Movie – 1969
Early career In Madras (now
Chennai), Jayalalithaa was trained in
Carnatic music, western classical piano and various forms of classical dance, including
Bharatanatyam,
Kuchipudi,
Mohiniyattam,
Manipuri,
Kathak. She learnt Bharatnatyam and dance forms under
K. J. Sarasa. She had also learnt Kuchipudi under Padma Bhushan Guru
Dr. Vempati Chinna Satyam. She became an accomplished dancer and gave her debut dance performance at the Rasika Ranjani Sabha in Mylapore in May 1960. As a child, Jayalalithaa acted in the Kannada-language film
Sri Shaila Mahathme (1961), which starred
Rajkumar and
Krishna Kumari. She was taken to the studio by her mother as she was shooting in the same premises for a different film. While Jayalalithaa was watching the shooting, a problem arose as the child actress playing the
Goddess Parvathy in a school drama scene in the film failed to show up and the producer Neerlahalli Thalikerappa and director Aroor Pattabhi asked Sandhya if Jayalalithaa could act in the dance sequence. Sandhya agreed and Jayalalithaa was swiftly dressed up as Parvathy and the scene was shot in Sri Shaila Mahatme. She played
Krishna in a three-minute dance sequence held on stage in the
Hindi film Man-Mauji (1962) and danced with
Kumari Naaz who played Radha.
Y. G. Parthasarathy ran the drama troupe,
United Amateur Artistes (UAA), which staged English and Tamil plays. Soon Jayalalithaa still a schoolgirl, began acting in some plays of Parthasarathy along with her mother and aunt. She acted in small roles in plays such as
Tea House of the August Moon and
Undersecretary between 1960 and 1964. She also acted as
Portia in a drama named
The Merchant of Venice. Shankar Giri, the son of the then Indian Vice-President
V. V. Giri, saw her small role in the English play
Tea House of the August Moon and was impressed. Shankar Giri approached her mother Sandhya and told he wanted to cast her daughter in an English film called
The Epistle. Sandhya reluctantly agreed with the condition that shooting should be held only during weekends or school holidays. Sandhya had acted in the 1964 Tamil film
Karnan, produced and directed by Kannada film-maker
B. R. Panthulu. Jayalalithaa accompanied her mother to a party related to the film and was spotted by Panthulu, who then decided to cast her opposite
Kalyan Kumar in the Kannada movie
Chinnada Gombe. Since Jayalalithaa would be studying for her PUC in two months' time, Sandhya had declined the offer initially. Sandhya agreed when he promised to finish all shooting within two months in order not to interfere with her education. Jayalalithaa started acting and she was paid . Panthulu kept his promise and completed shooting in six weeks. Jayalalithaa had forgotten all about films after acting in her Kannada debut film and had got ready to attend classes at
Stella Maris as she had the ambition to be a lawyer. But the Kannada debut film became a
blockbuster in 1964 and she became a well-known face. Meanwhile, Jayalalithaa continued acting in Parthasarathy's plays. She played the leading role in plays such as
Malathi,
The Whole Truth, and the dance drama
Kaveri Thanda Kalaiselvi between 1960 and 1966. She made her debut as the lead actress in
Kannada films while still in school, aged 15, in
Chinnada Gombe (1964). The first film with
M.G.R. was B.R. Panthalu's
Aayirathil Oruvan in 1965 and their last film together was
Pattikaattu Ponnaiya in 1973. She made her debut in Telugu films as the lead actress in
Manushulu Mamathalu opposite
Akkineni Nageswara Rao. Her last Telugu release was also opposite Akkineni Nageswara Rao in the film
Nayakudu Vinayakudu, which was released in 1980. She was the first heroine to appear in
skirts in Tamil films. As a heroine, she acted in only one Hindi film,
Izzat, in 1968, where she was paired with
Dharmendra. She had 11 successful releases in Tamil in 1966. In the opening credits of
Arasa Kattalai, for the first time her name was affixed with the phrase "". In 1967 she bought her bungalow, Veda Nilayam, in Poes Gardens for .
Sandow M. M. A. Chinnappa Thevar was on the lookout for a regular heroine for his production after he had fight with the actress
Savitri after the release of
Vetaikkaran, and he signed Jayalalithaa on in 1965. She became a regular heroine for production house Devar films from 1966.
