Nichaya Thaamboolam is a 1962 Indian Tamil language film and produced by B. S. Ranga; the film stars Sivaji Ganesan, Rajasree, M. N. Nambiar, S. V. Ranga Rao and P. Kannamba in lead roles; the film had a musical score by Viswanathan–Ramamoorthy. The film was released in Telugu as Pelli Thambulam. A senior Police officer, has a spoilt son, Raghu. Ranganathan's wife Kamakshi is a kind-hearted lady. Raghu falls in love with Seetha, the daughter of a poor teacher, Ramanna. Ranganathan's family and Ramanna's family are related to each other; when Seetha born, both parents agreed that she should be married to Raghu and exchanged the Nichaya Thamboolam. However, due to their status, the families had been estranged from each other. Raghu begets a child, but Raghu walks out. To complicate matters further, Raghu is charged with the murder of his friend Pattusamy. Seetha takes the blame on herself. After more twists and turns it is revealed; the families come together and all live happily. For the song "Padaithane Padaithane", Ranga built an elaborate set.
The music composed by Viswanathan–Ramamoorthy and the lyrics were penned by Kannadasan. The song "Padaithane Padaithane" is based on Bilaskhani Todi raga. Nichaya Thaamboolam on IMDb Nichaya Thaamboolam on YouTube
Kingdom of Mysore
The Kingdom of Mysore was a kingdom in southern India, traditionally believed to have been founded in 1399 in the vicinity of the modern city of Mysore. The kingdom, ruled by the Wodeyar family served as a vassal state of the Vijayanagara Empire. With the decline of the Vijayanagara Empire, the kingdom became independent; the 17th century saw a steady expansion of its territory and during the rule of Narasaraja Wodeyar I and Chikka Devaraja Wodeyar, the kingdom annexed large expanses of what is now southern Karnataka and parts of Tamil Nadu to become a powerful state in the southern Deccan. The kingdom reached the height of its economic and military power and dominion in the latter half of the 18th century under the de facto ruler Haider Ali and his son Tipu Sultan. During this time, it came into conflict with the Marathas, the Nizam of Hyderabad, the Kingdom of Travancore and the British, which culminated in the four Anglo-Mysore Wars. Success in the first Anglo-Mysore war and a stalemate in the second was followed by defeat in the third and fourth.
Following Tipu's death in the fourth war of 1799, large parts of his kingdom were annexed by the British, which signalled the end of a period of Mysorean hegemony over southern Deccan. The British restored the Wodeyars to their throne by way of a subsidiary alliance and the diminished Mysore was transformed into a princely state; the Wodeyars continued to rule the state until Indian independence in 1947, when Mysore acceded to the Union of India. As a princely state, Mysore came to be counted among the more developed and urbanised regions of India; this period saw Mysore emerge as one of the important centres of art and culture in India. The Mysore kings were not only accomplished exponents of the fine arts and men of letters, they were enthusiastic patrons as well, their legacies continue to influence music and art today. Sources for the history of the kingdom include numerous extant lithic and copper plate inscriptions, records from the Mysore palace and contemporary literary sources in Kannada and other languages.
According to traditional accounts, the kingdom originated as a small state based in the modern city of Mysore and was founded by two brothers and Krishnaraya. Their origins are still a matter of debate. Yaduraya is said to have married Chikkadevarasi, the local princess and assumed the feudal title "Wodeyar", which the ensuing dynasty retained; the first unambiguous mention of the Wodeyar family is in 16th century Kannada literature from the reign of the Vijayanagara king Achyuta Deva Raya. The kings who followed ruled as vassals of the Vijayanagara empire until the decline of the latter in 1565. By this time, the kingdom had expanded to thirty-three villages protected by a force of 300 soldiers. King Timmaraja II conquered some surrounding chiefdoms, King Bola Chamaraja IV, the first ruler of any political significance among them, withheld tribute to the nominal Vijayanagara monarch Aravidu Ramaraya. After the death of Aravidu Aliya Rama Raya, the Wodeyars began to assert themselves further and King Raja Wodeyar I wrested control of Srirangapatna from the Vijayanagara governor Aravidu Tirumalla – a development which elicited, if only ex post facto, the tacit approval of Venkatapati Raya, the incumbent king of the diminished Vijayanagar empire ruling from Chandragiri.
