The demise of Tamil cinema's doyen, AVM 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 AVM 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.
A producer whose films spoke the language of family and won accolades
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 film went on to win the National Film 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 later 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.
Spotting stars before the industry saw them
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 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 visited AVM Saravanan’s mortal remains to pay his respects, 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. The producer not only spotted talents but also ensured to boost the morale of young and budding artists like Sivakumar, who later went on to become stars. Sivakumar recalled an early career setback when a major sequence of his was edited out of one of his early films. Standing outside Manickam Theatre and in tears, he found solace in Saravanan’s reassurance. The producer encouraged the young actor to persist, promising that a meaningful role would soon find him.
The invisible influencer behind AVM and superstar milestones
Immediately after he began running the show for AVM Studios, Saravanan seemed to have spotted the rising star Rajinikanth, who, having made his debut as a lead in Bairavi (1978), was on a roll with films like Polladhavan and Johnny in 1980. With Murattu Kaalai, he began a collaboration with seasoned filmmaker SP Muthuraman, a frequent collaborator of the studio, and more like a shadow and friend to Saravanan. Interestingly, the film marked AVM Studios' re-entry into Tamil cinema after a long sabbatical since AV Meiyappan's demise and Saravanan's takeover. The rural drama not only became the highest-grossing Tamil film at the time of its release but was also instrumental in establishing Rajinikanth's credentials as a superstar, who was loved across all centres. Saravanan's choice and foresight not only helped his banner make a comeback but also acted as a stepping stone in shaping a superstar's career.
For the studio's 125th film, Saravanan once again joined hands with Muthuraman for a third time after Pokkiri Raja, for Sakalakala Vallavan. For Kamal Haasan, this came after his 100th outing as an actor as well. It is said that the production banner made the film to prove that Kamal Haasan was a "master of all arts", keeping with the title Sakalakala Vallavan, which translates to the same. 25 films after Sakalakala Vallavan, Saravanan chose M Thiyagarajan as the filmmaker for their 150th film, Maanagara Kaaval, which was also Vijayakanth's 99th film and, poignantly, Thiyagarajan's final directorial. In weaving these milestones together, Saravanan became the quiet force who shaped not just the trajectory of AVM but also the careers of the superstars who defined Tamil cinema. He quietly established that AVM was the powerhouse that participated in milestones of actors as well.
A legacy custodian who refused to be traditional
Just before hitting the 150-film mark in 1989, Saravanan envisioned a children’s film with Rajinikanth—fitting, given the star’s massive appeal among younger audiences at the time. That idea became Raja Chinna Roja, marking yet another collaboration with SP Muthuraman. Drawing inspiration from Mary Poppins and The Sound of Music, the team set out to create India’s first live-action film to feature integrated animation. Saravanan was adamant about making it without a single budget compromise; AVM, he felt, had to be the first Indian studio to pull this off. Taking a cue from Who Framed Roger Rabbit, which had been released just a year earlier, he pushed the studio towards this technical milestone. The result was nothing short of groundbreaking. Animator Ram Mohan brought the sequences to life by working on nearly 84,000 frames over just three months. For its time, this wasn’t merely ambitious; it was a full-blown technical leap.
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. Oh, and 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, including the first one for Prabhudheva, the first one for SP Balasubhramanyam in Tamil, and the second one for AR Rahman. It was one electrifying submission to the evolving times.
As though the above contributions were not enough to establish himself as one of the titans of Tamil cinema, in 2007, under his spearheading, AVM produced Rajinikanth-Shankar's Sivaji, which went on to become the first Tamil film ever to enter the Rs 100-crore club.
Attempting to list AVM Saravanan's achievements does not do justice to the man he was and the efforts he took to reinvent Tamil cinema while also proving himself as an apt heir to a legacy. He not only became its most innovative architect but was also a producer who could spot cultural shifts before anyone else and turn them into cinematic milestones.