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நம் இசை மரபில் ஸ்வராக்ஷரம் என்று ஒரு அம்சம் உண்டு. அதாவது சரிகமபதநி என்று 7 ஸ்வரங்கள் உள்ளன அல்லவா..அவை எழுத்துக்களாகவும் உள்ளவை தானே. அந்த ஸ்வரங்கள் வார்த்தைகளாகவும் கையாளப்பட்டால் அது தான் ஸ்வராக்ஷரம் என்று அழைக்கபடுகிறது.
உதாரணத்திற்கு 'ச ரி' என்ற ஸ்வரங்களை எடுத்துக் கொள்வோம். 'சரி' என்ற சொல் பாடலில் வரும் பொது இந்த ஸ்வரங்களை வாசித்தால் அது தான் ஸ்வராக்ஷரம்.. அதாவது ஸ்வரமும் பொருளும் ஒன்றாக வருவது.
அகஸ்தியர் படத்தில் வரும் 'வென்றிடுவேன்' பாடல் ஒரு நல்ல உதாரணம். பாடலில் பல விதமான ஸ்வராக்ஷரங்கள் பயன்படுத்தியிருப்பார் குன்னக்குடி வைத்யநாதன்.
லலிதா பத்மினி சிவாஜி நடித்த தூக்குத்தூக்கி படத்தில் வரும் குரங்கிலிருந்து பிறந்தவன் மனிதன் பாட்டிலும் உபயோகப் படுத்தப் பட்டிருக்கிறது. மாமா குரங்கு, பாப்பா குரங்கு, தாத்தா குரங்கு என்ற இடங்களில் மா..மா பா..பா தா..தா என்ற ஸ்வரங்களே வரும்..
பலே பாண்டியாவை மறக்க முடியுமா.. சுத்த தன்யாசியில் நீயே உனக்கு என்றும் நிகரானவன் பாடலில்.. நிரவல் பாடும் போது சிவாஜி 'மா மா' என்று ஸ்வரம் பாட அதை 'மேதாவியான' அவர் மாமனார் (எம் ஆர் ராதா) தன்னைத் தான் மாமா என அழைக்கிறார் என்று பதிலுக்கு ஜதியோடு 'மாப்ளே' என்று பாட.. தன் வருங்கால மாமனாரின் இசை அறிவைக் கண்டு வியக்கும் சிவாஜியின் ரியாக்ஷனை காணக் கண் கோடி வேண்டும்.
அதுவும் ஸ்வராக்ஷரம் தான்.
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ராஜாவும் ஸ்வராக்ஷரம் அமைத்திருக்கிறார். 'அவர் எனக்கே சொந்தம்' படத்தில் கபி கபி என்ற பாடல் வீ.கே.ராமசாமி பாகவதர் வேடத்தில் பாடுவார். கல்யாணியில் 'நிகரிநி ' என்ற பிரபலமான பிரயோகத்தை 'நிக்கிற நீ உட்காரு நீ' என்று காமெடி செய்திருப்பார்.. அதன் பின் மணிப்பூர் மாமியார் என்ற படத்தில் 'சமையல் பாடமே' என்ற பாடலில் நிறைய ஸ்வராக்ஷரம் பயன்படுத்தி இருப்பார். 'என்ன சமையலோ' என்ற உன்னால் முடியும் தம்பி படத்தில் வரும் அதே பாடல் தான். சிறு மாற்றங்களுடன்..
இந்தப் பாடலில் இன்னொரு விஷயமும் உண்டு. ராக முத்ரா என்று ஒரு உத்தி உண்டு. ஒரு ராகம் பாடும் போது அந்த ராகத்தின் பெயரை சாஹித்யத்தில் ஒரு சொல்லாக கையாள்வது. 'எழுந்தோடி' வருவாரன்றோ.. 'தர்பாரில்' எவரும் உண்டோ..'காணடா(கானடா)'.. என்பன அந்த வரிசையில் வரும்.
'எழுந்தோடி சங்கராபரணனை அழைத்து வாடி தர்பாருக்கு ' என்பது அரியக்குடியின் த்ரிராக பல்லவி.. சேஷு அசத்துவார்..
ராஜா இந்தப்பாடலில் 'அடியே மோகனா அடுப்படி எனக்கென்ன சொந்தமா', கல் + ஆணி = கல்யாணி ராகம் போலவே சைவ பிரியாணி, 'ராகம் வசந்தா நானும் குடித்து பார்க்க ரசம் தா' போன்ற இடங்களில் அந்தந்த ராகங்களின் பெயரை பயன்படுத்தியிருப்பார்.
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மேலே உள்ள 'ராஜாவின் ரமணமாலை' என்ற தொகுப்பில் வரும் இந்தப் பாடலும் ஸ்வராக்ஷரமாக உள்ள பாடல் தான்.. சதா சதா என்று வரும் சொற்கள் 'ஸ தா ' என்ற ஸ்வரங்களையே கொண்டுள்ளன.
சதானந்தம் என்பவர் ராஜாவின் ஆஸ்தான கிடார் பிளேயர்..ராஜா ஒரு நாள் அவரை 2,3 முறை கூப்பிட்டும் அவர் கவனிக்கவில்லையாம்..சதா..சதா என்று அவரைக் கூப்பிடும் போதே இந்த வரிகள் ராகத்துடன் தோன்றியதாம். அப்படியே முழுப்பாட்டையும் எழுதி விட்டாராம்.
வரிகளும் இசையமைப்பும் எப்படி ஒன்றையொன்று சார்ந்து இருக்க வேண்டும் என்பதற்கு இந்தப்பாடல் நல்ல உதாரணம். அதா, இதா என்ற இடத்திலும் இதா, அதா என்ற இடத்திலும் மனம் எப்படி மேலும் கீழும் அலைகிறது என்பதை ஸ்வரத்திலேயே காட்டியிருப்பார்.
சதாசிவா 'என்றுனை ஓர் நொடிப்பொழுதும் இடைவிடாது'.. என்ற இடத்தில் இசையும் இடைவிடாது இருக்கும். மூச்சு விடாமல் பாடுவார்.
கேட்டு மகிழுங்கள்.
A Tamil youth comes to Kerala in search of employment. There he finds livelihood, and then finds love in the form of a lively local lass. Communication between them is limited to looks, smiles and gestures, until she learns Tamil. (A forerunner to Cheran's Autograph?) In his 'என் ஜன்னலின் வழியே' Vairamuthu reveals this much of the story of பஞ்சமி. In a chapter titled 'உறங்கி கிடக்கும் மொட்டுக்கள்', Vairamuthu lists down few songs that he wrote for movies that were never released. And it is in this context that he mentions the movie பஞ்சமி and the song உதய காலமே which the girl sings soon after mastering the language of her lover, exulting in the lines 'மொழியின் கதவு திறந்தது...' Laments Vairamuthu, 'பஞ்சமி படத்திலும் கூட நான் சேமித்து வைத்த கற்பனை செலவழிக்கபடாமலே இருக்கிறது'.
If Vairamuthu can be filled with regret that a single song written by him was frittered away for this பஞ்சமி that was never released, then one can imagine the dismay of Ilaiyaraja, for he had lovingly crafted 4 exquisite songs for பஞ்சமி only to see them squandered, his painstaking work falling prey to the financial tangles of a wretched producer who could not find funds to complete what he had commenced.
