மலர்ந்தும் மலராதவை # 35

Saravanan Natarajan
Admin · July 27 at 3:15 PM
மலர்ந்தும் மலராதவை # 35

ஒரு பார்வை நூறு கவிதை….

As I affixed my signature on a document this morning, I noted the date…and realized that it is the birth anniversary tomorrow of a person who has a very special place in my heart…. a great man who, to my eternal regret, I could not meet when he was amidst us….. Yet when I visited his house years after his demise and had a long, unforgettable conversation with his singer- wife, I could sense his cosmic aura hovering over every word spoken, every song recalled….. As I wandered across the hall I could picture the rehearsals that would have taken place in that very room…. I could hear the music that would have reverberated within those very walls- the music that was born to gladden the hearts, nay, stir the souls of generations to come …. When his son and family graced my house in Sharjah with their presence, I could imagine the great man smiling from above…

Varadarajulu Kumaresan, our most beloved V. Kumar, would have turned 84 tomorrow.

V. Kumar- a beautiful page in the chronicles of Tamil Film Music…. The humility of his heart stayed hidden behind the magnificence of his music, the innocence of his mind took refuge behind the inventive flourishes of his baton….. His unassuming nature proved his undoing…. His virtues made him a vulnerable victim for the vultures…… he could neither comprehend nor counter the cunning and the crafty who called the shots in Kodambakkam…. His shelves were filled with cheques dishonoured, his forgiving heart not permitting him to follow up on payments long outstanding….. and when opportunities dwindled, the guileless gentleman preferred to let his genius remain untapped rather than to beseech the big barons for work….

Yet, Kumar, the ‘மெல்லிசை மாமணி’, filled each album that came his way with marvelous music; many of the movies may be forgotten, but Kumar’s works therein are celebrated to this day. He has left behind a glorious legacy of melody that will forever enshrine his memory in the hearts of countless music aficionados like us… உனக்கென்ன குறைச்சல்….நீயொரு ராஜா...

Presenting today, as part of the மலர்ந்தும் மலராதவை series, two songs from a movie that remains unreleased, and while we are at it, let us also commiserate with a talented writer whose tryst with the tinsel town was anything but happy…

* * * * * * *

The writer I refer to is none other than much admired Kovi. Manisekharan, author of many a best seller and winner of the coveted Sahitya Akademi Award. His breathtaking range and repertoire include historical novels, plays, social novels, short stories, compilations of poetry, articles… …குற்றாலக் குறிஞ்சி, அஜாத சத்ரு, நந்திவர்மன், யாக சாலை, மயிலிறகு..... Kovi’s works would find a place of pride in any Tamil library…

However, like many writers before him and many after him, Kovi was bitten by the cinema bug. Even as early as the 50s, he wrote lyrics for songs such as the A.M. Raja- (Radha) Jayalakshmi duet ‘ஆசை நெஞ்சமே’ and the (Radha) Jayalakshmi solo ‘கண்ணாலர் இங்கு வருவார்’ (பூலோக ரம்பை).

He joined KB’s unit as Assistant Director in 1973 when ‘அரங்கேற்றம்’ was being made. In an

interview, he recalled that he was treated with affection and respect by KB. Under the exacting master’s tutelage, Kovi learned the grit and the grime; he understood the intuition, innovation and improvisation that are compulsory chapters in the craft of film-making. Unfortunately, financial constraints (Assistant Directors were not paid well) and constant friction with KB’s chief assistant Ananthu forced Kovi to leave KB’s unit and he returned to his first love, writing.

