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CONTENTS
OF THIS SECTION
10/06/09
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On MGR's 20 Death Anniversary:
The Indo-LTTE War (1987-90) – MGR’s Death and
Aftermath - Sachi Sri Kantha, 24 December 2007 |
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நேரம் வரும் காத்திருந்து பாரு
ராஜா... |
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20 years on, MGR still lives, 25 December 2007 "Twenty years after his
death MG Ramachandran continues to wield an unseen and uncanny sway over
Tamil Nadu’s masses, politicians and even filmgoers." |
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The ‘Birth Soil
Bond’ of MGR; an 89th Birth Anniversary Note - Sachi Sri Kantha, 2005 |
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MGR
Movies
- Complete List (1936-1978) |
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MGR -
Songs |
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Moondreluthil En Moochirukkum |
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நெஞ்சம்
உண்டு, நேர்மை உண்டு, ஓடு ராஜா
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நான் ஏன் பிறந்தேன்,
நாட்டுக்கு நலம் என புரிந்தேன் |
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காலத்தை வென்றவன்
அடிமைப்பெண் |
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தாய் மேல் ஆணை,
தமிழ் மேல் ஆணை... |
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தாயில்லாமல் நானில்லை
அடிமைப்பெண்
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அம்மா என்றால்
அடிமைப்பெண் |
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காற்று வாங்கப் போனேன், நான் ஒரு கவிதை வாங்கி
வந்தேன்.. |
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பொம்பிள்ளை
சிரித்தல் போச்சு |
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அங்கே சிரிப்பவர் சிரிக்க்கெட்டும் அது
ஆணவச்சிரிப்பு... |
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ஏமாற்றாதே -
அடிமைப்பெண் |
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Thottaal
poo malarum |
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Naadu athai naadu |
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Thamizhan endroru inam undu |
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Yaanaiyai pidithu oru paanaikul adaithu
vaikka... |
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Atho Antha paravai pola vazhayendum |
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அழகிய தமிழ் மகள் இவள்
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Thottaal poo malarum |
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Thirudathe Paapa Thirudathe |
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Puthiya Vaanam |
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Parakkum Panthu Parakkum |
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Atthai magal ratthinathai |
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Vaadi amma Vaadi |
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Summa kidantha nilatha kothi |
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Sammathamaa |
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Kadavul yen kallaanaan |
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Buddhan yesu gandhi piranthathu |
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Naan Paarthathile aval orithiyaithaan |
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Ulagam Engum Ore Moli |
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Methuva Methuva Thodalaamaa |
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Pattu Oru Paatu |
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Yaarathu, Yaarathu Thangamma? |
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Kaveri Karai Irukku |
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Pesuvathu Kiliya |
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Kadaloram |
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Poyyile Piranthu Poyyile from Ananda Jothi |
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Velli Nila Mutrathile from Vettaikaran |
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Methuva Methuva from Vettaikaran |
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Paadum Pothu Naan from Netru Indru Naalai |
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Thambi Naan Padicchen Kanchiyile from Netru Indru Naalai |
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Stamp issued in 1990 |
Books on MGR
* indicates link to
Amazon.com
online bookshop |
MGR: The Man and the Myth by K.Mohandas |
| *The
Image Trap : M G Ramachandran in Film and Politics - M.S.S. Pandian
"The social universe of the MGR is a universe of asymmetrical
power.......The conflict between the upper caste/ class oppressors and MGR
as a subaltern, and its resolution forms the core of the film. MGR, in the
course of the conflict, appropriates several signs or symbols of authority
or power from those who dominate..." |
| *
M.G. Ramachandran, my blood brother by Attar Chand |
Off Site Links
related to MGR |
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MGR Remembered in Vavuniya, Tamil Eelam 25 December 2003 “Though MGR was
a movie star, he did several good deeds for the people of Tamil Nadu when he
was the Chief Minister. When our movement needed money, he gave us money out
of his private funds. He fully recognized the need for our armed struggle.
He never sought political gain through his support to our cause,” said Mr.
Ezhilan, LTTE’s political head in Vavuniya. |
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Roop Kumar's MGR Blogspot -
English -
Tamil |
K.J.Yesudas on MGR, February 2004 - "One day, our late chief
minister M G Ramachandran called me over and asked me to sing the song
'Vizhiye
Kadhai Ezhudhu'. I was elated and thrilled. My happiness doubled when
the song became a hit.
MGR is a mahaan. I came to know about him at a later stage. He not only gave
importance to music but more to the art itself. His character was such that
he turned even his foes into friends.
