punnagai mannan
yethethoh ennam from punnagai mannan. flv | fav songs - tamil | pinterest | songs
punnagai mannan climax | tamil super climax scene | kamalhaasan | k. balachander | revathy
was a box - office success where he displayed his dancing prowess .
punnagai mannan
‎punnagai mannan (1986) directed by k. balachander • reviews, film + cast • letterboxd
punnagai mannan (1986) tamil movie cd - rip 320kbps mp3 songs music by ilaiyaraaja - starmusiq. com
there are no critic reviews yet for punnagai mannan (smiling prince). keep checking rotten tomatoes for updates !
this soundtrack was composed by maestro ilaiyaraja for the 1986 tamil classic romantic film punnagai mannan. another masterpiece of maestro ilaiayaraja .
there are no featured audience reviews yet. click the link below to see what others say about punnagai mannan (smiling prince) !
it takes 3 hours, 54 minutes to travel from erode to punnagai mannan falls. approximate driving distance between erode and punnagai mannan falls is 195 kms or 121. 2 miles or 105. 3 nautical miles. travel time refers to the time taken if the distance is covered by a car .
punnagai mannan is a tamil language film starring kamal haasan in the lead role of the protagonist. the film was directed by k. balachander. the film opens ...
another reason for thalapathi' s poor run is the release of mannan within 100 days of thalapathi' s release. i think thalapathy came out 91 diwali and mannan 92 pongal
as a suicidal dancer who loses his lover, kamal finds love once again in his student played by revathy. known for his dual role in the film and excellent music, punnagai mannan stands as an ode to love .
the late director k balachander gave ramesh aravind, a small role in punnagai mannan (1986). he was chosen to play revathi' s ex - lover, but his scenes were ultimately edited out of the final version .
movie: punnagai mannan cast: kamal haasan, revathi, rekha, srividya this tamil youtube movie channel movie world tamil contains copyright / classic / evergreen / exclusive / of­­­ficial / tamil new movies contents from tamil movies. in this channel users can watch tamil latest full movies
punnagai mannan is a 1986 tamil action - romance film, directed by k. balachander and produced by kavithalayaa productions. this film stars kamal haasan, revathi, rekha, srividya in the lead role. the films soundtrack and background score were composed by ilaiyaraaja with lyrics by vairamuthu .
punnagai mannan was released in the year 1986, some songs of the official soundtrack are enna saththam indha neram by balasubramaniam s. p. , kaalakaalamaaga vaazhum by balasubramaniam s. p. , kavidhai kelungal karuvil by vani jairam, maamaavukku kudumaa kudumaa by malaysia vasudevan. listen the soundtrack online !
one two three them video hd | punnagai mannan | kamalhassan, revathi directed by k. balachander produced by rajam balachander pushpa kandaswamy written by k. balachander starring kamal haasan revathi rekha srividya music by ilaiyaraaja cinematography ragunatha reddy edited by ganesh - kumar production company kavithalayaa productions distributed by kavithalayaa productions release dates 1 november 1986 [ 1 ] country india language tami
last month, the mgr film ‘naadodi mannan’ was much publicized like a new film and released in 4 theaters where it did roaring business, 56 years after its original release .
punnagai mannan | kamal and rekha suicide scenes hd | tamil mega hit movie directed by k. balachander produced by rajam balachander pushpa kandaswamy written by k. balachander starring kamal haasan revathi rekha srividya music by ilaiyaraaja cinematography ragunatha reddy edited by ganesh - kumar production company kavithalayaa productions distributed by kavithalayaa productions release dates 1 november 1986 [ 1 ] country india language tami
years later, they would meet on the sets of punnagai manna n as co - stars. “kamal was dressed as charlie chaplin for mamavukku kuduma song, ” he recalls fondly .
vivek had always enthralled the audience with his excellent sense of humor and fantastic timing. and it’s not just the comedy that he is famous for the comedian in him also ensures that he delivers a social message. this comedian has not spared even the greatest of actors; for we will soon see vivek do the famous kiss scene like exactly the one in punnagai mannan .
punnagai mannan is a tamil language film starring kamal haasan in the lead role of the protagonist. the film was directed by k. balachander. the film opens with lead actor kamal hassan and his love interest rekha, attempting suicide from a cliff. in this attempt, rekha is killed but kamal survives the fall. it is later revealed that the attempt was because of the obstacles in their love life placed by rekha' s father. at this point, kamal is advised by his uncle (also played by kamal) that suicide is escapist, and a sign of weakness. kamal agrees and gets on with his ...
