dhool

dhool
Click on the above image and Join the discussion in our Facebook group

Friday, December 29, 2017

மலர்ந்தும் மலராதவை # 13

Saravanan Natarajan writes:
மலர்ந்தும் மலராதவை # 13

உதய காலமே/ மார்கழி மாதம் முன் பனி வேளையிலே....

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. The Kerala girl has learned Tamil and sings in the exultation of having discovered another language; It is a joyous dawn for her, the dawn of communication with her lover…she gambols along the picturesque pastures, and exclaims in sheer happiness. Susheela caresses each syllable with the love it deserves, polishes each nuance to perfection….

https://www.youtube.com/watch?v=zqNBeI22q_U

'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.

https://www.youtube.com/watch?v=15VGgjhW-zY&feature=youtu.be

* * * * * *

'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, almost 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.

"Oh, to be in England now that April's there!' exclaimed a wistful Robert Browning in his 'Home Thoughts from Abroad'. Chennai and Margazhi would hold just as good…….

Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/1834355319929519/

Wednesday, December 27, 2017

மலர்ந்தும் மலராதவை # 12

மலர்ந்தும் மலராதவை #12

சித்திரப்பூ சேலை...

Rajaram Theatres’ புது செருப்பு கடிக்கும் was based on a short story by Jayakanthan. The story was written in 1971, and came out as part of a collection of short stories, published by Meenakshi Puthaga Nilayam, Madurai.

The story revolves around three characters- Nandagopal, Girija and Vatsala. Nandagopal enjoys his bachelorhood till he is 30 years old. He harbours bitter memories of his father physically torturing his mother day after day, and thus he develops an aversion towards marriage. He meets Girija, who works as a sales girl besides doing various odd jobs to eke out a meager living. He is attracted to her cheerful disposition and caring ways. One day, when seeing her hungry state, he treats her to a meal and buys groceries for her. She suggests that he move in with her and share the monthly expenses. He readily falls in with the scheme, and their friendship assumes new dimensions. They share the expenses....and some more...

He tells her of his mother’s constant nagging, asking him to get married. Girija encourages him to take the step. He tells her of his cousin Vatsala who is very pretty. Girija masks her disappointment, and congratulates him on his decision. When the wedding day looms near, she suggests that he move out, as it would not be appropriate for them to share the same roof any more. There is a hint of tears in her eyes as she tells this….

Nandagopal finds marital life not at all what he had bargained for. Vatsala and he rarely see eye to eye, and arguments, unpleasantness and humiliations become a daily affair. One night, after some bitter exchanges, he suddenly remembers wistfully his carefree days with Girija. He takes a sudden decision to pay her a visit, even at that unearthly hour. Girija is surprised at his sudden visit, but gives him a warm welcome. To her eager queries on his married life, he responds by listing the complaints he had against Vatsala, and adds that he is suffering for the callous way in which he had treated Girija.

She admonishes him gently, and explains to him how Vatsala must have felt to leave all that is
familiar and dear to her, and come to a strange place and that even the male species may appear strange to her. Girija adds that Nandagopal was ‘experienced’ in the ways of women (in a wry reference to their living together), and she too was ‘trained’ in the ways of men- but men do not want “trained” wives! Nandagopal understands the truth. Presently, seeing that her foot is injured, tenderly enquires about it. She replies that she had bought a new pair of slippers, and was suffering from acute ‘shoe bite’ Then come her punch lines “A new pair of slippers necessarily hurts, but would that make anyone go in for an old pair”?!!! She smiles as she says this…. he breaks down….

What a moving, stark story- Jayakanthan had expanded it into an evocative black & white movie running for just more than an hour. I believe Srikanth & Saradha played the lead roles. Sadly, JK could find no distributors. The movie never made it to the marquee, while Jaganmohini, released around the same time, ran to packed houses.

However, பது செருப்பு கடிக்கும் remains in our memories for the two wonderful songs penned by Jayakanthan and tuned by the genius M.B. Srinivasan.

The first of them was a Radio Ceylon regular in the late 70s. A song of aching memories of a lost love, a wistful window of vistas of a past that is gone… the man remembers his lady love, and recalls in vivid detail his impressions of her striking appearance… The song is a sigh, a tender throwback…JK’s refreshing lines with the adjectives that are are truly inventive, sit so snugly into the MBS trellis. JK’s friend Mr. Kuppuswami recalled in an interview to The Hindu that the lines came to Jk when they were bathing in the Cauvery. SPB conjures up the wistful ache, the unhurried rumination that the mood demands…

https://www.youtube.com/watch?v=oijasCnOmNg

The other is the haunting Vani Jairam solo ‘உடல் என்பார்.’ Vani renders it with great depth of emotion. I found the song to be tranquil, but more like the peace one finds in the company of a lingering sorrow. Alone and at a loss.

Has the sorrow of a girl whose love has gone unrequited, ever been depicted more poignantly- each line is redolent of this suffering- the suffering that only people who have loved and lost can understand……the wait is endless, futile, yet still she waits….

The lyrics are truly remarkable, of a kind seldom encountered in film songs. MBS adds spellbinding sheen to the lyrics by his unobtrusive and masterful use of Veenai, Flute and Violin- each interlude is a short but effective statement.

Vani brings to the song a Ghazal like aura- how much hushed pain peeps out in her song! The song is a celebration of heart-rending sorrow, of forlorn disappointment, of benumbing betrayal, of eerie emptiness that knows no solace...

https://www.youtube.com/watch?v=QhEp3aGfzGM

Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/1832702163428168/

Sunday, December 24, 2017

இப்படியும் ஒரு பெண் - பானுமதி நினைவலைகள்

Saravanan Natarajan writes :

“இவள் ஒரு கலைச்செல்வி .... பல கலைகளைப்  பயின்றவள்.... இசைக்கலையில் சிறந்தவள்.... இவளின் குரலினிமை வேறு யாருக்கும் கிடையாது’’

- Thinna (Nambiar) introducing Vani (Bhanumati) to his King (dialogue written by Ravinder for the movie ‘Kalai Arasi’)

* * * *

December 24 marks the anniversary of the demise of MGR. And in the accompanying hullaballo, it always goes unnoticed that the date also marks the demise of another icon - Bhanumati. Let us remember the legend and the doyenne by revising a unfairly forgotten movie in which they played the leading roles and listening to some of the songs from the album. Interestingly both of them had double roles in the movie.

Posting here today the chapter from my series on Bhanumati that I wrote way back in 2006- 2008.

Kalai Arasi (19.4.1963/Sarodi Brothers)

When the Hritik Roshan starrer ‘Koi Mil Gayaa’ was released in 2003, the media went overboard portraying the movie the first ever effort at science fiction in the history of Indian cinema. And as usual they failed to look beyond the Vindhyas when they made this outrageous claim- for Tamil cinema had explored this genre much earlier. Even if you discount the 1953 Indo-American venture ‘The Jungle/ Kaadu’ (Lippert Pictures & The Modern Theaters) as a mere forest frolic with just the climax verging on science- fiction, Tamil cinema had a first class science-fiction entertainer in ‘Kalai Arasi’ released 40 years before ‘Koii Mil Gayaa’.

‘The earth is the cradle of mankind - one cannot remain in the cradle forever’ declared Russian scientist Konstantin Tsiolkovsky. Perhaps T.E. Gnanamoorthi M.A., B.O.L. was inspired by these words, for he wrote a story that was an engrossing blend of adventure and romance, with space travel as the amazing backdrop.

* * * * * *

The story goes like this. Mohan is a poor, but honest and hard-working farmer. Vani is the daughter of the rich landlord who lives in the city while their lands are under the supervision of her cousin and suitor, the wily Kannan. On a visit to the village with her friends, Vani meets Mohan; Mohan and Vani find themselves falling in love with each other gradually. Meanwhile a spacecraft is moving rapidly towards the earth. Inside are two alien creatures who resemble earthly humans. From their conversation we understand that they are traveling to the earth on a strange mission. Apparently their planet has made far-reaching strides in science, but is woefully backward in performing arts. Hence they are coming to the earth to identify and take back a talented artiste who could teach their denizens music and dance. As they near the earth, one of the aliens, Thinna, who is the commander-in-chief of their planet, switches on a monitor, and the screen shows music and dance performances in various parts of the earth. He seems to be dissatisfied with them all, until he comes across Vani singing. He is mesmerized with her performance and decides that she would best suit their purpose.

