மலர்ந்தும் மலராதவை # 36

Saravanan Natarajan writes:

மலர்ந்தும் மலராதவை # 36

ஏதேதோ கனவு கண்டேனோ.....

Last weekend when OISG, Narayanan, Sivakumar Sir and I met, we talked, among other things, of Ilaiyaraja reusing his tunes in other languages.

My thoughts, this week, were on many such instances, and at the irony of some of the tunes funding their way back to Tamil! Like for instance, ‘சங்கத்தில் பாடாத கவிதை’ (which itself was the Tamil version of the scintillating Malayalam number ‘Thumbi vaa’), enjoying a Telugu sojourn in ‘Aakasham enatido’ and returning to Tamil as ‘நீர்வீழ்ச்சி தீ மூட்டுதே’ when Nireekshana was dubbed into Tamil as கண்ணே கலைமானே. And each of the versions, in Malayalam, Tamil and Telugu featured the vocals of Raja’s Prima Donna. The Hindi version that came much later, was a fun-filled Mano- Preeti Uttam Singh duet, though.

However, there came to memory an instance where a tune sung by Janaki returned to Tamil in the vocals of Vani…serendipity happens when we listen to the same tune in the vocals of the two talented Divas….

Janaki, as we know, was at most times an afterthought in the Tamil albums of the 60s. MSV would send for Janaki only in the rare cases when he wished for a change from his trusted Susheela or protégé Easwari. In a decade that was dominated by these two hugely talented singers, Janaki had to be content with the stray opportunities that came her way. That she gave her best to each one of her songs, few that they may be, revealed why she was celebrated in Malayalam and Kannada.

The 70s, however, was a decade of renaissance. The number of composers, lyricists and singers who found exciting avenues ensured an abundance of variety. MSV was first to acknowledge this change, and along with the young SPB, Yesudas and Jayachandran, a delighted Janaki found frequent summons from the Master coming her way. With the advent of Vani, MSV found a singer who was in perfect sync with his thoughts. Album of album came from the Master with dazzling permutations and combinations of singers.

If Vani was an inevitable presence in the ensembles of MSV, Shankar-Ganesh and Vijayabhaskar, Janaki found her moorings in the music of Ilaiyaraja. The late 70s and the early 80s were the time when the careers of both the singers peaked and most albums featured their vocals.

Janaki and Vani had only a handful of duets, though. It was MSV who brought them together for the first time in the beautifully composed ‘இந்தப் பெண்ணோடு பிறந்தது நடனம்’ (சமையல்காரன்/ 1974). The divas shared the mike four years later when Shyam composed the eternally alluring ‘பொன்னே பூமியடி’ (மனிதரில் இத்தனை நிறங்களா/1978). Ilaiyaraja gave them the jaunty ‘மச்சானை பாரடி’ (தங்கமகன்/1983), and also made them join Malaysia Vasudevan to render the haunting ‘சின்னப்பொண்ணு சின்னப்பொண்ணு’ (அறுவடை நாள்/ 1986). Chandrabose pulled a coup of sorts when he brought together Susheela, Janaki and Vani to sing ‘வந்தாளே தெற்க்குச் சீமையிலே’ ( பொண்டாட்டி சொன்னா கேட்டுக்கணும்/ 1991).

And in the 1978 movie காற்றினிலே வரும் கீதம், Raja sent for Janaki and Vani to render the two versions of the title song. If Janaki’s ‘கண்டேன் எங்கும்’ was the gentle zephyr that caresses one with its pleasant allure, Vani’s was the wild tempest that tantalizes one with eerie enticement.

https://www.youtube.com/watch?v=cl1IbJwXVro

https://www.youtube.com/watch?v=sqDkmF1dLds

* * * * * * *

Jwala, a 1985 Telugu movie, was a potboiler in the standard template of the time. In a movie which

Chiranjeevi essayed a double role, Ilaiyaraja came up with some feet-tapping songs that became popular. Even overshadowing the fast-paced dance numbers, it was the soulful Janaki solo ‘Evevo Kalalu’ that topped the charts.

The tune was so appealing that Raja had to reuse it in Tamil in the following year. ‘மரகத வீணை’, a story revolving around a primary school in a southern village and the love that blossoms between the music teacher Kokila (Revathy) and the sports coach Kannan (Suresh), had a magnificent album. And ‘Evevo Kalalu’ was heard as ‘கண்ணா வா’, again in the voice of Janaki.

Two years later, a production company called ‘Vijay Gowri’ films embarked upon dubbing ‘Jawala’ in Tamil as ‘துடிக்கும் நெஞ்சம்’ and the songs were recorded in Tamil. I doubt if the movie ever made it to the halls, but Vani’s fervent ‘ஏதேதோ கனவு கண்டேனோ’ did feature in the salubrious ‘Mandha marutham’ parade of Radio Ceylon.

Here then are the two songs, the same tune in the voice of the two divas:

Kanna Vaa from Maragatha Veenai (1986)
Sung by S. Janaki
Lyrics by Vairamuthu
Music by Ilaiyaraja

https://www.youtube.com/watch?v=K1ifFkNbJt4&feature=youtu.be

Ethetho from Thudikkum Nenjam (unreleased)
Sung by Vani Jairam
Lyrics by Vaali
Music by Ilaiyaraja

https://www.youtube.com/watch?v=u0w-ulzvJCk&feature=youtu.be

Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/2154102721288109/

Idhayam idhayam inaikirathe - Vidukathai (1997)

Saravanan Natarajan
Admin · August 3 at 5:27 PM

Was in Jaipur for the last 2 days on work. As is my wont, and as my close friends know only too well, there is always a song running within even I as go about my routine. And the two days that I was in Jaipur it was ‘Sivappu lolaakku kulunguthu’.

