Wednesday, October 26, 2011


RADHE KRISHNA 24-10-2011


Radhe Krishna 24-10-2011

P. Bharathiraja
Born Chinnasaamy Periyamayathevar[1]
July 17, 1941 (age 70)
Alli Nagaram, Theni, Tamil Nadu, India
Other names Iyakkunar Imayam
Occupation Film director, film producer, Actor
Years active 1975-present
Spouse Chandraleelavathi
Awards Padma Shri award for his contribution to Cinema in 2004.
National award for the best screen play writer for Kadal Pookal in 2001.
National Award for Anthimanthaarai in 1996
National Award for Karuththamma in 1994 for being the best film with the a social message

P. Bharathiraja (Tamil: பி. பாரதிராஜா; born 17 July 1941 in Theni, Tamil Nadu, India), is a critically acclaimed South Indian filmmaker.
He displayed a story-teller's potential from an early age. Bharathiraja is known for his realistic and sensitive portrayal of village-life in his movies.
His mother Karuththamma received the National Award from the President on his behalf for his film named after her. Among his other landmark films are 16 Vayathinile, Sigappu Rojakkal, Muthal Mariyathai (with Sivaji Ganesan in the lead), Karuththamma, Alaigal Oivathillai, Mann Vasanai, Vedham Pudhithu, Kizhakku Cheemayile and Anthimanthaarai.
1 Personal life
2 Early days
3 Film career
4 List of film artistes introduced by Bharathiraja
5 Awards
5.1 National Film Awards
5.2 Filmfare Awards South
5.3 Tamil Nadu State Film Awards
5.4 Nandi Awards
5.5 Other awards
6 Controversies
7 Filmography
7.1 As director
7.2 As actor
7.3 As Writer
8 References

Personal life

Bharathiraja was born in Alli Nagaram, a small village near Theni, as Chinnasamy on 17 July 1941. He was the fifth child to his parents, Periya Maya Thevar and Meenatchiammaal alias Karuthammaal in a Tamil Kallar family. He is very different in that he used his mother's name as his initial. K. Bharathiraja is credited with launching the careers of several influential people in Tamil cinema. He is married to Chandra Leelavathi and they have two children - son Manoj (the hero of 'Taj Mahal') and daughter Janani Iswariya.

Early days

His childhood passions were deer hunting and literature. As a full-blooded youth, he aspired to the dream world of film-making. He had an unremitting passion for acting and other theatrical pursuits from his earliest days. He also happened to be a good platform speaker and travelled around, spreading social awareness among the villagers. He got a job as a Sanitary Inspector in the Public Health Department in 1963, at a monthly salary of INR 75.
Bharathiraja wrote, directed and acted in his first dramas "Oor Sirikkirathu" (The Town Laughs) and "Summa Oru Kadhai" (Just a Story) in Theni Pazhani Chettiyapatti village during festival seasons. This kindled his creative spirit and gave him the confidence to seek an opening in the Tamil film industry.
As he moved to Madras to seek his creative future, Bharathiraja staged his "Summa Oru Kadhai" and "Adhigaaram" (Power) with the help of his friends. He also took part in radio dramas and music programs & Kallar Sangam. But since these opportunities were too infrequent to be depended upon for a living, he took up a job in a petrol bunk keeping his cinema ambitions intact and fell in the eyes of the South Indian singing Legend S. P. Balasubrahmanyam who paved his way into film industry.

