pattinathar ( 1962 film )
pattinathar (1936 film), tamil film directed by t. c. vadivelu nayakar
1962 and as “chirikkudukka” - 1976 in malayalam) but the corresponding songs in these films – “nazar bacha ke…… “ (rafi) and “chithra kanyake…. “ (yesudas) .
tms composed music for the tamil film “balapareekshai” (1976). the film or its music could not impress the audience .
free wallpapers download of pattinathar movie, hero, heroine, etc is available in our gallery section .
tamil mythological film written and directed by t. c. vadivelu nayakar and produced by m. t. rajan. music by gopal sharma is an added asset to the film. the film stars
at his ardent request. saint pattinathar accepts the king as a discipline and order him to report at tiruvadamarudur. at tiruvadamarudur pattinathar and his discipline station themselves at the eastern and the western gates of the temple. one day a devotee begs (lord shiva disguised) to pattinathar but, the saint replies to the devotee ,
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the film was initially released 1936 film was directed by t. c. vadivelu nayakar and male lead actor as m. m. dhandapani desikar .
murattu kaalai (rough bullock) was a blockbuster rajnikanth' s film of 1980s. this was the first film for rajnikanth with avm production ...
. the film distributed by vel films. starring m. m. dhandapani desikar as played pattinathar role to protagonist with v. n. sundaram, d. r. muthulakshmi, t. k. rukmini, m. s. radhabhai and p. g. venkatesan. the film cinematography by k. ramnath and art director by a. k. sekhar. the film was super - hit at the year. the film ran at
and produced by m. t. rajan. the film script was written by
pattinathar - another film with the same name, was released earlier in 1936. it was a black and white tamil mythological and biographical film directed by t. c. vadivelu nayakar and produced by m. t. rajan. the film script was written by t. c. vadivelu nayakar. the film was distributed by vel films. starring m. m. dhandapani desikar who played pattinathar' s role as protagonist, and other actors like v. n. sundaram, d. r. muthulakshmi, t. k. rukmini, m. s. radhabhai and p. g. venkatesan. the film' s cinematography was by k. ramnath and art direction by a. k. sekhar. the film was super - hit at that year. the film ran at chennai broadway theatre for 25 weeks .
the film message that one should for true meaning of life. not waste it in pilling up wealth seemed to have gone deep in to the psyche of the film going public of the 30s snd the film become a range. the impact of the film was so great that it popularly believed that young man even married young men, gave up social life and donned saffron robes after seeing the film! .
nandanar (tamil: நந்தனார்) or bhakta nandanar is a 1935 tamil film directed by manik lal tandon. it marked the film debut of the carna ...
pattinathar - produced by lotus films. 1935. directed by v s k padam. starcast – c s sundaramoorthy othuvar, k r saradambal
the film' s message that one should search for the true meaning of life, not waste it in pilling up wealth seemed to have gone deep into the psyche of the film - going public of the 30s and the film become a rage. the impact of the film was so great that it is popularly believed that some young men, even some married men, gave up worldly life and donned saffron robes after seeing the film .
. music by g. ramanathan is an added asset to the movie. the film stars
chithiram pesuthadi tms music t g lingappa 1958 lyric ku. ma. balasubramaniam film sabaash meena
pattinathar was subject made thrice in tamil cinema. the first version was made in 1935 by lotus pictures with c. s. sundaramoorthy odhuvaar as the saint, the second was made in 1936 by vel pictures with m. m. dandapani desikar (this film) and it was made again in 1962 with t. m. soundararajan as the saint. in those days, only actors trained in theatre were given roles in films, but occasionally, good musicians were also given opportunities when the film demanded good singing from actors m. m. dandapani desikar, a musician well versed in thevaram recitals, was picked to play eponymous hero .
another film of the same name was previously released in 1936. that film was directed by t. c. vadivelu nayakar and the male lead actor was m. m. dhandapani desikar .
in the tamil film “avar enakke sontham “ (1977), tms sang the hindi film lyrics from the film “kabhi kabhi “ (1976) – the title song – “kabhi kabhi mere dil mein…. . “ as a kacheri. !! . the song sequence became a hit .
