A M Rajah in the 70s

 70 களில் A.M. ராஜா பாடிய பாடல்களின் தொகுப்பு..  💖💖

It is the birth anniversary today of the maverick genius Aemala Manmadharaju Rajah- the singer whose voice filled the airwaves of the 50s with a dreamy, wistful enchantment and a composer whose uncanny understanding of the film medium set the tone of ‘light music’- music that, even being moored to the classical base, rose up as an edifice of elegance and euphony…

When Rajah proposed marriage to his co-singer Jikki in a sentence written on a song note -sheet while the recording of ‘Maheshwari’ was going on, the startled Jikki, after a few days of demurring, gave her acceptance with tremulous love. And the entire film world joined joyously in the celebrations, for weren’t AMR and Jikki the uncrowned King and Queen of Tamil Film Music at the time?

The early years of marriage were happy ones, both personally and professionally. Sadly, the hugely gifted Rajah was always a person with attitude problems, highly sensitive, deep-rooted eccentricities, insecurities and given to hallucinations of imaginary slights and unfounded suspicions. He made himself unpopular when he did not hesitate to put forth his forthright opinions on the mediocrity (as he perceived it) of the works of other composers that he was asked to sing. He gradually allowed these complexes to take over his better senses. As a fallout, Sridhar turned to Viswanathan –Ramamoorthy for Nenjil Or Alayam. PBS secured acceptance as the singing voice of Gemini Ganesh The rest was taken care of gleefully by the cunning machinations of the unscrupulous elements in the tinsel town.. And thus not only his metier both as a mellifluous singer and as a talented composer came to an abrupt untimely halt, the pitiable Jikki had to sacrifice her soaring career as well.

 

Much has been written everywhere about the meteoric rise and fall of Rajah and his glittering career in the 50s. Today, let us look at few seldom turned pages of his chronicle- the marvelous second innings that Rajah returned to play in the 70s…

All through the 60s, Rajah, even while being forgotten in Tamil Cinema, basked in an extended stay in Malayalam Cinema, well after the arrival of Yesudas. And it was V. Kumar who coaxed him to come out of his self-imposed exile in Tamil and sing the lilting ‘Mutharame un oodal ennavo’ with the bubbly L.R. Easwary. The movie was Rangaraattinam, produced by Sowcar Janaki and the duet was filmed on Gemini Ganesh and Sowcar. In an album that had 2 wonderful solos by the young SPB, the veteran Rajah proved that he was more than a match to the new players in the arena. Old-timers were filled with joy on hearing the voice of their beloved Rajah again…..

https://www.youtube.com/watch?v=l_34ryLuB0A

Pugundha Veedu (1972), a successful movie produced by Subramaniya Reddiar and directed by Pattu. The album seemed all set to be another monopoly of TMS and P.Susheela, when, in a flash of brilliance, Shankar-Ganesh roped in Rajah and Jikki to render a breezy duet to be filmed on AVM.Rajan and Chandrakala. ‘Senthamaraiye senthen ithazhe’ turned out to become a chart-buster and remains popular to this day… 

https://www.youtube.com/watch?v=ZIJgMsoGUu8

In the same year, Rajah rendered another popular song for Shankar-Ganesh, filmed again on AVM Rajan. ‘Chinna kannane’ from Thaikku Oru Pillai. Rajah aced the beautiful composition with his evocative mellifluousness, tinged with a patina of poignancy. 

https://www.youtube.com/watch?v=X7n35LmbRSg

1973 brought in its wake an opportunity for the composer Rajah to assert himself, and in the album ‘Veettu Mapillai’, Rajah showed that he was in sync with the changing trends of the early 70s and his compositions enjoyed abundant airtime. 