Returning home after a clandestine moonlight rendezvous with Mohan, Vani falls into the clutches of the aliens. Thinna drags her inside the spacecraft, while the other alien Malla elects to stay on in the earth for a while. Vani is shocked when she finds herself far away from the earth. The king of the alien planet assures her that she will return safely after she had taught them dance and music. Vani is defiant and furious. However, princess Rajini treats her kindly and Vani agrees to teach her. Meanwhile back in the earth Vani’s father blames Kannan for Vani’s disappearance. Kannan goes in search of Vani and comes across a mentally deranged girl called Valli who bears a startling resemblance to Vani. Assuming that she is Vani, he gets her kidnapped and brings her home. Saddened to see his daughter a lunatic, Vani’s father agrees for Kannan to get married to her, and thus Kannan marries the poor Valli, under the assumption that he is marrying the rich heiress Vani.

Mohan spies the alien Malla one night as Malla is getting ready to return to his planet. They have a brief skirmish and Malla dies. Thinna lands in his spacecraft just then to take Malla home. He sees Malla’s corpse and places it in an ante-chamber inside the craft. Watching all this, Mohan enters the craft quickly, and dragging Malla’s corpse out, he jumps into the ante-chamber. Thinna does not notice this and takes off from the earth. When he nearing his planet, he ejects what he assumes to be Malla’s corpse from his spacecraft, but it is actually Mohan who falls into the alien planet. By happenstance Mohan comes across a kind-hearted jester from another planet who is on the way to the palace. This jester takes Mohan to his house and feeds him. As they step outside, the jester is struck dead by a passing meteor. As luck would have it, the jester had resembled Mohan in facial features, and so Mohan takes his place and goes to the palace. There he meets Vani and manages to make her realize his true identity. They outwit the cunning Thinna and return to the earth. Meanwhile Kannan is caught strangling Valli and is arrested by the police. Mohan and Vani reach home. All is well that ends well.

* * * * * *

MGR played the double roles of Mohan and the jester, while Bhanumati essayed the roles of Vani and Valli. Rajashri acted as Princess Rajini who falls in love with the jester. P.S. Veerappa as Kannan and M.N. Nambiar as Thinna were well cast in their roles. Sachu, C.T. Rajakantham, S.R. Janaki, S.M. Thirupathisami and G. Sakuntala enacted the supporting roles. Ravinder wrote the dialogues for Gnanmoorthi’s story. Editing was by S. Natarajan, who also worked as assistant director. Art direction was by A.K. Ponnuswami. The special effects and cinematography were handled by J.G. Vijayam. The movie was directed by veteran A. Kasilingam.

Ponnuswami and Vijayam deserve special mention for the stunning visuals. The scenes depicting the spacecraft traveling through the Milky Way and the exteriors of the alien planet are truly spectacular. The interiors of the spacecraft are crafted with care, and show gadgets and blinking lights that seem exactly similar to the ones that we see in the Star Wars series, the first of which was released 14 years after ‘Kalai Arasi’! When we consider the limited technology available at the time, we can perceive how much research, imagination and painstaking work would have gone into crafting these sequences. Again, the extraterrestrials are shown with a peculiar gait, as they are not used to gravity. At the same time, the earthling MGR is shown floating on the alien planet in the absence of gravity. And in the end, when Bhanumati’s father expresses naïve incredulity on hearing MGR’s account of their space travel, MGR remarks, ‘ippO naanga pOyittu vandhadhu kaRpanaiyaa irukkalaam. oru kaalathil nadakkathaan pOgiRathu!’

If the visuals are spectacular, K.V. Mahadevan’s background score is no less noteworthy. The eerie soundtrack bolstered further by a harmony of chorus voices when the spaceship is shown hurling across the skies, adds sheen to the amazing visuals. KVM has given the movie a great set of songs as well. Working with Pattukkottai Kalyanasundaram, Kannadasan, Alangudi Somu and Muthukoothan, KVM comes out with a stellar album. The movie opens with the endearing TMS solo ‘neelavaana pandhalin keezhE nilamadandhai madiyin mElE’.

https://www.youtube.com/watch?v=DBxITIhbSzs

Seergazhi Govindarajan sings ‘adhisayam paarthEn maNNilE’. The song is in praise of the earth and in intelligent lines the prodigious Pattukkottai ponders on life in the alien planet thus, ‘ingE thangida nizhalumillai, pongida kadalumillai, satRu nEram kooda veyyil maRaivadhillai, nammai thazhuvida thendRal yEdhum varuvadhumillai!’

https://www.youtube.com/watch?v=7_AeOc1fhH8

The album boasts of a catchy Seergazhi Govindararajan- P. Suseela duet as well- ‘nee iruppadhu ingE, un ninaiviruppadhu engE’ for MGR and Rajashri.

https://www.youtube.com/watch?v=S1f2UDfrIqg

Then we have the lilting duet ‘kalaiyE un ezhil mEni’ written by Kannadasan and sung by Seergazhi Govindarajan & Bhanumati.

https://www.youtube.com/watch?v=bdgclvlKWGs

The last is the soulful ‘ninaikkum pOthu nenjum kaNNum’ written by Pattukkottai Kalyanasundaram. Vani is flooded with memories of the happy moments that she had spent with Mohan. Now held captive in a planet far away from the earth, she sings of the ache of love… aNaiyai meeRum aasai veLLam aRivai meeRuthE, adhaiyum meeRi paruva kaalam thuNaiyai thEdudhE…. Bhanumati’s moving delineation captures the essence of this exquisite angst.

https://www.youtube.com/watch?v=bPrKzY-ghqs

* * * * * *

‘Kalai Arasi’ was unfortunately many years in the making. This is evident by the fact that Pattukkottai Kalyanasundaram was among the lyricists, and he had passed away way back in 1959. The surmise that the movie was commenced much earlier gains further credence when we observe that singers such as P.Leela, Jikki and Ratnamala, who had slipped into oblivion by the advent of the 60s, find place in the album. Also, by the early 60s, TMS was well-established as the singer for MGR and this album had Seergazhi Govindarajan rendering most of the songs. I recall Ravindar mentioning in an interview that Sarojadevi was booked initially for the role of Rajini and even a song sequence was filmed on her. However, when the project was resumed after many months, Sarojadevi had become a bysy artiste with no dates to spare and Rajashri stepped in. The making of the movie must have commenced in the late 50s. The reasons for the inordinate delay in proceeding with making the movie are not known. Legend has it that towards the end, MGR had become so busy with his schedules that the producers of ‘Kalaiarasi’ had to resort to a hunger strike at the gate of MGR’s office to persuade him to spare some dates to complete the movie.

Playing the title role, Bhanumati doles out a remarkable performance as usual. Be it the romantic sequences with MGR, where she has to hide herself in a heap of hay to escape from her prying friends, or when pretending to fall into a faint to make Veerappa believe that she is sick, the hilarious sequences wherein she appears as the deranged Valli, her bold and insolent repartees to the king and commander of the alien planet, her hushed and dignified portrayal of the pangs of separation from MGR, the gripping climax where she operates the spacecraft with cool nonchalance even as MGR and Nambiar are engaged in a deadly skirmish (other heroines would have been shown wringing their hands in despair in similar sequences!)… Bhanumati strides the frames like a colossus... and through this movie released in April 1963, she portrayed space travel even before the first woman astronaut Valentina Tereshkova actually did so a few months later in June 1963!

True, ‘Kalaiarasi’ was not a commercial success; it was perhaps doomed to fail, considering that the crux of the story, i.e. space travel was something that an average Tamil viewer could accept at the time. The movie and its songs are all but forgotten today. Nonetheless, it is really amazing that a story concerning human spaceflight was conceived and adapted for the screen in the late 50s, when only an unmanned Sputnik had been launched in 1957. Yuri Gargarin, the first human to travel into space, did so only in 1961! How eerily prescient of the little known Gnanamoorthi sitting in some corner of Madras to write a taut thriller involving space travel, and how intelligent of him to coat the concept with entertaining elements of romance, treachery, valour and sacrifice!

It is time Tamil cinema takes pride in the fact that it has in its annals a little-known flash of clairvoyant brilliance called ‘Kalai Arasi’.

Discussion :
https://www.facebook.com/groups/1018417744856618/permalink/1829239030441148/

Friday, December 22, 2017

மலர்ந்தும் மலராதவை # 11

Saravanan Natarajan writes:
மலர்ந்தும் மலராதவை # 11

இனிய காதல் நினைவு....

Full many a gem of purest ray serene
the dark unfathom’d caves of ocean bear;
Full many a flower is born to blush unseen,
and waste its sweetness on the desert air.