For example, at a time when he had difference of opinion with
Kannadasan politically, he
was not satisfied with the lyrics for a particular song. Finally, he himself
suggested that Kannadasan be called to write the lyrics. Others around him
were hesitant but MGR was firm. He told them that Kannadasan had no equal
and asked them to approach him for the lyrics. Kannadasan also obliged and
the song was
'Odum Megangale' for the film 'Aayirathil Oruvan'. Enmity vanished...
and art gained importance..." |
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Biography of M.G.Ramachandran
"Maruthm Gopala Ramachandra Menon was born in Kandy? Sri Lanka (formerly
Ceylon) on 17January 1917. But this is a controversial date; some people say
that MGR was born at least seven years earlier. His elder brother, M.G.
Chakrapani, himself a retired actor and producer, is certain that MGR’s
actual date of birth cannot be more than six months removed, either way,
from the official date..." |
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MGR Memorial Charitable Trust |
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MGR - Last Will & Testament |
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MGR School for the Speech and Hearing Impaired |
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MGR- Janaki College of Arts and Science for Women |
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Dr MGR Engineering College - Chennai |
The Tamil Nadu
Dr.M.G.R.Medical University - "Dr. M.G. Ramachandran, endearingly known
as MGR, was born on 17th January, 1917, at Kandy, Sri Lanka, to Marudhar
Gopalan and Satyabhama. After his father's death, MGR settled with his
family at Kumbakonam in Tamil Nadu. He could not pursue his studies beyond
the primary stage and joined a drama troupe. Gaining considerable experience
on stage, he entered the world of cinema, and gradually rose to enviable
positions by persistent efforts and endurance. He became a great actor,
director and producer. The Government of India honoured him with the
national Award for the Best Actor for his acting in the film "Rickshakaran"
in 1972.
In 1953, MGR joined the Dravida Munnetra Kazhagam. He became a member of the
state Legislative Council in 1962. He was first elected to the Tamil Nadu
Legislative Assembly in 1967, and subsequently in the elections of 1971,
1977, 1980 and 1984. In 1972, he founded the All India Anna Dravida Munnetra
Kazhagam (AIADMK), which contested and won the subsequent elections. In
1977, he became the first film actor in India to be the Chief Minister of a
state. He continued as Chief Minister of the rest of his life. He was a
popular Chief Minister and one of the most charismatic politicians of the
country. Always the first to personally offer relief in disasters and
calamities like fire, flood, drought, cyclone, etc., he was the first donor
during the Chinese aggression of 1962, donating Rs. 75,000/= to the war
fund.
He founded the Tamil University, The Tamil Nadu Dr. MGR Medical University
and the Women's University in Tamil Nadu. In 1983, the Madras University
conferred on him, Honoris Causa, the degree of Doctor of Laws. MGR had
traveled extensively and visited Sri Lanka, Burma,Singapore, Japan,
Hong-Kong, France, Mexico, USA and USSR. MGR passed away on 24 December,
1987. He was posthumously awarded the "Bharat Ratna" by the President of
India." Text: Courtesy Government of Tamil Nadu. |
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MGR - Tamilthirai |
M.G.Ramachandran
- "MGR made his screen debut in Ellis R. Duncan's Sati Leelavathi (1936) but
his first major breakthrough came much, much later with Rajakumari (1947).
MGR's 1950s screen persona in adventure films constructed an image of
political as well as physical invincibility. Often the themes of his films
were derived from heroic ballads which are part of the oral tradition of
rural Tamil Nadu. For example - Madurai Veeran (1956), one of his most
popular films, is based on the legend of Madurai Veeran, a popular deity of
Southern Tamil Nadu. His legend has been the subject of various ballads and
plays and this was the second filmed version of the story.
In the 1960s MGR turned to more 'realistic' fantasies mostly in a
contemporary setting often playing someone from the oppressed class - a
peasant, taxi driver or fisherman. For millions of fans, his image as the
knight in shining armour, saving damsels in distress and being totally
dutiful towards his mother was in fact a reality. Mother tongue, motherland
and motherhood were what he based his popularity on...
MGR used food, colour patterns (black and red, symbols of the DMK) and
masquerades (often through double roles of oppressor and oppressed) to
construct this universe. In Engal Thangam for example, MGR playing a
truck driver Thangam, fights, sings, cares for the poor and preaches against
smoking and drinking.
The height of emotional response that 'MGR' could evoke was evident when in
1987 during a critical illness, 22 people committed suicide in the hope
their deaths would save him! Stories of poor people selling their blood in
order to get money to see his films on first release are legendary! ..When
he died in 1987, his funeral procession was attended by over 2 million
people! A temple has been built in Madras with MGR as deity." |
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MGR Tomb at the Marina, Chennai, Tamil Nadu
The Man
from Marathur and Malai Nadu
-
Sachi Sri Kantha,
1999
Eighty
two years ago, a baby boy was born to a migrant couple,
Gopala Menon and Sathyabama, in a ‘line-room’ of a tea
estate in Kandy. Later, this baby boy would grow into a
leader with the name Maruthur Gopalan Ramachandran
(popularly adored by Tamils all over the world with the
acronym MGR).
