IN SEARCH OF SRIDHAR
NOV 2, 2008 – A LITTLE AFTER THE NEWS OF FILMMAKER Sridhar’s demise, I requested K Balachander to share some memories of his contemporary. I hoped he’d open up about his favourite films of the late director, along with an anecdote about being a fan, perhaps, or a recollection of a long-ago meeting – but more importantly, I hoped for some context. If we appreciate Citizen Kane and Orson Welles today – we who were born several decades after the fact – it’s because American cinema (or even European cinema) has been the subject of extensive documentation. Critics and scholars down the years have argued about Kane, wrestled with it, deconstructed it to a molecular level, and an equal number of forests have been felled in arguing about and deconstructing its maker and his motives. Therefore, those of us who were not around then, and cannot take a trip down memory lane, only have to take a trip down to the library (or click on Google) to become aware of what the filmmaking milieu was like when Welles appeared on the scene, how his radio background influenced his filmmaking, why Kane is so revolutionary (despite its tricks having being stolen so many times since, they’re practically clichés today) – so on and so forth. And thus, when we see Citizen Kane today, we see it in context. Even if we cannot appreciate it as a vital, pulsating work of our times, we are able to realise why, at one time, it was considered vital and pulsating, and why Welles was such a pioneer in the West.
But when it comes to our filmmakers and our films, it appears at times that all we have is statistics. Over the past days, we’ve been hearing about how Sridhar was the first star director, whose name was the first to feature above the film’s title. We’ve heard about him being the first to shoot a film in Kashmir (Then Nilavu), to make an all-out comedy in colour (Kaadhalikka Neramillai), to shoot a film in a single set (Nenjil Or Aalayam) and in record time at that. While these are certainly accomplishments of note, the question that looms in an uncharitable corner of the mind is whether these logistical considerations – these statistics – are enough to induct a filmmaker into the pantheon. That Sridhar made a number of good films, fine films is indisputable, but what made him a… great? That’s perhaps where Balachander’s evaluation of the man he terms his munnodi – his predecessor – comes in useful. “The films of the time, even if they were love stories, were hero-oriented. There was no role for the heroine, except to sing along and clap during the fights. Sridhar made the first real love stories. There was no violence in his films. They were soft films, and the dialogues were colloquial, not grammatically correct – and this came as a breath of fresh air.” And then, he sighs nostalgically. “You just had to be there.”
I guess that last remark arose from my professed inability to differentiate much between Kalyaana Parisu and, say, the Bhimsingh melodramas. Because the way I saw it, in both, ordinary people are forced to navigate some fairly heavy-duty melodramatic contrivances, and in both, the formula of laughs-tears-and-everything-in-between is faithfully adhered to. Of course, Sridhar had the greater delicacy of touch, and his films were more about the people in love while love was just one of the many emotions that drove Bhimsingh’s movies – but then again, as Balachander puts it, I guess I had to be there. “If you see even my films today,” says Balachander, “you may find a lot of clichés, a lot of over-dramatisation and overacting. A tear-jerking song situation like Kaadhalile tholvi uttraal (in Kalyaana Parisu) is unimaginable today.” He names Nenjil Or Aalayam as his favourite Sridhar film, and Kaadhalikka Neramillai comes next. “Whether Sridhar made a comedy or a tragedy, love was his basic theme. It may look clichéd now, that (as in Nenjil Or Aalayam) a woman’s former lover would turn out to be the very doctor who has to operate on her husband. But at that time, it was totally off the beaten track.” And having provided a fair amount of what I was after – context – Balachander winds up with this tribute. “He has been an inspiration to all future filmmakers, including myself.”
Now that I’ve aired Balachander’s memories of Sridhar, I feel less presumptuous about airing my own. After all, a contemporary of the late director would obviously have a better handle on the filmmaker and the times he made his films in than someone who, in school, waited breathlessly for Oliyum Oliyum to telecast Ennadi Meenatchi, from Ilamai Oonjalaadugiradhu. Then again, how odd that, due to our longstanding reliance on oral history and due to our preference for anecdotal information over documentation and analysis – and this is not so much a judgement as a statement of fact, though it does make me wish things were different – I know more about the general circumstances of American and European directors than I do about someone like Sridhar. My memories of Sridhar’s films, consequently, centre primarily on the specifics – the photography and the songs. His were the few films of the era where people weren’t bunched into the centre of the frame while the camera was switched on, and long before Ram Gopal Varma began to shoot scenes from intriguing angles, Sridhar was asking his cinematographer to take a peek at Devika (in Nenjil Or Aalayam) from underneath a hospital bed.
