Biography

G.N.Balasubramanium (Jan. 6th, 1910 - May 1st, 1965)

The Film Interlude

Between 1934-1937, GNB acted in a couple of films as Naradar and as Dushyantha in ' Sakuntalai ' opposite Smt. M.S.Subbulakshmi. Though his talent as a musician was perhaps not fully exploited in these films, a few duets he sang with M.S and short viruthams in Kamboji and Bhageswari ragas were vin- tage music. Tiruvidamarudur Veeruswamy Pillai of Nagaswaram fame reportedly saw ' Sakuntalai ' several times just to hear GNB's Kamboji. It seems he would go in just before the start of the song and come out when it was over! His explanation was: " In my life, I have heard this raga rendered by many vidwans and myself have played it often. But in the way GNB handled it - though for a very short duration - there was something beautiful, original and enticing. It had a great appeal for me". Santhanam, son of Maharajapuram Viswanatha Iyer says that he started taking to music seriously, only after hearing the lilting Kamboji virutham of GNB in ' Sakuntalai '. Similarly there were numerous other admirers who would see the picture just for the song in Kunthalavarali and savour its aroma or sweetness and majesty.

Professional Snobbery

Shortly after GNB had made his debut in the cinema world with his appearance as Narada in ' Bhama Vijayam', he was invited to sing at a festival in Tanjore which was organised by the great mridangam player, Thanjavur Vaidyanatha Iyer. Senior accompanists were not willing to accompany GNB at this concert on the ground that he had acted in films and that he was a mere Honours Graduate but was not a trained musician. Ultimately, Sankara Iyer accompanied him on the violin and young T.K.Murthy, who was undergoing training under Vaidyanatha Iyer, on the mridangam. Almost all the senior vidwans of the day attended the concert. They were sitting on the steps of the Devi temple opposite the Hanuman temple, chewing betels and apparently indifferent to the music.

GNB rendered a masterly Bhairavi followed by the kriti ' Chintayamam ' and a veritable cascade of swaras. The stalwarts were surprised and sat up and began to listen keenly. GNB then took up Andolika raga for spacious treatment and delineated it in his own characteristic style, embellishing it with majestic flashes and impeccable glides. Vaidyanatha Iyer was greatly enchanted by this and promptly moved to a place near the dais.

 Sri Narayanaswamy, a music lover and admirer of GNB, recalls a concert he had attended in 1936 in George Town. Narayanaswamy had with him a young musician hailing from his native place. GNB's alapana of Kalyani was ravishingly delightful. The young musician was amazed and admitted to Narayanaswamy that, after hearing that ' Kalyani ', he had become nervous and the desire to continue in the profession had totally disappeared. He was wondering whether he would be able to render Kalyani in that impeccable fashion even if he worked hard for a number of ' janmas'. With GNB striding the music world like a colossus, many young aspirants of the music world in later days literally got nervous and doubtful whether they could pursue their profession at all.

G.N.Balasubramanium in Movies

 - Randor Guy

G. N. Balasubramaniam- a legend in his lifetime, a legend that still lives even after his lamented departure for the Land of No Return. An icon of classical Carnatic music, immortalised under his famous initials, 'GNB'. Like most Carnatic musicians of yesteryears he too had his brush with Movies during the early decades of Tamil cinema, 1930-1940's. Not many are aware that GNB was the first college -educated man to appear in Tamil cinema when cinema was treated as a dirty six-letter word! He was a B. A, (Hons.) Degree holder and it appeared as a suffix to his name in all the movie ads of the day.

His innings in Tamil cinema yielded only five films. " Bhama Vijayam" (1934), " Sathi Anasuya " (1937), " Sakunthalai" (1940), " Rukmangadhan" (1946) and " Udayanan Vasavadatta" (1946). Only "Sakunthalai" has been permanently and indelibly etched in public memory while old-timers still recall the super hit of early 1930's, "Bhama Vijayam". The rest are forgotten even by film buffs.

Gudalur Narayanaswamy Balasubramaniam was born on January, 6. 1910 and his father, the popular Headmaster of the Hindu High School, Triplicane, Madras, G. V. Narayanaswamy Iyer was a type-cast Tanjorean to the hilt. Music ran in the veins of Iyer and he was on first-name basis and intimacy with the legendary musical stalwarts of the day, Tirukodikaval Krishna Iyer, the violin wizard ( Semmangudi's uncle), Tirumarugal Natesa Pillai, the great nagaswaram-exponent ( T. N. Rajaratnam Pillai's uncle), Palladam Sanjeeva Rao, the famed flautist, and the greatest Roman of them all, Ariyakudi Ramanuja Iyengar. They visited him at his home in Madras and sang often and no wonder music entered the soul, sinews and skin of the young lad, Balu.

" Right from my birth I lived in an atmosphere drenched in music and this helped to nurture, develop and sustain my ardor in music," GNB wrote later.

