Showing all artists born in 1908

Nagercoil Sudalaimuthu Krishnan, popularly known as Kalaivanar and also as NSK was a leading Tamil film comedian, drama artist, playback singer and writer in the early stages of the Tamil film industry – in the 1940s and 1950s. He is considered as the "Charlie Chaplin of India."

Born in Ozhuginachery, Nagercoil, in the princely state of Travancore, India on 29 November 1908, his stage and cine-screen comedy performances were unique and always carried a message for the people. 'Kalaivanar' N. S. Krishnan died at the age of 49, on 30 August 1957.

Career

N S Krishnan started his career as a Villu Paatu artist (the Tamil way of reciting stories while singing songs and playing a musical instrument in the form of a bow called 'Villu'), He later became involved in Tamil drama and stage shows, as were many film artistes. At one time he owned a touring drama company. When cinema gradually became popular in South India, he entered the Tamil film world to become one of the leading Tamil comedians ever, with a unique style. He generally wrote his own comedy dialogues and expressed them in his drama and films so that the message came across, but the subject was not offended.

He acted in nearly 150 Tamil films and the matinee-duo of N S Krishnan and T. A. Madhuram (later his wife) was very popular in his days; he also did roles along with leading stage and cine artists like T. S. Durairaj, Pulimootai Ramasamy, C.S. Pandian and writers like Udumalai Narayana Kavi and Subbu Armugham and gave a number of hits. He was a talented singer and his hits include Sivakavi, Raja Rani, and Manamagal.

Though he was more popular among the Tamil populace as a film comedian, Kalaivanar was instrumental in bringing a number of leading Tamil stage and film personalities to the fore. He was a Gandhian, patriot and philanthropist, yet a very controversial figure — with his name linked to a murder and marital controversies.

Personal life

He was married to actress T. A. Madhuram. His grandson NSK Rajan has acted in a film Nagareega Komaali (2006).  His granddaughters Anu Vardhan and Ramya NSK are working as costume designer and playback singer in film industry respectively.

Controversies

During the mid-1940s he and M.K.Thyagaraja Bhagavathar were arrested for suspicion of murder famously known as Lakshmikanthan Kolai Vazhakku (Lakshmikanthan Murder Case). They were convicted and later released on appeal to the Privy Council.

When Bhagavathar and NSK were flying very high in fame in drama, cinema and concerts, fate interfered in the form of Lakshmikanthan. C. N. Lakshmikanthan or Lakshmikantham was a famous film journalist of Madras Presidency. His foray into journalism began in 1943 when he launched a film weekly called Cinema Thoothu which was extremely successful. He wrote extensive columns devoted to the personal lives of some of the top actors and actresses of the day. Many actors and actresses responded by paying large amounts of money to "buy" his silence. As a result, Lakshmikanthan set up a prosperous vocation..

Eventually, matters reached a standstill when film actors M. K. Thyagaraja Bhagavathar and N. S. Krishnan and film director Sreeramulu Naidu submitted a memorandum to the Governor of Madras, Arthur Oswald James Hope, requesting him to revoke the license for the magazine. Hope obliged and the license for the magazine was cancelled. Lakshmikanthan tried to run the magazine with forged documents but, after a few months, he was forced to close shop.

Unfazed, Lakshmikanthan set up a new magazine called Hindu Nesan in which he continued his scandalous stories on Thyagaraja Bhagavathar, Krishnan and a few other top actors, actresses and movie people of the day. The tactics paid huge dividends and Lakshmikanthan purchased his own printing press.

On 8 November 1944, he was attacked by some people with a knife in Purasawalkam, in downtown Madras. He was admitted to the General Hospital, Madras as an outpatient: The wound was not serious enough. In his statement to the police he did not name anyone as the accused but only stated that someone had attacked him. He was found very jovial at the police station as he was in the hospital. During his treatment it was reported that he wanted to expose the murderers involved in the Boat Mail murder. (A train named Boat mail used to run between Madras and the then Dhanushkoti station.) A rich banker from Devakottai was murdered in thetrain between Chengalpet and Madras. A notable singer cum actress who traveled with the banker was missing/fled when the train reached Madras. The political backing this singer had kept the truth about the real killers under the carpet. The killers saw to it that the case should not come to the court for trial. There is another version which says that Lakshikanthan was murdered by this group and not by NSK/MKT.