Wait, Ilaiyaraja's labour was not wholly lost... for fortunately for us, we had with us in those times 'தமிழ் சேவை இரண்டு', and by fetching for the songs of பஞ்சமி repeated airtime, the good old radio station was the soothing salve to Ilaiyaraja's disenchantment. And from the tea gardens of Nuwaraeliya to the concrete mazes of Madras, the songs were requested for and listened to with great pleasure, till time took them away in its merciless stride.
Incidentally, way back in 1976, there came a Malayalam movie titled 'Panchami' starring Prem Nazeer & Jayabharathi, and it had some wonderful songs composed by our Mellisai Mannar MSV.
From the EP record of the Tamil பஞ்சமி (Omega Movies), we come to know that that the songs were recorded in 1981. The songs were:
1. உதய காலமே written by Vairamuthu and sung by P. Susheela
2. மாலை வெய்யில் written by M.G. Vallaban and sung by Malaysia Vasudevan
3. பனிக்காற்றின் குளுமை written by Gangaiamaran and sung by S. Janaki
4. மார்கழி மாதம் written by Gangaiamaran and sung by S. Janaki & T.V. Gopalakrishnan
'உதய காலமே' is a song with a delightful prelude and heavenly interludes sculpted around the ever dulcet tones of the one and only Susheela. 'பனிக்காற்றின் குளுமை' has Janaki weaving a wondrous warp on Ilaiyaraja's psychedelic tapestry. Malaysia Vasudevan brings to life in his idiosyncratic levity the lines of M.G. Vallaban in that jaunty 'மாலை வெய்யில் பாடும் சிந்து சிந்து'.
That leaves us with this sumptuous spread in Kamas 'மார்கழி மாதம் முன் பனி வேளையிலே'. Kamas, they say, is the raga that is best suited to portray Sringaara Rasa, the aesthetic emotion that conveys love tinged with sensual longings, the enthralling amalgam of the ecstasy and agony. Is it then any surprise that Raja laid Kamas as the silken carpet to tread this sensuous journey on? The song appears to be a composition for a dance recital, with Sringara Rasa as the motif of the piece. The danseuse recalls with a wistful pang a winter tryst with her lover, and sighs over the current spasm of separation even as she yearns for those joyous intimate moments to cross her threshold once again..
The sprightly anklets, the Mridangam, Veenai, Violin, Flute. Ilaiyaraja ushers in the ethos and ambience of a dance stage. Surprises never cease when Sishtla Janaki is around. For a singer with negligible training in classical music, she serenades the intricate nuances of Kamas here like a seasoned stalwart. And understanding the mood of the composition, she cajoles into her rendition the entire realm of Sringara- wicked coquetry, secretive exchanges, sighs of delirious joy, whimpers of pangs of separation- they all find surreptitious space in her song. Ilaiyaraja invites his Guru to sing along with his prima donna, and the revered Tirupunithura Viswanatha Gopalakrishnan fits in with finesse, his trained tones resonating with casual confidence.
The sensual thus soars to become the sublime in the chambers of the Maestro.
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'மாதங்களில் நான் மார்கழி' Lord Krishna is said to have declared. It may well suit our Singaara Chennai, for the staid city rouses itself to pulsating life this month. I have many lovely memories of Chennai in this time of the year…..A pleasant, mildly cold climate fills the denizens with joy. One gets up to 'புல்லாங்குழல் கொடுத்த மூங்கில்களே' and 'கீதை சொன்ன கண்ணன்' drifting from some neighbourhood temple, and comes out to see attractive Kolams bedecking the gateways of most houses, even apartments. The appetizing whiff of delicious Pongal wafts from the kitchen. The pages of the December 1st edition of 'The Hindu' are filled with the mind-boggling itineraries of the myriad Sabhas. The city is treated to a month long sumptuous feast of music and dance. Magazines vie with each other in reviewing the concerts, the crowd, and more importantly, the fare offered in the canteens….Shankara Hall and Chettiar Hall across the road used to put up their famed annual sale of CDs. Christmas, New Year….The associated holidays and revelries, followed soon by Pongal. Movie releases of our favourite stars, family get-togethers, the test matches at Chepauk, the All India Tourist Trade Fair in the Island Grounds.
Ramya Cine Arts’ ‘Oru Oothappoo Kan Simmitugirathu’ (1976) produced by S.Sankaran and directed by SP. Muthuraman was the next Tamil movie that had songs composed by Swami. Based on a story by Pushpa Thangadurai, the film starring Kamalhasan, Sujatha & Vijayakumar had some memorable songs. Lyrics were by Kannadasan, Kovai Kumaradevan & Ira Pazhanichami. Though ‘Nalla manam vaazhga’ sung by Yesudas, with its rich orchestration, was the most popular song from the film, the brooding ‘Aandavan illa ulagamedhu’ is my pick…with Swami at the helm and TMS & Vani Jairam as the crooners for the fisherfolk, the salt-laden breeze acquires a dreamy mystique…
The next year, the Vijayakumar-Sumitra starrer 'Nanda En Nila' came out with Swami’s music. Produced again by S.Sankaran under the same Ramya Cine Arts Banner and directed by A.Jaganathan, the movie had some outstanding songs composed by Swami. While ‘Oru Kaathal samrajyam kannil varainthaal’ sung by Jayachandran & T.K.Kala brings to pulsating life the vibrant verses of Na.Kamarasan, the title song ‘Nanda nee en nila’ is the jewel in the crown, where Ira.Pazhanichami’s lines marry the iridescent hues of Madhuvanthi on Swami’s canvas.. S.P. Balasubramaniam croons and cajoles, woos and wins… Swami’s most popular Tamil composition, a timeless treasure…
What a song! Even if this were the only song that Swami had composed in Tamil, he would merit a magnificent mention in the annals of Tamil film music on the strength of this exquisite wonder alone…
The story of Aadi Shankarar was told with arresting detail on celluloid as ‘Jagat Guru Aadi Shankarar’ in Malayalam directed by P.Bhaskaran. The movie was dubbed and released in Tamil in 1977 under the banner Sri Kaladevi Art Films. Muralimohan played the role of Shankarar. Kannadasan wrote the lyrics for the songs, going the extra mile to translate Baja Govindam into Tamil. Swami’s outstanding compositions such as ‘Baja Govindam’, ‘Aatmagyana devan’ “Tripurasundari’- all sung by Yesudas & ‘Kumudathin malar thannai’ sung by Janaki added immense value to the well crafted movie. Listen to a short clip of the eternally uplifting Baja Govindam..
Swami’s next Tamil album was ‘Oru Koyil Iru Deepangal’ produced by S.Sankaran under the banner Lalithapriya and released in 1979. Directed by SP. Muthuraman, the film had new faces Sundar, LIC Narasimhan and Saroja in its cast. The film sank without a trace, but Swami’s songs such the mischief-filled ‘Muthu Muthu punnagaye’ by S.P. Balasubramaniam & P. Susheela and the philosophical ‘Endha paathai enege payanam’ by Yesudas found fleeting air time.
The last Tamil movie to come out with Swami’s music was ‘Bhaktha Hanuman’ , dubbed from Malayalam and released in 1980. Swami had filled the album with brilliant compostions soaked in piety such as ‘Rama Rama Rama’ and ‘Rama Jayam Sri Rama Jayam’ by Yesudas, ‘Inge idhayam paadidum ragam’ by Vani Jairam, and ‘Sarithira Nayaga’ by P. Susheela.
