Though we have had posts earlier celebrating his works, could we let the birth centenary of the great Krishnankoyil Venkatachalam Mahadevan pass by unacknowledged....
Here are 2 forgotten songs sung by the Master himself, scintillating samples of his voice...vintage treats that deserve to be savoured...
Having enjoyed a vintage marvel from the 50s sung by KVM himself, let us now look at a less-chronicled part of KVM’s career- his works in the 80s….
After a glorious innings in Tamil cinema throughout the 50s and 60s, KVM found himself gradually sidelined in the 70s. The advent of talented newcomers and exciting changes in the trends had cast him aside with scant ceremony. And by the 80s, KVM was almost forgotten…
Almost, I said. But not quite. For there every now and then movies came out that had songs composed by KVM and found fleeting popularity. I am certain there would be some among us who would still give a pleased sigh of recognition at the mention of numbers lost in the swirling mists of time such as ‘Vaanavillenum varnajaalangal’ (Naan Naanethaan/1980), ‘Nadhikkaraiyorathu Naanalgale’ (Kadhal Kiligal/1980), ‘Ponni nadhi orathile’ (Kuruvikkoodu/1980), ‘Manmadha rathangal’ (Manmadha Rathangal/1980), ‘Nalla naalum pozhudhumaa’ (Malargindra Paruvathile/1980), ‘Engengum aval mugam’ (Neruppile Pootha Malar/1981), ‘ Azhaithaal varuvaal’ (Mouna Yudham/1981), ‘Thirumaale’ (Deiva Thirumanangal/1981), ‘Ethipaarthen ilankiliya kaanaliye’ (Andha Rathirikku Satchi Illai/1982), ‘Endha iravu mudhal iravu’ (Chinnanchirusugal/1982), ‘Pudavai kattikondu’ (Simma Soppanam/1983), ‘Maari thirisooli’ (Mel Maruvathur Aadhiparasakthi/1985), ‘Ranganathan thangachi’ (Samayapurathaale Saatchi/1985), ‘Maaligaiyaanaalum malarvanamaanaalum’ (Asha/1985), ‘Magarandham Kaadhodhum’ (Mahasakthi Mariyamma/1986), ‘Eerathamaraipoove’ (Paaimarakkappal/1988)….
To resurrect to memory KVM’s works in the 80s, here is a forgotten little classic...
* * * * *
He is an aspiring musician in a small town. She is a neighbourhood girl who has unstinting faith in his capabilities. They are in love with each other, but how long can she wait for him to find his moorings?
As a last resort, he goes to Madras, to try his luck in the film studios there.
After months of struggle, his efforts bear fruit and he gets a good opening. With resplendent dreams of their joyous future together, he boards a train to surprise her with an unannounced arrival, delight her with the wonderful tidings, and take her back with him to Madras.
Meanwhile all is not well with her- acrimonious exchanges with her parents and unwanted attentions of another suitor make life unbearable. Unknown to him, the very night he is traveling back to his hometown, she boards a train to Madras.
He falls in with a group of musicians in his train compartment. One thing leads to another -and they urge him to sing.
Alas, for her, in her hurried escape from home, she enters a deserted compartment, wherein there are only two men in an inebriated state. They look at her with sudden lust, and emboldened by their isolation, accost her. She cries out her lover’s name in fright…
…and in that very instant their trains cross each other, as he, in his train, commences his song "Nee azhaithathuppol oru gnaabagam"
Thus the song unfolds, with the shots alternating between the interiors of the compartments of the two trains speeding in opposite directions, the aalaapanai in one, the assault in the other…
How much longing he pours into his song….his hopes of a bright morrow for both of them glisten in his lines…little does he realize that as the trains are racing into the night, their very future is being derailed!
* * * * *
It was in 1980 that K.V. Mahadevan (and his loyal assistant T.K. Pugazhendi) discovered for us that S.P. Balasubramaniam, though bereft of formal training, could be coached to deliver winning notes in classical shades, and Shankarabharanam was a stunner in every sense. They have extended that enriching experience here in this song. SPB delivers the goods, and how! The hero's aspirations and longings find evocative expression in SPB's song. And the swift and spellbinding swara passages that punctuate the song, especially in the cascading climax are something to cherish.
