Sathi Leelavathi (1936 film)

This article is about the 1936 film. For the 1995 film, see Sathi Leelavathi (1995 film).

Sathi Leelavathi
Landscape B&W poster with the title in English Theatrical poster
Directed by	Ellis R. Dungan
Screenplay by	Madras Kandaswamy Mudaliar
Produced by	A. N. Marudachalam Chettiar
Starring	M. K. Radha M. R. Gnanambal
Edited by	Sircar
Production company	Manorama Films
Release date	28 March 1936 (1936-03-28)
Country	India
Language	Tamil

Sathi Leelavathi (lit. 'Leelavathi, the chaste wife') is a 1936 Indian Tamil-language drama film directed by Ellis R. Dungan, written by Madras Kandaswamy Mudaliar, and produced by A. N. Marudachalam Chettiar. It is based on S. S. Vasan's novel of the same name, which was serialised in the magazine Ananda Vikatan. The film features an ensemble cast including Mudaliar's son M. K. Radha, T. S. Balaiah, M. G. Ramachandran, M. V. Mani, M. K. Mani, P. Nammalvar, T. N. Lakshmana Rao, M. R. Gnanambal and N. S. Krishnan. In Sathi Leelavathi, a Madras-based wealthy man (Radha) is lured into drinking and other vices by his friend (Balaiah), and brings misery to himself and his family. After thinking he murdered his other friend (Nammalvar) in a drunken state, the man flees to Ceylon to live as a nameless labourer, while his wife (Gnanambal) and daughter (M. K. Mani) are reduced to poverty.

Chettiar initially wanted to produce the Madurai Original Boy's Company (MOBC) theatre troupe's play Pathi Bhakthi as a film, but MOBC already decided to do so without his involvement. Chettiar later approached Mudaliar, who wrote the MOBC play. Mudaliar told him about Vasan's serial novel Sathi Leelavathi, which had the same storyline, and both men approached Vasan, who gave them the film rights to the novel. Subsequently, Mudaliar began writing the screenplay for the film adaptation, also titled Sathi Leelavathi. It was the first film for Dungan as director, and the cinematic debut of Radha, Balaiah and Ramachandran as actors; all were already theatre actors associated with MOBC. Shooting took place primarily in Madras at Vel Pictures Studio.

Sathi Leelavathi was one of the earliest in Tamil to become the subject of a court case involving copyright violations; MOBC accused the makers of plagiarising Pathi Bhakthi, the film based on their play. The case was resolved when Vasan revealed in court that both Pathi Bhakthi and Sathi Leelavathi were plagiarised from Ellen Wood's 1860 novel Danesbury House. Subsequently, Sathi Leelavathi was released on 28 March 1936. The became a commercial success, and resulted in Dungan receiving more directorial offers. Several features he introduced to Tamil cinema in this film also became a staple for future Tamil films. No complete print of the film is known to survive, making it a partially lost film, but its remaining scenes are preserved at the West Virginia State Archives.

Plot

Krishnamurthy is a wealthy man living with his wife Leelavathi and daughter Lakshmi in Madras. He is lured into drinking, gambling and other vices by his friend Ramanathan at a mock tea party arranged for this purpose; Ramanathan's collaborator is Rangaiah Naidu, a corrupt police inspector. Krishnamurthy is lured by the wiles of Mohanangi, a woman with loose morals. Infatuated by her, he promises to pay her ₹50,000 (about US$18726.6 in 1936).

Parasuraman, a good friend of Krishnamurthy, tries to reform him but his efforts yield no results. A Marwari moneylender, who had lent a huge sum to Krishnamurthy to meet his lavish lifestyle, issues a warrant for the recovery of his money and Krishnamurthy sinks into a deeper mess. In his drunken state, he finds fault with his wife and even accuses her of having an illicit relationship with Parasuraman. When Parasuraman visits Krishnamurthy to warn him about the warrant, Leelavathi advises him to leave as Krishnamurthy is not at home. Absent-mindedly, Parasuram leaves his umbrella behind. Krishnamurthy comes home drunk, and notices Parasuraman's umbrella. He beats Leelavathi and rushes out with a revolver to shoot Parasuraman. Meanwhile, Ramanathan sends his servant in the guise of Parasuraman to steal the jewels of the Ekambareswarar Temple.

