СС Васан
СС Васан | |
|---|---|
 | |
| Рожденный | Субраманиам Шринивасан 4 января 1904 г. |
| Умер | 26 августа 1969 г. (в возрасте 65 лет) |
| Национальность | Индийский |
Субраманиам Шринивасан (4 января 1904 г. - 26 августа 1969 г.), широко известный под названием «С.С. Васан» , был индийским журналистом, писателем, рекламодателем, продюсером кино, режиссером и бизнес -магнатом. Он является основателем журнала Tamil-Language Ananda Vikatan и кинопроизводственной компании Gemini Studios , фильма Gemini Film Laboratories и Picture Gemini. Он был членом парламента (Раджья Сабха) с 1964 года и отбывал свой срок до своей смерти.
Васан родился в Тирутураипонди в тогдашнем районе Танджор, но был вынужден мигрировать в Мадрас после смерти его отца в раннем возрасте. Васан прекратил учебу до окончания учебы и создал процветающий почтовый заказ и рекламный бизнес.
В 1928 году Васан приобрел борющееся тамильский журнал «Ананда Викатан» , который был опубликован Будалуром Вайдьянадхайяром с февраля 1926 года и остановил публикацию в декабре 1927 года. Васан купил публикацию в январе 1928 .. [ 1 ]
Васан вошел в тамильскую киноиндустрию в 1936 году, когда его роман Сати Лилавати был превращен в фильм.
В 1940 году он приобрел кинопродюсеры Combeing, киностудию и в его переименован Близнецов , ряд Пагам , Инсаниат Сансар сделали , Нишан , успешных , переименование Студии , Мангала , Mangala, Sansar, Insaniyat, PaighamРадж Гунхат , Грахасти Оливилакку Гарана , Зиндаги Аурат Чакрадхар , Шатрандж , Важкай , Мотор Сандарам , , Тилак , Падагу , Avvaiiyar и Irumbu Thirai . снял некоторые из своих более поздних фильмов, первым из которых был Гандралеха Васан также Васан умер в Мадрасе 26 августа 1969 года, в возрасте 65 лет.
Васан был опытным писателем и переводчиком и чрезвычайно успешным журналистом. Как режиссер, Васан был известен своими грандиозными наборами и инновационными методами, которые он представил. Историк фильма Рэндор Гай приветствовал Васана как « Сесил Б. де Милль из Индии».
Он был первым фильмом и личностью в средствах массовой информации, которая была приглашена стать членом парламента в Индии Раджья Сабха, где он выступал за предоставление статуса отрасли торговле фильмами (битва все еще сражается). Он был одним из основателей Федерации кино Индии, Гильдии продюсера Индии и южно -индийской торговой палаты. Он был награжден Падмой Бхушан в 1969 году, годом его смерти, правительством Индии за его необычайный вклад в индийские СМИ. [ 2 ] Правительство Индии и почтовое отделение выпустили почтовые марки с его подобием 26 августа 2004 года, в год его столетия. [ 3 ]
Ранний период жизни
[ редактировать ]Васан родился в городе Тирутюраипонди в районе Танджор в бедную семью. В то время как его официальная дата рождения указана как 10 марта 1903 года, согласно его семье, он родился 4 января 1904 года. Историк фильма Рэндор Гай предположил, что дата рождения Васана, возможно, была намеренно сфабрикована , чтобы помочь в его школе. [ 4 ]
Ананда Викатан
[ редактировать ]К концу 1920 -х годов Васан начал получать значительную прибыль, и одним из журналов, в котором он рекламировал (почти доминировал), был местный журнал тамильского юмора Ананда Бодхини с тиражом около 2000 года. В течение этого периода Васан написал ряд коротких рассказов Для тамильских журналов он принес рекламу со смешанным успехом. Он также перевел популярную английскую художественную литературу и управлял успешным бизнесом по почте. [ 5 ]