The emotionally surcharged ‘Malare o Malare’ composed and sung by Rajah:

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

The joyful Rajah- Jikki duet ‘Rasi nalla rasi’ composed by Rajah:

https://youtu.be/ZANZFSdxyao?feature=shared

Shankar-Ganesh continued to invite Rajah and Jikki to be part of their ensemble, and in Veetukku Vandha Marumagal ( 1973), in which Vani Jairam was introduced in Tamil Cinema, the duo gave Rajah and Jikki a lovely duet ‘Oruvan oruthi thunai serndhu vittal’: 

https://www.youtube.com/watch?v=obW_r4u1l38

2008. We had gone on a holiday to Singapore. One morning after worshiping at the temples on Serangoon Road and looking at the wares in Mustafa, we were making our way back to the hotel, when we came across an aged gentleman setting up his shelves of cassettes in the crowded passage of the row of shops. As he was arranging them, I heard him sing ‘எதை கேட்பதோ.... எதை சொல்வதோ.... நான் அறியாத பெண்ணல்லவோ...’. My wife looked on bemusedly as I countered him with ‘நீ கேட்கலாம், நானும் சொல்லலாம்...அது புரியாத ஒன்றல்லவோ!’ We ended up laughing….The song is an exquisite Rajah-Jikki duet composed by Shankar-Ganesh for the 1974 movie Paththu Madha Bandham:

https://www.youtube.com/watch?v=uyfpgpaFe5I

1975 saw Rajah securing another opportunity to compose music, and this was for ‘Enakkoru Magan Pirappan’. Rajah saved for himself 2 beautiful duets in the album- 

A young couple singing happily about their impending parenthood- ‘Roja malarai pole’ with P. Susheela:

https://www.youtube.com/watch?v=x1htd75VdCg

The other is this lovely Rajah- Jikki duet ‘Manathukkum theriyum ennai’:

https://www.youtube.com/watch?v=6l0fQQRBOlI

The same year, Rajah teamed with Susheela to sing this Radio Ceylon favourite, again for Shankar-Ganesh- ‘Yenada kanna indha pollathanam’ for the movie Anbu Roja. The song was so popular that it overshadowed even the lovely SPB- Susheela duet ‘Paal nilavu neram’ from the same album.

https://www.youtube.com/watch?v=6CcKN_p5Qgo

1976 followed, with the grand arrival of Ilaiyaraja. That year, A.M. Rajah got to sing 2 songs for V. Kumar in the forgotten movie ‘Idhu Ivargalin Kathai’. 

‘Ananda illam’ with P. Susheela:

https://www.youtube.com/watch?v=UVt_ssgKGX8

The other is the ruminative ‘En devane unnidan ondru ketpen’. A brooding, pensive Rajah unleashes his caressing flourishes to this wondrous composition:

https://www.youtube.com/watch?v=RTQU4LvOgEI

And this turned out be the last song by Rajah in Tamil Cinema.  The beautiful second innings that started and ended with compositions of V. Kumar, with Shankar-Ganesh filling in the middle. This Rajah never got to sing for Ilaiyaraja (How I wish Ilaiyaraja could have got Rajah to sing ‘Neeyoru Kaadhal sangeetham’ in Nayakan!) 

Rajah continued to conduct light music concerts with Jikki and his troupe until demise in a gruesome mishap in 1989 when he slipped and fell under the wheels of a moving train. 

Rajah- the quirky nightingale who inexplicably decided to still his song when spring was beckoning and who stepped out to sing late in autumn..... Few lingering numbers until the onset of inexorable winter…..

- Saravanan Natarajan

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Anbu vandhadhu - Sudarum Sooravaliyum

 அன்பு வந்தது.....

One evening in the late 60s, AVM Chettiar was having a leisurely tête-à-tête with his old friend KT. Subbiah Chettiar. The latter, along with few partners was just then engaged in producing a movie called ‘நாலும் தெரிந்தவன்’. Subbiah Chettiar spoke very highly of a youngster called V.C. Guhanathan who had written the story. AVM Chettiar had already heard of the young man who had won the admiration of none other than MGR who had commissioned him to write the script for ‘புதிய பூமி.’

