In celebratation of Lata Mangeshkar's birthday today...
Lata's forays in Tamil in the 80s in songs such as Aaraaro aaraaro, valaiyosai gala galavena, engirundho azhaikkum, inge pon veenai for Ilaiyaraja were all hugely successful and found repeated airtime.
However, not may remember that Lata had sung in Tamil way back in the 50s. Presenting here two of those vintage numbers from Vaanaratham.
Vaanaratham was the dubbed Tamil version of the Hindi film Udan Khatola. According to some accounts, the film was produced by Naushad himself. (Vaanaratham came under the banner ‘Naushad Ali Presents’) Udan Khatola-1955 starred Dilip Kumar, Nimmi, Suryakumari, Jeevan, Agha, Nawab, Amar, Roopamala, Tuntun & others. It was scripted by Azmi Bazidpuri and directed by S.U.Sunny.
Udan Khatola was a loose adaptation of the classic Lost Horizon, a fantasy adventure novel by James Hilton (also the author of that moving ‘Goodbye, Mr.Chips’). It is a widely acclaimed classic tale of a group of people whose plane crash lands in a remote part of the Himalayas- Shangri-La –a Utopian land where everything is just perfect. Lost Horizon was filmed twice- the 1937 version by Frank Capra, starring Ronald Colman & Jane Wyatt, is considered a landmark film. The 1973 version was a musical by Charles Jarrot, starring Peter Finch & Liv Ullmann.
Udan Khatola is particularly remembered for its enthralling songs. Music by Naushad. Lyrics by Shakeel Badayuni. Songs were sung by Lata Mangeshkar (‘Na ro yae dil kaheen rone se’, ‘Hal ye dil mein kya karoon, ‘Ghar aaya mehmaan koyi’, ‘Mera salaam le jaa’, ‘Sitaron ki mehfil’) & Mohammed Rafi (‘Mohabbat ki raahon mein’, ‘O door ke musaafir’ and ‘Na toofaan se khelo’).
Kambadasan was engaged to write the lyrics for the Tamil songs. Talented as he was, he found it daunting to coming up with plausible lines to match the sequence in synchronization with the preset tunes. Naushad got two of Lata’s songs recorded in the voice of Balasaraswati, the males songs were sung by T.A. Moti, and Lata sang the remaining songs herself.
The sheer sweetness of Lata’s voice overshadowed the errors in pronunciation (her Tamil pronunciation seems to have improved by leaps and bounds when she came back to sing for Ilaiyaraja in the 80s) and the songs became popular. I knew that they were a huge Radio Ceylon draw, for I have heard them being played in the Mandha marutham programme even as late as in the 80s. I was in for a further surprise, though. In 2014, while on a business visit to Penang, I heard ‘En ullam vittu odathey’ (Hamare dil se na jaana in Hindi) being requested for in a listeners' choice program of a local Tamil radio station. The listener who had requested for the song, a woman from Kulim, recalled how as a young girl she had watched Vaanaratham being screened in a make-shift ‘tent’ in a rubber plantation. She said that they were thrilled to hear Tamil songs being sung by Lata. As the aged listener’s raspy voice faded, the dulcet vocals of Lata came on air… Driving across the old Penang bridge (the new one was nearing completion at the time) and listening to the song, I was left ruminating over the timeless appeal of music and the associated memories….
காலம் வந்தது....கதை முடிந்து போகிறேன்..
Down Memory Lane with G.K.Venkatesh- Part 4
-Saravanan Natarajan
Again, though he had earlier made a mark in songs for films like Naatakala Raayudu-1969, it was in these intermediate years that GKV made a significant impact in Telugu cinema as well - his compositions in films like Zamindarugari Ammayi-1975, America Ammayi-1976, Tharam Marindi, Chakradhari-both 1977 and Ravanude Ramudaite- 1979 became immensely popular.
GKV had to wait for four years for another opportunity in Tamil to come his way.
We see him venture into Tamil again in 1979 with Pallavi Enterprises’ மல்லிகை மோகினி featuring ‘Julie’ Vikram and Latha in the lead roles. The Mohini has long vanished into the nether world of oblivion, but the entrancing fragrance of her Malligai lingers on to this day, in the form of her songs- indeed GKV had surpassed himself here- each song is a glittering diamond...
மேகங்களே வாருங்களே by SP Balasubramaniam was played by Radio Ceylon ever so often, while the elegant S. Janaki- Poornachander duets நான் கேட்டேன் தெய்வ கானம் & ஸ்ருஙார சங்கீதமே found frequent air time as well. The joyous qawwali காதல் ஒரு கோயில் where Kannadasan pens some interesting lines, rendered by Janaki (listen to her aalaaps) and SPB has been an all-time favourite with me. The 2 versions of ஒரு பாடலை பல ராகத்தில்- one by SPB and the other by Poornachander remain entrenched in our memories for their sheer melody.
மேகங்களே வாருங்களே was the song that became the most popular number, the ‘first among equals’ from the album, and it richly deserved the honour. GKV and SPB come together here to strike terror at the hearts of the listeners, but the terror is so beguiling, that much like the clouds whom the hero beckons to help him search for his elusive beloved, we find ourselves drawn irresistibly into the vortex of the intriguing proceedings. And the roller coaster ride begins- Hang on, and be transfixed…
It was in this timeframe that G. K. Venkatesh, along with his friend Ashok, decided to produce a small-budget bilingual and approached Chitralaya Gopu to write and direct the movie. Gopu came up with a light comedy with some interesting twists. தைரியலட்சுமி (Vijayavani Combines) was the name of the project, and Lakshmi played the title role in both the Tamil and Kannada versions. Anant Nag and Ambarish were her co-stars in Kannada while Jaishankar and Srikanth were her co-stars in Tamil. While the well- crafted movie was a modest success in Kannada, it failed to set the cash boxes jingling in Tamil, primarily because of inadequate marketing. For his part, GKV came up with some melodious numbers.
GKV was one of the 5 composers for his old friend A.L.Raghavan’s 1980 film கண்ணில் தெரியும் கதைகள் and the haunting song that he composed நான் பார்த்த ரதிதேவி எங்கே did his friend proud. Raghavan renders the song himself, and we sigh anew at this underutilized singer’s prowess….
Sunrise Enterprises சின்னஞ்சிறு கிளியே was another 1980 film that came out with GKV’s music. Out of the four songs in the album- all Malaysia Vasudevan- Janaki duets, it was வைகை நீராட that claimed attention on the radio in the early 80s. An unhurried song; pulsating in its strain, pathos in its vein. Gangaiamaran has poured in his lyrics the anguish of a love that seems unlikely to win in wedlock. Vasu and Janaki so movingly portray the despair of the lovers whose love has suddenly culminated in a woeful ban, when they were happily awaiting their wedding banns. Yet they sing, dreaming of another birth, when they hope to reunite.
Another fine effort by GKV, wasted on a film that sank without a trace.
We notice that the Tamil Gods seemed to have smiled benignly upon him in 1981, and let 3 films fall into his hand. GKV joyously went about working on their score, for he knew that such abundance was a rare visitor at his door….
Annapurna Art Pictures’ பெண்ணின் வாழ்க்கை starred Sudhakar, Aruna & Rathi, and its album comprised of 4 memorable P.Susheela duets- One with SPB- ஜனகன் பொன்மானே and three with Jayachandran: மாசி மாதம் முஹூர்த்த நேரம், மல்லிகைப்பூவில் இன்று and lastly, my favorite வீடு தேடி வந்தது, where GKV’s music, Vaali’s lyrics and the euphonious enchantment of Susheela & Jayachandran come together to cast a wondrous spell.