Krishnamurthy comes pursuing Parasuraman; a shot is heard and a man lies dead. This sudden and unexpected calamity brings the drunken Krishnamurthy to his senses. Krishnamurthy thinks he has murdered Parasuraman, decides to escape and leaves Leelavathi and Lakshmi in the custody of his faithful servant Govindan. He goes to Ceylon where he leads a wretched life as a nameless labourer in a tea estate. Ramanathan takes this opportunity to try to molest Leelavathi, who rejects his advances. Penniless, she goes with Govindan and Lakshmi and leads a poor but honourable life spinning the charka. Betwixt his labours, Krishnamurthy finds a treasure trove and gives it to his master; he is pleased and adopts him as his own son.

Years later, Krishnamurthy returns to Madras to be with his family, but is arrested for Parasuraman's alleged murder. Detective Sreenivasan's investigation reveals the malicious wiles of Ramanathan and Rangaiah; he supports this with evidence by producing the real Parasuraman in court as an old man, who discloses his true self, thus proving Krishnamurthy's innocence. Krishnamurthy, acquitted by the court, reunites with his family. Ramanathan is sentenced to death while Rangaiah is convicted with seven years' rigorous imprisonment. Lakshmi and Chandrakanthan (Parasuraman's son) later marry.

Cast

M. G. Ramachandran as Rangaiah Naidu

Male cast

• M. K. Radha as Krishnamurthy
• T. S. Balaiah as Ramanathan
• M. G. Ramachandran as Rangaiah Naidu
• M. V. Mani as Sreenivasan
• M. K. Mani as Lakshmi
• P. Nammalvar as Parasuraman
• T. N. Lakshmana Rao as Govindan
• P. N. Ramakrishnan as the devotee

Female cast

• M. R. Gnanambal as Leelavathi
• Dhanalakshmi as Bama
• Santhakumari as Mohanangi
• M. Chanthraboi as Shanbagavalli

Comedians

• M. S. Murugesan as the Marwari
• N. S. Krishnan as Balu
• S. Sundaram as Sesha Iyengar

Production

Development

Pathi Bhakthi was a Tamil play written by Te. Po. Krishnaswamy Pavalar in the 1930s. The play dealt with the evils of drinking and the impact drinking had on family life, and was staged all over the Madras Presidency with great success. The original play by Pavalar was re-written for the theatre troupe Madurai Original Boy's Company (MOBC) by another playwright, Madras Kandaswamy Mudaliar, and was staged more than 150 times. A. N. Marudachalam Chettiar of Manorama Films was anxious to produce Pathi Bhakthi as a film, but to his dismay, the proprietors of MOBC had already decided to produce the play as a film with P. Y. Altekar as director. Mudaliar's son M. K. Radha thought he would play the lead in this film, but both father and son were dismayed when they learnt that MOBC had finalised K. P. Kesavan.

Still determined to adapt the play for the screen, Chettiar approached Mudaliar. To please him, Mudaliar revealed that there was a novel called Sathi Leelavathi that was being serialised in the weekly magazine Ananda Vikatan, and had the same storyline as Pathi Bhakthi. The novel began serialisation in 1934. Both men approached the novel's author S. S. Vasan, and he gave them the film rights to the novel. Shortly thereafter, Mudaliar began developing the screenplay of the novel's namesake film adaptation. Vasan was credited in the opening titles for the original story, and Sathi Leelavathi marked his first tryst with films. Chettiar wanted Manik Lal Tandon to direct the film. Tandon did not accept the offer, but introduced Chettiar to his American friend Ellis R. Dungan and recommended Dungan be given the chance instead. Chettiar was reluctant since Dungan was new to India and did not know Tamil or much about Indian culture, but the fact that Dungan worked in Hollywood convinced Chettiar. The film thus marked Dungan's directorial debut. Sathi Leelavathi was later listed in the Limca Book of Records as the first Indian film to be "directed by a foreigner". Due to Dungan not knowing Tamil, Chettiar hired C. K. Sathasivan, an associate director, to help him. S. Panju, who later gained fame as one half of the Krishnan–Panju directorial duo, worked as an assistant director.

