#S. Balachander

[bollywoodirect]

43 Years of Ek Duuje Ke Liye (05/06/1981)

Ek Duuje Ke Liye is directed by K. Balachander. Written by K. Balachander (original story and screenplay) and Inder Raj Anand (dialogues), it was a remake of the director's own Telugu movie Maro Charitra (1978), which also featured Kamal Haasan in the lead role. The film, produced by L. V. Prasad, was labeled a "blockbuster" at the box office in 1981.

The film's cast includes Kamal Haasan, Rati Agnihotri, Madhavi, Raza Murad, Rakesh Bedi, Poornam Viswanathan, Satyen Kappu, Shubha Khote, Asrani, Arvind Deshpande, Athili Lakshmi, and Sunil Thapa.

The cinematography was handled by B. S. Lokanath, and it was edited by N. R. Kittoo. The music, composed by Laxmikant-Pyarelal with lyrics by Anand Bakshi, significantly contributed to its success. The film received critical acclaim upon release, winning a National Film Award and earning 13 Filmfare nominations, eventually winning three.

[mysticalblizzardcolor]

Listen/purchase: Indian Classical - Raga Patdeep by S Balachander

[padhegaindiabook]

Tipu Sultan The Saga of Mysore’s Interregnum (1760–1799)

Publisher:Vintage Books

| Author: Vikram Sampath

| Language: English

| Format: Hardback

₹1,499 ₹899 Save: 40%

Releases around 28/10/2024

Ships within:

This book is on PRE-ORDER, and it will be shipped within 1-4 days after the release of the book.

Note : Price and release dates of pre-order books may change at the publisher's discretion before release.

In stock

ISBN: 9780670094691

Categories: History, Preorder

Page Extent: 984

Over two centuries have passed since his death on 4 May 1799, yet Tipu Sultan’s contested legacy continues to perplex India and her contemporary politics. A fascinating and enigmatic figure in India’s military past, he remains a modern historian’s biggest puzzle as he simultaneously means different things to different people, depending on how one chooses to look at his life and its events.

Tipu’s ascent to power was accidental. His father Haidar Ali was a beneficiary of the benevolence of the Maharaja of Mysore. But in a series of fascinating events, the Machiavellian Haidar ran with the hare and hunted with the hounds; he ended up overthrowing his own benefactor and usurping the throne of Mysore from the Wodeyars in 1761. In a war-scarred life, father and son led Mysore through four momentous battles against the British, termed the Anglo-Mysore Wars. The first two, led by Haidar, brought the English East India Company to its knees. Chasing the enemy to the very gates of Madras, Haidar made the British sign such humiliating terms of treaties that sent shockwaves back in London.

In the hubris of this success, Tipu obtained the kingdom on a platter, unlike his father, who worked up the ranks to achieve glory. In a diabolical war thirst, Tipu launched lethal attacks on Malabar, Mangalore, Travancore, Coorg, and left behind a trail of death, destruction and worse, mass-conversions and the desecration of religious places of worship. While he was an astute administrator and a brave soldier, the strategic tact with opponents and the diplomatic balance that Haidar had sought to maintain with the Hindu majority were both dangerously upset by Tipu’s foolhardiness on matters of faith. The social report card of this eighteenth-century ruler was anything but clean. And yet, one simply cannot deny his position as a renowned military warrior and one of the most powerful rulers of Southern India.

Discover the captivating life of Tipu Sultan in Tipu Sultan: The Saga of Mysore’s Interregnum (1760–1799), set to release in October in India. This new book, meticulously researched by historian Vikram Sampath, explores the complex and controversial legacy of one of India’s most powerful rulers. From his military conquests during the Anglo-Mysore Wars to his influence on Southern Indian history, this book provides an authoritative account of Tipu Sultan’s reign. Perfect for history enthusiasts and scholars alike, this upcoming release promises to be a must-read!

