panneer pushpangal
panneer pushpangal is a love story between suresh and shantikrishna supported by their teacher prathap pothen .
panneer pushpangal is a 1981 tamil - language romantic drama film directed by bharathi - vasu .
panneer pushpangal (1981) tamil movie cd - rip 320kbps mp3 songs music by ilaiyaraaja - starmusiq. com
kodai kaala kaatre - panneer pushpangal tamil song - ilaiyaraaja | the maestro. | pinterest | data recovery, songs and romance film
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i remember my first day of shooting for 'panneer pushpangal' in ootacamund. the lead pair was suresh and santhi krishna. the film was a hit, and it gave me and director p. vasu a good name .
now compare this with valibame vaa vaa (the songs were not a spot on ao, ko or pp ,) which was crass in every sense - and yet performed better than kadhal oviyam and panneer pushpangal at the box - office .
but rajeshwar’s movies, i later realise, offer a definitive sketch of the director. aval appadithan, panneer pushpangal, the national award winning ezhavathu manithan, meendum oru kathal kadhai, kadalora kavithaigal … they quite eloquently describe the man who wrote them .
paneer pushpangal dealt with
first love
as a moment of joy, confusion and a significant first step into adulthood .
by chance i met directors bharathi - vasu who immediately decided to cast me in their panneer pushpangal. i was overjoyed and there was also another pleasant shock awaiting me. director bharathi raja also chose me as hero for alaigal oyvadillai. both the offers were good and i was not sure which one to take. my father advised me to take panneer pushpangal as it came first. i met bharathi raja and informed about my decision and with great magnanimity he wished me luck and sent me to work in the film .
this romantic soundtrack was composed by maestro illayaraja for 1981 tamil movie panneer pushpangal. a peppy title track and the evergreen famous love theme which is on par with the love theme of love story, summer of 42 or cinemaparadiso love theme make this soundtrack a treasure. .
listen to engeyum eppothum raaja, vol 11: ellam inba mayam / paneer pushpangal / kadal meenkal (original motion picture soundtrack) now .
movie title - - - panneer pushpangal its ranked number 3 tamil movie in the year 1981 in imdb. imdb rating - - 7. 9 director bharathi directs actor suresh for 1st time. director bharathi and music director ilaiyaraaja joins for 1st time. cast - - suresh venniradai moorthy movie details - - running time - 14 mins
panneer pushpangal is a 1981 tamil comedy, drama film, directed by bharathi - vasu and produced by padmini productions. this film stars suresh, archana, shanthi krishna, jr. manohar, venniradai moorthy, prathap k. pothan in the lead role. the films soundtrack and background score were composed by ilaiyaraaja with lyrics by gangai amaran .
suresh entered film industry through panneer pushpangal and was a popular hero during the 80s. he has acted in 265 films across tamil, telugu, kannada and malayalam. he made a comeback four years ago in kizhakku kadarkarai salai and will once again be seen in sivaji productions asal with ajith in an important role. he shares his journey with the readers of urltoken
when it comes to direction, my bests are 'panneer pushpangal', 'guna', 'mahanadhi', and 'chinna mappilai'. people often associate me with the film 'karagaatakaran'. as for acting, i like 'michael madana kama rajan'. another favourite is 'anbe sivam'. the latest is 'varalaru', directed by k. s. ravi kumar. i have also acted in half - a - dozen serials .
panneer pushpangal, is first of all a remake of a hollywood film named' a little romance'. i haven' t seen that english film and i don' t want to. because panneer pushpangal has everything one would expect it to have. the film is about love in school days... debut directors, debut actors, but that doesn' t let the film go down. the overall performance of all the actors were good. especially, prathap was my favorite. he is an excellent actor, and this character suits him perfectly. the music by our maestro ilaiyaraaja was awesome! ! i loved the songs and bgm' s. camera was decent. it' s definitely an evergreen film. though the school life and love which we see today is not the same as it was in those days, you will like it. on the whole, the film is a must watch for all .
he pauses and adds as an afterthought, “until recently, so many people didn’t know that i was the writer of aval appadithan and paneer pushpangal. i had to print something like this, ” he says, pointing at the booklet .