However, in 1975, he was approached by Baba Desai, a Kannada producer who wanted to buy the rights of ‘தென்னங்கீற்று’, one of Kovi’s novelettes. The story was about a girl in her 20s who has not ‘attained age’ in the physical sense. Desai was startled when Kovi expressed his desire to helm the project. But when he learned that Kovi had apprenticed under KB, Desai readily agreed to produce the movie in Kannada and Tamil. The Kannada version ‘Nireekshe’ had Srinath, Manjula, Kalpana and Shivram in the lead roles. The Tamil version தென்னங்கீற்று had Vijayakumar, Sujatha, Kalpana and Jaiganesh. Producer Baba Desai appeared in a brief role. In an interview, Kovi recalled that as a film institute student, Rajinikanth had approached him seeking an opening. Kovi wanted Rajini to play the role that eventually went to Jaiganesh, but by the time தென்னங்கீற்று happened, Rajini was already acting in அபூர்வ ராகங்கள் and could not make himself available on the dates that Kovi wanted.

G.K. Venkatesh composed music for the songs in both versions. While ‘Nireekshe’ was a commercial success, ‘தென்னங்ஙீற்று’, despite a great performance by Sujatha, was an abject failure. Kovi's only consolation was that both versions won critical acclaim and awards.

* * * * *

Disheartened at this failure, Kovi went back to writing and completed his magnum-opus ‘யாகசாலை’. Determined as ever to make his mark in cinema, he decided to make a celluloid adaptation of his ‘Yaagasaalai’. His wife pleaded with him to leave cinema aside and concentrate on his writing. Even MGR is said to have counseled him against attempting to make a movie of ‘யாகசாலை’. All this fell on deaf ears and Kovi went ahead with drafting the screenplay.

He commissioned Vadivukkarasi to play the pivotal role. For the male lead, instead of bringing on board his first choice- the young Vijayakanth, Kovi had to settle for a newcomer for the simple reason that the youngster was ready to pay Kovi an amount of INR 30K if he was given the role. And this amount was a godsend just then to the cash-crunched Kovi. He also sold the rights of his novel ‘அகிலா’ when he needed funds for the next schedule. (‘அகிலா’ was subsequently made as ‘மீண்டும் பல்லவி’ and released in 1986).

Kovi even sold a plot of land that was his to complete the project. Vijayaramani aka T.S. Raghavendar composed the music. However, released in 1980, ‘யாகசாலை’ was a massive catastrophe.

With that Kovi vowed never to venture into filmmaking again… He continued writing. He produced serials for television such as ‘அக்னிப் பரீட்சை’, ‘ஊஞ்சல் ஊர்வலம்’ and ‘திரிசூலி’.

Even now, when you are half-asleep and hear ‘ஒரு
ரோஜாப்பூ சிரிக்கிறது’ wafting from the radio in the still of the night, you turn aside with a sigh thinking of Kovi Manisekharan, a great talent who found success elusive in Cinema….

* * * * * * *

Not many would be aware that in between ‘தென்னங்கீற்று’ and ‘யாகசாலை’, Kovi directed a movie that never made it to the marquee….

Sometime in 1975, Chidambaram, an industrialist from Sivakasi came to Madras and met with Kovi. Chidambaram was so impressed with ‘தென்னங்கீற்று’ that he evinced keen interest in producing a movie with any other story of Kovi. The delighted Kovi narrated some of his his stories, and the novel ‘மனோரஞ்திதம்’ was picked to be made into a movie.

‘மனோரஞ்சிதம்’, in brief, was about a girl in a washerman’s family. Among the clothes that come regularly to their laundry is a silk shirt that always bears the fragrance of the Manoranjitham flower. The young girl fantasizes about the gentleman to whom the shirt belongs; she imagines him to be a handsome youth. She finds herself falling in love with him, even without knowing his identity. The denouement is when she knows that it is a middle- aged man behind the shirt and he is afflicted with leprosy. Kovi had buttressed this tale with interesting side-characters, heartwarming sequences and interesting twists. He sat to work on the screenplay and dialogues. The film-making commenced with great fanfare, with each of the guests being presented with a Manoranjitham flower. V. Kumar composed a set of lovely songs for the movie.