Intrigued by the glowing reports of VCG from different quarters, the discerning Movie-Moghul sent for the youngster. He was taken aback when he saw the teenager who then in his second year of Commerce in Pachaiappas College. AVM asked VCG if he could narrate to him a story then and there, and when VCG nodded his readiness, AVM asked his assistant not to disturb them for an hour. Even as VCG narrated his story which he had titled as ‘செல்லத் தங்கை’, he could perceive that the patriarch was greatly impressed by his story-telling; AVM was even seen wiping the tears that were flowing from his eyes as VCG was dwelling upon certain emotional sequences.

The same afternoon, VCG was asked to narrate another story to AVM, and this time it was a story that went on to be filmed as ‘அன்னையும் பிதாவும்.’ VCG soon earned the goodwill and admiration of the entire AVM family and worked in many of the AVM ventures that were produced at the time.

The first story that VCG had narrated to AVM, ‘செல்லத் தங்கை’, had found a special place in the heart of the patriarch, and when the production house had a secured the dates of NTR, he decided to produce the movie in Telugu. Early one morning, VCG was sent to narrate the story to NTR. NTR liked the story and the movie was soon being made with Gummadi, Vanisri, Rajasri and Haranath essaying the other main roles and with Krishnan Nair as the director. Released in 1970, ‘Chitti Chellelu’ was a runaway hit.

Basking in this success, AVM sent for VCG and filled the youngster with incredulous delight by suggesting that he should produce the Tamil version himself, jointly with AVM. VCG commenced work on the project excitedly. Gemini Ganesh, Muthuraman and VA Nirmala were taken on-board. A young Chandramohan was engaged to play the role that Harananth had essayed in the Telugu version. Another youngster called Kamalahasan was summoned to dub for Chandramohan. To play the role of the sister, VCG approached a young girl whom he had seen many a time at a bus-stop in Habibullah Road. She was a college student from a poor family, and VCG secured the concurrence of her father to introduce her in his movie. It was thus that Jaya was roped in to play the role of the sister, and in the future, she would become the wife of VCG.

VCG wanted the famed Kannada director Puttanna Kanagal to direct the project. AVM, himself a great admirer of Puttanna’s works, was skeptical of getting the director on-board. However, the determined VCG, along with SP. Muthuraman, camped in Mysore for a whole week and secured Puttanna’s acquiescence. Puttanna took his time in making the movie, but each frame bespoke his brilliance; each look, each word, each angle was a lesson in film-craft, reminisced VCG in an interview many years later. When the completed movie was shown to AVM, the patriarch was seen overcome with emotion.

However, released in 1971, the movie titled 'சுடரும் சூறாவளியும்' (AVM Chitramala Combines), despite having an engrossing story ending in a heart-rending twist, bolstered even further by a riveting screenplay and heartwarming, subtle performances, could not repeat the success of ‘Chitti Chellelu’. Puttanna who watched the movie in a near-empty Wellington Theater, was so disheartened by the failure that he left, refusing to meet AVM as he felt that he had let down the hoary production house. AVM Chettiar, on the other hand, was unperturbed by the loss; he had only wanted to meet the celebrated director to express his heartfelt appreciation of the movie.

* * * * * *

Let us listen to two versions of the song 'அன்பு வந்தது’ from this long-forgotten movie. I fell in love with the song when I first listened to it as a child, and each listen renewed afresh my love for the lines and the lilt. Years later, when our son was born, I used to sing the opening lines many a night to lull him to sleep. And even as he fell asleep with his little fingers entwined trustingly in mine, the magic of the bard who with his astute perspicacity, summarized the marvel of parenthood in the simple lines, made my eyes moist with tears of bliss and gratitude....

அன்பு வந்தது...

என்னை ஆள வந்தது....

சொந்தம் வந்தது....

தெய்வ சொர்கம் வந்தது....

