Category Archives: LOST TAMIL CINEMA

The Dilemma of Private Collectors.. 

People tend to preserve things that they ‘treasure’ personally or which they believe, ‘will have the potential to return a windfall in the future’. From a social perspective, institutions like ‘Libraries’ and ‘Research Centres’ preserved material in the interests of the society, all though some ‘private ones’ were driven by ‘motives of profit’ as well.

But within this framework lay a sort of power – ‘the power to hold information.’ It enhanced the value of the ‘individual’ or the ‘organisation’ immensely. It meant that ‘individuals’ desiring in accessing this information were at the behest of the former. The ‘former’ could cut off ‘access to information’ at any time.

Since the material was in physical form, either in paper – ‘magazines’, ‘newspaper clippings’, ‘books’ ‘pamphlets’; film – ’35mm’, ’16mm’, ‘8mm’, ‘VHS Tapes’ or ‘microfilm formats’, the ownership lay in entirety with the current possesioner of the material.

Since the ‘individual’ would in all respect, have paid both ‘access and maintenance costs’ ( or obtained donor copies from someone else), they held absolute rights to the material. The holding of such rare material was almost like ‘access to private property’, and the owner could prevent access to any ‘trespasser’ at any point in time.

Another factor that needs to be mentioned in this is that the ‘borrower’ who wished to access such materials in this case, in most cases, did not have the infrastructure for ‘duplication’ or to ‘store and preserve material even if duplicated’ in most cases, especially if it dealt with film material.

With the advent of digital technology however, the power of ‘reproduction of any material in any form’ and its ‘subsequent storage’ of such digitized content has passed to anyone, almost like the air, that we breathe. This has brought a sea change in the attitude of some ‘individuals’ and ‘organisations’.

The fear that their content may be reproduced in digital form and taken out into the world, fears them.If that happened, no longer would they have absolute ownership of the material, in real world terms.

Some of these owners, have rare material, whose copyright have long expired. An attempt at monetization in any form today, will invariably lead to duplication. ( I refrain from using the word ‘piracy’, unless the owner is the ‘copyright holder’ of the ‘material in posession’). Should such content be ‘duplicated’ and ‘disseminated’ during the process of monetization, The owner can do nothing . So, they tighten ‘access’ even further.

It is agreed that many of them have invested heavily in acquiring such ‘rare’ priceless material, but with the ecosystem having changed, there is nothing that can be done to further, their cause. Either, they continue to ‘hoard’ material, without it being of benefit to no one, or they take the better stance in common sense, of allowing ‘desiring individuals’ access to information, for the benefit of enhancing the societies common knowledge.
Some instances where I have encountered such behavioral patterns, i cite below :-

( In the third case, I must humbly admit that the grudge in this case is extremely trivial and was mentioned to just complete a blog post. Compared to the small inconvenience of lack of reproduction, the larger importance is ‘Right of Access’. The immense benefits that the institution has given me through direct access to material for Reference. Thank you very much. )

  1. D.V. Balakrishnan, fan of M.K.ThyagarajaBhagavathar (and father of Suresh Balakrishnan, author of a biography on M.K.T), a person whom I have interviewed extensively tells me of a popular cinema celebrity of having a copy of ‘Rajamukthi’.  He tells me that the celebrity’s father himself has confirmed this information to D.V.Balakrishnan. There is no known film company of ‘Rajamukthi’ which is believed to have survived or any print known to be in circulation. ( Thanks to D.V.balakrishnan, i was able to trace a family in Madurai, which held one of the rare copies of this film, but which eventually decayed and went into garbage. It is a sad story indeed.)
  2. While Speaking with Shivangini Tandon, a researcher who is working on Director Jyotish Sinha, she tells me of a person who she had met in Sri Lanka, who has copies of the Sri Lanka film ‘Kapati Arakshakaya’ made by K.Subhramanyam ( Co directed by Jyotish Sinha), but is hesitant in letting out prints. The same person has uploaded a couples of the movie on YouTube.
  3. This is my own experience that I have of a ‘public Research centre, owned by private backing’. Without doubt, it does have the best facilities and is easily accessible for a layman without any hassles. The support staff are also very helpful in bringing out any content for Reference. Thank God! But when it comes to ‘reproduction’, they take a back seat. Some of the old magazines are breaking ( turned brittle) and filled with Termite holes. I asked them a xerox copy of some pictures from one such magazine, which they refused me. Fair enough.                                                                                                                                                                                                                                             But can content not be shared without causing further physical damage, if one resorted to Digital methods? It most definitely can, if one possessed the right attitude.  Another instance of ‘reproduction’ turned down was when I requested for xerox of a couple of pictures of a magazine printed two years ago, was turned down. I was refused denial plainly and I was told that if I desired it ( since I was desperate!!!), i would have to Contact the publisher directly 😦 ( This was in stark contrast to my experience at the NFAI. The library staff there are way ‘too sweet’. Sounds cheesy maybe ,but no other adjectives fit them better!!!).

Have we lost the last Vestiges of Silent Tamil Cinema?

Most of contemporary Research around Tamil cinema, typically starts with the Talkies.. i.e Kalidas. This is understandable, since there are hardly any Silent Indian Films, and none of them, Tamil at all. Infact, there is only one known surviving print of a South Indian Film – Raja Marthanda Varma.

So, Most researchers inevitably have to fall back on Print material to make their assessments. Moreover, these material, which in itself must be 80-100 years old, must already have started decaying.

Very recently, I came across a print of a Research paper done by one Dr.Joseph Bernard Percy. The paper had been written in the year 1999. It is still available on the Internet here.

In one of the chapters, Dr.Percy mentions that the films Dharmapathini(1929) by A.Narayan and Anadhai Penn* ( Raja Sandow) had been preserved in the ‘University of California, Los Angeles’, although the print quality had deteriorated terribly.

16 Years have passed since then. I raised this issue with Dr.Krishnaswamy, Film Researcher ( Incidentally, the Son of Dr.K.Subhramanyam) during my conversation with him. He said he had no knowledge of this information, and would take this up when he next went to the U.S

Since then, I have tried to contact Dr.Joseph Percy, but unfortunately, have not been able to. So, I decided to send an email directly to the University of California, LA itself.

I am amazed at their response speed. I first spoke with a Chat support Librarian, who guided me in a day to contact the library directly, with the apt-URL. The next day, I sent an email directly to UCLA asking the status and making the citation done by Dr.Joseph Percy.

With the advent of Film Restoration technology over the years, I was hoping against hope, that these films or atleast, part of it, could have been saved. But, this was the information that i received.

Dear Es Chris,

I am afraid that we do not have record of these films in the collection at UCLA.

Mark Quigley
Manager, Archive Research & Study Center (ARSC)
UCLA Film & Television Archive

*Director K.Subhramanyam who was assisting Raja Sandow during the making of this film, wrote the story. The film was produced by Associated Pictures – Padmanabhan and was one of the last main stream Silent Films, before the Talkies broke through. 

Subhramanyam’s Pamphlet at the Tenth Anniversary of Madras United Artists Corporation – September 13, 1945

On the tenth anniversary of his film company, M.U.A.C, K.Subhramanyam had an event organized where he invited the press, celebrities and also the public. After the event was over, he had issued a pamphlet to the press, expressing his views on various events and his opinions on them. Thankfully, the Editor has reproduced the same article in its entirety, which provides us information not only about K.Subhramanyam’s Films, His thought flows, but his general attitude towards cinema, which was taking a different shape at this time.
My observations : Without going into much detail on this historical document, I just share my views in summary.
This event happens at a time when MKT and NSK were in Jail, due to the sensational Lakshmikanthan case ( you can see subtle references that he makes in this note, about sensational journalism that tears into the personal and social lives of those who are in the performing arts. He also makes mentions about his movement towards allied forms of art like Dance. He seems to have been in good relationships with Chithirai Thirunaal Maharaja, who funded the just completed ‘Ananthasayanam’ – the story of the PadmanaBhan temple in Trivandrum. [ I had just been to this temple a year ago, but I did not know its historical significance then 😦 ]
Subsequently, K.Subhramanyam’s finances plummetted, especially during the making of his magnum opus Ballet – Narthana Murali. Subhramanyam then made a handful of movies, before he slowly quit the Industry and started taking allied interests to support the Industry from the flanks.
The original article was written in Tamil. It has been translated to English by me. You can find the original in the October 1945 Edition of Pesum Padam in Roja Muthiah Research Library, Chennai. 

A stamp released by The Government of India in 2004 to honour the iconic Director – The Father of Tamil Cinema. 