Conveniently for KVM, the hero befriends a troupe of traveling musicians with all their accompaniments, and the song thus attains a realistic hue. No doubt the interludes do sound a trifle passé (even for 1983), but this 'dated' sound has a quaint charm. The violin bits bring out so heartrendingly the wretched irony of the situation - moving frames of the girl beseeching the scoundrels to spare her, of frantically attempting to evade their advances, of trying vainly to reach for the emergency chain… Hark at the chugging of the train that is heard throughout the song as the rhythmic backdrop.
This was perhaps his last worthy attempt in mainstream Tamil Film Music. And like the last leap of a tongue of flame before the embers die, like the sudden small shower of rainwater from leaves swaying in a gust of wind long after the rain, this song kindles memories of a bygone era of film music. Krishnankovil Venkatachalam Mahadevan has given us much to be grateful for. This song is among his smaller bequests.
'Pandanti Kapuram' (1972) was a hugely successful Telugu movie that celebrated a Golden Jubilee run. S.V. Ranga Rao, Gummadi, Prabhakar Reddy, Krishna, Vijayanirmala, Devika, Sarojadevi, Jamuna and Jayasudha (debut) formed the impressive line-up in the cast.
'Heaven has no rage like love to hatred turned, nor hell a fury, like a woman scorned'- it was this line from William Congreve (The Mourning Bride, Act III) that must have inspired Prabhakar Reddy's stirring saga. And onto this trellis, he interwove the emotional upheavals that play havoc on a close-knit family of four brothers. Director Laxmi Deepak stirred well this concoction, adding elements of romance and comedy. They came up with a movie that could not but keep the cash counters ringing.
Four affectionate brothers, with the younger brothers holding the eldest brother in awe. Love and laughter fill that household, until a woman wronged earlier by the second brother turns up, seeking revenge. She succeeds in wrecking their idyllic existence with systematic scheming.
Added to this, the third brother who becomes the Collector of the district turns his back on his family under the influence of his wife. The family does comes out of the ordeal in the end, but the price that is to be paid is too heavy.
The story was simple; the screenplay stark, the frames sans filigrees, yet the powerful performances of the seasoned artistes ensured the film's victory at the hustings. S.P. Kothandapani's tunes to Dasarathi's lines were an additional attraction. And not only was the film a runaway hit, it also bagged the President's Gold Medal for that year under the "Best Regional Film" category.
* * * *
The Tamil remake was but inevitable. அன்பு சகோதரர்கள்( 5.5.1973/ Jayanthi Films) was produced by Kanagasabai and had Laxmi Deepak at the helm again, this time fortified by A.L. Narayanan's dialogues and V. Ramamoorthi's cinematography. Major Sundararajan played the second brother Selvaraj, with Devika playing his wife Lakshmi. AVM. Rajan was the third brother- 'Collector' Durairaj, and Prameela was his wife, Prabha. Jaishankar was the last sibling, the college student Premraj, and 'வெண்ணிற ஆடை' Nirmala played his pair, Lalitha. Jamuna was impressive in the cameo of the avenging woman. Rojaramani, VKR, V.S. Raghavan, Cho, and Manorama were the others in the cast.
But like a towering giant, Samarla Venkata Ranga Rao overshadowed the talented ensemble effortlessly with his subtle, heart-warming portrayal of the eldest brother Dharmaraj. In the dusk of his illustrious career in Tamil cinema, this wonderful artiste brought new nuances to the role he had essayed in the Telugu original, and carried the entire proceedings on his deceptively frail shoulders. Do you recall the scene where he is trying out English words painstakingly, and his sheepish contortions on discovering that he had been witnessed doing so? Brilliant, and nonchalantly so!
K.V. Mahadevan extracted two songs each from Kannadasan and Vaali, and composed some noteworthy numbers. 'எதிர்ப்பார்த்தேன் உன்னை எதிர்ப்பார்தேன்' (Vaali) is a caressing duet crooned by SPB and P. Susheela. 'அம்மம்மா அம்மம்மா' (Kannadasan) is an archetypal SPB/L.R. Eswari duet. 'ஓம் சக்தி ஓம் சக்தி' (Vaali) is a rollicking TMS/L.R. Eswari carnival.
