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Varun k mampilly on OMC Profiles | Shyam’s Gospel Album in Malayalam MAHALINGAM on Remembering Ragini and her songs in Malayalam, 35 years on.ĭeepak Nair on Satyam Audio brings back the LP record but to what effect?Īswathi on The Unsound Mind in Malayalam Cinema Tina on Lenin Rajendran’s Mazha (2000)| Lush lyricism, Pouring love. harikrishnan_am on Our Beautiful People | Malayalam films about, or those that featured animals.Thomas on The onscreen Homosexuality taboo in Malayalam Cinema Old Malayalam Cinema by Cinematters is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License. S Janaki and MS Baburaj | The best melodies by the Nightingale in Malayalam.Lenin Rajendran’s Mazha (2000)| Lush lyricism, Pouring love.
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Namukku Parkkan Munthiri Thoppukal (1986), a Siemens VCR and Thilakan, the scumbag.Matters of the Mind, Nature of the Heart.The Vayalar – Devarajan kind of magic in Onscreen Romance | My Favorites.When Ghosts Come Calling | Re-projecting the Disappeared Muses of Malayalam films.The Tamil film songs of music director Raveendran.Canned Stories II – The Superstar Movies that never made it to the big screen.The 6th edition of “Ormayil Ragini” is on 26 December 2015.Congratulations Suraj Venjaramoodu, for disrupting our National Film Awards 2013 sensibilities.Posted in Perspectives, Prem Nazir, Profiles, The Northern Ballads., The Udaya Showcase Tagged Acharam Ammini Osharam Omana (1977), Kannappanunni (1977), Neelaponman (1975), Northern Ballads, Othenente Makan (1970) and Ponnapuram Kotta (1973), Postumaney Kaanmanilla (1972), TK Sarangapani, Udaya Studios, Umma (1960), Vadakkan Pattukal 7 CommentsĮnter your email address to subscribe to OLD MALAYALAM CINEMA and receive notifications of new posts by email. Sarangapani, who was virtually whisked away in his work clothes from his ‘lowly’ existence as a seamster at the Alleppey South Indian Rubber Works to the the hallowed portals of Udaya Studio bowled over Kunchacko, the reigning emperor of Malayalam Cinema ( read Udaya Films) with his very first attempt in rewriting a couple of lines of Moidu Padiyath‘s screen adaptation of Umma (1960).Ĭontinue reading TK Sarangapani | The Master Craftsman of the Vadakkan pattukal on celluloid. With TK Sarangapani’s passing, Malayalam cinema lost something significant that it would have never even realised in the first place (or though realised, callously relegated it to those places where one normally stores stuff which don’t have ‘dollar’ value) – he was the last living custodian of Udaya studio’s history, one who was Udaya Studio’s soul-keeper (I know that sounds tacky but that comes close to it). Iwould say with some reasonable amount of conviction that even Unniyarcha (1961) was the blueprint for Hariharan‘s magnum opus Oru Vadakkan Veeragatha (1989), even to the point of borrowing sequences and scenes, but with a far greater sensibility of the medium than its Black and White predecessor.Ĭontinue reading The Ragini chronicles in Sarangapani’s Vadakkan Pattukal In addition to creating a genre out of thin air, Sarangapani also set the template for all the future ones to follow. The genre of Vadakkan pattukal in Malayalam cinema as we know it, starts with Udaya Studio’s Unniyarcha (1961). I have tried to feature the ones that TK Sarangapani and Ragini came together in this post, and then go on to the similar roles Ragini did in other Malayalam Cinema productions (both for Udaya and others), and onto the Vadakkan Pattukal scripted by N Govindankutty. The scripts were either by TK Sarangapani or N Govindankutty, and until Sheela came along, it was Ragini who brought to life the women-centric ballads onscreen. The early editions of Vadakkan pattukal that came out from Udaya studios had a delightful set of commonalities.