Raja Wodeyar I's reign saw territorial expansion with the annexation of Channapatna to the north from Jaggadeva Raya – a development which made Mysore a regional political factor to reckon with. By 1612–13, the Wodeyars exercised a great deal of autonomy and though they acknowledged the nominal overlordship of the Aravidu dynasty and transfers of revenue to Chandragiri stopped; this was in marked contrast to other major chiefs Nayaks of Tamil country who continued to pay off Chandragiri emperors well into the 1630s. Chamaraja VI and Kanthirava Narasaraja I attempted to expand further northward but were thwarted by the Bijapur Sultanate and its Maratha subordinates, though the Bijapur armies under Ranadullah Khan were repelled in their 1638 siege of Srirangapatna. Expansionist ambitions turned southward into Tamil country where Narasaraja Wodeyar acquired Satyamangalam while his successor Dodda Devaraja Wodeyar expanded further to capture western Tamil regions of Erode and Dharmapuri, after repulsing the chiefs of Madurai.
The invasion of the Keladi Nayakas of Malnad was dealt with successfully. This period was followed by one of complex geo-political changes, when in the 1670s, the Marathas and the Mughals pressed into the Deccan. Chikka Devaraja, the most notable of Mysore's early kings, who ruled during much of this period, managed to not only survive the exigencies but further expanded territory, he achieved this by forging strategic alliances with the Marathas and the Mughals. The kingdom soon grew to include Salem and Bangalore to the east, Hassan to the west and Tumkur to the north and the rest of Coimbatore to the south. Despite this expansion, the kingdom, which now accounted for a fair share of land in the southern Indian heartland, extending from the Western Ghats to the western boundaries of the Coromandel plain, remained landlocked without direct coastal access. Chikka Devaraja's attempts to remedy this brought Mysore into conflict with the Nayaka chiefs of Ikkeri and the kings of Kodagu.
National Film Awards
The National Film Awards is the most prominent film award ceremonies in India. Established in 1954, it has been administered, along with the International Film Festival of India and the Indian Panorama, by the Indian government's Directorate of Film Festivals since 1973; every year, a national panel appointed by the government selects the winning entry, the award ceremony is held in New Delhi, where the President of India presents the awards. This is followed by the inauguration of the National Film Festival, where the award-winning films are screened for the public. Declared for films produced in the previous year across the country, they hold the distinction of awarding merit to the best of Indian cinema overall, as well as presenting awards for the best films in each region and language of the country. Due to the national scale of the National Film Awards, it is considered the Indian equivalent of the American Academy Awards; the Awards were first presented in 1954. The Government of India conceived the ceremony to honour films made across India, on a national scale, to encourage the furthering of Indian art and culture.
Since 1973, the Indian Directorate of Film Festivals administers the ceremony along with other major film events in India annually. It is the highest award given for films in India; the National Film Awards are presented in two main categories: Non-Feature Films. The juries are appointed by the Directorate of Film Festivals in India. Neither the Government nor the Directorate have influence over which films are selected for consideration and which films win awards. There are strict criteria as to. Over 100 films made across the country are entered in each category for the awards and deemed eligible each year. A list of rules is presented every year in a document of regulations known as the National Film Award Regulations; the criteria for eligibility contains many clauses. Among them, there is a direct requirement for the makers of a film, the director, to be Indian nationals. Films entering the competition should be produced in India, in case of co-production involving a foreign entity, there are as many as six conditions which should be fulfilled in order for the film to qualify.
According to the criteria, in order to be eligible for consideration of the jury, a film should be certified by the Central Board of Film Certification between 1 January and 31 December. Whether a film is considered a feature film or a non-feature film shall be decided by the Feature Film jury; the eligibility list includes a section of rules determining which films shall not be eligible for entry in the competition. The Awards are categorised in three sections. With each section having its individual aims, Feature Film and Non-Feature Film sections aim at encouraging the production of films of aesthetic and technical excellence and social relevance, contributing to the understanding and appreciation of cultures of different regions of the country in cinematic form, thereby promoting unity and integrity of the nation; the Best Writing on Cinema section aims to encourage the study and appreciation of cinema as an art form and dissemination of information and critical appreciation of the art form through publication of various books, reviews, newspaper coverage and studies.
