#ScreenplayKing of the Tamilcinema his Cinema the Screenplay speaks the Beautiful Story Telling and Attracting of Audience through his Screenplay Vera Level 👍👍👍👍👍👍👍👍👍👍👍👍👍👍👍👍👍👍👍👍👍
The Man who empowered feminism in ever scene of his film also who un masked the Sociel Animal. He gets best out of Music Directors . When comes to Tamil films KB Sir is King.
K. Bhagyaraj; The reigning king in the world of Madras film Hollywood Bhagyaraj is the reigning king of Kodambakkam, the Madras film Hollywood. Writing, acting, directing, editing; no wonder Bhagyaraj is called a one-man film industry. The onscreen romance is called Munthane Mudichu. For those who don't think much of either drumsticks or village comedies or frigid schoolteachers, here are some statistics: made by AVM at a cost of Rs 30 lakh, it is expected to net Rs 4 crore, a new southern box-office record. It is the first film to run for 25 weeks in four Madras theatres and 10 other centres all over the south; the first Tamil film to celebrate its silver jubilee in Trivandrum. Its Hindi remake rights were sold for Rs 5 lakh, the highest ever paid for a remake. In short, Munthane Mudichuis a boisterous, rollicking hit. Superstar Status: There is only one property hotter than Munthane Mudichu and that is its hero, writer and director, the embarrassed husband struggling in the clutches of his eager wife. K. Bhagyaraj, eyes peering quizzically through spectacles, short and dark, is an unlikely hero and an unlikelier candidate for the golden touch. No appearance could be more misleading: at 31, a decade after he ran away from home to plough his own furrow in the brawling world of Madras films, and nine films in the can later, Bhagyaraj is the reigning king of Kodambakkam, the Madras film Hollywood. At a time when the video threat is looming larger than ever, when not even Amitabh Bachchan or Kamalahasan can guarantee box-office success, Bhagyaraj draws offers such as the Rs 30 lakh made by one of the biggest producers in the south; the highest before that was the Rs 15 lakh reportedly paid to N.T. Rama Rao for his Bobili Puli. At a time when a Rajnikant or a Kamalahasan film is taken by distributors for Rs 40 lakh, Bhagyaraj has sold his forthcoming Dhavani Kanavukal, his first as producer, for an incredible Rs 1.36 crore before he has even finalised the script or chosen the cast. Bhagyaraj does not command the overpowering presence of a Sivaji Ganesan or the thrilling bombast of a Rajnikant. At 5 ft 5 inches, he has to look up to some of his leading ladies. He is neither handsome nor strikingly ugly. He is, in fact, just like the millions of men who flock to the theatres - a typical south Indian, with typical south Indian chatter, his finger constantly squeezing the funny-bone of his audience. Rival Kamalahasan says: "Of all the actors working now, Bhagyaraj is the one who has the most instant rapport with the audience." Dasari Narayana Rao, one of the most successful directors in the south, adds: "A lot of people try to tell the truth and make it funny but no one else is so accurate and compassionate as Bhagyaraj. All fall before his humour." Professional Attitude: In tandem with the creator works an artist with an uncanny knack of knowing exactly what the audience wants, a relentless professional who works out every shot and practical joke of the film looking to the minutiae of entertainment with an eye that never seems to falter. Says AVM's Saravanan, the producer of Munthane Mudichu: "He took two months to write the script. He had everything planned out to the last-minute costume change." After the film was completed, reminisces Saravanan, Bhagyaraj locked himself with his editor and "with a staple gun and a pair of scissors he stitched all this material together". Writing, acting, directing, editing; no wonder Bhagyaraj is called a one-man film industry. Producer K. Balaji, who has been asking him for months to make a film for him, says: "Bhagyaraj is a gold-mine. He not only writes his own script but directs and acts in them making it very easy for the producers." However, the superstar knows how to pace himself. He does only one film at a time, and has only two releases a year. Producers currently waiting to sign him up have been told that the earliest free dates are in 1990. Bhagyaraj himself says he always pays special attention to the story and the treatment. Unless the script is