The King’s Treasuries- 2
ராகதாளமாலிகை
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ராகமாலிகை என்றால் எல்லோருக்கும் தெரியும்... ஒரு பாடலின் பல்லவியும், சரணங்களும் ஒன்றுக்கு மேற்பட்டு பல ராகங்களில் அமைவது ராகமாலிகை. அதே போல பல தாளங்களிலும் அமைவது ராகதாளமாலிகை என்று அழைக்கப்படும்.
உதாரணமாக 'மாசிலா நிலவே' என்று தொடங்கும் அம்பிகாபதி படப்பாடல்.. மாண்டு ராகத்தில் ஆதி தாளத்தில் ஆரம்பித்து, அன்பே இன்பம் என்று நடபைரவி ராகத்தில் திஸ்ரத்தில் பயணித்து, வானமெங்கே என்று புன்னாகவராளியில் மிஸ்ரத்தில் முடியும்.
ராஜாவின் இசையில் இது போன்று சில பாடல்கள் உண்டு. இன்று நாம் கேட்கப் போவது 'தேவி ஸ்ரீதேவி' என்ற படத்தில் வரும் 'தசரதனின் திருமகனை தினம் தினம் தொழுதிடு நீ மனமே' என்ற பாடல்.
ஆபேரியில் ஆதி தாளத்தில் தொடங்கி, சங்கராபரணம், காபி, சிந்துபைரவி ஆகிய ராகங்களில் வெவ்வேறு தாளகதியில் செல்லும் பாடல்.
ஏவிஎம் ராஜன்-புஷ்பலதாவின் அழகான மகள் மகாலக்ஷ்மி, சுரேஷ், திலீப், கங்கா மற்றும் கமலாகர் நடித்த இப்படத்தில் இந்தப் பாடல் நகைச்சுவையுடன் படமாக்கப் பட்டிருக்கும்.. இன்றுபோய் நாளை வா படத்தில் வரும் மதன மோக ரூபசுந்தரி பாடல் போல ஒரு கற்பனைப் பாடல். ஒவ்வொரு நாயகனும் கனவில் நாயகியுடன் பாடும் போது ஒவ்வொருத்தருக்கும் ஒரு விதமான இசையில் மெட்டு அமைத்திருப்பார் ராஜா..
கங்கை அமரன் எழுதிய பாடலை மலேஷியா வாசுதேவன், தீபன் சக்கரவர்த்தி, எஸ்.என்.சுரேந்தர் மற்றும் க்ருஷ்ணசந்தருடன் இணைந்து எஸ்.ஜானகி பாடியிருக்கிறார்.
மகளிர் மட்டும் படத்திலும் இதே போன்று கறவை மாடு பாடலில் எஸ்பிபி ஜானகி இணைந்து ராகதாளமாலிகையாக ராஜாவின் இசையில் வந்தது.
As an upcoming actor, he was acting in a movie that was being made by a famed director. When he went to the dressing room to wear the shirt and trousers that were given to him for a song sequence, he found them painfully tight and not very clean. When he brought this to the notice of the costumer, he was told that they were worn by the hero of the previous movie of the production company and that he had no option but to wear them as the company could not afford to get new costumes stitched for him. He donned them without another word, and danced for the demanding song sequence despite the ill-fitting high-heeled shoes causing him no small measure of discomfort.
He was acting in a movie produced by Chinnappa Thevar when arrangements for his marriage were being made. Thinking that he may not have adequate funds, he approached Thevar requesting him to give him a sum of Rs. 15,000 as a loan. The good-hearted Thevar gave him the amount at once, telling him he need not return the amount. After the simple wedding was held, he found that there was no need for the amount. Returning to Chennai, he returned the entire amount to an astounded Thevar, explaining that the amount had not been used!
He was now a top-ranking actor nearing his 100th movie. For the climax shot of a movie, he was required to fall unconscious after being hit by the branches of a tree in a storm, and roll down a hill and lie still. The filming went on all night long, he was wholly drenched in the water sprayed from the giant hoses and when he finally lay still, he realized that the soil he was lying on was actually an open defecation area for some poor families that lived in temporary shelters nearby. He was reeling from nausea at the stench of the soil mixed with faeces. When he brought this to the notice of the crew, he was requested to ‘adjust’ for ‘just one more hour’, as the production company could not afford any delay. And ‘adjust’ he did, until the shot was finally canned early in the morning. He had time to just rush to his house, take a shower and board the train to Mysore for another schedule in the evening.
The reel actor whose real life is filled with such moving vignettes is none other the Sivakumar, who turns 75 today. A sincere and committed artiste and thorough professional, he stands tall among the film fraternity as a rare epitome of ideals and morals.
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For me in particular, Sivakumar was the actor I could identify first. Movie outings were rare, and the first ever movie that I saw as a child was ஆட்டுக்கார அலமேலு. The eagerly awaited Friday ஒளியும் ஒலியும் always featured his songs, and it was joyous discovery for me that most of the songs that I loved listening to on the radio were filmed on him.
My favorite period of Tamil film music, the glorious 70s are filled with enchanting songs filmed on the young, handsome actor. Sivakumar was the blessed actor to feature in of the enchanting compositions of MSV, V. Kumar, Vijayabhaskar and Shankar-Ganesh throughout the 70s. Sivakumar was the hero of அன்னக்கிளி, Ilaiyaraja’s first album, and this lucky association continued, resulting in many immortal songs.
SPB’s first Tamil song to be released, மல்லிகைப்பூ வாங்கி வந்தேன் (பால்குடம்) was filmed on Sivakumar. In the same year, SPB sang again for Sivakumar the lovely பவுர்ணமி நிலவில் பனி விழும் இரவில் (கன்னிப்பெண்). And not being considered as a suitable voice for MGR or Sivaji Ganesan, many of SPB’s most popular numbers throughout the decade continued to be for the lucky Sivakumar. Besides SPB, Yesudas and later Jayachandran rendered some fantastic songs for Sivakumar.
So many immortal numbers come to mind when one thinks of Sivakumar. Presenting here an Ilaiyaraja compostion…
பூந்தென்றலே from புவனா ஒரு கேள்விக்குறி
Sung by Jayachandran & Vani Jairam
Lyrics by Panju Arunachalam
Music by Ilaiyaraja
* * * * புவனா ஒரு கேள்விக்குறி (1977/ M.A.M. Films) was directed by SP. Muthuraman and produced by N.S. Mani. It starred Sivakumar, Rajnikant, Sumitra, Jaya, Meera and others.
Nagaraj and Sampat are friends, both working as petty salesmen. Friends they sure are, yet their characters are a study in contrast. Sampat is deeply in love and is shattered when the girl he loves comes to a gruesome end. This tragedy drives him to drink and a life of wretched, aimless existence. Nagaraj is an unscrupulous philanderer who boasts unrepentantly of his growing list of victims.
Bhuvana is one such girl who is lured by Nagaraj's charm, and is in deep trouble by the time she realizes his true colours. She becomes an object of scorn when her impending motherhood becomes known. Sampat offers her refuge in his house, though by this time he has become a wastrel and an alcoholic. An inexplicably beautiful relationship blossoms between the uncouth ruffian and the unwed mother, a relationship that hovers so tantalizingly over a platonic plateau. Nagaraj, meanwhile, gets married to a rich heiress and here finally is retribution- the couple remain childless. He tries unsuccessfully to persuade Bhuvana to give him their child. Years of intemperate indulgence finally take their toll- Sampat breathes his last, and Bhuvana is left all alone. What does the future hold in store for her?
This, then, is the story that Panju Arunachalam and SPM chose for celluloid adaptation. And as they did earlier in வட்டதுக்குள் சதுரம், Panju Arunachalam and SP.Muthuraman worked on Maharishi's story, this time with spectacular results. The story itself was riveting, with heartwarming twists. SPM and Panju pulled off a casting coup by casting Sivakumar as Nagaraj, the pasu thol porthiya puli and Rajinikant as Sampat, the puli thol porthiya pasu. It was indeed a daring risk, as Sivakumar, with his charming looks, had never been cast in a negative role until then. And as for the upcoming Rajinikant, he had mainly made a mark in negative roles until then. S.P. Muthuraman, in his memoirs, recalled how Sivakumar was taken aback when told of the role he was to play. However, Sivakumar soon perceived the novelty of the casting, and though well aware that the sympathies of the audience would be entirely with the Rajinikant’s role, came on board with sportive alacrity.
And in his 10th film, Rajini was a brilliant revelation; he showed that he was not merely style, but an actor of substance as well. Nevertheless, Sivakumar held his own as the glib talking womanizer, revealing his versatility with aplomb.
Sivakumar writes in his memoirs- 'சார்! அநியாயமா ரஜினிக்கு அந்த வேஷத்தை விட்டுக்கொடுத்து அவரைத் தூக்கி விட்டுட்டீங்களே!' என்று சில சினிமா உலக நண்பர்களும் ரசிகர்களும் அங்கலாய்த்தனர். அவர்களின் அறியாமையை நினைத்து மனத்துக்குள் சிரித்துக்கொண்டேன். 'ஒரு மனிதன் எவ்வளவு உயர வேண்டும், எப்படியெல்லாம் அல்லல்பட வேண்டும் என்பது இறைவனால் ஏற்கனவே தீர்மானிக்கப்பட்டவை. என்னதான் கடுமையாக உழைத்தாலும், நமக்கு என்ன விதிக்கப்பட்டதோ அதுதான் நடக்கும். ரஜினிக்கு புகழ் கூடியே ஆக வேண்டும் என்று எழுதப்பட்டிருக்கும்போது யார் தடுத்தாலும், எவர் பொறாமைப்பட்டாலும் அவர் உயர்வைத் தடுக்க முடியாது.' என்றேன்.
