“Idhuthaan Nimmadhi Idhuthaan” – Sri Srinivasa Kalyanam (1959) – Tamil Feature Film

Dedicated to the Legendary Actress of Indian Celluloid – Mahanati Savitri (మహానటి సావిత్రి)


“Idhuthaan Nimmadhi Idhuthaan” – “இதுதான் நிம்மதி இதுதான் ” (Sri Srinivasa Kalyanam – “ஸ்ரீ ஸ்ரீனிவாச கல்யாணம் ” 1959) Voices: P Susheela/P B Srinivas -“పులపాక సుశీల – பி பி ஸ்ரீனிவாஸ் “, Composer: Pendyala Nageswara Rao (பெண்டியாலா நாகேஸ்வர ராவ் ); Raga Bhimplas (Abheri) – பீம்பிளாஸ்/ஆபேரி 

Sri Srinivasa Kalyanam (Telugu – “Sri Venkateswara Mahathmyam”) is a 1959 (Bilingual) Magnum opus Telugu mythological film produced and directed by P. Pullaiah and starring N. T. Rama Rao, Savitri, Santhakumari, S Varalakshmi, Gummadi, Chitoor Nagiah. Written by Acharya Athreya, it is based on the story of Tirumala Lord Venkateswara (Balaji). Other technicians include P L Roy (Cinematographer), S A Sriramulu (Editing) & Pendyala Nageswara Rao (Composer). Sri Venakteswara Mahathmyam celebrated a 100-day-run. Eventually N T Rama Rao acquired the Tamil dubbing rights, titled it “Sri Srinivasa Kalyanam” and became a box office success too.


Plot: Great Rishis-Sages hold yagyas under the spiritual guidance of sage Kashyapa to rid the world of the devastating effects of Kalipurusha. Sage Bhrigu (Gummadi) went to Lord Maha Vishnu (N.T. Rama Rao) to request his help. He did not notice the sage’s arrival while enjoying the blissful company of his spouse Sri Mahalakshmi (S Varalakshmi). Furiously, the sage kicked the Lord on the chest. Vishnu without being offended at all pacified the sage and made him realize how anger makes people lose their senses. Sri Mahalakshmi, however, was offended by this “disrespect” shown towards her “Lord”. In great anger, she left Vaikuntam for the earth below. In search of her, Sri Vishnu too came down to the earth. He took shelter as Lord Srinivasa in the ashram of Vakulamatha (Santha Kumari). Later, however, Srinivasa met Padmavathi (Savitri), daughter of Akashraja and married her.


Kommareddi Savitri  (6 December 1935 – 26 December 1981), was a Legendary Indian film actress, director and producer. She appeared in versatile roles in Telugu, Tamil, Kannada and Hindi language films. In 1960, she received the Rashtrapati Award for her performance in the film Chivaraku Migiledi (1960). Mahanati Savithri was born on 11th January 1937 to the parents Smt.Subhadramma and Sri Guravaiah in Chirravuru village in Guntur District. Her father died when she was six years old. Thereafter, she was brought up by his uncle (father’s brother), Shri Kommareddi Venkataramaiah Chowdary at Vijayawada. He observed the taste and talent of Savithri towards dance and arranged coaching in dance. He was the driving force for Savitri’s Career. She learned music and Indian classical dance from Sistla Purnayya Sasthri, starting from the age of 8 (1941). The first dance programme was given at Bejawada Ramamohana Grandhalayam. She performed stage shows as a child at Rajahmundry, Palakollu, Kothagudem, Machilipatnam, Kakinada, Tenali, Guntur and some other places. She acted in 318 films in Telugu, Tamil, Kannada and Hindi languages, with between ten and fifteen movies being released per year.

