மலர்ந்தும் மலராதவை # 19

மலர்ந்தும் மலராதவை # 19:

துளிர்விடும் காலம்… பிறந்தது ராகம்...

As we continue to celebrate with joy the ‘Padma Vibhushan’ being conferred on the Maestro, let us unearth a diamond of rare vintage that remains cunningly hidden in a little explored crevice, beneath a multitude of magnificent gems in his casket of priceless treasures…

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 highest standards that he had set for himself... SPB and Janaki barely went home for a few hours’ rest... Vaali, Vairamuthu & Gangaiamaran had work around the clock... magical collaborations that filled the listeners with delirious joy, even when the sheer volume of output defied imagination...

While most of them elicited the popularity they doubtless deserved, some of them slipped away unobtrusively in the swirling mists of time. Blame it on the Maestro, for there was such a cornucopia of his compositions that adorned every new film that was released week after week, that one simply did not get the time to savor and sigh at each marvel at leisure…

In this edition of மலர்ந்தும் மலராதவை, let us pick an obscure number from an unreleased movie, featuring an unlikely singer….in the music of Ilaiyaraja!

* * * * * *

While writing the requiem for Ceylon Manoharan, my thoughts went to few other actors who came to tinsel town with hopes of making it big, but ended up appearing as mere props in the villain’s den…. Playing the villain’s henchmen, showcasing their stunning physiques and muttering ‘Yes Boss!’ Though he did get more noticeable roles, a person I thought of in this connection was R.N. Sudarshan… Let me refresh your memories with this song:

https://www.youtube.com/watch?v=pvI1L_xZq3c

Of course, you remember him! The tall, muscular actor who appeared mostly as an associate of the main villain, making a mark even in insignificant appearances, his eyes glowering with menace as he taunted the hero or the heroine.

Sudarshan passed away recently. His demise on 8 September 2017 in Bengaluru went largely unnoticed, at least in Tamil Nadu. He was 78 years old and was, like Ceylon Manohar, suffering from kidney related ailments. He is survived by his wife, Kannada actress Shailashri, who had also acted in Tamil movies such as தரிசனம் (‘இது மாலை நேரத்து மயக்கம்’) and திருமலை தென்குமரி (‘Krishnaa.. daasi naa karaiyuve baa’).

However, his death was widely reported in Karnataka; there was even a condolence tweet by Chief Minister Siddharamiah, for Sudarshan was a very popular actor and film producer in Kannada.

Ratihalli Nagendra Sudarshan was the fourth son of pioneering Kannada director/actor R. Nagendra Rao (Remember the wily Marthandan in Gemini’s Apoorva Sagotharargal?) Sudarshan’s elder brothers were the legendary writer/ lyricist R. N. Jayagopal and the acclaimed cinematographer R.N. Krishnaprasad. (All 3 of them appeared in Maniratnam’s Nayagan as the villainous Reddy Brothers.)

Sudarshan had made a dashing debut at the age of 21 as the hero in the 1961 Kannada movie ‘Vijayanagarada Veeraputra’ directed by his father. Old-timers would recall with pleasure the song sequence ‘Apara keerthi galisi merava’, composed by MSV-TKR and sung by P.B. Srinivas filmed on a dashing Sudarshan on a horse.

https://www.youtube.com/watch?v=JB9mLUy570E

Sudarshan went on act in few movies as the hero, however he gained more recognition in supporting/ villainous roles, acting alongside Rajkumar, Udayakumar and Kalyankumar. His performance in movies such as ‘Ananda Bashpa’, ‘Pathiye Deiva’, ‘Nava Jeevana’, ‘Mangala Muhurta’, ‘Chandrahasa’, ‘Immadi Pulikeshi’, ‘Ellelu Naane’, ‘Swarna Bhoomi’, ‘Mathrubhoomi’, ‘Kadina Rahasya’, ‘Vaagdaana’, ‘Prathikara’, ‘Nadina Bhagya’, ‘Karulina Kare’, etc. won critical appreciation and he had a part to play in many of the Kannada movies of the late 60s and 70s. It was during this time that acting together in many movies, Sudarshan and Shailashri found themselves falling in love and got married. Sudarshan produced and acted in the 1971 movie ‘Naguva Hoovu’ (Sri Sudarshan Chitralaya) in which Shailashri was the heroine. The movie, directed by his brother R.N. Krishnaprasad went on to win The National Film Award for Best Feature Film in Kannada for the year.

Besides Kannada, Sudarshan had also appeared in Tamil, Telugu and Hindi movies. I recall his roles in movies such as ‘Neethipathi’, ‘Sandhippu’, ‘Pagadai Pannirendu’, ‘Paayum Puli’, ‘Thiruppam', 'Velaikkaran’. He gave an arresting performance as Rekha’s father in ‘Punnagai Mannan.’

He had also appeared in several TV serials such as Velan, Maya Machindra and Maragatha Veenai.

* * * * * *

By now you must be wondering what has Sudarshan got to do with this music-oriented thread! Well, you are in for a revelation- Sudarshan was also a good singer, and had sung a few popular numbers in Kannada.
Sample this one- ‘Irabeku irabeku’ from Naguva Hoovu, composed by G.K. Venkatesh. His sonorous voice bringing in the melancholy that the sequence required, Sudarshan gives an unforgettable rendition.

https://www.youtube.com/watch?v=ouUZlPru9N8

Sudarshan sang playback for actor Srinath in Puttana Kanagal’s 1975 movie ‘Shubhamangala.’ Listen to this song composed by Vijayabhaskar- Sudarshan paints the song with the caressing, romantic hues that it demands…

https://www.youtube.com/watch?v=vc-4gwqdSeY

* * * * * *

Ilaiyaraja had known Sudarshan since ‘Naguva Hoovu’ when he was assisting GKV. Ilaiyaraja had been assigned the responsibility to coach Sudarshan the notes and nuances of the 'Irabeku', and was delighted when Sudarshan came out with an impeccable performance.

