'Sivaji' V.C. Ganesan, 1927-2001

VILLUPURAM CHINNIAH GANESAN portrayed a vast canvas of emotions on the silver screen. By bringing to life several historical and fictional characters that were assigned to him during the past five decades, `Sivaji' Ganesan has left behind a huge and enduring legacy for generations of actors and film directors to come. In his transition from theatre to the celluloid world, Ganesan retained the essence of what drives many a performer - the urge to satisfy his audience. That he did so with elan and brought out the nuances expected of a role has ensured him a place in Indian cinema. His portrayals of freedom fighters, which included immortalising the Mahratta warrior-king, Chhatrapathi Sivaji, bringing to life the Tamil rebel chieftan, Veerapandiya Kattabomman and reliving the patriotic V. O. Chidambaram Pillai on the silver screen, are testimony to his ability to impact his audiences. As a professional film actor, Ganesan was a part of a period that saw tremendous shifts in the performing arts in India. The emergence of the silver screen and the decline of the popular theatre is one. Yet another is the present day ease with which individual shortfalls can be managed with technical advances. In addition are the shifts in story plots from the mythological to the commonplace and the romances.

If histrionics dominated over Ganesan on the silver screen, it is no doubt a reflection of his origins in theatre. Even within the five decades that Ganesan was part of the film industry, he managed several transitions. His launch into the world of cinema as well as his immediate claim to fame and success came in the form of a role of an angry young man in 1952, which related to an overwhelming desire of that period for social change. Rather than remain trapped within the confines of a stereotype, Ganesan shifted with ease to play several roles and bring out the essence of the characters assigned to him. For the vast multitude that thronged to the theatres to watch him in action, his purpose was singular: to provide entertainment. That it came in several forms, a considerable amount of them in the form of tear-jerkers or loud delivery of dialogues, is more reflective of the times and the receptiveness of the audiences, than the ability of the actor himself. In addition to bringing to life freedom fighters and mythological characters, Ganesan's portrayals of the several commoners in a society - the upright police officer, the romantic, the do- gooder, the village bumpkin, or even the ugly man consumed by guilt, to mention but a few - made absorbing viewing.

It was perhaps the professional actor in him, driven by the passion to do his job well, that drew Ganesan away from creating an image for himself and subsequently distanced his elusive ambition: to emerge a success in politics as well. For, the decades during which Ganesan emerged as an unparalleled performer were also those when cinema gained space in the political agenda, particularly in Tamil Nadu. Much of Ganesan's success and performance would also have to be seen against the political and social backdrop of Tamil Nadu. The transition of the Dravidian movement from that of social reform to a political entity, seeking to enter the portals of power, necessitated the spread of its message to the vast millions. And, both theatre and cinema were inherent parts of this effort at translating a political ideology into a public agenda. It was also this moment in Tamil Nadu's contemporary history that Ganesan and his talents came to be a part of an important tool of propaganda: initially for the Dravidian ideology and subsequently that of the Congress. That he never won a national award for the best actor is bound to hurt many, but the fact that, for years to come, actors aspiring to enter Tamil movies will continue to be judged by their ability to re-enact a small part of a role played by `Sivaji' will be a lasting honour that few can lay claim to.

Send this article to Friends by E-Mail

Section  : Opinion
Previous : The challenge of militancy
Next     : The Agra syndrome