Maruthur was the ancestral village in the Kerala state from
where his parents hailed from. Many have ridiculed the uncertainty of his birth
date, though MGR had used 17 January 1917 in his personal documents. One should
sympathise with MGR on this matter because he was born to an Indian immigrant
family in a tea plantation in Ceylon, which was then under British colonial
rule. Way back in 1917, the health care facilities available for the plantation
workers were atrocious, leave alone the requirements related to birth
registration. That he survived into adulthood itself was an achievement.
Though as a two-year old he was taken to Kumbakonam by his
mother (who had been widowed after the birth of MGR), the destiny would make it
that in his last five years of life, MGR would again have close links with the
Tamils in the land of his birth.
After landing in Tamil Nadu, MGR would rise in his
professional ranks with perseverance, hard work and the
smile of Lady Luck. He reached the ‘top’, step by step; 10
years as a vaudeville child actor, 10 years as an apprentice
actor with secondary roles in movies, 30 years as an
‘uncrowned king’ in the Tamil movie land and finally 10
years as the Chief Minister of Tamil Nadu.
Having experienced poverty personally during his young days and
forfeiting the opportunity to have a formal education, MGR would see to it that
at least one song in his movie had some educational value to the average man.
He would take a keen interest in the theme of the song, its
musical composition and its exact appearance in the movie. Not surprisingly, it
would turn out to be a hit song. I can recollect a dozen of these songs here:
1.
Acheham enpathu madamaiyadah - Anjaamai Dravidar udamaiyadah (on
Dravidian glory and heroism) அச்சம் என்பது .. மடமையடா..
அஞ்சாமை திராவிடர் .. உடமையடா
2.
Thoongathe Thambi Thoongathe - Nee somberi enra peyar vaankaathe (on the
consequences of idling and procrastination) தூங்காதே தம்பி
தூங்காதே - நீயும் சோம்பேறி என்ற பெயர் வாங்காதே!
3.
Chinna payale Chinna payale Chethi keladah (on character-building and
self confidence) சின்னப் பயலே, சின்னப் பயலே சேதி கேளடா
4.
Thirudathe - Paapaa Thirudathe (on prevention of bad habits, especially
stealing, while young) திருடாதே, பாப்பா திருடாதே, வறுமை
நிலைக்கு பயந்து விடாதே
5.
Moonrezhuthil En Moochchirukkum - Athu mudinthapin thaane
Pechehirukkum (on the dignity of duty)
மூன்றெழுத்தில் என் மூச்சிருக்கும்.... அது முடிஞ்ச பின்னாலும் என்
பேச்சிருக்கும்...
6. Onru Engal Jathiye - Ouru Engal Neethiye (on the unity of
human race)
7.
Unnai Arinthaal Nee Unnai Arinthaal Ulagthil Pooradalaam (on developing
self confidence) உன்னை அறிந்தால்...நீ உன்னை அறிந்தால்,
உலகத்தில் போராடலாம்
8.
Buddhan Jesu Gandhi pirandathu Bhoomiyil etharkaaka
(on the dignity of labour)
9.
Atho Antha paravai pola vazhayendum (on freedom and liberty)
அதோ அந்த பறவை போல வாழ வேண்டும்
10
Thaayillamal Naanillai Thaane evarum piranthathillai (on mother love)
தாய் இல்லாமல் நான் இல்லை...
11. Chirithu vazhavendum - Nee chirikka vazhnthidathe (on
dignity of the labour)
12. Poomazhai thoovi vasanthangal vaaztha oorvalam
nadakkirathu.(on sibling love)
MGR would also make sure that he will teach good manners and
discipline to the masses through the movies. Therefore, in the characters he
played in 120-odd movies, he would never smoke or take alcoholic drinks. On top
of that, he would never physically or mentally abuse women. This self-imposed
rigidity restricted the character roles he would play and movie critics
ridiculed him for this 'un-natural style' of his characters. But MGR would have
the last word. Ultimately, he claimed the respected honorific ‘vaathiyar’
(teacher) in its proper sense of the word.
Call it a mere coincidence or the destiny of Eelam Tamils, that
when the liberation struggle began earnestly in 1977, MGR would become the chief
minister of the Tamil Nadu. Though his interest in the problems of Eelam Tamils
remained passive till 1982,
the ethnic holocaust of 1983 kindled his support for the Eelam cause. 1983
also saw the change in guard among the political leaders of the Eelam Tamils.
MGR had never felt comfortable with the TULF leadership since he had perceived
them as emotionally more close to the DMK leadership.
