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Filmmakers must take the female actors into confidence and their consensus, irrespective of how small or big a scene is. Whatever creative explanation can these directors come up with, what happened to the female actors of Anjana Safar and Last Tango in Paris is not acceptable. Sadly, not many who came later had the courage to tread the same path, rues Madhimaran.Read: When a 15- year-old Rekha was allegedly molested by actor Biswajeet He showed new directions in Tamil cinema. Not just in politics, in Tamil cinema too he was nonpareil.
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He was 92 when he chose to work on the script of Ramanujar that was serialised in Kalaignar TV till he turned inactive.
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Karunanidhi wanted to know the details of a village in the movie that seemed to have no electricity. A case in point will be Karunanidhi’s call to director Ameer after watching his Paruthi Veeran in 2007. Karunanidhi loved watching movies and wrote scripts even when he was busy as chief minister. “He was always fascinated by cinema,” says Kulashekar. Only his close friends knew that the “God” he referred to was Kannagi. In no time, he changed the line from “Where did the God go” to “The God has now come”. While working on the song, Karunanidhi realised that popular singer KB Sundarambal had refused to sing a particular line that questioned the existence of God. “He wrote Vaazhkai ennum odam (Canoe called life) for the movie Poompuhar at the spur of the moment when the lyricist had not turned up,” says Kalapriya. Old-timers recall Karunanidhi’s presence of mind in some tough situations. In a hit song from the movie Marakka Mudiyuma? (How Can We Forget?, 1966), Karunanidhi writes: “There is no place for the poor to live, there is no god in any temple.” For him, it was a challenge - to prove that he was also capable of writing songs,” says TK Kalapriya, a Tamil poet. “He wrote very few songs, not more than 10-15. Karunanidhi effectively used his dialogues in Thirumbi Paar (Look Back, 1953) to take a dig at the Congress (the then ruling party in Tamil Nadu then) and its policies.Īmong the few songs he had written, some were deeply philosophical and almost all were blatantly political. The film, directed by NS Krishnan and written by Karunanidhi, was another propaganda vehicle for the DMK and has many lines that questioned social evils and espoused radical changes. In Panam (Money), released as early as 1952, a song by Kannadasan has Madhuram questioning gender inequality. But he also made sure that he incorporated modern rationalist thought in all that he wrote,” says T Kulashekar, filmmaker and writer. “Karunanidhi had a penchant for classical literature and, if I am right, he had written screenplays for all the five epics. Poompuhar remains the best illustration of Silappadhikaram in popular culture -something that has been made possible by Karunanidhi’s searing dialogue. Poompuhar was to Vijayakumari what Parasakthi was to Sivaji Ganesan.
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In Poompuhar (1964) - adapted from Silappathikaram, one of the five great epics in Tamil -Vijayakumari, who plays Kannagi, pulls off a stunner as she seeks justice for her husband Kovalan.
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From Manohara (1954), which had actor Kannamma deliver some fiery dialogues, to Paasa Paravaigal (1988) where Radhika’s compelling performance as a lawyer earned her accolades, Karunanidhi allowed women to find and have their own voice. In many films scripted by Karunanidhi, women challenged norms in their own ways. A Naxalite on parole, Radha is drawn to a journalist who manages to get her remission, but she goes back to jail after killing the rapists of her classmate. The protagonist Radha puts her ideology above relationships.
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In 1988, Karunanidhi tried to redress it somewhat in Niyaya Tharasu (Scales of Justice, story by MT Vasudevan Nair) for which he wrote the screenplay. Bhagyaraj tells Rajesh, who has married the former’s lover Ambika, “My lover can become your wife but your wife cannot become my lover.” “That,” he says, “is our culture.” Exactly three decades later, Tamil cinema had its regressive moment in Antha Ezhu Naatkal (Those Seven Days) - which was remade in Hindi as Woh Saat Din. The title role was played by Padmini, who walks out on her abusive, lecherous husband to marry her boyfriend. Manamagal (Bride, 1951), which again had screenplay and dialogue by Karunanidhi, was also path-breaking.