After many years, Ilaiyaraja invited Sudarshan to sing a Tamil song under his baton. The movie was titled ‘ஊமை உள்ளங்கள்’ (Sri Muthiyalamman Creations) and launched in 1981. However, it was perhaps never even completed and remained unreleased.

Listen to this dazzling duet sung by Janaki and Sudarshan. The blossoming of love…the young hearts filled with an inexplicable happiness...they find all the elements of nature joining them in their rapture…The maestro fills the composition with his magic… The blessed Janaki commences the enticement and Sudarshan joins her, giving the song an added appeal… I recall listening to this lovely song even in 1983 in Radio Ceylon…It then disappeared from the airwaves forever….

Song: Thulirvidum Kaalam
Movie: Oomai Ullangal (Unreleased)
Vocals: S. Janaki & R.N. Sudarshan
Lyrics: Panju Arunachalam
Music: Ilaiyaraja

https://www.youtube.com/watch?v=Pnq5XZhxYw4&feature=youtu.be


Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/1866742700024114/

அஞ்சலி: Ceylon A.E. Manoharan (1944- 2018)

Saravanan Natarajan writes:

அஞ்சலி: Ceylon A.E. Manoharan (1944- 2018)

My Srilankan friend Jana who hosts Tamil radio programs in London came on WhatsApp yesterday- ‘நம்ம மனோ மோசம் போயிட்டாரு தெரியுமா?’ he messaged. Manoharan, who was 73 years old, passed away on Monday night, apparently due to kidney-related ailments. He was living in Kadanchavadi, Chennai. He is survived by his wife Leema Theresa, twin daughters and a son. His children are well-educated and happily settled, with children of their own.

I expressed my sorrow to Jana at the news of Ceylon Manohar’s demise, for I knew Jana had known Manoharan personally and could sense the anguish behind the lines. Jana had even interviewed him for his radio program many years back. Jana was nostalgic about how he dropped Manoharan back to the house in Wimbledon where he was staying at the time and how all through the drive Manoharan shared his memories of their home country and the good old times.


Manoharan had made a name for himself both as an actor and as a singer. Born of parents who were teachers and good singers themselves, he developed a passion for singing at an early age. He was part of the choir in the local church and was an active participant in all the cultural programmes in his school. His first public performance was at Kotahena, a suburb of Colombo, singing as a member of a music troupe. Singing ‘Suraangani’, he soon became an icon of the Baila music, with the song gaining an eternal popularity- popularity that transcends decades and geographical boundaries.

Here is Manoharan singing a multi-language version of 'Surangani' at a recent show in London. His infectious enthusiasm and joie de vivre seem ageless:

https://www.youtube.com/watch?v=p9sHkoXH_q4

* * * * * *

A few lines about the Baila. The word ‘Baila’ is derived from the ‘bailar’, which in Spanish means ‘dance’. The Portuguese settlers landed in Sri Lanka in the 15th century, and the island swayed to the music of the guitars, ukuleles and the cantiga ballads that the Portugese brought with them. The Portuguese also brought along African slaves called Kaffrinhas, who further enriched the vibrant music fiber of the island with their unique dance music that came to be known as Baila.

In the early years of its appearance in Sri Lanka, Baila consisted of vocals supported by guitar and handclaps. Improvised percussions came along soon. Modern day Baila, though still retaining its essential flavor, boasts of electric guitars, synthesizers etc. Baila has now become the country’s most popular music genre, and can be classified broadly into 3 categories: the original 'Manja', still prevalent among the descendants of the Kaffrinhas in Sallan Kandal colony in Puttalam; 'Vada Baila'(debate Baila) forms found in the southern area, Mount Lavinia, Panadura & Lakshapathiya - Moratuwa; and Chorus Baila which has been popularized by the great pop singers of Sri Lanka. Artistes like C.T. Fernando, M.S. Fernando, Milton Mallawarachchi, Clarence Wijewardene, Annesley Malevana, Indrani Perera (with their Moonstones, and later Super Golden Chimes bands) Anil Bhareti, Mariazelle Goonetilleke, Corinne Almeida, Rajiv Sebastian and bands like the Gypsies, Las Bambas, Humming Birds and Los Muchachos have all helped in keeping the Baila flag flying high.

* * * * * *

Manoharan, along with others like Nithi Kanagarathinam (Remember the endearing ‘சின்ன மாமியே’?) was the pioneer in Tamil Baila songs, which soon became immensely popular even in Tamil Nadu, thanks to Radio Ceylon. Manoharan performed all over Sri Lanka, raising money for charitable causes and in temple and church festivals. He worked for a while in the commercial section of the Srilankan Broadcasting Corporation and released many numbers in Singhalese and Tamil. His genre of music began to be known as ‘Thullisai’ or ‘Popisai’ and Manoharan was awarded the title ‘Popisai Chakravarthi’ by Chelliah Kumarasuriah, the then Minister of Post and Telecommunication, at a scintillating music festival in Jaffna in 1973.

In the mid-70s, Manoharan came to India to perform in few stage shows and after a particularly rousing performance at Vani Mahal in Chennai where he brought the house down with his ebullient charm and energetic singing, HMV came forward to bring out a record of his Baila songs.

His well-built frame and arresting persona soon had film producers knocking on his door. The first Indian movie he acted in was the Telugu action venture ‘Toofan Mail’ directed by K.S. Reddy, marking the beginning of his trust with Indian Cinema. He went on act in all the four southern languages, besides Hindi. However, not many are aware that much before Toofan Queen, even as a student of St. John’s College in Jaffna, Manoharan had acted in the pioneering Sri Lankan Tamil movie ‘பாச நிலா’ (1966), made by Joe Dev Anand. More than a decade later, Manoharan also acted the path-breaking ‘வாடைக்காற்று’, based on Senkai Aaliyan’s novel on the lives of the Srilankan fishermen.