the sight of the falls is magnificent. this falls became popular after it is shown in punnagai mannan tamil movie where kamalkasan and his lover will jump from the top of the falls. it is highly disappointing that no one is allowed to take bath in the falls. people are not even allowed to go near the falls. we took bath in the river leading to the falls. river bed is rocky and slippery. rocks are not only in the banks but even inside the river. never attempt to jump into the river from the banks. this is the source of drinking water to more than a lakh of people. the water is clean and very tasty .
pm was the underdog in that deepavali release but turned out to be a big hit, while maaveeran flopped. the 25 weeks celebration of pm was held in trichy and kamal was given the title' puratchi mannan' by k balachander. that title was used for the first and last time in that function. this was dubbed as' dance master' in telugu and was a good hit in andhra .
i feel its fair enough to say that punnagai manan is without a doubt one of the greatest love stories set against a musical backdrop to emerge in indian cinema, and i say that purely out of the film' s merits and the way in which it had been projected for its sensitive theme than boasting about or comparing the great indian north - south divide, which many people use it to utmost irritable debates, claiming supremacy over each others race, forgetting the very fact that both are fighting and pulling out each other of the same sect. anyways let us get back to the review. but just before that i’d like to add a few points. if you look at my reviews in general, i try not to divulge its climax or talk unnecessary issues. i try to keep my reviews short, sweet and a bit hanging here and there, so it may peruse the reader to watch it than merely reading and visualising the whole movie in the screen inside his mind. i follow the principle of * kiss * [ keep it short and simple ]
if there' s one woman who sets stars dancing to her tunes, it is choreographer kala master. she holds a sway in kollywood with her award winning works .
she is a pint - sized dynamo who has the stars of the tinsel world dancing to her tunes. wannabe actors flock to her school  a launch pad of sorts  for acquiring that extra qualification before they enter kollywood. recently she set the screen on fire with her choreography for the song vandaar kuzhali in the film
thiruda thirudi
starring dhanush and chaya singh .
in live shows, whether it' s in india or dubai, she has something new for everybody. the malayalam, tamil, kannada and telugu film industry vies for her dates .
never looking back, she has since choreographed over 3600 songs in various languages including tamil, telugu, malayalalam, hindi, kannada, oriya, bengali, english, italian and japanese. she has worked with directors like k. balachander, mani ratnam, k. s. ravikumar, priyadarshan, fazil, kamal hassan and the filmography contains names like
roja ,
puthu puthu arthangal ,
vaaname yellai ,
virasat ,
pranaya varnangal ,
ustaad ,
niram ,
megam ,
summer in bethlehem ,
friends ,
narasimham ,
azhagan ,
etc .
it was through k. balachander and raghu master that i learnt the technique and how to handle a hero who cannot dance ,
she says. among the current crop of actors, she rates simran an excellent dancer .
jyotika' s forte is expression. for grace and femininity it is meena, while ramya krishnan draws people to her. for the b and c centres mumtaz is best. among the heroes vijay is the best, ajit is a macho dancer, surya and shyam are graceful and vikram is both a good dancer and artiste .
her most unforgettable dance sequence is the kozhi koovuthu neramachu song in
azhagan ,
starring mammoty and bhanupriya .
people look at cine dance with a different perspective. but i have managed to capture their hearts with
azhagan
the dance number had dialogue as well and was done in two days flat .
she treasures her national award for a classical folk number and the opportunity to choreograph the miss world 1996 beauty pageant held at bangalore for which she got a special award of excellence from amitabh bachchan .
dance sequences have to be planned properly with the needed paper work. most of the time i compose on the spot at the sets, after a briefing from the director. it' s a gift god has given me, though i may be a zero in other things including academics .
to the criticism, particularly from the older generation that film dances don' t blend into the storyline, she says ,
even in the theatres i have seen people going out for a smoke during a good mythological song. if it' s a mumtaz number it' s watched with interest and there will be encores. i always avoid suggestive movements even if it' s a rain song and i explain my stand to the director. but if he insists that the situation demands it, or if the distributor asks for it, we have to make a lot of compromises. the heroines are usually happy working with me, as they know i will make the song look artistic .
she cites the song in
ivan
in which there is no physical contact but has turned out very alluringly .
she loves live shows because there are no compromises .
all the stars have to be given an equal chance and i insist on their coming to rehearsals punctually. i work with the set director, use a lot of formations and ensure the entire stage is covered. i never repeat the movements in the original film song and pack in a surprise element. people say the film world is bad. i think you can live without fear here as the technicians take you under their wing. after outstation shoots i will retire to my room and stay put. people have an impression that kala master is very arrogant and strict, but i love my privacy .
