தமிழ்த் தேசியம்

"To us all towns are one, all men our kin.
Life's good comes not from others' gift, nor ill
Man's pains and pains' relief are from within.
Thus have we seen in visions of the wise !."

- Tamil Poem in Purananuru, circa 500 B.C 


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Sivaji Ganesan Stamp
issued on 1 October 2001

In Memory of Chevalier Sivaji Ganesan  - Ram N Ramakrishnan, Doha
Tamil cinema's lodestar - S.Viswanathan, 17 August 2001
Sivaji Ganesan's Films

Speech in Video

Parasakthi, 1952 -
His First Film
‘OdinaaL OdinaaL vaazkaiyin OraththukkE OdinaaL’
‘ஓடினாள் ஓடினாள் வாழ்கையின் ஓரத்துக்கே ஓடினாள்’

Songs from Parasakthi: Ka Ka Ka - Puthu pennin manathai thottu - Desam Gnanam kalvi esan poosai ellam ... - En vaazhvinile oli - Elloorum vaazha vendum - O Rasikkum Seemane

Vietnam Veedu

உன் கண்ணில் நீர் வழிந்தால், என் நெஞ்சில் உதிரம் கொட்டுதடி;
என் கண்ணிற் பாவையன்றோ கண்ணம்மா என்னுயிர் நின்னதன்றோ...

Veerapandiya Kattabomman 1959 - Video
 Part1 -
Part2  - Part3

Veera Pandiya Kattabomman Speech "We believe in the Rule of Law"

Inquilab Zindabad Hindustan Zindabad - Bhagat Singh

Thillana Mohanambal Video: Nalanthaana

Video: அகர முதல எழுத்தெல்லாம் அறிய வைத்தாய் தேவி

Video: அண்ணன் காட்டிய வழியம்மா

Kappalottiya Thamizhan

பொன்னை விரும்பும் பூமியிலே

Bale Pandiya - Video
Part 1 - Part 2 - Part 3


as Appar


as Bharathy





Paalum Pazhamum
பாலும் பழமும்
கைகலளில் ஏந்தி

also in Video
Part 1  - Part 2 - Part 3


also in Video
Part 1 - Part 2 - Part 3

Padithal Mattum Pothuma

Sumathi En Sundari

Pattikada Pattinama

Paava Mannipu

Puthiya Paravai

Thayai Pola Pillai

Tenali Raman

Thanga Pathakkam

Thirumal Perumai

Kalyaniyin Kanavan

Uthama Puthiran
in Video Part 1 - Part 2 - Part 3

Sivagamiyin Selvan
in Video - Part1 - Part 2  - Part 3
Part 4
தேவர் மகன்
Saraswathi Sabatham
in Video - Part 1 -
Part 2
Muthal Mariyathai
in Video - Part 1 -
Part2 - Part3
Kaathavaraayam in Video

with Marlon Brando

Sivaji Ganesan at Wikpedia ".. His real name was Villupuram Chinnaiahpillai Ganesan. He was born in Sirkali, Thanjavur district, Tamil Nadu, India. His parents were P. Chinniah Mandraayer and Rajamani Ammal. The name 'Sivaji' was given to him by Thanthai Periyar after watching his excellent stage performance as Emperor Shivaji. .."
Sivaji Ganeshan: The Making of a Legend -  Roopa Swaminathan, 2002 "At the age of nine, an Indian boy ran away from home to join a travelling theatre group. This passion for acting would one day make Sivaji Ganeshan a legend in Tamil films. Like many other film stars of Tamil Nadu, Sivaji Ganeshan also entered politics. However, he was loved more for his acting and his generous acts of charity. This is the fascinating story of an actor; worshipped by millions - crowned with the title of Nadigar Tilagam, the Jewel Among Actors. "
A Chat with Sivaji  - V.S.Srinivasan,1997

Dialogues of Sivaji

Talent, charisma and much more - Randor Guy, 27 July 2001
Sivaji Ganesan -- Facts, Info, and Encyclopedia article
rediff.com: Tamil Film Actor Sivaji Ganesan Dead
Sivaji Ganesan - Tribute by Tamil Guardian
A doyen among actors - D.B.S.Jeyaraj
Sivaji: Actor with a large heart
Sivaji: The legend lives on
Sivaji Ganesan - Tribute by The Music Magazine
Idle Brain - Tribute to Sivaji Ganesan
Sivaji Ganesan
How V C Ganesan became Sivaji
Nadigar Thilagam Sivaji Ganeshan
A birthday tribute to Sivaji Ganesan - Sify.com
Sivaji, The Great!
The Hindu : Tearful farewell to Sivaji Ganesan
Sivaji's Bio Data

One Hundred Tamils of the 20th Century

Sivaji Ganesan - Nadigar Thilakam
1 October 1927 -  21 July 2001

Sivaji Statute in Marina, Chennai
unveiled on 21 July 2006
நான் கவிஞனும் இல்லை...