not ready, he will not start shooting. The dialogues are always written on the sets and unfailingly flow with irresistible colloquial flavour. Bhagyaraj's mentor Bharatiraja observes: "His power of observation and his ability to recount what he sees with satirical wit have made him a box-office wizard." Bhagyaraj admits: "I learned the craft from Bharatiraja. It was he who taught me that great scripts don't drop out of the sky; you have to invent them." Bharatiraja and Bhagyaraj: the combination is famous as the one that took the south Indian film industry by the scruff of its neck and forced it to look at new ideas and new people. As director-cameraman Balu Mahendra puts it: "What Steven Spielberg and George Lucas did to Hollywood in the late '70s Bharatiraja and Bhagyaraj did to the Kodambakkam film industry during the same period - they changed movie making in the south." Many feel that the pair broke the myth that only goodlookers could become stars; they also taught the importance of a good script. In addition, they gave breaks to half-a-dozen new faces who later made it big - Bhagyaraj has acted with fresh heroines in each of his nine films. Bhagyaraj came to know Bharatiraja when he was wandering around Madras trying to get into films. The bug had gripped him much earlier: at home in Coimbatore he organised MGR fan clubs - "At the family table, while eating lunch or dinner, I used to say dialogues from MGR films" - and dreamed of Madras. His father was a small-time automotive parts dealer and his mother a conservative housewife who hated film talk. Successful Sequence: With two virtually unknown actors called Kamalahasan and Sridevi, Bharatiraja made 16 Vayathile later remade in Hindi as Solva Sawan. It was Bhagyaraj's first screenplay. He wrote the script for three more films by Bharatiraja, including the very successful Sigappu Rojakkal - Red Rose in the Hindi version - where he played his first role, a waiter who is strangled by a maniacal Kamalahasan. Says Bhagyaraj: "Since I was the assistant director I would always be there on the sets. So not to have any continuity problem I acted in small roles in Bharatiraja films." A few months later, the ordinary-looking college drop-out from Coimbatore was the hero in Puthiya Vaarpugal, with a new heroine called Rati Agnihotri. As Bharatiraja tells it: "I was looking for a new hero since Kamalahasan was too busy. Till the day before the shooting schedule, I did not find the right face. Next day I made my assistant Bhagyaraj the hero. The rest is history." Bhagyaraj directed his first film Chuvarillatha Chitrangal, a moderate hit. But it was his Mouna Geethangal - remade in Hindi as Ek Hi Bhool - that established his superstar status. From then on, every movie he made was a bigger hit than the last. Antha Ezhu Nalugal, for instance, was a super success and, inevitably, the Bombay industry copied it as Woh Saat Din. Munthane Mudichu is his ninth directorial venture in six years. This May, Bhagyaraj will direct his first Hindi film Masterji, a remake of Munthane Mudichu which will have Amitabh Bachchan in the title role. As Bhagyaraj says: "I look for characters, not stars, to fit into my script. And there is nothing more exciting than finding a new face who is exactly right for an important role." Expert Advice: The one great influence on Bhagyaraj's life and career has been MGR. In every Bhagyaraj film there is at least one reference or a picture of the chief minister. In Munthane Mudichu one scene picturised MGR's midday meal scheme. MGR is shown a preview of all his movies. Says Bhagyaraj: "MGR knows the psychology of the masses. I try to make use of certain techniques of his that have made him popular with the masses. It was MGR who insisted that I have fight scenes in my film. He said that the masses would understand only if the good guy bashes the bad guy in the last reel." In Darling, Darling, Darling MGR wanted a climax fight, which Bhagyaraj politely refused to incorporate; the result was that the film didn't do as well as the others. Now every Bhagyaraj film carries a stick fight, an inspiration from the early MGR films. And Bhagyaraj keeps physically fit, just like the legendary hero. But he does not intend to join MGR's party and in fact has no political ambitions. However, as a Tamil paper wrote in a significant comment: "Bhagyaraj has become MGR's propaganda machinery."