the film' s message is that one should look for the true meaning of life, and not waste it in pilling up wealth. it seemed to have gone deep into the psyche of the film going public of the 30' s and the film become a rage. the impact of the film was so great that it is popularly believed that some young men who were even married to young women, gave up wordly life and donned the saffron robes of a mendicant, after seeing the film! . unfortunately there are no prints of this film available now. [ 4 ]
pattinathar heard invisible voice of lord shiva, shiva told where the bottom of sugarcane gives to sweet taste, that place his attains salvation. after visiting various saivite shrines pattinathar finally comes to tiruvottiyur and eaten sugarcane and it gives sweet taste. at tiruvottiyur beach he requested some yadhava youths to cover him with a big mud pot. the boys accedes to his wish but twice time pattinathar way out and again sit inside mud pot. third time the boys are closed the pot and grip to tightly and opening the pot they are stunned to fine shivalingam instead of the sage. meantime, sivakalai pattinathar wife sees a vision of him at tiruvottiyur about attain salvation .
played the antagonist. another film of the same name was previously released in 1936. that film was directed by t. c. vadivelu nayakar and the male lead actor was m. m. dhandapani desikar .
pattinathar was a subject made thrice in tamil cinema. the first version was made in 1935 by lotus pictures with c. s. sundaramoorthy odhuvaar as the saint, the second was made in 1936 by vel pictures with m. m. dandapani desikar (this film) and it was made again in 1962 with t. m. soundararajan as the saint. [ 2 ] [ 3 ] in those days, only actors trained in theatre were given roles in films, but occasionally, good musicians were also given opportunities when the film demanded good singing from actors. m. m. dandapani desikar, a musician well versed in thevaram recitals, was picked to play the eponymous hero. [ 2 ] [ 4 ] [ 5 ]
few years back, i was shocked to see him in the advertisement programmes of some medicines in some tv channels. the film world, the tinsel world turned face from the legendary singer who was once the king of tamil film music. the singing voice of legends like mgr, sivaji ganeshan etc. but the gems that he filled in the treasury of tamil film music – those gems remain most valuable in the khazana of south indian film music .
is a 1936 indian tamil mythological film written and directed by t. c. vadivelu nayakar and produced by m. t. rajan. music by gopal shara assets to the film. the film starring m. m. dandapani desikar played titled role with v. n. sundaram, d. r. muthulakshmi, t. k. rukmini, m. s. radhabai and p. g. venkatesan played portraying supporting role. the film was a major success, ran for 25 weeks and established desikar as an excellent singer - actor on the ladder of success. pattinathar is about saint who lived in kaveripoompattinam, his closeness to lord shiva and the miracles he performed .
music composed by gopal sharma and lyrics had the original compositions of the saint pattinathar himself and some other songs were written and composed by papanasam sivan. the film had 52 songs, most of rendered by m. m. dandapani desikar. [ 7 ] the songs were great hits and popular among them. [ 6 ]
the film had 52 songs, most of them rendered by dhandapani desikar. the songs were great hits and popular among them were
ലേഖനം - 13 “paattum neeye, bhaavamum neeye……. . “ – tms – the “laya” and “bhava” of tamil film song is no more… .
the film was a major success, and ran for 25 weeks and established desikar as an excellent singer - actor on the ladder of success .
tms is defined by some film music critics and his fans as “paattu nadikan”, meaning playback singing actor. because one could feel the emotions of the character who sings the song. for example the hero lamenting and praying for peace of mind – “enkey nimmathi…. . “ (puthiya paravai - 1964), “andha naal njaapakam…. . “ (uyarntha manithan – 1968), “devane ennai parunkal…. “ (gnana oli – 1972) etc. tms acted in a few films, as a singing star ,
pattinathar
( 1962) ,
arunagirinathar
( 1964) ,
kallum kaniyakum
( 1968, as hero and co producer) ,
kavi kalamegham
( 1978). his performance in the key roles as the saint poets in the films pattinathar and arunagirinathar was very impressive. but the films failed to attract the audience and were box office failures. the box office failure of the films – pattinathaar, arunagirinathar and kavi raja kalamegham enacted by tms is attributed to the unusual success of tamil films of the same story released in the past. the indelible impression that these films created in the minds of the film lovers discarded the tms films though these films also were well directed and presented. the classics of the past are –
he is taken to the king, who orders his execution on the spike, but the spike catches fire. king badragiri thereupon abdicates his crown in favour of his son. at his ardent request, saint pattinathar accepts the king as a disciple and orders him to report at thiruvidaimarudur. at thiruvidaimarudur, pattinathar and his disciple station themselves at the eastern and the western gates of the temple, till years later badragiri attains salvation. after visiting various shaivite shrines, pattinathar comes to tiruvottiyur at the behest of lord shiva. at tiruvottiyur beach, he requests some yaadhava children to cover him with a big mud plastered basket. the boys accede to his wish. on opening it, they are stunned to find a shivalingam (lord shiva' s image), instead of the sage. meantime, sivakalai, pattinathar' s wife sees a vision of him at tiruvottiyur, about to attain salvation. by divine grace she becomes a bilva tree by the side of the sivalingam and thereby attains salvation. [ 6 ]
then pattinathar realised the philosophy and wisdom of the words and renounced everything, his wife, his wealth, kith, kin and with only a loin cloth he left his home. he began singing many philosophical songs to enlighten people on the blissful state of renunciation .
