Tamil Love Quotes

சுட்டும் விழிச் சுடர் தான் கண்ணம்மா சூரிய சந்திரரோ வட்டக் கரிய விழி கண்ணம்மா வானக்கருமை கொலோ பட்டுக் கருநீலப் புடவை பதித்த நல்வயிரம் நட்ட நடுநிசியில் தெரியும் நட்சத்திரங்களடீ

சாத்திரம் பேசுகிறாய் கண்ணம்மா சாத்திரம் ஏதுக்கடீ ஆத்திரம் கொண்டவர்க்கே கண்ணம்மா சாத்திரமுண்டோடீ மூத்தவர் சம்மதியில் வதுவை முறைகள் பின்பு செய்வோம் காத்திருப்பேனோடீ இது பார் கன்னத்து முத்தமொன்று

சோலை மலரொளியோ நினது சுந்தரப் புன்னகை தான் நீலக் கடலலையே நினது நெஞ்சின் அலைகளடீ கோலக் குயிலோசை உனது குரலின் இனிமையடீ வாலைக் குமரியடீ கண்ணம்மா மருவக்காதல் கொண்டேன்

Manglish is the Malaysian form of English. It’s superior to Singlish when you’re in Malaysia and inferior when you’re in Singapore. It’s known for its love for Malay, Cantonese, Tamil, Mandarin, and Hokkien. Occasionally, there are English terms, too. It’s different from Indian English, which is spoken with a punchy tone, or British English, which is an endangered language in London. A key distinction between Manglish and Singlish is Manglish’s recognition of Tamil words. Singlish denies the existence of inferior Tamil words.

அன்பிலார் எல்லாம் தமக்குரியர் அன்புடையார் என்பும் உரியர் பிறர்க்கு.

Tamilians love to irritate non-Tamil speakers by speaking in Tamil only.

கண்மணியின் கண் வளைவு நெளிவுகளில் களவு போனது என் இதயம்!!!

தீர்த்தக் கரையினிலே-தெற்கு மூலையில் செண்பகத் தோட்டத்திலே, பார்த்திருந்தால் வருவேன்-வெண்ணிலாவிலே பாங்கியோ டென்று சொன்னாய் வார்த்தை தவறிவிட்டாய்-அடி கண்ணம்மா! மார்பு துடிக்கு தடீ! பார்த்த விடத்திலெல்லாம்-உன்னைப்போலவே பாவை தெரியு தடி! மேனி கொதிக்கு தடி!-தலை சுற்றியே வேதனை செய்கு தடீ! வானி லிடத்தை யெல்லாம்-இந்த வெண்ணிலா வந்து தழுவுது பார்! மோனத் திருக்குதடீ! இந்த வையகம் மூழ்கித் துயிலினிலே, நானொருவன் மட்டிலும்-பிரி வென்பதோர் நரகத் துழலுவதோ? கடுமை யுடைய தடீ!எந்த நேரமும் காவலுன் மாளிகையில்; அடிமை புகுந்த பின்னும்-எண்ணும்போது நான் அங்கு வருதற் கில்லை; கொடுமை பொறுக்க வில்லை-கட்டுங் காவலும் கூடிக் கிடக்கு தங்கே; நடுமை யரசி யவள்-எதற் காகவோ நாணிக் குலைந்திடுவாள். கூடிப் பிரியாமலே ஓரி-ராவெலாம் கொஞ்சிக் குலவி யங்கே ஆடி விளை யாடியே,-உன்றன் மேனியை ஆயிரங் கோடி முறை நாடித் தழுவி மனக்-குறை தீர்ந்து நான் நல்ல களி யெய்தியே பாடிப் பரவசமாய்-நிற்கவே தவம் பண்ணிய தில்லை யடி!