And I don’t know if I can think offhand of another director who, for so long and so consistently, coaxed the best from his composers. A disconsolate Gemini Ganesan roaming about a desolate Marina beach in Manidhan enbavan dheivam aagalaam, Rajasri and Ravichandran intoxicated by the delights of first love in Anubavam pudhumai, Kutti Padmini seated on the back of Nagesh playing elephant in Muthaana muthallavo, the recurring motif of flowers in a riot of colours framing Sivaji Ganesan and KR Vijaya in Poomaalayil or malligai, Gemini Ganesan and Vyjayanthimala paddling midstream one enchanted evening in Nilavum malarum paaduthu, Kalyan Kumar setting the precedent for several generations of jilted lovers with the song-that-became-a-catchphrase Engirundhaalum vaazhga, the camera following Vijayakumari’s feet as she bounds through the corridor and into the garden to begin Indha mandrathil odi varum, a smitten Gemini Ganesan going “I see” and “really” to Saroja Devi’s perky declarations of love in Aasayinaale manam, Sivaji Ganesan and KR Vijaya lit apparently by nothing less (and nothing else) than the full moon in Muthukkalo kangal (which yielded the phrase thandhuvitten ennai, which yielded the title of the director’s last film, starring a young hero named Vikram), Karthik and Gigi doing the chicken walk towards one another in Neethaane endhan pon vasantham – that’s what I’ll remember when I think of Sridhar.
Copyright ©2008 The New Sunday Express. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
Equivocal
November 1, 2008
Wow-certainly one of your best pieces ever, and in parts what seems like an astonishingly precise feat of memory. You’re going in search of many things here.
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sara
November 2, 2008
As you point out, it would be great to know his motives when making each of his masterpieces & what he had thought of them then. But we are left to make do with what we have. At least the “next generation” of directors are leaving documentation that would last longer.
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Aditya Pant
November 2, 2008
I haven’t seen any of Sridhar’s Tamil films, but have seen a few he remade in Hindi – Dil Ek Mandir (remake of Ninjil Or Aalayam??) and Pyar Kiye Ja. Pyar Kiye Ja is one of my favourite comedy films of all time. The Om Prakash – Mehmood sub-plot was hilarious. I’m sure it must have been even better in the original.
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Raj Balakrishnan
November 2, 2008
Hi Baradwaj,
I remember the film that the late Sridhar made with Mohan in the mid-80s – a comedy (cannot recollect the name). Loved it then when I was in school. The director had extracted great performances from the late Thengai Srinivasan and Mohan.
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Shankar
November 2, 2008
Raj B, that must have been “Thendrale ennai thodu”…which had an awesome soundtrack too!!
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Deepauk M
November 2, 2008
My first and lasting impression of Sridhar will be Muthuraman on the hospital parapet singin “Ayiram vAsal Ithayam, Athil Ayoram eNNangaL uthayam’. That and manithan enbavan (I think I commented on an earlier post how kaNNadasan was so enamored by his song that the lighting for it was provided by his cars) are by far my favorite kaNNadasan songs and I have Sridhar to thank for them.
Shankar/Raj B:Yup awesome soundtrack – kavithai pAdu kuyilae (S.P.B at his euphoric best), Thendral vanthu ennai thodum (no elaboration needed) and puthiyapovithu pUththathu! Eminently memorable album from Raaja.
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anbudan BALA
November 2, 2008
As usual, very well written. That nostalgic last paragraph of yours made me to reminisce and brought tears in my eyes!!!
Incidentally, Chithralaya Gopu (who used to work as dialogue writer in many of Sridhar’s films) is my relative…
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anbudan BALA
November 2, 2008
And as you so rightly pointed out, the next generation will not be able to appreciate the true worth of greats like Sridhar owing to our indifferent attitude towards documentation in context. We must not allow Greats to fade away into oblivion by the march of time.
And, thanks (of course) for this wonderful piece. If you could meet some more people who were close to Sridhar and do some more postings, it would be nice.
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Ravi K
November 3, 2008
Two of his films stand out particularly for me.
Kadhalikka Neramillai- Pure comedy, with no unnecessary melodrama or action, and fantastic songs. The Nagesh-Balayya interaction is particularly hilarious. What could have been a cheesy Eastmancolor spectacle was made into a fun, light confection.
Nenjil Oor Aalayam- The other side of the coin. The story is melodramatic, and there are many bittersweet moments. But even the comedy scenes blend well.
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Prasanna
November 3, 2008
Nice piece!The ever-green comedy track of “Kalyana Parisu”-I couldn’t resist the goose-bumps when when I read that Japanese men behaved similar to Thangavelu when they went out of the work-force!
On the song “Indha mandrathil odi varum”-does its charanam and Jagjit Singh’s “Hoton se choo lo tum” (from “Prem Geet”?) charanam sound quaintly similar.Do you think so too?