malliswari (telugu: మల్లీశ్వరి) is a 1951 telugu musical film directed by b. n. reddi and produced by vauhini studios, with songs penn ...
music was composed by g. ramanathan. there are a number of songs composed by the saint pattinathar himself included in the film. lyrics for other songs were written by t. k. sundara vaathiyaar, thanjai n. ramaiah dass, ku. ma. balasubramaniam and a. maruthakasi. singer is t. m. soundararajan. playback singers are p. leela, soolamangalam rajalakshmi, thiruchi loganathan and p. susheela. [ 8 ]
in this film. it was such a great success that the gag has been used in tamil cinema over and over by many a comedian after nsk with equal success .
in the 1951 film
devaki
, tms acted as a beggar and sang a song ,
theeratha thuyarale paazhakiye ...
under the music of g ramanathan. it was the 1954 film
thookkuthookki
that escalated the name and fame of tms and there was no turn back after that. the playback singer tiruchi lokanathan was first approached by the producer to sing for the film, but due to some dispute with him the chance came to tms. tms sang all the 8 songs for the hero sivaji ganeshan in the film. tms first sang for sivaji ganeshan in the film
koondukkili
the same year, but it was the film thookkuthookki that stamped the voice of tms as the singing voice of sivaji. tms sang for mgr for the first time in the 1954film
malaikkallan
. and after that for about more than a decade, tms was the preferred voice for the two super stars mgr and sivaji. tms sang for the other super stars of 1960s like jayasankar (first in
iravum pakalum
1964) and ravichandran (first in
naan
1967) .
ranjan and vasundhara became stars with this film and the heroine’s exotic dances are still recalled by old –timers. also one of the early box - office bonanzas of s. s. vasan .
“paattum neeye, bhaavamum neeye……. . “ – tms – the “laya” and “bhava” of tamil film song is no more…. | പാട്ടും നീയെ. . ഭാവവും നീയെ. . ടി എം എസ് മണ്‍മറഞ്ഞു
pattinathar is a tamil movie, directed by k. somu, starring t. m. soundarrajan, leelavati, m. r. radha along with others. here, on the movie page, you will find every thing that you need to know. check out what others are saying about the movie on twitter .
more than the box office success of running for over 2015 weeks, the film brought in a strong social change on the need to find the true meaning of life rather than amassing wealth. [ 6 ]
on reading the scroll, realisation of eternal truth and teaching of life dawn on him and he renounces all his worldly possessions. poignant scenes take place on his exit from his house as an ascetic. thereafter, thiruvengadar becomes pattinathar and leads the life of a mendicant living on alms. meenakshi, his elder sister, feeling that the dignity of her family will suffer by his conduct, decides to kill him by giving him a poisoned appam (breakfast pancake). discovering her plot through divine grace, he throws it on the roof of her house which catches fire immediately. but the miraculous fire is extinguished by him when she begs his pardon and then pattinathar goes on his way .
romantic duets – it is the monopoly of the hero and the heroines, is it not? there is a romantic duet sung by tms with radha jayalakshmi in the film “mullaivanam” (1955). and a special and unique song, a romantic number it is! ! the villain sings the song with the heroine! !. tms singing for p s veerappa. sreeram was the hero of the film, and this was the first “cowboy” film of the south. the song – “enkiruntho inku vandha rathiye…. “ was a hit of those days. in few films tms sang playback for singing stars of yester years like chittoor v nagiah also .
the film had 52 songs, most of them rendered by dhandapani desikar. the songs were great hits and popular among them were desam nilaiyailave. . oru mada maadhu. . irukkum yedam thedi and vettililum thottililum'' .