Film career

Bharathiraja started his film career as an assistant to director P. Pullaiya and Kannada film-maker Puttanna Kanagal. Eventually working with Krishnan Nair, Avinasi Mani and A. Jaganathan, he learned the grammar of film-making and got his first directorial opportunity in 1977. His first film 16 Vayathinile for which he wrote the script broke convention to create a new genre of village cinema. If there is one influential movie in the modern history of Tamil Cinema, it is 16 Vayathinile (1977). A movie that was, in its maker Bharathirajaa’s own words, "Meant to be black and white art film produced with the help of National Film Development Corporation", but turned out to be a commercially successful color film and a starting point for several important careers – including that of Bharathirajaa.
Most, if not all, Tamil films were studio produced till then. A Cinema village, in general, was colorful and inhibited by ever smiling, healthy artistes. The farming tools used in Black and White movies souled gleam in studio light. Even the poorest of the poor characters were shown with well oiled hair and in sparkling white costumes. The language they spoke was an artificial dialect if not a totally superfluous grammatical Tamil.
Bharathirajaa’s 16 Vayathinile broke these rules. The camera moved out of the studio with a mission. A mission that would take the viewers on a ride to real Tamil Nadu villages. A mission that would start off a new genre – village cinema – that catered to the audience living in remote villages away from cities and cars and fashion. Coming out of the confines of a studio also lead to the breaking of several unwritten rules. The first of them was the portrayal of the protagonist. A good looking male hero clad in colourful costumes was a must for Tamil films till then. The lead role, Chappani, in 16 Vayathinile was what any other film maker would have relegated to an unimportant side role.Chappani was lame dirty ugly (in spite of Kamal Hassan-the actor donning the role-being a good looking young man ),stammered while he spoke and an IQ of an under 15. Bharathirajaa’s conviction and clarity in the conception of this character turned out to be revolutionary and enormously successful. This film also shown the world how Rajni Kanth can change the world of Villain, in fact, Rajni Kanth dominated the film more than Kamal Hassan. Goundamani was another character which gave power to the film as a side kick to Rajnikanth.
Next, the language flowed. The current that carried the conversations was not cinematic dialect or grammatic perfection but the soul of village Tamil itself. Bharathirajaa, with his pen, captured the sing-songs, the jargon, the cynicism and the allusions of the emotion packed village Tamil.
Costumes were uncomfortably true-to-life, dialogue was as-is-spoken, and village characters were tellingly genuine. As Bharathiraja himself agrees, the film was expected to bring in lots of accolades - which it did - but to do moderate business at the box office - which it did not. The film was a huge commercial success and kept the cash registers jingling even after several re-releases.
His next film Kizhakke Pogum Rail produced similar results and eventually brought in criticisms that Bharathiraja was capable of catering only to village audiences. This led him to make Sigappu Rojakkal, about a psychopathic woman hater that was totally Westernized in terms of both conception and production. But contrary to what several observers expected, this film met with box office success and everyone agreed that Bharathiraja was here to stay.
Bharathiraja confirmed his versatility and refusal to be tied down to one particular genre with an experimental film Nizhalgal and an action thriller Tik.. Tik.. Tik. But, undoubtedly rural themes proved to be his forte as his biggest hits in the 80s Alaigal Oivadhillai, Mann Vasanai and Muthal Mariyathai were strong love stories in a village backdrop. Muthal Mariyathai deserves special mention starred veteran actor Sivaji Ganesan in the lead, playing a middle-aged village head. Radha is a poor young woman who moves into his village for a living. The love that bonds these two humans, separated not just by age but also by caste and class, is told by Bharathiraja with poetic touches. Without doubt, this film remains one of the most successful films for both himself and Sivaji Ganesan.
Vedham Pudhithu dealt with the caste issue in a stronger manner. The film's narrative was seamless and starred Sathyaraj as Balu Thevar. It contains some of Bharathiraja's trademark touches as well as several ground-breaking scenes. However, it does follow the anti-Brahmin trend common in Tamil films - in this respect it departed from his earlier success, Alaigal Oiyvadhillai, where the caste and religion factor was given a more balanced treatment. Bharathiraja has successfully managed to modernize his film making techniques for the 1990s. The commercial success of Kizhakku Cheemaiyile and the awards Karuththamma garnered stand as testimony for his ability to thrill the younger generation as well. His mother Karuththamma received the National Award on his behalf from the President in 1994 for the film named after her. Bharathiraja was on the same stage in 1996 to receive another National Award for Anthimanthaarai.
He has plans of making short films with varying themes to attract the international audience and has currently completed his latest venture Kadal Pookal and picked up a national award for the best screenplay writer for the same film. The well-known Tamil film director Bhagyaraj was one of his assistant directors. He has also directed movies in Telugu, Kannada and Hindi.

