kappalottiya thamizhan
kappalottiya thamizhan is a album. it contains 9 tracks sung by various. below are the tracks of kappalottiya thamizhan album by their singer name respectively .
kappalottiya thamizhan movie rating is 82 / 100 based on reviews submitted by 5 users .
vande madharam | kappalottiya thamizhan | sivaji ganesan gemini ganesan | seerkazhi govindarajan | old song .
vande madharam | kappalottiya thamizhan | sivaji ganesan gemini ganesan | seerkazhi govindarajan | old song. - youtube
kappalottiya thamizhan - velli panimalaiyin meethulavuvom sivaji ganesan as va. vu. chidambaram pillai, the first indian to start a shipping compa… | pinteres…
kappalottiya thamizhan (english: the tamilian who launched a ship) is a 1961 indian tamil drama film directed by b. r. panthulu .
kappalottiya thamizhan was launched by the multilingual filmmaker b. r. panthulu. coming into tamil cinema in the late 1930s, he made memorable movies based on the lives of sundara pandian as well as v. o. chidambaram pillai, popularly known as kappalottiya thamizhan, a sadly underrated leader of the indian freedom movement .
kappalottiya thamizhan: best remembered for its heartbreaking climax and flawless performances, ‘kappalottiya thamizhan’ featured sivaji ganesan and gemini ganesan in the lead. directed and produced by br panthulu, it was based on the life of vo chidambaram pillai and his attempts at destroying the monopoly of the british traders. upon release, the film underperformed at the box office but won several national awards nonetheless .
kappalottiya thamizhan: best remembered for its heartbreaking climax and flawless performances, ‘kappalottiya thamizhan’ featured sivaji ganesan and gemini ganesan in the lead. directed and produced by br panthulu, it was based on the life of vo chidambaram pillai and his attempts at destroying the monopoly of the british traders. upon release, the film underperformed at the box office but won several national awards nonetheless .
superb among them are his roles as bharatha in sampoorna ramayanam, the patriotic lawyer chidambaram pillai in kappalottiya thamizhan, the nagaswaram player sikkal shanmugasundaram in thillana mohanambal, prestige padmanadha aiyer in vietnam veedu, barrister rajanikanth in gauravam and police superintendent chaudhury in thangapadhakkam .
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the only film he acted together with mgr was the controversial “koondukkili” by tr ramanna. with gemini he acted in many hits like pennin perumai, pathi bhakthi, veerapandiya kattabomman, paarthaal pasi theerrum, paasamalar, pandha pasam, kappalottiya thamizhan, saraswathy sabatham, thiruvarutselvar and unakkaaha naan. he also acted with ssr in films like parasakthi, rajarani, aalayamani, shanthi, kaikodutha deivam etc
watch the hit song odi vilaiyaadu papa sung by seerkazhi govindarajan, gajalakshmi and meera from the super hit film kappalottiya thamizhan. director: br panthulu producer: br panthulu cast: sivaji ganesan, gemini ganesan, sv subbaiah music: g ramanathan lyrics: bharathiyar released: 7 november 1961 for more updates: subscribe to us on: urltoken follow us on: urltoken like us on: urltoken
some years later nambiar did a similar role as the villainous rajaguru in the film
mandirikumari
. s. v. subbiah' s performance as bharatiyar in the film ,
kappalottiya tamizhan
was reminiscent of his role as kavi anandar .
pat came the answer, '` kappalottiya thamizhan''. '` enacting a doctor, an engineer and others are not very difficult. but to portray a person, a revered freedom fighter, whom people had met, seen and moved with, is a different proposition. so when the late panthulu asked me to enact the role, i first hesitated. then i decided to meet the challenge. i got all the material on v. o. chidambaram pillai and studied it .