Solar Combines’ தெய்வ திருமணங்கள் has a unique place in the history of Tamil Cinema. It was actually 3 separate films- each one with a separate crew and cast. Meenakshi Thirumanam was directed by P. Neelakantan and had music by K.V.Mahadevan. Valli Thirumanam was directed by K. Kameswara Rao and had music by GKV. Srinivasa Thirumanam was directed by K. Shankar, with music by MSV. Kannadasan’s dialogues and lyrics were the common factors for the three parts. GKV’s work included songs like கந்தன் வந்தான் (S.Janaki), ஏச்சிப்புட்டேனே வள்ளி (SPB/S.Janaki) and the short வள்ளி தெய்வானையுடன் (K. Veeramani). These simple folksy songs were not in the same league as the classic creations of KVM and MSV; nonetheless, the memory of pretty Sridevi (who played Valli) warding off the birds, singing வெத்தலக்கிளியே சொல்லாதே வெளியே ( S. Janaki) also endures. https://www.youtube.com/watch?v=cX_9RKYuc58 https://www.youtube.com/watch?v=MJ9Wu5osZY8
It was also in 1981 that GKV composed music for Santosh Art Films’ நெஞ்சில் ஒரு முள். Inspired from Shakti Samanta’s Kati Patang, Nenjil Oru Mul starred Pratap Pothen & Poornima Jairam and was directed by Mathioli Shanmugam. GKV came out with some memorable numbers.
நேராகவே கேட்க்கிறேன் by Deepan Chakravarthi & Vaini Jairam is a lingering duet which traces its origins to GKV’s Kannada composition ‘Ravivarmana Kunchada’ and the Telugu version ‘Ravivarmaki andani’… https://www.youtube.com/watch?v=bSWW_kB8PlU
My pick is the caressing ராகம் புது ராகம் by Deepan Chakravarthi and S.P. Shailaja, based on GKV’s own Kannada composition ‘Raga anuraga’ sung by Rajkumar & Janaki for Sanaadi Appanna. Listen to this lovely song here:
You would perceive that on the same foundation, GKV has raised two marvellous monuments—both strikingly similar but structurally different, each one an elegant edifice with mutually exclusive appeal. GKV has reworked rewardingly on ராகம் புது ராகம் so that it boasts of a special prelude that ‘Raga anuraga’ did not have and the interludes are dazzlingly different. Again, the charanams are longer in the Kannada original, and it has a third charanam too which varies uniquely from the first two. Being an acclaimed Veenai player himself, GKV has masterfully retained it as the mesmerising mainstay in both the versions. Hark at his Veenai caress your ears in the second interlude- so perceptive of GKV, for the charanam begins with the lines மேனி வீணையொன்று அதை மீட்டி பார்க்கவோ!
GKV continued to be in demand in the Kannada circuit in the early 80s and his works in films like Haavina Hede and Hanabalavo Janabalavo-both 1981, Haalu Jenu-1982, Eradu Nakshatragalu-1983 and Adhe Kannu-1985 became popular hits. However, the emergence of newcomers like Hamsalekha and Vijayanand, coupled with the sustained presence of stalwarts like Rajan-Nagendra, Upendrakumar and M. Ranga Rao saw fewer and fewer films coming his way as the decade progressed.
Chitrapriya’s காஷ்மீர் காதலி released in 1983 was GKV’s next Tamil album. Directed by Mathioli Shanmugam, the film had Rajkumar & Rajini Sharma in the lead. Both சங்கீதமே (Jayachandran & P. Susheela) and அழகிய செந்நிற வானம் ( SPB & S. Janaki) are delectable duets, replete with rich interludes and intriguing sequences:
1984 saw the belated release of Seshasayee Films’ அழகு, which was years in the making. The film holds the distinction of being Nadigaiyar Thilagam Savithri’s last film to be released. Its other distinction was, of course, Radio Ceylon’s favourites like தேவி வந்தாள் by SP. Balasubramaniam & S. Janaki and மவுனமல்ல மயக்கம் by Jayachandran & S. Janaki.
Listen to the long forgotten மவுனமல்ல மயக்கம், a lovely duet with GKV’s orchestral skills in full flow:
இணைந்த கோடுகள் released in 1985 was GKV’s last film in Tamil. அழகிய மலர்க்கொடி sung by Yesudas & Vani Jairam was featured in Radio’s Ceylon’s மந்த மாருதம் parade in the evenings.
When MSV and Ilaiyaraja came together to make history in AVM’s மெல்ல திறந்தது கதவு- 1986, GKV acted in the role of Mohan’s musician father. His nonchalant cameo won favourable reviews. Ironically enough, his dialogues were dubbed by V. Gopalakrishnan!
Left with few opportunities, in 1987 he made the big blunder of turning producer, and the alarming failure of the Ramarajan-Revathi starrer கிராமத்து மின்னல் landed him in debt and despair.
Ilaiyaraja took his Master into his fold now and GKV remained an essential element of Ilaiaraja’s ensemble till 1993, when years of bacchanalian indulgence finally took their toll. GKV made his final bow on 13 November 1993. I can even now remember the images of MSV, TKR, Ilaiyaraja and Gangai Amaran, all looking genuinely grief-stricken, leading the mourners as GKV departed on his final voyage…
GKV used to visit the house of my family friends in my street who were his relatives. I have met him and spoken to him on a few occasions when I happened to be at my friend’s house during his visits. He was bull of bonhomie, his laughter was infectious and his jokes were wicked! He was the life and soul of any party and charmed all those present with his charisma.
Singer-Music Director- Actor….GKV has left behind his firm footprints in the varied sands of time. ‘A highly talented composer, dynamic and imaginative in his arrangements’ said PBS, who notched up a significant tally of songs under GKV’s baton. Vani Jairam echoes the same sentiments ‘An unassuming man, he was also a technical wizard- even in his last years in Ilaiyaraja’s troupe, he was in charge of ‘balancing’ in which he was an acknowledged expert’ she recalls.
20 odd Tamil films, and save two, all were colossal catastrophes. These were the cards that destiny dealt him, but hey, GKV did play his hand well…
I leave you with GKV shrugging off the imponderables that make up life in this song that he sang in 1981 for the unreleased நூலறுந்த பட்டம் under the baton of Stalin Varadarajan…
முருகன் காட்டிய வழி...
Down Memory Lane with G.K.Venkatesh- Part 3
-Saravanan Natarajan
Nothing succeeds like success, and with the emphatic success of பொண்ணுக்கு தங்க மனசு and தேன் சிந்துதே வானம் reverberating from every corner teashop, GKV found avenues hitherto closed for him in Tamil cinema opening up grudgingly at last. While it wasn’t as though producers were flocking at his gates, he did get secure some Tamil albums in quick succession.
P. Madhavan retained GKV for his next venture முருகன் காட்டிய வழி (Arun Prasad Movies/ 1974). Though the movie is a mere mention today as the first movie of Sripriya, GKV’s songs such as the strident ஏறுதம்மா ஏறுதம்மா (TMS) and the soulful முருகா வடிவேலா (S. Janaki & chorus) did receive a fair share of airtime. பிறவி ரசிகர்கள் கூடுங்கள் is a feet-tapping ditty where an ebullient Janaki makes merry. The revelation for me was the folksy சேதுபதி பூமியிலே where the majesty of TMS is matched by a rustic and jaunty Janaki. These nice songs are all but forgotten today. Thankfully, some good samaritans have unearthed them and uploaded them on YouTube. A lovely nostalgic peep into the glorious 70s:
Listening to these songs, I get a strong feeling that it must have been during these recording sessions where Janaki was the darling diva in GKV’s ensemble that watching her grasp the notes and embellish them with her delightful nuances, all with nonchalant speed and ease, that Ilaiyaraja must have been mightily impressed with her and anointed her naturally as his prima donna when his time arrived.