When i was preparing this notice, I was filled with happiness, sorrow, regret, disappointment and pride. I started this company ten years ago on September 13(**). In these ten years even the company has grown. Whether this company needs to be praised, criticised, whether it has got a good name or bad name  I leave the judgement entirely to you. Each person can make their own individual assessments.
On September 9, 1935,  i had a dispute with the people of my house and left home with a banian, a towel and 8 Annas in my pocket. From that day onwards a lot of events have happened in my life. If i had The patience of today back then it is doubtful if i would have quit my lawyer’s job and joined this art industry. But just because I said this you do not have to think that I regret my decision.
I wish to share my experiences of these ten years in the industry  openly with all of you, through this notice.
The events which have occurred in my life are more interesting than the fictional ones. Whatever little i have achieved in this field, I could feel proud of it,but rather there are more things which I want to do for this field of art, but which I am unable to, but which I only dream off, the mere thoughts of these desires make me feel happy which gets lost within me.
I wish to make an important statement here. Anyone who is associated with any form of this cinema industry, is looked down upon by the general public. For those not associated with this industry, for them people associated with the cinema industry are identified with those having lose morals.
Due to this attitude,  families of cinema people face many challenges in social life, inconvenience and hardships thereby bringing unhappiness to them. If there is a possibility that someone who wants to do good for art, even this is not acceptable by the people.
So even if such people come to Cinema breaking accepted social barriers and practices with a broad mind, they are either not encouraged enough or end up at the mercy of the wrong people. There are sinners across all walks of life.
But people in the cine industry face challenges from a different set of sinners. They become victims of gossip mongers or people who make use of their pen, with evil intentions. This danger increases day by day.
Due to this reason not only is family peace lost but socially they face challenges also. Although I myself have dedicated to this art and Film. Industry, i still hesitate to encourage anyone else whom I know to come to this industry.
The common public are largely influenced by people of the industry. They want to observe there day to day life style and follow them. But this is just a smoke screen. Beneath the smiling face of everyone in the industry is a layer of. Pain and sorrow. Hidden deep beneath them..
This is the truth. I feel sorry for the people in this industry. For money, for others happiness to entertain, they speak, they sing  they laugh..
Now let is come to the cinema. The people who made the Atom bomb had no knowledge of its destruction capabilities until it was tested directly upon human lives.
In the same. Manner, what are the good and bad that cinema has an impact upon society is not known Even by our experienced leaders.
At this point cinema is growing in its own way, without any framework established around it. It is growing in its own way. If this industry is not brought into a proper and monitored framework, there is the possibility of cinema generating more destruction than the atom bomb itself.
Producwrs with commercial interests have not observed yet that cinema can be used as a very effective educational. Medium. They use this medium only for entertainment and to. Make money. Off late there have been a few. Movies made which have been a treat both to the ears and eyes, but these movies have not had the messages to strike deep. Down into the viewers heart..
These producers spend a lot of money for costumes, settings and other technical issues. A lot of money is spent on external. Superficial issues. But to the viewer, these films don’t kindle in them, feelings of kindness, patience and other positive virtues or humanity. While I do criticise these contemporary happenings, i refer this to no one in particular..
In the last ten years I must admit that my films made and produced by me have not brought me much happiness. I have to admit this. I have never been a traditional producer who has put his own money and made movies. In the attempts made by me to achieve my goals, have at many times left me in immense financial strain. At such times, even i have been forced to join the commercial bandwagon, although personally I have never liked to do such things..
When i look at my peers and employees, i do not see a sense of happiness in them. This clearly tells me that in these ten years I have failed to achieve my principles and goals. This i must admit with great disappointment.
Through cinema, i wished to promote peace, kindness, patience, universal brotherhood. These were my intentions, but in these ten years  I could not achieve them..
Some of our employees who were trained in our company have done very well elsewhere. This has brought me great happiness.
In the course of these ten years, I have observed a lot of animosity, bitterness and jealousy whether they are  stars or employees. However, with me they have always been honest. I have been honest to with them, I have treated them equally with a lot of love, but the lack of United Ness and dissatisfaction amongst them, I take the blame for it..
In recent times, the. Cine industry has grown immensely in several technical fronts, but from a perspective of goals, it lacks far behind.. Instead of universal growth for all across the spectrum, off late we can see the dominance of a few people. Whenever I think of such things I feel like slowly quitting this industry step by step..
I do not wish to speak about the movies made by us. All of that is known, anyways. I wish to make only one announcement about our dance and culture school, which we had announced earlier, Nrithyodhaya free dance and cultural school.  This school was started entirely for the purpose of promoting art, and for this, I am ready to push myself even more..
Education can be promoted through cinema. I feel happy that I have done my small bit through that. I wish to thank Thiruvangoor Maharaja and Maharani. I feel happy to note that others too have started to follow this practice.
Now that we have done away with the ban on Raw film usage, there can be both good and bad things emerging from this decision. So, film producers must put their personal differences behind and work together in larger public interest. The star actors earn more than enough, where as those in the lower rung can barely meet ends. There is no need to even speak about the extras..
Many people come to Cinema to fight poverty. Due to poverty some of their behavior may be questionable, so is it fair to hate them? People who hoard money have used both art and poverty to their benefit.
The lack of permanent production units is one of the reasons. I understand one truth. Those who indulge in the field of art will find it very difficult to raise money. If i look at all this, I am. Thinking that once I finish movies which are currently in production, i would want to hand over the baton to youngsters who are energetic and link them to producers who will guide them correctly and then slowly quit this industry.
I wish to say a few words about movies which are currently under production. Narthana Murali and Prema Kavasam.
Prema Kavasam is a social story. Brotherhood will bring happiness. This is the theme of this movie. Narthana Murali is entirely about dance. It is a story about krishna, which everyone knows about. From gopinath  all major south Indian artists have performed in this film. This movie will be entirely about music and dance. It is being made in both English and Hindi with a lot of production expense..
Lastly I wish to thank all cinema fans who have supported me. I have a word for those who have a different opinion of my work. I may not have done something for an individual or an organization. But from my heart I have never wished ill will. I do everything only with good intentions. I am not a politician, but I am a strong Nationalist..
In the larger interest of the country, I feel. That i have done my little bit for the country through my works. Whether or not I remain in cinema, i will continue to be and continue to promote art forms. For those friends and peers who have made me the president of the South Indian Film Federation, i extend my thanks to them.
Madras United Artists Corporation, this name is very familiar within the industry, and it is also a prestigious banner. In Tamilnadu, this company promotes older things, proud things and also all forms of art. These things integrated in cinema, we are the leading production company. In the last ten years this company has done a great service to the cinema industry. Across various languages we have released about 20 films.
Right from the point when Tamil cinema started to raise its head, until now there is always a passion to make movies with social themes. But only by making good social movies can you make money. This has been proved by the makers of this company.
Balayogini, Sevasadanam, Ammanji, Thyaga Bhoomi all of them made a lot of money. In Tamilnadu, this company has the distinction of having made the most number of social films.. “
End of Notice .. 

(**) Prof.M.R.RangaRajan in his biography of Director K.Subhramanyam mentions that Madras United Artists Corporation was registered on September 28, 1935.

Conversations – ‘Film News’ Anandan, D.V.Balakrishnan and Dr.S.Krishnaswamy ..

Over the last couple of months, I have continued to have meaningful conversations with reliable sources of Information. However, Neither is my computer in the best of shape to do some HD Editing nor do I have the necessary Internet Bandwidth to upload even a Trailer, for that matter.. But, Thankfully, My humble First Generation I-Pad is still running good. By December, it would have served me good for almost three years. It has also been my go-to-recording device. As a compromise of space, I set Audio to the best quality, while The Video Recording quality i Keep minimally, So, the End Video Quality does have some pixelations, in it. But i guess, thats the best, that i can manage under these circumstances.

‘FILM NEWS’ ANANDAN – He is one of the most reliable sources of Information in the Tamil cinema Industry. He is officially credited as Tamil Cinema’s First PRO, and has been an immense source of Reference for contemporary work on Tamil Cinema. In the year 2003, the Tamil Nadu Government took over a lot of his material and published his book. Although, I do not have a copy of this book ( I am unable to get one), I have managed to see the book, and the meta data of virtually every film made in Tamil cinema, is almost there.. The work is just way too humongous.. I did have some difficulty tracing him, but thankfully, he only obliged me for speaking for over 2 hours, inspite of his increasing age. He has also lost his eyesight, Poor Man.. He told me a lot of stories, but then, understandably, he gets one or two – wrong. He is unable to recollect, some of his own information, suddenly, which he himself has printed. But he also gets some bang on – The Movie ‘InbaSakaran’ which was burnt in Subhrmanyam’s studio for instance.. It was a very pleasurable experience that i even got to meet this man and take a photograph with him, forget the pleasure of discussing cinema with him.