List of film artistes introduced by Bharathiraja

Bharathiraja introduced many actors and actresses in Indian cinema, for instance:
Goundamani - 16 Vayathinile
Sathyajith - 16 Vayathinile
Raadhika - Kizhake Pogum Rail
Sudhakar - Kizhake Pogum Rail
Bhagyaraj - Puthiya Vaarpugal
Rati Agnihotri - Puthiya Vaarpugal
Vijayashanti - Kallukkul Eeram
Aruna - Kallukkul Eeram
Vagai Chandrasekar - Kallukkul Eeram
Nizhalgal Ravi - Nizhalgal
Rajasekar - Nizhalgal
Rohini - Nizhalgal
Vairamuthu - Nizhalgal (Lyricist for the song "Ithu Oru pon Malai Poluthu")
Karthik Muthuraman - Alaigal Ooivathilai
Radha - Alaigal Ooivathilai
Thiyagarajan - Alaigal Ooivathilai
Pandiyan - Mann Vasanai
Revathi - Mann Vasanai
Ranjani - Mudhal Mariyadhai
Dheepan - Mudhal Mariyadhai
Raja - Kadolara Kavithaigal
Rekha - Kadolara Kavithaigal
Manivannan- NIZHALGAL
Ramaa - En Uyir Thozhan
Babu - En Uyir Thozhan
Ramesh - En Uyir Thozhan
Napolean - Pudhu Nellu Pudhu Naathu
Suganya - Pudhu Nellu Pudhu Naathu
Ruthra alias Aswini- Pudhu Nellu Pudhu Naathu
Rahul- Pudhu Nellu Pudhu Naathu
Ranjitha- Nadodi Thendral
Manoj Bharathiraja - TajMahal
Riya Sen - TajMahal
Uma Shankari- Kadal Pookkal
Priyamani- Kangalal Kaithu Sei
Vaseegaran - Kangalal Kaithu Sei
Rukmini Vijayakumar - Bommalattam


This section does not cite any references or sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2010)

National Film Awards

1982 - National Film Award for Best Feature Film in Telugu for Seethakoka Chiluka
1986 - National Film Award for Best Feature Film in Tamil for Mudhal Mariyathai
1988 - National Film Award for Best Film on Other Social Issues Vedham Pudhithu
1995 - National Film Award for Best Film on Family Welfare for Karuththamma
1996 - National Film Award for Best Feature Film in Tamil for Anthimanthaarai
2001 - National Film Award for Best Screenplay for Kadal Pookal
Filmfare Awards South
Filmfare Best Director Award for Sigappu Rojakkal
Tamil Nadu State Film Awards
Best Director Award for Alaigal Oivathillai
Nandi Awards
Nandi Award for Best Director for Seethakoka Chiluka

Other awards

South Indian Film Technicians : Best Technician Award for Kallukkul Eeram
Indian Panoram Entry : Nizhalgal
Sitara Award for Best Director for Seethakoka Chiluka


He attended the Heroes Day conference at Jaffna and appreciated its heroism and valour.[3] Tamil Nadu Congress president Krishnasamy claimed he met the LTTE's leader, Prabhakaran, accused of planning the assassination of former Indian Prime Minister Rajiv Gandhi and banned in India.
He organized a protest by Tamil Nadu artistes against the Indian state of Karnataka for not releasing Cauvery water at Neyveli. During a SUN TV interview, co-film stars like Sarath Kumar and Radhika who attended the conference accused him of using that opportunity to eulogise ex-Tamil Nadu chief minister Jayalalitha and launching attacks on Rajinikanth's ethnicity.[4][5]
A staunch supporter of the Eelam Tamils and their right to self determination, Bharathiraaja has expressed full support for the independence of Tamil Eelam.
Bharathiraja returned his Padma Shri because he felt that his emotions as a Tamilian supporting fellow Tamilians in Eelam were not heard by the Government of India