About Author

Bangalore-based historian Vikram Sampath is the author of seven acclaimed books, including Splendours of Royal Mysore: The Untold Story of the Wodeyars; My Name Is Gauhar Jaan: The Life and Times of a Musician; Voice of the Veena: S Balachander: A Biography; Women of the Records and Indian Classical Music and the Gramophone: 1900-1930. His latest books, published by Penguin Random House India, are the two-volume biography Savarkar: Echoes from a Forgotten Past and Savarkar: A Contested Legacy, 1924-1966. Both the volumes have gone on to become national best sellers.

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[ajnabi57]

Sangeeta Madras: Music Magic from South India

Balachander Carnatic music like this–soulful and melodic–is indeed magical. Here is a nice record of film maker and veena player S. Balachander doing his magic. Balachander

[madhansband]

Song of the week from the previous show:

Anjali Anjali + Roja Roja + Chinna Chinna Aasai - Instrumental Mashup By Madhan's Band | Wedding BGM

Video link: https://youtu.be/cuRY5_0oIGI

For Event Bookings and Enquiries: Call: +919840153443 / +919786766666

Thanking heartily to Mr & Mrs. Vasanth from U.S.A for giving us the opportunity to perform at their family wedding on 30th Jan 2023, Chennai.

Music Band: Madhan's Band & Team

Kindly Support us with your reviews by giving us 5 Star Ratings and by your valuable comments.

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Services we offer: -Corporate Events -Virtual Events -Weddings & parties -Abroad Shows -Musical Instruments Rental

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Original Song Credits:

Song1: Anjali Anjali Movie: டூயட் - Duet -1994 Singer: S. P. Balasubramaniam Lyrics: Vairamuthu Music: A. R. Rahman Starring: Prabhu, Meenakshi Sheshadri and Ramesh Aravind

Song2: Roja Roja Starring Kunal Singh, Sonali Bendre Movie Kadhalar Dhina mMusic ByA R Rahman Lyric By Vaali Singers: P. UnnikrishnanYear 1999

Song3: Chinna Chinna Aasai Movie: Roja Singer: Minmini Music Director: Padma Bhushan A R Rahman Lyrics: Padma Bhushan Vairamuthu Director: Padma Shri Mani Ratnam Producer: Padma Shri K Balachander

madhansband #arrahman #armusicals #arrahmansongs #arrrahmansong #instrumentalcovers #musicband #wedding #marriageorchestra #instrumental #livemusicband #weddingmusicband #corporateevents #tamilwedding #weddingentertainment #weddingevent #weddingsongstamil #flute #fluteinstrumental #saxaphone #violinbgm #violincover #violininstrumental #violinweddingbgm #weddingbgm #tamilwedding #weddingplanners #events #eventmanagement #eventmanagementcompany #eventmanagers #chennaimusicband

[theexpressoutlet]

What is the most important aspect of a Ragam Thaanam Pallavi concert? S.Balachander Lecdem in Indian Fine Arts Society in December 1986 source

[unsungtunes]

An absolutely riveting full length concert on the Veena by the inimitable S Balachander whose name is synonymous with the instrument. Not a moment spent in the inessential.

[news24fresh]

Print to celluloid — hits and misses

Print to celluloid — hits and misses

[ad_1]

News about Kalki’s magnum opus, Ponniyin Selvan being made into a film by none other than Mani Rathnam provided food for this writer’s thoughts. So many Tamil novels have been turned into films, many meeting with success, some falling by the wayside.

The visual may convey in a minute what two pages of writing does but what comes across as interesting or absorbing while reading may fall…

[mainlagtihoonsridevi]

Devi... Sridevi...

" A Madras boy remembers the actress, the star who could do everything every kind of director wanted her to do"

Growing up in the seventies and eighties, in Madras, meant you grew up with Sridevi. Actors and actresses, those days, made a ton of movies a year, working in multiple shifts, across multiple languages. So Sridevi was everywhere in Tamil and Telugu cinema. There wasn’t a number system those days. At least in the south Indian press, titles like “Queen Bee” or “Numero Uno” did not exist. In the sixties, Saroja Devi was a top actress, and so were Savithri and Jayalalitha. In the seventies, Sridevi was popular, and so was Sripriya. “Popular,” those days, meant they starred in many films with up-and-comer young stars like Kamalahasan (the spelling change to “Kamal Haasan” was a while away) and Rajinikanth.