நின்னை சரணடைந்தேன், கண்ணம்மா நின்னை சரணடைந்தேன் பொன்னை, உயர்வை, புகழை விரும்பிடும் என்னை கவலைகள் தின்ன தகாதென.. நின்னை சரணடைந்தேன், கண்ணம்மா நின்னை சரணடைந்தேன் மிடிமையும் அச்சமும் மேவி என் நெஞ்சில் குடிமை புகுந்தன, கொன்று அவை போக்கின தன்செய லெண்ணித் தவிப்பது தீர்ந்திங்கு நின்செயல் செய்து நிறைவு பெறும்வண்ணம் நின்னை சரணடைந்தேன், கண்ணம்மா நின்னை சரணடைந்தேன் நின்னை சரணடைந்தேன், கண்ணம்மா நின்னை சரணடைந்தேன் துன்பம் இனி இல்லை, சோர்வில்லை சோர்வில்லை, தோற்பில்லை நல்லது தீயது நாமறியோம் நாமறியோம் நாமறியோம் அன்பு நெறியில் அறங்கள் வளர்த்திட நல்லது நாட்டுக! தீமையை ஓட்டுக நின்னை சரணடைந்தேன், கண்ணம்மா நின்னை சரணடைந்தேன்

மாலைப் பொழுதிலொரு மேடை மிசையே வானையும் கடலையும் நோக்கி யிருந்தேன்; மூலைக் கடலினையவ் வான வளையம் முத்தமிட் டேதழுவி முகிழ்த்தல் கண்டேன்; நீல நெருக்கிடையில் நெஞ்சு செலுத்தி, நேரங் கழிவ திலும் நினைப்பின்றியே சாலப் பலபலநற் பகற் கனவில் தன்னை மறந்தலயந் தன்னில் இருந்தேன். ஆங்கப் பொழுதிலென் பின்பு றத்திலே, ஆள்வந்து நின்றெனது கண்ம றைக்கவே, பாங்கினிற் கையிரண்டுந் தீண்டி யறிந்தேன், பட்டுடை வீசுகமழ் தன்னி லறிந்தேன்; ஓங்கி வருமுவகை யூற்றி லறிந்தேன்; ஒட்டு மிரண்டுளத்தின் தட்டி லறிந்தேன்; ‘வாங்கி விடடிகையை யேடி கண்ணம்மா! மாய மெவரிடத்தில்?’என்று மொழிந்தேன். சிரித்த ஒலியிலவள் கைவி லக்கியே. திருமித் தழுவி“என்ன செய்தி சொல்”என்றேன்; “நெரித்த திரைக்கடலில் என்ன கண்டிட்டாய்? நீல விசும்பினிடை என்ன கண்டிட்டாய்? திரித்த நுரையினிடை என்ன கண்டிட்டாய்? சின்னக் குமிழிகளில் என்ன கண்டிட்டாய்? பிரித்துப் பிரித்துநிதம் மேகம் அளந்தே. பெற்ற நலங்கள் என்ன?பேசுதி”என்றாள். “நெரித்த திரைக்கடலில் நின்முகங் கண்டேன்; நீல விசும்பினிடை நின்முகங் கண்டேன்; திரித்த நுரையினிடை நின்முகங் கண்டேன்; சின்னக் குமிழிகளில் நின்முகங் கண்டேன்; பிரித்துப் பிரிந்துநிதம் மேகம் அளந்தே, பெற்றதுன் முகமன்றிப் பிறிதொன் றில்லை; சிரித்த ஒலியினில்ன் கைவி லக்கியே, திருமித் தழுவியதில் நின்முகங் கண்டேன்.

Sometimes in Dohnavur we, who dearly love the little children about us (and the older ones too), have looked up from some engrossing work to see a child beside us, waiting quietly. And when, with a welcoming hand held out, to the Tamil "I have come," we have asked "For what?" thinking, perhaps, of something to be confessed, or wanted, the answer has come back, "Just to love you." So do we come, Lord Jesus; we have no service to offer now; we do not come to ask for anything not even for guidance. We come just to love Thee.

உன்னை விரும்புகிறேன் முதல் முதலில் பார்த்த பார்வையிலேயே என்னை கவர்ந்துவிட்டாய் வாழ்க்கை உன்னிடத்தே என முடிவு செய்துவிட்டேன் நம்மிடம் நாமே கேட்டுக்கொள்ளும் ஒரே கேள்வி நாமா இப்படி மாறி போனோம் என்று கோபம், தாபம், வெட்கம், மௌனம் இவையனைத்தும் நம் வாழ்வில் வந்த வண்ணமே உள்ளன நம்பிக்கை வேரூன்றி கொண்டது இருவரிடமும் நாம் காதலித்த முதல் நாள் முதல் இன்று வரை ஊடலும் கூடலும் ஒருங்கே ஒட்டிக்கொண்டன காமம் என்பதே மறந்து காதல் மட்டுமே குடிகொண்டு விட்டது . "காமம் இல்லாமல் காதல் இல்லை.. ஆனால் காமம் மட்டுமே காதல் ஆகாது" இதை நம் காதலே நமக்கு உணர்த்தியது.. உன்னை போல் என்னால் யாரையும் காதலிக்க இயலாது காதல் என்பதையே நாம் நம்மிடம் தானே கண்டு கொண்டோம் உன்னில் உன் உள்ளத்தில் வாழ விழைகிறேன் உன்னை விரும்புகிறேன்!!