Sivakumar further narrates that few months before the release of Bhuvana Oru Kelvikkuri, both he and Rajinikant were invited to an event to honour Kannadasan in Bangalore, and the crowds, for the most part, ignored Rajinikant and greeted his own speech with resounding applause. The tables were turned after the release of Bhuvana Oru Kelvikkuri... at a function in Chenglepet to celebrate the success of the film, Sivakumar perceived the mood of the crowd...he noticed the roar of joy when Rajinikant entered the grounds. When he was called to speak on the dais, Sivakumar came to the mike and announced that he would speak after Rajinikant spoke. He knew only too well who was the hero of the hour!
Besides winning critical accolades, the film was a commercial success as well, running for more than 125 days. In Madras, the film ran to packed houses in Roxy, Paragon, Rajakumari and Pandian.
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This was the year after Ilaiyaraja's advent. And while in 1976 he had 4 films, in 1977 the tally was 12. The year was special, for Ilaiayaraja won his first award - the TN Govt.'s Best Music Director Award for his work in 16 வயதினிலே.
புவனா ஒரு கேள்விக்குறி had only 3 songs; and Ilaiyaraja bestowed upon each of the 3 the boon of enduring enchantment. While விழியிலே மலர்ந்தது is pristine vintage Ilaiyaraja fare with SPB adding to the glitter in no small measure, the poignant ராஜா என்பார் மந்திரி என்பார் (SPB/S. Janaki) is the soul of the story, the music mirror that reflects the inner turmoil of Sampat and Bhuvana.
பூந்தென்றலே is a song that showcases Ilaiyaraja's ingenuity even in his early days. The long drawn பூந்தென்றலே that the song commences with, as an irresistible summons to the fragrant zephyr, is such a bewitching opening. The innovative structure of the Charanam is an unceasing delight- the overlapping voices, with the singers taking their turn with nonchalant adroitness must have been something very innovative in that time. The interludes sound so fresh and attractive to this day.
என்னென்ன புதுமைகள்! என்னென்ன இனிமைகள்!
I've begun to be convinced that this was the first song for both Jayachandran and Vani under Ilaiyaraja's baton. They had not been part of IR's 1976 albums. The other Ilaiyaraja albums that Vani sang in 1977 were துர்காதேவி and ஆளுக்கொரு ஆசை. As for Jayachandran, he too had sung in துர்காதேவி. And while புவனா ஒரு கேள்விக்குறி was released on 2nd September, both ஆளுக்கொரு ஆசை and துர்காதேவி were released on 9th December. (Of course the release date is not any indication of the date of the song recording!)
"Somehow, I didn't get to sing too many songs for Raja, yet most of my songs in his music, both in Tamil and Telugu, did become very popular" Vani mused aloud when I met her for a leisurely conversation.
We spoke about her lovely duets with Jayachandran, and I asked her with a teasing smile if she remembered the two magnificent Jayachandran- Vani duets composed by Ilaiyaraja. 'இன்றைக்கு ஏன் இந்த ஆனந்தமே ' she answered at once, but tried hard to recall the other. When I prompted her with the catchy closing humming ‘lalala lala’ of this song, she identified it immediately and sang the entire song, starting with the opening humming…Oh, the magic…
The King’s Treasuries- 1
நான் இருக்கும் அந்த நாள் வரைக்கும்...
Not many today would remember the 1982 Tamil movie அழகிய கண்ணே, a supernatural thriller directed by the revered Mahendran. Sharatbabu, Sumalata, Suhasini and Baby Anju played the lead roles. Perhaps Mahendran set out to make a horror movie in the likes of ‘The Omen’, but his aesthetic sensibilities usurped the reigns midway and the narration strayed into emotional realms that put paid to any hopes of the movie setting the cash boxes jingling.
Bhama is a famed temple dancer. Her grace, her beauty and her nimble steps are a connoisseur’s delight. A young sculptor, Prasanna watches her performance and is so besotted by her ethereal persona that he goes back and works on chiseling her form into a lifelike statue. Bhama happens to see the statue and comes to know of his adoration for her… She requests him for a rendezvous at sunset near the temple at the bank of the river… When they meet, he comes to know of the sorrow behind the smile, of the depression behind the dance… She hails from a ‘devadasi’ family where the female children are trained to become dancers and given away to affluent men who become their ‘patrons’… she is filled with revulsion at this prospect and had warded off such offers until now…but fears that she will be coerced into submission very soon…
She pleads with him to marry her and take her away… he wants to help her but knows not how, for he is already betrothed to another girl… she is shaken by this refusal, yet in her heart she does not give up the hope that they will unite…
Gangai Amaran writes lines filled with forlorn hope tinged with a shade of resignation, his brother the Maestro weaves with characteristic nonchalance a melancholic melody embellished with enchanting musical arrangements… and the nightingale of their nest croons out her best… how much understanding is there in her delineation… she punctuates the lines with a tremulous ache of infinite longings…her tone here is pregnant with hushed whimpers… verily, hers is the wail of the soul!
Another jewel crafted by the Maestro that lies hidden under many other dazzling ornaments in his caskets of priceless treasures…let it be admired, just one last time, before it is banished once again to a cruel oblivion…. https://www.youtube.com/watch?v=2KSkqjPKc6g
'Hitler Umanath' (1982/ PVT Productions) was the third and last in the ‘Nath’ series that Sivaji chose to indulge in. Based on a stage play (Story: Mahendran, Dialogues: Mouli) and directed by veteran P. Madhavan, the movie had Sivaji Ganesan, K.R.Vijaya, 'Major' Sundararajan and Surulirajan in the lead roles.
M.S. Viswanthan set to music the lyrics written by Kannadasan, Vaali and Subbu Arumugam. For this Villuppaattu written by Subbu Arumugam, MSV seems to have been content to let the honours lie with Malaysia Vasudevan, Surulirajan and of course Subbu Arumugam.
Malaysia Vasudevan is astounding as Surulirajan's singing voice, and gets all the nuances of villuppaattu right. But it is Surulirajan (going by the lines he seems here to be an office peon trying to ingratiate himself into the good books of his superior) who steals the show with his naive, ebullient narration, frequent amusing quips and occasional exasperated rejoinders to the misplaced enthusiasm of his troupe members.
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'தந்தனத்தோம் என்று சொல்லியே, வில்லினில் பாட வந்தருள்வாய்...' the vibrant resonance of cymbals, the merry jingle of bells, the steadying reassurance of the veesukol striking the string ..the unobtrusive throat clearing.. and the raconteur is ready to tell his tale. Interspersing the narration with songs composed mostly impromptu to suit the theme and audience, he is wise and witty and leads his troupe through an animated interactive performance that has the audience spellbound.
Villuppaattu (the bow song) is an ancient art of story telling. Like Alha of Uttar Pradesh, Burra Katha of Andhra Pradesh, Kabin of Bengal, Lavani of Maharashtra and Gee-Gee of Karnataka, the Villuppaattu is a traditional performing art of Tamilnadu. Also called 'villaadi', ‘villaadippaattu', 'villadichaanpaattu', 'villisai' or simply 'villu', Villuppaattu was traditionally performed at temple festivities in the southern districts of Tirunelveli, Thoothukkudi, Nagerkoil and Kanyakumari. One long held view is that a court poet of the 15th century invented the Villuppaattu, while other accounts say that this art traces its origin to the 16th or 17th century. Researchers are divided over the issue though; some insist that it was in existence much earlier.
The சிலப்பதிகாரம் has references to Villuppaattu. Justice Maharaja Pillai reckons Villuppaattu to date from the times of ancient man, while researchers like Shanmugasundaram, Somaley and Perumal peg its origin to the heroic age. Kailasapathy compares this epic tradition with that prevalent in Ancient Greece. Iaympillai concludes that villuppaattu was in existence even in the 9th century. N. Vanamamalai's comprehensive analysis is held as the finest study on this folk art. Arjun Appadurai, Frank Korom and Margaret Mills have come out with some fascinating insights in their 'Gender, Genre and Power in South Asian Expressive Traditions'. Stuart Hart Blackburn, considered an expert on folklore and oral literature of the South and North-East India, toured the southern districts extensively and researched deeply into the history of villuppaattu. His PH.D thesis in 1980 submitted to the University of California, Berkeley titled 'Performance as Paradigm- The Tamil Bow Song Tradition' is considered the last word on this traditional art form.
The villu is a 7 or 8 feet long lacquered bow made either from a bamboo stick or from the branch of a palmyra or Jack fruit tree. This is fitted with a chord of hide or verve. A number of bells are hung from the chord. The middle of the bow rests on an earthen pot. A typical villuppaattu troupe consists of 5 members. The lead performer, who is the chief narrator, holds the two veesukOls (shafts) one in each hand and striking them on the chord to produce the rhythm, he narrates, sings, questions, enacts, gesticulates.. The udukkai, jalra, and kudam are the instruments wielded by the other members. One member sitting by the side of the lead singer queries, comments and engages in role-playing with him.