- Thomas Gray (Elegy in a Country Churchyard)

In this chapter from the series of songs from movies that never reached the cinema halls, I bring to you a jewel crafted by a musician duo who are often maligned for their mediocrity. Yet, there are fleeting instances such as this- occasions where they stirred out of their self-imposed limitations and ushered in music of the highest order.

I heard the song one lazy afternoon as a child in தமிழ்ச்சேவை இரண்டு, and it was love at first listen. Unfortunately, it proved to be my last listen as well… at least for a great many years. It was on my wish list for ever so long, I searched for it everywhere, yet the song remained maddeningly elusive. So much so that I started doubting if I had heard the beginning lines right, or got the movie’s name wrong. I would not give up, though, for the magic cast that unforgettable afternoon was still intact. Imagine my rapture when a Srilankan friend got the song for me finally! I am not ashamed to reveal that my eyes were moist when I listened to it again after so many years.

There are some songs that stir up something inexplicable deep inside, and for me, this song does exactly that. I am a novice in classical music, and cannot comment much on the nuances of the composition. I leave the analytical appreciation to you. But I can state with authority that this is among the finest efforts of Shankar-Ganesh; for to have envisaged and summoned to life such enchantment is surely no mean achievement. The honeyed Jayachandran is in his elements here, and as for the blessed, blithe Janaki… little would the unpretentious nightingale ever be aware of the joys that she has brought to generations of listeners…

* * * * * *

It was during my visit to Chennai in December 2012 that thanks to the efforts of good friend
Kumaraswamy Sundar, I could meet (Shankar) Ganesh at his house for a long, leisurely conversation. As we recalled one gem after another composed by the duo, Ganesh was filled with almost a child-like exuberance. Within the garish adornments and close-fitting outfit, I could perceive an endearing naivety and a sensitive vulnerability. He could recall many of the tunes and sang them, cheerfully unapologetic about his off-key tone, drumming dexterously with his gloved fingers on the table….I expressed my admiration for their bringing back from oblivion the great singers of yore- A.M. Raja, PBS, Tiruchi Loganathan, S.C. Krishnan, Seergazhi Govindarajan, C.S. Jayaraman, Bhanumathi, Jikki, Jamunarani to sing for them...When I mentioned my favourite (Radha) Jayalakshmi’s ‘அகிலமெல்லாம் விளங்கும் அம்மனருள்’, his eyes lit up with joyous remembrance…

We progressed to recalling songs from the 80s, and when I reminded Ganesh ji of this forgotten number ‘இனிய காதல் நினைவு’ from an unreleased movie, I was truly taken aback when he hugged me with excitement and planted a wet kiss on my cheek :)

* * * * * *

Have a listen, revel in this rhapsody…

Song: iniya kaathal ninaivu
Film: 18 mudhal 22 varai (Unreleased)
Vocals: P. Jayachandran & S. Janaki
Lyrics: Muthulingam
Music: Shankar- Ganesh

https://www.youtube.com/watch?v=ACjetBCTqAA&feature=youtu.be

Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/1827261590638892/

Wednesday, December 20, 2017

மலர்ந்தும் மலராதவை # 10

Saravanan Natarajan writes:
மலர்ந்தும் மலராதவை # 10:

யாரிது தேவதை.....

Sung by SPB. Lyrics by Na. Kamarasan. Music by Gangai Amaran.

* * * * * *

The front sleeve of the EP record had Viji holding balloons in vibrant hues strung together. Music was credited to the wretched Gangaiamaran and so of course I had to turn over the sleeve to read the index of songs. I was not disappointed; the very first song in the list was 'யாரிது தேவதை'. And I was thrilled at unearthing this one. Like the excitement of running into a long-lost childhood friend in a mall, this discovery filled me with heady happiness. For this was a song that I had listened to often and liked as a child. Somehow as the years passed it had slipped from my thoughts, and seeing the words 'யாரிது தேவதை’ on the record cover now brought back so many memories!

The record proclaimed its year of manufacture as 1983. So என் பிரியமே (Balakumaran Movies) must have been launched with fanfare around that time, unfortunately never to find commercial release. It was directed by Sivakumar and produced by Pondy M.A. Shanmugam.

The other songs in the album are noteworthy as well. Janaki has two songs: ‘அழகிய பூமகள்’ (Vairamuthu) and ‘மழை மேகமே’ (Pulamaipithan), both bestowed with distinct allure. ‘கம்பங்கொல்லையில்’ (Malaysia Vasudevan/P. Susheela) has some obscure Priyamoorthi penning some invigorating lyrics. ‘Meri premi’ (Malaysia Vasudevan/ T.L.Maharajan/ S.N.Surendar/ B.S.Sashirekha; Lyrics: GA) and ‘பொம்பளனா ஆம்பளனா’ (Malaysia Vasudevan/ T.L.Maharajan/S.N. Surendar; Lyrics: GA) are catchy in their stimulating cadence.

* * * * * *

It is 'யாரிது தேவதை', however, that tops the list. Perhaps one reason why it is very special for me is that the lines come from the remarkable Na. Kamarasan who passed away recently - the maverick wordsmith who could invoke instant imagery like the haughty nonchalance of ‘போய்வா நதியலையே....இவள் பூச்சூடும் நாள் பார்த்துவா’, the cuddlesome intimacy in ‘உதடுகளில் உனதுப்பெயர் ஒட்டிக்கொண்டது’, the magnificent vistas that ‘ஒரு காதல் சாம்ராஜ்யம் கண்ணில் வரைந்தாள்' summons up, the poetic proportions that even a prosaic paean assumes in ‘கைகளில் வாரி வழங்கிய பாரி’, the sensuous flourishes that tantalize in 'நகக்குறி வரைகின்ற சித்திரமோ, அங்கு நாணங்கள் தூரிகை வண்ணங்களோ’…. Truly, Na. Kamarasan deserves a place of pride in the pantheon of tfm lyricists.

* * * * * *

The other reasons are, of course, GA’s tune and SPB’s tone. The nimble movements on the frets in the
opening would have happily led us unhindered to SPB had it not been for the irksome inane “first night” giggles of the தோழிகள். That however is a minor aggravation, for SPB more than makes up with his characteristic flamboyance. Watch out for the short, stifled chuckle that he allows himself in the pallavi and the nifty nuances that he fills the charanam lines with. Can you imagine anyone else singing this song?

'என் பிரியமே' never made it to the marquee. However, some humble producer bought the entire album and used the songs for the 1987 movie ‘ஊர்க்குருவி’ that had Arunpandian & Madhuri in the lead. The movie sank without a trace, and the songs never got another outing in the airwaves.

https://www.youtube.com/watch?v=KKS02I_OJzo&feature=youtu.be

Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/1824725120892539/

Friday, December 15, 2017

மலர்ந்தும் மலராதவை # 9

Saravanan Natarajan writes:

மலர்ந்தும் மலராதவை # 9

கண்ணா...வா..வா....

* * * *

‘மலர்கள் நனைகின்றன’, was the artistically printed legend on the record sleeve, with the silhouette of a woman sketched below and some bright petals with the dew dripping from them covering rest of the sheath. I had never heard of such a movie, and the garish jacket put me off. (Thanks to my college friend Sathya, I was at an audio center tucked cunningly in a busy junction of a labyrinth of alleys in the 7 Wells area of North Madras.) But as I was returning the EP record so that it could resume its interrupted hibernation, a small caption on the bottom made me pull it back abruptly “இசை: இளையராஜா”.


I was truly intrigued now, for I had never heard of such an IR album, and added it excitedly to the steadily growing pile of EPs that I had already chosen. And I am, to this day, truly grateful for that last-minute observation.

For the songs of மலர்கள் நனைகின்றன (Laxmichitra Movies; Produced & Directed by S. Chidambaram) brought back so many truant glimpses of a bygone age; as I listened to the songs, I remembered listening to them on Radio Ceylon long back, and was besieged with myriad memories of another day…

‘ஆசை இதழோசை’ is a tender P.Susheela solo, with Muthulingam’s lines caressingly seductive. 'இன்று காதல் மீறுது’ is an attractive rustic duet, filled with early Vairamuthu’s inspired musings- Sung by Malaysia Vausdevan & S.P.Shailaja, the song was another was another Radio Ceylon favorite. 'ஆசை மனசு ஒண்ணு கூடட்டும்’ has Gangaiamaran penning some unconventional radical thoughts, rendered with élan by Deepan Chakravarthi & Ramesh.