Jaishankar was romantically paired with Jayalalithaa in eight Tamil films including
Muthu Chippi,
Yaar Nee?,
Nee!,
Vairam,
Vandhale Magarasi,
Bommalattam (1968),
Raja Veetu Pillai and
Avalukku Aayiram Kangal, whereas the films
Thanga Gopuram and
Gowri Kalyanam had him play elder brother to her. Jayalalithaa acted in twelve films as heroine opposite
N. T. Rama Rao, in Telugu—
Gopaludu Bhoopaludu (1967),
Chikkadu Dorakadu (1967),
Tikka Sankaraiah (1968),
Niluvu Dopidi (1968),
Baghdad Gaja Donga (1968),
Kathanayakudu (1969),
Kadaladu Vadaladu (1969),
Gandikota Rahasyam (1969),
Ali Baba 40 Dongalu (1970),
Sri Krishna Vijayamu (1970),
Sri Krishna Satya (1972), and
Devudu Chesina Manushulu (1973). Jayalalitha had eight films with
Akkineni Nageswara Rao in Telugu—
Manushulu Mamathalu (1965),
Aastiparulu (1966),
Brahmachari (1968),
Aadarsa Kutumbam (1969),
Adrushtavanthulu (1969),
Bharya Biddalu (1972),
Premalu Pellillu (1974) and
Nayakudu Vinayakudu (1980). She also made a guest appearance in Telugu film
Navarthi (1966). Her films in Telugu also included two with
Krishna and one each with
Sobhan Babu,
Jaggayya,
Ramakrishna and
Haranath. She was given on-screen credit as Kalai Selvi in most of her Tamil films since 1967.
Cho Ramaswamy cast her in the lead role in his directorial venture
Yarrukkum Vetkam Illai. She acted with
Ravichandran in ten films—
Gowri Kalyanam (1966),
Kumari Penn (1966),
Naan (1967),
Magarasi (1967),
Maadi Veettu Mappilai (1967),
Panakkara Pillai (1968),
Moondru Yezhuthu (1968),
Andru Kanda Mugam (1968),
Avalukku Aayiram Kangal and
Baghdad Perazhagi (1974). Her other films with Sivaji Ganesan include
Galatta Kalyanam and
Deiva Magan; the latter holds the distinction of being the first Tamil film to be submitted by India for an
Academy Award for Best Foreign Language Film. Jayalalithaa was paired opposite
Sivaji Ganesan in 17 films. She acted in six films with
R. Muthuraman as a romantic leading pair—
Dhikku Theriyadha Kaattil,
Thirumangalyam,
Kanavan Manaivi,
Avandhan Manidhan,
Suryagandhi,
Anbu Thangai Her 100th film was
Thirumangalyam (1974), directed by
A. Vincent. She was romantically paired opposite
Sivakumar in
Kandan Karunai and
Sri Krishna Leela. Sivakumar played supporting roles in Shakti Leelai, Yarrukum Vetkam Ilali,
Thirumangalyam, Annaivelakanni, Kavalkaran, Motoram Sunderapillai and Ganga Gowri. In 1972, Jayalalithaa was invited to perform with her dance troupe in
Mysore for the
Dussehra exhibition. Due to her busy shooting schedule and health reasons, Jayalalithaa had to cancel the performance at the last minute.
Vatal Nagaraj's Karnataka-based political outfit condemned her for cancelling her dance performance in spite of being a
Kannadiga girl. Jayalalithaa responded by issuing a statement contradicting him in an interview to
Vikatan magazine that she was a
Tamilian and not a Kannadiga. Jayalalithaa was at Premier studio in Mysuru for the shooting of the
B. R. Panthulu's film
Ganga Gowri. The group of Kannada activists from Vatal Nagaraj's outfit got to know of this and invaded the studio premises. The mob surrounded Jayalalithaa and demanded that she withdraw her statement of being a
Tamil woman. Jayalalithaa was defiant even when mob had encircled her. "I am a
Tamil girl, not a
Kannada girl," Jayalalithaa responded loudly in Tamil, refusing to bow even as protestors gathered around her. The heroes of her films never objected to the title of the film being conferred on the female lead played by Jayalalithaa.
