The King’s Treasuries- Part 13 Vattathukkul Sathuram - Kadhal Ennum

Saravanan Natarajan writes:

The King’s Treasuries- Part 13

ஓராயிரம் பாடலும் பாடுமே...

In this edition of The King’s Treasuries, we continue to look back upon Jikki’s second tryst with Tamil Cinema….

Vattathukkul Sathuram (1978/ MAM Films) had Latha, Sumitra, Saratbabu, Srikanth and Savitri essaying the lead roles. The film was produced by N.S.Mani and directed by S.P. Muthuraman.

It was a trend at that time to adapt popular novels for celluloid, and Maharsihi was one writer whose works were in demand just then. Bhuvana Oru Kelvikkuri, Saaindhadamma Saaindhaadu, Nadhiyai Thedi Vandha Kadal were all his stories.


Vattathukkul Sathuram was based on Maharishi's story as well. The film explored a theme unusual for Tamil cinema- female bonding, and the ultimate sacrifice that Anu (Latha) makes, all for the sake of her friend Malathi (Sumitra). Sridhar's Avalukkendru Or Manam did traverse this path earlier, though the situations and sequences were wholly different.

Babu's camerawork in Vattathukkul Sathuram was of particular appeal; the angles were innovative and the black & white frames austere and telling. Sure the proceedings had their fair share of melodrama, but the subtle and refined performances, especially that of Latha (fetching her the Filmfare Award) saved the movie from remaining yet another tearjerker.
* * * *

Ilaiyaraja's music was, of course, another highpoint of the movie. Since the story revolved around the two female leads, all the 4 songs were by female singers. 'Itho itho en nenjile', the flagship number, remains a timeless ode to friendship. Tracing the years rolling by as Baby Indira and Baby Sumathi grow up to Latha and Sumitra, the opening lines are sung by Umadevi and Indira, and then S. Janaki and B.S.Sashirekha take over in scintillating style. 'Aada sonnare ellorum' is a breezy club dance number that Jency crooned in her very first year in Tamil film music. 'Perazhagu meni konden' is another club song, but the pathos which was just hinted at in 'Aada sonnare' becomes palpable in this song, rendered by Janaki with characteristic understanding.
* * * *

I sing to use the waiting,
my bonnet but to tie,
And shut the door unto my house;
no more to do have I..
Till, his best step approaching,
we journey to the day,
and tell each other how we sang
to keep the dark away.

-Emily Dickinson (Time and Eternity)

Anu falls in love with Malathi's brother. But he is disdainful of her dubious parentage and wards off her overtures callously. A smitten Anu refuses to see the writing on the wall and asks him to meet her at nightfall in the village outskirts. The unfeeling fool doesn't care for her tryst, and even worse, he doesn't care for her trust. For he complains to his mother of Anu's behaviour. The highly incensed mother draws the village elders and the group of indignant people march towards the riverbank where Anu is awaiting him with growing impatience.

So as she waits at the rendezvous, this is the song that Anu sings softly to herself, blissfully ignorant of the approaching humiliation and the calamitous path her life would take henceforth. She sings, with her heart overflowing with love, her dreams filled with happy tidings of their marriage, her eyes searching restlessly for the sight of her man.

Right from the opening humming, Jikki brings to life the myriad musings that the song evokes. How poignantly the longings of a love struck heart find portrayal in her caressing rendition! And Ilaiyaraja shows his class in style, for even as the lines are sung tenderly as they ought to be, he fills the interludes with hurried, suspense-filled moments as the angle shifts to the gang of the infuriated villagers marching towards Anu, while a lone flute brings us back to the pining girl waiting in the woods…

Let us too revel in this captivating calm before the storm.

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



* * * * *

Who knows what made Ilaiyaraja think of Jikki and summon her to sing this song? By 1978, Jikki's glorious second innings was showing signs of waning; her last song at that point of time was perhaps way back in 1975- 'Manathukku theriyum' for A.M .Raja in Enakkoru Magan Pirappaan.

So when it seemed that Jikki was being banished to oblivion yet again, Ilaiyaraja escorted her back to the limelight, and gave her second innings a rejuvenating extended lease. And….serendipity did happen- the veteran chanteuse did justice to the trust placed on her. The voice that ruled the 50s with unassuming majesty was dulcet as ever in 1978- ravages of age had not withered much the charm. This haunting song and the popularity it enjoyed showed that Jikki could not be written off so easily. While it wasn't as though she was inundated with work, some memorable songs did come her way in the subsequent years.