The next year fetched GKV three movies, and he worked on their music to come up with some exceptional songs.
Kovi Manisekharan turned director with his தென்னங்கீற்று (Godwin Enterprises/ 1975). A story dealing with an unusual theme with Sujatha stealing the show with her sterling performance, the movie has some noteworthy songs tuned by GKV- இது ஆயிரம் மலர்களின் (TMS), மாணிக்க மாமணி மாலையில் ( SPB & Vani Jairam), மஞ்சளும் வாழ்க (P. Susheela) and ஆண்டவன் போட்ட புள்ளியை (Yesudas).
Listen to மாணிக்க மாமணி மாலையில் where GKV tempers a mellifluous sky with some moving, melancholic clouds:
For L.V. Prasad’s பிரியாவிடை, GKV was persuaded to adopt some popular Hindi tunes and the songs ராஜா பாருங்க (SPB & S. Janaki), என்னுயிரே என் பொன்னொளியே(S. Janaki), மாப்பிள்ளைக்கொரு மயக்கம் வந்ததது (SPB) and கருணைக்கடலே (GKV & P. Susheela) could fetch only fleeting airtime.
Cho, who had earlier worked with MSV for his Muhammed Bin Thughlak (1971) and Mr. Sampat (1972), commissioned GKV this year to compose the music for his யாருக்கும் வெட்கமில்லை (Narmada Arts/ Vivek Chitra). Cho’s old friend Jayalalitha played with her characteristic panache a daring role that elicited critical notice. The splendid score by GKV- என் கண்ணிரெண்டும் செய்த பாவம் (S.Janaki),மேலும் கீழும் கோடுகள் போடு (Yesudas), அணையாத தீபம் (P. Susheela), and சினிமாவில் வருவதுப்போல (TMS/S. Janaki/Manorama, a rollicking song that heralded Jayalalitha as a புரட்சி தலைவி as early as in 1975!) notwithstanding, the movie was not a commercial success.
And.... nothing fails like failure- none of these films were big successes and GKV’s period of limelight in Tamil cinema proved short-lived.
However, it was in these years that he was the monarch of all he surveyed in Kannada. His works in films like Mayura (dubbed in Hindi as well), Dari Tappida Maga, Trimoorti- all 1975, Raja Nanna Raja, Baalu Jenu -both1976, Olavu Geluvu, Galatte Samsara, Sose Thandha Sowbhagya – all 1977, Operation Diamond Rocket-1978 all went on to become super hits.
And it was in 1977 that GKV made history by bringing Ustad Bismillah Khan all the way from Varanasi to play the Shehnai for the film Sanadi Appanna. Based on a story by Krishnamoorthi Puranik, Anandalakshmi Enterprises’ Sanadi Appanna had Rajkumar and Jayaprada essaying the lead roles. As it was based on the story of a Shehnai player, GKV collaborated with the great Ustad to adorn the film with an alluring album that brought him widespread critical commendation. The exquisite lesson in Behag- ‘Karaderu Kelade’ has GKV skillfully employing Janaki's mesmerizing vocals and the Ustad’s Shehnai to create a classical masterpiece the likes of which film music has seldom witnessed. The revered Ustad came with his 10-member contingent to Madras and worked at the Prasad Studio with GKV and his troupe to collaborate on an album that is a precious cache of priceless gems.
தேன் சிந்துதே வானம்..
Down Memory Lane with G.K.Venkatesh- Part 2 Saravanan Natarajan
Unfortunately for GKV, these films were not commercial successes, and the merciless gates of Tamil Cinema were closed once again for this gifted composer. However, he continued creating immortal melodies in Kannada films, where he was much sought after by the top banners of the day. Thumbida Koda, Nanna Kartavya-both 1964, Sarvagyanamoorthi, Sati Savitri-both 1965, Killadi Ranga, Madhumaalathi-both 1966, Parvathi Kalyana, Rajshekhara, Rajadurgada Rahasya, Immadi Pulikeshi-all 1967, Jedare Bale, Manasakshi, Goa Dalli CID 999- all 1968, Operation Jackpot Nalli CID 999- 1969 are all noteworthy albums, each one of which has songs that are repeatedly listened to with pleasure to this day.
For the 1964 Kannada movie Kalavathi, GKV fetched the venerable Manna Dey to render the caressing 'Kuhu kuhu':
And in 1966, GKV pulled off a coup of sorts when he roped in none other than the revered Pandit Bhimsen Joshi to sing for the Kannada film Sandhya Raga.
Listen to the 3 lovely versions of ‘Nambide ninna naada devathe’, the first sung by Pandit Bhimsen Joshi, the second one by Balamuralikrishna and the last version by Janaki, each one a tantalizing treat for connoisseurs.. Wondrous compositions that will bespeak of the gifted GKV for times to come… https://www.youtube.com/watch?v=UkBca8f7q5Q
Despite these successes and the critical acclaim, in Tamil all that GKV secured was an opportunity to compose for the Malaysian Tamil venture ரத்தப்பேய், in which he gave an enthusiastic youngster called Malaysia Vasudevan a much awaited break in playback singing.
It was only after a long wait in 1971 that Deivanayagi Films’ சபதம் brought GKV back into reckoning in Tamil. The film starring KR Vijaya & Ravichandran was directed by P Madhavan. Listen to தொடுவதென்ன தென்றலோ மலர்களோ sung by SPB. The song showcases GKV in his elements— the riveting prelude consisting of those dainty string bits that are repeated throughout the song, the masterful way in they are seamlessly interwoven into the fascinating interludes, while the interludes themselves are so unpredictable and enticing in their progression…..And SPB brings such a cajoling mood to the lines, that you just have to fall in love with the song- listen to his voice beam in the end, and the longing that he expresses, almost akin to a wistful sigh, in the short humming that leads back to the Pallavi. Class! https://www.youtube.com/watch?v=BAlryz7Jl2Q
By the early 70s, GKV had acquired a cult following in Kannada. Each album of his was awaited with impatience, and every song hastened to capture the airwaves. His works in films like Devara Makkalu, Kasturi Nivasa, Naguva Hoovu- all 1970, Bala Bandhana, Taayi Devaru, Pratidhwani, Thandhe Makkalu- all 1971, Bangarada Manushya, Karmika Kallanalla – both 1972, Doorada Betta, Sampathige Savaal, Bhakta Kumbhara-all 1973, elicited rave reviews.
It was towards the last years of the 60s that GKV took under his patronage a young talented musician called Raja. (Originally Rasiah, later to blossom into Ilaiyaraja) Raja, whose soul was soaked in music, had his skills polished and trained by Dhanraj Master, an acknowledged genius. GKV recognized the innate talents in him, and admitted him in his troupe, where Raja quickly justified the trust that GKV placed in him. Another gifted musician who was assisting GKV during the same period was L. Vaidhiyanathan.
In spite of the popularity of the songs of சபதம், GKV was not flooded with offers in Tamil. His next opportunity in Tamil came again from P. Madhavan, who had been impressed with GKV’s work in Sabatham. When P. Madhavan turned producer under his banner ‘Arun Prasad Movies’, he called GKV to compose music for his film பொண்ணுக்கு தங்க மனசு -1973. (Directed by Devaraj-Mohan under P Madhavan’s supervision).
