Changes between Initial Version and Version 1 of A. P. Nagarajan


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Timestamp:
Jun 26, 2012, 8:17:52 PM (12 years ago)
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Trupti
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  • A. P. Nagarajan

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     1'''A. P. Nagarajan''' 
     2 
     3 
     4Tamil director and scenarist. Considered one of 
     5the pioneering new generation of scenarists in 
     6the mid-50s in context of the anti-religious 
     7thrust of the DMK Film. Playwright and actor 
     8associated with the TKS Brothers; début in 
     9film adapting the play Nalvar into a script 
     10(1953; he also acted in the film). Like the DMK 
     11writers and directors, he tried to go beyond 
     12what film-maker and critic K. Hariharan calls 
     13the ‘Therukoothu vaudeville’. A crucial political 
     14shift, accompanying the forming of the 
     15Thamizharasu Party, which rejected the DMK’s 
     16emphasis on atheism, informs his revival of the 
     17discredited mythological genre with K. Somu’s 
     18hit Sampoorna Ramayanam (1958) which 
     19Nagarajan scripted. The film had a major 
     20impact on Sivaji Ganesan’s political career, 
     21helping the star to overcome his earlier 
     22association with the atheist DMK. Also edited 
     23the Thamizharasu journal Sattai. Started his 
     24own production company with actor V.K. 
     25Ramaswamy, scripting and producing Somu’s 
     26Nalla Idathu Sambandham (1958). His early 
     27films as director are melodramas often 
     28bewailing, like the DMK films, the loss of 
     29‘tradition’ and the ‘decadence’ of modern times. 
     30e.g. in Navarathri, a woman runs away from 
     31home and meets nine different men on nine 
     32consecutive nights, apparently experiencing 
     33each of the nine rasas of Indian aesthetic 
     34theory in the process; in Vaa Raja Vaa, a boy 
     35ekes out a living as a tourist guide in 
     36Mahabalipuram; Thillana Mohanambal, one 
     37of his bigger hits, is set in Thanjavur and 
     38features a dancer and musician. Best known for 
     39a series of 60s mythologicals: Thiruvillaiyadal, 
     40Saraswathi Sabatham, Kandan Karunai, 
     41Thirumal Perumai, etc., reinvoking the stagederived 
     42conventions he had earlier opposed, 
     43mobilising their kitschy inventiveness as in 
     44Saraswathi Sabatham where Shiva is dressed 
     45as a Greek general, and hiring retired stage 
     46actors from the 50s. His films often starred 
     47Ganesan. 
     48 
     49 
     50'''FILMOGRAPHY:''' 1962: Vadivukku Valai 
     51Kappu; 1963: Kulamagal Radhai; 1964: 
     52Navarathri; 1965: Thiruvillaiyadal; 1966: 
     53Saraswathi Sabatham; 1967: Kandan 
     54Karunai; Seeta; Thiruvarut Selvar; 1968: 
     55Thillana Mohanambal; Thirumal Perumai; 
     561969: Gurudakshinai; Vaa Raja Vaa; 1970: 
     57Thirumalai Thenkumari; Vilayattu Pillai; 
     581971: Kankatchi; 1972: Agathiar; Tirupati 
     59Kanyakumari Yatra; 1973: Karaikkal 
     60Ammaiyar; Raja Raja Chozhan; Thirumalai 
     61Daivam; 1974: Gumastavin Magal; 1975: 
     62Melnattu Marumagal; 1977: Navarathnam; 
     63Shri Krishna Leela. 
     64 
     65[[Director]] 
     66 
     67[[Writer]]