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comes too late for her, as Arun, who is disillusioned with her behaviour, has already married a small town girl. When Manju tells her aunt about the attempt to humiliate Thyagu and its ramifications, her aunt tells Manju that she deserved it for leaving behind a golden opportunity to start a new life. In a final discussion in Thyagu's car, Manju asks Arun's wife, "What do you think of women's liberation?". Arun's wife replies that she does not know. Manju cynically replies that this is why she (the wife) is happy. After Manju leaves, the car carrying Thyagu and the married couple pulls away from her. A voice-over says that Manju died today, but will be reborn tomorrow, only for the cycle to repeat, and that is how she is.
502:
by two people she becomes romantically involved with. One, her college mate, left her to marry someone else for the sake of a job; and the second is Mano, the son of a
Christian priest, who used her to satisfy his lust and then trivialised their relationship by calling her "sister" in front of her parents. These relationships result in her becoming wary of men and developing an aggressive nature towards them. Conversations related to matters like the status of women in contemporary (1978) times and the nature of humankind are frequently seen in the film.
566:, Thyagu was, by far, Rajinikanth's most entertaining character up to that point in his career; his character was a self-confessed chauvinist who believed that men and women can never be equal, and that women are merely objects to be used for men's pleasure. When Arun calls Thyagu "a prejudiced ass", Thyagu responds by saying, "I am a male ass," with the dialogue being in English. His opinion of Sripriya's character, Manju, is seen when he says (also in English), "She is a self pitying sex-starved bitch!"
510:
the 'truth' is always alone; that men are scared of her; that the woman who is different is confused, not sure of herself and is only seeking love from a man but does not know it herself." She further asserts that the film's only positive aspect is "it does not expose the body of women in the way it is customary" and that Manju could have avoided her unfortunate set of circumstances "if only she had a 'proper' mother".
321:
laughs and says that she is already back, after which Manju seems to have a change of heart and starts courting Thyagu. Arun is devastated to see that she has turned out to be just the sort of woman that Thyagu earlier said she was — opportunistic, money-minded, and fickle. When he asks her about her contradictory status in life, she responds by saying that is the way she is and will be.
2268:
2280:
476:. Before a shot, Haasan discussed the scene with Ananthu and Rudhraiya on how Godard would have done it. The film was shot in two-hour sessions over a period of four-five months. The opening scene where Haasan looks into the camera and says "Konjam left-la ukaarunga" (Sit a little to the left, please) was meant as a sign to the audience to support
426:
Training
Institute. Sripriya, who played Manju, was initially unsure about acting in the film due to her busy schedule at that time, and only agreed to do it on Haasan's insistence. According to Somasundareshwar, the characterisation of Manju was inspired from a woman he met and who had similar radical beliefs.
822:
was different. The shadowy black-and-white cinematography was different. The dialogues, which were more about revealing character than advancing plot, were different. The frank handling of sex and profanity ('she is a self-pitying, sex-starved bitch!') was different. The documentary-like detours were
663:
criticised the gaps in the film, particularly the abundance of
English dialogue, the excessive focus on naturalism, and lower standard of technical work (especially the cinematography). Despite these perceived flaws, the magazine still appreciated the film, stating that the actors immersed themselves
425:
was the debut film for both
Nallusamy and M. N. Gnanashekaran, who jointly handled the film's cinematography. Vanna Nilavan co-wrote the screenplay with Somasundareshwar and Rudhraiya. The film was co-produced by Rudhraiya, in association with the students of the M.G.R. Government Film and Television
722:
was noted for its stylish filmmaking, screenplay and dialogue, a large portion of it being in
English. The dialogues were sharp and were considered almost vulgar. It also broke the style of filmmaking followed up until that time. Sripriya included it in her list of favourite films she had worked in.