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brangan
November 3, 2008
Prasanna: Considering it’s S Janaki and jagjit SIngh we’re comparing, there’s first a huge octave/timbre adjustment to be made in the mind to even think of a comparison — but now that you mention it… 🙂
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Prasanna
November 3, 2008
Hehhe and the pace… you’ll have to half the beat-cycle! 🙂
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Raj Balakrishnan
November 3, 2008
Shankar/Deepauk M – Yeah, that was a fantastic album.
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cram
November 3, 2008
Hi Brangan
Fine tribute. Sridhar’s greatness, I think, stems from his pioneering efforts to bring the city to Tamil cinema by being the one who “urbanized” it, as it were. You had city folks speaking city lingo about their issues, which were were also city-based. Be it Gemini Ganesan seeking to rent a portion of a house in Kalyana Parisu (a distinctly urban phenomenon) or the entire family playing cards in Sumaithangi, his movies resonated with a strong urban vibe that escapes most of us simply because we take them for granted – we are children of the city, it’s not part of the Other that often jolts us, the way 16 Vayadhinile did in 1976 or Paruthi Veeran does today .
At the same time, there was none of the claustrophobia or melodrama all too common in Bhimsingh’s films. Kalaignar Karunanidhi is too often credited with being instrumental in letting the silver screen speak the common man’s Tamil, but Sridhar was the one who eestablished it as the norm,a dn thus set the tone for future generations.
It doesn’t seem out of the ordinary now, but when seen in context (we’re talking 1959-65) it can be appreciated. Even Kadhalikka Neramillai, which is almost fully set far away from the city, is as “Madrasi” as can get.
Also, just as urbanization has ensured caste is not central to our social lives, Sridhar’s films and characters blazed a new trail by removing caste from the equation.
What impresses me most is the sophistication that characterizes all his films – the romance, the tragedy, the comedy, the relationships…Sridhar was truly a son of the city, and one of the finest.
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brangan
November 3, 2008
cram: Excellent comment. Thanks. And yes, it’s these taken-for-granted aspects that cloud our appreciation of a lot of the earlier films.
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cram
November 3, 2008
Hi brangan
Thanks for the pat. I forgot to add that one of Sridhar’s greatest contributions to Tamil cinema was the astonishing number of new faces he introduced…Kalyan Kumar, Ravichandran, Kanchana, Muthuraman, Vennira Aadai Murthy, Vennira Aadai Nirmala, Srikanth, Jayalalitha, Jayshree, Vikram. The man was amazing.
And the novelties — setting an entire movie inside a hospital in Nenjil Or Alayam, lead characters not wearing any makeup in Nenjirukkum Varai, using a relatively unknown Yesudas to sing a duet in Kadhalikka Neramillai…Sridhar’s oeuvre deserves a book. maybe you should write it.
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raj
November 4, 2008
An underwhelming piece, like Ricky Ponting on a spinning pitch, if I may 🙂
I remember IR once saying about how he redirected Sridhar to MSV when he came calling in the wake of his(IR’s) initial success. When he came again, for Ilamai O, thats when he agreed, but only after getting MSV in the loop and taking consent.
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k
November 5, 2008
Bharadwaj, I liked your list Ennadi Meenatchi, Anubavam pudhumai,Manidhan enbavan dheivam aagalaam,Muthaana muthallavo,Muthukkalo kangal,Indha mandrathil odi varum and my personal favorite, Aasayinaale manam.
Come to think of it, you name any south indian director & the average person on the street will give you a list of some 10 songs. Nobody is particular about camera angles and plot machinations, but the songs pretty much define the director’s output. Thanks for the list and the very pleasant memories you’ve rekindled. I will spend the next hour coaxing my walkman to play those tunes on my 30 year old Venus cassettes I’ve accumulated over the years. Look forward to longer songlists in your future pieces, hope you’ll oblige.
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brangan
November 7, 2008
This was an interesting letter that came my way. Some nice nuggets, especially Chandrababu’s comment on Gemini 🙂
Dear Sri.B.R,
Ever since I ceased to be a “HINDU” (In April 2007) and began traveling by “EXPRESS”, I have been going through your articles. We had good directors who cared for the finer sentiments of the audience, even before 1959, when Sridhar gave us “KALYANA PARISU” (I was in the last year of my degree course). They were T.R.Sundaram of Modern Studios, R.S.Mani (KANNAGI, MAMAN MAGAL & PUNAR JANMAM for which Sridhar penned the dialogues), P.Neelagandan & A.P.Nagarajan. Those days KUMUDHAM’s reviews of films were superb. For Kalyana Parisu their verdict was “It is an Eternal Light in the hearts of Cine fans” (Rasigargalin Nenjil Aitrivaitha Amaradeepam). The comedy track of K.A.Thangavelu in the picture is evergreen. Sri.Bala Chandar’s Claim that Sridhar was his Munnodi (Trend Setter & not just Predecessor) is very apt.