2. D.V.Balakrishnan – In the time spent between conversing with Film News Anandan and D.V.Balakrishnan, I spent a lot of time reading books, and seeing some old films. I observed that the most damage in terms of lost or inaccessible movies was that of Director Raja Sandow and Dr.K.Subhramanyam – commonly known as The Father of Tamil cinema. The Other contemporary large studios or film directors of that Era like Pakhshiraja, Gemini, AVM or Directors like Sunder Rao Nadkarni, Ellis R Dungan or Y.V.Rao ( Actress Lakshmi’s father), atleast a few films are available.

So, while trying to get some information about Pavalakodi, I landed up getting links of Suresh BalaKrishnan ( and his father D.V.BalaKrishnan). My point of focus was Pavalakodi and Naveena Sarangadhara, the First and Second Films of K.Subhramanyam. But they were also the first and second movies acted by M.K.ThyagaRaja Bhagavathar and Actress. S.D.Subbulakshmi. The Balakrishnan’s have been researching about M.K.ThayagaRaja Bhagavathar, So I some how managed to link to them..  Incidentally, D.V.Balakrishnan also appears in the documentary ‘An American In Madras’ by Ellis R Dungan by Karan Bali.

Since Suresh is a busy person, most of the conversation that i have had in this one week was entirely with the senior D.V.Balakrishnan and he is indeed a treasure house. He has virtually extended every cell of being a MKT fan and pushed that energy in the form of a very well researched book called Bhagavathar-His Life and Times.


And Mr.D.V.Balakrishnan was extremely accomodative and cordial in terms of his hospitability. Thank you very much D.V.Balakrishnan Sir.

3. Dr.S.Krishnaswamy – Dr.S.Krishnaswamy is the co-author of ‘INDIAN FILM’, an authoritative work on Indian Cinema. It was first published in 1963 and second edition in 1980. Not only is he extremely well informed about Indian Cinema, he also incidentally happens to be a son of the Great Legend – Director K.Subhramanyam itself.

As has always been the practice, with each conversation, I take in more effort to prepare questions. I do a lot of reading, and I refer contemporarily available reliable Documents and most importantly, I try to double check on Information, if there are conflicting views. Since i had informed Dr.Krishnaswamy that i wanted to focus on K.Subhrmanyam Sir’s family, I had done my level best to do some preparatory work, and it was definitely one of the most enjoyable experiences that i had. I must also thank Dr.Krishnaswamy for giving me some material on K.Subhramanyam, which were published by other authors as well. He also gave me more leads on JayaKanthan’s movies, which i intend to explore further..


I have planned a couple more interviews, which I do hope that i will get an Appointment, and explore some more places, where Published material is available in Chennai. I also intend to take a trip to the Film Archives in Pune, as well. Let us see, how far things will go!!!

Torn between the Devil and the Deep Sea – Tamil Movies made during the Second World War ..

When one expresses an opinion about a Lost Film, opinions are bound to be sometimes incorrect, because our opinions are based on secondary sources, who we believe have seen the film and have expressed their views. So, in a sense, we only echo their views. A debate arises only, when two different people have written different versions about the same movie.

But, from my limited understanding, I find some similarities and I write this post.

Indian Movie makers faced an inevitable dilemma, during the period of the Second World War. (1939-1945). This was a critical period, considering that India was almost on the verge of her independence from Great Britain. Nationalism was on the rise, and like millions of Indians, many Tamil Film Makers too were influenced by the Civil DisObedience Movement and were affiliated to Mahatma Gandhi’s principles, and by that logic – the Grand Old Party of India – the Congress.

But as much, as Millions of Indians hated the British from a Nationalist perspective, they were forced to take a contradicting stance, in the Global Conflict – the war that Great Britain and her allies ( India included) were fighting against the Axis powers ( headed by Hitler’s Germany , HiroHito’s Japan and Mussolini’s Italy, Romania et al).. In this context, the Congress Party had decided to support Great Britain in her global war, much to the chagrin of ‘Fire Brand’ leaders like Subhash Chandra Bose, who had his own army – ‘The Indian National Army’, which had its allegiance to the Axis Powers, and even fought in the North African Campaign under the legendary Desert Fox – Erwin Rommel, against the British.

With War looming large, and essential commodities coming under short supply, it was inevitable that raw film stock would also come under the same principles of ration. Much of Joseph Goebbels and Leni Riefenstahl ( Riefenstahl was one of the few women to have acquired such a strong position of power in what was totally a male dominant society in the Third Reich. Leni Riefenstahl was also responsible for making the movie – Triumph De Villens, which is even today rated as one of the greatest films of all time) , the then Propaganda Minister of Germany who made extensive use of Film as a medium of mass communication. The Allies today adopted similar approaches. Frank Capra, a leading American Film Director was chosen to make a series of Propaganda Films, supporting the war effort – titled – ‘Why We Fight?”

The British Government had commissioned that atleast one movie out of every three should support the war effort. So, one hand, the Movie makers had to appease the British Government, on a global front to keep their industry running, yet on the other hand they had to oppose them locally, on a Nationalistic Front. So, sometimes, such content had to be subtly embedded.

Based on the Frank Capra series, Theodore Baskaran writes that Director K.Subhramanyam made a Documentary – ‘Madras Will Not Burn’. ( Lost Film), yet it was K.Subhramanyam who made possibly the greatest, if not one of the greatest Nationalist Movies of all Time – Thyaga Bhoomi. K.Subhramanyam also made ‘MaanaSamrakshanam’ in the year 1944. Again, this too appears to be a lost film. I asked Film News Anandan to tell me a bit about this film. He told me that the movie did not have any star value, and did not do too well. He also said that the movie was made to appease the Congress ( Did he mean the British? I couldn’t press him too much, due to his age.)

T.R.Sundaram of Modern Theatres Limited made Burma Rani, a movie that is said to support the war effort. Even this movie has been lost. Yet, in a comedy movie – Diwan Bhagadur (1943) starring T.R.Ramachandran, and which on the face of it has nothing to do with Nationalism, Nationalism mesages are subtly embedded into the plot. They manifest themselves, especially during the later part of the movie, when Kesava Mudaliar ( T.R.Ramachandran) goes on his election campaign, spelling out fiery speeches against social evils. ( It is here that the Nationalist Messages are Embedded)..

Also, you can see subtle Messages like ‘Free India’ and ‘Thaai Naadu’, during the wedding of Kesava Mudaliar and Kamala (Diwan Bhagadur’s daughter)..

Nationlist Messages like 'Free India' and 'Thaai Naadu' subtly embedded into the scene of a Social Satire ( Comedy Movie) - Diwan Bhagadur (1943) made by Modern Theatres

Nationlist Messages like ‘Free India’ and ‘Thaai Naadu’ subtly embedded into the scene of a Social Satire ( Comedy Movie) – Diwan Bhagadur (1943) made by Modern Theatres

சுந்தரேசா.. ஒலி உண்டு .. ஆனால் ..ஓளி இல்லை

Although hit by recent drawbacks, there is no doubt that RajiniKanth still continues to remain possibly, even now, the best bet for any producer in TamilNadu. When one thinks of Rajinikanth’s humble origins in the 1970s, one if reminded of his characters as Parattai in BharathiRaja’s ’16 Vayathinile’, Mahendran’s ‘Mullum Malarum’ and a few K.Balachander Movies.. Several of Rajini’s movies are relatively unknown to most people..

In recent years, several movies, long believed to be lost, are resurfacing, although, they are far from perfect, and one realises that thanks to the Digital technology of today, we have managed to salvage atleast something, an advantage that the classics made prior to 1950 did not have and were allowed to die.

The picture is hardly rosy.. But this one is a strange case.. Sathurangam is a 1978 movie directed by Durai of Pasi Fame. It also stars yesteryear actor Sreekanth, of Thangapathakkam Fame ( seen as Sonia Agarwal’s Father in Kadhal Konden), Thengai Srinivasan, Actress Prameela, Actress Jayachitra ( Inakki Setha .. Naalakki Paal Fame), to cite a few..

