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Sunday, April 23, 2017

எத்தனை கோடியின்பம் வைத்தாய் - எஸ்.ஜானகி

Saravanan Natarajan writes:

எத்தனை கோடியின்பம் வைத்தாய்...

‘S. Janaki calls it a day’ said a newspaper headline on 22 September 2016. Another newspaper went to town saying ‘Janaki calls it quits’. The meaning was twisted very soon and the rumours spread like wildfire…it was left to Janaki’s dear friend SPB to rubbish the rumour. His tweet set the dreadful speculation to rest. He ended his message with ‘Long live the Queen of Melody!’

Janaki recorded what she declared to be ‘her last song’ on that day, and that was all that there was to the story. "I will not be recording anymore nor will I be singing at any functions. I am old now and I have sung in many languages. I would like to rest, relax and leave my career behind," she reportedly said. An inevitable decision, perhaps one might say. Nonetheless, she has won our hearts, yet again, by cheerfully acknowledging the ravages of age, and expressing her desire to lead a retired life, far from the limelight that has been her lot. Typical of the forthright lady who had the courage of conviction to turn down the coveted Padmabhushan, terming it ‘Too less and too late’ and condemning in no uncertain terms the neglect of South Indians in the National Honours, year after year.

And as for the song, the one that will go down in history as the last song of the legendary chanteuse- it is a soft, lilting lullaby composed by the young Mithun Eashwar for the Malayalam movie Pathu Kalpanakal.

https://www.youtube.com/watch?v=aLjsLqIwbT4

Yes, the age shows, nevertheless one cannot help a wistful sigh as memories of her glorious innings come gushing in…
* * * * *

Some years back, I was introduced to a gracious Srilankan couple in London by a mutual friend. The aged couple live in a beautiful house in a London suburb, and on every subsequent visit to London, I invariably found myself accepting their kind summons to dinner. While Aunty ensured that I was given a sumptuous meal, Uncle and I would be deeply engrossed in delectable trivia of Tamil film music, particularly from the vintage era.

They had come on a visit to Dubai last December and came home on a weekend. Uncle, who had not returned to Sri Lanka for the last forty years, shared with me his precious memories of growing up in Jaffna and Colombo, and of course, listening to Radio Ceylon. While leaving, Uncle gave me an engraved casket, and said “I know you will value this!”. When I opened it, my joy knew no bounds and my thanks came out in an emotion-choked stammer- for the quaint casket contained in its confines CDs containing recordings from the archives of Radio Ceylon…. Priceless, priceless treasures…

It was in these CDs that I found these two vintage gems, both in the voice of a young Janaki. I jumped with excitement, for I had never heard them or even heard of them before. So much for my knowledge, I reminded myself in sheepish rebuke. I called Uncle and enquired about them. “I was waiting for you to ask about them,” he said with a laugh, “They are from some non-film collections that were hugely popular and garnered significant air-time for a while in Ceylon in the late 50s”. Unfortunately, he could not recollect any details of the composer.

Listening to them again and again, I reveled in the exquisite rapture of the young Janaki of the 50s…the first is the fervent hymn ‘வருவாய் வருவாய் வருவாய் கண்ணா’, where the silken strands of Darbari Kanada find a serene cocoon in the vocals of the Soprano… Hark at the light brigas and dainty flourishes that Janaki embellishes the notes with…revel in the goosebumps that the tremulous high-point ‘கண்ணா’ brings in its wake…. virtuosity redefined!

The second is the classic Bharati verse ‘எத்தனை கோடியின்பம் வைத்தாய்’…Here Janaki engages in a fetching Maand even as she expresses her heartfelt gratitude to the Almighty for the overflowing abundance of bliss that He, in His munificence, has bequeathed to us… Here again, the blessed singer soaks each line in a piety that makes one exhilarate in awe…Little did she know, then in the 50s, of the profusion of joys that she would bestow generously on generations of listeners in the coming decades…ஆஹா...பலப் பல நல்லழுகுகள் சமைத்தாய்....

As 22 April has just gone by, and 23 April has just taken its place….Janakiamma completes 79 and steps into her 80th year…Let us celebrate the joyous occasion with these two vintage treasures, filled with a thankful fulfillment at resurrecting them from unfair oblivion to rightful glory…let them be discovered anew and enthrall afresh, and may they be preserved with pride for posterity…

https://youtu.be/0ctriKHeEHI

https://youtu.be/W3hv-SaIZ1Q

Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/1568529909845396/


Friday, April 21, 2017

Remembering Bharathidasan on his death anniversary..

Saravanan Natarajan writes:

On the anniversary of Bharathidasan’s demise today, let us salute the great bard, recall his prolific output, and of particular interest to us, his involvement with Tamil cinema….

While many of Bharathidasan’s verses have become part of Tamil film music history, he also wrote lyrics specifically for a few films in the early years. His first film as a lyricist was Sri Ramanujar (1938/ Yessel Films), though Balamani (or Pakka Thirudan/ 1937/ Sri Shanmugananda Talkies), released a year earlier was the first to carry his lyrics. He wrote both the script and lyrics for Kaalamegam(1940/ Sri Dhandapani Films). He then joined the Modern Theatres and wrote for films like Subadra-1946, Sulochana-1947, Aayiram Thalai Vaangiya Aboorva Chinthamani-1947 and Ponmudi- 1950. The last film for which Bharathidasan penned lyrics was Valaiyaapathi (1952/ Modern Theatres), for which he wrote the dialogues as well. And when his line ‘Kamizhnthidum poovillelaam’ was altered to ‘Kulungidum poovillellam’ without his consent, Bharathidasan is said to have stormed out in indignation from the Studios, never to return.

Meanwhile, the trend of using verses from Bharathidasan’s poetry collections for film songs had caught on. Or Iravu - 1951(‘Thunbam nergayil yaazheduthu nee’) set the trend. And R. Sudarsanam used Bharathidasan’s lines again in Parasakthi-1952 (‘Vaazhga vaazhga vaazhgave’). Over the years, both while Bharathidasan was alive and afterwards, many composers have set his verses to tune:

MSV-TKR did it in their very first film Panam-1952 (‘Pasiyendru vandhaal oru pidi soru’) and later in among their last films together- Panchavarnakkili –1965 (‘Thamizhukkum amuthendru peyar’); Govindarajulu Naidu (‘Andha vaazhvu thaan endha naal varum’/Andaman Kaidhi / 1952), S.Dakshinamoorthi -of course he was the composer for Valaiyaapathi as well- (‘Adho paaradi avare en kanavar’/ Kalyani/1952), G.Ramanathan (‘Pandian en sollai thaandipponaandi’/ Thirumbippaar/ 1953 & ‘’Neelavaan aadaikkul udal maraithu’ /Gomathiyin Kaadhalan/1955), Aadhi Narayana Rao & M.Ranga Rao (‘Thaayagame vaazhga thaayagame vaazhga’/ Poonkothai/ 1953), T.G.Lingappa (‘Vennilavum vaanum pole’ / Kalyanam Panniyum Bhramachari/ 1954), C.S.Jayaraman (‘Aalaiyin sange nee oodhaayo’ / Rathakkaneer/ 1954).

T.R.Papa (‘Thalaivaari poochootti unnai’/ Rangon Radha/ 1956), T.R.Ramnath (‘Aadarkkalaikkazhagu thedappirandhaval’/ Naane Raja/1956), R.Sudarsanam again (Vetkkamillai vetkkamillai’ /Kuladeivam/1956 & ‘Valiyor silar eliyor thamai’ / Manimagudam/1966), S.Rajeswara Rao (‘Paadi paadi paadi vaadi’ & ‘’Orey oru paisa’/ Petra Manam/ 1960), Kunnakkudi Vaithyanathan (‘Engengu kaaninum sakthiyada’/ Namma Veettu Deivam/1970), Shankar-Ganesh (‘Chithira Cholaigale’/ Naan Yaen Pirandhen/1972), Ilayaraja (‘Kaalai ilam parithiyile’/Kannan Oru Kaikkuzhandhai/1978), M. B. Srinivasan (‘Amma undhan kai valaiyaai’/ Nijangal/ 1982) and Vidyasagar (‘Thoongum puliyai’/ Puratchikkaran/2000).

And at times the same song has found place in more than one film: ‘Sange muzhangu’ was heard first in En Magal (1954/ composed by C.N.Pandurangan) and later in Kalangarai Vilakkm (1965/ composed by MSV). ‘Pudhiyadhor ulagam seivom’ was heard first in Chandrodhayam (1966/ composed by MSV) and again in Pallandu Vaazhga (1975/ composed by KVM), though in the earlier song, the lines after the opening were from other works of Bharathidasan.

Tamil film music has thus been gloriously enriched time and again by the immortal verses of the great Paavendhar.