Casting

Radha, already an established theatre actor, was chosen to play the male lead Krishnamurthy, thus making his cinematic acting debut. Three other theatre actors who also made their cinematic acting debut with this film were N. S. Krishnan, T. S. Balaiah and M. G. Ramachandran. All of them were already associated with MOBC. Balaiah played Ramanathan, the antagonist. Ramachandran appeared in Pathi Bhakthi as the antagonist's sidekick, but was not offered by MOBC's owner Sachidanandam Pillai to reprise the role in its namesake film adaptation, much to his dismay. He later approached Mudaliar to seek a better role for Sathi Leelavathi, since he felt his role in Pathi Bhakthi had "no room to shine". Mudaliar spoke about the possibility of Ramachandran playing the detective. Ramachandran believed that if he played this role onscreen, he would leave an impression, but was ultimately cast as the inspector Rangaiah Naidu, a role he was averse to. He was paid an advance of ₹100 (about US$37.5 in 1936) for acting in this film, and his total fee was ₹300 (about US$112.4 in 1936). Ramachandran considered this a form of compensation since it was the first time he had seen a 100-rupee note. Chettiar gave the role of the detective, Sreenivasan, to M. V. Mani without Mudaliar's knowledge. Despite Ramachandran's aversion to playing Rangaiah, his mother Sathyabama was actually happy that he got a "respectable" role, and advised him to perform it responsibly; he relented.

The casting of Krishnamurthy's wife Leelavathi was troubled; no actress was willing to play the character since the script required that she be physically abused and ill-treated by her inebriated husband. In sheer despair, the exhausted producer requested Mudaliar and Radha to cast M. R. Gnanambal, Radha's wife, in the role, and both assented with no other option. Gnanambal herself was initially reluctant to accept the role. The role of Leelavathi's daughter Lakshmi was played by M. K. Mani, a boy. P. Nammalvar was cast as Krishnamurthy's friend Parasuraman, T. N. Lakshmana Rao as the family servant Govindan and P. N. Ramakrishnan as a devotee of the Hindu god Shiva. Dhanalakshmi played Bama, Santhakumari played Mohanangi, a loose woman who Krishnamurthy is infatuated by, and M. Chanthraboi played Shanbagavalli. Though Sathi Leelavathi was the first film signed by Krishnan, who played the comic character Balu, Menaka (1935) which he signed later, became his first release, and Sathi Leelavathi became his second. Krishnan appeared in the comedy subplot, and wrote the screenplay for his own scenes. He beefed up his appearance in preparation for the role. M. S. Murugesan played another comic role, that of a Marwari moneylender, while S. Sundaram appeared as Sesha Iyengar. Ramachandran's brother M. G. Chakrapani, also an MOBC artist, too approached Mudaliar seeking a role, but never got one. Still, he used to witness the shooting and absorb "the new art form that was cinema".

Filming

Although Manorama Films was located at Coimbatore, Sathi Leelavathi was shot primarily at Vel Pictures Studio, then located at Eldams Road, Madras. In a 1994 interview with Ananda Vikatan, Dungan mentioned that, during the first few days of shooting, Ramachandran did not understand the nuances of film acting and was delivering the dialogues as if he was doing so in a play; when he was delivering the dialogues aggressively even his acting appeared to be overacting. Dungan claimed that he corrected and advised him to deliver dialogues naturally with natural acting, and Ramachandran changed his way of acting after that. He wrote in his 2001 autobiography A Guide to Adventure that, since the majority of cast members were theatre actors, he was tasked with "subduing [their] voices and facial expressions". Dungan claimed that, when facing the camera, the actors would frequently freeze and not speak because it "frightened" them. In the role of Rangaiah, Ramachandran needed to ride a bike along with a policeman, but Dungan was in disbelief when he realised that Ramachandran did not know how to even ride a bicycle. Eventually, Ramachandran sat on the bike with two people balancing it, and as the camera rolled, was given a push.