Coming back to this side of the Palk Strait, it was fellow compatriot V.C. Guhanathan who gave Manoharan his first opportunity in Tamil Cinema in ‘மாங்குடி மைனர்’ (1978). Manohran made a riveting debut as a villain, acting alongside Vijayakumar, Rajinikanth & Sripriya. not content with this, Guhanathan also wanted to give Manoharan an opportunity to sing. As his behest, Chandrabose made Manoharan sing for Rajinikanth in the song ‘உன்னிடம் சொல்வேன்’, a straight lift from ‘Pyar ka samay’ the equivalent song in the Hindi original ‘Rampur Ka Laxman’. Interestingly, Manoharan appears in the song as well, trying in vain to shoot Vijayakumar.

Here is Manoharan singing for Rajinikanth, while TMS sings for Vijayakumar and Janaki for Sripriya:

https://www.youtube.com/watch?v=BKyz1wLKHyM

Deepavali of 1978 saw 2 Tamil movies being released in which Manoharan was involved. One, of course, was the ambitious Indo-Srilankan joint venture ‘Pilot Premnath’. Director Thirokachandar and MSV decided that a Baila song would be appropriate for a party sequence, and enlisted the help of Manoharan. Manoharan was thrilled to be working with the great MSV. Considering that the song was to be filmed on Jayachitra who was playing a Singhalese character, Manoharan suggested that the song open with the lines of a popular Singhalese Baila ‘Udaratta menike manahara kanthuratta tilake’ (popularized by Clarence Wijewardene of the famous ‘Super Golden Chimes’ troupe) and sang them to MSV. The master developed the tune further. Manoharan and Vaali wrote the remaining lines in Tamil, beginning with ‘கோப்பித்தோட்ட முதலாளிக்கு’. Manoharan also lent his voice along with L.R. Easwari to this foot-tapping number.

கோப்பித்தோட்ட முதலாளிக்கு:

https://www.youtube.com/watch?v=B_tg7MNWW14&feature=youtu.be

The other movie released on the same day with which Manoharan was involved in was R.C. Sakthi’s ‘மனிதரில் இத்தனை நிறங்களா’. Here, Manoharan played a supporting a role and also let his vocals, singing alongside Kamalhasan for the drunken ditty ‘அட மாமா’, composed by Shyam.

https://www.youtube.com/watch?v=RC_vxB7O-JM

It was during this time that Manoharan befriended the young Malayalam actor Jayan and acted in almost every Jayan starrer in the late 70s and early 80s- Maamankam (where Manoharan played K.R. Vijaya’s suitor), Thadavara, Aavesham, Kazhukan, Sakthi, Thadavar and Kolilakkam- Jayan died while enacting a stunt sequence in this movie.

Manoharan acted in several Tamil movies, eliciting notice in some of them such as Thee, Lorry Driver Rajakannu, Ponnagaram, Varuvaan Vadivelan, Thunive Thozhan and Kashmir Kadhali. After a gap of many years, he made his re-entry in Tamil Cinema with Saran’s ‘Jay Jay’ (2003). In this second innings, Manoharan acted in movies such as Virumbugiren ( he sang the song ‘பத்தல பத்தல’ with Malgudi Suba in this movie), Thotti Jaya, Vaaliban, Kaadhal Kaditham, etc. In recent years, Manoharan was acting in TV serials such as Anjali, Thirumathi Selvam, Aththippookal, etc.

However, all along, Manoharan was steadfast and loyal to his first love- The Baila. He performed all over the world. In the UK, Canada and Australia, he sang to packed houses where Tamils of Sri Lankan origin gave him a thunderous ovation for every song, for he brought back to the old-timers memories of their home-country and its music, and for the new generation it was a magical window to a joyous legacy of a distant time and place. I have watched a live performance of Manoharan at Hotel Breeze in Chennai, and found myself jiving and clapping
to his vibrant charm.

Some years back, Manoharan returned to Sri Lanka after decades and performed in Jaffna. It was an overwhelmingly emotional moment for Mano. Moved to tears, he said that he had thought he would never see his land again and it was a blessing to be back in his soil. Needless to say, the show was a stupendous success.

Here is Mano’s loving ode to his country:

https://www.youtube.com/watch?v=Civi6RQc4J4

Some popular numbers of Manoharan:

https://www.youtube.com/watch?v=tOPMFy5XxtE

https://www.youtube.com/watch?v=0p0_gQOwxgs

https://www.youtube.com/watch?v=EV3l72G-P6A&feature=youtu.be

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

https://www.youtube.com/watch?v=pHwyBCB0K88

Au Revoir, Mano! It is 3 days since you passed on and I am certain the angels up above are dancing non-stop to your tunes by now...give them a breather!

Discussion at :
https://www.facebook.com/groups/1018417744856618/permalink/1864653790233005/

மலர்ந்தும் மலராதவை # 18

Saravanan Natarajan writes:

மலர்ந்தும் மலராதவை # 18:

ஆனந்த சங்கீதமே…

‘Keshaadhi paadham thozhunnen, Keshava, Keshaadhi paadham thozhunnen…’

Lines that floated serenely in the air in the temple precincts and made me stand still with inexplicable rapture when on a pilgrimage to Guruvayoor. My friend from Cochin who accompanied me informed that this famous devotional song could be heard every day, not only in Guruvayoor, but also in most temples all over Kerala. I was particularly fascinated, for the piety-soaked voice that had sung those lines was that of S. Janaki.

And later my search for the song unfolded the fact that this was originally a movie song (Pakal Kinaavu/ 1967), composed by B.A. Chidambaranath and sung by Janaki. But the composition had long outgrown the cocoon of a film song, and over the years has metamorphosed into one of the best-loved hymns in Malayalam!