Villuppaattu has seen shifts in focus, content and style over the centuries depending on contemporary need. In ancient times, the primary intention was to prevent the audience from falling asleep; hence the artistes narrated engrossing tales from mythology/ folklore and history such as சுடலைமாடன் கதை, எசக்கி கதை, கான்ஸாஹப் கதை, நீலி கதை and அஞ்சு ராஜாக்கள் கதை. Such myths, epics and ballads emphasized good morals and concluded with good triumphing over evil, imbibing ceremonial rituals with social, secular and universal values.
During the freedom struggle, Villuppaattu was used to inspire people to fight against the British tyranny. Biographies of great leaders and social reformers were subsequently incorporated as themes of Villuppaattu. In modern times, science, technological advancements inagriculture, health, hygiene and social awareness have all been found propagation through Villuppaattu.
Thovalai Sundaram Pillai, Sathur P. Pitchai Kutti, Vilathikulam Rajalakshmi, Srinivasan, Sevalkulam Thangaiya, Elappa Pillai, Kovilpatti Chinnappa, Sivakasi Kanthimathi and Kanchipuram Muthuganesan were some famous exponents of Villuppaattu over the years. 'Kalaivaanar' N.S.Krishnan is said to have rejuvenated the art form in the 1940s touring the southern districts performing a Villuppaattu on Gandhi's Dandi March. Kothamangalam Subbu's காந்தி மகான் கதை was a hugely popular villuppaattu. Actor 'Kuladeivam' Rajagopal was another famous villuppaattu exponent. Actor S.S.Rajendran gave villuppaattu performances on several occasions. Kanchipuram Vajravelu, Athur Gomathi and Muthulakshmi are contemporary villuppaattu artistes. However, the one name that comes to mind at the very mention of villuppaattu is that of Subbu Arumugam.
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'Kalaimaamani' Subbu Arumugam was born in 1928 in Sathirapudhukulam near Tirunelveli. 'villupaattu was born here and I grew up in a surrounding where I could hear villuppaattu throughout the day, explains Subbu Arumugam as to how he was attracted to the art form. His parents were Avana Subbiah Pillai and Subbammal. Nurturing an abiding passion for Tamil and music since early childhood, Subbu Arumugam's first anthology of poems 'குமரன் பாட்டு' was published when he was barely 14 years old. When NSK visited 'Hindu College' in 1948, he was highly impressed with a song on Gandhi that Subbu composed spontaneously and invited the talented youngster to stay with him in Madras. Some of NSK's comedy sequences were written by Subbu during this period. He also penned the lyrics for some film songs like பொய்யெனும் காட்டில், இனிதான தென்றல், அன்போடு இன்பமாய் வாழலாம் (all from விடுதலை), நாட்டில் நீதி (அதிசயப்பெண்), 'துள்ளித்துள்ளி ஓடுது' (மீண்ட சொர்கம்) and உம்மேல கொண்ட காதல் (காதல் ஜோதி).
His first Villuppaattu performance in Madras was a biography of Gandhi in the presence of M.S.Subbulakshmi and Sadasivam. After the demise of N.S.Krishnan, Subbu became a full-fledged villuppaattu performer, ushering in a fresh lease of life for the art form threatened with extinction. His Villuppaattu secured a regular Sunday slot in AIR, Madras. Being a poet and writer as well, he brought in refreshing lyrical simplicity and elegance to the content, and has widened the scope of the art form by selecting a range of subjects- mythology, biographies, social and health related issues like family planning, evils of drink, small savings, khadi, agriculture-related issues, women's rights, AIDS, safety measures in factories, hygiene.
The Kanchi Paramacharya was an avowed fan of Subbu's art, and this is the greatest blessing that this birth has given him, says Subbu in an emotion-choked voice. Subbu's 'Kaladi mudhal Kanchi varai' is a moving homage to the great seer. Subbu has also been performing at Thiruvaiayaru during the Thyagarja Aradhana Festival for many years. He has conducted workshops for students of Padma Seshadri Bala Bhavan and Rosary Matriculation schools.
Today Subbu Arumugam is the one of the very few practitioners of this ancient art form, having performed all over India, Srilanka and Singapore. His son Gandhi and Bharathi accompany him in his concerts. Gandhi's dissertation for M. Phil was on 'கவிஞர் சுப்பு ஆறுமுகம்- வில்லிசையில் நகைச்சுவை'. Bharathi's was on 'கவிஞர் சுப்பு ஆறுமுகம்- வில்லிசையில் தேசப்பற்று'. Subbu's elder daughter Subbulakshmi's M.Phil thesis was on 'Folk arts as a medium for non-formal education with special reference to Villuppaattu'. Eric Miller, a Ph.D student, had come down to Madras and after learning villuppaatu from Subbu Arumugam, presented a detailed paper titled 'Questions of Discipline and Genre: Storytelling Studies and Subbu Arumugam's Villuppaattu (Bow-Song)' at the University of Pennsylvania.
Subbu re-entered cinema with writing the comedy sequences for Nagesh in சின்னஞ்சிறு உலகம் (1966). In the aftermath of this success, Subbu went on to pen the comedy tracks for Nagesh in several movies like உலகம் இவ்வளவு தான், செல்வமகள், சொர்கம், அன்னை அபிரமி and வீட்டுக்கு ஒரு பிள்ளை.' 'மஞ்சக்கயிறு தாலி மஞ்சக்கயிறு' the song that Subbu wrote for Manorama (உனக்கும் வாழ்வு வரும்/1978) was a chart-topper in its time.
Listen to this song- how innovatively does Subbu employ the Villuppaattu to suit the sequence in the movie, and how adroitly does he manage to insert an ode to the Nadigar Thilakam into the lines! Even the seemingly insignificant insistence on getting paid ('ரூபா ரூபா..' that is drawn out of 'ஸ்வரூபா' while rendering Arunagirinathar's 'நாத விந்து கலாதி') is a reflection of an actual incident in Bharathiyar's life narrated by Justice Maharaja Pillai: When Bharathiyar was 8 years old, he was furious when a Villuppaattu singer at an Amman temple committed the sacrilege of reminding the organizers through his song to pay the arrears due to him!
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A 'Modern' Theater was built with the Profit from One Film's Collection in One screen ? Is it possible?
Yes It happened. Madurai CHINTAMANI Talkies was built from the profit from Screening the Song filled Movie CHINTAMANI .It was screened in an Old small Theater known as City Cinema .
The collections from the film were enough to build a Theater with the name of the same Film Chintamani . Chintamani talkies remained number one for long.
Some interesting facts about the film.
1 It was directed by Sri YV Rao, Father of Actress Lakshmi . .
2 Bhagavathar's songs could be heard only in the Theaters as he didn't sing for the Gramaphone Record. Instead Thuraiyur Rajagopala Sarma.sang them. The audience thronged the Movie halls to hear the Originals sung by MKT.( since there was no other option) MKT, it is believed that refused to sing for the Gramophone record ( he believed that it will affect the Film's collection)
3 Gnaanakkan and Radhe unakkuk Kopam aagathadi continued to be Chartbusters for a decade or so . Chintamani made the First Superstar of South India
4 According to the Owner of Murugan Theatre Chennai , it ran for more than 3 years in Chennai beating the record of Haridas . Since no other theater in Chennai screened it , people from other districts traveled hundreds of Kilometers to see . It ran for 3 years in Madurai too according to old rasikas
4 Titles? Can u believe? Heroine Aswathama's name appeared first and MKTs name followed next !
I had the fortune of enjoying many Classics at CHINTAMANI theater in 70s.
Last one was DHOOL ...! (Vikram)
Sad End indeed!
மதுரையில் பழமையான சிந்தாமணி திரையரங்கம் தற்போது இடிக்கப்பட்டு வருகிறது. இங்கு ஒரு ஜவுளி நிறுவனம் பிரமாண்டமான கட்டிடம் கட்ட உள்ளது.
சங்கம் வைத்து தமிழ் வளர்த்த மதுரையின் அடையாளங்கள் ஏராளம். இந்த நகரின் ஆரம்ப கால அடையாளங்கள் இளைய தலைமுறையினருக்கு தெரியாத அளவுக்கு சிறிது சிறிதாக சிதைந்து வருகிறது.
இதன் ஒரு அங்கமாக சினிமா ரசிகர்கள், ரசிகர் மன்றங்கள் நிறைந்த நகரம் மதுரை எனலாம். எம்ஜிஆர்., சிவாஜி, ஜெமினி கணேசன் 1980-க்கு பின் ரஜினிகாந்த், கமலஹாசன், பிரபு போன்ற நடிகர்களின் படங் களை பார்க்க ரசிகர்கள் கூட்டம் திரையரங் குகளில் அலைமோதும். 10 மணி நேரத்திற்கு மேல் திரையரங்கு வாசல்களில் காத்திருந்து படம் பார்த்த காலமெல்லாம் இருந்தது. அந்த வகையில் மதுரையில் திரையரங்குகள் அதிக முக்கியத்துவம் பெற்றிருந்தன.