But on 9 November 1944, Lakshmikanthan died mysteriously in the hospital. He was murdered. The police, based on the statement made by LakshmiKanthan's bodyguard, arrested eight persons as accused for the murder. Among them were Bhagavathar and N. S.Krishnan. This came as a rude shock to their fans and the cine world.

After usual committal proceedings before the Madras Presidency Magistrate, the case came up for hearing at the Madras High court before Justice Vera Mockett. A group of brilliant lawyers – V. T. Rangasamy Iyengar, Rajagopalachariar (Rajaji), Braddel, B.T.Sundararajan, Govind Swaminathan, Srinivasagopal and K. M. Munshi – argued the case for the accused. After prolonged trial, the jury found MKT and NSK guilty with four others.

Appeals were heard by a bench of the High Court consisting of Lionel Leach, Chief Justice of Madras, Justice K.P. Lakshmana Rao and Advocate General K. Rajah Iyer. The appeals were filed by the then leading members of the Bar, V.V. Srinivasa Iyengar and Sri V.C. Gopalarathnam. The appeals were dismissed.

MKT and NSK filed an appeal in the Privy Council, London which was the highest court of appeal. A British barrister, D. N. Pritt, appeared for them. Privy Council referred the case back to India for a fresh appraisal.

The appeal came up before a bench of two judges: Justice Happel and Justice Sahabuddin (who migrated to Pakistan in 1947 during partition of India and retired as Chief Justice of Pakistan Supreme Court). V. L. Ethiraj, a successful barrister appeared for MKT and NSK, He argued that the judges had not properly directed the jury and the evidences of doubtful nature have not been properly assessed. Ethiraj convinced the judges that all the witnesses produced against MKT and NSK were tutored and coached; there were many inconsistencies in their evidence and statements; and the case had many loopholes. The judges agreed and acquitted MKT and NSK. One of the judges who heard the remanded appeal remarked in the court that the knife produced as evidence cannot even kill a rat.

MKT, NSK and four others came out of prison after 30 months. Experts and laymen felt that the truth about the real killers of Lakshmikanthan has not come out and MKT, NSK and others were the unfortunate victims of the game of power politics.

The killers were never found. MKT Bhagavathar never regained his lost fame.

Later NSK resumed acting in movies, but his jail term and fight for justice made him penurious. His wealth was lost in fighting the case and so was the case of co-accused MKT Bagavathar. Haridas, which was released while he was in jail ran for three consecutive Deepavalies with packed houses. People crowded the theatre as they felt they would not have another chance to see their superstar on the silver screen.

Death

N.S. Krishnan had been undergoing treatment for hepatitis since August 12, 1957. He died at the General Hospital, Madras on August 30, 1957 following complications of the disease.

Legacy

The leading Tamil Nadu politician and Chief Minister of Tamil Nadu 'Kalaignar' Karunanidhi, when asked once by a journalist (of the Tamil magazine Kumudham) about who the non-political hero in his life was, answered it was Kalaivanar. Karunanidhi knew him well and worked in some of his film projects.Kalaivanar was an active member of the Dravidian Movement. The Tamil Nadu Government erected a memorial in 1979, called Kalaivanar Arangam (or Kalaivanar Arts Centre) in honour of Kalaivanar's contribution to the arts,. The building is one of the leading landmarks in the city of Chennai, the capital of Tamil Nadu.

Kodumadi Balambal Sundarambal was a renowned stage artist and singer of South India. She was popularly referred to as the "Queen of the Indian stage." She was noted both for her resonant, vibrant voice and for the dignity of her performances. A political activist during the Indian independence movement, K.B. Sundarambal was the first film personality to enter a state legislature in India.

K.B. Sundarambal was born on 11 October 1908 in the town of Kodumudi (also spelled "Kodumadi"), on the banks of the Kaveri, about 35 km from the town of Erode in present-day Tamil Nadu. Little is known of Sundarambal`s father her mother, Balambal, barely managed to eke out a living. Indeed, so penurious was the family that Sundarambal, as a child, is said to have made some much-needed money by singing ditties on trains and receiving tips from the passengers.

