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Vijayakumar

Vijayakumar, born Panchaksharam Rangasamy Pillai on 29 August 1943, is an and best known for his extensive career in spanning over five decades. He debuted as a child artist in the 1961 film Sri Valli, portraying the childhood of Lord Murugan, before transitioning to adult roles in the 1970s, where he gained prominence through supporting and lead characters in films across , , , and industries. With appearances in more than 350 films, Vijayakumar earned recognition for performances in critically acclaimed works such as Kizhakku Seemayile (1993), for which he received a State Film Award, and Anthimanthaarai (1996), securing a special prize from the same awards body. His versatility in portraying authoritative fathers, villains, and protagonists contributed to his enduring presence in South cinema, alongside forays into politics as a member of the Congress party in . Married twice, he is the father of actors like and has maintained a family-oriented public image amid personal life events including divorces and remarriages.

Early life

Birth and family background

Vijayakumar was born Panchaksharam Rangasamy Pillai on 29 August 1943 in Nattuchalai village, Pattukkottai taluk, , then within Madras Presidency of British (now [Tamil Nadu](/page/Tamil Nadu)). His father, Rangasamy Pillai, headed the family, with limited detailing his occupation or the household's beyond a modest rural upbringing in pre-independence . No verified information exists on his mother or siblings, suggesting a private family background that did not prominently feature in his later public narratives.

Entry into cinema

Vijayakumar, born Panchaksharam Rangasamy, entered the Tamil film industry as a child artist in the 1961 mythological film Sri Valli, where he portrayed Lord Murugan. The role marked his screen name adoption and initial foray into cinema, driven by an early passion for acting, though opportunities remained limited immediately afterward. In 1964, supported by his uncle, he relocated to at around age 21 to pursue further roles, gradually building presence amid sparse offers following the debut. This period laid foundational experience, transitioning from mythological depictions to broader opportunities in the ensuing decade.

Acting career

Debut and breakthrough roles (1961–1970s)

Vijayakumar entered the as a in Sri Valli (1961), directed by , where he portrayed the youthful Murugan alongside leads and Padmini. This debut role, undertaken at age 18, highlighted his early potential but yielded limited opportunities, with sparse appearances throughout the due to a lack of substantial offers for the young performer. By the early 1970s, Vijayakumar transitioned to more prominent supporting parts, including the role of a friend to the in Ponnukku Thanga Manasu (1973), which provided initial visibility in commercial cinema. His breakthrough arrived in 1974 with the lead role of Tilak, a and love interest, in K. Balachander's , a centered on a middle-class woman's sacrifices amid personal and professional challenges, co-starring Sujatha, , and Jayaganesh. The film marked his first starring turn, earning critical praise for its progressive narrative and contributing to his mainstream recognition, as it challenged conventional heroine portrayals in at the time. Building on this success, Vijayakumar secured additional lead roles in the latter half of the decade, including Madhurageetham (1977), a drama, and Azhage Unnai Aarathikkiren (1979), further solidifying his position as a versatile capable of and dramatic leads amid the era's competitive landscape dominated by established stars. These performances during the established him as a reliable presence in films, transitioning from peripheral roles to central characters and garnering audience appeal for his soft-spoken, introspective screen persona.

Peak period and versatility (1980s–1990s)