В 1928 году Васан приобрел борющееся тамильский журнал «Ананда Викатан» , опубликованный Пудхуром Вайдьянадхайяром с февраля 1926 года и остановил публикацию в декабре 1927 года. Васан купил публикацию в январе 1928 Полем [ 1 ] Он полностью обновил его, представив последовательные истории и кроссворды. Васан следовал строгой маркетинговой стратегии, которая в конечном итоге показала появление Ананды Викатана в качестве самого продаваемого тамильского журнала того времени. [ 5 ] С читательской аудиторией, касающимися 30 000 человек в течение нескольких месяцев, и в последующие десятилетия растут до сотен тысяч читателей. В 1933 году он основал журнал юмора на английском языке под названием The Merry Magazine , а в 1934 году тамильский еженедельник под названием Нарадхар, посвященный искусству, политике, литературе и социальным вопросам, оба из которых были успешными. [ 5 ] В 1934 году Ананда Викатан стала первым журналом Tamil, который рекламировал в британском периодическом обзоре рекламодателя и еженедельнике рекламодателя . [ 5 ] Ключом к успеху Васана была его способность найти и воспитывать таланты, и один из самых больших перерывов произошел в начале 1930 -х годов, когда Васан нашел нового писателя Калки Кришнамурти, в чьем письме он видел большой потенциал. Калки жил в то время со своей семьей в Майладутюрае и Васане, не встретив его лично, без колебаний прислал ему деньги и билеты, чтобы переехать в Мадрас со своей семьей и взять на себя роль редактора своего нового журнала. Калки и Васан создали историю в течение десяти лет или около того, где они были профессионально выровнены и оставались близкими друзьями на всю жизнь. Другой частью этой успешной команды был Калки Садасивам , который был динамичным рекламным человеком и смог выполнить видение Vasan для маркетинговой стратегии. Садасивам также был легендарным мужем г -жи Суббулакшми. Мисс и миссис Васан были очень близкими друзьями до конца своих дней. Ананда Викатан оставалась в первую очередь тамильским журналом без серьезного соревнований до 1941 года, когда редактор Калки Кришнамурти и менеджер по динамическому маркетингу Kalki Sadasivam left the Ananda Vikatan to participate in the freedom struggle and hence got imprisoned. They then started the Kalki.[5]
Ananda Vikatan, a part of the Vikatan group today continues to be one of the leading names in Tamil households and celebrates 97 years of publishing being the oldest vernacular magazine in the country. It now encompasses seven print magazines under its umbrella and has been the starting point of many major writers, artists and media personalities in South India.
Movies
[edit] | This section needs additional citations for verification. (November 2022) |
In 1936, Vasan's Tamil novel Sathi Leelavathi was made into a film by Manorama Films. Two years later, he became a film distributor when he obtained the distribution rights for films made by the Madras United Artists' Association. He was the financier-distributor of the film Thyagabhoomi in 1939 that set new trends in various arenas. Thyagabhoomi was a serial novel written by Kalki in Ananda Vikatan while simultaneously being made as a film by noted film producer K Subrahmanyam who was also a close friend. Causing ripples and becoming a huge success, it was subsequently banned by the then British government for its strong theme of the Indian freedom movement in addition to other social issues. The film was a milestone in the annals of Tamil film history in many fronts.
When a fire broke out in 1940 in the premises of the Motion Picture Producers Combine, a prominent film studio owned by K Subrahmanyam, damaging it completely, Vasan purchased the studio, rebuilt and renamed it as the Gemini Studios. It is purported that the name was chosen because Vasan was an extremely successful punter, involved in horse racing at that time and owned a successful race horse named Gemini Star.[6] However, his family cite the reason to choose "Gemini" as it was the natal moon sign of Vasan's wife Pattamal, who was not only his strongest supporter but who brought his family great luck. An interesting point of note was that the "model" for the Gemini twins logo was inspired on the day the name was coined when Vasan was visiting his friend K Subrahmanyam and his toddler son Balakrishnan ran out in his underwear and stood holding a bugle.
