The Celestial Nightingale - K.B.Sundarambal Part 3

Saravanan Natarajan writes:

The Celestial Nightingale
Part 3

When A.P. Nagarajan embarked upon திருவிளையாடல் (1965/ Sri Vijayalakshmi Pictures), a magnificent celluloid adaptation of the stage play ‘சிவலீலா’, he invited KBS to once again essay the role of Avvaiyaar who tries to pacify the petulant child Murugan. In a grand album composed by K.V. Mahadevan with an awe-inspiring galaxy of singers that included T.R. Mahalingam, M. Balamuralikrishna, Seergazhi Govindarajan, TMS, PBS, P. Susheela and S. Janaki, KBS glittered as the dazzling jewel in the crown with her songs such as ஞானப்பழத்தை பிழிந்து, பழம் நீயப்பா and வாசி வாசி என்று that flows into ஒன்றானவன்.

https://www.youtube.com/watch?v=KDNSM0RyUa8

She sang again for KVM in her next screen appearance the following year- மஹாகவி காளிதாஸ் (1966/ Kalpana Kalamandir) had KBS singing popular numbers like சென்று வா மகனே and காலத்தால் அழியாத காவியம்.

https://youtu.be/gaFdXWeUpZA

https://www.youtube.com/watch?v=l1kYJFo-uBU

An intriguing movie – ஞாயிறும் திங்களும் embarked upon at around this time with an ensemble cast of KBS, Sivaji Ganesan, Muthuraman, Devika and K.R. Vijaya sadly remains unreleased. It is the only album by M.S.Viswanathan in which KBS has sung. Luckily, the record was released and we are thus fortunate to listen to the scintillating KBS/MSV collaborations like வீறு தமிழ் பாலுண்டு, வகுத்தான் வகுத்த பகை அல்லார் and கேட்ட வரம் கொடுக்கும்.

KBS created a record of sorts by playing Avvaiyaar for the third time, this time in APN’s கந்தன் கருணை (1967/ ALS Productions), singing in KVM’s music, அரியது கேட்கின்ற and முருகா முருகா.

https://www.youtube.com/watch?v=O-zgx1UuvN0

In the same year came the only social theme starring KBS to be released- உயிர் மேல் ஆசை (1967/Ayyappan Productions). KBS played the role of an affluent old woman facing imminent danger to her life by unscrupulous rascals who wish to usurp her wealth. Veteran S.M. Subbiah Naidu tuned some devotional numbers for KBS such as தும்பிக்கை நாதன் துணை and ஐயப்பா பொன் ஐயப்பா; however, the more popular song from the movie was கேளு பாப்பா, கேள்விகள் ஆயிரம் கேளு பாப்பா.

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

Devar’s துணைவன் (Dandayudhapani Films) followed in 1969 in KVM’s music. KBS played the role of an ardent devotee of Lord Murugan and gives solace to a young couple whose infant is a living corpse. Besides KBS gems like ஞானமும் கள்வியும் and கொண்டாடும் திருச்செந்தூர், it had the magnificent பழனி மலை மீதினிலே (ஜெயமுண்டு பயமில்லை)’ which fetched KBS the National Award for Best Playback Singer of 1969.

https://www.youtube.com/watch?v=8XWX6W_haBw

T.R.Ramanna’s சக்தி லீலை (1972/ Raman Pictures) had KBS singing in T.K.Ramamoorthi’s music- songs such as அம்மா...சக்தியெனும் தெய்வம் கொண்ட படைவீடு and எங்கேயும் சக்தி உண்டு were popular in their time.