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district to an orthodox brahmin couple mr. srinivasan and mrs. rajalakshmi his father
chaaru and chandru being the other two. after his family moved to madras, he was
kalathoor kannamma
( tamil - 1960). although his father and his brothers were
qualified as lawyers, kamal was not interested in studies. he started showing interest
in classical dance, which induced him to quit studies. experienced in films as a child artiste ,
as a hero in his film
arangetram
. this was his first film as an hero, today he has acted
which he could really make films that he enjoyed. a string of hits followed with
guru
,
sattam en kayil
,
ellam inba mayam
. then came barathiraaja who used his
16 vaiadhinile
to catapult himself to fame and tagged along with him kamal, sri devi and rajinikanth .
and did not have the look and feel of a real movie. another barathiraaja movie
had suffered injustice at his father' s hand. a. v. m. the largest studio down south and probably
on to become his biggest box - office hit for some time. by then, kamal was a darling of
the crowds, especially college - girls. his other phenomenal box office success around the
marked his debut in hindi with
ek duje ke liye
, directed by k. balachander, a remake
jump to death, inspired by the on - screen romance of kamal and rati. .
moonram pirai
directed by balu magendra, won him his first national award .
sagara sangaman
in telugu
and has been quite successful as a producer too. (
apoorva. .
,
devar magan
) then came
nayagan. a movie that changed the course of tamil cinema. manirathnam, a mba from one
of the nation' s leading schools, biteen by the bug, turned to films. after achieving success
don of bombay, vardaraja mudaliar. he has no two doubt sin mind when it came to chosing
the lead, and kamal duly complyed .
nayagan
( the hero) is a landmark movie in indian cinema ,
and changed kamal' s image completely. people now wanted to see him in various guises. so
kamal became the lon chancey of tamil cinema. he played a dwarf in
apoorva sagodarargal
and essayed four different roles in the screw - ball comedy
michael madana kama rajan
.
on a script for two years. its a costume drama, set in the time of the british raj. its been
his dream project for time to come. he also wishes to serialize a tamil epic story called
his fans and the people of the world. he has set the standards, by which all future
actors - to - be will be judged. he is a unique phenomenon and truly an actor of our times .
sceond wife, sarika and their two daughters. in 1989 he started a social welfare movement called kamal hassan narpani iyyakkam, and
topic started by nilavupriyan on mon sep 18 7: 28: 55 2006 .
ttt was a super duper hit and thanga magan did well only in madurai as the 2 movies ran in a fierce competition. ttt was dubbed in telugu as jalsarayeedu and was a hit in andhra as well
enakkul oruvan was completed in a short period and had a tremendous opening at the box office, but tailed off after that. nallavanukku nallavan was a surprise hit and the trend of rajini in a pathos song was set with' chittukku chella' song .
kakki chattai was a mass hit, while nsm was very average even with both rajini and baghyaraj (who was at his peak) acting together. in fact kc was the biggest hit from satya movies until baasha. kc was dubbed into telugu as killadi and was a super hit in andhra .
j k was very expected sequal... dint do well... padikadhavan did well
from: rajkumar _ mj on mon sep 18 7: 40: 58 2006 .
ic, even though was only a dubbed movie held up very well against panakkaran at the box office .
from: rajkumar _ mj on mon sep 18 7: 43: 49 2006 .
pandian was the movie with lot of expectations, but dm stole the thunder and went on to become a huge box office smash breaking all kinds of records. it was dubbed into telugu as' kshetriya puthrudu' .
even though this was not a straight competition as kamal only acted in a secondary role, but still the movie was a big box office hit given that it was only a small budget movie. baasha of course was a box office smash and was rajini' s biggest hit till padayappa. sl was dubbed into telugu under the same name and was a big hit in andhra as well. in fact sl ran for 100 days in 6 centres in andhra as did baasha which was a big hit in andhra too. baasha was the first 100 day as well as hit movie for rajini in andhra .
