Nayantara

:: Star Talk :: Nayantara
Nayantara has fascinated young and old with her exceptional acting and enchanting beauty. She has already starred opposite the leading heroes in the Tamil film industry, including Rajinikanth and Sarathkumar.
Currently she is acting opposite the younger heroes like Simbu, Surya and Jeeva.
She was introduced to the Tamil industry as a saree-clad ‘homely’ character. Now, though, she is choosing to wow audiences with her glamour.
While she was on the sets of ‘Vallavan’, directed by Simbu, we had a conversation…
You had previously acted in ‘homely’ characters. Why did you shift to glamourous roles?
Glamour is youthful. An actress can at glamourously only when she is young. Only then is she able to enchant viewers. Tell me, will I be able to act like this after 15 years? If I were asked to do a vulgar role I would immediately refuse. Right now, no one can accuse me of dressing or acting in a way that is offending the viewer. I choose to act glamourously only if it is necessary for the story.
Now I am acting in ‘Vallavan’, directed by Simbu. There is a scene in the film where Simbu bites my lips! If people watch the film, they will understand how the scene is essential for character that I play. I am acting with Jeeva in ‘E’. There I had play the role of a bar dancer in Mumbai hotels. I leave Mumbai to come to Chennai and live in a slum. Then, I need to behave and talk like a slum dweller.
There is glamour in ‘Thalaimagan’ too, where I starred opposite Sarathkumar. If I am asked to act wearing a saree I will do so; if I am asked to act glamourously, I will do so. I have chosen to enter the cine industry, so I have decided to find and touch the very verge of the cinema.
You began acting in Tamil Films, and have now done more films in Telugu than in Tamil. Why did you choose to stay in the Telugu industry?
I have no desire to stay in the Telugu Industry! I have always been giving importance to acting in Tamil films only. This is mere rumor that I am give priority to Telugu films. My first film in Telugu was ‘Lakshmi’ with Venkatesh. That film was a big hit. My debut there proving to be victorious, people began inviting me. When I was offered a good character and story, I consented to act with Naagarjuna, Jr. N.T.R.
chandhramukhi’ and ‘Gajini’, which I acted in, were dubbed and released in Telugu too. Those two films got me further attention. That increased the number of offers I got from the Telugu industry. As a matter of fact, I can earn more in Telugu but I continue to give priority to Tamil film. When I came from Malayalam to Tamil, I was warmly welcomed and treated with dignity. I should say a big ‘thank you’ to the Tamil people for that.
Likewise I am getting the same response and dignity in the Telugu Industry. As an actress, language is not an important thing to me, character is the only the essential thing. Tell us about the heroes who acted with you.. I first acted with Sarathkumar in the film ‘Ayyah’. Now, I am the heroine of his 100th film ‘Thalaimagan’. He has great knowledge of cinema and politics. He is also doing a great job of balancing these two sides of his professional life. There are a lot of good things that we can learn from him I really don’t have to talk about Superstar Rajinikanth. He is the only Super star and he has a lot of Super style!I have only danced for a single song with Vijay. He is great dancer with a wonderful sense of timing. In ‘Gajini’, I had performed with Surya. He is one dedicated guy! He is a great actor, who can literally live the character he is performing.In ‘Vallavan’, I got the chance to act with Simbu. At a very young age, he has gained much technical knowledge about the film industry. He has a passion for victory and ismaking valiant efforts to reach the zenith of the cinema industry. I am acting with Jeeva in ‘E’. I was amazed after I saw ‘Ram’ and ‘Dishum’. He is a very good actor and a very tactful person.In ‘Kalvanin Kaadhali’, I acted with S. J. Suryah. Hehas a good grasp on every aspect of cinema. He is anexcellent technician. No one can handle all theintricacies of filmmaking like he can.There were no rumours about your love life previously.Currently, though, everyone is saying you are going tomarry Simbu. Is this true?Simbu is my good friend. It is true that Simbu and Ishare a good friendship. It is also true that we usedto go out to several places together. But the rumorthat we are going to get married is just that – arumour. We both haven’t thought about marriage still. If an actress is seen talking and laughing with the hero, everyone immediately assumes she loves him. In the Tamil film industry I have found a cordial friend in Simbu. If our relationship seems to be love to others, there is nothing I can do about it. What kind of achievement are you looking to achieve inthe cinema industry?Getting National Awards from acting in Tamil, Telugu and Malayalam is really not my desire. I have noanxiety that my name should be among the famous actresses either. I am never worried about my future.Whatever has to happen, it will happen. I hope that what happens will be good. Finding a place in the hearts of my fans would be the greatest award I could get.