"" சிகப்பு ரோஜாக்கள் "" திரைப்படத்தில் இடம்பெற்ற ஒரு பாடலில் ( இந்த மின்மினிக்கு கண்ணில் ஒரு மின்னல் வந்தது ) , கமல்ஹாசன் ஶ்ரீதேவி ஒரு ரெஸ்ட்டாரன்டில் உணவருந்துவது போல் காட்சிப்படுத்தி இருப்பார்கள். அப்பொழுது ஹோட்டல் சிப்பந்தியாக ஒருவர் வந்து போவார். திரைப்படத்தில் வேறோரு இடத்தில் அந்த கதாபாத்திரம் மீண்டும் ஒருமுறை விசாரணையில் அடையாளம் காட்டுவதற்காக கமல்ஹாசன் அவர்களுடைய அலுவலகத்துக்கு அழைத்து வரப்படுவார். One of the best ever screenplay play moment in the Tami cinema. திரைக்கதை சிதையாமல் பாடல் காட்சிகளை திரைப்படத்தில் அமைப்பது என்பது மிகவும் சவாலான ஒன்று. அந்த காட்சியில் ஹோட்டல் ஊழியராக நடித்திருப்பவர் கே.பாக்யராஜ் அவர்கள் தான்.
கதைகளில் இவருக்குள்ள ஆழ்ந்த ஈடுபாடு,அர்ப்பணிப்பு,கதை அலசல், தூக்கத்திலேயும் அதைப்பற்றிய சிந்தனை .....இதுவே இவரின் வெற்றிக்கு காரணம்.
He is the best screenplay director cinema had ever seen.
#ScreenplayKing of the Tamilcinema his Cinema the Screenplay speaks the Beautiful Story Telling and Attracting of Audience through his Screenplay Vera Level 👍👍👍👍👍👍👍👍👍👍👍👍👍👍👍👍👍👍👍👍👍
Bakyaraj Sir us legend of tamil cinema
The Man who empowered feminism in ever scene of his film also who un masked the Sociel Animal. He gets best out of Music Directors . When comes to Tamil films KB Sir is King.
K. Bhagyaraj; The reigning king in the world of Madras film Hollywood
Bhagyaraj is the reigning king of Kodambakkam, the Madras film Hollywood. Writing, acting, directing, editing; no wonder Bhagyaraj is called a one-man film industry.
The onscreen romance is called Munthane Mudichu. For those who don't think much of either drumsticks or village comedies or frigid schoolteachers, here are some statistics: made by AVM at a cost of Rs 30 lakh, it is expected to net Rs 4 crore, a new southern box-office record.
It is the first film to run for 25 weeks in four Madras theatres and 10 other centres all over the south; the first Tamil film to celebrate its silver jubilee in Trivandrum. Its Hindi remake rights were sold for Rs 5 lakh, the highest ever paid for a remake. In short, Munthane Mudichuis a boisterous, rollicking hit.
Superstar Status: There is only one property hotter than Munthane Mudichu and that is its hero, writer and director, the embarrassed husband struggling in the clutches of his eager wife. K. Bhagyaraj, eyes peering quizzically through spectacles, short and dark, is an unlikely hero and an unlikelier candidate for the golden touch.
No appearance could be more misleading: at 31, a decade after he ran away from home to plough his own furrow in the brawling world of Madras films, and nine films in the can later, Bhagyaraj is the reigning king of Kodambakkam, the Madras film Hollywood.
At a time when the video threat is looming larger than ever, when not even Amitabh Bachchan or Kamalahasan can guarantee box-office success, Bhagyaraj draws offers such as the Rs 30 lakh made by one of the biggest producers in the south; the highest before that was the Rs 15 lakh reportedly paid to N.T. Rama Rao for his Bobili Puli.
At a time when a Rajnikant or a Kamalahasan film is taken by distributors for Rs 40 lakh, Bhagyaraj has sold his forthcoming Dhavani Kanavukal, his first as producer, for an incredible Rs 1.36 crore before he has even finalised the script or chosen the cast.
Bhagyaraj does not command the overpowering presence of a Sivaji Ganesan or the thrilling bombast of a Rajnikant. At 5 ft 5 inches, he has to look up to some of his leading ladies. He is neither handsome nor strikingly ugly. He is, in fact, just like the millions of men who flock to the theatres - a typical south Indian, with typical south Indian chatter, his finger constantly squeezing the funny-bone of his audience.
Rival Kamalahasan says: "Of all the actors working now, Bhagyaraj is the one who has the most instant rapport with the audience." Dasari Narayana Rao, one of the most successful directors in the south, adds: "A lot of people try to tell the truth and make it funny but no one else is so accurate and compassionate as Bhagyaraj. All fall before his humour."