‘கண்ணா வா வா’ by Jayachandran & Janaki ( Lyrics: Gangaiamaran) was the song that the fastidious listeners of Radio Ceylon fell in love with though. The song takes me back to faraway evenings, of coming back from play and sighing and sitting down to homework, while மந்த மாருதம் wafted from தமிழ்ச்சேவை இரண்டு.

Janaki’s opening humming is enticing invitation enough and we are soon drawn into the dreamy vistas of old-fashioned, leisurely romance that Raja’s baton conjures up. Each of the three interludes is singularly appealing, while Jayachandran & Janaki captivate as customary, contributing in no small measure to the charm of the song.

https://www.youtube.com/watch?v=hLG0ZE4GxIQ

Some time back, I was startled to come across of the video of the song. Perhaps the video cassette of movie was released? Sorry to say, the picturization is a big let-down, with director Chidambaram completely unaware of doing even a semblance of justice to the maestro’s alluring composition. Vanithasri finds the going tough with the male actor seeming distinctly uncomfortable. What a colossal waste of the maestro's munificence!

https://www.youtube.com/watch?v=SIDjAbXGYkU

Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/1817821271582924/

Tuesday, December 12, 2017

Rajinikanth- The Journey to Superstardom - Part 2

Tiruchendurai Ramamurthy Sankar writes:

Rajinikanth- The Journey to Superstardom - Part 2

தூள். காமில், வழக்கமாக அரிதான பாட்டு பற்றிதான் எழுதவேண்டும் என்பது சரவணனின் அவா! என்னுடைய வேண்டுகோளுக்கிணங்கி ....இம்முறை எல்லாருக்கும் தெரிந்த பாடல் , படங்களின் ஆராய்ச்சியில் :). 12 ம் தேதி பிறந்த நாள் கொண்டாடப் போகும் ரஜினியைப் பற்றி perspective எழுதலாம் என்ற முடிவில்......மொட்டையாக எனக்குப் பிடித்த பாடல்கள் என்று யூடியூப் லிங்க் கொடுப்பது சுலபம். அப்படி இல்லாமல் சற்று வித்தியாசமாக, அவர் வளர்ந்த விதம் பற்றி எழுதலாமே என்ற முயற்சி.

**************************
இரட்டை வேடம் .... என்னைப் போல இன்னொருவர் , என்ற கற்பனைதான், முதல் சயன்ஸ் ஃபிக்‌ஷன். அலெக்ஸாண்டர் டூமாவின் The vicomte of Bragelonne / The d'Artagnan Romances தான் இந்த இரட்டை வேடக் கதைகளின் முன்னோடி. எம்.கே ராதா ( அபூர்வ சகோதரர்கள்) , பி.யூ.சின்னப்பா ( உத்தமபுத்திரன்) , பிறகு சிவாஜி, எம்.ஜி.ஆர் , ரஜினி, கமல், சரத்குமார், அஜித்( வாலி) , பிரஷாந்த் ( ஜீன்ஸ்) , விஜய் ( அழகிய தமிழ் மகன்) , சூர்யா ( பேர்ழகன், வா.ஆ, 24) கார்த்தி( சிறுத்தை), சிம்பு, தனுஷ் ....அவ்வளவு ஏன் ? பல படிகள் இறங்கி ....டி.ராஜேந்தர் ( உறவைக் காத்த கிளி) ....இன்னும் ஒரிரு படிகள்.. ராமன் பரசுராமன் என்று சிவகுமார் வரை இரட்டை வேடம் போட்டிருக்கிறார்கள்.

கமல் இரட்டை வேடம் போடுவது ...நமக்கு சினிமாவிலும் பழகிய ஒன்று. 2,4 தொடங்கி பத்து வேடம் வரை போட்டிருக்கிறார்,.......... சினிமாவிலும்.

ஒவ்வொரு நடிகரும் தன் திறமையைக் காட்ட இரு வேட படங்கள் உதவும் என்று நம்புகிறார். டி.ராஜேந்தர் ஒரு வேடத்தில் வேட்டி+ கோடு போட்ட சட்டை, மறு வேடத்தில் பாண்ட்+ கட்டம் போட்ட சட்டை என்ற அளவில் உழைத்திருந்தார்.

இதன் சிறிய வேரியேஷன் இரண்டு குணாதிசயங்கள் கொண்ட வெவ்வேறு ஆட்களாக ஒரே நடிகர் வருவது...RL Stevenson நின் Jekyll and Hyde முன்னோடியாகத் தொடங்கி ஜெமினியின் நான் அவனில்லை, சிவாஜியின் எங்கள் தங்கராஜா, விக்ரமின் அந்நியன் , பிரபுதேவா, என்று அதல பாதாளத்தில் ஜோதிகா வரை வந்தாயிற்று. சுஜாதாவின் கணேஷ் - வசந்தே அவரது இரு பர்சனாலிட்டிகள். Superman, Spider-Man , ம் இதுதான் புஷ்பா தங்கதுரையின் வெங்கட்- குங்கட்டும் இதுதான் என்று சொல்லிக்கொண்டே போகலாம்.

இந்த இரண்டு வேடங்களும் ஒரு குறுகிய காலத்திற்குள் வந்து ஒரு நடிகரை உச்சத்தில் கொண்டு வைத்தது என்றால் அது ரஜினிதான். பைரவி, தர்மயுத்தம் என்றெல்லாம் வந்தாலும் ரஜினியை மற்ற சிவகுமார், விஜயகுமார், ஜெய்கணேஷ் போன்ற அரைத்த மாவு நடிகர்களிடமிருந்து பிரித்து ஒரு முழு நட்சத்திரமாக்கிய 2 படங்கள், பில்லா மற்றும் தில்லுமுல்லு.

இரண்டுமே ஹிந்திப் படங்களின் ரீமேக் என்றாலும் ரஜினிக்குள் இருந்த ஸ்டாரையும், இயல்பான நகைச்சுவை நடிகரையும் வெளியில் கொண்டு வந்த முக்கியமான படங்கள் இவை.

***************************

பில்லா ( 26-1-1980)

சலீம்-ஜாவேத் , காதர்கான் கூட்டணியில் அமிதாப்பின் டான் ( 12-5-1978) அவரது திரைப்படவாழ்வில் முக்கியமான படம். தீவார் ( தமிழில் தீ) , ஜன்ஜீர் ( தமிழில் எம்.ஜி.ஆரின் சிரித்து வாழ வேண்டும்), டான் ( பில்லா) , ஷோலே, திரிசூல் ( மிஸ்டர் பாரத்) முக்காதர் கா சிக்கந்தர் ( அமர காவியம்) போன்ற படங்கள் அவரை ஹிந்தி சினிமாவின் சூப்பர் ஸ்டார் ஆக்கின. யஹ் க்யா ஹை? என்று ப்ராத்மிக் பாட வசனம் வந்தாலும் கே.பாலாஜி தமிழில் எடுத்துவிடுவார். சிவாஜியிடமிருந்து அவர் வெளியே வந்து எடுத்த முதல் படம்.

பில்லா போன்ற அபத்தமான, நிச்சய வெற்றிக்கதை கிடைப்பதற்கு
ஜாதகத்தில் பூர்வ ஜென்ம புண்யஸ்தானம் நன்றாக இருக்கவேண்டும். ரஜினிக்கு அது இருக்கிறது என்றாலும் ஒரு அசால்ட்டான ஸ்டைலில் படத்தைத் தாங்கியிருப்பார். படத்திற்கு துக்ளக் விமர்சனத்தில் " எதாவது ஒரு காட்சியில் பில்லா போலீசிடமே காரைக் கேட்டு வாங்கித் தப்பிக்கும் காட்சி மட்டும்தான் இல்லை" என்று ராவியிருந்தார்கள். அபத்தமான காட்சிகளைக் கூட தன்னுடைய திரைத்தோற்றத்தால் மறக்கடிக்கவைக்கும் திறமை அவரிடத்தில் இருக்கிறது என்று அவருக்கே புரியவைத்த படம். படத்தில் " மை நேம் இஸ் பில்லா" ஒரு ரகளையான பாட்டு. கல்யாண்ஜி- ஆனந்த்ஜி எனக்குப் பிடித்த இசையமைப்பாளர்கள் என்றாலும் " மே ஹூ டான்" மரண மொக்கை. " பான் பனாரஸ்வாலா" ( வெத்தலைய போட்டேண்டி) ஒரு கல்ட் பாடல் . கிஷோரின் அராஜகத் திறமையை வெளிப்படுத்தும் பாடல்.