But Sridevi was special. It was a time Tamil cinema was changing. Directors like P. Bharathiraja, J. Mahendran and Balu Mahendra — even K Balachander, whose seventies’ style is markedly more “cinematic” than what he did in the preceding decade — were finding ways of expression that were different from those of melodrama monarchs like P Bhimsingh. And Sridevi fit into that mould as well. She fit into every mould, really. In Hindi cinema, they called her the ultimate “switch-on, switch-off” actress. That must have been true, for she certainly did not have a great deal of life experience to draw from, having grown up in the studios, in front of the cameras from when she was a child.

In Hindi cinema, they called her the ultimate “switch-on, switch-off” actress. That must have been true, for she certainly did not have a great deal of life experience to draw from, having grown up in the studios, in front of the cameras from when she was a child.

Perhaps her greatest gift was that she gave each director what they wanted. If Bharathiraja, in 16 Vayathinile (1977), wanted her to do nothing more than stand still, conveying sadness through her eyes (they were big, beautiful eyes) as his camera zoomed in, she did that. If Balachander, in Varumayin Niram Sivappu (1980), wanted her to mimic S Janaki’s wordless musical phrases in the Sippi irukkuthu song sequence, she did that — she was a marvellous “song performer,” which is its own kind of acting. And she did what S.P. Muthuraman asked of her in Adutha Varisu (1983), where Rajinikanth tries to pass her off as the heiress to a province. The sceptical queen quizzes her about the state symbol. She throws her head back and laughs exaggeratedly (she’s saying, through that laugh, “Surely you don’t expect me to not know the answer to this!”), buying time till Rajinikanth gestures to the lion carving above the queen’s throne. She collects herself and gives the right answer.

GIF Source : Manmarziyan

It’s not easy, this kind of acting. The passing of Sridevi is a good time to dwell on “Indian commercial film acting.” It’s dying out in the north because everyone wants to make real films, with naturalistic performances that seem to be the only kind that get appreciated anymore, and it’s dying out in the south because mainstream Tamil and Telugu cinema is filled with actresses who don’t speak the language and are required to do very little. This kind of performance has less to do with Stanislavsky than the Natyashastra, the navarasas — which may explain why so many actresses of that era were such good dancers as well. There was a touch of the gestural, the performative. Nothing was internalised, or even if it was, there had to be something declarative, something the audience could not just feel but also see — say, a tiny twitch of the lip.

Trained actors cannot do this kind of acting, which is a direct (a trained actor may call it “shameless”) appeal to the audience’s emotions. Yes, some of this has to be seen in the context of the films that were being made, and their style, but that is why Kamal Haasan called Sridevi an excellent bag of tricks. She had a bottomless bag, apparently, and she could pull out whatever “trick” whichever director wanted. One cannot speak of Sridevi without speaking about Kamal. Like the tagline in the Wills ads, they were Made for Each Other, one bag of tricks constantly up against the other. If he did that Methody, mumbly thing he began to do from around the time he made Kokila(1977), she threw something actorly right back at him. Theirs wasn’t chemistry. It was electricity.

Oh, the songs they made together. Ilankiliye from Shankarlal (1981). Devi Sridevi from Vaazhve Maayam (1982). Look at Radha Radha nee enge from Meendum Kokila (1981). He’s goofing around, a Krishna in a silver jacket and a fedora from which a peacock feather sticks out. She matches him step for step. It isn’t easy matching Kamal Haasan step for step. Vadivelan manasu vechan from Thai Illamal Naanillai (1979). Seen today, perhaps some of these songs come with a “you had to have been there” warning label, but I’m talking about a certain kind of unembarrassed commitment to the goings on, where the actor says, “Okay, so this is what I have to do, and maybe it’s something I personally wouldn’t do, but I’m going to do my darndest to make everyone believe that this really is me.” Acting, in other words.

