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Alibabavum 40 Thirudargalum (read as 'Alibabavum Narpadhu Thirudargalum'; lit. Alibaba and the Forty Thieves) is a 1956 Indian Tamil-languagefantasyswashbuckler film directed and produced by T. R. Sundaram under his production banner Modern Theatres. The film features M. G. Ramachandran and Bhanumathi Ramakrishna in the lead roles, with K. Sarangkapani, P. S. Veerappa, K. A. Thangavelu, M. N. Rajam, Sushila, Vidhyavathi, and M. G. Chakrapani in supporting roles.

The film tells the story of Alibaba, a poor woodcutter, who becomes wealthy after finding a secret cave which contains various treasures and antiques. He resolves to keep his source of wealth a secret to lead a peaceful life. Whether he keeps it a secret and protects the treasure from falling into the wrong hands forms the rest of the story.

Alibabavum 40 Thirudargalum was shot in Gevacolor and is notable for being the first Tamil and South Indian full-length colour film. It is based on the story Ali Baba and the Forty Thieves from One Thousand and One Nights. It is also the second Tamil film adaptation of that story, after the 1941 film of the same name. Filming took place mainly at Mysore and Yercaud. The soundtrack was composed by Susarla Dakshinamurthi, and re-used many songs from the 1954 Hindi film Alibaba Aur 40 Chor. It was also the final film of Ramachandran's three-film contract with Modern Theatres.

Alibabavum 40 Thirudargalum was released on 14 January 1956 during the festive occasion of Thai Pongal. It was a milestone in Ramachandran's career and became a success at the box office which was largely attributed to it being the first full-length colour film in South India. The songs also attained popularity. The film was later dubbed in Telugu as Ali Baba 40 Dongalu.

• 3Production
• 6Release

Plot[edit]

Marziana, a Baghdad-based dancer, is abducted by the tyrant Sher Khan, commander of the notorious king Amir Kasim Khan, to his palace. She is rescued by Alibaba, an impoverished woodcutter who fights with Sher Khan and vanquishes him. Marziana and her sidekick Dowlath find refuge in Alibaba's house who lives with his sister Ayisha and servant Bulbul. Marziana learns that they are the siblings of Kasim, who had driven them out at the instigation of his cruel wife Salima. Marziana and Alibaba later fall in love.

One day, when Alibaba goes to cut wood, he chances upon the cavernous hideout of Abu Hussain, the notorious leader of forty dacoits, and overhears the secret code to enter and exit the cave. After the dacoits leave, Alibaba uses the code word, enters the hideout, and takes some of the cave's wealth which he uses to help poor people nearby. Both Alibaba and Marziana become wealthy overnight.

Kasim becomes jealous when he hears about his brother's fortune, and wants to know the secret behind this. Under Salima's guidance, he invites Alibaba and his household for a feast. After cunningly obtaining the secret of the dacoits' cave, Kasim sentences Alibaba to death, falsely accusing him of attempted murder. Marziana pretends to heed Kasim's order. She declares that Alibaba has been unfaithful to her and he deserves this retribution. Taking a knife, Marziana acts as though she means to kill Alibaba, but instead cuts the ropes that bind his hands. A fight ensues between Alibaba and Kasim's thugs (during which Salima is accidentally killed), but Alibaba subdues them and escapes with his allies.

Kasim enters the cave and greedily starts collecting many treasures. He soon forgets the code word, and is left trapped. The dacoits arrive and kill him for entering their secret cave. Alibaba later visits the cave and is shocked to see his brother dead; he takes away the corpse. After Kasim's death is announced publicly, Alibaba is declared the new king of Baghdad and everyone rejoices. Meanwhile, the dacoits return to their cave and find that Kasim's corpse is missing. Realising that someone else has entered their cave, they start searching for the mystery person.

From the cobbler Gulam's assertion that the woodcutter Alibaba had become wealthy overnight, Abu Hussain realises that it is Alibaba who discovered the secret of his cave, but kills the cobbler afterwards. He then plans to kill Alibaba. Having his men hide inside barrels, Abu Hussain comes to Alibaba's house disguised as an oil merchant seeking shelter for the night. However, Marziana overhears him whispering to his men, and realises his true identity. When she dances at a banquet Alibaba hosts in honour of the guest, Dowlath and Bulbul roll the barrels one by one into the swirling waters as per the plan. After Marziana tries unsuccessfully to stab the 'oil merchant', she exposes him as Abu Hussain; Alibaba is shocked. This leads to a fight between the two men, which results in Abu Hussain kidnapping Marziana and fleeing to the cave. Alibaba chases him and reaches the cave where he kills Abu Hussain after an intense battle. After Alibaba rescues Marziana, they marry and continue to perform social work.

