B.SAROJA DEVI ,A GREAT LEGEND
FOR SOUTH INDIAN FILMS
BORN 1938 JANUARY 7
B. Saroja Devi "ಬಿ.ಸರೋಜಾದೇವಿ in Kannada" is an Indian actress, who has acted in Kannada, Tamil, Telugu and Hindi movies. One of the most successful female leads in the history of Indian cinema, she acted in around 200 films over six decades.[1][2][3] She is known by the epithets "Abinaya Saraswathi" (Saraswati of acting) in Kannada and "Kannadathu Paingili" (Kannada Nightingale) in Tamil[4][3]
At the age of 17, Saroja Devi got her big break in the Kannada film Mahakavi Kalidasa (1955). In Telugu cinema, she made her debut with Panduranga Mahatyam (1959), and starred in a number of successful films until the late 1970s. The Tamil film Nadodi Mannan (1958) made her one of the top actresses in Tamil cinema. After her marriage in 1967, she continued to be second in demand actress in Tamil films till 1974, but she continued to be one of the top actresses in Telugu and Kannada cinema from 1958 until the 1980s. She also starred in Hindi films until the mid-1960s, starting with Paigham (1959) Sasural(1961) [Preet na jane reet]] (1963).
She played the lead heroine in 161 consecutive films [5]in 29 years between 1955 and 1984. Saroja Devi received the Padma Sri, the fourth-highest civilian honour, in 1969 and Padma Bhushan, third highest civilian award, in 1992 from the Government of India.
Early life[edit]
Saroja Devi was born in Bengaluru, Mysore Presidency (now Karnataka) on 7 January 1938.[6] Her father Bhairappa worked for the police department, and her mother Rudramma was a homemaker.She was their fourth daughter. Her grandfather, Mayanna Gowda wanted her to be given away for adoption, but her father refused to do so.
Bhairappa asked her to learn dancing, and encouraged her to take up acting as a career. A young Saroja Devi was accompanied often by her father to studios and he would patiently tie on her salangais and massage her swollen feet after her dancing stints.[7] Her mother gave her a strict dress code: no swimsuits and no sleeveless blouses, which she followed for rest of her career.[8] She was first spotted by BR Krishnamurthy when she was singing at a function at the age of 13 but she declined the film offer.[9]
Career[edit]
Rise to stardom[edit]
Saroja Devi's first major success was Honnappa Bhagavatar's Kannada film Mahakavi Kalidasa (1955), in which she played a supporting role. The film won the National Film Award for Best Feature Film in Kannada. Next, she acted in B R Panthulu's Tamil film Thangamalai Ragasiyam (1957), in which she performed a dance sequence.[10]
Subsequently, she was noted by M. G. Ramachandran (MGR), who cast her as the female lead in Nadodi Mannan (1958), the movie that made her one of the most popular actresses in Tamil Nadu. She was then signed up for the Hindi film Paigham (1959), in which her co-stars included Dilip Kumar. She went on to work in other leading Hindi actors, including Rajendra Kumar in Sasural (1961), Sunil Dutt in Beti Bete (1964), Shammi Kapoor in Preet Na Jane Reet (1966). She also shot a few scenes with Raj Kapoor for Nazrana (1961), but was replaced by Vyjayanthimala after a conflict with the director C. V. Sridhar.[11]
Following the success of Nadodi Mannan, she was also cast opposite the leading Tamil actors of that time: with Gemini Ganesan in Kalyana Parisu (1959), with Sivaji Ganesan in Bhaaga Pirivinai (1959) and again with MGR in Thirudadhe (1961).[4] Her involvement in Tamil films also continued with superhits like Palum Pazhamum (1961), Aadi Perukku (1962), Aalayamani (1962), Periya Idathu Penn (1963), and Puthiya Paravai (1964),Panakkara Kudumbam (1964), Enga Veetu Pillai (1965) and Anbe Vaa (1966). She came to be known as a 'lucky mascot' for MGR films and acted with him in 26 films.[12]
Her early successes in Kannada cinema included Chintamani (1957), School Master (1958) and Jagajyothi Basveshwara (1959). Her role as a patriotic anti-British queen in the Kannada Kittooru Rani Chennamma (1961) was widely acclaimed. In 1964, she and Kalyan Kumar acted in the first full fledged Kannada colour movie Amarashilpi Jakanachaari.