Then, she went to Bombay, where the press was more ready with labels. She was anointed “Numero Uno.” But something seemed different to those of us from the south. Here, she was cute. There, she was “cute.” There’s a difference. She seemed to be more plasticky, the nose looked different, the voice was squeaky and didn’t fit. None of this is to say she still wasn’t great. She was just great in a very different way. The films relied more on her glamour, her outsize-ness — and again, she dug into that bag of tricks and gave exactly what her directors wanted. Sometimes, like in Mr. India (1987), magic happened. I admit this may be a very “southern” reaction, rising from a sense of ours becoming theirs. Tamil and Telugu cinema still needed her. What was she doing jumping around with Jeetendra? But her mind was made. When she did return, for the one-off Naan Adimai Illai (1986) with Rajinikanth, it wasn’t like a homecoming. It was like a queen on a state visit.

She went on to become the next in a line of south Indian actresses who became the leading heroine in Hindi cinema. Her most memorable role? I’d still pick Moondram Pirai (1982), and my favourite scene is the one where Kamal gives her a sari and drifts off into a reverie, expecting this amnesiac with the mental faculties of a little girl to have magically transformed into a woman. Ilayaraja sets up the mood with a languorous piano duetting with violins. Sridevi steps out of the room, the sari perfectly draped. She does everything Kamal wants her to. She’s sophisticated. She’s romantic. She’s in control. She’s even motherlike, drawing his head to her bosom, giving him milk from a glass. Then he snaps out of it, and sees that she’s tied the sari all wrong. She’s still the little-girl amnesiac. The scene showcases everything Sridevi was, the child-woman, the aloof and unattainable beauty, the seductress, the idealised (and idolised) star.

Bhardwaj Rangan, Critic of Film Companion South, 2018

[m-a-a-l-k-a-u-n-s]

Ragamaalika.

[mysticalblizzardcolor]

Listen/purchase: Hamsadhwani on Chandraveena and Saraswati Veena by S Balachander

Hamsadhwani on Chandraveena and Saraswati Veena ~by S Balachander

[alanlicht]

Alan Licht Plays Well Now Available at Bandcamp

My 2001 CD Alan Licht Plays Well is now available at Bandcamp from Crank Automotive, the (now-defunct) label that originally released it. The label was run by Marc Masters, who did the fanzine Crank (hence the name) and went on to write for Pitchfork as well as doing a book on No Wave. The CD had two 36 minute solo electric guitar tracks from live shows; “Remington Khan” was my set solo piece in the late 90s. It was inspired by Henry Flynt’s You Are My Everlovin, a veena record by the Indian musician S. Balachander, and John Fahey’s Fare Forward Voyagers, playing folkish stuff over a two-note loop as a kind of drone. This recording was the first time I performed it live, at NYU in late 1997 on a bill with Loren Connors where we both played solo sets and then played together. I just ran into the guy who set up the show and made the recording, Jordi Wheeler. He was a student then; we wound up randomly playing together at the Ultra Eczema anniversary show at Max Fish in NYC, when I introduced myself he reminded me that we had met before! The other track, “The Old Victrola,” comes from 3 separate live shows: the beginning is me playing over Captain Beefheart’s “Well” (Alan Licht plays “Well,” get it?) live at Lounge Ax in Chicago, the last show of a short tour opening for Palace/Will Oldham, which segues into a set I played at the Transmissions festival in Chapel Hill, NC in 2000 where I looped 8 bars of Donna Summer’s “Dim All The Lights”, 2 bars at a time, and played drones over it. Then there’s a reprise version of “Well” that I did at the Cooler, playing chord organ and singing. This is pretty excessive stuff to say the least, hahaha, but I still like both tracks. Check it out here. Many thanks to Marc for putting it out in the first place and making it available again digitally.