KBS played with characteristic dignity and fervour the title role in காரைக்கால் அம்மையார் (1973/ Eveeyaar Films). Lakshmi essayed the role of Punithavathi before the transformation. Muthuraman, Sivakumar & Srividya were the others in the cast. Era. Pazhanisami drafted the screenplay, and A.P.Nagarajan directed the movie. Kunnakkudi Vaidyanathan composed songs for KBS such as ஓடுங்கால் ஓடி உள்ளம் உருகி ( தகதகதகவென ஆடவா) and இறைவா உன் புகழ் பாடுவேன். The fast-paced தகதகதகவென ஆடவா with KBS soaring nonchalantly in breathtaking octaves left listeners in a delirious daze…

https://www.youtube.com/watch?v=q1mYqaa6ek8

And KBS sang again in Kunnakkudi Vaidyanathan’s music the same year for திருமலை தெய்வம் (1973/ Shanthi Combines) which was the only instance where she played a devotee of Vishnu. She appeared as Narayanamma who lives in a beautiful cottage on the hills leading to the temple of the Lord. Kunnakkudi Vaidyanathan composed for her 2 unforgettable songs. One is the famous ஏழுமலை இருக்க நமக்கென்ன மனக்கவலை written by Ulundurpettai Shanmugam that narrates the beatitude of the Lord's grace.

My favourite is the other KBS number நாள்ளெல்லாம் உந்தன் திருநாளே written by Kannadasan. In most of her songs KBS whips up a fierce storm of religious fervour, soaring with the highest octaves in breakneck speed as one possessed. But as a refreshing change, in this song, she is the gentle, salubrious zephyr that cools and calms a troubled mind with its solicitous serenity.

https://www.youtube.com/watch?v=Bv3HQgsvZbY

Thus ended Tamil cinema’s tryst with KBS. Of course in between her film projects and for long after திருமலை தெய்வம், KBS continued her stage concerts and recording devotional albums. Her concerts in numerous temples in all corners of Tamilnadu had devotees spellbound in the rapturous shower of piety. I have heard relatives recall with nostalgia that Panguni Utharam in Pazhani and Soorasamharam at Tiruchendoor would not be complete without the concerts of KBS. And KBS obliged everyone, from the most prestigious Sabha to the humblest group of workmen- the annual Ayudha Poojai of Taxi Driver associations in towns like Kumbakonam and Mayiladuthurai had the celebrations embellished by KBS singing for them.

Though in the early years KBS sang classical Telugu compositions in her concerts, she later concentrated almost wholly on Tamil songs steeped in devotion. Much after she was acclaimed as a great singer and stage actress, KBS formally learned classical music for 8 years under Namakkal Seshaiyengar. Learning of an erudite singer called Tiruchendoor Shanmugavadivu, KBS approached the reclusive artiste and coaxed her into imparting the ancient Pillai Tamizh ArutpaaKavadichindhu verses set in musical Ragamalika.

The devotional albums of KBS continue to be best-sellers to this day. Songs such as மனக்குறை ஏது முருகா, ஏறு மயில் ஏறி விளையாடும் முகமொன்றே, சரண கமலாலயத்தில், பாரோடு பதினாலு லோகமும், முத்து தமிழ் மாலை, தரணிதனில் அறுபத்தாறு தீர்த்தமும் all are enshrined in the hearts of devout Tamils the world over.

KBS was an ardent admirer of Mahatma Gandhi and his ideals. Her songs extolling the virtues of the Mahatma- நம்பிக்கை கொண்டெல்லோரும் கை ராட்டை சுற்றுவோம் and காந்தி ஓர் பரம ஏழை were a mandatory listen at Congress meetings. Heartbroken at the assassination of Mahatma Gandhi, KBS sang the poignant அடிமையெனும் விலங்ககற்றி written by Karaikkudi Raya Chokkalingam. The song உத்தமராம் காந்தி written by the great Namakkal Kavingnar, when heard in the emotion-choked resonant voice of KBS would move even the most staid listener to tears.

She resumed her stage dramas after continued persuasion by well-wishers. At a trade fair held in Salem in 1956, KBS played the role of Velan in an adaptation of Valli Thirumanam in which S. D. Subbulakshmi appeared as Valli and T. R. Mahalingam appeared as Narada.
Several awards and honours, including the ‘Isai Peraringnar’ conferred by the Tamil Isai Sangam and the ‘Padmashri’ conferred by the Government of India have come her way. KBS became a member of Legislative Council of Madras State in 1951, thus becoming the first film artist to enter an Indian legislature.

