![](/uploads/1/2/7/5/127581235/205918501.jpg)
Born | September 27, 1971 (age 48) Chennai, Tamil Nadu, India |
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Occupation | Film director |
Years active | 1996–present |
Sathi Leelavathi (2012), drama released in Telugu language in theatre near you in Mandla. Know about Film reviews, lead cast & crew, photos & video gallery. Take a look at even more movies and TV shows that were so nice they made 'em twice (at least). Kamal Haasan and Kovai Sarala in Sathi Leelavathi (1995) Ramesh Aravind, Kamal. Stars: Kamal Haasan, Prabhu Deva, Soundarya.
Mu. Kalanjiyam is an Indian film director, who has made Tamil films. A winner of Tamil Nadu State Film Award for Best Story Writer, Kalanjiyam has also featured in the lead role in his films.
Career[edit]
Kalanjiyam's first film Poomani featuring Murali and Devayani won commercial and critical acclaim and the director won the Tamil Nadu State Film Award for Best Story Writer for 1996. His next venture, the rural drama Kizhakkum Merkkum, starring Napoleon with Devayani also won positive reviews.[1] He returned with another film, Poonthottam, with the cast of his first film; but the film went unnoticed as a result of the bigger budget films which released around the same period.[2] He then made Nilave Mugam Kaattu (1999) starring Karthik and Devayani, which became his fourth consecutive film with the actress, though the film was panned by critics who cited the director 'disappoints with this well-worn tale of friends sacrificing love for friendship.'[3] Kalanjiyam later started a film titled Kesavan with Sarathkumar and Rambha which was later shelved, before going on to make the Prabhu-starrer Mitta Miraasu in 2001.[4]
In 2002, the director resurfaced with a project titled Sathamintri Muthamidu which was set to be the launch for actor Mayur, Devayani's younger brother, and actress Anjali though the film later failed to materialize.[5][6][7] He also began two other films with Anjali, Valiba Desam and En Kanavu Thaanadi, though those also failed to materialize. In 2010, following actress Anjali's rise to fame, she made a goodwill gesture by agreeing to be a part of a few of Kalanjiyam's future films, noting she considered him her mentor. The director returned with his next film, Karungali in 2011, which saw himself play the lead role of a drug peddler alongside an ensemble cast including Anjali, Sunitha Varma and Asmitha. The film opened to unanimously poor reviews, with a critic noting that the film was a 'crude affair', citing that the 'subject in question is too heavy and has been handled in an insensitive way, making the film come across as a cheap, sex thriller.'[8][9] The film was later dubbed and released in Telugu as Sathi Leelavathi, with the director creditting himself under the name Prabhakaran.[10]
In 2013, it was reported that he was working on another project titled Oor Suttri Puranam with Anjali again, with the actress suffering a freak accident on the sets of the film.[11] In a turn of events, Anjali filed charges against the film-maker noting he had been advising her step-mother on various issues and feared that she was being harassed by him.[12] The film has since been stalled and Kalanjiyam subsequent sought an industry wide ban against the actress for failing to complete the film.[13] In 2014, he worked as an actor in Kathiravan's Kodai Mazhai and landed in trouble for slapping actress Sri Priyanka during the making of the film, prompting her faint on location. He was involved and injured in a fatal accident in August 2014, when a car he was travelling in had toppled in Andhra Pradesh, killing a co-passenger.[14]
Filmography[edit]
Year | Film | Credited as | Language | Notes | |
---|---|---|---|---|---|
Director | Actor | ||||
1996 | Poomani | N | Tamil | Tamil Nadu State Film Award for Best Story Writer | |