698:
The world will remember him for , a film that shook the foundations of the Tamil film industry and still does. College students still watch it and generations are scratching their heads over how we managed to bring it out. I will remember him for his passion for cinema. He was one of those directors
561:
male — sensitive and sincere. Rajinikanth's character, Thyagu, is the exact opposite of Arun — money-minded, arrogant, and a womaniser. This is evident when Thyagu says to Arun: "Women should be enjoyed, not analysed." According to
Rajinikanth, Thyagu was very much similar to him in real life —
553:
uses a "fluid narrative style" and music to mix flashbacks with vox-pop and "glossy pictorialism". The film is an exception on stereotypes of women, as shown by paralleling an independent woman, Manju, and a pious traditional woman: Manju gets into problems while Arun's wife is happy. The last lines
501:
explores a number of themes such as women's liberation, sex and the chauvinistic attitude of males. Its central theme is on women and their plight in society, as exemplified by Manju and her relationships. Born to a timid father and a mother with loose moral values, she is also subsequently affected
467:
20,000 for exterior shooting equipment. The scenes where Arun interviewed women for his documentary were real scenes, improvised with women they would meet at colleges and bus stops, and shot using the live-recording method. The film uses a sharp contrast of black and white colours to lend a surreal
509:
wrote in her essay "A Good Woman, A Very Good Woman", that Manju's characterisation was "brought out entirely verbally by her". Lakshmi believes the film to be constantly resorting to "existing myths about women and relationships: that a wayward mother destroys her children; that a woman who speaks
324:
The truth finally emerges that Manju was merely baiting Thyagu to teach him a lesson. When Thyagu starts believing that Manju has fallen for him, he attempts to take advantage of her at a party banquet, but she rebukes and slaps him, after which Thyagu runs away in fright. However, this revelation
320:
Inevitably, Arun falls for Manju. However, Manju incurs Thyagu's wrath when he overhears her reprimanding her office staff for commenting on her character. When Thyagu also comments about her, she resigns from her job. When he learns of this, Arun requests that Thyagu re-employ her. Thyagu simply
299:
that consisted of a timid father and a philandering mother; she hurtles from one disastrous affair to another, leading to her degenerating into a cynical woman. Into her life enter two radically different men. One of them is her boss, Thyagu, who owns the advertising agency she works for. He is a
311:
Manju has been drafted by Thyagu to assist Arun in his documentary. As Arun and Manju start working together, Arun begins to understand Manju's complex personality. She tells Arun about her unfortunate past relationships: how she was molested by her uncle, the ending of her first relationship in
471:
Filming proceeded smoothly as almost all of the dialogues were ready by the time team went for filming the scenes. The camera angles were pre-planned as well. Haasan shot the film in his spare time, as he was involved in over 20 other films as an actor during the production of
444:
and used to discuss the scenes to be shot for at least two or three days in advance. As for the dialogues, he used to tell me about the scene in detail. He would not be easily satisfied. He would ask for rewriting the lines, if he was not happy with what was written.
802:
included the film in its list, "The 100 greatest Indian films of all time". As of July 2013, Sruti
Harihara Subramanian, founder and trustee of The Cinema Resource Centre (TCRC), has preserved many promotional stills and photographs of the film's production.
554:
of the film where Manju asks "what do you think of 'women's liberation'", Arun's wife answers, "I don't know", to which Manju says "that is why you are happy", send the message that one will inevitably get into trouble if one exhibits assertive behaviour.
316:
priest's son, used her to satisfy his needs and lust, calling her "sister" in front of her parents. These incidents have led to her present attitude towards men. Arun later shares these conversations with Thyagu, who warns him to steer clear of such women.
656:
The film received generally positive reviews from critics. Critics appreciated the live-recording method of shooting the sequences where Haasan's character, Arun, interviews women for his documentary. On 19 November 1978, the magazine
410:
in nature. Rudhraiya, Haasan, and
Ananthu wanted to experiment with their ideas in Tamil. This was Rudhraiya's first film as director; quite radical in his approach, he wanted to change the conventions of Tamil cinema at that time.
847:. It's probably because of that role and the effect it had left on her, she handles this subject with great care and understanding that most of her peers would lack." In January 2015, Somasundareshwar said, "I was told that if
242:
composed the film's music. The plot revolves around Manju (Sripriya) and the difficulties she faces in her life, due to her romantic relationships, resulting in her developing an aggressive and cynical nature towards men.