Vennilavum vaanum pole: https://www.youtube.com/watch?v=WAAcBLfMvp0
Thunbam nergaiyil: https://www.youtube.com/watch?v=kLV7EQJULdY
Thamizhukkum amudhendru peyar: https://www.youtube.com/watch?v=J2mIZcb7uqg
Sange muzhangu: https://www.youtube.com/watch?v=GJpIXpghZrc
aalaiyin sange nee: https://www.youtube.com/watch?v=JIjMn2d8vas
Chithira solaigale: https://www.youtube.com/watch?v=tsLa1gumBA8
Puthiyadhor Ulagam seivom:: https://www.youtube.com/watch?v=S2NWLQ_IuGQ
Amma undhan kai valaiyaai: https://www.youtube.com/watch?v=kwfb9DY4syo


Discussion at :
https://www.facebook.com/groups/1018417744856618/permalink/1566405270057860/

Thursday, April 20, 2017

Paadhai Theirudhu Paar (The conclusion)

Saravanan Natarajan

JK & Tamil Cinema: Part 1

Paadhai Theirudhu Paar (The conclusion)

Reminisces JK in his ‘ஒர் இலக்கியவாதியின் கலையுலக அனுபவங்கள்', - " பல முற்போக்குத் தோழர்கள் முயற்சியினால் குமரி பிலிம்ஸ் என்னும் ஒரு படத் தயாரிப்பு நிறுவனம் துவக்கப்பட்டிருந்த்தது. அதில் சம்பந்தப்பட்ட அனைவரும் கம்யூனிஸ்ட்களாகவும், கம்யூனிஸ்ட் அனுதாபிகளாகவும், தொழிலாளர்களாகவும் இருந்ததால் அவர்களோடு எனக்கு தொடர்பு நெருக்கமாய் இருந்ததது. தோழர் எம்.பி. ஸ்ரீனிவாசன் இந்த நிறுவனத்தின் தோற்றதிற்கு முக்கிய காரணமானார்.

திரைக்கதை எழுதுகிற பொறுப்பை நாங்கள் அனைவரும் ஆர். கே. கண்ணனிடம் ஒப்படைத்தோம். நான் இரண்டு பாடல்கள் எழுதினேன். "

Thus the comrades sat together, and the story titled Paathai Theriyuthu Paar took shape over many animated discussions. Comrade R.K.Kannan drafted the screenplay and penned the dialogues. K. Vijayan, who was working as a railway employee in Ponmalai Station and acting in the plays produced by Comrade Simon’s Valluvar Kalai Mandram was roped in to play the fiery, principled hero. S.V.Sahasranamam, T.K.Balachandran, S.V.Subbiah, Muthuraman, V.Gopalakrishnan, L.Vijayalakshmi and Sundaribai and were the other actors.

The storyline goes thus. Sundaram Pillai works as an accountant in a large company. He is known for his integrity and discipline. Shankar and Meena are his children. He also brings up his late friend’s son, Murugesan. Murugesan had imbibed all the noble principles from Sundaram Pillai and works as a labourer in a cotton mill. Murugesan and Meena fall in love. Stung by the oppressive policies of the management, Murugesan becomes an aggressive member of the Labour Union. He manages to form a co-operative store to help the poor get essential commodities at fair prices. The labourers raise their voice against black-marketeering and hoarding, and notch significant victories after a bitter struggle.

* * * * *

Nimai Ghosh took on the twin responsibility of cinematography and direction.

Music was by M.B.Srinivasan. The comrades were very particular that the songs should not be incongruously inserted into the story; all the song sequences appeared in perfectly natural situations.

Thus we have the the hilarious ‘Rasa maga polirundhe’ by A.L. Raghavan & Chorus, the poignant ‘Azhudha kanneerum paalugumaa’ sung by the dulcet P. Susheela and the clarion ‘Unmai oru naal veliyaagum’ by Tiruchi Loganathan.

Giving here the links of the remaining songs available in YouTube.

The uplifting Thevaram 'மாசில் வீணையும்' sung by Janaki & A.S. Mahadevan.

There are three pieces (maasil veeNaiyum, namachivayavE gnanamum kalviyum, viragil thEyinan) from Thirunavukkarasar's Thevaram that feature in this song.

Those were S Janaki's early years. It is a matter of ceaseless wonder that SJ, who underwent very little formal training in music, was entrusted with so many classical and semi-classical songs in films in all languages, and she did ample justice to all of them. Hark at the light brigas with which she adorns the lines in this song.. It adds so much luster to the fervent traditional lyrics.

https://www.youtube.com/watch?v=XFUgMTIddt4

Next is the haunting 'சின்ன சின்ன மூக்குத்தியாம்' sung by TMS.

'Communism has nothing to do with love' declared Mao Tse-tung with smug disdain. I wish he could have read the romantic verses of Turkish poet Comrade Nazim Hikmet or 'Chinna chinna mookuthiyaam' of Comrade KCS. Arunachalam! Perhaps the great leader would be mollified when he hears KCS, even in this moment of throbbing passion, showing his true colours, in lines like 'sigappu kallu mookuthiyaam' and 'vetthila pOtta un vaai sivakkum, kannam vetkathinaalE sivandhirukkum!' The romantic heart hidden in the crusty comrade reveals itself in 'kazhuthai chutthi Or attiyalaam, un kattazhagE oru pattiyalaam!'

I can never get enough of this vintage TMS! How dreamy and lovelorn he sounds as he croons the lines, and how joyful and exuberant is that 'Hey' in the middle of each charaNam! Old-fashioned, leisurely romance, where sunny afternoons merge into balmy evenings. and balmy evenings make way for dream-laden nights.

https://www.youtube.com/watch?v=pM1W5HuZNLg

And then we have this song of timeless enchantment 'தென்னங்கீற்று ஊஞ்சலிலே' penned by Jayakanthan. Sung by the salubrious P.B. Srinivas and the soprano Janaki.

https://www.youtube.com/watch?v=wplkczKa3Zg

With his flute, piano and violins, MBS composes a song that summons the sublime; a tune that lingers over decades with unhurried allure, and ந் add caressing flourishes like the gentle breeze in the still of the night. PBS sings only the pallavi, Janaki sings only the charaNams, and two unite in that immortal humming, like the lines, ‘vaanai bhoomi azhaikkuthu, thoduvaanil iraNdum kalakkuthu…’

The song remains one of the favorites if PBS himself. Of his only film song for MBS, he is said to have wondered with awe, ‘ ஒரே ஒரு பாட்டுத்தான், அதனாலென்ன எப்பேர்ப்பட்ட பாட்டு!' Today happens to be the anniversary of his demise. We salute the memory of the gentleman singer and celebrate the rich legacy he has left behind.

As late as in 2000, during a concert in Chennai, PBS felicitated Janaki on the stage and they joined to sing this bewitching duet. Age told, but the magic was still intact. So many of us jumped from our seats and gave the living legends a standing ovation!

A moment…An eternity…

* * * * *

M.R. Venkataraman presided over the unpretentious event, and Jeevanandam cranked the camera for the first shot of Paathai Theriyuthu Paar. The shooting proceeded at a brisk pace, for each shot had been planned in meticulous detail and much in advance. Nimai Ghosh worked to create a movie that brought into the portals of Tamil Cinema shades of European Neo-Realism, Russian Avant-Garde and Bengali Leftist Theater.

Despite all this and the haunting album by MBS, Paathai Theriyuthu Paar, released on 18th November 1960, was a colossal commercial failure. And in hindsight the crestfallen comrades realized that they should not been content with merely making the movie, they should have also taken upon themselves its marketing and distribution. For it was alleged that the big studio owners/ producers were determined to nip in the bud the entry of the communists into Tamil cinema, and after buying the rights of the movie, chose to release it in some obscure suburban theaters, or worse still, not release it all! AV Meyyappa Chetttiar, it is said, secured the distribution rights for Madras, and released the movie for a brief while in a little known Murugan Talkies somewhere in the outskirts. It is not known if the prints of this movie are available anywhere today. In my time, I have never known Paathai Theriyuthu Paar to be screened in any theater or shown on television.

But on second thought, all that the bourgeois barons gained was a pyrrhic victory. The comrades had carried their point home by making a movie all by themselves, and a good one at that, sans any charismatic star or even seasoned technicians. Paathai Theriyuthu Paar was a daring experiment that gave abundant creative satisfaction to the comrades involved in its making.

Perhaps the big filmmakers wished that Paathai Theriyuthu Paar would be forgotten quickly, but here they had not contended with the doughty Radio Ceylon. For by going to town with the wondrous album, thamizh sEvai iraNdu kept the memory of Paathai Theriyuthu Paar alive for decades. True, I have never heard ‘Azhutha kanneerum paalugama’ or ‘Unmai oru naal’ aired, and have only very vague memories of listening to ‘Maasil veenaiyum’ and ‘Raasa maga polirundhe’, but can recollect with avid clarity the unabated pleasure each frequent broadcast of ‘Thennankeetru oonjalile’ evoked and the unanswered questions that it fuelled regarding the song’s picturization, the movie itself, and, of course, MBS. ‘Chinna china mookuthiyaam’ was a Thenkinnam regular, and I listened to it with mixed feelings, for this long song meant one song less in the programme! Be it as may, Paathai Theriyuthu Paar is ensconced snugly in a rightful place of pride in the annals of Tamil Film Music.