Sangeetha

:: Star Talk :: Sangeetha
Sangeetha created a splash in Tamil with her role in 'Uyir'. While malicious tongues are wagging about how the controversy was created to make an ordinary film run well, none can dispute that this young lady did one great job in the film.
The talented and articulate young actress entered filmdom in her teens and has carved a place for herself in the industry by sheer hard work. She has acted in around fifty films in all the south Indian languages put together. "I am an ordinary person, really," she insists, despite her numerous achievements.
She discusses her childhood, work and recent success.
Watching several films when I was a kid was an important reason for considering acting as a career. The stellar performances I saw on screen then have all inspired me in different ways. These same stars have also made me desire to be like them. I want to be as successful, as inspiring.
It is true that I refused offers to act when I was quite young. I was surrounded by people related to the industry and had every opportunity to start my career much earlier than I did. There was also more pressure than I would have liked to enter an industry I was inclined to in any case.
K.R. Balan, my grandfather and film industry stalwart, was keen that I try my hand at it. My mother Banumathy too expressed her desire to see me excelling at some art. I was learning Bharathanatyam at the time but that was not enough for her. After much persuasion and encouragement, I was more or less forced to act when I was around 14 or 15.
Looking back, I am convinced that it was the wrong time to enter the field. I lost out on the fun of normal school and college life. I would definitely not let my children act when they are too young. Even if they should express interest, I would tell them to wait till they are able to clearly see what the decision will mean.
Twenty-one is the ideal age to start acting. I would let them make the decision then. My teens were spent working round the clock and now I want to relax and take my time choosing good roles.
I entered films under the name of Rasika. My first film was 'Poonjolai', directed by Gangai Amaran. Now I am acting under my real name, Sangeetha. I think it is luckier for me. My film count in the South Indian languages is touching fifty now. I am content with what I have achieved so far.
I have not done as many roles as I would like in Tamil though. It is not that I am refusing roles in Tamil. I first have to have the required days free in my schedule. I also am interested only in those roles that give me scope for good performance.
'Pithamagan' is among my favourite Tamil films. Full credit for the character I played in the film goes to director Bala. That character's speech and behaviour were all a reflection of his imagination. When I am told about a character, I begin to imagine how she would walk, tie her sari, talk, but when the director has a very clear image of the role I just have to follow directions. That is what I did for 'Pithamagan' as the ganja seller. I had to do a lot of hard work for the character but director Bala ensured that the hard work was interesting at all times. I was really excited when my performance in 'Pithamagan' gained me the praise of B. Sarojadevi. I was speechless when she told me that I had done a great job. For 'Uyir', I thought long and hard for a suitable female role model to shape Arundhati. None came to mind. I finally thought of Ajit's performance in 'Vaali' and Prakash Raj's in 'Aasai'. That helped me conceptualise my role better. They are the true inspiration for Arundhati. Several people have asked for my response to Vadivel's speech criticising 'Uyir' at the 'Thambi' 110th Day celebrations. I can only say that he has the right to hold and express his own opinions. The only thing that I had a problem with was the fact that he chose to do it in a public meeting. He could have easily spoken to the director and producer and expressed his displeasure. Though I am not getting good roles in Tamil, things seem to be going better in Telugu. Every character that I have done in Telugu was different and successful. I have done 24 Telugu films besides 17 in Malayalam and 4 in Kannada. My favourites are 'Khadgam' in Telugu, which made me quite popular there, 'Nalla' in Kannada and 'Pellam Ooruvellithe' and 'Deepasthambam' in Malayalam. I am not very happy about the fact that my film count in Tamil is only seven but I will never go asking for roles. Those that come to me, I will do well. Since I cannot sit around doing nothing, I am accepting Telugu films that have appealing scripts. I even have a permanent hotel room there where I stay whether I am there on work or not. But I am definitely not shifting to Hyderabad. Why would I do that when I have a loving family and beautiful home in Madras? Being in Hyderabad frequently has its perks, though. I am big fan of the Hollywood actor Richard Gere. He was in town for an AIDS awareness programme. So, of course, I had to attend it. I went up and shook hands with him afterwards. There are several rumours doing the rounds about me, about how I am being hounded out of town and have settled in Hyderabad and about how I am refusing to act with senior actors. Initially I used to be hurt and worried about how this would affect my career. Now, I don't let them bother me. I have always chosen roles based on whether they appeal to me. Seniority, second heroine and sister-in-law roles are all welcome as long as they give me the space to put in a memorable performance. My ambitions are quite ordinary actually. I am a normal person trying to live and survive in the industry. I had to struggle a lot in the beginning. Now I am happy with what I have done so far. There is also much that I want to do. But my ambitions cannot disturb my peace of mind. I want to live quietly and help those around me as much as I can