Sumitra essayed the role of the naïve young girl, and veteran S.V. Subbiah played the role of the afflicted man. Vijayakumar, ‘Thengai’ Srinivasan, M.N. Rajam and Manorama were the others in the cast. Shooting commenced at a brisk pace, with each shot meticulously well-planned and executed. It was then that Kovi faced the first hurdle.

It was an emotional sequence involving a long monologue by Subbiah. The veteran was not in his elements that day, and even after ten ‘takes’, could not come up to the expectations of Kovi. It was past noon when Kovi requested for another attempt. Subbiah declined citing that he was hungry and said that he would return after lunch. Kovi renewed his plea for a last ‘take’. An annoyed Subbiah removed his wig and declared ‘break’. Kovi protested that it was only his prerogative, as a director, to announce the lunch-break. Subbiah stomped off in anger and did not return.

The stand-off continued for more than a month. In the interim, Subbiah and Kovi filed complaints against each other in their respective associations. Subbiah claimed that he was insulted and declared that he would not be part of the project anymore. He even offered to return the amount he had received as an advance. Sivaji Ganesan, then the president of the Nadigar Sangam, tried his utmost to bring about a rapprochement, but Subbiah stood stubborn in his stand. Sivaji Ganesan requested his good friend ‘Major’ Sundarararajan to essay the role, without any payment. Major readily agreed, and the sequences were shot afresh.

Kovi faced the next hurdle when a major portion of the movie was completed. This time producer Chidambaram fell out with one of his partners and after repeated talks, an uneasy understanding was brokered between them. A fallout of this was the demand that Kovi step aside to make way for the seasoned director-duo Krishnan Panju. An embittered and disillusioned Kovi moved away.

Krishnan-Panju saw the rushes of the movie made, but could not decipher the sequence of the shots as Kovi had divided the screenplay mentally into various portions and he had shot the sequences in the order he had in mind. Krishnan-Panju wanted to re-shoot a significant part of the movie or wanted Kovi to return and give certain clarifications. The producers could not afford this unanticipated cost. They could not also bring themselves to request Kovi to return.

Hence the project was abandoned….. ‘மனோரஞ்சிதம்’ remains a bud that never blossomed….

* * * * * *

Radio Ceylon, as was its wont, picked up two songs from the orphaned ‘மனோரஞ்சிதம்’ and pampered them with frequent airtime. I recall listening to them even in the 80s. However, by the time I commenced my collection of these rare, prized numbers, these songs seemed to have vanished. I hunted for them in vain, even in remote corners of the South. Finally, it was only Mrs. Thomas of the hallowed Colombia Recording House in KL, who sent delicious shivers down my spine when she answered my anxious query with an affirmative nod.

Let us listen first to the stunning semi-classical number ‘ஒரு பார்வை நூறு கவிதை’… Kumar ropes in veteran TMS to join Vani in this alluring outing… While TMS is usual majestic self, it is Vani who steals my heart with her delightful flourishes and dulcet tones. Listen to Kumar’s bravura arrangements; you cannot but come under the spell of the great Mellisai Maamani.

https://www.youtube.com/watch?v=JqpG3aMoVAA&feature=youtu.be

The second is the title song (it has a pathos version as well) rendered by Janaki, an unusual presence in Kumar’s ensemble. Much before Ilaiyaraja and his ‘செந்தூரப்பபூவே’, Kumar summons Janaki to call out to the மனோரஞ்சிதம் and sing for a young lass in the throes of love…. She wonders who the man is who has found his place surreptitiously into her heart…. She sighs over the fragrance of the flower that makes her throb with a delicious ache….she giggles in self-conscious bashfulness- Kumar is in his melodic elements, and Janaki does what Janaki must….

https://www.youtube.com/watch?v=_Ffk84mPHic&feature=youtu.be

These songs remain ensconced in a precious crevice of memory; their appeal undiminished over the decades, much like the மனோரஞ்சிதம்- the Artabotrys Hexapetalus, whose fragrance lingers on in the air long after the flower itself has withered….

Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/2103546529677062/