இந்தப் படத்தைத் தெலுங்கில் என்.டி.ஆர் செய்திருப்பார். ( யுகந்தர்) அந்தப் பாடலைப் பற்றிய என்னுடைய பதிவு. நான் எழுதிய 70களின் இளையராஜா பாடல் வரிசையில்...

யுகந்தர் (30-11-1979)

https://m.facebook.com/groups/1018417744856618?view=permalink&id=1399863666712022

ரஜினி, அமிதாப், NTR மூவரையும் பார்க்கும்போது இளம் வயது ரஜினிக்கு துணை நின்றாலும் மற்ற இருவரையும் அலட்சியமாக வீழ்த்தியிருப்பார். brass , SPB , கண்ணதாசனோடு MSVவியின் அட்டகாசம். ( ஜெமினி சினிமா என்ற பத்திரிகை அப்போது தொடங்கினார்கள். அதற்கான விளம்பரத்தில் இந்தப் பாடலின் டியூன் கம்போசிங்கைக் காட்டுவார்கள்) . நான் சொல்வது சரியா என்பதை 3 பாடல்களையும் பார்த்து முடிவு செய்துகொள்ளலாம்.
.
https://youtu.be/IfZ1N3Rz-G8

https://youtu.be/moUY-bqH25w

********************

தில்லு முல்லு ( 1-5-1981)

1970 களில் சென்னையில் மேடை நாடகங்கள் பிரபலமானவை. தனிக்குடித்தனம் போன்ற, சற்றே பிராமண பாஷை அபத்தங்கள் இருந்தாலும் மௌலி,க்ரேசி மோகன், விசு போன்றவர்கள் வளர வாய்ப்பளித்தது மேடைநாடகங்கள். அவ்வாறு வந்த ஒரு நாடகம் " கேஷுவல் லீவ்" ( யார் ஆசிரியர் என்று தெரியவில்லை) . ஆபீசுக்கு லீவு போட்டு கிரிக்கெட் மாட்ச் செல்லும் ஒருவன் மாட்டிக்கொண்டதும் அது தன்னுடைய தம்பி என்று ஆபீசரை நம்பவைக்கும் கதை. இதே போல் ஒரு கதை ரிஷிகேஷ் முகர்ஜிக்கும் சில வருடங்கள் கழித்துத் தோன்றியபோது அவர் அதை ஒரு அற்புதமான படமாகக் கொடுத்தார். கோமல் சுவாமிநாதனின் கதை மலையாளத்திற்குப் போய் பின் தமிழில் குமாரவிஜயம் படமாகியதும் நம் வரலாறு.

உத்பல் தத் , தீனா பதக் இருவரின் நடிப்பும் அமோல் பலேகரின் நடுத்தரக் குடும்ப இளைஞன் முகபாவங்களும் படத்தை மறக்கமுடியாததாக்கின. பாலசந்தர் அதை தமிழில் எடுத்தபோது கமல் இல்லாமல் ரஜினியை வைத்து எடுத்தது பெரிய அதிசயம். விசு, தேங்காய், சௌகார், நாகேஷ் எல்லாரும் போட்டி போட்டுச் செய்திருந்தாலும் பொறுப்பான அண்ணன், பொறுக்கித் தம்பியாகவும் ரஜினி dazzled. அழகான அதிர்ஷடமற்ற மாதவி..ஹ்ம்ம்! அழகில் பிந்தியா கோஸ்வாமிக்கு , முந்திய கோஸ்வாமி மாதவி , இருந்தும் :(

இந்தப் படம் ரஜினி, தேங்காய் இருவருக்குமே அவர்கள் திரைப்பட வாழ்க்கையில் மிக முக்கியமான படம். இண்டர்வியூ காட்சி ஒரு laugh riot. அமோல் பலேகர் ....சாரி! அவரது நடிப்பு எல்லைகள் மிகக் குறைவு. சோட்டி டி பாத், சித்சோர் என்றெல்லாம் வந்து போயிருக்கிறார்.....இருந்தாலும் ரஜினிக்கு அருகில் கூட வரமுடியாது.

இதே நேரத்தில் (1982) , ஏறத்தாழ, இதே கதையை எஸ்.எஸ்.ஆர் , கதாநாயகனாக நடித்து "இரட்டை மனிதன்" என்ற பெயரில் வெளியானது. " நீ தொட மறந்த" என்று தொடங்கும் பாடலின் லிங்க் கொடுத்தால் என் உயிருக்கு உத்தரவாதம் இல்லை.

ரஜினியின் இயல்பான , குறும்பான பார்வையுடன் மறுபடி கண்ணதாசன்-SPB-MSV கூட்டணியில் .

https://youtu.be/J5CbqHxMLd0

**************************
இன்று அந்த entertainer ஐக் காணவில்லை. கருத்து கந்தசாமிகளிடமும், ஜாதியை முன் வைத்து வியாபாரம் செய்யும் ஒரு விபரீதக் கோட்பாட்டுக் கூட்டத்தில் சிக்கியிருக்கும் ஒரு திக்குத் தெரியாத முதியவர் மட்டும் அந்த சக்கர வியூகத்தில் மாட்டி இருப்பது தெரிகிறது. இல்லாத மேடையொன்றில் எழுதாத நாடகத்தை நடித்துக்கொண்டிருக்கிறார்.

இருந்தாலும் , என் சிறு வயது நினைவுகளுக்காக....

இனீயெ பிறெந்த நாள்ள்ல் வாழ்ள்த்துக்கள் ரஜினி!

Discussion at

https://www.facebook.com/groups/1018417744856618/permalink/1813915191973532/

Rajinikanth- The Journey to Superstardom- Part 1

Saravanan Natarajan writes:

Rajinikanth- The Journey to Superstardom- Part 1

• “Anna, do you really think I can carry it off? Will people accept me in the role?’’ was his hesitant, incredulous response when Director SP. Muthuraman and writer Panju Arunachalam summoned him to their office and explained the role they wished to cast him in in their upcoming project. However, with their convincing words of reassurance and encouragement, he accepted the offer with joy.

• SPM’s unit had in its rolls a strict taskmaster called Lakshminarayanan whose responsibility was to coach the actors on the dialogues and delivery. On the very first day, after a grueling session with Lakshminarayanan, he was suddenly found missing. A unit hand recalled seeing him walk past the gate. A search party was hurriedly organized and they managed to bring him back. “Anna, KB sir wouldn’t entrust me with these many dialogues for an entire film, and you want me to learn and speak these many lines for just one scene?” was his sheepish complaint. It was only after SPM’s pledge to split the scene into many small shots that he finally acquiesced.

• He was first disappointed, then intrigued and finally thrilled at the image makeover that this role entailed…all his famed mannerisms that had earned him a certain admiration among the youth were to be shunned; there would be no style, no swagger; no tricks with his cigarette, no fiddling with his shades; not even big collars or bell-bottoms!

• The unit was in Tada near the Andhra border for an outdoor shoot and he was part of it. Due to a sudden technical snag, the shoot had to be continued the next day. As it was an unanticipated stopover, hurried arrangements were made for the crew to stay on a terrace of a house and food was secured from a humble eatery. A car was to take him alone to Madras and bring him back in the morning, but he declined the offer. He slept with the rest of them on the open terrace and had no qualms in using the open-air toilet in the morning. With a glass of tea from a roadside shop, he proclaimed himself ready for the shoot!

Yes, the actor that I referred to above is none other than the Super Star, and the movie that we are talking about is ‘புவனா ஒரு கேள்விக்குறி’, a movie that Rajinikanth claims to have a secured a special place in his heart.

* * * * * *

First let us go back even further to trace Rajini’s journey until then. The intense eyes, sharp features, distinct style and nonchalance of Shivajirao Gaekwad caught the attention of KB when he watched the young man perform in a play at the Madras Film Institute. He advised the aspiring actor to learn spoken Tamil better. And soon, the young man was thrilled to be summoned by KB for that miniscule, yet memorable role of the fatally ill Pandian in அபூர்வ ராகங்கள் (1975). Making a mark amidst the hugely talented ensemble was no mean achievement and our man, now christened ‘Rajinikanth’ by his mentor held his own in the riveting last reels of the movie.