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1500:
1994:
980:
1672:
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Throughout the film, the cinematography made extensive use of shadows and close up shots to emphasise the moods of the characters. Jump cuts were frequently used as well. Overall, 8,230 metres of
1971:
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attack on the industry by insiders like me. It slipped through their fingers, so to speak. With all the attention that films get these days, I doubt we can get away with such a film any more."
1345:
1928:
2342:
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were made today, it would be a blockbuster. I don’t agree, for it’s still taboo for a woman to talk about her sexual encounters. The profile of the audience should change." In July 2016,
1231:"Table 147 : Exchange Rate of the Indian Rupee vis-a-vis the SDR, US Dollar, Pound Sterling, D. M./ Euro and Japanese Yen (Financial Year – Annual Average and end-Year Rates)"
223:
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day. Although the film received positive critical reception, it was not a box office success at the time of its release. However, the film began to develop an audience after directors
1019:
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1837:
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681:
276:
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419:. It was the first film made by a graduate of the M.G.R. Government Film and Television Training Institute. The initial script by Somasundareshwar consisted of two pages.
2008:
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1639:
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to make a documentary on women. Sensitive and sincere, he believes his job has a purpose and is both shocked and amused at the cynical attitudes of Manju and Thyagu.
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1961:
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wrote positive comments on it, the latter remarking, "The film was far ahead of its times", people began to watch the film and appreciate it, leading
280:
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1335:
629:. The film did not initially receive a big response from the public, and was not a box office success upon its release. However, after the directors
1938:
1243:
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was writing a script dealing with women's liberation at that time, and it was decided that his script would be used for the film; the result was
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commented positively about it. The film was noted for its stylish filmmaking, screenplay, and dialogue, a large portion of which was in
English.
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2352:
2322:
2229:
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2152:
1091:
1761:
2367:
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1705:
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in his list of "Rajni's Tamil Top 10", saying, "It was what we would call parallel cinema these days.". In July 2007, S. R. Ashok Kumar of
1794:
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stereotype of the successful man: money-minded, opinionated, arrogant, and a male chauvinist. In sharp contrast is Arun, who has come to
2332:
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825:
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was the first film made by a graduate of the M.G.R. Government Film and
Television Training Institute. It received the second prize for
1310:
1827:
539:(1986), while also labelling them as "classics that put the spotlight on women." Ashish Rajadhyaksha and Paul Willemen, in their book
2180:
1738:
38:
1370:
590:. The album featured three songs: "Uravugal Thodarkathai", "Panneer Pushpangale" and "Vaazhkai Odam"; the lyrics were written by
1905:
843:(2014), a film about a rape victim, stated, "Sripriya, who was once a successful actress, played a rape victim in Tamil drama
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would "remain etched in every film lover's memory by showing the best of Rajnikanth's acting skills." S. Shiva Kumar of
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college when her lover left her by marrying another woman for the sake of employment, and how her second love, Mano, a
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20:
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to get ideas for their film's story, until they realise that the film was a failure at the time of its release.
2172:
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2004:
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1999:
1933:
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day. It was released in only two theatres in Madras: Kamadhenu, and either Emerald or Blue Diamond in the
529:
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69:
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into their characters, leading to them not really acting before the camera but living the characters.
650:
296:
2302:
1540:
1099:
766:
included the film on his December 2010 list of "Electrifying Rajinikanth-Kamal Haasan films" with
742:
asked eight Tamil film directors to list their all-time favourite Tamil films; two of them –
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different. The painfully sensitive, feminist hero was different. Rudraiah was different." In
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1005:
915:
815:
794:
768:
477:
403:
391:
911:"'Aval Appadithan': Why this '70s drama was ahead of its time in telling women's stories"
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who wouldn’t mind holding a reflector aloft, if it meant that a scene would look better.