Cast[edit]

Male actors

• M. G. Ramachandran as Alibaba
• K. Sarangkapani as Dowlath
• P. S. Veerappa as Abu Hussain
• K. A. Thangavelu as Gulam
• M. G. Chakrapani as Amir Kasim Khan
• Nandaram as Sher Khan
• O. A. K. Thevar as Hameed
• K. K. Soundar as Abdullah

Female actors

• Bhanumathi Ramakrishna as Marziana
• M. N. Rajam as Bulbul
• Vidhyavathi as Salima
• P. Sushila as Ayisha
• Waheeda Rehman as a dancer in the song 'Salaam Babu'
• Sayee Subbulakshmi as dancers in the song 'Naama Aaduvadhum'

Production[edit]

Development[edit]

Alibabavum 40 Thirudargalum is based on the story Ali Baba and the Forty Thieves from One Thousand and One Nights.^[3] The film's story is credited to the Modern Theatres' Story Department.^[4]Alibabavum 40 Thirudargalum became the second major Tamil film adaptation of the story of Ali Baba; the first was the 1941 film of the same name, starring N. S. Krishnan.^[2][5] While that version was a comedy, this one was more action-oriented.^[6]

In addition to producing, Modern Theatres founder T. R. Sundaram also directed the film.^[7] A. J. Dominic was signed as the film's art director, while W. R. Subba Rao, L. Balu, and Murasoli Maran were in charge of the cinematography, editing, and dialogues respectively.^[2][8] A. K. Chopra and K. N. Dhandayudapani Pillai were in charge of the choreography.^[9]

Casting[edit]

M. G. Ramachandran was cast as Alibaba,^[2] this being the final film of his three-film contract with Modern Theatres, following Manthiri Kumari (1950) and Sarvadhikari (1951).^[10] He was paid ₹12,500 (equivalent to ₹1.1 million or US$15,000 in 2018)^[b] for acting in the film.^[12] The screenplay was written in a way that would suit his then 'swashbucking' image,^[13] as opposed to the original story where the character was a 'gullible simpleton'.^[14]P. S. Veerappa was cast as Abu Hussain, the leader of the forty thieves.^[15][16]Padmini was initially given the role of the female lead Marziana, but she was replaced subsequently by Bhanumathi Ramakrishna.^[17] Bhanumathi liked the film, one of her earliest in Tamil, because she found the character a 'go-getter'.^[18] In her autobiography, Bhanumathi noted that after she heard the story, she considered her role to be much better than that in Missamma (1955), from which she was fired after filming only four reels, adding that after she accepted to work on this film, she got more acting offers from Tamil film producers.^[19]

Ramachandran's elder brother M. G. Chakrapani was cast in the role of Alibaba's elder brother Kassim.^[20][21]K. Sarangkapani was cast as Marziana's sidekick Dowlath,^[20]K. A. Thangavelu as the cobbler Gulam,^[20]M. N. Rajam as Alibaba's servant Bulbul,^[20] Vidhyavathi as Kassim's wife Salima,^[20][22] and Sushila as Alibaba's sister Ayisha.^[20] Nandaram, O. A. K. Activation key para driver restore. Thevar and K. K. Soundar played Sher Khan, Hameed and Abdullah respectively.^[20]Waheeda Rehman, who later became a leading actress in Hindi cinema, appeared as a dancer in the number 'Salaam Babu',^[3][23] while the dancer duo Sayee Subbulakshmi appeared in the song 'Naama Aaduvadhum'.^[20][24]

Filming[edit]

Alibabavum 40 Thirudargalum was shot entirely on indoor sets, with the exception of a few horse riding sequences. For changes of scenes, irises and wipes were used which, according to Encyclopaedia of Indian Cinema by Ashish Rajadhyaksha and Paul Willemen, added a 'sense of anachronism' to the film.^[25] It was also the first full-length Tamil colour film,^[26] shot in Gevacolor.^[10][27] Rajadhyaksha and Willemen claim it to be the first South Indian film in Gevacolor,^[15] despite the fact that the 1955 Tamil film Kanavaney Kankanda Deivam had a few sequences in Gevacolor.^[28] The scenes involving horses, which belonged to the Mysore Reserve Police, were shot at Mysore over ten days.^[29] The thieves' cave, designed by Dominic,^[30] was created at two locations — the exterior cave scenes with the horses were shot at Mysore, while the interior scenes were shot at Yercaud near Salem.^[29][31] Sundaram brought twenty horses from Mysore for the shoot at Yercaud.^[29] The jewels and gold coins featured in the film were actually clay painted in gold.^[32] One of the horses rode by Ramachandran was Sundaram's own.^[33]