That was Sundarambal`s training in music. According to some sources, it was while singing thus on a train and begging for alms that the 10-year-old Sundarambal attracted the attention of F. G. Natesa Iyer, an amateur stage actor, producer and talent-scout, later municipal chairman of tiruchchirapalli district, in chennai.He was at one time Distrct traffic superintendent for southrn railways, the highest posution an Indian got. According to other sources, it was a police official named Krishnaswamy Iyer, an acquaintance of Balambal, who discovered the talent in Sundarambal and introduced the 10-year-old girl to P. S. Velu Nair, one of the reigning dramatists of that era.

In either case, Sundarambal is believed to have made her debut in 1917, on the Tamil stage, as a member of a travelling theatre troupe. This was the turning point in her life. The talented young girl honed her voice while performing small roles on stage and keeping audiences entertained between acts. Soon enough, she was essaying leading roles on stage. Her early stage plays like "Valli Thirumanam," "Pavalakodi" and "Harishchandra" proved to be great hits. In particular, "Valli Thirumanam", where she co-starred with S.G. Kittappa, was a phenomenal success.

While working together in the theatre, Sundarambal and S.G. Kittappa fell in love. They were married in 1927. For the next few years, Sundarambal lived a life that was both personally and professionally satisfying. The couple became cult figures with theatre aficionados. Unfortunately, the phase came to a sudden end with the untimely death of S.G. Kittappa in 1932. Sundarambal left the stage sometime after this happened, preferring to pursue a career as a concert artiste.

A celebrated theatre personality and an accomplished concert artiste, Sundarambal was to find success in films as well. Although she accepted only a few film offers, they have proved to be landmarks. Her performance as Avvaiyyar, the Tamil poet-saint, was so convincing that she has become almost synonymous with the legendary personality. Since no portrait of the historical poetess exists, Avvaiyar is depicted using Sundramabal`s image! "Nandanar" and "Avvaiyar," in both of which she played Avvaiyar, were runaway hits. Her other great successes were in "Manimekhalai," "Thiruvilayadal," "Karaikal Ammaiyar" and "Kandan Karunai." Sundarambal`s golden voice and the devotional fervour of her singing set the box offices afire. Her voice is so unique and melodious that few ever have managed to mimic her songs.

Sundarambal and her husband S.G. Kittappa had been much influenced by the Indian independence movement and they became ardent supporters of the Indian National Congress. They had harnessed their popularity and talents to further that cause. Sundarambal continued to champion the movement, recording several gramophone discs extolling the struggle and sacrifices it entailed. She also made it a point to always wear khadi. She often actively campaigned in support of Congress party candidates at various elections. After India gained independence, K.B. Sundarambal entered the Legislative Council of Madras State in 1951 as a Congress nominee, thus becoming the first film artist to enter an Indian legislature.

Akkineni Lakshmi Vara Prasada Rao (17 January 1908 – 22 June 1994), known popularly as L. V. Prasad, was an Indian film producer, actor, director, cinematographer and businessman. He was one of the pioneers of Indian cinema and is the recipient of the Dadasaheb Phalke Award, the highest Award for films in India. In 1980, he was awarded the Raghupathi Venkaiah Award, for his contribution to Telugu cinema. He founded Prasads Group in 1956, which include the Prasad Art Pictures, Prasad Studios, Prasads IMAX and L V Prasad Eye Institute. L.V.Prasad was the chairman of the 27th National Film Awards Selection Committee held at New Delhi in 1980.

He was the chairman of the All India Selection Panel of Indian Panorama section for the 8th International Film Festival of India from 3 to 17 January 1981.Prasad was also the chairman of the International Jury for Children's Film Festival held in November 1981 at Madras. He was elected as the President of The South Indian Film Chamber of Commerce for the year 1982–83. He was the Member of the Board of Film Censors from October 1980 to February 1987. L.V.Prasad was Chairman of the Studio Owners, Council, a wing of Film Federation of India. The Government of India released a Commemorative postage stamp in his memory in 2006.