When
the leadership mantle in the struggle for Eelam needed a change and a boost, MGR
became the god-father of the
LTTE
and made sure that the ‘new born baby’ would not suffer a premature death in the
hands of wily J.R.Jayewardene.
To his allies in politics, Indira Gandhi and Rajiv Gandhi, the
link that MGR had with the LTTE proved embarrassing. But they simply had to
ignore it for their own political survival in the South India. For
the support that he extended to the Tamil Eelam cause, MGR became the
arch-enemy of the Sinhalese power brokers from 1983 till his death in December
1987.
Many Eelam Tamils also did not expect much from MGR after his
skirmish with the TULF leadership at the
1981 Madurai Tamil International Conference. But, now in hindsight, one can
see how vital was the support of MGR for the Eelam cause from 1983 till
his death.
That the admiration Tamil masses had for MGR was not purely a
‘cinema craze’ was proved in India, when movie stars of equal stature such as
Sivaji Ganesan, N.T. Rama Rao and Amitabh Bachchan could not transfer their
popularity in movies to the political world. The political careers of
Sivaji Ganesan and Amitabh Bachehan never took off from the ground.
Only N.T.Rama Rao was able to become the chief minister of
Andhra Pradesh and he too lost that position subsequently. To my friends
in the USA, when I tried to explain the unusual career of MGR, I called him
a "three-in-one". He had the movie magic of John Wayne, the political success of
Ronald Reagan and the messianic appeal of Martin Luther King Jr.
How could one explain the extraordinary career of MGR, which
began in Kandy and ended in Madras? Though not considered a native in the
place of his birth or in Tamil Nadu where he grew up and called it home, he
became the adored leader, who would be envied by every local politician.
At least
Kavi Arasu Kannadasan (who had been a close friend and sometimes harshest
critic of MGR) had an answer. In 1980, Kannadasan noted that MGR was blessed
with an "Asura Jathakam" (devil’s horoscope). Not everyone will agree with that
assessment. But, considering the unfavourable odds he faced in his life and the
‘fights’ he won, definitely there should have been a blessing from the devil
which protected him in so many trials.
Like other great leaders and revolutionaries, MGR
also had his weaknesses. But these do not detract the good deeds he did for the
down-trodden in Tamil Nadu and for Eelam Tamils who landed in India as
refugees after 1983. MGR was neither an intellectual nor a folk philosopher. But
his life-time teaching was short and simple; "Fight for your Rights". That’s
what he preached in his 100-odd movies. ...We miss you, Vathiyar. |
The ‘Birth Soil
Bond’ of MGR; an 89th Birth Anniversary Note by
Sachi Sri Kantha, 17 January 2005 |
| An Aroordhas Anecdote on MGR Recently
I provided a
translation of an anecdote about movie maestro Sivaji
Ganesan which had appeared in renowned Tamil movie
script writer Aroordhas’s memoir book ‘Naan Muham Paartha
Cinema Kannadigal [The Cinema Mirrors I have Looked At,
Kalaignan Publishers, Chennai, 2002, 224 pages]. Here I
provide the translation of another anecdote recollected by
Aroordhas in this book, but on M.G.Ramachandran (MGR), whose
89th birthday was on January 17th.
It is a well known fact that MGR was born in Kandy for an
Indian immigrant couple in 1917. Aroordhas had visited Kandy
nearly six decades later, when the shooting for Pilot
Premnath movie starring Sivaji Ganesan took place in Kandy.
Here follows Aroordhas’s anecdote [pp. 33-34], in my English
translation:
“When the shooting for ‘Pilot Premnath’ movie took place
in Kandy, I grapped a handful of soil from that city and
filled it in a plastic vial. After returning to Chennai, I
met MGR.
‘Elder, I’m offering you a gift now, which othes might not
have given it for you until now.”
‘Is that so? May I know what is it?’
‘Will you open your palm?’
[MGR] offered his palm.
I placed that particular plastic vial in his sandal
wood-colored palm.
‘What’s this? Soil?’
‘Yes of course. This is your birth soil. I collected this
from Kandy, and brought it especially for you’, I explained.
When MGR heard this, he became so emotional and touched both
his eyes with that vial.
He opened the lid of the vial. Like picking the holy ash
(viboothi), he pinched a little of the soil by his thumb and
index finger, and placed it in his mouth. Then he applied a
little soil onto his head as well.
I saw both his eyes were welled [with tears]. Like a child,
he asked me, ‘Can I keep this vial?’
I replied, ‘Elder, what are you talking? I brought this
especially for you.’
‘Thank you. I’ll keep this gift forever with care.’ he said
and grapped my hands.”
