If the followers of Indian cinema take pleasure in how movies as we speak make use of leading edge know-how, credit score ought to go to Sivaji Ganesan’s Uthama Purthiran.
From Tamil cinema’s first rock and roll dance to Indian film Industry’s first introduction to zooming methods, Sivaji Ganesan has been a pioneer. And he is carried out all of it in Uthama Purthiran, as early on as 1958. Produced by CV Sridhar, S Krishnamoorthy and T Govindarajan, this historic Tamil film was first to characteristic Sivaji Ganesan in two distinct roles. This trilingual film ran for greater than 100 days again then. Uthama Puthiran was a remake of PU Chinnapa’s 1940 film of the similar title, and it was the first film in Tamil cinema to characteristic twin roles. Interestingly, even this film is loosely impressed by the Hollywood basic, The Man in the Iron Mask (1939).
Starring Sivaji, Padmini and M. N Nambiar in the lead, Uthama Puthiran was additionally recognized for roping in Bollywood actress Helen for a tune, which was stated to be the first tune in Tamil cinema to have a rock and roll sequence. Yaaradi Nee Mohini was shot in unique palace units and have become a raging hit.
How zoom lens got here into cinema
The whole forged and crew of Uthama Puthiran had been filming an outside sequence for the romantic tune Unnazhagi, picturised on Sivaji and Padmini at Brindavan Gardens in Mysore. Sridhar, the author, the director and the cinematographer Aloysius Vincent had been helming the tune. As the crowd cheered the shoot, a man of French origin walked onto the units and alter the destiny of Indian cinema.
When Vincent was composing the shot with Sivaji and Padmini, this man concurrently composed the similar shot at the similar angle together with his digicam. Sridhar and the director requested him why he was filming the tune. He, in flip, requested the producers of the film to enable him to shoot the similar scene in his digicam.
When he began to film the tune, everybody on the units starred at his digicam, as the lens on it started to transfer backwards. Sridhar quizzed him about it and he stated his digicam has a know-how that may challenge the objects nearer than they really are. He stated he might seize crystal clear footage in movement. That’s when the zoom approach forayed into Indian cinema.
When he confirmed the cinematographer the portion he had shot, he was instantly requested to give them the clip so they may use it in the tune. The French man went again to his nation and despatched the crew the video clip. It was appreciated by all, and the makers of the film included his shot in the tune, changing into the first Indian film to use the zoom approach. That shot is the one the place Sivaji and Padmini would be seen in a shut-up.
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