To sing the rare Thyagaraja Krithi ‘Sudha Madhurya’ along with Janaki set in Sindhuramakriya for the 1986 film 'Maragatha Veenai', Ilaiyaraja requested his beloved Swami to do the honours and the benevolent patriarch willingly obliged.
The Sri Krishna Temple at Guruvayoor heralds the dawn with Melpathur Narayana Bhatathiri’s Narayaneeyam, set to music by Swami and sung by P.Leela. Swami has written numerous devotional songs as well; he has even written a book of Tamil devotional songs titled ‘Aathma Deepam’. And as an acclaimed teacher, Swami’s list of celebrity disciples includes names ranging from N.C.Vasantakokilam and P.Leela to Ilaiyaraja and Bhavatharini.
Awards and accolades, though meriting no significance in the spiritual realm that Swami dwelt in, are too many to enumerate. The ‘Ganarcharya’ title (conferred by the renowned Sanskrit scholar Dr. K.P .Narayana Pisharady), the ‘Gayakaratna’ title (given by His Highness Padmanabha Dasa Uthradom Tirunal Marthanda Varma, under the auspices of the illustrious Sri Swati Thirunal Sangita Sabha), the Kamukkara Award, the Abhayadev Award, the ‘Sangeetha Saraswathi’ title are the ones that readily come to mind. A musician, musicologist and a music director, Swami’s accomplishments are indeed varied and numerous.
Despite living and working in Madras and ruling the Malayalam film music world, only 13 Tamil films spread over 4 decades came Swami’s way. However, he breathed his life and soul into his works, which sing a song of eternal melody.
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In the late 80s, I used to frequent a video library called ‘Harini Videos’ in V.M.Street near my house. They had a decent collection of movies from the 70s, which I used to rent for their memorable songs. Once I asked for Nanda En Nila, and when the owner said that they didn’t have it, I asked for Oru Koyil Iru Deepangal. The owner, as was his wont, grumbled good naturedly on the never-heard-of movies that I seemed to want (Till the last I saw of him in 1990-91, he wouldn’t believe that there was a movie called Thunai Iruppaal Meenakshi!) and as I was leaving the library, a person who was sitting and chatting with the owner asked me why I wanted those two movies in particular. I explained to him about their common factor- Dakshinamoorthi’s wonderful music, and then spoke at length about Dakshinamoorthi’s works in Tamil. Imagine my embarrassment when at the end, the gentleman who had been listening to me so far with an indulgent smile introduced himself amusedly as Dakshinamoorthi’s son!
Another experience was thrilling, to say the least. In the late 90s, a journalist/writer was tracing the life and times of Tamil Film Music greats as a series in a magazine. Though much elder to me, he had become a good friend, bound as we were by a common passion for film music. We used to spend hours discussing the artistes and their works, and listening to their songs. One Saturday, I was listening to ‘Aandavan illa ulagamedhu’ and it struck me that my friend hadn’t written about Dakshinamoorthi yet. I gathered my collection of Dakshinamoorthi’s songs and hurried to his house. When I told him my desire, his eyes widened in amazement- for he had just returned from meeting Dakshinamoorthi Swami and was intending to write about him!
And a few years later, I caught a glimpse of the venerable Swami. Slight in build, spartan and simple in his attire, and though he seemed feeble due to his advanced years, he was erect in his bearing and majestic in his gait. I saw him from a distance at the inner sanctum of the Kapaleeswarar temple one evening, and gazed at him with wonder. As the lights from the lamps danced on his face, Swami, with his eyes closed in prayer, reflected an inner glow and serenity that reposed as a halo over his person.
Imagine my excitement, when good friend Ragapravaham Sundar (who else!) suggested that we go meet Swami in November 2010! I jumped with joy at the prospect and we visited Swami at his residence in Mylapore. Swami greeted us with old-world courtesy, treated us with utmost kindness and spoke to us animatedly at length on his various and varied experiences. A wry sense of humour that peeped in at unexpected intervals revealed his fun loving side. His eyes lit up when I helped him with some lines of a song that he was trying to recall. He sang some lines from few of his songs in the course of the conversation.... what a fine, stately voice he had, even at that age! His wife Smt. Kalyani and daughter Smt. Gomathishri joined the conversation... they ensured that we felt at home and were gracious in their hospitality. I can never forget his response when we urged him to take care of his health. He said, “I am trying to become thinner, so that I may not be a burden to my pall-bearers when they carry my body!” Avatarapurushan! As we parted, we took the blessings of Swami. By a happy coincidence, it happened to be my birthday that day, and I felt an inexplicable rapture settle on me as we took leave of that divine soul.
Swami passed away on 2 August 2013 at the ripe age of 92. Co-incidentally it was on that very morning that a detailed article on him was published in The Hindu.. a quirky twist of fate indeed!
In August 2014, Sundar wished to celebrate the 25th year of Ragapravaham by presenting a special program. He wanted to present some not so frequently heard composers. He took three composers for himself, and allotted me three. And in my lot fell Swami.
Swami’s wife Smt. Kalyani, his daughter Gomathishri and their family attended the program. After I completed my presentation on Swami, Smt. Gomathishri came on stage and spoke few kind words in appreciation. She said that she was deeply moved that her father and his works were presented in such detail.
I was in the corridor outside the hall as Swami’s family was leaving. His grandson thanked me for the segment on Swami. Smt. Kalyani then held out her hands and as I clasped them, her moist eyes spoke the volumes that her lips left unsaid.... I was overwhelmed by emotion… Swami was smiling from above…
It was the birth anniversary of the great Dakshinamoorthy Swami on December 9. Presenting today the first of a two-part tribute to the unassuming genius:
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How excellent to bear into old age
The poet’s ardor and the heart of youth;
To keep to the last sleep the vow of truth,
And leave to lands that grieve a glowing page!
- Florence Earle Coates (Tennyson)
In the august assembly that had gathered for the release of Ilaiyaraja’s Tiruvasagam in Symphony in 2005, not many noticed a frail old man seated unobtrusively on the dais. But when he was called upon to release the ‘Making of the Album’, he became the focus of attention that brief glittering moment.
It was the same gentleman who had the happy privilege of releasing M.S.Viswanathan’s biography the previous year, and the legendary Naushad appeared overcome with emotion as he received the first copy at the hands of Venkateswara Dakshinamoorthi, the beloved doyen of music, venerated by all music directors of the south.
V. Dakshinamoorthi, called respectfully as ‘Swami’ by the film faternity, was born on 9 December 1919 in Aalapuzha to Venkateswara Aiyer and Parvathi Ammal. By just listening to his mother and sister sing, Swami mastered 27 Tyagaraja Kritis when he barely 6 years old. Later, with formal training under Guru Venkatachalam Pothi, Swami gave his first public concert when he was 13 years old. He came to Madras in 1942 to participate in an All India Radio programme. The first movie that Swami composed music for was the 1948 Malayalam film ‘Nalla Thanka’. Thereafter, Swami strode Malayalam Film Music like a colossus, reining supreme there as the pioneering patriarch for over 4 decades.