Professional Attitude: In tandem with the creator works an artist with an uncanny knack of knowing exactly what the audience wants, a relentless professional who works out every shot and practical joke of the film looking to the minutiae of entertainment with an eye that never seems to falter.
Says AVM's Saravanan, the producer of Munthane Mudichu: "He took two months to write the script. He had everything planned out to the last-minute costume change." After the film was completed, reminisces Saravanan, Bhagyaraj locked himself with his editor and "with a staple gun and a pair of scissors he stitched all this material together".
Writing, acting, directing, editing; no wonder Bhagyaraj is called a one-man film industry. Producer K. Balaji, who has been asking him for months to make a film for him, says: "Bhagyaraj is a gold-mine. He not only writes his own script but directs and acts in them making it very easy for the producers."
However, the superstar knows how to pace himself. He does only one film at a time, and has only two releases a year. Producers currently waiting to sign him up have been told that the earliest free dates are in 1990.
Bhagyaraj himself says he always pays special attention to the story and the treatment.
Unless the script is not ready, he will not start shooting. The dialogues are always written on the sets and unfailingly flow with irresistible colloquial flavour. Bhagyaraj's mentor Bharatiraja observes: "His power of observation and his ability to recount what he sees with satirical wit have made him a box-office wizard."
Bhagyaraj admits: "I learned the craft from Bharatiraja. It was he who taught me that great scripts don't drop out of the sky; you have to invent them."
Bharatiraja and Bhagyaraj: the combination is famous as the one that took the south Indian film industry by the scruff of its neck and forced it to look at new ideas and new people. As director-cameraman Balu Mahendra puts it: "What Steven Spielberg and George Lucas did to Hollywood in the late '70s Bharatiraja and Bhagyaraj did to the Kodambakkam film industry during the same period - they changed movie making in the south."
Many feel that the pair broke the myth that only goodlookers could become stars; they also taught the importance of a good script. In addition, they gave breaks to half-a-dozen new faces who later made it big - Bhagyaraj has acted with fresh heroines in each of his nine films.
Bhagyaraj came to know Bharatiraja when he was wandering around Madras trying to get into films. The bug had gripped him much earlier: at home in Coimbatore he organised MGR fan clubs - "At the family table, while eating lunch or dinner, I used to say dialogues from MGR films" - and dreamed of Madras. His father was a small-time automotive parts dealer and his mother a conservative housewife who hated film talk.
Successful Sequence: With two virtually unknown actors called Kamalahasan and Sridevi, Bharatiraja made 16 Vayathile later remade in Hindi as Solva Sawan. It was Bhagyaraj's first screenplay. He wrote the script for three more films by Bharatiraja, including the very successful Sigappu Rojakkal - Red Rose in the Hindi version - where he played his first role, a waiter who is strangled by a maniacal Kamalahasan.
Says Bhagyaraj: "Since I was the assistant director I would always be there on the sets. So not to have any continuity problem I acted in small roles in Bharatiraja films."
A few months later, the ordinary-looking college drop-out from Coimbatore was the hero in Puthiya Vaarpugal, with a new heroine called Rati Agnihotri. As Bharatiraja tells it: "I was looking for a new hero since Kamalahasan was too busy. Till the day before the shooting schedule, I did not find the right face. Next day I made my assistant Bhagyaraj the hero. The rest is history."
Bhagyaraj directed his first film Chuvarillatha Chitrangal, a moderate hit. But it was his Mouna Geethangal - remade in Hindi as Ek Hi Bhool - that established his superstar status.
From then on, every movie he made was a bigger hit than the last. Antha Ezhu Nalugal, for instance, was a super success and, inevitably, the Bombay industry copied it as Woh Saat Din. Munthane Mudichu is his ninth directorial venture in six years. This May, Bhagyaraj will direct his first Hindi film Masterji, a remake of Munthane Mudichu which will have Amitabh Bachchan in the title role.
As Bhagyaraj says: "I look for characters, not stars, to fit into my script. And there is nothing more exciting than finding a new face who is exactly right for an important role."
Expert Advice: The one great influence on Bhagyaraj's life and career has been MGR. In every Bhagyaraj film there is at least one reference or a picture of the chief minister. In Munthane Mudichu one scene picturised MGR's midday meal scheme.