1896:"100 Years of Indian Cinema: The 100 greatest Indian films of all time: Aval Appadithan"
1728:
2138:
1859:
1634:
780:
659:
514:
395:
387:
207:
2296:
2200:
743:
599:
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506:
2284:
2067:"'Malini 22 Palayamkottai' – woman with a vengeance (IANS Tamil Movie Review)"
1047:
876:
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included the film in its list, "Kamal Haasan's most underrated films". Writing for
630:
412:
379:
352:
340:
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231:
219:
99:
63:
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2194:
2142:
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558:
427:
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included the film in its list of, "The 100 greatest Indian films of all time."
1733:
731:
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595:
407:
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258:
37:
680:. At the same ceremony, Nallusamy and M. N. Gnanashekharan won the award for
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523:
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227:
95:
2245:
645:. In November 2014, Haasan defended the financial failure of the film, "
774:
358:
301:
2035:"Kathai Thiraikathai Vasanam Iyakkam review: Season of the meta movie"
1900:
1491:"Rajini may lose his appeal if he declares his political affiliation"
1375:
799:
622:
545:
284:
250:
818:
commented and remarked on how "different" the film was by saying: "
712:
is one of only two films ever directed by Rudhraiya; the other was
406:, which focused on films based on social ideas, some of which were
2221:
Tamil Cinema: The Cultural Politics of India's Other Film Industry
606:, respectively. The soundtrack was released under the label of
1400:
1398:
222:. The film was produced by Rudhraiya in association with the
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1165:
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1159:
1157:
952:
950:
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in its list of "roles that defined Rajinikanth the actor".
463:
was used to make the film, and the team incurred a cost of
1995:"On His 59th B'day, Kamal Haasan's Most Underrated films"
557:
Kamal Haasan's character, Arun, is an early version of a
1052:"Rudhraiya: The man whose film shook the Tamil industry"
430:, who played Thyagu, was convinced by Rudhraiya to join
224:
M.G.R. Government Film and Television Training Institute
1962:"A centre that celebrates the reel love of south India"
829:(2014), the hero's writing team discusses the theme of
468:
atmosphere to it, and none of the actors used make-up.
1632:[Vikatan Pokkisham: One Diwali... 11 films!].
521:
to other films whose central theme was women, such as
2256:
1371:"'Aval Appadithan' filmmaker C Rudhraiya passes away"
1338:[That is how he is — A special story!].
218:
in his directorial debut, and co-written by him with
2141:(2011). "Aval Appadithan — That's how she is".
1476:
1464:
837:, in their review of Sripriya's directorial venture
704: – Kamal Haasan on Rudhraiya, in November 2014.
562:he too smokes and drinks. According to film critic
543:, say the film was also inspired by the 1972 film,
275:, while Nallusamy and M. N. Gnanashekharan won the
184:
176:
166:
143:
129:
119:
109:
91:
83:
75:
57:
47:
30:
1627:
971:"Rudhraiyah was inspired by French New Wave films"
2144:The Best of Tamil Cinema, 1931 to 2010: 1977–2010
2343:Films with screenplays by Ananthu (screenwriter)
1365:
1363:
1010:"Lights, camera, conversation...Two-film wonder"
904:
902:
900:
696:
598:and the vocals for the songs were performed by
442:
386:. The three shared an interest in the works of
2162:Rajadhyaksha, Ashish; Willemen, Paul (1998) .
1629:"விகடன் பொக்கிஷம்: ஒரு தீபாவளி... 11 படங்கள்!"
875:The average exchange rate in 1978 was 10.4315
8:
1427:
1425:
1404:
1330:
1328:
1217:
1169:
1085:
1083:
1081:
1079:
956:
1416:
672:The film was awarded the Second Prize for
36:
27:
1993:Pudipeddi, Haricharan (7 November 2013).
450: — Vanna Nilavan, on the filming of
279:award. Additionally, Sripriya received a
1092:"K. Rajeshwar Interview: Future Perfect"
1041:
1039:
1037:
1000:
998:
723:Rudhraiya's daughter, Ganga, noted that
19:For the TV series of the same name, see
2263:
1661:Kumar, S. R. Ashok (22 February 2007).
