She was solid in MGR’s blockbuster Nadodi Mannan in 1958 after being launched to him by director Ok. Subramaniam, who had earlier directed the movie Kalidas in Kannada. She made her debut buzzing the tune “Maani thedi machan vara poran” in Nadodi Mannan. Having acted in 26 movies with MGR, Saroja Devi is the second actor after Jayalalithaa (28 movies) to have been paired with him.
“She had a really photogenic face and was able to expressive performances. She was one of many magical heroines of Tamil cinema,” stated movie historian Vamanan. He stated by way of her performances, she turned the quintessential Tamil heroine, embodying the traces “man valaratha perumai ellam manthil valarthavalam” from a tune within the movie Paaga Pirivinai.
Saroja Devi and Sivaji Ganesan in a scene within the Tamil film ‘Paalum Pazhamum’ | Photo Credit: The Hindu Archives
She was paired with Sivaji Ganesan within the movie Paaga Pirivinai in 1959, directed by Bhim Singh, who went on to direct the well-known ‘Pa’ collection of movies. Before Paaga Pirivinai, she appeared in a dance sequence in Thangamalai Ragasiyam, a Sivaji Ganesan-starrer. She additionally had a task within the movie Sabash Meena. Saroja Devi had acted as the feminine lead with Sivaji Ganesan in different hits like Paalum Pazhamum and Paarthal Pasi Theerum.
Some of her duets with MGR and Sivaji Ganesan proceed to stay all time hits for his or her picturisation, lyrics and music. Ponnezhil Poothathu Puthuvanil, Kaatru vanga ponen, Chitukuruvi Mutham Koduthu are among the iconic songs.
Saroja Devi had acted as the feminine lead with Sivaji Ganesan in Sabash Meena, Paaga Pirivinai, Paalum Pazhamum and Paarthal Pasi Theerum.
“She acted with my father in over 20 movies, and all her movies with my father and MGR had been hits. Each of her movies was an achievement. She was most likely the primary (girl) famous person of Tamil cinema and maintained that stature until her final days,” stated actor Prabhu, fondly recalling the times she spent along with his household.
“She would pinch my cheeks. We remained shut and even spent a New Year in Bangalore together with her. I’ll miss her, however her charming and exquisite face, alongside together with her movies, will proceed to hang-out me,” Mr. Prabhu stated.
“She acted and spoke naturally, as if she had been in actual life, and she or he by no means opted for dubbing. You ought to watch the tune ‘Paalum Pazhamum Kaikalil Enthi’ within the movie Paalum Pazhamum to know her expertise. She acted with none make-up to bolster the character of an individual bothered with tuberculosis. She regarded like a pet chick cradled within the palm of its proprietor when showing alongside Sivaji Ganesan,” stated movie editor B. Lenin, son of Bhim Singh.
She was additionally fondly known as Abinaya Saraswathi, in recognition of her expressive physique language and facial expressions.
The classic automobile utilized by actor Saroja Devi within the Tamil film ‘Anbe Vaa’ saved on show on the AVM Heritage Museum in Chennai. File | Photo Credit: R. Ragu
“Cinema is a fantasy, and the function of the heroine is to draw the male gaze. Saroja Devi achieved this in a smart and sleek method. The tune ‘Love Birds Love Birds’ in Anbe Vaa is a testomony to that sensitivity,” stated actor and cinematographer Ilavarasu. He described her expressive eyes, well-defined nostril, romantic physique language, and signature facet pose with a 180-degree eye rotation—all of which might inform a thousand tales.
“There’s a purpose why she was known as Abinaya Saraswathi. There had been no brushes to brighten the eyes at the moment. She simply used pencils. The means she modulated her eyebrows was one other outstanding expertise,” Ilavarasu stated.