A Lesson in Gratitude from the Movie Maestro Sivaji Ganesan
by Sachi Sri Kantha, 20 December 2005...

It is always enchanting and heart-warming to read and listen to real life events, which are educational at any time to individuals of all age ranges.

In this spirit, towards the end of the year, I provide the following two anecdotes from the life of Tamil movie legend, Sivaji Ganesan (1928-2001). In these two anecdotes, Sivaji Ganesan had taught to many, what is gratitude and why it deserves recognition and popularisation.

The first anecdote was from a memoir book about the Tamil movie world which I read recently, It was authored by distinguished Tamil movie script writer Aroordhas, who had known personally and professionally Sivaji Ganesan for decades.

The second anecdote was oral history I heard in Colombo three decades ago from one of my music mentors,violinist Vannai G.Shanmuganantham.

Both anecdotes have a few inter-linking threads. The oral story I heard around 1975 neatly gelled with the written story which I read recently.

Sivaji Ganesan and his tutor K.D.Santhanam [written story]

Sivaji with Aroordhas

Renowned script writer and director Aroordhas (born 1931) has a five decade track record in Tamil movie history. His stage name Aroordhas is a clipped version of his full village cum personal name of Tiruvaroor Aarokiyadhas. His memoir book, Naan Muham Paartha Cinema Kannadigal [The Cinema Mirrors I have Looked At; Kalaignan Publishers, Chennai, 2002, 224 pages] carries a delightful collection of anecdotes on the personalities who moved the movie world of South India. I was rather touched by a reminiscence provided by Aroordhas on Sivaji Ganesan in section 18 of the book (pages 109-113). I provide my English translation of this entire section below.

“The Madurai Mangala Bala Gaana Sabha was a drama troupe managed by Ethaartham Ponnusami Pillai of Thiruvathavoor, Madurai. This troupe stationed themselves in Tiruchi and conducted dramas at the Thevar Hall.

From Sangili Aanda Puram, a boy aged 6 or 7 had joined this drama troupe with his friend, a neighbor’s son. In this drama troupe, there was a Tamil tutor (Vaathiaar) who taught drama and Tamil to the young charges. He was short in stature and was extremely strict. With or without sense, this tutor punished his young charges by cane beating, even for smallest errors. Because of this, the young boys had their bowel leaks, when they saw or even dreamt about this extreme disciplinarian cum tutor. In their dreams, he appeared like a charging lion.

But that Tamil tutor had a great gift. He could compose beautiful, rhyming Tamil songs based on poetic grammar. One day, at the stage, that boy from Sangili Aanda Puram was acting in the role of a young widow. And by carelessness on that day, he was wearing a blouse. This had been noticed by that disciplinatrian tutor.

 In that era, wearing blouse by widows was rather inappropriate according to societal norms. At the end of the scene, that Tamil tutor harshly gave a cane beating to that young boy; ‘Can’t you be so careless and unrealistic in your profession?’ was the complaint against that young boy.

Guess who was that young charge, who received such a beating? Maestro Sivaji Ganesan. Who was that cane-loving tutor? My most respectful and admired elder and great poet, K.D.Santhanam (S).

43 years ago, during the shooting of the movie ‘Pasa Malar’, I met elder K.D.S. at the old Neptune Studio and paid my respects. In that movie, when Sivaji Ganesan (the hero) becomes rich, he is met by a character named ‘Rajaratnam’. KD.Santhanam played that character.

That young charge V.C.Ganesan never forgot about, in his illustrious career, from whom he received the cane-beating and from whose beating he learnt the alphabets of acting and Tamil diction. It was he, after establishing his fame in the movie world, who recommended his harsh disciplinarian tutor for that particular character in his great movie.