[indiejones]

BOLLYWOOD'S TOP 236 MOST POPULAR/HIT FILM DIRECTORS OF ALL TIME ! (BASED ON THE 1436 BIGGEST BOLLYWOOD BLOCKBUSTER FILMS LIST, INFLATION-ADJUSTED & COMPILED @INDIES >> http://www.imdb.com/list/ls564758654/ )

Imdb Link: http://www.imdb.com/list/ls568080444/ P.S. All the Directors selected for this most august of captain's lists, have delivered atleast 1 film ranked in the All-Time Top ~450 Biggest Bollywood Blockbusters List, at helm! Full List-

.Shakti Samanta

.Raj Khosla

.Manmohan Desai

.Asit Sen

.Bimal Roy

.H.S. Rawail

.Sohrab Modi

.Yash Chopra

.Kishore Sahu

.Raj Kapoor

.Lekh Tandon

.Chander Vohra

.B.R. Chopra

.K. Balachander

.David Dhawan

.D.D. Kashyap

.Narendra Bedi

.Satpal

.Mahesh Kaul

.Ashok V. Bhushan

.Kalidas

.Ravi Tandon

.Vijay Sharma

.Hrishikesh Mukherjee

.Prakash Mehra

.Subodh Mukherji

.Aravind Sen

.Ram Maheshwari

.Sooraj Barjatya

.S.S. Vasan

.A. Bhimsingh

.Gulzar

.Ramesh Sippy

.Nandlal Jaswantlal

.Amarjeet

.Mukul Dutt

.Babbar Subhash

.Basu Bhattacharya

.M. Sadiq

.Gajanan Jagirdar

.Vijay Anand

.Mehboob Khan

.A. Subba Rao

.Guru Dutt

.C.V. Sridhar

.Jayant Desai

.Tarun Majumdar

.Lekhraj Bhakri

.Chimanlal Luhar

.Atma Ram

.Chandulal Shah

.Kidar Sharma

.Nitin Bose

.Shaheed Latif

.V. M. Vyas

.Mukul Anand

.R.S. Choudhury

.Ramanand Sagar

.R.K. Nayyar

.Mohan Segal

.G.P. Sippy

.Mohan Kumar

.A. R. Kardar

.M.A. Thirumugham

.Prem Narayan Arora

.Devendra Goel

.Vijay Bhatt

.Hemchandra Chunder

.L.V. Prasad

.Nasir Hussain

.Ravikant Nagaich

.J. Om Prakash

.Bhappi Sonie

.Dulal Guha

.Gyan Mukherjee

.Naresh Saigal

.Dasari Narayan Rao

.Muzaffar Ali

.Raghunath Jhalani

.O. P. Ralhan

.B.R. Panthulu

.Hiren Nag

.Sai Paranjape

.Naresh Kumar

.Rakesh Roshan

.Samir Ganguly

. Tulsi Ramsay

.Shyam Ramsay

.Ramesh Saigal

.Kamal Amrohi

.P.L. Santoshi

.Manoj Kumar

.K.S. Prakash Rao

.Krishan Chopra

.Sachin Bhowmick

.Arjun Hingorani

.Amiya Chakrabarty

.Sikander Bharti

.Bibhuti Mitra

.Phani Majumdar

.Jambulingam

.Shammi Kapoor

.B.R. Ishara

.Pramod Chakravorty

.K. Shankar

.Karunesh Thakur

.Trilok Jetley

.Meraj

.Ravindra Dave

.Homi Wadia

.K. Bapaiah

.Raja Nawathe

.Mansoor Khan

.Chaturbhuj Doshi

.K.B. Tilak

.Esmayeel Shroff

.V. Shantaram

.Girish Trivedi

.Moti B. Gidwani

.Hemen Gupta

.Girish Karnad

.Devare S. Gajanan

.Debaki Bose

.Shaukat Hussain Rizvi

.Vishnupant Govind Damle

 Sheikh Fattelal

.Yakub Hasan Rizvi

.K. Asif

.Ashutosh Gowariker

.Tinnu Anand

.Nanabhai Bhatt

