Thillana Mohanambal Part 1

Serial and theatre artist M. L. Bhanumathi played the nurse who treats Shanmugasundaram.[28] Other supporting actors included K. Sarangapani,[29] S. Ramarao, M. K. Murthy, Balusundaram, T. N. Sivadhanu, S. R. Dasarathan, Sivasooriyan, Senthamarai, Kallapart Natarajan, Gundu Karuppaiah, Chandranbabu, S. V. Rajagopal, A. M. Maruthappa, Udayachandrika, Ambika and Kalpalatha.[30]

The prints of the film in 16 mm format were acquired by the American Cultural Association for their archives to represent quintessential old-world Thanjavur culture, and by universities in the United States for the study of Bharatanatyam and Nadaswaram arts in particular.[29][73] Thillana Mohanambal is included with other Sivaji Ganesan-starrers in 8th Ulaga Adhisayam Sivaji, a compilation DVD featuring Ganesan's "iconic performances in the form of scenes, songs and stunts" which was released in May 2012.[74] Although film distributor Shanthi Chokkalingam stated in February 2012 that Thillana Mohanambal's remaining prints were "totally damaged",[75] Pradeep Sebastian of Deccan Herald stated in April 2015 that he "recently" saw the film through a restored print.[76] Jil Jil Ramamani became immensely popular;[77] in its obituary for Manorama, The Hindu noted Jil Jil Ramamani "probably bore the closest resemblance to Manorama" in terms of being able to perform Karakattam and Poikkal Kuthirai.[27]

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When Kuzhandaivelu (Vadivelu) is injured in Middle Class Madhavan (2001), his mother-in-law (Revathi Sankaran) sings "Nalandhana" while enquiring about his health.[82] In Perazhagan (2004), when hunchback Chinna (Suriya) talks about improving his looks, Kuzhandaisamy (Vivek) jokes that if Chinna was given a party horn to play with, he would look like 'Sikkal' Shanmugasundaram.[83] Scenes from Thillana Mohanambal were parodied in Thamizh Padam (2010). The film's poster depicts lead actor Shiva as Ganesan's character, Shanmugasundaram and M. S. Bhaskar as Balaiah's character, Muthurakku.[84][85]

Mohana and her party now have to travel to Thiruvarur, and coincidentally are in the same train compartment as Shanmuga Sundaram and his troupe, who are off to Tanjore. In the course of the journey, Shanmuga and Mohana fall in love with each other, and it is with tenderness in their gazes that they finally separate when the train arrives at Tanjore.

The gesture is certainly not one of supplication at all . Women from the South have been quite liberated compared to elsewhere . I can give a few examples : Avvayar & Kannagi(Tamil Country), Akkamahadevi

& Sanchi Honnamma( Kannada country) and much after them we had Kittur Channamma , Obavva & Belavadi Mallamma from Kannada country who were rulers . When education itself was a taboo for women in the 19th & early part of the 20th century , we had Nanjangudu Tirumalaba , who not only wrote prolifically, but also turned into a kind of educationist exclusively for women. Style is no supplication

However, though this short documentary extract is far from perfect, it remains a unique and rare document on Madras film industry in the 1960s, with its 15 studios, its 200 movies per year, its detective movies as well as its historical epics. Moreover, there is no denying that Louis Malle rightly points out a few realities : thus, the heavy white and pink make-up of the actors recalls the fact that tamil movies reinforces social norms and in particular, the idea that one must be fair/white to be beautiful. Indeed, the diktat of white skin, especially for actresses, is still surviving in tamil cinema.

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