Saroja Devi also achieved success in Telugu films, starring opposite N. T. Rama Rao in Seetarama Kalyanam (1961) and Jagadeka Veeruni Katha (1961), and Daagudu Moothalu (1964). Amara Shilpi Jakkanna (1964, remake of Kannada film) and Rahasyam, her film Pelli Kaanuka(1960) with Akkineni Nageswara Rao, were also successful. The first Telugu film featured dubbing; wherein, Krishna Kumari dubbed her voice in Panduranga Mahatyam (1957). But in the subsequent years, Saroja Devi learnt Telugu language. Her Hindi films included like Sasural (1960), Opera House (1961), Pareeksha, Hong Kong(1962), Pyar Kiya To Darna Kya(1963) became successful. In 1962 she was crowned "Chaturbhaasha Taare", because of her popularity in these four languages.[13]
The pair of MGR-Saroja Devi gave 26 back to back hit films together[14] which included Thirudathey, Thai Sollai Thattathey, Paasam,Thaayaikaatha Thanayan, Asai Mugam, Periya Idathu Penn, Dharmam Thalaikkakkum, Neethikku Pin Pasam, Pannakkara Kudumbam,Padakoti, Nadodi, Thali Bhagyam, Naan Anayittaal, Petralthaan Pillaiya, Arasa Katalai and Kudumba Thalaivan. Her best performances opposite MGR were the 'rich girl' roles in Anbe Vaa, Enga Veettu Pillai, En Kadamai, Deiva Thai,Kalangarai Vilakkam, Pana Thottam, Parrakkum Pavai and Thayin Madiyil. The women adored her dressing sense and her saris and blouses, ornaments, hairstyles were copied by girls and women.[15]
In the 1960s, Saroja Devi became a fashion icon among the South Indian women, who mimicked her saris, blouses, jewellery, hairstyles and mannerisms. In particular, her saris and jewellery from the Tamil movies Enga Veettu Pillai (1965) and Anbe Vaa (1966) were popularized widely in magazines.[16]
Post-marriage career[edit]
After 1968, Saroja Devi's career in Tamil cinema gradually declined, and she became more active in Kannada movies.[17] With her marriage in 1967 and the rise of younger heroines like Jayalalithaa, producers stopped pairing her opposite MGR. Her last film with MGR was Arasa Kattalai (1967), which also starred Jayalalithaa. She continued starring in Tamil movies opposite Sivaji Ganesan: En Thambi (1968), Anjal Petti 520 (1969), Thenum Paalum (1971) and Arunodayam (1971). She also did several films with Gemini Ganesan: Pen Endral Pen (1967), Panama Pasama (1968), Thamarai Nenjam (1968), Ainthu Latcham (1969), Thanga Malar (1969), Kula Vilakk (1969), Malathi (1970) and Kann Malar (1970) which were successful. She was also cast with other popular heroes, such as Ravichandran and R. Muthuraman. With Ravichandran, she acted in successful films Odum Nadhi (1969), Snegithi (1970), and Swargathil Thirumanam. With Muthuraman, she starred in Uyir (1971) and Pathu Matha Bandham (1974), which was her last Tamil film as a lead actor until 1985.
She continued to be among the highest paid actress in Kannada and Telugu films. She was cast opposite the leading actor Dr. Rajkumar in several Kannada films, including Mallammana Pavada (1969), Nyayave Devaru (1971), Sri Srinivasa Kalyana (1974), Babruvahana (1977) and Bhagyavantharu (1977). Her other successful films from this period include Thande Makkalu (1971), Papa Punya (1971), Gunavanthudu (1975), Katha Sangama (1976), Sri Renukadevi Mahathme (1977), Chiranjeevi then with Vishnuvardhan in Shani Prabhava (1977) and Rudranaga (1984).
In Telugu cinema, she was cast opposite N.T. Rama Rao in films like Bhagyachakram (1968), Uma Chandi Gowri Sankarula Katha (1968), Vijayam Manade (1970), Mayani Mamatha (1970), Shakuntala and Daana Veera Soora Karna (1979).
In her long career she chiefly opted for romantic films only in 1960's and later sentimental and socially relevant films right from late 1960's to 1980's.Sri Renukadevi Mahathme , Kannada film released in 1977 was Saroja Devi's 150th film in her career and by 1984, she had completed 161 films as the main lead heroine, without ever playing supporting roles. Yarivanu, in Kannada, was the 161st film, in which she played the main lead heroine.
After husband's death[edit]
Saroja Devi signed up for the film Ladies Hostel in 1985, but stopped shooting after her husband fell ill. He subsequently died in 1986, and she resumed shooting only in 1987. The film was successful, but Saroja Devi refused to sign up for any more films. She completed the 8 films that she had accepted before 1986, and these films were released during 1987-1990. These included Thaimel Aanai (1988) and Dharma Devan (1989).
She returned to acting on insistence by film producers and her fans. She starred opposite Sivaji Ganesan in Parambariyam (1993), and then performed a few roles as a supporting actress. In Kannada films, her notable supporting performances included her roles in Anuraga Sangama (1995) and Agni IPS (1997). She and Sivaji Ganesan acted in the Tamil film Once More (1997), which also includes scenes from their 1963 film Iruvar Ullam. Her last film was the Tamil film Aadhavan (2009), in which she played a judge's mother.[18]
In 2005, Saroja Devi chaired the 53rd National Film Awards jury.[19] She served as the vice-president of Kannada Chalanchitra Sangha, and as a member of Tirumala Tirupati Devasthanams's local advisory committee. She runs a successful business.[2] She also served as the Chairperson of the Karnataka Film Development Corporation,[20] which had been set up as a privated limited company by her and a few other film personalities in 1972.[21]
Saroja Devi is now settled in Bangalore, where she is involved in social work. She has organized many donation camps in the name of her husband and her mother. She is also involved with charitable trusts, rehabilitation centers and health programs.
Personal life[edit]
Saroja Devi had an arranged marriage with Shriharsha, a Bharat Electronics engineer from her own Gowda caste,[8] on 1 March 1967. At that time, she was facing a financial crisis and income tax troubles. Her husband helped her overcome these problems, and taught her how to manage her finances.[2] Her husband encouraged her to continue acting, and their marriage lasted till his death in 1986.
Saroja Devi's children included her daughters Bhuvaneshwari and Indira, and a son, Gautam Ramachandran. Her son was named after M.G. Ramachandran,[2] while Indira was named after Indira Gandhi.[8] Bhuvaneshwari was her niece, and had been adopted by her.[citation needed] Bhuvaneshwari died young,[2] and Saroja Devi sponsors the Bhuvaneshwari Award for literature in her memory.[22]
Travels[edit]
She travelled to Ceylon (now called Sri Lanka) with M. G. Ramachandran.