Mumbai is the sweet, sweaty smell of hope, which is the opposite of hate; and it's the sour, stifled smell of greed, which is the opposite of love. It's the smell of Gods, demons, empires, and civilizations in resurrection and decay. Its the blue skin-smell of the sea, no matter where you are in the island city, and the blood metal smell of machines. It smells of the stir and sleep and the waste of sixty million animals, more than half of them humans and rats. It smells of heartbreak, and the struggle to live, and of the crucial failures and love that produces courage. It smells of ten thousand restaurants, five thousand temples, shrines, churches and mosques, and of hunderd bazaar devoted exclusively to perfume, spices, incense, and freshly cut flowers. That smell, above all things - is that what welcomes me and tells me that I have come home. Then there were people. Assamese, Jats, and Punjabis; people from Rajasthan, Bengal, and Tamil Nadu; from Pushkar, Cochin, and Konark; warrior caste, Brahmin, and untouchable; Hindi, Muslim, Christian, Buddhist, Jain, Parsee, Animist; fair skin and dark, green eyes and golden brown and black; every different face and form of that extravagant variety, that incoparable beauty, India.

Theirs is the stoneless fruit of love Whose love is returned.

பிறந்தநாள் வாழ்த்துக்கள் என் இனியவனே... மனிதனாகப்பெற்றவன் அனைவரும் சஞ்சரிக்க விரும்பும் அழகான அனுபவத்தை தந்தவன் நீயே!!! விழிகள் சந்தித்த மறுகணமே இதயங்கள் இடமாற்றம் செய்து கொண்டன.. என்னுடைய அன்புக்கும் அரவணைப்புக்கும் உரிமையானவனே... உன்னைப் பிரியும் ஒரு நொடி கூட நரகம் தான்.. உன் வெற்றிக்கு பரிசாகவும் தோல்விக்கு மருந்தாகவும் நானிருக்க விழைகிறேன்.. என்னுடையவனின் பரிசாக எந்நாளும் வாழ விழைகிறேன்! என் மனதை வென்றெடுத்த என்னவனுக்கான பிறந்தநாள் பரிசு நானும்! என் கவிதையும்!

It must be said here that ‘Bharat Mata ki Jai’ is not an attribute of patriotism, but of deep patriarchy. Extreme mother-love is a camouflage for extreme misogyny. Over the past few years in India, the nature of the violence inflicted on women during rapes, riots and caste retributions is of an order seldom witnessed before in any part of the world, except perhaps, in Bosnia during the civil war, or in the Congo, or in Sri Lanka during the final moments of the pogrom against the civilian Tamil population there. From the barbarity of the jawans of the Assam Rifles on Manorama Devi, to incessant mass rapes by soldiers in Kashmir, to the graphic and horrific brutalities (that were videotaped) on even pregnant women in Gujarat in 2002, to the Nirbhaya case in Delhi, there is no evidence to prove that devotion towards an abstract ‘Bharat Mata’ translates into even a semblance of affection or respect for real flesh-and-blood women. Indeed, here it is only literally the flesh and blood that seems to matter. Add