“b. r. panthulu produced good movies such as karnan [ karna, a ranking character in maha bharatha epic ], kappalottiya tamizhan [ the tamil who owned a ship – a biopic on v. o. chidambaram pillai ] and so on…. i was able to excel in my role as v. o. chidambaram in kappalottiya tamizhan … this film was not a box office hit because v. o. c. belonged to the congress party. certain people did not want the masses to be stirred by the nationalist spirit. it was the time when the dmk was gaining political ground in tamil nadu. a time when there was competition between parties, and films were pitched against each other. the opposition unleashed a malicious propaganda that since v. o. c belonged to the congress party kappalottiya tamizhan was a congress party film. in those days, the dmk had the strength of numbers…the difference between the dmk and the congress is that the latter did not pay much importance to the field of performing arts. my professional accomplishments or my speeches were not appreciated by them whereas the attitude of the dmk was different. it used films as the primary medium to widen the party base. since the congress did not understand artistic sensitivities, kappalottiya thamizhan, which was a film made for the congress, was a box office failure…”
my all time favorite is kappalottiya thamizhan. it is not easy to play the role of a real life figure whom many have seen personally. against his usual style, sivaji ganesan had acted with a lot of restraint and the film made a significant contribution by chronicling the services of the great patriot voc. subbiah as bharthi is a treat to watch. the film won the best film award, but failed in box office. in the movies others have suggested i would also like to pick anbe sivam, a thought - provoking movie; handled a heavy subject with ease and sustained interest right through the movie
kappalottiya thamizhan explored the powerful lyrics of mahakavi bharathi being matched perfectly by g. ramanathan musical score. each song is a gem – both for its lyrical value as well as musical excellence. ‘odi vilaiyaadu paappa’, ‘vandhe maatharam enbom’, ‘velli panimalaiyin meethulavuvom’, ‘nenjil uramum indri’, ‘thanneer vittom valarthom’ and ‘endru thaniyum indha sudhandhira dhaagam? ’ stunned listeners, as stalwarts seerkazhi govindarajan and tiruchi loganathan poured out feelings of patriotism in full measure. ‘kaatru veliyidai kannamma’ gave fresh meaning to romantic melodies with the mellifluous voices of p. b. sreenivas and susheela. it should have been an unenviable task for ramanathan to set such beautiful tunes for all those pre - written lyrics .
apart from veera pandiya kattabomman there were many other films where his remarkably resonating dialogue delivery delighted and enthralled fans. starting from his brilliant debut in “parasakthi” film after film made indelible impressions in this regard. thirumbipaar, manohara, thookkuthookki, illara jyothi, anbu, rajarani, ethirpaaraathathu, annayin aanai, kuravanji, maruthanaatu veeran, ambikapathy, kappalotiya thamizhan, paasamalar, aalayamani, karnan, thiruvilaiyaadal, saraswathi sabatham, kandan karunai, “thirumaal perumai”, sivantha mann, gauravam, rajaraja chozhan, thangapathakkam etc are but some of the films remembered still for the sivaji’s sparkling “vasanam” .
the tamil film milieu has seen innumerable musicals of varying genres over the last several decades. we have several classics that largely focussed on carnatic music that went down well with the audience. there are many such films, but lets look at four films that have stood the test of time, purely for the sheer quality of its music, lyrics, rendition and picturisation. here they are in chronological order .
ambigapathy revealed the wealth of the tamil language through its rich lyrics, the beauty of classical music through the mesmerising tunes of g. ramanathan and the efficacy of soulful singing through t. m. soundararajan’s voice. if ‘sindhanai sei maname’ brought out the quintessence of kalyani, ‘vadivaelum mayilum thunai’ projected the repertoire of tms, whose exemplary diction and breathless rendition of the concluding charanam in ‘thamizh maalai thanai chooduvaar’ in kaambodhi was phenomenal. while ramanathan’s composing brilliance came to the fore quite strikingly in ‘vaada malare thamizh thaene’ set in muhaari raagam, ku. ma. balasubramaniam’s ‘maasila nilave nam kaadhalai magizhvodu’ showed us glimpses of chaste tamil .
karnan is an album that stood out for its brilliant orchestration by viswanathan - ramamoorthy and kannadasan’s lyrical beauty. it’s each piece is a symphony. the composing exercise seems to have been done with clinical precision and the musical score is at its best, with excellent adaptation of hindustani as well as carnatic music .
the way ‘aayiram karangal neetti’ and ‘maranathai enni kalangidum vijaya’ have been made, without any background score, is exceptional. while the former seems to be in raagam ahir bhairav, the latter one serves as a prelude to the phenomenal ‘ullathil nalla ullam’ to follow in a haunting chakravaaham – echoing the emotional tone of seerkazhi govindarajan. another striking feature is the rendition of ‘mazhai kodukkum kodaiyum oru irandu maadham’ by seerkazhi in hindolam, besides ‘naani chivandhana maadharaar kanngal’ by tiruchi loganathan in kanada, ‘mannavar porulgalai kai kondu neettuvaar’ by tms in mohanam and ‘enna koduppan? evai koduppan’ by pbs in hamsaanandhi – all in viruththam mode – without any percussion support .
duo viswanathan - ramamoorthy showed us their prowess in ‘iravum nilavum valarattumae’ (based on shuddha sarang) engaging double shehnai beautifully and ‘maharajan ulagai aalalaam’ through a lighter version of an effervescent karaharapriya, giving us a fresh experience .
the stream of songs that came through susheela’s mesmerising voice – ‘kangal engae’ in bheemplas, ‘en uyir thozhi’ in hamir kalyani and ‘kannukku kulam aedhu’ in pahadi – continues to captivate listeners .