Rajiv Menon

:: Rajiv Menon
An engaging combination of reserve and warmth is Rajiv Menon's trademark characteristic. The acclaimed cinematographer-turned-director shot into the limelight as cameraman for Mani Ratnam's 'Bombay'. His first directorial venture 'Minsara Kanavu' was dubbed into Hindi as 'Sapnay'. While the film did not do too well, his 'Kandukondein Kandukondein' created ripples internationally. Released with subtitles, this adaptation of Jane Austen's 'Sense and Sensibility' was a hit at national and international film festivals and theatres.
A conversation with this adman, cinematographer and director, reveals much about the man and his work...
Among his early influences, he fondly recalls his Achamma, his father's mother. Every morning, she would wake up at 4.30 a.m. and begin reading the Upanishads. The young Rajiv, who shared a room with her, would squat on the floor, immersed in some book of his own. "It was her wisdom I gained," he says.
Achamma was P.K. Kunjilakshmiamma. She held a graduate degree in 1920. She participated in the Simon Commission stir. Her passion for the Upanishads has already been mentioned. When she lost her only son, Rajiv's father, she said that God was testing her knowledge of the Upanishads. The pain of losing her son seemed far greater than the pain of losing her husband. The way she sought to come to terms with this untimely loss deeply influenced her grandson.
Rajiv Menon's father was in the navy and died when his son was only ten. "People simply forgot my father. Several people stopped coming to see us," he says.
Now 37, his grandmother's vision forms his cinematic endeavours. "That element of Thomas Hardy, dark sorrow and the ability to see light in between, is thematic of Kanukondein Kandukondein. The counterpoint between tragic movement and positivism is very important, especially in the second half of the film."
The autobiographical distractions of the film were avoided by changing the gender of the protagonists in the film. The switch was easy for the man in whose life women have had an immense impact.
His mother, Kalyani Menon, is a popular Malayalam playback singer. She warned her sons, "Don't come back at 45 and wonder 'what did I do?'" She was not the type to wonder why fate with her cruelly either. "She might have cried once a year maybe," he recalls, "If she was feeling depressed, she would go into a room and sing for an hour. She would come out beaming."
Kandukonein Kandukondein tells the story of modern migrants, the interaction and movement between rural and urban sensibilities, making new beginnings and letting go - all that Rajiv Menon has seen in lived experience.
This Indian film in an Indian setting, adorned with the verse of Subramania Bharathi, surprised the international audience "with its full blooded tamasha, despite its English inspiration".
After an early preview in London, he was asked how he would have made the film if he had been given 6000 pounds and the same cast. The audience applauded his reply, "Exactly the same as now. With all the songs. Ang Lee's adaptation of 'Sense and Sensibilty' was an English adaptation of an English novel. Kandukondein Kandukondein is an Indian film based on an English novel." The sub-titled version, by the way, did not have a single cut from the original. Peter Bradshaw, critic at respected English daily, The Guardian, rated Kandukondein Kandukondein among his top 12 films at the Regus London film festival. He was thoroughly impressed with 'this entertaining reinvention of the Austen novel' that allowed the story to be 'exuberantly transposed to modern-day India'. The film is further securely anchored in the contemporary by mythic references. The film is also dealing with the dispossessed family, the 'vanaprastham', leitmotif of the epics Ramayana and Mahabharatha. The tale still belongs to the urban, globally connected generation. "For the protagonists to have gone back to the feudal mansion would have meant supporting an anachronism. In the 50s, most portrayals of the city showed it as corrupting as its rural migrants. Now, we of the second generation are no longer scared of the city. We know how to get right on top of it, in fact. We don't need to romanticise the rural, either. Just looking at box office trends will prove that. There has been no hit based on a rural theme in the past twenty years or so. Urban and economic values are the ruling values of contemporary India. In cities now, the themes are violence and the search for love. It's the easiest thing to kill someone off on screen. That's why I have chosen marriage for my theme." He, too, married the woman he loved after waiting three years for her mother's consent. They were of the same caste but films were still a risky venture. "As an individual I am quite conservative. Though, as a creative person, I think the greatest risk is not to take a risk." For a man who loves to shoot pictures, there are no photographs of his family in his albums. "My wife keeps asking me when I am going to take some," he smiles. Lata, his better half, did her degree in mass communication from Sophia College, Mumbai. She runs her own agency called 'Iris' and is the 'strong, silent type'. She is a vivid contrast to her husband, his mother and brother, who all 'sing and are very demonstrative'. "She is doing very well professionally. I am constantly marveling at the mother in her. I am usually terribly tired when I get back from work. She, on the other hand, will sit down with our two daughters, Lakshmi and Saraswati, and go through their homework." Reverting to Kandukondein Kandukondein, he asserts that international audiences require better quality films, which in turn require superlative writing. "Our gift is our knowledge of English. If Indo-Anglian books can sell well, so can Indo-Anglian filmmaking. Our filmmaking is so unique that it is a barrier to be broken if we have to reach out to wider audiences. Just like a modified curry has become the largest selling food in the United Kingdom." Holding on to the comparison, he explains, "We are used to drama in a film, so we are used to watching all the navarasas on the silver screen. Those are like the spices in our curry. In that sense, the curry is different from, say, cold cuts. All that is needed is for the writing to improve." His favourite authors are Arundhati Roy and Vikram Seth. "These people are writing for an international audience. Though the ambience is Indian, the conflict is international."His next directorial venture is a small film. "Celluloid is an expensive medium but now you can film on the cheaper video and stream it on broadband. A sub-titled Kandukondein Kandukondein would not have been possible five years ago but mini theatres helped pull off a success." Besides having lower overheads, mini theatres may actually push up the success of a film by frequently sporting the 'house full' sign.He is currently busy with Hindi films though. Another Tamil film may be a long time coming because of other commitments.Also, he is busy with an important new venture, his very own film-training institute. "I am busy developing talented young people to join the industry," he says.