That very year, the Gemini Studios produced their first movie, Madanakamarajan, which was a box-office success. Vasan followed it with Mangamma Sapatham and Miss Malini both of which were successful. Miss Malini, based on the story Mr. Sampath by R. K. Narayan, launched the career of Gemini Ganesan, who later became a leading actor in the Tamil film industry. The Hindi version of this film was Mr Sampath in Hindi and, these films are the only adaptation of his novels that the famous writer R. K. Narayan was involved in the scripting of the screenplay. Mangamma Sabatham launched Vasundhara Devi, the mother of actor-politician Vyjayanthimala Bali as the lead and created a craze making her a huge star in just one film. The picture was directed by Acharya, one of the early brilliants of Tamil cinema. In 1942, Gemini also made Bala Nagamma, a silver jubilee hit in Telugu based on a popular folk tale which captured the imaginations of the audience and was hugely successful. It was the last film to star Kanchanamala and was an important film in the career of Pushpavalli. Bala Nagamma was later adapted into Hindi with Madhubala playin the lead and Savitri making her Hindi debut as Bahut Din Huwe with the addition of the climax borrowed from another Gemini Film, Avvaiyar which used elephants to the rescue. This was especially hugely successful in Maharashtra with their devotion to Lord Ganesha. Other successes during the period leading to independence included comedy capers like Kannama En Kadhali, Daasi Aparanji – a period social satire and Apoorva Sagotharargal, an adaptation of the story of the Corsican Brothers – a tale of co-joined twins separated at birth. It was one of the first films in India and one of the first few in the world that had a double role for the lead M. K. Radha who played both brothers. It also set the trend for innumerable successful films in India that had siblings, especially look-alike ones that were separated at birth and grew up in two different circumstances a la Prince and the Pauper or Man in the Iron Mask only to be switched or join forces to exact revenge. The actor-politician, M. G. Ramachandran picked this film to remake as "Neerum Neruppum" as a tribute and homage to Vasan in 1971 and earlier in 1968 had done his 100th film Oli Vilakku, particular that it be a Gemini production. Another successful film in this period, a devotional Nandanaar was a controversial story of a harijan man overcoming the shackles of the caste oppression to gain admittance into the Chidambaram Nataraja temple with divine sanction, hence becoming a Nayanmar shaivite saint. This starred the famous singer Dandapani Desikar with the film and soundtrack becoming a runaway superhit in Tamil Nadu. Technically, it was the first film in India that used playback singing in a portion where a divine song, a call to the saint in a heavenly voice rings out of the ether – this of course set a trend for playback singers and revolutionised the necessity to use singer-actors for films that had been the norm through the 1930s and early 1940s.
Vasan's involvement in films eventually led him to direct his first movie, Chandralekha. He was really preparing his big post-independence break. The 1948 Tamil Chennai film industry classic Chandralekha was rereleased in Hindi and Tamil.[7][8] While the film was original begun under the direction of Acharya who had earlier directed landmark Gemini films like Mangamma Sabatham, differences of opinion between Vasan and Acharya led to the director stepping down from the film. Vasan then donned the role of director in addition to being the producer of the epic movie. The film, a spectacle, is remembered for its drum dance and extensive sword fight sequence. 603 prints of Chandralekha were made and the film was even released in the United States as Chandra with English subtitles – the first Indian film to do so! Even now, a print exists in the Library of Congress as representative of classic Indian cinema. Vasan encouraged his dear friend Tarachand Barjatya to found Rajshri Pictures in 1947 and assigned him the distribution of Chandralekha in the North, the first project distributed by Rajshri and one of the biggest successes of its time thus spurring off the growth stories of one of the biggest distributors and producers of Indian cinema today.
Released in 1948, after five years in production, the film became a highly acclaimed film of the period. It had the first drum-dance and the longest sword-fight sequence captured on film in the world. It was the costliest Indian film made until then and was the first major Indian film to be dubbed into English and released internationally. Made for a budget of Rs 3.6 million in 1948, the budget adjusted for inflation (equaling approximately Rs 1.62 billion today) makes it one of the most expensive films ever made for half a century in India. The Hindi version of the film was one of the first South Indian productions that found all India success and can be hailed as one of the first pan-Indian major blockbuster. Following the success of Chandralekha, Gemini Studios made several films in Hindi that include Insaniyat, Aurat, Paigham, Gharana, Grahasti, Ghoongat, Zindagi, Mr Sampat, Sansar, Lakhon Mein Ek, Raj Tilak, Nishan, Mangala, Bahut Din Hue, Teen Bahuraniyan and Shatranj that all found Box office success. Insaniyat was one of the only films to star both Dilip Kumar and Dev Anand and Gemini films first begun the practice of making popular ensemble cast films with multiple leading men. Although films have been made by Gemini and Vasan with almost all the top leading heroes of the time including Raaj Kumar, Rajendra Kumar, Manoj Kumar, Ashok Kumar, Dilip Kumar and Dev Anand, there was no picture that Gemini made with Raj Kapoor while there were two that had Prithviraj Kapoor making a comeback in strong supporting roles in Teen Bahuraniyan and Zindagi. Aurat had one of Rajesh Khanna's first major on-screen roles before he got his major break as a leading man. Similarly, Amitabh Bachchan got his opportunity to become introduced as the male lead man opposite Mala Sinha in a Gemini production (produced and directed by S.S. Balan, Vasan's son), Sanjog shortly after Saat Hindustani and just before his success with Zanjeer. Many technicians, writers, directors, producers and artistes across India were introduced into the media world by Gemini and even personally encouraged or mentored by Vasan and later by his son Balan. In the 1950s Gemini Pictures came out with films both in Tamil and Hindi in addition to Telugu and other regional languages. Popular Hindi films include Mr. Sampat (1952), Insaniyat (1955), Raj Tilak (1958) and Paigham (1959).