the movies came during the height of the hype about rajini entering politics, but kp had a bigger opening at the box office than muthu. after a long gap, the 2 movies were released in the same complex in mount road (kp - devi, muthu - devi paradise). kp was full for 10 days (40 shows) while muthu was full only for 30 shows when the advance booking was started, such was the response for kp. of course, muthu went on to become a big hit
actually kp was a semi - dubbed (remade) version of the original drohi (telugu) which was released on 26. october. 1995 which lot of people are not aware of. this movie ran for over 25 weeks in andhra .
vetri vizha - 100 days maapillai - 100 days both did well ...
from: rajkumar _ mj on mon sep 18 7: 55: 25 2006 .
ceillvi i think kb' s pudhu pudhu arthangal was biggest hit among the diwali releases .
from: sakalakalakalaa vallavar on mon sep 18 8: 02: 04 2006 .
totally wrong. pm released alone and became superduper hit. its an evergreen romance. but maaveran clashed with vikram, the hitech movie of that time. both flopped eventho vikram was very popular and was lot of time aired in tv. maaveran is a total washout .
interesting thin to remember - in vikram, there is a heroine named lisa, she acted as a software programmer, who accompanis the hero! ! remember indians didnt even knew what computer is \ was .
totally wrong. pm released alone and became superduper hit. its an evergreen romance. but maaveran clashed with vikram, the hitech movie of that time. both flopped eventho vikram was very popular and was lot of time aired in tv. maaveran is a total washout. interesting thin to remember - in vikram, there is a heroine named lisa, she acted as a software programmer, who accompanis the hero! ! remember indians didnt even knew what computer is \ was .
i think kb' s pudhu pudhu arthangal was biggest hit among the diwali releases .
ppa, was released in small theatres in chennai, and with less no of prints all over tamilnadu, thats y it became hit, maybe due to the budget of the film, it was done, but collection wise, maapillai and vetrivizha grossed more thaan ppa .
yenna sakalai ungalukku ithuve maranthupocha, pm was released with maaveeran, but vikram was released before that, both vikram and maaveeran was released in sathyam .
there is a heroine named lisa, she acted as a software programmer, who accompanis the hero! ! remember indians didnt even knew what computer is \ was .
writer sujatha was working with kamal for this film, no wonder lisa was software programmer in that film .
vetrivizha ran for 7 weeks in bhuvaneswari, and 10 weeks in agasthiya, taken from udhayam after 75 days, and only in shanthi it completed 100 days .
but maapillai completed its 100 days run in alankar a. abirami, - regular shows maharani - noon show, and kamala - noon show
guna - 100 days thalapathy - 175 days guna ran 100 days in 3 centres. . thalapathy in 4 centres! both are not blockbusters .
guna - 100 days in 3 centres? ?? ? talapathy - 4 centres? ?? ? talapathy ran in 15 theatres in 9 centres for 100 days, in chennai it ran for 100 days in three theaters, while guna in just devi paradise .
adhanal thaangal koora varuvadhu? ? i cant agree to this... .... though i was a kid, i remember rasukutti was a huge hit according to ppl. around me... .. they told that both the superstars failed that time and bagyaraj won the race... .
athanal naan koora varuvathu. . atleast enga oorula guna had better run than thalapathi. . ithula enna joke irukku sirikkurathukku. . are you ok ?
as a whole, i believe both thalapathy and guna were average. they could have run well in some centres. but as a whole, they were average and thalapathy a bit good run while comparing to guna overall .
i cant agree to this... .... though i was a kid, i remember
.... . they told that both the superstars failed that time and bagyaraj won the race... .
is it? ? really? .. surprisingly i never heard of this movie rasukkutti, till last week when i bumped onto it on some website and downloaded it... .. i watched the first part last friday, .... was thinking if i shud watch the 2nd part... ...... . (hey am not really making fun of k. bhagyaraj, actually i' m a fan of his 80s movies... ... that shud explain why i downloaded rasukkutti without an iota of knowledge abt the movie) anyway, thalapathy was a good movie... but guna is an eternal classic... actually my no. 1 fav movie in tamil... .. i find parallels between guna &
one flew over the cuckoo' s nest
.... and in sri lanka guna did bumper business... .... . donno abt thalapthy at all... . def didn' t do well... .
right. but thalapathy had a huge opening. i remember the tickets of thalapathy selling for 500 rs. on black for first day. but if i remember right rajini himself accepted that thalapathy was not a huge hit since people were confused as to whether it was a rajini movie or a mr movie .