ஆசியாவில் பெரிய திரையரங்கு என்றழைக்கப்பட்ட தங்கம் திரையரங்கு தற்போது சிதைந்து வர்த்தக நிறுவனமானது. தினமணி டாக்கீஸ், சந்திரா டாக்கீஸ், தேவி தியேட்டர் போன்ற கொடி கட்டிப் பறந்த தியேட்டர் களும் கால சூழலால் மறைந்தன. அந்த வரிசையில் தற்போது, மதுரை நெல்பேட்டை அருகில் உள்ள பழமையான சித்தாமணி திரையரங்கும் சிக்கிக் கொண்டது. இந்த தியேட்டர் தற்போது இடிக்கப்பட்டு வருகிறது.
எம்ஜிஆர், சிவாஜி நடித்த பல படங்கள் இங்கு 100 நாட்களுக்கு மேல் ஓடி சாதனை புரிந்துள்ளன. நடிகர் பாக்கியராஜ் நடித்த முந்தானை முடிச்சு போன்ற ரசிகர்களை ஈர்த்த பல படங்கள் இங்கு ரிலீஸ் செய்யப்பட்டன. இதுபோன்ற பழமையான திரையரங்கு இடிக்கப்படுவது இளைய தலை முறைக்கு தெரியாவிட்டாலும், பழைய சினிமா ரசிகர்களுக்கு வருத்தம் அளித் துள்ளது.
இது குறித்து மதுரையைச் சேர்ந்த சினிமா ரசிகர்கள் கூறியதாவது:
அன்றைக்கும் சரி, இன்றைக்கும் சரி மதுரை நகருக்கும், திரைத்துறைக்கும் நெருங்கிய தொடர்பு உள்ளது. 1980-க்குப் பிறகு மதுரை, மதுரையைச் சுற்றி எடுத்த பல படங்கள் அதிக நாட்கள் ஓடி சாதனை புரிந்துள்ளன. மதுரையில் படமெடுத்தால் வெற்றி பெறும் என திரைத் துறையினர் இன்றும் நம்புகின்றனர்.
இன்றைக்கும் புதுப் படங்கள் ரிலீஸுக்கு வித்தியாசமான வரவேற்பை தருவது மதுரை ரசிகர்களே. இருந்தாலும், காலத்தால் தியேட்டர்களுக்கு சென்று படம் பார்ப்பது குறைந்ததால் மதுரையில் சமீப காலமாக பழமையான திரை யரங்குகள் இடிக்கப்படுவதும், வர்த்தக நிறுவனமாக மாற்றப்படுவதும் காலத்தின் கட்டாயமாகியது.
சினிமா ரசிகர்களுக்கு இது கண்ணீரை தருகிறது. என்றாலும், திரையரங்கு உரிமையாளர்கள் இழப்பீடுகளை சந்திக்க முடியவில்லை.
தினமணி டாக்கீஸ், தெற்குமாசி வீதியிலுள்ள சிடி சினிமா ஜவுளிக் கடைகளாகவும், நடனா-நாட்டியா திரை யரங்கம் கார் நிறுத்தும் இடமாகவும் மாறியது. 1930-ம் ஆண்டு கட்டப்பட்ட சிடி சினிமா திரையங்கில் சிந்தாமணி என்ற திரைப்படம் 3 ஆண்டுகள் ஓடி வசூலில் சாதனை படைத்தது. இத் தொகையில் இருந்தே தற்போது இடிக்கப்படும் பழமையான சிந்தாமணி திரையரங்கு கட்டப்பட்டுள்ளது.
இத்திரையரங்கை மதுரையிலுள்ள பிரபல ஜவுளி நிறுவனம் ஒன்று விலைக்கு வாங்கி குடோனாக பயன்படுத்தியது. தற்போது, அதை இடித்து தரைமட்டமாக்கி, கீழ் தளத்தில் இரு அடுக்கு உட்பட 6 அடுக்குகளாக மாற்றப்பட உள்ளது. இதற்காக சென்னை பெருநகர வளர்ச்சிக் குழுமத்தின் அனுமதியை நாடியுள்ளது என்றனர்.
As I was about to go to bed late Wednesday night, Jaya TV’s Thenkinnam cajoled me to stay awake, for songs from movies directed by Muktha Srinivasan were being featured…. Songs that I have loved, grown up listening to, and tug at my heartstrings making sigh with wistful memories… And while the venerable Muktha Srinivasan has worked with other composers such as K.V. Mahadevan, T. K. Ramamurthy, V. Kumar and Chandrabose, encouraging them to come up with memorable albums, it was with MSV that he seems to have shared a very special rapport… MSV’s tunes for the Muktha movies are precious testaments of an enduring and endearing bond.
And even when even the producers and directors who had reaped enormous successes with MSV were moving away from him one after another in the late 70s and early 80s, Muktha Srinivasan was one director who remained a staunch MSV loyalist and retained the Mellisai Mannar to score the music for his movies.
Presenting here a song from the early 80s that has remained close to my heart from the very first listen. ஒரு ஓசையின்றி மவுனமாக from பரீட்ச்சைக்கு நேரமாச்சு. Sung by P. Jayachandran. Lyrics by Vaali. Music by MSV.
பரீட்சைக்கு நேரமாச்சு (14.11.1982/ Mukta Films) starred Sivaji Ganesan, Sujatha, Y.G. Mahendran, Poornima Jairam, ‘VA’ Moorthi, Manorama, V. Gopalakrishnan and others. It was produced by Muktha Ramaswami and directed by Muktha Srinivasan.
The film was based on a play having the same name, staged by United Amateur Artistes. Founded in 1952 by Y.G.Parthasarathi and his versatile friend Pattu, UAA is among the oldest surviving Tamil theater troupes today. Varadakshinai (1952) was the first play that was staged by UAA, and over the years, besides Pattu, others who wrote plays for UAA include PYV Raman, Vietnam Veedu Sundaram, Mouli, Venkat, Visu, and YGM. Nagesh, Cho, Jayalalitha, Lakshmi, Srikanth, and V. Goplakrishnan were some of the many artistes who learned the basics of acting at UAA. Many of UAA’s landmark plays are remembered to this day - It happened at midnight, Oh, what a girl, Dial Mr. Sanjeevi, Under Secretary, Imperfect murder, நலந்தானா, Flight 172, ரகசியம் பரம ரகசியம், Paatti & The Naughty Boys, செய்திகள் வாசிப்பது UAA –the list goes on…. YGM revived பரீட்ச்சைக்கு நேரமாச்சு for the stage anew in 2014 to resounding success. Even this summer, I was fortunate to witness a hilarious stage adaptation of the epic காசேதான் கடவுளடா scripted afresh by the talented Chitralaya Sriram for UAA.
பரீட்ச்சைக்கு நேரமாச்சு was not the first instance of a UAA play was being adapted for a Sivaji film; it was UAA’s play பெற்றால் தான் பிள்ளையா written by Pattu, that became பார் மகளே பார் and கண்ணன் வந்தான் written by Vietnam Veedu Sundaram that became கவுரவம். பரீட்ச்சைக்கு நேரமாச்சு was a play jointly written by Venkat & YGM and first staged in 1978.
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Venkatachari Ramaswami (1925-1988) and his brother Srinivasan were born into a pious family near Nagappattinam. Forced by circumstances to to eke out a living at an early age, Ramaswami found a job as a typist in Modern Theatres, Salem. Winning the confidence of the legendary T.R. Sundaram by his diligence and honesty, Ramaswami rose to become Sundaram’s executive assistant. Following the footsteps of his brother, Srinivasan started working in the accounts section of Modern Theatres. Later drawn towards filmmaking, he had an enriching stint as assistant to stalwart directors such as K. Ramnath and S. Balachander. He turned director with முதலாளி (1957/ MAV Pictures).
Sensing his brother’s keen inclination, the enterprising Ramaswami came to Madras and formed his own company called ‘Muktha Films’. Starting with பனித்திரை (1961), over a period of nearly 40 years, 40 films have rolled out from the Mukta banner. And though generations of actors from Gemini Ganesh to Vikram have acted in the Muktha ventures, it was with Sivaji that the Muktha brothers shared a special relationship. Ramaswami, like Balaji, remained a Sivaji loyalist till the end, and was counted among Sivaji’s closest friends.
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பரீட்ச்சைக்கு நேரமாச்சு was a family drama, revolving around the upright Narasimhachari (Sivaji), his understanding wife Vedha (Sujatha), and their dunce of a son Varadhu (YGM). Ragothama Rao (VA Moorthi), his wife Subhadra aka ‘Noon Show Mami’ (Manorama) and their daughter Jayanthi (Poornima Jairam) are their immediate neighbors and close friends. How fate repeatedly deals the same cruel bow, first by snatching their beloved Varadhukkutti, and then his look-alike whom they adopt, forms the crux of the tale.
Those were the years of decline for the thespian; even his ardent fans were filled with indignation at most of the insipid films and ludicrous roles that came his way, roles that were ill-suited considering his advancing age and girth. However, there were a few instances where the ‘Nadigar Thilagam’ could still cast his unparalleled spell and rekindle the magic a bygone era.