In addition, a lifetime achievement award, named after the father of Indian cinema Dadasaheb Phalke, is awarded to a film personality for the outstanding contribution to the growth and development of Indian Cinema. All the award winners are awarded with cash prize and a certificate of merit. Six categories from Feature Films section, two from Non-Feature Films and Best Writing on Cinema sections each have been made eligible for Swarna Kamal and rest of the categories for Rajat Kamal. Dadasaheb Phalke Award Official name - Swarna Kamal Official Name: Rajat Kamal Best Feature Film in each of the languages specified in the Eighth Schedule of the Constitution of India: Best Feature Film in each of the languages other than those specified in Eighth schedule of the Constitution of India: Official Name: Swarna Kamal Official Name: Rajat Kamal Official Name: Swarna Kamal Matthew, K. M. Manorama Yearbook 2006, Malayala Manorama, India, ISBN 81-89004-07-7 Directorate of Film Festivals National Film Awards at IMDB
Kiladi Ranga is a 1966 Indian Kannada film, directed by G. V. Iyer and produced by B. S. Ranga; the film stars Jayanthi, M. P. Shankar and Narasimharaju in the lead roles; the film has musical score by G. K. Venkatesh; the movie is based on the novel The Prisoner of Zenda by Anthony Hope, later adapted in Hindi as Prem Ratan Dhan Payo in 2015. Rajkumar Jayanthi M. P. Shankar Narasimharaju B. Jayashree B. V. Radha Raghavendra Rao Dinesh Bangalore Nagesh The music was composed by G. K. Venkatesh. Kiladi Ranga on IMDb
Pattikaattu Ponnaiya is a 1973 Tamil language drama film, directed by B. S. Ranga; the film features M. G. Ramachandran and Rajasree in lead roles. Somewhere between the Tamil countryside and its capital; as the farmer Ponnaiya puts a lot into the fields, he takes to heart the responsibility that his father, Nathamai Nalasivam delegates to him, as the twin younger brother of Ponnaiya, studying in agronomy, lets go of himself and does not get involved in his studies, because his spirit is monopolized somewhere else... Muthaiya, who gives the news no more, worries his family. Ponnaiya, who has to pay off a big debt in Pannaiyar Paramasivam, travels towards the capital to earn money and find his brother Muthaiya. Once arrived in the big city, Ponnaiya saves a master-fighter from several aggressors. By way of thanks, this one teaches him all the details of wrestling. Ponnaiya wins in fortune. Pattikaattu Ponnaiya was the last film to feature Jayalalithaa together; the music was composed by K. V. Mahadevan, while the lyrics were written by Kannadasan and Pulamaipithan.
Pattikaattu Ponnaiya was released on 10 August 1973, ran for 70 days. Pattikaattu Ponnaiya on IMDb
Akkineni Nageswara Rao
Akkineni Nageswara Rao known as ANR, was an Indian film actor and producer, known for his work predominantly in Telugu cinema. He starred in many landmark films in his seventy five-year career, becoming one of the most prominent figures in the history of Indian cinema, he is considered one of the greatest and most successful actors of Indian cinema. He was one of the instrumental figures in moving the Telugu cinema industry from Madras to Hyderabad in the early 1960s, he established Annapurna Studios in 1975 to provide infrastructural support to the Telugu film industry in Hyderabad. He started the Annapurna International School of Film and Media within Annapurna Studios in 2011. ANR is known for his path-breaking work in biographical films. Rao played many famous mythological figures such as Abhimanyu in Mayabazar, screened at the 1957 International Film Festival of India and the Indonesian Film Festival. ANR is remembered for his performances in romantic the dramas Laila Majnu, Anarkali, Mooga Manasulu, Prem Nagar and Meghasandesham, featured at the 9th International Film Festival of India, the 1983 Cannes Film Festival and the Moscow film festival.
ANR starred in the blockbusters Ardhangi, Bhale Ramudu, Mangalya Balam, Gundamma Katha, Doctor Chakravarty, Dharma Daata and Dussehra Bullodu. ANR received seven state Nandi Awards, five Filmfare Awards South, he is a recipient of the highest Indian award in the field of cinema. He was honoured with the Padma Vibhushan, India's second highest civilian award, for his contribution to the film industry. Manam was the last film of ANR; the film was a "befitting swansong". The film was screened at the 45th International Film Festival of India in the Homage to ANR section on 29 November 2014. Akkineni Nageswara Rao was born into a lower middle class family on 20th September 1924 in Ramapuram, Krishna District, Andhra Pradesh, he was the youngest of five brothers. His parents Akkineni Venkatratnam and Akkineni Punnamma, were from the farming community, his formal education was limited to primary schooling due to his parents' poor economic condition. From the paddy fields, he strode into the field of fine arts through theatre at the age of 10.
