Apoorva Raagangal (Tamil, Bizarre Rhythms;1975)
Another Kamal-Rajni flick. This time it is Rajnikanth is a debutante and is introduced to Tamil films by K. Balachander who wrote this story, dialogue and directed this offering. Apparently, Balander identified Rajnikanth as a potential after seeing him perform in a non-Tamil drama. Rajni was promised a role if he could learn Tamil, and he sure did, and the rest is history!
This film, in keeping with its title of abnormal rhythm, obviously referring to the complicated effects of wide age difference relationships, also offers some, in my opinion, some of the most heart wrenching soul warming lingering Carnatic musical sounds!
Actually, P Ramlee did offer this type of story half a decade before but in a comical manner through 'Keluarga 69' with A.R. Tompel.
Bhairavi (Srividya), a classical singer, helps to nurse a gang bashed Prasanna (Kamal) to health in her abode, one thing leads to another and love blossoms. Prasanna is a self appointed violent social reformist college student who often gets into the wrong side of the law for his nefarious activities. His father Mahendra, (Sundarajan) once give in up for police custody after a Robin Hood type deed - hijacking a rice smuggling lorry! Animosity develops between father and son and Prasanna leaves home.
In a comedy court, Mahendran (Sundarajan) is spotted as the only guy crying, thinking of his son. A young busy body 18 year old Ranjini (Jayasudha), starts a conversation. Initially irritated, they eventually build a bond. Ranjini claims to be an orphan supporting herself with odd jobs. Mahendran offers a place to stay and offers to adopt her as his daughter. Ranjini, however, has other plans up her sleeves (er, saree blouse). She confesses her inner feminine feeling towards this middle aged man. After much deliberation on public perception, Mahendra finally gives in.
What Ranjini conveniently omits from her background is that she discovered by accidental eaves dropping before she left her home was that she was brought up her biological mother as an orphan for fear of bearing an illegitimate child and the retribution on her singing career. Again, no 2 marks for guessing who the singing mother is - Bairavi!
So, now you have a son who falls in love with a lady whose daughter falls for his father!
Nagesh who does a great solo comic act as a doctor (Dr Suri) is a philosophical advice rendering medical practitioner by day who leads a double life as a drunk by night. He is a family friend of Bharavi and knows the whole secret. By a chance meeting with Mahendran in his drunken stupor, he blurts the whole truth.
To add drum roll to the climax, a very sick terminally ill 'blood cancer' stricken Pandiyan (Rajnikanth) comes to the picture to say his peace to Bhairavi. He had earlier absconded from her after a good time, leaving her pregnant.
Coincidence again, Dr Suri gives hospice care for Pandiyan.
Just when you are thinking how all this mess is going to end, the answer is given in the climatic carnartic music song with Vain Jairam's melodious voice in a poetic way. The finale shows both siblings burying the hatchet with their respective parent. As always, a tragedy always solves many unsolvable issues. Pandiyan's death makes Bhairavi a grieving widow and for reasons best known to her, thinks it is inappropriate to jump into a matrimonial bond. The movie ends with Ranjini and Bhairavi leaving Mahendran's house with Prasenna passing Bhairavi her house keys and symbolically the key chain snaps with Bhairavi's picture on the key chain in Prasenna's hand. Audience are left asking whether it was the end.
The black and white award winning film marks the congregation of some of the who's who and soon to be demigods in the Tamil mainstream cinema at that era.
Kamalhasan with a bad hair cut (?wig) mimicking Bruce Lee depicting a defiant youth, a subdued but stylish Rajnikanth in bell-bottom pants and posing with his trademark tilt.
This film ignited an open off screen relationship between Kamal and Srividya. Srividya went on to marry somebody else but it ended in a bitter divorce. Their relationship however went on until her dying days in 2006 after her loss in the battle against breast cancer.
Even though Srividya is acting like someone in her late 30s and Kamal is in early 20s, they were aged 22 and 21 respectively during the release of the film.
