradhu

இந்தப் படத்தில் நல்லா இல்லாத காட்சி ஏதாவது இருக்கிறதா என நினைத்துப் பார்க்கிறேன். ஒன்றுமேயில்லை. எத்தனை முறை பார்த்தாலும், செவிடனை வேணு என பெயர் சொல்லி, கமல் அழைக்கும் காட்சியில் நெழிந்து போயிருக்கிறேன். கமல், சுமித்ரா, சரத்பாபு, ஷோபா என்ற கலைஞர்கள் பட்டாளத்தையே ஒரே ஆளாய் வீழ்த்தித் தள்ளும் செவிடனின் நடிப்பு அபாரம்.

[jaiganes]

Mullum Malarum and Udhirip pookkaL will not. I thought they were good and :? respectively. A revisit to the latter is way overdue.


en veetla vechi idha solli irundheenganna "There will be Blood" dhaan.
parava illai hub la sollittu appadiye sandhu paathu escape aaidalaamla?
iruttarayil uLLadhadaa (hub)ulagam
udhirippookkaLayum :? endru
solbavarum irukkindraare?

[tamizharasan]

[tscii:a503e0f302]famous quotes about udhirippookkal

Director Mani Ratnam once famously remarked: "If I get anywhere near what Mahendran did in Udhiri Pookkal, I’ll be a happy man

http://en.wikipedia.org/wiki/Uthiripookkal

PC Sreeram

if you ask me to choose best 10 movies ever made in tamil, I will choose uthirippookkal in them
if you ask me to choose best 5 movies ever made in tamil, I will choose uthirippookkal in them
if you ask me to choose best movie in tamil then i will choose uthirippookkal. [/tscii:a503e0f302]

[thamiz]

[tscii:0acc390f8e]
Apart from MM and UP I have not watched any Mahendran film fully.
One had Suhasini in it - so I am justified in skipping it.
One had Sarathbabu and Rajesh fisticuff'ing over Radhika - which I found quite imaginative. But could never watch the film to the end.


Nenjathai Killathe (1981) More at IMDbPro »

IMDbPro.Director:J. Mahendran

--------------------------------------------------------------------------------
[/tscii:0acc390f8e]

[app_engine]

thamizh,
The discussion me and P_R had (w.r.t. Mrs MR) was on N_K :-)

BTW, sweet article on UP :
http://www.hindu.com/mp/2007/09/06/stories/2007090650500400.htm

[thamiz]

One had Suhasini in it - so I am justified in skipping it.

a-e: I just tried to "name" this movie as N-K? :D

[tamizharasan]

thamizh,
The discussion me and P_R had (w.r.t. Mrs MR) was on N_K :-)

BTW, sweet article on UP :
http://www.hindu.com/mp/2007/09/06/stories/2007090650500400.htm

Great article on UP.

[app_engine]

[tscii:25e0f0ae88]Located a nice & interesting review on MM (full of spoilers, though, if one has not seen this movie yet) :

http://www.pixmonk.com/2009/09/18/reel-rewind-classics-2/



It ends with Kali asking

” இப்ப* என்ன*ங்க*டா ப*ண்ணப் போறீங்க*.. புரிஞ்சிகிட்டீங்க*ல்ல*…” [ எப்படி ப*ட*ம் எடுக்க*ற*துன்னு :) ]. Though it was not intended, I inter*pret that the film asked the tamil cin*ema world in that way.


[/tscii:25e0f0ae88]

[app_engine]

Sure this guy writes some interesting reviews of such classics.

Another one here, on BR's MM :
http://www.pixmonk.com/2009/07/27/reel-rewind-classics/

[Scale]

may I ask why after 90s is not considered as Golden Era?
If you start the thread you can decide anything for the choices.
You can also list one choice of yours and force everyone to vote for it. Ithellam forumla sahajamappa. :lol:

TA, dont misinterpret. ethana thadva thaan 00's & 2000's edit pannen nothing comes. Now I cant even edit that MOD's have merged from the films thread and I am no more the author. Polls post'e kaanum. If you go thru my post I have asked if anyone can come up with kaadhal, paruthiveeran + 00's why not? for the golden era.

Mods, do the needful. Thanks!

[tamizharasan]

may I ask why after 90s is not considered as Golden Era?
If you start the thread you can decide anything for the choices.
You can also list one choice of yours and force everyone to vote for it. Ithellam forumla sahajamappa. :lol:

ethana thadva thaan 00's & 2000's edit pannen nothing comes. Now I cant even edit that MOD's have merged from the films thread and I am no more the author. Polls post'e kaanum. If you go thru my post I have asked if anyone can come up with kaadhal, paruthiveeran + 00's why not? for the golden era.

Mods, do the needful. Thanks!

I was just kidding. Don't take it seriously. Probably moderators can help you this time.

[Sanjeevi]

Voted for 1980s yesterday, reason below

Perfect Films

Uthiri Pookkal is 1979 but I consider this is the start of 80s era - I watched recently (one year before) and it totally occupied me. The screenplay, visuals, music and dialogues are chanceless.

Mullum Malarum, Veedu, Thanneer Thanneer, Mudhal Mariyathai, 16 vayathinilE, Nayagan


Musicals : Most of tamils can not deny 80s are musically golden era

1) Jhony - "Asaiya Kaathula" the tribal song is ultimate in this category, no on song could even close to this. BGM was ultimate. Rajini & MM combo :clap:

and the list is very long

Commercial & Masala :

1) Apoorva Sagodharargal : Hayyooo what a mass entertainer with teriffic music and excellent actings Kamal :clap:

Karakattakkaran, Murattukklai, Sakalakala Vallavan, Mundanai Mudichu, oru thalai raagam,

[Bala (Karthik)]

app.
Aval Appadithaan udaya irony/beauty enna na, adha ippo vandhaalum namma soozhal-a poruthavaraikkum ahead of time dhaan :lol:

[Scale]

Just listened to "punnagai mannan poovizhi kannan " from Iru Kodugal (another 60's masterpiece) sure a pathbreaking family drama for its era. Sowcar as collector (http://en.wikipedia.org/wiki/Iru_Kodugal) Music by V Kumar? :roll:

"en patta niruthiteengha" apt lyrics.

Next Nenjil Oor Aalayam - ninaipathellam nadanthuvittaal :musicsmile: loving it.

[app_engine]

B(K) :-) Yes, yes!

The very interesting thing about the movie is not denying the lady character it's dignity (i.e. she never becomes low class or cheap in the viewer's mind) despite some of the sudden dialogs she delivers - and startles Kamal as well as viewers!

[Bala (Karthik)]

And "Uravugal Thodarkadhai" - overflowing brilliance :notworthy:

[app_engine]

Sanjeevi,
You have two more (other than UP) from late 70's i.e. MM & 16V.

In other words, it's very difficult to deny the path-breaking nature of some of the movies that appeared during late 70's in TF!

[Bala (Karthik)]

Path-breaking is a very important phrase in this discussion...

[jaiganes]

Path-breaking is a very important phrase in this discussion...
http://passionforcinema.com/aval-appadiththaan-cinema-take-a-bow/

this was something I wrote sometime back.

As far as udhiripookal is concerned, I am too overwhelmed by the beauty of the movie, the poignancy of it and the emotional manipulation that it indulges in it without being sentimental, is absolutely Great for cinema from any geography - It is about universal emotions and feelings, the pluses and minuses of human nature all in display. words fail me when i want to write more about it ... in short

[NOV]

Musicals : Most of tamils can not deny 80s are musically golden eracan deny, and will deny :P

at least 2/3rd of tamils will not accept your statement. ;)

[Movie Cop]

Musicals : Most of tamils can not deny 80s are musically golden eracan deny, and will deny :P

at least 2/3rd of tamils will not accept your statement. ;)
:yes: :exactly: Agree with Nov on this one.

90's (AR Rahman's) era is the golden era of Tamil film music. At least 2/3rd's of the Tamils will agree to it. Right Nov? :lol2:

[NOV]

nope Sridhar - 2/3rds of Tamils will disagree :D

[joe]

[tscii:9989deaa8c]

ஆகச் சிறந்த பத்தில் எப்படி சதிலீலாவதியை வைத்தார் என ஜோவிடம் கேட்டுத் தெரிந்து கொள்ள ஆசை.

அங்கேயே நான் சொல்லியிருக்கேன் “நான் இங்கே பட்டியலிட்டிருப்பது தமிழின் சிறந்த 10 படங்கள் என்பதை விட எனக்கு பிடித்த 10 படங்கள் என்பதே சரியாக இருக்கும்”

நகைச்சுவையில் என்னை மிகவும் கவர்ந்த படம் சதிலீலாவதி. எத்தனை முறை பார்த்தாலும் சலிப்பதில்லை.[/tscii:9989deaa8c]

[groucho070]

Manadhil urudhi vEndum - title ellAm statutory warning-A eduthukittavanga naanga. :lol:

[groucho070]

Musicals : Most of tamils can not deny 80s are musically golden eracan deny, and will deny :PAgree, though I listen to 80s a lot more than any decade.


at least 2/3rd of tamils will not accept your statement. ;)Don't be too sure. Evidence?