What a joy this book is! I love recipe books, but it’s short-lived; I enjoy the pictures for several minutes, read a few pages, and then my eyes glaze over. They are basically books to be used in the kitchen for one recipe at a time. This book, however, is in a different class altogether and designed to be read in its entirety. It’s in its own sui generis category; it has recipes at the end of most of the twenty-one chapters, but it’s a book to be read from cover to cover, yet it could easily be read chapter by chapter, in any order, as they are all self-contained. Every bite-sized chapter is a flowing narrative from a well-stocked brain encompassing Balinese culture, geography and history, while not losing its main focus: food. As you would expect from a scholar with a PhD in history from Columbia University, the subject matter has been meticulously researched, not from books and articles and other people’s work, but from actually being on the ground and in the markets and in the kitchens of Balinese families, where the Balinese themselves learn their culinary skills, hands on, passed down orally, manually and practically from generation to generation. Vivienne Kruger has lived in Bali long enough to get it right. That’s no mean feat, as the subject has not been fully studied before. Yes, there are so-called Balinese recipe books, most, if I’m not mistaken, written by foreigners, and heavily adapted. The dishes have not, until now, been systematically placed in their proper cultural context, which is extremely important for the Balinese, nor has there been any examination of the numerous varieties of each type of recipe, nor have they been given their true Balinese names. This groundbreaking book is a pleasure to read, not just for its fascinating content, which I learnt a lot from, but for the exuberance, enthusiasm and originality of the language. There’s not a dull sentence in the book. You just can’t wait to read the next phrase. There are eye-opening and jaw-dropping passages for the general reader as Kruger describes delicacies from the village of Tengkudak in Tabanan district — grasshoppers, dragonflies, eels and live baby bees — and explains how they are caught and cooked. She does not shy away from controversial subjects, such as eating dog and turtle. Parts of it are not for the faint-hearted, but other parts make you want to go out and join the participants, such as the Nusa Lembongan fishermen, who sail their outriggers at 5.30 a.m. The author quotes Miguel Covarrubias, the great Mexican observer of the 1930s, who wrote “The Island of Bali.” It has inspired all writers since, including myself and my co-author, Ni Wayan Murni, in our book “Secrets of Bali, Fresh Light on the Morning of the World.” There is, however, no bibliography, which I found strange at first. I can only imagine it’s a reflection of how original the subject matter is; there simply are no other sources. Throughout the book Kruger mentions Balinese and Indonesian words and sometimes discusses their derivations. It’s a Herculean task. I was intrigued to read that “satay” comes from the Tamil word for flesh ( sathai ) and that South Indians brought satay to Southeast Asia before Indonesia developed its own tradition. The book is full of interesting tidbits like this. The book contains 47 recipes in all, 11 of which came from Murni’s own restaurant, Murni’s Warung, in Ubud. Mr Dolphin of Warung Dolphin in Lovina also contributed a number of recipes. Kruger adds an introduction to each recipe, with a detailed and usually very personal commentary. I think my favorite, though, is from a village priest (pemangku), I Made Arnila of the Ganesha (Siwa) Temple in Lovina. water. I am sure most will enjoy this book enormously; I certainly did.” Review published in The Jakarta Globe, April 17, 2014. Jonathan Copeland is an author and photographer based in Bali. thejakartaglobe/features/spiritual-journey-culinary-world-bali

அவள் பௌர்ணமி ஒளியின் குளுமையில் அவனுடைய காதலே நினைவுக்கு வர... அவனைத் தேடி அலைந்தாள்... முழு சந்திரனின் வெண்மையில் அவன் முகத்தையே அவள் கண்டாள்... அவனுக்காக ஏங்கித் துடித்தாள்... விண்மீன்களோ அவளையே நோக்குவது போல இருந்தது... இப்படியொரு அழகான சூழலில் அதை அனுபவிக்க முடியாமல் தவித்தாள்.... அவனை அவளுடைய காதலனை எண்ணி ஏங்கும் பேதைப் பெண்..

What is funny though is how, with time, people seem to have forgotten that it was this period that really made Rahman what he is. The man is Tamil and Tamil music was how he started out, and some of his best songs are in Tamil. On 8 July 2017, AR performed at Wembley Stadium in London, a concert titled Netru, Indru, Naalai (Tamil for ‘yesterday, today, tomorrow’). Soon after the concert, Twitter went berserk with a number of fans who’d attended the concert taking to social media to attack the composer, accusing him of playing ‘too many Tamil songs’. Some claimed that they’d walked out of the show in protest. AR addressed the issue politely and diplomatically. He reasoned that he had ‘tried his best’, was grateful to his fans and loved them for all they’d given him. As for the walking out bit, he said that some people always tend to leave the venue before he finishes a concert. He said there would always be pockets in the seats, here and there, by the time he got to the end of a show. His actual response though was quite brilliant. For his next set of concerts in Canada, AR cleverly released two posters for two different shows—one of which would be Tamil songs only and the other Hindi songs only. That one move said more than all his statements to the media.

