| 1 | '''A. P. Nagarajan''' |
| 2 | |
| 3 | |
| 4 | Tamil director and scenarist. Considered one of |
| 5 | the pioneering new generation of scenarists in |
| 6 | the mid-50s in context of the anti-religious |
| 7 | thrust of the DMK Film. Playwright and actor |
| 8 | associated with the TKS Brothers; début in |
| 9 | film adapting the play Nalvar into a script |
| 10 | (1953; he also acted in the film). Like the DMK |
| 11 | writers and directors, he tried to go beyond |
| 12 | what film-maker and critic K. Hariharan calls |
| 13 | the ‘Therukoothu vaudeville’. A crucial political |
| 14 | shift, accompanying the forming of the |
| 15 | Thamizharasu Party, which rejected the DMK’s |
| 16 | emphasis on atheism, informs his revival of the |
| 17 | discredited mythological genre with K. Somu’s |
| 18 | hit Sampoorna Ramayanam (1958) which |
| 19 | Nagarajan scripted. The film had a major |
| 20 | impact on Sivaji Ganesan’s political career, |
| 21 | helping the star to overcome his earlier |
| 22 | association with the atheist DMK. Also edited |
| 23 | the Thamizharasu journal Sattai. Started his |
| 24 | own production company with actor V.K. |
| 25 | Ramaswamy, scripting and producing Somu’s |
| 26 | Nalla Idathu Sambandham (1958). His early |
| 27 | films as director are melodramas often |
| 28 | bewailing, like the DMK films, the loss of |
| 29 | ‘tradition’ and the ‘decadence’ of modern times. |
| 30 | e.g. in Navarathri, a woman runs away from |
| 31 | home and meets nine different men on nine |
| 32 | consecutive nights, apparently experiencing |
| 33 | each of the nine rasas of Indian aesthetic |
| 34 | theory in the process; in Vaa Raja Vaa, a boy |
| 35 | ekes out a living as a tourist guide in |
| 36 | Mahabalipuram; Thillana Mohanambal, one |
| 37 | of his bigger hits, is set in Thanjavur and |
| 38 | features a dancer and musician. Best known for |
| 39 | a series of 60s mythologicals: Thiruvillaiyadal, |
| 40 | Saraswathi Sabatham, Kandan Karunai, |
| 41 | Thirumal Perumai, etc., reinvoking the stagederived |
| 42 | conventions he had earlier opposed, |
| 43 | mobilising their kitschy inventiveness as in |
| 44 | Saraswathi Sabatham where Shiva is dressed |
| 45 | as a Greek general, and hiring retired stage |
| 46 | actors from the 50s. His films often starred |
| 47 | Ganesan. |
| 48 | |
| 49 | |
| 50 | '''FILMOGRAPHY:''' 1962: Vadivukku Valai |
| 51 | Kappu; 1963: Kulamagal Radhai; 1964: |
| 52 | Navarathri; 1965: Thiruvillaiyadal; 1966: |
| 53 | Saraswathi Sabatham; 1967: Kandan |
| 54 | Karunai; Seeta; Thiruvarut Selvar; 1968: |
| 55 | Thillana Mohanambal; Thirumal Perumai; |
| 56 | 1969: Gurudakshinai; Vaa Raja Vaa; 1970: |
| 57 | Thirumalai Thenkumari; Vilayattu Pillai; |
| 58 | 1971: Kankatchi; 1972: Agathiar; Tirupati |
| 59 | Kanyakumari Yatra; 1973: Karaikkal |
| 60 | Ammaiyar; Raja Raja Chozhan; Thirumalai |
| 61 | Daivam; 1974: Gumastavin Magal; 1975: |
| 62 | Melnattu Marumagal; 1977: Navarathnam; |
| 63 | Shri Krishna Leela. |
| 64 | |
| 65 | [[Director]] |
| 66 | |
| 67 | [[Writer]] |