thiruvilaiyadal clearly showcased the talents of yesteryear stalwarts k b sundarambal, t r mahalingam, dr balamuralikrishna and tms, and of course, the composing forte of legend k v mahadevan .
if ‘pazham nee appa’ stands as a benchmark for shanmugapriya, ‘isai thamizh nee seidha arum saadhanai’ stands for bheemplas. usage of the nadhaswaram in a unique way in the background score for the piece ‘podhigai malai uchiyilae purappadum thendral’ (tuned in sindhu bhairavi) is a rare novelty, and the choice of gowri manohari for ‘paattum naanae bhavamum naanae’ was quite fabulous .
kannadasan’s repertoire attained new dimensions in ‘oru naal podhuma’. his coining of words for the charanams in thodi, darbar, mohanam and kanada, in perfect sync with the on - screen character’s trait of arrogance, was brilliant, and in ‘paattum naanae’, his projection of the concept that the entire universe and arts are, after all, “his”, is truly brilliant .
as these epics remain etched in our minds, music enthusiasts yearn for the return of another golden era of tamil film music .
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the film is based on the chidambaram pillai biography written by ma. po. si. popularly known as voc (or vaa. oo. si), pillai founded the swadeshi steam navigation company to break the british monopoly on maritime trade. the film won best feature film (tamil) at the national film awards, but it flopped at the box - office .
sivaji ganesan played the role of the patriot in his flamboyant style and some critics commented that people saw only the actor and not the patriot. gemini ganesan played madasany, and savithri his wife. s. v. subbaiah played subramania bharati; ashokan played the white sub - collector ashe, who is assassinated by vanchinathan (balajee) on a train at the maniyachi junction; t. k. shanmugam played subramania siva, a close associate of chidambaram pillai; and v. nagaiah played the lawyer and father of pillai .
the film had some fine music, with nine songs by bharati taken from his poetic output — ‘endru thaniyum’ (tiruchi loganathan), ‘chinna kuzhandaigal’ (p. susheela), ‘kaatru veliyidai kannamma’ (p. b. sreenivos and p. susheela), ‘nenjil’ (sirgazhi govindarajan), ‘odi vilaiyadu paapa’ (sirgazhi govindarajan, jamuna rani and rohini), ‘parukulley nalla naadu’ (sirgazhi govindarajan), ‘thanneer vittom’ (tiruchi loganathan), ‘vande matharam enbom’ (sirgazhi govindarajan), and ‘velli pani malai’ (sirgazhi govindarajan, tiruchi loganathan, l. r. eswari and rohini). g. ramanathan composed the melodious tunes that soon became popular .
in real life, when voc retired from his legal practice, he settled down in perambur in madras, and went virtually unnoticed as he wandered the streets of that crowded area. to eke out a living, he was forced to sell his law books and start a grocery shop. his grandson, reduced to poverty, later worked as an office boy in some company. even today, voc’s birthday is celebrated by some people putting ads in the press but nobody bothers in any real manner. his son, who used to work for the american consulate, had caustic comments to make about politicians and others — about how they exploited his father and his reputation, but never bothered to help him when he was down and out in his later life .
remembered for: the music composed by g. ramanathan, based on the songs of bharati .
cast: sivaji ganesan, gemini ganesan, k. savithri, s. v. subbaiah, k. balajee, s. v. ranga rao, s. a. asokan, t. k. shanmugham, ‘kumari’ rukmini, o. a. k. thevar, chittoor v. nagaiah and t. s. durairaj
tamil theatre has a rich history with illustrious persons adorning the pages. suganthy krishnamachari traces the legacy .
the tks brothers with velu nair, dramatist who was looked upon as mentor by the younger artistes .
the year 2004 marks the 131st birth anniversary of pammal sambanda mudaliar and it would be appropriate at this juncture to take a look at the drama scene in he early part of the 20th century. most famous on the drama scene were the 'boys' companies, so called because the troupes had no women, and teenage boys played the roles of women. it was sankar das swamigal who first started a 'boys' company, and others like nawab t. s. rajamanickam pillai and tks brothers followed in his footsteps .
rajamanickam pillai' s company was called madurai devi bala vinodha sangita sabha. he was famous for his mythological plays like 'dasavatharam,' 'sampoorna ramayanam' and 'ayyappan,' which had filmi elements like songs and dances, though occasionally he did enact plays of a different genre too. in one of these, where a wedding was shown on stage, his baby austin served as the
car and was driven on to the stage by his driver ratnam! pillai paid great attention to detail and would get the zari for the costumes from surat. he even had punkah pullers who travelled with his troupe  to him the comfort of the audience was of great importance. but he was unable to keep the show going beyond the late fifties. his son devipaadam tried to revive the company but failed. tsr was destined to join the ranks of those who are legends in their own time but are soon forgotten. while nawab tsr was famous for his mythological plays, there were others who staged plays calculated to rouse the patriotism of the people. one such play was sakthi nataka sabha' s
kaviyin kanavu ,
which opened to rave reviews in 1945. the story had m. n. nambiar in the role of a scheming rajaguru. through his machinations the king and queen are killed, but the prince is saved by those loyal to the slain king. he is brought up by a poet, kavi anandar (s. v. subbaiah) and later reclaims the throne and imprisons the rajaguru .