Udayatara

:: Udayatara
There was a time when Tamil cinema was dominated by actresses like Kushboo, Simran, Jyothika, Kiran and Reema Sen from Mumbai. Now it is the turn of Kerala to change Tamil filmdom's destiny. Like Nayantara, we now have Udayatara. First introduced in 'Kannum Kannum', she has been cast opposite Karan in 'Thee Nagar'. While shooting was on for the film at Chennai in the Nandanam Arts College, we met her and asked her a few questions.
Several heroines from Kerala now have carved a place for themselves in Tamil cinema. Will you be able to hold your own amidst them?It doesn't matter how many heroines come from Kerala. They are all getting opportunities according to their skills. Anyone in their first film is a 'new face'. Similarly, I am making my debut in Tamil. I have done the role of Anandhi, a village girl, opposite Prasanna in 'Kannum Kannum'. The story is that of a bloodless, sword less war of love. I will definitely be praised for my acting in this film.In 'Thee Nagar', I play a modern girl from Mumbai opposite Karan. Even if the character is modern, she definitely has family values.
What kind of characters do you wish to do?Someone in the acting profession should be able to do any role that they are given well. If I should state my wishes as an individual, I would say that I want to do 'homely' roles like the ones Gopika and Bhavana are doing. I would definitely be able to demonstrate my acting skills in roles like those.Even if others are much more beautiful and glamourous, there is something called the skill of acting. As far as I am concerned, Tamil filmdom will not hesitate to give chances or livelihood to people who have the necessary skills. Right now, doing good roles in a lot of films is my greatest desire. I believe that I will be able to make a place for myself in Tamil cinema.
Will you act in 'glamorous' roles?What do I have to act glamourously with? Don't such roles require a certain kind of body? After having done two or three films, I will do glamourous scenes if the film requires it. I will definitely act glamourously when the story does not require it. Currently, I am doing roles without glamour only.
Can you tell us about your experience of acting in Tamil cinema?Initially, when I was still only dreaming of acting in Tamil cinema, producers Radhamohan and Radhakrishnan invited me for a makeup test after seeing my picture on the internet. Since I was found satisfactory, they cast me as the heroine in 'Kannum Kannum'. I consider it my privilege to be acting in Tamil cinema. Everyone respects me and is very affectionate. I am proud and happy to be here.Even if I get invitations to act in films in other languages, I will give my first preference to Tamil films, says Udayatara.