* * * * *

Manickam (Gemini Ganesh), a young widower, is finding it increasingly difficult to make both ends meet and his children Raja and Meena are forced to go hungry most days. Manickam cannot to bear to see the little ones suffer the pangs of hunger. But what can he do except shed tears of despair? Enters a wily scoundrel who takes advantage of Manickam’s poverty and lures him to forge cheques and get them encashed. Manickam hesitates but succumbs finally to the temptation.

He is paid well for the crime, and goes home, carrying joyfully his share of the spoils. He buys delicious snacks and fruits for his children. ‘Meena, catch! Raja, catch!’ he cries excitedly, as he throws the apples that he has bought for them. And as the famished children grab the fruits in wondering delight, Manickam laughs aloud with happiness, for their days of deprivation seem now a distant dream. He takes the kids out for a treat, and as they enjoy themselves in the zoo and the beach, he sings this song, lost in joyous dreams of a prosperous, carefree future…

நாலு பேர்கள் வாழும் வாழ்வு

நாமும் வாழலாம்.....

தினம் நல்ல ஆடை நகைகளோடு

மலர்கள் சூடலாம்....

கண்ணிரெண்டில் கலக்கமின்றி

அமைதி காணலாம்....

காலம் வெல்லும் வெல்லும் என்று

உறுதி கொள்ளலாம், 

உறவு கொள்ளலாம்....

https://www.youtube.com/watch?v=e04PAh9O_FU

Alas! Little does he know how short-lived his happiness is going to be! He reaps the bitter harvest of the sins he sowed and is imprisoned for his crimes. The orphaned children find shelter and succour in a kind-hearted woman’s house. She has a son of her own and brings up all the three children with love and care.

Meanwhile, Manickam serves his term and is released, but is unable to trace his children. His crooked accomplice accosts him and convincing him that his search for his kids was futile, persuades him to go to Bangalore with him. Manickam is coaxed gradually into falling back to crime and takes to drink as well. He cannot help thinking of his children, and drink is his only comfort.

As the years roll by, Raja grows up to be a responsible, honest youth (Muthuraman), and Meena, his doting sister, grows to be a naïve, cheerful girl (Jaya). The second version of song reflects all this. Manickam drowning his sorrows in drink, the child Raja remembering his father and singing the lines, the passage of time, the very special, endearing bond that has evolved between brother and sister, and Raja’s staunch determination to take care of Meena. 

ஆற்று வெள்ளம் போன பின்பும்

ஆற்று மண்ணிலே....

வரும் ஊற்று வெள்ளம் போலிருந்து

உறவு கொள்ளுவேன்...

பரிவு கொள்ளுவேன்....

தெய்வம் பார்த்த பிள்ளைப்போல

தங்கையை பார்ப்பேன்....

செல்வம் பார்த்த ஏழைப்போல

நிம்மதி காண்பேன்....

https://www.youtube.com/watch?v=zd31dPxjoEs

* * * * * *

How adroitly MSV employs the same tune woven in the silken strands of Tilak Kamod for the two versions! And what wonderful vistas of familial bliss and love, each one studded with distinct beauty, does the poet nonpareil summon in his lyrics! The simple desires of a father for his little children, and his determination (as accentuated by the twice-repeated 'வெல்லும்') to secure for them a tranquil life filled with comforts find an evocative platform on the bard's page.

This song surely must rank among the best of SPB’s early years, and the fervent hopes of the future that the lyrics beckon find delightful delineation in his rendition.

And as for the second version- I am filled with worshipful awe at Kannadasan's metaphors-he likens the the joy that the brother gets at the sight of his sister to the rapture of a poor man at the sight of wealth! SPB drawls over the opening lines in a drunken stupor, L.R. Anjali sings for the child, MSV’s interludes verily mirror the years rolling by, the manly majesty of TMS is just what the steely, resolute lines of Raja need, and S. Janaki is a late entrant - singing for the sister, she is the last pleasant surprise that MSV stores in this ballad….

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