In 1982, a year which unleashed a series of unmitigated miseries like Hitler Umanath, சங்கிலி, ஊருக்கு ஒரு பிள்ளை, கருடா சவுக்கியமா, தியாகி, நெஞ்சங்கள் and ஊரும் உறவும், two movies came as welcome breaths of respite: Durai’s துணை was one and Muktha’s பரீட்ச்சைக்கு நேரமாச்சு was the other; in both movies Sivaji enacted roles that suited his age and stature, and he played them with majesty.
In பரீட்ச்சைக்கு நேரமாச்சு Sivaji’s heartwarming performance had riveting moments of sheer brilliance- inviting his boss (Goplalakrishnan) for lunch while secretly hoping to lure him into offering Varudhu a job; trying to procure a question paper illegally for Varadhu’s forthcoming exam though filled with misgivings, and then the humiliation at being caught red-handed; valiantly coping with the twin calamities of losing Varadhu and Vedha becoming a living corpse; going to a ‘military’ eatery shamefacedly to buy ‘Chicken-65’ for the new Varadhu—oh, the King was in his elements here, and seemed to ascend his throne for a brief while again, after years of mortifying exile!
October 1st marked the birth anniversary of Sivaji Ganesan. Let us remember the great ‘Nadigar Thilagam’ and how his magical presence lit up the screen for decades. We salute his revered memory.
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‘சுமைதாங்கி சாய்ந்தால் சுமை என்னவாகும்?’ fretted an anxious Inspector Choudhary as he attended to his ailing Lakshmi. The same scene is enacted again, here Narasimhachari has lost his only son, and a benumbed Vedha is but a living corpse. Putting aside his own sorrow resolutely, he takes care his wife; like a mother would tenderly nurse her infant, he attends to Vedha’s needs with solicitude and fortitude--தாரம் என்னும் ஆதாரம் சாய்ந்திடும் நேரம், அதை தாங்கும் பாரம் பெரும் பாரம் தலைவனை சேரும்...Vaali’s evocative lines find moving, compassionate delineation in Jayachandran’s honeyed, mellifluous rendition.
The late 70s and early 80s were some exultant years in Paliyathu Jayachandran’s unfairly unfulfilled tryst with Tamil film muisc; MSV, Ilaiyaraja Shankar--Ganesh, Gangaiamaran and T. Rajendar reaped repeated successes in his enchanting voice in that brief period. When I met him earlier this year for a leisurely tête-à-tête, his worshipful reverence for MSV was a joy to behold. Hark at his rendition of this song- the astute Master restrains the orchestration to a bare minimum, just adequate to accentuate the melancholy of the sequence and allows the singer and lines to bask in the prominence that the sequence demands…
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In a recent post, Muktha Srinivasan sir revealed that his first choice for the role of Vedha was Jayalalitha. Before the casting could be finalized, Jayalalitha became preoccupied with her political commitments and it was then that Sujatha was picked for the role. No doubt Jayalalitha with her sagacity would have surely elevated the proceedings to a sublime level of perfection; nonetheless Sujatha essayed the role with her characteristic dignity and empathy-indeed her performance in this movie would rank among her best ever.
Cutting across party affiliations and unmindful of his own frail health and advanced age, Muktha Srinivasan sir went to the temple to offer special prayers for the speedy recovery of the Chief Minister, his beloved Ammu. I join him and countless others in the same prayers.
வறுமை முழுவதும் தீர்ந்த பின்னே...மறுபடி ஒரு நாள் நான் வருவேன்..
உனக்காக நான் (1976/ Sujatha Cine Arts) had Sivaji Ganesan, Gemini Ganesh, Lakshmi, veNNira aadai Nirmala and Nagesh playing the lead roles. Dialogues were by A.L. Narayanan. The film was directed by C.V.Rajendran.
It was a remake of Hrishikesh Mukherjee's Namak Haraam (1973/ RSJ Productions), a great movie with a finely etched storyline further enhanced by riveting performances. However, உனக்காக நான் could not repeat the success story, it was in fact the first time Balaji was facing failure with his collaborations with Sivaji. With no offence meant, perhaps younger actors playing the lead roles could have made it more appealing?
Hrishikesh Mukherjee's story (drawing some inspiration from the 1964 English movie Becket, which itself was adapted from the play Becket or the Honour of God by Jean Anouilh ) was a wonderful admixture of two sure to win ingredients: friends turned foes and capitalism versus socialism.
Amitabh played the rich industrialist Vikram and Rajesh Khanna played his bosom pal Somu. The two lit up the screen with their heartwarming portrayal of the two friends who see their friendship breaking up due to clashing ideologies, leading to Somu's gory end and Vikram taking the blame for his father's dastardly act. Gulzar's dialogues and R.D.Burman's music added to the film's appeal.
உனக்காக நான் had Sivaji in the role of the rich Raja and Gemini Ganesh in the role of his loyal friend Ramu.
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Namak Haram had some scintillating songs composed by RDB - 'Diye jalte hain' and 'Nadiya se dariya' hogged the air waves all over the country at the time and retain their appeal to this day. However, the song that had held my heart in its tenacious thrall all these years is a wistful Kishore Kumar rendering Gulzar’s poignant, poetic lines tinged with philosophy - ‘Main shayar badnaam’ https://www.youtube.com/watch?v=PleWU2pdK-I
This sequence is probably the turning point in the story. It is when reluctantly rendering these lines penned by a dying poet Alam (Raza Murad) that Somu wakens to the miseries of the poor labourers. And thus develop gradually the initial fissures in his friendship with Vikram. In உனக்காக நான், Nagesh played the idealistic poet with leftist leanings, and took on the daunting task of ensuring some fine moments in this exercise in ennui.
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'Ramu…..I love you- Raja……I love you'- avid radio listeners of the 70s would surely be familiar with this ode to friendship by TMS & Yesudas, for it found frequent airtime then. The other songs in the film were 'No..No..No..I won’t say no' (SPB & Vani Jairam), காடு கண்டா வெறகு வெட்டுறது (S.C. Krishnan, Manorama & chorus) and நீ என்னை சந்தித்ததுண்டோ (L.R.Eswari & Joseph Krishna).
However, here again, it is இறைவன் உலகத்தை படைத்தானாம், the equivalent of ‘Main shayar badnaam’, rendered by a ruminative Yesudas, with its profound lyrics set into an unhurried, lingering tune by MSV, that found its way effortlessly to the softest corner of my heart.
In my college years, I have had a bitter struggle with Economics (among other subjects!) And one of the most complicated concepts was Vilfredo Pareto's fat-tailed graph for distribution of wealth. I understood it only after testing severely the patience of the lecturer. And I also realized anew the genius of Kannadasan, for he has encapsulated in these beautiful lines what generations of learned economists have theorized in elaborate, pompous terms. For that matter, references to class distinction and appeals for a more orderly distribution of wealth have found place in literature of all languages. Munshi Premchand's Godaan and Pearl S. Buck's The Good Earth are works that readily come to mind- works that cut across time and geographical barriers in depicting the pathetic deprivations of the poor as juxtaposed with the incredible luxuries of the rich. But Kannadasan is in a league of his own as he nonchalantly waves sheer poetry into the lyrics...
பொன்னகை அணிந்த மாளிகைகள்-
புன்னகை மறந்த மண்குடிசை
பசிவர அங்கே மாத்திரைகள்-
பட்டினியால் இங்கு யாத்திரைகள்...
The haves/ have-nots divide has been so thought-provokingly portrayed by the bard and a brooding Yesudas is just the person to bring to life the moving, melancholic lines.
The embittered question that Kannadasan poses remains unanswered however; it would probably always remain so....
பக்தி மற்றும் தனிப் பாடல்களின் சிதைவு - Destruction of a glorious genre
போன மாதம் பல்லவன் எக்ஸ்பிரஸ்ஸிற்க்காக ஶ்ரீரங்கம் ஸ்டேஷனில் நின்று கொண்டிருந்தேன். பக்கத்தில் இருக்கும் சிறிய காளி கோயிலிருந்து ஸ்ருதி , இசை, குரல், தாளம் எதுவுமில்லாமல் " தீமிதி, தீச்சட்டி" என்ற வார்த்தைகள் திரும்பத்திரும்ப ஒலிக்க யாரோ பாட்டு என்ற பெயரில் கீபோர்ட் மேல் ஏறி நின்று கொண்டு, தெய்வ நிந்தனை செய்துகொண்டிருந்தார்கள்.
சென்னையில் ஒரு ஆடியோ சிடி கடையில் பார்த்த பக்திப் பாடல்களின் விற்காத சி.டி.களில் இசைக்கோ பக்திக்கோ லவலேசம் சம்பந்தம் இல்லாமல் பட்டுப் புடவைப் பெண்டிரும், பட்டை விபூதி ஆண்களும் தென்பட்டார்கள். கடைக்காரர் " என்ன சார் செய்யிறது? 4-5 வருசமா விக்கல! எடுத்துட்டும் போமாட்டேன்றாங்க! சாமி படம் இருக்கிறதால் தூக்கிப் போடவும் மனசில்ல! எடத்த அடச்சுகிட்டு! யாராச்சும் பக்தி கேசட் ( சிடி) கொண்டாந்தா இப்பல்லாம் எடுக்கிறதில்ல. 10000 இருந்தா எந்தக் கழுதையும் சி.டி போட்டு கழுத்தறுக்கிறாங்க! சபரி மலை சீசனில் இன்னும் கொடுமை!" என்றார்.