the film had 52 songs, most of them rendered by dhandapani desikar. the songs were great hits and popular among them were desam nilaiyailave. . oru mada maadhu. . irukkum yedam thedi and vettililum thottililum. [ sic ]
he also performs the cremation of his dead mother by placing her on a pyre of plantain stems: by divine grace, it catches fire and her body gets cremated. thereafter, pattinathar leaves the city of his birth and wanders from place to place. one night, feeling hungry, he peeps into a hut. the villagers mistakes him for a thief and beat him. deciding not to beg for alms in future, he goes to a lonely lord ganesha' s temple in the jungle and sits behind the vigragam (god' s idol) for meditation. a band of robbers returning from a successful loot of king badragiri' s palace, throw a necklace at the vigragam as their offering. it accidentally falls on pattinathar' s neck as he is sitting behind the vigragam. he gets arrested by the king' s sentries for having the stolen necklace .
but marudesan was not in the room and his wife sivakalai gave him to a small box the son had given before he disappeared. thiruvenkadar read the scroll he wrote a needle with an eyelet. then pattinathar realised the philosophy and wisdom of the word and renounced everything his wife, his wealth and kith and kin with only a loin cloth he left. he sang many a philosophical song to enlighten people on the blishfull state of reunication .
, was the first major gemini studios - s. s. vasan production made on a mammoth scale, which became the hallmark of a gemini - vasan product. it was only after this film, critics and crowds used the hollywood adjective ‘colossal’ for a madras - made movie .
tms was awarded “padmasri” in 2003. several other awards including the “kalaimamani” award of tamilnadu are to his credit. he was awarded “swaralaya kairali yesudas award” for his lifetime contributions to indian film music in 2012. thanks to the jury and the fans of tms in kerala for honoring tms with this award .
was a blockbuster and made vasan a very rich man. it also set him firmly on the ladder of success. vasundhara and ranjan became household names. interestingly, the film also turned out to be vasundhara’s last hit. her career declined fast and the few films she did thereafter, did not help .
the movie started once his dream, lord shiva appeared and told him, he would find him siva as a baby at certain spot. hand over the baby boy to thiruvenkatar (t. m. soundararajan). he would give gold equal to the weight of the baby. the saint devotee found the baby and took him to pattinathar and his wife sivakalai (gemini k. chandra). he adapted child and gave the couple and more wealth. the divine child grow up and follows in his father food step .
n. s. krishnan and t. a. mathuram, working for gemini for the first time, provided their own brand of comedy. nsk trained hard to learn tightrope walking so that he could do those scenes in the film without a double. he lifted the famous glass window - breaking scene from charlie chaplin’s immortal classic
acharya worked on the screenplay giving it a modern touch. he made mangamma look glamourous when she comes disguised as a sultry gypsy to seduce her husband with her song and dance and make him spend the night with her. vasundhara, the glamour girl of the south indian art world who made a splash with her first film s. soundararajan’s
“chayam” (1973) was the only malayalam film in which tms sang. the song – tamil lyrics – kannadasan. music – devarajan. the song – “mariyamman thaaye…. “ (tms, madhuri). the captivating voice of tms, enthrall the new generations also, and will continue to haunt the minds of the music lovers of all time
then deciding not to beg for alms in future he goes to a lonely lord ganesha temple in the jungle and sits behind the idol for meditation. a band of robberies returning from a successful loot of king badragiri palace throw a pearl necklace at the idol as their offers. it accidentally falls on pattinathar neck as he is siting behind the idol. he get arrested by the king sentries for having the stolen necklace. he is taken to the king, who order his execution on the spikes. but spikes catches fire king badragiri there up abdicates his crown in favour of his son .
therefore thiruvenkadar becomes and leads the life of medicant lying on alms, meenakshi (s. d. subbulakshmi) his sister feeling that the dignity of her family will suffer by his conduct, decides to kill him by giving him poisoned appam (for english cake). discovering her plot through divine grace. he throw it on the roof of her house which catches fire immediately. but the miraculous fire is extinguished by him when she begs his pardon and pattinathar on goes his way. one night feeling very hungry he peeps into a hut. the villagers mistakes him for a thief and beat him .
written and directed by lawyer - turned - filmmaker t. g. raghavachari (acharya), this film created a sensation all over south india. a popular folktale, it was about a sprightly tough village girl, mangamma, who when insulted by a woman - chasing crown prince vows to take revenge (hence the title mangamma’s vow) by having a child through him and make the child whip the father in court. the salacious prince too takes a vow to marry her and have her imprisoned in a lonely palace. how she builds an underground tunnel from her gilded cage to her village home, outwits her husband and has a son without his knowing her identity and the son then trapping his father form the rest of the film story .