the play with its powerful dialogue could well have attracted a ban from the government. for instance there was nambiar' s parting shot to the jeering onlookers as he is taken to prison :
you lack unity. that is why an outsider like me could keep you enslaved for so long .
thankfully the play was not banned .
gemini mahalingam, gemini ganesan, m. n. rajam and m. n. nambiar... the illustrious icons had their beginning on stage .
there were also plays that were fired by a reformist zeal. one such play was tks brothers'
andaman kaidi ,
first staged in 1948. its aim was to speak against girls being forced to marry men old enough to be their fathers. at a time when such marriages were all too common in poor families, the play was indeed a bold attempt and appealed both to the sense and sensibility of the audience .
it was the first play to use a flashback technique and it goes to the credit of the actors that there was no flagging of audience interest in the three - hour play. natarajan (t. k. bhagavathi) a prisoner serving a life sentence in the andamans tells his story to his cellmate in a series of flashbacks. t. n. sivathanu provided the comic relief .
there were quite a few dramatists like c. r. mayileru, well known for their humorous plays, mayileru also published a collection of serious plays under the title ,
enna vazhkai idu ?
the lawyer v. c. gopalratnam not only wrote plays for air but also published some of his plays under the title ,
haasya naatagangalum katturaigalum
.
today there are many troupes that stage their dramas in other countries, but the pioneer in this respect was pammal sambanda mudaliar. in 1911, at one of the meetings of their sabha, mudaliar suggested facetiously that they should stage their plays in colombo v. v. srinivasa iyengar, the eminent lawyer who was mudaliar' s close friend, was delighted with the suggestion, and asked mudaliar to make arrangements for the trip. mudaliar' s protests that he had only been joking fell on deaf ears. finally, mudaliar had to agree. but he had reckoned without the iyengar cooks who usually accompanied them on their outstation trips. they used to cook at iyengar marriages and were afraid that if they crossed the sea they would be ostracised by their community and would lose their cooking contracts. but mudaliar was at his persuasive best and the cooks relented. the troupe set sail from tuticorin. the sea was particularly rough and everyone except mudaliar was seasick .
but this story has a happy ending. not only was there an excellent reception for mudaliar' s plays but the cooks were not ostracised. in fact the
foreign - returned
cooks were more eagerly sought after !
the tamil diaspora never forgot their tradition of iyal, isai, natakam, wherever they lived. in the 1940s there was a tamizh sangam in the hindi heartland in benares hindu university! in 1944, they staged a play called
vazhkaiyin sodhanai ,
in memory of satyamurthy, to which they even invited dr. sarvepalli radhakrishnan .
it' s a shop worn clich� that all the world' s a stage and all of us are actors. true we are. but does this mean we would all be good actors on stage? the answer would be an emphatic no. in life we act roles of our choice and spout dialogue that we ourselves have scripted. we blink back a tear, fake a smile, choke back an emotion and lie without batting an eyelid. but acting on stage is a different story altogether, because here we have to act roles assigned to us by someone else, and speak lines written by someone else. it is not therefore given to everybody to be a stage actor .
in a sense, however, drama is close to real life. in a drama as in real life there are no second chances. in a drama as in real life the saddest words are these 'it might have been.' sadly, however, there are not as many awards for drama artistes as there are for musicians and dancers. we must remember that it was the tamil theatre that seeded tamil cinema, and two of the best - known faces of tamil cinema  sivaji and mgr started their careers as stage artistes. tamil plays, described by sankaradas swamigal as
need more patronage and drama actors and dramatists deserve more awards and recognition than they get at present. it would be a tragedy if we allowed our drama artistes to fade into oblivion unsung .
sivaji ganesan donned so many roles, his face mirroring emotions as swiftly as the mind registered them. but there must have been one character which he cherished and loved to portray .
this correspondent was fortunate to meet the thespian at his house a few days before he was hospitalised. the conversation meandered touching subjects of all sorts and inevitably arrived at cinema. among the 300 films which was his favourite ?