1998 | Kizhakkum Merkkum | N | Tamil | Tamil Nadu State Film Award for Best Film Portraying Woman in Good Light | |
Poonthottam | N | Tamil | |||
1999 | Nilave Mugam Kaattu | N | Tamil | ||
2001 | Mitta Miraasu | N | Tamil | ||
2011 | Karungali | Tamil | |||
2016 | Kathiravanin Kodai Mazhai | N | Tamil | ||
2017 | Kalavu Thozhirchalai | N | Tamil | ||
2019 | Munthirikaadu | N | Tamil |
References[edit]
- ^'Kizhakkum Merkum: Movie Review'. Webcache.googleusercontent.com. 5 September 2013. Archived from the original on 24 September 2015. Retrieved 15 September 2013.CS1 maint: BOT: original-url status unknown (link)
- ^'PoonthOttam: Movie Review'. Webcache.googleusercontent.com. 5 September 2013. Archived from the original on 13 March 2013. Retrieved 15 September 2013.CS1 maint: BOT: original-url status unknown (link)
- ^https://web.archive.org/web/20120909110827/http://www.thenisai.com/tamil/movies-cinema/nilave-mugam-kaattu-tamil-movies.htm. Archived from the original on 9 September 2012. Retrieved 8 April 2013.Missing or empty
|title=
(help) - ^http://www.geocities.ws/gokima/may2001.html
- ^https://web.archive.org/web/20030805141512/http://www.chennaionline.com/entertainment/filmplus/ntlaunch.asp
- ^'Anjali signs handful - Tamil Movie News'. Indiaglitz.com. 27 July 2010. Retrieved 15 September 2013.
- ^'Tamil movies : Will luck favor 'Boys' fame Nakul this time?'. Webcache.googleusercontent.com. 2 September 2013. Archived from the original on 18 September 2015. Retrieved 15 September 2013.CS1 maint: BOT: original-url status unknown (link)
- ^'Movie Review : Karungali'. Sify.com. Retrieved 15 September 2013.
- ^'Karungali Tamil Movie Review - cinema preview stills gallery trailer video clips showtimes'. Indiaglitz.com. 29 July 2011. Retrieved 15 September 2013.
- ^'Name change for Kalanjiyam - Times Of India'. Articles.timesofindia.indiatimes.com. 2 July 2012. Retrieved 15 September 2013.
- ^'Freak accident on the sets, Anjali suffers electric shock, Anjali, Kalanjiyam'. Behindwoods.com. 9 March 2013. Retrieved 15 September 2013.
- ^'Anjali alleges harassment'. Chennaivision.com. Retrieved 15 September 2013.
- ^'Kalanjiyam: I will drag Anjali to court - KOLLY TALK'. KOLLY TALK. Retrieved 19 September 2014.
- ^'Director Kalanjiyam Meets With an Accident - Silverscreen.in'. Silverscreen.in. Retrieved 19 September 2014.
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Kalanjiyam&oldid=918416044'
Running time200 minutesCountryIndiaLanguageTamilSathi Leelavathi ( transl. Leelavathi, the Chaste Wife, pronounced ) is a 1936 Indian directed by, and produced by A. Marudachalam Chettiar. It is based on 's novel of the same name, which was in 1934 in the magazine.
The film has an, including, M. Nammalvar, T. Lakshmana Rao, M. Gnanambal, Santhakumari, M. In Sathi Leelavathi, Krishnamurthy, a wealthy -based man is lured into drinking by his friend Ramanathan and brings misery on himself.
Believing that he murdered his other friend Parasuraman in a drunken stupor, Krishnamurthy flees to to live anonymously; his wife Leelavathi and daughter Lakshmi are reduced to poverty.Although Chettiar initially wanted to produce a film version of the Madurai Original Boy's Company (MOBC) theatre troupe play Pathi Bhakthi, was already being made without him. Madras Kandaswamy Mudaliar, who wrote the MOBC play, later told Chettiar about Vasan's novel, which had the same storyline. After Chettiar obtained the rights to make a film version of the novel, Mudaliar began writing the screenplay of Sathi Leelavathi. It was Dungan's directorial debut and the film-acting debuts of Radha, Balaiah, Ramachandran and; all except Thangavelu were theatre actors associated with the MOBC. Sathi Leelavathi was the first film on which Krishnan worked, and his second release. The film was shot primarily in Madras at Vel Pictures Studio.