but in trichy, guna was a washout but thalapathi ran for 75 days. . also in tanjore shanti theatre i have seen thalapthy 100 days memento
...... but from the first half i feel it had all the chances of doing better than thalapathy in b & c centres (guna sollave vendaam) )... . .
during his peak bhakyaraj (before 1990) was also considered a superstar along with rajini and kamal. many of his movies were superhits before 1990 .
now, does any other bhakyaraj movies released along with rajini & kamal or kamal or rajini movies? if yes, how was the box office performance .
talking abt titans, now i feel bhakyaraj and tr clash also an notable one. .
how does rajini’s film ‘sivaji’ become competition for mgr? have no confusion. we refer here to nadigar thilakam sivaji ganesan .
prominent film personalities like sathyaraj, k bhagyaraj, rajesh and pandiarajan went to the theatre to see the film .
manjula, saroja devi and half a dozen yesteryear heroines, who had acted with mgr, went together to watch the film at albert theater, much to the delight of fans .
this has irked the sivaji fans, who want a similar feat for their idol. so, they plan to release his ‘uthama puthran’ on oct 1, on the 79th birthday of sivaji. directed by prakash rao, the story and dialogues are by sridhar .
as ramesh aravind enters the restaurant of a boutique hotel in alwarpet, i allow myself a smile. i see keladi kanmani’s sashi strolling towards me; matured yes, but vestiges of that boyish charm still intact .
“we won’t talk much about uttama villain, okay? ” he greets, his brown eyes twinkling .
ramesh aravind is like that vibrant happy artiste who likes to sketch his canvas in oranges, greens and magentas. every memoir, every yarn is weaved with a lot of happy emoticons. after more than two decades in cinema, and movies in six languages (including a 100 in kannada and the odd one in tulu) – he maintains a great relationship with all the directors and co - stars he has worked with .
directors repeat him, and actors love to be in the same frame with him .
because ramesh works without an ego. that’s important, he nods sagely at me, “and that’s how it must be. ”
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and of the people in it. he is quite rational about it. “i admire a lot of them, but i have never been in awe, ” he begins solemnly, “it affects your performance, and i think that applies to most of us. i am a very secure actor who is extremely happy in my space. i am game to work with anybody. ”
he leans forward, and sips the sugarless tea. it arrived at the “right stage of his career”, he says. he was looking forward to doing something different in life. he had ideas. but not the resources or market. “when kamal said you should direct it, it gave me clarity. otherwise, you know, you are caught up in the muddle of daily things. ”
he didn’t sign a single kannada film after that. and for an actor who loves to multi - task, it was a tough call. also, it happened to be the first film he was directing where he was not the lead actor. “it was a big responsibility, ” he explains, “i wanted to give it my all. it was a challenging script, and that was my best takeaway. ”
kamal is more a mentor, he admits. so there was no typical hero - director relationship with him. but he did realise something, though: that being a co - star is pretty smooth, but when you meet as a director and an actor, “it is possible the friction can escalate into something very unpleasant. ” there were creative differences with kamal, yes. “i would be lying if i say it was a smooth ride. but then, there were two creative minds at work. ”
a lot of people had warned him against taking up uttama villain. their reason was quite simple: it might affect the personal equation he shared with kamal. “but then, ” ramesh interjects, “both of us are mature. i didn’t want to miss that collaboration thinking about a possible change of equations. ”
he was the emcee at the 50th day celebrations of sagara sangamam when he first met kamal. ramesh was in engineering college then. “i was always his admirer, ” he recalls, “rajini and kamal were the biggest stars of our time. you can’t escape that influence. ”
ramesh was originally supposed to be the “flashback hero” for revathi, but his role was edited out .
