Showing posts with label Dravidian movement. Show all posts
Showing posts with label Dravidian movement. Show all posts

Wednesday, December 23, 2009

M.G.Ramachandran's Film & Political career - A Critical assessment

M.G.Ramachandran's 22nd Death Anniversary Special

24th of December ... Exactly 22 years earlier, Tamilnadu was a ground of uncontrollable grief and social & political unrest of huge magnitude. The entire state came to a standstill as people were aghast with shock on the death of their beloved Chief Minister, M.G.Ramachandran (MGR). The response was genuine and highly emotional to the extent of a large number of reported self-immolations.


Dinamani dated 25th December, 1987 - Carrying the news of MGR's death.

The following article is a recap of, what MGR was to tamil filmgoing audience and tamil people, in general. Most of the facts presented were borrowed from various media and the output is a result of my understanding of the various inputs I received. The article will try to assess the cinema and political career of MGR and I generally will try to avoid the flowery descriptions that he always gets from any media, print or visual.

MGR starred in his first major film role "Raajakumari (1947)" and for a larger part of his film career spanning 30 years till "Madhurayai Meetta Sundarapaandiyan (1977)", he was the reigning superstar of the tamil filmdom. MGR's popularity as an actor was well pronounced and more readily seen after his own production & directorial venture "Naadodi Mannan (1958)" broke and set new box-office records.

If you leave aside his most obvious box-office capabilities and success, what were his contributions to Cinema, as such ?.

Actor Vs Director
Early 50s were a crucial period for tamil cinema as this period saw the emergence of a large number of films with social themes (transition from Mythology based movies). If not for the star system (MGR & Sivaji Ganesan) that developed during this period, the control of the cinema would have rested with the directors instead of the lead actors. MGR paid ample attention in moulding his on-screen persona and encouraged hero worship. In MGR's case, it is said that, he would interfere in each and every department of his film and that lead to the sidelining of the actual creator of the movie - the director, forever.

The Hero
MGR rewrote almost all the prevalent notions that defined a film's lead actor. In tamil popular culture where moustache is seen as a macho-symbol, MGR never acted with his original moustache. Also, when he made his way into the cinema, the lead actor should be in a position to lend his voice for the songs also. Playback singers weren't popular that time. MGR acted out what a film-hero should and shouldn't do on-screen. He was a definite milestone in tamil cinema's history and even today, actors like Rajinikanth, Vijayakanth and Vijay just follow him. The image of Robin Hood that he left behind was picked up by later generations of actors.


 Enga Veettu Pillai 

Masala Cinema
There is a very common term that we use these days, Masala film. What is a masala film ?. The film won't have a great plot ... The story never stands on its own but on entertaining scene sequences, good songs and stunts. I think MGR institutionalised and popularised this concept ... Sword/Silambam fights, romantic songs with attractively dressed ladyleads were almost universal in his later movies. "Enga Veettu Pillai", "Ulagam Sutrum Vaalibhan" etc offer grand examples of how a masala movie should be made.

Philosophical Songs
One good thing that formed a part of each and every MGR movie is his introductory / thathuvam / philosophical song. They really educated and inspired a generation of audience. Again, the credit for the song was never given to the lyric writer or the singer but to MGR. Even after the defect in his voice (M.R.Radha shot MGR at his throat, 1967), people discussed, "Vaathiyaar paatellam nalla dhan paaduraaru, dialogue pesum podhu dhan prachnai pola", which means, "MGR is able to sing the songs properly but only while delivering dialogues, he has the problem with his voice".


MGR and Latha

MGR never looked at cinema as an art. For him, it was sheer business. For producers, he was the most reliable brand available, MGR would stand for Maximum Guarantee of Returns for them. People never complained or expected real performances from him. They just wanted to watch him on-screen and whistle at his gimmicks for three hours. Interestingly, the MGR fanatics were referred to as "Whistleadichaankunjugal" (விசில்அடிச்சான்குஞ்சுகள்). MGR's films, in a way desensitivised the film-going audiences in Tamilnadu and made them very mediocre. On the other side, if you speak of monotonous performances, even Chaplin did the same. Entertainment is what people looked at and they got it in him. That's how it went !!!

Let's have a look at MGR's Political career.