then deciding not to beg for alms in future, he goes to a lonely lord ganesha temple in the jungle and sits behind the vigragam (god' s idol) for meditation. a band of robbers returning from a successful loot of king badragiri' s palace throw a pearl necklace at the vigragam as their offering to god. it accidentally falls on pattinathar' s neck as he is sitting behind the vigragam. he gets arrested by the king' s sentries for having the stolen necklace. he is taken to the king, who orders his execution on the spikes. but the spikes catch fire and burn. king badragiri gives up all worldly pleasures and abdicates his crown in favour of his son .
in modern theatres’s “valaiyapathi” (1953) tms sang a duet with jamunarani under the music of s dakshinamoorthy – “kulunkidum poovilellaam…. . “. this is an example of successful “imitation song” – it was true copy of roshan’s composition for the hindi film “malhar” (1951), the perennial hit duet, “bade arman se rakha hai balam…. “ (mukesh, lata). the tamil imitation became as popular as its hindi original. the soulful voice of tms made the romantic duet an all time hit. this is considered as the best duet of jamunarani with tms. k v mahadevan was a composer who encouraged and supported start from the beginning of the versatile singer’s career. k v mahadevan was associated with hmv company. he recorded two devotional songs in the voice of tms for hmv records. the playback singer was paid rs. 80 / -, a reasonable remuneration during that time. k v mahadevan directed tms to avm company. a v maiyyappa chettiar, “all in all “ of avm company was not impressed by the voice of tmsat first. tms was asked to sing a comedy number. tms sang a popular comedy number of that time, a film song, from the film “marmayogi” (1951) – “nalla kazhuthai mika nalla kazhuthai…. “ (k v janaki). tms proved his metal by rendering this song, meiyyappa chettiar was taken a back by tms’s singing. tms got a chance to sing in avm’s “chellappillai” (1955). the comedy number “naadu nadakkira nadappile…. “ and “gullapp podanum naisaa …. “ went un noticed. tms gave playback to the comedian thankavelu in this film. but before the release of “chellappillai “ in 1955, tms’s fate was decided by the songs of “thookku thookki” (1954). later on tms became a favourite playback singer for avm company. tms sang several super hits for avm films .
chronicles of chaste women from the vedas such as “anusuya”, “savithri”, “ahalya”, “sulochana” were treated as subject - matter for films during the early and later years of indian cinema. kunjan nambiar’s poetic work “sheelavathi naalu vritham” published in 1874 was probably the first indian movie that narrated this story as “sheelavathi” in celluloid. the story revolved around a chaste woman (k r vijaya as sheelavathi) and her husband (sathyan as ugrathapas) who contracts leprosy. while sheelavathi nurses him, ugrathapas was cursed by sage mandavya to death by sunrise while travelling to the palace of royal courtesan (vijayalalitha). how sheelavathi saves ugrathapas and brings him back to life becomes the rest of the plot. directed by p. b. unni & with some great casting, the film tasted dust at the box - office for reasons unknown. even the extraordinary musical score of maestro g devarajan with lyrical support from the renowned p bhaskaran could not salvage the film .
legendary stars and singers, when they are in the peak of popularity, media, fans, encircle them. people crowd wherever they move. in most cases, when they are out of the field, when they are just ignored. in the case of tms also, late 1970s and 1980s, tms was not in popularity. what an injustice, the voice of tamilnadu kept away from the selfish film world. he conducted musical programmes to keep himself engaged and to earn the livelihood .
interestingly this film had few songs rendered by s janaki (rare indeed !) under maestro’s baton. maestro devarajan composed 9 songs – including this romantic duet ‘valkalamooriya vasantha yamini” (k. j. yesudas – p. susheela), “surabhi maasam vannallo”, “uthareeyam”, “muttathu prathyusha deepam” (all by s janaki), “om saraswathim namami” (devarajan, p. b. sreenivas, k j yesudas), “chirichu kondodi nadakkum” (k j yesudas), “karthika manideepa’ (s janaki, p jayachandran), “mathi mathi janani”, “maheswari” (both by p susheela) .