– a well - written screenplay, packed with detail, and dotted to precision .
so much so that when he requested kamal to replace two lines in the script, he took a day to come up with a perfect set of lines .
also, ramesh would consciously stay away from the script for 10 or 20 days to get an objective view of it. “when you are constantly on it, things start working against you, ” he shrugs, “crazy mohan would often drop by for discussions, otherwise, the script and dialogues are kamal’s all the way. ”
according to ramesh, the movie has two aspects: there’s a sensitive side, and “a new type of comedy”. essentially though, it is something that he has always been doing. but, on a bigger scale. the story is set in two centuries: 8th and 21st. while the early century deals with a lot of folk art from that era, there’s also an amalgamation of theyyam, koothu and other folk forms .
thankfully, ramesh suddenly exclaims, they had similar sensibilities. kamal and him. especially in humour. “i used to tell him, avalo jerk vendam sir, ithu namma comedy kedayathu. and he will be very happy as that’s how he likes his comedy. he doesn’t like an exaggerated shoulder shrug or widening of eyes for the sake of comedy. but then, it is only natural that we think alike – if he learnt from k balachandar sir, i learnt from both kb and kamal. ”
he terms comedy as “the most dangerous genre” to deal with. but when things work in perfect sync, you get a film like panchathanthiram, he says, adding that he grew up on that kind of comedy: crazy mohan and k vishwanath’s dramas. he also loves “saying profound things” in his films, but “in a nice happy way” .
casting for uttama villain, he reveals, was serious business. they held auditions for smaller actors and rehearsals for bigger stars. “it was crazy. we could pull it off only because of kamal’s name. ” the inclusion of k balachander, k vishwanath and chithra lakshmanan were not an afterthought, concedes ramesh, the roles were written for them. though they wouldn’t be essentially playing themselves, he says, one can’t entirely overlook the biographical shades to their characters .
so are we in for a cinema within a cinema? i ask curiously .
“i don’t know, ” he laughs, ” you can draw your own conclusions. ”
they have also tried various innovations with make - up. he admits the local theyyam make - up artistes took his breath away by their sense of aesthetics and detailing .
and, the song sara sara sold them on ghibran. “talented, with a nice attitude” is how ramesh sizes him up. “it’s a big deal to have talented people with pleasing attitudes on the sets. with such people, you can make a movie like the lord of the rings just like that, without making much noise. ”
yes, uttama villain is the biggest film he has done, and probably the most challenging in terms of execution. “you look at it this way. for a two - hour long film with kamal, we shot for 800 hours with him. and, that’s not counting the one - and - a - half years of brainstorming. ”
[ quote align = ’left’ ] dark, morbid movies are not his idea of entertainment. [ / quote ] we travel back in time. 1986 to be precise, when ramesh was in his last year of college. he was also anchoring a popular show on a kannada channel then. and that was when k balachander called him to chennai, and offered a film. “just learn how to dance, and we will do it, ” was the brief .
kb had later introduced him in telugu as well. he still remembers the press meet for his first film .
“ na yen unna nerupula sagadichen theriyuma? ” kb had told him then, “ yenna, un kannula nerupu therinjidhu. ”
it is important to start one’s career with the likes of k balachander, balu mahendra or mani ratnam, he reflects thoughtfully. “you respect cinema for the force it commands. you appreciate its grandness, and don’t get attracted to the wrong things. you could learn the minute details of filmmaking and acting just by being with them. ”
kamal, he says, had always believed that he had the mind of a director, and ramesh concedes that he was inclined towards direction right from his fourth film. “i learnt on the job. 150 films on the floor. that’s the best college you can ever go to. ”
[ quote align = ’right’ ] “ na yen unna nerupula sagadichen theriyuma? ” kb had told him then, “ yenna, un kannula nerupu therinjidhu. ” [ / quote ] he thinks one would be more accepting of other’s opinions as they grow older. “don’t take crap, but when the right guy says it with the right intention, accept it. ”
have you ever put your foot down? i ask impulsively. he is amused by the phrase .
“why would you want to put your foot down, man? you can very sweetly take it in hand and kiss it. ”
“one should learn how to control your impulses. try not to flare up in that moment, and some wonderful things will happen later. simplify your life, and unless there is a big payoff, don’t complicate it, ” he lists out his survival tips .
uttama villain has some massive stars, yes. there’s urvashi with over 500 movies to her credit, jayaram with over 400, and kamal with about 300 – that’s more than 1000 films of experience in total, he exclaims. “you rub someone the wrong way, and you lose 400 + years of filming experience. is it worth it? ” he asks rhetorically .
showing - off is a sign of immaturity – “high school attitude” – he declares. “kurosawa made simpler films as he grew up. ”
[ quote align = ’left’ ] “in spite of all my preparation, something magical will happen at the last minute. that’s the power of cinema. ” [ / quote ] ramesh has a photographic memory of every film that he worked on. panchathanthintram remains a favourite. it was a madcap set, he grins, savouring the memory, “with brilliant story tellers all around. be it jayaram, urvashi, kamal or yugi, they would have a fantastic tale to narrate. we never used to run out of conversations. ” jayaram would make them roll on the floor in laughter with his mimicry. urvashi would narrate a tale in all seriousness, and by the time she finished, the set would erupt in laughter .