` 'on seeing the film, i cried, not because my performance was moving but because it hit me with new impact - the sacrifice voc and others had made for the country. when voc' s son subramaniam said that he saw his father come alive on the screen, i considered it the highest award.''
in fact, sivaji ganesan is the only hero who has enacted the maximum number of freedom - fighters - voc, bharati, tirupur kumaran, veerapandiya kattabomman, vanchinathan, balagangadara tilak and bhagat singh .
` 'everybody is doing well. i do not believe in the concept of heir. whoever performs well will be rewarded.''
his last days were spent on watching television. he would avidly see all the films and serials. his only grievance was that nobody pronounced tamil words correctly. '` it breaks my heart to hear them maul tamil, in both tv programmes and films. even my son prabhu is not an exception. all the tv comperes must take lessons from experts. and producers must insist that they spell tamil correctly.'' such was his love for the language .
for sivaji '` navarathri'' was not about nine characters. '` it is navarasas. i tried to portray them and it came out well as it had a good story line,'' he would say modestly .
punctuality was his hallmark. he would be there on the spot, at least 15 minutes earlier, with full make - up. he would not leave the set until the director said 'break' .
he would insist that co - artistes were present to see his expression so that they could give better reaction. he was always there to help anybody with tips on acting. the aim was that the scene and the film should be a well - made product .
` 'it is a big job and i am not ready for it,'' he would say. the truth is that he knew everything about each and every department of film - making - the nuances of acting, camera movement and position, script - writing. he never missed a thing in maintaining continuity. this correspondent had seen him remind the director about things he had omitted in a particular scene continued after a few months. his memory was amazing .
that brings us to his ability to memorise dialogue. he memorised the script of the play, '` vietnam veedu'', during the break of a film shooting. a. v. m. saravanan, talking to this correspondent, marvelled at the way the veteran memorised the dialogue as someone read it out to him. on stage, the next day, panchapakesa iyer was delivering the lines complete with a perfect brahmin accent .
he was the inspiration for hundreds of actors. but who was his role model ?
there were no cds or video cassettes to watch and learn from. english films would not come here as promptly as they do now. sivaji relied only on his imagination .
many of his films were remade in hindi and the late sanjeev kumar who had done some of those roles once said that he would be happy if he could achieve at least five per cent of the original performance .
sanjeev kumar never failed to meet sivaji when he visited chennai. it is ironical that except singer lata mangeskar none from the north chose to pay their last respects or condole the death of the greatest actor india has produced .
simple, he would listen with child - like curiosity to whatever one had to say. and then he would add his views revealing his knowledge .
the subtle sense of humour which laced the conversation made exchanges delightful. the man who loved laughter has left millions in tears .
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the film is based on the biography of v. o. chidambaram pillai written by ma. po. si. (m. p. sivagnanam). v. o. c, founded the swadeshi stream navigation company to break the monopoly of the british over maritime trade out of india .
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v. o. chidambaram pillai has devoted himself to the cause of india' s freedom from the british. chidambaram, appearing for a poor peasant madasami, wins a case filed by an agent of a british proprietor. chidambaram' s father who appeared for the agent, sends his son to tuticorin lest the british proprietor should give him any trouble. madasami who accompanies chidambaram, looks after the latter' s salt - pan. at tuticorin, chidambaram meets subramaniya siva, a freedom fighter and works for the swadeshi movement. chidambaram receives a complaint from some of the local merchants that the british shipping company had refused to load their goods. against great odds, chidambaram starts the national shipping company with indian capital to free indian trade from dependence on foreign liners. the company prospers despite attempts by the british company to sabotage the ship of the indian firm. chidambaram incurs the displeasure of the government by organizing a strike for getting the grievances of ...
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chidambaram pillai, a patriotic lawyer, emerges as a revolutionary leader, and he struggles to free his country from the british .
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vettaithidal chinnaiahpillai
sivaji
ganesan (1 october 1928 – 21 july 2001) was an indian stage and film actor active during the latter half of the 20th century and was one of the most respected film actors in india. he was well known for his versatility
ramaswamy ganesan (17 november 1920 – 22 march 2005), better known by his stage name gemini ganesan, was an indian film actor who worked mainly in tamil cinema. he was nicknamed
kadhal mannan
( king of romance) for the romantic roles he played in films
k. balaji (5 august 1934 – 2 may 2009) was a south indian producer and actor whose work included rajinikanth' s billa and kamal haasan' s vazhvey maayam. he was the father - in - law of actor mohanlal. more »
nissankara savitri (6 december 1934 – 26 december 1981) was an indian film actress, director and producer. she appeared in telugu as well as tamil, kannada and hindi language films. in 1960, she received the rashtrapati award for her performance in the
samarla venkata ranga rao (3 july 1918 – 18 july 1974), popularly known as s. v. r. , was an indian film actor, director and producer known for his works in telugu and tamil cinema. widely recognized as one of the finest indian method actors, rao was po
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t. r. mahalingam - weekend classic radio show | rj sindo | t. r. மகாலிங்கம் | tamil | full hd songs
dr. apj abdul kalam, dr. anbumani ramadoss, dr. v shanta
function for t. m. soundararajan in maduri. part 7. thanks to m k alagiri
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the film is based on the biography of v. o. chidambaram pillai written by ma. po. si. (m. p. sivagnanam). [ 3 ] v. o. chidambaram pillai, founded the swadeshi stream navigation company to break the monopoly of the british over maritime trade out of india .
