"MSV CLUB" - The Discussion Forum of MSVTimes.com

[madhuraman]

Dear friends,
Time again I find it interesting to look at the various dimensions of CVSridhar , who really revolutionized the concept of movie-making. In spite of the revolutionary approaches of bold and venturesome traits, a few things stayed glued to him. For instance, he was a specialist in handling the famous LOVE TRIANGLE as it has come to be known as. Though a munadne theme, he made it an artistic subject by tratment. But, most of the times SACRIFICE has been the message , in
Kalyaana parisu, Nenjil ore aalayam, Sumai thaangi, Policekaaran magal, Nenjirukkum varai, Avalukkenru oru manam to name some. What is astonishing about the whole history of Sridar the movie-maker is this undercurent has never been made obvious for the cine critics, leave alone the viewers. He could carry his movies distinctly to advantage by treatment , fine dialogues and "down to earth" expression of feelings and of course immortal songs in most situations.
His asset was presentation of a subject by aesthetic Cinematography and avoidance of unwanted dialoues. With all these skills, he was obsessed with one term - Nenjam [ if I may use the term.] In all movie titles
NENJAM , NENJIL, NENJIRUKKUM, Manam[for a change]frequently appeared. When it comes to discussing the purity of love, his patent expression has been 'Pavithramaana Kaadhal'. Using these two intertwined features of human life - the mind and its attitude between genders, he has carved out some excellent movies for us to cherish.
Warm regards Prof.K.Raman Navi Mumbai.
_________________
Prof. K. Raman
Mumbai

[S.Balaji]

Dear Prof.

Interesting post as ever

IMO, Sridhar probably is the best ever director .

The sheer variety that he has given is something stunning !

Triangular love tale ........ Kalayanaparisu

Movie sans makeup ..... Nenjirukkumvarai

About previous birth ........ Nenjam marappadhillai

Single set story....... Nenjil or aalayam

Thought provoking...... SUmai thangi

Overseas venture........ Sivandha mann

Comedy riot......... Kathalikka neramillai..OOty varai uravu

Cool entertainer..... Then nilavu

Next generation stars Rajini Kamal...... Ilamai oonjaladugiradhu

Mr. P.N.Sundaram, part of the great VIncent-Sundaram is our family friend & a schoolday mate of my late Father.. He has narrated a lot about C.V.Sridhar , Mr. Gopu and his whole unit !

One can write an essay about Mr. Sridhar

[madhuraman]

Dear MR.Balaji,
You have induced my thought on PN Sundaram -one the finest Cinematographers we have had in an era of skill- sans technology. To say the least, VINCENT-SUNDARAM was another legendary pair like
V R. THEY HAVE HAD THE DISTINCTION of SCRIPTING SRIDAR ON CELLULOID FOR MANY YEARS. But, later they worked independently for many producers. PN Sundaram from around Palghat has several credits for brilliant cinematography. Even more interesting was his contribution in ANBEY VAA. Now, on to the incident.
Anbey vaa was an AVM project with AC Thirulokchander as Direxctor and MARUTHI RAO as the Director of Cinematography. At Nepal, when the crew was to shoot the picture, Mr. Maruthi Rao fell sick and was not fit to stand up the cold and work. Urgently PN Sundaram was called in to fill the gap as several issues of immigration , tourism rules , picturisation permission etc had to be honoured with in the time limit for such commitments. On reaching, PNS learnt that he had to work with the minimum equipment as shipment of heavy items was very expensive. PNS had to work without a trolly. He has hand-held the camera and shot the song PUDHIYA VAANAM PUDHIYA BOOMI, chasing MGR in various angles all without a jerk. When I learnt that, it was the hand-held work of PNS, I WAS AMAZED AT HIS SKILL FOR SUCH DEMANDING JOBS. One more example for my contention that technology is just a tool and the man behind the machne matters the most. The picturisation of the song at those cold heights is a feather on his cap more so as he came as "filler" who had to rescue the time -though not associated with AVM ! A true sense of participation all over. That was once TF Industry.
Warm regards Prof.K.Raman, Navi Mumbai.
_________________
Prof. K. Raman
Mumbai