[NOV]

edhukkeduththaalum evidence kEttaa, naa enna lawyeraa? :evil:

I split it at 1/3rds each for the eras of MSV, IR and ARR.

:sigh2:

[groucho070]

edhukkeduththaalum evidence kEttaa, naa enna lawyeraa? :evil:Conclusion pOttutA, evidence venume. Naan kooda MSV has the biggest fan base-nu sollalam. Keyboard irukku, type pannalaam, but did I do any survey on it? Evidence?


I split it at 1/3rds each for the eras of MSV, IR and ARR. :sigh2:What about G. Ramanathan? Current crop of rising YSR and HJ fans, have you forgotten hardcore mAmA fans competing with MSV. MSV fans themselves are at time split between pre and after MSV-TKR breakup. Remba easy-ya split pannitingga pongga :D

[NOV]

I split it at 1/3rds each for the eras of MSV, IR and ARR.

:sigh2:

[NOV]

Keyboard irukku, type pannalaam, but did I do any survey on it? Evidence?I dont want to be picky, but why this questioning is only directed at me?

Even Sanjeevi made a statement; why didn't you question him?
Or do only my posts alone deserve questioning? :shakeshead: :yessir:

[groucho070]

He said, "most Tamil cannot deny"-nu, you said "can deny will deny", to which I agreed (see above posts again). General statement.

But when you put statistics like 2/3rd, then we need evidence. Number-nu onna pOtta athanudaya background venume?

[Scale]

My key cents

Musically All these eras of MSV, IR & ARR have been good, consistent atleast one creative genius is ruling the roost. Only people like Sanjeevi make sweeping statements that 80's is the best becoz suthi suthi IRku thaan saranam poduvaangha. Thats your opinion and get your facts right. The BGM & Raaja's mastery over the WCM have truly brought endearing changes to the industry likewise ARR's genre exploration & advancement of sound technology . I have listened to countless songs of these Maestro's and proud to have them in my avatar given a chance I would give equal points for their successful contribution . Ivar thaan bestnu sonna basement vodaiyurathukku vaippu undu the reason being classical/carnatic nos sethu poiduchu (KVM) Raaja is more into semi classical and ARR into fusion. Now here comes the Greatness of Poet Laureate 'Kavingar Kannadaasan' porakkurathukku vaippe illai. I can place 100's & 100's of IR/ARR songs in other films and it works out considerably good for other films. Whereas KVM+MSV songs & Kannadaasan lyrics you can't do that. Situationukkaagha thaan patteludhinaar most of his one line are simpler, innovative, thought-provoking even for a common layman causes touching & deep emotional impact than a solo violin of IR or a fusion lude in ARR songs. Kavignar is a unmatchable strength to pre 80's.

[Scale]

tamizh pesum nallulagirkku kavignar oru varaprasaadam.

[groucho070]

Scale :thumbsup:

[NOV]

scale, you have scaled my heart bro. :bow:

[Scale]

Thanks Groucho & NOV! Still lot left to earthing. The day we step into Neerkumili, Ethir Neechal, Major C & on commercial box office success AO+Class of MSV songs the thread will get a better shape.

Going for a long drive and then weekend break. Range kedaicha post panren. Take Care.

[Plum]

Sanjeevi ir pathi sollaradhum scale kannadasan pathi solradhum onnu dhaan. Oru pakkam music-nu varache balanced apdinnu kaattikarappo, lyricskum seyaanum. Illainaa snajeevia music bias nu solradhu scalekum porundhum.
Ultimately, rendume oru karuthu avlo dhaan. Vairamuthu fans can argue for equivalence with kannadasa, appo theriyum yaaru objective edhula objectivenu :)

[Sanjeevi]

scale, ellam sarithan

but consider a film and in general the contribution of lyrics to that film is remarkably less than the contribution of music (BGM + songs). Lyrics only comes in songs which are not needed at all for a film but BGM will travel throughout the movie. Is not it?. Proof no cinema other than in India dont have songs :lol2:.

Thus in terms of BGM, come on, who is the best in TFM? enga ponalum ithula vanthE nikkuthu :sigh2: :lol:

[P_R]

[tscii:9a459a3862]Sanjeevi, when the lyricist absorbs the narrative and weaves it into the lines he takes the ordinary emotion of prose and elevates the aesthetic appeal. We yield to the pull of poetry more easily.

pAsamalar's melodrama will now be passé for most of us now. OTOH malarndhu malaraadha continues to strike a chord.

BGM - if you think about it, it is perhaps the most 'unnatural' aspects of a film :lol2:

Imagine in real life how we'd react to: appraisal time-la sOgamA oru saarangi ?! sila nutpamaana tharuNangaL-la thideernu saxophone oodhina mersal aayira maattOm?[/tscii:9a459a3862]

[AudazJay]

[tscii:4f492b5af5]Sanjeevi, when the lyricist absorbs the narrative and weaves it into the lines he takes the ordinary emotion of prose and elevates the aesthetic appeal. We yield to the pull of poetry more easily.

pAsamalar's melodrama will now be passé for most of us now. OTOH malarndhu malaraadha continues to strike a chord.

BGM - if you think about it, it is perhaps the most 'unnatural' aspects of a film :lol2:

Imagine in real life how we'd react to: appraisal time-la sOgamA oru saarangi ?! sila nutpamaana tharuNangaL-la thideernu saxophone oodhina mersal aayira maattOm?[/tscii:4f492b5af5]

Just thought about it :lol:

[Plum]

sila nutpamaana tharuNangaL-la thideernu saxophone oodhina mersal aayira maattOm?

hmm.....

[Sanjeevi]

P_R,

yes BGM is unnatural but still it is the best way to express the expressions of artists and to feel the feelings of the scenes where dialogues cannot.

namma PRku audio mute panni thodarnthu moonu perarasu padam kattungappa :)

Naan appraisal timela nagaippen (Idukkan Varungal Naguga) :?

[Bala (Karthik)]

PR,
Appo flash-back, panoramic manoramic vision, most improtant of all, editing and its implications, idhellam neja vaazhkaila nenachu paakka mudiyuma (even discounting the fact that the mind/memory is random?
Pesaama novel-a padichuttu poiralaame. Cinema edhukku?
Cinema is a medium of abstraction. Vaarthaigal solla mudiyaadhadha, visuals-um audio-vum solradhum dhaane cinema? Writing oralavukku pogum.

[P_R]

adadA naan BGM irukkappadaadhu-nu sollalainga. Lyrics, song unnatural-nu sonnA, BGM-um unnatural dhaanE sutti kAttinEn. thassaal teacher.

[Bala (Karthik)]

Scale,
Karuthellam ok, unga thottam neenga varalaam. Aana ennamo Sanjeevi-a mattum bias nu solreenga. Just because you imply MSV=IR=ARR, how does that automatically become bias-free? For some, saying MSV=IR might imply a bias towards IR because they would consider MSV as the ultimate. Replace MSV/IR/ARR with each other and it would still hold good.
Ennamo IR fans ku mattum dhaan bias madhiri solreenga? 60s a asupport panravanga nostalgia kaaranamaave appadi solraangannu sollalaame (anything old has to be venerable-ngara madhiri)

By pigeon-holing Raaja under "semi-classical", you have written the most outrageously biased line in this topic. Appadi sollalaame?

[Scale]

thondru thottu pandai kaalathilirunthu BGM is a part and parcel infact insperables of plays (koothu, therukoothu, raakoothu drama, stageshows) kudukuduppu kaaran, boomboom maattukaaran, thaara thappatta vasikkiravan, sangu voothuravan everyone does it. I have watched quiet a handful of it during my childhood days from Kumbakonam/Tanjore stage shows Harichandra, mahabharatam, kaalidaas. IR didnt discover it and as I said before with his WCM influences he has made enduring changes in re-recording and not live recording some extensive usage of Violin, Piano, & Flute, percussions are really great. This doesnt mean pre 80's movies have no BGM at all. Again I take my stand here this is to someone who comes for arguement sake and say that 80's is the best music and its only because of IR. I can darely say there is KVM, MSV & ARR.

[Scale]

Plum,

enna volareengha. ellam onnu thaan. naanum sanjeeviya maadhiri biased :evil: :suthi: :idi: :minnal:

No foolish VM fan will come and post that he is the best ever in Filmi lyrics and most of the tamils wont deny that.