unrestricted public exhibition throughout india, suitable for all age groups. films under this category should not upset children over 4. such films may contain educational, social or family - oriented themes. films under this category may also contain fantasy violence and / or mild bad language .
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films centered around the freedom struggle, beginning from veerapandia kattabomman with the magnificent sivaji ganesan in the title role, to the latter day madrasa pattinam, starring arya abound. this
with the magnificent sivaji ganesan in the title role, to the latter day madrasa pattinam, starring arya abound. this august 15, we bring you a list of films that are perfect for celebrating the spirit of independence day…
veerapandiya kattabomman was a brave chieftain in the village of panchalankurichi near tirunelveli, who refused to bow down to the demands of the british for agricultural tax on land. his battle cry against the british has been hailed as the inspiration behind the first battle of independence of 1857, which the british called the sepoy mutiny. sivaji ganesan is the fearless veerapandiya kattabomman, in the film directed by vr bandhulu. sivaji’s dramatic lines uttered to the british agent are still remembered and frequently repeated. padmini plays a major role, too .
loved paresh rawal in sanju? here' s what sunil dutt' s last words to him were ...
life sketch of freedom fighter - salem sri a. subramaniyam, ex. m. l. c .
freedom fighter salem sri a. subramaniyam. ex. m. l. c .
( ex chief minister of madras) were his political pioneers (gurus) .
at pondicherry in 1918 and had the occasion of learning and singing his songs with vigor. the great patriot thiru. c. vijayaragavachariar of salem had also good affinity with him .
decided and ordered that the whole india should express their unwillingness to the government against the rowlat act, sri. salem a. subramaniyam took part in the salem procession and public meeting along with
in the year 1922 when prince edward viii of england visited madras, sri a. subramaniyam participated in the boycott movement under the leadership of sri t. p. prakasam and suffered lathi charge injury. in the same year again, he took part in the boycott movement of cannought king' s visit to madras and the police harassed him very much .
in 1923, he joined the madras tramway company as an artist. he became the general secretary of the tramway workers union. then he came in connection with
and other labour leaders. in the same year, he joined the swarajya party started by
. at madras, he joined with sri s. srinivasa iyengar, sri t. prakasam, sri a. rangaswamy iyengar, sri s. sathyamurty, sri c. n. muthuranga mudaliar and sardar sri p. m. aadikesava naicker and worked for the party and undertook the work of propagating for the growth of the party. he was the leader of the
in tamilnadu press office, chennai. after that he had met sri. v. o. chidambaram pillai several times and got blessings from him with great affection. .
was leading the sathyagraha against the installation of a statue for col. neele, he got arrested .
took the leadership and sri a. subramaniyam took the captaincy of the volunteers and assumed the entire responsibility of the sathyagraha and did it efficiently. for the sake of sathyagraha movement, he even resigned his post in tramway company. when mahathma gandhi visited madras, he appreciated and blessed the sathyagraha movement. from that time onwards, rebellious sri. a. subramaniyam, on the advice of mahatma gandhi took the principles of ahimsa and threw all the weapons he had into the bay of bengal .
in 1928, when the simon commission visited madras, he was arrested at bangalore city and was released by the police after two days. again at madras, he took active part in the procession under the leadership of sri. s. srinivasa iyengar and bulusu sambamurthy (kakinada). in the same year, following leaders like sri rajaji, madurai sri. vaidhyanadha iyer and sri ramachandran of kerala, he devoted his time in the propagation of khadi, removal of untouchability and prohibition of liquor. in 1930, he was arrested by the police while he was addressing a meeting at wali park at madras condemning the british government, and kept under police custody at choolai police station, madras where the police treated him very badly. some time later, he was taken to vandalur forest area at midnight and left there uncared after being severely beaten. in the same year 1930, during the salt sathyagraha movement, smt durgabai was leading a procession to fort st. george at madras. in that procession, dr. sri natarajan, captain of the volunteers group and sri. a. subramaniam, vice captain took part and they were beaten severely and were stampeded by the cavalry and were left unconscious before the precincts of the fort by the order of mr. cunningham, the then commissioner of police. along with him about 40 volunteers were injured in the lathi charge .