I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I…
I took the one less traveled by,
And that has made all the difference!
- Robert Lee Frost (The Road Not Taken)

Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/1557305534301167/

First part here:
https://www.facebook.com/groups/1018417744856618/permalink/1551500981548289/

Second part here:
https://www.facebook.com/groups/1018417744856618/permalink/1555316444500076/

Wednesday, April 19, 2017

Paadhai Theiyudhu Paar - JK & Tamil Cinema

Saravanan Natarajan writes:

JK & Tamil Cinema- Part 1

Paadhai Theiyudhu Paar (Contd)

Along with bringing about refreshing changes in drama and reviving traditional arts like ‘Burrakatha’ of Andhra and ‘Pawada’ of Maharashtra, IPTA also ushered in a renaissance in music in general and choral music in particular. In fact, the modern choir music in India owes its origins to IPTA. Iqbal’s ‘Saare jahaan se accha’ became hugely popular when composed by Pandit Ravishankar for the Central Cultural Troupe in 1944. Salil Chowdhury, Binoy Roy, Jyotirmai Moitra, Prem Dhawan, Shailendra, Hemang Vishwas, Vallathol, Narendra Sharma, Anil Biswas, Jyoti Prasad Agarwal, Bhupen Hazarika and many others composed stirring songs in many languages, and were also instrumental in spearheading the people’s choir movement. Ruma Guha Thakurta set up the Calcutta Youth Choir; and IPTA nurtured for the South, the great M.B. Srinivasan.

M.B. Srinivasan had gone to Lakshadweep islands to train a youth choir there, when he suffered a massive heart attack and passed away on 9th March, 1988. I was studying for my annual exams when I read of his demise. In the midst of frantic last minute revisions, I still mourned his passing away, for many of his songs had brought me so much joy and many, many hours of listening pleasure.

Manamadurai Balakrishnan Srinivasan was born in 1925 in Chithoor, where his father was working as a Lecturer in an Agricultural College. Music was an integral part of his childhood, as both his parents had great love for it. MBS grew up in times when the freedom struggle was at its zenith.

MBS, though hailing from an affluent family, was attracted to Communist thoughts, inspired perhaps by his uncle M.R.Venkataraman who gave up a flourishing career in law and joined the Communist Party. As a student of Madras Presidency College, MBS joined the Madras Students Organization (M.S.O.) Along with like-minded enthusiasts like S. Damodaran and Baladhandayudham, MBS was actively involved in garnering student support for imprisoned freedom fighters and conducting patriotic meetings, where Bharathiyar’s fiery songs were sung with fervour.

For a while, MBS worked in the office of the Communist Party’s Parliamentary Committee in Delhi. It was then that he got involved with IPTA and helped in bringing about plays and road shows highlighting problems faced by people in everyday life. Whilst going about this, he also got an exposure to musical influences from all corners of the country. He also underwent formal training in classical music.

It was during this period that MBS met and fell in love with Zahida Kitchlew, who shared with ardor, the same passion for both music and people’s causes. Zahida was the daughter of the great nationalist Dr. Saifuddin Kitchlew. In Zahida, MBS found a perfect soul mate and married her- he a Tamil Aiyangaar and she a Kashmiri Muslim- but what does religion matter, when hearts unite! They named their son Kabir, after that wonderful poet, who was celebrated alike by both Hindus and Muslims.


True, he had composed music for only 8 Tamil films- but he had created some songs of timeless enchantment in those few films- from the bewitching ‘Thennankeetru oonjalile’ to the moving ‘Amma undhan kai valaiyaai’- songs that will live on to tell the tale of a genius…A great musician, and a great human being, a noble soul who strove throughout his life to better the lot of his fellow beings, all the while creating songs of eternal allure.

But the same destiny which closed the door of Tamil cinema for MBS, threw wide open for him the portals of Malayalam cinema, and there MBS found enchanting avenues to create his kind of music. Internationally acclaimed filmmakers like KG George, MT Vasudevan Nair, Adoor Goplakrishnan and Aravindan came to MBS repeatedly to set music for their films. MBS bagged the Kerala Government Award for the best Music Director for four years. It was MBS who, in 1961, gave KJ Yesudas his first ever film song, (a short verse by Narayana Guru) in the film Kalpadukal. Jayachandran got the State Award for the song ‘Ragam sriragam’, composed by MBS for the film Bandhanam.

Be it any language, MBS gave his best to all his films. The first film in Baduga language, Kala Thapitha Pailu, had memorable music by MBS. MBS was the pioneer in Radio jingles- Many of the jingles heard in the early 70s were composed by him.

MBS was not content to rest with his laurels in film music. Through music, he wanted to inspire in children the qualities of patriotism and National Integration. The beginning was made when he trained 25 students to sing 6 songs of Bharathiar for the Ilaya Bharatham programme of AIR in August 1970. Under his guidance, the Bharathi Ilaignar Isaikkuzhu was constituted in 1971, which blossomed into the Madras Youth Choir in 1973. MBS was instrumental in setting up such choirs in many parts of India. Songs of Bharathiar, Bharathidasan, Tagore and Iqbal, when sung by hundreds of children in one voice, evoked rare emotional fervour in the listeners.

MBS loved children- most of his Serndisai programmes were by children from the Corporation schools and children from the slums. MBS headed the Madras Youth Choir right from its inception up to his death in 1988. After his demise, Zahida took over the responsibility with enthusiasm. Zahida passed way on 23rd October, 2002.

MBS was honoured with the Award for Creative Music by the Sangeet Natak Akademi in 1986. He galvanized the Cine Music technicians to form a Union and demand prompt payments and fixed wages. He was instrumental in the formation of the Indian Performing Right Society Ltd (IPRS) to give Copyright protection to Music Directors and lyricists.

MBS has left behind a rich, vibrant inheritance. Today performing artistes in every nook and corner of the world remember him with gratitude- Rajkumar Bharathi who sang in his choir, Subha Harinath who teaches music and performs in Australia, Sundar who works with top composers in North America, Karthika Ganesan who is a ‘Naatiya Kalanidhi’ in Sri Lanka, Kaveri Sridhar who formed the Bangalore Youth Choir….these are just a few from the thousands of artistes whose lives MBS has touched in one way or the other.

Even on the fateful day, when MBS left for his heavenly abode, he was engaged in training a Youth Choir in a remote island of Lakshadweep- urugidum vELaiyilum nalla oLi thandha mezhugu thiri….
* * * *

In the late 50s, a group of Communist Comrades used to meet regularly and over innumerable cups of tea and cigarettes, debate on topics close to their heart, including cinema. They were filled with chagrin that Tamil filmmakers could come up only with irksome melodramatic themes, tired rehashes of mythological lore and furtive copies of borrowed ideas. Like Bertolt Brecht, they too lamented, “How much longer are our souls, leaving our ‘mere’ bodies under cover of the darkness, to plunge into those dreamlike figures up on the stage, there to take part in the crescendos and climaxes which ‘normal’ life denies us?” .

Comrade S.Damodaran was the leading light of this enterprising group that decided to venture into filmmaking, and along with like-minded friends like Uthamapalayam Jamal, K.V.Ramasami, MBS, V.M. Pazhanisamy and Somu, formed a company called Kumari Films. A total 45 comrades joined together to form this company, each one subscribing to shares ranging from Rs. 500- Rs. 5000. They refused to accept more than Rs. 5000 from any single individual. Profit was not their only driving motive, they were filled with idealistic fervour and wanted to try their hand at something different.

- Paadhai Theriyudhu Paar to continue....

Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/1555316444500076/

First part here:

https://www.facebook.com/groups/1018417744856618/permalink/1551500981548289/

Tuesday, April 18, 2017

JK & Tamil Cinema Part 1

Saravanan Natarajan writes:

JK & Tamil Cinema Part 1:

Paadhai Theriyudhu Paar

“Nothing has a right to live without a purpose. We don’t create our lives, but we create in our lives. Sometimes people may not be able to articulate the purpose in their lives. That's what a writer does. He gives... voice to those who can't speak; eyes to those who can't see; a mind to those who can't think; a heart to those who can't feel….”

-Dhandapani Jayakanthan (24.4.1934- 8.4.2015)

Conventionality is not morality. Self-righteousness is not religion. To attack the first is not to assail the last. To pluck the mask from the face of the Pharisee is not to lift an impious hand to the Crown of Thorns. These things and deeds are diametrically opposed: they are as distinct as is vice from virtue. We too often confound them-they should not be confounded. Appearance should not be mistaken for truth. Narrow human doctrines, that only tend to elate and magnify a few, should not be substituted for the world-redeeming creed of The Almighty. There is a difference; and it is a good, and not a bad action to mark broadly and clearly the line of separation between them.

The world may not like to see these ideas dissevered, for it has been accustomed to blend them; finding it convenient to make external show pass for sterling worth-to let whitewashed walls vouch for shrines. It may hate him who dares to scrutinise and expose, to raise the gilding and exhibit the base metal beneath, to penetrate the sepulchre and reveal charnel relics; but hate as it will, it is indebted to him.

Jayakanthan was one such writer who defied sacrosanct convention and prim niceties all his life and did so in such a way that he found his way into the hearts of generations of Tamils for whom he will forever remain a glittering star in the firmament of Tamil literature.