In one particular scene, Ramachandran objected to the dialogue where he had to swear in the name of Allah, as he was then associated with the rationalist Dravida Munnetra Kazhagam. He suggested that the dialogue be changed to swearing in the name of his mother, but was finally asked by the director to use the original dialogue.^[30][34] When only a song and a fight sequence were left to be finished, Ramachandran could not appear for the shoot, since he had another film to shoot for.^[c] As Sundaram was unwilling to wait for Ramachandran's return, those portions were eventually shot with Karadimuthu, who acted as a body double for Ramachandran.^[30][35]Alibabavum 40 Thirudargalum was processed at the Film Centre, Bombay (now Mumbai).^[8] The final length of the film was 16,789 feet (5,117 m).^[36]

Themes and influences[edit]

Alibabavum 40 Thirudargalum is based on the story of Ali Baba from One Thousand and One Nights.^[37] Although the tale and costumes are middle eastern, Marziana, a Muslim, often refers to Yama, the Hindu god of death.^[38] Sri Lankan historian Sachi Sri Kantha noted that various Ramachandran films reflect the 1950s trend of films being 'costume dramas' that focus on princes and folk heroes, citing Alibabavum 40 Thirudargalum as an example.^[39]

Ramachandran was an avid fan of action heroes like Errol Flynn, John Barrymore, and Douglas Fairbanks. Throughout the 1950s, he acted in films that justified his status as an action hero.^[40]Alibabavum 40 Thirudargalum portrayed him as a swashbuckling action hero who also has a Robin Hood-like agenda of serving the poor and the downtrodden with the treasure he finds in the cave.^[40] Udhav Naig of The Hindu noted that through Alibabavum 40 Thirudargalum and several other films, Ramachandran 'posited a cleverly-crafted image of being one among the working classes and poorer sections, raising a fist against injustice.'^[41]

Rajadhyaksha and Willemen, in Encyclopedia of Indian Cinema, compare it to Ramachandran's other films like Malaikkallan (1954) and Madurai Veeran (1956) as they are also Robin Hood-inspired, and because Bhanumathi plays a damsel in distress in them.^[42] The French website Jol-Press compared it to Manthiri Kumari because both films feature Ramachandran as a Flynn-inspired hero.^[43]

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Music[edit]

The film's original soundtrack and score were composed by Susarla Dakshinamurthi,^[44] while the lyrics were written by A. Maruthakasi.^[45][46] T. R. Sundaram decided to use the same tunes set from the Hindi film Alibaba Aur 40 Chor (1954). Udumalai Narayana Kavi was offered to write the lyrics. He declined, saying that he would only write lyrics for fresh tunes and recommended Maruthakasi, who was finalised.^[47] The song 'Azhagaana Ponnu Naan' is based on 'Dekho Ji Shanti Nikla', 'Masila Unmai Kathale' is based on 'Ae Saba Unse Kah Jara' and 'Chinnanjiru Chitte' is based on 'Chalo Chalo Chale Hum Babul Ke Tale', all from Alibaba Aur 40 Chor.^[48]

The dilrupa^[d] in the songs were played by Shanmugham.^[50] 'Azhagaana Ponnu Naan' is set in the Mayamalavagowlaraga.^[51][52] The opening line of this song was later used in a song titled 'Azhagana Ponnu Thaan' from Nenjirukkum Varai (2006).^[53] 'Ullasa Ulagam' was later remixed by Pravin Mani and Vidyasagar in Jayamkondaan (2008).^[54] 'Chinnanchiru Chitte' was remixed in Muruga (2007).^[55] Elements from the song were also used in 'Andangkaka' from Anniyan (2005).^[56][57] 'Masila Unmai Kathale' was later included on Legends: A. M. Rajah, a five-disc compilation album that was released in 2016.^[58]

The songs received positive reviews with 'Azhagaana Ponnu Naan', 'Masila Unmai Kathale', and 'Ullaasa Ulagam' becoming popular among the masses.^[46]Charulatha Mani, writing for The Hindu, called 'Azhagaan Ponnu Naan' a 'peppy' song.^[51] Rajalakshmi Sivalingam of The Hindu (Tamil) called 'Masila Unmai Kathale', written by A. Maruthakasi, an immortal song.^[59]