She gave a few public performances as a child artiste in Vijayawada. Later, she worked in a theater company run by NTR. She also started her own company, the Navabharata Natya Mandali. Her best stage role was in Atma Vanchana, written by Bucchi Babu. he was offered a role in ‘Agni Pariksha’ in 1949. However she looked too young (she was 12) in screen tests and so was dropped. Then, she was selected for the lead role in the film Samsaram by the banner ‘Sadhana Chitra’ in 1950. However, she was replaced by Pushpavalli and was given a small role, with Nageswara Rao. She performed a dance in ‘Pathala Bhairavi’ in 1951. Her first big role was as a second lead actress ‘Pelli Chesi Choodu’ by L.V.Prasad in 1952.

She later acted in memorable Telugu films like Chandra Haram (1953), Devadasu (1953), Ardhangi (1955), Missamma (1955), Donga Ramudu (1955), Amara Deepam (1956), Todikodallu (1957),Maya bazaar (1957), Abhimanam (1958), Mangalya Balam (1958), Appu Chesi Pappu Koodu (1959), Sri Venkateswara Mahatyam (1960), Chivaraku Migiledi (1960), Manchi Manasulu (1961), Aradhana (1962), Gundamma Katha (1962), Rakta Tilakam (1963), Mooga Manasulu (1963), Doctor Chakravarthy (1964), Poojaphalam (1964), Devatha (1965), Pandava Vanavasam (1965), Kanya Sulkam, Naadi Aada Janme, Prana Mitrulu (1967), Varakatnam (1968), Maro Prapancham (1970), Manase Mandiram (1966) and Jagan Mohini (1978). These movies are testimony to her versatile acting skills.

Savitri was a very popular actress in Tamil. She was paired with leading actors like Sivaji Ganesan and M.G. Ramachandran. She married Gemini Ganesan, while acting in (Manam Pola Mangalyam) (1953) with him. Savithri’s 100th film ‘Konjum Salangai’ also happened to be paired with Gemini Ganesan. She was fondly called (‘Nadigaiyar Thilagam’) in the Tamil film industry. ‘Paasa Malar’ in which she was paired opposite Gemini Ganesan and as a sister of Sivaji Ganesan and ‘Navarathiri’ brought her accolades from all over pushing her to the top slot in the Tamil Film Industry.Kalathur Kannamma (1959), Missiamma, Pasamalar (1961), Pava Manippu (1961), Paarthal Pasi Theerum (1962), Karpagam (1963), Karnan (1963), Kai Kodutha Deivam, Navarathri (1964), Thiruvalaiyadal (1965), Saraswathi Sabadham, Antharangam, Pennin Perumai, Konjum Salangai, Yaar Paiyyan, and Padithal Mattum Podhuma are some of her memorable classics in Tamil Cinema.

She has acted in a few Hindi films – Bahut Din HuwayGhar Basake DekhoBalaram Sri Krishna and Ganga Ki Lahren. Savitri acted in a few Kannada films towards the end of her career. She played a mother’s role in films like Thaayige Thakka Maga and Ravichandra. She also acted in Chandanada Gombe. Savitri directed films like Chinnari Paapalu (1968), ‘Chiranjeevi’, ‘Maathru Devatha’ and ‘Vintha Samsaram’ in Telugu. ‘Kuzhanthai Ullam’ and ‘Praptham’ in Tamil. Mahanati Savithri was the one and only marvelous actress, who was able to express the feelings of both agony and ecstasy through her eyes and this song stands testimony to that. Her voice is absolutely exquisite and gives testimony that even back then, she possessed a voice that reaches far beyond the expectations of the listener.


Another forgotten Pendyala gem, it has a perfect blend of sangeeta and sahitya in each sections such as pallavi and charanas. Simple poetic words of Poet Kuyilan feature in the sahitya with a sustained balance of raga, bhava is maintained between the music and the words throughout. Listen to P Susheela’s beautiful and distinctive tone, flawless vocal dynamics.