The films of Sridhar, Beem Singh, Bala Chandar & A.P.Nagarajan remain the Gems of Tamil Cinema. These directors preferred Gemini Ganesan as their hero in most of their films. Regarding Gemini, the comment of Actor Chandra Babu was “He neither knows acting nor knows walking” (Avana ? Avanukku Nadikkavum Theriyadhu, Nadakkavum Theriyadhu). How crude ?
My compliments on the selection of Memorable Scenes from Sridhar’s films. I am proud that he lives in the hearts of youngsters like you. But I am doubly gifted since “I was fortunate to be there” as K.B pointed out. You have knowledge, Involvement & Capacity. Go ahead & Win.
Yours Sincerely…
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raj
November 8, 2008
“…Kalyan Kumar, Ravichandran, Kanchana, Muthuraman, Vennira Aadai Murthy, Vennira Aadai Nirmala, Srikanth, Jayalalitha, Jayshree, Vikram”
Cram, uh, err.. I appreciate your intentions but this doesnt sound like a list worth celebrating a director for introducing. Except for Vikram, and to some extent, Srikanth, there doesnt seem to be much that that group hs outputted. Muthuraman wasnt introudced by Sridhar anyway.
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vijay
November 11, 2008
Policekaaran MagaL and Kalaikovil had some amazing numbers from the MSV/TKR-Sridhar combination, one for the ages. Unfortunately by the time Sridhar got to IR, his directorial skills were well eroded even if his musical sense was still well intact.
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vijay
November 11, 2008
Cram’s list sounds akin to the list of heroes introduced or groomed by Bharathiraja – Sudhakar, Pandian, Vignesh, Raja, Napoleon, Manoj and so on ..:-) Atleast BRaja made up for it somewhat with his heroines
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brangan
November 17, 2008
a letter to the paper
Dear Sir,
I read with considerable interest your tribute on late C.V.Sridhar. He was my favourite director. It was he who brought out the best from the technicians in general and in particular from the photographers, music directors, editors etc., In fact Shri. Vincent, the ace phtographer was full of praise for Shri C.V.Sridhar in one of his interviews in a Malayalam channel, because it was the latter who brought out the genious in the former in many of his films. The noteworthy films being ‘Nenjil ore Alayam” , “Then Nilavu”, “Nenjam Marappathillai” and “Kaadhalikka Neramillai.”. “Kaadhalikka Neramillai” still continues to be the reservoir from which any aspiring producer/director for making a comedy, draws inspiration from. As rightly pointed out by you, the film song, “Chonnathu Neethana, Chol, Chol, En Uyire” in “Nenjil Ore Aalayam”, would be captured by the camera in all captivating angles possible. that not even a single frame would be repeated with the same angle.
It was he who exploited the histrionic talents of Jemini Ganesan to the fullest extent in his films “Kaadhal Parisu” and “Sumai Thangi.”. Gemini Ganesan bagged the state award for the best actor for Sumi Thangi. In fact , a person who wanted to commit suicide changed his mind, after seeing this film.in which Gemini Ganesan would struggle and suffer and would make all sort of sactfices to make others happy, eventhough he would end up a miserable man. His film Vennira Aadai in which Miss.Jayalalitha, the ex-Chief Minister of Tamil Ndu, made her maiden appearance, dwelt on the despair and despondency of a young widow and it was an area where many directors would fear to tread. In his film ‘Avalukkendore Manam” the late Muthuraman played a stellar role as typical Villan which would be very difficult for others to emulate.. These are some of the films which I consider carried the inimitable Sridhar touch.
I thank you, Sir, for your tribute because Shri Sridhar is one director in a million, who did not get the disinction he really deserved in his life time.
Yours sincerely
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K. N. Krishna Moorthy
March 20, 2009
I have been a die-hard fan of Director Sridhar. I have seen almost all of his films. The main attributes to him, were his treatment of the story, the characters. The situations were neatly woven and un-woven. The picturisation was his main strength and the song situations were pleasingly picturised. Very few people of his time had this quality.
Great director.
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s. devarajan
January 17, 2011
I read your article. It will not be complete without mentioning stalwarts who worked with Sridhar who made the Chithralaya team successful. Chithralaya Gopu whose humour gave life to Sridhar’s movies. Starting from Kalyana Parisu (k. a. thangavelu’s mannar and company was Gopu’s own experience), UTharvvindri Ulle vaa, Ooty Varai Uravu till Thenrale Ennai Thodu, Chithralaya gopu had churned out super comedies. Being a school mate of Sridhar, he remained with his friend till his last breath despite becoming director in his own right. Also need to mention Vincent and P. N.Sundaram cameramen and Tiruchi Arunachalam still photographer.
What a unit?
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mugukanna
January 7, 2015
Wow.. needless to mention.. vry well written sir.. by going through those movies names and few of those evergreen songs itself is a go through memeory for me.. grt movies by late sridhar..
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