.Kedar Nath Agarwala

.Sunil Hingorani

.Vijay Sadanah

.Akhtar Hussein

.Basu Chatterjee

.Chetan Anand

.Raj Sippy

.S.N. Tripathi

.Surendra Mohan

.Aditya Chopra

.Anil Sharma

.K.S. Sethumadhavan

.Ram Dayal

.Ashok Roy

.Govind Saraiya

.Kanak Mishra

.Dada Kondke

.K. Raghavendra Rao

.J.B.H. Wadia

.M. L. Anand

.Radhu Karmakar

.Prayag Raj

.K. Babuji

.Mehmood

.Khalid Akhtar

.Franz Osten

.Rajkumar Hirani

.S.S. Ravichandra

.Satyen Bose

.Ambrish Sangal

.Sanjay Leela Bhansali

.Rajkumar Kohli

.Raman B. Desai

.Shantilal Soni

.Joy Mukherjee

.Sultan Ahmed

.Balu Mahendra

.Vijay Kapoor

.Mohan Bhavnani

.Biren Nag

.Roop K. Shorey

.Ismail Menon

.Dhirubhai Desai

.Kalpaturu

.Jyoti Swaroop

.K.S. Gopalakrishnan

.Bharathiraja

.Kiran Ramsay

.P.C. Barua

.Amit Mitra

.Sombhu Mitra

.Shibu Mitra

.Raj Tilak

.Kailash Bhandari

.Rakesh Kumar

.Master Bhagwan

.Ismail (Rangeela Raja, 1960)

.Deepak Bahry

.Yeshwant Pethkar

.Baburao Painter

.Amar Kumar

.Jaishankar Danve

.S. Shankar

.Mani Ratnam

.Shah G. Agha

.Rajat Rakshit

.Anand Prasad Kapoor

.N. Buli (Nakhrewali, 1960)

.J.J. Madan

.Rajinder Singh Bedi

.Subodh Mitra

.K. Amarnath

.Raj Kanwar

.Hira Singh

.Rajendra Bhatia

.Fatma Begum

.Chawla (Shair, 1949)

.Brij

.Ashok V. Bhushan

.T. Prakash Rao

.Kolli Pratyagatma

.Brij Rani

.Joginder Shelly

.Prakash Arora

.S.P. Rajaram (Gharwali Baharwali 1988)

.Ram Daryani

.T. Rama Rao

.Kawal Sharma

.Chitrayug

.Babubhai Mistry

.Shyam Ralhan

.Najam Naqvi

.K. Viswanath

.Vishwamitter Adil

.M.V. Raman

.J.K. Bihari

.Zul Vellani

.Homi Master

.Kalipada Das

.Mohan Sinha

.Kedar Kapoor

.Satyajit Ray

.Mohd Hussain

.Rahul Rawail

.S.D. Narang

[axomlyrics]

Moonji Lyrics - Partner

Moonji Lyrics – Partner

Moonji Lyrics from Partner by Thenisai Thendral Deva, Gana Balachander is a brand new Tamil song with music is given by Santhosh Dhayanidhi. Moonji song lyrics are written by Madras Miran. Moonji Song Details: Song: Moonji Movie: Partner Singer(s): Thenisai Thendral Deva, Gana Balachander Musician(s): Santhosh Dhayanidhi Written by: Madras Miran Label(©): Sony Music South Moonji Lyrics Ada…

[sivavakkiyar]

for a number of reasons I’ve never really taken the plunge and fully explored Carnatic music, and it’s a world of music making that I’m really not interested in involving myself in...but my favorite veena players are S Balachander and R.K. Suryanarayan, if you come across any of their stuff you should cop it

[superduperinformation]