Release[edit]

Alibabavum 40 Thirudargalum was released on 14 January 1956,^[60] during the festive occasion of Thai Pongal.^[61][e] Historian V. Sriram believes it was the first Tamil film to take advantage of block colour advertising.^[63] The film was a commercial success and ran for over 100 days in theatres.^[64] It became a 'landmark' in Ramachandran's acting career,^[65] and set a 'precedent for many buccaneer-style characters' he would portray in his later films.^[66] The film won the Film Fans' Association award for Best Tamil film.^[67] It was later dubbed in Telugu as Ali Baba 40 Dongalu.^[68][69]Alibabavum 40 Thirudargalum had a limited re-release on 14 April 2011, during the festive occasion of Puthandu (Tamil New Year) in Chennai.^[70]

Critical reception[edit]

Tamil film historian S. Theodore Baskaran wrote in his 1996 book The Eye of the Serpent, 'The film's cast of M.G. Ramachandran as the swash-buckling Alibaba, Bhanumathi as the singing-heroine .. and Thangavelu as the comedian was the main factor contributing to its huge success.' He also praised the performance of P. S. Veerappa, and said that another factor attributed to the film's success that it was the first full-length South Indian colour film.^[71] In Encyclopedia of Indian Cinema, Rajadhyaksha and Willemen said the film was remembered 'mainly for MGR's swashbuckling stunts (it is one of the star's most characteristic 50s genre films), the elaborate group dances and Bhanumathi's very popular song-and-dance routines.'^[38] Following Bhanumathi's death in 2005, S. R. Ashok Kumar of The Hindu wrote that the film showcased one of her 'best known performances.'^[72]

Dancer and writer Lakshmi Viswanathan, who saw the film during its original release in 1956 at the Chennai-based Chitra theatre, wrote for The Hindu 2012, 'We children could not contain our excitement when the first colour film in Tamil .. was released in Chitra. We saw it again and again with the thrill that only children of those days could experience.'^[73] Sachi Sri Kantha felt that the Gevacolor looked somewhat 'washed out' and 'inferior' to other colouring processes like Eastmancolor and versions of Fujicolor. He said the film succeeded with the Tamil masses because 'it was a first time experience they could enjoy the [colour] in totality. This is because illiterate Tamil masses would have watched Hollywood movies produced in [colour] for entertainment. But, being illiterate, [the] majority wouldn't have comprehended the dialogues and songs in English.'^[10] In 2015, Karan Bali wrote for Scroll.in that the film 'blended melodious songs, exciting fighting scenes and a suspenseful climax', and praised Veerappa's performance as Abu Hussain.^[3] On Ramachandran's centenary in January 2017, Nivedita Mishra of Hindustan Times included his performance in Alibabavum 40 Thirudargalum in her list compiling 'some of his most memorable performances'.^[66]

Home media[edit]

Alibabavum 40 Thirudargalum was released on home video by Moser Baer in June 2010,^[74] and by Raj Video Vision in April 2012.^[75]

In popular culture[edit]

Alibabavum 40 Thirudargalum has been referenced in many films. Janagaraj's character in Rajadhi Raja (1989) sings a portion of 'Ullasa Ulagam', before meeting with a fate similar to that of Thangavelu's character in Alibabavum 40 Thirudargalum.^[76]Goundamani and Sathyaraj's characters imitate the song 'Maasila Unmai Kadhale' in Rickshaw Mama (1992).^[77] Vellaisamy (Vadivelu) and Pazhanisamy (Vivek) sing the beginning portion of 'Ullasa Ulagam' in Pongalo Pongal (1997).^[78] In Baba (2002), the title character (Rajinikanth) and his friends see the clip where Alibaba closes the cave using the phrase 'close sesame' after entering it using the words 'open sesame'.^[79] Actor Narayan Lucky has stated that his 2015 film Thiranthidu Seese was named after the dialogue of the same name spoken by Ramachandran in Alibabavum 40 Thirudargalum.^[80] In Thoppi (2015), the Minister for Hindu Religious and Charitable Endowments orders police inspector Kuzhanthaisamy to find a stolen film reel box; the film is Alibabavum 40 Thirudargalum.^[81]

Notes[edit]