MGR & AIADMK
It was a complete underestimation of MGR's potentials on Kalaignar's part that brought MGR into the political arena of Tamilnadu. Once he was in, he never turned back and was outrageously successful. MGR was never a serious politician in his beginning years or till the death of C.N.Annadurai in 1969. Annadurai called MGR his "Idhayakkani" and he was generally used by the DMK to mobilise people for political rallies and meetings. Annadurai has once openly commented on the vote-garnering capability of MGR. Out of DMK in 1972, MGR starts his own political party AIADMK and won the state assembly in 1977. What are his political achievements ?. Lets have a look ...


Anna and his "Idhayakkani" MGR

Tamilnadu on a back-foot
MGR's rule during 1977 to 1987 resulted in an apparently visible setback in terms of Industry & Commerce infrastructure and performance of Tamilnadu. The Economic indicators of the state were on a rampant back-foot during his governance. The development activities only slumped during his regime and this should be seen in light of the fact that MGR's party enjoyed a real continuous reign of the state, close to 11 years except for a brief period in 1980. Single party, Single administrator and hence uniform policies & governance should have only elevated the growth of the state, which sadly didn't happen during his period.


 MGR - Jewel of the masses

Populism
MGR was straight from the studio sets of "Madurayai Meetta Sundarapandiyan" to the Chief Minister office and hence his administrative capabilities were below par, atleast during his first term. His government always concentrated on the populous schemes like the mid-day meal scheme etc (Which would keep his votebanks intact) rather than Infrastructure oriented schemes which should have put the state in a good shape in future.

Faction Politics
MGR is credited with setting up a faction-ridden AIADMK and factionist politics saw its peak during his regime. A large degree of misuse of powers and government funds was reported and this only deepened the economic disparities in the state. If it was DMK under M.Karunanidhi which introduced corruption into the state, ADMK under MGR institutionalised and mastered the course. His fans and devotees used to dismiss these facts with a simple explanation, "It is the people around MGR who do all these and that he isn't aware of things around him". Even if that is the case, Can it be called a good governance ?



Glamour Politics
MGR was very much aware of the saleability of his brand and was very consciously preserving his image. He was heavily made-up in all his public appearances. His fur cap and black glasses were only hiding his balding head and sunken eyes - signs of ageing. He never let people knew that he was ageing, for them he was still the same young man romancing with youthful ladies in cinema reels. MGR's brand of politics, the so-called "glamour politics" only set a bad example in the state that almost every actor in this state nurtures political ambitions just after delivering a box-office hit. I completely admit that the filmstars are also part of this democratic system and hence own every right to contest elections and lead people. But "Right" doesn't provide an automatic implication of administrative efficiency, which many of them lack at the outset.

The MGR Phenomemon
His politics never projected AIADMK as a party, it's policies or its plans / manifesto for the state and MGR remained the sole cynosure for AIADMK and its political propagandas. Whenever questioned about the policies, agenda and manifesto of the AIADMK party, MGR never came up with a concrete or complete explanation. He used to blabber Annaism, democracy, socialism, "Naadodi Mannan" etc. Apparently, In AIADMK's political entry and succeeding electoral duels with DMK, the wholesome attention is paid to the MGR Phenomenon only. Interestingly, the then Tamilnadu Food Minister Tirunavukkarasu once said, "We all are zeros.We gain our value because of the number one before us.The number one is MGR". In all the 200+constituencies, people always believed that they were casting their vote for MGR as they punched their ballots on the two-leaves symbol.



Leaderless AIADMK
By the fag end of his political career, MGR was largely sick and was unable to deliver his duties effectively. The party was in dangers of disintegration and there was an apparent unrest among the partymen. As long as he was alive, he successfully kept the party intact but left behind a chaotic and leaderless AIADMK. Lots of turmoil followed before things fell into place under Jayalalitha. This is a more serious blunder on the part of the leader of a party. Literally, the second rung was absent in AIADMK during his premiership of the party and AIADMK still remains so under Jayalalitha. For all these partypeople who call themselves patrons of C.N.Annadurai, Anna was a magnanimous leader who encouraged a second rung leadership in DMK and fondly called them "Thambigal", meaning younger brothers.