She was generous and gave away liberally to charitable causes. Seeing the great leader Satyamurthy languishing in a dilapidated rented house, KBS gave away a plot of 4.5 grounds that she owned in T-Nagar to his family and ensured that a house was built therein. The family of the leader named the house ‘Sundara’ in expression of their gratitude. KBS built a cinema theter in Kodumadi, the opening of which was attended by, among others, Karunanidhi, MGR and Jayalalitha.

KBS loved children and ensured that the families of her siblings lived with her in her palatial house in Kodumudi. She would pluck flowers from her garden, cull them into garlands and decorate the hair of her little nieces every evening. She would stand for hours at the stove and prepare delicacies for the children and watch on with loving indulgence as they consumed the snacks. Every full moon night, she would take all the children to the terrace or to her farm lands and have an enjoyable time regaling them with songs, riddles and jokes, followed by a sumptuous spread. If any of the children fell sick, she would stand vigil by their bedside, fasting and chanting the Lord' s name until they recovered.

However, in her last years, KBS perceived the avarice and deceit of her relatives. Disheartened at their treacherous deeds, she moved to her house in Alwarpet, Madras where she lived all alone. Film Producer Kalaignanam, who was her tenant in the first floor of the same house, recalls in his memoirs the depressed state of KBS. She had even reduced her food intake to only one meal a day. She regained some of her zest for life when Kalaignanam approached her with a movie project, but before that could materialize, KBS fell ill.

The Kodumudi Kokilam attained the feet of the Almighty on 19 September 1980. Chief Minister MGR ordered a funeral with state honours, and led the mourners who played their last respects to her body that was brought to the Nadigar Sangam. Karunanidhi and Sivaji Ganesan paid moving eulogies to the departed soul.

After long years of separation, she must have reunited with her lover in the heavenly realm; the two of them must be enthralling the Gods with their celestial music…
On her birth anniversary today, we salute the memory of the celestial nightingale.

https://www.youtube.com/watch?v=NYUvKowSF7A
https://youtu.be/o4dcdeB0zyM?list=PLFF16BE436306B407
https://www.youtube.com/watch?v=e9p1nK_3fo4
Concluded.

Discussion at
https://www.facebook.com/groups/1018417744856618/permalink/1351635404868182/

Part 1 here:
https://www.facebook.com/groups/1018417744856618/permalink/1349726998392356/
Part 2 here:
https://www.facebook.com/groups/1018417744856618/permalink/1350578841640505/

The Celestial Nightingale - K.B.Sundarambal Part 2

Saravanan Natarajan writes:

The Celestial Nightingale
Part 2

It was then that producer Asandas and director Manik Lal Tandon hit upon the idea of casting KBS in the title role in the celluloid adaptation of Gopalakrishna Bharathiar’s நந்தனார் சரிதம் that were planning to shoot. KBS was offered a staggering Rs. 1 Lakh to play the role. How this came about remains a matter of conjecture. One version says that KBS was determined to refuse, and hence demanded this fantastic sum with the hope that Asandas would stop pestering her then. And she had no option but to agree when Asandas readily agreed to pay the amount!

But in an interview ( Bommai/1970), KBS related that when Asandas, along with Congress leader Satyamoorthi, had come to make his offer, she was not at home. And when her uncle had asked in jest if Asandas would pay KBS Rs. 1 Lakh, Asandas agreed and promptly handed over a cheque for an advance of Rs. 25,000. And with Satyamurti too cajoling her to accept the offer, KBS was forced to play along. Whatever may have been the forces at play, KBS made history as the first ever artiste of Tamil cinema to be paid such an astronomical sum, and the first woman to play a male role on the Tamil screen.

Besides KBS, பக்த நந்தனார் (1935/ Asandas Classical Talkies) had Maharajapuram Viswanatha Iyer in his only celluloid outing. KBS sang a whopping 19 songs for the movie, including immortal classics such as வருகலாமோ, பித்தம் தெளிய மருந்தொன்று, உத்தாரும் தாருமய்யே and வழி மறைத்திருக்குதே in the movie. While Kalki panned the movie with the harshest terms in his review, (he even said caustically that the trees and animals shown in the movie acted better than the humans), the songs did become popular. Unfortunately, neither a print of the movie nor the songs are available today.

