puthiya vaarpugal
puthiya vaarpugal (1979) tamil movie cd - rip 320kbps mp3 songs music by ilaiyaraaja - starmusiq. com
kannukku mai azhagu - puthiya mugam amezing voice - arun ashok & laya. must watch
puthiya vaarpugal is a 1979 tamil language feature film directed by p. bharathiraja. k. bhagyaraj and rati agnihotri played the lead roles in this film along with goundamani and g. srinivasan. the music was composed by ilaiyaraaja
02 yen radhaiye puthiya kavithaiye - prema paasam - tamil - k. j. yesudas - s. janaki - vaali
puthiya vaarpugal is a 1979 tamil comedy, drama film, directed by bharathiraja and produced by manoj creations. this film stars k. bhagyaraj, rati agnihotri, goundamani in the lead role. the films soundtrack and background score were composed by ilaiyaraaja with lyrics by kannadasan, muthulingam, gangai amaran .
of the lot, my favourite ending is the one in pudhiya vaarpugal, an otherwise unremarkable movie that features bhagyaraj as a village schoolteacher who falls in love with a local belle (rati agnihotri). after having the teacher hounded out of the village, the local bigwig decides to have the girl for himself. he makes it seem that she is having an affair with one of his cronies, and gets her married to him. on the wedding night, he asks her husband to leave so that he could do the honours, so to speak. by this time, the girl has reached a state where all that remains is a grim determination to do what is right by her — a recurring leitmotif in bharathiraja’s movies. up to this point, whatever happens is familiar territory, so when she kills the bigwig to save her virtue, i was not too surprised .
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tamil superhit comedy movie | darling darling darling | full movie | ft. k. bhagyaraj, poornima
who is the best director. ? ks ravi kumar, k. bhagyaraj and bharathiraja snubbing pyramid nadarajan
mundhanai mudichu | tamil movie comedy | k. bhagyaraj | urvashi | poornima bhagyaraj
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this is rati agnihotri' s first film, and it made her an overnight star in south indian films .
bharathiraja and ilayaraja come together in a fascinating rustic tale of love, conservatism and rebellion. told in the poetic fashion that the director later over - exploited, it remains as engaging as it must have been all those years ago. ilayaraja is in his element. when are we going to listen to such rhythms ?
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singer (s): bharathi raja, ilaiyaraaja, gangai amaran, rd. sekar
copyright disclaimer under section 107 of the copyright act 1976. all the songs at starmusiq. com are for listening purposes only. making duplicate audio cd' s from mp3 files is illegal. allowance is made for
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played the lead roles in this film along with goundamani and g. srinivasan. the music was composed by
the film marked the debut of bhagyaraj as a lead actor. the film was remade in telugu as kotha jeevithalu. the movie was shot in picturesque locations in the theni area of tamil nadu .
shanmugakani (k. bhagyaraj) arrives in the village of thaayamangalam as the new school teacher and soon falls in love with a local damsel jothi (rati agnihotri). the village head called as
periyavar
( played by g. srinivasan) is a lecherous and sinister man who has a lustful eye on jothi. amavasai (goundamani) is periyavar' s stooge who also has a long - standing desire to marry jothi. periyavar frames shanmugakani for the rape and murder of a woman social activist and gets him evicted from the village and gets jothi married by deceit to amavasai. he asks amavasai and jothi to stay with him in order to satiate his lust with jothi. what happens afterwards forms the rest of the story .
the music was composed by ilaiyaraaja for the lyrics of gangai amaran and kannadasan. [ 4 ]
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wait a minute! wait a minute! you ain' t heard nothin' yet .
most people would agree that bharathiraja was one of tamil cinema’s foremost directors in the late seventies and eighties, along with k. balachander and mani rathnam. but where kb and mani brought an urban sensibility and sophistication to tamil cinema, bharathiraja reinvented the village on celluloid. he epitomized earthiness. the acting in many of his movies was raw, almost too staged to be real. but somehow, none of that seemed to detract from their emotional power. i think it is because the stories he told were undeniably powerful .
in terms of storytelling ability, the man had one skill that was unmatched by any of his contemporaries. he knew how to craft a powerful ending. his trick was simple: he placed his characters in environments defined by very restrictive social mores, and for the most part, he let it seem like they wanted to play by the rules. even when they embarked upon something transgressive, like a love affair between two people of different religions (alaigal oivathillai), they craved acceptance. he did this long enough and well enough that you, as a viewer, wanted the environment to accept them as well. and then, right at the very end, he pushed his characters to a point where they no longer cared, and even a simple gesture of rebellion had the impact of a sledgehammer .