மூன்று முடிச்சு (1976) followed thereafter, and here as the anti-hero Prasad, with complex shades of grey, Rajini stole the show acting alongside Kamalahasan and Sridevi. His stylish trick with his cigarette, the unconscious running fingers through his hair, even the gleeful ‘Teek hai?’ became the talk of the town. However, the more discerning did not fail to observe that he brought a rare dignified empathy to evil- watching calmly his dearest friend Balaji (Kamal) drown and die and seducing the hired help was attributed, not due to any inherent malevolence, but to his overwhelming infatuation with Selvi (Sridevi). And his defiant battles with his conscience (played by his friend (Nataraj) revealed the substance hidden behind the style. Incidentally, the singer who sang for Rajini his first ever song in Tamil was none other than MSV:

https://www.youtube.com/watch?v=f3WlSlTlAvk

What followed next was another celluloid classic- a heartwarming tale of a woman and the three men who cross her lives- ‘அவர்கள்' (1977). While the honors were undoubtedly with that stunning artiste Sujatha, with Kamal winning accolades as well for his portrayal of the lovable Jana, the dark horse here was Rajini, playing with aplomb the suave Ramanathan with a sadistic streak. He was simply outstanding in the latter half when he convinces not only Anu but even the audience of his turning over a new leaf. And the moment when he displays his cards is a revelation that is truly unnerving. A polished villain such as this was seldom seen in Tamil cinema!

Though Rajini found meaningful roles come his way in Telugu- KB’s Anthuleni Katha (அவள் ஒரு தொடர்கதை where he played Jaiganesh’s role) and Eranki Sharma’s Chilakamma Cheppindhi (which KB remade in Tamil as நிழல் நிஜமாகிறது- Rajini played in Telugu the role played by Kamal in Tamil), all he could manage in Tamil after Avargal was an insignificant role in ‘கவிக்குயில்’ and 'ரகுபதி ராகவ ராஜாராம்' both which did not do much to further his career. It was then that SPM approached him with this tantalizing offer….

* * * * *

N.S. Mani, who had worked for years as a production executive at AVM, was now desirous of turning a producer. He floated a company called ‘MAM Films’ and approached his old friend SPM to direct the first film under this banner. SPM agreed happily, and along with Panju Arunachalam, set about scouting for a suitable story. It was at that time that Thirulokachandar had come out with a successful movie adaptation of ‘பத்ரகாளி’ a novel by writer Maharishi. Enthused by this, SPM and Panju picked another story of Maharishi called ‘புவனா ஒரு கேள்விக்குறி.’ They traveled to Salem and obtained the permission of the famed writer.

The story revolved around 2 friends- Nagaraj and Sampath who are street vendors of clothes in Nagercoil. Friends they sure are, yet their characters are a study in contrast. While the good-looking Nagaraj is ambitious and determined on making it big, Sampath is content to let life pass by and revel in the love of his Raji. Nagaraj is an incorrigible philanderer and has no qualms about casting aside the woman after having his fling. Sampath’s happiness is shattered when Raji dies while trying to escape from a chasing bull. His suicide bid is thwarted by Nagaraj, who promises to take care of him. Sampath takes to drink and his is now a wretched, aimless existence. His decision to marry the innocent Bhuvana who has been cheated by Nagaraj, knowing well that she is carrying Nagaraj’s child and the inexplicably beautiful relationship blossoms between the uncouth alcoholic and the unwed mother, a relationship that hovers so tantalizingly over a platonic plateau and the arresting climax with the tragic end form rest of the story.

Panju Arunachalam and SPM worked on Maharishi's story, with spectacular results. The story itself was fascinating, with interesting twists. The perspicacious duo pulled off a casting coup by picking Sivakumar to play Nagaraj- the wolf in sheep's clothing and settled on Rajinikant to act as Sampat, the sheep in wolf's clothing…. (அந்த புதுசா வந்திருக்கிற பையன் வில்லனா நல்லா நடிக்கிறான்.....அவனைத் தூக்கி 'புலித்தோல் போர்த்திய பசு' ஹீரோவாகப் போட்டு வித்தியாசப் படுத்துவோம்! ).

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 as a villain 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 Rajinikant’s role, came on board with sporting alacrity.

* * * * * *

“There is a tide in the affairs of men. Which, taken at the flood, leads on to fortune”
- William Shakespeare (Julius Caesar)

Though initially hesitant, Rajini could sense that this was the opportunity that he had been waiting for; he had resigned himself to playing the stylish villain forever and the role of Sampath was indeed a godsend. It was a complex character to play though; Nagaraj, for all his evil, was not shown as indulging in any outward vices. However, Sampath, with all his integrity and selflessness was portrayed as a chain smoker and an alcoholic, with a scruffy appearance in most of the proceedings. That he was essentially a good human being was to come out only how convincingly Rajini could carry this off. And by God, he did!

The early sequences in which he serenades his beloved Raji and the wails that spring from his heart when she dies in his arms set the tone for the brilliance that is to follow. How he constantly advises Nagaraj, in even a drunken stupor, to mend the error of his ways is truly endearing. The resoluteness with which he comes forward to marry Bhuvana continues in his scrupulous respect for the curtain that is drawn between them.

The conversations between Sampath (Rajinikanth) and Bhuvana (Sumitra), for me, form some of the finest moments of Tamil cinema. Appearing for most part in crumpled, casual clothes with a bedraggled beard, Rajini’s depiction of Sampath- his anguish, his disappointment at destiny’s dealing, his listless life bereft of any hope, his feelings for Bhuvana, his longing for a normal marital life, his love for the child who is not his…each glance, every gesture, each word uttered is so natural and heartwarming. And in a scene when you think he is going to tear open the wretched curtain that separates him and Bhuvana, he goes and draws the curtain to cover the doorway fully! Rajinikanth, the actor, was a spectacular revelation!

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 புவனா ஒரு கேள்விக்குறி, both he and Rajinikant were invited to an event to honour Kannadasan, and the crowds, for the most part, ignored Rajinikant and greeted his own speech with resounding applause. How the tables were turned after the release of புவனா ஒரு கேள்விக்குறி... at a function in Chenglepet to celebrate the success of the film, Sivakumar perceived the mood of the crowd...he noticed the roar of excited 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 address them after Rajinikant spoke. He knew only too well who the hero of the hour was!

Besides winning critical accolades, the film, released on 2 September 1977, was a commercial success as well, running for more than 125 days.

Ilaiyaraja composed 3 songs for the movie, two of which were filmed on Rajini. While the gorgeous ‘விழியிலே மலர்ந்தது’ deserves a page for itself in the annals of Tamil film music, it is the haunting ‘ராஜா என்பார் மந்திரி என்பார்’ that is the tagline, the theme song of the movie. True, Panju Arunachalam, Ilaiyaraja, SPB & Janaki usher in the enticement, but it is Rajini onscreen, with his understated performance- his sardonic shrug at his solitude and his frustration with his meaningless life, who bequeaths upon the song the boon of immortality.

https://www.youtube.com/watch?v=aoBCEV-faes

* * * * * *

Thus, it was this seldom spoken of ‘புவனா ஒரு கேள்விக்குறி’ that was the first stepping stone to the evolution of the actor Rajinikanth. I can recall even now our helper at home at the time, Kasturi, going to watch the movie at a Kamadhenu re-release and coming back home with her eyes still moist. At our pleas to relate the story, she narrated in in full- the awe in her tone when she spoke of Rajinikanth and his portrayal of Sampath is fresh in my mind. Of course, at that age, we could not understand the nuances of the story. Nor could I appreciate the movie when it was screened in Doordarshan a few years later... Where was Rajini's famed style? Even ஆடுபுலி ஆட்டம், சங்கர் சலீம் சைமன் and குப்பத்து ராஜா seemed more attractive then. And of course, there was நினைத்தாலே இனிக்கும். நினைத்தாலே இனிக்கும்!

It was only during my college years, when I rented the VHS cassette of the movie (for the songs), that I could perceive the magnificence of the movie- the engrossing story, interesting characterizations, hard-hitting dialogues, alluring songs and the stupendous performance of Rajinikanth so early in his career filled me with respect for all involved and indeed admiration tinged with veneration for Rajini. I just wished that SPM ( and Panju) had been valiant enough to change the ending....imagine the end with Bhuvana tearing down the curtain and inviting Sampath to step in....

* * * * * *

While it cannot be denied that SPM was responsible for many of the commercial potboilers that entrapped Rajinikath in a hollow of inanity in the following years, it behoves posterity to remember that the same SPM also indulged the actor in Rajini in off-beat ventures such as ஆறிலிருந்து அறுபது வரை, எங்கேயோ கேட்ட குரல் & ஸ்ரீராகவேந்திரா, and even within the confines of commercial cinema in movies such as ராணுவ வீரன், நெற்றிக்கண், புதுக்கவிதை and நல்லவனுக்கு நவ்லவன்.

