NINAIVALAIGAL - K.BALACHANDER

அச்சா....

'An ordinary sentence when put into proper place suddenly acquires brilliance'
- Robert Bresson (ஃப்ரெஞ்ச் திரைப்பட இயக்குநர்)

90களில் கல்கியில் கே.பாலசந்தர் அவர்கள் தனது 'நினைவலைகள்' தொடரை வாராவாரம் ஏதாவது மேற்படி quote உடன் ஆரம்பித்து எழுதியிருப்பார்...படு சுவாரசியம்..கீழே படியுங்கள்:

"ஓடினாள்; ஓடினாள்; வாழ்க்கையின் ஓரத்திற்கே ஓடினாள்" - பராசக்தியில் கலைஞர்.

"எனக்கு மரத்துப் போய் விட்டது" - அரங்கேற்றம்.

"மாது வந்திருக்கேன்" - எதிர்நீச்சல்.

"கல்யாணத்துக்கு முன்னால் ஒரு பெண் கர்வமா இருக்கலாம்; கர்ப்பமாத்தான் இருக்கக்கூடாது" - அவள் ஒரு தொடர்கதை.

"பொடிமட்டை தும்முவதில்லை" - நவக்கிரகம்.

"இன்னிக்கி செத்தா நாளைக்கு பால் - புதுப்புது அர்த்தங்கள்.

'திரைப்படங்களில் ஆங்காங்கே திறமையுடன் பிரயோகப்படுத்தும் ஒரு சாதாரண வாக்கியம், உபயோகப்படுத்துகின்ற முறையிலே மிகப் பெரிய முக்கியத்துவம் பெறுகிறது' என்று Robert Bresson கூறியிருக்கும் கருத்தில் எத்தனை பெரிய உண்மை இருக்கிறது என்பதை அனுபவபூர்வமாக உணர்ந்தவன் நான். கலைஞரின் பராசக்தி வரிகள் குறள் வாசகம் போல் தமிழ்மொழியின் இலக்கியத்திற்குள் சங்கமம் ஆகிவிடுகிறது.

வாக்கியங்கள் இருக்கட்டும்; சில வார்த்தைகள்! அகராதியில் மட்டுமே காணப்படும் சில ஒற்றை வார்த்தைகளுக்கு தனிப்பட்ட முறையிலே முக்கியத்துவம் இல்லை. ஆனால் காட்சிகளில் பொருத்தமான இடங்களில் பொருத்தமான குணச்சித்திரங்களின் வழியாக பிரயோகிக்கப்படும்போது அந்த காட்சியின் பரிமாணமே விசுவரூபம் எடுக்கிறது.

உதாரணம்: 'இரு கோடுகள்' திரைப்படத்திலே வருகின்ற 'அச்சா' என்கிற வார்த்தை. அது பிரயோகிக்கப்பட்ட விதத்தை இங்கே நிணைவூட்ட விரும்புகிறேன்.

Let us see a clipping from this film.
கணவனால் கைவிடப்பட்டவளாக, கணவன் வேலை செய்யும் அலுவலகத்திற்கே மேலதிகாரியாக கலெக்டர் ஜானகி வருகிறாள். இன்னொரு பெண்ணை திருமணம் செய்து கொண்டு குழந்தை குட்டிகளுடன் நிம்மதியாக வாழ்ந்து வரும் கதாநாயகன் ஜெமினி கணேசன் வாழ்க்கையில் இப்படி ஒரு புயல் அடிக்கிறது. முதல் திருமணச்செய்தியே இரண்டாவது மனைவியிடமிருந்து மறைக்கப்பட்ட நிலையில், கதாநாயகன் இருதலைக்கொள்ளி எறும்பின் நிலைக்கு தள்ளப்படுகிறான்.

கலெக்டருக்கும் கதாநாயகனுக்கும் ஏதோ தொடர்பு இருப்பதாக அலுவலக வம்பர்கள் கதை கட்டி விடுகிறார்கள்.

இந்த ஊர் வம்பு, மனைவி ஜெயந்தியின் காதுகளுக்குப்போய்ச் சேர, அவள் துடியாகத் துடிக்கிறாள். தன் கணவனிடம் விஷயத்தை வெளிப்படையாக சொல்லாமலே கணவனைச் சாடுகிறாள்.