he was more amazed, the actor admits, by their ability to follow directions to the t despite knowing the intricacies of filmmaking. “urvashi can direct a film easily. yet she never questions the director. it’s very tempting to cross your hierarchical borders all the time. to hold back all the stuff you know is amazing. ”
sathi leelavath i is another pleasant memory. one can’t even begin to describe the kind of things you learn from balumahendra, he says shaking his head in wonder. “even 20 years back, he never allowed you to dance, he would play a song and simply let you behave. ”
ramesh narrates an incident. “during a shot, balu asked me to stand near the window as there was more light. i told him, ‘no, i don’t feel like getting up. ’ to my utter disbelief, he immediately changed the shot. ” that is one way of doing cinema, he says, “making your actors feel comfortable. ”
left to balu mahendra, declares ramesh, sathi leelavathi would have become something like marupadiyum; intensely emotional. but when kamal and crazy mohan came on board, they brought along the fun element. “bringing creative minds into a film can add a different flavour to a film. ”
as an actor, ramesh prefers doing roles that justify his image. he doesn’t mind dark and negative characters as long as they have an extra dimension. he did a succession of unrequited lover roles before he switched to comedy. and soon realised that it was his forte .
he does admit to have knowingly been a part of a lot of “trashy films” for friends, though. “it might have looked like a bad career move, ” he pauses, “but the goodwill you gain from it, it comes back in a nice way. it has to me, at least. ”
the creative process of filmmaking still excites him. “in spite of all my preparation, something magical will happen at the last minute. that’s the power of cinema. ”
childhood influences, ramesh observes, define an actor. “it might be a drama rehearsal, a script you had read or even a song. for me, it was those yearly get - togethers at my grandparents’ home, when we used to stage a skit with my mother’s sari as the curtain. every actor will have a story like that, ” he smiles .
a flop hurts even now, he admits, adding that success is easier to accept, but you don’t understand that it won’t be with you all the time. “you tend to fall now and then. a hit or flop has not changed me. ”
ramesh thinks that “reviewing is an art of its own. but it is inappropriate to loosely comment on technical intricacies like editing and sound. it is easy to judge performances, but definitely not the other aspects of filmmaking. ”
has there been instances when he has found it difficult to shrug off his on - screen image? “not really. it was very close; my on and off screen image – the boy next door. the minute i finish a shot, i can come out of it. ”
having said that though, he admits the negative character in amrita varshini “psyched” him out. he played a man who falls in love with his best friend’s wife. during the climax, where he kills his friend and faces his pregnant wife, he had an attack of migraine, he tells me .
ramesh is currently hosting a talk show on tv – weekend with ramesh, and he reveals that it is no cakewalk. “in cinema, you can fake it and get away with it; but on tv, they catch you immediately. they can hate you overnight. i am being myself on tv, i love that role. ”
he is now eagerly awaiting the release of uttama villain. the experience has made him a more confident man, he declares. he wants to direct bigger films now .
a nervous moment in front of the camera? i ask as a parting shot. “no, ” ramesh declares vehemently, “not even during the first ever shot i’d done. i had to hug the heroine and lip - sync to the song. i was always at home on the sets. right from day one. ”
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radio city 91. 1 fm is providing the ultimate treat for an ilaiyaraaja fan. as part of its campaign titled raja rajathan, the station is playing songs only by the composer for 91 days. the marathon comes to an end on june 2, the maestro’s 72nd birthday. arguably the first - ever initiative of its kind, the channel has received formal approval from the composer himself. kartik kalla, national programming head of the station, says, “the idea was simply to pay tribute to a legend who has composed music for over 1, 000 films and done over 4, 000 songs. we wanted to do something extraordinary for him. ”
kartik is delighted with the success of this campaign. “we have received 13 lakh song requests so far! ” he says. this is the only way to gauge audience response. “there’s something called radio audience measurement, but it isn’t implemented in chennai yet. calls and messages are how we know if a programme is popular. ”
radio city identified a total of 600 songs to play during these 91 days. that, of course, didn’t mean they would not play other songs when requested by listeners. “also, we have a repetition policy. the older the songs, the less frequently we are likely to repeat them. ”
kartik also talks about a concept called ‘mood mapping’. this is a strategy that helps the station decide when to play the various genres. this is why you have radio stations playing high - tempo songs in the morning and the evening. “in the afternoons and nights, when people are generally relaxed, we play melodies. ” raja rajathan does not follow ‘mood mapping’ though as “most raja songs are melodies that are relevant through the day” .