In 1958, he established Gemini Colour Laboratories and believed in establishing the Film Trade on professional lines. His vision saw establish one of the first media conglomerates in the world that were vertically aligned that included the Gemini Picture Circuit – one of the largest film distributors in the country that saw a variety of Indian and foreign films release under its umbrella across the nation. He noted that success of a film depended on its distribution and found its validation with the success of the GPC. The Gemini Studios was also the location of choice for various film shootings across the country and also boasted of having the first air-condition floors in addition to the largest sound stages in Asia at the time. Some famous and milestone films shot at Gemini studios include Uday Shankar's Kalpana, a dance and visual extravaganza that was being made simultaneously with Chandralekha and in fact inspired the drum dance sequence. Meticulously organised, Gemini Studios ran like a factory churning out successful films in multiple languages for 30 years under his dynamic vision. The distribution network was spread across South Asia and even had trade links with Hollywood, London and Russia. Additionally, the ownership and popularity of the magazine Ananda Vikatan under his aegis completed the vertical alignment of the media empire. Major films in Tamil include Avvaiyyar (1952) on the life of the poet-saint that was directed and produced by Vasan at lavish cost and that found everlasting success starring K. B. Sundarambal who was persuaded to act in the film (as she had been widowed a few years earlier) for a whopping sum or Rs 100,000 rupees which was the highest ever fee for an actor in India at the time. Other extremely successful Tamil films produced and some directed by him include Mangamma Sabatham, Vazhkai Padagu, Nandanaar, Motor Sundaram Pillai, "Oli Vilakku", Chakradhari, Aboorva Sagotharargal, Vanji Kottai Valipan, Irumbu Thirai.
Vasan was the President of the Film Federation of India for two terms, helping found it and was even nominated to the Rajya Sabha (the first film producer to be an MP of the Rajya Sabha). He also helped found the South Indian Film Chamber. He pushed for extensive reforms of the film trade, gave up cash transactions in film financing as early as the 1950s and was one of the first pioneers to ask for industry status. He was the given the Padma Bhushan by the Govt. of India in 1969, the year of his death. His son S. S. Balan was mentored by him, and ran the flourishing Gemini Studios and Vasan Publications (Ananda Vikatan) till the concept of movie studios themselves were threatened in the 1970s. Balan had been a successful director promoting independent cinema and having written as well as directed successful movies prior to the 1970s. However, an expensive production in 4 languages (Tamil, Telugu, Hindi and Kannada) in the mid 1970s that failed to make its mark at the box office dealt a fatal blow to the studios that were then sold in the 1980s. The Gemini banner now continues to be owned by the L. V. Prasad family of Prasad Studios. Balan continued as editor and managing director of Ananda Vikatan and launched the first Tamil investigative journal, Junior Vikatan, which became very successful till 2006, and he is now Chairman of the Vikatan Group. At the time in the media and film world, especially since many had come from the mentorship of either Gemini or Vikatan, everyone used to address Mr Vasan, "Boss" (including his own son) and that is how he was universally referred to – indicating his power and the respect he inspired.
Gemini Pictures declined in the 1970s although it has remained successful as a studio and equipment rental business though no longer held by his family. Ananda Vikatan under Vasan Publications has branched off into being one of the largest media groups in Tamil Nadu and continues to be privately held within family.