* * * *
But the song that remains enshrined in memory is the haunting முத்துக்கு முத்தாக. Many of us Radio Ceylon fans who recall a program called ‘இன்பமும் துன்பமும்’ that featured happy and pathos versions of the same song would undoubtedly remember both versions of this expressive song.
KVM crafted a simple, evocative composition out of Kannadasan's apposite lines, and then sent for Ghantasala to do the needful. Ghantasala was singing a Tamil song after a long sabbatical; his last Tamil film song then was perhaps way back in 1964 - the duet 'விண்ணாளும் சுந்தர ரூபம்' with S. Janaki from Rishyasrungar is Ghantasala's last song in the 60s that I could remember.
Perhaps the fact that Ghantasala had wrought magic with the equivalent 'Babu vinara anna thamulla katha okati' in the Telugu original nudged KVM into calling Ghantasala to do the honours in Tamil as well. 'முத்துக்கு முத்தாக' is Ghantasala's last song in Tamil. And what a scintillating swansong it turned out to be! The song, filmed on Ranga Rao, remains a lingering audio-visual treat.
Ghantasala Venkateswara Rao remains a celebrated icon of the Telugu populace. The sheer magic of his voice, the remarkable range that his repertoire reveals, and the exciting, imaginative vistas that his expressive renditions conjure up- all these ensured that he remained the numero uno singer of Telugu cinema for nearly 3 decades. He made his mark in Tamil as well, both as a soulful singer and as a meritorious composer. The Govt. of India honoured him with a 'Padmashri', the Tirumala-Tirupathi Devasthanam recognised him as the temple's 'ஆஸ்தான வித்வான்'', a stamp has been issued in his honour, and his statue has been installed and deified. More than all this, he still lives in the hearts of thousands of Telugus, as his songs continue to captivate generations of listeners.
Both Ranga Rao and Ghantasala passed away a year after அன்பு சகோதரர்கள் was released; this song remains in our hearts as a treasured keepsake…
* * * *
In the years before YouTube, I got this song recorded from a recording centre at T.Nagar, Chennai. The record itself was dusty from years of neglect, and the garrulous owner wiped it clean and then played the song. While the recording was going on, he gradually fell silent, and did not seem to hear what I was talking. Finding him suddenly non-communicative, I too fell silent. But observing him, I saw him trying hurriedly to brush off the tears that were swelling in his eyes. After the song was recorded, as he was placing the record back in its cover, I ventured to ask him the reason for his sudden change of mood. Managing a very feeble smile, he related how his younger brother, whom he had brought up like a son, drifted away from them after marrying a richer woman. And that the lines of this song brought back the memories of their earlier happier days, as well as the agony of the current separation.
I was deeply moved, for I was overcome by the sudden realization of what film music means to us. Film music is not merely that, it manages to very easily shrug off that thin cloak. It becomes an integral part of our life, and we tend to relate our own joys and sorrows, hopes and disappointments to various songs that we listen to. These songs can assume the aura of a soothing salve. They can also open up forgotten wounds with equal felicity. They can goad us into action, make us fall into a reverie, fill us with lusty pining, whip up religious fervour, torture us with the agony of remorse, stir up patriotic thoughts and selfless ideals..or even if none of these, they can still make us sigh wistfully for those wonderful fantasies that never seem to knock at our door….
கடந்த பத்து நாட்களாக இந்தப்பாடலை முழுக்க முனுமுனுத்து வருகிறேன். ஆபிஸ், கார் பயணம், மாலை நடைபயிற்சி என எல்லா நேரமும் இப்பாடல் ரீங்காரமிடுகிறது.
சென்ற வாரம் நண்பர் Kumaraswamy Sundar வானம்பாடி படத்திலிருந்து 'தூக்கனாங்குருவிக்கூடு ' பாடல் பற்றிய பதிவைப்போட்டவுடன் நானும் அதே படத்திலிருந்து இப்பாடலைப் பற்றியும் எழுதலாமென யோசித்துக் கொண்டிருந்தேன்.
என்ன விசேஷம் இந்தப்பாடலில்? இது ஒரு கவாலி பாடல். வானம்பாடி படத்தில் கே.வி.மகாதேவன் இசையில் எல்.ஆர். ஈஸ்வரி பாடியது, கண்ணதாசன் பாடல் வரிகளில். பாடலுக்கு நடனம் ஜோதிலட்சுமி.