His forays into the film world (well documented in his ‘Or ilakkiyavvathiyin kalai ulaga anubavnagal’) have been limited, but he has left an indelible mark and brought a refreshing whiff of realism into the melodramatic portals of Kodambakkam.

Between 2003- 2008, being actively involved in the songs in the Song of the Day series of dhool.com, I was fortunate to present songs from movies that Jayakanthan was associated with. The discussions that followed were animated, enriching and memorable.
Posting the JK series again here for new members.

The first is on ‘Paathai Theriyuthu Paar’ (1960) of which today am posting the first part.
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"Writers and artists… Come actors and dramatists, Come all, those who work by hand and the thinkers, come and dedicate yourself to create a brave new world and a society that values freedom, independence, and social justice!" This was the clarion call of Hiren Mukherjee on May 25, 1943, and thus began a magnificent era in the cultural history of India with the formation of the Indian People’s Theater Association (IPTA).

And IPTA was not formed just overnight; it was the culmination of the efforts of various artistes over a period of time. The Progressive Writer's Association Conference held in 1936, the founding of the Youth Cultural Institute at Calcutta in 1940, and establishment of the People's Theatre at Bangalore by a young Sinhalese writer Anil De' Silwa in 1941 were all catalysts that helped hasten the constitution of the IPTA.

But more than these, the harrowing times that India was going through and the need to pull the people out of their lethargy and indifference to the happenings around them was largely the necessity that mothered this invention. The ruinous, largely man-made famine in Bengal in 1942 stirred many radical artistes and writers into action (In later years, Satyajit Ray’s Ashani Sankat and Mrinal Sen’s Akaler Shondhaney have dealt with the cataclysmic famine) Binoy Roy, along with like-minded artistes like Prem Dhawan, Usha Dutt, Dasrat Lal and Reva Roy, formed the Bengal Cultural Squad and traveled all over the country with his adaptation of Vanik Jaunpuri’s Bhooka Hai Bengal, collecting money for famine relief. This ‘Squad’ and its missionary zeal was the forerunner of several such cultural groups springing up in various parts of the country.

It is a fact that most of these groups were inspired by leftist idealogies and P.C.Joshi, then the General Secretary of the CPI, was the man behind persuading these groups to unite on a common platform. Thus IPTA was born in a humble hall of the Marwari school in Bombay. (The name IPTA itself was put forward by scientist Homi Bhaba) Jawaharlal Nehru sent a congratulatory message to the Conference, hailing the formation of the IPTA. Trade Union Leader Joshi was first president, Anil De' Silwa was the General Secretary, Khwaja Ahmed Abbas was appointed the Treasurer, Binoy Roy and K.D.Chandi were the Joint-Secretaries. Regional Committees were also set up, drawn from reformist performers and members of various People Fronts in Bengal, Bombay, Madras, Delhi, Hyderabad, Punjab, Mangalore, Malabar and the North-East.

IPTA’s symbol, designed by the painter Chitta Prasad, was a profile of a drummer, serving as a reminder of the ancient, trusted mode of communication. The stated objective of IPTA was ‘to portray through the stage and other traditional arts the internal and external crises facing Indian society and polity and to enlighten the masses about their rights and the proper way to fight the twin evils of imperialism at home and fascism abroad’ . The formation of the IPTA co-coordinated and canalized all progressive tendencies that had hitherto manifested themselves in the form of music, dance and drama, and brought about trail-blazing changes in theater concepts. IPTA soon became a national movement that swept the length and breadth of India with its socialistic and nationalistic zeal. A wave of realistic performances in theater, music and cinema was ushered in by the promoters of IPTA.

Over the years, the roster of artistes/thinkers associated with IPTA reads like a who’s who of Indian Performing Arts. These include Niranjan Sen, Amar Shaikh, Shombhu Mitra, Dr. Raja Rao, Krishanchander, Rajendra Raghuvanshi, M. Nagabhushanam, Kaifi Azmi, Vallathol, Eric Cyprian, Sarla Gupta, Dr. S.C. Jog, Bimal Roy, K. Subramaniam, K.V.J. Namboodri, Shiela Bhatia, Majrooh Sultanpuri, Sahir Ludhianvi, Balraj Sahni, Mohan Segal, Ali Sardar Jafri, Mulkraj Anand, Romesh Thapar, T. Chalapthi Rao, Hima Devi, Bijon Bhattacharya, Annabhau Sathe, Shailendra, Prem Dhawan, Ismat Chugtai, Kanu Ghosh, Chetan Anand, Dina Pathak, Pt. Ravi Shankar, Sachin Shankar, Bahadur Khan, A.K.Hangal, Habib Tanvir, Abrar Alvi, Hemant Kumar, Adi Marzban, Salil Chowdhari, Manoranjan Bhattacharya, Tarla Mehta, Khayyam, Phani Muzumdar, Dev Anand, Shanti Bardhan, Chittoprasad, Harindranath Chattopadhyay, Thopil Bhasi, VP Sathe, Durga Khote, Keshavrao Date, Utpal Dutt, Ritwik Ghatak, Satyen Kappu, Sanjeev Kumar, Zul Vellani, Shaukat Kaifi, Manmohan Krishna, Basu Bhattacharya, Tapas Sen, Abid Razvi, M.S.Sathyu, Kuldip Singh, Ramesh Talwar, Sulabha Arya, Shabana Azmi, Farooque Shaikh, Kader Khan, Yunus Parvez, Mac Mohan, Javed Siddiqi, Sudhir Pande, Anjan Srivastava, Bharat Kapoor, Rakesh Bedi, and many, many others. Time and again, these artistes ‘established a new definition of the relationship between art, artists and the audience’.

And two great men who came to Tamil Cinema, fresh from their fruitful association with IPTA, were Nimai Ghosh and M.B. Srinivasan.
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Hugging the delighted young director, the redoubtable Russian director and theorist, Vsevolod Pudovkin exclaimed with wondering joy “I have seen an Indian movie for the first time!” For Pudovkin, his widely publicized visit in 1950 to India as the head of a large cultural contingent, had been disappointing, to say the least. All the Indian movies he had been shown were either mythological costume dramas or unabashed copies of Hollywood hits, or a confused hotchpotch of both. And all this changed when he chanced to see a just released offbeat effort of a debutant director.
The movie was Chinnamul (The Uprooted/ 1950/Desha Pictures) Chinnamul was the first film that dwelt on the partition of India, narrating with brooding sensitivity the story of story of a group of farmers from East Bengal who are forced to migrate to Calcutta because of the Partition. The trauma was real; refugees were huddled in hordes on railway platforms, or herded into overcrowded camps.

Entire hamlets were razed to the ground; plunder, rape and murder were ruthless and rampant. Employing innovative idioms juxtaposed intelligently with documentary footage, the film managed to convey the gruesome, gory terror that was unleashed, without even a single shot actually showing any violence! Chinnamul was a courageous and scathing indictment of the powers that planned the partition. Ritwik Ghatak, who started his illustrious career by making an on-screen appearance in Chinnamul, as well as working behind the camera as an assistant to Nimai Ghosh, was to demand with characteristic candour, “Nimai Ghosh's Chinnamul has started a new era. Have we been able to proceed further in our consciousness?”

Nimai Ghosh was born in what is now Bangladesh, in 1914. He was drawn to cinema as a young man, and enrolled as an assistant to cameraman Bhibuti Das in 1932. He was among the young pioneers of IPTA, and became a close friend of Satyajit Ray. He was one of the founder members of the Calcutta Film Society in 1947, along with Ray and Chidananda Dasgupta. Ghosh was horrified by the Partition and the suffering that it brought in its wake, and set about recording on celluloid his own outrage at the tumultuous events. Thus the movie had a sense of rare, uncanny immediacy.

Chinnamul used mostly new faces bereft of any make-up, a hidden camera for shooting in the streets, and quite daringly for its time, had no songs. The cinematography, in particular, fetched universal acclaim. Half a century has gone past, and even in a recent interview P.C. Sreeram says, ‘I was zapped by Nimai Ghosh's Chinnamul!’

Speaking of Chinnamul years later, Nimai Ghosh remarked, “I wanted to project the miseries of the refugees after the partition and also to expose the selfish motives of the politicians who were behind the partition. The Indian People’s Theatre Association movement helped me to understand the actual reality. Had I not been associated with this movement, I would not have been aware of the human beings around me. This awareness prompted me to make the film Chinnamul, which is regarded by some as a political film. I did not deliberately include politics, but it could not be separated from life either. I took the camera out of the studios into the open, to bring out the truth which shaped this film. I also used artists from I.P.T.A., some of them without previous acting experience, because I thought it could lend an air of authenticity to the film.”

Pudovkin was so enchanted with Nimai Ghosh’s work that he carried a print of Chinnamul back home, and lost no time in propagating the movie all over the Soviet Union. And it was in Moscow that our N.S.Krishnan and Director K.Subramaniam saw the Indian movie that had taken Russia by storm, and became aware of the genius of Nimai Ghosh. NSK and K.Subramaniam were in Moscow in 1951 as part of an Indian Cultural Delegation. There they met Nimai Ghosh, and NSK invited him to come to Madras and work in Tamil Movies. It was thus that Nimai Ghosh came to Madras.