Main article: M. G. Ramachandran visit to Sri Lanka
Awards and honours[edit]
National awards
2008 Life Time Achievement Award by the Government of India, as a part of the celebrations of India's 60th independence day.[23]
1992 Padma Bhushan[24]
1969 Padma Shri[24]
State awards
2010 Lifetime achievement award by the Government of Tamil Nadu
2009 Dr.Rajkumar National award by the Government of Karnataka
2009 N.T.R. National Award from Government of Andhra Pradesh for the second time for the year 2009
2001 N.T.R. National Award from Andhra Pradesh Government for the year 2001
1997 Tamil Nadu Government’s M.G.R award
1989 Karnataka Government’s Rajyothsava award
1980 Abhinandana-Kanchana Mala award by Karnataka State
1965 Abhinya Saraswathy award by Karnataka Government
Other awards
2009 Natya Kaladhar Award — Tamil cinema, by Bharat Kalachar Chennai
2007 NTR award for remarkable achievement by Karnataka Telugu Academy
2007 Rotary Sivaji Award by the Charitable Trust and Rotary Club of Chennai
2006 Honorary Doctorate from Bangalore University
2003 Dinakaran award for All-round Achievement
1997 Lifetime achievement awards by Cinema Express in Chennai
1994 Filmfare Lifetime Achievement Award – South
‘தமிழ் திரைப்பட ரசிகர்களால் ‘அபிநய சரஸ்வதி’ என அழைக்கப்படும் சரோஜாதேவி அவர்கள், தென்னிந்தியத் திரைப்படத்துறையில் ஒரு புகழ்பெற்ற நடிகை ஆவார். தமிழ், தெலுங்கு, கன்னடம் போன்ற தென்னிந்திய மொழிகளில், தன்னுடைய கலைப் பயணத்தைத் தொடர்ந்த இவர், சுமார் 200–க்கும் மேற்பட்ட திரைப்படங்களில் நடித்து, சினிமா ரசிகர்களின் மனதில் நீங்கா இடம் பிடித்துள்ளார். ‘மகாகவி காளிதாஸ்’, ‘நாடோடி மன்னன்’, ‘கல்யாணப்பரிசு’, ‘பாலும் பழமும்’, ‘ஆலயமணி’, ‘பெரிய இடத்துப் பெண்’, ‘தர்மம் தலைக்காக்கும்’, ‘நீதிக்குப் பின் பாசம்’, ‘படகோட்டி’, ‘புதிய பறவை’, ‘எங்க வீட்டுப் பிள்ளை’, ‘நான் ஆணையிட்டால்’, ‘நாடோடி’, ‘பறக்கும் பாவை’, ‘அன்பே வா’ போன்ற படங்கள் இவரின் நடிப்பில் முத்திரைப் பதித்த திரைப்படங்களாகும். தமிழ் சினிமாவில் கொடிகட்டிப் பறந்த ‘எம்.ஜி.ஆர்’, ‘சிவாஜி’ மற்றும் ‘ஜெமினிகணேசன்’ போன்ற ஜாம்பவான்களுடன், தொடர்ந்து பல படங்களில் நடித்த பெருமை இவருக்கு உண்டு.
திரைப்படத்துறையில் இவர் ஆற்றிய பங்களிப்பிற்காக, இந்திய அரசால் இவருக்கு ‘பத்ம ஸ்ரீ’, மற்றும் ‘பத்ம பூஷன்’ விருது வழங்கி கெளரவிக்கப்பட்டார். அதுமட்டுமல்லாமல், கர்நாடக அரசால் ‘அபிநய சரஸ்வதி’ என்னும் பட்டமும், தமிழக அரசால் ‘எம்.ஜி.ஆர் விருது’, ஆந்திர அரசால் ‘என்.டி.ஆர் தேசிய விருது’, பெங்களூர் பல்கலைக்கழகம் சார்பில் ‘கௌரவ டாக்டர் பட்டமும்’, 2008-ல் வாழ்நாள் சாதனையாளருக்கான இந்திய அரசின் ‘தேசிய விருது’ என மேலும் பல விருதுகளை வென்று சாதனைப் படைத்துள்ளார். தன்னுடைய முதல் படத்திலேயே கதாநாயகியாகத் தனது சினிமா வாழ்க்கையைத் தொடங்கி, தென்னிந்திய ரசிகர்களால் ‘கன்னடத்து பைங்கிளி’ மற்றும் ‘அபிநய சரஸ்வதி’ எனப் போற்றப்பட்ட சரோஜாதேவி அவர்களின் வாழ்க்கை வரலாறு மற்றும் சாதனைகளை விரிவாகக் காண்போம்.
பிறப்பு: ஜனவரி 07, 1938
பிறப்பிடம்: பெங்களூர், கர்நாடகம் மாநிலம், இந்தியா
பணி: திரைப்பட நடிகை
நாட்டுரிமை: இந்தியன்
பிறப்பு
சரோஜாதேவி அவர்கள், 1938 ஆம் ஆண்டு ஜனவரி 07 ஆம் நாள் இந்தியாவின் கர்நாடக மாநிலத்திலுள்ள பெங்களூரில் பைரப்பா என்பவருக்கும், ருத்ரம்மாவிற்கும் நான்காவது மகளாகப் பிறந்தார். இவருடைய தந்தை பெங்களூரில் ஒரு காவல்துறை துறை அதிகாரியாக பணியாற்றி வந்தார்.