During the shooting days, Sivaji would be seated outdoors near the shooting floor with crossed legs and be in conversation with me, while having a cigarette in his lips. Then, elder K.D.Santhanam would occasionally pass us from the make-up room towards the shooting floor. At the instant when Sivaji sees his old tutor, he would dutifully stand up in respect, and hide the cigarette behind his back. Though noticing that homage silently, the old tutor K.D.S. pretend ignoring us and with bowed head pass us quietly.

It would touch my heart, when watching that simple, elegant and meaningful respect Sivaji paid for his old tutor. What a class! What a grateful protégé! I mention this anecdote because the younger generation should be informed of this humility and gratitude shown by maestro Sivaji.

Once, after K.D.S. had passed us and went beyond the listening distance, Sivaji sat back and told me: ‘Aarooran! On this Santhanam tutor (Santhana Vaathi) who passed us. The amount of beating I got from him isn’t a few. During dance training (when a step is missed for a beat), during dialogue training (when a word is missed), he beat us severely! Oh Mother – He’d chase and chase us and beat us! Even when he went to the toilet, he carried his cane. Now he is passing us like a young girl with head turned towards the floor. Even when I thought about him in those days, I’d shiver.’

I asked him jokingly: ‘Then, why did you recommend him for this role?’

[Sivaji said] ‘You don’t know. Because of those beatings I received from his hand, I’m now sitting comfortably like this as Sivaji Ganesan. When I joined the drama troupe, I was a zero. From him only, I learnt how to speak dialogue and how to act. Do you know, what a classy Tamil poet he is? What a poetic touch he carried in his hands? The songs he wrote for the Ambikapathi [1957] movie I acted: Ah! What sweet Tamil, and what lilting rhythm! I tolerated all those beatings because of his blessed Tamil knowledge. Otherwise, I’d have quit the troupe and ran back to my home during any one of those nights.’

Later, when elder K.D.S. was alone at the shooting floor, I approached him and politely mused;

“Elder Sir, I’ve heard that you gave severe beating to Sivaji Annan in his young days.’

[K.D.S.] ‘Oh! He has told you about that. Oh! That was in those days. Now I’m becoming senile. I cannot remember your script now. Not only that, when Thambi Ganesan stand in front of me, shouldn’t I look at his face and deliver my dialogue? When I look at him now, I’m getting nervous! Because of that, can you prepare me for my dialogue by repeating your script not once but four times? It may be a bother. Kindly oblige.’

How Time did change? The same great tutor who taught dialogue to Sivaji Ganesan in his young days, with disciplinary cane at his hand, now he feels nervous to stand in front of his illustrious protégé, and ask me to prepare him well for a scene in which he faces his protégé.”

When I read these pages from Aroordhas’s book, I was touched by three inter-twined elements;

(1) a thankful protégé’s devotion to an extremely strict, but sincere, mentor,

(2) repayment of intellectual debt by an esteemed protégé, and

(3) the mentor’s heart-felt pride on the grade made by his protégé.

What Sivaji Ganesan said of the touching poetic feel of his mentor K.D.Santhanam was no exaggeration. The 16 lines of that one sweet melody in the Ambikapathi [a historical love yarn set in the 12th century Chola Kingdom, along the lines of the more popular Romeo-Juliet story] movie, beginning with the lines ‘Kannile Iruppathenna Kanni Ila Maane’ and sung by P.Bhanumathi as well as T.M.Soundararajan were from the fertile mind of K.D.Santhanam.

Sivaji Ganesan and his boyhood pal E.Subbiah Pillai [oral story]

Around the time [in 1961 or 1962] when his signature movie Pasa Malar was released, Sivaji Ganesan visited Colombo. I heard the following story from my mentor Vannai G.Shanmuganantham, around 1975, who was an eye-witness.

E.Subbiah Pillai

At a cultural function held at the Saraswathie Hall, Bambalapitiya, Sivaji Ganesan was the guest of honor. With his roving eye, he had a glance at the orchestra performing at the side of the stage. During intermission, he rushed to the orchestra team and stood in front of the clarinetist E.Subbiah Pillai, who was calm and composed. With stretched hands, Sivaji greeted him, “Neenga Subbiah Annan ille” [Aren’t you Subbiah elder?]. The clarinetist softly responded in the affirmative. Then, Sivaji immediately hugged his long-lost boyhood pal, and was overcome with emotion. The words fumbled from his mouth.