That's a lot of criticism. So, What has his government given Tamilnadu. My father gave me the following information and when I asked him, "Is that all ?", he said, "That's it". He was of a firm opinion that, even if MGR would have lived more, his party would have been defeated in the next polls because of apparent administrative negligence on his part and corely corrupt-head politicians of his party.

- Housing scheme for Harijans or the untouchables.
- Good Transport network or town bus facilities to small towns.
- Immensely popular Chief Minister's mid-day nutritious meal scheme.

Mid-day meals scheme
His Mid-day meals scheme has been analysed and applauded worldwide. In 1982, MGR started the noon-meal scheme for children below five years which was then expanded to include pre-schoolers, all primary school children, children up to 15 years of age in rural areas, old age pensioners, the destitute, widows and all pregnant women. The noon meal scheme has had a long run in Tamilnadu with a wider coverage and as a result various indicators of malnutrition showed a downward trend in Tamilnadu during the period.

Summary
Summing up, The relationship that MGR and DMK had before the formation of AIADMK was a symbiotic one. MGR required the party's light on him for a successful cinema career and also, It was the DMK's propaganda cinema and DMK's script writers who provided a kick-start for MGR's film career. DMK also took his services for adding glamour to the party and nobody can deny the importance of the sympathy wave (MGR was shot at the throat, 1967) that put DMK on the political saddle. Later MGR-MK fallout and the formation of AIADMK produced a wholesome shift in the state's politics. MGR's administrative capabilities and his political successes only seem to be an oxymoron, for me.

Wednesday, November 11, 2009

Iruvar (1997) - Six Events that shouldn't have been skipped

Mani Ratnam's Iruvar (1997) remains the only movie in Tamil Cinema that offers a panoramic glimpse into the glorious Dravidian Movement of Tamilnadu.The biopic presents a chronological view into the lives of two of the greatest personalities of Tamil cinema and Tamilnadu's politics, Mu.Karunanidhi and M.G.Ramachandran.


You can only laugh at this disclaimer...

There has been a general consideration that movies are the mirrors of the social, economical and political conditions of a country during a period, but this has never been true in India, I feel. Even during periods of political turmoil like wars, Emergency, Anti-Hindi agitations etc, Our cinema has never chose to speak about them.

Hence, Iruvar being the only torch-bearer that tries to pass the history or legacy of this political and social churning to the next generation of young viewers, We (or rather, I) expect it to be factually exact. Iruvar is a cinematic wonder, no doubt .. The movie's period touch, excellent art direction, lyrical dialogues, brilliant acting, wonderful direction - No flaws, absolutely. It is one movie, I would always like to boast and discuss about when it comes to cinematic quality. But, Factual flaws - ?. There's a huge list of them ... The movie, of course takes care of tiny aspects like Veluthambi's Dhoti wearing style (Annadurai used to tie his dhoti improperly), Anandan's dance movements in songs (A very good replication of MGR's movements), Senthaamarai's bindi etc. But, there is a huge list of misrepresentation of political events and I chose to list only a few of them. I understand that this is a feature film and not a documentary and hence the director owns every right to manipulate around with the screenplay but still ... !!!. I wish he creates a documentary on this by making use of the already-done-extensive-research on the topic.

Please click on the images for a magnified view.

1) The Split in the Dravidar Kazhagam (DK) and the Birth of Dravida Munnetra Kazhagam (DMK) (1949)


There were many instances in the movie where Veluthambi (Read C.N.Annadurai) is addressed  as "Ayya" but E.V.Ramasamy (called Periyaar) has always been the "Ayya" and C.N.Annadurai was fondly called as "Anna" (meaning Elder brother) by his followers and the public. This way Mani Ratnam probably wants to convey that Veluthambi is both the "Ayya" and "Anna" and thus he creates some comfort for him, for the non-inclusion of Periyaar's character in the DMK's saga. Thus, the movie quite misleadingly refers to the birth of Dravida Munnetra Kazhagam (DMK) without any reference to Periyaar and the parent party - Dravidar Kazhagam (DK).

2) Anti-Hindi Agitations (1965)



The most important political and social event in the post-independent Tamilnadu's history should be the Anti-Hindi Agitations of 1965. And, it was a grave injustice that there is absolutely no reference to this radical movement that shook the country during the 60s. The Secessionist politics of the DMK and the original demand for a separate "Draavida Naadu" were also carefully overlooked or ignored.