ஆரம்ப வாழ்க்கை மற்றும் கல்வி
சரோஜாதேவி அவர்கள், பெங்களூரில் உள்ள ‘புனித தெரசா’ பள்ளிக்கூடத்தில் தன்னுடைய பள்ளிப்படிப்பைத் தொடங்கினார். அப்பொழுது, பள்ளிகளுக்கிடையே நடந்த, ஒரு இசைப்போட்டியில் இந்திப் பாடல் ஒன்றைப் பாடினார். அந்த நிகழ்ச்சிக்கு கன்னடத் திரை உலகின் பிரபல நடிகரும், பட அதிபருமான ஹன்னப்ப பாகவதர் வந்திருந்தார். சரோஜாதேவி பாடலைக் கேட்ட அவர், ‘இந்தப் பெண் நன்றாக பாடுகிறாள், இவரை சினிமாவில் பின்னணிப் பாட வைக்கலாம்’ என நினைத்து, அவரை ஸ்டூடியோவுக்கு அழைத்துச் சென்று குரல் வளத்திற்கான சோதனை செய்தார். அப்பொழுது அவருக்கு, ‘சரோஜாதேவியை நடிகையாக்கினால் என்ன?’ என்ற எண்ணம் தோன்றியது. அதனால், ஹன்னப்ப பாகவதர் தான் தயாரித்த ‘மகாகவி காளிதாஸ்’ என்ற கன்னடப் படத்தில், கதாநாயகியாக சரோஜாதேவியை சினிமாத் துறையில் முதன் முதலாக அறிமும் செய்தார்.
1955 ஆம் ஆண்டு ஹன்னப்ப பாகவதர் தயாரிப்பில் வெளியிடப்பட்ட ‘மகாகவி காளிதாஸ்’ திரைப்படம் சினிமா ரசிகர்களுக்கிடையே பெரும் வரவேற்பை பெற்றது. அவருடைய முதல் படமே அவருக்கு மாபெரும் வெற்றிப் படமாக அமைந்ததால், தொடர்ந்து பட வாய்ப்புகள் வரத் தொடங்கின. குறுகிய காலத்திற்குள் தமிழ், தெலுங்கு போன்ற பிற மொழித் திரைப்படங்களில் நடிக்கத் தொடங்கிய அவர், சுமார் 200-க்கும் மேற்பட்ட திரைப்படங்களில் நடித்து ‘அபிநய சரஸ்வதி’ என அழைக்கப்பட்டார்.
தமிழ் திரைப்படத்துறையில் சரோஜாதேவியின் பயணம்
கன்னடத்தில் தாம் நடித்த முதல் படத்திலேயே கதாநாயகியாகப் புகழ்பெற்ற அவர், 1958 ஆம் ஆண்டு ‘மணாளனே மங்கையின் பாக்கியம்’ என்ற திரைப்படத்தில் தமிழ் சினிமாவில் அறிமுகமானார். இருந்தாலும், தமிழ் சினிமாவில் சரோஜாதேவிக்கு ஒரு அங்கீகாரத்தைப் தேடித்தந்த படம், எம்.ஜி.ஆர் தயாரிப்பில் வெளிவந்த ‘நாடோடி மன்னன்’ திரைப்படமாகும். இதன் பின், 1959 ஆம் ஆண்டு ஸ்ரீதரின் இயக்கத்தில் வெளிவந்த ‘கல்யாணப்பரிசு’ திரைப்படம், தமிழ் சினிமாவில் அவருக்கு நட்சத்திர அந்தஸ்து பெற்றுத்தந்தது. இதனைத் தொடர்ந்து, ‘வாழவைத்த தெய்வம்’, ‘பார்த்திபன் கனவு’, ‘பாலும் பழமும்’, ‘குடும்பத்தலைவன்’, ‘பாசம்’, ‘ஆலயமணி’, ‘பெரிய இடத்துப் பெண்’, ‘தர்மம் தலைக்காக்கும்’, ‘நீதிக்குப் பின் பாசம்’, ‘படகோட்டி’, ‘புதிய பறவை’, ‘எங்க வீட்டுப் பிள்ளை’, ‘நான் ஆணையிட்டால்’, ‘நாடோடி’, ‘பறக்கும் பாவை’, ‘அன்பே வா’, ‘குல விளக்கு’, ‘தாய்மேல் ஆணை’ போன்ற படங்களில் நடித்து தமிழ் சினிமாவில் மாபெரும் நட்சத்திரமாக வெற்றிக் கொடி நாட்டினார்.