Mani Ratnam is by no stretch of the imagination an expressive person. He does not show much emotion, except in his stories. But that does not mean he doesn’t feel it in real life. ‘I was stunned that day,’ he says, some twenty-five years later. ‘I could not believe what I was hearing. The music he played for me that day, it was fabulous.’ AR thought, at the time, that Mani Ratnam hated his music. ‘I didn’t think he would ever come back,’ he says.2 But a few days later, the director got in touch with AR and told him that he’d like to sign him on for his next film—as music director. ‘I love a lot of stuff,’ he said. ‘Let’s meet and I’ll tell you what will work for me.’3 It was a decision that would end up altering the course of AR’s life, as well as Tamil, Indian and world music and cinema.

அடித்துக்கொண்டு பறந்தன. ஆயிரம் பதினாயிரம் குயில்கள் ஒன்று சேர்ந்து இன்னிசை பாடின. மலை, மலையான வண்ண மலர்க் குவியல்கள் அவன் மீது

Once I reach my home, I will start reading basic sciences, Texts available right now and hidden somewhere for comparative analysis. Then only I will choose the place to go, But I would like to go to Nalanda somehow but before That I need to assimilate completely, and all necesssary back ground and basic readings and works are needed, Why I again focus on Nalanda means, My previous life ancestary with Rajputs, I love them and hate them . But if I enter Nalanda, That should not affect other people at all. That is why basic readings and comparative analysis is required. I can not read them in Bangalore as it it completely artificial and money minded, so unique and richness of true nature is not here. Real star gazing is required, I e night stars and Morning stars with exteme temperature to withstand, then only whatever I read will show the real meaning and how to manage it without harming others. Whatever I know and ought to know are completely personal. Sancrit if I touch completely it is against my context i e Tamil, But if I do not touch completely it is against my souls journey hereafter. So I have to do comparative analysis before starting Sanskrit again that was forgotten long by me. Yes I made Sanskrit to be forgotten because it is sometimes dangerous. Tamil temples turned into Tamil worships. But I have to read them again to remember. Hidden things.

See, as per vedas, Ganapathy is a goddly creature born for shiv and parvati and he has three consoles and ganeshloka as abode. But as per mythics and legends and epics these goddly creature will take multiple reincarnations or avatars and I was born as son of krishnamoorthy not shiv and I chose a path of sarawati even after reading all hindu relgious texts. Because I visualized my path, my goal is in biological research and space exploration an for that I needed universal knowledge although as shivs son also had universal knowledge but trapped in family cycle and he said parents are universe, but for space exploration in this reincarnation he needed different parents. still parents are universe but path is biology and space exploration thats why i had to choose saraswati as my goddess as she is goddess of universal knowledge although she is not exactly Indian. But Previous cycle also touch christianity and Rajput clans, so I am Indian and always Indian. Tamil as my land of birth, I love them and I dont want to see them as slaves but as respectful Indians. So they need to change a lot. And north indians are ncessary for national importance so whatever they are doing can not be avoided. Karnataka is a place of business, Andhra is place of family, culture. Maharashtra is misusing Ganapathy, Kerala poor souls. Everywhere there are criminals and I dont care about them what I care is respectful and peacful life for all humans on the world. Only nations I doubt are China and Sri Lanka. I am going on my path as it was predetermined, but choosing biology on which instituion (Obviously other than China, North Korea and Srilanka) - Rest of the world is accepted as long as terrific brothers i e Pakistan is not going against peace. All other nations will understand the importance of peace although they have issues among them. In science, if extreme is required kindly do 100% safe regulations after getting opinions from each and every human and biodiversity and climate change as concerns on that location