சற்றே பின்னோக்கிச் சென்றால்......
LR ஈஸ்வரியின் கற்பூர நாயகியுடன் தான் ஆடி வெள்ளிக்கிழமைகள் அப்போதெல்லாம் தொடங்கின. ஜீயபுரம் நடேசா தியேட்டரில் சீர்காழியின் "விநாயகனே" போட்டவுடன் தான் படம் துவங்கும், கடவுள் மறுப்பு கலைஞர் வசனத் திரைப்படம் உட்பட!
விவரம் தெரிந்து நடு 80கள் வரை பக்திப்பாடல்கள் சினிமா ,கர்நாடக சங்கீதப் பாடல்களுக்கு இணையாக இருந்தன. ஆடிக்கிருத்திகைக்கு அழகென்ற சொல்லுக்கு முருகா பாட்டு போட்டபின் தான் " டிரொய்ங்ங்.......பரமேஸ்வரா! உலகைக்காக்கும் பரம்பொருளே" என்று திருவிளையாடல் ஒலிச்சித்திரம் துவங்கும். எத்தனை பேர் வந்தாலும் ஓம்காரத்துடன் கூடிய டி.எம்.எஸ்ஸின் முருகன் பாடல்கள் இல்லாது எந்தக் கலை நிகழ்ச்சியும் இருக்காது.
வீரமணியின் " இருமுடி தாங்கி" பாடல் , ( பாடல்-இசை வீரமணி-சோமு) இன்றும், சபரி மலை பக்தர்களின் நெஞ்சில் நீங்காத பாடல்.
SPB யின் திருத்தணிகை வாழும் முருகா , ஏழு மலை வாசா போன்ற இனிமையான பாடல்கள் இன்று எங்கே?
நடு 80களில் மெதுவாக இந்தப் பாடல்களின் இடம் காலியாகிவிட்டது. கவிஞர்கள் எழுதிய வியர்வையின் ராஜசுகம், மேகம்- ராகம், ராசா-ரோசா, பாரு-கூறுவிலும் இசையமைப்பாளர்களும் இந்த ஜானரை மறந்து போனார்கள். யாராவது 80 களிலிருந்து இன்றுவரை, எழுதி இசையமைக்கப் பட்டு, பிரபலமான தனிப்பட்ட பக்திப் பாடல்களை நினைவு கூர முடியுமா? ( திரைப்படப் பாடல்களிலேயும் 2 பாட்டுகள் மட்டுமே தேறும் - இளையராஜாவின் ஜனனி, சந்திரபோஸின் பொய்யின்றி) . பாண்டிச்சேரி அன்னை மேல் கங்கை அமரன் பாடிய பாடலைச் சொல்பவர்களுக்கு நரகத்தில் 100% இட ஒதுக்கீடு உண்டு. ( கங்கை அமரனின் திறமைக்கு அந்தப் பாடல் ஒரு திருஷ்டிப்பொட்டு) .
உளுந்தூர்பேட்டை ஷண்முகம், நெல்லை அருள்மணி, பூவை செங்குட்டுவன் போன்ற கவிஞர்கள் பக்திப்பாடல்கள் ஜானரில் குறிப்பிடத்தக்கவர்கள். அவர்களுக்கு சரியான அங்கீகாரம் அரசிடமிருந்து கிடைத்ததா? தெரியவில்லை. பக்திப்பாடல்களில் டி.எம்.எஸ் தொட்ட சிகரங்கள் வேறு யாரும் தொடவில்லை. இலங்கை வானொலியும், இலங்கைத் தமிழர்களும் மட்டுமே இன்னும் இவற்றையெல்லாம் போற்றிப் பாதுகாக்கின்றார்கள்.
டி.எம்.சௌந்தரராஜன்
இவர் இசையமைத்துப் பாடிய வாலியின் அழகென்ற சொல்லுக்கு, மண்ணானாலும், பச்சைக் கலை மயில், கற்பனை என்றாலும், உள்ளம் உருகுதைய்யா ( பாடல் - ஆ.ண்டவன் பிச்சை) இன்னும் கேட்க இனிமையாக இருக்கிறது. அவரது கற்பக வல்லி நின், யாழ்பாணம் வீரமணி ஐயர் எழுதி இசையமைத்து டி.எம்.எஸ் இசைக்கோர்வை செய்து பாடியது. அதற்கு இணையான பாடல் இன்றுவரை வரவில்லை. எம்.எஸ்.வியின் கிருஷ்ணகானம் ( பாடல்கள்- கண்ணதாசன்) இசைத்தட்டிலும் ( சரஸ்வதி ஸ்டோர்ஸ்) டி.எம்.எஸ்சின் " புல்லாங்குழல் கொடுத்த" பாடலே சிகரம்.
சீர்காழி கோவிந்தராஜன்
"ற" வைய மெகா/மகாவல்லினமாக அழுத்திப் பாடினாலும் வினாயகனே & நீ அல்லால் தெய்வம் ( இசை : DB ராமசந்திரன்). DBR ஜி.இராமநாதனின் உதவியாளராகவும் இருந்தவர். திறமையானவர். சீர்காழியின் மற்ற பாடல்கள்.....ஆவி குடியிருக்கும், சின்னஞ்சிறு பெண் போலே ( பாடல் : உளுந்தூர்பேட்டை ஷண்முகம்) பழனி மலை முருகா, நீல மயில் மீது போன்ற பாடல்கள் இன்றும் பிரபலம்.
பி.சுசீலா
டி.எம்.எஸ்ஸைத் தொடர்ந்து அதிகமான பக்திப்பாடல்கள் பாடியவர் பி.சுசீலா. தவமிருந்தாலும் ( இசை HMV ரகு) , மாணிக்க வீணை, தாமரைப் பூவில், திருவிளக்கை, ரக்ஷ ரக்ஷ ஜகன் மாதா. தவமிருந்தாலும் ( த்வஜாவந்தி) , மாணிக்க வீணை ( மோகனம்), தாமரைப் பூவில் ( தோடி) பாடல்கள் அந்தந்த ராகங்களுக்கு ரெடி ரெக்கனர் போன்றவை. எளிமையான வரிகள் " வெள்ளைத் தாமரையில் வீற்றிருப்பாள் எங்கள் உள்ளக் கோவிலிலே குடியிருப்பாள்". சர்ச்சில் சொல்வதுபோல் All the great things are , simple!
மற்றவர்கள்
சூலமங்கலம் சகோதரிகளின் , சேவல் கூவும், குன்னக்குடியின் திருப்பரங்குன்றத்தில் நீ சிரித்தாய், எழுதி எழுதி பழகி வந்தேன் ( இரு பாடல்களும் திரைப்படங்களில் கந்தன் கருணை / குமாஸ்தாவின் மகள் பிரபலமான பின் பயன்படுத்தப் பட்டவை). ஆடுகின்றானடி தில்லையிலே பாடல் ஏடு தந்தானடி தில்லையிலே என்று ராஜராஜ சோழன் படத்தில் பயன்படுத்தப்பட்டது. சென்ற மாதம், சூலமங்கலம் ராஜலக்ஷ்மிக்கு நண்பர் சரவணன் தனது அற்புதமான அஞ்சலியைப் பதிவு செய்திருந்தார்.
பெங்களூர் ரமணி அம்மாள் பாடிய வேலவா, பாசி படர்ந்த மலை. தமிழ் சினிமாவின் பிந்தைய சாதனை அவரது குன்றத்திலே குமரனுக்கு ( தெய்வம்) பாட்டைச் சிதைத்தது. KBS இன் பாடல்களையே கேவலப்படுத்திய கோடம்பாக்க மாக்களுக்கு , ரமணி அம்மாள் எம்மாத்திரம்?
சபரி மலை பக்தர்கள் ஏசுதாஸின் மலையாளப் பாடல்களான என் மனம் பொன்னம்பலம், காசி ராமேஸ்வர பாண்டி மலையாளம், கங்கையாறு பிறக்கும், பாடல்களை இனிமையாக நினைவு கூர்வார்கள்.
கிறித்தவ பக்திப் பாடலான எம்.எஸ்.வியின் குழலும் யாழும் , கிறிஸ்மஸ் , ஈஸ்டர் தினங்களில் முதல் பாடலாக இலங்கை வானொலியில் ஒலிக்கும். திருச்சி வானொலியில் காலை 6- 6.30 பக்திமாலையிலும் இந்தப்பாடல் அடிக்கடி இடம் பெறும். ஒரு முறை புனித அந்தோணியார் படப் பாடலான " மண்ணுலகில் இன்று" ( வாணி / தஞ்சை வாணன் / எம்.எஸ்.வி) பாட்டையே பக்தி மாலையில் ஒலிபரப்பினார்கள். ( அந்த நிகழ்ச்சியில் திரைப்படப் பாடல்கள் வரக்கூடாது என்பது வழக்கம்)
இஸ்லாம் பக்திப்பாடல்களில் நாகூர் அனீபாவின் இறைவனிடம் கையேந்துங்கள், மதினா நகருக்கு போன்றவை அடிக்கடி ஒலி பரப்பப்பட்டு மக்கள் மனதில் இடம் பெற்றிருந்தன.