“Anne! Suhama irukeengala? Eppavo, Ceylonukku oodi poonatha sonnanga. Athukappuram, oru sethiyum kiddaikale.” [Brother, are you keeping fine? Those days, I heard that you have run to Ceylon. After that, I didn’t hear any news about you.]

Then only it became known to the fellow members of that orchestra team that Sivaji Ganesan [a junior] and Subbiah Pillai [a senior] were boyhood pals in a boys drama troupe, and one day [partly because of the disciplinary tactics of their tutors and partly because of the lure provided by a sea-crossing trip to Ceylon], Subbiah Pillai had moved to Ceylon without announcing his decision to his then clique. Thus, the pals became separated.

In the intervening 25 years or so, while Sivaji Ganesan became a famous movie star in Chennai, Subbiah Pillai established himself as a clarinetist in the Radio Ceylon artiste. Subbiah Pillai, as a senior to Sivaji Ganesan, might have taught a few ‘steps’ in the art world then, to the talented rookie. Sivaji never forgot the face of his senior.

I personally knew Subbiah Pillai ‘Master’ in the late 1960s and early 1970s. In fact, for my flute debut performance [Arangetram] held on December 3, 1971, at the Bambalapitiya Sammangodu Vinayagar Temple, my mentor T.P.Jesudas honored him by requesting him to ‘keep the Talam [rhythm keeper]’ in front of me.

Then, after I entered the university, due to demands on time, I lost much contact with those older generation of musicians. One day [before I heard this Sivaji Ganesan anecdote from violinist Shanmuganantham Master] I received the news with shock that Subbiah Pillai ‘Master’ had died in Jaffna hospital, following a medical misadventure after an operation. Even now, I get a lump in my throat when I think about the calm and composed Subbiah Pillai Master – a senior to Sivaji Ganesean of old drama troupe days - who was the only clarinetist I knew in Colombo in those days.

...from Sri Lanka Tamil Daily 'Thinakaran',
11 November 1972 - on Death of Subbiah Pillai

  In Memory of Chevalier Sivaji Ganesan  - Ram N Ramakrishnan, Doha
"If there was a matinee idol in the realms of Indian cinematic history who received as much accolades and an equally strong bout of criticism for his histrionic abilities, it was Chevalier Sivaji Ganesan. Given that he never achieved the national status that he deserved perhaps is a reflection of the complexities of the language of his mother tongue that required strong grammar, poetic undertones and louder decibels for dialogue delivery.

Film critics and audience forming the majority in the North of the Vindayas who were used to the much softer, subtle shayaari and ghazals perhaps found it difficult to applaud Sivaji’s daredevilry in characterization of roles he depicted in his film career.

Perhaps if he were to be born out of the Dravidian State and culture, there would have been a national consensus that he was the greatest actor Indian cinema ever produced. It is indeed a misfortune to know that Mr. Nehru pleaded ignorance of the actor when President Nasser of Egypt enquired dearly about him after seeing his stellar performance in “Veerapandia Kattabomman” in the Cairo Film Festival. Nehru did make amends when he made Sivaji the main host when Nasser visited India subsequently!.." more

Tamil cinema's lodestar - S.Viswanathan, 17 August 2001
 "Sivaji Ganesan's voice and diction not only changed the course of dialogue delivery in Tamil films and plays, but also had a deep impact on the manner in which the language is spoken by narrators on radio and television. This is perhaps the most impressive contribution of the late thespian."

Two factors contributed to this success. First, the principal actors in Tamil films of the 1940s and the 1950s were Telugus, whose talent in acting was not matched by the way they delivered dialogues in Tamil. In fact, Sivaji Ganesan himself lent his voice to Mukkammala Krishnamurthy, a Telugu actor, for a Tamil film, Niraparathi, before the making of Parasakthi, and the film was well-received by the Tamil audience. Secondly, the 1950s saw the growth of the Dravidian movement in Tamil Nadu, thanks to the forceful oratory of leaders such as C.N. Annadurai and Karunanidhi. They transferred their language skill to the film medium in the scripts they wrote, ensuring their instant acceptance.