896:
868:
283:for the Best Actress of 1978. In 2013,
2348:Films with screenplays by K. Rajeshwar
1594:Srinivasan, Sudhir (1 November 2014).
1125:
1123:
1121:
1119:
1117:
727:help her face life in the real world.
586:soundtrack and score were composed by
402:. Godard and Bresson were part of the
2196:Rajinikanth: The Definitive Biography
1960:Srinivasan, Meera (16 January 2013).
1929:"Reel love inspires Kollywood museum"
1908:from the original on 29 November 2014
1741:from the original on 13 December 2014
1708:from the original on 17 December 2016
1694:Rudhraiya, Ganga (19 November 2016).
1336:"அவர் அப்படித்தான் - ஸ்பெஷல் ஸ்டோரி!"
1064:from the original on 29 November 2014
1022:from the original on 29 November 2014
923:from the original on 26 February 2020
909:Sundaram, Nandhu (18 November 2017).
7:
2047:from the original on 1 December 2014
1876:from the original on 1 December 2014
1840:from the original on 20 January 2016
1826:Shiva Kumar, S. (31 December 2010).
1793:Karthikeyan, D. (13 December 2009).
1774:from the original on 11 October 2014
1675:from the original on 1 December 2014
1608:from the original on 1 December 2014
1575:from the original on 2 December 2013
1503:from the original on 1 February 2016
1446:from the original on 1 December 2014
1196:from the original on 5 December 2014
983:from the original on 5 December 2014
621:was released on 30 October 1978, on
249:was released on 30 October 1978, on
2103:"Rajini: the actor before the hero"
1760:Kumar, S. R. Ashok (13 July 2007).
1642:from the original on 15 August 2023
1489:Kalyanaraman, M (28 January 2016).
826:Kathai Thiraikathai Vasanam Iyakkam
480:. According to the Tamil newspaper
200:
1309:. 29 November 2016. Archived from
1249:from the original on 19 March 2016
1132:"Memories of 'Aval appadiththaan'"
1090:Ramesh, Deepika (6 January 2015).
14:
2079:. 25 January 2014. Archived from
1663:"I owe what I am today to cinema"
969:Kolappan, B. (20 November 2014).
2278:
2266:
1974:from the original on 20 May 2016
1927:Sampath, Janani (25 July 2013).
1795:"A phenomenon called Rajnikanth"
1477:Rajadhyaksha & Willemen 1998
1465:Rajadhyaksha & Willemen 1998
1383:from the original on 20 May 2016
1348:from the original on 22 May 2016
1727:Balamurugan, K. (22 May 2007).
1277:. 16 April 2016. Archived from
1182:Naig, Udhav (9 November 2013).
792:as an inspiration for his film
730:In May 2007, K. Balamurugan of
2165:Encyclopaedia of Indian Cinema
2111:. 21 July 2016. Archived from
1638:(in Tamil). 19 November 2020.
1344:(in Tamil). 24 November 2014.
688:for Best Actress of the year.
1:
2218:Velayutham, Selvaraj (2008).
1904:. 17 April 2013. p. 93.
541:Encyclopedia of Indian Cinema
2353:Indian black-and-white films
2323:1978 directorial debut films
1696:"An Outsider who saw within"
758:wrote in December 2009 that
678:Tamil Nadu State Film Awards
576:Aval Appadithan (soundtrack)
273:Tamil Nadu State Film Awards
2368:Tamil-language Indian films
2338:Films scored by Ilaiyaraaja
21:Aval Appadithan (TV series)
2384:
2333:Films about women in India
2318:1970s Tamil-language films
1432:Jeshi, K. (9 March 2011).
684:, and Sripriya received a
573:
18:
883:) per 1 US dollar (US$ ).