Chandrika (1950/ Sri Krishna Productions) came out as a Malayalam-Tamil bilingual starring Thikkurusi Sukumaran Nair, T.S.Baliah, Lalita & Padmini. The music was credited jointly to Govindarajulu Naidu & Swami. Swami’s first independent Tamil film was K & K Combines' 'Jeevitha Nowka' or 'Pichaikkaari' directed by K.Vembu that was made simultaneously in Malayalam and Tamil in 1951. Shot at Udaya Studios, the film had Thikkurusi Sukumaran Nair, B.S.Saroja, Sebastian Kunju Kunju Bagavathar and Pankajavalli in its cast. Under pressure from the producers to adopt popular Hindi tunes, Swami had to come out with numbers such as ‘Joraaga uduthen naane’ by P.Leela based on Lata’s ‘Hawa mein udutha jaaye’ and ‘Sahayam yaarum allada’ by Tiruchi Loganathan, based on Rafi’s ‘Suhaani Raat dal chuki’. Vanaraniye, a soft romantic number sung by Mehboob & P.Leela was the popular number in the album.
Swami’s next Tamil film was 'Amma', released in 1952, also directed by K.Vembu. The film was produced simultaneously in Tamil & Malayalam by T.E.Vasudevan under his Associated Producers banner. The film had Thikkurusi Sukumaran Nair, Lalitha, B.S.Saroja, Shantakumari and others in its cast. Swami’s songs such as ‘Idhai yaarodum’ by T.A. Mothi & Gananamma David, ‘Ammave deivam ulaginile’ by Jikki and ‘Varuvaai aasai kiliye’ by Gokulapalan & Jikki found popularity and were aired regularly by Radio Ceylon.
Swami’s next Tamil venture was again Associated Producers’ TE Vasudevan’s Tamil- Malayalam bilingual titled 'Aashadeepam' in Malayalam & 'Aasaimagan' in Tamil. Released in 1953, the film starred Gemini Ganesh, Padmini, Sathyan & B.S.Saroja. Lyrics were by Kuyilan. The lilting A.M.Raja- P.Leela duet ‘Odam eri sendre’ and Jikki’s ebullient solo’ gramathin idhayame’ are unforgettable songs composed by Swami in this forgotten movie.
In 1954 came 'Kanavu' (KRK Productions) starring 'Valayapathi' Muthukrishnan, Lalita & Pollachi Kamala. The music was jointly composed by G.Ramanathan & Swami. We next find Swami in the 1959 movie ‘Arumai Magal Abirami’, produced and directed by V.Krishnan under the banner Aravind Pictures with Prem Nazir & Rajasulochana in the lead. The lovely PB Srinivas- P.Susheela duet ‘Thanga niram idazh sempavazham’ composed by Swami was very popular at the time. ‘Inai solla mudiyaatha’ by Seergazhi Govindarajan, ‘Nalla pillai endru solli’ by Ravu Balasarsawathi and ‘Joraana kattazhagu penne’ by Jamunarani were the other noteworthy songs in the album.
It was only in 1968 that another Tamil film came Swami’s way. And that too because it was a remake of the Malayalam magnum opus 'Kavya Mela' in which Swami’s music was the scintillating mainstay. Titled ‘Devi’, produced & directed by A.K.Velan under his Arunachalam Pictures banner, the film had Muthuraman playing a visually impaired singer and Devika as his pair. A little-known Palladam Manickam wrote the lyrics for the Tamil songs. The videos of the songs are not available anywhere. I have uploaded short audio clips here:
Swami then composed music for Vinayaka Films’ 'Jeevanaadi' starring Ravichandran & Lakshmi, directed by A.K.Subramaniam. Listen to this lovely Yesudas- Soolamangalam Rajalakshmi duet composed by Swami.
Reproducing my post on film songs sung by Jayalalitha:
Engirundho oru kural vandhadhu: Songs Sung by Jayalalitha
Come, sing now, sing; for I know you sing well; I see you have a singing face…
-Francis Beaumont & John Fletcher (Wild Goose Chase -Act II)
This was what perhaps MGR said when he persuaded Jayalalitha to sing the song ‘amma endRaal anbu’ for his magnum opus ‘adimaippeN’. Set in a simple, lilting tune, the song fetched the actress wholesome praise. Though trained in classical music and an avid listener and discerning aficionado of music of every known genre, Jayalalitha sang only a handful of songs in the course of her tryst with the tinsel town.
As part of the Song of the Day series of dhool.com, I had once presented some of the songs sung by Jayalalitha.I am reproducing my article here:
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However, as Julie Andrews suggested, let’s start at the very beginning, a very good place to start. Jayalalitha was born as Komalavalli on February 24 1948 in Mysore. Though her ancestors hailed from Srirangam, Jayalalitha’s grandfather Rangachari had moved to Mysore many years ago. Her father Jayaram passed away when she was a toddler, and the family thereafter shifted to Basuvangudi in Bangalore. Sandhya had learnt typewriting and secured a job in the Directorate of Agriculture. Her sister Vidyavathi was then settled in Madras, acting in Telugu and Tamil movies. Sandhya went to Madras with her children to be with her sister. Producers who came to meet Vidyavathi noticed Sandhya, and asked her if she was interested in acting. Though she refused the initial offers, Sandhya soon felt her reservations crumbling in the light of an overriding desire to provide a secure future for her children. She started working in a few Kannada movies and Tamil and Telugu projects followed.
Little Jayalalitha was enrolled in the prestigious Sacred Heart Matriculation School run by the Presentation Sisters of Church Park, where she proved to be a bright, vivacious student. One of her schoolmates, now a senior journalist in Delhi, has this to say of Jayalalitha, “Academically she was a genius. She won the shield for the best girl the year she passed out. While the rest of us were struggling to get 60 percent she would easily get over 70 in each subject...” Largely an introvert, the child discovered the world of books at an early age and would be seen happily engrossed in the escapades of the children in the books of Enid Blyton or in the Fairy Tales of Hans Christian Anderson, progressing in later years to Charles Dickens, Jane Austen, Bernard Shaw, Oscar Wilde and Pearl S. Buck. Sandhya was determined that her daughter should not be a mere bookworm and arranged for the child to learn classical dance under K.J. Sarasa and later under K.N. Dhandayudhapani Pillai. And to develop a keen sense of rhythm that is so essential for a dancer, Jayalalitha learned classical music under Gopalakrishna Sharma.
Jayalalitha had her Arangetram when she was 12 years old under the auspices of the hoary Rasika Ranjini Sabha. The Chief Guest Sivaji Ganesan was stunned by the beauty and grace of the young performer, and in a clairvoyant benediction, he declared, “thangachilaiyai pOl irukkum ivaL ethirkaalathil kalai ulagil perum pugazhudan viLanguvaaL!”
However, the stage was not new to Jayalalitha as she had appeared in a few stage plays along with her mother even earlier. In an interview, Cho recalled the brilliant performance of the six-year old Jayalalitha in an English play written by Rashmi Parthasarathi. ‘Under-Secretary’ was another stage play, this one written by Poornam Viswanathan, in which Cho acted with Jayalalitha. Jayalalitha had also acted in English plays such as ‘The Hidden Truth’ and ‘The House of the August Moon’.
