| 1 | '''Sindhu Bhairavi''' |
| 2 | |
| 3 | |
| 4 | 1985 159’ col Tamil |
| 5 | d/s K. Balachander p Rajam Balachander, |
| 6 | V. Natarajan pc Kavithalaya Prod. |
| 7 | lyr Vairamuthu c Raghunatha Reddy |
| 8 | m Ilaiyaraja |
| 9 | lp Sivakumar, Delhi Ganesh, Janakaraj, |
| 10 | T.S. Raghavendran, Prathap Pothan, |
| 11 | Suhasini, Sulakshana, Manimala, |
| 12 | Sivachandran, Indira, Meera |
| 13 | |
| 14 | |
| 15 | Musical melodrama in the genre of Dasari |
| 16 | Narayana Rao’s Megha Sandesam (1982) |
| 17 | and K. Vishwanath’s revivalist stories |
| 18 | advocating ‘traditional’ notions of ‘classical’ |
| 19 | artistry. The classical singer J.K. Balaganapathi |
| 20 | (Sivakumar) falls in love with Sindhu (Suhasini |
| 21 | in one of her best known screen roles), a folkmusic |
| 22 | teacher. His barren wife Bhairavi |
| 23 | (Sulakshana) attempts suicide and he |
| 24 | renounces his affair, only to seek refuge in |
| 25 | drink, which entails degrading scenes such as a |
| 26 | forced strip tease and the singing of nonclassical |
| 27 | folk songs in exchange for alcohol. |
| 28 | Bhairavi then sacrifices herself for the sake of |
| 29 | her husband’s music and asks Sindhu to help |
| 30 | save the artist. Nevertheless, the film follows |
| 31 | the convention of passing off male infantilism |
| 32 | as evidence of a commitment to ‘traditional |
| 33 | values’. Women sacrificing themselves for the |
| 34 | sake of an immature man’s singing ability can |
| 35 | be seen, against the grain of the film, as raising |
| 36 | critical questions about arrogantly patriarchal |
| 37 | fantasies, mainly through the performances of |
| 38 | the two main female protagonists. |
| 39 | |
| 40 | [[Film]] |