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A
commercial movie has to have everything. Just like a complete south
Indian meal that must have everything right from sambhar, rasam,
curd and the desserts, not to forget the favorite of many, the kara
kozhambu. A meal is not complete without any of these and so is
the commercial cinema. Unless there is action, comedy, romance,
sentiments and glamour, a film doesn’t qualify to be called
a commercial potboiler. There might be people who say that commercial
cinema is just trash and that ‘good’ cinema should be
provided to the people. Well, we do not mean to pull down this so
called ‘good’ cinema but one must remember and understand
that making pure commercial entertainers requires a lot of skill
and is an art in itself. All the elements have to be finely mixed
in the right proportion to give a product that does not appear too
sedate or too crude. In short, it must please the sense without
hurting the sensitivities. Of all the elements of commercial cinema,
glamour is perhaps the most subtle to handle. As we have said once
before, the line between glamour and obscenity is a very thin one
and can be easily blurred. Even the most skilled of directors has
to be very careful in handling this part of his/her movie. |
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There
was a time in Tamil cinema when most of the heroine characters
were akin to ice maidens – they would never as much
as look at the face of a man other than their husband, brother
or father. They would get up early in the morning, have a
bath, light the lamp, worship the Gods and wake their husband
with a cup of coffee. It was indeed impossible to infuse glamour
into such a setting. But then someone had a brainwave, this
idea has not been officially credited to anyone and no records
exist as to where this idea originated from. The idea was
simple: if the heroine can’t provide the glamour, bring
in someone else who can; and the vamp or the item girl was
born and the rest, as they say, is history. We will take you
through the lanes these item girls have traveled. |
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The
first known item girl was T.R.Rajakumari; though glamour was non-existent
during her era, she was still considered sexy by the prevailing
standards of that time. And for a while there were no big names
that gained popularity, till three voluptuous ladies popped up
from nowhere to daze the fans. They were Jyothilakshmi, Jaya malini,
and Anuradha. Their existence was known to be the period in Tamil
cinema when the item girl was just as important as the main cast.
They were primarily in the movies for an item song or as a side
kick to the dreaded villains. The famous trio’s legacy got
passed on to another trio of ‘Silk’ Smitha, ‘Disco’
Shanthi and Kuyili who went on to become as famous or if not more
than the lead heroines of those days. Here again, the primary
responsibility of these girls were the item numbers. Even the
big directors had to relent to include one such number in their
otherwise realistic movies, whether it dealt with the relationship
between a man and a girl suffering from amnesia (Moondram Pirai)
or a turbulent story about an ordinary man rising to become Nayagan
of the population. There was no escaping the item girl till the
early nineties when a change came around.
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