a photographer friend of suresh' s dad opined that suresh could make it as a lead actor and with a portfolio, suresh approached director c. v. sridhar to feature in his films, but his effort went in vain. he then met director duo santhana bharathi and p. vasu who decided to cast him their venture, panneer pushpangal, while simultaneously he was cast in the lead role in bharathiraja' s alaigal oivathillai presenting him with a dilemma of which film to choose. [ 5 ] he chose the former, but both films went on to becoming large commercial successes during the period .
while rajeshwar goes the extra mile for research, he also draws inspiration from everything that he encounters. in 1970s, he met an extraordinary woman with radical beliefs. she became manju in aval appadithan. his own memories of his convent days helped him write paneer pushpangal. a story lies everywhere, he says .
we became good friends. we used to be seen together all the time. so, when we got an opportunity to direct 'panner pushpangal' we did it together. that was the first time we saw our name together on the screen as bharathi vasu. today we are good friends and meet as often as possible .
rajeshwar then met pratap pothen on the sets of paneer pushpangal, in which pratap played an integral role. “when i direct a film, you will write the story, ” he had told rajeshwar. pratap kept his word when he came up with the national award winning meendum oru kathal kathai; a film about a mentally challenged couple played by radhika and pratap himself. rajeshwar had earlier made a short film called anbagam, on mentally - challenged children. that experience, he says, came in quite handy .
p. vasu strongly believes in two t' s - time and talent. success follows suit when the two combine well. and that' s how he defines his career spanning more than two - and - a - half decades in the film industry. vasu and his companion, santhana bharathy, started off as assistant directors and got together to direct 'paneer pushpangal', which became a super hit .
we compromised on certain things as we had different approaches to the subject. that' s the reason why some of our other movies failed to make a big impression in the box office, prompting us to take our own paths ,
he says. his first individually directed film, 'en thangachi padichava', was another big hit and there has been no looking back ever since .
i dream of getting the coveted national best director award. i am making efforts to make that dream come true
santhana bharathi started his film career as a director and then switched to acting. he is now a full time actor. both as director and actor he made a mark for himself, and he is now called upon to do some of the best character roles in films as well as television serials. santhana bharathi talks about his acting and his first love direction .
i am an open person, and when i see anyone in trouble i will be the first to help him or her out .
my father, m. r. santhanam, had acted in the boys company. he later became a producer, and made some of sivaji ganesan' s best films. in fact, he was called the 'shadow of sivaji' as they were seen together often. one of the popular films he produced was 'pasamalar' in which sivaji ganesan and savithri acted. he later produced 'annai illam', 'paaladai' and 'anbalippu' .
i entered the industry with the intention of becoming a director. i started out as an assistant director to sridhar with the recommendation of kannadasan, and worked first in the film 'o manju'. then, when director sridhar was doing 'meenava nanban', p. vasu joined our unit .
` en uyir kannamma' was my first film as an actor under director - actor siva chandran. i told him that i am not good at delivering dialogues. but, he compelled me to act. then, in 'michael madana kama rajan' i recited more dialogues. i remember having a lot of apprehensions about it. both actor kamal haasan and the director, singeetam srinivasa rao, put me at ease. in fact, kamal haasan helped me perform to the satisfaction of the director. but, today i can deliver long dialogues without any problems .
along with p. vasu i directed five films, and on my own i did eight films. i have acted in about 70 films. as far as i am concerned, no role is big or small ...
i am happy for two things. i was the person who introduced sathyaraj as a hero in 'kadamai kanniyam kattuppadu'. i received the best regional film award from the central government for 'mahanadhi'. but, my dream is to get the coveted best director award. i am making efforts to make that dream come true .
i will certainly continue acting. i will start on my next directorial venture next year. the star cast and technicians list is being finalised .
p. vasu, the super hit director who believes in changing with the times, writes g. prasad
when i hunted down director rajeshwar last november, it was to talk about the late director c rudhraiya. rajeshwar was in a hurry, but he still managed to recount his experiences writing rudhraiya’s aval appadithan while providing me with some rare tidbits about him .
i was intrigued enough to call him back again. for an exhaustive interview; on subjects both personal and professional .
it takes a few phone calls before he is convinced. i am given an appointment .
the day before our meeting, i panic. precious little background material is available about the filmmaker online .
