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Happy Days Movie
March 08, 2007
Gone are the days when heroines had mentors and were cast in immortal roles created by them. These roles went on to remain etched in the memories of fans marking a milestone in the history of their career in Tamil cinema. Veterans like Balachander, Bharathiraja, Sridhar, and Bhagyaraj can take the credit for nurturing and nourishing some very talented actresses.
What Balachander did to Saritha’s career needs no explanation. Discovering her talents with the cult Telugu hit Marocharithra, Balachander boosted her career in Tamil with meaty roles in movies such as Thappu Thaalangal, Agni Saatchi, and Kalyana Agadigal. After this Saritha became a Balachander regular and fans and critics screamed with delight on discovering such immense potential. Saritha’s roles remain eternal in the memories of movie buffs and it’s not hard to find newcomers modeling their career map after her.

Sridhar found Sarojadevi and gave us that poignant tale of love and relationships- Kalyana Parisu - decades ago. If there is one movie that tops the list as an all time classic favorite of most movie buffs, it is Kalayana Parisu. Any time, any day, it walks away with the honours.

The credit of peppering the Tamil cinema scene during the late 70s and 80s with some true blue potentials like Radhika, Radha, and Revathy is attributed to Bharathiraja, who interestingly rechristens his heroines with an R as the starting letter. More noteworthy are the roles that he crafted for women.

Revathy’s transformation from a naïve little village girl in Man Vaasanai to the revolutionary firebrand in Pudhumai Pen is a classic example of Bharathi Raja’s extremities in story telling, movie after offbeat movie. Revathy’s career steadily shot up from then on, and her acting skills touched greater heights. Such was also the case with Radhika whose effervescent career started with her village belle act for Kizhakke Pogum Rayil, a portrait that remains vibrant and alive even now- especially on television. Radha remained the exuberant and high-spirited of his newfound talents, and is known best for Mudhal Mariyaadhai.

While it has become a thing of the past for directors to deliver emotional dramas with a focus on an intense woman character played by a strong female lead (in an otherwise commercial-ridden Tamil cinema that focuses on eyeball grabbing attention of fans and the moolah by making stylishly packaged movies), Ameer seems to be bringing back this trend. His Paruthiveeran gave Priya Mani the role of her lifetime, making her the envy of the other actresses in the industry.

His forthcoming Yogi, where he plays the lead alongside Madhumitha, has become fodder for coffee table discussions in Kollywood. Madhumitha’s role and makeover for Yogi has already generated enough hype that the woman-centric role could be revived. However, whether it will breathe life into her lackluster career and give Tamil cinema another Paruthiveeran Priya Mani or Pudumai Pen Revathy remains to be seen.
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