இவர் நடித்த சில திரைப்படங்கள்
‘மணாளனே மங்கையின் பாக்கியம்’ (1958), ‘நாடோடி மன்னன்’ (1958), ‘சபாஷ் மீனா’ (1958), ‘தேடி வந்த செல்வம்’ (1958), ‘பாகப்பிரிவினை’ (1959), ‘கல்யாண பரிசு’ (1959), ‘வாழவைத்த தெய்வம்’ (1959), ‘எல்லோரும் இந்நாட்டு மன்னர்கள்’ (1960), ‘இரும்பு திரை’ (1960), ‘பார்த்திபன் கனவு’ (1960), ‘மணப்பந்தல்’ (1960), ‘பாலும் பழமும்’ (1961), ‘பனித்திரை’ (1961), ‘திருடாதே’ (1961), ‘குடும்பத்தலைவன்’ (1962), ‘பாசம்’ (1962), ‘ஆலயமணி’ (1962), ‘இருவர் உள்ளம்’ (1963), ‘பெரிய இடத்துப் பெண்’ (1963), ‘பணத் தோட்டம்’ (1963), ‘தர்மம் தலைக்காக்கும்’ (1963), ‘நீதிக்குப் பின் பாசம்’ (1963), ‘படகோட்டி’ (1964), ‘தெய்வத்தாய்’ (1964), ‘புதிய பறவை’ (1964), ‘என் கடமை’ (1964), ‘எங்க வீட்டுப் பிள்ளை’ (1965), ‘கலங்கரை விளக்கம்’ (1965), ‘நான் ஆணையிட்டால்’ (1966), ‘நாடோடி’ (1966), ‘பறக்கும் பாவை’ (1966), ‘அன்பே வா’ (1966), ‘குல விளக்கு’ (1969), ‘தேனும் பாலும்’ (1971), ‘தாய்மேல் ஆணை’ (1988), ‘தர்ம தேவன்’ (1989), ‘ஒன்ஸ் மோர்’ (1997), ‘ஆதவன்’ (2009), ‘இளங்கதிர் செல்வன்’ (2010).
தனிப்பட்ட வாழ்க்கை
‘அபிநய சரஸ்வதி’ சரோஜாதேவி அவர்கள், 1967 ஆம் ஆண்டு ஸ்ரீஹர்ஷா என்பவரை திருமணம் செய்துகொண்டார். ஸ்ரீஹர்ஷா பி.ஈ பட்டம் பெற்ற ஒரு என்ஜினியர் ஆவார்.
விருதுகளும், மரியாதைகளும்
1965 – கர்நாடக அரசால் ‘அபிநய சரஸ்வதி’ என்னும் பட்டம்.
1969 – இந்திய அரசால் ‘பத்ம ஸ்ரீ’ விருது.
1980 – கர்நாடக அரசால் ‘அபினண்டன் காஞ்சனா மாலா’ விருது.
1989 – கர்நாடக அரசின் ‘ராஜ்யோத்சவ’ விருது.
1992 – மத்திய அரசால் ‘பத்ம பூஷன்’ விருது.
1997 – சென்னை சினிமா எக்ஸ்பிரஸ் மூலம் ‘சாதனையாளர் விருது’.
1997 – தமிழக அரசால் ‘எம்.ஜி.ஆர்’ விருது.
2001 – ஆந்திர அரசால் ‘என்.டி.ஆர் தேசிய’ விருது.
2003 – ‘தினகரன் சாதனையாளர்’ விருது.
2006 – பெங்களூர் பல்கலைக்கழகம் சார்பில் ‘கௌரவ டாக்டர் பட்டம்’.
2007 – ரோட்டரி ‘சிவாஜி’ விருது.
2007 – ‘என்.டி.ஆர்’ விருது.
2008 – வாழ்நாள் சாதனையாளருக்கான ‘இந்திய அரசின் தேசிய விருது’.
2009 – நாட்டிய ‘கலாதர்’ விருது.
2009 – கர்நாடக அரசின் ‘ராஜகுமார்’ தேசிய விருது.
2010 – தமிழ்நாடு அரசின் ‘வாழ்நாள் சாதனையாளருக்கான’ விருது.
திரைப்படத்துறையில் சுமார் கால் நூற்றாண்டுக்கும் மேல் முன்னணிக் கதாநாயகியாக விளங்கிய இவர், சினிமாவில் தன்னுடைய நடிப்பிற்கென தனி பாணியை உறவாக்கிக் கொண்டவர். ஆடை, அணிகலன்கள், சிகை அலங்காரம் என அனைத்திலும் புதுமையைப் புகுத்தியவர். நடை, உடை, பாவனையில் கூட பல அபிநயங்களை நடிப்பில் வெளிபடுத்தி ‘அபிநய சரஸ்வதி’ எனப் பெயர் பெற்றவர். குறிப்பாக சொல்லப்போனால், சரோஜாதேவி அவர்கள், சினிமா துறைக்கு கிடைத்த ஒரு பொக்கிஷம்!
Mini Bio (1)
Saroja Devi B. was born in 1945. She is an actress, known for Sri Krishnarjuna Yudham (1963), Beti Bete (1964) and Aatma Balam (1964).
Trivia (23)
Saroja Devi remains the only Indian Film Heroine to do 154 films as the main lead heroine in just a span of 23 years from 1955-1978.She holds the world record for being the actress with most number of consecutive films as the lead heroine -161 films from 1955-1984, without playing supporting roles.
Saroja thought of retiring from films after completing the films she had signed before her scheduled marriage in 1967 and not do any films from 1968.But when she in 1969 came to attend premier of Aradhana to Mumbai, she was advised by MGR and Dilip Kumar to continue acting in films as she had ability to do well at least for another 12 years as an actress. Saroja acted as lead female heroine until 1985.
Thaya Katha Thanayan opposite MGR was her 62nd film since her debut in 1955. It's a world record for appearing in 62 films as female lead heroine within 8 years.
Sri Renukadevi Mahathme, Kannada film released in 1977 was Saroja Devi's 150th film in her career.
She did 161 films as the main female lead heroine from 1955-1984: she had minimum one film releasing every year from 1955-1978 with her as the main lead heroine. Of these 161 films, 147 were certified box office hits.
Saroja Devi is the Indian film heroine with the longest career as the main lead female heroine in Indian films - 29 years from 1955-1984.