So, why is this example so strange? It is a case of the video visuals of the first half available, but the video content of the second half is missing. The movie ( i suppose the exclusive rights holder) has uploaded the same movie, on three seperate occasions, and three times, the visuals are not accessible beyond the same point.. Using my sources of DVD retailers, i was not able to get a copy of this movie at all. It is quite unlikely that this movie is being sold as a DVD copy in TamilNadu.. No other copy of this film seems to have surfaced online, as well..

Incidentally, watching this movie reminds one of a famous movie, made by Visu.. That calls for a seperate post in itself, though. With the help of the available audio, I have managed to construct the rest of the movie sequence. I hope this benefits someone.

1 2 3

Movie Synopsis – Part I

  1. The scene opens auspiciously in a Brahmin household. Sundaresan suddenly comes running ( RajiniKanth). HIs brother RamKumar (Srikanth) has thrown a Rubber snake to scare him and tell him to finish his bath quickly. ( Rajini appears to be of a fearful character in this scene, while Srikanth appears to be a more dominant personality.)
  2. RamKumar tells Sundaresan to finish his bath soon, and waits for him, when Thengai Srinivasan comes to thier house. Rajini is the elder working brother and it is he who is sponsoring college education for the younger brother – Srikanth. Their mother Pandari Bai appears to be a widow.
  3. Thengai Srinivasan is Pandari Bai’s son-in-law, but unfortunately his wife has passed away. Yet, he maintains co-ordial relations with this family.
  4. There is a character in Rajini’s office who takes bribes .. A woman ( married possibly) who has put on lots of weight who flirts with this character, and Rajini – The Samiyar, as he is called by the Younger ladies.
  5. After a barrage of teasing, Rajini is surrounded by Young women staff – The ladies try to tease Rajini repeatedly on sexual matters , before he gives them a befitting reply, when they ask him, what he would do after he gets married – ‘Unga Appa Amma.. Enna Senjangalo, Adha Dhaan Naanum Seiven’.. The girls immediately run away from the place.
  6. Y.G.mahendra and Srikanth along with a group of their friends, tease the girls regularly in college. They also tease the college Professor.
  7. The scene turns tragic when the teasing friends, push the Professor’s tiffen box and it falls on the ground, with contents scattered. The Professor curses them – ‘Oru Yezhai Professor Vaithula Aduchutele. Urupadamaatel.. Sathyama Urupudamaatel.
  8. As Srikanth tries to warn the hapless professor of further complaints to the Principal, a woman comes in between, and pushes him away supporting the Professor. As Srikanth gets angry with the Girl, Y.G.Mahendra pleads to him, ‘Dey, enakku Irukradhu Orey oru Murai Ponnu Mattum Dhaan da.. En Vazhkaiya Soonyam aakidatha da‘, to which Jayachitra now in her car replies arrogantly back, ‘Ille Naa. Mattum.. Ivaru Kizhichiruvaaru‘. 
  9. Thengai Srinivasan brings his sister to Pandari Bai’s house. Thengai is trying to arrange an alliance for her, but she wants a wealthy alliance. Thengai is poor and his sister is uneducated, so getting a groom as per her taste will be difficult says Thengai – AUDIO SYNC Missing..
  10. Rajini enters the house and is shocked to see the girl having grown so big..
  11. Rajini gives his salary slip directly to his mother and then asks for Rs.10 for some expense. His mother tells that you should have taken it and then given the remaining to me. Thengai sees this and is very happy. He blesses Rajini and praises showers on him making his mother happy.
  12. The professor comes home to complain about (RamKumar) Srikanth, to say that he is teasing him everyday in office.  The Professor says that his name is ‘Anatharaman’ but he is called as ‘Kathirikai Thalaiyan’ by Ramkumar and his group.
  13. RamKumar comes home & Rajini, Thengai and Pandari Bai satirically remind him in various ways of the word ‘Kathirikai’. She instructs him to bring the family Undiyal and to follow their family practice, that anyone who made a mistake would drop a coin in it. As Srikanth brings the Undiyal, instead of him, his mother drops a coin and disappointingly says ‘Unna Pethetha Thappu Thaanda‘. She leaves the scene disaapointedly followed by Rajini and Thengai in different directions, leaving Srikanth with the Undiyal.
  14. The Next day, Ramkumar and his groups of friends block the Professor coming on a cycle. The feared Professor turns around when Jayachitra in her car stops him. She asks him to put the cycle in the car’s dicky and escorts him to college, as the young boys sing the famous ‘Surangani Surangani Song ‘..
  15. Jayachitra’s friend asks her if she can’t ask her father to get Ramkumar dismissed, as he is spoiling everybody. ( Jayachitra’s father may be a big shot in this colllege), to which she replies – ‘Avan Dhandikka pada vendiyavan illa, kandikka pada vendiyan.
  16. The next day as the fearful Professor returns fearing Ramkumar, some thugs who live in the Professor’s colony get agitated and want to take it out on Ramkumar, inspite of the Professor’s inhibitions.
  17. As the Thugs start bashing Srikanth, YG Mahendra rushes and informs Rajini, who comes to save his brother. Rajini does not fight like a hero, but rather fights like a sidekick like YGMahendra ( maybe  due to his fearful nature.)
  18. As the fight gets over, Srikanth is surprised to se his brother fight like this and wishes him : a Real life dialogue : ‘Paarada.Naan unna ennamo nenachen? Shoka fight panriye. Srikanth madiriye irundadhu.. Ok.. Ok.. Rajinikanth madiriye irundadhu.”
  19. V.k.Ramaswamy is a man who wants problems, in his life, only to realize the value of happiness. He says he has none, so he himself has instigated labour problems in his factory.
  20. V.k.Ramaswamy is Jayachitra’s dad and Y.G.Mahendra’s mama. Labour people have come to his house, because VKR has purposely said that losses have happened and he can provide only 4 % bonus for this year. He purposely tries to instigate the labourers into a word fight. But surprisingly, the labourers say that they do not even want the 4% bonus in order to show their faithfulness to their boss, and leave happily shouting slogans in favour of VKR, leaving him shocked and stunned.
  21. Thengai has arranged an alliance for his sister and invites his mother in law Pandari bai and brother-in-law Rajini. The groom is Rajini’s friend, who says that the boy is good. But Pandari Bai hesitates. She is a widow and does not want to come to such auspicious functions. But Thengai insists that she comes, as after a long time this is a good function in their house. Pandari Bai finally relents. [ ANOTHER SOCIALLY REFORM RELEVANT ISSUE RAISED BY DURAI ON THE LINES OF ‘ORU VEEDU – ORU ULAGAM’ ] 
  22. They start demanding dowry. A scooter , and some acres of land. Thengai openly says that it is his only sister, and he says that he would put some jewellery to the best of his ability, and he would get them a scooter. The groom’s father claims that his son is not a peon to agree for such a low amount of dowry. To which, the prospective groom’s mother relents back – ‘ Neenga etho seiveenga nu nenachu dhaan, ponnu kku vayasana dhanatha kooda perusu paduthama..” Before she completes, Rajini interrupts her ‘Nanganallur le Rendu Groundum , Maapillai Ku Oru Scooter vaangi kudutha, ponnukku vayasu kuranjidumo?‘. Pandari Bai folows up – ‘Naalu vaarthai ketalum, narukkunu ketai da‘. ; His mother responds – ‘Enna perusa ketuta.. Oru Scooter a mattum vaangindu, ipdi patta oru ponna, unga payan kattikuvana?‘. Pandari Bai replies that as per their customs, they cannot bring this girl into thier family, as she herself has given one [ Her dead daughter to Thengai], else Meenakshi ( Thengai’s sister) would have been her Maatuponnu ( daughter in law). The Groom’s father says that ‘Velai Pogatha Porullukku – Ipdi oru Saaka?‘, to which Rajini gets angry and asks them to leave. [ THE SOCIAL PROBLEM OF DOWRY IS BROUGHT ABOUT IN THIS SCENE.] 
  23. Rajni tells Thengai not to worry and promises to marry Meenakshi..  THE KAASI YAATHIRAI SEENU IS A Little Funny.. The Marriage happens successfully and everyone wishes the couple well..
  24. During the wedding night itself, she asks him various questions including about his salary. His wife takes a dig at Rajini’s practice of giving his salary to his mother, and taking a rupee everyday from her. But the dialogue does not take a serious undertone, and the wedding night is consumated.
  25. The next day Srikanth complains to his mother, that he could not sleep without his cot. His mother asks him to keep silent and wait for a few days, to which he retorts by saying that he’d rather stay in his friend’s bachelor room for a few days. since the cot ( possibly the only one in the house) had been shifted for Rajini’s wedding night. Rajini over hears the conversation and tells him that by the time he returns from college, the Cot will be put back in his room.
  26. As Rajini goes towards his room to remove the cot, a conversation ensues between him and his wife.
    1. Sundaresan – ‘Indha Kattil Fan ellamey Ramudhu. Nethu Namakku Kalyanam Aache nu kuduthurundha. Inakki..Naama..” ( before he completes the sentence)
    2. Meenakshi – “Kuduthuranum. ( sarcastically). Avalo thaane? Besh. Rombo Nanna Irukku. Kaal Anna sambathikadhavarukku indha aathu le Fan, Kattil Ella vasathiyum irukku. Indha aathukku kaakavey Sambathikiravarukku, Oru Paayum, Thalagoni dhaan sondham nu nenakiren. ” She digs him further – “Yena. Ippo Kattindu Irukeengala Veti.. Idhu Ungalukku Sondhama, illa idhuvum unga Thambikki sondhama?” Pandari Bai on the sewing machine over hears this and is worried, seeing where the conversation is heading toward.
    3. Sundaresan – “Look Meenu. Enna Insult Pannadha. Indha Aadambara Vaazhkaile Nambikai Ille. kedaikradha vechundu Santhoshama irukradhu dhaan nimmadhi ya tharum nu Amma adikadi solluvanga. Naa Atha dhaan follow pannitu irukken.”