Cinematography was handled by D. Telang and V.
Shave, and Dungan co-edited the film with Sircar.Sathi Leelavathi explores themes such as temperance, social reform, selfless service and the plight of labourers. It was one of the earliest Tamil films which was the subject of a court case involving copyright violation; the MOBC accused its filmmakers of plagiarising the Pathi Bhakthi play. The case was resolved when Vasan testified that both the play and the novel were based on the British writer 's 1860 novel Danesbury House, therefore neither party could claim originality. Sathi Leelavathi was released on 28 March 1936.
The film was a commercial success, and made Dungan a sought-after director; several features he introduced in Sathi Leelavathi became staples of, including strict discipline, shooting by schedule, camera mobility, cabaret dances and less-theatrical acting. No complete print of the film is known to survive, making it a, but what remains is preserved in the West Virginia State Archives. Contents.Plot Krishnamurthy is a wealthy man who lives with his wife, Leelavathi, and daughter, Lakshmi, in. He is lured into drinking and other vices by a friend, Ramanathan, at a mock tea party; Ramanathan's collaborator is Rangiah Naidu, a corrupt police inspector. Krishnamurthy is captivated by Mohanangi, a promiscuous woman. Infatuated, he promises to pay her ₹50,000 (about US$18,700 in 1936).Parasuraman, Krishnamurthy's true friend, tries unsuccessfully to reform him. A who lent a large sum to Krishnamurthy obtains a, sinking Krishnamurthy deeper in debt.
Drunk, he accuses his wife of having an with Parasuraman. When Parasuraman arrives at Krishnamurthy's house while he is not present, Leelavathi warns him to leave. Parasuram leaves, forgetting his umbrella. Krishnamurthy comes home drunk, and sees Parasuraman's umbrella. He beats Leelavathi and goes out with a revolver to shoot Parasuraman. Meanwhile, Ramanathan sends his servant (disguised as Parasuraman) to steal the treasuries of the.Krishnamurthy chases the man he thinks is Parasuraman; a shot is heard, and a man lies dead. Krishnamurthy comes to his senses, thinks he has murdered Parasuraman and decides to escape, leaving Leelavathi and Lakshmi in the custody of his faithful servant Govindan.
He flees to, where he leads a wretched life as a nameless labourer on a tea estate. Ramanathan makes advances to Leelavathi, who spurns him. Penniless, she goes with Govindan and Lakshmi and leads a meagre life as a spinner.
Krishnamurthy finds a treasure and gives it to his master, who is pleased and adopts him as his son.Krishnamurthy returns to Madras to be with his family, but is arrested for Parasuraman's murder. Detective Sreenivasan's investigation reveals the malicious wiles of Ramanathan and Rangiah, and he produces the real Parasuraman (disguised as an old man) in court. Parasuraman reveals himself, proving Krishnamurthy's innocence. Ramanathan had been secretly following the drunken Krishnamurthy, who passed out and dropped his gun. When the servant came out, Ramanathan picked up the gun, shot him and placed the gun back in Krishnamurthy's hand, making it look as if Krishnamurthy murdered Parasuraman. Krishnamurthy is acquitted, and rejoins his family. Ramanathan is sentenced to death, and Rangiah receives seven years' imprisonment.
Lakshmi and Chandrakanthan (Parasuraman's son) eventually marry. Male cast. as Krishnamurthy.
as Ramanathan. as Inspector Rangiah. as Sreenivasan. M. Mani as Lakshmi.
P. Nammalvar as Parasuraman. T.
Lakshmana Rao as Govindan. P. Ramakrishnan as DevoteeFemale cast.