what surprised me, though, is what happens next. the husband, who has by now developed something of a conscience, tells her that she did the right thing, rips her thali from her neck (signifying that their sham of a marriage is over) and helps her elope with the schoolteacher who has returned to claim her. he then takes his master’s body to a nearby hay pile and hides it in there, in time for the villagers to light it as part of a village festival, and then scurries away into the dark .
maybe it is because he is played by goundamani, an actor best known for his loud comic roles. but those last few minutes absolutely blew me away. even today, when i watch that movie, it seems just as surprising and gratifying .
brilliant analysis. i haven’t seen this film but i am ultra curious now. i have seldom come across a rustic tamizh village sequence being understood and analysed so beautifully. more often than not, we miss the finesse and the complexity of such a scene owing to an urban prejudice of controlled exposition. i have seen numerous tamizh films set in the village milieu that i loved but this freeze frame post has given me a new perspective to understand them .
people like sarath kumar have made a career out of the “mora pillai” idea but there is surely is a lot more to films set in rural tamizh nadu. i particularly recall being impressed with bharathiraja after watching vedam pudidu, kizhake pogum rail, alaigal oyivadhulai and seegapu rojakal. the last one being significantly different in story telling and execution compared to the other ones .
on a slightly different note, i am unable to recollect many hindi films post 1990 set in rural india. lagaan and jodha akbar being period films are not exactly in this category and neither is swades .
you’re right – i can’t think of a great village film in hindi in recent times. virasat probably came close, and that too was a remake (of thevar magan) .
there isn’t much by way of groundbreaking village cinema coming out these days in tamil either. there is the occasional pithamagan or paruthiveeran — a different kind of film to be sure, but thankfully just as fascinating. then again, the proportion of crap to good cinema was probably just as high back then — we just pick the good ones in retrospect .
in some ways, what bharathiraja brought to the table was a view of the village as a world of its own, with its (sometimes strange) beliefs and customs. some of it still exists — i remember watching the female infanticide portrayed in karuthamma with a sort of horrified fascination. while he used these customs sometimes as a plot device (notably in kizhakke pogum rayil), it was clear that he took it all quite seriously, and that honesty somehow shone through. later movies mostly took the formula, but shortchanged the sincerity .
somehow i don’t think bharathiraja was as successful in making an urban film. sigappu rojakkal was more of a notable exception. movies like tick tick tick or the later captain magal turned out to fall woefully short of the mark .
semi - urban, i think. kesu is chosen over langda because of his connections t5o the student body, if i remember right. and that sort of a plot point might not make so much sense in a completely rural setting .
more recently, there have been movies like ishqiya, peepli live, dabang, well done abba, welcome to sajjanpr etc which had a rural setting. on bharatiraja’s powerful endings, i watched this movie kallukkul eeram (in which he’s given credit for screenplay & direction supervision) which too had a dramatic and unexpected twist. ilaiyaraja’s brilliant bgm in the last 10 mins led one to think there was going to be a predictable happy ending only to be jolted with a shocking denouement
rt @ jrdrd: jurassic park sequel idea: 3 million ad. the humans are extinct. the dino - scientists find mosquitoes with human blood. guess… 2 weeks ago
@ krishashok @ sidin i suspect this question will end up being asked the other way round in five years. 2 weeks ago
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sundar, my mom loves this movie so much. there is a reason behind it. i am telling u some thing bagyaraj was my moms classmate in mani highschool in coimbatore along with nizhalgal ravi. but k. b was in peelamedu where my granny' s house was. and u know when kb entered movies my mom and her friends were waiting for hrs to get the ticket of the movie to see their school mate :) )) )) she now wants to sakkarakatti. i told her its a horrible movie but still she wants to see her friends son' s acting... .: )
hei! thats lovely da... :) :) bagyaraj' s classmate! !: )
this is one movie i am longing to watch. interestingly, ir had attempted something very unique in the song
thamthana thamthana
; the song has pallavi and anu pallavi but no charanam. that is even the charanams have same tune and hence, effectively there is no charanam. for more on the song, check this post urltoken i think even the parent thread would be of interest to you as it discusses some of the unique attempts of ir. urltoken
cha. . cosmicu. . appappo ipdi touch pannariyeyppa! ! :) that was a very interesting info. . [ will chek out the links once i get a better network ]
as said by every one, the song
thamthana thamthana
kindles our heart even now when we hear the song, the song gels very well with the scene and only ilayaraja can create such a master piece. u can see the mix of chorus, folk, indian classical and western in this song, i am just overwhelmed by the excellent composition of this song, one cannot imagine such a point perfect fusion of various types of strings, chords, chorus and rythm. only a talented music director can deliver such a master piece. even now many light music troupes find it very difficult to reproduce the same music, not only this song but many songs of ilayaraja are very difficult to reproduce. as clearly told by s. p balasubramanian, it will take another 100 years for another music genius to be born like ilayaraja. maestro! we salute your talent. may your fame spread across all corners of the world
once watch. now, this is going to be long. (has some spoilers too) with kaala, pa. ranjith has rewritten ramayanam. in his version, t ...