  27. As the scene ends, Thengai enters the house. Pandari Bai enquires Thengai to find out the cost of a Fan and a double cot. Thengai enquires asking for whom, to which Pandari Bai says, for Sundaresan. Thengai feels guilty saying that he should have brought these things, but Sundaresan refused to accept them. As they converse, Rajini ( Sundaresan) enters and hears the dialogue. He refuses Thengai and says that henceforth, Thengai should not buy anything for Meenu. The day he is able to afford a Fan and a Double cot, he would buy it for her. Pandari Bai pleads and says that she is a young girl and may be she isn’t getting sleep without a fan. Rajini sternly refuses and says, that today it is okay. I can buy her a fan. Tomorrow, if she says, I can’t walk and need a car. Is it possible to buy a car? “Irukradha Vechu Sandhosha Padrava Thaan Manaivi’, he concludes. As Thengai tries to suggest him, Rajini bolts and says that his wife does not need anything, and if he insists on buying something, he tells him to buy not for his wife, but Thengai’s sister instead ( Both are the same)
  28. YGM asks his friend Srikanth, to find out whether Uma ( Jayachitra ) loves him or not and how to set her up , to which Srikanth replies – ‘Machan, Andha Thimir Pidichavala kattikita, Kooja thaan thookanum. Maanam Rosham Illama dhaan Vazhanum. Pesama, avala marandhitu’ . YGM – ‘ Enakku Maanam Rosham thevai Illa, Uma dhaan venum‘. Srikanth dictates and YGM writes a love letter.
  29. Jayachitra is angry. She brings the letter to her father, since her father is always on the loookout for a problem. Her father is happy that his maaplai has written the letter, but his daughter is fuming.
  30. VKR silently encourages his Maaplai. Jayachitra jollufies and sets him into a Trap..
  31. SONG FOLLOWS – ‘Ada Abishtu. .Neku Nokuma Kalyanam..?’ A group of girls led by Jayachitra tease YGM, through out the song.
  32. YGM goes and complain to Srikanth about having put ‘Karumpuli .. Sempuli Kuthi and putting him on a Kazhuthai‘ ( This happens during a song, and is typically seen as one of the most ultimate forms of embarassment in TamilNadu). Srikanth decides to collect his gang and go to Uma’s house. There, they see Uma practicing kick boxing with her friends. Some boys are terrified seeing Uma kick boxing on the roof. They want to see Uma’s father. Ramkumar – Student Leader, wants justice for one of his students. VKR is shocked to see his own Maapilai in this state. VKR calls his daughter down who comes in her Karate dress.
  33. Ramkumar, tells the only way out is to fall on YGM’s feet in front of everybody the next day in college and seek forgiveness. Uma simply refuses.
  34. Rajini is worried about his situation with his wife and tells his friend that they are opposites, His friends suggest him to to buy Malli poo & Jaangiri.. Rajini buys Mallipoo & Jaangiri.. He brings it for her, but suddenly sees his mother, and offers it to her instead.. As for the flowers, he changes his mind and says it is for God ( His mother is a Widow).. His mother advices him and tells that after marriage, anything he buys should be for his spouse only. Rajini immediatelly takes the flowers and Jangiri to his wife. HIs furious wife throws it away.. Rajini is heartbroken..
  35. Uma’s friends tease her the next day of her affair with RamKumar. Uma brushes it off but is shocked to find walls of their college with rumours that linked Ramkumar & Uma together.
  36. Nobody believes Uma including the Professor who has helped her several times.
  37. Using a public Telephone, Ramkumar gets his friends and instigates her father that a gossip is going between Ramkumar & his daughter and they are going to get married, next week. YGM next calls and irritates VKR by asking him, if his daughter is pregnant.
  38. Jayachitra decides to retaliate against the same rumour. VKR goes into Rajini’s house and tells that she is this house’s Maatuponnu. Rajini is shocked, because he is not married. He tells that his daughter & Ramkumar have gone to various places, and she falls on Pandaribai’s feet saying that she should only show him the light.
  39. Rajini’s wife gets jealous seeing the new daughter in law’s financial status..
  40. Ramkumar comes home and asks for Coffee.. He is shocked to see, Jayachitra bringing Coffee.. [ Isn’t there a similar scene used by Visu in one of his later movies starring Pandian & Jayasree?] .. Srikanth asks his family members, who is this, to which they ask him to go ask her itself directly.
  41. They see a set of photographs in which Srikanth and JayaSudha are touching.. They are shocked.. PandariBai decides that they ought to get married. Srikanth and Jayachitra are married.
  42. Although, they are married, they are still ‘Cat’ & ‘Mouse’ ;
  43. Rajini’s wife gets instigated by her woman friend who feeds her ego and tells that she should wear new sarees daily to keep up with the younger daughter in law. She tells her husband that she wishes to buy 4 good sarees and taht her friend is ready to accept money in installments. Rajini refuses and says that it is necessary that everything done by the younger daughter in law, should be done by her also? :
    1. Meena – ” Orey Aathula, Oru Marumaga Pattu pudavai Kattindu Innoruthi Saadha Pudava Kandida Nana va irukkum?’
    2. Sundaresan – “Uma edhu kattinalum, neeyum katikanuma?’
    3. Meena – “Ennaku Mattum  Pudhu Pudavai Katika Aasai Irukadha?’
    4. Sundaresan – “Ennaku Kooda Elizabeth Taylor Aa katikka aasai. Mudiyuma?’
    5. Meena -“Aama. Edhavadhu Sonna Oru Velakkam. Unga Office le irukaare Paramasivam, Avar Pondaati, Maasam Oru Pattu Pudavai edukura. Vaira Thodu. “
    6. Sundaresan – “Avar Pondaati Oor le Pathu Peru kitta Pora. Neeyum Poriya?’ 
    7. Meena – “Enna Na.Idhu?’
    8. Sundaresan – “Appo..Vaaya Moodindu Iru.”
  44. Thengai Srinivasan & VKR have a conversation –
    1. Thengai – ‘Ellarum Ungala Sheripyer Sheripyer nu Koopduraangale. Neenga Idhukku munnala Muslim Aa?’
    2. VKR – “Haha.. Adhavathu.. Pathu Varushathukku Munnala, Naan Madrasukku Sheriff Aa irundhen. Appo Irundhu Enna Sherif Iyer nu Koopdura”.
    3. Thengai – ‘Pathu Varushathukku Munnala, Neenga Muslim aa irundhalum, thappu Illa”[ DURAI’s FORWARD THINKING CHARACTERS THAT ARE ABLE TO ACCEPT UNIVERSAL BROTHER HOOD, SPREAD ACROSS RELIGIONS.] 
  45. As VKR sees Srikanth, he tells him on his face, that they have cheated him into this marriage, and for life time, his daughter would remain a virgin, loudly and leaves the place, shocking all members of the family.
  46. JayaChitra does not think of this as a major problem, since everyone in the house as accepted her. She assures her father, taht her her husband will come through.
  47. Lots of complaints have been received against Masilamani (#4) for taking bribes, so his manager decides to shift Sundaresan to his place, due to his honesty. The whole office is jealous, since they know the value of that seat and that Sundaresan being honest has no use for that seat.
  48. A client accidentally comes to Rajini’s seat, shocking Rajini, when Masilamani pulls him back. The client is scared. Masilamani assures him, that he will flex the new guy somehow, and get the client ( from whose he has taken a bribe), and get his job done.
  49. VKR Brings a bad news to the family. His Son-in-law ( Srikanth) has been barred to attend the exams due to insufficient attendance. Rajini feels not because Srikanth has lost a year of his studies, but a year of his mother’s hard work has been lost.
  50. Pandari bai is upset. She says that she has worked for this family for 28 years. Now, she wishes to go to Kasi. But people who go to Kasi should leave behind something that they really love – So, she says she is going to leave behind talking to her younger son. This shocks everyone except Srikant himself. He says, fine., So, I’l lalso leave something – my studies. There have been several people who have come ahead in life, without being educated, he says.
  51. Masilamani and his group decide to use a woman to seduce Sundaresan to bring him to thier ways. She wants her company files moved. Sundaresan doesn’t respond and says it is illegal to move such files and that he has conveyed the message to her boss already. She blackmails him by threatening to get him transferred ( Thanni Illadha Kaadu). Sundaresan does not budge : The Woman – “Ungalukku Mele Irukkura Yellarum Enakku Teriyum. Sundaresan – “Avangalukku Melayum Oruthan Irukkan”. 
  52. Kanchana ( The Woman) says her unssuccesful attempt to Masilamani, who uses the classic dialogue – “Adi Mela Adi adicha, Ammiyum Nagarum“. He proceeds towards Sundaresan’s offcie bench,. Using his Office crony ( The Flirty woman), they decide to target Sundaresan’s wife instead.
  53. Masilamani comes home. He tempts her by telling that even a peon in his office leads a better lifestyle than Sundaresan. Masilamani – “Kai Ezhutha Dhaan nu Sundaresan Nenachitu Irukaan. Adhu Neetavum Kathundana, Vazhkai le munnerilam. Sundaresan a maatha vendiyadhu unga poruppu” ( hand should be used for taking bribes as well.) By the time Masilamani finishes his conversation, Sundaresan arrives on the scene.
  54. Masilamani encourages him by saying that he is no longer a bachelor and a family man now. Sundaresan clearly tells that neither will he accept bribe nor will he be a part of it. He tells Masilamani to leave. He warns him that any further attempts, and he will complain about Masilamani to the higher officers. On the way, Masilamani says this to Meena – “Avan Pesinadha Keturupeenga nu Nenekiren. Thalai Anai Mandirathukku Neraya Sakthi Undu Nu Kelvipattiruken. Aprurom, Unga Saamarthyam.” [ WHAT A DIALOGUE?] ] 
  55. The younger office girls tease Sundaresan, wishing him ( satirically) that he has fathered twins, and they laugh it off. A confused Sundaresan discusses this with his male colleagues who tell him that women of these days are interested in sex, and tell him to take his wife for an Adult Movie.

