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Apoorva Raagangal
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Apoorva Raagangal
Apoorva Raagangal (pronounced [apuːɾʋa ɾaːɡaŋɡaɭ] transl. Rare melodies) is a 1975 Indian Tamil-language romantic drama film written and directed by K. Balachander. It stars Kamal Haasan, Sundarrajan, Srividya and Jayasudha, while Nagesh and Rajinikanth, in his feature film debut, play supporting roles. The film revolves around Prasanna (Haasan) who falls in love with the much older Bhairavi (Srividya) while Bhairavi's daughter Ranjani (Jayasudha) is drawn to Prasanna's father Mahendran (Sundarrajan).
Apoorva Raagangal's theme was based on a riddle featured in the Indian folktale collection Vetala Panchavimshati about a king marrying a woman and his son marrying her mother, and Vetala, the riddler asking Vikramaditya what would be their kinship relations if these couples were to beget children. The film was produced by V. Govindarajan and J. Duraisamy under the Kalakendra Films banner, photographed by B. S. Lokanath and edited by N. R. Kittu; the music was composed by M. S. Viswanathan. Unlike many contemporaneous Tamil films, it was shot entirely in actual houses for their interiors without building sets, as Balachander wanted to convey a more authentic narration.
Apoorva Raagangal was released on 15 August 1975. Despite exploring the concept of relationships between people with wide age gaps, which challenged Indian social mores, it received critical acclaim and became a commercial success, and a breakthrough for Srividya and Haasan. The film won three National Film Awards, including Best Feature Film in Tamil, and three Filmfare Awards South in the Tamil branch: Best Feature Film, Best Director for Balachander and Best Actor for Haasan, and a Special Award for Srividya. It was remade in Telugu as Thoorpu Padamara (1976) where Srividya and Nagesh reprised their roles, and in Hindi by Balachander as Ek Nai Paheli (1984) where Haasan reprised his role.
Prasanna is a young man who indulges in several revolutionary activities against the wishes of his father Mahendran, a widower. After Prasanna tells him that, due to the price of rice increasing, he stole rice from a lorry, distributed it to the poor and set fire to the lorry before the police arrived, a disgusted Mahendran helps the police arrest him, widening the already existing rift between them. After his release, Prasanna opts to stay away from his hometown, Bangalore, and reaches Madras.
One day, Prasanna is beaten up for abusing the passengers of a car that splashed water on him. Carnatic singer Bhairavi, returning home after a katcheri, notices him lying unconscious on the roadside, takes him home and her doctor friend Suri treats him. At Bhairavi's request, Prasanna continues to live in her house even after he recovers. He slowly develops passionate feelings for her even though she is much older.
Before Prasanna's arrival, Bhairavi's daughter Ranjani, who believes she was adopted, learns that she is actually Bhairavi's biological daughter born out of wedlock. Unable to digest her mother's hypocrisy, she runs away from home and meets Mahendran in Bangalore while trying to sell some items. She ends up staying at his house for a few days at his request. Impressed by his love for his deceased wife, his longing for his son Prasanna who left him, and his commitment to help her, she expresses a desire to marry him, despite the fact that he is old enough to be her father.
Both Bhairavi and Mahendran reject Prasanna and Ranjani's proposals, citing their age difference and other situations, but with perseverance, Prasanna and Ranjani are able to convince them that their respective marriages could work. Bhairavi is forced to accept Prasanna's proposal when he ends his revolutionary activities and takes up music for her sake, becoming a mridangam player. Prasanna is happy that Bhairavi has accepted his proposal, but Pandiyan, her ex-lover and Ranjani's father, turns up to meet her and to apologise. Prasanna does not allow this and, as Pandiyan is dying from blood cancer, takes him away for treatment at his place. He tells Pandiyan of his plan to marry Bhairavi and seeks his co-operation. Pandiyan agrees not to meet her.
Mahendran, seeing an advertisement placed by Bhairavi about her missing daughter, comes to meet Bhairavi at her house and sees Prasanna's photograph there. He realises they are in love. Mahendran advertises for his missing son. Bhairavi sees the advertisement so she tells Prasanna to get his father's consent before marrying her. They both meet Mahendran, who introduces Ranjani as Prasanna's future mother since she is his future wife. A riddle is explained: Prasanna's wife will be the mother of his father's wife, meaning Ranjani will be the mother-in-law of her own mother and Mahendran will be the son-in-law of his own son. Mahendran asks Prasanna how this riddle is going to be cleared in their case.