This led to my search for other compositions by the intriguing B.A. Chidamabaranath, and I discovered that his was the baton behind many a treasured Malayalam film song of the 60s and early 70s! ‘Karayunno puzha chrikkunno’ (Muraponnu/1965), in the melancholic voice of a young Yesudas, would suffice to enshrine the name of BAC in the annals of Malayalam Film Music. BAC is credited with giving Jayachandran his first ever film song opportunity- ‘Mullappo malaiayumai’ (Kunjali Marakkar). Some other popular Malayalam film songs composed by Chidambaranath are ‘Kunnilmel nee enakku’ (S. Janaki/ Rajamalli), ‘Kaatte vaa’ (P. Leela/ Rajamalli), ‘Kadavuthoni’ (S. Janaki & Shanta P. Nair/ Murapponnu), ‘Kungumappoovukkul poothu’ (S. Janaki & Yesudas/ Kayamkulam Kochunni), ‘Karthikavilakku kandu’ (Kayamkulam Kochunni/ B. Vasantha), ‘Ponnambalamettil’ (Kottayam Kolacase/ P.B. Srinivas), ‘Oru thulasipoo’ (Station Master/ S. Janaki), ‘Kanyaka mathave’ (Madatharuvi/ B. Vasantha), ‘Daivam Njangalkeenthinu’ (Pavappettaval/ Renuka), ‘Premaswapnathin’ (Chekkuthaante Kota/ Latha Raju), ‘Vannan vannallo’ (Viruthan Shanku/ Yesudas)…. Gentle, caressing tunes festooned with orchestration that enthralls even while remaining unobtrusive; arrangements that embank and canalize the flow, facilitating the beauty of the lyrics bloom unhindered, picking the right singers and getting them to sing within their comfort zone….

Like Vijayabhaskar and MBS, BAC (Boothapandi Aruchanachala Annavi Chidambaranathan) was a Tamil who could find opportunities to showcase his talents only in another language- in his case Malayalam. He was born on 13 October 1924 in Nagercoil and learned the rudiments of music from his erudite father Arunuchala Annavi who could play with finesse many instruments, including the Nadaswaram. Arunachala Annavi was the Guru for many, including N.S. Krishnan, Karukurichi Arunachalam, S.D. Subbiah and K.V. Mahadevan. BAC then learned violin from Nagamani Marthanda Nadar who would come to teach him riding a Bullet Motorbike with his violin strapped behind! BAC thereafter became a disciple of the revered Harikesanalloor Muthiah Bhagavathar. It was while BAC was under the tutelage of Kumbakonam Rajamanickam Pillai that he traveled to Madras.

He was playing the violin for M.M. Dhandapani Desikar when he elicited the notice of composer C.N. Pandurangan- he then joined the troupe of CNP, thus beginning his tryst with cinema. He worked thereafter for a few years in the ensemble of S.V. Venkataraman. BAC’s first assignment as an independent composer was a Singhalese film and then came the Malayalam movie ‘Vellinakshatram’ (1949). With singers of yore such as Cherai Ambujam and Gayaka Pitambaram, the 25-year old BAC came out with some popular numbers. He then composed songs for ‘Stree’ (1950) in which Alappuzha Savitri and Medayil Sukumari sang some noteworthy numbers.

Despite this success, BAC did not find any further opportunities coming his way. He then joined AIR at Trivandrum, and then moved to the AIR at Kozhikode, where he worked for more than a decade, producing music programs of the highest standards. It was then that noting his talents, P. Bhaskaran escorted him back to cinema, with ‘Rajamalli’ (1965) and there was no looking back. From ‘Rajamalli’ to ‘Ashachakram’ (1973), BAC composed some of Malayalam cinema’s most endearing and enduring songs. After a long sabbatical, he worked with his talented son Rajamani to compose the songs for the 1996 movie ‘Aranmanaveedum Anjurekkakarum’- this time singers such as Chitra, M.G. Sreekumar & Arundhati lent their vocals for the veteran master. He continued to teach music to generations of students.

BAC passed away on 31 August 2007. At the time, I was in Gurgaon on an assignment. Good friend Kumaraswamy Sundar noticed the announcement of BAC’s demise in the obituary column of 'The Hindu' of 2 September 2007 and shared the sad news with me. The announcement had also given the residence telephone number of the late composer and after much deliberation, Sundar called the number the same night. BAC’s son Rajamani came on the line and spoke at length about his father and his works. Some of the information that I have given above is what I recall from Sundar’s repetition to me of that conversation. We came to know that Ilaiyaraja had played the organ for BAC and R.K. Sekhar (father of ARR) had also worked under him. Rajamani had himself composed the music and background score for several Malayalam movies. In the early 80s, Maragathamani and Rajamani had worked as ‘Mani-Raja’ and composed music for a few movies such as the 1983 Tamil movie ‘கிராமத்து கிளிகள்’ (Remember the lovely Jayachandran- Shailaja duet ‘கன்னிப்பெண் கன்னத்தில் காயங்களே’?). Rajamani invited Sundar to come over some day for a more leisurely conversation.

Coming back, to BAC, the only Tamil movie that had come his way was the AVM. Rajan-Pushpalata starrer ‘செல்லப்பெண்’ (1969). The breezy TMS- L.R. Eswari duet ‘கண்ணே கொஞ்சம் பாரு’ was a popular number. In fact, it was this song that had brought BAC often into the animated discussions that Sundar and I used to have, over e-mail and phone calls. All the songs of Chellappen were written by the forgotten lyricist ‘Kovai’ Kumaradevan. P. Susheela (‘தூங்கவைக்கும் இரவெல்லாம்’ & ‘ஆடிவரும் தேனிலவைப்போலே’), Seergazhi Govindarajan (‘எல்லாம் இறைவனின் விளையாட்டு’) and M. S. Rajeswari (‘அம்மா சொன்னதுப்போலவே’) were the other singers in the album.

Besides composing music, BAC was also a gifted lyricist who wrote many devotional songs. ‘சகலமும் தருபவள் சங்கீத தெய்வம்’, ‘வாணி வாகதீஸ்வரி வரம் அருள்வாய்’, and ‘நாமம் நல்ல நாமம், ராம நாமம் நல்ல நாமம்’, written and composed by BAC, became hugely popular in the devotional concerts of Yesudas. BAC’s ‘Gangayaru pirakunnu’ sung by Yesudas is a stirring hymn on Lord Aiyappa that one can hear in most Malayali households to this day.