1. ^The 2017 book Contes et légendes d'Orient by Hervé Dumont gives the runtime as 149 minutes,^[1] while Encyclopedia of Indian Cinema gives its runtime as 160 minutes.^[2]
2. ^The exchange rate in 1956 was 4.79 Indian rupees (₹) per 1 US dollar (US$).^[11]
3. ^The claim by Dinamalar does not mention the name of the film Ramachandran went to shoot for.^[35]
4. ^The dilrupa is an Indian string instrument similar to the sitar, with approximately 18 strings.^[49]
5. ^Thai Pongal is a three-day Indian harvest festival celebrated in Tamil Nadu on 14 January every year as an equivalent of thanksgiving to the nature.^[62]

References[edit]

1. ^Dumont 2017, p. 94.
2. ^ ^abcdRajadhyaksha & Willemen 1998, p. 339.
3. ^ ^abcBali, Karan (2 January 2015). 'Tamil Nadu's trailblazing Modern Theatres studio spun romances, period dramas and colour films'. Scroll.in. Archived from the original on 6 September 2016. Retrieved 6 September 2016.
4. ^Sundaram, T. R. (1956). Alibabavum 40 Thirudargalum (motion picture) (in Tamil). India: Modern Theatres. Event occurs at 0:33.
5. ^Guy, Randor (1 May 2011). 'Ali Babavum Naarpathu Thirudargalum 1941'. The Hindu. Archived from the original on 1 April 2013. Retrieved 3 July 2012.
6. ^'பிளாஷ்பேக்: என்.எஸ்.கிருஷ்ணன் ஹீரோவாக நடித்த அலிபாபாவும் 40 திருடர்களும்' [Flashback: Alibabavum 40 Thirudargalum, where N. S. Krishnan played hero]. Dinamalar (in Tamil). 23 July 2017. Archived from the original on 26 July 2017. Retrieved 29 July 2017.
7. ^Chelangad, Saju (29 June 2014). 'Leeds, love and Modern Theatres'. The Hindu. Archived from the original on 11 September 2016. Retrieved 11 September 2016.
8. ^ ^abSundaram, T. R. (1956). Alibabavum 40 Thirudargalum (motion picture) (in Tamil). India: Modern Theatres. Event occurs at 1:03.
9. ^Sundaram, T. R. (1956). Alibabavum 40 Thirudargalum (motion picture) (in Tamil). India: Modern Theatres. Event occurs at 0:50.
10. ^ ^abcKantha, Sachi Sri (28 September 2013). 'MGR Remembered – Part 11'. Ilankai Tamil Sangam. Archived from the original on 7 September 2016. Retrieved 6 September 2016.
11. ^'Rupee's journey since Independence: Down by 65 times against dollar'. The Economic Times. 24 August 2013. Archived from the original on 29 August 2013. Retrieved 3 August 2017.
12. ^Kannan 2017, p. 69.
13. ^Pillai 2015, p. 88.
14. ^Gokulsing & Dissanayake 2013, p. 135.
15. ^ ^abRajadhyaksha & Willemen 1998, p. 340.
16. ^Guy, Randor (2 August 2014). 'The superstar villain'. The Hindu. Archived from the original on 15 March 2015. Retrieved 15 March 2015.
17. ^Guy 2007, p. 61.
18. ^Gangadhar, V. (8 January 2006). 'No stereotyping her'. The Hindu. Archived from the original on 7 September 2016. Retrieved 7 September 2016.
19. ^Bhanumathi 2000, p. 201.
20. ^ ^abcdefghஅலிபாபாவும் 40 திருடர்களும் [Alibaba and the Forty Thieves] (songbook) (in Tamil). Modern Theatres. c. 1956. Archived from the original on 9 June 2017.
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26. ^Baskaran 1996, p. 223; Guy 1997, p. 199.
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28. ^Baskaran 1996, p. 223.
29. ^ ^abcவேங்கடசாமி, ரா. (5 May 2013). 'முதலாளி! (10)' [Boss! (10)]. Dinamalar (in Tamil). Archived from the original on 12 May 2017. Retrieved 12 May 2017.
30. ^ ^abcNelba (21 March 2014). 'எம்.ஜி.ஆர். இல்லாமல் நடந்த எம்.ஜி.ஆர் படப்பிடிப்பு!' [An MGR film that was filmed without MGR!]. The Hindu (in Tamil). Archived from the original on 21 November 2014. Retrieved 21 November 2014.
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33. ^'எம்ஜிஆர் 100 66: கேட்காதவர்களுக்கும் உதவியவர்!' [MGR 100, part 66: He, who helped even those who didn't ask!]. The Hindu Tamil. 17 May 2016. Archived from the original on 19 March 2018. Retrieved 19 March 2018.
34. ^Kannan 2017, p. 77.
35. ^ ^ab'பிளாஷ்பேக்: காதல் டூயட்டில் பானுமதியுடன் ஆடிய எம்.ஜி.ஆரின் டூப்' [MGR's double, who acted with Bhanumathi in a romantic duet]. Dinamalar (in Tamil). 12 August 2017. Archived from the original on 23 August 2017. Retrieved 23 August 2017.
36. ^'Alibabavum 40 Thirudargalum CBFC certificate'. Central Board of Film Certification. Archived from the original on 8 September 2016. Retrieved 8 September 2016.
37. ^Guy 1997, p. 204; Rajadhyaksha & Willemen 1998, p. 339.
38. ^ ^abRajadhyaksha & Willemen 1998, pp. 339–340.
39. ^Kantha, Sachi Sri (30 September 2014). 'MGR Remembered – Part 21'. Ilankai Tamil Sangam. Archived from the original on 14 September 2016. Retrieved 14 September 2016.
40. ^ ^abSwaminathan 2002, p. 10.
41. ^Naig, Udhav (7 January 2018). 'Stars in politics: No jump cuts in T.N.'The Hindu. Archived from the original on 18 January 2018. Retrieved 18 January 2018.
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43. ^Overdorf, Jason (22 July 2012). 'Les dieux du cinéma tamoul' [The gods of Tamil cinema]. Jol-Press (in French). Archived from the original on 14 September 2016. Retrieved 14 September 2016.
44. ^Baskaran 1996, p. 118.
45. ^'Alibabavum 40 Thirudargalum Songs'. Raaga.com. Archived from the original on 21 November 2014. Retrieved 18 March 2013.CS1 maint: BOT: original-url status unknown (link)
46. ^ ^abChellappa (1 September 2012). 'திருப்புமுனை திரைப்படங்கள் – 29 – அலிபாபாவும் நாற்பது திருடர்களும் (1956)' [Path-breaking films – 29 – Alibabavum 40 Thirudargalum (1956)]. Cinema Express (in Tamil). Archived from the original on 8 September 2016. Retrieved 8 September 2016.
47. ^'மாடர்ன் தியேட்டர்ஸ் - மருதகாசி மோதல்: உண்மையை கண்டுபிடித்த டி.ஆர்.சுந்தரம்' [Modern Theatres — Maruthakasi's clash: T. R. Sundaram, who discovered the truth]. Maalai Malar (in Tamil). 31 July 2017. Archived from the original on 4 August 2017. Retrieved 4 August 2017.CS1 maint: BOT: original-url status unknown (link)
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Bibliography[edit]