the songs which crowned tms as the voice of the super stars – mgr and sivaji ganeshan were – songs from thookkuthookki for sivaji ganeshan and the philosophical number ‘ethanai kaalam than… “ from malaikkallan for mgr. the rest was the history. tms became the singing voice for most of the films enacted by the legendary stars - the two “thilakams” of tamil cinema – makkalthilakam mgr and nadikarthilakam sivaji ganeshan. tms’s voice modulation for these stars was wonderful. the voice modulation and the style of singing that tms adopted for these two stars to a greater extent distinguishes themselves the super star who sings the songs on the screen. one who is keen on tamil film somgs can easily identify whether the song is a mgr number or sivaji number. !! here is an example for his voice modulation. the song, a philosophical cum comedy number, from the film “bhama vijayam” (1967) – (this was remade in hindi as “teen bahuraniyan – 1968 and later in malayalam as “sreekrishnapurathu nakshathra thilakkam” - 1998) - “varavu ettana chilavu patthana…. . “ tms sang playback for t s baliah, nagesh, muthuraman and major sunderarajan who acted in the song sequence! ! the voice modulation was that much perfect that the listeners did not feel that it was tms that sang for all the four actors in the song scene. a god’s given gift, that was the magic of tms’s voice modulation .
saint paṭṭiṉattār tamil: பட்டினத்தார் was a saivaite and a spiritual leader. he was born to sivanesa chettiar and gnanakalai. his father was a trader in tiruvidaimarudur, thanjavur district. his birth name was swetharanyar after an epithet of lord siva of swetharanyeswarar temple. he was also called as thiruvenkadar by the people. when he was five years old, he lost his father. like his father he spent money on siva devotees, and fed them daily. he was a trader and had enough wealth. at sixteen years, he was married to sivakalai, daughter of another trader by the name of sivasithamparam chettiyar and his wife sivakamy. even after fifteen years of marriage they had no children. meantime there was a very poor saivaite by the name of sivasarumar who spent all his wealth in feeding the siva devotees. when all his wealth was spent he sold his wife' s nuptial chain (thali) and fed the devotees of lord siva. once in his dream, lord siva appeared and told him, he would find him (siva) as a baby at a certain spot .
hand over the baby boy to thiruvenkadar. he would give gold equal to the weight of the baby. the saivaite devotees found the baby and took him to pattinathar. he adopted the child and gave the couple, gold and more wealth .
tms' s first music lessons started from his father who taught him bhajans. tms was very much fond of films songs, and m k thyagaraja bhagavathar, v a chellappa and p u chinnappa, the singing stars of early tamil cinema were his matinee idols. tms sang their songs in family get togethers and functions. meenakshi iyengar could not afford to send his son for music lessons under established music teachers. the urge to study music forced tms to approach two gentlemen in madurai – kuppu swami iyer and babu iyer who were associated with film producing companies like “murugan talkies “ and “royal talkies”. both of them were leaders of the saurashtra brahmin community. two other rich men joined hands for the “sponsorship” to educate tms in music. all the four sponsored rs. 15 / - each to meet the fees for tms’s music lessons .
thuguluva meenakshi iyengar soundararajan, the iconic playback singer of tamil cinema popularly known by the initials, the three letters – t m s, is no more. the voice that shaped tamil cinema, who was 91, passed away on 25 away, the buddha purnima day of 2013, saturday, 25 of tms and left to the eternal world of heavenly music. and it was the vaishakh pournami too for the hindus, an auspicious day for the hindus, especially for the vaishnavites. an ardent devotee of the varadaraja perumal of madurai, tms bid goodbye to this mortal world on an auspicious day, leaving the immortal melodies sung by him as his footsteps in the path of south indian film music. the voice that emerged as the voice of tamil language and people, kannadasan’s poems and the passionate voice that absorbed in its singing the navarasas, quite impressing way left us for ever! a look back into the life and career of the versatile artist – playback singer, actor and producer .
the film is about pattinatthar, the saint who lived during10th century in kaveripoompattinam intamil nadu. lord shiva, on the report of dharmavathi about the atrocities committed by men in the world, sends kubera from kailas to be born as thiruvengadar at kaveripoompattinam. at the age of 20, thiruvengadar, marries sivakalai and leads a happy, successful and pious life with her, with the only sorrow that they are childless. siva sarama, a poor brahmin of thiruvidaimarudur, finds a child under a bilva tree and presents the child named marudhavaanan to thiruvengadar, who offers gold equal to the child' s weight to the temple and brings him up as his son. when marudhavaanan is 16 years old, he goes on a pleasure trip on a boat and encounters a big fish. by his touch, marudhavaanan ends the curse of the gandharva (cursed to be the giant fish). [ 2 ] marudhavaanan goes on business voyage with merchandise and returns with only a small box and two bags of sand .