The only related event that featured in the movie is Karunanidhi's "Kallakkudi Struggle" which in original was organised for the renaming of Dalmiyapuram Railway station as Kallakkudi. But, the movie presented a revolutionary Tamilselvam (Prakash Raj) conducting the demonstrations for the sake of Reservations. And, the punch of the protest was further mitigated by the romantic encounter between Tamilselvam and Senthaamarai (Tabu), in the midst of the turbulent agitations.

3) C.N.Annadurai - The Chief Minister of Tamilnadu (1967)


C.N.Annadurai taking Oath of office after DMK's stupendous success in the 1967 Assembly Elections.



DMK rode the wave with an overwhelming electoral victory in the 1967 Assembly elections capitalising the Anti-Hindi agitations of 1965 and MGR's near-death encounter as he was shot in the throat by M.R.Radha. And, C.N.Annadurai - the then General secretary of the DMK became the first non-congress Chief Minister of Tamilnadu. In the movie, Veluthambi (Nasser) expresses disinterest on heading the state and Tamilselvam becomes the CM with Anandan's (Mohanlal) support. This way, the events that actually took place after Annadurai's death in 1969 - Mu.Karunanidhi becoming the CM with the support of MGR, were pushed ahead by approximately two years.

4) The Birth of Anna-DMK (1972) & The Dindigul by-election (1973)



The cinema entry of Mu.Ka.Muthu (Karunanidhi's son) as a competitor to an ageing MGR, created well-pronounced rifts in an already diminishing MGR-Karunanidhi relationship. Though the magnitude looks small, Mu.Ka.Muthu's "Pillayo Pillai" is still considered an immediate impetus that gave birth to the MGR's Anna-DMK. Thus, Maniammai (Periyaar's mistress) and Mu.Ka.Muthu hold a very important place in the state's political history - the former leading to the birth of DMK from DK and the latter leading to the birth of ADMK from DMK. Both find no mentions in Iruvar.

The Dindigul by-election (1973) - MGR floated his political party ADMK in 1972 and was on a eager wait to prove his political mettle. The first oppurtunity came to him in the form of Dindigul by-election and ADMK's candidate Maayathevar defeated both the DMK and the Congress by a comfortable margin. The victory marked a decisive shift in the politics of Tamilnadu and more importantly, heralded the arrival of MGR in the political scenario of the state. Interestingly, MGR's "Ulagam Sutrum Vaalibhan (USV)" faced a lot of troubles from the ruling DMK at the censors for its release and MGR emerged successful with both actually ... May 12,1973 - Release of USV and May 20, 1973 - Dindigul elections.

These events were absolutely absent in Iruvar, though there has been a small mention about this before "Kannai katti kolladhe" song but Tamilselvam lets the movie through with a criticism of his rule of the state.

5) MGR at Brooklyn and AIADMK's Third Electoral Victory

Operation Bluestar, Indira's Assasination, Anti-Sikh riots (Yeah, in that order), Bhopal gas tragedy - 1984 was arguably the worst year in India's history after independence.



Dialysis, Apollo, Brooklyn - the most discussed words in Tamilnadu in 1984. The entire state was in a prayer mode conducting group-prayer sessions for the good health of their beloved Chief Minister, MGR. MGR was sick and was admitted in the Brooklyn hospital, United States and Jayalalitha Jayaram, R.M.Veerappan and Panruti Ramachandran were on the election campaigns. Apparently, people only required some proof that MGR was still alive and AIADMK used MGR's videos and photographs extensively during the campaign and the party comfortably packed another punch with a decisive third consecutive victory in the assembly elections. MGR came back in 1985 and was sworn in as the Chief Minister of the state, the third time.

Again - No reference.

6) Jayalalitha Jeyaram - MGR's Political Heir



There was a lot of drama in the AIADMK after the death of MGR in 1987, regarding the party premiership - MGR's widow Janaki Ramachandran on one side and his favourite lead lady in the cinemas, Jayalalitha on the other side. But Jayalalitha, with her charismatic personality and iron will was able to win the support of the party and has held the party intact since then. Jayalalitha is by far the most controversial political figure of the state and Iruvar chooses to erase this off the history books - Aarghh !!