During the 1980s, Vijayakumar maintained prominence in after establishing himself in the previous decade, appearing in a range of supporting and character roles that showcased his adaptability across genres including family dramas and action films. His performance as the authoritative father in Mani Ratnam's (1988), which featured dual leads played by Karthik and , marked a career resurgence and emphasized his skill in portraying stern yet nuanced paternal figures amid interpersonal conflicts. This period saw him transition from earlier romantic leads to more mature characterizations, contributing to films that explored themes of duty and hierarchy, with running successfully for over 100 days in theaters. In the , Vijayakumar's versatility expanded further as he balanced authoritative father roles in commercial hits with occasional leads, demonstrating range from benevolent mentors to conflicted elders. Notable examples include his depiction of the village head in (1994), directed by , where he embodied rural justice and family leadership, aiding the film's blockbuster status with collections exceeding ₹10 . Similarly, in (1995), he portrayed Manikam, the principled father to Rajinikanth's protagonist, adding emotional depth to the action narrative and helping the film achieve pan-Indian appeal through over 200-day runs in multiple centers. He also took on a lead role in (1996), a highlighting personal struggles, underscoring his willingness to helm projects beyond ensemble casts. This era solidified Vijayakumar's reputation for reliability in diverse portrayals, often drawing on his real-life gravitas to lend authenticity to patriarchal archetypes prevalent in commercial cinema, while occasionally venturing into rural and introspective characters as in Kizhakku Cheemayile (1993), where he supported themes of land rights and resilience. His contributions during these decades, spanning over 100 films, reflected a shift toward ensemble dynamics amid the rise of younger stars, yet maintained his box-office draw through critically appreciated supporting turns.

Transition to supporting and television roles (2000s–present)

In the 2000s, Vijayakumar shifted toward supporting and character roles in films, often embodying authoritative or elder figures that complemented his established screen presence from earlier decades. This evolution allowed him to leverage his versatility in portraying patriarchal characters, as seen in the 2005 Tamil horror-comedy , where he played Durga's grandfather. Similar roles followed in multilingual projects, including the 2004 Telugu action film as Dharmayya Naidu and the 2005 Tamil drama as a wealthy old man, reflecting a sustained focus on nuanced ensemble contributions rather than leads. His film work extended into the 2010s with occasional appearances, such as in the 2019 Malayalam thriller Driving Licence. Parallel to these cinematic endeavors, Vijayakumar expanded into television starting in 2009, debuting with the Tamil serial Thangam on Sun TV, co-starring Ramya Krishnan, which became a super hit and broadened his audience reach through daily narratives centered on family dynamics. He followed with prominent roles in Vamsam, Raasathi, and Nandhini (2017–2019), where his portrayals of authoritative family heads aligned with his film persona and adapted to television's rigorous shooting demands. After a three-year hiatus, he returned in 2022 with Ooru Oorula Oru Rajakumari, reprising his iconic Nattamai character from the film Natpukkaga, underscoring his enduring appeal in serialized storytelling. This phase marked a pragmatic adaptation to industry shifts, prioritizing depth in ensemble and small-screen formats over solo heroism.

Political career

Involvement in actors' associations

Vijayakumar served as vice-president of the , formally the South Indian Artistes' Association, a key union for South Indian , , and stage actors established in 1952 to address welfare, pensions, and industry disputes. His role, shared with figures like Manorama, was documented in association meetings as early as July 2007, where he participated in executive discussions on member benefits and organizational matters. He retained the vice-presidency until the 's elections on October 18, 2015, amid internal factionalism between panels led by and Vishal. Vijayakumar contested the vice-president position on Sarathkumar's slate in the lead-up to these polls, highlighting his alignment with efforts to maintain continuity in leadership focused on infrastructure projects like the association's building. Although Sarathkumar's panel secured victories in top posts, Vijayakumar did not retain his role, with emerging as a competing vice-presidential . Post-election, he continued advocating for the association, proposing in June 2019 to rename it "Tamil Thai " to emphasize its Tamil-centric identity and historical ties to 's film ecosystem.

Party affiliations and activities

Vijayakumar maintained a long-standing association with the All India Anna Dravida Munnetra Kazhagam (AIADMK), beginning during the leadership of its founder in the late 1970s, though he became politically inactive for a period before formally rejoining the party in 2006. In March 2016, ahead of the elections, Vijayakumar left the AIADMK and joined the (BJP), citing admiration for Narendra Modi's leadership and central government schemes aimed at development and welfare. He expressed confidence in the BJP's potential growth in and committed to campaigning for the party as directed by its leadership. Since joining the BJP, Vijayakumar has participated in party events and supported its initiatives in the state, though he has not contested elections himself. His political activities have primarily involved leveraging his prominence in the film industry to endorse the party's and regional agenda, including advocacy for broader implementation of central policies in .