Legacy
[edit] |
Vasan believed that films were meant to entertain and were meant to be catered to the ordinary man. Colossal production values, huge sets, mammoth dances, thousands of extras were his hallmark. It can be said that a direct development of the use of song, dance and pageantry in film became almost a hallmark of Indian/Bollywood cinema and gave rise to the Madras formula of success. In more recent decades, this unfortunately overshadowed all the other cinematic values to have become almost the blueprint for formula films of India. Gemini was also the first to pioneer innovative marketing and PR plans for the release of films including the first to use the concept of giant 'cut-outs' and billboards beginning with Chandralekha. A vast number of reigning film and media professionals came out from the mentorship or employment of Gemini Studios.
Lavishness in production, splashing money in promoting, packaging and publicising a picture, he was a pioneer in Indian Cinema and had no equals, then, and now. 'Be wise and advertise!' He had a character speak in his film "Miss. Malini" (1947), giving expression to one of his personal beliefs. And he showed what one could achieve with punch-plus publicity.
— - Film historian Randor Guy on S.S. Vasan
Filmography
[edit] |
Selected and available filmography has been listed.
As director
[edit]| Year | Film | Language | Cast | Notes |
|---|---|---|---|---|
| 1948 | Chandralekha | Tamil | Ranjan, T. R. Rajakumari, N. S. Krishnan, Maduram | A superhit which revolutionised Tamil cinema. Vasan's first directorial venture. |
| 1948 | Chandralekha | Hindi | Ranjan, T. R. Rajakumari, M. K. Radha | Bollywood version of S. S. Vasan's Tamil film Chandralekha. Vasan's first directorial venture in Hindi |
| 1949 | Nishan | Hindi | Bhanumathi, J. S. Casshyap, Ranjan, R. Nagendra Rao, M. K. Radha | |
| 1950 | Mangala | Telugu | Ranjan, Bhanumathi | |
| 1950 | Mangala | Hindi | Ranjan, Bhanumathi | Remake of Mangamma Sapatham |
| 1951 | Samsaram | Tamil | M. K. Radha, Pushpavalli, Swaraj, Vanaja | |
| 1951 | Sansar | Hindi | M. K. Radha, Pushpavalli, Swaraj, Vanaja | |
| 1952 | Mr. Sampat | Hindi | Motilal, Padmini, Kanhaiyalal, Swaraj, Vanaja and Agha | Film version of R. K. Narayan's novel |
| 1954 | Bahut Din Huwe | Hindi | Madhubala, Swaraj | |
| 1955 | Insaniyat | Hindi | Dilip Kumar, Dev Anand, Bina Rai, Jayant | Remake of 1950 Telugu hit film Palletoori Pilla |
| 1958 | Vanjikkottai Valiban | Tamil | Gemini Ganesan, Vyjayanthimala, Padmini, P.S. Veerappa | |
| 1958 | Raj Tilak | Hindi | Gemini Ganeshan, Padmini, Vyjayanthimala, Pran | Remake of Vanjikkottai Valiban |
| 1959 | Paigham | Hindi | Dilip Kumar, Vyjayanthimala, Raaj Kumar, B. Saroja Devi, Motilal, Johnny Walker, Pandari Bai, Vasundhara Devi | |
| 1960 | Irumbu Thirai | Tamil | Sivaji Ganesan, Vyjayanthimala, B. Saroja Devi, K. A. Thangavelu, S. V. Ranga Rao, Pandari Bai, Vasundhara Devi | Remake of Paigham |
| 1961 | Gharana | Hindi | Rajendra Kumar, Raaj Kumar and Asha Parekh | |
| 1967 | Aurat | Hindi | Padmini, Feroz Khan, Rajesh Khanna, Pran, Kanhaiyalal, David, O P Ralhan, Nazima, Lalita Pawar and Leela Chitnis | |
| 1968 | Teen Bahuraniyan | Hindi | Prithviraj Kapoor, Kanchana, Sowcar Janaki, Jayanthi | |