The captivating creation தேன் சிந்துதே வானம் from this movie written by Kannadasan & sung by SP Balasubramaniam & S.Janaki (may she live long!) is a song that ensures forever that GKV will be saluted with awe in the chronicles of Tamil film music. He repeated the tune that he had composed earlier in Kannada- ‘Haayagide ee dhina mana’ from Thaayi Devaru and he reused in again in Telugu as ‘Mrogindi Veena’ in the movie Zamindarugari Ammayi. Every bit, every note, every moment of the song is spellbinding.
With such a bewitching opening line as தேன் சிந்துதே வானம் that summons vistas of a rain-drenched evening…where the showers beckon the lovers…where the monsoon waves its magical wand…where the love-stricken hearts are afire with desire within, whilst all is damp and cold without, where few tremulous words of love are shyly whispered: https://www.youtube.com/watch?v=6wsA2I9qEWo
Down Memory Lane with G.K. Venkatesh- Part 1
-Saravanan Natarajan
Today is the birth anniversary of the great composer G.K. Venkatesh, sadly forgotten in the swirling mists of time. Let us make amends by reminiscing on the life and times of GKV and recalling some of his glittering works.
Gurjada Krishnadas Venkatesh was born in Hyderabad on 21st September 1927. His father Krishnadas Naidu dabbled in amateur theatre and was a good singer. The family moved to Bangalore when GKV was a child. GKV was a born talent- his musical talents were discovered at a very young age—even as a child it is said he was appreciated by the Raja of Bobbili. His elder brother GKS Pathi taught him the Veenai. Along with his brother Raghu, GKV sang in concerts as well.
They moved to Madras and sought opportunities to work in the music troupes of the great composers of the time. As an enthusiastic teenager, GKV played the Veenai for giants like S.V. Venkataraman, S.M. Subbiah Naidu and C.R. Subburaman.
GKV became a close friend of M.S. Viswanathan when they were both part of Subbiah Naidu’s troupe in the late 40s. Later they stayed in the same room in Jupiter Lodge in Madras. And when N.S.Krishnan offered an opportunity to MSV and TKR to compose music for Panam-1952, it was inevitable that GKV became an integral part of their troupe.
MSV gave GKV an opportunity to sing in their very first film பணம். The song was a lovely waltz number ஏழை நின் கோயிலை நாடினேன். Unfazed by the formidable stature of his co-singer- the mighty M.L.Vasanthakumari, GKV rendered his lines with fetching nonchalance.
Listen to this languorous number of breezy romance sung by GKV and MLV:
Singing was nothing new to GKV--after all, he began his career as a singer in Bangalore All India Radio even before entering films, and is also said to have lent his voice to some chorus songs in Meera when he was in SV. Venkataraman’s troupe. GKV went on to sing a few songs in later years, and always did justice to them. His voice had the flexibility to adapt to the varied moods that the situation demanded—the boisterous revelry in கண்ணோடு வின் பேசும் ஜாடை from கவலையில்லாத மனிதன், the gloomy intensity in the pathos version of வந்த நாள் முதல் in பாவ மன்னிப்பு, the comic nuances in காலம் செய்த கோமாளித்தனத்தில் from படித்தால் மட்டும் போதுமா, the palpable dejection in கனவே காதல் வாழ்வே from செந்தாமரை, the impish romance of ஏன் மாமா கோபமா (தென்றல் வீசும், with L.R.Eswari), the irreverent shrug at life in சொந்தமும்மில்லை ஒரு பந்தமும்மில்லை (Hello Mr. Zamindar), the ebullience of romance in பன்னீர் பூவே ( ஞாயிறும் திங்களும், with L.R.Eswari), the rustic uncouthness in the மானத்திலே மீனிருக்க prelude to S.Janaki’s உதயம் வருகின்றதே (கவிக்குயில்)- these are some unforgettable instances where GKV startles you with the breathtaking range of his voice.
GKV thus become a permanent fixture in the troupe of MSV-TKR from their very first film. He was given due credit as their assistant in the titles in their films in those early years. His undeniable talents could not be hidden under wraps for long. Even as early as 1950, GKV composed music
independently for the Malayalam film Chechi. The number ‘Kalitha Kalamaya Kailasavasa ‘, sung by Kaviyoor Revamma, with its beautiful classical flourishes was an early indication of GKV’s prodigious talents. The film was later dubbed in Tamil in 1951 as Nadigai.
And though Tamil filmmakers were not yet prepared to entrust him with independent music composition, Kannada filmdom was quick to discover the spark in him, and eagerly harnessed his talents. The titles of the 1955 film Sodari starring Rajkumar (his second film) and Pandaribai had the credit for music being shared by HR Padmanabha Shastry & GKV. The following year saw GKV enjoying a stupendous success with the music of Viswakala Chitra’s Ohileshwara (stg. Rajkumar & Sriranjini). GKV also gave P.B.Srinivas a marvellous break in Kannada. (“GKV was the person who launched me as a successful singer in Kannada”, acknowledged a grateful PBS in many an interview).
GKV soon became a prolific composer in Kannada, and along with T.G. Lingappa and Vijayabhaskar, set new standards of film music therein. His works in Haribhaktha-1956, Anna Thangi-1958, Jagajyothi Basaveshwara, Dharma Vijaya, Mahishasura Mardini-all 1959, Ranadhira Kanteerava, Dasavathara, Sree Shaila Mahatme-all 1960, Kanntheredu Nodu (he appeared on screen to render the song ‘Kannnadada makkallella’), Kaivaara Mahaatme-both 1961, Bhoodaana, Karuneye Kudumbada Kannu - both 1962, Kanya Ratna, Gowri, Kulavadhu, Malli Madhuve, Kalitaaru Henne- all 1963, won acclaim.
GKV got an opening in Tamil in 1964 to compose music for Thirumagal Films’ மகளே உன் சமத்து. Though the film starring Anandan & Rajasri was sent back to the cans without much ado, GKV’s songs showed the stuff he was made of. While it was the delightful duet அன்பில் ஆடுதே by P.B. Srinivas & P.Susheela that became popular, my pick is the appealing கதை ஒன்று நான் சொல்லவா, where Susheela’s dulcet tones paint vivid hues on GKV’s beautiful canvas:
The same year, Anandan himself produced a film under the banner Anandan Movies called நானும் மனிதன் தான் with Chandrakantha playing his pair. GKV came up with some lingering numbers like வா வா வா என் தலைவா by TA Mothi & S. Janaki and காற்று வரும் காலமொன்று by PBS & S.Janaki.
The following year saw a solitary Tamil film coming GKV’s way, and that too was because it was produced and directed by the renowned GV Iyer, with whom GKV was working in a number of Kannada films. GV Iyer Productions’ தாயின் கருணை starred Kalyankumar and Vandana and was a remake of Iyer’s 1962 Kannada movie Thaayi Karulu. Listen to பூந்தென்றல் இசைப்பாட sung by PBS, where Mayavanathan’s poetic lines extolling the greatness of Tamil are strung together so enticingly by GKV:
The powerhouse of talent that she was, Rajalakshmi could not be content with only singing. Her thirst for exploring new avenues led her to volunteer to assist S.M. Subbiah Naidu for the music of the classic Konjum Salangai. In the late 60s, Jayalakshmi’s husband V.T. Arasu produced movies such as மனம் ஒரு குரங்கு (1967), கற்பூரம் (1967) and மகிழம்பூ (1969) under the banner Sashti Films. The music for these movies was composed by veteran D.B. Ramachandran. Rajalakshmi was keenly involved in the composing, orchestration and recording of the songs.