From this point onwards, there is no video available. The synopsis has been written only with available audio.
  1. Rajini takes his office collegues advice , who tells him ‘Indha Kaalathu Ponnungalukku sex naa Thani interest than pongo. En pondaati aa alachuundu Oru A padathukku ponen, appo Navarathri sivarathiri aa maaridichu pongo.’ 
  2. Rajini possibly takes his wife to an A film theatre. A fantasy song – Madhanotsavam.. 
  3. Rajini brings his wife to the theatre only to get the bad news that the theatre is houseful.
  4. Rajini comes to his wife in a happy mood. At the same time, he tells about the trauma that he goes through in office, with everyone making fun of him that he is yet to father a child. The angry Meena retorts ‘Kattinavalukku Kattil vaangavey mudiyala, idhula kolandhai onnu dhaan korachal. Unga friend sonna madiri, yenakki neenga polakira vazhiya thedikirelo, annakki dhaan Indha aathula, kozhandaiye thavalum.’
  5. VKR makes fun of his son in law. He tells that he is ashamed of the job that his son in law does and he has no option but to give a job to his son in law in his own factory. The angry Srikanth retorts ‘pichai eduthaalum, naan Thaniya dhaan edupen‘. VKR and his daughter instigate him further. As the dialogue continues, they suggest him to become a house broker and using the funds broken from the undiyal, Srikanth starts his business.
  6. VKR spies on Srikanth in his car while Srikanth goes in his cycle searching for houses and to start his business. VKR reports the positive news to his daughter. He tells his daughter to give coffee to her husband. But Srikanth refuses. Until he earns his own money, he will not drink a cup of water in this house, he says.
  7. As Meenakshi goes to the temple, masilamani and Rajini.s PA ( Sundari – could also be Masilamani’s wife) continue to make Meenakshi jealous by comparing sarees. masilamani shows of his new scooter and tells her that Rajini for his post could even get a car if he went along with them. Knowing of her nature, they decide to exploit Meenakshi further.
  8. The next day Sundari brings 6 new Sarees and gives it to Meenakshi. She tells her that this is an advance for the job that Sundaresan has to do. When Meenakshi gets scared, she advices her to take advantage of the night period to bring Sundaresan to her side. ( Thalaianai mandiraham)
  9. Rajini asks him. And tells her to throw out the sarees.
    1. Meena – ‘Idha naan ulla vechuku koodatha?’
    2. Sundaresan – ‘Idha nee Ulla vecha, Naalakki enna ulla vechuruvaanga di.’
    3. Meena – ‘suyamavum teriyadhu. Solli kuduthalum puriyadhu. Arivu getta jenmam.’
    4. sundaresan – ‘Enna sonna?’. And Rajini slaps her. 
    5. Meena (crying) – ‘Oru pudavai vaangi kudukka vakku illai ungalukku. Kai Mattum neelradhu’.
  10. Even as Pandari Bai tries to stop her, Meena leaves. Pandari Bai scolds him for hitting her. Thengai scolds his sister, knowing Sundaresan. Thengai and Pandari Bai apologise to each other, her son for having hit her daughter in law, and Thengai for his sister having left her house. Emotionally, Thengai says the following dialogue – Oru ponnu pugundha veeta vittu Oru thadavai dhaan poganum. Ava setthu Savam aa poraale, appo Mattum dhaan poganum.’
  11. Pandari Bai tells his son to look after his wife’s needs. Only if they are happy, will she be happy.
  12. Long BGM – Has Sundaresan started accepting bribes and become a part of Masilamani?
  13. Srikanth’s business slowly starts picking up. With his money, he has earned 250 Rupees. He has brought gifts for his family members. A new glass for Thengai. Jewel box for his anni.
    1. Meena – ‘Verum Jewel box dhaana? jewels?’. 
    2. Ramkumar – ‘Adha Sundaresan vaangi tharuvaan’. 
  14. And so on.. Lollipop for his Father in law. Nothing for his wife.
    1. VKR – ‘kozhanthaikku onnum illaya?’. 
    2. Ramkumar – ‘kozhandai ungalodathu, neenga vaangi kudunga’.
    3. VKR – Neku?
    4. Ramkumar – Indhaanga lollipop. 
  15. VKR is disappointed that his son in law has brought nothing for his daughter, but she assures him that all will be fine.
  16. Sundaresan brings a double cot and a fan for his wife. His mother is happy for this and also that her younger son has changed. He has changed his principles only because of his mother.
  17. Rajini drops a coin in the home undiyal. ‘enna da, Ivan undiyal le kaasu poduraane nu paakuriya? IPpo veetukkulla vandha athanai porulum thavaraana vazhi le vandha Panam
  18. Rajini’s wife happily wears the clothes and jewels that he has brought for her.
    1. meenakshi – ‘Verum vaayil pudavai le pathindu irundhel, iPpo unga Meenakshi epdi irukka?’. 
    2. sundaresan – ‘enakku epdi irundha enna? unakku pidichuruku le?’
    3. Meenakshi – ‘rombo pidichuruku. Ungalukku rasanaiye illa nu nenachen. aana colour selection A1.’ She probably blushes.. ‘pudhu Kattil..pudhu pudavai..inakki unga moodu epdi?’. 
    4. Sundaresan – Naan ready illiye. Ippo ennala dressing tableum Kattil dhaana vaanga mudinchadhu. Aduthu unakku AC venum, fridge venum, car venum, adhukkelam office le Paaka vendaam. Adjust panna vendaam? Nee poi thoongu’
    5. meenakshi ( without realising the tone in which sundaresan said the following dialogue ) – enakaga office Muluka Velai pathindu iruka porela? 
    6. Sundaresan – unakkaga en vazhkai poora Velai Paaka poren. 
    7. Meena – inime, namma vazhkai nanna amaya poradhunu sollunga. 
    8. Sundaresan – Aama, un vazhkai rombo nalla amaya pogadhu( he says this with a clear satirical tone.) 
  19. Sundaresan’s officer is promoting him. He still thinks he is honest and wishes that sundaresan takes over his chair before he retires. 
  20. Srikanth has opened a new office. His wife is happy , but he still hates her. Since his mother has refused to talk to him, he calls his manni ( rajinis wife) and tells him to inform her mother in law ( his mother ).
  21. Srikanth – Periya VIP. Neku theriyume. Naan Oru vidhavai. Suba karyangalukku vara koodatha nu solluva. manni, Neku Indha Pattham pathu vishayam ellam pidikadhu nu unga Athai kitta sollidu‘ ( again a demonstration of social reform by Durai) 
  22. His mother insists that only if he starts living happily with his wife. She will attend the function. Srikanth relents and he and his wife are joined. His mother also tells him that his wife used to stay nombu in nights for him and purposely instigate rosham in him. Together, husband and wife jointly ask for permission and the old lady agrees. In his typical tone of satire, Srikanth tells – kelavi eppadiyo blackmail panni sammadhikka vechuduthu., and they all have a good laugh.
  23. masilamani tells Rajini that all these days when he was honest. He got nothing. But when he turned corrupt, he got a promotion. masilamani invites sundaresan for a party.
  24. AARAMBAM song.. ( Item song possibly)
  25. They get Rajini drunk?
  26. Romance scene between Srikanth and his wife..
  27. masilamani comes home to talk to Meena. On the way, she introduces umma to him. Meena comes to know about sundaresan. Masilamani tells Meena that he is sending her a necklace worth 3000 rupees through sundaresan for his services. Uma over hears this. Uma advices Meena. But Meena gets angry, saying that uma is jealous that they are getting financially better.
  28. uma complains to Thengai, saying that his sister is mainly responsible for thisPan. Thengai is totally disappointed with his sister. Srikanth also over hears the conversation.