Adimai Penn,
Kanni Thaai, and
Kannan En Kadhalan had Ramachandran as the lead male hero but the story and the title was built around the character played by Jayalalithaa. Similarly,
Engerindo Vandhaal,
Sumathi En Sundari,
Paadhukaappu and
Anbai Thedi had Sivaji Ganeshan as the male lead but the title and the story was built around her character. She did many female-centric films where the story revolved on her character, such as
Vennira Adai,
Yaar Nee?,
Kumari Penn,
Nee,
Gowri Kalyanam, Magaraasi, Muthu Chippi, Thanga Gopuram, Avalukku Ayiram Kangal, Annamitta Kai, Vandhaale Magaraasi, Suryagandhi, Thirumangalyam, Yarukkum Vetkam Illai, and
Kanavan Manaivi. She received the title "" from the then Chief Minister
Karunanidhi and also won Tamil Nadu Cinema Fan Award for Best Actress for her 100th film
Thirumangalyam in 1974. Her last film in Tamil was
Nadhiyai Thedi Vandha Kadal (1980). Her last film as the heroine was
Nayakudu Vinayakudu in Telugu, which became the highest grosser of the year in Telugu. Her successful Kannada films include
Badukuva Daari (1966),
Mavana Magalu (1965),
Nanna Kartavya (1965),
Chinnada Gombe (1964) and
Mane Aliya (1964). Jayalalithaa holds the record for having been the Tamil actress with maximum silver jubilee hits in her career—85 hits of 92 Tamil films as main female lead heroine and she also has all 28 films in Telugu as silver jubilee hits. She was the highest-paid Indian actress from 1965 to 1980. She made guest appearances in nine films and six of her films were dubbed into Hindi. She had 119 box office hits between 1961 and 1980, of the total 125 films she did as the main female lead. She made a brief appearance in 1992's
Neenga Nalla Irukkanum. She acted in mythological films like
Kandan Karunai,
Aadhi Parashakti,
Shri Krishna Satya,
Shri Krishna Vijayam,
Shri Rama Katha,
Shri Krishna Leela,
Shakti Leelai,
Ganga Gowri,
Annai Velankanni and
Jesus. Her period dramas include
Ayirathil Oruvan,
Neerum Neruppum,
Mani Magudam,
Adimai Penn,
Ali Baba 40 Dongalu,
Arasa Katalai, and
Baghdad Perazhagi. She acquired the reputation of being a multi-faceted actor equally comfortable in fantasy and mythological genres as well as in modern social dramas and hence in 1969, in Tamil Conference, she was given the tag of "Kaveri Thandha Kalai Selvi". She,
Savitri and
Saroja Devi have been cited as the female superstars of Tamil cinema. She did double roles in eight films. She also sung few songs. During the filming of
Ayirathil Oruvan,
MGR complimented her, comparing her to
P. Bhanumathi. She received Special Award from Filmfare for her performances in 'Chandhrodhayam', 'Adimai Penn' and 'Engirundho Vandhaal' in the years 1966, 1969 and 1970 as the
Filmfare Award for Best Actress was introduced only in 1972. Her performance in
Pattikada Pattanama,
Suryagandhi were critically acclaimed and won her consecutive
Filmfare Award for Best Actress in 1972 and 1973, respectively. From 1968 to 1973, at the peak of her career she took interviews and wrote columns in the magazines like
Bommai. She wrote a column-"Ennangal Sila" in magazine
Thuglak in the 1970s. She also wrote a short story, "Oravin Kaidhigal", for the magazine
Kalki, "Manadhai Thotta Malargal" for
Thaai magazine in the early 1980s. She wrote about her own life in a serialised memoir in the Tamil weekly magazine
Kumudam. In 1980, she decided to voluntarily decline any new film offers. An Australia-based journalist Brian Laul took over the mantle of Piousji ('Khaas Bhat'- The filmi gossip column) wrote an article specifying Jayalalithaa was trying for a comeback but was not being offered any roles. Jayalalithaa chose to respond to him by writing a letter, in which she mentioned that she was not struggling to make any comeback and that she turned down the offer from producer
Balaji to star in
Billa (1980) alongside
Rajinikanth. She added she wanted to pursue other interests and was not interested in pursuing her film career any further. Her closest friends from film industry included
Manorama,
Cho Ramaswamy,
Rajasree,
Jamuna,
Saroja Devi,
Kumari Sachu,
Anjali Devi,
Sowcar Janaki,
Sukumari,
Ravichandran,
R. Muthuraman,
Nagesh,
M. N. Nambiar,
Vennira Aadai Nirmala,
S. A. Asokan,
Jaishankar,
V. K. Ramasamy,
Major Sundarrajan,
P. Susheela,
Sheela,
M. S. Viswanathan,
L. R. Eswari,
R.S.Manohar. She quoted on M. G. Ramachandran, "He was a very warm and caring kind of a person. And after Mother died, he replaced her in my life. He was everything to me. He was mother, father, brother, friend, philosopher, guide. Everything. He sort of took over my life." In many of her interviews she often said she entered films on being asked by her mother and entered politics on request by M. G. Ramachandran. Jayalalithaa had fallen out with MGR in 1973 and was leading a quiet life, reading books and writing for Tamil magazines. In 1981, Chief Minister MGR organised the 5th
World Tamil Conference (
Tamil Thiruvizha) in Madurai, where Jayalalithaa choreographed and performed in a dance-drama titled
Cauvery Thantha Kalaiselvi ("The Artistic Daughter Bequeathed by the Cauvery") on the evening of 9 January. This event revived her relationship with him. Jayalalithaa and
Sobhan Babu starred together in the Telugu film Doctor Babu. While on set, they developed a close friendship, which led to speculation about a personal relationship between them. Although they became friends, sources indicate that rumours of a deeper relationship or marriage were unfounded, particularly since Sobhan Babu was already married at the time. Jayalalithaa openly told in Tamil magazine Kumudum that they were "
going steady". == Early political career ==