in 1930, in the same year, he collected about 100 volunteers at salem. he then came to madras with 10 selected volunteers under his leadership as the first batch and he was arrested for dis - obedience of the law and was sentenced for one year rigorous imprisonment. he spent his term at madras central jail and bellarry alipuram camp jail. while he was in madras jail, mr. howe, the jail superintendent illtreated him and tortured him very much. sri. a. subramaniyam was handcuffed for 10 days and kept in full day lock up and was given saltless kanji. in 1931, while in alipuram camp jail, after 10 months of imprisonment, he was released as per the gandhi - irwin pact .
in 1931, he started bhagath singh bharath youth sangam at salem and as it' s leader, he boycotted the toddy and liquor shops at various places in salem district. this was done under the auspices of the gandhi - irwin pact. at the instigation of some liquor contractors and the police, some gondas attacked sri. a. subramaniyam till he bled profusely and fell down unconscious. he was dragged and his body was left in a cholam field, thinking that he was dead. when he recovered his consciousness and returned, a false case was filed against him by the police and he was in the sub jail on remand for 3 months and was not let out on bail. on gandhiji' s advice, a case was filed by him to the effect that the police case was false and concocted .
in 1932, when mahathma gandhiji was arrested in bombay, the case was withdrawn and for indulging in the activities of law - breaking, he was sentenced to one year simple imprisonment by the salem court. he was kept in coimbatore and trichy central jails .
in 1933, when gandhiji came to madras for collection for harijan welfare fund, tmt. anen anchelo was the chairman of the reception committee, sri manickam pillai the vice chairman and sri a. subramaniyam the secretary. sri a. subramaniyam rendered his service in collecting the funds and receiving gandhiji in the function held in the robinson park at royapuram, madras. whenever gandhiji came to madras he never forgot to enquire about salem a. subramaniyam. whenever mahathmaji visited salem, sri a, subramaniyam attended him and had a close contact with gandhiji .
in 1936, when pandit jawaharlal nehru came to madras and thiruvannamalai sri. a. subramaniyam had toured with him along with sri. s. sathiyamoorthy iyer to the places like krishnagiri, dharmapuri and salem etc. , and participated in the public meetings. he also met sri. nethaji subash chandra bose at calcutta and at the all india congress meetings in many places and was in good picture of him. in the same year, when gandhiji, sri. rajendraprasad, sri jayaprakashnarayan, andhra patriot sri pattabiramaiyah, patriot sri deber came to madras and salem, sri a. subramaniyam had toured with them and rendered his services .
in 1939 salem a. subramaniyam m. l. a. got married to tmt. s. hemalatha devi at madras for which gandhiji himself had greeted him in manuscript. many ministers, top leaders had participated in the marriage function and greeted the couple .
salem. sri a. subramaniyam. m. l. a and his wife tmt. s. hemalatha devi after their marriage - 1939
in 1940, when he was a member of the legislative assembly he participated in the individual sathyagraha. he was arrested at thirukovilur in south arcot district for his disobedience of law and was sentenced to one year rigorous imprisonment and a fine of rs. 500 / = or in default 4 months rigorous imprisonment, and was kept in
and made underground efforts for the sale of mahathma gandhi card, covers, etc. ,
and was working hard for several years for the upliftment of this class and harijans in the fields of economy, education and government service and other privileges and concessions granted by the government .
in 1963 he was felicitated for his 60th birthday in salem bose maidhan near salem old bus stand. . a huge crowd gathered for this function .
crowd gathered on the occasion of the 60th birthday celebration function of salem sri. a. subramaniyam. m. l. c. at salem bose maidhan in 1963
governor of kerala sri. v. v. giri (ex president of india), sri. g. buvaragan minister of tamilnadu, sri r. nedunchezhiyan, sri. ma. po. sivagnanam and other v. i. ps attended the function .
salem sri a. subramaniyam m. l. c. - receiving cash award from sri. v. v. giri, governor of kerala
salem sri a. subramaniyam. m. l. c - received the shield from sri. ma. po. sivagnanam. m. l. c .
sri. g. buvaragan, hon' ble minister of tamil nadu sri. c. r. narasimhan m. p, s / o sri. rajaji
sri. thirukural munusamy - releasing life history souvenir of salem sri. a. subramaniyam. m. l. c
salem sri a. subramaniyam m. l. c with sri. r. nedunchezhiyan
in the year 1965 when the congress was working under sri k. kamaraj, he left the congress due to indifferences of opinion between him and sri k. kamaraj; he joined the swathantra party''. he left the swathantra party finally in 1969 when that party decided to work against the election of sri. v. v. giri as president of india. he then worked hard for sri. v. v. giri' s success in the election as president of india. then he was in the indra congress and working hard for the democratic socialistic principles under the leadership of srimathi indira gandhi .