| 1969 | Shatranj | Hindi | Rajendra Kumar, Waheeda Rehman, Mehmood |
As producer
[edit]| Year | Film | Language | Cast | Director | Notes |
|---|---|---|---|---|---|
| 1941 | Madanakamarajan | Tamil | V. V. Satakopan, K. L. V. Vasantha | B. N. Rao | Vasan's first film as producer, but not officially produced by Gemini. It was advertised as "Produced for Dindugal Amirtham Talkies at Gemini Studios". |
| 1942 | Nandanar (1942 film) | Tamil | Dandapani Desikar, Kothamangalam Subbu, Serukalathur Sama | Murugadasa | A controversial bhakti film playing the life of harijan saint Nandanar and immense hit. |
| 1942 | Bala Nagamma | Telugu | Kanchanamala, Pushpavalli, Dr. Govindarajula Subbarao | Chittajulla Pullaya | A cult silver jubilee film made based on a folk legend. |
| 1943 | Mangamma Sapatham | Tamil | Ranjan, Vasundhara Devi, N. S. Krishnan | T. G. Raghavanchari | First "colossal" hit of South Indian cinema, Vasan's first, which made him one of the biggest names in Tamil cinema[9] |
| 1944 | Dasi Aparanji | Tamil | Pushpavalli, M. K. Radha, Kothamangalam Subbu, M. S. Sundari Bai | A cult hit | |
| 1945 | Kannamma En Kadhali | Tamil | M. K. Radha, Sundari Bai | Kothamangalam Subbu | Coming at the height of the Second World War, this was in support of Britain's war effort. |
| 1947 | Miss Malini | Tamil | Pushpavalli, Kothamangalam Subbu, V. Gopalakrishnan, Gemini Ganesan | Kothamangalam Subbu | Gemini Ganesan's first hit film |
| 1948 | Chandralekha | Tamil | Ranjan, T.R.Rajakumari, M.K.Radha, N.S.Krishnan, T.A.Maduram | S.S.Vasan | A milestone in Tamil cinema. The film was another colossal hit of Vasan's and was known for its colossal sets and the unforgettable drum-dance. |
| Chandralekha | Hindi | Ranjan, T.R.Rajakumari, M. K. Radha | S. S.Vasan | Hindi version of Tamil film 'Chandralekha'. S.S.Vasan's first Bollywood production | |
| 1948 | Chakradhari | Tamil | V. Nagayya, Pushpavalli, Surya Prabha, Gemini Ganeshan | K. S. Gopalakrishnan | Story of a Krishna devotee. Successful film |
| 1949 | Apoorva Sahodarargal | Tamil | M. K. Radha, P. Bhanumathi, R. Nagendra Rao | 'Acharya' T.D. Raghavacharyal | |
| 1949 | Nishan | Hindi | Ranjan, P. Bhanumathi, R. Nagendra Rao | S. S.Vasan | Hindi Version of Apoorva Sahodarargal |
| 1951 | Mangala | Hindi | Ranjan, Bhanumathi | ||
| Mangala | Telugu | Ranjan, Bhanumathi | |||
| Samsaram | Tamil | M. K. Radha, Pushpavalli, Kumari Vanaja, Sriram, T. R. Ramachandran | Chandru | ||
| Sansar | Hindi | M. K. Radha, Pushpavalli, Vanaja, Swaraj, Agha | S. S. Vasan | Hindi Version of Samsaram | |
| 1952 | Mr. Sampath | Hindi | Motilal, Padmini, Kanhaiyalal, Swaraj, Vanaja and Agha | S.S.Vasan | Film version of R. K. Narayan's novel |
| Moondru Pillaigal | Tamil | M. K. Radha, R. Nagendra Rao, P. Kannamba, Gemini Ganesan | R. Nagendra Rao | ||
| 1953 | Avvaiyar | Tamil | Gemini Ganesan, K. B. Sundarambal | Kothamangalam Subbu | A classic. The story of Tamil saint Avvaiyar, the film was known for its wonderful songs. |
| 1954 | Rajee En Kanmani | Tamil | T. R. Ramachandran, Sriranjani Jr., S. V. Ranga Rao | K. J. Mahadevan | An adaptation of the Charlie Chaplin classic City Lights |
| 1954 | Raji Naa Pranam | Telugu | T. R. Ramachandran, Sriranjani Jr., S. V. Ranga Rao | K. J. Mahadevan | |