இன்று இதை வெற்றிகரமாகச் செய்ய எந்த இசையமைப்பாளர்/ பாடகருக்கோ ஞானமும் , தைரியமும் இருக்கிறதா? அந்தப் பாடல்களில் இசை, வார்த்தைகள் தாண்டி தென்படுபவை பாடகர்/கவிஞர்/ இசையமைப்பாளர் இவர்களின் மனதொருமித்த உழைப்பின் சங்கமம். ஹாரிஸ் ஜெயராஜ் பழைய , சராகமான பாடலான ஏசு பிறந்தாரேவை , பார்த்த முதல் நாள் ஆக்கியதும், தேவா கந்த சஷ்டிக்கவசத்தை கேவலப்படுத்தியதும் மட்டுமே பின்னாள் சாதனைகள்.
( நான் குறிப்பிட்டுள்ள பாடல்கள் தவிர இன்னும் பல பிரபல பாடல்கள் உள. அந்தப்பாடல்களை எழுதிய கவிஞர்கள் பெயரையும், இசையமைப்பாளர்கள் பெயரையும் தொகுத்து இங்கு பதிவு செய்ய முயற்சிக்கிறேன்)
When A.P. Nagarajan embarked upon திருவிளையாடல் (1965/ Sri Vijayalakshmi Pictures), a magnificent celluloid adaptation of the stage play ‘சிவலீலா’, he invited KBS to once again essay the role of Avvaiyaar who tries to pacify the petulant child Murugan. In a grand album composed by K.V. Mahadevan with an awe-inspiring galaxy of singers that included T.R. Mahalingam, M. Balamuralikrishna, Seergazhi Govindarajan, TMS, PBS, P. Susheela and S. Janaki, KBS glittered as the dazzling jewel in the crown with her songs such as ஞானப்பழத்தை பிழிந்து, பழம் நீயப்பா and வாசி வாசி என்று that flows into ஒன்றானவன்.
She sang again for KVM in her next screen appearance the following year- மஹாகவி காளிதாஸ் (1966/ Kalpana Kalamandir) had KBS singing popular numbers like சென்று வா மகனே and காலத்தால் அழியாத காவியம். https://youtu.be/gaFdXWeUpZA
An intriguing movie – ஞாயிறும் திங்களும் embarked upon at around this time with an ensemble cast of KBS, Sivaji Ganesan, Muthuraman, Devika and K.R. Vijaya sadly remains unreleased. It is the only album by M.S.Viswanathan in which KBS has sung. Luckily, the record was released and we are thus fortunate to listen to the scintillating KBS/MSV collaborations like வீறு தமிழ் பாலுண்டு, வகுத்தான் வகுத்த பகை அல்லார் and கேட்ட வரம் கொடுக்கும்.
KBS created a record of sorts by playing Avvaiyaar for the third time, this time in APN’s கந்தன் கருணை (1967/ ALS Productions), singing in KVM’s music, அரியது கேட்கின்ற and முருகா முருகா.
In the same year came the only social theme starring KBS to be released- உயிர் மேல் ஆசை (1967/Ayyappan Productions). KBS played the role of an affluent old woman facing imminent danger to her life by unscrupulous rascals who wish to usurp her wealth. Veteran S.M. Subbiah Naidu tuned some devotional numbers for KBS such as தும்பிக்கை நாதன் துணை and ஐயப்பா பொன் ஐயப்பா; however, the more popular song from the movie was கேளு பாப்பா, கேள்விகள் ஆயிரம் கேளு பாப்பா.
Devar’s துணைவன் (Dandayudhapani Films) followed in 1969 in KVM’s music. KBS played the role of an ardent devotee of Lord Murugan and gives solace to a young couple whose infant is a living corpse. Besides KBS gems like ஞானமும் கள்வியும் and கொண்டாடும் திருச்செந்தூர், it had the magnificent பழனி மலை மீதினிலே (ஜெயமுண்டு பயமில்லை)’ which fetched KBS the National Award for Best Playback Singer of 1969.
T.R.Ramanna’s சக்தி லீலை (1972/ Raman Pictures) had KBS singing in T.K.Ramamoorthi’s music- songs such as அம்மா...சக்தியெனும் தெய்வம் கொண்ட படைவீடு and எங்கேயும் சக்தி உண்டு were popular in their time.
KBS played with characteristic dignity and fervour the title role in காரைக்கால் அம்மையார் (1973/ Eveeyaar Films). Lakshmi essayed the role of Punithavathi before the transformation. Muthuraman, Sivakumar & Srividya were the others in the cast. Era. Pazhanisami drafted the screenplay, and A.P.Nagarajan directed the movie. Kunnakkudi Vaidyanathan composed songs for KBS such as ஓடுங்கால் ஓடி உள்ளம் உருகி ( தகதகதகவென ஆடவா) and இறைவா உன் புகழ் பாடுவேன். The fast-paced தகதகதகவென ஆடவா with KBS soaring nonchalantly in breathtaking octaves left listeners in a delirious daze…
And KBS sang again in Kunnakkudi Vaidyanathan’s music the same year for திருமலை தெய்வம் (1973/ Shanthi Combines) which was the only instance where she played a devotee of Vishnu. She appeared as Narayanamma who lives in a beautiful cottage on the hills leading to the temple of the Lord. Kunnakkudi Vaidyanathan composed for her 2 unforgettable songs. One is the famous ஏழுமலை இருக்க நமக்கென்ன மனக்கவலை written by Ulundurpettai Shanmugam that narrates the beatitude of the Lord's grace.
My favourite is the other KBS number நாள்ளெல்லாம் உந்தன் திருநாளே written by Kannadasan. In most of her songs KBS whips up a fierce storm of religious fervour, soaring with the highest octaves in breakneck speed as one possessed. But as a refreshing change, in this song, she is the gentle, salubrious zephyr that cools and calms a troubled mind with its solicitous serenity.
Thus ended Tamil cinema’s tryst with KBS. Of course in between her film projects and for long after திருமலை தெய்வம், KBS continued her stage concerts and recording devotional albums. Her concerts in numerous temples in all corners of Tamilnadu had devotees spellbound in the rapturous shower of piety. I have heard relatives recall with nostalgia that Panguni Utharam in Pazhani and Soorasamharam at Tiruchendoor would not be complete without the concerts of KBS. And KBS obliged everyone, from the most prestigious Sabha to the humblest group of workmen- the annual Ayudha Poojai of Taxi Driver associations in towns like Kumbakonam and Mayiladuthurai had the celebrations embellished by KBS singing for them.
Though in the early years KBS sang classical Telugu compositions in her concerts, she later concentrated almost wholly on Tamil songs steeped in devotion. Much after she was acclaimed as a great singer and stage actress, KBS formally learned classical music for 8 years under Namakkal Seshaiyengar. Learning of an erudite singer called Tiruchendoor Shanmugavadivu, KBS approached the reclusive artiste and coaxed her into imparting the ancient Pillai Tamizh ArutpaaKavadichindhu verses set in musical Ragamalika.
The devotional albums of KBS continue to be best-sellers to this day. Songs such as மனக்குறை ஏது முருகா, ஏறு மயில் ஏறி விளையாடும் முகமொன்றே, சரண கமலாலயத்தில், பாரோடு பதினாலு லோகமும், முத்து தமிழ் மாலை, தரணிதனில் அறுபத்தாறு தீர்த்தமும் all are enshrined in the hearts of devout Tamils the world over.
KBS was an ardent admirer of Mahatma Gandhi and his ideals. Her songs extolling the virtues of the Mahatma- நம்பிக்கை கொண்டெல்லோரும் கை ராட்டை சுற்றுவோம் and காந்தி ஓர் பரம ஏழை were a mandatory listen at Congress meetings. Heartbroken at the assassination of Mahatma Gandhi, KBS sang the poignant அடிமையெனும் விலங்ககற்றி written by Karaikkudi Raya Chokkalingam. The song உத்தமராம் காந்தி written by the great Namakkal Kavingnar, when heard in the emotion-choked resonant voice of KBS would move even the most staid listener to tears.
She resumed her stage dramas after continued persuasion by well-wishers. At a trade fair held in Salem in 1956, KBS played the role of Velan in an adaptation of Valli Thirumanam in which S. D. Subbulakshmi appeared as Valli and T. R. Mahalingam appeared as Narada.
Several awards and honours, including the ‘Isai Peraringnar’ conferred by the Tamil Isai Sangam and the ‘Padmashri’ conferred by the Government of India have come her way. KBS became a member of Legislative Council of Madras State in 1951, thus becoming the first film artist to enter an Indian legislature.
She was generous and gave away liberally to charitable causes. Seeing the great leader Satyamurthy languishing in a dilapidated rented house, KBS gave away a plot of 4.5 grounds that she owned in T-Nagar to his family and ensured that a house was built therein. The family of the leader named the house ‘Sundara’ in expression of their gratitude. KBS built a cinema theter in Kodumadi, the opening of which was attended by, among others, Karunanidhi, MGR and Jayalalitha.
KBS loved children and ensured that the families of her siblings lived with her in her palatial house in Kodumudi. She would pluck flowers from her garden, cull them into garlands and decorate the hair of her little nieces every evening. She would stand for hours at the stove and prepare delicacies for the children and watch on with loving indulgence as they consumed the snacks. Every full moon night, she would take all the children to the terrace or to her farm lands and have an enjoyable time regaling them with songs, riddles and jokes, followed by a sumptuous spread. If any of the children fell sick, she would stand vigil by their bedside, fasting and chanting the Lord' s name until they recovered.