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i only have a wikipedia page to rely on. and, his films .
rajeshwar’s office is a fuss - free apartment. a laptop and some stationery on his table. on the wall, a photograph of his son – who’ll soon be debuting in the tamil remake of ajab prem ki ghazab kahani. [ quote align = ’right’ ] ”even in the so - called progressive films of balachander or sila neragalil sila manidhargal of jayakanthan, the chastity of women is preserved sacredly. in balachander’s arangetram, lalitha becomes insane with guilt. “ [ / quote ]
clad in a formal grey outfit, rajeshwar walks in laden with bags. he offers a faint smile, which would stay through the interview .
when we settle, he hands me a little booklet. it resembles a photo album, featuring basic information about the director and his body of work. i rifle through the little booklet, as the roar of the air - conditioner fills the silence .
dr karunanidhi’s note to rajeshwar makes me smile. working on nyaya tharasu was a satisfying experience, it says .
“ en ezhuththu thuraiyilum idhu oru pudhiya thiruppam. enakku mikka mananiraivaana thiraikkaaviyam nyaya tharasu. ”
that’s definitely saying something. the movie was rajeshwar’s directorial debut, a remake of the malayalam film panchagni. karunanidhi wrote the screenplay for the tamil version .
as i rifle through the booklet, he starts narrating the the story of his life .
his father was an exporter in mumbai, and also a filmmaker. so rajeshwar’s childhood and school years were largely spent in mumbai and tirunelveli. avan amaran (1958) was his father’s first film. it was appreciated by communist leader jeevanandham for “being revolutionary in its own right” .
the progressive writers’ association had recently invited rajeshwar to deliver a talk on his father to commemorate the film .
amaran, the blockbuster directed by rajeshwar, was a tribute to his father. “it was a conscious decision to name it after his film, ” he says .
even as a student, rajeshwar remembers sharing his father’s love for celluloid, and harboured a dream to work in cinema .
but he didn’t know what he wanted to become: a writer, director or producer .
meanwhile, rajeshwar continued devouring films. he moved to chennai from tirunelveli, enrolled in loyola college, and studied economics. his friends always sought him out during college festivals; rajeshwar penned skits and stage plays that they found “good and tolerable” .
soon, his passion for cinema and writing took him to the institute of film technology, adyar .
and, when he later branched out as a filmmaker, he recognised a dearth of writers who could match his “taste and temperament. ” this was when he tried his hand at writing again. “there are a lot of great writers in the north; writers with a literary background. tamil cinema hasn’t got many, ” he says .
quite like his friends in college, his fellow students at adyar film institute were intrigued by rajeshwar’s writing. floored by a two - page synopsis that he wrote for a story, rudhraiya, who was his senior at the institute, converted it into aval appadithan .
word spread. filmmakers learnt that rajeshwar was a treasure trove of stories. he started receiving myriad requests from his friends to write for their films .
and just like that, while searching for good writers, rajeshwar ended up becoming one. “because, my friends became directors. and they wanted my stories, ” he laughs heartily .
during an impromptu discussion, he had narrated the story of two convent students coming of age to gangai amaran. moved by the tale, gangai amaran wondered if he could make a film out of it with directors p vasu and santhana bharathi at the helm. “i gave the story to them out of friendship, ” says rajeshwar .
, starring suresh and shanthi krishna was well received. [ quote align = ’right’ ] ”i was told that if aval appadithan were made today, it would be a blockbuster. i don’t agree, for it’s still taboo for a woman to talk about her sexual encounters. the profile of the audience should change. ” [ / quote ]
despite writing stories and screenplay for his friends’ films, rajeshwar firmly believed that his core competence was direction. “writing was supplementary. though i handled various aspects of cinema, i wouldn’t call myself multi - faceted. i would be happy if i excel at that one thing i choose to do, ” he declares .
as a writer and director, rajeshwar had explored different genres; from thriller to romance. and as a cinephile, he says he also loves watching all kinds of films. “i like godard as much as i like mgr’s films. i change my mind - set based on the movies that i watch. i don’t use intellect when i analyse an mgr film. ” he also enjoys the work of satyajit ray among other filmmakers. “when you like cinema, you simply like it. there’s a different parameter for every genre. ”
rajeshwar observes that comprehensive research is the key to good writing. for instance, in spite of being raised in tirunelveli, he went back and stayed in the city to gather material for his film seevalaperi pandi. the napoleon - starrer was directed by pratap pothen. he interacted with the locals for over three months. research boosts a filmmaker’s confidence, he says .