Of her 190 films between 1955 to 2015, 165 were box office hits.
She acted in films such as Sri Renukadevi Mahathme, Gunavanthudu (1975), Katha Sangama (1976), Shani Prabhava and Katha Sangama. She won accolades from critics in films opposite Dr. Rajkumar in Kannada for her performances in Mallammana Pavada (1969), Nyayave Devaru(1971), Sri Srinivasa Kalyana (1974), Babruvahana (1977), Bhagyavantharu (1977) and with Vishnuvardhan in Shani Prabhava (1977) and Rudranaga (1984), Ugra Naagu (1985) and in other films like Thande Makkalu (1971), Papa Punya (1971), Chiranjeevi etc.(from 1971-1984).
She formed popular on screen pair with NTR in Telugu films with Daagudumootalu, Uma Chandi Gowri Sankarula Katha (1968), Bhagyachakram (1968), Vijayam Manade (1970), Dagudu Moothalu, Shakuntala, Bahagyachakram, Mayani Mamatha (1970) and Daana Veera Soora Karna (1979).
Her father Bhairappa worked for the police department, and her mother Rudramma was a homemaker. Saroja Devi was their fourth daughter.Her grandfather, Mayanna Gowda wanted her to be given away the child for adoption, but her father refused to do so. Bhairappa asked her to learn dancing, and encouraged her to take up acting as a career. A young Saroja Devi was often chaperoned to studios by him. He would patiently tie on her salangais, often massaging swollen feet after her dancing stints.
MGR Saroja Devi established a popular on screen pair and had back to back super-hits from 1958-1966. The pair who began with Naadodi Mannan, went on to give do 27 hit films together,the most popular being Thirudathey, Thai Sollai Thattathey, Paasam,Thaayaikaatha Thanayan, Asai Mugam, Periya Idathu Penn, Dharmam Thalaikkakkum, Neethikku Pin Pasam, Pannakkara Kudumbam,Padakoti, Nadodi, Thali Bhagyam, Naan Anayittaal, Petralthaan Pillaiya, Arasa Katalai and Kudumba Thalaivan. Her best performances opposite MGR were the 'rich girl' roles in Anbe Vaa, Enga Veettu Pillai, En Kadamai, Deiva Thai,Kalangarai Vilakkam, Pana Thottam, Parrakkum Pavai and Thayin Madiyil.
Saroja Devi also achieved success in Telugu films, starring opposite N. T. Rama Rao in Seetarama Kalyanam (1961) and Jagadeka Veeruni Katha (1961), and Daagudu Moothalu (1964). Amara Shilpi Jakkanna (1964, remake of Kannada film) and Rahasyam, her films with Akkineni Nageswara Rao like Pelli Kaanuka(1960), Telugu films Intiki Deepam Illale, while her hits in Hindi films included Paigham (1959), Sasural (1960), Opera House (1961), Pareeksha, Hong Kong(1962), Pyar Kiya To Darna Kya(1963).
She was cast always opposite the much high in demand stars of respective film industries: Dr. Rajkumar in Kannada, NTR, ANR in Telugu, MGR, Sivaji Ganeshan, Gemini Ganesan, S.S.Rajendran in Tamil, Ashok Kumar, Shammi Kapoor in Hindi. Saroja chose to do more films in Tamil in the period 1958-1969 and after her marriage she was more active in Kannada and Telugu films from (1970-1984).
She was cast with young heroes like Ravichandran in Odum Nadhi (1969), Snegithi (1970), and Swargathil Thirumanam(1974). With R. Muthuraman, she starred in Uyir (1971) and Pathu Matha Bandham (1974), which was her last Tamil film as a lead actor.
She became the number one female lead actress of the period 1959-65 in Tamil films and was the second highest paid actress in Tamil films from 1966 to 1974.
In an interview she said 'Thirudadhe' was my first film with MGR. As the shooting got delayed, he introduced me in Naadodi Mannan, which was released before 'Thirudathe'. She was then signed up for the Hindi film Paigham (1959), in which her co-stars included Dilip Kumar. She never allowed any one to dub for her and insisted that she would speak by herself as a result none of her Tamil movies her voice was dubbed by any other artiste since the beginning of her career. Then she gave hits opposite Gemini Ganesan in Manalane Mangayin Bhagyam, Kalyana Parisu, Ode Velaiyadu papa, Kairasi and opposite Sivaji Ganeshan in Bhaaga Pirivinai,Vidi Velli,Palum Pazhamum, Iruvar Ullam (1958 till 1960).
She is the Indian film heroine with the longest career as the main lead female heroine in Indian films - 29 years from 1955-1984.She had 147 films as box office success of these 161 as the main female lead.
Saroja Devi signed up for the film Ladies Hostel in 1985, but stopped shooting after her husband fell ill. He subsequently died in 1986, and she resumed shooting only in 1987. The film was successful, but Saroja Devi refused to sign up for any more films. She completed the 8 films that she had accepted before 1986, and these films were released during 1987-1990. These included Thaimel Aanai (1988) and Dharma Devan (1989).
Saroja Devi's energetic performance as a patriotic queen raging against the British in Kannada flick Kittooru Rani Chennamma, which won the national award for Best Film in 1963, brought her much acclaim.
Sri Renukadevi Mahathme, Kannada film released in 1977 was Saroja Devi's 150th film in her career and by 1984, she had completed 161 films as the main lead heroine, without ever playing supporting roles. Yarivanu, in Kannada, was the 161st film, in which she played the main lead heroine.