Sivaji Ganesan with his extraordinary memory and stentorian voice could captivate his fans with long spells of dialogues in chaste Tamil. He said in an interview that Parasakthi marked a break with the past, when Tamil films used to have 15 or more songs each. "Moreover," he said, "dialogue for me is poetry. I have a passion for poetry. And so, there was no problem for me in rendering it effectively." " more
Sivaji Ganesan's Films


1952 - Paraasakthi
1953 - Pempudu Koduku (Telugu)
1953 - Poongodhai
1953 - Pardesi (Telugu)
1953 - Anbu
1954 - Manohara  Part 1 - Part 2
1954 - Edhirpaarthadhu
1954 - Andha Naal - first songless Tamil film
1954 - Thookku Thookki
1954 - Kalyanam Panniyum Brammachari
1955 - Mudhal Thedhi
1955 - Mangayar Thilagam
1955 - Kalvanin Kadhali
1956 - Thenali Raman
1956 - Rangoon Radha
1956 - Pennin Perumai
1956 - Amaratheebam
1957 - Vanangaamudi
1957 - Tala Vanchani Veerudu (Telugu)
1957 - Thangamalai Ragasiyam
1957 - Makkalai Petra Magarasi
1957 - Ambigaabathi (ALS)
1957 - Pudhaiyal
1957 - Baagyavathi
1958 - Sabaash Meena
1958 - Saarangathaara
1958 - Uthamaputhiran Part 1 - Part 2 - Part 3
1958 - Kaathavaraayan  in Video
1959 - Veerapandiya Kattabomman
1959 - Veerapandya Kattabrahmanna (Telugu)
1959 - Maragadham
1959 - Baagappirivinai 
1959 - Thaayaippol Pillai, Noolaippol Selai
1959 - Thangappadhumai


1960 - Pillalu Techina Challani Rajyam (Telugu)
1960 - Padikkadha Medhai
1960 - Paavai Vilakku
1960 - Irumbu Thirai
1960 - Dheiva Piravi
1961 - Paavamannippu 
1961 - Paasamalar 
1961 - Papa Pariharam (Telugu)
1961 - Paalum Pazhamum 
1961 - Kappal Ottiya Thamizhan
1961 - Punar Jenmam
1962 - Pavithra Prema (Telugu)
1962 - Paarthaal Pasi Theerum 
1962 - Bale Pandiya
1962 - Aalayamani 
1962 - Nichaya Thaamboolam
1962 - Padithaal Mattum Podhuma
1962 - Vadivukku Valaikaappu
1962 - Paasam
1963 - Ratha Thilagam
1963 - Paar Magale Paar
1963 - Iruvar Ullam
1963 - Arivaali
1963 - Kulamagal Raadhai
1963 - Kungumam
1963 - Annai Illam
1964 - Karnan
1964 - Karna (Telugu)
1964 - Ramadasu (Telugu)
1964 - Navarathiri - announced as Sivaji's 100th film
1964 - Kai Kodutha Dheivam
1964 - Pachai Vilakku 
1964 - Pudhiya Paravai 
1965 - Thiruvilaiyadal  Part 1 - Part 2 - Part 3 - Part 4
1965 - Santhi 
1965 - Pazhani
1965 - Anbu Karangal
1966 - Motor Sundaram Pillai
1966 - Mahakavi Kalidas
1966 - Selvam
1967 - Thiruvarutchelvar
1967 - Thangai
1967 - Kandhan Karunai
1967 - Iru Malargal
1968 - Uyarndha Manidhan 
1968 - Thillana Moganambal
1968 - Enga Oor Raja 
1968 - Thirumaal Perumai
1968 - Galaatta Kalyanam
1968 - En Thambi
1969 - Kaaval Dheivam
1969 - Dheiva Magan
1969 - Sivandha Man
1969 - Thanga Surangam
1969 - Gurudhatchanai