his films, seevalaperi pandi and kovilpatti veeralakshmi were based on real life characters. however, several scenes in the films were fictional, explains rajeshwar. “the movies might be based on real people, but they were not biographies. the characters and incidents are embellished to make the movie more interesting. so, oila, an important character in seevalaperi pandi was richly embroidered .
rajeshwar also quotes veerapandiya kattabomman as an example. the fort that was ruled by the real kattabomman was built on an area that measured only about four to six grounds, he says. “and that palayam had only 10 streets, 300 hundred years ago. but in the film, kattabomman’s palace looked as enormous as a jaipur palace. likewise, we choose to exercise some freedom. ”
“but literature is the central repository. a filmmaker will understand characters and complex situations through greatest minds. if you want to understand a pimp, a prostitute, and a fallen woman, you have to read jayakanthan, tolstoy, and dostoyevsky. reading illuminates the mind. ”
a filmmaker must know his audience, rajeshwar observes. according to him, there are three types. “a) the one that reacts to the film at a sensory level. they simply see and hear. they are happy with an elementary storyline. their iq level is low. 75% of the audience belong to this category. ”
the theory applies to international cinema too, he opines. “what kind of films become blockbusters? spiderman and jurassic park. ” he asks rhetorically. “those are called ‘vittalacharya - films’ here. the movie - literacy level of this group is very low. ”
directors cv sridhar, bhimsingh and bimal roy catered to ‘group b’. “the works of these directors speak to the audience’s heart. they tap their sentiments. bharathiraja’s and k balachander’s movies too fall under this category, ” he says. the last group comprises films that were made by filmmakers like satyajit ray. “they engage with the mind. ”
“a filmmaker should be clear about his target, ” says rajeshwar. the financial viability of a project is also determined based on who receives the movie. “if a film is made for the majority of the audience, then one can play with the budget. but if it is experimental, it has to be limited. those who can afford to produce a film regardless of the return can explore. the government could also provide funding based on the merit of the artistes. ”
rajeshwar, who has been observing tamil cinema for long, reckons that films have gone through “cosmetic changes. ” but content - wise, the industry hasn’t kept pace. “it might even go worse. i was told that if aval appadithan were made today, it would be a blockbuster. i don’t agree, for it’s still taboo for a woman to talk about her sexual encounters. the profile of the audience should change. ” [ quote align = ’left’ ] ”i often state that writers should be paid 2 to 2. 5 percent of a film’s budget. but writers are neither paid well nor respected well. they are the first ones to be forgotten. ” [ / quote ]
also, the films that had initially seemed progressive succumbed to societal beliefs. “even in the so - called progressive films of balachander or sila neragalil sila manidhargal of jayakanthan, the chastity of women is preserved sacredly. in balachander’s arangetram, lalitha becomes insane with guilt. ”
rajeshwar points out that telugu and tamil fans worship the stars. “does that happen in kerala and bengal? literacy, social and political consciousness reflect on art. art is the reflection of culture. ”
but, a filmmaker’s success lies in the way he works within, and manipulates the established boundaries, he says. “directors make a lot of compromises, i do too. however, filmmaking is a business. we have to get our investment back. rudhraiya made two films. the second one bombed, and he couldn’t make another one for 35 years. ” even when a film is made in a conditioned environment, the creative freedom won’t be curbed, he observes .
“what is excellence? it is all about how one creates something better despite all the limitations, with available talent and technical support. ” still, there will be highs and lows and one must stay positive, he points out. rajeshwar has only made a handful of films in the last four decades. but, he continues to write stories regularly. he would always tell his students that a story takes wings as soon as the writer finishes. it flies on its own accord, reaches a producer, and comes back at the time when it has to be made into a film, he grins. “a writer has to be optimistic and imaginative like that. ”
“it took me about 10 years to complete kovilpatti veeralakshmi. and when it released, there were mixed reactions. critics panned it. ” but rajeshwar isn’t the one to take criticism seriously. “firstly, there are no critics like roger ebert here. some still write reviews using phrases like, “ olipadhivu kulkuluvena irundhadhu! ”but i do take some into consideration. and i was slightly low after the release. commercial fallout of the film did affect me. ”
and, it paid off. for around that time, a friend introduced him to rajkumar santhoshi. over dinner at taj, the duo discussed cinema and books for hours. rajeshwar was invited by rajkumar to join him in mumbai if he had a story to spare .
rajkumar, who had been making films with big stars, was advised by rajeshwar to make one with upcoming artistes .