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Apoorva Raagangal
Apoorva Raagangal (pronounced [apuːɾʋa ɾaːɡaŋɡaɭ] transl. Rare melodies) is a 1975 Indian Tamil-language romantic drama film written and directed by K. Balachander. It stars Kamal Haasan, Sundarrajan, Srividya and Jayasudha, while Nagesh and Rajinikanth, in his feature film debut, play supporting roles. The film revolves around Prasanna (Haasan) who falls in love with the much older Bhairavi (Srividya) while Bhairavi's daughter Ranjani (Jayasudha) is drawn to Prasanna's father Mahendran (Sundarrajan).
Apoorva Raagangal's theme was based on a riddle featured in the Indian folktale collection Vetala Panchavimshati about a king marrying a woman and his son marrying her mother, and Vetala, the riddler asking Vikramaditya what would be their kinship relations if these couples were to beget children. The film was produced by V. Govindarajan and J. Duraisamy under the Kalakendra Films banner, photographed by B. S. Lokanath and edited by N. R. Kittu; the music was composed by M. S. Viswanathan. Unlike many contemporaneous Tamil films, it was shot entirely in actual houses for their interiors without building sets, as Balachander wanted to convey a more authentic narration.
Apoorva Raagangal was released on 15 August 1975. Despite exploring the concept of relationships between people with wide age gaps, which challenged Indian social mores, it received critical acclaim and became a commercial success, and a breakthrough for Srividya and Haasan. The film won three National Film Awards, including Best Feature Film in Tamil, and three Filmfare Awards South in the Tamil branch: Best Feature Film, Best Director for Balachander and Best Actor for Haasan, and a Special Award for Srividya. It was remade in Telugu as Thoorpu Padamara (1976) where Srividya and Nagesh reprised their roles, and in Hindi by Balachander as Ek Nai Paheli (1984) where Haasan reprised his role.
Prasanna is a young man who indulges in several revolutionary activities against the wishes of his father Mahendran, a widower. After Prasanna tells him that, due to the price of rice increasing, he stole rice from a lorry, distributed it to the poor and set fire to the lorry before the police arrived, a disgusted Mahendran helps the police arrest him, widening the already existing rift between them. After his release, Prasanna opts to stay away from his hometown, Bangalore, and reaches Madras.
One day, Prasanna is beaten up for abusing the passengers of a car that splashed water on him. Carnatic singer Bhairavi, returning home after a katcheri, notices him lying unconscious on the roadside, takes him home and her doctor friend Suri treats him. At Bhairavi's request, Prasanna continues to live in her house even after he recovers. He slowly develops passionate feelings for her even though she is much older.
Before Prasanna's arrival, Bhairavi's daughter Ranjani, who believes she was adopted, learns that she is actually Bhairavi's biological daughter born out of wedlock. Unable to digest her mother's hypocrisy, she runs away from home and meets Mahendran in Bangalore while trying to sell some items. She ends up staying at his house for a few days at his request. Impressed by his love for his deceased wife, his longing for his son Prasanna who left him, and his commitment to help her, she expresses a desire to marry him, despite the fact that he is old enough to be her father.
Both Bhairavi and Mahendran reject Prasanna and Ranjani's proposals, citing their age difference and other situations, but with perseverance, Prasanna and Ranjani are able to convince them that their respective marriages could work. Bhairavi is forced to accept Prasanna's proposal when he ends his revolutionary activities and takes up music for her sake, becoming a mridangam player. Prasanna is happy that Bhairavi has accepted his proposal, but Pandiyan, her ex-lover and Ranjani's father, turns up to meet her and to apologise. Prasanna does not allow this and, as Pandiyan is dying from blood cancer, takes him away for treatment at his place. He tells Pandiyan of his plan to marry Bhairavi and seeks his co-operation. Pandiyan agrees not to meet her.
Mahendran, seeing an advertisement placed by Bhairavi about her missing daughter, comes to meet Bhairavi at her house and sees Prasanna's photograph there. He realises they are in love. Mahendran advertises for his missing son. Bhairavi sees the advertisement so she tells Prasanna to get his father's consent before marrying her. They both meet Mahendran, who introduces Ranjani as Prasanna's future mother since she is his future wife. A riddle is explained: Prasanna's wife will be the mother of his father's wife, meaning Ranjani will be the mother-in-law of her own mother and Mahendran will be the son-in-law of his own son. Mahendran asks Prasanna how this riddle is going to be cleared in their case.