But because divorce was so unheard of in middle-class Indian society, people looked at divorcées with a sort of incredulous shock and wonder, as if they were somehow criminals. They were ostracized from everyday life because of an invisible scarlet D hovering over them. Meanwhile, Second Wave feminism in the United States was changing attitudes about how women were treated in the workplace and in society, and how unmarried women were perceived in particular. Women were challenging age-old notions of their place in the world. Western media was full of unafraid, smart American women who published magazines, were marching in DC, and were generally making a lot of noise. No such phenomenon had reached our Indian shores. I’m sure my mother had read about the ERA movement, Roe v. Wade, and bra burnings. She, too, wanted the freedom to earn a living in a country where she wouldn’t be a pariah because of her marital status. We could have a fighting chance at surviving independently in the United States, versus being dependent on her father or a future husband in India. Conservative as he was, my grandfather K. C. Krishnamurti, or “Tha-Tha,” as I called him in Tamil, had encouraged her to leave my father after he witnessed how she had been treated. He respected women and loved his daughter and it must have broken his heart to see the situation she had married into. He, too, wanted us to have a second chance at happiness. America, devoid of an obvious caste system and outright misogyny, seemed to value hard work and the use of one’s mind; even a woman could succeed there. My grandfather was a closet feminist.

Apart from Kallenbach, Gandhi had also written about his new friend to his Tamil protégé C. Rajagopalachari (popularly known as Rajaji). Gandhi’s letter has been lost, but we do have fragments of Rajaji’s reply. Where Mahadev was approving of, or at least acquiescent in, the development of the relationship, Rajaji was dismayed. In his letter, Gandhi seems to have suggested that Sarala and he were thinking of taking the friendship a step further. What this was is not clear—perhaps a public proclamation of their ‘spiritual marriage’? Rajaji wrote back that this would bring ‘unutterable shame and ruin’ to Gandhi, and destroy ‘all saintliness, all purity, all asceticism, all India’s hope’. That Gandhi had even contemplated such a step filled his protégé with horror. ‘How could you venture out,’ wrote Rajaji agitatedly, ‘when in your boat was the faith and fate of millions of simple souls who if the boat had capsized would have seen neither beauty nor love nor grandeur, but unspeakable shame and death.’ Rajaji had met Saraladevi briefly, and been unimpressed. ‘I fail to see any “greatness” in the lady,’ he wrote to Gandhi. ‘She is like a hundred other women, whom a little education makes very attractive. I have seen scores of bigger-minded [and] better-souled women.’ Rajaji thought Saraladevi was ‘not worthy to unloose the latchet of Miss Faring [a Danish missionary who admired Gandhi and joined the ashram] and as to Mrs Gandhi, it would be like comparing a kerosene oil Ditmar lamp to the morning sun...' Rajaji chastised Gandhi, but blamed Saraladevi too. ‘It is difficult to forgive her reckless indifference to consequences,’ he remarked. He advised Gandhi to ‘pray disengage yourself at once completely: No delay is allowable when you hold such great trusts’ (namely, the fate of the nation itself). This was a brave and necessary letter: brave because few of Gandhi’s Indian admirers ever criticized him directly; necessary because Gandhi does not seem to have recognized the enormous risks of the step he was contemplating. Gandhi’s asceticism was a vital part of his mass appeal. Although polygamy was allowed under Hindu law, Hindu myths and Hindu social custom were both strongly in favour of monogamous marriages. Had Gandhi publicly taken another wife, albeit even a ‘spiritual’ one, it might have massively eroded his standing among his fellow Hindus, endangering the wider movement for political and social change that he was leading. Gandhi was taken aback by Rajaji’s forthrightness, and he did heed his advice—in part. He would not publicly take Saraladevi as his spiritual wife, but he would not—or not yet—disengage from her completely.

Writers are generous, kind hearts who gift love wrapped in words.

Writers are generous, kind hearts who gift love wrapped in words.

Dravidian politicians mostly divide people by language. I am Tamil and I love Tamil that does not necessarily mean to hate other languages

RRR movie review - Actually showing what east India company did for Indians is very emotional I agree, But What I saw in that movie is war was everywhere on history. It is not only british vs India or Musilm vs Hindu, everywhere there were war, remembering past is fine but remembering past should not provoke revenging attitude, even if you have revenging attitude , then you should find a love to erase that revenging attitude, even in this film in climax Bheem get united with that white girl, it shows true love, just like Ram and Seeta, Love all, There was a Tamil film Madharasapattinam where a white girl loves a South Indian guy. Love has no language if it is true, if it is tantra or cheating then it needs language. If there is true love within a girl, then she will find anyhow a way to talk with his man, and if there is true love within a boy, he will find a way to get into her, and if there is no true love , they will get satisfied by what they get - Slipper Shot answer RRR - Good movie, Ram and Sita, Bheem and White girl