tms entered the tamil cinema world when playback singing was not that much popular, or was not having wide acceptance. in 78 rpm discs of the songs sometimes the credits were not given to the playback singers. and it was the names of the characters who sing the song that was given on the discs. even in song booklets of the films the names of playback singers was not given. tms sang in the tamil film “manthrikumari” (1950) produced by modern theatres. the song “annam itta veettile…. . “ that he sang for an “extra artist” subbiah (he acted in minor roles in films like “digambara samiyar “) became a hit. but name of tms is not included in the list of playback singers that appeared in the song book. (see the relevant page of the song book given along with the article, .). those times names of playback singers was not included in the title cards. tms fought against such practices and though a bit late, playback singers got the acceptance and their names were inscribed in the labels of the 78 rpms and also in the song books .
the second charanam or lyrical narrative begins with a therapeutic voice of gana saraswathi p susheela engulfing “puspabhanan sharamundakan” and her enthusiasm is intense & compelling making yesudas’s initial narrative (pallavi) under - par? he tackles “marakatha pullil nin madiyil” with such ease and mesmerizes you with “mayangi mayangi onnukidanotte”, a technically demanding line – singing it with such vigor and feeling – a finest performance by dasettan. what can go wrong? both yesudas & susheela’s voices blended magnificently, styles meshed equally well and they sang with finesse and great presence – a keen understanding & absorption of their lyrical material and indulging in the film sequence. a lyric and vocals should complement & contain aesthetics, rhythm, symmetry, harmony. in maestro devarajan’s school they are a must and always become integral part of the score – bright and new, without overdone orchestration leaving the scope of interpretation to the vocalists. you can usually sense yesudas & t m soundararajan holding back somewhat in their duets so as not to steamroll their singing partners. now in his early seventies, he’s still got the strong, mellifluous voice; the impeccable inflections; the emotional range and power; and the pure communications skills of a great vocal artist .
tms is distinguished from other playback singers by some special features related with his playback singing. some of these features might be quite accidental, and some the singer acquired by his own efforts and dedication to the fine art of music. for example, tms sang with the singing star of 1940s, u r jeevaratnam. in an interview tms himself narrated the story. u r jeevaratnam was one of his favourite singers, and he adored her singing voice from his childhood. it was his ambition to sing with the versatile singer who was specially known for her high pitch singing. his ambition was fulfilled, tms sang with her in the film “vaazhvile oru naal” (1956). the duet – “thenrale vaaraayo inpasukham thaaraayo… became a super hit. this song was included in the album released by hmv in the super hits series - in the 1956 album. and, in this song sequence the singing star u r jeevaratnam sang playback for another singing star g varalakshmi. this is a special feature of the song itself - a singing star singing playback for another singing star. in this aspect this might be a unique song, so far no other song is located with such special feature .
enter missing singer names as comma separated value. you can add as many number of singer name in the given field
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pattinatha ...
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and when he came brought back sacks full of paddy husks and cow dung cakes, marudesan friends gaves his father to one box, the box inside three cow dung cakes and borrow document. the angered father threw the cow dung cakes out, what was his surprise to see they were all gold and gems. thiruvenkatar hurried home to see his son .
nothing else to give for you
. then he told the devotee to go to the western gate where he can find a family man sitting near the temple tower. you beg to him, may be he can give you some thing
. the devotee comes to the king and begs to him. the king was shocked, to know that he as called a family man just for having a begging bowl with him. at the very moment the king threw the begging blow away and it hit the dog which dies. after the incident till years later badragiri attains salvation. think of
audiography = m. b. valkay, francis a. samy and r. kannan
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music director g. ramanathan actors m. m. dhandapani desikar, muthulakshmi, v. n. sundaram
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the movie starts with a dream by a pious couple, where lord shiva appeared and told them that, they would find a baby boy at a certain spot. they were to take that baby to poompugaar (kaveripoom pattinam) and hand over the baby boy to thiruvengadar, also called pattinatthar, (played by t. m. soundararajan) and he would give gold equal to the weight of the baby to the pious couple. the saintly devotees found the baby and took him to pattinatthar and his wife sivakalai (gemini k. chandra). a similar dream had also appeared to pattinatthar and his wife; who then adopted the child and gave the pious couple wealth, as told in their dream. they name the child marudhavaanan, the divine child grows up and follows in his father' s footsteps .