* * * * * *

As I said, the only Tamil movie that BAC had worked for was ‘செல்லப்பெண்’. Or so we thought. It was while going through a pile of LP records in a music center in T.Nagar that I came across a record titled ‘Ragamalika’. Brought out by EMI in 1983, the record had several rare film songs tuned in classical ragas, compiled and presented by the venerable musicologist Sri VAK. Ranga Rao. Imagine my surprise when I discovered nestled therein amidst wonders such as K.N. Thandayudhapani Pillai’s தில்லானா from திருநீலகண்டர் (P.Leela/ C.N. Pandurangan) and 'ஆடி ஆடி அசைந்தார்’ from ‘யார் ஜம்புலிங்கம்’ (Bombay Sisters/ T.R. Pappa), an intriguing song 'ஆனந்த சங்கீதமே’ sung by M. Balamuralikrishna for a movie called ‘நினைத்தேன் வந்தாய்’. Lyrics were by ‘Kovai’ Kumaradevan and the music was credited to BAC!

This movie ‘நினைத்தேன் வந்தாய்’ (not the Vijay starrer of the 90s) seems to have been a

project embarked upon in the late 60s which was never released. This song 'ஆனந்த சங்கீதமே’ seems to be made for a concert sequence. Fashioned in the lines of KVM’s ‘ஒரு நாள் போதுமா’, the lines of this Ragamalika traverses Latangi, Natakurinji, Bilahiri, Charukesi, Mohanam, Saranga… However, this composition, unlike ‘ஒரு நாள் போதுமா’, is more euphonic than strident- a more reflective, unhurried treat, ending with a startling Hindustani twist. MBK has a field day honoring BAC with his remarkable rendition:

https://www.youtube.com/watch?v=SLBm7h1uc3w&feature=youtu.be

This song triggered my hunt for other songs from this unreleased 'நினைத்தேன் வந்தாய்’. I ended up drawing a blank. Most recording centers denied any knowledge of this movie or its songs; some pointed to the Vijay starrer of the same name and the songs composed by Deva for the same.

Yet, I refused to remove the album from my wish-list. My perseverance finally paid off, when on a visit to Malaysia in 2007, I submitted my wish-list to the redoubtable Mrs. Thomas of the hoary Colombia Center. I got a cassette having a compilation of P. Susheela solos, and found in it one more song 'நிலவோ முழு நிலவோ' from the forgotten ‘நினைத்தேன் வந்தாய்’.

At times, when calling upon Susheelamma and listening to her casual, enjoyable banter, I have to remind myself that I am actually in the presence of ‘The Voice’ that serenaded generations of Tamils. The voice that I, like multitudes of others, have grown up listening to and taking for granted its ageless sweetness and the loving care with which she brought to life the challenging compositions of the great masters. Listen to how she sings this lilting lullaby crafted by BAC…how she invests in each line the warmth of a mother’s bosom, how she bestows upon each syllable the solicitude it demands, how she traverses the sweep of the tune with nonchalant grace….

https://www.youtube.com/watch?v=WS6mdBeKIRU&feature=youtu.be

Sundar and I often spoke about visiting Rajamani to get to know more about BAC and his works. However, every year, during my vacations in India, I found other pressing engagements. We were still telling ourselves that we should make the visit to Rajamani’s residence when we read first of the demise of Mrs. Tulasi, wife of BAC, in August 2013, and then sadly of the demise of Rajamani himself in February 2016.

Wasn’t it Marcus Aurelius who said, ‘He who has a vehement desire for posthumous fame does not consider that every one of those who remember him will himself also die very soon; then again also they who have succeeded them, until the whole remembrance shall have been extinguished…’. The humble musician BAC did not harbor any vehement desire for such fame, yet I fervently wish that his works are remembered and cherished by generations to come. This write-up is a very small step to salute the memory of B.A. Chidambaranath.

Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/1858885944143123/

மலர்ந்தும் மலராதவை # 17

Saravanan Natarajan writes:

மலர்ந்தும் மலராதவை # 17:

கொடை தந்த வள்ளல்….

The man continued to play the accordion and waves of nostalgia filled the air as one Hindi classic after another came to enchanting life in his nimble fingers. The diners at the Indian restaurant in Southall, London could not care less though; I had to move my table closer to the stage to enjoy the music above the din of the incessant chatter. It was around 10 years back - I had been on an assignment to Basing Stoke for a week and was starved for Indian, vegetarian food. And when a kind Malayali colleague offered to drive me to London for dinner one Friday evening, I jumped at his offer and it was thus that I found myself at this joint. As I tucked into the food, I became aware of live music, and it was this man who was playing the accordion with obvious enjoyment, unmindful of the lack of attention.

The scintillating performance was completed to indifferent applause, and a man, presumably the manager of the restaurant, presented a memento the musician and gave a small speech thanking him. It was only when he mentioned ‘K.J. Joy’, that I gave the musician more attention. I looked at him with wondering eyes, and then found myself rushing towards him. I greeted him and asked him incredulously if he was The K.J. Joy, the man behind many a gorgeous Malayalam song. With eyes twinkling behind the glasses, he admitted to being so and I shook his hands with happiness. ‘சிப்பியின்னுள்ளே முத்தாடும் சேதி’ I sang softly and he played the notes with amused indulgence. I took leave of him reluctantly as we had a long drive ahead of us.