நீ என்னைத் தேர்ந்தெடுக்கும் போது, ​​எது வந்தாலும் தவிர்க்காமல் இருக்க முயற்சி செய்ய வேண்டிய கடமை உனக்கும் இருந்தது, விட்டுச் செல்ல விரும்பினால் காதலில் விழாதே

Anmol Rane , is a man who belongs to the land of Shree Yamuna river . He born in a village situated at the bank of Yamuna river . He born on 28 september 2003 at Gaba Hospital YamunaNagar . He born with some illness . The illness which can not be seen but can feel . As he started joining his school he was not a common person like other . People used to make him bully and make to feel him ashemd because of his mental illness and physical appreance . Anmol was not mentally strong when he join the school he has many friend but he didn't come into the touch of someone who understands him mentally and can help him to grow . He joined Gian Deep High School , Sandhali where he come into the touch of Mr. Parveen Kamboj. He look into the condition of Anmol and help him to grow mentally and physically with his personal guidance . He helped Anmol to grow mentally . He came to know that Anmol have some special skills than others which make him different from others . This was the reason he loves Anmol personally and support him like his own son . As Anmol grows his schooling was complete . Than he joined Maharaj Aggarsain Public school , Gumthala Rao to complete his 12th . Here he met more individuals who are like him but not the same . Anmol get the guidance of experienced with effectivness teacher who helped him to grow mentally and make his stronger but he missed one thing there that was his personal assistance of friends he do not have such friends to whom he can connect and make him mentally strong. As of now Anmol is pursuing his graduation in business administration . To know more about Anmol's Life you can follow him on Instagram by Clicking here

In my opinion, the largest spoken language in the world is love irrespective of the largest spoken language in India, Hindi or Telugu or Tamil

கண்ணே!! உன் விழியின் புன்னகையில் மயங்கிக் கிடக்கிறேன்.. உன் விழிகளில் மாயம் இருக்கிறது போலும்.. ஏனெனில் உன் விழிகளை கண்டவுடன் நான் உறைந்து விடுகிறேன் உன் விழி பேசும் கவிதை நான் மட்டுமே வாசிக்கிறேன் அந்த விழிவில்களின் வர்ணம்தான் என்ன? என்னை கண்டவுடன் கொஞ்சும் செல்ல சிரிப்பும் கோபத்தில் கனல் கொண்ட பார்வையும் வெட்கத்தில் கமலத்தைப் போல பூத்துப் பூரிப்பதும் அடடா!! இந்த விழிச்சிறை போதுமடி.. என்னை ஆயுள் முழுதும் சிறையில் அடைத்து வைக்க. என்னவளின் சிறையில் என்றென்றும்

To fall in love successfully, you don’t want too much self-awareness.

TAMIL THERIYADHU PODA, TIRUMAAL SRI MURUGA PERUMAL

... Liberation Tigers of Tamil Eelam. They would blow themselves up to take others with them, targeting symbols and representatives of the state; they would attack civilians and eat cyanide to avoid imprisonment. They would kill other Tamils who did not agree with them—other rebels, politicians, and even civilians. They would fight against a government that shelled, starved, and tortured its own citizens. They would renounce their families and bring children and women into their ranks. They would be called terrorists. They would enter into a world in which no one was right.

They are the saints who gave up the joys of youth for freedom they so dearly loved.

Udhayanidhi Stalin, Nayantara, Chaya Singh, Santhanam latest Tamil movie Idhu Kathirvelan Kadhal - Movie Review, Movie Rating, Movie News, Cast and Crew Details and much more @ iluvcinema.in Movie Name : Idhu Kathirvelan Kadhal Director : S.R.Prabhakaran Producer : Udhayanidhi Stalin Music Director : Harris Jayaraj Cast & Crew : Udhayanidhi Stalin, Nayantara, Chaya Singh, Santhanam

