Saravanan Natarajan
Admin · 4 hrs
In celebration of his birthday today, two songs of Yesudas, both with Sasirekha's humming- one by the Master, the other by the Maestro....
* * * * * *
Here the girl cannot speak…. cannot speak with words, that is. Yet her eloquent eyes speak volumes, her smiles proclaim her happiness, her gestures declare her love for her man…
He had earlier rescued her from a scoundrel. Days later at a public rally, he makes an impassioned plea for young men from affluent families to come forward to marry girls with disabilities. A social activist challenges him to set an example and points out to the same girl who is in the audience. She is speech-impaired and destitute, he comes to know. Without a moment’s hesitation, he agrees and the marriage is held the very next day.
It is now the night of their marriage. They are alone in their chamber and he greets her lovingly and talks to her of his progressive thoughts…at one stage he asks her for her opinion, forgetting for a moment that she cannot speak. Seeing her eyes brimming with tears, he is filled with remorse.
He draws her gently into his arms and sings a caressing song of solace. A soothing salve to a bruised heart. So what if she cannot speak, he asks lovingly. Her silence is in itself a language that he would understand, he avers. And in the tender solicitude and loving understanding of her man, she sheds her sorrow and hums along with him with a happiness that had been a stranger to her threshold until then…. Enough, let us leave them alone now in their little world of joy....
Noting the bard’s lines beginning with a reference to the Veenai, the astute master makes the Veenai the mainstay of this captivating composition,with the guitar, flute and piano adding to the allure…..and who else but Yesudas to bring to life the mellow flourishes that the lines demand- empathy, understanding, assurance and overpowering love come across so magnificently in his song....
This captivating song forms part of my earliest memories…Seeing it in Doordarshan as a child, I fell in love it at once and this song, among a few others, paved the way for what would become a lifelong passion.
https://www.youtube.com/watch?v=5sliTjKfPEo
* * * * * * * * *
The Balanagamma (also called Aidamma) temple is in the Vanaparthi taluq of Palamuru district in Telangana. This ancient temple attracts huge crowds, for the benign Goddess is revered as one who assumes fearsome proportions to liberate her devotees from the clutches of satanic forces. Her magnificent exploits are numerous and are subjects of the rich Telugu folklore. The fables are filled with rich fantasies involving thrilling adventures, romance, evil magicians, incredible sorcery and finally good triumphing over evil. (We had these much before J.K.Rowling was even born!)
Burra Katha (a traditional ballad singing folk form) exponents have been narrating tales of Balanagamma from time immemorial. Balanagamma and her legendary valour are also the favorite themes for Jangama Katha, Chekkabomalatta, Koyya Bomalatta and the Surabhi Folk Theatre- all ancient narrative art forms of Andhra Pradesh.
It was an adaptation of the Burra Katha version of Balanagamma that Gemini Vasan decided to make a movie of in 1942. He got the talented Balijepalli Lakshmikantham (who also acted in the movie) to work on the screenplay, dialogues and lyrics. Chittajalu Pullaiya was the director. The film starred Kanchanamala in the title role of Balanagamma who is held captive by the evil sorcerer Maayala Maraathi (played by Govindarajulu Subbarao). Pushpavalli played the vamp Sangu and Banda Kanakalingeswara Rao played Kaaryavardhi Raju. Saluri Rajeswara Rao and M.D. Parthasarathi composed the music.
Gemini’s Balanagamma, with its spectacular settings and special effects, was a thumping success and paved the path for celluloid adaptations of similar folklore fantasies. Why, in 1942 itself, came another adaptation of Balanagamma called Santha Balanagamma (Santha Productions), directed by M.V.N. Rama Rao! Vasan retold the story in Hindi in 1954 as Bahut Din Huye. The movie starred Madhubala, Ratan Kumar, Aagha and others. Music was by Eemani Shankara Shaastri.The next adaptation of Balanagamma to hit the screen was in 1959: Balanagamma (Sri Venkataramana Films) starred N.T.Rama Rao, Anjali Devi, S.V.Ranga Rao and Rajasulochana. It was directed by Vedantam Raghaviah and had music by T.V.Raju. This version was dubbed and released in Tamil as well. Kannada cinegoers had to wait till 1966 for a Kannada adaptation: Balanagamma (Sanathakala Mandir) was directed by P.R.Kaundinya. It had Rajkumar, Kalpana, Nagiah and Rajashri in its cast. Interestingly, S.Rajeswara Rao composed the songs for this version as well.
It was this tried and tested story then that Director K. Shankar decided to resurrect in Tamil in 1981. It had the beautiful Sridevi as Balanagamma, supported by Saratbabu, Manju Bhargavi, K.R. Vijaya, Sudarshan and others.
Ilaiyaraja must have found working on a folklore fantasy a refreshing change, and came up with a stunning album. ‘Koondhalile megam vandhu’ remains the most popular song of the lot, and quite deservedly so. The Maestro had composed a pristine Bilahari here, and who else but Yesudas could deliver this mesmerizing melody! With Sasirekha humming along, the song remains a wonder that many a classical vocalist has saluted with awe.
https://www.youtube.com/watch?v=5Yw1C3sRUS8
https://www.facebook.com/groups/1018417744856618/permalink/2349489345082778/
No comments:
Post a Comment