While film historian Film News Anandan wrote in his book Saadhanaigal Padaitha Thamizh Thiraipada Varalaru that shooting also took place at Ceylon, another historian, Randor Guy, wrote in the fortnightly Madras Musings that a vast stretch of land behind Vel Pictures Studio stood in for the Ceylon tea plantation seen onscreen. Through this film, Dungan introduced many features to Tamil cinema such as the lack of theatre being an influence on screen, and the concept of "the cabaret dance", also known as the "club dance". J. Susheela Devi played the cabaret dancer. Since 1930s Madras did not have the facility of pre-recording songs, performers had to sing on set. The accompanying musicians sat on a trolley outside camera range and played the background musical score. This condition often restricted camera movement. During one sequence while Radha's character sang in an outdoor location, a tea plantation, the orchestra players sat under a nearby tree playing on the harmonium, tabla and the rest. Sircar and Dungan worked as the editors, and Ramamurthi, the manager of Vel Pictures Studio, used to clean all the exposed negatives by hand. The completed film was 18,000 feet (5,500 m) in length.

Themes

Sathi Leelavathi revolves around the themes of temperance, social reform, the Gandhian concept of selfless service, the tragedy of labour on Ceylon's tea estates, and the plight of labourers in general. It also highlights the evils of alcoholism. Ramachandran considered that the film had a theme "after [his] own heart". The film depicts chastity as the noblest ideal of Indian women.

Music

G. Sundhara Bhagavathar (also known as Sundhara Vadhiyar) worked as Sathi Leelavathi's lyricist. The tune of the song "Theyila Thottathle" (also spelt "Theyilai Thottatile") is based on Subramania Bharati's poem "Karumbu Thottathile", with modified lyrics. While the original poem dealt with the plight of bonded Indian labourers in Fiji, the new song dealt with the problems of tea plantation workers in Ceylon. The song, which was composed in the carnatic raga known as Chenchurutti, became popular and was frequently performed by Carnatic musicians in concerts. It was re-used in the Malayalam film Balan (1938) as "Jaathaka Doshathale". The other songs featured in the film were "Manidha Nee Seivinai", "Thaayadhu Vayatrile Maayamai", "Hello Yennudaiya Dear", "Adhigha Sinamaen", "Thallaadi Naanae", "Ini Yenna Seighuvaen Dhaeviyae", "Sadhikaaramaaranovubaanam", "Kaami Satthiyamaa Kannatthaik", "Pudhunilaamughap Poomaan Punniya", "Kallae Kadavuladaa Thambi", "Vaazhvinilae Maghaa Thaazvadaindhaenaiyo", "Undheepara Adhi Unnadha Thakkaliyae", "Raattinamae Kadhar Poottinamae Kai" and "Maadhae Un Meedhu Naanae Mighu".

Release

Theatrical release

Sathi Leelavathi was released on 28 March 1936. Although the film was launched in 1935, its release was severely delayed because of a lawsuit regarding plagiarism allegations. It was one of the earliest Tamil films to become the subject of such a case. The makers of the Pathi Bhakthi film adaptation sued Chettiar and Mudaliar for plagiarising their story. Many similarities were noted between the two films, such as their lead female characters having the same name, Leelavathi. The case was resolved when S. S. Vasan revealed in court that both Pathi Bhakthi and Sathi Leelavathi had been plagiarised from Ellen Wood's 1860 novel Danesbury House, and therefore neither of the parties could claim originality. Upon release, Sathi Leelavathi emerged a major commercial success; according to film historian Aranthai Narayanan, this was attributed to the performances of Radha, Balaiah, Krishnan, along with publicity adapted by Vasan and the support of Independence-era politicians for anti-alcohol movement.

Critical reception

The art magazine Aadal Paadal in its January 1937 issue appreciated the film for its social setting and praised it for its acting. Politician C. Rajagopalachari, who was a critic of cinema in general and did not think much about films, watched Sathi Leelavathi and praised it for its Gandhian ideals and pro-prohibition stance. A day's collections were given to him for public causes. However, he sarcastically commented that "the main artiste in a charka-spinning sequence did not know how to handle it". Playwright and retired sub-judge Pammal Sambandha Mudaliar praised Radha for having acted a "difficult part very creditably", and added that the music was given its proper place.