Hope you enjoyed the history ride !!!

Wednesday, May 6, 2009

Dominant Phenomenons of Tamil Cinema

Tamil talkie has celebrated 75 years of its Existence last year and Sun TV screened a host of great classics in view of this,last year.I attempted to identify certain dominant phenomenons in our cinema during this 75 year old history.

This account by me might not be a comprehensive one keeping in view that the cinema of a period is largely driven by the socio-economic and political scenario of that period and the expectations of the audience.The following write-up is just an extrapolated interpretation of my understanding of tamil cinema and is sure to have quite a few shortcomings.

1930s to 1940s - Stage plays & Bhajans

Pre-independence era saw movies being used for the propaganda against the British imperialism [Haven't seen any of them...but hearsays and literature say so].Also,we get to see a lot of films in which Gods/dharma up against the Asuras/Adharma.In simpler terms,the films of this period are just minute extensions of the stage-plays and they were absolute dramas.Lengthy dialogues & loud deliverance of the lines and a huge number of songs are characteristics of the Pre-50s cinema.


Haridas - 3 Diwalis at Chennai Broadway

MKThyagaraja Bhagavathar,KBSundarambal and PUChinnappa are considered notable actors of the era.Tamil Cinema's first known comedian NSKrishnan and his wife TA Madhuram gave socially important messages with the comedy tracks.Thyagaraja Bhagavathar's (MKT) "Haridas" successfully completed three diwalis in the Chennai Broadway Cinema hall and MKT is widely regarded as the first superstar of Tamil Cinema.

1950s - Dravidian Propaganda

50s were a period of social renaissance and the Dravidian movement grew leaps and bounds in stature and political satires are a characteristic of 50s cinema. "Parasakthi","Manohara","Naadodi Mannan" are a few important films on this regard.These films are sensational hits and elevated Kalaignar Karunanidhi,the dialogue writer to a superstar status."Parasakthi" marked the entry of Sivaji Ganesan and its courtroom sequence is still remembered for its fiery and satirical dialogues.


Gunasekaran(Sivaji Ganesan) court scene - Parasakthi

Dialogues got their due importance only after Kalaignar happened to the tamil cinema.Annadurai and Kalaignar,both gifted writers and orators took tamil cinema and politics to great heights and used Cinema as a party propaganda vehicle with astounding success.

1960s - MGR,Sivaji & Gemini


60s saw cinema out from all its traditional shackles and directors like Sridhar delivered some of the great romantic flicks.50s and 60s films had some great film stars like Sivaji Ganesan[Played a variety of roles],MGR[Saviour of the down-trodden and poor - Robin Hood] and Gemini Ganesan[Kaadhal Mannan...I need not substantiate].By the end of 50s,Sivaji Ganesan has left DMK and presented himself a congressman.There after he started portraying several historical characters in films like like Veerapaandiya Kattabomman, Karnan,Thiruvilayadal,Saraswathi Sabatham etc.


DMK's trump card in 1967 Elections

Perhaps the most important political event of the decade should be Anti-hindi agitations of 1965.Anti-congress slogans were getting stronger in Tamilnadu and DMK capitalised the issue and came to power in 1967.One more important thing that contributed to DMK's stupendous success in the 1967 assembly elections is the sympathy wave,as MGR was shot in the throat by MR Radha.

Late 60s and 70s - New wave Cinema

Late 60s and 70s saw K Balachander breaking a lot of Cultural taboos in his cinema.It is widely considered that KB brought back the days of tamil drama into the tamil cinema.But nevertheless,we had a lot of great talents making their way into the tamil cinema in his films.Nagesh,Kamalhaasan and Rajinikanth to name a few.
Early 70s marked the fag end of the career of MGR as he became the Chief Minister of Tamilnadu in 1977.As MGR left DMK in 1972 and floated his party ADMK,his films of this period 1972-1977,cemented his saviour of the poor image and also questioned the atrocities committed by the ruling party,DMK.The trend of caching in on the image of an actor in films,that we see in most of Rajini & Kamal movies these days has been set by MGR.The songs of "Naalai Namadhe" and "Idhayakkani" literally spread ADMK's political aspirations,capitalising the halo of the party chief,MGRamachandran.