He became a famous stage actor, specialising in playing female characters, since women at that time were prohibited from acting. His most noted roles were in some of the famous dramas of the day: Harishchandra, Vipranarayana, Telugu Talli and Satyanveshanam; the turning point of his career came when Ghantasala Balaramaiah, a prominent film producer at that time, discovered him by chance at the Vijayawada railway station. He was cast in the lead role of Rama in Seeta Rama Jananam; this was after his debut in a supporting role in the film Dharmapatni. From humble beginnings, he went on to star in over 255 films, spanning the Telugu and Hindi languages. A majority of his films were both commercial and critical successes, his turning point in cinema came in 1955. To avoid being type cast, he shifted paths by doing a surprising comic turn in Missamma. Akkineni Nageswara Rao played a range of characters that few matched, his movie, Premabhishekam is one of the biggest hits in Tollywood, with an amazing 533 days run in Hyderabad.
It is still the highest theatrical run in a city for any Telugu movie. He was the first to play multiple roles in the Telugu film Navarathri. ANR's portrayal of an alcoholic lover in Devadasu, remains his signature role. Although Devadasu has been made in several languages by many others, critics unanimously are of the opinion that ANR's portrayal is by far the best. Dilip Kumar once famously remarked that ANR's performance outshone his own. Though he did the roles of mythological divine figures such as Rama and many others, he was famously an agnostic, he is fondly called Natasamrat by his fans. Some of his many commercially successful films are Maya Bazaar, Bratuku Theruvu, Donga Ramudu, Dr. Chakravarthi, Mangalya Balam, Shantinivasam, Velugu Needalu, Dasara Bullodu, Bharya Bhartalu, Dharmadata and College Bullodu. Sitaramayyagari Manavaralu was released in 1991 50 years after his debut, was a huge success at the box office, despite the influx of younger stars. On 19 October 2013, ANR was diagnosed with stomach cancer.
He continued shooting for his final film Manam, two weeks after a major laparoscopic surgery, which some doctors feared he wouldn't survive. He had said that he wished to act till his death, Manam proved that, his last public appearance was befittingly at the foundation day celebrations of Annapurna Studios on 14 January 2014. Akkineni died a week la
Bala Nagamma (1942 film)
Bala Nagamma or is a 1942 Telugu-language film directed by Chittajallu Pullayya and produced by S. S. Vasan; the story Bala Nagamma was one of the most popular Burrakathas. It was one of the early successful films made by Gemini Studios in Telugu and was not remade in Tamil. Gemini Studios made an adaptation of this film in Hindi starring Madhubala, called Bahut Din Huwe; the story is about a young princess. The King prays for progeny and is blessed with children, the youngest of them is named Bala Nagamma, she is married off to Karyavardi Raju. She is kidnapped by Mayala Marathi, who takes her to his cave. Once there, he tries to take advantage of her, she keeps him away by quoting some Holy Pujas that she is involved in. She is a prisoner in the cave for fourteen years, during which time the Fakir's mistress, becomes jealous of his obsession with Bala Nagamma. In the meantime, her son Balavardi Raju discovers the truth about his mother, he defeats him. There are three songs in the film. "Naa Sogase Kani Marude Dasudu Kada" – Pushpavalli "Nanna Memu Delhi Potham" "Sri Jaya Jaya Gowri Ramana" – Bellary Lalitha Gemini Pictures remade this movie in Hindi with Madhubala in the lead role and Savitri as Sangu.
The movie was titled Bahut Din Hue. This was Savithri's first Hindi movie; the movie was a trendsetting folk-based successful venture and ran for more than 25 weeks in Andhra Pradesh and Tamil Nadu. The story has been adopted for another movie as Bala Nagamma in 1959, starring N. T. Rama Rao, Anjali Devi and S. V. Ranga Rao, it was a big success. According to film historian Randor Guy, Bala Nagamma netted a profit of ₹4 million. Bala Nagamma at IMDb. Balanagamma at Cinegoer.com Watch BalaNagama At Basthi.com Bala Nagamma at The Hindu/Cinema Plus List of Copyright violators reported