The next movie to come with KBS in its cast was மணிமேகலை (1940/ T.K. Productions). Produced by Tasilram Kishenchand and directed by the famed Bomman Irani, the film had KBS in the title role, supported by Kothamangalam Seenu, NSK, T.A.Mathuram and others. The brothers Papanasam Sivan and Rajagopla Iyer were in charge of the songs. மாசின்றி குலமாதர், சிறைச்சாலை என்ன செய்யும் and பாவி ஏன் பிறந்தேன் were among the 21 songs that KBS sang in the movie.

After a full 13 years came the classic அவ்வையார் (1953/Gemini), offering KBS the role of a lifetime. And she lived the role of the saint on screen. Directed by Kothamangalam Subbu, the film was some years in the making. Vasan had originally commissioned the legendary Pudhumaipithan to work on the script. However, Vasan later entrusted the screenplay and dialogues to his in-house writers Kothamangalam Subbu and Ki. Ra, advising them to incorporate some commercial elements like comedy and dance into the narrative.

Baby Sachu appeared as the child Avvai, Kusalakumari played the young Avvai and KBS played the aged Avvai. M.K. Radha, Gemini Ganesh, T.V.Kumudini, Balaji and Sundaribai were part of the huge cast. The grandeur of the rich visuals and the meticulous screenplay, topped by the sagacious presence of KBS made the movie a great success. Besides the traditional songs by Avvaiyar, the film had songs written by Papanasam Sivan and Kothamangalam Subbu. Music was by Mayavaram Venu, M.D.Parthasarathi and Anantharaman. KBS lives on in songs like கற்றது கைமண்ணளவு, முத்தமிழ் தெய்வமே வா, ஐயனே அன்பர்க்கு மெய்யனே, அறம் செய்ய விரும்பு, மயிலேரும் வடிவேலனே...

The performance and songs of KBS were the highlights of the movie that went on to ring in the cash registers wherever it was screened. A hoarding resembling a temple gopuram was erected at Wellington Theater in Madras, for watching the movie was considered akin to a sacred pilgrimage. Even non-Tamils thronged the Basusree and Broadway halls in Calcutta and Bombay- the pious and stirring presence of KBS cast such a spell that transcended mere barriers of language. After watching the movie at its inaugural show in Ceylon, a deeply moved Viscount Soulbury, then the Governor General of Ceylon remarked that this movie was sufficient to make truth, justice and ethics flourish on this earth. Even Kalki could not help being effusive in his praise for the sheer magnificence of the movie and the enticing persona of KBS. Gundoosi Gopal declared that he wished KBS would not appear in any more movies…he did not want to part with her image as Avvaiyaar!

https://www.youtube.com/watch?v=11_ps9Hf6Bk

https://www.youtube.com/watch?v=BFc8JCjWD0U

After a long absence, KBS made a comeback to the silver screen in 1964 with பூம்புகார் (1964/ Mekala Pictures) directed by P. Neelakantan. Having decided on rest of the cast, Karunanidhi and SSR wondered who could play the role of Kavunthi Adigal. The 1942 version had U.R.Jeevarathinam playing the role, and her songs மாநில மீதில் and பூதளம் புகழும் ஜோதி were very popular in the 40s. After much deliberation, they felt KBS was the most suited person to play the role.
They sent word to KBS that they would be coming to Kodumudi to meet her. KBS is said to have declared joyfully that her sons were coming to meet her and had a sumptuous meal ready when the two arrived. 'எங்களுக்கு அளித்த வரவேற்பு, வழங்கிய உபசாரம், 'மகனே' என்று அழைத்தது.....மறக்க முடியாத தாயாகி விட்டார்கள்!' reminisces Karunanidhi.