“i wish you could become a brand yourself, ” rajeshwar had told him .
“you give me a script. i will make one, ” was santhoshi’s response. and that’s how, ajab prem ki ghazab kahani took shape. the premise was based on a telugu movie, soggadu, but rajeshwar wrote it afresh for santhoshi .
rajeshwar has now written the script and the songs for the tamil remake, which will be directed by one of his sons .
besides writing and direction, rajeshwar has also been busy translating vairamuthu’s songs into english. he was introduced to vairamuthu by bharathiraja, with whom rajeshwar had worked on scripts and story discussions. “i learnt the nuances of commercial cinema from the discussions i had with bharathiraja, ” he recalls. [ quote align = ’right’ ] ”we are influenced by hollywood cinema. they have limited their idiom because of the works of aristotle, plato, and shakespeare. their tradition of storytelling is different. they practice separate methods for a musical, comedy, tragedy, and drama. ” [ / quote ]
when bharathiraja’s muthal mariyathai was nominated for the national award, he wanted vairamuthu’s songs translated into english for the jury. the responsibility was entrusted to rajeshwar .
vairamuthu and bharathiraja bagged the national award for the film. “my bond with vairamuthu strengthened, for the songs fetched him the first national award, ” says rajeshwar, who translated over 200 songs penned by vairamuthu, including the ones that brought him six national awards .
rajeshwar vehemently disagrees with the recent opinion that songs are redundant, and that they interrupt the narrative. he believes that filmmakers fail to use them cleverly. “we are influenced by hollywood cinema. they have limited their idiom because of the works of aristotle, plato, and shakespeare. their tradition of storytelling is different. they practice separate methods for a musical, comedy, tragedy, and drama. ”
our storytelling technique stems from koothu, he explains. “theatre was born out of koothu and cinema was born out of theatre. songs are integral to our stories. our way of storytelling is a gift to world cinema. ” we should not be guilty to convey a story through dance and music, says rajeshwar .
“film songs, when properly used, become sub - text to the story. it makes the audience understand the philosophical side of the characters. ”
nenjil or aalayam is a flat drama without songs, he continues. “but sonnadhu nee dhaana and ninaithathellam act like undercurrents. we understand the characters’ state of mind well. could there be a better climax than the song kelviyin nayagane for aboorva ragangal? ”
2015 will be a busy year for rajeshwar. besides the tamil remake of ajab prem ki ghazab kahani, he plans to film g nagarajan’s novella naalai matrum oru nale. he has written the script and aims to send it to the cannes film festival .
rajeshwar will also join blue ocean film and television academy (run by g dhananjayan in association with satyabhama university), as the head of script writing .
his book on screenplay writing is also ready to be published. the book features key inputs that rajeshwar has gathered out of his own experiences and from the works of other masters. “in the foreword, i have mentioned that one must understand the difference between news and a story. news, when it is well sculpted, becomes a story. a story, when it is badly sculpted, becomes news, ” he laughs .
rajeshwar strongly believes that writers in tamil cinema are not recognised enough. “i often state that writers should be paid 2 to 2. 5 percent of a film’s budget. but writers are neither paid well nor respected well. they are the first ones to be forgotten. ”
“unless i win an award or attend events, i won’t be remembered. tell me who wrote pasamalar and veerapandiya kattabomman? ” he shoots a rhetorical question. “it is hard for us to get noticed. ”
rajeshwar delivers the last gem for the day when i ask about his path ahead .
“ when someone tells me, ‘’andha kaalathula, sir …, ’ the very phrase suggests that he is stuck in the past, ” rajeshwar laughs .
“as long as my mind is sharp and i am able to connect with current trends, i will continue to make films. i will not be sceptical about the changes, but be abreast of them. ”
what about ridley scott, steven spielberg, and clint eastwood? he questions suddenly. “aren’t they making films? rajeshwar is still young at heart, ” he tells me in third person .
rajeshwar chuckles when he tells me this. and suddenly, becomes quite cheerful. his sombre mood lifts. i relish good humor, he says, and narrates a comedy that he plans to make .
it’s a hilarious story. when i laugh, he makes a suggestion. “read woody allen’s getting even. you will laugh your head off! ”
“when bharathiraja was shooting muthal mariyathai, he chanced upon an ad of a film called thaye neeye thunai, directed by somasundar. ”
a chagrined bharathiraja, who mistook somasundar for somasundareshwar, was a little miffed with his friend for making a film without informing him. “i told him i would never direct a film like that, ” he laughs again. to avoid more confusion, bharathiraja then advised him to change his name .
so, retaining ‘eshwar’ from his given name, somasundareshwar added the prefix ‘raj’ .