Director: Sripriya Producer: Rajkumar Sethupathy Screenplay: Aashiq Abu Story: Abhilash Kumar,Shyam Pushkaran Starring: Nithya Menen,Krish J. Sathaar,Naresh Music: Aravind-Shankar Cinematography: Manoj Pillai Editing: Bavan Sreekumar Studio: Rajkumar Theatres Pvt Ltd Sri Priya is back with her new venture titled ‘Malini 22 Palayamkottai’ with actor Krish, son of Malayalam actors Sathar and Jayabharathi. Actor Krish was ready for the negative shades of ‘Malini 22 Palayamkottai’, remake of malayalam film ‘22 Female Kottayam’ when none were ready to play the role with adverse shades. To make a mark in 40th year of Sripriya's venture in Tamil industry, she has come up with a theme carrying crime against women and to reveal the social issues in present scenario through ‘Malini 22 Palayamkottai’ Tamil movie. ‘Malini 22 Palayamkottai’ Tamil film is directed by Sripriya. The revenge thriller movie is produced by Rajkumar Theatres Pvt.ltd. ‘Malini 22 Palayamkottai’ movie casting Nithya Menon, Vidyulekha Raman, Krish J Sathaar and Kota Srinivasa Rao was initially set to release on 13 December, 2013 along with ‘Madha Yaanai Kootam’ and ‘Ivan Vera Mathiri’. However, due to several issues the films release was postponed. Producer Rajkumar Sethupathy’s ‘Malini 22 Palayamkottai’ film is directed and written by his wife Sripriya. ‘Malini 22 Palayamkottai’ Tamil movie has music composed by Aravind-Shankar. Confident producer Rajkumar Sethupathy who has complete faith on his wife Sripriya stated – “My wife has decades of experience in cinema and I myself have starred in several films. While I immersed myself in business, she has remained in touch with the industry taking a brief break to take care of our children. However, with the kids old enough to take care of themselves now, she has the time to get back to the other thing she loves: cinema. She’s already directed a couple of films, but this one is different because of the theme. She watched the original and she asked me to watch it too. I knew right away that if we were going to start our own home productions, this movie was the best way to begin.” Sripriya expressing her thoughts about the film said, ‘Malini 22 Palayamkottai’ was the huff that she had bounded within herself. ‘Malini 22 Palayamkottai’ portrays the exploitation against women and revenge from the gender. However, the revenge thriller flick ‘Malini 22 Palayamkottai’ is set to release on 24 January, 2014.

Director: Saravana Rajan Producer: Dayanidhi Azhagiri Written : Saravana Rajan Starring: Jai,Swati Reddy Music: Yuvan Shankar Raja Cinematography: Venkatesh S. Release Date: Jan 24, 2014 Editing: Praveen K. L, N. B. Srikanth Director Saravana Rajan’s debut comedy thriller ‘Vadacurry’ features actors Swati Reddy and Jai in lead role. ‘Vadacurry’ is produced by Dhayanidhi Alagiri with Yuvan Shankar Raja’s music. Bollywood actress Sunny Leone has shaken her legs for ‘Vadacurry’ Tamil film’s dream song with actor Jai in Bangkok. The shooting of the song was held in December 2013. It’s a dream sequence of Jai’s character in the ‘Vadacurry’ where, Sunny will be grooving with him. Sunny was given half-sari, bangles and anklets to portray a typical south Indian look in this song. However, the hot diva loved trying these accessories to shake her legs for her debut film in Kollywood ‘Vadacurry’. ‘Vadacurry’ Tamil movie’s cinematography is handled by Venkatesh. ‘Vadacurry’ team started rolling on floors from August 19, 2013. Interestingly, ‘Vadacurry’ Tamil movie’s music composer Yuvan Shankar Raja is cousin of director Saravana Rajan. Director Saravana Rajan has followed the steps of his tutor Venkat Prabhu in coining food names as title for his movie ‘Vadacurry’ that matched with Venkat Prabhu’s recent release ‘Biriyani’. The charming beauty Anusha Dhayanidhi has made a debut as costume designer in ‘Vadacurry’. Anusha Dhayanidhi has transformed the looks of female lead Swathi in ‘Vadacurry’ Tamil film. It should be noted that ‘Subramaniyapuram’ pairs, who had portrayed good chemistry have joined this comedy entertainer ‘Vadacurry’. However, ‘Vadacurry’ Tamil film is ready to be served on 24January, 2014 to give a punch of full-on comedy with its taste and essence.

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