However, in her last years, KBS perceived the avarice and deceit of her relatives. Disheartened at their treacherous deeds, she moved to her house in Alwarpet, Madras where she lived all alone. Film Producer Kalaignanam, who was her tenant in the first floor of the same house, recalls in his memoirs the depressed state of KBS. She had even reduced her food intake to only one meal a day. She regained some of her zest for life when Kalaignanam approached her with a movie project, but before that could materialize, KBS fell ill.
The Kodumudi Kokilam attained the feet of the Almighty on 19 September 1980. Chief Minister MGR ordered a funeral with state honours, and led the mourners who played their last respects to her body that was brought to the Nadigar Sangam. Karunanidhi and Sivaji Ganesan paid moving eulogies to the departed soul.
After long years of separation, she must have reunited with her lover in the heavenly realm; the two of them must be enthralling the Gods with their celestial music…
On her birth anniversary today, we salute the memory of the celestial nightingale.
It was then that producer Asandas and director Manik Lal Tandon hit upon the idea of casting KBS in the title role in the celluloid adaptation of Gopalakrishna Bharathiar’s நந்தனார் சரிதம் that were planning to shoot. KBS was offered a staggering Rs. 1 Lakh to play the role. How this came about remains a matter of conjecture. One version says that KBS was determined to refuse, and hence demanded this fantastic sum with the hope that Asandas would stop pestering her then. And she had no option but to agree when Asandas readily agreed to pay the amount!
But in an interview ( Bommai/1970), KBS related that when Asandas, along with Congress leader Satyamoorthi, had come to make his offer, she was not at home. And when her uncle had asked in jest if Asandas would pay KBS Rs. 1 Lakh, Asandas agreed and promptly handed over a cheque for an advance of Rs. 25,000. And with Satyamurti too cajoling her to accept the offer, KBS was forced to play along. Whatever may have been the forces at play, KBS made history as the first ever artiste of Tamil cinema to be paid such an astronomical sum, and the first woman to play a male role on the Tamil screen.
Besides KBS, பக்த நந்தனார் (1935/ Asandas Classical Talkies) had Maharajapuram Viswanatha Iyer in his only celluloid outing. KBS sang a whopping 19 songs for the movie, including immortal classics such as வருகலாமோ, பித்தம் தெளிய மருந்தொன்று, உத்தாரும் தாருமய்யே and வழி மறைத்திருக்குதே in the movie. While Kalki panned the movie with the harshest terms in his review, (he even said caustically that the trees and animals shown in the movie acted better than the humans), the songs did become popular. Unfortunately, neither a print of the movie nor the songs are available today.
The next movie to come with KBS in its cast was மணிமேகலை (1940/ T.K. Productions). Produced by Tasilram Kishenchand and directed by the famed Bomman Irani, the film had KBS in the title role, supported by Kothamangalam Seenu, NSK, T.A.Mathuram and others. The brothers Papanasam Sivan and Rajagopla Iyer were in charge of the songs. மாசின்றி குலமாதர், சிறைச்சாலை என்ன செய்யும் and பாவி ஏன் பிறந்தேன் were among the 21 songs that KBS sang in the movie.
After a full 13 years came the classic அவ்வையார் (1953/Gemini), offering KBS the role of a lifetime. And she lived the role of the saint on screen. Directed by Kothamangalam Subbu, the film was some years in the making. Vasan had originally commissioned the legendary Pudhumaipithan to work on the script. However, Vasan later entrusted the screenplay and dialogues to his in-house writers Kothamangalam Subbu and Ki. Ra, advising them to incorporate some commercial elements like comedy and dance into the narrative.
Baby Sachu appeared as the child Avvai, Kusalakumari played the young Avvai and KBS played the aged Avvai. M.K. Radha, Gemini Ganesh, T.V.Kumudini, Balaji and Sundaribai were part of the huge cast. The grandeur of the rich visuals and the meticulous screenplay, topped by the sagacious presence of KBS made the movie a great success. Besides the traditional songs by Avvaiyar, the film had songs written by Papanasam Sivan and Kothamangalam Subbu. Music was by Mayavaram Venu, M.D.Parthasarathi and Anantharaman. KBS lives on in songs like கற்றது கைமண்ணளவு, முத்தமிழ் தெய்வமே வா, ஐயனே அன்பர்க்கு மெய்யனே, அறம் செய்ய விரும்பு, மயிலேரும் வடிவேலனே...
The performance and songs of KBS were the highlights of the movie that went on to ring in the cash registers wherever it was screened. A hoarding resembling a temple gopuram was erected at Wellington Theater in Madras, for watching the movie was considered akin to a sacred pilgrimage. Even non-Tamils thronged the Basusree and Broadway halls in Calcutta and Bombay- the pious and stirring presence of KBS cast such a spell that transcended mere barriers of language. After watching the movie at its inaugural show in Ceylon, a deeply moved Viscount Soulbury, then the Governor General of Ceylon remarked that this movie was sufficient to make truth, justice and ethics flourish on this earth. Even Kalki could not help being effusive in his praise for the sheer magnificence of the movie and the enticing persona of KBS. Gundoosi Gopal declared that he wished KBS would not appear in any more movies…he did not want to part with her image as Avvaiyaar! https://www.youtube.com/watch?v=11_ps9Hf6Bk
After a long absence, KBS made a comeback to the silver screen in 1964 with பூம்புகார் (1964/ Mekala Pictures) directed by P. Neelakantan. Having decided on rest of the cast, Karunanidhi and SSR wondered who could play the role of Kavunthi Adigal. The 1942 version had U.R.Jeevarathinam playing the role, and her songs மாநில மீதில் and பூதளம் புகழும் ஜோதி were very popular in the 40s. After much deliberation, they felt KBS was the most suited person to play the role.
They sent word to KBS that they would be coming to Kodumudi to meet her. KBS is said to have declared joyfully that her sons were coming to meet her and had a sumptuous meal ready when the two arrived. 'எங்களுக்கு அளித்த வரவேற்பு, வழங்கிய உபசாரம், 'மகனே' என்று அழைத்தது.....மறக்க முடியாத தாயாகி விட்டார்கள்!' reminisces Karunanidhi.
When they told her of their movie and placed before her their request that she play the role of Kavunthi Adigal, KBS replied that she had not acted in any movie after Avvaiyaar, and was content to sing in concerts. Moreover, she was a staunch supporter of Congress, and a deeply religious person. So how could she act for atheists and rationalists, she asked. ‘நாங்கள் எடுப்பது கடவுள் படமோ, கட்சி படமோ அல்ல. கற்ப்புக்கரசி கண்ணகி பற்றிய படம். நீங்கள் நடிப்பது சமணத்துறவி வேடம்' explained Karunanidhi. SSR expressed his ardent desire to act with KBS. After much persuasion, KBS replied that she would go to Pazhani and seek the guidance of the Lord before coming to a decision. Karunanidhi is said to have replied playfully that Murugan would not refuse if she told Him that it was Karunanidhi who had requested her to act! With that SSR and Mu.Ka. left Kodumudi, not wanting to pressurize KBS further.
After a few days, KBS sent word that Lord Murugan had given her the go-ahead. And so KBS came to play the role of Kavunthi Adigal and also sang some brilliant songs for the movie. Then there was another hitch- KBS refused to appear with her forehead bereft of sacred ash, and Karunanidhi was unhappy at this as Kavunthi Adigal was a Samanathuravi. KBS was firm’ ‘திருநீறு இல்லாமல் வெறும் நெற்றியுடன் இருப்பத்தில்லை!’ she declared. At length, they reached a compromise that she could draw a fine line of vibhoothi like a namam on her forehead; and it was thus that KBS played Kavunthi Adigal.
Kovalan returns to Kannagi after losing all his wealth. Kannagi consoles him and together they decide to go to Madurai to earn a living. On the way, they meet Kavunthi Adigal and she travels with them. And as they as cross the Vaigai on a boat, the aged savant sings a song, philosophizing on life and the lessons it teaches. For this situation, Karunanidhi wrote a song while traveling in his car from his house to the studio- வாழ்க்கையெனும் ஓடம் வழங்குகின்ற பாடம் set in Sindhu Bhairavi ranks among the best ever film songs of KBS.
Another situation. Kovalan is wrongly accused of stealing the queen’s anklets and is executed. Kavunthi Adigal condemns this gruesome travesty of justice. Mayavanathan came up with the lines ‘அன்று கொல்லும் அரசின் ஆணை வென்று விட்டது...நின்று கொல்லும் தெய்வம் எங்கே சென்றுவிட்டது?’ KBS refused pointblank to sing the lines and Mayavanathan not being in town, Karunanidhi changed the line to ‘நின்று கொல்லும் தெய்வம் இங்கே வந்துவிட்டது!’
The other songs that KBS sang in the movie are தப்பித்து வந்தானம்மா, துன்பமெல்லாம் நம் மனதை சுத்தம் செய்யத்தான் and the couplet தொட்டவுடன் மலரொன்று.
With the resounding success of Poompuhar, KBS found regular film offers coming her way..