As director

Year Film language Notes
1977 16 Vayathinile Tamil
1978 Kizhakke Pogum Rail Tamil
1978 Sigappu Rojakkal Tamil
1979 Solva Sawan Hindi
1979 Puthiya Vaarpugal Tamil
1979 Niram Maaratha Pookkal Tamil
1980 Kallukkul Eeram Tamil
1980 Nizhalgal Tamil
1980 Kotha Jeevithalu Telugu
1980 Red Rose Hindi
1981 Alaigal Oivathillai Tamil
1981 Valibamey Vaa Vaa Tamil
1981 Tik Tik Tik Tamil
1981 Seethakoka Chiluka Telugu
1982 Kathal Oviyam Tamil
1983 Man Vasanai Tamil
1983 Lovers Hindi
1984 Oru Kaidhiyin Diary Tamil
1984 Pudhumai Penn Tamil
1985 Yuvadharam Pilicindi Telugu
1985 Mudhal Mariyathai Tamil
1985 Ee Tharam Illalu Telugu
1986 Saveray Wali Gaadi Hindi
1987 Kadalora Kavithaigal Tamil
1988 Jamadagni Telugu
1987 Vedham Pudhithu Tamil
1987 Aradhana Telugu
1988 Kodi Parakuthu Tamil
1990 En Uyir Thozhan Tamil
1991 Pudhu Nellu Pudhu Naathu Tamil
1991 Garuda Dhwaja Kannada
1992 Nadodi Thendral Tamil
1992 Captain Magal Tamil
1993 Kizhakku Cheemayile Tamil
1994 Karuthamma Tamil
1995 Pasum Pon Tamil
1996 Tamizh Selvan Tamil
1996 Anthimanthaarai Tamil
1999 Taj Mahal Tamil
2001 Kadal Pookal Tamil
2003 Eera Nilam Tamil
2004 Kangalal Kaidhu Sei Tamil
2008 Bommalattam Tamil

As actor

Year Film Notes
2004 Aayutha Ezhuthu Directed by Mani Ratnam
2010 Rettaisuzhi

As Writer

Padaharella Vayasu (1978)
Karishma (1984)
Palnati Pourusham (1994)


[hide]v · d · eNational Film Award for Best Screenplay
Satyajit Ray (1967) · S. L. Puram Sadanandan (1968) · Pandit Anand Kumar (1969) · Puttanna Kanagal (1970) · Satyajit Ray (1971) · Tapan Sinha (1972) · Gulzar (1973) · Mrinal Sen and Ashish Burman (1974) · Satyajit Ray (1975) · no award (1976) · Vijay Tendulkar (1977) · Satyadev Dubey, Shyam Benegal, Girish Karnad (1978) · T. S. Ranga and T. S. Nagabharana (1979) · Sai Paranjpye (1980)
Mrinal Sen (1981) · K. Balachander (1982) · Mrinal Sen (1983) · G V Iyer (1984) · Adoor Gopalakrishnan (1985) · Bhabendra Nath Saikia (1986) · Budhdhadeb Dasgupta (1987) · Adoor Gopalakrishnan (1988) · Arundhati Roy (1989) · M. T. Vasudevan Nair (1990) · K. S. Sethumadhavan (1991) · M. T. Vasudevan Nair (1992) · M. T. Vasudevan Nair (1993) · Satyajit Ray (1994) · M. T. Vasudevan Nair (1995) · Saeed Akhtar Mirza and Ashok Mishra (1996) · Agathiyan (1997) · Rituparno Ghosh (1998) · Ashok Mishra (1999) · Madampu Kunjukuttan (2000)
Bharathiraja (2001) · Neelakanta (2002) · Aparna Sen (2003) · Gautam Ghose (2004) · Manoj Tyagi and Nina Arora (2005) · Prakash Jha, Manoj Tyagi and Shridhar Raghavan (2006) · Abhijat Joshi, Rajkumar Hirani and Vidhu Vinod Chopra (2007) · Feroz Abbas Khan (2008) · Sachin Kundalkar (2009)
P. F. Mathews and Harikrishna (Original Screenplay); Gopal Krishan Pai and Girish Kasaravalli (Adapted Screenplay); Pandiraj (Dialogues) (2010) · Vetrimaaran (Original Screenplay); Anant Mahadevan and Sanjay Pawar (Adapted Screenplay); Sanjay Pawar (Dialogues) (2011)

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