204: That is how she is
152:30 October 1978
42:Theatrical release poster
35:
1762:"Filmmakers' favourites"
16:1978 film by C. Rudraiah
2173:Oxford University Press
2077:Indo-Asian News Service
2005:Indo-Asian News Service
1563:"Released on Deepavali"
840:Malini 22 Palayamkottai
835:Indo-Asian News Service
798:(2011). In April 2013,
2000:The New Indian Express
1934:The New Indian Express
1729:"Rajni's Tamil Top 10"
808:The New Indian Express
786:Thiagarajan Kumararaja
701:
627:Safire Theatre complex
549:. They also note that
530:Aval Oru Thodar Kathai
447:
295:Manju was raised in a
2363:Indian feminist films
1242:. 16 September 2013.
1239:Reserve Bank of India
614:Release and reception
574:Further information:
494:Themes and influences
490:was shot in 20 days.
2308:1970s feminist films
1596:"Look back at Kamal"
1434:"Women of substance"
1379:. 19 November 2014.
1184:"Spotlight on women"
1050:(19 November 2014).
1046:Srinivasan, Sudhir;
1008:(28 November 2014).
754:. D. Karthikeyan of
682:Best Cinematographer
297:dysfunctional family
277:Best Cinematographer
2191:Ramachandran, Naman
2011:on 11 November 2013
1862:(5 February 2011).
1571:. 1 November 2013.
1142:on 10 November 2001
206:) is a 1978 Indian
115:M. N. Gnanashekaran
2358:Indian drama films
2313:1970s Indian films
2083:on 27 January 2016
2033:(16 August 2014).
1941:on 1 December 2014
1807:on 15 October 2013
1543:on 26 October 2014
1496:The Times of India
1313:on 5 February 2019
1306:The Times of India
1274:The Times of India
806:In November 2013,
715:Gramathu Athiyayam
564:Naman Ramachandran
400:Roberto Rossellini
378:was introduced to
2231:978-0-415-39680-6
2210:978-81-8475-796-5
2154:978-81-921043-0-0
2147:. Galatta Media.
2072:Business Standard
1828:"Immortality ode"
1405:Ramachandran 2014
1102:on 9 January 2015
192:
191:
2375:
2328:1978 drama films
2283:
2282:
2281:
2271:
2270:
2269:
2262:
2235:
2214:
2199:(2nd ed.).
2186:
2170:
2158:
2125:
2124:
2122:
2120:
2099:
2093:
2092:
2090:
2088:
2063:
2057:
2056:
2054:
2052:
2031:Rangan, Baradwaj
2027:
2021:
2020:
2018:
2016:
2007:. Archived from
1990:
1984:
1983:
1981:
1979:
1957:
1951:
1950:
1948:
1946:
1937:. Archived from
1924:
1918:
1917:
1915:
1913:
1892:
1886:
1885:
1883:
1881:
1856:
1850:
1849:
1847:
1845:
1823:
1817:
1816:
1814:
1812:
1803:. Archived from
1790:
1784:
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1757:
1751:
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1748:
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1718:
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2132:Bibliography
2117:. Retrieved
2113:the original
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2085:. Retrieved
2081:the original
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2049:. Retrieved
2038:
2025:
2013:. Retrieved
2009:the original
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1988:
1976:. Retrieved
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1910:. Retrieved
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1809:. Retrieved
1805:the original
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1743:. Retrieved
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1722:
1710:. Retrieved
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1677:. Retrieved
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1644:. Retrieved
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1610:. Retrieved
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1577:. Retrieved
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1541:the original
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1517:
1505:. Retrieved
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1448:. Retrieved
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1412:
1385:. Retrieved
1374:
1350:. Retrieved
1339:
1315:. Retrieved