Another account that I remember reading regarding Nimai Ghosh’s relocation to Madras is like this: Satyajit Ray had been so impressed by Ghosh’s unconventional angles arresting frames in Chinnamul that Ghosh was Ray’s first choice to handle the camera for his Pather Panchali. But Nimai Ghosh, a member of the Communist Party, had to go underground when the party was banned and thus the cinematography of Pather Panchali went to Subrata Mitra. Presently, Nimai Ghosh resurfaced in Madras, and continued to live and work there.

When we look at the resourceful and talented technicians who were working in Tamil movies in the 50s, we find that many of them were from the Bombay and Calcutta. Even amongst the cameramen, we had the likes of Kamal Ghosh, Jithen Banerjee and Sailen Bose who hailed from Bengal and who were much sought-after cinematographers in Tamil and Telugu movies. Nimai Ghosh joined this bustling brigade and worked for many Tamil films throughout the 50s. The Tamil films for which he handled the camera include TKS Brothers’ Inspector (1953), T.R. Ramachandran’s Pon Vayal (1954), TKS Brothers’ Raththapaasam (1954), T.R. Ramachandran’s Gomathiyin Kaathalan (1955), R.S.Mani’s Maaman Magal (1955), Nagerkoyil S. Nagarajan’s Avan Amaran (1958) and Sahasranamam’s Naalu Veli Nilam (1959).

It was at this juncture that like-minded communists, who had been awed by the visual impact of Chinnamul, approached Ghosh to handle the camera and also direct their pioneering joint effort, Paathai Theriyudhu Paar.

In later years, Nimai Ghosh went on to do the cinematography of Balachandar’s early films, up to Anubhavi Raja Anubhavi (1967). He handled the camera for Jayakanthan’s experimental Yaarukkaga Azhuthaan (1966) and Malliyam Rajagopal’s Kasturi Thilagam (1970). During this time, he worked in some landmark Kannada movies as well. Sooraavali, written by M.A. Abbas with cinematography and direction by Nimai Ghosh saw a belated release in 1981.

Nimai Ghosh passed away in 1988, but to a discerning cineaste, a genius like Nimai Ghosh knows no death. To this day, there functions in Trichy, a ‘Nimai Ghosh Film Society’, which does excellent work in propagating good cinema.
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‘Paadhai Theiyudhu Paar’ to continue...

https://www.facebook.com/groups/1018417744856618/permalink/1551500981548289/

Friday, April 14, 2017

The Legends of Tamil Cinema - K Subrahmanyam

Madhivanan Rama Chandran writes:
The Legends of Tamil Cinema of 1930s and 1940s - K Subramanyam


K Subramanyam (1904-1971) was one of Tamil Cinema's earliest notable director and producer.

K Subramanyam (KS) was born in Papanasam town. He was basically a lawyer but took interest in movies. He started his film career as an assistant to Raja Sandow who was popular diretor of Tamil silent movies of 1920s and early 1930s.

Pavalakkodi was a popular stage drama in which M K Thyagaraja bagavathar and S D Subbulakshmi paired together as hero-heroine. It was staged at various towns. When this was staged at Karaikudi businessmen Lena Lakhsmana chettiyar and KS watched it and was highly impressed. They decided to make a movie based on this story and KS directed the movie. It was the first movie for KS, MKT and SDS. The film was a commercial success and enabled MKT and KS to shine well in the successive years. KS asked his homwtown friend Papanasam Sivan to write songs and compose them. MKT later said that it was his first movie and he did not know how to act and he just followed whatever KS told him to do. This was released in 1934.

After this film, Subramanyam formed his own production company and named it "Madras United Artists Corporation". He produced many films under this banner and Naveena sadharam (1935) was first movie.

The union KS-MKT-SDS along with Papanasam Sivan followed next film "Naveena Sarangadhaara" which was released in 1936. Two back-to-back hits of MKT were directed by Subramanyam. In the same year KS produced and directed movie named "Baktha Kuchela" in which he asked Papansam Sivan to play lead role as "Kuchelan". SDS played dual role (Lord Krishna and Kuchela's wife). The dual role for a woman was first of it's kind and KS was highly appreciated. In the same year he directed another movie named "Usha Kalyanam".

In 1937, KS produced and directed a bi-lingual movie named "Balayogini" in which he also scripted the story. It was one of the popular movies of social theme criticising untouchability and also talked about rights of widows. His neice "Baby Saroja" got popular in the movie with powerful dialogues and expressions. In this period, KS married SDS with permission from first wife.

Another social themed movie named "Sevasadanam" was released in 1938. KS again produced and directed this movie. This film talked about women rights and criticised women abusement and prostitution. M S Subbu lakshmi was introdcued into this movie. This was also first movie of S Varalakshmi, the popular actress of 1950s and 1960s.

The last Tamil movie of K Subramanyam was "Thyagaboomi" which was released in 1939. It was on the subject of freedom movement. The story was inpired from Kalki's one of the novels and S S Vasan helpd KS financially to produce this movie. However this movie was banned few weeks after the relase. In 1941 he directed Malayalam movie named Prahlada which was his last movie to work with.

When MGR produced and directed Nadodi Mannan (1958), he asked K Subramanyam to overview his direction skills. After few days, Subramanyam told MGR "You are doing good job as a director. You do not need any overview" and MGR was fully satisfied with this comment from the prominent director. It was like வசிஷ்டர் வாயால் பிரம்மரிஷி for MGR

His children were popular personalities in Tamil Nadu. S V Ramanan, Krishnaswami and Padma Subramanyam are associated with Tamil cinema. His grand sons and great grand sons/daughters are also closely associated with Tamil Cinema
K Subramanyam was notable for the following

1 He was instrumental in introducing lot of legends like Papanasam Sivan, M K Thyagaraja bagavathar, S D Subbulakshmi, M S Subbulakshmi etc into Tamil talking cinema.

2 He was the first notable director to give two hit movies on the social theme at the time only mythological oriented movies were ruling Tamil Cinema.

3 He was the first to condemn women abusement and insisted women freedom thru the movies.

4 He was the first to make an heroine to play dual roles that too way back in 1936

5 He was the first to produce and direct a full length movie purely based on Indian Freedom fighting movement

Despite all of these, in my opinion, the family members failed to bring out all his old movies into new DVD format. Some of his movies were under "lost film" category as not even a single print remains today. MKT's first movie Pavalakkodi also had few roles only. Sevasadam was a completely lost film. I do not know if other movies are available in DVD format.

Some of the sonngs from the movies KS directed

Pavalakkodi - 1934

என் நேரமும் ஜலத்திலே - https://www.youtube.com/watch?v=8J0fAgN6O1E
அர்ஜுனா இது உனக்கு தகுதியா - https://www.youtube.com/watch?v=tpQ0bt8FJTE

Thyagaboomi - 1939

தேச சேவை செய்ய வாரீர் - https://www.youtube.com/watch?v=5MXIm7f4Yb8
சொல்லு காந்தி தாத்தாவுக்கு ஜே ஜே ஜே - https://www.youtube.com/watch?v=J5aihy2Rhng
ஜெய ஜெய ஜெய தேவி - https://www.youtube.com/watch?v=7R4Djz1PTMI

PS : My next post will be about T P Rajalakshmi

Discussion at:

Thursday, April 13, 2017

The Kings Treasuries - Part 20

Narayanan Swaminathan writes:

The Kings Treasuries - Part 20

Guiro, Clave, Castanet, Cabasa...??

We have heard and read that Raja re-energised tamil folk music using several folk instruments.. But he did not stop with that. He has experimented and used several latin american, spanish, afro, moorish percussion instruments in his music.. We have enjoyed those sounds without knowing the names of the instrument.

These instruments were used by many music directors, but the fascinating ways in which raja used them, made me go behind the sounds and find out the names of the instruments that make those sounds. The above are the names of some of those instruments. Let us see some songs in which each of them were used.

Guiro

1. Kannil Edho - Poo Vilangu
https://www.youtube.com/watch?v=BPO5lAcrC9A

2. Naan Pooveduthu - Naanum Oru Thozhilaali
https://www.youtube.com/watch?v=Hl8UD9VaSSc

3. Ilamanadhu – Selvi
https://www.youtube.com/watch?v=2Kcq1RYrWI8

In all these song preludes raja has used the instrument. It is a very small instrument and i believed for many years that it is produced by scratching a comb, after seeing Kamal doing it in Saagar.
When we listen to an extended period of time to a particular composer, we become aware of the patterns in which he composes, the raga chooses for a particular type of situation, the instruments he chooses and even the singers he chooses.

Raja has mainly used guiro in sultry songs, where viraha is the underlying bhava of the song.


Clave

This is also a simple instrument which has a pair of thick wooden sticks used for rhythm measurement, just like our nattuvangam thaala kattai where a manai and a stick are used. It can be heard in the following songs.