V.T. Arasu did not look much further for a composer when he embarked upon his next venture- தரிசனம் (1970/ Sendhoor Films)- Rajalakshmi was the unanimous choice. And with the encouragement of her husband Balasubramanian and sister Jayalakshmi, Rajalakshmi set about composing the songs for தரிசனம், the first of the four movies that she would compose music for.
Produced & directed by V.T. Arasu, தரிசனம் starred AVM Rajan in a double role, with Pushpalatha, Kumari Padmini, Sailasri, Cho & Manorama in the cast. Lyrics were by Kannadasan. Rajalakshmi was assisted in the music composition by R.K. Shekhar, better known today as the father of A.R. Rehman.
As the titles roll, we have a glimpse of the shore-side Tiruchendhur temple and listen to a divine rendition of TMS amidst the clangour of bells- முருகனே செந்தில் முதல்வனே. TMS has another philosophical solo அவனவன் தலையெழுத்து. The TMS- P. Susheela duet கல்யாணமாம் கல்யாணம் was an Oliyum Oliyum favourite. Among the two songs that stand out- one is Manorama (who appears as பாட்டு வாத்தியார் பட்டம்மா) rendering, along with S. Rangarajan, the hilarious போகாதே ஐயா போகாதே, set in Ananda Bhairavi.
And the other is, of course, the tour de resistance of the album- மாலை நேரத்து மயக்கம். For a unique situation in the story, Sailasri woos AVM Rajan whom she mistakes for her fiancé. But the person who is now in her house is the other AVM. Rajan who had run away from his family unable to bear his various burdens. Here Kannadasan came with some lovely lines of longing for the lady, and bitter lines of philosophy for the male.
Listen how these contradictory viewpoints merge seamlessly in this song of timeless appeal, composed by Rajalakshmi & sung by TMS & LR Eswari: https://www.youtube.com/watch?v=Pi1ptz7xvkY
The next film that Rajalakshmi composed music for was Sendhoor Films’ டைகர் தாத்தாச்சாரி again produced & directed by VT Arasu. Released in 1974, the film starred Major Sundararajan, Sivakumar, Shashikumar, M. Bhanumathi & others. Though the titles credit both the sisters with the music, it was Rajalakshmi who was at the helm, with Jayalakshmi assisting her younger sister. Another talented musician who assisted Rajalakshmi in this album was M. Muthu.
Rajalakshmi was perhaps cajoled to lift a popular Hindi tune, and so we have L.R. Eswari belting out a sultry கண்ணாலே பார் கனி in the strain of mein shaayar to nahi! However, the other two songs, thankfully, are original compositions, and Rajalakshmi must have felt vindicated that it was these two numbers that became popular.
ஏழு மலை வாசா sung by the sisters along with K. Veeramani is a stirring hymn that finds regular air time and கல்யாணம் ஒரு விழா is a quaint duet sung by TMS and Rajalakshmi, https://www.youtube.com/watch?v=htOVB8EhGTY
The third film that Rajalakshmi composed music for was some years in the making. Initially titled இருமனம், it underwent some change of names and was finally released in 1979 under the banner Shashti Films as அப்போதே சொன்னேனே கேட்டியா. Produced and directed by VT Arasu, the film had Jaiganesh & Satyapriya as the lead pair.
Kannadasan and Rajalakshmi worked together and came out with a stellar album. SPB must have enjoyed singing நான் அப்போதே சொன்னேனே கேட்டியா and embellishes the song with his famed histrionics. Vani Jairam shows her class in the solo ஆசையென்ற தேரில் ஏறி. SPB and T.K. Kala sing the engaging duet ஏதேதோ எண்ணங்கள்.
The album reserves the best number as its last…
Yesudas and Vani Jairam singing the ethereal எல்லாம் அவன் செய்தது.
All things bright and beautiful,
All creatures great and small,
All things wise and wonderful:
The Lord God made them all.
- Cecil F. Alexander (Hymns for Little Children -1848)
Kannadasan echoes the same sentiments in this captivating song. He enumerates the wonderful creations of the Almighty, and the song takes on the hue of a fetching sermon by a mother and father to their tiny children, detailing the infinite grace of the Supreme Lord, and praying for their wellbeing and bright future.
எல்லாம் அவன் செய்தது...
பசுஞ்சோலை...
இளமலர்கள்...
இங்கு அவனாலே உருவானது...
அந்த தெய்வம் நம் உறவானது...
பாப்பா... கண்ணே பாப்பா....
A song whose appeal lies in its simple tranquility, and the reassuring message of the Omnipresence caring for us and keeping us in His protection. Kannadasan’s lines beautifully bring out the magic of God’s wondrous creations- and I keep drawing parallels with Cecil Alexander’s hymn that I had referred to. பூ வந்த கதையும் நீ வந்த கதையும் அவன் தந்த செல்வம் பாப்பா always moves me at each listen. As Cecil Alexander says ‘He gave us eyes to see them, and lips that we might tell, How great is God Almighty, who has made all things well!’
I can visualize Kannadasan sitting down with Rajalakshmi and penning the lyrics, Rajalakshmi handing over the notations to Yesudas & Vani, crafting the orchestration and supervising the recording, and the two gifted singers bring to life this wonderful song….what an exquisite collaboration by such great artistes - indeed அந்த தெய்வம் அவர்களின் உறவானது...
I have loved this song ever since I first heard it as a child. It is so fervently appealing in the lyrics, so soothingly serene in its music, and so enticing in the singers’ rendition, that the charm is as spellbinding as ever even now.
It was in the mid-70s that a wonderful opportunity came Rajalakshmi’s way. MGR, who was always impressed by the musical talents of the sisters, came forward to act in a movie with music composed by Rajalakshmi. The project was titled உங்களுக்காக நான் and Rajalakshmi composed and recorded 3 songs for the movie. Unfortunately, with the announcement of the elections, the project was shelved.
The last movie that Rajalakshmi composed music for was Sashti Films’ பிள்ளையார், again produced & directed by V.T. Arasu. Released in 1984, the film had Arunkumar, Satyakala, YG Mahendran, Vanitha and others in the cast. In her home ground of a mythological subject, Rajalakshmi had composed some scintillating devotional numbers such as யாரை வணங்கிட வேண்டும் sung by herself, கல் தானா நீ கடவுள் இல்லையா sung by T.K.Kala and ஓங்காரமாய் விளங்கும் நாயகனே sung by her son, Soolamangalam Murali.
The glittering jewel in the crown is the gorgeous duet மரகத தோரணம் வாசலில் அசைந்திட. Rajalakshmi got Pulamaipithan to pen the lines, and Yesudas & P.Susheela to render the song. The lines were sheer poetry, the voices were ethereal, the orchestration was magnificent, the effect- sheer enchantment: https://www.youtube.com/watch?v=SZ_n2SMaCYs
பிள்ளையார் was the last film that had music composed by Rajalakshmi. None of the 4 movies she composed music for were great successes. All of them were unpretentious small-budget home productions, now forgotten and buried deep in the sands of time. However, the songs composed by the immensely talented Rajalakshmi ensure a place of honour for her in the pantheon of great film composers.
Besides, the countless Tamil devotional albums composed by Rajalakshmi and sung by the sisters remain the finest legacy that she has left behind. Songs such as எங்கும் முருகனை பார்க்கின்றேன், மலரில் பிறந்து மலரில் மலர்ந்த, முருகனுக்கு ஒரு நாள் திருநாள், சேவல் கூவும் நேரம், etc reverberate from every temple down South to this day. Kunnakkudi Vaithyanathan was an accompanist to the sisters for many years.