M. Gnanambal as Leelavathi. Dhanalakshmi as Bama. Santhakumari as Mohanangi.
M. Chanthraboi as ShanbagavalliComedians.
M. Murugesan as Marvadi. as Balu. S.
Sundaram as Sesha IyengarAdditionally, J. Susheela Devi plays an uncredited cabaret dancer, and plays a minor role, also uncredited.Production Development Pathi Bhakthi was a play, written by Te. Krishnaswamy Pavalar during the 1930s, which dealt with the problem of alcohol and its impact on family life. The play was staged successfully throughout the. Pavalar's play was re-written for the Madurai Original Boy's Company (MOBC) theatre troupe by playwright Madras Kandaswamy Mudaliar, and was staged over 150 times. Marudachalam Chettiar of Manorama Films wanted to produce Pathi Bhakthi as a film, but to his dismay, was already being made without him. To please Chettiar, Mudaliar told him that a novel, Sathi Leelavathi ( in 1934 in the weekly magazine), had the same storyline as Pathi Bhakthi.
Both approached the novel's author, who gave them its film rights for ₹200 (about $75 in 1936). Mudaliar soon began developing the screenplay. Vasan was credited in Sathi Leelavathi 's opening titles for the original story in his film debut.Chettiar wanted Manik Lal Tandon to direct the film, but he declined. Tandon introduced Chettiar to his American friend, and suggested that Dungan direct it instead.
Chettiar was hesitant because Dungan was new to India and did not know Tamil (or much about Indian culture), but the fact that Dungan had worked in Hollywood convinced Chettiar. The film was Dungan's. Sathi Leelavathi was later listed in the as the first Indian film 'directed by a foreigner'. Because Dungan did not know Tamil, Chettiar hired C. Sathasivan as associate director. Panju, later known as half of the directorial duo, was an assistant director.Sathi Leelavathi was one of the earliest Tamil films which was the subject of a court case involving copyright violation. When it was still in the pre-production stage, MOBC sued Chettiar and Mudaliar for plagiarising the Pathi Bhakthi play.
Many similarities were noted between the two stories, including the female leads having the same name (Leelavathi). The case was resolved when Vasan testified that both the Pathi Bhakthi play and the Sathi Leelavathi novel were based on the British writer 's 1860 novel, Danesbury House; therefore, neither party could claim originality. Leelavathi (M. Gnanambal), Krishnamurthy (M. Radha) and Lakshmi (M. Mani)Mudaliar wanted to launch his son, a theatre actor, in film with Pathi Bhakthi, but could not because another theatre actor, K.
Kesavan, had been finalised for the lead role. This allowed Radha to be cast in Sathi Leelavathi as Krishnamurthy, the male lead, in his cinematic acting debut. Three other MOBC actors also made their film debuts in Sathi Leelavathi:,. Balaiah, credited as Baliah, played the antagonist Ramanathan, and Krishnan played the comic character Balu. Although Sathi Leelavathi was Krishnan's first film project, (1935) which he signed later, was his first release; Sathi Leelavathi was his second because of production delays caused by the lawsuit.Ramachandran appeared in Pathi Bhakthi as the antagonist's henchman, Veeramuthu, but MOBC owner Sachidanandam Pillai did not offer him an opportunity to appear in the film adaptation.
He later approached Mudaliar for a better role in Sathi Leelavathi, since he felt that his role in Pathi Bhakthi had 'no room to shine'. According to Ramachandran, he was told that he would play the detective and (later) Krishnamurthy's friend Parasuraman, but he was cast as Inspector Rangiah Naidu – a role he disliked.
He was paid an advance of ₹100 (about $37.50 in 1936) for acting in the film, and his total fee was ₹300 (about $112.40). It was the first time Ramachandran had seen a. Chettiar gave the role of the detective, Sreenivasan, to without Mudaliar's knowledge.
Despite Ramachandran's reluctance to play Rangiah, his mother was happy that he got a 'respectable' role and advised him to perform it responsibly.The casting of Krishnamurthy's wife, Leelavathi, was difficult; no actress was willing to play the character, since the script required her to be physically abused and mistreated by her inebriated husband. In desperation, the exhausted producer asked Mudaliar and Radha to cast M. Gnanambal (Radha's wife) in the role. Gnanambal, who had retired from acting after her marriage to Radha, was initially reluctant to accept the role and came out of retirement to play it because no other actress would do so. Leelavathi's daughter, Lakshmi, was played by M.
