Subtle portraits, eloquent eyes
MALATHI RANGARAJAN
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Actor Srividya is no more. But memories of her performing skills will ever remain.
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FEMININE GRACE: Srividya.
"Her face was almost poetic ... with eyes that were moon-like in their lustre and with the most perfect nose you can think of," says actor Sivakumar. A skilled painter and artist himself, he should know. The subject of conversation was Srividya, an excellent actor of films in various languages, who passed away recently.
Sivakumar had co-starred with her, in more than half a dozen films. Their last film together as a mature couple was `Kadhalukku Mariyadhai.' "I've been her friend and confidant on many an occasion. A great artiste, calm and sweet, like the gentle breeze after rain," Sivakumar traverses a nostalgic terrain.
In a repertoire that comprises more than 900 films, 200 were in Malayalam. The Kerala State Award for Best Actress was hers thrice. "Malayalam cinema welcomed Vidya with open arms probably because subtlety in portrayal was her strongpoint. Her eyes conveyed the most profound emotions eloquently," commends Sivakumar.
When she caught the attention of film connoisseurs in Kerala with `Chittambikavala' in 1969, it was clear that she had come to stay. And stay she did till the end. When she changed base and left Chennai for good, the Kerala small screen came up with meaningful roles for her. She last played the title role in Sreekumaran Thampi's mega serial `Amma Thampurati.' But ill health forced her to discontinue work after 35 episodes.
Landmarks in Tamil
Many would remember her sterling performance of a classical musician, Bhairavi, in `Apoorva Ragangal,' a landmark film from K. Balachander. He had noticed the talent in her even when she was just a beginner in films. His `Nootrukku Nooru' had Srividya as the young college goer plotting to make her professor (Jaishanker) marry her. Her eyes spoke volumes and gave glimpses of what she was capable of. They came to the fore again in the well-chiselled role of Bhairavi she played later. She beautifully underplayed a similar part in `Karpoora Mullai,' where she was Amala's mother. "Gossip was never on her agenda. But she would sing for us on the sets. A dulcet voice! And when I used to suggest that she should take up singing seriously, she would smile," recalls Sivakumar. She sang only in one Tamil film — `Amaran.' "In short, she spelt feminine grace," he adds.
With Sivakumar in `Sollaththan Ninaikkiren'.
Srividya had to switch over to character roles a little too early in life and play mother to heroes she was once paired with. But who can forget the pensive, guilt-filled mother in `Thalapathy,' the empathetic soul in `Apoorva Sagodarargal,' or the understanding mom of Vijay in `Kadhalukku Mariyaadhai and `Kannukkul Nilavu?' And when she had to share centre stage opposite Sivaji Ganesan, she easily did justice there too.
Memorable show
`Kasturi Thilakam' was the only film in which Sivakumar and Srividya played brother and sister. Otherwise they always acted opposite each other. `Annai Velankanni' was probably the first. The Siva Sakti dance that had Sivakumar and Srividya dance to the drums and cymbals in `Karaikkal Ammaiyaar' is another unforgettable sequence. "She was a trained classical dancer, I wasn't. So to match up to Vidya's standard, I undertook rigorous training for nearly a week," says Sivakumar. Naturally it went on to become a highlight of the film.
KB's `Sollathaan Ninaikiraen' was another worthy project involving the two. Though she was one of the three heroines, the nuances that her eyes conveyed and the way Balachander captured them in the close-ups will remain with you forever.
Life does out mete out raw deals to some. Facing disappointments from many a quarter early in life, seeking solace in matrimony and soon finding the marriage a mirage must have been major blows for Srividya. Yet she steeled herself for the long-drawn court battle with ex-husband, which came to an end a few years ago. And before she could take a breather came the treacherous illness that overpowered her.
Her determination to fight till the last was as evident in her legal wrangle as it was in her confrontation with her ailment.
Winning or losing is all in the game. It is the will to fight that matters. And in that Srividya stood apart.
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