1311:the original
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1283:. Retrieved
1279:the original
1272:
1263:
1251:. Retrieved
1237:
1225:
1198:. Retrieved
1187:
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1144:. Retrieved
1140:the original
1135:
1104:. Retrieved
1100:the original
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985:. Retrieved
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925:. Retrieved
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676:at the 1978
671:
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631:Bharathiraja
618:
617:
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533:(1974), and
528:
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481:
473:
470:
458:
451:
448:
443:
431:
422:
421:
416:
408:iconoclastic
380:Kamal Haasan
374:
353:Sivachandran
341:Kamal Haasan
323:
319:
310:
294:
271:at the 1978
264:
263:
255:Bharathiraja
246:
245:
232:Kamal Haasan
214:directed by
195:
194:
193:
168:Running time
145:Release date
100:Kamal Haasan
25:
1778:30 November
1745:13 December
1712:17 December
1537:EMI Records
1533:liner notes
1523:Ilaiyaraaja
1200:29 November
1068:29 November
1026:29 November
987:29 November
927:20 February
778:(1977) and
608:EMI Records
588:Ilaiyaraaja
559:metrosexual
428:Rajinikanth
376:C. Rudraiah
371:Development
347:Rajinikanth
240:Ilaiyaraaja
236:Rajinikanth
226:. It stars
216:C. Rudraiah
172:114 minutes
124:Ilaiyaraaja
104:Rajinikanth
87:C. Rudraiah
84:Produced by
61:C. Rudraiah
52:C. Rudraiah
48:Directed by
2303:1978 films
2297:Categories
2087:27 January
2051:1 December
2015:10 January
1945:1 December
1880:1 December
1734:Rediff.com
1679:1 December
1612:1 December
1579:21 January
1547:2 December
1450:1 December
1146:7 February
891:References
635:Mrinal Sen
596:Kannadasan
382:by writer
366:Production
306:Coimbatore
259:Mrinal Sen
212:drama film
210:-language
156:1978-10-30
138:Kumar Arts
131:Production
2203:Limited.
2193:(2014) .
2108:The Hindu
2040:The Hindu
1967:The Hindu
1869:The Hindu
1833:The Hindu
1800:The Hindu
1767:The Hindu
1701:The Hindu
1668:The Hindu
1646:16 August
1601:The Hindu
1568:The Hindu
1439:The Hindu
1341:Dinamalar
1189:The Hindu
1106:9 January
1057:The Hindu
1015:The Hindu
976:The Hindu
855:included
853:The Hindu
814:in 2014,
812:The Hindu
764:The Hindu
756:The Hindu
740:The Hindu
734:included
674:Best Film
668:Accolades
604:S. Janaki
536:Panchagni
524:Charulata
517:compared
483:Dinamalar
349:as Thyagu
314:Christian
269:Best Film
113:Nallusamy
2045:Archived
1972:Archived
1906:Archived
1874:Archived
1838:Archived
1772:Archived
1739:Archived
1706:Archived
1673:Archived
1640:Archived
1606:Archived
1573:Archived
1525:(1978).
1507:21 March
1501:Archived
1444:Archived
1381:Archived
1346:Archived
1253:19 March
1244:Archived
1194:Archived
1062:Archived
1020:Archived
981:Archived
921:Archived
784:(1977).
772:(1976),
718:(1980).
651:guerilla
527:(1964),
337:as Manju
335:Sripriya
238:, while
228:Sripriya
185:Language
120:Music by
96:Sripriya
92:Starring
76:Story by
2259:Portals
2119:25 July
775:Avargal
513:Artist
438:Filming
384:Ananthu
359:Saritha
355:as Mano
343:as Arun
201:transl.
177:Country
154: (
133:company
79:Ananthu
70:Ananthu
2228:
2207:
2179:
2151:
1978:20 May
1901:News18
1844:24 May
1811:20 May
1387:20 May
1376:News18
1352:22 May
1317:22 May
1285:22 May
800:News18
788:named
732:Rediff
692:Legacy
649:was a
623:Diwali
584:'s
546:Dhakam
398:, and
302:Madras
285:News18
251:Diwali
2285:India
2169:(PDF)
1912:6 May
1247:(PDF)
1234:(PDF)
863:Notes
748:Ameer
570:Music
515:Jeeva
304:from
208:Tamil
188:Tamil
180:India
2273:Film
2252:IMDb
2226:ISBN
2205:ISBN
2177:ISBN
2149:ISBN
2121:2016
2089:2016
2053:2014
2017:2015
1980:2016
1947:2014
1914:2013
1882:2014
1846:2015
1813:2016
1780:2014
1747:2014
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