Prasad also had the unique distinction of acting in the first talkies of three different languages of Indian cinema; Alam Ara (Hindi), Bhakta Prahlada (Telugu) and Kalidas (Tamil).

Akkineni Lakshmi Vara Prasada Rao was born on 17 January 1908 as the second son to Akkineni Sriramulu and Basavamma in the remote village of Somavarapadu, in Eluru Taluk in Andhra Pradesh, India. The family was into agriculture and Prasad was a pampered child, very intelligent but never interested in studies.

At the age of 17, in the year 1924, he got married to his maternal uncle's daughter, Soundarya Manoharamma. Soon they had a baby girl. Prasad's father was finding the going tough due to mounting debts and was forced to declare insolvency, at which point Prasad looked to a cinema career.

L. V. Prasad worked as an errand boy for Venus Film Company. He then joined India Pictures as an errand boy where Akthar Nawaz cast him in a bit-part role in the silent film Star of the East. In 1931, he acted in India's first "talkie", Alam Ara, recruited through Venus Film Company. Other minor roles followed. These films were made by Imperial Films, through which he met H. M. Reddy. Reddy gave Prasad a small role in Kalidas, the first Tamil "talkie", and subsequently in Bhakta Prahlada, the first Telugu "talkie". It was around this time that Prasad made contact with his family and then returned home to visit them. He then returned to Bombay with his wife and daughter, where his sons, Anand and Ramesh, were born.

Prasad by chance got a role as an assistant director in Kamar-Al–Zaman, directed by Ali Shah. This was also the time that his name was shortened from Akkineni Lakshmi Vara Prasad Rao to L. V. Prasad, this being a consequence of a clerk finding the name too long to use. The shortened name stuck with him thereafter. Tantra Subrahmanyam assigned him a job of a production supervisor and assistant director for the film Kashta Jeevi which took him to Bombay again. The film was abandoned after shooting three reels. Prasad was in no mood to leave now and he got a job as assistant director in a few other films. During this time using his connections with Prithviraj Kapoor he joined Prithvi Theatres and satisfied his acting passion. It was during this time that he met Raj Kapoor, the hero of his first Hindi production Sharada.

In 1943 he got the opportunity to take on the responsibility of assistant director for Gruha Pravesam. Due to circumstances he became the director of the film and then he was also chosen as the lead actor of the film! Gruha Pravesam, released in 1946 was one of the finest films of the forties and went on to become a classic of the period. After this K. S. Prakasa Rao offered Prasad an important role in Drohi. During this time Ramabrahmam was facing difficulty in finishing his film Palnati Yudham due to ill health and he chose Prasad to do justice to this film. After this in 1949, Prasad directed Mana Desam and introduced N.T.Rama Rao, later to become a legend in Telugu cinema, in a minor role.

In 1950 Vijaya Pictures released their first film Shavukaru establishing L. V. Prasad as a director. Samsaram released in the same year brought together the two legends of the Telugu film industry as brothers – N.T.Rama Rao and Akkineni Nageswara Rao in a social drama which created records wherever it was released. The film provided a model for later film makers, a model and theme relevant and popular amongst film makers even today. After this, success chased him. He directed some memorable films in the fifties all of them known for their drama and fine humour. Rani a Hindi film took him to Bombay again and after that Jupiter Films engaged L.V.Prasad to direct their Magnum Opus Manohara starring the legendary Sivaji Ganesan in Tamil, Telugu and Hindi.

But L. V. Prasad had more goals to achieve. In 1955 he assigned D. Yoganand to direct his first production Ilavelpu in Telugu under the banner Lakshmi Productions. L. V. Prasad established Prasad Productions, soon after this in 1956. His second son Ramesh returned from the United States after obtaining his B.E.M.S degree and established Prasad Film Labs in Chennai in 1974. Prasad Productions made many memorable box office hits including Milan, Khilona, Sasural and Ek Duuje Ke Liye. L. V. Prasad contributed generously towards the establishment of L. V. Prasad Eye Institute in Hyderabad.