பாடல்: 'யாரடி வந்தார் என்னடி சொன்னார் ஏனடி இந்த உல்லாசம்'
பொதுவாக கவாலி பாடல்கள் ஹிந்திப்படங்களில் தான் நாம் அதிகம் பார்க்கலாம். கவாலியின் பிறப்பு பாரசீகத்தில். பின் பாகிஸ்தான், இராக் மற்றும் ஆப்கானிஸ்தான் போன்ற நாடுகளில் பரவியது. இந்தியாவில் அந்த காலத்தில் லக்னௌ, அலகாபாத், டெல்லி, அலிகார் போன்ற இடங்களில் கவாலி மிகவும் பிரபலமடைந்தது. பாகிஸா என்ற ஹிந்திப்படத்தில் நடிகை மீனா குமாரி கவாலிப்பாடலுக்கு ஆடுவார். பின் ரேகா, மும்தாஜ், ஹேமாமாலினி, ஸ்மிதா பாட்டில் என வரிசையாக....
அவ்வப்போது தமிழ்ப்படங்களில் கவாலிப்பாடல்கள் எட்டிப்பார்ப்பதுண்டு. எம். எஸ்.வி அவர்கள் நிறைய கவாலி பாடல்களுக்கு இசையமைத்திருப்பது நமக்குத்தெரியும்.
மேலே நான் குறிப்பிட்ட ஈஸ்வரி பாடும் 'யாரடி வந்தார்' பாடலுக்கு மூன்று சிறப்புக்கள்:
1. பிரமிக்க வைக்கும் அற்புத நடனம் ஆடும் ஜோதிலட்சுமி.
முதல் மார்க் ஜோதிலட்சுமிக்குத்தான். ஜோதிலட்சுமி என்றாலே நினைவுக்கு வருவது ஜிகுஜிகு கண்ணாடித்துணியில் புசுபுசுவென ஒரு பாவாடை , ஏதாவது நைட் க்ளப்பில் காலை அகட்டி அவர் ஆட, பின்னால் வால் மாதிரி ஒரு வஸ்திரம் தொங்கும். அந்தப்பக்கம் செம்பம்டை முடியுடன் பின்னந்தலையில் பெரிய வட்ட வடிவத்தொப்பி தொங்க, தொங்குமீசை, கௌபாய் உடை, பெரிய மொந்தையில் கள், வாயில் சுருட்டுடன் மேஜர் சுந்தர்ராஜனோ அசோகனோ என யாராவது வில்லன்கள் ஜோதிலட்சுமியின் ஆடலை ரசிக்க, படத்துக்கு கர்ணன் மாதிரி காமிராமேன் இருந்தால் போதும்..ரசிகர்களுக்கு இரட்டிப்பு மகிழ்ச்சி. எல்லா கோணங்களிலும் ரசிகர்களை தலையையும் உடலையும் சாய்த்து பார்க்கும்படி காட்சியை எடுத்துவிடுவார்.
ஆனால் இப்பாடல் காட்சி முற்றிலும் வித்தியாசமானது. பொதுவாக ஐட்டம் சாங்ஸுக்கு நிறைய ஆடிய ஜோதிலட்சுமி இக்கவாலிப்பாடலுக்கு அற்புதமாக ஆடியிருப்பார். இவ்வளவு அழகாக ஜோதிலட்சுமி ஆடி நான் பார்த்ததில்லை.
பாடல் ஆரம்பமாகும் முன், பல்லவி, அனுபல்லவிக்கு முன் இசைக்கு அவர் ஒயிலாக சுற்றி ஆடி, அழகான அபிநயத்துடன் பல்லவி ஆரம்பமாகும் இடம் அசத்தல்..
'யாரடி வந்தார் என்னடி சொன்னார்?
ஏனடி இந்த உல்லாசம்.. 'என்ற பல்லவியை
நாம் எப்படி ரசிக்கிறோமோ அதே மாதிரி ஓ.ஏ.கே.தேவரும் முகபாவங்களுடன் ரசிப்பதை இயக்குநர் அழகாக காட்டியிருப்பார்.