With all this, could film offers be far behind? Shankar Giri, the son of V.V. Giri came to Sandhya with the first offer. Would she permit Jayalalitha to act in the English movie he was making, he asked. After getting his assurance that the shooting would be held only during the weekends, Sandhya gave her consent, and thus ‘Epistle’ (1961) marked Jayalalitha’s debut in cinema. During this time, Sandhya was acting in a Kannada movie titled ‘Sri Shaila Mahaatme’ (1961/ Shreeshaila Pictures). Rajkumar and Krishnakumari were her co-actors in the movie. When the child artiste who was acting in a crucial role failed to turn up for the shooting, the beleaguered Director Aarooru Pattabhi’s gaze fell on Jayalalitha who had accompanied Sandhya to the sets, and he sought Sandhya’s permission to make the child don the role. Sandhya looked at Jayalalitha, Jayalalitha nodded her acquiescence, and the shooting schedules again were held in such a way that her studies would not be hampered.
Jayalalitha passed her matriculation examinations in flying colours in 1964, and enrolled in Stella Maris College for her PUC. However, fate, as is its wont, had different things in store for this bubby teenager. The occasion was the 100th day celebrations of B.R. Panthulu’s ‘Karnan’. Seeing the stunning young woman dressed in a saree, Panthulu wondered if she was the child Ammu he had seen a few years earlier!
He then asked Sandhya if Jayalalitha would act in his movie. Jayalalitha realized now that it was time she made up her mind and was in a quandary. However, egged on by the encouragement of Sandhya, and knowing only too well the financial situation of the family, she took the irreversible decision of giving up her academic pursuits and donning the grease paint. ‘Chinnada Gombe’ (1964/ Padmini Pictures), the Kannada version of ‘Muradan Muthu’ was a commercial success. ‘Mane Aliyaa’ followed in the same year. Jayalalitha came into the limelight when her scintillating Bharatanatyam performance at the 1964 Filmfare Awards elicited rave reviews.
Director Sridhar was on the lookout for a newcomer to play the complex role of a mentally disturbed protagonist in his ‘Vennira Aadai’, when he chanced upon Panthulu sitting at the editing session of ‘Chinnada Gombe’. He was instantly smitten by the sprightly performance of the young woman and lost no time in sending for Sandhya and Jayalalitha. Sitting at his ‘Chitralaya’ office, Sridhar narrated the story in detail and admitted candidly that it was a very difficult role to play. He was deeply impressed by the confident assertion of Jayalalitha that she could come up with a realistic performance. And perform she did! She lived the role of the young Shobha, the 17 year old girl who was widowed within hours of her wedding, and who finds herself falling in love with the young psychiatrist Chandru, only to don the white garb of the widow in a dramatic climax to enable Chandru to marry Geetha, the girl he loves.
Though her work won critical acclaim, ‘Vennira Aadai’ (1965) was not one of Sridhar’s great successes. However, Jayalalitha had little time to brood. Her Kananda movie ‘NannE Kartavya’ and Telugu movie ‘Manushulu Mamathalu’ were resounding successes, and she was playing the legendary MGR’s pair in Panthulu’s magnificently made ‘Aayirathil Oruvan’. What more could a newcomer ask for!
‘Aayirathil Oruvan’ (1965) was a stupendous success, and Jayalalitha looked gorgeous as Poonkodi, the island princess who finds the man of her dreams in the brave slave Manimaaran(MGR). MGR was drawn to this sophisticated teenager who would be immersed in a book during the break and who would come out with perfect performances during the take. Jayalalitha too found the ideal mentor in the charismatic actor, and the two went on into pair in 27 movies in the subsequent years, developing a rare personal rapport that translated into an endearing on-screen chemistry.
Besides MGR, Jayalalitha also acted with younger actors such as Jaishankar, Ravichandran, Muthuraman and AVM. Rajan. She paired with Sivaji Ganesan for the first time in the hilarious ‘Galatta Kalyaanam’ (1968), with Sivaji according Jayalalitha a warm welcome with the line ‘nalla idam nee vandha idam!’ Jayalalitha evolved into a wonderful, versatile artiste acting alongside the thespian, and in subsequent movies such as ‘Engirundho Vandhaal’, ‘Sumathi En Sundari’, ‘Avan Thaan Manithan’ and ‘Paattum Bharathamum’, she lit up the screen with heartwarming, sensitive performances.
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But then, I am digressing as usual, and let us come back to the subject at hand- the songs that Jayalalitha rendered in her movies. It was during a break in the sets of ‘Kannan En Kaadhalan’ that MGR chanced upon Jayalalitha singing an intricate Meera Bhajan with choreographer Sampath. He stood spellbound and complimented her on her singing. Not stopping with that, he declared that she would sing a song in their forthcoming magnum opus ‘Adimapippen’. Jayalalitha had the rare distinction of appearing in two roles in the movie, as the good-natured Jeeva and the imperious Pavalavalli. Conceived and executed at a hitherto unknown scale of grandeur, ‘Adimaippen’ (1969/Emgeeyaar Pictures) was a runaway success.
The faithful retainer manages to free Vengaiyan (MGR) from the clutches of Sengodan (Ashokan) and entrusts him in the care of his grand-daughter Jeeva (Jayalalitha). Jeeva has a tough time trying to educate the wild Vengaiyan in the niceties if civilized life. She attends to his needs with care, and puts up with his wild ranting and violent behavior with affection and patience. The song ‘Amma endraal anbu’ finds place in such a situation. Early one morning, Vengaiyan looks at a calf bellowing ‘amma’ and looks askance at Jeeva. Jeeva sings this caressing song…
Teaching him how to drink from a cup, feeding him with solicitous care, training him to swim, giving him a bath, showing him how to look into the mirror, combing his wild locks, trying to straighten his bent back and teaching him the alphabet, Jeeva sings this paean to motherhood, inserting into her song lines espousing the cause of socialism, patriotism, love for one’s mother-tongue, equality of all mankind and compassion.
Though she demurred initially, Jayalalitha soon showed great enthusiasm in practicing the lines ahead of the recording. KVM and Pugazhendhi had set the lines to a simple tune. As for Jayalalitha, singing was nothing new. Even as a child of 3 years, she used to repeat in perfect shruthi the hymns that grandfather Rangachari sang as part of his early morning prayers at their house in Basuvangudi. And of course, her assiduous tutelage in classical music under Gopalakrishna Sharma and constant listening to musical forms from all over the world had enhanced multifold her keen sense of music.
KVM sang to her the tune and was delighted when Jayalalitha could repeat it in a sweet, perfectly aligned tone, albeit tinged in a nasal twang. Jayalalitha practiced diligently for the song, with Pugazhendhi coaching her on the nuances. On the day of the recording, MGR was present at AVM studios to lend moral support to his Ammu, and Jayalalitha rendered the song without much ado.
Filled with happiness, Jayalalitha sought Pugazhendhi’s blessings and gave him an envelope filled with money as a token of gratitude and insisted that he accept it. It was Vaali, however, who had the last word. He said in witty aside to MGR that he had predicted that Jayalalitha would sing even earlier when he wrote a song for her in ‘ArasakkattaLai’ that went ‘Ennai paada vaithavan oruvan, en paattukku avan thaan thalaivan!’