When they told her of their movie and placed before her their request that she play the role of Kavunthi Adigal, KBS replied that she had not acted in any movie after Avvaiyaar, and was content to sing in concerts. Moreover, she was a staunch supporter of Congress, and a deeply religious person. So how could she act for atheists and rationalists, she asked. ‘நாங்கள் எடுப்பது கடவுள் படமோ, கட்சி படமோ அல்ல. கற்ப்புக்கரசி கண்ணகி பற்றிய படம். நீங்கள் நடிப்பது சமணத்துறவி வேடம்' explained Karunanidhi. SSR expressed his ardent desire to act with KBS. After much persuasion, KBS replied that she would go to Pazhani and seek the guidance of the Lord before coming to a decision. Karunanidhi is said to have replied playfully that Murugan would not refuse if she told Him that it was Karunanidhi who had requested her to act! With that SSR and Mu.Ka. left Kodumudi, not wanting to pressurize KBS further.

After a few days, KBS sent word that Lord Murugan had given her the go-ahead. And so KBS came to play the role of Kavunthi Adigal and also sang some brilliant songs for the movie. Then there was another hitch- KBS refused to appear with her forehead bereft of sacred ash, and Karunanidhi was unhappy at this as Kavunthi Adigal was a Samanathuravi. KBS was firm’ ‘திருநீறு இல்லாமல் வெறும் நெற்றியுடன் இருப்பத்தில்லை!’ she declared. At length, they reached a compromise that she could draw a fine line of vibhoothi like a namam on her forehead; and it was thus that KBS played Kavunthi Adigal.

Kovalan returns to Kannagi after losing all his wealth. Kannagi consoles him and together they decide to go to Madurai to earn a living. On the way, they meet Kavunthi Adigal and she travels with them. And as they as cross the Vaigai on a boat, the aged savant sings a song, philosophizing on life and the lessons it teaches. For this situation, Karunanidhi wrote a song while traveling in his car from his house to the studio- வாழ்க்கையெனும் ஓடம் வழங்குகின்ற பாடம் set in Sindhu Bhairavi ranks among the best ever film songs of KBS.

https://www.youtube.com/watch?v=B1cVrNWWrHA

Another situation. Kovalan is wrongly accused of stealing the queen’s anklets and is executed. Kavunthi Adigal condemns this gruesome travesty of justice. Mayavanathan came up with the lines ‘அன்று கொல்லும் அரசின் ஆணை வென்று விட்டது...நின்று கொல்லும் தெய்வம் எங்கே சென்றுவிட்டது?’ KBS refused pointblank to sing the lines and Mayavanathan not being in town, Karunanidhi changed the line to ‘நின்று கொல்லும் தெய்வம் இங்கே வந்துவிட்டது!’

The other songs that KBS sang in the movie are தப்பித்து வந்தானம்மா, துன்பமெல்லாம் நம் மனதை சுத்தம் செய்யத்தான் and the couplet தொட்டவுடன் மலரொன்று.
With the resounding success of Poompuhar, KBS found regular film offers coming her way..

- To be concluded.

Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/1350578841640505/
Part 1 here:
https://www.facebook.com/groups/1018417744856618/permalink/1349726998392356/
Part 3 here:
https://www.facebook.com/groups/1018417744856618/permalink/1351635404868182/

The Celestial Nightingale - K.B.Sundarambal

Saravanan Natarajan writes:

The Celestial Nightingale

Am reproducing my article as a 3-part series to coincide with the birth anniversary of the celestial nightingale.

Part 1

* Getting down tiredly from the train from Madras, she found an unoccupied seat on the swarming platform in Trichy Junction. Placing her bags on it, she sat in an unobtrusive corner, waiting for the train that would take her to Kodumudi. She woke with a start from an unintended doze, as she noticed a crowd gathered around her, and no less a person than M.K.Thyagaraja Bhagavathar, then at the pinnacle of his glory, standing respectfully beside the bench. MKT enquired solicitously about her well-being and expressed his reproach at her not informing him of her transit in Trichy, for he would have gladly taken her to his house and dropped her back in the station in time for the Kodumudi train. So much was his reverence for her that he continued standing until she compelled him to sit beside her. And there they sat on a crowded platform, the peerless singing star and the woman who he was so much in awe of, chatting happily till the train arrived.

