The late veteran actor B. Saroja Devi (87), celebrated as Kannadathu Payinkili and Abinaya Saraswathy within the Tamil movie world, starred alongside the good actors of yesteryears — notably the 2 high heroes, M.G. Ramachandran (MGR) and Sivaji Ganesan — and dominated the sphere for many years.
She was forged in MGR’s blockbuster Nadodi Mannan in 1958 after being launched to him by director Okay. Subramaniam, who had earlier directed the movie Kalidas in Kannada. She made her debut buzzing the tune “Maani thedi machan vara poran” in Nadodi Mannan.
Saroja Devi and M.G. Ramachandran within the Tamil movie Padagotti| Picture Credit score:The Hindu Archives
“She had a very photogenic face and was capable of expressive performances. She was one of the magical heroines of Tamil cinema,” stated movie historian Vamanan. He stated by her performances, she turned the quintessential Tamil heroine, embodying the traces “man valaratha perumai ellam manthil valarthavalam” from a tune within the movie Paaga Pirivinai.
Her pairing with Sivaji Ganesan started with the movie Paaga Pirivinai in 1959, directed by Bhim Singh, who went on to direct the well-known ‘Pa’ sequence of movies. Saroja Devi was additionally the heroine in Paalum Pazhamum and Paarthal Pasi Theerum.
Saroja Devi (1938-2025) | In photos
Rajkumar and B. Saroja Devi within the movie Srinivasa Kalyana
B. Saroja Devi within the Telugu and Kannada variations of ‘Amara Shilpi Jakkanna”.
Sivaji Ganesan and Saroja Devi in ‘Pudiya Paravai’. She had paired with Sivaji Ganesan in 22 movies.
M.G. Ramachandran and Saroja Devi in ‘Anbe Vaa’. Making a mark with MGR in ‘Nadodi Mannan’, she acted with the late Tamil Nadu Chief Minister in 26 movies.
Rajendra Kumar and Saroja Devi in ‘Sasural’. She signed up for the Hindi movies with Dilip Kumar, Sunil Dutt and in addition with Shammi Kapoor.
Saroja Devi continued to be among the many highest-paid actresses in Kannada and Telugu movies. She was forged reverse N. T. Rama Rao in movies like Bhagyachakram (1968), Uma Chandi Gowri Sankarula Katha (1968), Vijayam Manade (1970), Mayani Mamatha (1970), Shakuntala and Daana Veera Soora Karna (1979).
B. Saroja Devi was awarded Padma Sri in 1969 and Padma Bhushan in 1992. She was additionally awarded Kalaimamani by the Tamil Nadu Authorities.
After her marriage in 1967, Saroja Devi’s profession in Tamil cinema step by step declined although she was energetic in Kannada films. Regardless of starring reverse with late MGR in 22 movies, her final movie with him was ‘Arasa Kattalai’ in 1967.
On this 1957 photograph, B. Saroja Devi is seen with S.V. Ranga Rao. She additionally dominated Telugu movie trade appearing with N.T. Rama Rao and Akkineni Nageswara Rao.
Saroja Devi was the one Indian actress to play lead heroine in 161 consecutive movies in 29 years between 1955 and 1984
On this 1961, B. Saroja Devi is seen with M.R. Radha. within the movie ‘Thai Sollai Thattathe.’ Her involvement in Tamil movies additionally continued with superhits like ‘Palum Pazhamum’ (1961), ‘Vazhkai Vazhvatharke’ (1964), ‘Aalayamani’ (1962), ‘Periya Idathu Penn’ (1963), ‘Puthiya Paravai’ (1964), ‘Panakkara Kudumbam’ (1964), ‘Enga Veetu Pillai’ (1965) and ‘Anbe Vaa’ (1966).
Within the Sixties, Saroja Devi turned a style icon among the many South Indian girls, who mimicked her saris, blouses, jewelry, hairstyles and mannerisms. Specifically, her saris and jewelry from the Tamil films ‘Enga Veettu Pillai’ (1965) and ‘Anbe Vaa’ (1966) had been popularised extensively in magazines
Sivaji Ganesan and B. Saroja Devi within the Tamil movie ‘Paalum Pazhamum’. Saroja Devi continued starring in Tamil films reverse Sivaji Ganesan after her marriage: ‘En Thambi’ (1968), ‘Anbalippu’ (1969), ‘Anjal Petti 520’ (1969), ‘Arunodhayam’ (1971), ‘Thenum Paalum’ (1971), ‘Paarambariyam’ (1993) and ‘Once More’ (1997).
In her lengthy profession, Saroja Devi mainly opted for romantic movies solely within the Sixties and later sentimental and socially related movies proper from the late Sixties to the Nineteen Eighties.
Twice in 1998 and 2005, Saroja Devi chaired movie juries — the forty fifth Nationwide Movie Awards and the 53rd Nationwide Movie Awards jury. She served because the vice-president of Kannada Chalanchitra Sangha, and as a member of Tirumala Tirupati Devasthanams’s native advisory committee.
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“She acted with my father in over 20 films, and all her films with my father and MGR were hits. Each of her films was an achievement. She was probably the first (lady) superstar of Tamil cinema and maintained that stature till her last days,” stated actor Prabhu, fondly recalling the times she spent along with his household.
“She would pinch my cheeks. We remained close and even spent a New Year in Bangalore with her. I will miss her, but her charming and beautiful face, along with her films, will continue to haunt me,” Mr. Prabhu stated.
“She acted and spoke naturally, as if she were in real life, and she never opted for dubbing. You should watch the song ‘Paalum Pazhamum Kaikalil Enthi’ in the film Paalum Pazhamum to understand her talent. She acted without any makeup to reinforce the character of a person afflicted with tuberculosis. She looked like a pet chick cradled in the palm of its owner when appearing alongside Sivaji Ganesan,” stated movie editor B. Lenin, son of Bhim Singh.
She was additionally fondly known as Abinaya Saraswathi, in recognition of her expressive physique language and facial expressions.
“Cinema is a fantasy, and the role of the heroine is to attract the male gaze. Saroja Devi achieved this in a sensible and graceful manner. The song ‘Love Birds Love Birds’ in Anbe Vaa is a testament to that sensitivity,” stated actor and cinematographer Ilavarasu. He described her expressive eyes, well-defined nostril, romantic physique language, and signature facet pose with a 180-degree eye rotation—all of which may inform a thousand tales.
“There’s a reason why she was called Abinaya Saraswathi. There were no brushes to embellish the eyes at that time. She just used pencils. The way she modulated her eyebrows was another remarkable talent,” Ilavarasu stated.
Her dialogues addressing Sivaji Ganesan as “Gopal” and her nuanced expressions within the movie Puthiya Paravai are thought-about iconic. “In the song ‘Unnai Ondru Ketpen,’ there isn’t much of a role for the hero. It is left to her to carry the scene and retain the audience’s attention. Beauty alone is not enough to achieve that effect. Only a great actor can do it,” Ilavarasu added.
Revealed – July 14, 2025 01:26 pm IST