1970 - Vilaiyaattu Pillai
1970 - Vietnam Veedu
1970 - Engal Thangam 
1970 - Enga Mama
1970 - Paadhugaappu
1971 - Savaale Samaali 
1971 - Moondru Dheivangal
1971 - Sumadhi En Sundhari 
1971 - Babu
1971 - Kulama Gunama
1971 - Thangaikkaga
1971 - Iru Thuruvam
1972 - Vasandha Maaligai 
1972 - Gnana Oli
1972 - Bangaru Babu (Telugu)
1972 - Needhi
1973 - Gauravam 
1973 - Bhakta Tukaram (Telugu) 
1973 - Rajapart Rangadurai 
1973 - Rajaraja Cholan
1973 - Baaradha Vilas
1974 - Thanga Padhakkam 
1974 - Anbai Thedi
1974 - En Magan
1974 - Theerkka Sumangali
1975 - Anbe Aaruyire
1975 - Avan Thaan Manidhan
1976 - Chanakya Chandragupta (Telugu) 
1976 - Uthaman
1976 - Unakkaga Naan
1976 - Sathiyam
1976 - Rojavin Raja
1976 - Grahapravesam
1977 - Annan Oru Koyil
1977 - Avan Oru Sarithiram
1977 - Theebam
1977 - Ilaya Thalaimurai
1977 - Naam Pirandha Man
1978 - Vaazhkai Alaigal
1978 - Ennai Pol Oruvan
1978 - General Chakravarthi
1978 - Justice Gopinath
1978 - Pilot Premnath
1978 - Punniya Boomi
1978 - Thyagam
1978 - Andhamaan Kadhali
1979 - Vetrikku Oruvan
1979 - Thirisoolam ssss
1979 - Pattaakathi Bairavan
1979 - Nalladhoru Kudumbam
1979 - Naan Vaazhavaippen
1979 - Kavari Maan
1979 - Imayam


1980 - Rishi Moolam
1980 - Ratha Paasam
1980 - Visvaroobam
1980 - Emanukku Eman
1980 - Dharma Raja
1981 - Mogana Punnagai
1981 - Maadi Veettu Ezhai
1981 - Lorry Driver Rajakannu
1981 - Keezhvaanam Sivakkum
1981 - Kalthoon
1981 - Amarakaaviyam
1981 - Sathya Sundharam
1982 - Vasandhathil Oru Naal
1982 - Vaa Kanna Vaa
1982 - Thyagi
1982 - Thunai
1982 - Theerpu
1982 - Sangili
1982 - Paritchaikku Neramaachu
1982 - Oorum Uravum
1982 - Oorukku Oru Pillai
1982 - Nenjangal
1982 - Hitler Umanath
1982 - Garuda Saukiyama
1983 - Sumangali
1983 - Sandhippu
1983 - Unmaigal
1983 - Miruthanga Chakravarthi
1983 - Neethibathi
1983 - Vellai Roja
1983 - Kashmir Kadhali 
1983 - Uruvangal Maaralam 
1984 - Iru Medhaigal
1984 - Ezhudhaadha Sattangal
1984 - Vaazhkai
1984 - Vamsa Vilakku
1984 - Sarithira Nayagan
1984 - Siranjeevi
1984 - Tharaasu
1984 - Thiruppam
1984 - Simma Soppanam
1984 - Dhaavani Kanavugal 
1985 - Bandham
1985 - Needhiyin Nizhal
1985 - Padikkadha Pannaiyar
1985 - Raja Rishi
1985 - Muthal Mariyathai  -  Part 1 - Part2 - Part3
1985 - Naam Iruvar 
1985 - Nermai 
1985 - Padikkadhavan 
1986 - Thaaiku Oru Thaalaattu
1986 - Saadhanai
1986 - Mannukkul Vairam
1986 - Lakshmi Vandhachu
1986 - Anandha Kanneer
1986 - Viduthalai 
1986 - Marumagal 
1987 - Raja Mariyadhai
1987 - Muthukkal Moondru
1987 - Kudumbam Oru Koyil
1987 - Krishnan Vandhaan
1987 - Thaambathiyam
1987 - Veerapandiyan 
1987 - Jallikkattu 
1987 - Anbulla Appa 
1988 - En Thamizh En Makkal
1988 - Pudhiya Vaanam 


1990 - Kaavalukku Gettikkaaran 
1991 - Gnana Paravai
1992 - Thevar Magan 
1992 - Naangal 
1992 - Mudhal Kural 
1992 - Sinna Marumagal 
1993 - Paarambariyam
1995 - Engirundho Vandhaan 
1995 - Pasumpon 
1997 - Once More 
1997 - Gopura Theebam 
1997 - Oru Yathra Mozhi (Malayalam)
1998 - En Aasai Rasave 
1999 - Mannavaru Sinnavaru 
1999 - Poo Parikka Varugirom 
1999 - Padayappa 

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