அடுத்து அனு பல்லவி..
'காலடி மீதில் ஆறடிக் கூந்தல்
மோதுவதென்னடி சந்தோஷம்'
வரிகளுக்கு அவர் ஒயிலாக தன் ஜடையை மெல்ல சுழற்றி சுழற்றி ஆடி, அடுத்து ஓரிரண்டு சின்ன குதியல்களோலோடு மறுபடியும் 'யாரடி வந்தார்' என ஆரம்பிக்கும் அவரது நடனம் மிகவும் authoritative ஆக இருக்கும்.
சத்தியமாக நயன்தாராவிற்கோ, ஹன்சிகா மோட்டா வானிக்கோ அந்த steps வராது என அடித்துச்சொல்லலாம்.
சரனத்திற்கு முன் இசைக்கு டி.ஆர். ராமச்சந்திரன் தபலா மற்றும் முத்துராமன் ஹார்மோனியம் வாசிப்பது போல நடிப்பார்கள். டி.ஆர்.ஆர் பாடலுக்கேற்றார்போல விரல்களால் தபலாவை அழகாக வருட, முத்துராமன் கொஞ்சம் சொதப்பியிருப்பார். வலது கையில் ஹார்மோனியம் வாசிப்பதையே முத்துவால் திறம்பட செய்திருக்க முடியாது. இந்த லட்சணத்தில் இடது கையில் ஹார்மோனியம் வாசிப்பது போல அவரது நடிப்பு நல்ல காமெடி.
பல்லவி முடிந்து சரணத்திற்கு முன் 'ஆறடி கூந்தலை அள்ளி முடித்து' பாடும்போது ஜோதிலட்சுமியின் stepsஐ கவனிக்கவும். ஒரே டேக்கில் அந்த காட்சி எடுத்திருப்பார்கள். தற்போது வரும் படங்களில் இதுபோல் ஒரே டேக்கில் அசினுக்கோ அவர் கசினுக்கோ நிச்சயம் ஆட வராது.
ஆறடிக்கூந்தலை அள்ளி முடித்து
ஓரடி ஈரடி மெல்ல எடுத்து(2)
பாரடி வந்து பக்கத்திலே - காதல்
காவடி தூக்கும் கண்களிரண்டை
வேலடி போலடி ஓடி வராமல்(2)
ஏனடி நின்றாய் வெட்கத்திலே?
யாரடி வந்தார்....
நில்லடி நில்லடி கண்ணடியோ
என்னடி என்னடி சொல்லடியோ (2)
முன்னடி பின்னடி போடடியோ - இங்கு
அன்றொரு நாளடி வந்தவள் யாரடி
என்பதைக் கேளடி உண்மையைக்கூறடி(2) என் பெயர் கேட்டுச் சொல்லடியோ!
கே.வி. மகாதேவன் பாடல் இசையைப்பற்றி சுந்தர் அவர்கள் (தூக்கனாங்குருவிக்கூடு பாடல் பற்றிய பதிவில்) ஏற்கனவே எழுதிவிட்டார். கவாலிப்பாடல் இசையை அழகாக அமைத்திருக்கிறார். சரணத்திற்கு முன் வடநாட்டு சாரங்கி இசையை புகுத்தியிருப்பார். அதற்கு ஒத்துப்போவதாக தபலா இசையும்...
இக்கட்டுரையை எழுதி வைத்துவிட்டு எப்போது பதிவிடலாமென யோசித்து காத்திருந்தேன்.
இன்று இரத்தப்புற்றுநோயால் ஜோதிலட்சுமி மறைந்த செய்தி கேட்டதும் இவரது முதல் பாடலான 'கட்டோடு குழலாட ஆட ஆட' பாடலும் வானம்பாடி படத்தின் இந்தப்பாடலும் தான் நினைவுக்கு வந்தது.
“பிரபல சினிமா பின்னணிப் பாடகி ஆண்டாள் 3.7.2016 அன்று காலமானார். அவருக்கு வயது 82. இவர் தனது குடும்பத்தினருடன் சென்னை தியாகராயநகரில் உள்ள சாரங்கபாணி தெருவில் வசித்து வந்தார். ஆண்டாளுக்கு திடீர் மாரடைப்பு ஏற்பட்டு மரணம் அடைந்தார். இவருக்கு ராஜ் பாலா என்ற மகனும், கமலா என்ற மகளும் உள்ளனர். கண்ணம்மாபேட்டை மயானத்தில் அவரது உடல் நேற்று தகனம் செய்யப்பட்டது”.