  29. Sundaresan probably brings his salary directly to his wife.. some of his old dialogue as a honest guy flashes. His Mother stops him. And is angry with him for taking bribe. Srikanth is also angry with him..everyone is angry with him..but his wife continues to support him. The whole family decides to confront Sundaresan directly. Sundaresan comes home
    1. Pandari Bai – Nillu.kai le enna?
    2. Sundaresan – nagai.
    3. Pandari Bai – asala, poliya? 
    4. Sundaresan – Enna kelvi Maa idhu?
    5. Pandari Bai – Thangam poliya irundha, nee asal dhaan.Thangam asal naa, nee poliya marita. 
    6. Sundaresan – Thangam asal dhaan. 
    7. Pandari Bai – appo, nee poliya maaritiya? Nagai vaanga Panam Edhu?
    8. Sundaresan – aangh..annakki fan, Kattil vaangindu varumbodhu erpadatha sandegam inakki epdi vandadhu? 
    9. Meena – Naama munnukku varomnu’ vaitherichal. 
    10. Sundaresan – Pesuradhu ammavum pillaiyum, nee Thalai idhatha. 
    11. Pandari Bai – naan unakku Amma illa da.
    12. Sundaresan – aana, naan unakku Pillai Maa.
    13. Pandari Bai – andha uravu, enakki nee kai neetu panam vaanginiyo, annakki murinju pochu. 
    14. Sundaresan – enna solra? 
    15. Ramkumar – puriyala? Kashta pattu vaangina Panama, Kai neeti vaangina Panama?
    16. Sundaresan – pondaati kitta sonna adhey vaarthai un kitta yum solla vendaam nu paakuren. Mind your own business. 
    17. Ramkumar – nee Kai neeti lancham vanginathukku, pogapogudhu Naama kudumba maanam. 
    18. Meena – Theruvu le irundhapo pogadha maanam, ippo poratho?
    19. Ramkumar – Manni..Srikanth shouts at her.
    20. Ramkumar – Theruvula irukuravan veetukkulla varalam thappu illa. Veetukkulla irukuravan jailukku pona dhaan thappu. 
    21. Meena – ulla vaango
    22. Thengai – avare yen Maa, ulla koopidura? Sundaresan vaai Lerndu innum vaarthai varaliye. 
    23. Meena interrupts him, to which Thengai gets angry. Vaaya moodindu summa iru di, rascal. 
    24. Thengai – sundaresa’ Edhu Indha nagai?
    25. Sundaresan – kavala padatheengo athimbel, en pondaatiya adagu vechu Idha vaa gala.
    26. Thengai – Kai ya neeti lancham vaanginavan, idhaiyum seyya maataanguradhu yena da nichayam? 
    27. Pandari Bai slaps sundaresan and tells him to get out of the house.
  30. Sundaresan and his wife are sent out of the house. masilamani brings them to a rich house. Masilamani continues to corrupt them. He rejects the coffee that Meena offers him and says that the day he gets Sundaresan and Meena their own house and car, that day, only he would consume Paal-Paayasam in their house, and leaves. In a trance with her new found brother Masilamani, Meena feels bad – Nekum Oru Annan irukaane? ( Thengai)
  31. Pandari Bai becomes sick. Doctor says that she has been hit by a shock, so her heart has become weak and that he advices her to take rest.
  32. Conversation between sundaresan and Meena
    1. Meena – ‘Inakki, Naan ungala vida vey Maaten.’ 
    2. Sundaresan – ‘Velai Irukku. Enna disturb pannatha please.’ 
    3. Meena – ‘Ithana Naala indha file a katindu adhuazhuthathu podhum. Inakki Naan ungala katti pidichi ..”
    4. Sundaresan – “Katti pidika Naan ethukku? Katilla Kattipidichiko.. Fan a kattipidichiko. Unga sweehara Annan AC konduvaruvaan. Adhayum kitchen liye Katti pidichiko. Coola Irukkum”
    5. Meena – ‘Yena.. Apdi solrel? Naanum Oru Ponnu. enakkum Unarchigal Undu’
    6. Sundaresan – “Oh.. Neeyum Oru Ponna? Unakku Unarchi Irukka? Ha Ha Ha Ha.. “
    7. Meena – “Yena..Sirikirel?’
    8. Sundaresan – “Anakki 20 paisa poovum, Rendu Jangirum Aasaioda Konduvandha Sundaresan kitta illadha unarchi, inakki Viswaroopam eduthu nikkudho?.. Aaye.. Enna Porutha Varaikkum, Unakku enna venumo, adha kondu thara ? ( inaudible) Naan.  Venumna Sollu.. Unakku Oru Aalum Yerpadu panren.” Meena screams on hearing the last words.. “Yen Kaala pidichikita? Kattina Purushan ithanai kelvi ketaane naa. Annaki Andha Kudisai le Ennoda Unarchigala pathi Kavala padatha nee.. inakki indha maaligai le unnoda Unarchigala pathi kavalai padura ‘
    9. Meena – “Yena.. Apdi ellam pesurel? Naan unga Meenu’ 
    10. Sundaresan – “Meenu.. Meenu nu Aasaiya suthitu irundhene, ava enga irukka teriyuma? Vaa Kaaturen”.. He takes her some place and shows her something ( Not viewable due to lack of video).. “Kanavanukku  Katupadatha Meenu vum Sethutaa.. Nyayathukku Kadupadatha Sundaresanum sethutaan”.. “WIFE ku artham naa enna teriyuma? Worry is Invited Forever.. Ippo Enakkum Unakkum irukura uravu- Indha HUSBAND-WIFE uravu Mattum dhaan, only for society sake.”
  33. Pandari Bai’s health deteroriates further. Srikanth’s wife tellls him to go bring Sundaresan. He refuses citing his mom’s condition became like this due to Sundaresan only. Instead Uma decides to go. She meets Meenu, who tells her that Sundaresan has left to the office. She tells that their mother in law is very serious.. CAR SOUND… They reach their office, but Sundaresan is gone some where. The officeboy tells that Ayya only comes once in the morning, signs and leaves. Soon, both daughter in law leave to Mahalingapuram Bungalow, where Rajini is..
  34. Rajini is drunk.. Masilamani’s wife offers him Rs.10,000 for a file.. On hearing that his mother is serious, Sundari ( the office lady) tells him to leave immediately, but in his drunk state, Rajini refuses to see her, saying that his mother did not want to see him. Finally, he decides to leave to see his mother, after being coaxed by Sundari..
  35. Uma tells Sundaresan that his mom is very serious. Soon, all of them leave.
  36. By the time they reach home, Pandari Bai passes away.
  37. AS Sundaresan picks up the pyre to light his mother, Thengai stops him. ‘Sundaresa, Endha Kaiya Neeti Nee lancham Vaanguniyo, Andha Kaiyaala nee Avalukku Kolli vekka koodathu nu Amma sonna..” This shocks Sundaresan.
  38. PATHOS MUSIC -> Thengai’s voice resonates ( His mother’s last words)  in Sundaresan’s head.. Masilamani tells him to forget it and tells him to go to the bar. Sundaresan worries and tells that only because he took a bribe ( Kai neeti lancham vaaanginathunaala dhaan, enga amma vukku naan kai neeti kolli vekka mudiyala).. He refuses to give the file to Masilamani.. ( He is full of remorse now).. “Andha File En veetu le dhaan Irukku, Adha Sekka vendiya edathula naan sethudaren” ( He wants to give up this bad life and accept punishment) Masilamani wans him that he too will get punished, but Sundaresan is okay with receiving punishment. “Idha Vida Periya Dhandanai, Enakku yerkanava kedachachu”
  39. Masilamani slyly walks to Meenakshi’s house creating a drama that Anti Corruption Officials are coming and fools her into getting the files without Sundaresan’s knowledge..
  40. Rajini is shocked to know that Masilamani has taken the files.
  41. The Boss gives 10,000 Rupees as a reward to Masilamani..
  42. BGM of a Fight sequence..  [ THIS IS THE ONLY FIGHT IN THIS MOVIE.. ]
  43. Sundaresan voluntarily surrenders to the police.
    1. Meena – “Yena. Yennala dhaana ungalukku indha nelamai. Enna Manichidungo Naa.. Enna Manuchidungo.”
    2. Uma – ” Azhuthu – Ippo enna prayojanam?” 
    3. Sundaresan – ..inaudible.. ‘Enakku Parigaram Kedachudhu”.. “Amma mela sathyama solren.. Mirugama ulla pora naan, Manithara dhaan thirimbi varuven.. “
    4. Thengai – “Idho paaru Sundaresa. Thavaru Seirappo, Manushan mirugam aayiduraan. Andha thavara unnarurappo, Deivamaayiduraan” 
    5. Sundaresan – ‘naan Deivama maarureno illayo.. aana pazhaya Sundaresana nichayam maariduven..” 