Kentucky derby program sheet. Omaha Beach (SCR) 13. Code of Honor (John Velazquez, 15-1) 14. Win Win Win (Julian Pimentel, 15-1) 15.
Mani (a boy). Nammalvar was cast as Parasuraman, T. Lakshmana Rao as the family servant Govindan, and P. Ramakrishnan as a devotee of the god. Dhanalakshmi played Bama; Santhakumari played Mohanangi, a promiscuous woman; and M. Chanthraboi played Shanbagavalli.Krishnan appeared in the comic subplot, and wrote the screenplay for his scenes.
He put on weight in preparation for the role. Other comic actors were M. Murugesan as a moneylender and S. Sundaram as Sesha Iyengar., a theatre artist associated with the Rajambal Company troupe, also made his film-acting debut in a minor, uncredited role. Susheela Devi played an uncredited cabaret dancer.
Ramachandran's brother, (also an MOBC actor), approached Mudaliar for a role but was not cast; however, he watched the filming and absorbed 'the new art form that was cinema'. Parasuraman's son Chandrakanthan, Ramanathan's servant and Krishnamurthy's master in Ceylon were played by actors not credited in the film's opening titles or its official. Filming Sathi Leelavathi was launched in 1935.
Although Manorama Films was in, the film was shot primarily at Vel Pictures Studio on Eldams Road in. In a 1994 interview with Ananda Vikatan, Dungan said that during the first few days of shooting Ramachandran did not understand the nuances of film acting; he was delivering the dialogues aggressively, as if on stage, and was overacting. Dungan said that he corrected this and advised Ramachandran to deliver the dialogues naturally. He wrote in A Guide to Adventure, his 2001 autobiography, that most of the cast were theatre actors and he was tasked with 'subduing their voices and facial expressions'. According to Dungan, when the actors faced the camera, they often froze and did not speak because it 'frightened' them.
One scene required Ramachandran to ride a bicycle, and Dungan was nonplused when he realised that the actor did not know how to ride one. Eventually, Ramachandran sat on the bicycle (with two people balancing it) and was given a push as the camera rolled.Film historian wrote in the book Saadhanaigal Padaitha Thamizh Thiraipada Varalaru that shooting was also done in Ceylon; historian, however, wrote in the fortnightly that a large plot of land behind Vel Pictures Studio stood in for the Ceylon tea plantation seen onscreen. With this film, Dungan introduced many features to Tamil cinema such as a lack of on-screen stage influences, the 'cabaret dance' (also known as the 'club dance'), strict discipline, shooting by schedule and camera mobility.
Since there was no facility to pre-record songs in Madras at the time, performers had to sing on set. The accompanying musicians sat on a trolley outside the camera range and played the background musical score; this often restricted camera movement. In one scene, the orchestra sat under a nearby tree playing the, and other instruments while Radha's character sang at a tea plantation.
The film's cinematography was by D. Telang and V. Shave, and Sircar and Dungan were the editors. Ramamurthi, manager of Vel Pictures Studio, cleaned all the exposed negatives by hand. The completed film was 18,000 feet (5,500 m) in length, equivalent to 200 minutes. Themes Sathi Leelavathi explores the themes of, social reform, the concept of selfless service, and labour – in particular, the plight of labourers on Ceylon's tea estates.
![Sathi leelavathi serial actress list Sathi leelavathi serial actress list](/uploads/1/2/7/5/127581235/913861551.jpg)
The film also highlights the problems caused by alcoholism. According to Ramachandran, the film had a theme 'after his own heart'. It depicts as the noblest ideal of Indian women. Music The music composer of Sathi Leelavathi is not credited in the film's. Sundhara Bhagavathar (also known as Sundhara Vadhiyar) was the lyricist in his cinematic debut. The melody of 'Theyila Thottathle' (also spelt 'Theyilai Thottatile') is based on 's poem, 'Karumbu Thottathile', with new lyrics. The original poem deals with the plight of bonded Indian labourers in, and the song explores the problems of tea-plantation workers in Ceylon.