As the car sped on its way to Basing Stoke that rainy night, I talked continuously of K.J. Joy and his works to my colleague, who though a Malayali, had lived in the UK all his life. We wondered together on the whimsical ways of life…. I thought back of those glorious years in the late 70s up to the mid-80s…the years when Joy’s baton was always in the air…There was a program called ‘Madhur Geetham’ between 4.30 and 5.30 on Vividh Bharathi, with 15 minutes for songs from each of the Southern languages. I used to tune into it as soon as I returned from school and Joy’s songs used to find place almost every day in the Malayalam segment. ‘Lalitha shasranama japangal’, ‘Bindu nee ananda’, ‘Pon thamarakal’, ‘Akkarayikkara ninnal’, ‘Manideepa naalaam’, ‘Amirthmozhugum gaanam’, ‘Thechipoove mizhithirakoo’, ‘Poomarathin chillakalil’, ‘Kurumozhi koonthalil’…. Each song a work of art, crafted to absolute perfection.

Joy had started off as a musician in the famed, magnificent orchestra of M.S. Viswanathan in the 60s. He was the accordion player for the Master and I also recall him stating in an interview that he was the first keyboard player in South Indian film music. He made his debut as an independent music director with the 1975 Malayalam movie ‘Love Letter’, and together with Shyam and A.T.Ummer, charted a refreshing course of light music in the following decade.

And in the midst of those prolific years, Joy worked on 2 Tamil movie albums as well- ‘யாருக்கு யார் காவல்’ (1979) was an adaptation of Sujatha’s ‘ஜன்னல் மலர்’- an adaptation that the anguished writer was quick to disown. However, Joy’s ‘சிப்பியின்னுள்ளே முத்தாடும் சேதி’, sung by SPB & P. Susheela, with its celebrated accordion flourishes managed to hog the airwaves even in the face of the Ilaiyaraja juggernaut. Again, the 1980 movie ‘அந்தரங்கம் ஊமையானது’ might all be forgotten today, but Joy’s creations such as the ebullient SPB- Janaki duet ‘காதல் நதியே கங்கை நதியே’ and the caressing Yesudas solo ‘மலர்கள் சொறியும் பூமரங்கள்’ linger on in memory…

To see that gifted musician and prolific composer reduced to playing the accordion to an uncaring audience in a London restaurant filled me with grief….

I chanced upon this video on KJ Joy recently and discovered the Malayalam original of ‘சிப்பியின்னுள்ளே’. But to see an ailing Joy recalling his career and reiterating his reverence for MSV summoned back my hapless rage at the capricious deal that is called life…

http://www.mathrubhumi.com/tv/Programs/Episode/1655

* * * * * *

I was rearranging some CDs in my collection last weekend when I discovered this song amidst some obscure numbers from the early 80s. Presenting it as part of this series today- a song that Joy composed for ‘கொம்புத்தேன்’ a Tamil movie of 1982 vintage, that, to the best of my knowledge, remains unreleased. During his years with MSV, Joy had fallen under the spell of the majesty of TMS and the dulcet tones of Susheela, and invites them to sing this lovely duet. Though I find the names of a Gopal & Sreepathy added to that of Joy in some sites, I distinctly recall this song being credited solely to K.J. Joy in the Radio Ceylon announcements. Joy strings together Kannadasan’s lines to a haunting tune and the veteran singers conjure up the magic of a bygone era…

https://www.youtube.com/watch?v=76bpatjV8gs&feature=youtu.be

Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/1853957907969260/

மலர்ந்தும் மலராதவை # 16

மலர்ந்தும் மலராதவை # 16

தலைவா…..இனி நான் உன்னிடத்தில்....

January 7 will always be a sad day for Tamil film music lovers, for it was on this day in 1996 that an unassuming melody maker made his exit from this world…an uncaring world that neither recognized his prodigious talents nor utilized his genius adequately. I believe he would have found peace at the feet of the Lord, the peace that eluded him this world of the ingrates and the treacherous, the fraudulent and the envious. One afternoon in July 2016, when Suresh Kumar narrated to me the sequence of events in the last day of his father the great V. Kumar, I couldn’t help my eyes moistening. I could picture vividly the last moments his father, and the irredeemable loss and anguish of Smt. Swarna and the young Suresh.

Today, in this series of obscure gems from unreleased movies, let us honour the memory of the ‘மெல்லிசை மாமணி’ by listening to two songs that he composed for ‘அவள் ஒரு காவியம்’, a Black & White movie that was made in 1979. After years of hibernation in the cans, the movie was released in a few centers in 1983. It was sent back to resume its hibernation without much ado. Much later it did a few desultory rounds on TV.

‘அவள் ஒரு காவியம்’ (Sri Sivalaya Films) was one of numerous movies made by the prolific Durai in the late 70s and early 80s. True, many of them did bite the dust at the hustings, but there was always a novel perspective, some heartwarming characterizations, striking performances and startling twists in his narrative.

The ‘அவள்’ in ‘அவள் ஒரு காவியம்’ refers to the majestic role played by Savitri, in one of her last appearances in Tamil Cinema. The great ‘நடிகையர் திலகம்’ was moving unwaveringly towards hastening her own end in the late 70s. Separated from the love of her life and chased by mounting debts caused by venturing into film-making, she had sold off her palatial house in Habibullah Road and moved to a small house in Anna Nagar with her son. Avaricious relatives and unscrupulous ‘advisors’ had been plundering her hard- earned wealth and properties for many years. Seeking solace in drink and plagued by ill-health, an emaciated Savitri continued to accept the offers that came her way. Nonetheless, she never failed to make a mark in each of these appearances- notwithstanding their insignificance.

Here, Savitri essayed the role of the benevolent Parvathi Ammal, who is a patron of many a home for

destitute women. She takes the courageous step of getting her only son Sathyan married to Vani, one of the inmates of the home who had been a victim of abuse by her employer. When Sathyan comes to know the history of Vani, he keeps away from her and wants to start life afresh with his collegemate Geetha. How Sathyan undergoes a change of heart when the truth of his own parentage is revealed forms the riveting climax marked by a brilliant display of the famed histrionics of the great ‘நடிகையர் திலகம்’.

Leaving aside the club dance song 'தேனான நேரமிது' by L.R. Eswari, two lovely songs composed by V. Kumar were picked from obscurity by the solicitous Radio Ceylon, nurtured with care and aired with deserving pride.