[saradhaa_sn]

[ragasuda]

First thing that comes to my mind is to request Professor to post 100 a day - such is his vast knowledge. Regarding Sridhar's cinematographer, equal mention is to be given to N. Balakrishnan. As early as in late sixties he had done wonders at Switzerland, France, Spain for the filming of Sivandha Mann. Leave alone outdoors, his work was proved in indoor and night effects also, during the boat scene in Sivandha Mann. He would have used minimum lights for the outdoor scene during the picturisation. And the dance of Magic Radhika in the ship is another example of team work - cinematographer-music director- lightsmen - and of course the director. I very much liked the ship scene in that film more than other scenes, and equal mention and no less credited is the helicopter scene of Sivaji chased. Nadigar Thilagam almost met death during the shooting. He did not want a single second to be wasted and with high temperature, he as a director's actor, completed the shot in one take. This shows what a genius the crew then were - N.Balakrishnan, Sridhar, Nadigar Thilagam . The great thing is Mellisai Mannar did not use any much of instruments in the background - instead just the helicopter sound.
What a teamwork.
V. Raghavendran.

[Baskar CS]

if i am right it was during this filming sridhar's moher died and he could not come to indi a on time .

such was the dedication

remember kathailikka neramillai dance scene of ravichandran

buckets of water from the building on the dancing crew where at a particular shot if you see carefully you will find the water be spalshed on you and what about the moving of the car in to the bungalow

a neat bend in to the bungalow with a swift drive will make you feel as if you are in the driver seat.

[saradhaa_sn]

[ragasuda]

Attn: Saradha
What you've said is true. Each and every frame of Sivandha Mann is a proof of technical genius in Sridhar's team. In fact, the Set at Vauhini Studios was erected at a cost of approx. 5.00 lakhs in early sixties. Imagine Sridhar's dedication. Even U. Rajagopal and B. S. Loganathan were no less to others. Particularly the song Malar Edhu, En Kangal than endru solvaenadi and Aayiram Nilavu in the film Avalukkendru Or Manam are ample proofs. The underwater sequence with Bharathi is a noteworthy - the colours mixed, the lens, the lighting etc. were so real that we almost swum with Bharathi. You cannot just guess it. You should have experienced it at that age at the Cinema Theatre. It was great. And the frame within frame in the song Unnidatthil Ennai koduthaen shows the calibre of Sridhar. In my next posting I want to dedicate to Alaigal and its bgm.
V. Raghavendran.

[irenehastings]

Dear Ragasuda

Nice recollection about the team work of Sridhar - N.Balakrishnan and Sridhar - U Rajagopal.

I watched the nice cinematography of U. Rajagopal in 'Avalukendru ore manam' and in 'Vaira Nenjam'.

At the same time we should not forget Sridhar-A.Vincent-P.N.Sundaram team in many movies including Kathalikka Neramillai and Vennira aadai.

Sridhar is a wonderful director who knows to pick correct technician for his movies.

[irenehastings]

Saradha madam,

Beautiful mentioning about the cinematography of the great movie Sivandha Mann, scene by scene.

The scenes you mentioned possess wonderful cinematography in every frame. Good search you made.

You may add the song sequence of Pattathu Rani also in your gathering, which is a nice one.

Your post tempts me to watch the movie again.

Please bring more like this.

[Ram]

Great narration, as ever, by or Saradha Ma'm !!!

Irene, nice to see your posts after long.... Continue your posts, like you used to, before...
_________________
Ramkumar

[vaidymsv]

Dear Prof. Raman & Others,

Both the stalwarts of TFW - MSV & Sreedhar have worked out on music & direction which were much much ahead of our times. Both have held the TFW like solid pillars and it is beacuse of this perfect duo, TFW went through it's best of times. MSV & Sreedhar - Sole (would prefer you all to read this word as SOUL though) Propreitors of Quality Music, Quality Direction!!!