அவளது அழுகையும், தொல்லைகளும், ஏச்சுக்களும் பேச்சுக்களுக்கும் பொறுக்க முடியாத நிலையில் 'நான் என்ன தவறு செய்தேன் என்று ஒரு வார்த்தையில் சொல்' என்று கணவன் கத்துகிறான்.

மனைவி ஜெயந்தி தனது அகலமான கண்களில் நீர் தளும்ப 'அச்சா' என்று சொல்கிறாள்.

அத்தனை வம்பு தும்புகளுக்கும் அடிப்படை காரணம் என்னவென்று அந்த ஒரே வார்த்தை 'அச்சா' கணவனுக்கு புரிய வைக்கிறது.

படம் பார்க்கும் எல்லோருக்கும் புரிகிறது. ஆம்! இந்த வார்த்தை கலெக்டர் ஜானகி அடிக்கடி உபயோகப்படுத்தும் ஒரு வார்த்தை. 'இரு கோடுகள்' வெளியான நேரத்தில் இந்தக் காட்சியைப்பற்றி குறிப்பிடாதவர்களே இல்லை. எழுதாத பத்திரிக்கைகளே இல்லை.'

- கே.பாலசந்தர்

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Mounathil vilaiyaadum manasaatchiye- Noolveli 1979

Genius Series - Dr.Balamuralikrishna - Part 2

- Saravanan Natarajan

Last week we dwelt on BMK’s entry in Tamil cinema and the recalled the songs that came his way in the 1960s. Despite his two fetching songs in Kanmalar (1970) there were seven long years of drought in opportunities. And then, it seems to have rained and poured in 1977! Three music directors seemed to suddenly wake up to the magic of his voice ….Shankar Ganesh employed his vocals to soulful effect in ‘Ramanum neeye Krishnanum neeye’ (Uyarndhavargal). Kunnakkudi Vaithyanathan made him sing for MGR ( Kuruvikkara machaane & Paluka kanda sa) in Navarathinam. And Ilayaraja capped it all with ‘Chinna kannan azhaikkiraan’ and ‘Aayiram kodi kaalangalaaga’(Kavikkuyil).

In this second innings, MBK went on to sing some memorable songs in the following years. ‘Mounathil vilaiyaadum manasaatchiye’ ranks foremost amongst them.

* * * * *

The unusual plot of I.V.Sashi’s Malayalam film Aa Nimisham (1977/Cherupushpam Films) written by Sheriff caught KB’s fancy and he set forth to adapt the core plot. Adding his inimitable deft touches, he presented it as Nool Veli (1979/ Kalakendra Movies). Sridevi had won laurels for her performance in the Malayalam original, and in Tamil, Saritha walked away with the honors. Sujatha was equally impressive in a brilliant, subtle performance. Saratbabu, Narayana Rao, Ramanamoorthi and Anumanthu were the others in the cast. 

A happily married man, in a mad moment of weakness, seduces a girl who is their ward. His wife unexpectedly witnesses the despicable act. The happenings in the aftermath form rest of the story. The film was strengthened by KB’s seasoned handling of a sensitive theme and powerful performances by the three lead players: Saratbabu in the role of the remorse-torn architect Babu, Sujatha in the role of his wife- the writer Vidya, and Saritha in the role of Baby- the innocent, playful girl-next door who grows up overnight to a woman wrecked by guilt.

MSV and Kannadasan, as usual for a KB venture, came up with a set of memorable songs:

Naana paaduvadhu naana- SPB, Vani Jairam & L.R. Anjali

Therottam ananda shenbagapoovaattam- SPB 

Veenai sirippu aasai azhaippu- SPB & Vani Jairam

Mounathil vilaiyaadum manasaatchiye- MBK

* * * * *

Launch forth, my soul, into a main of tears, 

Full-fraught with grief, the traffic of thy mind; 

Torn sails will serve, thoughts rent with guilty fears; 

Give care the stern, use sighs in lieu of wind: 

Remorse thy pilot; thy misdeeds thy card; 

Torment thy haven, shipwreck thy best reward.

- Robert Southwell (St. Peter's Complaint)

The deed is done; the perpetrators have been witnessed in action. The picture perfect household falls headlong into turmoil...Can things be the same ever again? A husband filled with shame and sorrow, a wife whose each glance is replete with reproach and scorn, the other woman shattered physically and mentally…. Penitence is barred; the torturing, gnawing consciousness of guilt is the horrendous punishment …guilt that pursues inexorably, armed with whips and stings.