Her mother gave her a strict dress code: no swimsuits and no sleeveless blouses, which she followed for rest of her career.
At the age of 14, Saroja Devi got her big break in the Kannada film Mahakavi Kalidasa (1955). In Telugu cinema, she made her debut with Panduranga Mahatyam (1959). The Tamil film Nadodi Mannan (1958) made her one of the top actresses in Tamil cinema. She also starred in Hindi films until the mid-1960s, starting with Paigham (1959).
From 1967,she was the highest paid actress in Kannada and Telugu films from 1968-1980 and was more active in Kannada films in seventies and her career as the Tamil film heroine started to decline.
Saroja Devi – one of the few remaining superstars of the glorious 50s – still meets with weird fan requests. She has been asked for a bit of her hair, her clothing, and once, even a handkerchief she’d used.
“Why would they want my old sari?” she wonders.
A trip to the local market is not complete without people (of all ages) mobbing her. And, in this celebrity-obsessed world, life for Saroja Devi has become quite troublesome, indeed.
“A young man approached me late at night one day,” Saroja recounts. “He held a metal stick, and kept walking towards me. I yelled for my driver; I thought I was going to be attacked.”
He turned out to be a fan who just want a picture. The metal rod happened to be a selfie stick.
“I felt very bad later,” she confesses, “I apologised to him, and took several pictures.”
*****
When I meet the 60-something Saroja Devi at her home in conservative Malleswaram, she looks every inch the superstar that she still is.
A sky blue Mysore silk is what she has chosen for our interview. That, and some lovely diamonds. Her hair is swept up in an elegant bun, a classic chignon that is quite telling.
I expect cool formality.
But,
“Hello, kanna!”
There’s evening tea. Dainty cups, the works. Small talk is mandatory, Saroja Devi is a stickler for rules that way.
I’m reminded of Downtown Abbey.
*****
Otherwise, Saroja Devi is full of interesting tales. MGR is a favourite topic, I soon find. “The handsomest man” she knew then, while Sivaji Ganesan “would act so well” that she would “stare instead of saying her dialogues”.
Her dear, dear friend Jayalalithaa though, “was the most beautiful woman on Earth.” She grows a little gloomy, then. “I was confident that she would recover. I prayed to God fervently; I don’t know why he didn’t heed my prayers.” Saroja seems on the brink of tears, but quickly recovers. And just like that – in a sudden change of mood that’s so characteristic of her – she’s back to reminiscing about her days in cinema.
In accented Tamil.
*****
Mahakavi Kalidasa, her debut film, stars a Saroja Devi who looks just as she does now. With an almost ethereal beauty, she was the highlight of this Kannada drama. Her performance fetched her much acclaim – and quick on its heels, was also the attention of MGR. In the late 50s, this young girl from Karnataka emerged as the best choice to star opposite MGR. Saroja remembers the event fondly. “My father often used to tell me that I walked like I was skipping away on clouds. I felt like it when MGR sir chose me for his film.”
Saroja is still childlike – the obvious signs of age, and the stray gray hair aside, nothing about her will likely reveal her true age. “People often mistake this for immaturity,” she rues. Behind this childlike demeanour though, is the canny mind of a superstar who once ruled over four film industries. At the height of her rein, Saroja competed with actresses like Vyjayanthimala Bali, Savithri, KR Vijaya – and had to contend with younger, prettier actresses, too. It wasn’t an easy feat. Just as it is today. “I never saw them as competitors, though,” she says, “I was friendly with all of them, and never saw them as a threat. I had the highest respect for my fellow artistes. If a role came to me, it was meant for me.”
This “philosophy” was influenced by MGR, she adds. “He was constantly pitted against Sivaji Ganesan. And then, against Karunanidhi.
But he never let that trouble his mind. Ego was suicide for artistes, he would say. And I followed it like it was the Bhagavad Gita.”
Soon enough, her refreshing attitude towards the film world fetched her many admirers. She was MGR’s lucky mascot, Sivaji Ganesan’s close friend and the dream girl of South India. Women mimicked her clothing, the way she talked, even the mincing way she walked. Men wanted to marry her.
“It was a crazy time. I worked 20 hours a day, and I was so busy I didn’t know what was happening when. Even now, when an old friend tells me of some amusing thing that happened on sets, I wouldn’t remember. I would have to ask my mother, but now, she ‘s no more.”
Her mother, Rudramma Devi, was an important figure in Saroja Devi’s life. She was always by her side, accompanying her to film sets all around the world. Rudramma Devi carefully orchestrated Saroja’s career, and was, by all accounts, the original Momager. “I miss her terribly. Even now, she is the only one who’d remember much of what happened during my life better than I do.”
*****
Saroja Devi was an unwanted child. The last of four daughters born to Bhairappa and Rudramma, Saroja was almost given away for adoption, when her father intervened. “He was my saviour. He called me his joy. His beautiful joy,” Saroja says. It was at his insistence that she learnt classical dance and music. With her arching brows and light feet, Saroja quickly became one of the most-wanted performers in 50s Karnataka.
“I faced heavy crowds from an early age. It was natural for me to perform way into the night. People would ask for more. My feet would ache, but I wouldn’t stop. I loved the adulation. And I just couldn’t say no!” This was early practice for life as the ‘Abhinaya Saraswathi’. Later on, Saroja would rely heavily on her dancing skills to establish her Hindi film career. “I couldn’t dub for myself, my Hindi was too chaste for that. So I danced the best dances of my life. I put my heart, soul and aching feet into it.”
