T. R. Rajakumari

Manohara produced by M. Somasundaram. The Sivaji Ganesan-L. V. Prasad production was distinct, becoming a cult classic. Karunanidhi virtually rewrote Mudaliar’s play, introducing interesting changes like the climactic sequence for which he drew inspiration from “Samson and Delilah”, especially the part where the blind Samson pushes the pillars down. Mu. Karunanidhi’s writing was superb with a contemporary touch. His dialogue had punch, satire, wit and humour. Sivaji Ganesan was excellent in his dialogue delivery and P. Kannamba who played the queen mother was equally brilliant. Her line, ‘Poruthathu podhum, pongi ezhu, maganey’, became quite famous.

A king has two wives. He banishes his first wife as an astrologer told him that he would lose his vision because of her son. The mother and son live in the woods and when he meets his father without knowing his identity, the king loses his sight. When the son gets to know about the sad tale from his mother, he sets out to bring a rare flower from Bakavali, which would restore the king's sight. To achieve it, he undergoes many adventures — enters into a debate with a queen and wins the battle of wits, challenges a woman held captive by a crook in a fake dice contest, and rescues a slave dancer of a tribal chief. The hero wins them all and succeeds in getting the flower along with the three women who turn out to be princesses and siblings! Meanwhile, his stepbrothers try to steal the flower, but are exposed.

Sivaji Ganesan plays the younger physician to the king (R. Balasubramaniam) and his wife (Padmini) was modelled on Kannagi as the personification of female virtues. The physician is commanded to the palace to treat the king where the princess (M. N. Rajam) falls for him and virtually enslaves him, preventing him from going back to his wife.

Haridas (Thyagaraja Bhagavathar) is a vain individual who spends his life in luxury and lust ignoring his wife (Vasanthakokilam). But when his wealth is appropriated by a courtesan (T. R. Rajakumari), he realizes life's realities, reforms and spends the rest of his days serving his parents and God.

Sivaji Ganesan plays the role of a prince who is separated from his parents by his father's foe at a very young age. He grew up as a ferocious and vicious cavemen. Then he meets Jamuna, who by her word of love and affection turns Sivaji for good. Both set out to find the secret of Thangamalai to find and save Sivaji's parents.

Sivakavi was a 1943 Indian Tamil-language film directed, initially, by P. K. Raja Sandow and later, S. M. Sriramulu Naidu. It starred M. K. Thyagaraja Bhagavathar, S. Jayalakshmi, Serukulathur Sama, Thripuramba, T. R. Rajakumari, N. S. Krishnan and T. A. Madhuram. The film's screenplay was written by Thiru Muruga Kirubanandha Variyar. The film was shot at Central Studios and released by Pakshiraja Films in Coimbatore.

An illiterate rich landlord Aboobacker Haji married three times and divorced all the three wives. His next aim is to get married again which according to traditions will be his last marriage.

Thanigachalam manages to save Meena from committing suicide. Meena reminds him of his late daughter Uma. Later, Meena tries her best to console Saker who is mourning Uma's death.

Amarakavi (English: Immortal Poet) is a 1952 Indian Tamil language film produced and directed by F. Nagoor. The film featured M. K. Thyagaraja Bhagavathar and T. R. Rajakumari in the lead roles.

Based on the story of the Hindu sage Valmiki who starts as a bandit and eventually undergoes spiritual transformation into a religious mendicant. Valmiki falls in love with a princess,who is kidnapped by the villain

Brothers Veer and Shashank fall in love with Chandralekha. Shashank kidnaps her and forces her to marry him. She requests a special drum dance prior to the wedding. The drums, however, hold a secret.

A fake Godman lusts after a pious courtesan. How her devotion to God transforms both of them forms the rest of the story

After Mangala's husband is sent to prison on a false charge, she, being poor, is targeted by Jeeva who approaches her under the pretext of helping her, but wants sexual favours from her.