at new delhi in connection with the silver jubilee celebrations of indian independence on the 15th august 1972 .
he worked heart and soul for the cause of nation, sacrificing all his material properties and confined himself to a rental house till his last. leaving ever green memories of his selfless service and sacrifice, he passed away on 23
by reading the life history of freedom fighters of our nation, the youngsters should realize the blood and sacrifice behind india' s independence and protect our mother india .
salem sri. a. subramaniyam m. l. c. with his wife smt. s. hemalatha devi ex. m. l. a and sri v. v. giri, governor o kerala (ex. president of india), 09 - 02 - 1964
sri. salem a. subramaniyam. m. l. a. on his vist to dharmapuri on 17 - 05 - 1937 .
salem a. subramaniyam with his wife tmt. s. hemalatha devi after marriage at salem - 1939
salem sri. a. subramaniyam m. l. a and his wife tmt. s. hemalatha devi with sri c. rajaji at a public meeting
salem sri. a. subramaniyam m. l. c with sri t. prakasam governor of tamilnadu, sri k. kamaraj [ chief minster of tamilnadu ], sri m. bakthavatchalam [ minister of tamil nadu ] and all m. l. as & m. l. cs ;
vanniyaku kshatriyar maha sangam m. l. as & m. l. cs, 29 - 4 - 1957
8. sri. sanjeevi reddy (ex. chief minister, andra pradesh )
the lively sketches of great personalities in this album take us to trichy camp jail in 1940, wherein our freedom fighters were imprisoned. from there our thoughts wander towards tough freedom fight by our thyagis, who by shedding their blood, brought us a free, dawn india. though most of them have gone “dust to dust”, still the historic deeds and names live after them .
it is really surprising to note that the hidden beautiful hands behind the arts in this album are that of one such thyagi thiru salem a. subramaniyam. ex. m. l. c. our wonder surprises when we find that the sketches were drawn solely with the help of a black lead pencil, without any eraser in trichy camp jail, in 1940 .
all 1947 chennai freedom ex fighter freedom indian freedom life mla m. l. a mlc m. l. c salem salem freedom salt satyagraha sketch subramaniam subramaniyam thyagi trichy
rao was born into telugu speaking family, to samarla lakshmi and samarla koteswara rao, an excise inspector at nuzvidu town in krishna district, andhra pradesh, india when world war i was drawing to a close. his mother, lakshmi narasayamma, a staunch devotee of lord venkateswara, named the boy after him. rao was sent to the erstwhile madras presidency where he completed his schooling at hindu college. at an early age of 12, he showed interest in stage action, he ventured into acting after completing his bachelor' s degree in sciences.
kappalottiya thamizhan ( english : the tamilian who launched a ship ) is a 1961 indian tamil-language indian drama film directed by b. r. panthulu . the film features sivaji ganesan and gemini ganesan in the lead roles , while s. v. subbaiah , t. k. shanmugham , s. v. ranga rao , savitri and s. a. ashokan appear in supporting roles . the film is based on the biography of v. o. chidambaram pillai written by ma . po . si . ( m. p. sivagnanam ) . chidambaram pillai , founded the swadeshi stream navigation company to break the monopoly of the british over maritime trade out of india . upon release , the film received critical acclaim and was adjudged the best tamil film at the 9th national film awards , however it failed at the box office . 
kappalottiya thamizhan (english: the tamilian who launched a ship) is a 1961 indian tamil-language indian drama film directed by b. r. panthulu. the film features sivaji ganesan and gemini ganesan in the lead roles, while s. v. subbaiah, t. k. shanmugham, s. v. ranga rao, savitri and s. a. ashokan appear in supporting roles. the film is based on the biography of v. o. chidambaram pillai written by ma. po. si. (m. p. sivagnanam). chidambaram pillai, founded the swadeshi stream navigation company to break the monopoly of the british over maritime trade out of india. upon release, the film received critical acclaim and was adjudged the best tamil film at the 9th national film awards, however it failed at the box office.
kappalottiya thamizhan (english: the tamilian who launched a ship) is a 1961 indian tamil-language indian drama film directed by b. r. panthulu. the film features sivaji ganesan and gemini ganesan in the lead roles, while s. v. subbaiah, t. k. shanmugham, s. v. ranga rao, savitri and s. a. ashokan appear in supporting roles. the film is based on the biography of v. o. chidambaram pillai written by ma. po. si. (m. p. sivagnanam). chidambaram pillai, founded the swadeshi stream navigation company to break the monopoly of the british over maritime trade out of india. upon release, the film received critical acclaim and was adjudged the best tamil film at the 9th national film awards, however it failed at the box office.