Rajnikanth

https://superluckystore.com/2021/12/13/rajnikanth-short-biography/

Rajnikanth Mini Bio

Rajnikanth Was Born on 12 December 1950, Bangalore Mysore State, India. Rajinikanth has been a megastar in the Tamil movie assiduity since the 70s. He’s one of the loftiest earning actors in Asia. Primarily starring in Tamil pictures, he has also worked in Hindi, Telugu, Kannada, and American pictures. He was born in Bangalore (India), and was employed as a machine captain before he joined the Madras Film Institute. He made his debut in Katha Sangama (1975) and came a star with Apoorva Raagangal (1975).

His unique amusement style is characterized by trademark gestures similar as flipping a cigarette in the air and catching it with his mouth. He played varied places successfully and is considered as an actor who can fluently perform action, drama, and comedy. He’s not veritably popular for his dancing, which is considered a pivotal art for actors in Indian Pictures. His performances in pictures similar as, Mullum Malarum (1978) Aarilirunthu Arubathu Varai (1979), Johnny (1980) in the70’s and80’s to pictures similar as Kabali (2016) lately, are considered to be exemplifications of his acting capacities. His performances as an action-megastar overshadow his critically acclaimed performances in these pictures. The Government of India has fete him with the Padma Bhushan in 2000 and the Padma Vibhushan in 2016 for his benefactions to the trades. At the 45th International Film Festival of India (2014), he was conferred with the”Centenary Award for Indian Film Personality of the Time.

Shivaji Rao Gaekwad (Rajnikanth) was born on December 12, 1949 in Karnataka. He was a machine captain during which time he reportedly caught the fancy of the machine trippers with his erraticisms and style of issuing tickets and blowing the whoosh and so on. Looking to come an actor, he moved to Chennai and joined the film institute. It was then that he caught the eye ofK. Balachander, a director known for introducing talented, new faces into the Tamil film assiduity.

Balachander gave him a small part as the no-good hubby of Srividya in Aboorva Raagangal and the rest, as they say, is history. Rajnikanth soon graduated to playing villains and his style, swagger and casually unique brand of ill pledged the movie- going public. Be it the vicious hubby of Sujatha in Avargal (1977) or the wolf in lamb’s apparel in Moondru Mudichu (1976) or the lust- filled vill rumbustious in Bharathiraja’s 16 Vayadhinile, Rajnikanth was the villain the people loved to hate.

From then, it was a small step for Rajni, playing theanti-hero and eventually, the idol in Bhairavi. Rajnikanth forcefully captured the vacant, action- idol niche in Tamil pictures with a series of pictures where he routinely bashed up the bad guys who had done him injustice in one way or the other. Formerly in a while he did pictures like Aarulirundhu Arubadhu Varai or Johny which gave us casts of his acting eventuality. But action was what the suckers anticipated from a Rajni movie and action was what he gave them. He has been megastar for the once 25 times.

Rajnikanth Top 3 Fact Style Icon Spiritual nature in real- life Known for his uniquely stylized ways of dialogue delivery, performance, gestures, erraticisms, tricks, etc.