Rajalakshmi succumbed to a severe attack of jaundice on June 12 1992 when she was barely 52 years old. Her son, Soolamnagalam Murali who is married to Vasanthi, daughter of the late dialogue writer A. L. Narayanan, is also a trained musician (accompanied his mother and aunt in their concerts) and talented vocalist. He sang the lilting காதலெனும் கோயில் for Ilaiyaraja in the movie கழுகு.
Jayalakshmi ceased singing in public after the demise of her beloved ‘Baby’ (as she used to address Rajalakshmi). The sisters were much attached to each other, and Jayalakshmi could not bring herself to sing without Rajalakshmi. I recall her appearing as a guest in the Saptha Swarangal show. She was choked with emotion when she spoke of Rajalakshmi and her immense talents. She recalled their concerts with nostalgia. ‘We sang in perfect synchronization; and while singing together, we even used to swallow our saliva at precisely the same moment!’ she exclaimed, the pride shining through her tears…
The richest keepsake that Rajalakshmi has bequeathed to posterity, and thus earned the eternal gratitude of the Tamils, is the கந்த சஷ்டி கவசம் album. Rajalakshmi strung the ancient verses to a stunning Ragamalika, and the result is history. Generations of Tamils have grown up listening to it; the song rendered by the sisters is heard in Murugan temples all over the world. The album has become a fixture in all our households and listening to it over the years with the tune so deeply embedded in our psyche, I feel that even if Devaraya Swamigal were to sing it in a different scale, it would be nothing short of blasphemy!
A full voice; a timber that breathes life into every note. A tone as distilled as the still of dawn. A song that sends you into the day with a calm that conquers all… Soolamangalam Rajalakshmi rendering Vallalar’s hymn of infinite piety…
When I visited the Kadhir Velayudha Swami temple in Pettah in Sri Lanka, strains of கந்தர் சஷ்டி கவசம் were audible throughout the hallowed precincts of the ancient temple. A Sri Lankan friend told me ‘உங்களுக்கு தெரியுமா, எங்க வீட்லயெல்லாம் அவங்க சஷ்டி கவசத்தோடதான் பொழுதே விடியும்!'
And I wondered anew at the widespread popularity of that immortal devotional album, and at the genius of Soolamangalam Rajalakshmi, both as a singer of singular merit and as a composer of some wonderful albums- both film and devotional.
L.R.Eswari, in an interview pointed out at Rajalakshmi as among the very few singers she knew who could jot down notations spontaneously as the composer sang the tune, and then sing the lines based on the notations.
முருக கானாம்ருத, குயிலிசைத்திலகம், இசையரசி, நாதக்கனல், கலைமாமணி Soolamangalam Rajalakshmi was the younger of the famed Soolamangalam Sisters, and was born to Karnam Ramaswami Iyer and Janaki Ammal on 6 November, 1940. Jayalakshmi was elder to her. Saraswathi and Sethuraman were her younger siblings. The sisters learned the rudiments of music from K.G. Murthy. The sudden death of their father forced the family to move from Soolamangalam to Madras to eke out a livelihood. The sisters commenced rigorous training under Pathamadai S. Krishnan, and soon captured attention with their classical and devotional concerts.
Rajalakshmi’s first film opportunity came when she was merely 8 years old- the song was ‘கனவில் கண்டேனே', a dance number filmed on Kusalakumari in the 1948 movie கிருஷ்ண பக்தி. And the film songs that she sang over the years are all pristine paradigms of perfection, standing testimonials to Rajalakshmi’s intuitive mastery.
The youthful sweetness in songs such as இனிதான தென்றல், அழகே ஆனந்தம் and சம்மதித்தால் என்றும் சந்தோஷமே; the soft mellifluousness that comes across so bewitchingly in மையைத் தொட்டு எழுதியவன், சித்திரம் பேசுதடி, உனக்கும் எனக்கும் இசைந்த பொருத்தம் and அரும்பு மலர்ந்து அசைந்தாடும்; the evocative feelings that find moving portrayal in songs like ஜாலம் செய்வது நியாயமா, நீ சிரித்தால் நான் சிரிப்பேன், சின்ன சின்ன ஊருணியாம், இல்லாத பிள்ளைக்கு நான், கண்ணன் எனக்கொரு பிள்ளை and காவேரி மாந்தோப்பு கனியோ; the exacting lessons in diction in classics such as பிரம்மன் தாளம் போட and தலையே நீ வணங்காய்; the breathtaking precision of time and tone in classicals like காணக்கண் கோடி வேண்டும், வருகிறாள் உம்மைத்தேடி and வெட்கமாய் இருக்குதடி wherein Rajalakshmi matched giants like MLV and P. Leela line to line, note to note; and of course, the impressive line-up of devotional songs such as திருப்பரங்குன்றத்தில் நீ சிரித்தால், வருவான்டி தருவான்டி, தோடுடய செவியன், திருத்தணி முருகா, வணங்கிடும் கைகளின் and எழுதி எழுதி பழகி வந்தேன் showcase Rajalakshmi’s prolific contribution to Tamil Film Music. https://www.youtube.com/watch?v=ff2Xtqty4p4 https://www.youtube.com/watch?v=JOhKG-HkG1k https://www.youtube.com/watch?v=IKyhVPAO0CY https://www.youtube.com/watch?v=bbOAzSqBqwg https://www.youtube.com/watch?v=Uh3980VY49Y https://www.youtube.com/watch?v=mCcteUlweQA https://www.youtube.com/watch?v=J8IM5x4til4
Listen to the blessed chanteuse rendering Alangudi Somu’s lines.. குயில் கூவித் துயில் எழுப்ப… The song seeks to paint the serene beauty of dawn in a backdrop of a typical household. The mistress of the house bustles about her chores, gently singing this song. In a landmark departure from the prevailing trend, the imaginative V. Kumar completely eschewed instrumental accompaniment. With just the taanpura giving her muted support, Rajalakshmi gives an unforgettable rendition. Alangudi Somu takes the cue from a paasuram, and continues it to suit the situation. Sowcar Janaki heralds the sunrise by a soulful prayer, and then goes to the people in the house, waking them up gently with a cup of coffee, all the while continuing to sing. The old man who has lain awake most of the night and has dozed off towards the dawn, Vijaya who had burnt the midnight oil studying for her exams and has now exhaustedly fallen asleep over her open book, and finally the lazy Srikanth who rarely gets up at daybreak- all of them are thus lovingly attended to. Kumar begins the song with the clangor of the distant temple bells, and ends it with the chiming of the clock.
It is matter of regret that as the 60s progressed, Rajalakshmi was heard more often only in songs that needed more than one female voice such as குங்குமம் மங்கல மங்கையர் குங்குமம், துள்ளித்துள்ளி விளையாட, மணமகளே மருமகளே வா வா, ஆணிமுத்து வாங்கி வந்தேன், etc. I have often been wonderstruck at her sustained brilliance - even in an unknown film having an impossible name like ரகசிய பெண் 117 released in 1972 with music by C.N.Pandurangan, Rajalakshmi dazzles in an uncharacteristic seductive song ஆசை ரோஜா பாரு.
And finally, to mark the remembrance of the Mahakavi today, presenting here the classic வெள்ளை கமலத்திலே from கௌரி கல்யாணம்(1966). Sung by Soolamangalam Rajalakshmi. Bharathiyar’s verses set to music by M.S. Viswanathan.