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my father gopinath is a renowned director who has done films like raman parsuraman. as my family was into films, my progression in to the industry was natural but i was not sure where i would fit in. hence i tried my hand as an editing assistant and also as a dance assistant for some time. meanwhile, my dad’s friend, a photographer opined that i have good looks to become a hero and shot a few stills of mine. i was quite impressed with the result. with my pictures, i met director sridhar and many other directors looking for offers but in vain .
the stupendous success of the film completely changed my life. till the nineties, i played the role of a lover boy in many films and at one point, i was so tired of doing the same role again and again and wanted to
try out different characters. that’s when i refused 13 films. i wanted to try out action, negative shades and so on. telugu films quenched my acting thirst and i shifted to tollywood and earned myself a good name and fame as action hero there. i even produced four films and six television serials .
saran is a talented young director and sivaji films is such a big banner. more than all that, it is such a rejuvenating experience to work with ajith. i feel i am renewing myself. i feel i was just born yesterday .
i don’t want to fix myself as a villain. i am ready to do any role .
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urltoken
police police rehashes raja’s own evergreen botany class in a zingier package. shapath has a morose sound, bears strikingly beautiful interludes but raja’s vocals is a problem. kaise kahen, despite being an 80s raja tune, sounds amazingly fresh in its renewed avatar, while the other rehashes – josh mein and saara yeh, despite being classics in the original versions, are out of sync in hindi and too south indian for bollywood, respectively. dheemi dheemi carries the composer’s current sound and is a competent melody. ilayaraja’s cult status may not expand to the north with this soundtrack. but, well tried, rgv !
i am regular reader of your blog. i think, you are posting many reviews for music albums as soon as possible even after 1 or 2 or 3 times listening? ?. have you felt that you have given wrong / insufficient / for any earlier reviews? or did you modify any review later? .
hi kumar! that’s a very valid question. i do listen to the tracks closely at least 3 / 4 times before forming a conclusion. but yes, there are times when the soundtrack grows with repeated listening…rang de basanti was one such example. but i try to post the first impression in the form of 100 words, so i dont feel the need to modify any review that perhaps impresses me much later .
hi karthik, i came across your comments in tfmpage and visited your milliblog site and instantly liked it. since then i have been a frequent visitor and always look forward to your review before start listening to any album. the reason is that many a times your review exactly matches with what i think about a particular track. the only exceptions are with albims from karthik raja keep up the good work !
in hindi, i meant. perhaps the effect of listening to it for years in tamil !
growing up listening to irs tunes and having listened to the original tracks in tamil over the years, my fist impression to shiva film songs was that it was out of sync. but, after listening to the tracks a few times (especially on a good music system) my impression changed quite a bit. the orchestration and recording are excellent. the blend and balance of instruments and irs wizardry with the violin is spell binding. the original tamil track “anandha ragam” sung by uma ramanan (i think i’m right) is one of my favorite songs and have wondered many a times if illayaraja would re - record this song in a modern recording facility…i’m happy he did. shreya ghoshal shines in this number. ir picked the right voice for the song. this track will sure stay in my play list for a long time. as for the other tracks, though they are rehash of old songs, the orchestration is brilliant! ! !
i second ananth’s view completely. the tracks of shiva grow on u like a parasite…slowly. both dheemi dheemi and saara yeh aalam were just mindblowing! !! the guitar and violin in dheemi (2) were stamps of a genius and the violin usage in saara yeh aalam (the starting is wow) is stuff which only ilaiyaraja can compose. also ir has changed the charanam in saara yeh…. it has 4 tune changes and sounds even better than aananda raagam. thats legendary class for u .
