One thing that Delhi Ganesh knew when he was still active was that filmmakers, co-stars and audiences loved him and what he brought to the table in whatever he did, be it plays, TV. Be it in serials, short films and movies. And people in the neighborhood loved their everyday conversations with him. Two days before his demise, his family said that he was in the dubbing studio, and two days later, he was to shoot. And so, Ganesh went on the path he always wanted to – knowing that he was still appreciated as an artist and person.

Till now, everyone has written about how the former Indian Air Force corporal was unique as an actor. Certainly, he was talented and disciplined. But, above all, he was courageous enough to experiment with a variety of roles, even when he had already made his mark in comedy. Like Ananthu’s religious preacher-singer cigaram (1991), in which he pleads with a young admirer (Ramya Krishnan) to sleep with him, because he cannot marry and fears he will die without knowing about female company. The frustration before the act and the guilt and fear when she discovers she’s pregnant – who else would agree to play a typically unlikeable character in a way that engenders pity? Or director Vasanth S Sai’s extremely jealous old man Payasam In Navarasa (2021) on Netflix, which does something that inspires disgust. Both Anantu and Vasanth. Balachander is from the school, and has seen up close what Delhi Ganesh is capable of – after all, he made his film debut with KB. Patina Pravesam (1976).

And, in all 48 years in cinema, Ganesh never lost his creative generosity, consistently working in films or short films by up-and-coming directors for a fraction of his market rate. It was probably because of his action that my phone buzzed yesterday with voice notes from several young directors, some of which had a noticeable vibration. And, maybe that’s why Delhi Ganesh is the ‘cool’ actor for kids who grew up in the 2000s. To them, he’s Alfred Pennyworth in putty sauce. What if Batman comes to Chennai? Age has not taken away his infinite variety, his intelligence, or made him bitter.

Actor-writer-director and mimicry artist K. Manikandan who directed his heart-touching Narai Ezhuthum Suyasaridham (2015), now on Sony Liv, impressed with the actor’s professionalism. “I was 21, he must have been around 70. The only reply to any instruction would be ‘Appadengala sir, Saringa sir’ (Okay sir, sure sir). We paid him a fraction of his market rate, we were a four-man crew and we shot with a 5D camera, but he gave it the same dedication he gives to a film. And when on the last day I handed over the outstanding payment to him, he said, ‘Mani, keep it. See if you can use it for a film’. Who does that in this day and age?”

Delhi Ganesh kept the set cheerful. Of. in Manikandan Narai Ezhuthum Suyasaridham
Photo Credit: Special Arrangement

Manikandan is known for his mimicry of Delhi Ganesha, but he says that Ganesha was also an amazing mimicry artist. “He used to imitate the voices of Kamal Haasan and Mani Ratnam, he used to show us how he got the Palakkad dialect of Michael Madana Kama Rajan (MMKR), he kept the set a happy place. They shared common things that you would never have heard about otherwise,” explains Manikandan, adding that this was the period when the seasoned actor wondered whether he should quit acting, as he was not getting very interesting roles and He was feeling stable. Then they would not know that they still have another decade of work left.

Director RS Prasanna Kalyan Samayal Sadham (2013) and who is working on his directorial debut stars on the ground, Starring Aamir Khan in Hindi, Delhi fondly describes the time he spends with Ganesh during and after working on a college project. kss,

With Arvind SA on the sets of Dhuruv Natchathiram
Photo Credit: Special Arrangement

In 2010, Arvind SA, now popular as a comedian, approached Ganesh for the short film Dhuruv Natchathiram He was producing as part of his film direction course at the LV Prasad Film and TV Academy in Chennai. Prasanna and Meenakshi Ramani, now his wife, were part of the cast. In a post on

Prasanna played the role of Ganesh’s son in the short film. “He was very affectionate, and when I was nervous to face him in a scene, he made sure I delivered my lines. At the end of the day’s shooting, I told him that if I ever made a film, he would definitely be a part of it.

In Kalyan Samayal SadhamThe veteran actor played the role of future father-in-law Chandrasekaran, who was usually nervous, but after learning that the future son-in-law had erectile dysfunction, he calmed down and encouraged the future son-in-law. “I wrote this part just keeping him in mind, because it was close to the vibe he gave me – of a young man at heart. He is that modern man who is comfortable with his traditional roots. He loved his look of cotton kurta, glasses and moustache. He used to say, ‘Romba cool aakite’ (You have made me cool). If he had not done this, I would have been heartbroken. Then, he came on board for a nominal amount to support new talent.

