Ananda dhaagam - Vaa indha pakkam

 Saravanan writes:

Sung by Deepan Chakravarthi & S.Janaki. Lyrics by Vairamuthu. Music by Shyam.

Ponmalar International’s Vaa Indha Pakkam- 1981 starred Pratap Pothen, Uma, Anumanthu, Rajamani & others. It was produced by Jayadevi and directed by Mouli. It was a simple, interesting story (reminiscent, albeit in parts, of Piya Ka Ghar) of the initial, shy days immediately after marriage, the expectations and the disillusionments, the frustrating lack of privacy in the close confines of a typical middle class urban dwelling of an extended family, and the adjustments that go to make marital life all the more pleasurable.

Among the other songs, ‘Ival devathai idhazh maadhulai’ (also Vairamuthu) comes a close second, wherein SPB, escorted by chorus voices, starts sedately enough with the pallavi, but breaking all conventions, VJ converts it into a delightful joy ride with her ‘puli vaalu meesa vecha aalu’, and the song allures in alternating adroitly between the two styles. Three solos by SJ complete the album- the rollicking ‘Swing-swing-swing with me’, the swift classical ‘Naane-- vaa, idhu enna kovam’ (both written by a lyricist called Bedi!) and the short, but superbly etched ‘Meri aawaaz sun-- isme hai bade gun’ (Hindi lines, written by a lyricist, incongruously enough called Pulavar Maari!)

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When, Mouli, known for his hilarious stage dramas, took to film making, he startled everyone with a refreshing, sensitive interpretation of the various complex issues surrounding bigamy (Maangaadu Amman Creations’ Ivargal Vidhyasamaanavargal- 1980), marked by convincing performances by Srividya and Fadafat Jayalakshmi. He followed it up with some interesting films with crisp narratives. After a long sojourn in Telugu Cinema, Mouli is back making Tamil films like Pammal K. Sambandam and Nala Damayanti. Mouli speaks about his film career here :

http://www.rediff.com/entertai/2002/jan/21mouli.htm

Actress Jayadevi, who produced some of Mouli’s movies, and also independently directed some films, talks at length here: (she is wrongly credited with directing Vaa Indha Pakkam, btw)

http://www.chennaionline.com/interviews/jayadevi.asp

Uma (incidentally the wife of Maruda Bharani, and daughter-in-law of lyricist Marudakasi) who made her debut in Vaa Indha Pakkam, shares her memories here:

http://www.hindu.com/mp/2004/01/26/stories/2004012601740300.htm

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Shyam’s fascinating creations like ‘Nenjathil poraadum ennangal’, ‘Vaanam paneerai thoovum’ and ‘Mazhai tharumo en megam’ have earlier found place as SOTD. And though he composed music for only around 25 Tamil films, he will continue to be saluted for his wonderful works therein like ‘ Ponne bhoomiyadi’(Manitharil Ithanai Nirangala), ‘Bhoomadevi pole vaazhum’ (Panchakalyani), ‘Galeer galeer endre’ (Devathai), ‘Unnai padaithathum brahman’ (Nee Sirithaal Naan Sirippen), ‘Pura rendu vaanil sendru’ (Kuppathu Ponnu), ‘Idhayam idhayam’ (Idhayam Pesugirathu), ‘Mazhaikkaala Megangal’ (Kal vadiyum Pookal), ‘Thulli chellum kuyile’ (Kuyile Kuyile), ‘Selvame deiveega malare (Kuzhandhai Yesu), and ‘Muthu muthu punnagaiyo’ (Sandhosha Kanavugal). Even in his last Tamil film- Vilangu- 1987, he showed his class in ‘Sollathaan ninaithen’ (SPB), and when the same tune was intelligently turned to a poignant version (‘Unaithaan azhaithen’- KJY), Shyam makes you sit up and applaud admiringly at his brilliant variations in the orchestration.

For more information on Shyam: http://tfmpage.com/forum/7696.6859.02.29.28.html

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Writes Vairamuthu in his ‘en jannalin vazhiyE’: ‘madhinutppamum, nagaichuvai uNarvum pazhaiyadhai thagarkka vENdum ennum vediguNdu vEtkaiyum udaiyavar naNbar Mouli enbathu avar nirubiththa nijam’. In those early years, Vairamuthu wrote some memorable songs for Mouli like ‘Endhan poovanthil indru vasantham’ (Oru Vaarisu Uruvaagirathu), ‘Kaadhal kanavugale neeradum en ninaivugale’ (Nandri Meendum Varuga) and ‘Paanjaali ivala andha paanjaalan magala’ (Oru Pullankuzhal Aduppodhugirathu).

The lyrics of this song glisten with all the charactersitics (and the mandatory vErvai!) of vintage Vairamuthu. And Shyam, fortified by such lyrical largesse, goes on to compose a song that engrosses, enthralls and ensures encores. The arresting prelude escorts in the scorching awakening of the sultry night, and Deepan and SJ bring to throbbing life the delicious agony of arousal that cannot find release. Deepan’s despair in ‘saayumO’ to her cautioning ‘mooththavar thalaigaL saayattum’, the worried concern in ‘yenamma?’ to her ‘kanniyin mEni vErkkuthE’ declaration, the humorous incredulity in his ‘ada rama!’ at her ‘jannalin kambi paarkuthE’ claim; SJ’s felicitous flexibility in expression in the mischief-filled ‘thooNdaathE’, followed by the imploring ‘thaaNdaathE’, rounding off with the admonishing ‘theeNdaathE’, the infinitesimal silence between ‘kaNNgaL mooduthE’ and ‘aNaikkaiyil kavikkuyil oomai aanathE’—some glorious moments in a song sculpted to absolute perfection!