There is a poignant scene in the film “Pasamalar” and its Hindi rendition “Rakhi,” where the protagonist buys gifts for both his wife and sister. Despite both gifts costing the same, the wife feels her present isn’t as good as the sister’s. S.S. Devadoss, who worked as an assistant director under A. Bhim Singh, reminisces that actor Mehmood related to the scene deeply, saying, “This is exactly what happened in my family.”
Such relatable family dynamics are a hallmark of Bhim Singh’s films. In “Bhagappirivinai,” petty family quarrels escalate into severe conflicts that tear a family apart, portraying an often-seen reality. “Pasamalar” involves a mischievous aunt sowing discord among family members, while “Paar Magale Paar” showcases an egoistic husband’s torment of his long-suffering wife. Situations and characters like these are commonly encountered in everyday life. However, Bhim Singh’s unique storytelling transforms these ordinary occurrences into gripping drama that captivates audiences.
Bhim Singh’s versatility as a filmmaker extended across languages, including Tamil, Telugu, Malayalam, Hindi, and Kannada. His adaptation of Jayakanthan’s “Sila Nerangalil Sila Manithargal” garnered critical acclaim. Bhim Singh’s unobtrusive presence on film sets allowed him to extract authentic performances from actors, whether it was the youthful Kamal Haasan in “Kalathur Kannamma” or seasoned veterans. Devadoss recounts Bhim Singh’s strategic direction during the filming of “Pava Mannippu,” where he would ignite a friendly rivalry between actors M.R. Radha and Sivaji Ganesan to ensure stellar performances from both.
Bhim Singh’s envisioned scenes often facilitated unforgettable songs, with Kannadasan’s lyrics and the musical compositions of M.S. Viswanathan and T.K.
. Ramamurthy aptly capturing the emotional essence. “Vandha naal mudhal,” for example, takes inspiration from “Dekh tere sansaar ki haalat,” echoing the universality of human change and societal transformation.
In “Kalathur Kannamma,” six-year-old Kamal Haasan was directed by Bhim Singh, demonstrating the director’s ability to draw impactful performances from actors of all ages. “Ponaal pogattum poda,” a song from “Pasamalar,” illustrates Bhim Singh’s mastery in merging narrative with song; as animals and birds are shown during the song, the inclusion of non-native species like the proboscis monkey and American woodcock emphasizes the universal nature of human sorrow.
This notion of universality permeates Bhim Singh’s work. Though his stories are rooted in specific locales, they explore the intricate web of human emotions that resonate with audiences globally. For instance, the song “Ponaal pogattum poda,” which implies the hero’s acceptance of loss, is later contradicted by his struggle to cope with his wife’s death, highlighting the ongoing conflict between mind and heart.
Bhim Singh’s production house, Buddha Pictures, produced “Pathi Bhakti,” featuring a lively song blending traditional Indian ragas and contemporary rock and roll. This innovative mix was typical of Bhim Singh’s creative spirit, as seen in “Madras to Pondicherry,” where he incorporated Bill Haley’s “Rock Around the Clock” for a comedic sequence.
Interestingly, Bhim Singh’s principles often led him to make distinctive choices in his career. Devadoss recalls that although MGR, a prominent film star, was impressed with the novelty of a song in “Penn Ondru Kanden” and requested Bhim Singh to direct a film with him, Bhim Singh declined, reluctant to deviate from his preferred filmmaking style.
Kannadasan’s spontaneity in composing verses also found a place in Bhim Singh’s films. The song “Athaan yennathaan” was unused for six years until Bhim Singh chose it for “Pava Mannippu,” with MSV/TKR setting it to tune in just 15 minutes, showcasing the synergy between the director and his collaborators.
Facing financial setbacks due to trusted individuals’ duplicity, Bhim Singh would self-reflect and accept accountability, saying, “I should have been careful. Gullibility will not go unpunished.”
In the late 1930s, a five-acre property in Kilpauk was leased to Newtone Studio, later transferred to Bhim Singh’s Venkateswara Cine Tone. Despite an offer to purchase the land for a considerable sum, Bhim Singh opted to maintain the lease. When Bharatiya Vidya Bhavan expressed interest in building a school on the property, Bhim Singh amicably ended the lease, reflecting his broader vision beyond personal gain.
Bhim Singh’s generous spirit and commitment to societal progress were acknowledged in an article by the Bhavan’s journal editor, Ramakrishnan. This magnanimity, coupled with his cinematic brilliance, solidifies Bhim Singh’s enduring legacy in Indian cinema.