once, the father pattinatthar sent his adopted son marudhavaanan on a ship with merchantile goods for overseas trading. when the son came back, there was a severe storm and he arrived safely at home. marudhavaanan' s merchant friends from his business trip meet his father & say that they had lost all their goods in the storm at sea, but marudhavaanan had only brought back sacks full of paddy husks and cow dung cakes. then marudhavaanan gives his father just a small box containing three cow dung cakes and palm leaf documents which are loan promissory notes from his friends. the angered father throws the cow dung cakes out, and to his surprise sees there are gold coins and precious gems like diamonds & pearls in them. thiruvengadar hurries home to see his son. [ 5 ]
but marudhavaanan was not at home and sivakalai gives thiruvengadar a very small box, which the son marudhavaanan had given her, to be handed over to his father, before the son had disappeared. inside the box, thiruvengadar sees a palm - leaf manuscript and a needle without an eyelet. on the script were the following words (in english for understanding) :
not even an eyeless needle will accompany you in the final journey of life .
thereafter thiruvengadar becomes and leads the life of a mendicant relying on alms. meenakshi (s. d. subbulakshmi) his sister feels that the dignity of her family will suffer by his conduct, and she decides to kill him by giving him poisoned appam (breakfast pancake). discovering her plot through divine grace, he throws it on the roof of her house which catches fire immediately. but the miraculous fire is extinguished by him when she begs his pardon and pattinatthar forgives her & goes on his way. one night, feeling very hungry he peeps into a hut. the villagers mistake him for a thief and beat him .
at his ardent request, saint pattinatthar accepts the king badragiri as a disciple and asks him to come to thiruvidai marudur temple. at thiruvidai marudur, pattinatthar and his disciples station themselves at the eastern and the western gates of the temple respectively. one day a devotee (lord shiva himself disguised) begs for food to pattinatthar but, the saint replies to the devotee ,
i have no food to give for your hunger
. then he told the devotee to go to the western gate where he can find a family man sitting near the temple tower .
you beg to him, may be he can give you some food
. the devotee comes to the former king and begs him for food. the former king who became a renunciant is now shocked, to know that he was called a family man just for having a begging bowl and a dog with him. at the very moment, the former king threw the begging bowl away and it accidentally hit the dog, after which it dies. after this incident and several years later badragiri attains salvation by thinking of lord shiva and surrendering to god' s feet. [ 6 ]
at that time pattinatthar heard the voice (divine voice made without bodily presence) of lord shiva, which told him that, where the bottom of sugarcane stalk gives a sweet taste, at that place he will attain his salvation. after visiting various shaivite shrines, pattinatthar finally comes to tiruvottiyur and eats sugarcane and its bottom stalk gives a sweet taste. at tiruvottiyur beach, he requested some yadhava children playing in the beach, to cover him with a big mud plastered basket and to hold it tightly closed. the boys accede to his wish but twice, pattinatthar got out by using his siddhis and without opening the basket, while the children were holding it closed and standing guard. the third time, again he sits inside. this third time, the boys closed the basket & grip it very tightly closed. after a while, they open it. they are stunned to find a shivalingam instead of the sage. in the meantime, sivakalai, pattinatthar' s wife sees a vision of him at tiruvottiyur about to attain salvation .
( in tamil). manivasagar publishers, chennai 108 (ph: 044 25361039). first edition november 2016. p. 74 — 75 .
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pattinathar ( தமிழ் : பட்டினத்தார் ) is 1962 tamil biographical film was directed by k. somu and produced by film center with distribution by j. r. productions . the film script was written by thanjai ramaiah doss and akilan . music by g. ramanathan is an added asset to the movie . the film stars t. m. soundararajan who played the title role and m. r. radha played the antagonist . another film of the same name was previously released in 1936 . that film was directed by t. c. vadivelu nayakar and the male lead actor was m. m. dhandapani desikar . 
pattinathar (தமிழ்: பட்டினத்தார்) is 1962 tamil biographical film was directed by k. somu and produced by film center with distribution by j. r. productions. the film script was written by thanjai ramaiah doss and akilan. music by g. ramanathan is an added asset to the movie. the film stars t. m. soundararajan who played the title role and m. r. radha played the antagonist. another film of the same name was previously released in 1936. that film was directed by t. c. vadivelu nayakar and the male lead actor was m. m. dhandapani desikar.
pattinathar (தமிழ்: பட்டினத்தார்) is 1962 tamil biographical film was directed by k. somu and produced by film center with distribution by j. r. productions. the film script was written by thanjai ramaiah doss and akilan. music by g. ramanathan is an added asset to the movie. the film stars t. m. soundararajan who played the title role and m. r. radha played the antagonist. another film of the same name was previously released in 1936. that film was directed by t. c. vadivelu nayakar and the male lead actor was m. m. dhandapani desikar.