70s are a period of political turmoil and chaos in India as this period coincides with the Emergency and the restlessness and hatred of the people on the then Indira Gandhi's government can very well be observed in films like "Varumayin niram Sigappu".So,"the angry young man" character represented the anguish of the people on the government.Amitabh Bachhan portrayed this image in his films with an effortless ease,thanks to his tall and rugged persona.The ill-effects of emergency are not felt much in the south,but when Amitabh's movies were remade in the south,Rajinikanth with his rough looks and dark skin portayed those roles quite brilliantly and became an Image of this phenomenon.


Balu Mahendra - Master craftsman

In a pure cinematic sense of Technical excellence and absolute creativity,Late 70s are a golden era for tamil cinema.This period saw a gush of young blood like Mahendran, Bharathiraja,Bhagyaraj,TRajendar,Balumahendra and Rudhraiah who took cinema to the next level.Mahendran popularised the idea of films being inspired from short-stories and novels and his "Udhiripookkal","Johnny" and "Mullum Malarum" garnered wide critical reception and great commercial attention."16 Vayathinile" by Bharathiraja is considered the first film shot outside studios.Sensible film making with beautiful photography amused the audience as Balumahendra wrote,handled camera,edited and directed his films with sheer excellence.

80s - Rajinikanth & Kamalhaasan

Mid 80s had liberal cinema and films are no longer used for political propaganda and absolutely no constructive issues are dealt in films.Films begun to be looked at as full-time entertainers.The concept of masala films is originated by MGR through Enga veetu pillai,Engal thangam,Ulagam sutrum Vaalibhan etc.The baton was carefully relayed to the next generation actors Rajinikanth and Kamalhaasan.If Murattu kaalai and Sagala kala Vallavan haven't happened for Rajini and Kamal respectively,the fate of these actors and the tamil cinema as a whole would have been different.


Rajinikanth as Kaalaiyan in Murattu kaalai

Kamal Haasan chose to remain different and gave himself room to act in a variety of roles and established himself as the greatest actor of his generation and Rajinikanth knowingly or unknowingly multiplied his fan base through formula films.Any description of 70s and 80s cinema would be incomplete if Ilayaraja is left out.He is a genius...

90s & 2000s- Glamour & Masalas


90s are a liberal period and 90s saw India opening itself economically via globalisation.So,society is not the villain any more in films and Dons,Rowdism,terrorism are to be fought by the protagonists.Mani ratnam happened to Indian cinema through "Roja" and he quite boldly dealt with a lot of controversial subjects in Bombay,Uyire,Iruvar,Kannathil Muthamittal etc.
And,people are no longer satisfactorily entertained by south indian women.Gone are the days of Sridevi,Revathi & the like and Khushboo became a sensational success.Aishwarya Rai and Priyanka Chopra first acted in south India before pulling it off big in the Bollywood.This saw a host of North-Indian women imported for lip-moves and hip-moves.The role of a heroine has been cut-short terribly and her role is to dance with the hero for three duets in skimpy costumes.One rain song or swimming pool or beach sequence or bath tub is made compulsory.Simran,Jyothika are extremely successful after a series of exploitative roles in the beginning of their careers.


Paruthi Veeran by Ameer

Late 90s and Early 2000s again saw a new wave with a lot of youngsters like Bala,Ameer,Cheran and Mishkin involving themselves in quite a few creative and quality ventures among the so-called commercial trash.Tamil cinema technicians are world famous...ARRahman,Santosh Sivan,Thotta tharani...to name a few made giant strides in their crafts.

So that was a miniaturised history of tamil cinema in my viewpoint and now comes the all important task of identifying our Dominant phenomenons in our Cinema through these years.

1) DRAVIDIAN POLITICAL TINCH IN CINEMA - KALAIGNAR & ANNADURAI
2) ROBIN HOOD & THE ANGRY YOUNG MAN - MGR & RAJINIKANTH
3) CINEMA OUT FROM STUDIOS - NEW WAVE OF LATE 70s
4) THE GLAMOUROUS HEROINE - EARLY and MID-90s
5) MASALA FILMS & TECHNICALLY SOUND FILMS - LATE 90s and 2000s

Hope I have convincingly went through the history of our Cinema.

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