The Significance of the ‘Birth Soil Bond’
In Tamil language, the ‘birth soil bond’ is known as
‘Pirantha Mann Patru’. The event described above by script
writer Aroordhas happened in late 1970s, after MGR became
the Chief Minister of Tamil Nadu. But Aroordhas have brought
this to the public domain in 2002.
Curiously
in 1995, I have alluded to this ‘birth soil bond’ of MGR in
an essay I wrote on him and published in my short collection
of essays, entitled ‘MGR Movies Revisited and Other Essays’
in a limited edition of 100 copies. It was entitled, ‘MGR-JR
Duel’ (pp.9-10).
In this essay, I attempted to highlight the point that of
all the Indian politicians who had shown interest on the
Eelam Tamil issue, MGR had something special – the ‘birth
soil bond’. This is not to cast aspersions on the sincerity
of politicians like Vaiko, P.Nedumaran and a few others who
stand in the Eelam corner. But the link of MGR to Eelam
Tamil issue was unique. Since that book of mine is now long
out of print, here is a reproduction of the relevant section
of my old essay for reading.
“Most commentators have viewed MGR’s interest in the Sri
Lankan Tamil issue as a not-so unusual response of a
regional chief in Indian politics, to score brownie points
with the prime minister of India, whether it is Indira
Gandhi or Rajiv Gandhi. There may be some truth in this
perception. But, I feel the story is incomplete if one
accepts this reasoning as a complete one. Three other
plausible reasons for MGR’s active interest in the Eelam
issue are as follows:
First, MGR viewed the young Tamil rebels (especially the
LTTE and its leader Prabhakaran) as fighting a worthy cause
against oppression. When J.R.[Jayewardene] labeled the LTTE
as ‘the private army of Mr.M.G.Ramachandran, the present
chief minister of Madras’, MGR retorted strongly, and as
reported in the Time magazine (May 11, 1987), he thrashed
J.R. with the words, “Tamil groups are spearheading the war
against the dictatorial and fascist actions of the
Jayewardene regime, and they should be congratulated and
helped.”
This view has to be interpreted from the perspective of
MGR’s lifelong philosophy of ‘fighting the evil forces’. For
four decades, MGR preached the down-trodden Tamil masses,
via the Tamil movie screen, a simple philosophical theme;
‘Fight for Your Rights’.
Secondly, MGR also wanted to project an international
stature as a politician. And the Eelam issue was the only
one in which he could exert his weight. As the Time magazine
(May 11, 1987) stated, ‘Even as the Central government in
New Delhi tried to maintain a civil, though somewhat cool,
stance toward its neighbor to the south, Tamil Nadu Chief
Minister Ramachandran seemed intent on fueling the fires on
the island. He announced a grant of $3.3 million to Sri
Lankans last week for food, clothes, medicine and ominously,
other help.’
While diplomats and academics viewed MGR only as a
regional politician of India, he himself (with some
justification) did not believe in that line. Demographically
speaking, Tamil Nadu’s population is three fold larger than
that of entire Sri Lanka. In terms of population, Tamil Nadu
ranked equally with Britain, or France or [the then] Federal
Republic of Germany.
Due to historical and political incongruities, while the
titular heads of these three European nations were given the
status as ‘world leaders’, the Chief Minister of Tamil Nadu
was treated as an ‘extra’ in MGR’s cinematic analogy, and he
would have felt uncomfortable with that reality. Tus MGR
aimed to make a stronger stage presence than he was assigned
by the diplomatic protocols.
Thirdly, Eelam issue also provided a psychological tonic
to MGR in his last years of the legendary career. It gave
him an opportunity to contribute to the history of his Land
of Birth. It is well known that displaced individuals keep
an affectionate spot to the land of their birth, and this
affection reaches a climax, when they near the end of their
lives.