PRANAAMS TO MSV & SREEDHAR!!!

CHEERS
MSV IS MUSIC
VAIDY
_________________
vaidymsv

[madhuraman]

Dear Mr Ragasudha,
You have given a nice lead for me to pursue and bring forth some details of N.Balakrishnan whom most of you proudly recall for his Sivandhamann work. Truly, CVSridhar and NB came together in 1964 for KALAI KOVIL . HIS NAME ON THE TITLE CARDS WAS BALU in K Kovil. Later when Vennira aadai was made, NB was the operative cameraman under the cinematography director Mr G.Balakrishna, who was then "imported" from Bombay for his skills under the great movie doyen V.SHANTHARAM. Now to NB. Like many unsung heros in this world, N Balakrishnan is also a silent achiever. A little briefing may help us. Unless of calibre, CVS would not settle for any weak technicians. That he was chosen for K KOVIL is itself testimony to the wizardy. I am sure CVS would have spotted him much earlier and made use of him aptly. Kalai kovil was quite artistic in content , play and display of quality in subdued lighting. Some of the frames in critical sequences were lit to express the mood in the most unobtrusive way. Again I need to draw attention to a common adage in Photograhy "If a man can show his craft in B&W, certainly he can excel in colour, for, in the latter, colour takes care of itself." Again some later born people imagine that low-lit sequences are a later creation in the 1990s . THERE IS NO LIMIT IT TO STUPIDITY and this is one such. In fact even as early as Sumaithaangi, Vincent-Sundaram had crafted breathtaking lighting effects and some bewildering light effects in Nenjam marappadhillai. One can go on at length setting at rest all such ill-conceieved adorations for the not so accomplished. What to do we are in an era of NENJAM NINAIPPADHILLAI.
Warm regards Prof.K.Raman Navi Mumbai
_________________
Prof. K. Raman
Mumbai

[S.Balaji]

Dear Prof.

2 scenes I wish to highlight :

1. NENJIL OR ALAYAM

During the song Sonnadhu nee thaana ....... Devika will be playing a Sitar infront of a Swing & the camera will go right underneath that Swing , move further and further forward & then will move back swiftly ! Wonder how the camera crew managed to do that is still a mystery to me ! I still watch with awe, this particular shot . What made the core team to come up with such an out of the world picturisation is still a puzzle

2. SUMAI THANGI

Gemini G , while reacting for the song Mayakkamaa kalakkamaa... Sridhar will show a shadow of GG which will act like his inner consciousness & will try to solve all his strange problems that he has to undergo so early in his youthful days . Though its a black and white movie, the particular shot conveys a lot of meaning . What a powerful , thoughtful presentation by the core crew again !

Dear Saradhaji,

Superb writeup about Sivandha Mann. Though it looks like a commercial movie, Sridhar still was in his elements on camera work ! You have done a lovely analysis of some important scenes in the movie . Great.

And not to forget that scene setting for Pattathu rani song with that Egyptian pyramid background and Nadigar thilagam well dressed up like an Arab while Kanchana performs the belly dancing .... all executed to perfection !

[madhuraman]

Dear Saradha mam,
In your posting on PN Sundaram you have listed movies of P Madavan and registered that PN S became the aasthanam for PMadavan movies. NO WONDER AT ALL ! P.Madavam was an asiistant Director to CVSridhar for years . In fact in Nenjil ore aalayam in a scene where Doctors discuss the health of the character - Muthuraman examining the X-Ray record the lean and lanky P Madavan says "It is a complicated case". If I am not wrong most Sridhar associates were long term companions right from the days of Venus Pictures and the entire Core team was known for its radically innovative visualisation of movies and interpreted story thoroughly by visual impact. I feel like recaling the whole team's propensity on a suitable occasion.
Warm regards Prof.K.Raman Navi Mumbai.
_________________
Prof. K. Raman
Mumbai