1. pattu kannam prelude - kaakki sattai
https://www.youtube.com/watch?v=IBp4RssMwCQ

2. enna solli naan ezhudha - rani theni where it is used as the clock sound
https://www.youtube.com/watch?v=WuvEStzUd94

3. pudhiya poovidhu - thenrale ennai thodu as a metronome every 2 stroke in a bar
https://www.youtube.com/watch?v=c__LCYsTLUQ

4. oru naal unnodu oru naal - uravadum nenjam
https://www.youtube.com/watch?v=w-lk8HJDByg

Here too, we can find a pattern. Whenever a temporal manipulation is required like nostalgia, or imagining differrent time periods or where time is the underlying essence, raja has resorted to this instrument.

Castanet

This is used in greek, latin, moorish and spanish music. Sadly it is stereotyped as a pichaikaran's property in most tamil movies. Who can forget rajapart rangadurai.. Used in

1. Kadhal enbadhu from palaivana rojakkal
https://www.youtube.com/watch?v=7KoDrRw-UEo

2. pattukannam prelude.

3. En mana vaanil - kasi
https://www.youtube.com/watch?v=7-UDN9f4P8o

Cabasa

This instrument everyone of you would have seen in all old tv music shows.. you can see it in this video where the person uses it for rhythm in the piece 'Do anything' from how to name it album
https://youtu.be/xeUwoW16bO4 This instrument is used in innumerable songs.

Duggi tarang, maracas and the list goes on.. Will see them in another post about raja's treasures.



Discussion at:

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Wednesday, April 12, 2017

SOLLA VALLAAYO KILIYE - KAVARI MAAN

Tiruchendurai Ramamurthy Sankar writes:

The Kings Treasuries - Part 19

சொல்ல வல்லாயோ கிளியே

1954 ல் டி.ஆர்.ராமண்ணா இயக்கத்தில் , முதன் முறையாகவும், கடைசி முறையாகவும், சிவாஜியும் எம்ஜியாரும் சேர்ந்து நடித்து கே.வி.மஹாதேவன் இசையில் வெளிவந்த படம் கூண்டுக்கிளி. நண்பனுடைய மனைவி மேல் ஆசை கொள்ளும் ஜீவா எனும் எதிர்மறைப் பாத்திரத்தில் சிவாஜி. பெரிய தோல்விப்படம். படத்தில் டி.வி.ரத்தினம் , கதாநாயகி BS சரோஜாவிற்காகப் பாடியது சொல்ல வல்லாயோ கிளியே எனும் பாரதியார் பாடல். சிவாஜியின் கனவுப்பாடலாகவே பாதிக்குமேல்.கே.வி.எம் ராகமாலிகையில் செதுக்கிய பாடல்.
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பாரதியார் பாரதிதாசன் பாடல்களுக்கு இசையமைப்பது இசையமைப்பாளர்களுக்கு பெருமை தரும் விஷயம். ஏனெனில் அதற்கான மெட்டுகளை அவர்கள் எழுதப்பட்ட பாடலுக்குப் போடவேண்டும். அதுநாள் வரை இந்த ஃபயர் எக்சாமினேஷனை இளையராஜா செய்யவில்லை. முதன் முதலில் அவர் செய்தது எஸ்.பி.முத்துராமன் இயக்கத்தில் சிவாஜி , கல்கத்தா விஸ்வநாதன், பிரமீளா, எஸ்.வரலக்‌ஷ்மி, ஸ்ரீதேவி, மாஸ்டர் சேகர் நடித்த கவரிமான்( 1979) படத்தில். இந்தப் படத்தில் சிவாஜிக்கு கிட்டத்தட்ட ரோல் ரிவர்சல். துரோகம் செய்த மனைவி பிரமீளாவைக் கொலை செய்யும் ஐ ஏ எஸ் அதிகாரியாக சிவாஜி. மகளாக ஸ்ரீதேவி. பஹுதாரி ராகத்தில் ஏசுதாஸ் பாடும் ப்ரோவ பாரமா, ( தியாகராஜ க்ருதி) வகுளாபரணத்தில் எஸ்.பி.பியின் பூப்போலே உன் புன்னகையை ( பஞ்சு அருணாசலம்) இரண்டும் மிகப் பிரபலம். ராஜாவின் முதல் பாரதியார் பாட்டு எஸ்.வரலக்‌ஷ்மி பாடும் சொல்ல வல்லாயோ. ( பாரதியார்- கிளி விடு தூது) அவர் கச்சேரி செய்வதுபோல் காட்சியமைப்பு.
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எஸ்.வரலக்‌ஷ்மியின் சிங்காரக் கண்ணே ( வீரபாண்டிய கட்டபொம்மன்- ஜி.ராமநாதன்) , தென்றல் வந்து ( சிவகங்கை சீமை - விஸ்வநாதன் - ராமமூர்த்தி) இரண்டும் காருண்ய ரசத்தின் மிகச்சிறந்த 5 பாடல்களில் இடம் பெறும். ஆனால் வெள்ளி மலை மன்னவாவில் ஆரம்பித்த அவரது டெரிஃபிலின் தந்த ஊக்கக் குரலில் ஆஸ்த்மாவைத் தொடும் பாடல்கள் , மங்கலம் காப்பாய் ( தாய்- எம் எஸ் வி) , இந்த பச்சைக் கிளி ( நீதிக்குத் தலைவணங்கு- எம்.எஸ்.வி) , ஏடு தந்தானடி ( ரா.ரா.சோழன் - குன்னக்குடி வைத்யநாதன்) கேட்கப்படும் போது நமக்கே மூச்சு வாங்கியது.

பல்லவியை சுருட்டி ராகத்தில் ஆரம்பிக்கும் ராஜா, சரணத்தில் அடானாவிற்கு சென்று பின் சற்றே பாதுகாப்பாக தன் ஷண்முகப் பிரியா கோட்டைக்குள் இருந்துவிடுகிறார். ஏராளமான ஸ்வர பிரஸ்தாரங்களுடன் நின்று விடுகிறது. இளையராஜா ரசிகன் இல்லாத எனக்கு அவர் ரசிகர்களான நண்பர்களுடன் அன்றைய காலத்தில் சண்டை போட பெரும் வாய்ப்புக் கொடுத்தது! ( சங்கர்-கணேஷின் பாரதிதாசன் பாடலான சித்திரச்சோலைகளே ( நான் ஏன் பிறந்தேன்) , கங்கை அமரனின் " சுட்டும் விழி ( பாரதியார்- மலர்களே மலருங்கள்- சுசீலா) இதைவிட பெட்டர் என்று இன்றும் சொல்வேன்!) ஆனால் இன்று சற்றே விரிந்த தொடுவானத்தில் , நடுத்தர வயதில், இது மட்டும் ஒரு இசை அமைப்பாளரின் திறமைக்குச் சான்றாய் இருக்கமுடியாது என்று புரிகிறது.

கர்நாடக இசைக்குள் முழுமையாக இறங்கி ஒரு உயரமான பெஞ்ச் மார்க்கை அவர் ஏற்படுத்திய படம் கவரிமான்.

https://youtu.be/abaUMBWWwZw



Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/1509545369077184/

Tuesday, April 11, 2017

THENNAI MARATHULA THENRAL ADIKKUDHU - LAKSHMI

Tiruchendurai Ramamurthy Sankar writes:

The King's Treasuries - Part 18

தென்றலடிக்குது நந்தவனக் கிளியே

இளையராஜா முதன் முதலில் பாடியது 1977 ல் வந்த 16 வயதினிலே படத்தில் " சோளம் வெதக்கயில". எழுபதுகளில் சோலோவாக அவர் பாடிய பல பாடல்கள் பிரபலமடைந்தன. ருக்குமணி வண்டி வருது, என்ன பாட்டு பாட, வாட வாட்டுது...போன்றவை.

இளையராஜா எஸ்.ஜானகியுடன் பாடிய பல டுயட் பாடல்கள் ....." பொன்னோவியம்( கழுகு ) ", பூமாலையே ( பகல் நிலவு ) போன்றவை பிரபலமானவை. ஷைலஜாவுடன் முதலில் 1979 ல் (பொண்ணு ஊருக்கு புதுசு ) சாமக்கோழி, ஜென்சியுடன் 1980 ல் காதல் ஓவியம் ( அலைகள் ஓய்வதில்லை) , சசிரேகாவுடன் விழியில் விழுந்து ( அலைகள் ஓய்வதில்லை)... உமா ரமணனுடன் 1984 ல் , மேகம் கருக்கயிலே ( வைதேகி காத்திருந்தாள்) .சரி ! ராஜா பாடிய முதல் டூயட் என்னவாக இருக்கும்? படம் வெளிவராது பாடல்கள் பிரபலமான மணிப்பூர் மாமியார் படத்தில் ஷைலஜாவுடன் " சமையல் பாடமே"? இருக்கலாம்.

[ஆண்கள் டூயட்டில் எஸ்.பி.பியுடன் கல்யாணமாலை ( புதுபுது அர்த்தங்கள் ) ஏசுதாசுடன் கடலோரம் ( ஆனந்தராகம்) போன்ற பாடல்கள். ]

என் யூகம், அவர் பாடிய முதல் டூயட் ...அந்தப்பாடகியுடன் அவர் அதற்குப் பிறகு டூயட் பாடவேயில்லை.....இன்னும் சொல்லப்போனால் அந்தப் பாடகியுடன், மற்ற பாடகர்களுடனும் ( மனோ) சேர்ந்து அவர் திரைப்பட வாழ்க்கையில் இன்னும் ஒரே பாடல்தான் பாடியிருக்கிறார், தேங்காய் ஶ்ரீனிவாசன் தயாரித்து நடித்து அழிந்த கிருஷ்ணன் வந்தான் படத்தில்.