it all began in aug 2007. now i' m in a middle management role which is basically like that of a home maker - no one notices your work, ...
the school life culminates in the twelfth class (xii standard); no wonder the stress levels of the kids also peak around the time. i vivid ...
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thanthana thamthana. mp3 artists: jency, b. vasantha duration: 4: 33 min
thiruvizha koothu. mp3 artists: bharathi raja, ilaiyaraaja, gangai amaran, rd. . duration: 5: 50 min
vaan megangale. mp3 artists: malaysia vasudevan, s. janaki duration: 4: 55 min
copyright disclaimer under section 107 of the copyright act 1976. all the songs at tamilfreemp3songs. com are for listening purposes only. making duplicate audio cd
s from mp3 files is illegal. allowance is made for
fair use
. therefore please kindly support us by buying original version of audio cd
s from your local retailer. all the rights are reserved to the audio company. the owner of this website cannot held liability for any illegal usage of the contents. any disclaimer can contact us .
shanmugakani (k. bhagyaraj) arrives in the village of thaayamangalam as the new school teacher and soon falls in love with a local damsel jothi (rati agnihotri). the village head called as
periyavar
( played by g. srinivasan) is a lecherous and sinister man who has a lustful eye on jothi. amavasai (goundamani) is periyavar' s stooge who also has a long - standing desire to marry jothi. periyavar frames shanmugakani for the rape and murder of a woman social activist and gets him evicted from the village and gets jothi married by deceit to amavasai. he asks amavasai and jothi to stay with him in order to satiate his lust with jothi. what happens afterwards forms the rest of the story .
play download: director bharathiraja hints about problem with ilayaraja and praises all the directors in a function. mp3 lyrics
play download: bharathiraja about ilayaraja' s mudhal mariyaadhai bgm - rare podhigai clip. mp3 lyrics
play download: i have conflict with bharathiraja - vairamuthu | briic. mp3 lyrics
play download: bhagyaraj shares funny work experience with director bharathiraja | ninaithathu yaaro audio launch. mp3 lyrics
play download: threat letter to ilayaraja - bharathiraja talks about mgr' s intervention with english subtitles. mp3 lyrics
play download: actor arul mani says ilayaraja is the great music director. mp3 lyrics
play download: ilayaraja will never sing the vairamuthu' s lyrics - ilayaraja fans club | tamil songs | fight. mp3 lyrics
play download: t rajendar praises p bharathi raja & bhagyaraj | nba 24x7. mp3 lyrics
play download: ilaiyaraja talks about muthal mariyathai and bharathiraja at megha press meet. mp3 lyrics
play download: balu mahendra speech about ilayaraja | favorite song | thumbi va. mp3 lyrics
play download: ilayaraja clarifies on recent fight issue | ilayaraja, spb. mp3 lyrics
my son is more romantic than me - karthick yennamo yedho audio launch gautham karthick, d. imman
puthiya vaarpugal is a 1979 tamil language feature film directed by p. bharathiraja . k. bhagyaraj and rati agnihotri played the lead roles in this film along with goundamani and g.srinivasan . the music was composed by ilaiyaraaja the film marked the debut of bhagyaraj as a lead actor . the film was remade in telugu as kotha jeevithalu . the movie was shot in picturesque locations in the theni area of tamil nadu . 
puthiya vaarpugal is a 1979 tamil language feature film directed by p. bharathiraja. k. bhagyaraj and rati agnihotri played the lead roles in this film along with goundamani and g.srinivasan. the music was composed by ilaiyaraaja the film marked the debut of bhagyaraj as a lead actor. the film was remade in telugu as kotha jeevithalu. the movie was shot in picturesque locations in the theni area of tamil nadu.
puthiya vaarpugal is a 1979 tamil language feature film directed by p. bharathiraja. k. bhagyaraj and rati agnihotri played the lead roles in this film along with goundamani and g.srinivasan. the music was composed by ilaiyaraaja the film marked the debut of bhagyaraj as a lead actor. the film was remade in telugu as kotha jeevithalu. the movie was shot in picturesque locations in the theni area of tamil nadu.