CHENNAI: The demise of Tamil cinema’s doyen, M Saravanan, has truly marked the end of an era. The lights at AVM Studios may still shine, but the guiding presence that shaped them for half a century has dimmed. Even as stalwarts and superstars pay a visit to the mortal remains of the legendary filmmaker in the iconic AVM studio premises, it is impossible to overlook how profoundly he transformed the banner into a powerhouse that shaped the very grammar of mainstream Tamil cinema.
In 1979, when M Saravanan officially took over the reins of AVM Productions, after the demise of his father, AV Meiyappan, he not only inherited one of India’s oldest surviving production houses but also stepped into one of Kollywood’s most influential legacies. Over three decades, he not only maintained that legacy but modernised and refashioned the studio as time went by. While his contribution to the production house and to Tamil cinema can hardly be condensed into words, here’s an overview of his contributions and how he helped make AVM the house of milestones.
Even before he took charge of AVM Studios in 1979, Saravanan had already demonstrated the sensitivity that would later become the hallmark of his productions. He, along with his brothers M Kumaran and M Murugan, started the Murugan Brothers banner, which backed Naanum Oru Penn in 1963. Through this subsidiary, they backed this AC Tirulokchandar film about a woman and her struggle to prove that she is more than just her appearance and education. The movie went on to win the National Award for Best Tamil Feature Film at the 11th National Film Awards, perhaps the first feather in Saravanan’s cap. It was an early glimpse into the sensibility that would define AVM’s golden era.
Much later, in 1986, the filmmaker backed the voice of actor-filmmaker Visu with Samsaram Adhu Minsaram. Back then, it reflected the emotional landscape of Tamil middle-class family life and delivered a message about familial bonds that continues to be relevant. It ended up bagging the National Award for Best Popular Film Providing Wholesome Entertainment, becoming the first Tamil film to receive the accolade. The award highlighted the producer’s instinct to pick and support grounded and family-driven narratives.
In 1983, AVM Studios, under the guidance of Saravanan, introduced Urvashi through K Bhagyaraj’s Mundhanai Mudichu. When she stepped into the role of Parimalam, a mischievous young girl who transforms into a responsible wife, she was just 13. Though Urvashi has often said that her father knew the founders of AVM, she has remained deeply grateful to the studio for placing such immense trust in her, especially for a role that demanded the maturity of a grown-up woman and required her to match Bhagyaraj’s energy on screen. The faith was well placed: she went on to become one of Indian cinema’s most acclaimed and versatile performers.
Sivakumar, who paid his respects to Saravanan’s mortal remains, has long acknowledged the producer’s role in shaping his career. It was Saravanan who introduced him to cinema in 1965 and rechristened him from Palanisamy to Sivakumar, a gesture the actor honoured years later by naming his own son Suriya as Saravanan. Despite working with the likes of Rajinikanth, Kamal Haasan, and Vijayakanth, Saravanan decided to embrace the modernity of the times when AVM Productions turned 50. He could have worked with any of these stars, but chose to back a debutant director named Rajiv Menon, who wanted the likes of the young Arvind Swamy and Prabhudheva as the leads, alongside the national sensation Kajol. They also decided to rope in AR Rahman for the first time in their production. The result? Minsara Kanavu – a blockbuster that also won three state awards, four national awards.
AVM group, which had been active in the filmmaking business for over five decades, significantly reduced its feature film output, with a final production in 2010. The studio continues to be active in OTT and advertising spaces.
M Saravanan is survived by his son MS Guhan and granddaughters Aruna Guhan and Aparna Guhan.