MGR was a displaced individual and fate had it that he
was moved to Tamil Nadu as a toddler from Kandy, the place
of his birth. Though he earned fame in Tamil Nadu, MGR was
treated as an outsider in the political arena. Thus an
active role in the Eelam issue would have given MGR a
psychological uplift to influence the history of his Land of
Birth. It can be asserted that other ranking Indian
politicians would not bother to engage themselves with the
Eelam issue as MGR was, since they do not possess the ‘birth
identity’ MGR had with Sri Lanka.” |
Tamil Movies of
MGR – Complete List (1936-1978) |
| [ year,
movie name, production banner and the director(s) name;
Source: ‘Sadhanigal Padaitha Thamizh Thiraipada Varalaru’,
by ‘Film News’ Anandan, Sivagami Publications, Chennai,
2004.] contributed by Sachi Sri Kantha |
|
Thirties... |
| 1 |
1936 |
Sathi Leelavathi
/Manorama Films, Ellis R.Dungan |
| 2 |
1936 |
Iru Sahothararkal /
Parameswari Sound Pictures, Ellis R.Dungan |
| 3 |
1938 |
Thadcha Yagnam /
Metropolitan Pictures, Raja Chandrasekhar |
| 4 |
1938 |
Veera Jegatheesh /
V.S.Talkies, TP.Kailasam-R.Prakash |
| 5 |
1939 |
Maaya Machendrar /
Metropolitan Pictures, Raja Chandrasekha |
| 6 |
1939 |
Prahalaatha / Salem Sankar
Films, B.N.Rao |
| Forties.. |
| 7 |
1941 |
Ashokumar / Murugan Talkies
Film Company, Raja Chandrasekhar |
| 8 |
1941 |
Vethawathi or Seetha Jananam
/ Shyamala Pictures, T.R.Ragunath |
| 9 |
1942 |
Thamil Ariyum Perumal / Uma
Pictures, T.R.Ragunath |
| 10 |
1943 |
Thaasi Penn or Jothi Malar/
Puvaneswari Pictures, Ellis R.Dungan |
| 11 |
1943 |
Arichandra / Sri
Rajarajeswari Film Company, Nagapushanam |
| 12 |
1945 |
Meera / Chandraprabha
Cinetone, Ellis R.Dungan |
| 13 |
1945 |
Saalivaahanan / Bhaskar
Pictures, B.N.Rao |
| 14 |
1946 |
Sri Murugan / Jupiter,
M.Somasundaram-V.S.Narayan |
| 15 |
1947 |
Paithiyakaaran /
N.S.K.Films, Krishnan-Panju |
| 16 |
1947 |
Rajakumari / Jupiter,
A.S.A.Sami |
| 17 |
1948 |
Abhimanyu / Jupiter,
A.S.A.Sami |
| 18 |
1948 |
Mohini / Jupiter, Lanka
Sathyam |
| 19 |
1948 |
Raja Mukthi / Narendra
Pictures, Raja Chandrasekhar |
| 20 |
1949 |
Ratnakumar / Murugan Talkies
Film Company, Krishnan-Panju |
| Fifties... |
| 21 |
1950 |
Manthiri Kumari / Modern
Theatres, T.R.Sundaram- Ellis R.Dungan |
| 22 |
1950 |
Marutha Naatu Ilavarasi /
G.Govindan and Co |
| 23 |
1951 |
Marma Yogi /Jupiter,
K.Ramnath |
| 24 |
1951 |
Ektha Raaja in Hindi/dubbed |
| 25 |
1951 |
Sarvaadhikaari / Modern
Theatres |
| 26 |
1951 |
Sarvaadhikaari in
Telugu/dubbed |
| 27 |
1952 |
Andamaan Kaithi /
Radhakrishna Films, V.Krishnan |
| 28 |
1952 |
En Thangai / Asoka Pictures,
C.L.Narayanamurthy-M.K.R.Nambiar |
| 29 |
1952 |
Kumaari /
R.Padmanabhan-Rajeswari, R.Padmanabhan |
| 30 |
1953 |
Genoa / Chandra Pictures,
F.Nagoor |
| 31 |
1953 |
Genoa ; in Malayalam/dubbed |
| 32 |
1953 |
Naam / Jupiter-Mekala,
A.Kasilingam |
| 33 |
1953 |
Panakkaari / Uma Pictures,
K.S.Gopalakrishnan |
| 34 |
1954 |
Koondu Kili (1954)/
R.R.Pictures, T.R.Ramanna |
| 35 |
1954 |
Malai Kallan (1954)/
Pakshiraja, S.M.Sriramulu Naidu |
| 36 |
1955 |
Guleba Kaavali (1955)/
R.R.Pictures, T.R.Ramanna |
| 37 |
1956 |
Alibaabavum Naarpathu
Thirudarkalum / Modern Theatres, T.R.Sundaram |