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With KVM showing the lead, it was now the turn of MSV. Soon after the release of ‘AdimaippeN’, MGR asked MSV if he had listened to Jayalalitha’s song. But when MSV did get to recording a song with Jayalalitha, it was not for a MGR movie, but for Mukta Srinivasan’s ‘Sooriyakanthi’. Based on a story by Paasumani and scripted by A.S. Prakasam, ‘Sooroyakanthi’ narrated the story of a young woman Radha who goes to work to support the family of husband Mohan, as his income alone was insufficient to meet their needs. Mohan, who is initially supportive, finds himself smarting under a massive inferiority complex when a promotion at work results in Radha getting a salary that is higher than his. Unable to bear the ache of envy that wrecks his peace of mind, he insists that Radha should resign her job and stay at home.
However, Radha is unable to meet his demands, as only she knows a terrible secret- Mohan’s sister Suseela is in love with the rich Sundaram and is even carrying his child, and unless Radha earns enough to meet the avaricious demands of Sundaram’s father, irreparable shame would descend on the family. How Radha achieves this in the face of stiff opposition from her husband, and how she wins him over in the end fill rest of the reels.
The story was well-told, and the performances of Muthuraman and Jayalalitha subtle and perceptive. ‘Sooriyankanthi’ (1973/Vidya Movies) enjoyed a successful run of over a hundred days. Mukta Srinivasan pulled off a coup of sorts when he managed to persuade the redoubtable Periyaar, an avowed movie-hater, to preside over the 100th day celebrations. Periyaar spoke glowingly of the movie’s theme and blessed Jayalalitha with the words, “ungaLukku ellaa vidhamaana vetRiyum kidaikkum!”
Coming to the songs, the highlight was of course Jayalalitha herself rendering her songs. The first is the breezy ‘Oh…Meri Dilruba’ that finds place early in the proceedings when neighbors Mohan and Radha find themselves attracted to each other. Mohan’s sister notices this budding romance and decides to play a trick on them. She delivers letters to each of them, supposedly from the other expressing a desire to meet. The meeting takes place and they sing this song of song of buoyant romance.
Singing with TMS was not new to Jayalalitha. A year earlier, when MGR and Jayalalitha had gone to Singapore for a star show, TMS and Jayalalitha had sung ‘raajavin paarvai raaNiyin pakkam’ to thunderous applause from the audience. And now, with MSV at the helm of the proceedings, TMS and Jayalalitha rendered the song with enjoyable gusto, and what a popular ditty it turned out to be!
The other song that Jayalalitha lent her voice to in the movie is the famous ‘Naan endraal adhu avalum naanum’. The chasm has now widened and Mohan cannot bear the very sight of his career-oriented wife. It at this juncture that Mohan and Radha are forced to enlist in a ‘Made for Each Other’ contest for married couples. They are adjudged first in each succeeding round, and are declared the winners of the event. They are asked to sing a song together and they sing a song of marital intimacy, with the lines taunting them with an irony that only they are aware of.
Listen to ‘Naan endraal adhu’ from Sooriyakanthi (1973)
Sung by SPB & J. Jayalalitha
Lyrics by Vaali & Randor Guy
Music by M.S. Viswanathan https://www.youtube.com/watch?v=lWH2aplXjG0
An unusual composition, with SPB drawling over the lines in languorous enjoyment. Jayalalitha’s stylish rejoinders in impeccable English are the gentle twists in the tails of his long-drawn lines. And with all this, she manages to convey the inner angst of the character as only she can- listen to the wry grimace in her voice as she exclaims “the better half and the bitter half!” This song too, like ‘Oh Meri Dilruba’, enjoyed repeated airtime.
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It was the turn of Shankar-Ganesh next to harness the vocals of Jayalalitha. The movie was KSG’s ‘Vandhaale Maharaasi’ (1974/Ashok Pictures) Here again, Jayalalitha appeared in two roles, one a naïve simpleton and the other an assertive go-getter. Jaishankar, Cho, Pushpalata and M. N. Rajam were her co-actors. The look-alikes switch places to bring the wicked step-mother M.N. Rajam to retribution.
Jayalalitha sang a duet, once again with TMS. ‘kaNgalil aayiram sweet dreams, kannam iraNdum ice cream’. Starting off with lines filled partly with English words, the song veers to Punjabi Bhangra midway.
While Jayalalitha’s mastery over English was well-known, she springs a surprise here with Hindi lines rendered with perfect pronunciation without any trace of alien accent. Well, on second thoughts, not such a great surprise after all, considering how well Jayalalitha had carried off the role of the tribal girl Jhumki in the Hindi movie ‘Izzat’ (1969) pairing with Dharmendra.
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The next composer Jayalalitha sang for was veteran T.R. Pappa, and the movie was T.R. Ramanna’s ‘Vairam’ (1974/ Vijaya & Soori Combines). Jayalalitha and Jaishankar were the lead actors. The movie was an adaptation of the Hindi movie ‘Victoria No. 203’ (1972). Produced and directed by Brij, ‘Victoria No. 203’ starring Navin Nischol, Saira Banu, Ashok Kumar and Pran was a racy entertainer of a daring diamond heist. Blended judiciously with thrilling ingredients like thieves falling out, murder, the diamonds being secreted in a horse-carriage, key to a certain locker falling in the hands of two small time crooks and romance between the pretty carriage driver and a handsome passenger, the movie was a huge success. Ramanna’s Tamil remake was a well-made movie as well and did good business.
For a duet between the lead actors, Pappa chose to lift a Hindi tune- ‘kuch kehtaa hai yeh saawan’ the Rafi-Lata duet composed by Laxmikant-Pyarelal for ‘mEra gaaon mEra dEsh’ (1971). To the preset tune, Kannadasan wrote ‘Iru maangani pOl idhazhOram, yEngudhu mOham’. Pappa got SPB and Jayalalitha to render the song, which turned out to be immensely popular in its time.
The song shines in its borrowed feathers, and Jayalalitha matches the passionate wooing of SPB with her trademark ebullience.
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Having sung for a MGR movie, would not have Jayalalitha wished for an opportunity to sing in a Sivaji starrer? Mukta Srinivasan dangled before her such a prized opportunity, and Jayalalitha accepted it with alacrity. The movie was ‘Anbai Thedi’ (1974/Mukta Films). Sivaji Ganesan, Jayalalitha, ‘Major Sundararajan’, Vijayakumari, Cho, Srikanth, Baby Indira and Subha were the actors. Sivaji played an innocent youth who is given to day dreaming and hallucinations. This weakness of his lands him in a mess time and again and he is the subject of universal derision. Jayalalitha played the fruit vendor Rani who marries him and helps him overcome his strange disorder.
A song composed by MSV for the movie ranked high in the popularity charts, and is remembered fondly to this day by music enthusiasts. The song is ‘Chithira mandabathil sila muththukkaL kotti vaiththEn’ that finds place as one of the dreams of the hero. He has been given a fireworks stall to run at the time, and losing himself in a romantic fantasy where his beloved Rani is crowned as ‘Miss Madras’ (Jayalalitha appears in a shimmering red gown emblazoned with the legend ‘Miss Madras’ and is adorned with a tiara on her head), he sets the shop on fire!