அந்தப் பாடகி..பி.சுசீலா. பாடல் 1978 ல் வெளியாகி , 1979 வெளியான லட்சுமி படத்தில் " தென்ன மரத்துல தென்றலடிக்குது" . சுசீலாவை வேகமான பீட் பாடல்களுக்கு கேட்டேளே ( பத்ரகாளி), செவ்வந்தி ( 16 வயதினிலே) பயன் படுத்தியிருதாலும் இந்தப் பாடல் ஜெட் வேகம். கங்கை அமரனின் குயிலே, மயிலே, தென்றல் அபத்தங்களைத் தாண்டி ஹிட்டான பாடல். ஆரம்ப இசையிலேயே தென்னந்தோப்புக்குள் கூட்டிப் போகும் லாகவம்! கிட்டத்தட்ட கிராமத்து " தகிட ததிமி" ( சலங்கை ஒலி) போல் வேகம். அப்போது இந்தப்பாடல் ஒலிக்காத நாளோ, டீக்கடையோ கிடையாது.

இங்கேயும் ஒரு கங்கையில் வரும் " சோலை புஷ்பங்களே" கங்கை அமரனுக்குப் பதில் ராஜா , சுசீலாவுடன் பாடியிருக்கலாம். ஒன்றும் வித்தியாசம் இருந்திருக்காது!



படத்தில் ஒரு குரங்கும் , மற்றும் பலரில் ஶ்ரீதேவி, ஜெய்கணேஷ், மாஸ்டர் ஶ்ரீதர் போனவர்கள் நடித்திருந்தனர். குரங்கு பாகிஸ்தான் தீவிரவாதிகளைச் சுடுவது தவிர்த்து அனைத்து வீரதீர சாகசங்களும் புரியும். ப்ரொஃப்ஷனல் காதல் குரியராகச் செயல்பட்டு விசில் பாராட்டுகளை வாங்கியது. நான் சிலுக்கு ஸ்மிதா தெலுங்கு கற்றுக்கொடுத்து புரிந்துகொண்டதுபோல் ஶ்ரீதேவி தமிழில் பேசுவதை குரங்கு கவனமாகக் கேட்டு செயல்படும் நகைச்சுவைக் காட்சிகள் உண்டு. இந்தப்படத்தில் உள்ள மற்ற பாடல்கள் சசிரேகாவின் மேளம் கொட்ட நேரம் வரும் ( 2 முறை) , ஜானகியின் " வேலாயி வீராயி வெட்கமென்ன பூவாயி" .

பாடலாசிரியர்களில் ஆலங்குடி சோமு...மற்றொரு இனிய ஆச்சரியம்! மேளம் கொட்ட நேரம் வரும் பாட்டை திருமணத்திற்கு ஏங்கும் பெண்ணின் ஒருமித்த குரலாக சொல்லப் போய், ஒரு திருமணம் செய்து கொள்ளாத ஒரு ஆண் நண்பரிடம் செமையாகக் காய்ச்சி எடுக்கப்பட்டேன் பழைய தூள் தளத்தில்!

மாஸ்டர் ஶ்ரீதர் , ஏவிஎம் ராஜனைப் போன்று " சார்! போஸ்ட்" என்ற வசனத்தையே உணர்ச்சிப்பிழம்பாக, காது கண்கள் சிவக்கச் சொல்லக்கூடியவர். நடிகையின் பெயர் மீரா அல்லது பவானி என்று நினைக்கிறேன். நடனம் என்ற பெயரில் ஒரு மானாட மயிலாட அந்த நாளிலேயே.

ராஜா தன் படங்களில் வாணி ஜெயராமுடன் டூயட் பாடல்களை பாடவேயில்லை! ஈஸ்வரி...ம்ஹூம், ஒரு பாட்டைத் தவிர...ஈஸ்வரியே பாடவேயில்லை.

இந்தப்பாடல், எந்தவித வியாபார நிர்பந்தங்களும் இல்லாத உற்சாகமான கிராமத்து ராஜாவையும், சுசீலாவின் வித்தியாசமான முயற்சியையும் கொண்ட புதையல்.



Discussion at:

https://www.facebook.com/groups/1018417744856618/permalink/1501519633213091/

Sunday, April 9, 2017

SOLLIVIDU VELLI NILAVE - AMAIDHI PADAI

Vignesh Subramanian writes:

The King’s Treasuries- Part 17

Raaja Reggae

Reggae music is characterized by the 'Ska stroke' or the 'Skank' - where in the rhythm is emphasized on every alternating counts of 2 and 4. The off-beat Staccato is a very distinctly recognizable musical pattern anywhere you hear it and can be easily tagged as a reggae. Or.. is it..? It is Ilaiyaraaja we are talking about here.

His specialty is to absorb the essence of any genre in world music but to apply it in own way. I explained this at length with a lecdem on his Jazz waltz application. This was followed up with the origianl article in Solvanam.

Reggae is another genre that has a strong influences on Raaja's music. Generally speaking, this genre of music symbolizes carefree, laid back, summer time music which celebrates life.

But in Raaja's reggae you will never get this Jamaican feel.. You will only feel Ilaiyaraaja.

"Vanakkuyile kuyil tharum Isaiye" is a popular song with a reggae arrangement. But the skank in that song is hidden in plain sight due to many factors. Firstly the scale (Raaga) he chose was Lalitha, a distinctly Indian scale with no space to give you a feel of relaxed vacation.. Moreover, Pa Varjya Raagas have their own challenges for composers of light music as they are hindered from using the root chord !. The situation is also intense, where the hero is smitten by the love bug for the first time and is head over heels. And yet, there is no denial it was set in reggae tempo.

Another blinder of a Reggae from Raaja is the song "Sollividu Velli Nilave" from the movie 'Amaidhi Padai'. I heard this song in the theater when I watched the movie. Those were the days of no cable TV or FM or MP3 or internet revolution. To listen to a song for the first time, getting possessed by it and having no opportunity to listen to it again must rank among the painful torchers. When you get to hear something only once, you tend to make the most of it and listen intently and so I did. I didn't remember much of this song but that guitar strum on the 1st interlude was stuck to my head. Then, I didn't know it was played in a guitar.. I didn't know it was a minor added 9th chord... I didn't know the progression that followed. But the collective sound of that phrase was somehow captured that when I started playing keyboard years later, I could get it straight out of my head the first time. I slept very peacefully that night !

The song is characterized by the skank pattern from start to finish. And is a great exercise for off beat staccato play for any of you. Just like Vanakkuyile, there is nothing in the situation to suggest that its reggae - Its yet again meant for seriously smitten first love puppies. The minor scale throws all its weight behind and makes the song anything but light.. Another unique, original, contrarian treatment of reggae which Bob Marley would be very proud of.

Its sung by Mano and Swarnalatha - another enchanting combination who gave very many memorable duets together on the first half of the 90s. There is no excuse for a life like Swarnalatha that is lost too soon. When I hear songs like this, I still refuse to believe she is not there anymore.
Raaja's intense minor scale songs of that era (such as Adi Poonguyile, Maniye Manikkuyile, Thendral Vanthu theendum podhu etc.,) keep oscillating between the root and relative major constantly and that gives you enough mood swings in the same song. One moment you see one color and seconds later its another. This song is no exception. You feel grey and gloom when the prelude starts (Am added 9th) which turns to lush green on the entry of relative major (C) which turns to red on the minor 4th and a giving you a near death experience of black through the E7th before bringing you back to life through the cool blue of G/ C .

http://raagadevan.blogspot.in/2015/03/raaja-reggae.html

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



Discussion at:

https://www.facebook.com/groups/1018417744856618/permalink/1501450003220054/

Saturday, April 8, 2017

THENNANKEETHUM THENRAL KAATRUM - MUDIVALLA ARAMBAM

Saravanan Natarajan writes:

The King’s Treasuries- Part 16

வானம்பாடி ஜோடி சேரும் நேரமடி...

The early 80s had Ilaiyaraja the monarch of all he surveyed in Tamil film music. Friday after Friday, movies were released with his music...How did he manage such a prolific output, even while maintaining the high standards that he had set for himself... Recalling those heady years, S.P. Balasubramaniam once said that Janaki and he rarely went home even for a few hours rest...

Vairamuthu, Vaali and Gangaiamaran had work around the clock... magical collaborations that filled the listeners with delirious joy, even when the sheer volume of output defied imagination... many of the movies found themselves buried hastily in the sands of time...yet if they linger on in our memories, it is only because of the Maestro and his magic...

Take this song as case in point... How many of you, even the most ardent Tamil film enthusiasts, would remember a 1983 movie called 'முடிவல்ல ஆரம்பம்?' If I add that it had in its cast Rajesh, Jyoti and Saratbabu, would that help? No?

But when I mention the bewitching தென்னங்கீற்றும் தென்றல்காற்றும்...