| 38 |
1956 |
Madurai Veeran / Krishna
Pictures, Yoganand |
| 39 |
1956 |
Thaaiku Pin Thaaram / Devar
Films, M.A.Thirumugam |
| 40 |
1957 |
Sakravarthi Thirumagal / Uma
Pictures, P.Neelakandan |
| 41 |
1957 |
Maha Devi / Sri Ganesh
Movietone, Sundar Rao Nadkarni |
| 42 |
1957 |
Puthumai Piththan / Sivakami
Pictures, T.R.Ramanna |
| 43 |
1957 |
Raja Rajan / Neela
Productions, T.V.Sundaram |
| 44 |
1958 |
Nadodi Mannan /
M.G.R.Pictures, MGR |
| 45 |
1959 |
Thaai Magalukku Kattiya
Thaali / Kalpana Kala Mandhir, R.R.Chandran |
| Sixties... |
| 46 |
1960 |
Baghdad Thirudan / Southern
Movies, T.P.Sundaram |
| 47 |
1960 |
Mannaathi Mannan / Nadesh
Art Pictures, M.Nadesan |
| 48 |
1960 |
Raja Desingu / Krishna
Pictures, T.R.Ragunath |
| 49 |
1961 |
Arasilankumari / Jupiter,
A.S.A.Sami |
| 50 |
1961 |
Nallavan Vaalvaan / Arasu
Pictures, P.Neelakandan |
| 51 |
1961 |
Sabash Maapillai / Ragavan
Productions, S.Ragavan |
| 52 |
1961 |
Thaai Sollai Thattathey /
Devar Films, M.A.Thirumugam |
| 53 |
1961 |
Thirudathey / A.L.S.,
P.Neelakandan |
| 54 |
1962 |
Kudumba Thalaivan / Devar
Films, M.A.Thirumugam |
| 55 |
1962 |
Maada Pura /
P.V.N.Productions, S.A.Subburaman |
| 56 |
1962 |
Paasam / R.R.Pictures,
T.R.Ramanna |
| 57 |
1962 |
Rani Samyukthaa / Saraswathy
Pictures, Yoganand |
| 58 |
1962 |
Thaayai Kaatha Thanayan /
Devar Films, M.A.Thirumugam |
| 59 |
1962 |
Vikramaadhithan / Bharat
Productions, T.R.Ragunath-N.S.Ramdhas |
| 60 |
1963 |
Anantha Jothi / Hariharan
Films (P.S.V.), V.N.Reddy |
| 62 |
1963 |
Tharmam Thalai Kaakum /
Devar Films, M.A.Thirumugam |
| 63 |
1963 |
Kalai Arasi / Sarodi
Brothers, A.Kasilingam |
| 64 |
1963 |
Kaanchi Thalaivan / Mekala
Pictures, A.Kasilingam |
| 65 |
1963 |
Koduthu Vaithaval /
E.V.R.Pictures, P.Neelakandan |
| 66 |
1963 |
Neethiku Pin Paasam / Devar
Films, M.A.Thirumugam |
| 67 |
1963 |
Pana Thottam / Saravana
Films, K.Sankar |
| 68 |
1963 |
Parisu / Gowri Pictures,
Yoganand |
| 69 |
1963 |
Periya Idathu Penn /
R.R.Pictures, T.R.Ramanna |
| 70 |
1964 |
Theiva Thaai / Sathya
Movies, P.Madhavan |
| 70 |
1964 |
En Kadamai / Nadesh Art
Pictures, M.Nadesan |
| 71 |
1964 |
Padahotti / Saravana Films,
T.Prakash Rao |
| 72 |
1964 |
Panakkara Kudumbam /
R.R.Pictures, T.R.Ramanna |
| 73 |
1964 |
Thaayin Madiyil / Annai
Films, Adurthi Subba Rao |
| 74 |
1964 |
Tholilaali / Devar Films,
M.A.Thirumugam |
| 75 |
1964 |
Vettaikkaaran / Devar Films,
M.A.Thirumugam |
| 76 |
1964 |
Aasai Mugam / Mohan
Productions, P.Pulliah |
| 77 |
1965 |
Aayirathil Oruvan / Padmini
Pictures, B.RPanthulu |
| 78 |
1965 |
Enga Veetu Pillai / Vijaya
Combines Productions, Sanakya |
| 79 |
1965 |
Kalankarai Vilakkam /
Saravana Films, K.Sankar |
| 80 |
1965 |
Kanni Thaai / Devar Films,
M.A.Thirumugam |
| 81 |
1965 |
Panam Padaithavan /
R.R.Pictures, T.R.Ramanna |
| 82 |
1965 |
Thaalam Poo / Sri Bala
Murugan Films, S.Ramadas |
| 83 |
1966 |
Anbe Vaa / AVM,
A.C.Tirulokachandar |
| 84 |
1966 |
Naan Aanaiyittaal / Sathya
Movies, Sanakya |
| 85 |
1966 |
Muharaasi / Devar Films,
M.A.Thirumugam |
| 86 |
1966 |
Naadodi / Padmini Pictures,
B.R.Panthulu |
| 87 |
1966 |
Chandrothayam / Saravana
Films, K.Sankar |
| 88 |
1966 |
Parakkum Paavai /
