Leelavathi, the Chaste Wife) is a 1936 Indian Tamil-language drama film directed by Ellis R. Dungan and written by Madras Kandaswamy Mudaliar.

Believing he murdered his friend in a drunken stupor, Krishnamurthy flees to Ceylon while his wife and daughter, played by M. R. Gnanambal and M. K. Mani respectively, are reduced to poverty.

A. N. Marudachalam Chettiar initially wanted to produce a film version of the Madurai Original Boys Company (MOBC) play Pathi Bhakthi, but realised an adaptation was already being made.

Sathi Leelavathi explores themes of temperance, social reform, the Gandhian concept of selfless service and the plight of labourers.

The case was resolved after Vasan testified that both the play and the novel were based on Danesbury House, an 1860 novel written by Ellen Wood, so neither party could claim originality.

Several features of his direction, including shooting by schedule, camera mobility, cabaret dances and less-theatrical acting, became staples of Tamil cinema.

Persuaded by Ramanathan, Krishnamurthy begins to drink alcohol, and becomes infatuated with Mohanangi, a promiscuous woman, promising to pay her ₹50,000 (about US$18,700 in 1936).

After coming to his senses, Krishnamurthy thinks he has murdered Parasuraman and decides to escape, leaving Leelavathi and Lakshmi in the custody of his servant Govindan.

[1][4] Pathi Bhakthi, a Tamil play dealing with alcohol abuse and its effects on family life, was written by Te.

Pavalar's play was rewritten for the Madurai Original Boy's Company (MOBC) theatre troupe by playwright Madras Kandaswamy Mudaliar, and this production was also successful.

[8] Vasan, who had never previously been involved with a film project, was credited in Sathi Leelavathi's opening titles for the original story.

[23] Sathi Leelavathi was one of the earliest Tamil films to be involved in a plagiarism controversy;[10] when it was still in the pre-production stage, MOBC sued Chettiar and Mudaliar for plagiarising Pathi Bhakthi.

[24] The case was resolved when Vasan testified that both Pathi Bhakthi and the novel Sathi Leelavathi were based on Ellen Wood's 1860 novel Danesbury House,[5][25] therefore neither party could claim originality.

[17] The film explores themes of temperance,[26] social reform, the Gandhian concept of selfless service,[27] and labour—in particular the plight of Tamil Nadu labourers in Ceylon's tea estates.

[30] Other MOBC actors who made their screen debuts with the film were N. S. Krishnan,[f] T. S. Balaiah, and M. G. Ramachandran, appearing as comedic character Balu, antagonist Ramanathan, and a police officer respectively.

[36][37][38] Ramachandran appeared in Pathi Bhakthi as the antagonist's henchman Veeramuthu,[39][40] but MOBC owner Sachidanandam Pillai did not offer him a role in the film adaptation.

[42] According to Ramachandran, he was told he would play Detective Sreenivasan and later Krishnamurthy's friend Parasuraman,[43][44] but he was cast as Inspector Rangiah Naidu—a role he disliked.

[1] The casting of Krishnamurthy's wife Leelavathi was difficult; no actress was willing to play the character because the script required her to be physically abused and mistreated by her inebriated husband.

In one scene, the orchestra sat under a nearby tree playing the harmonium, tabla and other instruments while Radha's character sang at a tea plantation [59] The film's cinematographers were D. T. Telang and V. J.

[63] While "Karumbu Thottathile" is about the plight of bonded Indian labourers in Fiji, "Theyila Thottathle" follows the problems of tea-plantation workers in Ceylon.

[65] The other songs featured in the film were "Thaayadhu Vayatrile Maayamai", "Thodudaiya Seviyan Vidai", "Hello Yennudaiya Dear", "Adhigha Sinamaen", "Paadhai Theriyamale", "Ini Yenna Seighuvaen Dhaeviyae", "Sadhikaaramaaranovubaanam", "Kaami Satthiyamaa Kannatthaik", "Pudhu Nilaa Mughap Poomaan Punniya", "Kallae Kadavuladaa Thambi", "Vaazhvinilae Maghaa Thaazvadaindhaenaiyo", "Undheepara Adhi Unnadha Thakkaliyae" and "Raattinamae Kadhar Poottinamae Kai".

[1] Sathi Leelavathi was released in theatres on 1 February 1936,[66] and became a major commercial success; according to film historian Aranthai Narayanan, this was due to Radha, Balaiah's and Krishnan's performances, Vasan's publicity, and support by independence-era politicians of the anti-alcohol movement.

[70] Politician C. Rajagopalachari, a frequent critic of cinema, also appreciated the film's Gandhian ideals and pro-prohibition stance[71] but said "the main artiste in a [charkha]-spinning sequence did not know how to handle it".

[25] Playwright and retired sub-judge Pammal Sambandha Mudaliar praised Radha for performing a "difficult part very creditably" and said the music was appropriate.

[1] The Illustrated Weekly of India called the film more "interesting, natural and convincing" than the source novel, and praised the plot's continuity and climax.

According to Sundararajan, the techniques helped the actors to emote and showcased Dungan's talent; however, the audience thought the lighting in the first scene was poor and that the film was stuck in the second.