What makes Thillana Mohanambal unique among the Tamil classics? Near-perfect performance from every actor, fine music which enhanced the lyrics, crisp editing, taut screenplay and above everything a strong story. The evergreen film was released first in 1968 and 50 years later continues to be a favourite among movie buffs. An event was organised on Saturday last to celebrate the golden jubilee of the film and it was a full house at Vani Mahal, which registered its love by clapping and cheering with gusto.
The nagaswaram group of Mambalam Siva
It was rewind time as scenes from the film flashed on the big screen in front of which the nagaswaram troupe led by Mambalam Siva sat to re-play the music of Madurai MPN Sethuraman and Ponnusamy. In a video clipping, 93-year-old Ponnusamy shared how it was an honour to play the nagaswaram for the film. He described how Sivaji Ganesan would watch for hours and observe the style and body language. He recalled that it was APN’s brilliant knowledge, which prompted him to arrange the English note after “Ayirankan Podadhu Vannakiliyae...” The scene went on to become a connoisseur’s delight.
Irate listener
Thillana Mohanambal catapulted the Madurai nagaswaram duo to fame, which came with its own price. They were in the middle of a programme, when an irate listener came menacingly close and thundered: “You are no match for those artistes, who played the nagaswaram in the film. It is so disappointing.” How is it possible to bring alive Sivaji’s expressions, mused Mahendra.
Y.Gee. Mahendran, Sivaji-worshipper, ran out of words exclaiming as the scenes were played out. “Much is made of body language these days. Just see how effortlessly Sivaji’s demenaour changes,” he said. He was referring in particular to the competition scene, which unfolded on the screen — a proud Shanmukhasundaram bends in humility to shower praise on the dance of Mohanambal and confers the title on her.
Senior artiste, Dasrathan with Ramkumar and YGM
It was not all nostalgia. All those who were connected to the Thillana unit were invited and felicitated on the stage. The thespian’s son Ramkumar was the first to get on the stage to acknowledge the honour. “I’ve heard that the then CM, Annadurai, saw the preview and was impressed. He expressed his wish to see the film in a theatre and it was arranged. Inside, Annadurai turned towards the audience to watch their reactions and expressions,” said Ramkumar.
A.P. Nagarajan’s assistant, 86-year old Dasarathan entered to regale the fans with anecdotes and impressions. With the confidence gained by first-hand knowledge, the veteran spoke of Ganesan’s specialities, his guru APN’s multifaceted talent all of which worked in favour of the film. “Mahadevan was a genius but on many occasions APN gave him suggestions. Composing ‘Maraindirundu Paarkum’ in Shanmukhapriya was his idea. Again prompted by him, Kannadasan included Shanmukha as a refrain in the song. The director has left his imprint throughout the film,” he said.
Balaiah was another artiste, who matched Sivaji Ganesan step for step in the film. Scenes were shown to underline his subtle humour. The Manorama as Jil Jil Ramamani and Nagesh as Savadal Vaithi lifted the entertainment quotient several notches. The daughter of that unparalleled storyteller Kothamangalam Subbu was felicitated too. Gandhi Kannadasan, cameraman Prasad, ... none were forgotten. Incidentally, the film won a national award for cinematography.
‘Mouna Ragam’ Murali’s orchestra was the show’s backbone, recapturing the music of the 1960s. Combining with dance, the tracks are unique for this film, ranging from the classical ‘Maraindirundu...’ to the folksy ‘Sillandomari...’ Murali’s men rose to the occasion, rigorous practice was evident here. Special mention must be made of the ‘nattuvanar,’ whose jatis and konnakkol were impeccable. Kalpana Raghavendar succeeded in coming close to P. Suseela and feisty Easwari. Perhaps it would have been in total harmony if she had chosen to wear something ethnic — from Murali to YGM and the orchestra everyone was in traditional attire, in keeping with the theme of the film.
For a few hours, the audience was transported to a different realm. YGM, who took the viewers through the proceedings, was the perfect link, cherry-picking the best from the immortal hit and leaving the stage to the protagonists. He thanked a long list of Sivaji admirers, who had supported him.