When I saw this obituary report two days back I was surprised as all along I have been thinking that singer Andal was no more. I missed or rather Vintage Heritage missed an opportunity as otherwise VH would have invited her for one of their screenings.
A. Andal hailed from Azhwarthirunagari, a temple town located on the banks of the river Thamiraparani in the Tiruchendur-Tirunelveli route. A classically trained singer Andal started giving concerts from an early age. Impressed by her talent and melodious voice, ‘Madura geetha vani’ N C Vasanthakokilam took Andal under her aegis and taught her many songs. Thus Andal received attention from connoisseurs of music .
When Turaiyur Rajagopala Sarma was summoned to score music by veteran actor T.R.Ramachandran for the film , ‘Ponvayal’ (Jayanthi Productions/1954), where TRR co-produced the film with director-producer A T Krishnaswamy, Andal made her film music debut. But the song did not become popular.
In the film ‘Nalla kaalam’ (Jaysakthi Pictures/1954) Andal had an opportunity to sing with composer K. V. Mahadevan .
If Andal is remembered to this day by the fllm music aficionados it is because of another song composed by K.V. Mahadevan (with M.K. Atmanathan) for the film ‘Naalu vaeli nilam’. Incidentally, ‘Naalu vaeli nilam’ is the first realist film in Tamil produced by S V Sahasranamam’s Seva Screens, a T.Janakiraman’s story directed by Muktha V.Srinivasan. Probably inspired from AVM’s early productions, Sahasranamam also had wished to include a poet Subramania Bharathi’s song in this film and chose this song which lines had a universal appeal :
நம்பினார் கெடுவ தில்லை;நான்கு மறைத் தீர்ப்பு;
அம்பிகையைச் சரண் புகுந்தால் அதிகவரம் பெறலாம்.
துன்பமே இயற்கையெனும் சொல்லை மறந்திடுவோம்;
இன்பமே வேண்டி நிற்போம்;யாவுமவள் தருவாள்
ஆதாரம் சக்தி யென்றே அருமறைகள் கூறும்;
யாதானுந் தொழில் புரிவோம்;யாதுமவள் தொழிலாம்
பாடியுனைச் சரணடைந்தேன் பாசமெல்லாங் களைவாய்;
கோடிநலஞ் செய்திடுவாய், குறைகளெல்லாந் தீர்ப்பாய்.
Listen:
A very pleasing tune I would credit it only to KVM looking at the arrangements in the composition. A typical maama’s tune one can also identify, relate and enjoy in another Bharathi’s song from ‘Thiurmal Perumai’, ‘kaakkai siraginiley nandalala’ and in many other songs in later films.
In the song, Andal joins A L Raghavan in singing the lines but when she repeats the line ‘thunbamey iyarkkaiyenum sollai marandhiduvom’ separately her voice sounds very sweet.
Some of us would remember a delectable Kaanada song ‘Vaanambaadigal poley prema gaanampaadi magizhvom’ sung by A M Raja and Andal. This song appeared in the TKS Brothers’ successful drama ‘Kalvanin kaadhali’ and a gramophone record was also released owing to its popularity. But when the drama was made into a film by Revathy Productions with Sivaji and P Bhanumathy, this song was cut and ‘veyyilukkaettra nizhal unndu veesum thendral kaattrunndu’ rendered by PB and Ghantasala was replaced. Felt ‘Vaanambaadigal… ‘ is more melodious and had that been retained in the film Andal would have had better fortune.
Andal also sang a song for the film ‘Kudumba vilakku’ (Nagoor Cine Productions/1956) with lyrics penned by Subbu Arumugham and music by T R Pappa .
Let us today listen to a vintage classic by an unlikely singer:
Kannodu kannai ragasiyam pesi from Madana Mohini. Sung by K.V. Mahadevan & P. Leela. Lyrics by M.P. Sivan. Music by KVM.