Personal life

Marriages

Vijayakumar married his first wife, Muthukannu, in 1969. The couple had three children: daughters Kavitha Vijayakumar and Anitha Vijayakumar, and son Arun Vijay. In 1976, Vijayakumar married actress Manjula, whom he met on the set of a film. They had three daughters: , , and Sridevi Vijayakumar. Manjula, who acted in over 30 films, died on July 23, 2013, in at age 59 after a prolonged illness. No divorce from Muthukannu has been reported, and both women were acknowledged as his wives during Manjula's lifetime.

Children and family dynamics

Vijayakumar has fathered at least seven children across multiple relationships, several of whom have entered the film industry or public life. His son, Arun Vijay, born to his second wife Manjula, is an established actor who has collaborated with his father in films such as Pandavar Bhoomi (2001), Maalai Malai (2009), and Maanja Velu (2010). Daughters including Vanitha Vijayakumar, Preetha Vijayakumar, and Sridevi Vijayakumar, also from his relationship with Manjula, have pursued acting careers, with Vanitha gaining notoriety as a television host and film actress. Other daughters, such as Kavitha Vijayakumar and Dr. Anitha Vijayakumar, maintain lower public profiles, the latter working as a physician. Additionally, Arthana Binu, from Vijayakumar's relationship with Binu Daniel, is an actress known for roles in Malayalam cinema, including Shylock (2020). Family dynamics have been marked by public tensions, particularly following the death of Manjula in July 2013, which intensified disputes over and . In September 2018, Vijayakumar filed a complaint at Maduravoyal station against Vanitha, accusing her of attempting to unlawfully occupy family assets, including a house in . Vanitha countered publicly, alleging mismanagement of family resources, though no formal resolution was widely reported. Further strains emerged in July 2023 when accused Vijayakumar of ing into her residence, attempting to break in, and issuing death threats, prompting a case under sections for criminal and . Vijayakumar responded by claiming Arthana's actions stemmed from issues and substance influence, assertions she refuted with video evidence and statements denying any such conditions while providing documentation to support her complaints. Arthana, living separately with her mother post her parents' , described the incident as part of ongoing familial discord. These incidents highlight broader challenges in the , including legal ambiguities from Vijayakumar's overlapping relationships—his 1969 marriage to first Muthukannu remained undissolved when he began living with Manjula in 1976—potentially affecting inheritance claims under . Despite fractures, professional bonds persist, as seen in Arun Vijay's defense of the against campaigns in 2024, where he pursued legal action against a for fabricating family history details.

Controversies

Property disputes with Vanitha Vijayakumar

In 2010, accused her father, actor Vijayakumar, of inducing her mother Manjula into to facilitate the usurpation of Manjula's properties following her death. Vijayakumar denied these allegations, dismissing them as unfounded attempts to tarnish his reputation. The dispute escalated publicly in September 2018 over a house in Ashtalakshmi Nagar, , . Vijayakumar filed a complaint alleging that Vanitha, the eldest from his second marriage to Manjula, had rented the property for a shoot but refused to vacate it afterward, claiming occupancy rights. Vanitha countered that the house belonged to her late mother Manjula, positioning herself as a legal heir entitled to reside there as the first . She further alleged that Vijayakumar had physically assaulted her during an attempt to evict her forcibly. Vanitha has maintained that broader family properties accumulated by Manjula were sold by Vijayakumar primarily to benefit , his son from his first marriage, depriving her and her sisters of their shares. In June 2024, she reiterated these claims in media interviews, describing the fallout as stemming from her refusal to relinquish what she viewed as maternal . No public resolution or ruling on the ownership has been reported, with the conflict highlighting tensions over rights in Vijayakumar's blended family.