[equanimus]

[tscii:5f3aa20345][/tscii:5f3aa20345]Jeyamohan recently made some insightful comments regarding the role of Raaja's background score in Tamil cinema in the post (http://www.jeyamohan.in/?p=6473) he wrote in response to Shaji's essay on Raaja. A particularly relevant excerpt:

கடைசியாக ஒன்று.பாலுமகேந்திரா தனிப்பேச்சில் சொன்னது இது. ராஜா தமிழில் அறிமுகமானபோது தமிழ்சினிமாவின் திரைமொழி மிகப்பழமையாக இருந்தது. காரணம் அது அனைவருக்கும் புரிந்தாகவேண்டும் என்ற கட்டாயம். திரைக்கதையில் ஒவ்வொரு காட்சிக்கு முடிவிலும் அடுத்த காட்சிக்கான குறிப்பு இருக்கும். ‘எங்கே அந்த சண்முகம், வாங்க போய் பாப்போம்’ என்பது போன்ற வசனங்கள். அல்லது காட்சி அடையாளங்கள். ஏன், பாடலிலேயே அடுத்த காட்சிக்கான தொடக்கம் அவ்வப்போது எட்டிப்பார்க்கும். இல்லாவிட்டால் தொடர்ச்சியை அன்றைய ரசிகன் உணர முடியாது.

அதேபோல காட்சி மாறும்போது ‘ர்ரீங்’ என்பது போல ஒரு சத்தம் இருக்கும். கதை பின்னுக்கு நகர்ந்தால் அது தெளிவாகவே காட்டப்படும். ஆரம்பத்தில் கொசுவத்திச் சுருள். பிற்காலத்தில் பிம்பம் மீது பிம்பம் ஏறுவது, அணைந்து மீள்வது போன்ற காட்சிகள். கதாபாத்திரம் ஓர் அறைவிட்டு இன்னொரு அறைக்குப் போகவேண்டுமென்றால்கூட அதைக் காட்டியாக வேண்டும். ஒரு கதாபாத்திரம் நல்லவிஷயம் சொல்லப்போகிறதா கெட்ட விஷயம் சொல்லப்போகிறதா என்பதை தனித்தனி அண்மைக்காட்சிகள் மூலம் காட்ட வேண்டும். வசனத்தில்கூடச் சொல்ல வேண்டும். கதாபாத்திர மனநிலைகளை தெளிவாக வசனம் மூலம் காட்டியாகவேண்டும்.

ஏன், நடிப்புக்கே இந்தச் சிக்கல்கள் இருந்தன. அக்கால நடிப்பு ஏன் செயற்கையாக இருந்தது என்றால் திரையில் உணர்ச்சிகள் தெளிவாக புரியவேண்டும் என்ற கட்டாயம் இருந்தது என்பதனால்தான். திடுக்கிடுவது, அதிர்ச்சி அடைவது, துயரப்படுவது எல்லாவற்றையும் முகத்தசைகள் உடலசைவுகள் மூலம் காட்டியே ஆகவேண்டியிருந்தது. தமிழ் ரசிகனின் எல்லை அது.

இந்த எல்லையைப் புரிந்துகொண்டு, நவீன சினிமாவின் சாத்தியங்களையும் தெரிந்துகொண்டு பின்னணி இசையமைக்க இளையராஜா முன்வந்த ஒரே காரணத்தால்தான் தமிழ் சினிமாவின் காட்சிமொழியை துணிந்து மாற்ற முடிந்தது. இளையராஜா எழுபதுகளின் கன்னடநவசினிமா அலையில் இருந்து நவீனக் காட்சிமொழியின் சாத்தியங்களை நன்றாகப் புரிந்துகொண்டு உள்ளே வந்தவர் என்பதே அதற்குக் காரணம்.

ராஜாவின் பின்னணி இசையை இந்த வரலாற்றுச்சூழலை புரிந்துகொள்ளாமல் எவரும் மதிப்பிட்டுவிடமுடியாது. ராஜாவுக்கு முன்னால் பின்னணி இசையில் இசையமைப்பாளர்கள் கவனம் செலுத்தியதில்லை. அவற்றை அனேகமாக அவர்களின் உதவியாளர்களே அமைபப்பாகள். அவை ‘இ·பக்ட்’ என்ற அளவிலேயே இருக்கும். கதையைப்புரிந்துகொண்டு தொடர்ச்சியான இசை அமைக்கப்படுவதில்லை. மாறாக தனிக்காட்சிகளுக்கே இசை அமைக்கப்படும்.

ராஜா முழுப்படத்துக்கும் மொத்தமாக இசையமைத்தார். படத்துக்கு அதன் சாரம்புரிந்து தீம் இசையை உருவாக்கினார். உதாரணமாக மகேந்திரனின் ‘உதிரிப்பூக்கள்’ படம் ஒரு குடும்பத்தின் கதைதான். ராஜா தன் தீம் இசை மூலம் அதை அக்குழந்தைகளின் கதையாக அழுத்தம் கொடுப்பதைக் காணலாம். உதிரிப்பூக்கள் தொடர்ச்சியே இல்லாத தனிச்சம்பவங்களால் ஆன படம். பின்னணி இசையே அதை கோர்வையாக கொண்டுசெல்கிறது.

படத்துக்கு ராஜா இசைமூலம் தொடர்ச்சியை உருவாக்கினார். அழுத்திக் காட்டவேண்டியதை அழுத்திக்காட்டினார். உணர்ச்சிகளை திட்டவட்டமாக அடையாளப்படுத்தினார். கதாபாத்திரங்களுக்குக் கூட தனியான இசை அடையாளங்களை உருவாக்கினார். பல படங்களில் இயக்குநர் சொல்ல வருவதைக்கூட இசை விளக்கியது. ‘நிறம் மாறாத பூக்களில்’ கதை முன்னும்பின்னும் நகர்வதை இசைதான் காட்டியது

இந்த வசதியைக் கொண்டுதான் இயக்குநர்கள் திரைமொழியை மாற்றியமைத்தார்கள். மிதமான நடிப்பு போதும் என்ற நிலை வந்தது. செயற்கையான காட்சிமாற்றமும் ‘க்ளூ’ கொடுக்கும் வசனமும் தேவையில்லை என்றாகியது. தன்னுடைய ‘மூடுபனி’ படத்தில் சாதாரணமான ஆரம்பக் காட்சியிலேயே அதை ‘சைக்கோ திரில்லர்’ என ராஜா காட்டிவிட்டார் என்றார் பாலு. இல்லாவிட்டால் அதற்கு நான்கு காட்சிகளை ‘சமைக்க’ வேண்டியிருந்திருக்கும் என்றார்.

[Scale]

http://forumhub.mayyam.com/hub/viewtopic.php?t=14195&postdays=0&postorder=asc&start=30

Read my post again. It was a tribute to Raaja who I stil believe that he is the only person have reached this pinnacle inspite of a known fact that both IR & GA have worked more than 100's of MSV songs to give new tunes. Sonnavaru Gangai Amaran - Brother of IR.

[Scale]

From this truth unrevealed MSV > IR certainly.

[Sanjeevi]

From this truth unrevealed MSV > IR certainly.

nalla irukkunga unga neutral biasu

[Scale]

Stomp be biased, no problem. I am moving to the next. No further responses on this topic.

[Bala (Karthik)]

Scale, a kind request before you move on - irukkara vaarthaigala use pannunga, please

Reg BGM: Oh, Scale, 80s ku munnadi BGM irundhucha? Sathiyama enga yaarukkume theriyaadhunga. Thanks for unearthing this ariya unmai

[Bala (Karthik)]

From this truth unrevealed MSV > IR certainly.

nalla irukkunga unga neutral biasu
Sanjeevi,
:notthatway: idhellam avar "lift" nu solra eraalamaana post-gal range la eduthukkanum (vitranum)

[equanimus]

Though, personally, I'm so not into the question of bias (I come from the school of thought that asks, "why bother?"), let me put the central question that comes up in my mind in this sort of a scenario. The notion of bias means one expects some sort of objectivity from the opiner, not to be confused with the notion that there's one universal truth about the topic that's being discussed. (To be more precise, not that there's a single way to access art, but that the opiner has to be sincere in accessing it the way he or she chooses to.)

So here's the question: What's the scope for anyone to express their opinion (say, that Raaja is the best!) without it being identified as a biased one? Falsifiability, that's the key.

[equanimus]

I'd argue that it is precisely this fear (of being called biased) that makes many people strongly insist that MSV, Raaja and Rahman are all, indeed, equally great. Which is merely another opinion, but never identified thus.

[Plum]

I'd argue that it is precisely this fear (of being called biased) that makes many people strongly insist that MSV, Raaja and Rahman are all, indeed, equally great. Which is merely another opinion, but never identified thus.
Very well said, equa. But inge MSV=IR=ARR nu solradhu is the SCALE for objectivity pOla.

[Cinemarasigan]

[tscii:c8a1bc61b8]Sanjeevi, when the lyricist absorbs the narrative and weaves it into the lines he takes the ordinary emotion of prose and elevates the aesthetic appeal. We yield to the pull of poetry more easily.

pAsamalar's melodrama will now be passé for most of us now. OTOH malarndhu malaraadha continues to strike a chord.