Lyrics: Kuyilan
இதுதான் நிம்மதி இதுதான்
மனம் சேர்வதாலே வருவதுதான்
இதுதான் நிம்மதி இதுதான்
அநுராகமே ஜீவனின் அன்பு மழை
அதனாலே எமை மறந்தேன் அபலை
இதுதான் நிம்மதி இதுதான்
காதல் மலைமுடி மீ து மேகம்தான்
மகிழ மருவிலே அணைய தேடுதே
உள்ளமும் கலந்து ஒன்றிய நிலையில்
நீராய் ஆறாய் மாறிடுதே
இதுதான் நிம்மதி இதுதான்
மனம் சேர்வதாலே உலகினிலே
இதுதான் நிம்மதி இதுதான்
இதுதான் நிம்மதி இதுதான்
விடியும் காலம் தன்திசை போக்கினிலே
ஆட்டமும் ஆடிடும் தன் கைபொம்மை நாம்
பாவைகள் போலே ஜீவியம் எங்கிலும்
மமதை தருகிற இனிமை என்றால்
இதுதான் நிம்மதி இதுதான்
இதழில் ஊரும் தேன் ஏங்கிட தந்தே
மகிழ்கின்றன என் செம்மலர் பாவே
வண்டுகள் விரிந்தே தன்னலம்  இழந்தே
கண்டு அன்புடன் கலக்கல் இன்பமோ
ப்ரேமைக்கு சோகமே பயனாமோ
காதலும் தியாகமும் இணைதானோ
இதுதான் நிம்மதி இதுதான்
மனம் சேர்வதாலே வருவதுதான்
இதுதான் நிம்மதி இதுதான்
___________________________________________________________________________________________________
காதல் மலைமுடி மீ து மேகம்தான்
மகிழ மருவிலே அணைய தேடுதே

Set to tune in Raga Bhimplas/Abheri – in first charana, the phrase “kadhal malaimudi meedhu megamthaan magizha maruvile anaya thedudhe -காதல் மலைமுடி மீது மேகம்தான் மகிழ மருவிலே அணைய தேடுதே”- notice Susheela’s agility, speed, convincing expressions – her rock-solid techniques again at full display, the hallmarks of P Susheela’s voice.

விடியும் காலம் தன்திசை போக்கினிலே
ஆட்டமும் ஆடிடும் தன் கைபொம்மை நாம்
பாவைகள் போலே ஜீவியம் எங்கிலும்
மமதை தருகிற இனிமை என்றால்
இதுதான் நிம்மதி இதுதான்

In the second charana, capturing the synthesis of the duet – P B Srinvas & Susheela’s sounds great together with their tantalizing voices traversing in unison without truncating each other – one of many fine performances from the duo.

இதழில் ஊரும் தேன் ஏங்கிட தந்தே
மகிழ்கின்றன என் செம்மலர் பாவே
வண்டுகள் விரிந்தே தன்னலம்  இழந்தே
கண்டு அன்புடன் கலக்கல் இன்பமோ
ப்ரேமைக்கு சோகமே பயனாமோ
காதலும் தியாகமும் இணைதானோ

The third charana and the phrase “idhazhil oorum then engida thandhe magizhginrana en semmalar paave-இதழில் ஊரும் தேன் ஏங்கிட தந்தே மகிழ்கின்றன என் செம்மலர் பாவே”, is pure bliss – Susheela’s remarkable ability to color her voice from word to word that I come back to hear over and over. Her beautiful pianissimos, singing with musicianship and free of ego – interpretation is always only her adherence to score and composer. Throughout, Susheela was in control of her trill – rare vocal asset toda.- and great singing by a great vocalist with great performance by Mahanati – inextinguishable pair. Saregama’s aquisition of some of their finest recordings has created a real P Susheela-Mahanati renaissance.


As I close this writing on this wintry night, I couldn’t forget but faintly recall Beverly Sill’s – Je veux vivre, O luce di quest’anima, Oh! quante volte, Santa di Patria……in the background. Sills also had a great voice…….


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