Her dialogues addressing Sivaji Ganesan as “Gopal” and her nuanced expressions within the movie Puthiya Paravai are thought-about iconic. “In the tune ‘Unnai Ondru Ketpen,’ there isn’t a lot of a task for the hero. It is left to her to hold the scene and retain the viewers’s consideration. Beauty alone isn’t sufficient to realize that impact. Only an incredible actor can do it,” Ilavarasu added.
Saroja Devi (1938-2025) | In photos
Rajkumar and B. Saroja Devi within the movie Srinivasa Kalyana
B. Saroja Devi within the Telugu and Kannada variations of ‘Amara Shilpi Jakkanna”.
Sivaji Ganesan and Saroja Devi in ‘Pudiya Paravai’. She had paired with Sivaji Ganesan in 22 movies.
M.G. Ramachandran and Saroja Devi in ‘Anbe Vaa’. Making a mark with MGR in ‘Nadodi Mannan’, she acted with the late Tamil Nadu Chief Minister in 26 movies.
Rajendra Kumar and Saroja Devi in ‘Sasural’. She signed up for the Hindi movies with Dilip Kumar, Sunil Dutt and in addition with Shammi Kapoor.
Saroja Devi continued to be among the many highest-paid actresses in Kannada and Telugu movies. She was solid reverse N. T. Rama Rao in movies like Bhagyachakram (1968), Uma Chandi Gowri Sankarula Katha (1968), Vijayam Manade (1970), Mayani Mamatha (1970), Shakuntala and Daana Veera Soora Karna (1979).
B. Saroja Devi was awarded Padma Sri in 1969 and Padma Bhushan in 1992. She was additionally awarded Kalaimamani by the Tamil Nadu Government.
After her marriage in 1967, Saroja Devi’s profession in Tamil cinema progressively declined although she was energetic in Kannada films. Despite starring reverse with late MGR in 22 movies, her final movie with him was ‘Arasa Kattalai’ in 1967.
In this 1957 photograph, B. Saroja Devi is seen with S.V. Ranga Rao. She additionally dominated Telugu movie trade appearing with N.T. Rama Rao and Akkineni Nageswara Rao.
Saroja Devi was the one Indian actress to play lead heroine in 161 consecutive movies in 29 years between 1955 and 1984
In this 1961, B. Saroja Devi is seen with M.R. Radha. within the movie ‘Thai Sollai Thattathe.’ Her involvement in Tamil movies additionally continued with superhits like ‘Palum Pazhamum’ (1961), ‘Vazhkai Vazhvatharke’ (1964), ‘Aalayamani’ (1962), ‘Periya Idathu Penn’ (1963), ‘Puthiya Paravai’ (1964), ‘Panakkara Kudumbam’ (1964), ‘Enga Veetu Pillai’ (1965) and ‘Anbe Vaa’ (1966).
In the Sixties, Saroja Devi turned a style icon among the many South Indian girls, who mimicked her saris, blouses, jewelry, hairstyles and mannerisms. In explicit, her saris and jewelry from the Tamil films ‘Enga Veettu Pillai’ (1965) and ‘Anbe Vaa’ (1966) had been popularised extensively in magazines
Sivaji Ganesan and B. Saroja Devi within the Tamil movie ‘Paalum Pazhamum’. Saroja Devi continued starring in Tamil films reverse Sivaji Ganesan after her marriage: ‘En Thambi’ (1968), ‘Anbalippu’ (1969), ‘Anjal Petti 520’ (1969), ‘Arunodhayam’ (1971), ‘Thenum Paalum’ (1971), ‘Paarambariyam’ (1993) and ‘Once More’ (1997).
In her lengthy profession, Saroja Devi mainly opted for romantic movies solely within the Sixties and later sentimental and socially related movies proper from the late Sixties to the Eighties.
Twice in 1998 and 2005, Saroja Devi chaired movie juries — the forty fifth National Film Awards and the 53rd National Film Awards jury. She served because the vice-president of Kannada Chalanchitra Sangha, and as a member of Tirumala Tirupati Devasthanams’s native advisory committee.
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