Important Information Tamil Superstar, worshiped like a god by his suckers. Despite being a megastar of Tamil pictures, he’s not Tamil. Father of Aishwarya Dhanush. Father of Soundarya Rajinikanth Vishagan. His mama- lingo is Marathi. Rajnikanth’s pictures after 1995 started running each over India, indeed outside southern countries and were dubbed in indigenous Indian languages and Hindi due to his fashionability each over India. Rajinikanth is popular in Japan. His 100th film was Sri Raghvendra, which was made in Tamil. Was Inked for Naseeruddin Shah’s part in Tahalka (1992). His song”Unnakum Ennakum”from Sri Raghavendra (1985) was tried by Black Eyed Peas in the song Elephunk. Starred in the shelved movie B.M.B. Productions Tu Hi Meri Zindagi” (1990). Starring Shammi Kapoor, Vinod Khanna, Rishi Kapoor, Sri Devi, Rajnikant, Music by Bappi Lahiri, Produced by Suresh Bokadia, Directed byK.C. Bokadia. In the film”Dharma Yuddam” released in 1979, a disco English song was mugged on Rajnikanth. Director Nagi Reddy wanted to launch Rajnjkanth in a Hindi film in 1981. The design sizzled out. Subhash Ghai wanted Rajnikanth for Karma. It was Anil Kapoor who induced Ghai to take Naseeruddin Shah. In 1982, Rajkumar Kohli inked Jeetendra and Rajnikanth for a film which was going to be a remake of a Kannada hit film. The design sizzled out. Actor Ranjan inked Amitabh Bachchan and Rajnikanth for a film in 1982. It was to be directed by Shyam Benegal. The film was ultimately remitted due to Amitabh’s accident. South Indian patron Veeraswamy had intentions of remaking the Kannada hit film Chakravuha in Hindi. He’d a trial showing for Prakash Mehra and told him he was planning to make the film in Hindi with Rajnikanth. This is when Prakash Mehra suggested he subscribe Amitabh for the film and increase the flicks mass appeal and price with distributors. Starred in the shelved film”Takrao” (1986). Starring Shatrughan Sinha, Rajnikanth, Anita Raaj, Amrish Puri, Prem Chopra, SushmaSeth.Produced by Raja Roy (Reena Roy’s family), Directed Harmesh Malhotra. Rajinikanth started his amusement career by playing antagonist and villain places. In his recent workshop, his negative places have included Chitti2.0 (Enthiran,2.0), King Vettaiyan (Chandramukhi), and Kaali (Petta). Starred in the shelved film Shanaakht (1988) Starring Amitabh Bachchan, Rajnikanth Madhuri Dixit, Madhavi, Sujata Mehta, Paresh Rawal, Music by Amar Uptal, Directed by Tinnu Anand. The film was remitted due to numerous parallels with Ganga Jamuna Saraswati. Starred in the remitted movie Choudhary Enterprises”Ghar Ka Bhedi” (1990) Starring Amitabh Bachchan, Madhuri Dixit, Rajnikanth, Produced by Satyen Pal Choudhary, Directed by Prakash Mehra. The film was remitted after the advertisement. Starred in the remitted movie”Raasta Patharon Ka” (1984) Starring Rajnikanth, Produced and Directed by B.Subbash.

Starred in the shelved film Meenakshi Enterprises unidentified film in 1986. Starring Rajesh Khanna (Guest Appearance), Hema Malini, Rajnikanth, Music by Bappi Lahiri, Directed by Bapu. Starred in the shelved movie Ruhi Flicks”Lal Toofan” (1988) Starring Nutan, Jackie Shroff, Rajnikanth, Meenakshi Sheshadri, Suresh Oberoi, Suparna Anand, Raza Murad, Pran, Written by Sachin Bhaumick, Music by Laxmikant Pyarelal, Produced by Hardeep Chitrath, Directed by Subhash Bhakri. After Shiva Ganesan left the film Desh Premee, Rajnikanth was approached. Rajnikanth declined the part as his dates were blocked with other south directors. Plus the part was a small one and Rajnikanth was now playing supereminent places in flicks. Starred in the shelved film Jai Mata Combines”Dil Ka Haal Sune Dilwala” (1991). Starring Akshay Anand, Chandni, Ritu Pande, Shakti Kapoor, Kader Khan, Kiran Kumar, Rajnikanth in a special appearance, Music by Anand Milind, Directed by Ajit Kumar. Starred in the remitted movieB.G.Communucations”Watan Ke Saudagar” (1991) Starring Rajnikanth, Vijayashanti, Shobhana, Radhika, Charan Raj, Paresh Rawal, Saeed Jaffery, Music Amar Amit, Directed byK. Ravi Dutt.

Particular Information Contemplation is the key to his energy. The happiest men in this world are child, lunatic and a savant.

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