BGM - if you think about it, it is perhaps the most 'unnatural' aspects of a film :lol2:

Imagine in real life how we'd react to: appraisal time-la sOgamA oru saarangi ?! sila nutpamaana tharuNangaL-la thideernu saxophone oodhina mersal aayira maattOm?[/tscii:c8a1bc61b8]

Just thought about it :lol:

Ninaikkumbodhae sirippai adakka mudiyala :lol: :lol:

[tamizharasan]

enga ponaalum indha meesic sandaiya viduratha illai. Cycle gap kidaichcha lorrya vittuduraangappa.

[P_R]

enga ponaalum indha meesic sandaiya viduratha illai. Cycle gap kidaichcha lorrya vittuduraangappa. That too for something that is not that important in the overall scheme of things :huh: :yessir:

[Plum]

I suggest that MSV-ARR-IR fans get together and attack Feeyaar because he is, at one go, dissing the trinity :)

(Tamizharasankum oru changeA irukkum vedikkai pArkka!)

[equanimus]

PR/Plum,
Actually I also don't think the background score is key to the success of a film. But Jeyamohan's post is quite thought-provoking with respect to how it can influence various other aspects of a film.

[Plum]

Equa, Feeyaar is not talking about success of the film I think. He is saying it is not needed for the integrity of the movie *only* - I think

[equanimus]

Plum,
Just to clarify, I mean a film's artistic success, not commercial.

[tamizharasan]

I suggest that MSV-ARR-IR fans get together and attack Feeyaar because he is, at one go, dissing the trinity :)

(Tamizharasankum oru changeA irukkum vedikkai pArkka!)

Don't get me wrong. I am big fan of music. I respect all three music directors because they entertained different generations. Comparisons are okay but here everything became more of a ego fight than anything else, because no one wants to give up his/her stand.

[raghavendran]

i like 90's period....andhe films parthudhan naan valandhen...the rajni and kamal duo reaching their respective peaks...birth of arr...90's best for me... :2thumbsup: :2thumbsup:

[P_R]

PR/Plum,Actually I also don't think the background score is key to the success of a film. As your self-appointed உரை ஆசிரியர் I take the liberty of elucidating that when you said success - you don't just mean financial success but success in terms of 'film working for the audience'. (I see ample scope for ரெண்டும் ஒண்ணு தானடா..)


But Jeyamohan's post is quite thought-provoking with respect to how it can influence various other aspects of a film. True. But the overall feel was of some
large generalizations working towards according pioneer status to IR. That may or may not be true, I don't have the werewithal to say eitherway - but surely doesn't feel as simple as that.

[P_R]

Plum,
Just to clarify, I mean a film's artistic success, not commercial. :patsownback:

[P_R]

He is saying it is not needed for the integrity of the movie *only* - I think Wonly based on my reproach to films etc. How music - by its very nature - is such that its appropriateness for the scenario rests more with the listener than the creator - which troubles me. இசையை contextualize பண்றதே ஜீரணிக்கிறது கஷ்டம் 'ங்கறப்போ, contextக்கு தோதாக அமைக்கப்பட்ட(தாக சொல்லப்படுகிற) இசை 'ங்கறது - என் சிற்றறிவுக்கு எட்டிய வரை - இசை'ங்கற வடிவத்துக்கே முரணானதா தோணுது. Anyway இது ஒரு கருத்து. And... hey ! I already told you all this man !

[app_engine]

மக்களே,
தொன்று தொட்டு இங்கு பேசப்பட்டு வரும் அதே டாப்பிக்கை (ராசாவை) தயவு செய்து கொஞ்சம் மாற்றி விட்டு, "கதை சொல்லும் உத்தி"-ங்கற மாதிரி ஏதாவது அலசுங்களேன் :-)

While I'm not discounting the contribution of the greats like Kannadasan & Ilayaraja in their respective peaks, they're not the top deciding factors for assessing the overall quality of the film worlds in the corresponding eras.

[joe]

பல இடங்களில் P_R சொல்ல முற்படும் கருத்துக்களோடு ஒத்துப் போகவேண்டியதாயிருக்கிறது.

சினிமா பல திறமைகளின் ,கலை நுணுக்கங்களின் கூட்டு முயற்சி .ஆனாலும் அதில் எல்லா நுணுக்கங்களின் முக்கியத்துவமும் ஒரே அளவு இருக்க தேவையில்லை .பொதுவாக இந்த மன்றத்தில் ஒட்டுமொத்த படம் பற்றிய விவாதங்களில் ஒரு (சில) குறிப்பிட்ட நுணுக்கத்துக்கு அளவுக்கு மீறிய முக்கியத்துவம் கொடுக்கப் படுவதாய் நான் பல முறை உணர்ந்திருக்கிறேன். சில நேரம் தங்களை மிக நுணுக்கமாக கவனிப்பவர்களாகவும் ,மாற்று கோணம் உள்ளவர்களாகவும் காட்டிக் கொள்ளும் முயற்சியில் சற்று அதீதமாகவே முக்கியத்தும் வெளிப்படுத்தப்படுவதாக நினைக்க தோன்றுகிறது.

[Dilbert]

I would say

80s - BR, KBC,Mani IR MSV , few exceptional flicks

90s - Mani IR more exceptional flicks..

00s - Shankar, Mani IR ARR HJR,VS and whole bunch of new directors.. got a chance to show case their immense talent. Some did exceptionally well.

I would say 00s is the real golden era of Tamil Cinema. where everyone gets their opportunity to demonstrate their talent.

[Bala (Karthik)]

I'd argue that it is precisely this fear (of being called biased) that makes many people strongly insist that MSV, Raaja and Rahman are all, indeed, equally great. Which is merely another opinion, but never identified thus.
Exactly my point. In fact, apart from the fear of being labelled biased, its also the need to be seen as unbiased i guess

[Bala (Karthik)]

PR,
Appo Kannadasan, TMS pathiyum neenga pesanume. Yen IR/BGM a pathi mattum (andha alavukku) mukkiyam illa nu solreenga?
Ellame yen ya Raaja fans a mattum kekkareenga? :twisted:

Thamizharasan,
For the record, the current issue in this topic is not about who is the greatest or which era is the best. Let each have his/her own best era. Scale ennamo naattaamai range ku matravanga solradha thallupadi senjutte irukkaaru. Sanjeevi mattum biased-aamaam. Avar combleet neetral-aamaam. Please see Equanimus's posts.

[Sarna]

all....

1. Music
a. Songs
b. BGM
2. Acting
a. Hero
b. Heroine
c. Supporting actors
d. side actors
3. Writing
a. Story
b. screenplay
c. Dialogues
4. Visual
a. Cinematography
b. Costumes
c. Locations
5. success
a. among mass
b. among class
c. among critics

idhu maadhiri innum neraya area'kal poyi alasi, ovvoru area'vukkum marks pottu..... endha period adhigamaana collective marks vaangudhO, andha period golden period mudivu pannalaame ......

[Bala (Karthik)]

Joe,
Naan yerkanave sonna madhiri, i don't have a strong opinion any which way as to which is the golden era, sura etc... We've been having peaks but the average has been really low. Edho oru paatta pathi pugazhndhutten. Matrapadi i was not here to talk about meesic again. I just wanted to counter Scale's allegations that Sanjeevi (alone) was biased. Condinee... :)

[joe]

Edho oru paatta pathi pugazhndhutten. Matrapadi i was not here to talk about meesic again. :shock: I didn't mean you or your arguements here in this thread :oops:
Now I really owe an explanation on my statement .I will do.

[tamizharasan]

Thamizharasan,
For the record, the current issue in this topic is not about who is the greatest or which era is the best. Let each have his/her own best era. Scale ennamo naattaamai range ku matravanga solradha thallupadi senjutte irukkaaru. Sanjeevi mattum biased-aamaam. Avar combleet neetral-aamaam. Please see Equanimus's posts.

Bala
I am not definitely blaming you and I also saw the scale's post.
As Sneha says to Kamal in Vasool Raja MBBS. Scale inga discuss panna vandha maadhiri theriyala, vero edho ulnokkaththila vandhirukkira maathiri theriyudhu. What all I tell you is, take it easy and have fun here.

[app_engine]

jaiganes,

Great blog post on avaL appadiththAn.

Good that I got your link after I watched the movie, otherwise it would have been too bad - neither I could have enjoyed the article this much nor enjoyed the movie as much as I did , i.e. without knowing much details.

Interestingly, you've specified the exact same scenes that I enjoyed!

[Sanjeevi]

RaNakalam aagidum pola irukke :lol:, routea mathungappa

B(K) thanks

[Dilbert]

RaNakalam aagidum pola irukke :lol:, routea mathungappa

B(K) thanks


Summa Varuvala Sugumaree?