Listen to ‘Chithira Mandabathil’ from Anbai Thedi (1974)
Sung by TMS & J. Jayalalitha
Lyrics by Kannadasan
Music by M.S. Viswanathan https://www.youtube.com/watch?v=DAf4xFxVSsU
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The next album in which we find Jayalalitha as a singer is her 100th movie- D. Rama Naidu’s ‘Thirumangalyam’ (1974/ Vijaya-Suresh Combines), produced by D. Rama Naidu ( who passed awy earlier this week) and directed by A. Vincent, the movie starred Jayalalitha, Muthuraman, Sivakumar, Lakshmi, Sridevi and others. It was a remake of the Telugu adaptation of a story by Yadhanapoodi Sulocharani, ‘Jeevana Tarangalu’ (1973) starring Vanishri, Shobhan Babu, Krishnamraju, Lakshmi and others. Merely to nip a suspected budding romance between a poor woman and his younger brother, a wealthy man ties the sacred thread forcibly around her neck. How after initial upheavals the woman accepts her fate and goes about setting right the ills in her husband’s household forms rest of the implausible proceedings.
Jayalalitha gave a superbly restrained performance as the protagonist Seetha. And to add luster to her portrayal, she sang 3 songs in the movie. The first is ‘Thirumangalyam kollum murai illaiyo’ where Jayalalitha responds in prose to the lines sung by P. Suseela.
The next song is a charming solo by Jayalalitha- ‘Ulagam oru naaL pirandhadhu’. Perhaps to console a child who is speech-impaired , she reiterates that silence is golden and goes on explain how even when bereft of the power of speech nature has its marvelous means of communicating its myriad moods.
‘Porkudathil pongum ezhirsuvaiyo’ is another song in the album that featured the voices of Muthuraman and Jayalalitha.
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The next song that Jayalalitha sang was for ‘Madrasu Mailu’ from G. Subbramaniya Reddiar’s ‘Unnai Sutrum Ulagam’ (1977/Sree Navaneetha Pictures). Jayalalitha played the elder sister who sacrifices her own happiness for the sake of her siblings. Savitri, Kamalhasan, AVM. Rajan, Vidhubala, Vijayakumar and Pramila were her co-actors. Shankar-Ganesh made the vivacious Jayalalitha team up with an equally exuberant L.R. Eswari to render a rollicking sadugudu number.
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Jayalalitha does not seem to have sung any other movie song. However, her dialogues find place in few other songs. Like her mother Sandhya whose ‘Swami, kaiyilai naadhanai thangal gaanaathaal kavarndha raagam?’ lent the immortal ‘Veenai kodiyudaiya vendhane’ a moment of feminine graciousness, Jayalalitha’s dialogues like ‘Ellaam indha adimaigalin uzhaipaal thaane’ (Yen endra keLvi/Aayiraththil Oruvan), ‘AaramabathileyE abasagunamaa?’ (Kanne kaniye /Ragasiya Police 115), ‘Marubadiyum solren, avaLa paarkka neenga pogave koodaadhu’ (Enna Poruththam/ Ragasiya Police 115), ‘AvargaL mannargal…en adimaigal’ (MannargaL Vanangum Silaiyaanen/Anbu Thangai), ‘Ungalukku paadavum theriyuma?’ (Maanthorana veedhiyil/ Paattum Bharathamum) will always be remembered. Few more songs such duets with SPB in Sri Krishnaleela & Anbu Thangai and a 'Modern Bread' ditty were discussed subsequently, but I had not listened to them at the time.
After a short hiatus, Jayalalitha made a comeback of sorts with Lenin’s ‘Nadhiyai Thedi Vandha Kadal’ (1980), but the movie was a commercial failure. Her subsequent projects ‘Manipoor Maamiyaar’ and ‘Maatraan Thottathu Malligai’ did not see the light of the day. However, she was soon drawn into the irrevocable vortex of politics, and the rest is a history that we all know only too well.
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Besides the songs that she sang in her movies, Jayalalitha sang few songs for a non-film devotional album by Kunnakkudi Vaidhyanathan. Songs such as ‘Maariyamma…muthu maariyamma’, ‘Deeparaadhanayil undhan thirumugam vilangudhamma’, ‘Kaali mahamaayi karumaariyaanavale’ and ‘Thanga mayileri varum engaL vadivelavan’ may be forgotten today, but they did resound from temple loud-speakers in a distant past. My favorite from this album is the haunting ‘Maari varum ulaginile maaraadha maariyamma’. I must confess that I like this song even more than any of the film songs that Jayalalitha sang…
Listen to ‘maari varum ulaginile’
Listen to ‘Maari Varum Ulaginile’
Sung by J. Jayalalitha
Music by Kunnakkudi Vaidyanathan
Jayalalitha always had a special regard for the extraordinary talents of Kunnakkudi Vaidyanathan and during her tenure as chief-minister, she appointed him as the President of the ‘Iyal Isai Naadaga Mandram’ for a term. Kunnakkudi Vaidyanathan was an admirer of Jayalalitha and even came up with a raga in her name. Speaking at a function to commemorate Kunnakkudi’s completing 60 years of service to music, Jayalalitha conferred on him the title ‘Carnaataka Isaignaani’.
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Appearing in an episode of ‘Rendezvous with Simi Garewal’, Chief-minister Jayalalitha had the hostess in a spell when she broke into a spontaneous, soulful rendition of the old Hindi classic ‘Aajaa sanam madhur chaandni mein hum’!
During her tenures as chief-minister, Jayalalitha did much for the cause of the forgotten doyens of Tamil film music. She appointed T.M. Soundararajan and P.B.Srinivas as successive presidents of the ‘Iyal Isai Naadaga MandRam’. The ‘Paavendhar Bharathidasan Award’ was given to Jikki and S. Janaki in 1992 and to P. Suseela in 1993. The ‘Kalaimaamani’ Award was given to P. Leela (1991), A.L. Raghavan (1992), Jikki (1994) and A.P. Komala (2001). Jayalalitha pushed for a Padma Bhushan Award for veteran P. Leela, and was greatly saddened when Leela passed away before the awards were announced. Jamunarani was given the ‘Arignar Anna Award’ and M.S. Viswanathan the ‘Kannadasan Award’ in 2002. TMS, M.S. Rajeswari, T.K. Ramamoorthi, P. Suseela, S. Janaki, Vani Jairam, (Shankar) Ganesh and L.R. Eswari were given similar awards for Lifetime Achievements.
Hearing that Ravu Balasaraswathi and S. Varalakshmi were languishing in poverty in their old age, Jayalalitha rushed to their succor. When Jikki was diagnosed with cancer, Jayalalitha ensured that the ailing doyenne received the best possible medical care.
In August 2012, Jayalalitha presided over a magnificent felicitation function for M.S. Viswanthan & T.K Ramamoorthi and conferred upon MSV the title “Thirai Isai Chakravarthy”.The event also had a live orchestra presentation of golden melodies of the composers, selected personally by Jayalalitha.
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The King's Treasuries- 7
மாலை இளமனதில் ஆசைதனை தூவியது....