MGR is shown a preview of all his movies. Says Bhagyaraj: "MGR knows the psychology of the masses. I try to make use of certain techniques of his that have made him popular with the masses. It was MGR who insisted that I have fight scenes in my film. He said that the masses would understand only if the good guy bashes the bad guy in the last reel."
In Darling, Darling, Darling MGR wanted a climax fight, which Bhagyaraj politely refused to incorporate; the result was that the film didn't do as well as the others. Now every Bhagyaraj film carries a stick fight, an inspiration from the early MGR films.
And Bhagyaraj keeps physically fit, just like the legendary hero. But he does not intend to join MGR's party and in fact has no political ambitions. However, as a Tamil paper wrote in a significant comment: "Bhagyaraj has become MGR's propaganda machinery."
Reason why he is a legend Screen play writer and director
14:45 screen play 😋
"" சிகப்பு ரோஜாக்கள் "" திரைப்படத்தில் இடம்பெற்ற ஒரு பாடலில் ( இந்த மின்மினிக்கு கண்ணில் ஒரு மின்னல் வந்தது ) , கமல்ஹாசன் ஶ்ரீதேவி ஒரு ரெஸ்ட்டாரன்டில் உணவருந்துவது போல் காட்சிப்படுத்தி இருப்பார்கள்.
அப்பொழுது ஹோட்டல் சிப்பந்தியாக ஒருவர் வந்து போவார்.
திரைப்படத்தில் வேறோரு இடத்தில் அந்த கதாபாத்திரம் மீண்டும் ஒருமுறை விசாரணையில் அடையாளம் காட்டுவதற்காக கமல்ஹாசன் அவர்களுடைய அலுவலகத்துக்கு அழைத்து வரப்படுவார்.
One of the best ever screenplay play moment in the Tami cinema.
திரைக்கதை சிதையாமல் பாடல் காட்சிகளை திரைப்படத்தில் அமைப்பது என்பது மிகவும் சவாலான ஒன்று.
அந்த காட்சியில் ஹோட்டல் ஊழியராக நடித்திருப்பவர் கே.பாக்யராஜ் அவர்கள் தான்.
Lllllllllll
சூப்பர் 👏
thanks my gurunaathare
ஒன்றோடு ஒன்றாக
உயிர்சேர்ந்த பின்னே
" "
உலகங்கள் நமையன்றி
வேறேதுமில்லை
வே றேதும் இல்லை.
-Solliyadi thoolu jakam-
Good talk
Reyal definetation.
Puthiua parimanam.
Onkalukkup payittchi.
Samuththirakkaniyudan sernthu sinthikka.
Nanri-vanakkam
Arumai
King of screenplay
ಸುಪರ್ 🙏sir
கொள்கை வெல்வதே
நான் கொண்ட லட்சியம்
Gurunathaaaaa!!!
திரைக்கதை எழுதுவது எப்படி
@ovSk
thanks my gurunthre
Super director
awesome
Sir vadapalani la unga institute iruka?
Enkalukkum kaalam varum..
Kaakam vanthaal..
Vaalvu varum..
-lemon barveena bakyam 2019 -
- 10.02 - 04.24 -
INCOMPARABLE GENIUS...THIRU BHAKYARAJ SIR...
Janaranjagathiltopkbr
Cinema ennoda passion illa.. Ana cinema kaaranga sollumbodhu adha konjam kekka thonudhu 😊😊😊
Screen play enpathu
Thesiyathinkeel uraithal urukal parukal
Motivetation imosanal
Screenplay nalla gamentru
Hii sir ennoda name bhagyaraj tha sir
கருதியதியற்றமில் இசைமீதில்
Pathin nalupinna nanum vantha
Noottinatpathu
Someone help me please
Charge theernthu
Poyachchu
Poyachchada,
Athanala nalaikkup
Polamada
👉12Lemonjuice
08.22
Kala varayaraiyinri
-moththamum manap pathivu-
02.03
Screen play enda
Icecreem sappiduthal
Eri ball- no runs
Kuri ner - game rules
-ampayar arivippu-
இதிலிருந்து நான் அறிந்து கொண்டது,அசல் திரைக்கதை தமிழில் இல்லை,
T👈
Neenka arasiyalaith thoduvatheyillaiya
Koncham athaith thoddalthan enna