Yes!!! You give a pleased smile of recognition... the bustling mornings when you got ready for school and this song featuring in Radio Ceylon's பொங்கும் பூம்புனல், the sultry afternoons when you curled up with Agatha Christie and this song (now on Radio Ceylon's புது வெள்ளம்) making you pause following Miss Marple for a while, the laborious late evenings when you were engrossed in your homework and the welcome distraction when Shanthi Thanikachalam announces this song in her crisp voice on Vividh Bharati’s தேன் கிண்ணம்... So many wonderful memories come gushing... you remember a long-forgotten classmate who would whistle this tune, you recall a hair-cut in a village saloon when the barber tapped his scissors in enjoyment as this song was played on the radio, you even recall the taste of the spicy milaga bajji that you relished at a roadside eatery in Burliar on the way to Ooty where you heard snatches of this song, you would remember the Akka in the next house who was dismayed that it was Rajesh and not the handsome Saratbabu who appeared in this song when it was featured in ஒளியும் ஒலியும், you will now recall the Kumudam review that wailed 'முடிவல்ல, ஆ....ரம்பம்!'....

How cunningly has the man woven himself inexorably into our memories... the maestro was, is and forever will be an integral part of our lives!

Malaysia Vasudevan and P. Susheela have come together for some boisterous Ilaiyaraja carnivals like செவ்வந்திப்பூ முடிச்ச சின்னக்கா, மதனி மதனி and கன்னிப்பொண்ணு கை மேலே and have rendered some catchy Ilaiyaraja creations like பல நாள் ஆசை, ஆப்பக்கட அன்னக்கிளி, பொத்துக்கிட்டு ஊத்துதடி வானம், சீனத்து பட்டுமேனி and மாப்பிள்ளைக்கு மாமன் மனசு, but my leanings are towards the softer duets that they rendered for the Maestro such as ஆசை நெஞ்சின் கனவுகள், அத்தமக தங்கத்துக்கு, அழகே உன்னை கொஞ்சம் and பவழமணி தேர்மேலே.

Vasu, the unabashed rustic reveler of the loud and the racy, has sprung some surprises of gentler, mellifluous kind as well. And with the silken chords of Susheela lending grace and gloss at the other end, Vasu transforms into a dashing, suave gentleman! Listen to this song- note how the earthy tone of Vasu is so caressingly complemented by the honeyed Susheela. The Maestro weaves the notes around a mesmerizing Mayamalava Gowlai trellis and the result is sheer enchantment….

https://www.youtube.com/watch?v=SZ-9wZrLHzk



Discussion at:

https://www.facebook.com/groups/1018417744856618/permalink/1493217710709950/

AIVAGAI MALARGALAI - ADHIKARAM

Tiruchendurai Ramamurthy Sankar writes:

The King's Treasuries- Part 15.

அவர் விடும் கணையோ..!

சிறு வயதில் "அந்தாக்சரி" என்ற ஹம் ஆப்கே ஹை கௌன் விளையாட்டு விளையாடும்போது தடுமாறும் 2 விஷயங்கள்.

1. 1,2,3,4 என்று எல்லா நம்பருக்கும் சினிமா பாட்டு ஸ்டாக் இருக்கும். ( ஒன்பதுக்கு நவக்ரஹம், நவராத்திரி ஒப்புக்கொள்ளப்படும்) . இந்த 5 தான் பிரச்சனை. அஞ்சு விரல் கெஞ்சுதடி என்ற ( மனோஜ்-கியான் - RV உதயகுமார்-உரிமைகீதம்) பாட்டு அப்போது இல்லை. அஞ்சு ரூபா நோட்ட கொஞ்சம் முன்ன மாத்தி மிச்சமில்லே, காசு மிச்சமில்லே ( அந்தமான் கைதி- டி.வி.ரத்தினம் பாடியது) பாட்டு தெரியாது.

2. ஐ என்ற எழுத்தில் ஆரம்பிக்கும் பாட்டும் அதிகம் கிடையாது. ( ஐ வில் சிங் ஃபார் யூ - TMS மனிதரில் மாணிக்கம் ( MSV இசை) , ஐ லவ் யூ ஆசையானெனே உன்மேலே - சந்திரபாபு / ரத்னமாலா- கோவிந்தராஜுலு நாயுடு (இசை) - அந்தமான் கைதி) . தவிர ஐ லவ் யூ ( நன்றி மீண்டும் வருக- ஷ்யாம்-மௌலி) படப்பாட்டும் அப்போது கிடையாது!

எங்களது வெகுநாள் குறை தீர்க்க வந்த பாடல் " ஐவகை மலர்" ( அதிகாரம்- வாலி - ஜானகி/சுரேந்தர்). ஆரம்ப நாட்களில், இளையராஜா இசையமைத்து வெளிவராத படங்கள் குறைந்தது 50 படங்கள் இருக்கும். மதுர, கோயம்புத்தூர் பக்கம்நிலத்தை வித்து, பூஜை போட்டு, ராஜா கஷ்டப்பட்டு பாட்டு போட்டபின் இரண்டாவது ஷெட்யூலுக்கே காசு இல்லாமல் முடங்கிய படங்கள் ஏராளம். அவற்றில் ஒன்று அதிகாரம். இந்தப்பாடல்களை 40 வருடம் கழித்து நினைவில் கொள்ள ஆட்கள் இருப்பதற்குக் காரணம் இலங்கை ஒலி பரப்புக் கூட்ட ஸ்தாபனம், தமிழ்ச்சேவை 2.

ஜெய்கணேஷ், பிரமீளா நடித்தது என்ற விவரம் பேசும்படம் பத்திரிகையில் பார்த்தது நினைவிருந்தது. சரவணனிடம் கேட்டதில் ஶ்ரீகாந்த்தும், சௌகார் ஜானகியும் கூட இருந்தார்கள் என்ற, அவர்களைத் தவிர, ப்ரொட்டியூசருக்கும், டைரக்டருக்கும் மட்டுமே தெரிந்த தகவலைச் , சொன்னார்! அவர் கொடுத்த விவரங்கள் .....

HMS ப்ரொடக்‌ஷன்ஸ் அதிகாரம்( 1980) . டைரக்‌ஷன் - ஸ்வர்ணமூர்த்தி! மற்ற பாடல்கள்

1. ஏய்! கனகம் எங்கிட்ட பண்ணாத கலகம் ( SPB-PS)
2. அன்னையின் ஆசைகள் ( வாணி ஜெயராம்)
3. இங்கு கங்கை ஒன்று ( மலேசியா வாசுதேவன்)

அவர் கொடுத்த தகவல் எத்தனை முக்கியம் என்றால், மியூசிக் இந்தியாவில் தேடினால், பெண்குட்டி சாரதேயின் படம் போட்டு இந்தப்பாடல்.உடன் நடிப்பவராக சேட்டன் திக்குரிசி சுகுமாரன் நாயராணு!

1978-79ல் ரெக்கார்ட் செய்யப்பட்டிருக்கவேண்டும். மாலை இளம் (அவள் ஒரு பச்சைக்குழந்தை) பாடலுக்குப் பிறகு சுரேந்தர் பாடிய அடுத்த பாடலாக இருக்கலாம்.

வாலியின் ஸ்டேப்பிள் "ரதி மதன் கலை ரசித்திடும் நிலை" போன்ற வரிகள் இருந்தாலும் , ஜானகியின் குரல் இந்தப்பாட்டை ராஜாவின் ஆரம்ப கால புதையல்களில் ஒன்றாக்குகிறது. ஜானகியின் குரல் தான் ரங்கராட்டினம் ஆடி, நம்மைத் தட்டாமாலை சுற்றி , நம்முடன் கண்ணாமூச்சி ஆடுகிறது. சுரேந்தர் , எஸ்.பி.பியின் ப..பா,பா, பா ஸ்டேப்பிள் ரவா உப்புமாவை தானும் கிண்டிப் பார்த்திருக்கிறார். வயசு , கொரலு பத்தல!

இப்படித்தான் ஆரம்பிக்கப்போகிறது என்று ஆரம்ப இசை கோடி காட்ட, முற்றிலும் எதிர்பாராத வகையில் தொடங்குகிறது பாடல். இளையராஜாவின் பாதாம் கீர் வாணி (?) என்பதால், ஆங்காங்கே , பின்னாளில் வந்த தங்கச் சங்கிலி ( தூரல் நீன்னு போச்சு), மயங்கினேன் சொல்ல ( நானே ராஜா நானே மந்திரி) போன்ற முந்திரிகள் தென்படலாம்.

கீர்வாணியின் த1 ஸ்வரத்தை , பஞ்சம கிரஹபேத வகுளாபரணத்தின் ரி1 போல் ஒலிக்க வைத்து haunting effect இருப்பதுபோல் தோன்றினாலும், ஆங்காங்கே சிம்மேந்திரமத்யமும் கேட்பதுபோல் தோன்றுகிறது.

சாதாரணமாக அவர் பாட்டில் ஏற்படக்கூடாத ராகக்குழப்பம் .....forget it !
அவர் விடும் கணை! Just fall in love..



Discussion at:

https://www.facebook.com/groups/1018417744856618/permalink/1486927204672334/