B(K) enna summavaa.. ! Aavar post varrum moonalea, Ranagalam vaarum aadukku peenalea.. :lol: :oops: :lol:

[venkkiram]

கதைக்களம், காட்சிகளை வடிவமைத்தல், அரங்க அமைப்பு, காட்சியின் கோணம், உரையாடல், நடிப்பாற்றல், இயக்கம் என எல்லா கலைகளிலும் விவாதம் தொடரவேண்டுகிறேன்.

[m_23_bayarea]

Though I voted for the 80s (mainly because of Rajini, Kamal, IR, SPB, KJY, Balumahendra, Bharathiraja, Manirathnam, etc.), I think every era has its own strengths and weaknesses as we may agree.

But from a high level, it looks like the 60s, 80s, and 00s were and are more stabilized, whereas the 70s and 90s were more transitionary - one generation passing on to another!

[Dilbert]

Though I voted for the 80s (mainly because of Rajini, Kamal, IR, SPB, KJY, Balumahendra, Bharathiraja, Manirathnam, etc.), I think every era has its own strengths and weaknesses as we may agree.

But from a high level, it looks like the 60s, 80s, and 00s were and are more stabilized, whereas the 70s and 90s were more transitionary - one generation passing on to another!


Thalaivaaa !! :notworthy:

[Vivasaayi]

Scale, a kind request before you move on - irukkara vaarthaigala use pannunga, please

Reg BGM: Oh, Scale, 80s ku munnadi BGM irundhucha? Sathiyama enga yaarukkume theriyaadhunga. Thanks for unearthing this ariya unmai

doiiiiiiii(vibration)......neenga ketadillaya?

[Vivasaayi]

Though I voted for the 80s (mainly because of Rajini, Kamal, IR, SPB, KJY, Balumahendra, Bharathiraja, Manirathnam, etc.), I think every era has its own strengths and weaknesses as we may agree.

But from a high level, it looks like the 60s, 80s, and 00s were and are more stabilized, whereas the 70s and 90s were more transitionary - one generation passing on to another!

well if 90's can be considered as a transitionary period,the Kamal haasan deserves the credit.

in the first half of the 90's,kamal haasan shouldered Tamil cinema single handedly.

mmkr
thevar magan
guna
mahanadhi
kurudhipunal
sathileelavathi
Indian
Avvai shanmugi

in a span of five years - most of them own banners and scripted by him - the main reason for the transition of tamil cinema from the 80's style to the next phase.

Mahanadhi and Guna has been the inspirations for most of the top directors of the next generation

[Scale]

adhadhu apdiapdiye irukkattum. I will try to reply once I reach home but one person needs an immediate savukkadi. In 75 years of tamil cinema you can come up with only such hopeless quotes "Sneha says to KH" :yuck: Thats a Big Shame! Tamizh','arasan... (No I am not kidding. Change yourself) What do you think I am doing here jalra thattifying to these rolling stones. The depth of fanatiscm have gone so deep in their skulls keeps murmuring, crying, weeping, howling. One baby tries to stop another baby crying results in a group of crybabies. Cry, Cry! Good for your idols.

Such digression, arguements, fights are bound to happen. anganga vetti thooki potra vendiyathuthaan.

Exactly Sarna! Thats what I am trying to discover, discuss from 60's movies which I believe is the Golden era of tamil cinema's . I make it very clear I have not done nor have any authority to reject others list/opinion even if it is from different decades. 10 pagea ketkuren, unga pada pattiyala ordera podungannu. Hubbers like app_e, vithagan yen venki sir kooda innum list pannala. I will leave it to the hubbers interpretation and strongly advice not to go by the polls. If someone comes with 50's movies or 00's movies I am happy for it. Naan nattamaiyum illai mathavanga ellam kutravaaliyum illai. Hope that is adequately explained.

My next movie will be Thillaana Mohanaambal. vettukku ponona post pandren.

[Scale]

Sarna, Venkiraam Sir,

Simple format

Year: Movie Name: Artists: Director: Music: Lyrics: What so unique?: Merits : Demerits

idhu thaan adhu entertainmenta irundhaalum seri, artistica irundhaalum seri.

[Scale]

equa,

It is not a fear rather a personal understanding and their successful contribution for more than two decades makes me say that they all are equally good. I can try to explain further but sure it may blown differently. thevai illai ithoda niruthippom.

PR,

I thought you are mocking at the melodramas and azhudhu vadiyum ladies characters. I would anyday prefer these melodrams than todays imporrted, glamorous, painted zero-size facial expressions. Remember Pasanga dialoq 'ippa yen nee neelikanneer vadikkira" just imagine at those era. Ippavum my wife cries like that for no reasons. I have a story to tell you all. Later.

[Vivasaayi]

From what I have seen,60s movies - I believe when it comes t consistency will be better than 80's era - simple nice stories,good melodies and good performances.

Social dramas,family dramas and Historic movies - all meatly done.

Its definetely more consistent than 80's movies - which had too much of masala movies.

But the 80's movies have too many peaks reached by balumahendra,mahendran,barathiraja,maniratnam - which will defintely win over those consistent movies from 60's.

And then there is Ilayaraja - who introduced BGM to Tamil cinema and introduced rollercoster orchestrations in his interludes and preludes - and we get to hear violins,guitars,flutes in that ride.

[Plum]

Holier than thou holier than thou holier than thou
Oh yeah
I yaam holier than thou
I am a holy cow, dizzy dizzy, iam a holy cow
Holier than thou, holier than thou, holier than thou

Inge oruthar idhai theme songA vechukkalaaam - msv, ir, arr yaaru tune pottalum prachnai illai

[raghavendran]

well if 90's can be considered as a transitionary period,the Kamal haasan deserves the credit.

in the first half of the 90's,kamal haasan shouldered Tamil cinema single handedly.

mmkr
thevar magan
guna
mahanadhi
kurudhipunal
sathileelavathi
Indian
Avvai shanmugi

in a span of five years - most of them own banners and scripted by him - the main reason for the transition of tamil cinema from the 80's style to the next phase.

Mahanadhi and Guna has been the inspirations for most of the top directors of the next generation 8-) 8-) :exactly:

[Dilbert]

Though I voted for the 80s (mainly because of Rajini, Kamal, IR, SPB, KJY, Balumahendra, Bharathiraja, Manirathnam, etc.), I think every era has its own strengths and weaknesses as we may agree.

But from a high level, it looks like the 60s, 80s, and 00s were and are more stabilized, whereas the 70s and 90s were more transitionary - one generation passing on to another!

well if 90's can be considered as a transitionary period,the Kamal haasan deserves the credit.

in the first half of the 90's,kamal haasan shouldered Tamil cinema single handedly.

mmkr
thevar magan
guna
mahanadhi
kurudhipunal
sathileelavathi
Indian
Avvai shanmugi

in a span of five years - most of them own banners and scripted by him - the main reason for the transition of tamil cinema from the 80's style to the next phase.

Mahanadhi and Guna has been the inspirations for most of the top directors of the next generation

Wow good to know ! :)

[venkkiram]

1950 களில் எனக்குப் பிடித்த படங்கள்
--------------------------------------------------

அந்த நாள்
மனோகரா
பராசக்தி
மதுரை வீரன்
அவ்வையார்
ரத்தக்கண்ணீர்
மதுரை வீரன்
உத்தம புத்திரன்
நாடோடி மன்னன்

[P_R]

PR,
Appo Kannadasan, TMS pathiyum neenga pesanume. Yen IR/BGM a pathi mattum (andha alavukku) mukkiyam illa nu solreenga?
Ellame yen ya Raaja fans a mattum kekkareenga? :twisted: Isn't it largely the IR fans around here who talk about how his music is apposite, weaved into the narrative etc.

And I am not even denying all that. Heck, I am myself quite a glutton of such movie-making. All I am saying it is not that important in the overall scheme of things.

[Avadi to America]

1950 களில் எனக்குப் பிடித்த படங்கள்
--------------------------------------------------

மனோகரா
பராசக்தி
மதுரை வீரன்
அவ்வையார்
ரத்தக்கண்ணீர்
மதுரை வீரன்
உத்தம புத்திரன்
நாடோடி மன்னன்

All the above moves are in my list except Avvayar..... but undobtedly, andha naal which is not in the list will top the list with ratha kanner....... :clap:

Please could someone add more movies in the list?

[Avadi to America]

Path-breaking is a very important phrase in this discussion...
http://passionforcinema.com/aval-appadiththaan-cinema-take-a-bow/

this was something I wrote sometime back.

As far as udhiripookal is concerned, I am too overwhelmed by the beauty of the movie, the poignancy of it and the emotional manipulation that it indulges in it without being sentimental, is absolutely Great for cinema from any geography - It is about universal emotions and feelings, the pluses and minuses of human nature all in display. words fail me when i want to write more about it ... in short

Thanks jaiganesh....

one of the best review i red it in recent time.....if i am not wrong, aval appadithan is considered to be the best movie made in 1970s... probably top five/ten movies ever made in tamil film history....