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200 300 akshay kumar amit trivedi anirudh ankit tiwari anup rubens arjun janya a r rahman deepika padukone devi sri prasad d imman g. v. prakash kumar ghibran gopi sundar gopi sunder gv prakash kumar harris jayaraj himesh reshammiya ilayaraja joshua sridhar kajal agarwal kareena kapoor manikanth kadri manisharma mani sharma meet bros anjjan mickey j meyer mithoon pritam priyanka chopra rahul raj sachin - jigar sajid wajid salim sulaiman salman khan santhosh narayanan shaan rahman shankar ehsaan loy thaman thaman s vidyasagar vijay antony vishal shekhar yuvan shankar raja
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a little romance, channel 9 (malaysia), ratchagan, malaysia vasudevan, p. vasu, santhana bharathi, simhendramadhyamam, venniradai moorthy, prathap k. pothan, shanthi krishna
this film is a remake of a little romance, a 1979 romantic comedy film starring laurence olivier with thelonious bernard and diane lane as the two young lovers. the film has been dubbed in malayalam as panineer pookkal and was a success .
to feature in his films, but his effort went in vain. he then met director duo
he chose the former, but both films went on to becoming large commercial successes during the period .
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during an impromptu discussion, k. rajeswar had narrated the story of two convent students coming of age to gangai amaran. moved by the tale, gangai amaran gave the directorial opportunity to directors p vasu and santhana bharathi at the helm. [ 2 ] p. vasu, son of make up man peethambaram and santhanabharathi, son of producer m. r. santhanam, both assisted c. v. sridhar earlier made their directorial debuts with this film. [ 3 ] [ 4 ]
the soundtrack was composed by ilaiyaraja while lyrics were written by gangai amaran. [ 6 ] ilaiyaraja later reused
ananda ragam
as
saara yeh aalam
in shiva (2006). [ 7 ]
deepan chakravarthy, s. n. surendar, t. k. s. kalaivanan
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although, we saw some bollywood originals in the past few years, there have been times when bollywood imitated hollywood with little or no creativity at all. while in some of them, only the central idea is same, there are others in which the whole plot is a blatant rip - off of some hollywood movie .
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1. dhamaal (2007) - it' s a mad, mad, mad, mad world (1963) dhamaal, one of the most fun - filled moviesis an official remake of an american comedy, it' s a mad, mad, mad, mad worldin which the dying words of a thief spark a madcap cross - country rush to find some treasure .
2. baazigar (1993) - a kiss before dying (1991) the plot of these two movies revolves around the same characters where a man takes his revenge from a billionaire by having relations with his daughters .
3. mere dad ki maruti (2013) - dude, where' s my car? (2000) mere dad ki marutitakes its plot from the 2000 hollywood filmdude, where' s my car? the plot revolves around two young men who find themselves unable to remember where they parked their vehicle after a night of recklessness .
4. aitraaz (2004) - disclosure (1994) aitraaz, an erotic thriller released in 2004 is inspired by the 1994 american filmdisclosurewhere the main focus of the story is the issue of sexual harassment at work places .
' s a story of a couple whose marriage goes dangerously awry when the wife indulges in an adulterous affair with another man .
6. dushman (1998) - eye for an eye (1996) eye for an eyeis an american psycholigicalthriller film that gave a source of inspiration to a bollywood movie calleddushman. the story revolves around a woman who seeks her own form of justice when the courts fail to keep behind bars the man who raped and murdered her daughter / sister .
7. awaara pagal dewaana (2002) - the whole nine yards (2000) the storyline of the crime - comedy filmawaara pagal deewanais loosely based on the moviethe whole nine yardsthat was released in 2000 .
8. agneepath (1990) - scarface (1983) the iconic character of amitabh bachchan is inspired from another iconic character and that too, al pacino from the movie, scarface. the story of the movie revolves around a low life scum who, through his ability to fight for respect, makes it to the top and becomes a mafia .
9. bichhoo (2000) - leon: the professional (1994) bichhoo (2000) follows the story of a cold and ruthless hit man who ends up taking care of his neighbors' daughter after her entire family gets whacked by corrupt officers. just like it is shown in the movieleon: the professional .
10. baghban (2003) - make way for tomorrow (1937) baghbanandmake way for tomorrowshare the same plot which concerns an elderly couple who are forced to separate when they lose their house and none of their children take their parents in their house .
11. abhimaan (1973) - a star is born (1954) abhimaanis said to be inspired from real life incidents but it also has similarities with the story of a movie, a star is born (1954). the story revolves around a popular singer who convinces his wife to enter show - business, but his pride is wounded when she outshines him .