Blessed with handsome looks, charm, and a malleable melodious voice he received encouragement in music from his learned father. And he did well too in his studies and took his B. A.(Hons.) degree in English Literature in 1930. Like most middle-class Brahmins of the day, his father wished that his son should be a lawyer and move to Luz Church Road, Mylapore where top lawyers lived in their bungalows and garden -houses! But GNB had already made up his mind to be a professional performing musician.

Indeed he took his bow in 1928 when he sang at the Kapaleeswarar Temple in Mylapore, Madras. It was a raving debut He had received training under the noted violinist, Karur Chinnaswamy Iyer and Madurai Subramania Iyer, both neighbors in Triplicane. Besides formal training he had imbibed by sheer mental osmosis listening to the great legends , like Ariyakudi Ramanuja Iyengar and Maharajapuram Viswanatha Iyer.

Soon his fame began to fan out fast and ere long he was a sought-after performer. His style of singing found increasing favour with music lovers and a 'GNB-bani' emerged. And, GNB, the legend was born…..

Not surprisingly Tamil cinema spread out the red carpet to the resplendent rising star and a Coimbatore-based film producer, A. N. Maruthachalam Chettiar signed GNB for his movie. Affectionately known as 'Chellam' he had promoted a film company, 'Chellam Talkies' in association with his pals like the textile mill owner - moneybag of Kovai, P. S. Sathappa Chettiar. Its first venture was " Bhama Vijayam", a mythological about Lord Krishna, Satyabhama and Rukmini. To direct the movie the Hollywood-trained filmmaker, Manik Lal Tandon was engaged and as he knew no Tamil the Coimbatore-lawyer- turned -filmmaker, C. K. Sachi was brought in to assist him. Popular stage stars, P. S. Ratna Bai, P. S. Saraswathi Bai, known as 'Palayamkottah Sisters' or 'Bai Sisters' and M.R.. Krishnamurthy were fixed to play Rukmini, Satyabhama and Krishna respectively.( Krishnamurthi was Maharajapuram Viswanatha Iyer's younger brother and noted stage and screen star of his day. )

To play Sage Narada GNB was brought in. GNB was described in the posters, hand-bills and song books of " Bhama Vijayam" as " Hutchins Gramophone Plate Fame Sangeetha Vidwan" as he was the first recognized Carnatic musician to act in cinema. Hutchins was a gramophone record producing company of yesteryears which had on its rolls prominent artistes to sing for it. Gramophone records were then colloquially called 'plates.'

" Bhama Vijayam" produced at a cost of Rs. 80,000 collected a million rupees. An incredible megabuck for 1930's! Like most Tamil films of the day this film too had as many as 59 songs! GNB sang eight of them in classic ragas, Atana… Sohini… Sindhu Bhairavi… Thodi… Senjurutti.. Yadukulakambhodhi… Hindolam and Hamsanandhi. Interestingly Narada sang compositions of Saint Thyagaraja Swamigal, " Balakanakamaya….." ( Atana) and " Koti nadhulu….. " ( Thodi) as duets with Lord Krishna! That was not all. In the film all characters sang in the end in chorus, "Jana Gana Mana….!'

Soon after the success of " Bhama Vijayam" GNB much to his shock and surprise became a victim of prejudice against cinema which prevailed in that period. He was invited to sing at a festival in Thanjavur and accompanists like the violin and mridangam players refused to accompany GNB because he was only a film actor and not a pure musician! Several senior musicians were unwilling to attend the concert until the brilliant performance of his raga alapana brought them all rushing inside to savor his soul-filling music! Such was the attitudes of society in the early 1930's in the Madras province.

GNB played Narada again in " Sathi Anasuya" (1937). Produced by the Coimbatore -based Premier Cinetone and directed by Frem Sethna GNB got top billing in the credits of the movie. (In a minor role as comedian appeared the later day star and brilliant actor, T. S. Balaiah.) The film had 37 songs with GNB rendering nine songs in ragas, Kamas… Thilang… Bhimplas…Shanmughapriya… Behag… Kaanada… Kedaram… Kambodi.. Kapi and Neelambari. The music composer was Vidwan Govindarajulu with lyrics by L. Nanjappa Chettiar. The film did not fare well and few remember it today.

GNB's next film was the Indian classic and box office hit, Ellis R. Dungan's " Sakunthalai" (1940) in which he played the hero, King Dushyantha of Hastinapura. The heroine was another legend, M.S. Subbulakshmi. In this musical GNB sang only three songs and couple of duets with 'MS". The duets, "Premayil Yaavum….." and " Mana Mohananga Anangey….. issued as gramophone records became popular. Regretfully no discs were cut of GNB's solo songs mainly due to prejudice and professional envy and such reasons. However the 'viruttham' in 'Kambodi' raga, rendered by GNB electrified moviegoers. According to GNB's biographers, T. S. Vedagiri, K. S. Muthuraman and K. S. Mahadevan, the noted nagaswaram expert, Veerusami Pillai saw " Sakunthalai" many a time just to listen the GNB-Kambodi. He would walk in before the piece and walk out after the song sequence was over!