Rudriyaa.... is this man still alive?

[app_engine]

From this blog:



This strong recollection scene is something to be seen to be believed. The acting by Sripriya is absolutely TOP NOTCH and look for the reactions of Kamal here too.


:exactly:

[mexicomeat]

i know that this is not the right thread to pose this question, but anyway...

i am trying to recollect a sivaji black and white film..

story line goes like this...similar to the 10 commandments in bible, there are six principals in tamil literature (or something like that). sivaji is a honest person.... and then by some turn of fate he starts breaking every single commandment (including stealing from sister's house or something like that)...

can anyone help me find the movie name?

[venkkiram]

1950 களில் எனக்குப் பிடித்த படங்கள்
--------------------------------------------------

மனோகரா
பராசக்தி
மதுரை வீரன்
அவ்வையார்
ரத்தக்கண்ணீர்
மதுரை வீரன்
உத்தம புத்திரன்
நாடோடி மன்னன்

All the above moves are in my list except Avvayar..... but undobtedly, andha naal which is not in the list will top the list with ratha kanner....... :clap:

Please could someone add more movies in the list?

பட்டியலில்"அந்த நாள்" படத்தை முதலாக வைத்திருந்தேன். எப்படியோ பதிவில் தவறிவிட்டது. சுட்டிக்காட்டியதற்கு நன்றி.

[rajeshkrv]

This is a tough discussion..

Here is my opinion people might not agree..

When we say golden period what do we mean?

For instance .. in the 50's mostly the movies were made of mythological or kingdom oriented which surely had messages and facts

in 60's the movies transitioned to Social and family drama and humour but at the same time carried message, powerful acting etc

70's commercial movies started and whoever came up with non commercial venture was acclaimed be it rudrayya or bharatiraja etc

Same argument holds good for 80's .. 2 out of 10 movies were good and those directors stood out .. in an environment where all elements are bad and few good then that is noticeable and that is obvious...

in 50's an 60's Ellis r duncan, LVPrasad, V.Madhusudhan rao, P.MAdhavan, P.Pulliah, C.Pulliah, Sridhar, K.B and many more stalwarts with their own team (MD, Cinematographers) Created a revolution and every movie they made had all elements and were perfectly made. Few might argue that Simplicity (yadartham) was missing yes because they were not able to show a woman without blouse during those days which was considered obscene and moreover sensor was very very strict .. Directors then tried various concepts ... Andhanaal, Nadu iravil, bommai, Server sundaram, Vasantha maaligai, Kalyana Parisu etc

[equanimus]

mexicomeat,
You're talking about எதிரொலி (கே. பாலசந்தர்).

[Sanjeevi]

Adutha Veettu Pen - an outstanding comedy film. Which year it was released?

[Murali Srinivas]

<dig>




Excellant narraton of the function.... i felt like i attended the function.... :clap:

அது என் சொந்தப் பதிவு இல்லிங்க. ஒரு பத்திரிக்கையில் வெளிவந்த தொகுப்புரை.

Dear A_A & Venki,

That post was written by அடியேன் in our Hub. It is available in Nagesh thread in classics section. Here is the link

http://forumhub.mayyam.com/hub/viewtopic.php?t=12637&postdays=0&postorder=asc&start=75

Never knew that it had travelled wide.

<end dig>

Regards

[Avadi to America]

<dig>




Excellant narraton of the function.... i felt like i attended the function.... :clap:

அது என் சொந்தப் பதிவு இல்லிங்க. ஒரு பத்திரிக்கையில் வெளிவந்த தொகுப்புரை.

Dear A_A & Venki,

That post was written by அடியேன் in our Hub. It is available in Nagesh thread in classics section. Here is the link

http://forumhub.mayyam.com/hub/viewtopic.php?t=12637&postdays=0&postorder=asc&start=75

Never knew that it had travelled wide.

<end dig>

Regards

Sir,

as usual, one more excellent articel from you.... :clap: :clap:

[Scale]

Fantastic post rajeshkrv :clap: :ty: <no necessity to bold, underline, font increase or coloring you have hit the nails head very hard> I want to watch nadu iravil. Thanks for bringing it.

Venkiram,

Thanks for the list. irundhaalum ellame period movies maathiri theriyudhu except rathakaneer. Thinking about 50's I liked Sabash Meena (:lol2:) is an out-and-out comedy show. Chandrababu in dual role gives me splits :rotfl:

[Scale]

For Heaven's sake we are discussing movies elligible for gauging the Golden Era don't ever bring Copied/Inspired/Remake/copyrighted movies.

[mexicomeat]

mexicomeat,
You're talking about எதிரொலி (கே. பாலசந்தர்).
nanri hai

I would love to read a synopsis of the movie - Too bad it is not there in imdb.

[Bala (Karthik)]

adhadhu apdiapdiye irukkattum. I will try to reply once I reach home but one person needs an immediate savukkadi. In 75 years of tamil cinema you can come up with only such hopeless quotes "Sneha says to KH" :yuck: Thats a Big Shame! Tamizh','arasan... (No I am not kidding. Change yourself) What do you think I am doing here jalra thattifying to these rolling stones. The depth of fanatiscm have gone so deep in their skulls keeps murmuring, crying, weeping, howling. One baby tries to stop another baby crying results in a group of crybabies. Cry, Cry! Good for your idols.

Scale,
For the last time, this is not about idols. This is about your persistent holier than thou claims that only one or a group of persons is biased. The issue is not that you consider 60s (or the prevalent combination of talents) as the greatest. Point enna-na, bias nu neenga aarambicha adhu ellarukkum porundhum, including yourself. Sanjeevi-post mattum biased nu sonnadhu dhaan prachanaye.
The arguments that were spawned from there were about this only, primarily. Avvalavu dhaan. Idha ithoda vidradhu dhaan better...

[Scale]

Bala,

I know Sanjeevi better than you do. Simple! Of course that is from his posts always carrying a laundry of averments.

Apologies, if I have been a bit harsh.

[Sanjeevi]

I found this is relevant for this topic

http://tamiluthayam.blogspot.com/2010/04/blog-post_17.html

<dont want reply>
So - 1980s is the golden era of music - ippadi sonnathuthan pirachinaiyA :):.

I believe, that is the statement of every IR fan (mediam or hard). if I would have been said it was 60s or 2k, then no problem? hmm vazhga sananayagam :)
<>

[Sanjeevi]

I (http://www.indiaglitz.com/channels/tamil/article/56230.html) , II (http://www.indiaglitz.com/channels/tamil/article/56269.html) and III (http://www.indiaglitz.com/channels/tamil/article/56268.html) by Indiaglitz.com

Caution : It says "The 70s is a golden period in Tamil cinema. Be it cinema or its music 70s created its own moments"

[Plum]

Sanjeevi yes 60s golden agenu sonna objective.80snu sonnaa fanatic. Msv yaaru yaaru kaila pawn-A sikkittu thavikkiraar paavam

[Scale]

Plum,

You really make me sick! How on earth does most tamils wont deny.

NOV & Groucho (http://www.mayyam.com/hub/viewtopic.php?t=14195&postdays=0&postorder=asc&start=120&sid=39d15ddb873ae8a2997e80d4e41f1155) were carried over with this phrase and I thought its relevant to post it. Music oru entitya thaan paarthen and there are lot others I am more interested in here. ivvalavu solliyum vida maatreengha.

enakku thevaiya idhu. :banghead:

[Avadi to America]

I (http://www.indiaglitz.com/channels/tamil/article/56230.html) , II (http://www.indiaglitz.com/channels/tamil/article/56269.html) and III (http://www.indiaglitz.com/channels/tamil/article/56268.html) by Indiaglitz.com

Caution : It says "The 70s is a golden period in Tamil cinema. Be it cinema or its music 70s created its own moments"

intha article namma hubla irunthu yaravathu ezuthi irrukaporanga... :lol:

[app_engine]

I found this is relevant for this topic

http://tamiluthayam.blogspot.com/2010/04/blog-post_17.html



There're a date problem...pudhu vasantham is not 90's it's a 80's movie.

Yes, anyone who tries to list the best ever 10 (i.e. without much bias) will end up choosing more movies from late 70's and early 80's - as the path-breaking, non-hero-centric, new-age movies appeared during that period (and the trend got killed by late 80's, once again by hero worshipping).

[HonestRaj]

Though I voted for the 80s (mainly because of Rajini, Kamal, IR, SPB, KJY, Balumahendra, Bharathiraja, Manirathnam, etc.),

+ Vijayakanth, Goundamani, Baghyaraj, Manivannan etc.