The Hindu, in a review dated 14 February 1936, lauded Radha for acting with "naturalness and ease", Balaiah's villainous performance and Gnanambal's portrayal of the "difficult role" of Leelavathi. The reviewer also lauded the sound recording, photography and direction. On the same day, The Illustrated Weekly of India called the film more "interesting, natural and convincing" than the source novel, also praising the general handling of the plot in sequence and continuity, and the climax. The magazine Cine Art Review appreciated the settings and the recording, the cross-gender acting of M. K. Mani as Lakshmi and the opening sequence where Lakshmi hums a tune while going down the stairs.

Several new techniques introduced by Dungan were not understood by the audience and went unappreciated. Writing in the Silver Screen magazine on 1 August 1936, Pe. Ko. Sundararajan (journalist and writer of Manikodi movement) complained:

"The new methods of depicting emotions are not understood by our people. In Sathi Leelavathi Dungan showed the dancing girl as viewed by the inebriated hero. (In another scene), he showed the hero's fright by his twitching fingers and feet. These techniques not only helped the actors but showcased his (Dungan) talent as well. But as a lot of people know, our audience shouted that the lighting was not clear in the first case and the film was stuck in the second case. This shows the ignorance of our audience."

Legacy

Sathi Leelavathi attained cult status in Tamil cinema, and established Dungan as a director of competence, while also leading to him receiving more directorial offers. It also became the first Tamil film to be a success in overseas markets. Many features introduced by Dungan with this film would later become a staple for future Tamil films such as the lack of theatre being an influence on screen, and cabaret dances. Despite Vasan's initial aversion to participating in films, film historian Swarnavel Eswaran Pillai noted that Sathi Leelavathi's success encouraged him to enter the film industry as a distributor. Ramachandran avoided playing roles similar to Rangaiah Naidu in his later films, instead preferring to play a "good Samaritan", an image he developed through films like Marmayogi (1951), Malaikkallan (1954), Nadodi Mannan (1958) and Enga Veettu Pillai (1965). Randor Guy wrote that the film "rightly earned its place in the history of Tamil Cinema". Despite that, no complete print of Sathi Leelavathi is known to survive, making it a partially lost film. The film's remaining scenes are preserved at the West Virginia State Archives. Footage of the film's making was later included in An American in Madras, a documentary directed by Karan Bali that was based on Dungan.

Bibliography

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• Dungan, Ellis R.; Smik, Barbara (2001). A Guide to Adventure: An Autobiography. Pittsburgh: Dorrance Publishing Company. OCLC 50318101. {{cite book}}: Invalid |ref=harv (help)
• Guy, Randor (1997). Starlight, Starbright: The Early Tamil Cinema. Chennai: Amra Publishers. OCLC 52794531. {{cite book}}: Invalid |ref=harv (help)
• Guy, Randor (2016). Gopal, T. S. (ed.). Memories of Madras: Its Movies, Musicians & Men of Letters. Chennai: Creative Workshop. ISBN 978-81-928961-7-5. {{cite book}}: Invalid |ref=harv (help)
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• Kannan, R. (2010). Anna: The Life and Times of C.N. Annadurai. New Delhi: Penguin Books. ISBN 978-0-670-08328-2. {{cite book}}: Invalid |ref=harv (help)
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• Muthiah, S. (2004) [1981]. Madras Rediscovered: A Historical Guide to Looking Around (5th ed.). Chennai: East West Books. ISBN 81-88661-24-4. {{cite book}}: Invalid |ref=harv (help)
• Pillai, Swarnavel Eswaran (2015). Madras Studios: Narrative, Genre, and Ideology in Tamil Cinema. New Delhi: SAGE Publications. ISBN 978-93-5150-212-8. {{cite book}}: Invalid |ref=harv (help)
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External links

• Sathi Leelavathi at IMDb