The first is a song that to me sounds to be patterned on the lines of an immortal composition of his beloved MSV, most probably on the request of Durai. Kannadasan pens this paean to his favourite Lord Krishna, his lines flow in felicity expressing the tremulous gratitude of a hapless girl who has found a tranquil sanctuary. P. Susheela, Kumar’s anointed Diva, invests in the song the sedate soulfulness that it demands. Her velvety sheen brings in glittering appeal to the beautiful composition- ‘கிருஷ்ணப்பிரபு உன்னிடம் குடி கொண்டேன்’:

https://www.youtube.com/watch?v=-SN3YBTmSSA

The other is a mesmerizing duet that sadly seems edited even out of the version of the movie available in YouTube. I could not to let this jewel crafted by loving care by Kumar continue to teeter in oblivion, hence have uploaded the audio from my collection. Jayachandran and Susheela ushering in a million joys in ‘கோடி இன்பங்கள் தேடும் உள்ளங்கள்’. Lyrics by Alangudi Somu. Kumar in his enchanting elements....

https://www.youtube.com/watch?v=oSEfU6zI3LU&feature=youtu.be

Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/1845068542191530/

மலர்ந்தும் மலராதவை # 15

மலர்ந்தும் மலராதவை # 15

கூவம் நதி தீரத்திலே.....

Circa 1979. One sultry evening, ALS. Veeriah was at a loose end when he received an intriguing summons from Jaishankar to call on him the next morning. Veeriah had been lounging at home for he had nothing else to do. He went to bed wondering what the summons meant and what the morrow would bring.

The movie production executive who was rarely at home and had been almost a stranger to his own children all these years now had all the time in the world for them. The young man whom Kannadasan had brought from Devakottai in the late 50s to work in his ‘தென்றல்’ press had observed life in all its ups and downs. He had seen at close quarters the machinations of the dream merchants of Kodambakkam, their facade of sparkle and splendour; and the decay, deceit, despair and decadence that gnawed at the vital within.

Over the years, he had had earned the trust and affection of Kannadasan- he had even chauffeured the bard all over the state when the regular driver was unwell; he had looked after the accounts of the bard’s publications, involved himself in election campaigning, worked tirelessly for all the movies scripted or produced by Kannadasan. And when Kannadasan’s brother A.L. Srinivasan wanted him to work as production executive for the movie ‘செந்தாமரை’, Veeriah began a long tenure of loyal service as production executive with ‘ALS Productions’. He even affixed the prefix ‘ALS’ before his name. Seeing his tireless and diligent work during the making of ‘கந்தன் கருணை’, director A.P. Nagarajan was so impressed that he got Veeriah a car and promised Veeriah to make a movie for him. Veeriah continued to work as 'Production Executive' and graduated to 'Production Manager' for the movies made by ALS.

The years rolled by. ALS fell ill after ‘சினிமா பைத்தியம்’ and passed away shortly thereafter. Veeriah worked for ‘சட்டம் என்ற கையில்’ at the request of Director T.N. Balu whom Veeriah knew since the days when Balu was a car driver for film financier Singaram Chettiar. Veeriah started working for Balu’s next venture ‘சங்கர்லால்’, but Balu’s sudden demise brought to an end to Veeriah’s association with the movie. He had earlier tried to meet APN to remind him of his promise to make a movie for him, but an embarrassed APN who at that time making ‘நவரத்தினம்’ with MGR, declined to meet him and conveyed his regrets through an assistant. APN too passed away soon thereafter.

It was then, as I started to say, that Veeriah received a summons from the ‘மக்கள் கலைஞர்’. When Veeriah reached Jai’s house, he was given a warm welcome. Jai enquired if Veeriah was engaged in any project. When Veeriah replied that he had been unemployed for quite some time, Jai was saddened. The affable actor knew well the wide knowledge and experience that Veeriah had gathered in all aspects of film making and now assured him that they would commence making a movie with Veeriah as the producer. Veeriah was overjoyed at this sudden turn of events and Jai asked him to return after a week.

In the meantime, Veeriah’s family friend and businessman Venkataraman came forward to finance the project. Veeriah took him to meet Jai, but when Venkataraman wanted Jai to sign as guarantor for the amount, Jai was outraged at the lack of trust and declined the offer. Jai assured Veeriah that he would obtain funds for the project and deposited a significant amount in a separate bank account. The Production Company was named ‘Mukundalaya’ by Jai.

Veeriah was taken aback when Jai suggested that they take up his good friend Cho’s famed stage play ‘Quo Vadis?’ for their project, for the drama was a political satire with controversial innuendoes.

The story was about a remote island that remains untouched by modern developments. The island is ruled by a good King, and the innocent people lead happy, untroubled lives. A ship that leaves Madras gets caught in a storm and is shipwrecked on the island. How the visitors corrupt the minds of the islanders and how a good samaritan amongst them comes to their rescue forms the rest of the tale.

Worried at the controversies that the narrative may trigger, Veeriah requested Jai to take up some other story. However, Jai was adamant on this point. Cho was roped in to tweak the story into an engrossing screenplay and direct the movie himself. Jaishankar, AVM. Rajan, Jayachitra, Radhika, Ashokan, VKR and Manorama were engaged to play the main roles.

Cho commenced making the movie titled ‘பாருக்குள்ளே நல்ல நாடு’ in right earnest and shooting progressed at a brisk pace in sets erected at the AVM Studios when the first hurdle struck. Ashokan suffered a heart attack and was hospitalized. They decided to shoot the portions that did not need Ashokan’s appearance and take him back on-board after his recovery.

The second hurdle was a report that the State Government was not pleased at this movie being made and that MGR take it as a direct censure of his stewardship. The rumor-mongers even suggested that MGR had heard that some of the sequences in the movie had cotemporary, critical hues. Fresh from the success of ‘வண்டிக்காரன் மகன்’ and acting in ‘ஆடு பாம்பே’ at the time, Jai was considered as being against the government and there was a close watch on the projects that he was engaged in. However, when an anxious Veeriah brought these reports to the notice of Cho and Jai, they seemed only more determined to go ahead with the movie.

