The film was ( Ali Baba and the Forty Thieves ). The Historical Context: The Race for Colour While Hollywood had embraced Technicolor in the late 1930s (think The Wizard of Oz ), Indian cinema was slower to adopt the expensive and complex technology. The first Indian colour film was the Hindi Kisan Kanya (1937), but it was shot in a crude bipack colour process.
However, colour was still prohibitively expensive. After this landmark film, Tamil cinema retreated back to black and white for another seven years. Colour films remained a rarity until the mid-1960s, when the iconic Karnan (1964, starring Sivaji Ganesan and N. T. Rama Rao) popularized colour on a grand scale using Eastmancolor. Tragically, like many early Indian films, Alibabavum 40 Thirudargalum is now considered a lost film . No known complete prints survive. The Gevacolor stock, while revolutionary, was prone to severe fading and discoloration over time. Attempts to recover prints from private collections or international archives (like the National Film Archive of India) have so far failed. Only a few still photographs and the gramophone records of its songs remain as evidence of its once-vibrant glory. Conclusion: The Forgotten Pioneer When we celebrate the visual splendour of modern Tamil blockbusters like Enthiran or Ponniyin Selvan , we owe a silent debt to a 1956 gamble in a Coimbatore studio. S. M. Sriramulu Naidu took a financial risk to prove that Tamil stories deserved to be seen in all their natural colour.
By the mid-1950s, a few experimental colour sequences had appeared in Tamil films. For instance, the 1952 film Mappillai featured a single song sequence in colour. But a full-length feature film? That was considered financially suicidal. Colour processing was costly, required special cameras, and theatres had to install additional carbon-arc lamps to project the film properly. first tamil colour movie
That all changed in 1956. The man who brought a rainbow to the Tamil screen was not a director or a hero, but a visionary producer and a magician of technology: .
Sriramulu Naidu, known for his technical daring, decided to take the risk. He chose a classic tale from the Arabian Nights —a story of hidden treasure, magical caves, and swashbuckling adventure—perfect for a visual medium. Unlike the famous Technicolor process which required a special, heavy camera, Alibabavum 40 Thirudargalum was shot using Gevacolor . This was a Belgian colour film stock from the Gevaert company (later Agfa-Gevaert). Gevacolor was a single-strip colour negative process that was simpler to handle than Technicolor’s three-strip system, though it required meticulous lighting and exposure. The film was ( Ali Baba and the Forty Thieves )
Alibabavum 40 Thirudargalum was a major commercial success. It ran for over 100 days in multiple centres—a "silver jubilee" hit. The novelty of colour, combined with MGR’s star power and the evergreen story, pulled crowds from villages and cities alike.
While Alibabavum 40 Thirudargalum may be lost to time, its place in history is secure. It is not just the first colour film in Tamil; it is a symbol of the industry’s enduring ambition to push beyond the limits of technology and imagination. However, colour was still prohibitively expensive
The film’s highlight was the cave sequence. When MGR walked into the cavern and the camera panned across piles of shimmering jewels, audiences reportedly gasped. A single black-and-white print could not convey the visual richness of "gold, silver, diamonds, and silk." Gevacolor did.