These verses form part of the சரஸ்வதி வணக்கம் in the first part of பாஞ்சாலி சபதம். Bharathiyar invokes Saraswathi’s blessings before commencing the work.
Who knows what made MSV give Rajalakshmi this song?! Was it at producer Velumani’s insistence, for Rajalakshmi had given a spellbinding essay (குயில் கூவித் துயில் எழுப்ப) in his நாணல் just the previous year? Or did Rajalakshmi’s beguiling rendition of Bharathiyar’s காணி நிலம் வேண்டும் (நாலு வேலி நிலம்) fetch her this Bharathiyar song? (Two years later, KVM too would summon SR to sing Bharathiyar’s காக்கைச் சிறகினிலே for திருமால் பெருமை). Or was it just that since Rajalakshmi had come to sing திருப்புகழைப் பாடப்பாட for the same film, it struck MSV to make her sing this short song? Whatever may be the factors involved, serendipity did happen, and the Mahakavi’s stirring lines married with MSV’s haunting Hamir Kalyani, find themselves immortalized in the voice of the inimitable Soolamangalam Rajalakshmi. நிலம் பெயரனவும் பெயர் பெயராதாள்..
Vivekananda Pictures’ Aaniver (1981) had heartwarming performances by Sivakumar and Saritha, with Poornam Viswanathan playing a riveting cameo.
It is a story of a young girl Arukkani rising high to become an IAS officer from humble beginnings. Her cousin Raman, who had stood steadfast by her and ensured against all odds that she continued her education, goes to jail defending her honour. He comes out now as a grown man. Despite the difference in their current status, her love for him remains intact over all these years. But he is awed at her education and stature. Though they are now man and wife, he labours under a strong feeling that he is no match for her and remains shy, tongue-tied, and even worse…. aloof!
She yearns for his love, waits in vain for his caress, pines with unfulfilled passion…
Pulavar Pulamaipithan’s pen moves with felicity, painting the canvas with pastel hues of delicate longing, stifled frustration and forlorn despair…
Shankar-Ganesh enjoyed a very special rapport with Vani. After escorting her into Tamil cinema with their ஓரிடம் உன்னிடம், they enthroned her as their prima donna and in the next decade ensured that she rendered many of their compositions. True, many of the movies came a cropper at the hustings and the albums, largely nondescript, erased themselves from public memory; yet like silver linings in dark clouds, came a bewitching என் உள்ளம் அழகான வெள்ளித்திரை or the epic ஆயிரம் ஆண்டுகள் ஆயிரம் பிறவிகள், an inspired மேகமே மேகமே or யாரது சொல்லாமல் நெஞ்சள்ளி போனது, which all earned their rightful due, and இளங்குயிலின் இளைய ராகம் or முத்தம்மா சின்னச்சிட்டு or உந்தன் பாதத்தில் or தும்பைப்பூ முகத்தில், which deserved a better destiny.
This song is among Shankar-Ganesh’s best ever creations- the guitar is used so subtly throughout the song and conveys the mood of anguished ache in such a gentle, moving way. The violin and guitar in the prelude, flute in between the Pallavi, the violin and the flute in the interludes---all work in tandem, accentuating the heartfelt love and longing motif of the song… When Vani sings there is just a vamping of the guitar that accompanies her and no percussion support. The confidence that Shankar- Ganesh had in Vani!
And as for Vani, she sparkles, as usual. Her mellifluousness brings to melancholic life all the suppressed longings of the heroine. It is not a coarse or a seductive invitation; it is a gentle and heart-rending reminder to him not to neglect his duties as a husband. Even while remaining decent and dignified, she manages to bring forth the tremulous torture. How fetchingly does this inner torment find a vent in the whimpered இந்த தனிமை கொடுமை!
Female characters in Tamil cinema have generally expressed their unfulfilled desires in a subtle manner that tugs at the heart-strings- Remember Manjula in மறு பிறவி bemoaning her unconsummated marriage in the moving song அலைகளிலே தென்றல் வந்து (P. Susheela)? Or Revathi, lamenting her wretched young, widowed state in வைதேகி காத்திருந்தாள்- அழகு மலராட (S. Janaki)?
Here, she sends the breeze as her emissary to ask of her man when her suffering would find succour- she implores the zephyr to return with a reply….
முத்து முத்துத்தேரோட்டம்
என்னை மோகம் தாலாட்டும்
எந்தன் தாகம்..என்று தீரும்?
இதை நீ கேட்டுவா தென்றலே..
முழுநீள நகைச்சுவை மற்றும் அருமையான பாடல்களுக்காகவே இப்படத்தை பார்க்கலாம்.
டைட்டில் இல்லாமல் இப்படத்தை பார்ப்பவர்கள் இது நிச்சயம் பாலச்சந்தர்-வி.குமார் கூட்டணிப்படம் என நினைப்பார்கள். 90களில் பிரம்மச்சாரிகளான நாங்கள் நாலைந்து நண்பர்கள் பம்பாய் செம்பூர் அறையில் தங்கியிருந்தபோது வார இறுதிகளில் 'டெக்' எடுத்து தமிழ் படங்கள் பார்ப்போம். அதில் அதிகமுறை பார்த்த படம் 'சோப்பு சீப்பு கண்ணாடி'.
ஆரம்பத்திலிருந்து கடைசி வரை விழுந்து விழுந்து சிரிக்க வைக்கும் காட்சிகள் கொண்ட முழு நீள நகைச்சுவைப்படம். திருமலை-மகாலிங்கம் இயக்கத்தில் 1969.. 70 வாக்கில் வந்த இப்படத்தில் நாகேஷ், விஜய நிர்மலா, சகஸ்ரநாமம், சி.கே.சரசுவதி, ஏ.கருணாநிதி, வீரப்பன், உசிலைமணி, ஐ.எஸ்.ஆர் நடித்திருக்கிறார்கள்.
கதை என்ன?
பணக்கார குடும்பத்தில் பிறந்த நாகேஷ், வீட்டில் திருமணம் செய்துகொள்ள வற்புறுத்தியதால், வீட்டை விட்டு வெளியேறி சென்னைக்கு டிக்கெட் இல்லாமல் ரயில் ஏறுகிறார். அதே ரயிலில் டிக்கெட் இல்லாமல் அவருடன் மாட்டிக்கொள்ளும் வீரப்பன் அவரது நண்பனாகிறார். உசிலை மணியின் 'குரங்கு' மார்க் டாய்லெட்ஸ் கம்பெனியில் நாகேஷ் சேல்ஸ்மேனாகவும் வீரப்பன் டிரைவராகவும் சேர்த்து கடைகளுக்கு சப்ளை செய்வார்கள்.
பணக்காரர் சகஸ்ரநாமம் வீட்டில் நாகேஷ் நுழைய, சமையல்காரன் ஏ.கருணாநிதி வீட்டுக்கதவை பூட்டிக்கொண்டு வெளியே சென்றுவிட, நாகேஷும் சகஸ்ரநாமத்தின் ஒரே மகள் வி.நிர்மலாவும் வீட்டினுள்ளே தனியாக மாட்டிக்கொள்ள, பயத்தால் மிரண்ட வி.நிர்மலா திடீரென நாகேஷை கண்டதும் முதலில் மயக்கமடைந்தாலும் பிறகு காதல் மயக்கமுறுகிறாள். வெளியே எல்லோரும் நாகேஷை தேடுகிறார்கள்.