‘ragasiya churangam nee, naadaga arangam nee, 

sOdhanaikkaLam allavaa.. nenjE thunbathin thaayallavaa.. 

oru ganam thavaraagi, pala yugam thudippaayE, 

oomaiyin paribaashai kaNgaLil vadippaaye....'

Kannadasan’s mighty pen flies furiously, as the lines beckon the wretchedness of the havoc wrought by a stern, questioning conscience…BMK brings a remarkably pensive delineation…. MSV conjures up a saga in Sama...

* * * * *

Learning that Kannadasan was not keeping well sometime in 1981, BMK decided to call on him. And by the strangest of coincidences, the Kaviyarasar was at that very moment listening to ‘Mounathil vilaiyaadum manasaatchiye’. Kannadasan’s eyes lit up when they sighted the singer at his bedside and he grasped BMK’s hands, as emotion-choked words of praise came pouring out. It was an unforgettable moment for BMK.

* * * * *

In the years that followed, BMK sang some more movie songs, many of them linger on in memory. Sample these instances that come to ready recall:

Arutjothi deivam from Thisai Maariya Paravaigal (1979/MSV)

Suprapadham from Devathai (1979/Shyam)

Thangam vairam navamanigal from Deiva Thirumanangal (1981/MSV)

Ananda Sangeethame from Ninaithen Vandhaai (unreleased/ B.A. Chidambaranathan)

Ketten kannanin geethopadhesam from Vadaimaalai (1982/MSV)

Pachchai mani poonkodiyaaL from Pathinettaam Padi (unreleased/ Kunnakkudi Vaidyanathan)

Gnana mazhai mugile from Thaai Mookaambikai (1982/ Ilaiyaraja)

Ithu kettkka thigattatha gaanam from Mirudhanga Chakravarthi (1983/MSV)

Kalai nila aadinaal- Kaaman Pandigai (1983/ Shankar-Ganesh)

Malairajan magale- Kaaman Pandigai (1983/Shankar-Ganesh)

Raghuvara ninnu from Isai Paadum Thendral (1986/ Ilaiyaraja)

Magarantham kaathoodhum from Mahasakthi Mariamman (1986/KVM)

Paanchaali katharugiraal from Sigaram (1991/SPB)

Nagumo from Indhu (1994/Deva) 

Anbaale azhagaagum veedu from Pasanga (2009/ James Vasanthan)

* * * *

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‘Vanakkam’ from Agni Saatchi (1982)

Presenting today the unusual ‘Vanakkam’ from Agni Saatchi (1982)
Sung by SPB & P. Suseela.
Vaali's verses set to tune by MSV.
* * * *

Deepavali fell on 14th November in 1982. And true to tradition, a host of movies were released, sending film crazy fans into feverish frenzy. Pareetchaikku neramaachu, Pagadai pannirendu, Adhisayappiravigal, GopurangaL saaivathillai, Oorum uravum, Nizhal thedum nenjangaL, Vaalibame vaa vaa, Kanmani poonga, Deviyin thiruvilaiyaadal and Darling Darling Darling were all unleashed on the public that day. Some were hits and many were misses at the box office, but Deepavali, ever associated with firecrackers, new clothes, sweets and new movies (not necessarily in that order), lived up to its expectations!

Also among the Deepavali releases was Agnisaatchi (kavithalaya). The film starred Sivakumar, Saritha, Arundhathi, Sivagami, Poornam Viswanathan and others. Kamalhasan and Rajnikanth chipped in with special appearances. K.Balachandar was at the helm, with his trusted B.S.Loknath and N.R Kittu lending reassuring support.

The story was stark and shocking; the theme heavy and heartrending; the handling sensitive and skillful. And Saritha, in the complex role of a woman carrying the baggage of a childhood trauma, stole the show with her splendid performance. Her character had a plethora of ramifications.a devotee of Tamizh in general and Bharathi's verses in particular, a connoisseur of creativity, a woman madly in love with her husband, a humane human whose indignation at the wrongs she witnesses comes in for derision, an innocent mind irreparably harmed. Saritha was awe-inspiring, frightening, brilliant, revolting, enthralling, puzzling, irksome, wonderful..in the end, leaving behind a lingering impact.