In the months following புவனா ஒரு கேள்விக்குறி, the actor in Rajini was nurtured and sculpted in some meaningful roles with fascinating shades that came his way- my favorites from that period are the innocent and loyal Mookayain who turns vengeful when he understands the true colours of his master (பைரவி), the sophisticated Murali who gives up his fiancé to his bosom friend (இளமை ஊஞ்சலாடுகிறது), the honest, god-fearing Sundaresan who is forced into various vices due to the avarice of his wife (சதுரங்கம்), the ruthless thug Devu who finds happiness in the love of a prostitute(தப்பு தாளங்கள்), the incorrigible flirt Thyagu who shrugs off with a smile the stinging slap that he get from his subordinate (அவள் அப்படித்தான்) and the best of them all, the glittering jewel in the crown- the iconic Kaali (முள்ளும் மலரும்)- easily among the most realistic characterizations that ever found place in Tamil Cinema.

Yet, it was the success of movies such as ப்ரியா, தாய் மீது சத்தியம், தர்மயுத்தம், நான் வாழவைப்பேன் and அன்னை ஓர் ஆலயம் that mattered more in the commerce-centered corridors of Kodambakkam; Rajinikanth- the actor was all fine, but it was Rajinikanth- the Superstar who would set the cash boxes jingling….

And to reminisce on the movie that ensured that halo, I pass on the baton to my friend Tiruchendurai Ramamurthy Sankar...

Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/1814146561950395/

Friday, December 8, 2017

மலர்ந்தும் மலராதவை # 8

மலர்ந்தும் மலராதவை # 8:

அலைபாயுதே கண்ணா....

In tune with the music season, here is a classical treasure by Ilaiyaraja from an unreleased movie- a celluloid adaptation of a story by none other than the redoubtable Jayakanthan...

* * * * *

‘Who asked you to believe in me? You must first believe in yourself!’

This was JK’s stern rejoinder when the young Ilaiyaraja, his brother Bhaskar and Bharathiraja visited JK in his house, and told him that they have come to Madras trusting that JK would help them find their moorings. IR had known JK well from the days when he used to accompany his brother Pavalar Varadarajan in his concerts featured in meetings of the Communist Party wherein JK was the star speaker. IR was always an ardent fan of JK and his writing. And now when IR, Bhaskar and Gangaiamaran arrived in Madras in search of livelihood, they thought it appropriate to call on JK. In a recent speech, IR said that it was only in jest that they sought the support of JK, but JK took it seriously, and JK’s words inspired IR to develop self-confidence and motivated him to expand his horizons even further.

In later years, as IR became the monarch of all he surveyed in Tamil film music, he continued to admire JK. IR was among the chief speakers when JK was felicitated on being conferred the Jnanpeeth Award in 2006. In his tribute laced with wit, IR recalled the long years of his association with JK and the experiences of accompanying his brother to conclaves of the Communist Party. IR showered encomiums on JK, and said humbly that to speak on JK, one needs to be a greater genius, which he was not. He even read out a verse in wherein he equated JK with Bhararthi.

IR’s speech on JK:

http://www.youtube.com/watch?v=ZxWLc9hZ0wU

When IR constituted a literary forum called "Isaignani Ilakkiya Perumandram" in 2007 to encourage Tamil writers, he invited JK to serve as the president of the forum. IR then produced a celluloid tribute to his friend in 2008. The docufilm titled ‘எல்லைகளை விஸ்தாரித்த எழுத்துக்கலைஞன்' was directed by Ravi Subramanian and the haunting background score was composed by IR. In fact, the movie opens with a soulful song sung by IR, even as JK is shown going on an early morning drive.

* * * * *

However, this was not the only instance of IR composing music for a film associated with JK. In the early 80s, B. Lenin sought to craft JK’s ‘எத்தனை கோணம், எத்தனை பார்வை’ on celluloid, and engaged IR to compose the songs for the movie. It is pertinent to note that Lenin’s father Bhimsingh had made brilliant movie adaptations of JK’s ‘சில நேரங்களில் சில மனிதர்கள்’ (1977), ‘ஒரு நடிகை நாடகம் பார்க்கிறாள்' (1978) and ‘கருணை உள்ளம்’ (1978) which had fetched widespread critical acclaim. ‘எத்தனை கோணம், எத்தனை பார்வை’ is said to have been based on ‘காத்திருக்க ஒருத்தி’, a novel that JK had written in 1980. I have not read the novel, but have vague memories of a friend relating the story to me- it seemed to be woven around a woman who takes the bold step of separating from a wayward, alcoholic husband. Interestingly, way back in 1965, JK had written a short story titled ‘எத்தனை கோணம், எத்தனை பார்வை ’, which showed the startlingly varied angles at which different members of a family, and even the man and woman concerned, view a marriage proposal.

The movie never saw the light of the silver screen, though I believe the video cassette of the movie was released a few years later. I have seen the EP record of the movie. The record sleeve showed images of Thyagarajan, Sripriya, Suresh, Nalini and Charuhasan. I have vague memories of Vadivukkarasi being part of the cast as well. The year of manufacture of the record was 1983. JK drafted the screenplay and scripted the dialogues. Lenin must have been disappointed at the movie finding no takers. But years later, in 2001 to be precise, Lenin was in the news again, and this time it was because he had won the National Award for the Best Director for his work in ‘ஊருக்கு 100 பேர்’, adapted from JK’s eponymous novel.

The person who must have been most saddened with ‘எத்தனை கோணம், எத்தனை பார்வை’ proving to be a non-starter is Ilaiyaraja, for he had composed an outstanding set of songs for the movie. However, his labour was not wholly lost, for as its wont Radio Ceylon went to town with the album, and the songs turned out to become quite popular in their time.

IR inserted some scintillating classical songs in the album. 'பாஹிமாம் ஸ்ரீ ராஜராஜேஷ்வரி’ by Yesudas is a veritable feast for learned connoisseurs. Then there are several delectable bits such as ‘கௌரி கல்யாண வைபோகமே’, ‘நிதி சால சுகமா’, ‘கல்லானேயானாலும்’ and soulful bits of aalaaps, all by Yesudas. ‘புகழ் சேர்க்கும் புது வாழ்வு’ accentuates the softer, sentimental side of Malaysia Vasudevan, while ‘நிமிர்ந்த நன்னடை’ has the same Vasu in his usual strident strain. 'என்ன வித்தியாசம்’ is a ditty full of philosophical mischief, rendered by Malaysia Vasudevan & Gangaiamaran. ‘எத்தனை கோணம் எத்தனை பார்வை'’ has Malaysia Vasudevan & Chorus ruminating on the vexatious issues that plague the society and prescribing socialist solutions to the ills. I believe JK had written the lyrics for ‘புகழ் சேர்க்கும்’, ‘என்ன வித்தியாசம்’ and the title song.

Let us listen to the remaining 2 songs from the album. The first is Uthukkaadu Venkata Subbaiyer's
famed ‘அலைபாயுதே கண்ணா’ by Yesudas & S. Janaki set in Kaanada. Shankar-Ganesh had sought inspiration from this ancient composition for setting the tune of the pallavi of ‘ஆசைகளோ கோடி’ by Janaki (அர்த்தங்கள் ஆயிரம்/1981). Years later ARR stuck to the traditional tune when he had to include the hoary composition in ‘அலைபாயுதே’ (2000). The song was sung by Kalyani Menon, Harini and Neyveli Ramalakshmi.

Ilaiyaraja waves his baton, and lo- the violin and flute set the stage for enchantment. The interludes- the first with interesting moments where the Veenai flirts with the Guitar and the second dominated by a bewitching flute are simply ethereal, even as the mridangam provides unobtrusive support all through the song. Yesudas, who keeps singing this song on many a December stage, brings to the fore his impeccable pedigree, while the singular Janaki matches Yesudas valiantly note by note. She soaks her rendition with the tremulous ache of being in love with Lord Krishna.

https://www.youtube.com/watch?v=yJtak7kc8Yg

We have next ‘விதைத்த விதை தளிராய் எழுந்து’ a joyous duet of hope, sung by Deepan Chakravarthi & B.S. Sashirekha, with IR at his creative best. This time the maestro’s glance falls on Darbaari Kaanada and he conjures a tune that weaves the nuances of the Raaga as a tantalizing trellis. The prelude and interludes are vintage Ilaiyaraja. The first interlude opens with the guitar, and then the violins make merry with the tabla offering some sedate moments before the guitar and veenai escort the tune to the charanam… The intriguing veenai- guitar dalliance continues in the second interlude as well, while this time it is the flute that beguiles the tune back into the charanam. Lyrics by the birthday boy Gangaiamaran.

https://www.youtube.com/watch?v=oKAaQcNwNOs

Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/1810478982317153/

Monday, December 4, 2017

மலர்ந்தும் மலராதவை # 7

Saravanan Natarajan writes:

மலர்ந்தும் மலராதவை # 7:

ஒரு மானைத்தேடுது மான்விழி....