* The venue this time was the drought-stricken Rishivandiyam, where she was called to sing invoking the Rain God. “I will sing till the rains descend” she declared, and sing she did for a full four and half hours, till the skies opened up and poured in copious benevolence. The singer, now wholly drenched, continued to sing to her favourite Lord Murugan, and the ecstatic crowd threw up their hands in heartfelt gratitude...

* A furious S.S. Vasan had ordered the termination of services of Program Officer Varadachari and ‘Mess’ Goplalakrishnan, both trusted employees of Gemini Studious, when it became known that due to an inadvertent communication error, she had been refused food after office hours. Hearing this as she was getting ready for her shot, she hastened to Vasan’s room, even in her half made-up state, and demanded that the termination order be revoked forthwith, and Vasan had no option but to comply!

* ‘I will not leave Madras without meeting her!’ declared Lata Mangeshkar who had come to Gemini studios for a recording. And Vasan had her brought down from Kodumudi. They met at Vasan’s residence. Lata prostrated at her feet and sought her blessings and wanted a picture to be taken of them, and the photo clicked by Vaithi of Carnatic Studio remains to this day among Lata’s prized possessions..

·* “How can you fall at a woman’s feet?’’ queried scandalized friends to the great Maharajapuram Viswanatha Iyer, when they heard that he was asked to do so in the course of the shooting of a movie in which he acting, even if the scene warranted such an action. “She stands in front of me as a divine incarnate!” was the blissful, unrepentant reply from the celebrated vocalist.

* Veteran sound engineer, ‘ஒலிப்பதிவு மேதை' Rangasami had this to confess, “When madam soars in mind-blowing high scales, we do not have equipment sophisticated enough to do adequate justice. We can only do whatever is possible for us!”

You would have doubtless realized by now that the great personage referred to above is none other than K.B. Sundramabal, whose life was filled with heart-warming vignettes like these, all highlighting the admiration and respect she commanded from front-ranking artistes, even while revealing her humility, simplicity and humane qualities.
* * * * *

Kodumudi Balambal Sundramabal was born on 11 October 1908 in Paandi Kodumudi, a hamlet near Karur. Her mother Balambal struggled to make both ends meet. Even as a child, KBS was immensely talented, and though not formally trained, could render even intricate classical compositions, traversing the higher octaves with nonchalant ease.

I have read two different versions of her entry on the stage. One report has it that the child KBS was singing and begging for alms in a running train, when her pristine performance caught the attention of F.G.Natesa Iyer, an Railway Official and an amateur stage actor (he later acted as the aged husband of M.S.Subbalakshmi in Sevasadhanam). Highly impressed with the prodigious talent of the child, Natesa Iyer is said to have enrolled KBS in a drama troupe.

Another account of KBS’ early years relates that Balambal, along with her daughter moved to nearby Karur in search of livelihood. There the Deputy Superintendent of Police, R.S.Krishnaswami Iyer, a great patron of arts, was drawn by the child’s singing. He realized that the child would go places if properly trained, and took her to P.S.Velu Nair, who was a renowned dramatist. Velu Nair took KBS under his fold and KBS made her stage debut appearing as the 7th child in Nallathangaal.

Thus KBS grew up learning acting and singing. And her god-given gifts were honed to perfection under formal training and rigorous practice. As she grew up, she became a much sought-after stage artiste, and people thronged to watch her performing Rajapart and Sthreepart with equal felicity in famed plays like ‘Sri Valli’, ‘Harichandra’, ‘Pavalakkodi’… It was while she was performing in Sri Lanka in 1926 that she was introduced to S.G.Kittappa, and her life took a different turn from the momentous moment.