The film did not do too well commercially, though. The seasoned KB ought to have foreseen the fate of such a solemn saga. Years later, in a candid chat, he would express his hurt thus: “In my characterisation I like to paint the grey areas. Ideal women, like ideal men, do not exist, do they? I struggle with the character and situation. But often this is not appreciated. In Agnisaatchi, the heroine's righteous anger at the denigration of women was misunderstood as madness!"

But all was not lost. Agnisaatchi was adjudged the Second Best Film of 1982-83 by the TN Govt. (Engeyo ketta kural and Ezhavathu manithan won the first and the third places respectively). Saritha rightfully walked away with the Best Actress Award (Another honour that came her way that year was the Kalaimaamani citation ) and Sivakumar bagged the Best Actor Award. N.R.Kittu was pronounced the Best Editor, also for Agnisaatchi.
* * * *

One more award of the TN Govt. went to Agnisaatchi The Mellisai Mannar also scored. His score, worth many an encore and more, fetched him the Award for the Best Music Director of 1982-83. Stringing together the prose-like poetic lines of Vaali into simple and soulful songs was no mean task, and MSV proved his mettle even as his detractors were writing him off. 'Kanaa kaanum kangal mella' crooned by SPB, with Saritha reciting poetry in between, was the dazzling jewel in the crown. 'Adiye Kannamma amaithi ennamma', in the ageless allure of P. Susheela, was another winner. Saritha half-sang,half-recited some pudhukkavithai lines 'Aam. Bharathi pudhiya thamizhukku podappatta piLLaiyaar suzhi'; 'Kosuve unnakku kodi namaskaaram' , 'En thalaiva, en peyarai oru paper-il ezhuthi adhai thadavi paar', 'Aarambam, silapaadhigaarathin mudivil oraarambam' was another novel attempt, sung by MSV, L.R.Eswary and Vani Jairam. SPB's 'Unnai enakku pidichirukkirathu', originally composed for Agnisaatchi, was used later in Poikkaal Kuthirai.
* * * *

As far as my limited understanding goes, Pudhukkavidhai is all about letting the words flow, free from the shackles of grammar, rhyme or even meter. The choice of apposite words, the felicity of expression, the imagination strewn in the similes, the metaphors, the analogies are all what go into a good Pudhukkavithai. And the abrupt breaks in the lines store surprises in their very unpredictability. Such lines are generally not ductile enough to be set to tune, and hence do not find place in Tamil film music, where the lyricists write what is generally known as Isai Paadalgal. Hence to find a pristine Pudhukkavidhai form in Tamil film music is a rare treat.

Vaali and KB were old friends; they had worked together for the first time in Major Chandrakanth, way back in 1966. And in the years that followed, Vaali wrote the songs for many KB movies. However, after 1973, KB worked only with Kannadasan, till Thanneer Thanneer, where he got Vairamuthu to write a couple of songs. In the aftermath of Kannadasan's demise, KB returned to Vaali and it was a grand reunion indeed. Vaali's Pudhukkavithai efforts were intelligently harnessed by KB, for the Agnisaatchi’s heroine is shown to be a poetry enthusiast. And so Vaali's lines filled the frames, and lent a poetic touch to the poignant proceedings.

An adapatation of a Pudhukkavithai such as ‘Vanakkam…mudhal variyai ezhudhumun’ is remarkable in the annals of Tamil cinema. (MSV did it again in 'Oru indhiya kanavu'- he took a Pudhukkavithai from Vairamuthu's 'Thiruthi ezhudhiya theerppugal' and tuned the wondrous 'Anaamika'. When Vairamuthu expressed his amazement on listening to the song, MSV is said to have remarked smilingly that there was nothing in this universe that cannot be set to music!



Take this song as a case in point. The song is more of a musical recitation of the poetic prose. The music blends into the background unobtrusively. Vaali has let his imagination soar in the romantic lines (Remember Emily Dickinson's "Going to him! Happy letter!') That 'Uppukkadal karpukkeda' imagery is a stunning revelation of Vaali's poetic capabilities. Susheela has shown scintillating sagacity in her delineation of the convoluted lines, and I always thought her voice was well suited for Saritha. SPB is in his usual "make merry" mood and interprets the lines with perfect understanding. MSV strikes gold in this one, even while playing from the sidelines…..hark at the auspicious percussion in the end as she dreams of marital bliss. Bliss!