“இருக்கு .. ஆனால் இல்லை” – Where in this world is the Tamil movie – ‘Mr.Sampath’ now?

Mr.Sampath is a 1972 movie, directed by Cho.Ramaswamy starring Muthuraman. It is said to be a remake of the movie ‘Miss.Malini’, which is almost defacto accepted as being adapted from the book : Mr.Sampath – The Printer of Malgudi by R.K.Narayanan. { I am however skeptical about this inference, but in order to get a better understanding, i have refrained from writing a post on Miss.Malini, yet.}


Miss.Malini starring Gemini Ganesan and his future wife – Pushpavalli. No known copy of this movie in any form, exists today. 

The movie Miss.Malini was made and produced by Gemini Studios S.S.Vasan in the year 1947, with his chief lieutenant Kothamangalam Subbu, and the same team remade the movie as Mr.Sampath in Hindi and released the movie in 1951. While Miss.Malini, the Tamil film, incidentally, which introduced the Prince of Romance – Gemini Ganesan to Cinema, and in which his one of his wives Pushpavalli ( Mother of Hindi Actress Rekha) played the lead is believed to be a lost film, a Digital copy of the Hindi version, starring Tamil actress Padmini in the original role played by Pushpavalli exists today. It can be seen in YouTube.

Miss.Malini was remade in 1951 as Mr.Sampath, by the same Gemini Studios creative team, headed by Kothamangalam Subbu and Producer SS.Vasan. Vasan himself directed the Hindi Version. The Story credits are attributed to legendary writer R.K.Narayanan.  

Twenty one years, after Mr.Sampath was made, Cho Ramaswamy re-made the movie in Tamil, titled as Mr.Sampath, starring R.Muthuraman. I wanted to see a copy of the movie, and find for myself, if the movie was remade based on Kothamangalam Subbu/S.S.Vasan’s Miss.Malini screenplay (or) the original Mr.Sampath story written by R.K.Narayanan. To me, it made more sense for Cho Ramaswamy to adapt the latter, since the book version features a book publisher who later ends up entering films ( Although he isn’t Mr.Sampath) and Cho Ramaswamy too incidentally is a journalist ( Thuqlaq magazine), a dramatist and a film actor. So, which of the following did Mr.Ramaswamy use in his film? For that, I had to see the movie Mr.Sampath. But where has the movie gone?

Unlike Miss.Malini, which is almost lost for sure, Mr.Sampath was made in the 1970s, past the era of Nitrate Films, which had a better chance of survival. I looked up the Internet, and i have found traces to be happy that at some point, the movie has indeed entered the digital domain and is lurking somewhere, but is not accessible now. So, what might those traces be?


A simple Google Search for the movie Mr.Sampath – Online throws up the website link, : A movie based subsidary website of the Electronic Journalism movie website Indiaglitz. Most of the movies under Indiaglitz are not accesible in India, which probably means that they have got Rights to Stream Video content abroad. Fair enough, so, I presumed that Mr.Sampath too should be online.. Lets see what happened?


The movie is not viewable in India. 


The Movie is not viewable in Germany. 


The Movie is not viewable in Penang, Malaysia. 


This is an unknown IP address reached using the TOR Browser.  ( It could be any foreign country). In this unknown country, the movie remains inaccessible. 


So, basically, I am neither sure of the countries where IndiaGlitz has a license to ‘stream’ this movie. On second thoughts, I guess, that IndiaGlitz may not have renewed its license for this movie, could also be a strong possibility.

The positive thing about the link in IndiaGlitz however, is that it gives us atleast a limited MetaData to try and trace the movie.


There are millions of smaller websites across the world, that typically use larger storage centres like YouTube, and subsequently use YouTube’s embedding functions to embed content across the website. This function could be seen at the height of interim Strength-in-depth websites that operated prior to 2011-12, before YouTube offered an official Channel Policy for Content Providers and Copyright Holders.

There were many websites that solely worked on linking legitimate YouTube content, and one of them seems to have had a link to this movie Mr.Sampath, which has been hosted in YouTube, at some point in time.


The Site clearly mentions that it indexes only Legitimate Content. 

Clicking on the Link, takes me to a disappointing link.


The Original link of the movie hosted in YouTube has been turned Private, which probably means the file exists in YouTube, but can be viewed only via Invites, but not before close to 2000 People had seen the movie via the Indexer Website  – Bharat Channels. 

Production Details : 

The Producer of this movie, Sundaram of Vivek Chitra Films seems to have been quite active in the industry. One of his discoveries was Parthiban whom he introduced through his movie ‘Pudhiya Paathai’, which incidentally was a National Award Winning Film. A bit of Searching through the Net also reveals that ‘Vivek Chitra Films’ has also distributed successful films like ‘Keladi Kanmani’. However, I don’t find any information of their recent ventures. The Original Producer Mr.Sundaram has recently passed away. It is highly likely that his heirs are not into the Film Production business now, as I tried to trace the address of this production house, but could not get any links either via the Internet (or) via the Vergheese Directory.


This space is reserved, if I get a chance to ask Mr.Cho Ramaswamy himself about the status of his film. News reports claim that Mr.Ramaswamy isn’t keeping good health, and it will be quite some time, before I get to Chennai.


One of the most difficult tasks is to locate the Copyright Holder of a film, as it can change hands, and like Land, there is no reference database to know the current copyright holder of a film, which in today’s world is extremely absurd. None the less, that is the way, it is.

But having spoken several times about YouTube’s automated Content ID system, I tried to find out if anybody has staked a copyright claim over the movie. A private individual seems to have uploaded 2 songs of the movie, so i just needed to download the songs and re-upload it through my account, hoping that i would get some warning or metadata about its copyright holders.


Re-uploading the Same File into my YouTube DashBoard. 


The Song is successfully uploaded, and no one has claimed a copyright over the content. 

This makes it even more absurd to me, as to why the original uploader changed the settings of the movie to Private, if no issues were raised. It is still baffling, but I do hope that some where, at some point in time, I will get an opportunity to see this movie.

For the moment, though, You can listen to this song from the movie Mr.Sampath, uploaded in the Website’s Official YouTube Account.