=> These people may or may not be the best.. but ennoda vayasu appadi

=> I would like to say, "I liked more until mid-90's ~ 1995"

[groucho070]

mexicomeat,
You're talking about எதிரொலி (கே. பாலசந்தர்).
nanri hai

I would love to read a synopsis of the movie - Too bad it is not there in imdb.If you don't mind my poor writing skills :) http://www.mayyam.com/hub/viewtopic.php?p=1432263#1432263

[groucho070]

And then there is Ilayaraja - who introduced BGM to Tamil cinema and introduced rollercoster orchestrations in his interludes and preludes - and we get to hear violins,guitars,flutes in that ride.What???

[Plum]

Scale, oh so sorry to spoil your health but let's just say, the eventuality is mutual :-)

[joe]

[tscii:2efa48aa2e]

Edho oru paatta pathi pugazhndhutten. Matrapadi i was not here to talk about meesic again. :shock: I didn't mean you or your arguements here in this thread :oops:
Now I really owe an explanation on my statement .I will do.

Bala,
முதலில் இதுவரை நான் எந்த காலகட்டம் சிறந்தது என்ற முடிவுக்கு இன்னும் வரவில்லை . எனக்கு பிடித்த 10 படங்களை நான் பட்டியலிட்ட போது அதில் 10-ல் ஆறு படங்கள் கமல் படங்கள் .அது ஆச்சரியமல்ல .ஆனால் 10 -ல் 4 படங்கள் 90-களில் வந்த படங்கள் ,அது எனக்கே சற்று ஆச்சரியம் .ஆனால் இதை வைத்து 90கள் தான் சிறந்த காலகட்டம் என சொல்ல முடியாது என்பதை நான் ஏற்கனவே விளக்கியாகிவிட்டது.

ஒரு குறிப்பிட்ட நுணுக்கத்தைப் பற்றி அதீதமாக பேசுவது குறித்து நான் சொன்னதை ஒட்டு மொத்தமாக ‘இசை’ குறித்து நான் பேசுவதாக நீங்கள் நினைத்திருக்கிறீர்கள் ..அது தவறு ..ஒட்டுமொத்தமாக இசை என்பது ஒரு படத்தின் மிக முக்கிய கூறு என்பதை நான் ஒரு போதும் மறுக்கவில்லை . ஆனால் சினிமா இசையின் ஒரு கூறாக இருக்கும் பின்னணி இசை (BGM) குறித்து அளவுக்கு அதிகமான முக்கியத்துவம் (இந்த மன்றத்து விவாதங்களில்) கொடுக்கப்படுவதாக எனக்கு தோன்றியது .

இதனால் பின்னணி இசையின் தாக்கத்தையும் ,அது பெற தகுதியான முக்கியத்துவத்தையும் நான் குறைத்து மதிப்பிடவில்லை . அதை நுணுக்கமாக அனுபவித்து விவரிப்பவர்கள் இருக்கிறார்கள் .ஆனால் இப்போதெல்லாம் ஒரு படம் பார்த்து விட்டு மன்றத்தில் விமர்சனம் எழுத வருபவர்கள் படத்தை பற்றி மொத்தமே 3 வரி விமர்சனம் எழுதி அதில் 2 வரி BGM பற்றி மட்டும் சிலாகித்து விட்டு செல்வதோ ,அல்லது ஒற்றை வரி விமர்சனமாக BGM Rocks :thumbsup: என்று மட்டும் சொல்லி செல்வதோ பார்க்கும் போது சற்று அதீதமாக தோன்றுகிறது.

ஒட்டு மொத்த படத்தியே ஏதோ BGM தான் நிர்ணயிப்பது மாதிரி ஒரு தோற்றத்தை கொடுப்பது ஏற்புடையதல்ல ..அல்லது BGM -க்காகவே இவர் படம் பார்த்திருக்கிறார் என மற்றவர் நினைக்கும் படியான (வேண்டுமென்றே காட்டிக் கொள்ளும்) தொனி இருப்பதாக நான் நினைப்பதை தவிர்க்க முடியவில்லை.

ஒரு படத்தின் பின்னணி இசை சுமாருக்கு மேலான படத்தை நல்ல படமாகவும் ,நல்ல படத்தை சிறந்த படமாகவும் , சிறந்த படத்தை மிகச்சிறந்த படமாகவும் ஆக்கும் சக்தி படைத்ததே தவிர .. பின்னணி இசை மட்டுமே ஒரு குப்பை படத்தை தூக்கி நிறுத்தி விட முடியாது .

எனவே திரைப்படத்தில் பின்னணி இசைக்கு அதற்கு கொடுக்கப்பட வேண்டிய முக்கியத்துவத்தை விட மிக மிக அதீதமாக சில விவாதங்களில் இந்த மன்றத்தில் கொடுக்கப்படுகிறது என்பதே என் பார்வையே தவிர ,ஒட்டு மொத்த இசை குறித்தோ அல்லது குறிப்பிட்ட உங்கள் கருத்து குறித்தோ அல்ல.[/tscii:2efa48aa2e]

[groucho070]

:thumbsup: Joe.

I am one of those occasional offenders. Used to review background scores separately. I suppose if a film works, any effects in it, including music (yes, music is an effect, like VFX and Foley), worked too. It should be as simple as that.

[Bala (Karthik)]

Joe,
Please check PM

[equanimus]

equa,

It is not a fear rather a personal understanding and their successful contribution for more than two decades makes me say that they all are equally good. I can try to explain further but sure it may blown differently. thevai illai ithoda niruthippom.
Scale,
I agree that we should stop this digression, but let me clarify that I wasn't referring to you or anyone in particular. I just thought we'd do well to keep in mind that thinking two artists are equally good is also merely another opinion. And it's not a bad thing to have a preference.

Anyway, let's get back to discussing the actual topic. I for one find it very interesting. :)

[mexicomeat]

mexicomeat,
You're talking about எதிரொலி (கே. பாலசந்தர்).
nanri hai

I would love to read a synopsis of the movie - Too bad it is not there in imdb.If you don't mind my poor writing skills :) http://www.mayyam.com/hub/viewtopic.php?p=1432263#1432263
arumai arumai

[app_engine]

Yet another write-up on mudhal mariyAdhai

http://jackiesekar.blogspot.com/2010/04/blog-post_19.html

[rajeshkrv]

as i mentioned eariler , if the director is brilliant and genius like KB the period doesnt matter. Whenever they make they make better and standard movies. Steven Spielberg whenever he comes up with a movie it's brilliant.. So he is not constrained to a period.. I think the same if LV prasad was alive in 90's he would have comeup with a brilliant movie. 90's KB came up with pudhu pudhu arthangal, Bharatiraja came up with karuthamma and andhi mandharai . So as long as creators are there all those periods are golden period only digression is some creators too fall prey to fantasy and changing pattern and end up giving crap... It's like public only wants them to go with the trend and then the same public throws stone at the same person .. that's the irony and that's the truth

[app_engine]

rajeshkrv,
There're a variety of ways to analyzing TF and this is one. (Obvisouly the topic of who's the best director / actor etc have been already beaten to death and now this time-period thingy) :-)

So, the focus has to be not about the all-time-great-performers who have done good job despite the surrounding horrible conditions.

It's about when were the conditions conducive for any performer to try out his creative ideas, without being unnecessarily restricted by the "prevailing conditiions".

By that yardstick, one necessary criteria is "not to fit to the demands of the lead actor / actress - their image business - koLgai business etc". So, 60's obviously had a huge-huge handicap. Any who tried to make a movie with MGR-Sivaji had to cater to the "expectations" built around these two. Naturally, a lot of irritating things for non-biased viewers resulted from their movies (long dialogs, koLgai parappal etc).

It was only during late 70's, when MGR practicaly left TF and Shivaji had no necessity to play a "rivalling heroism" thingy, creative artists had a "free trade zone" to work :-)

[app_engine]

In other words, late 70's was the time period when directors could make movies without bothering about "image" of the lead artists.

And that showed in the class of those path-breaking movies that are being talked about in all forums! Like the avaL appadiththAns, uthirippookkaLs, 16 vayadhinilEs ...

[app_engine]

These "forced conditions" were not only the image thingy. It was also the "songs" "fights" thingies.

There's nothing wrong if a musical has a lot of songs - thillAnA mOganAmbAL or sindhu bhairavi or mudhal mariyAdhai.

OTOH, it was ridiculous to push in a lot of kanavu scenes and unnatural situations to have songs in every movie. This should disqualify a lot of 60's movies, as compared to avaL appadiththAn and such ones, for e.g.

Songs that are in the background, moving the stories are ok - and so are the occasional festival kind of ones or thAlAttus.

OTOH, the mindless duets, kanavu scenes etc that are totally unnatural to TN life disqualify such movies from being considered as neat cinema :-(

(And this is coming from a person who spent countless hours listening to TFM - pure objectivity, I say!)

[m_23_bayarea]

In other words, late 70's was the time period when directors could make movies without bothering about "image" of the lead artists.

