United Amateur Artistes (UAA), has the distinction of providing story ideas for three Sivaji films — Paar Magale Paar, Gauravam and Pareetchaiku Neramachu. The first film celebrates 60 years of its release while the second and third films complete 50 years and 40 years respectively.
UAA’s Petralthaan Pillaya, written by Pattu made it to the screen as Paar Magale Paar in 1963. Imagine school-going Y.G. Mahendra’s feelings, when he was told that he could not reprise his stage role for the film, for the film was to have a girl instead of a boy. Luckily Cho landed the role of Mechanic Madasamy, which he had played on stage.
In an audio video show, which celebrated the three films based on UAA’s plays, there were video clippings from the films, with YGM sharing interesting anecdotes about them. YGM drew audience attention to the subtle nuances in Sivaji’s portrayal of negative characters such as Sivalingam of Paar Magale Paar and barrister Rajnikanth of Gauravam. Pride has a corrosive effect on their interactions with people. YGM had chosen three scenes from Paar Magale Paar, to show how Sivaji gradually distances himself from his friend, because of the latter’s poverty. Initially, Sivaji is indifferent to his friend, then he cold shoulders him, and finally rejects him brutally. YGM observed that Sivaji was largehearted enough to keep himself in the background for those scenes which he felt belonged to other artistes, whether it was a new entrant like Cho, or seasoned actors like M.R. Radha and V.K. Ramaswamy.
Sivaji played two roles in Gauravam.
Gauravam (1973) was a screen adaptation of UAA’s Kannan Vandhaan. Both the play and film versions were written by Vietnam Veedu Sundaram, who also directed the film, which was produced by S. Rangarajan of The Hindu. At last with this film YGM got his chance to act alongside Sivaji, as his driver. YGM ended up acting with Sivaji in 33 films. Sivaji played two roles in the film — the snooty barrister Rajnikanth and his docile nephew Kannan. YGM recalled that in the morning shoot, Sivaji played the role of Rajnikanth. After he had donned his make up, while he waited for his scene, even an ordinary ‘good morning,’ would be in the condescending style of Rajnikanth. In the afternoon session, Sivaji played the role of Kannan, and now his greeting of people on the set would be in the soft, diffident tones of the character. Who else ‘lives’ a character the way Sivaji did, YGM wondered.
For the interval block scene, Sivaji gave a statuesque pose like a Greek god. Vincent, the director of photography, enriched the film with his masterful lighting and framing.
YGM revived UAA’s play Pareetchaikku neramachu in 2015.
The film version (1982) of UAA’s Pareetchaiku Neramachu was written by Vietnam Veedu Sundaram. YGM played a dual role in the film in which Sivaji was Nadadur Narasimhachari. Mukta Srinivasan and Sivaji would go to the Triplicane Parthasarathy temple, Sivaji wrapping his head in a turban and keeping away from public gaze. Sivaji wanted to observe the demeanour of orthodox Iyengars, so that he could do his role as Narasimhachari perfectly.
Pareetchaikku Neramachu film advertisement.
During the shooting, he gave YGM invaluable tips, which helped polish his acting. He told YGM that the way he walked as Anand was not rugged enough for a rowdy, and taught him how to do it. Sivaji and YGM watched the film in Santhi theatre, and Sivaji gave YGM a meaningful glance, when the audience cheered YGM’s nonchalant swagger. YGM said that other actors could put their heart and soul into a performance, but Sivaji would steal the scene with a simple gesture, like tying up his tuft.
Apart from the excellent choice of scenes for the programme, there were songs from the films, sung by Ananthu, Wow Karthik, Anusha, Janaki, Somu and Srinidhi, with orchestral support from Sriram’s Geetharanjani.
