skip to main |
skip to sidebar
""I like people to recognise what i recogonise in myself"".....!!!! What that "Big" in him.???!!!!!
The "Padmashri" recipient -feels:
Kalyana Raman :
It wasn’t a great film. But the characterisation was challen
ging. I gave myself a new look, sport ed buck teeth and made myself ugly. Those days we didn’t have the kind of make-up facilities we have today. We used tracing paper, spirit and gum to work out the look.
Padinaru Vaidinile :
It was Bharatiraja’s debut film as director. In a major change of image, I played a village bumpkin. Until then I was identified with the disco-dancer kind of hero. The accent I deployed in the film was strange for any hero to adapt.
Awargal :
Again I tried a different accent. I played a ventriloquist in the film, 
for which I had to learn the art. The film was directed by K. Balachander.
Ventriloquism became my pass-time after this film.
Sigappu Rojagal :
It was quite a modern film for its time - in technique and execution. It had almost the same cast as Padinaru Vaithinile (Sridevi and I played the lead), 
and the film stood out for some outstanding performances. The Hindi version of the film (starring Rajesh Khanna and Poonam Dhillon) lacked the violence of the original, and was too cosmetic.
Moondram Pirai :
I liked the story as Balu (Mahendra) narrated it, but the 
climax I thought was too straight and low-key. The man is left behind in a sad state of mind. So we worked on the climax, gave it a lot of padding, made it very dramatic. We had the car hitting the hero and he comes tumbling down in the rain, looking funny with a black eye and swollen lip ... he keeps on stumbling, hits against a couple of pillars... and we kept on improvising.
Its success was a morale-booster. The film, an award-winner, ran for 25 weeks. A rare feat.
Sagar Sangamam : 
It was a brilliantly crafted film. It had one of the best screenplays I have come across. Perhaps K. Vishwanath’s best film. A tragic love story, it show-cased my talent for classical dancing.
Apoorva Sagadharorgal :
I was part actor and part engineer in it. I created the character myself and designed how the film 
would be shot. Today with blue mat, I could have worked wonders. For example I did nothing about the hand magician even though I needed to. It was a physically exhausting exercise.
I have never discussed how we shot the dwarf. It would be like a woman explaining what’s inside her bra.
Swathy Muthyam :
Another great effort from K. Vishwanath. It was an actor versus dir
ector duel. We had to match each other punch for punch. We improvised our way through this film. It was a very cleverly made film and you don’t see the conscious crafting. Not a single scene was done out of passion, but out of sheer calculation.
Nayagan:
The hallmark of the film was a perfect combination of authenticity a
nd ethnicity, which made it universal. The general perception is that ethnicity limits. But it doesn’t. On the contrary, it makes it universal. And that’s what made Nayakan work. The Hindi version (Dayavan) lacked audience backing. The theatre of action should have been UK - the Southall area - and the protogonist would have commanded the backing of the audience.
These are just those films which not only tried to frame him up, but make us remember the fact that he is going 52 stronger!!!
ives rise to different feel .The two are bound to get married at the time of composition. The technicians or the “artists” become the priests a
nd do the rituals. This orientation brings in a clear-cut chemistry and undoubtedly forms an inseparable pair. A new-born baby or ,in other words, the song gets completed, and it remains in the hearts of people for a long time. An important note is that some of them are destined to become immortal and continue to live in the hearts of listeners.
Posts