the consequence of organising such a programme, of course, is the inevitability of doing a similar one for another composer — say, rahman. “we haven’t decided yet. it’s a strategic call that will be made after much deliberation. ”
“it’s my all - time favourite. a solo number, it’s about love, the most beautiful emotion. dancing to a song is all right, but relishing a song and singing along... it’s beautiful. ”
“after having worked with him and seeing how the song evolved from composing to recording, i have no choice but to pick this song. ”
it’s a masterpiece. it was only after listening to this track that i knew how quickly music could lift one’s mood. this song has that effect on me every single time .
you like some songs for their pallavi, some others for their charanam, and a few for just the music between them. in this song, all of these elements come together beautifully. the sruti is perfect for both janaki amma and das annan (yesudas). the lyrics are touching. this song is enough to let me unwind, no matter how stressed i am .
the thing with raja songs is they make you think about your past. i remember his first film, annakili, released when i was in class 5. i love the tune of this song. i was in class 8 then. even recently, i remember this song playing in my car when my destination arrived. i let the song finish before getting out two minutes later .
i’ve always believed that songs should express some emotion, some feeling. this song is a perfect example of what i believe in. it’s simple, yet so dramatic. the element of drama in this song is so inherent to this film .
for some reason, despite names like balu mahendra and yesudas being associated with this song, people get reminded of me when they listen to this. i have no idea what i did so well in this song to deserve that. this was also my last song with shoba. i remember how we looked into the sky just before the line, ‘panneerai thoovum mazhai’. balu mahendra made me listen to this song for the first time in chola sheraton. i learned just then that he got married to shoba. i told him that this song was so beautiful, that it was a great wedding gift for him from ilaiyaraaja. i also enjoyed it when suriya, in vaaranam aayiram, picks up his guitar and sings this song .
i love the way he handles ragas in this song. he goes through different scales. the song has a dreamy effect on me .
i heard this as a kid who was learning music. i still am learning, of course, as i still don’t understand some ragas. this is the song that made classical music accessible to the public. chithra chechi won the national award for this song. until this song arrived, carnatic music intimidated the average man. it proved that even ragas can be made simpler, more accessible .
it’s so difficult to choose one. also, i don’t think i can give reasons why i like a song. it just stirs something deep within. for lack of a better expression, i’ll just say it connects with my soul .
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this scene, with actress malavika and vivek was filmed recently for singakutty. according to the comedy track, vivek, in a one - side love with malavika, kisses her, that too after a dream song. this sure is to get the audience split with laughter. vivek’s sense of humor is definitely rising to greater heights !
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after a failed suicide attempt that ultimately leaves his lover dead, a dancer changes his life .
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arun (ramesh arvind), bored of his wife' s (leelavathi) looks and weighty appearance, meets priya and develops an affair with her. but his wife has other plans .
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punnagai mannan ( english : king of smiles ) is a 1986 indian tamil-language romantic-drama film directed by k. balachander . starring kamal haasan and revathi in the lead roles , the film is haasan 's 25th film with balachander . coincidentally , it is music director ilaiyaraaja 's last film with lyricist vairamuthu . the film was dubbed into telugu as dance master . the film was later dubbed into hindi as cha cha charlee in 1996 . 
punnagai mannan (english: king of smiles) is a 1986 indian tamil-language romantic-drama film directed by k. balachander. starring kamal haasan and revathi in the lead roles, the film is haasan's 25th film with balachander. coincidentally, it is music director ilaiyaraaja's last film with lyricist vairamuthu. the film was dubbed into telugu as dance master. the film was later dubbed into hindi as cha cha charlee in 1996.
punnagai mannan (english: king of smiles) is a 1986 indian tamil-language romantic-drama film directed by k. balachander. starring kamal haasan and revathi in the lead roles, the film is haasan's 25th film with balachander. coincidentally, it is music director ilaiyaraaja's last film with lyricist vairamuthu. the film was dubbed into telugu as dance master. the film was later dubbed into hindi as cha cha charlee in 1996.