Generations of Tamils learnt to appreciate the beauty and power of the Tamil language because Sivaji Ganesan breathed new life into it. Yet his brilliant acting made this so-called violation of screen norms the accepted norm of film acting. Essentially a creature of the stage when he entered films, Sivaji Ganesan brought that baggage with him and superimposed it effectively on the film medium. With more than 300 film roles to his credit, Sivaji inspired a whole generation of artistes, virtually creating a new school of acting. Despite achieving stupendous success on the screen, Sivaji remained faithful to his first love, the stage, and acted in plays for decades. Sivaji Ganesan’s acting career, which began at the age of eight, could be divided into three phases – 1936 to 1952, when he acted only on stage 1952 to 1974, when he acted for the big screen and also gave stage performances and 1974 to 1999, when he acted only in films. Ramaswamy, the patriarch of the Dravidian movement, acclaimed his stellar performance and referred to Ganesan as ‘Sivaji’ Ganesan. Annadurai, who went on to become the Tamil Nadu Chief Minister. The first landmark in his career was his portrayal of the Maratha warrior-king Sivaji in the drama ‘Sivaji Kanda Indhu Rajyam’ written by Dravida Kazhagham and later Dravida Munnetra Kazhagham Leader C.N. From child roles he graduated to female roles and then on to the “Raja part,” the role of the hero, as it was known then. Forsaking home, he along with his boyhood chum “Kaka” Radhakrishnan (veteran comedian who passed away in 2012) joined the Madurai-based Bala Gana Sabha drama troupe first, and later the troupe run by Ethaartham Ponnusamipillai. Young Ganesan became enamoured of acting and abandoned school when he was in Class Two. His parents were Chinnaiapillai Mandrayer, a railway employee and freedom fighter, and Rajamani. Ganesan, was born on 1 October 1928, in Vizhuppuram, which was then in the Arcot District of the former Madras Presidency. He was called “Nadigar Thilagham,” meaning ‘Doyen of Actors’. Though Sivaji, MGR and Gemini were hailed as the ‘Moovaenthar’ (Three Kings) of Tamil cinema, it was widely acknowledged that Sivaji Ganesan was the finest actor among the three.
They played two friends in that milestone movie. Sivaji Ganesan and MG Ramachandran have acted in only one film, ‘Koondukkili,’ made in 1954. Gemini’s only film with MGR was ‘Muharasi’ (1966) where he played MGR’s elder brother. Notable among these were ‘Pennin Perumai,’ ‘Veera Pandiya Kattabhomman,’ ‘Kappalottiya Thamilan,’ ‘Pathi Bhakthi,’ ‘Pavamannippu,’ ‘Parthal Pasi Theerum,’ ‘Kandan Karunai,’ ‘Saraswathie Sabatham’ and ‘Unakkaha Naan’. Gemini Ganesan acted in several blockbusters along with Sivaji Ganesan. The three kings of Tamil cinema were contemporaries who acted mainly in separate films. They ruled the roost in ‘Kollywood’ as the Tamil Nadu film industry is referred to in lighter vein. The top thespian trinity of that vintage in Tamil cinema were Sivaji, MGR and Gemini. Ramachandran (MGR) and Gemini Ganesan comprised the triumvirate that dominated Tamil movies from the fifties to the seventies of the 20th century. These latter-day trio of kings were actor-heroes who reigned supreme as monarchs of Tamil movies during the latter half of the 20th century. Only this article will be about three cinematic kings and not the mystical kings of the orient. The “three kings” referred to in the carol keep ringing in my ears and provides the inspiration for this post-Christmas ‘Spotlight’ column.
‘We Three Kings’ is one of my favourite Christmas carols. Western Christian tradition regards the three Kings as Melchior – a king from Persia, Balthasarr – a king from Arabia, and Gaspar – a king from India.
Oral tradition gradually transformed the wise men of the east into three kings from the Orient. This is about the wise men mentioned in the Bible who came to Bethlehem with the gifts of gold, frankincense and myrrh to pay homage to the newborn infant Jesus. ‘We Three Kings of Orient Are’ is a popular Christmas carol written and set to music by Rev.
0 kommentar(er)