| 1954 | Bahut Din Huye | Hindi | Madhubala, Savitri Kommareddy | S.S.Vasan | |
| 1955 | Insaniyat | Hindi | Dilip Kumar, Dev Anand, Bina Rai, Jayant and Shobhana Samarth | S.S.Vasan | |
| 1958 | Vanjikkottai Valiban | Tamil | Gemini Ganesan, Vyjayanthimala, Padmini, P.S. Veerappa | S. S. Vasan | |
| 1958 | Радж Тилак | Нет. | Gemini Ganesan, Vyjayanthimala, Padmini, Pran | СС Васан | Ремейк vanjikkottai valiban |
| 1959 | Пагам | Нет. | Дилип Кумар , Виджаянтимала , Раадж Кумар , Б. Сароджа Деви , Мотилал , Джонни Уокер , Пандари Бай , Васундхара Деви | СС Васан | |
| 1960 | Ирумбу Тирай | Тамильский | Шиваджи Ганесан , Виджаянтимала , Б. Сароджа Деви , Кангавелу , С.В. Ранга Рао , Пандари Бай , Васундхара Деви | СС Васан | Римейк Пагма |
| 1960 | Гунхат | Нет. | Бхарат Бхушан , Лила Читнис , Прадип Кумар , Бина Рай , Аша Парех , Хелен , Разендранат , Рехман (актер) и Ага | Рамананд Сагар | |
| 1961 | Гарана | Нет. | Раджендра Кумар , Раадж Кумар и Эш Парех | СС Васан | |
| 1963 | Грахасти | Нет. | Бипин Гупта , Раджшри , Ифтехар , Гаджанан Джагирдар , Канхайялал , Шубха Хот , Манмохан Кришна , Ашок Кумар , Манодж Кумар , Манодж Кумар , Саффеш Кумар, Бхарати Малванкар, Мехмод , Мехмод , Индрани Мукхеи. | Кишор Сааху | |
| 1964 | Зиндаги | Нет. | Vyjayanthimala , Rajjdra Kumar | Рамананд Сагар | |
| 1965 | Ваашкай Падагу | Тамильский | Gemini Ganesan , Deivka , Sv Ranga Rao , K. Balaji , R. Muthuraman , Rs Manohar , MV Rajamma | C. Srinivasan | |
| 1967 | Аурат | Нет. | Раджеш Ханна , Фероз Хан , Пран , Падмини , Канхайялал , Дэвид, Оп Ралхан , Назима , Лалита Павар и Лила Читнис | Ssbalan & Ssvasan | |
| 1968 | Подросток Бахураниян | Нет. | Притхвирадж Капур , Ага, Канчана , Соукар Джанаки , Джаянти | Ssvasan | |
| 1968 | Оли Вилакку | Тамильский | Mgramachandran , J.Jayalalitha , Sowcar Janaki | ||
| 1969 | Шатрандж | Нет. | Раджендра Кумар , Вахида Рехман , Мехмуд | Ssvasan |
Ссылки
[ редактировать ]- ^ Jump up to: а беременный S. Pasupathy (10 марта 2003 г.). "SS Vasan" (на тамильском языке). Архивировано из оригинала 14 марта 2017 года . Получено 14 марта 2017 года .
- ^ "Padma Awards" (PDF) . Министерство внутренних дел, правительство Индии. 2015 . Получено 21 июля 2015 года .
- ^ «Отпечатка на SS Vasan выпустила» . Индус . Ченнаи, Индия. 27 августа 2004 года. Архивировано с оригинала 11 сентября 2004 года.
- ^ «С пальцем на людей пульс» . Индус . 23 мая 2013 года. Архивировано с оригинала 1 сентября 2013 года.
- ^ Jump up to: а беременный в дюймовый и Мутиа, С. (2004). «От торгового центра до крепления». Мадрас заново открыл . East West Books (Madras) Pvt Ltd. с. 84–87. ISBN 81-88661-24-4 .
- ^ Темы в истории Индии . VK (Индия) предприятия. 1992. ISBN 9788189611620 .
- ^ К. Моти Гокульсинг, К. Гокулсинг, Вимал Диспанайейк (2004). Индийский популярный кинотеатр: повествование о культурных изменениях . Книги Трентама. п. 132. ISBN 1-85856-329-1 .
{{cite book}}: Cs1 maint: несколько имен: список авторов ( ссылка ) - ^ Шохини Чаудхури (2005). Contemporary World Cinema: Европа, Ближний Восток, Восточная Азия и Южная Азия Эдинбургский университет издательство. П. 149. ISBN 0-7486-1799-х .
- ^ Парень, Рэндор (23 ноября 2007 г.). «Взрыв из прошлого» . Индус . Ченнаи, Индия. Архивировано из оригинала 1 декабря 2007 года.