( Maharajapuram Santhanam, a good pal of this writer told him that GNB's rendering of Kambodi inspired him to take to music seriously.)`

Many moviegoers and critics feel to this day that the unlimited musical talents of GNB were not properly exploited in " Sakunthalai". The fact that MS and her husband, T. Sathasivam were the producers did not help GNB!

After a lapse of six years GNB acted in a couple of films which sadly few remember today. One of them was " Rukmangadhan" (1946).Produced and directed by P. S. V. Iyer the film had music composed by Papanasam Sivan and G. Ramanathan. Out of the 17 songs GNB sang five in Asaveri, Sindhu Bhairavi, Shanmughapriya, Navarasakannada and Sarangamallar.

Naradar was played by the noted singer-actress of her day, P. A. Periyanayaki. The film sank without trace.

GNB's final film " Udayanan Vasavadatta" has an interesting 'back story'. Produced by RM. Ramanathan Chettiar of Newtone Studios and directed by T. R. Raghunath the film was launched with fanfare featuring the legendary superstar, M. K. Thyagaraja Bhagavathar as hero and noted singer-actress Vasundhara Devi as heroine. While the shooting was in progress at Newtone Studios, Kilpauk, Madras Bhagavathar was arrested in connection with the sensational Lakshmikantham Murder Case. On account of his imprisonment production ground to halt and GNB was brought in as substitute for Bhagavathar. The arrest of Bhagavathar considered as demo-god in his heyday, the sensational trial that rocked South India and beyond the high seas, the life imprisonment awarded to Bhagavathar, all these proved highly traumatic for the producers. Somehow they plodded on and completed the film wih little involvement and released it. But it bombed at the box office.

Music was composed by Papanasam Sivan and up and coming music director, C. R. Subbaraman The film had fifteen songs out of which GNB sang seven and couple of duets. Those were composed for Bhagavathar and some were also recorded by him but the recording exercise was again gone through with GNB . But somehow it did not jell and created no impact.

And then GNB bade goodbye to movies. Even though he was handsomer than most heroes of his day and sang well he did not make an impact as a film actor. " He took direction well. and as we went along he was improving as actor. Actually I expected him to become as successful hero but somehow it did not seem to happen." Ellis R. Dungan who directed him in " Sakunthalai", told this writer in a long chat in 1994.

A major drawback which GNB had was his predominantly Brahmin accent which he could not shed in spite of his best efforts. With his looks, charm, singing talents and skills GNB could have gone a long way in Tamil cinema but sadly he did not. Well, that's the way the ball bounces in movies, and in life…..!

Other aspects of the movie (as felt by Editor)

1. MS looks ethereal right through the film. 

2. With her large eyes, bright smile and expressions, one can see a different Subbulakshmi compared to her concert persona. She obviously enjoyed acting in the film.

3. Grace is the most appropriate term for describing MS in the film. Whether she is dancing (the only dance she does is a one-minute scene, to express her delight the morning after the secret marriage), or singing or simply standing in the scene, one can feel this grace.

4. Being her husband's home production she is given the prime slot. Her name features in the introductory panel above the film's title (MS Subbulakshmi in Shakuntalai) while others including GNB are shoved off into a common list.

5. Three juniors of the cast are outstanding and they were to carve immortal niches for themselves. These are NS Krishnan, TA Mathuram and Sarangapani (who plays the role of Madhavayya, Dushyanta's companion and jester).

6. The costumes are highly authentic and were obviously taken from such dance dramas as Tagore's.

7. The tunes for some songs were taken from popular pieces in other languages such as Tagore's Ekla color.

8. The dialogue of the film is so highly Brahminical that one gets the feeling that the actors ad libbed their way through.

9. The direction is simply superb and one rarely gets the feeling that a dated film is being watched.

10. The romantic scenes are shot with a high degree of finesse, though GNB looks very uncomfortable in them.

11. GNB's viruttam in kAmbOji and the song in kuntala varALi fully bear out the legendary reputation they have acquired. In appearance he looks regal as the prince. 

12. Some of the other touches show a great degree of sensitivity. When the motley group of ashramites including Shakuntalai come to the King's court, they are made to wait in an ante-chamber. When the guard returns to tell them that the King will see them, the old woman in the group (the character Gautami), is sitting with one leg on the chair just like a rustic. Thereafter when they get up, she picks up her bundle and the guard with complete contempt tells her to leave her belongings where they are. A rishi in the group says that waiting to see a great man is the custom in cities.

13. The average age of the audience was above sixty. A friend asked if the next generation would come to see this film if it was screened ten years hence. They would, if the current generation taught them the value of heritage.

14. My good friend Pradeep Chakravarty, a padam jAvaLi fiend, pointed out a number of shots that were inspired by Ravi Varma paintings of the Shakunatala series. These included Viswamitra Menaka, Shakuntala pretending to remove a thorn and gaze at Dushyanta, the patra lekhan, Menaka Shakuntala and many others.

15. Lastly, a word about Madras. If that is what it looked like then and this how it has become today, cry the beloved city!

Randor Guy