The song, which is set in the known as Chenchurutti, became popular and was frequently performed in concerts. It was re-used in the film, (1938), as 'Jaathaka Doshathale'. The other songs featured in the film were 'Thaayadhu Vayatrile Maayamai', 'Thodudaiya Seviyan Vidai', 'Hello Yennudaiya Dear', 'Adhigha Sinamaen', 'Paadhai Theriyamale', 'Ini Yenna Seighuvaen Dhaeviyae', 'Sadhikaaramaaranovubaanam', 'Kaami Satthiyamaa Kannatthaik', 'Pudhu Nilaa Mughap Poomaan Punniya', 'Kallae Kadavuladaa Thambi', 'Vaazhvinilae Maghaa Thaazvadaindhaenaiyo', 'Undheepara Adhi Unnadha Thakkaliyae' and 'Raattinamae Kadhar Poottinamae Kai'.
Release and reception Sathi Leelavathi was released on 28 March 1936, and emerged a major commercial success. According to film historian Aranthai Narayanan, this was due to Radha, Balaiah and Krishnan's performances, Vasan's publicity, and support by independence-era politicians of the.
The film ran for over 100 days in theatres.In its January 1937 issue, the art magazine Aadal Paadal praised the film's social setting and acting. Politician, a critic of cinema in general, watched Sathi Leelavathi and appreciated its Gandhian ideals and pro-prohibition stance, but said caustically that 'the main artiste in a charkha-spinning sequence did not know how to handle it'. A day's box-office revenue was donated to him for public causes. Playwright and retired praised Radha for performing a 'difficult part very creditably', and noted that the music was appropriate.praised Radha's performance for its 'naturalness and ease', Balaiah's villainy and Gnanambal's performance in the 'difficult role' of Leelavathi in a 14 February 1936 review. The reviewer also praised Sathi Leelavathi 's sound quality, photography and direction. Called the film more 'interesting, natural and convincing' than the source novel that day, praising the plot's continuity and climax. A Cine Art Review writer appreciated the film's settings and sound, the of M.
Mani as Lakshmi, and the opening scene in which Lakshmi hums a tune while going downstairs. A reviewer from The Indian Review wrote that the film 'appeals to all classes and masses of the Tamil province.' Several new filmmaking techniques introduced by Dungan were unappreciated at the time. In Silver Screen magazine on 1 August 1936, Pe. Sundararajan (journalist and writer for ) said that the new methods of depicting emotions were not understood by the audience; in one scene, Dungan showed the dancing girl as seen by the inebriated protagonist, and in another, Dungan indicated his fear with his twitching fingers and feet.
According to Sundararajan, the techniques helped the actors to emote and showcased Dungan's talent; however, an unsophisticated audience thought that the lighting was poor in the first scene and the film was stuck in the second. Legacy Sathi Leelavathi attained cult status in Tamil cinema, and made Dungan an in-demand director. It was the first successful Tamil film in overseas markets. The features introduced by Dungan in the film became staples of Tamil cinema. Despite Vasan's initial aversion to films, film historian Swarnavel Eswaran Pillai noted that Sathi Leelavathi 's success encouraged him to enter the industry as a distributor.
Ramachandran avoided playing roles similar to Rangiah Naidu in his later films, preferring to play a 'good Samaritan' in films such as (1951), (1954), (1958) and (1965). According to Randor Guy, the film 'rightly earned its place in the history of Tamil cinema'. No complete print of Sathi Leelavathi is known to survive, however, making it a. What remains of the film is preserved in the West Virginia State Archives. Footage about the making of Sathi Leelavathi was included in, a documentary directed by Karan Bali about Dungan's career in India. ^ (PDF).: Manorama Films.
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