Shencottah Gangadhara Kittappa (1906-1933) was the uncrowned king of the Tamil stage. He came under the tutelage of the revered dramatist Shakaradas Swamigal, and even as a 5-year-old lad displayed astonishing artistry. As a young man, his startling good looks and wondrous voice made him the darling of the adoring masses. To hear him render ‘காயாத கானகத்தே’ and 'கோடயிலே இளைப்பாறிக்கொள்ளும்’ was a sublime experience, it was said. And to watch him don several roles with alacrity in Dasavatharam, including that of Vishnu in the garb of Mohini singing ‘தேவாசக்குலத்தோரே’ was mystical, magical…

Thus they met in distant Ceylon, the two treasures of Tamil theater, and it was love at first sight. SGK was already married- his marriage to Kittammal in 1924 had been attended by the cream of the Chennai society. This fact could not alter much in the altar of love; SGK and KBS became an inseparable pair and married in 1927.They began performing together, and thus began a glorious, though short-live era of Tamil theater. They toured Malaysia, Singapore, Burma where rapturous crowds showered gold and silver on the cult icons.

They returned to India to a tumultuous welcome. And in the months that followed they performed to packed houses all over Tamilnadu. Their masterpiece was, of course, ‘Sri Valli’, where SGK and KBS often interchanged the roles of Murugan and Valli with fantastic ease, and their intimate on-stage chemistry, delightful repartees and wonderful songs made the play an audio-visual extravaganza that one would remember for a lifetime. Both were also deeply patriotic and did much for the nationalist cause. Both took to wearing Khadi and inserted inspiring patriotic songs into their performances. They donated much of their earnings to deserving charitable and religious causes.
However, their happiness did not last long. They were forced to live away from each other for a while. I chanced to read some letters that KBS wrote to SGK, from July to November 1928. The letters are filled with expressions of unbounded love and anguish, and a heart-rending plethora of emotions. She bemoans her destiny in one epistle, she thanks God for giving her SGK in another; she is resigned to their separation in one, she questions the necessity for the same in another; she pleads with him to reply at once in one; she tells him to reply if he felt like it, or ignore her letter in another. In one of her letters to him, written at Karur in November 1928, she signs off plaintively as ‘தங்கள் அன்பையே ஆபரணமாக கொண்ட அடியாள்...சுந்தரம்’.

Things became better between them in due course, but fate then dealt KBS one cruel blow after another… She lost her child soon after she was born and as if this was not enough, while performing in a Kumbakonam, SGK, then only 27, collapsed on stage and died soon after in December 1933. KBS was benumbed with grief, and at the age of 26, took to wearing spotless white, and lived an austere life of a hermit. Decades later, the wound remained unhealed….to an interviewer’s query (Bommai/1970) she replied in a voice quivering with emotion “அவருடன் வாழ்ந்த காலம் கொஞ்சம்... ஆனாலும் எனக்கு மஹாபாக்கியம் தான். ஆண்களே பார்த்து மோஹிக்கும் சுந்தரப்புருஷர், கந்தர்வ கானம், பச்சைக்குழந்தை மனசு! தினமும் அவர் படத்தின் முன்னால் நான் கண்ணீர் விட்டுக்கொண்டே இருக்கிறேன்.."

She vowed never again to act opposite any male actor. She took recourse to the stage once again, but this time, not to act, but to sing devotional and patriotic songs. Congress leaders, Satyamurti in particular, were among her ardent admirers and she readily complied with requests to sing for the party gatherings. Many of her songs were released as gramophone records.
In a gramophone record brought out to commemorate the 50th Jubilee of the Indian National Congress in 1935, KBS sang songs such as 'வாழ்க பாரத மணிக்கொடி பார்' and 'ஜெய ஜெய பேரிகை கொட்டுவோம்'.

Listen to two such vintage treasures here:
KBS laments the demise of Pandit Motilal Nehru:
https://www.youtube.com/watch?v=vr-ch2OtVx0
She constructs a requiem to honour the memory of Kasturba Gandhi:
https://www.youtube.com/watch?v=luEEykPg2N0
- To be continued...

Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/1349726998392356/
Part 2 here:
https://www.facebook.com/groups/1018417744856618/permalink/1350578841640505/
Part 3 here:
https://www.facebook.com/groups/1018417744856618/permalink/1351635404868182/