And that showed in the class of those path-breaking movies that are being talked about in all forums! Like the avaL appadiththAns, uthirippookkaLs, 16 vayadhinilEs ...

What about all or most of MGR's movies? Didn't he act till 1977 or 78? Were the directors able to make his movies without bothering about his "image"? :o

[rajeshkrv]

app_engine .. your point of view is taken .. but we cant generalize that only in 70's people did make films without thinking of lead actor's image..

most of the people who wanted to think out of box or who ever thought out of box had their cast & crew who are not that popular or not with the typical hero status

KB used nagesh, jayanthi etc because people didnt tag any image to these people ..

So i dont buy your argument of 70's though

[app_engine]

bay,
Actually I'm talking about the period when MGR was about to leave or left the field, as the golden period :-)

No MGR movie in 60's / 70's , IMO, qualifies to be considered "quality" cinema. (Neat entertainment, no doubt, but not for serious consideration).

[app_engine]

rajeshkrv,

Even those Nagesh movies had some stereo types, IMO. In addition, they were "drama on screen", could hardly be called cinema :-)

In any case, that's only my PoV - you need not buy that :-)

[m_23_bayarea]

bay,
Actually I'm talking about the period when MGR was about to leave or left the field, as the golden period :-)

No MGR movie in 60's / 70's , IMO, qualifies to be considered "quality" cinema. (Neat entertainment, no doubt, but not for serious consideration).

You're only left with 2 or 3 years in that case! :P

I feel like no matter what the decade is, there have always been directors that tried to break any steretype, let alone not bother about a hero's image! I'm sure we can name such directors in every decade.

[Avadi to America]

mexicomeat,
You're talking about எதிரொலி (கே. பாலசந்தர்).
nanri hai

I would love to read a synopsis of the movie - Too bad it is not there in imdb.If you don't mind my poor writing skills :) http://www.mayyam.com/hub/viewtopic.php?p=1432263#1432263

Annatha!!!! adakathukum oru alavu irruku.... Ungaludayathu poor writting skilla....

i had seen the movie way back in DD days.....i will give a try soon....

[app_engine]

bay,

From the beginning of this thread, I' m not for this decades thingy. That was scale's idea.

To me, the "shackles of heroism" were getting released around 1975 and they came back strongly again by 1985.

[Scale]

Golden years, gold whop whop whop :musicsmile:

[app_engine]

If people talk about movies of 60's or prior, except KB & Sridhar, most movies were known by hero names. (Often it is told that Sridhar's were the first ones to have got acknowledged as "director's movies").

OTOH, when one talks about the time period I'm talking about, they were almost all directors' movies! That was till the SPM-AVM mafia killed the creativity again :-(

[app_engine]

Add Balaji to the mafia who never got tired of remaking :-( And promoter of heroism stuff too, spoiling artists like KH-RK!

[app_engine]

See, any "golden" period in the field of art had to be an equal-opportunity period as well.

Not some one or two powerful heroes controlling majority stake.

Not some studios controlling what can be produced and what not.

Not some few production / distribution houses mandating and dictating terms.

எப்படிப்பார்த்தாலும், இளைஞர்கள் நிறைய வந்து புகுந்து விளையாடிய பின் எழுபதுகள் மற்றும் முன் எண்பதுகள் போல ஒரு காலகட்டம் என் அறிவில் இல்லை. (எம்ஜிஆர், சிவாஜி வளருமுன் இருந்திருக்கலாம்)

[Scale]

:not-that-way: :arrow-pointing-back:

The movies which I have listed of 60's (http://www.mayyam.com/hub/viewtopic.php?t=14195&postdays=0&postorder=asc&start=30) has no heroism tagged before someone jumps on 1000:1 please check JM's MM which has more ex-aggregated annan-thangachi sentiments and heroism tailed to it. raaman aandalum, punch dialoqs, thundu beediya thooki pottu vayila pidikirathu. one side of the frame doesnt have a glass still suthifying to the mooku. :ergh:

By this yardstick, 1000:1 does more justice to its film making an hallmark heroic/adventure movie aimed purely for commercial success! And the epic story demands that kind of action. Ppl often mistake this classic as SR's 1000:0's.

App_ selladhu!

[Nerd]

So by Scale's yardstick, 1000-1 is a better film than MMum because the former is more *honest*. And Scale is trying to hint that raaman aandaalum == en pEru padaiyappaa. Ada ada adddaddaaa kalvettu stuff :bow:

[Scale]

Nanbar nerd, we are talking about "shackles of heroism" what dominated the industry. Ofcourse +((Music, Lyrics,Action, etc....) :rotfl: 1000:1 is a great movie and the only one I include.[/u]

[tamizharasan]

So by Scale's yardstick, 1000-1 is a better film than MMum because the former is more *honest*. And Scale is trying to hint that raaman aandaalum == en pEru padaiyappaa. Ada ada adddaddaaa kalvettu stuff :bow:

When I came to this thread I initially thought late 70's and early 80's are the best periods in Tamil cinema. But after seeing meaningful and neutral discussions, I also tend to agree that 60's is the golden era of tamil cinema.

[Scale]

Take a long breath TA!

[rajeshkrv]

app_engine.. you are trying to show your anger on few heroes and the production companies..

Who stopped anyone from making movies.. I dont believe if it was AVM or Devar controlled others.. many new producers came and they produced 2 or 3 movies and vanished because they couldnt withstand the pressure etc..

Story telling wa different in different era..

Paasamalar still pulls crowd not just for shivaji and savitiri but there was a well told story even MM which showed brother sister relationship didnt show anything to this level.. except for the word simplicity.nowadays you might even say yuck if they show bro-sis relationship like this. but those were days where in brother -sister relationship was felt and meant too.

A.Bhimsingh the PA series director chose good stories for all his PA series films but he proved even more in sila nerangalil sila manidhargal etc because the story was by Jayakanthan and it all happened. We also need to understand how much people appreciated out of the box stories, or novels being made as movies..

70's as you said yes the hero image was broken by few creators but they also couldnt continue because in the box office those films bombed and finally they were under pressure to use the star value heroes in their movies to make the money which they lost .. in those period they were Called "ART FILMS" and were never considered as main stream films..we are mature enough to watch Veyyil or any other critically acclaimed movie these days but not those days .. how many would have watched Nandu compared to udhiri pookal ?

[tamizharasan]

See, any "golden" period in the field of art had to be an equal-opportunity period as well.

Not some one or two powerful heroes controlling majority stake.

Not some studios controlling what can be produced and what not.

Not some few production / distribution houses mandating and dictating terms.

எப்படிப்பார்த்தாலும், இளைஞர்கள் நிறைய வந்து புகுந்து விளையாடிய பின் எழுபதுகள் மற்றும் முன் எண்பதுகள் போல ஒரு காலகட்டம் என் அறிவில் இல்லை. (எம்ஜிஆர், சிவாஜி வளருமுன் இருந்திருக்கலாம்)

any discussions which are praising other than 60's are rejetted. :twisted:

[Avadi to America]

[tscii:b8a5a27ee0]I just want to add a point here. Also, I am not trying to conclude 70’s is the golden era for Tamil film industry.

When we discuss about movies made in different era, we should not forget to consider the people’s mindset at that time. This is not only applicable to Tamil film industry but also to Hollywood and other film industries. My point here is people mind set in mid and late 70’s in India was not the same in 50’s and 60’s.

In Hollywood, the counter-culture was peak during the period of late 1960’s and early 1970’s. During the time, at the most all the movie genre was tried in hollywood. (action, adventure, comedy, crime, drama, epic, horror, musical/dance, science fiction, war and western). In addition, violence and nudity was ruling the roost in main stream cinema. In my opinion, the change that happened in Hollywood cinemas was due to people’s mind set.

On the same token, those cultural changes started to strike Indian society especially film industry in 70’s. In addition, our film industry was not completely under hero’s hands where film makers had more room to try new things. On the other hand, for a short period of time, Hindi movies were quite popular even small villages in Tamil Nadu. what i mean here is, people started to accept more new things. Also, it was the time people tired of watching movies made in set. This cultural change in society deeply influenced the film industry which is a mirror image of society. I am giving few examples on different movie genre that made in 70’s.

Female centric movies (not just made and also succeeded in BOX office) - aval oru thodarkathai, moondru mudichu, aval apadithan, thappu thalangal, uthiri pookal, avargal,

Eccentric/different genre movies: arangatram, aboorva raagangal,

Sex comedy - manmatha leelai

Thrillers (based on sex/psycho) – Sigappu rojakkal, gayathri,

Village stories (not just stories, but the way making movies) – pathinaru vayathiniley, kizhakey pogum rail, mullum malarum,

Musical movies – ninaithaley innikum, johny (1980)

Cow boy movies – camera man karnan’s movies.

Historical movies – probably people tired of watching this type…( I am not sure)

The above mentioned movies were new to film industry at that time.
[/tscii:b8a5a27ee0]