Ganesh loved his glasses and mustache look Kalyan Samayal Sadham
Photo Credit: Special Arrangement

Director Surya M Narayanan, who made a short film at the age of 19 Unake Uiiranen (2013) with Delhi Ganesh, shares Prasanna’s observations. “On the first day of shooting he said, Surya sir, get ready.” He used ‘Sir’ just to give me confidence and set the tone for that set,” he says. When young Surya shouted ‘Action’ no one moved. Then Delhi Ganesh called her and said that he had a problem with her dress. “As I was adjusting it, he whispered, ‘Surya, first, you’ll say ‘roll camera’, he’ll say ‘rolling’, and then, you’ll say ‘action’, okay?’ He then shouted ‘Ready, Surya sir.’ And that’s how I called my first proper shot.

Prasanna gratefully remembers the many things Ganesh did to empower him as a young director. “Legends like him bring so much knowledge and authority to the set that everyone else follows his lead. He will always be on time, he will ask you what he needs to do. Sometimes, you feel he did it so that others would respect the director. He loved interacting with people on the set. And, even if you sent him early because his part was completed, he would still wait until the call sheet was finished. ‘What if the director decides he wants another shot? Or has forgotten something. I will wait,’ he once told my father. He worshiped his art. And, he never let anyone feel that he had done them any favors. So it is the duty of those who got help to speak about them. And, I don’t think we should call him a ‘character’ artiste. He was an extraordinary artist with great character.”

On his part, Delhi Ganesh felt that working with young directors was a joy. in an interview on The HinduHe said: “Without any preconceived notions, they provide ample creative fodder for the actors. And…they respect talent and age. They motivate me to give my best, but keeping in mind my age, they also ensure that lunch is served to me at exactly 1 pm.”

Ganesh with Kamal Haasan hero
Photo Credit: Special Arrangement

Director Vasanth S Sai may be a big name and National Award-winning director now, but when he came to K. Balachander, he got a chance to share a room with Delhi Ganesh in Courtallam for 60 days while they were shooting. Achamillai AchamillaiYears later, he gave Ganesh one of his finest roles PayasamAs a bitter old man who is very angry with his nephew and does something that arouses disgust in the audience. But Ganesh imbued the character with so much bitterness that it was hard to imagine that it came from someone who managed to find something to laugh about even in sadness.

“KB sir loved him very much because he was very honest. There will never be a mistake in communication or response. In fact, it will only add value to the scene. He helped a lot during this time achmilai Because he was familiar with Tirunelveli language. Years later, I became a producer of a TV series called Senior JunioR and he was my first choice.

“In fact, during PayasamI was hesitant to call him, since he had recently had heart surgery, but I couldn’t think of anyone else. even after two years PayasamWhenever someone told him that they liked it in the film, he used to call me and give feedback. He was grateful for any acting opportunity that excited him. He wanted to keep acting and I’m glad he got the chance to do so till the end. in his autobiography Pillayar Semolina In what has been recently released, he describes his important life with great humour. I would compare him with Nagesh sir, whom he brought in some project. I worked with Nagesh sir rhythm And when I did, I felt almost the same thing. Payasam With Ganesh sir.”

autobiography of ganesh Pillayar Semolina
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Ganesh was known for his collaborations, most of which were comedies, with Kamal Haasan and Crazy Mohan – Avvai Shanmugi And MMKR Rank right at the top. Interestingly, he played two completely different roles in heroAs Iyer, and in Aboorva SagotharargalWhere he played the role of the villain Francis Anbarasu.

Crazy Mohan’s brother ‘Madhu’ Balaji has fond memories of working with Ganesh. “Mohan always called Ganesha his lucky charm. When he wrote for a film, he always insisted that Ganesh be cast in a role. Their association began in 1975 or 1976 when Mohan was writing for Kathadi Ramamurthy, who also introduced Ganesh to the stage. his first play was honeymoon couplelater in Ayya ​​Amma AmmammaThe antics of Ganesh and Ramamurthy brought the play alive. Mohan always felt that if you see a character as a fruit, Ganesh was the actor who could extract even the last crumb out of it with his improvisation. Ganesh was your everyman who could fit into any role, and it is almost impossible to fit into the role he has vacated.”