Public perceptions of family matters

Public perceptions of Vijayakumar's family dynamics have been predominantly influenced by the ongoing rift with his eldest daughter from his second marriage, , which gained widespread media attention starting in 2018. The dispute originated when Vanitha, who had rented a family-owned in for a film shoot, refused to vacate the premises after the rental period ended, prompting Vijayakumar to file a complaint alleging trespassing and leading to her brief detention on September 21, 2018. This incident, covered extensively in Tamil media, portrayed the family as divided along lines of and loyalty, with Vanitha positioning herself as defending her late mother Manjula's legacy against perceived favoritism toward Vijayakumar's children from his first marriage. Vanitha's subsequent public statements, including interviews in , have further shaped views by alleging that Vijayakumar sold properties acquired through Manjula's earnings to benefit his son , fostering a of patriarchal and inequity in blended families within the Tamil film industry. These claims, while unverified in , have resonated in online forums and tabloid discussions, contributing to perceptions of Vijayakumar as a stern figure prioritizing his first family's interests over subsequent ones, amid his three marriages—to Muthukannu (1969–1971, annulled), Manjula (1971–1995, her death), and Manorama (1995–present). Supporters of Vijayakumar, including other daughters like Vidya and , have remained silent or distanced themselves, reinforcing public impressions of family toward Vanitha's outspokenness. Broader commentary in entertainment media often frames the Vijayakumar household as emblematic of generational conflicts in cinema dynasties, where professional success coexists with private discord exacerbated by property and emotional inheritance issues. Vanitha's history of multiple marriages (four by 2024) and her reality TV appearances, such as on Bigg Boss Tamil in 2019 and 2020, have amplified scrutiny, leading some observers to attribute family tensions to her personal choices rather than paternal actions, though this view lacks empirical substantiation beyond anecdotal reports. Overall, the saga has diminished the family's public image from one of enduring legacy to one marred by unresolved acrimony, with limited reconciliation efforts reported as of 2025.

Legacy and recognition

Awards received

Vijayakumar received recognition for his supporting roles in through state-level honors. He won the for Second Best Actor for his performance in Kizhakku Seemayile (1993). In 1995, he was awarded a Special Prize by the for Anthimanthaarai. Earlier, in 1991, he earned the Cinema Express Award for Best Character Actor for . These accolades highlight his versatility across character-driven roles spanning rural dramas and thrillers.

Influence on Tamil cinema and family legacy

Vijayakumar's extensive filmography, encompassing over 400 roles primarily in since his debut as a child artist in 1961, established him as a versatile performer capable of portraying protagonists, antagonists, and character parts across genres. His breakthrough as a lead in the 1973 film Ponnuku Thanga Manasu solidified his prominence during the 1970s, where he frequently starred alongside major figures like and , contributing to the era's narrative-driven dramas and social themes. Later transitioning to supporting roles amid the rise of newer stars, his adaptability influenced the archetype of the seasoned , emphasizing nuanced portrayals of authority figures, fathers, and mentors in family-centric and action-oriented narratives. This professional footprint extended into a multi-generational family involvement in the industry, with several of his children pursuing acting careers. , one of his sons, has emerged as a leading in films, starring in over 30 projects including hits like Maasai (2024), thereby perpetuating the family's screen presence. Daughters such as and also debuted in cinema during the 1990s and early 2000s, with Preetha appearing in films before retiring in 2002 to focus on family. Grandchildren like actors Vijay Sri Hari and Sreeram Hari have further extended this lineage, participating in projects that highlight familial collaboration. A notable milestone in this legacy occurred in the 2025 film , where Vijayakumar, his son , and grandson Vijay Sri Hari appeared together, marking the first instance of three generations from the family sharing screen space in a single production and underscoring the enduring dynastic structure within South Indian cinema. This pattern reflects broader trends in filmdom, where familial networks facilitate entry and continuity, though Vijayakumar's own emphasis on disciplined training—evident in his background prior to acting—has been credited by family members as shaping their approach to the profession.

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