12. alone (2015) - alone (2005) alone, the bollywood one is a remake of a thai movie with the same name in which the twin sisters who were conjoined at birth lived by one promise that they will always be together and they will never separate. however, some mysterious circumstances leads to the death of one while the other survives. years later, the ghost of the dead comes back to haunt thesurviving sister .
13. awarapan (2007) - a bittersweet life (2005) awarapanis an uncredited remake of a south korean moviea bittersweet lifewhich illustrates the ethical codes in the korean mob and how they clash with personal morality .
14. aradhana (1969) - to each his own (1946) the theme of the movie, aradhanais basedon the 1946 movieto each his ownin which an unwed mother is forced to give up her child to avoid scandal .
15. jo jeeta wohi sikandar (1992) - breaking away (1979) the plot of the moviejo jeeta wohi sikanderhas certain similarities to the 1979 american moviebreaking away. now who doesn' t remember that cycle race ?
16. shaukeen (1981) - boys' night out (1962) shaukeenis an adult comedy that shares its storyline with the 1962 releaseboys' night out, based on a theme of' old men and sex' .
17. murder 2 (2011) - the chaser (2008) murder 2 (2011) is a copy of a korean film calledthe chaser (2008). the story is that of a former police officer that is hired by a gangster to trace missing call girls and their abductor by using the skills of his old job .
18. main khiladi tu anari (1994) - the hard way (1991) main khiladi tu anariis a remake of the 1991 release, the hard wayin which a movie star tags along with a hard - boiled policeman to research a movie role .
19. ghulam (1998) - on the waterfront (1954) ghulamis a remake of the movieon the waterfront (1954). however, it is not the first time that remake ofon the waterfrontis done in bollywood. it also inspiredkabzaastarring sanjay dutt .
20. judwaa (1997) - twin dragons (1992) judwaais copied from the 1992 releasetwin dragonsin which two identically twin brothers are separated at birth. however, one remains with his parents and the otherturns out to be a gangster .
21. 3 deewarein (2003) - the shawshank redemption (1994) 3 deewareincannot be taken as a straight inspiration fromthe shawshank redemption. however, the movie has some similarities in the relationship anglesand the jail break sequence, which makes us rememberthe shawshank redemption .
22. mohabbatein (2000) - dead poets society (1989) mohabbateinis loosely based on the classic movie, dead poets society, especially the first half, leaving out the shahrukh - aishwarya romance story and the connection with amitabh bachchan .
23. aamir (2008) - cavite (2005) cavite, released in 2005, has exactly the same narration as we have seen inaamir. the story revolves around a man flying back to his home country is forced to participate in a terrorist plot and is threatened, if he doesn' t comply with certain demands .
24. krrish (2006) - paycheck (2003) krrishis inspired from the hollywood flickpaycheckthat had almost the same storyline .
25. citylights (2014) - metro manila (2013) citylightsis a remake of a 2013 releasemetro manilawhich is a story of a poor family trying to escape from rural poverty by migrating to the big city .
26. pyar to hona hi tha (1998) - french kiss (1995) this bollywood flick is a remake of the 1995 hollywood filmfrench kissin which a woman flies to another country to confront her straying fiancé and gets into trouble when the charming crook seated next to her uses her for smuggling .
27. rock on (2008) - the happy life (2007) the movie, rock on, is loosely based on the south korean film, the happy lifewhich was released in 2007. its story revolves around the reunion of the rock band which broke up some years ago .
28. jazbaa (2015) - seven days (2007) another south korean remake is the 2015 releasejazbaawhich has a lawyer as the protagonist, who is on a mission to save her kidnapped daughter, by fighting a case for an alleged criminal who is on a death row for committing heinous crimes like rape and murder and she has only seven days for the trial.
panneer pushpangal ( english : fragrant flowers ) is a 1981 tamil-language romantic drama film directed by bharathi-vasu about a high school romance set in a hills station school located in ooty . the movie carries an original plot and is not a remake of a little romance ; as alleged earlier . 
panneer pushpangal (english: fragrant flowers) is a 1981 tamil-language romantic drama film directed by bharathi-vasu about a high school romance set in a hills station school located in ooty. the movie carries an original plot and is not a remake of a little romance; as alleged earlier.
panneer pushpangal (english: fragrant flowers) is a 1981 tamil-language romantic drama film directed by bharathi-vasu about a high school romance set in a hills station school located in ooty. the movie carries an original plot and is not a remake of a little romance; as alleged earlier.