Later while going to bed, I thought about the movie ‘Kaadhal Kottai’, a movie that stole my heart at the time. My thoughts then went to Agathiyan, the sadly forgotten talented film-maker, and then my thoughts went to what in my opinion was his best movie ever…

* * * * * *

Putting aside the disappointment of ‘Madhumathi’ (1993) and showing promise in the modest success of ‘Vaanmathi’ (1996), Director Agathiyan was riding on an unprecedented high soon thereafter. In ‘Kaadhal Kottai’, he told the tale of a love that blossoms through mail, without the lovers even meeting each other. In ‘Gokulathil Seethai’, Agathiyan presented an interesting account of a wayward youth brought to the right path by the patient, persistent efforts of the heroine. Runaway hits of 1996, both movies had interesting storylines narrated with rare sensitivity, their appeal enhanced manifold by the proceedings flowing to a riveting climax. And Agathiyan made history when he became the first Tamil to win the National Award for Best Director for his work in ‘Kaadhal Kottai’.

The critical commendation and commercial success enjoyed by 'Kaadhal Kottai' and 'Gokulathil Seethai' prompted K. Balachander to invite Agathiyan to make a film for his production house Kavithalaya. The movie that Agathiyan set about making was 'Vidukathai'.

* * * * * * *

‘Of more than twice her years,
Seam'd with an ancient swordcut on the cheek,
And bruised and bronzed,
She lifted up her eyes
And loved him, with that love which was her doom…’
- Alfred, Lord Tennyson (Idylls of the King)

This time around, Agathiyan crafted a tale of a 18 year-old girl and a 41 year-old man falling in love and then coming to terms with their marriage. Anandi is a bubbly college student, fearless and forthright in her convictions. And when her father succumbs to a heart ailment, she shows precocious sagacity in dealing with the loss, at least outwardly.

Neelakantan, a middle-aged ex-army clerk is the new tenant in an outer wing of Aanandi's house. He is a bachelor, and feeling left behind by time, he has divested himself of any matrimonial plans. Though he seems to have accepted his single state with indifference, his agony at his wasted youth reveals itself in an inebriated outburst.

The two lonely souls find their moorings in mutual compassion and understanding. Drawn to each other, they reach the bridge of love that will see them safely across the chasm of the enormous difference in their ages. It is the candid Anandi who expresses her desire to get married to him. And after initial denial, Neelakantan reciprocates her love and they get married.

After an idyllic honeymoon and the initial euphoria of marital bliss, they settle down to a life together. However, Neelakantan's feelings of doubt, inadequacy and self-reproach lead to problems that threaten to wreck their marriage. How Anandi manages to coax him out of his complexes forms the engrossing climax. When love prevails, all has to end well. Their marriage is for keeps.

Agathiyan painted on his canvas a life vibrant in all its idiosyncrasies and complexities. How the inner strength of Anandi comes to the fore when Neelakantan wallows in his weaknesses is put forth strikingly in sequences that form the defining moments of the narrative. When in the end Neelakantan sobs unashamedly in the comforting arms of Anandi and finds his uncertainties dissolving in his tears, Agathiyan leaves us with moist eyes as well, for the movie is a rare cathartic experience.

Agathiyan extracted brilliant performances from Prakashraj and Neena in the lead roles. With the story revolving around the two characters, Agathiyan needed only a handful of supporting artistes and here mention must be made of an outstanding cameo by Janakaraj as Neena’s father.

Sadly, ‘Vidukathai’, a Diwali release of 1997, did not find any takers and came a cropper at the hustings. I still recall that Diwali- ‘Rakshagan’, ‘Thedinen Vandhadhu’ and ‘Janakiraman’ were the movies that we friends rushed to see ( for attractions that now seem insignificant  😊 ), and only after watching them in quick succession, did we deign to see ‘Aahaa’, and that too only because it was released in Prarthana. Though I wanted to watch ‘Vidukathai’ after reading the reviews, not one of my friends was willing to indulge me by his company. We did watch ‘Porkaalam’ in due course, but finally when I made my way all by myself to Nagesh Theater to watch ‘Vidukathai’, it had already been consigned to the cans. It was many years later that I chanced upon upon a VCD of the movie in an obscure shop in Sharjah, and seeing it, I realized what I had missed. But then perhaps, it was all for the good, for I doubt if I could have appreciated the cunning subtleties and heartwarming highpoints of the movie way back in 1997…

* * * * * * * .

Presenting here a joyous song sequence…Goa is the Eden where our Adam and Eve seek out their honeymoon. Neelakantan and Anandi are on a voyage of discovery, discovery of themselves and of each other. Shy overtures, sidelong glances, half uttered endearments progress to frank conversations, bold appraisals, heady partying, candle-light dinners… the works..

Beverley Nichols said ‘Marriage is a book of which the first chapter is written in poetry and the remaining chapters in prose.' But Agathiyan begs to differ- he avers that while this meeting of the two hearts is new poetry indeed, each succeeding day would usher in poetry afresh for this special couple- no prosaic prose for them! Deva crafts a tune that is sheer poetry in itself- hark at the gentle flow of the tune mingling so delectably with a waft of the joys of a Goan carnival in the second interlude when the pair party aboard a ferry. Chitra entices as always, while the underrated Krishnaraj is scintillatingly soulful.

Song: Idhayam idhayam inaikirathe
Film: Vidukathai (1997)
Vocals: K.S. Chitra & Krishnaraj
Lyrics: Agathiyan
Music: Deva

https://www.youtube.com/watch?v=r3ZpykFkZmI

Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/2115882381776810/