SOUTH INDIAN CINEMATOGRAPHY – IV

 SOUTH INDIAN CINEMATOGRAPHY – IV

P N SUNDARAM    [18-03-1934 – 22-03-2010]

PNS was from Palghat [now PALAKKAD] and his early life is reported to have been one of tussle and turmoil. At a young age of just around 18-20, he joined Vijaya- Vauhini as an assistant cameraman. Cinematographers were plainly called cameramen in those days. From there, he joined A Vincent as his deputy in Venus pictures. Even before that PNS had functioned in “UTHAMA PUTHTHIRAN” as an assistant cameraman for Vincent , who had already joined the team in Venus pictures A stage came, when names of both A Vincent and PN Sundaram appeared parallel on Title frames. So, PNS was rated as an equivalent of A V though initially junior to the latter.

As is often the case PNS chose to be a free lancer himself; he has worked for 250 movies across, Tamil, Malayalam, Telugu and Hindi. Like every creative mind PNS too revealed class as an original thinker. Not without reason I try to portray specific persons. Success in cinematography rested on precise assessment of exposure for a defined effect. Wherever Vincent was hailed for quality, Sundaram was an automatic contributor to the final product.

When PNS became a freelance worker, there was a beeline to engage him by his erstwhile associates in the industry like Directors P Madhavan, CV Rajendran, Gopu,  Vietnam veedu Sundaram and several others. I remind our friends now that, the times when PNS was rated high had more to rely on effort than on computer-aided imagery. Also, it is interesting to recount here that PNS has had a special credit for his having worked in large number of Black and white projects and on an equal number of colour movies. Those cinematographers could effectively use colour was because of their critical understanding of Tonal gradations in B&W, with which they could foresee the probable output from light values.

In late 1980s it was a fashionable for cinematographers to shoot slow movements of persons in song sequences to ‘attract’ youth by a slow flow rate of a scene. As early as 1968 , PNS had captured ‘Divinely float’ of movie characters through a song sequence ‘kanavil nadandhadhO kalyana oorvalam’ in the movie ‘ANUBAVAN PIUDHUMAI’. Also, PNS had availed of free flowing dress material to depict a heavenly look. Another innovative work of PNS was, to record ‘UNDER WATER’ play   BY ARTISTES. He had fabricated an underwater cage to house the camera and self. While working, the cage abruptly broke under [hydrostatic] pressure and large pieces of glass fell on Mr. PNS; he suffered severe injuries on his feet and had profuse bleeding.

 For three weeks he was off the work; he again got a stronger cage ready and shot the song sequence “Jil endru katru vandhadho” in NIL GAVANI KAADHALI movie. It was a pioneering work in Tamil cinema in that there have not been similar picturization earlier. Of course later CV Sridhar adopted the same technique for his movie AVALUKKENDRU OR MANAM for the song “malar edhu” . C V Rajendran had narrated these instances about a year before his demise.

Another facet of Shri PN Sundaram was his balanced disposition to the doyens of Tamil cinema – Shri MG R and Shri. Sivaji Ganesan as well as to Ms Jayalalithaa. On several outdoor sequences , Mr PNS has shown fine sense of scenic captivation. In his own right, he was among the best on the job in South India. 

Song sequences “Devane ennaippaarungal [GNAANA OLI] and Nalai indha velai paarththu [UYARNDHA MANIDHAN] , Adi ennadi rakkamma [PATTIKKADA PATTANAMA] Kanna neeyum naanumaa [GAURAVAM] and song sequences in THANGAPPADHAKKAM stand testimony to PN S’s skills behind the camera. Special mention ought to be made here of the ‘fine rhythm song ‘Azhagukkum malarukkum jaadhi illai’ [NENJAM MARAPPADHILLAI] shot in an orchard. Look at the swift tracking of the pony –drawn cart moving through the thick jungle like vegetation cover; a play of light and shade through the song in day light is easily a task of sorts. PNS –THE OPERATIVE CAMERAMAN in the movie had done a brilliant camera-tracking of that moving cart in this number that looks to be free of edited sequences. We feel literally the camera chasing the moving cart even as zoom close-ups on and off bring out the expressions from actors, making us feel that we are ourselves a part of the event.  PN Sundaram was easily a darling among several movie directors by his very accommodative nature.  

A sound performer was Mr. PN Sundaram.

Prof. K. Raman