Saroja Devi: The Kannadathu Payinkili and Abinaya Saraswathi of Tamil cinema

The late veteran actor B. Saroja Devi (87), celebrated as Kannadathu Payinkili and Abinaya Saraswathy in the Tamil film world, starred alongside the great actors of yesteryears — particularly the two top heroes, M.G. Ramachandran (MGR) and Sivaji Ganesan — and dominated the field for decades.

She was cast in MGR’s blockbuster Nadodi Mannan in 1958 after being introduced to him by director K. Subramaniam, who had earlier directed the film Kalidas in Kannada. She made her debut humming the song “Maani thedi machan vara poran” in Nadodi Mannan. Having acted in 26 films with MGR, Saroja Devi is the second actor after Jayalalithaa (28 films) to have been paired with him.

“She had a very photogenic face and was capable of expressive performances. She was one of the magical heroines of Tamil cinema,” said film historian Vamanan. He said through her performances, she became the quintessential Tamil heroine, embodying the lines “man valaratha perumai ellam manthil valarthavalam” from a song in the film Paaga Pirivinai.

Her pairing with Sivaji Ganesan began with the film Paaga Pirivinai in 1959, directed by Bhim Singh, who went on to direct the well-known ‘Pa’ series of films. Saroja Devi was also the heroine in Paalum Pazhamum and Paarthal Pasi Theerum.

Saroja Devi (1938-2025) | In pictures

Rajkumar and B. Saroja Devi in the film Srinivasa Kalyana

B. Saroja Devi in the Telugu and Kannada versions of ‘Amara Shilpi Jakkanna”.

Sivaji Ganesan and Saroja Devi in ‘Pudiya Paravai’. She had paired with Sivaji Ganesan in 22 films.

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 films.

Rajendra Kumar and Saroja Devi in ‘Sasural’. She signed up for the Hindi films with Dilip Kumar, Sunil Dutt and also with Shammi Kapoor.

Saroja Devi continued to be among the highest-paid actresses in Kannada and Telugu films. She was cast opposite N. T. Rama Rao in films 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 also awarded Kalaimamani by the Tamil Nadu Government.

After her marriage in 1967, Saroja Devi’s career in Tamil cinema gradually declined though she was active in Kannada movies. Despite starring opposite with late MGR in 22 films, her last film with him was ‘Arasa Kattalai’ in 1967.

In this 1957 photo, B. Saroja Devi is seen with S.V. Ranga Rao. She also dominated Telugu film industry acting with N.T. Rama Rao and Akkineni Nageswara Rao.

Saroja Devi was the only Indian actress to play lead heroine in 161 consecutive films in 29 years between 1955 and 1984

In this 1961, B. Saroja Devi is seen with M.R. Radha. in the film ‘Thai Sollai Thattathe.’ Her involvement in Tamil films also 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).

In the 1960s, Saroja Devi became a fashion icon among the South Indian women, who mimicked her saris, blouses, jewellery, hairstyles and mannerisms. In particular, her saris and jewellery from the Tamil movies ‘Enga Veettu Pillai’ (1965) and ‘Anbe Vaa’ (1966) were popularised widely in magazines

Sivaji Ganesan and B. Saroja Devi in the Tamil film ‘Paalum Pazhamum’. Saroja Devi continued starring in Tamil movies opposite 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 long career, Saroja Devi chiefly opted for romantic films only in the 1960s and later sentimental and socially relevant films right from the late 1960s to the 1980s.

Twice in 1998 and 2005, Saroja Devi chaired film juries — the 45th National Film Awards and the 53rd National Film Awards jury. She served as the vice-president of Kannada Chalanchitra Sangha, and as a member of Tirumala Tirupati Devasthanams’s local 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,” said actor Prabhu, fondly recalling the days she spent with his family.

B. Saroja Devi and Sivaji Ganesan in a scene in the Tamil movie ‘Paalum Pazhamum’
| Photo Credit:
The Hindu Archives

“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 said.

“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,” said film editor B. Lenin, son of Bhim Singh.

She was also fondly referred to as Abinaya Saraswathi, in recognition of her expressive body 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,” said actor and cinematographer Ilavarasu. He described her expressive eyes, well-defined nose, romantic body language, and signature side pose with a 180-degree eye rotation—all of which could tell a thousand stories.

“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 said.

Her dialogues addressing Sivaji Ganesan as “Gopal” and her nuanced expressions in the film Puthiya Paravai are considered 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.