* * * *

In the past weeks, songs composed by Gangaiamaran from the unreleased movies ‘மலர்களிலே அவள் மல்லிகை’, 'வலம்புரிச்சங்கு' and ‘தேநீர் ’ had been featured in this series. 'வேலியில்லா மாமரம்' seems to be another project with music by Gangaiamaran that was abandoned midway. I have no clue as to the cast and crew, but memories lingered on of listening to this bewitching song on Radio Ceylon’s Mandha Maarutham during my schooldays in the 80s.

The song disappeared gradually in the swirling mists of time. In the early 90s, no one in any of the recording centers in Madras had even heard of the movie or the songs. And during my articleship period that took me to far flung corners of the state, this song was always in my list when I chanced upon recording centers. My search for this song was long and arduous and yet, I would not give up. Surely, someone besides me would remember this song!

Finally, it was at an obscure little audio center in a place called Bhavani, near Erode, that I struck gold. On a sultry Saturday afternoon, the youngster manning the center allowed me a free hand to search through the heaps of grimy vinyl records stacked on shelves…shelves that were fitted from the floor to the ceiling. I found therein many elusive albums that had long been on my wish list, and the icing on the cake was an unobtrusive record without a cover, with the title ‘வேலியில்லா மாமரம்’. The date of manufacture was 1980.

‘சார், இந்த ப்ளேட்டெல்லாம் வருஷக்கணக்கா யாரும் தொட்டதில்ல... ' the youngster grumbled as he took the records I had picked. He was about to state some excuse for being unable to cater to my request, but a plea in my eyes must have made him relent. We both indulged in a sneezing duet as he wiped the dust off each of them and recorded the songs into audio tapes for me.

The வேலியில்லா மாமரம் album consisted of 5 songs: ‘வேலியில்லா மாமரத்தில் வந்ததம்மா இந்தக்கனி', which has a soulful Vani accompanied by Gangaiamaran himself; ‘ஏலே ஏலேலங்கிளியே' - a rustic rhapsody by Janaki; ‘ சிக்கிச்சிக்கா சிக்காச்சிக்கா', where a breezy Vani impresses despite the inane lyrics; ‘ஆரம்பமே வெகு சுகமா’ – a joyous Jayachandran/Janaki duet; and ‘ஒரு மானைத்தேடுது மான்விழி’.

* * * *

The very mention of Ashok would bring to remembrance the title track of ஒரு விடுகதை ஒரு தொடர்கதை, wherein he made a dazzling debut, managing to hold court despite making a late entry in the 3rd Act after SPB and Janaki have had their say. In the following years, he showed promise in the few songs that came his way, like the exuberant ‘பூச்சூடி பொட்டும் வெச்சு’ (from another unreleased film- பொன்னி, music again by Gangaiamaran) and the haunting ‘காற்றே யாழ் மீட்டு’ (from மஞ்சள் நிலா, Music by Ilaiyaraja).

Unfortunately for him, his songs failed to elicit notice. And Ashok found himself fading into oblivion; just another entry in the remorseless list that includes names like M.C.Balu, Ramesh, Raj Seetharaman, Brahmanandam… singers who engaged our attention for a brief while, and then slipped unobtrusively far into the dusty rear shelves of Tamil Film Music archives…

* * * *

How I wish Kozhi Koovudhu didn’t fare as well as it did! For then the wretched Gangai Amaran might have not have been led into distracting pretensions, and would have attended assiduously to his true calling; Tamil film music would have been undoubtedly richer today had that happened. And GA could have passionately nurtured and honed his innate music skills, and would have probably emerged as a prolific composer, gifted as he was with some refreshingly inventive perceptions.

Dismiss the innocuous chorus voices, observe the uncluttered progression of the prelude; hark at the obscure Ashok usher in the enchantment, with the remarkable Janaki adding to the allure, and the dream-laden, cuddlesome charanam that engulfs you caressingly in its flow; let this wondrous Valaji soak in…. a simple and scintillating sample from GA’s enviable repertoire.

Song: Oru maanai theduthu
Film: Veliyilla Maamaram (unreleased)
Vocals: M. Ashok & S. Janaki
Lyrics & Music: Gangaiamaran

https://www.youtube.com/watch?v=P_N6UAJKCuk

Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/1806446829387035/

Thursday, November 23, 2017

மலர்ந்தும் மலராதவை # 6

Saravanan Natarajan writes:

மலர்ந்தும் மலராதவை # 6:

திங்கள் மாலை வெண்குடையான்...

In celebration of the birth anniversary of Salil Chowdhury today.

* * * * *

It was the genius Ramu Kariat who brought Salil Chowdhury down south in 1965 to compose music for his magnum opus Chemmeen. And sitting in Room No. 28 in the old Woodlands Hotel in Chennai, Salilda diligently crafted the landmark album. The rest, as they say, is history. The besotted Malayalis now acquired one other common passion, besides communism and football, to share with their Bengali brethren.

With his scintillating compositions marked by rich orchestration in film after film, Salilda went on to carve a hallowed niche for himself in Malayalam film music. His albums such as Swapnam, Nellu, Ragam, Raasaleela, St. Thomas, Ee Gaanam Marakkumo and Air Hostess are a discerning collector's delight even to this day.

Unfortunately, contemporary Tamil cinema just did not have the catholicity to embrace this genius and celebrate his music. The first timid foray that Salilda made into Tamil Cinema was Uyir (1971/ TVS Productions), for which he composed only the background music, while the songs went to actor/singer/composer Ramana Sridhar (alias Vijayaramani) more popularly known by his real name T.S. Raghavendra.

The next opportunity came in 1973 when Ramu Kariat got Salilda to compose 3 songs for his Karumbu, an ambitious venture planned in rich magnificence and grand cinemascope. The movie was scripted by none other than the great Tamil writer Thi. Janakiraman. 3 songs were recorded by Salilda featuring the vocals of Yesudas, P. Susheela and Sabita Chowdhury. Sadly, for reasons unknown, the project was abandoned.

Happily, the songs remain with us. Radio Ceylon played them ever so often in the 70s. Even I who
started listening to the radio only in the last years of the decade recall these songs finding abundant airtime. And then...., they disappeared, pushed relentlessly by the swirling mists of time. These songs lay submerged deep in my heart, even when I had forgotten them in course of time. All they needed was a spark to get back into conscious memory, and this spark was provided by a Sri Lankan friend, a kindred soul whose passion for Tamil film music knows no bounds, who was visiting from London.

We sat one afternoon, deep in joyous recollections of songs from the 70s…He sang suddenly the first line of this song, and I joined him excitedly in the second line, brimming with the ecstasy of discovering a long-lost treasure…my voice choked with rapture as we commenced the third line ‘Gangai thannai punarndhaalum’. He waited for me to regain my composure and patted me understandingly... We then spoke wonderingly of Salilda and discussed his memorable works in the southern languages…

My hunt for the Karumbu songs in all the recording centers I knew in Madras and even all over the South was in the vain, the songs remained stubbornly elusive…Imagine my pleasurable surprise when the same Sri Lankan friend gave me a CD full of obscure songs that I had requested from him, and these songs were part of that precious lot!

Presenting here the Yesudas version of Ilango Adigal’s Kaanalvari verses from the Silappadhikaram, tuned by Salilda for Karumbu. If you haven’t listened to it earlier, you are in for a rare treat. And even if you have, it is bound to bring goosebumps at every listen… Yesudas sounds ruminative and wistful as he renders the ancient lines from the first epic poem in Tamil (circa 5th century AD)… Cannot but salute anew the genius of Salida and at the magic that he has wrought…

Song: Thingal maalai
Film: Karumbu (Unreleased)
Vocals: K.J.Yesudas
Lines from Ilango Adigal's Silappadhigaram
Music: Salil Chowdhury

https://www.youtube.com/watch?v=nwVYnuof_98

Discussion at:

https://www.facebook.com/groups/1018417744856618/permalink/1790322600999458/