சில திருடர்கள் நாகேஷிடம் பணம் இருப்பதாக நினைத்துக்கொண்டு அந்த வீட்டினுள்ளே நுழைகிறார்கள். படம் படு சுவாரசியமாக செல்கிறது. கடைசியில் திருடர்கள் பிடிபட்டு, நாகேஷ் வீட்டில் பார்த்த பெண் வி.நிர்மலா தான் எனத்தெரிய, அவர்களது திருமணத்துடன் படம் சுபமடைகிறது.
படத்தில் கதை என்று பார்த்தால் ஒன்றுமே இல்லையென்றாலும் படம் முழுக்க நகைச்சுவை.. அதிலும் 'தகர டப்பா தலையா...' போன்ற கவுண்டமணி, சந்தானம் ஸ்டைல் காமெடி இல்லாமல் இயல்பான நகைச்சுவை. பணக்காரர் வீட்டு சமையல்காரராக வரும் ஏ.கருணாநிதி இப்படத்தில் பட்டையை கிளப்புவார். நாகேஷுக்கே சவால் விடும்படி ஒரு படி மேலே இவரது நகைச்சுவை.
ரயில் சீன் இப்படத்தில் முக்கிய நகைச்சுவைப்பகுதி.. ரயில்களில் எப்போதுமே கூட்டம் இருப்பதாக சலித்துக்கொண்டு பிரயாணிகளுக்கு மத்தியில் தனக்குத்தெரிந்த ஆங்கிலத்தில் அலட்டிக்கொண்டு பேசும் டிக்கெட் இல்லாத நாகேஷ் ஒரு கிராமத்து பிரயாணியை சீண்டுகிறார்:
நாகேஷ்: 'இங்கிலீஷ் தெரியும் உங்களுக்கு?'
பிரயாணி: 'தெரியாதுங்களே!'
நாகேஷ்: திஸ் வில் நெவர் கம் டு ய க்ளோஸ் ஐ டெல் யூ.. ய செட் ஆஃப் இடியட்ஸ் டிராவல்லிங் இன் தேர்ட் க்ளாஸ் இற்ரெலவன்ட்..இற்ரெகுலர்.. அன்ட் இற்ரெஸ்பான்சிபிள்..'
மற்றொரு பிரயாணி: 'அட! அவருக்குத்தான் இங்கிலீஷ் தெரியாதுங்கறாருய்யா!'
நாகேஷ்: 'அதனால தான் அவருகிட்டே பேசறேன்!'
பிறகு மாட்டிக்கொள்ளும் நாகேஷை டீடீயார் பிடித்துச்செல்லும்போது சீட்டுக்கடியில் இருக்கும் வீரப்பனையும் டீடியார் பார்த்து விட,
டீடீஆர்: 'யாருப்பா அது? வெளிய வா'
சீட்டுக்கடியிலிருந்து வீரப்பன்: 'ஹி.. ஹி.. வீட்டுக்கு தெரியாமெ வந்துட்டேன்'
நாகேஷ்: வீட்டுக்கு தெரியாமெ வந்து பிரயோஜனமில்லப்பா.. டீடீயாருக்கு தெரியாம வரனும்..வா வெளிய..'
டீடீஆர்: 'எங்கேர்ந்துரா வற்ரே'?
வீரப்பன்: 'பெஞ்சுக்கடியில இருந்து சார்'.
குரங்கு மார்க் டாய்லெட்ஸ் கம்பெனி முதலாளி உசிலைமணியின் இன்டர்வியூ சீன்...
உசிலை: 'உனக்கு என்ன தெரியும்?'
வீரப்பன்: 'எனக்கு டிரைவிங் தெரியும் சார்'
உசிலை (நாகேஷை பார்த்து): 'உனக்கு'?
நாகேஷ்: 'அவனுக்கு டிரைவிங் தெரியும்கறது எனக்கு தெரியும் சார்'
டி.எம்.எஸ்சின் 'வாங்கிப்போடு சோப்பு சீப்பு கண்ணாடி (டைட்டில் பாடல்) சிறு வயதில் நான் ரேடியோவில் அதிகம் கேட்டது கிடையாது. அப்போது நாங்கள் ஈரோட்டில் இருந்தோம். நான் இரண்டாம் வகுப்பு. 'யாதும் ஊரடா எல்லாம் உறவடா' பாடல்.. டி.எம்.எஸ் மற்றும் ஏ.எல்.ராகவன் சேர்ந்து பாடும் பாடல் ஆரம்பத்தின் விசில் மற்றும் பாங்கூஸ் ஒலி பாடலுக்கு கூடுதல் சிறப்பு.
அடுத்து தனியாக வீட்டில் இருப்பதாக நினைத்து (நாகேஷ் இருப்பது தெரியாமல்) விஜய நிர்மலா (பி.சுசிலா) பாடும் 'நிச்சயம் நானே நேச்சுரல் பியூட்டி' செம்ம பெப்பி சாங். அதிலும் அட்டகாசமாக பாங்கூஸ் வாத்தியம்.
இந்த பாங்கூஸ், அக்கார்டியன் மற்றும் வயலின் மூன்றும் மெல்லிசை மன்னர் டி.கே.ஆருக்கு மிகவும் பிடித்த வாத்தியங்கள் போலும். 'நாடகமே இந்த உலகம்' மற்றும் 'ஏ ஃபார் ஆப்பிள்' (சாது மிரண்டால்), 'போதுமோ இந்த இடம்' (நான்) ..'மலரைப்போன்ற பருவமே'... 'எந்த எந்த நெஞ்சுக்குள்ளே'..மற்றும் 'பயணம் எங்கே' (மதராஸ் டு பாண்டிச்சேரி).. 'விழியால் காதல் கடிதம்' (தேன் மழை)..
எல்லா பாடல்களிலும் பாங்கூஸ் வாத்தியக்கருவியை பயன்படுத்தியிருப்பார் டி.கே.ராமமூர்த்தி அவர்கள்.
இப்படத்தில் 'தூக்கம் கண்ணிலே.. ஏக்கம் பெண்ணிலே' பாடலும் ' நிச்சயம் நானே நேச்சுரல் ப்யூட்டி' இரண்டுமே சுசிலா அவர்களின் வெற்றிப்பாடல்கள் வரிசையில்..
'நிச்சயம் நானே நேச்சுரல் பியூட்டி
நினைத்ததை செய்வேன் தட்ஸ் மை டுயூட்டி
விழிகளினாலே கதை பல சொல்வேன்
இதழ்களினாலே இன்சுவை தருவேன்'
பாடலின் ஆரம்பத்தில் கிடார், பாங்கூஸ் இசை அருமை.. சரணத்திற்கு முன்னும் நடுவிலும் பியானோ, அக்கார்டியன், கிடார் இசை.. பாடல் காட்சியில் நாகேஷின் சேட்டைகள், வி.நிர்மலாவின் நடனமும் நளினமான அசைவுகளும்.. எல்லாமே பிரமாதம்.
பாடலின் பல்லவி, அனுபல்லவியை உற்று கவனித்தால் கிட்டத்தட்ட 'நெஞ்சத்திலே நீ நேற்று வந்தாய்' (சாந்தி) பாடல் போலவே இருக்கும்.
கேளுங்கள் இதோ...
Vaanaratham was the dubbed Tamil version of the Hindi film Udan Khatola. According to some accounts, the film was produced by Naushad himself. (Vaanaratham came under the banner ‘Naushad Ali Presents’) Udan Khatola-1955 starred Dilip Kumar, Nimmi, Suryakumari, Jeevan, Agha, Nawab, Amar, Roopamala, Tuntun & others. It was scripted by Azmi Bazidpuri and directed by S.U.Sunny.
