The Butterfly Effect: How Tamil Movies Changed History

The Butterfly Effect: How Tamil Movies Changed History

Synopsis

1. Introduction
2. End of the B.R.Panthulu - Sivaji Partnership
3. Sivaji Valued Integrity More Than Fame
4. Beginning of the B.R.Panthulu - MGR Partnership
5. Petralthan Pillaiya: From Sivaji to MGR
6. End of the MGR - M.R.Radha Partnership
7. Saroja Devi's Decline and Jayalalitha's Rise
8. B.R.Panthulu - Saroja Devi - Jayalalitha
9. Conclusion

Introduction

Let’s explore the butterfly effect created by movies like Puthiya Paravai, Muradan Muthu, Navarathiri, and Petralthan Pillaiya. This essay reflects my personal thought process, shaped by connecting scattered pieces of existing information. The discussion doesn’t aim for a definitive conclusion but instead highlights the evolving roles and contributions of B.R. Panthulu, Sivaji Ganesan, MGR, M.R. Radha, Saroja Devi, and Jayalalithaa.

End of the B.R.Panthulu - Sivaji Partnership

Around the same period in 1964, three major projects involving Sivaji were in simultaneous development, namely Muradan Muthu, Navarathiri, and Puthiya Paravai. Director B.R.Panthulu, a frequent collaborator of Sivaji, is said to have requested that Muradan Muthu be declared Sivaji’s 100th film. However, Navarathiri was ultimately chosen for that milestone honor. 

Interestingly, both Muradan Muthu and Navarathiri were released on the same day, November 3, 1964. As a result, Muradan Muthu became Sivaji’s 99th film, while his nine-role performance in Navarathiri marked his 100th.

Sivaji Valued Integrity More Than Fame

Sivaji’s decision not to prioritize Puthiya Paravai, his own production and a prestigious color film, as his 100th shows his sense of fairness and artistic integrity. He chose Navarathiri, playing nine different roles, the first time in Tamil cinema, to honor the art rather than personal fame. However, this disagreement over the 100th film led to a rift between B.R.Panthulu and Sivaji. The fallout prompted B.R.Panthulu to shift his focus and collaborate with MGR for the first time.

Beginning of the B.R.Panthulu - MGR Partnership

Though B.R.Panthulu was previously known for directing Sivaji in classics like Thangamalai Ragasiyam, Sabash Meena, Veerapandiya Kattabomman, and Kappalottiya Thamizhan, he went on to helm the iconic Aayirathil Oruvan with MGR in 1965. 

Aayirathil Oruvan film not only marked the beginning of a successful collaboration between B.R.Panthulu and MGR, but also introduced the on-screen partnership of MGR and Jayalalithaa to Tamil cinema, a pairing that would later influence Tamil Nadu’s political future, culminating in both MGR and Jayalalithaa becoming Chief Ministers.

Petralthan Pillaiya: From Sivaji to MGR

During the making of Puthiya Paravai in 1964, renowned writer Aaroor Doss narrated the story of Petralthan Pillaiya to Sivaji Ganesan. However, due to development delays and scheduling conflicts, Sivaji was unable to take on the project. As a result, after a two-year delay, the film ultimately went to MGR.

End of the MGR - M.R.Radha Partnership

Petralthan Pillaiya, starring MGR, was released on December 9, 1966. Although the film was titled Petralthan Pillaiya, it featured MGR singing the memorable song “Enakku Oru Magan Pirappan, Avan Ennai Polave Iruppan”, a heartfelt expression of fatherhood. Interestingly, MGR never had children of his own in real life.

Petralthan Pillaiya marked MGR’s 25th on-screen pairing with Saroja Devi. However, just 35 days after its release, on January 12, 1967, Tamil cinema was rocked by a shocking incident where M.R.Radha shot MGR. The reasons behind the shooting remain unclear, with some linking it to the film and underlying political tensions. The incident had a major impact on both the film industry and the political scene.

Saroja Devi's Decline and Jayalalitha's Rise

Following the shooting incident, Saroja Devi appeared in just one more film with MGR, Arasakattalai (1967), directed by MGR’s brother, M.G.Chakrapani. The film also featured Jayalalithaa, but she had no on-screen sequences with Saroja Devi. 

Arasakattalai marked the end of the MGR - Saroja Devi pairing and signaled the beginning of Jayalalithaa’s rise as MGR’s primary co-star.

B.R.Panthulu - Saroja Devi - Jayalalitha

Saroja Devi was introduced to Tamil cinema through the recommendation of writer Chinna Annamalai, who had been referred by Padma Subrahmanyam. Her first appearance in a Tamil film was in Thangamalai Ragasiyam (1957), directed by B.R.Panthulu. In that film, she performed a dance sequence titled "Yavvana Mohini," which was directed by P.Neelakantan on B.R.Panthulu’s behalf. MGR, a close associate of P.Neelakantan, noticed her performance and cast her in Nadodi Mannan (1958). From there, MGR and Saroja Devi went on to collaborate in several successful films, beginning with Thirudathe (1961).

B.R.Panthulu played a major role in shaping the careers of both Saroja Devi and Jayalalithaa. The two actresses each shared a memorable and successful on-screen partnership with MGR that lasted nearly a decade, becoming a defining element of Tamil cinema during that era.

Conclusion

One cannot help but wonder about the "what-ifs".

A1 = What if Sivaji had accepted Petralthan Pillaiya?

A2 = Would the speculated conflict between MGR and M.R.Radha, which reportedly arose just weeks after the release of Petralthan Pillaiya, still have taken place?

B1 = If Sivaji had agreed to B.R.Panthulu’s Muradan Muthu his 100th film, would B.R.Panthulu have parted ways with him?

B2 = Without that fallout, perhaps Aayirathil Oruvan might not have launched Jayalalithaa’s career alongside MGR, which could have altered the political course of Tamil Nadu.

Looking back, the paths of Puthiya Paravai, Muradan Muthu, Navarathiri, and Petralthan Pillaiya appear closely intertwined. Though these questions may seem speculative, they show how cinema, personal choices, and circumstances can influence much more than film careers. At times, they go on to shape history itself. This is what we call the butterfly effect.

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