• Baskaran, Sundararaj Theodore (1996). The eye of the serpent: an introduction to Tamil cinema. East West Books.
• Bhanumathi (2000) [1993]. Musings. P.B.R. Publications.
• Dumont, Hervé (2017). Contes et légendes d'Orient: au cinéma et à la télévision [Tales and legends of the East: in cinema and on television] (in French). Books on Demand. ISBN978-2-3221-0135-1.
• Gokulsing, K. Moti; Dissanayake, Wimal (2013). Routledge Handbook of Indian Cinemas. Routledge. ISBN978-0-415-67774-5.
• Guy, Randor (2007). From Silents to Sivaji! A look into the past — Part II. Galatta Cinema.
• Guy, Randor (1997). Starlight, Starbright: The Early Tamil Cinema. Amra Publishers.
• Kannan, R. (2017). MGR: A Life. India: Penguin Random House. ISBN9780143429340.
• Pillai, Swarnavel Eswaran (2015). Madras Studios: Narrative, Genre, and Ideology in Tamil Cinema. SAGE Publications. ISBN978-93-5150-212-8.
• Rajadhyaksha, Ashish; Willemen, Paul (1998) [1994]. Encyclopaedia of Indian Cinema(PDF). Oxford University Press. ISBN0-19-563579-5.
• Swaminathan, Roopa (2002). M.G. Ramachandran: Jewel of the Masses. Rupa Publications. ISBN81-7167-897-1.
• Sundararaman (2007) [2005]. Raga Chintamani: A Guide to Carnatic Ragas Through Tamil Film Music (2nd ed.). Chennai: Pichhamal Chintamani. OCLC295034757.

External links[edit]

• Alibabavum 40 Thirudargalum on IMDb