Bhavana

Bhavana
Of the lovely ladies from Kerala, including Asin, Nayantara, Gopika, Sandhya, Navya Nair and Renuka Menon, Bhavana has carved a place for herself in Tamil cinema. With her first film in Tamil, 'Chithiram Pesuthadi' turning out to be a hit, she is a busy lady currently with 'Veyil', 'Arya', 'Kizhakku Kadarkarai Salai', 'Deepavali' and 'Naan Kadavul'.In conversation with her...
How were you introduced to cinema?I have wanted to act in cinema ever since I was in school. The reason being that my father was a cinematographer for several Malayalam movies. While accompanying him to the sets, I used to wonder how it would be to be an actress.The dream led me to learn dance. Even if I didn't pay too much attention to my studies, I used to pass in all my exams. While studying in the tenth standard in Thrissur, I was given the opportunity to act in the film 'Nammal' under Malayalam director Kamal. I had a very different character in the film. I played Parimalam, a Tamil girl who lived in a slum. I had to blacken my face for the role. A few people teased me saying that I had blackened my face for my very first film and was sure to have a dark future in cinema. I did not let that bother me and acted bravely. After that several films came my way. I acted opposite the leading stars of Malayalam cinema, Mamootty, Mohanlal, Prithviraj and Dilip. It was at that time that I got the opportunity to act in 'Chithiram Pesuthadi'. After the film became a hit, I became a busy actress in Tamil.
What do you think about the world of Tamil cinema?I am overwhelmed by the welcome and the respect I was given here. All the technicians, directors and producers in the Tamil film industry give me respect. When I did 'Chithiram Pesuthadi', I could not speak much Tamil. Now I am able to converse in Tamil and am learning to read and write also. I get letters from fans in appreciation of my acting. They make me very happy. When I was acting in Malayalam, I had the desire to act in Tamil. Now that wish has come true plus I am doing several interesting roles. I feel honoured.
Can you tell us about the films you are doing in Tamil now?I am acting in 'Naan Kadavul' under Bala's direction. Just like in 'Nammal' in Malayalam, I am acting with black makeup. I play the role of a blind beggar girl. Bala is an excellent director and I am proud to be working under him. Arya plays the hero.I am also acting in 'Veyil' being produced by director Shankar on behalf of S. Films. I play Meenakshi, an innocent girl who is terrified of everything. Bharath has been cast opposite me in this film.Under S.S. Stanley's direction, I am acting opposite Srikkanth in 'Kizhakku Kadarkarai Salai'. I am acting under director Ezhil in Lingusamy's production, 'Deepavali'. I have a very different role in the film and Jeyam Ravi has been cast opposite me.I am acting opposite Madhavan in 'Arya' as a medical college student. A character who earns a name as being a rowdy because she is so mischievous. All my roles are very different.When I start doing a film, I become one with the character. As far as Tamil cinema is concerned, doing good roles in my goal. Several people have told me how Tamil cinema gives livelihoods to those who come seeking it. Though I am doing some films in Malayalam, I am concentrating on Tamil now.There are several Malayali heroines in Tamil now. We can learn the language very easily because there are no great differences between Tamil and Malayalam.Tamil cinema has given livelihoods to many Malayali heroines. I am glad to be one of them.
People say that you have come as competition to Trisha...Oh no! Nothing like that. Some people have told me that my face and features are like Trisha's. Also, I have not come to act as 'competition' to anybody in Tamil. I only want to be myself. No one can fill another's place. Everyone has their unique skills. These help them become leading heroines. Similarly, I want to use my acting skills to become a leading heroine. I don't want to compete with anybody. I only want to make good use of the opportunities that come knocking on my door.No one can snatch those away from me, she says laughing.