R.R.Pictures, T.R.Ramanna |
| 89 |
1966 |
Petraal Thaan Pillaiyaa? /
Sri Muthukumaran Pictures, Krishnan-Panchu |
| 90 |
1966 |
Thaali Paakiyam /
Varalakshmy Pictures, K.B.Nagabhushanam |
| 91 |
1966 |
Thani Piravi / Devar Films,
N.S.Varma |
| 92 |
1967 |
Arasa Kattalai / Satyaraja
Pictures, M.G.Chakrapani |
| 93 |
1967 |
Kaavalkaaran / Sathya
Movies, P.Neelakandan |
| 94 |
1967 |
Thaaiku Thalaimagan / Devar
Films, M.A.Thirumugam |
| 95 |
1967 |
Vivasaayi / Devar Films,
M.A.Thirumugam |
| 96 |
1967 |
Rahasiya Police 115 /
Padmini Pictures, B.R.Panthulu |
| 97 |
1968 |
Ther Thiruvizah / Devar
Films, M.A.Thirumugam |
| 98 |
1968 |
Kudiyiruntha Koyil /
Saravana Screens, K.Sankar |
| 99 |
1968 |
Kannan En Kaathalan / Sathya
Movies, P.Neelakandan |
| 100 |
1968 |
Oli Vilakku / Gemini,
Sanakya |
| 101 |
1968 |
Kanavan / Valli Films,
P.Neelakandan |
| 102 |
1968 |
Puthiya Bhoomi / J.R.Movies,
Sanakya |
| 103 |
1968 |
Kaathal Vaahanam / Devar
Films, M.A.Thirumugam |
| 104 |
1969 |
Adimai Penn /
M.G.R.Pictures, K.Sankar
|
| 105 |
1969 |
Nam Naadu / Vijaya
International, Jambu |
|
Seventies... |
| 106 |
1970 |
Maatukaara Velan / Jayanthi
Films, P.Neelakandan |
| 107 |
1970 |
En Annan / Venus Pictures,
P.Neelakandan |
| 108 |
1970 |
Thalaivan / Thomas Pictures,
P.A.Thomas |
| 109 |
1970 |
Thedi Vanda Maapillai /
Padmini Pictures, B.R.Panthulu |
| 110 |
1970 |
Engal Thangam / Mekala
Pictures, Krishnan-Panchu |
| 111 |
1971 |
Kumari Kottam / Kay Cey
Films, P.Neelakandan |
| 112 |
1971 |
Rikshawkaran / Sathya
Movies, M.Krishnan Nayar |
| 113 |
1971 |
Neerum Neruppum / New Mani
J.Cine Productions, P.Neelakandan |
| 114 |
1971 |
Oru Thaai Makkal / Nanjil
Productions, P.Neelakandan |
| 115 |
1972 |
Sange Muzhangu / Valli
Films, P.Neelakandan |
| 116 |
1972 |
Nalla Neram / Devar Films,
M.A.Thirumugam |
| 117 |
1972 |
Raman Thediya Seethai /
Jeyanthi Films, P.Neelakandan |
| 118 |
1972 |
Annamidda Kai / Ramachandra
Productions, M.Krishnan |
| 119 |
1972 |
Naan Een Piranthaen? /
Kamatchi Agencies, M.Krishnan |
| 120 |
1972 |
Ithaya Veenai / Uthayam
Productions, Krishnan-Panchu |
| 121 |
1973 |
Ulagam Suttrum Vaalipan /
M.G.R.Pictures, MGR |
| 122 |
1973 |
Paddikaatu Ponnaiah /
Vasanth Pictures, B.S.Ranga |
| 123 |
1974 |
Netru Inru Naalai/ Amalraj
Films, P.Neelakandan |
| 124 |
1974 |
Urimai Kural/ Chitrayuka,
C.V.Sridhar |
| 125 |
1974 |
Siriththu Vaazhavendum /
Uthayam Productions, S.S.Balan |
| 126 |
1974 |
Ninaithathai Mudippavan /
Oriental Pictures, P.Neelakandan |
| 127 |
1975 |
Naalai Namathe / Gajendra
Films, K.S.Sedhumadavan |
| 128 |
1975 |
Pallaandu Vaazhha / Uthayam
Productions, K.Sankar |
| 129 |
1975 |
Ithaya Kani / Sathya Movies,
A.Jeganathan |
| 130 |
1976 |
Neethikku Thalai Vanangu /
Sri Umaiyambikai Productions, P.Neelakandan |
| 131 |
1976 |
Uzhaikkum Karangal / Kay Cey
Films, K.Sankar |
| 132 |
1976 |
Oorukku Uzhaippavan / Venus
Pictures, M.Krishnan |
| 133 |
1977 |
Inru Pola Enrum Vaazhha /
Subbu Productions, K.Sankar |
| 134 |
1977 |
Navarathnam / C.N.V.Movies,
A.P.Nagarajan |
| 135 |
1977 |
Meenava Nanban / Muthu
Enterprise, C.V.Sridhar |
| 136 |
1977 |
Maduraiyai Meedda Sundara
Paandiyan (1978)/ Soleeswar Combines, P.Neelakandan |
|
|