I can imagine what Amma would say after watching this film, "Cheh, can't they get any other story?". I guess she cannot stomach movies that upset the Indian social mores. For her a tear evoking tear jerking melodramatic 'creating a mountain out of a mole hill' type of Sivaji hit movie will do just fine!
This film, in keeping with its title of abnormal rhythm, obviously referring to the complicated effects of wide age difference relationships, also offers some, in my opinion, some of the most heart wrenching soul warming lingering Carnatic musical sounds!
Actually, P Ramlee did offer this type of story half a decade before but in a comical manner through 'Keluarga 69' with A.R. Tompel.Bhairavi (Srividya), a classical singer, helps to nurse a gang bashed Prasanna (Kamal) to health in her abode, one thing leads to another and love blossoms. Prasanna is a self appointed violent social reformist college student who often gets into the wrong side of the law for his nefarious activities. His father Mahendra, (Sundarajan) once give in up for police custody after a Robin Hood type deed - hijacking a rice smuggling lorry! Animosity develops between father and son and Prasanna leaves home.
In a comedy court, Mahendran (Sundarajan) is spotted as the only guy crying, thinking of his son. A young busy body 18 year old Ranjini (Jayasudha), starts a conversation. Initially irritated, they eventually build a bond. Ranjini claims to be an orphan supporting herself with odd jobs. Mahendran offers a place to stay and offers to adopt her as his daughter. Ranjini, however, has other plans up her sleeves (er, saree blouse). She confesses her inner feminine feeling towards this middle aged man. After much deliberation on public perception, Mahendra finally gives in.
What Ranjini conveniently omits from her background is that she discovered by accidental eaves dropping before she left her home was that she was brought up her biological mother as an orphan for fear of bearing an illegitimate child and the retribution on her singing career. Again, no 2 marks for guessing who the singing mother is - Bairavi!
So, now you have a son who falls in love with a lady whose daughter falls for his father!
Nagesh who does a great solo comic act as a doctor (Dr Suri) is a philosophical advice rendering medical practitioner by day who leads a double life as a drunk by night. He is a family friend of Bharavi and knows the whole secret. By a chance meeting with Mahendran in his drunken stupor, he blurts the whole truth.
To add drum roll to the climax, a very sick terminally ill 'blood cancer' stricken Pandiyan (Rajnikanth) comes to the picture to say his peace to Bhairavi. He had earlier absconded from her after a good time, leaving her pregnant.
Coincidence again, Dr Suri gives hospice care for Pandiyan.
Just when you are thinking how all this mess is going to end, the answer is given in the climatic carnartic music song with Vain Jairam's melodious voice in a poetic way. The finale shows both siblings burying the hatchet with their respective parent. As always, a tragedy always solves many unsolvable issues. Pandiyan's death makes Bhairavi a grieving widow and for reasons best known to her, thinks it is inappropriate to jump into a matrimonial bond. The movie ends with Ranjini and Bhairavi leaving Mahendran's house with Prasenna passing Bhairavi her house keys and symbolically the key chain snaps with Bhairavi's picture on the key chain in Prasenna's hand. Audience are left asking whether it was the end.
The black and white award winning film marks the congregation of some of the who's who and soon to be demigods in the Tamil mainstream cinema at that era.
Kamalhasan with a bad hair cut (?wig) mimicking Bruce Lee depicting a defiant youth, a subdued but stylish Rajnikanth in bell-bottom pants and posing with his trademark tilt.
This film ignited an open off screen relationship between Kamal and Srividya. Srividya went on to marry somebody else but it ended in a bitter divorce. Their relationship however went on until her dying days in 2006 after her loss in the battle against breast cancer.
Even though Srividya is acting like someone in her late 30s and Kamal is in early 20s, they were aged 22 and 21 respectively during the release of the film.
I can imagine what Amma would say after watching this film, "Cheh, can't they get any other story?". I guess she cannot stomach movies that upset the Indian social mores. For her a tear evoking tear jerking melodramatic 'creating a mountain out of a mole hill' type of Sivaji hit movie will do just fine!
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