The cast and crew then traveled to Rajasthan for the next schedule of shooting. Sequences were shot in the rich, regal locales. They returned to Madras, only to hear the sad news of Ashokan’s demise. The filming was discontinued for a while leading to mounting costs. As most of the movie was made, Veeriah played the canned shots to prospective distributors. He perceived then that the political insinuations in the narrative had put off the distributors- they were afraid of the repercussions from the powers that be. While some of them predicted that the movie would never get a censor certificate, others said they would not commit until the movie cleared the censors.

Months rolled by, and despite the best efforts of Jaishankar and Veeriah, the project had to finally abandoned. A disenchanted Veeriah was back at home, waiting for another summons…..

* * * * *

MSV had been engaged to compose the music for the movie. One of the songs from the album captured the imagination of the blessed Radio Ceylon and was played for a brief time before being buried in the relentless sands of time.

Here, then, is the song …. A gorgeous classical setting for a mirthful duet. The besotted man suggests suitable locales in Madras for a romantic rendezvous… the haughty lady dismisses each suggestion with hilarious contempt! TMS and Vani seemed to have relished rendering the lines…the enjoyment shows in their song.

https://www.youtube.com/watch?v=Q8bEwLeDRlY&feature=youtu.be

Discusion at:
https://www.facebook.com/groups/1018417744856618/permalink/1842056442492740/

மலர்ந்தும் மலராதவை # 14

மலர்ந்தும் மலராதவை # 14:

வானிலே எந்த நாளும் ஆனந்த சூரியோதயம்....

I’ve often wondered about this film 'Anu'. I honestly don’t know if it was ever released, for I have seen it (twice!) on Podhigai TV. And though the certificate of censor showed the year as 1982, I strongly suspect that it was already some years since the film was made. Perhaps it was destined only for a belated TV release (‘திரைக்கே வராத’ in Sun TV jargon)?

The film was produced by T.R.M. Sukumaran, the son of the T.R.Mahalingam, under the banner T.R.M. Creations. (Sukumaran had also jointly produced மற்றவை நேரில்). 'Anu' was scripted by ‘Vietnam Veedu’ Sundaram and directed by P.N. Menon. Jayadevi played the protagonist Anu; the lacklustre cast included a newcomer Raja, Hariprasad (who acted in நட்சத்திரம்), SSR Rajendrakumar, Rani Padmini and Anumanthu.

The story was of the affluent Anu falling in the love with the poor and principled Ramu, and marrying him with her father’s reluctant approval. Ramu’ s large family (numerous siblings, irresponsible father…) looks at her with initial mistrust, but soon enough, she wins them over with her warmth, simplicity and affection. Tragedy strikes early when Ramu succumbs to a sudden illness. Though benumbed by this irredeemable loss, Anu refuses resolutely to return to her father. She stays on in Raja’s house; gently guiding the hapless family find its moorings.

MSV had whipped up a delectable duet, served in style by SPB & Vani: ‘சந்தனக்காட்டினில் மல்லிகைப்பூத்தது’. SPB and Vani have a natty albeit naughty duet as well: ‘நெனச்சது அப்போது’. ‘வானிலே எந்த நாளும்’ has a pathos version beginning with ‘சிரிக்கும் வாழைத்தோட்டங்களில்’ sung by Savitri, the daughter of T.R.Mahalingam. Savitri was earlier heard setting the stage for KJY’s enchantment to commence in the famed ‘காஞ்சிப்பட்டுடுத்தி’ (வயசுப்பொண்ணு) and following Janaki’s lead in the singular classical treat ‘அழகியப்பெண்னொரு சங்கீதம்’ (இவர்கள் வித்தியாசமானவர்கள்).

* * * *

“இந்தப்பாட்டு.... இது எந்தப்படம் ? ” asked a delighted but perplexed Vani ji when I played this song over the phone. And as I teasingly maintained silence, she laughed and added ruminatively: “It is so beautiful…Aahaa….MSV sir’s tune, definitely. It has MSV written all over it!” When I finally told her about the film, she could recollect it. She too felt that it was never released and added that ‘Vietnam Veedu’ Sundaram named it Anu after his daughter.

'வானிலே எந்த நாளும்' was popularised by Radio Ceylon, securing a regular berth in the Pongum Poompunal parade. The song finds place in the aftermath of Anu’s marriage with Ramu, and Kannadasan fills his lines with the euphoric moments of marital bliss. Content with creating a tune that verily serenades the soaring joys of a newly married girl, MSV leaves the rest to Vani. And as for Vani…oh, her singing surges with this rapturous repletion, and then adds on for good measure fervent hopes for this bliss to continue unabated. If she preens herself smugly in 'நாளெல்லாம் மணவிழா, வாழ்வெல்லாம் திருவிழா’, she is a picture of impassioned prayer in ‘அரசன் போன்ற என்ற நாயகன் அதிக காலம் வாழ்வாரென்று இறைவன் அருளைச்சொல்லுங்களேன்’; and if she is the bashful damsel singing of new found pleasures in 'சிவந்த கன்னம் பாலூறவும், கனிந்த வாயில் தேனூறவும் …’ (that hushed ‘சொர்கங்களே’ hints at so many unsaid delights!), she is the serene epitome of domestic happiness in Kannadasan’s wonderful lines 'ஒளியின் மேன்மை தீபத்திலே...தீப மேன்மை தெய்வத்திலே...தெய்வ மேன்மை கோயிலிலே...கோயில் மேன்மை குடும்பத்திலே.....’ .

This song was surely made for a kinder destiny!

Here is the audio link:

https://www.youtube.com/watch?v=xnXrPNj-puQ

And the video (the song is followed by the short pathos version by Savitri):

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

Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/1838704609494590/