And while Ilaiyaraja was the composer who kept her career afloat, there were others who employed her vocals in the coming years, though sparingly. 'Naan unna nenachen' (Kannil Theriyum Kathaigal/ 1980/ Shankar-Ganesh), 'Andha ramanum indha seethaiyuim' (Paakku Vethalai/ 1981/ Malaysia Vasudevan), 'Raathiri pooththau kaattu roja' (Dhaayam Onnu/1988/ Ilaiyaraja), 'Ninaithathu yaaro nee thaane' (Paattukku Oru Thalaivan/ 1989/ Ilaiyaraja), 'Poovodu kaathu vandhu' (Dharmam Vellum/ 1989/ Ilaiyaraja), 'Oththaiyadi paadhaiyile' (Aatha Un Kovilile/ 1991/ Deva), 'Iravu naadagam iraval poo mugam' (Annan Ennada Thambi Ennada/ 1992/ Gyan Verma), 'Selvame chithirame poonthere' (Pangaali/ 1992/ Ilaiyaraja), 'Vanna vanna solleduthu' (Senthamizh Paattu/ 1992/ MSV-IR), 'Chinnamuthu chinnamuthu' (Chinnamuthu/ 1994/ Deva) are some songs that Jikki sang in the last phase of her illustrious career in Tamil film music. She had some memorable songs in Telugu as well in this period, like 'Jaanaavule' in Aaditya 369 (1991) for Ilaiyaraja…. Lustrous flashes from dying embers….

Discussion at:

https://www.facebook.com/groups/1018417744856618/permalink/1471860276179027/

SENTHAMARAIYE SENTHENIDHAZHE - PUGUNDHA VEEDU

Saravanan Natarajan writes:

செந்தாமரையே செந்தேனிதழே.....

Pugundha Veedu (1972/ Sri Navaneetha Films) was a successful movie produced by Subramaniya Reddiar and directed by Pattu. AVM.Rajan, Ravichandran, Lakshmi, Chandrakala, Savitri and V.S. Raghavan essayed the main roles.

Shankar-Ganesh’s music was an important ingredient in the success of this venture. All the songs became popular and found repeated air time for many years to come. There were 5 songs, and save one, the remaining were written by Vaali. And save the same one, the remaining songs featured the vocals of either one or both of the lead singers of the time- TMS & P. Susheela.

And it the fifth song that we are going to dwell on today- written by Vichitra and sung by A.M. Raja and Jikki. All that (Shankar) Ganesh whom we met at his residence some years back could tell us about Vichitra was that the lyricist was recommended by the producer and they had to chip in with words and even entire lines when the lyricist seemed stumped.
* * * * *

‘Unnaiyum, un paataiyum romba pidichirukku. Unnai kalyanam pannikka aasaippadaren. Sammadhama?’- This is what A.M. Raja wrote in Jikki’s notation sheet as they were rehearsing for the song ‘Azhagu nilaavin bavaniyile amaithi konjum iravinile’ (Maheswari/1955). Jikki was startled at this unexpected proposal, but after demurring initially, she gave her acceptance. And the entire film world joyously joined in the celebrations, for weren’t AMR and Jikki the uncrowned King and Queen of Tamil Film Music in the 50s?

The early years of marriage were happy ones, both personally and professionally. But the hugely gifted AMR was always a person with attitude problems, highly sensitive, deep-rooted eccentricities and insecurities and given to hallucinations of imaginary slights and unfounded suspicions. He gradually allowed these complexes to take over his better senses. 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.

It was after a long hiatus that Jikki’s enchanting voice was heard once again in Tamil film music, and the composers who called her were mindful of AMR’s foibles, and were careful to give her only female duets initially, or at the most, duets with AMR. Jikki kicked off this second innings with two female duets in 1970: ‘Azhagu mugam pazhagu sugam’ (Sorgam/ with S. Janaki /for MSV) and ‘Kannan varuvaan indru Kannan varuvaan’ (Kannan Varuvaan/with P. Susheela/for Shankar-Ganesh). Some other female duets that came her way in the early 70s were ‘Manjalum thandhaal malargal thandhaal’ (Thenum Paalum /1971/with S.Janaki/ for MSV), ‘Thalai vaazhai ilaippottu’ (Naan Yaen Pirandhen/1972/with S. Janaki/for Shankar-Ganesh), ‘Kanna pesum kannaal’ (VeettuMapillai/1973/ with P. Susheela/ for AMR) and ‘Poomaalai ondru’ (Pathu Maadha Bandham/1974/with P. Susheela / for Shankar-Ganesh).

And as for AMR, his second innings began a year later- in 1971. And it was V.Kumar who coaxed him to come out of his self-imposed exile and sing the lilting ‘Mutharame un oodal ennavo’ (Rangaraattinam/ with LRE). A wonderful part of this second phase was that AMR also got to compose music for 2 films: Veettu Mapillai- 1973 & Enakkoru Magan Pirappaan- 1975. Some of the songs that AMR sang in the 70s were: ‘Chinna kannane’ - Thaikku Oru Pillai/1972/ Shankar-Ganesh, ‘Malare o malare’ & ‘Rasi nalla rasi’ (with Jikki)- both from Veettu Mapillai/1973/ AMR, ‘Oruvan oruthi thunai serndhuvittal’ - Veettukku Vandha Marumagal/1973/with Jikki/ Shankar-Ganesh, ‘ Edhai kettpadho edhai solvadho’ - Pathu Maadha Bandham/1974/ with Jikki/ Shankar-Ganesh, ‘Manathukku theriyum’ (with Jikki) & ‘Roja malaraippole’ (with P. Susheela) both from Enakkoru Magan Pirapaan/ 1975/ AMR, ‘Enada kanna indha pollathanam’ -Anbu Roja/1975/ with P. Susheela/ Shankar-Ganesh, ‘Ananda illam’ (with P.Susheela) & ‘En deivame’ –both from Ithu Ivargalin Kadhai/1976/ V. Kumar.