The result was there for all to see. As Saroja Devi flits across the stage, a besotted Sunil Dutt can’t seem to stop staring.
Neither could the audience.
Saroja Devi played rich girls onscreen. She wore glittering silks and diamonds, and sported a posh accent – a direct contrast to the common man roles the actors got to play. Reality, she says, was much different. “It was difficult for me to put on airs in the beginning. We were a humble family, and quite a large one at that. I was raised very strictly, and was taught to be a ‘gentle woman’. When directors used to ask me to act like a ‘thimiru pudicha ponnu‘, I would stutter.”
MGR found it quite funny when Saroja Devi innocently explained her dilemma to him during the filming of Naadodi Mannan.
“Yaarukkum kedaikkadha vaaippu unakku kidaithullathu, Devi. Idhai ubhayogithukolvathu unadhu thiramai alla kadamai,” he had said.
[You have the opportunity that others don’t; it’s your duty to use it well]
It was only then that she realised what has been handed to her. “Kadamaiyai naan seidha thozhil dhaan ennai inge kooptittu vandhirukku.”
[It’s something that I had earned through hardwork]
*****
Soon, Saroja Devi was playing the role of a rich girl with ease, and by Puthiya Paravai – in which she starred as the infamous Latha – the actress had developed a love for films. It was no longer a chore, and she moved on to more dramatic roles. Puthiya Paravai was one such film. A suspense-thriller, the film required Saroja to exude sensuality, dupe a man into a love affair, all in the aid of the Government. For the 60s, this was quite a progressive film. That it had blockbuster songs was an added benefit. And that Saroja Devi looked like a dream, didn’t hurt either. “I was told that the red sari I wore in the film became the most wanted that year. It was the highest compliment I could receive.”
The movie also came around the time when Saroja Devi began to yearn for companionship. Her friends were all married, with children. “I felt like I was missing something. Sivaji sir laughed when I told him this. ‘You have houses, cars, and the most expensive jewellery. What more do you want? Are you after my film roles?,’” he had asked.
But it wasn’t just that. After a decade of romancing men and marrying them, Saroja wanted to do all that in real life. And soon, the ‘suitable boy’ that her family was looking for came in the guise of an engineer from Bangalore; his name was Sri Harsha.
Unexpectedly, Saroja Devi’s life was fraught with financial troubles around the time of her wedding. She was in debt, and most of the first few years of her marriage were spent paying them off. “It was my fault. During those days, we did not have access to the kind of financial consulting that is available today. Much of what we got, we spent. We invested in foolhardy schemes. We also financed less prosperous relatives. It took out a lot of the money I earned.”
It was at this point that Saroja Devi rued her lack of proper education. “I wanted a better life for my children. I spent half my life working myself to death. And when I finally came into money, I was in no mood to enjoy the money I’d earnt, because there was very little left. Harsha helped. He was a saint. He understood me, my ways. And did a lot to help me change my bad ways,” she laughs.
Post her marriage though, Saroja Devi stopped acting with MGR; her last film with the actor being Arasa Kattalai in 1967. The young and glamourous Jayalalithaa was also a part of the film. “She was so pretty. She didn’t need any makeup at all,” Saroja exclaims.
Even though their acting collaboration had ended, MGR continued to be a part of her life. Her son, Gautham Ramachandran, has been named after the actor. “He even attended the naming ceremony. We saw each other sporadically, but I knew that he cared.”
Soon, as her marital life flourished, offers begin to dwindle on the career front. Even then, while other heroines chose to do supporting roles to stay relevant, Saroja Devi insisted on being the female lead. “I knew my worth. Never have I felt the need to lower my standards for anything. Besides, my husband and my friends always wanted to see me as the lead. They wouldn’t have accepted me doing any other role.” The actress has done over 160 films as the female lead, an unmatched feat perhaps. “These days, actresses call themselves a superstar after having done just 50 films. I did 50 in my first two years,” she laughs.
*****
Saroja Devi admits that there’s a lack of women-centric roles in the industry. And the movies themselves – in the past five years – are so standard that they seem factory-assembled, she says. “The women, too, look much the same. The Tamil cinema heroine is now a standardised format. You need a certain look, long hair, flawless skin, perfect figure. In my time, it was not so. Women chose to act after marriage, and were still revered. I have acted in films after giving birth to my children, and I know for sure that I wouldn’t be able to do that now. Jyothika is perhaps the exception to the rule.”
Incidentally, it was after the death of her husband in 1986, that Saroja Devi began to accept supporting roles. “It was perhaps the lack of confidence. A bit of me went away with my husband. After he passed away, I felt like my life had ended. It took me a while to get back up again. I still feel like I’m whiling away my time, waiting for him to come take me away.”
Saroja Devi becomes momentarily lost in her memories, as a maid quickly whisks me away.
I pass a huge portrait of Sri Harsha in her sitting room.
*****
A week later, we meet again.
Saroja Devi is her usual charming self this time; that chink in the armour no longer visible. She opens a huge album, shows pictures from her film career, reminding me of all the sprightly heroines she has played on screen.. Latha from Puthiya Paravai, Muthazhagi from Padagotti, they’re all there; the arched eyebrows conveying disdain in one, and the nose, petulant in love in another.
Aadhavan (2009), featuring Suriya and Nayanthara, did not do this actress justice. She was a mere prop for comedy. Saroja becomes a little sombre when I tell her this. “Sivakumar is a family-friend,” she’d told me earlier.
“Let it go, kanna. I have.”
