{"id":60845,"date":"2018-10-03T01:11:27","date_gmt":"2018-10-03T05:11:27","guid":{"rendered":"http:\/\/dbsjeyaraj.com\/dbsj\/?p=60845"},"modified":"2020-10-01T08:26:29","modified_gmt":"2020-10-01T13:26:29","slug":"60845","status":"publish","type":"post","link":"https:\/\/dbsjeyaraj.com\/dbsj\/?p=60845","title":{"rendered":"Actor Sivaji Ganesan Was An Oasis In The Desert Of Tamil Films."},"content":{"rendered":"


\nBy
\nD.B.S.Jeyaraj<\/strong><\/em><\/p>\n

\u2018Indian Film,\u2019<\/strong> first published in 1963 and co-authored by former Columbia University Professor Erik Barnouw and his student Dr. Subrahmanyam Krishnaswamy, is considered a seminal study of the evolution and growth of Indian cinema. The book is cited even now as a standard reference by those teaching, studying or writing about the film industry in India. The following excerpt from the book is about Sivaji Ganesan who is regarded as the greatest actor in post-independence Tamil cinema:<\/p>\n

\"\"<\/a>

Villupuram Chinnaiahpillai Ganesan ~ Sivaji Ganesan, (1 October 1928 \u2013 21 July 2001)<\/p><\/div>\n

\u201cIn Madras one of the most astonishing phenomena is film star Sivaji Ganesan. Among southern film stars only M.G. Ramachandran, the star associated with the Dravidian movement, has in recent years come close to him in status. For some years a leading Madras theatre has shown only films starring Sivaji Ganesan. This has not been difficult, for he stars in innumerable films.\u201d<\/p>\n

\u201cFor some years it has seemed risky for any producer to produce a Tamil film not starring Sivaji Ganesan. He produces films himself but also appears in the production of others. He is always involved in many projects simultaneously, doling out a morning of shooting time here, an afternoon there, while numerous producers wait nervously for his next moment of availability. It is common for films made under these circumstances to be in production one, two or three years, or even more.\u201d <\/p>\n

\u201cFor some years in the Madras film industry scores of film workers \u2013 producers, directors, actors, writers, technicians \u2013 have at all times been dependent on the favorable decisions of Sivaji Ganesan. His nod secures financial backing. Because of his central importance, script, cast and choice of director are all subject to his approval. During his precious appearances at the studio he works with speed and precision, and can be so charming to co-workers that he is adored by all. Then he is off again, leaving anxiety as to when he will return once more.\u201d<\/p>\n

\u201cIn appearance he does not especially conform to any hero pattern. He is, on the contrary, squat and stockily built. But his fine voice has a large range of expressiveness, and he can play such a variety of roles that almost any starring role is offered to him \u2013 comic or tragic \u2013 without regard to suitability. Such is his standing, so precious his time, that no director dares direct him, and his scenes are often completely out of key with other portions of a film. Seldom has a substantial talent been used so recklessly \u2013 or so profitably. He has amassed a fortune and carries on well-organised and well-publicised charities.\u201d
\n
\n47-Year-Long Film Acting Career<\/strong><\/p>\n

The excerpted passages from the book written by Barnouw and Krishnaswamy relates to Sivaji Ganesan at a time when the actor was in the zenith of his 47-year-long film acting career. From his first film \u2018Paraasakthi\u2019 in 1952 to his last film \u2018Pooparikka Varugiroam\u2019 in 1999, Sivaji Ganesan acted in 307 movies in all. Of these 296 were in the Tamil language; six were in Telugu; two each in Hindi and Kannada. One in Malayalam. At a time when the success of a film was gauged by the number of days it was screened at a stretch in theatres, 178 of his movies ran for more than a 100 days in cinema halls; 16 of these ran for 25 weeks celebrating silver jubilees.<\/p>\n