This second coming of Jikki extended for many more years, from ‘Kaadhalennum Kaaviyam’ (Vattathukkul Sathuram/ 1978/Ilaiyaraja) to ‘Vanna vanna metteduthu’ (Senthamizh Paattu/1993/MSV-IR), she got to sing some noteworthy songs. We shall dwell at length upon this phase of Jikki’s career another time.

So listen on to this bewitching duet by a pair of nightingales.....quirky nightingales who inexplicably stilled their song when spring was beckoning and who came out to sing late in autumn..... few lingering numbers until the onset of inexorable winter.

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



Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/1470371279661260/

Chinna Penn Aana Podhile - Aaravalli 1957

Sridhar Trafco writes:

Que Sera, Sera… (சின்னப்  பெண்ணான போதிலே

அன்னையிடம் நான் ஒரு நாளிலே...)

Venice… a city in its entirety built on archipelago of more than 100 islands in a beautiful shallow lagoon separated by canals and bridges.

Also known as city of water/floating city.. venice has beautiful cityscape known for its uniqueness,rich musical and artistic cultural heritage..

Walking alongside the long canal with more than 200 public water taxis(boats) and gondola boats, we cherished every moment enjoying the beauty of the city with thousands of tourists around …while the day witnessed lucrative commercial attractions like boat-ride and crowded eateries with Italian delicacies and wines, the evenings were colourful feast to our eyes with musical events and bands on the roads or just outside the ‘ristorantis’, taverns and inns.

What caught my attention in the evening was a begger on the roadside , with his accordion playing the Italian/Spanish song ‘Que Sera Sera’, a beautiful number sung by Doris Day in Alfred Hitchcock’s ‘The man who knew too much’ and this song bagged academy award in 1956.

Here is the link...
https://youtu.be/xZbKHDPPrrc

The same tune was adapted by G.Ramanathan in tamil for his film ‘Aaravalli’ in 1957 rendered by AM.Raja and Jikki with beautiful lyrics by Pattukkottai Kalyanasundaram.

The highlight of this signature song is, AM Raja sings only the last line while Jikki reigns and holds the sway…and believe me..the song was done in one take.

First see the English lyrics:

When I was just a little girl
I asked my mother, what will I be
Will I be pretty, will I be rich
Here's what she said to me.
Que Sera, Sera,
Whatever will be, will be
The future's not ours, to see
Que Sera, Sera
What will be, will be.
When I was young, I fell in love
I asked my sweetheart what lies ahead
Will we have rainbows, day after day
Here's what my sweetheart said
Que Sera, Sera,
Whatever will be, will be
The future's not ours, to see
Que Sera, Sera
What will be, will be.
Now I have children of my own
They ask their mother, what will I be
Will I be handsome, will I be rich
I tell them tenderly.
Que Sera, Sera,
Whatever will be, will be
The future's not ours, to see
Que Sera, Sera
What will be, will be.

And see Pattukkottai Kalyanasundaram’s lyrics:



சின்னப்  பெண்ணான போதிலே
அன்னையிடம் நான் ஒரு நாளிலே...
எண்ணம் போல் வாழ்வு ஈடேறுமா
அம்மா நீ சொல் என்றேன்

வெண்ணிலா.. நிலா
என் கண்ணல்லவா கலா
உன் எண்ணம் போல் வாழ்விலே
இன்பம் தான் என்றாள்

வெண்ணிலா.. நிலா

கன்னி என் ஆசை காதலே
கண்டேன் மணாளன் நேரிலே
என் ஆசை காதல் இன்பம் உண்டோ
தோழி நீ சொல் என்றேன்…. (வெண்ணிலா.. நிலா)

கண் ஜாடை பேசும் வெண்ணிலா
கண்ணாளன் எங்கே சொல் நிலா..
என் கண்கள் தேடும் உண்மைதானே
சொல் நிலவே என்றேன்.. (வெண்ணிலா.. நிலா)

கடைசியில் AMRaja: வெண்ணிலா.. நிலா

While the English version believed ‘the future was not ours to see’ ( whatever will be.. will be..), Pattukkottai Kalyanasundaram was very positive (உன் எண்ணம் போல் வாழ்விலே இன்பம் தான் ) from the time we returned to Bahrain a couple of days ago, this song has been lingering in my nerves with the ever-loving voice of jikky... Now listen to the songs and enjoy ( both tamil and english)

 - Seethapathy Sridhar (2013)

Discussion at:

https://www.facebook.com/groups/1018417744856618/permalink/1247285575303166/