The end of the 70s was perhaps the best time for a young boy to fall in love with Tamil Film Music. MSV was still very much in the center stage coming up with captivating compositions while Ilaiyaraja at the other end conjured up one stunner after another. In between these two, there was space yet for composers such as V. Kumar, Vijayabhaskar, Shankar-Ganesh, Shyam and even Gangai Amaran to carve out mellifluous courses of their own that found their way to the listener’s heart. And as for the singers, after the 50s, Tamil film music had never known such a variety of crooners as in the late 70s… TMS, Yesudas, SPB, Jayachandran, Malaysia Vasudevan, Susheela, Janaki, Vani Jairam, Sashirekha and Ilaiyaraja’s proteges such as Sujata, Jency and Shailaja…they could all secure for themselves vantage spots in the lime light…Even T.L. Maharajan and Jolly Abraham found themselves rendering songs that became hugely popular.... And while Kannadasan and Vaali pretty much shared the lyrics amongst themselves, immensely talented lyricists such as Pulamaipithan, Na. Kamarasan and Muthulingam could also find avenues to cast a spell with their poetic imageries. The young boy would be but spoiled for choice… Vividh Bharathi and Radio Ceylon were constant companions even while he bent laboriously over his lessons, much to the consternation of his parents who were never film song aficionados.
Yet, the boy persevered with his passion, and to his delight found few kindred souls among his friends at primary school. Every new song was eagerly discussed and wondered at….. each of the two chief composers had their set of fierce loyalists and so had the singers. However, there came a day when the boy and his friends met excitedly…they had heard a song in the previous night’s ‘விளம்பரதாரர் அளிக்கும் நிகழ்ச்சிகள்’, and while the song itself was mesmerizing in its strain, the singers were two complete strangers….the boys and girls wondered at the new singers who had so easily got an opportunity to sing for Ilaiyaraja… Would the young boy have ever imagined that one day many years later, he would have the singer come to his house and oblige him by singing this very song? That is life, a cornucopia of delightful surprises at every turn!
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The song was மாலை இளமனதில் from the movie அவள் ஒரு பச்சைக்குழந்தை. The singers were S.N. Surendar and Shobha Chandrashekhar.
A song that is seldom heard these days, another forgotten trinket from the vintage treasuries.
Annai Velankanni Creations’ அவள் ஒரு பச்சைக்குழந்தை (1978) had Vijayakumar and Bhavani as the lead actors. I believe this film marked the directorial debut of S.A. Chandrasekhar.
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Sathurangapattinam Somasundaram Neelakantan (S.S. Neelakantan) was a production executive at Vauhini Studios. He had undergone training in Hindustani music. His wife Lalitha was also a good singer and lent her voice to many chorus songs in the 60s and early 70s. They encouraged their four children Sundar, Surendar, Shobha and Sheela in their music pursuits. Surendar made his debut in Tamil film music as a child- he was first heard (along with his brother S.N. Sundar), lisping ‘A for apple, B for biscuit, C for chocolate--’ (சாது மிரண்டால்/ 1966) and followed it up with songs like ‘வரவு எட்டணா செலவு பத்தணா’ (பாமா விஜயம்/ 1967) and ‘ஆலயம் என்பது வீடாகும்’ (தாமரை நெஞ்சம்/ 1968). And as for his sister Shobha, she was first heard demanding ‘ஓடிப்பிடித்து விளையாட ஒரு தம்பிப்பாப்பா வேண்டும் என் கூட’ (‘மகராஜா ஒரு மகராணி' / இரு மலர்கள்/ 1967) followed by ‘நல்லப்பேரை வாங்க வேண்டும் பிள்ளைகளே’ (நம் நாடு/ 1969). The four siblings sang their first concert at Vadapalani temple in 1966. Soon they formed a light music troupe (named Lalithanjali after their mother) and performed all over the state.
‘மாலை இள மனதில்’ perhaps marked Surendar and Shobha’s re-entry in Tamil cinema as adult singers. Over the years, Surendar got to sing many songs for MSV, Ilaiyaraja, Shankar-Ganesh and Gangai Amaran, and many of his songs became quite popular. In the meantime, he also became a successful dubbing artiste, especially for Mohan. His career as a singer enjoyed a grand resurgence with ‘ஊமை விழிகள்’, and along with Sasirekha, he emerged as the favorite singer of Manoj-Gyan.
As for Shobha, she did get to render a few songs in the films directed by her husband S.A. Chandrasekhar, and some of them did enjoy ephemeral popularity like ‘பகலில் ஒரு தாகம்’ (சட்டம் ஒரு இருட்டறை), ‘மீனோடு மீன் வந்து’ (அலை பாயும் நெஞ்சங்கள்), ‘தெய்வம் வந்தது’ (புது யுகம்), ‘ஒரு குள்ளநரி’ (சட்டம் ஒரு விளையாட்டு). She went on write the stories for many of her husband’s films, and then took over the director’s mantle for films like நண்பர்கள் (1991) and இன்னிசை மழை (1992). இன்னிசை மழை (MD: Ilaiyaraja) also had her singing a great duet with SPB ‘தூரி தூரி’. She is definitely made for better things than belting out 'தொட்டபெட்டா ரோட்டு மேலே’ (விஷ்ணு) and ‘ஊர்மிளா ஊர்மிளா’ (Once More), that too with her son! But to give her due, she can hold the record of being the only singer to have sung duets with her brother and also with her son.
Btw, their sister Sheela has sung a lilting duet with Unnikrishnan ‘தென்றல் வந்து தென்றல் வந்து’ (MD: Deva) in the (probably) unreleased film மனசு that was also produced by her.
In later years, Surendar and Shobha did get to sing a few more duets together like ‘எத்தனை நாளாச்சுது’ (குடும்பம்/1984/Gangai Amaran) and ‘அழகே நீ அழலாமா’ (புது யுகம்/1985/Gangai Amaran)
Shobha and Surendar are among the very rare brother-sister duo to have sung duets together. SPB & S.P. Shailaja were the other pair. In Hindi we had Nazia Hasan and Zoheb Hasan, and in recent times Shaan (Shantanu Mukherjee) and Sagarika have sung together.
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It must have been at the director’s insistence that Surendar and Shobha bagged this opportunity to sing for Ilaiyaraja and they acquit themselves fairly well for (adult) debutants. The maestro’s imaginative arrangements in the beguiling prelude and interludes usher in so magnificently the mood of the seductive evening in its spellbinding splendor…. Gangai Amaran’s lines engrave an evening that sows the seeds of forbidden desires followed by a morning that sings a thousand odes to the aching memories… The languid guitar and sultry accordion add to the hazy allure and twirl in tandem to this tantalizing tango….
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‘வெள்ளை தாமரைப்பூவில் இருப்பாள், வீணை செய்யும் ஒலியில் இருப்பாள்...’ Shobha Aunty seemed in a world of her own as she traversed into the intricacies of Bhimplas… Yes, to me she is now Shobha Aunty, for being very closely related to my sister-in-law, they have become family friends ever since my brother’s marriage. They had come home in July this year for a family function, and as is common on such occasions, Shobha Aunty was adding to the festive mood with her lovely singing.
I managed to corner her for a quiet tête-à-tête this time and mentioned this song. Her eyes lit up in pleased memory. Even as she hummed the opening bars, she recalled that day in the distant past when she entered the studios to sing for Ilaiyaraja. ‘Were you nervous?’ I asked. “Of course, I was!” she averred, with a twinkle. However, the young Raja was affable and encouraging, and with the added comfort of her brother being the co-singer, she managed to pull it off without much ado.
“Do you have the song? It is ages since I listened to it last!” It was Shobha Aunty that evening on the phone with this wistful request. It took only a swift search in YouTube for me to locate it and I WhatsApped her the link. “Thank you. You made my day!” came the prompt reply :)