It is only the audio that is available in the net, thankfully, for I am certain that video would be far from appealing!
Madhana Mohini (1953/ Liberty Pictures) was produced by M.L. Pathi. It starred an obscure actress of the 50s called C.R. Rajakumari in a dual role and Narasimha Bharathi as the hero. I recall seeing it on DD- it was a long-drawn meandering tale, a tedious amalgam of mythology, sorcery and romance. Shoddy editing, amateurish acting, and a screenplay that displayed an appalling indifference to logic compounded the woes of this misadventure, and the proceedings unwittingly ended up in a comical farce. And I would have given up on it too, had I not been riveted by its enchanting songs, and the knowledge that I was watching a slice of Tamil Film Music history.
Madana Mohini had songs in abundance, and there were at least 2-3 more songs than these 11 that I managed to gather over the years:
Vaana veedhi mele vilaiyaadum vennilave- P. Leela
Aanum pennum aasai vechu - A.P. Komala
UnmaikkE ulagil uyarvu thaazh illaiye (enne ikkaala maatram)- KVM
Aadhi mudhalaanava- A.P. Komala & N.L. Ganasaraswathi
Ko ko ko kokkarakko, kozhiyinna kozhi thaan- A.M. Appadurai
Pombalaithaan endru ennavendaam- A.P. Komala
Ilam kandrupole illam thullugindren- Jikki
Vaazhiya senthamizh thaaye- KVM
Agara mudhala (Ega uruvaam marundhu)- K.R. Lakshmi
Peru sollum peru sollum- KVM & Kasturi
Kannodu kannaai ragasiyam pesi- KVM & P. Leela
* * * *
The lyrics for the songs were by M.P. Sivan. Madhilakathuveedu Paramasivan Nair’s (M. P. Sivan) love for Tamil and theater made him leave his native Palaghat and join the famed Madurai Bala Gana Sabha. His proficiency in the language and his mastery over the Harmonium gradually earned him a revered position as a writer, lyricist, music composer and teacher in that celebrated institution. His foray into Tamil film music was short-lived- he wrote lyrics for a few films in the 50s, and a few devotional songs.
One of the reasons that Madana Mohini remains a piece of Tamil film music history, is that it was with this album that Thiruvanandapuram Kesavapillai Pugazhendhi joined KVM’s ensemble, and all of KVM’s subsequent films’ titles, till the very end, proclaimed: “Isai: KVM; Udhavi: TKP’’. An enduring and endearing association that, perhaps, has no parallel anywhere. And the credit for introducing TKP to KVM goes to M.P. Sivan. He was TKP’s Guru in Madurai Bala Gana Sabha, and the teacher and student shared a rare rapport. And when Sivan got an opportunity to write the lyrics (and the dialogues as well) for Madana Mohini, he pulled in TKP, who had been working with C.N. Pandurangan for a short while. Sivan’s warm recommendation, and TKP’s unquestioned talents, of course, fetched TKP a permanent place in KVM’s troupe.
* * * *
The other justification, for Madana Mohini’s place of pride among the landmark albums of Tamil cinema is KVM singing (for the first time) 4 of its songs. A journalist friend once told me that P. Leela, while reminiscing on Madana Mohini, said that KVM was a reluctant singer- it was because the singer who was to have rendered the songs failed to turn up for the recording, that KVM was coaxed into rendering them himself. P. Leela added that it was her fortune to have bagged an opportunity of a lifetime of singing a duet with KVM.
With a lovely Shanmugapriya opening, the song seems a scintillating precursor to S.V.Venkataraman’s Nenjil kudiyirukkum. We realize what we have missed…with a voice that seems to be a perfect blend of V.N. Sundram’s classy, carefully honed tone and Tiruchi Loganathan’s resonant, rich timbre, KVM could have been a much sought after singer, had he willed. To our misfortune, he deemed it more appropriate to restrict himself to composing music.
However, the few songs that he did sing remain with us, as a wistful window to the enchantment that could have been---the poignant resignation to the quirky twists of fate that cloaks his ‘Enne ikaalam maatram’ (Madana Mohini), the rollicking ride that KVM, along with Ratnamala, takes us for, crooning ‘ Lovukku lovukku love, Kissukku kissukku kiss! ’ (Naalvar), the joyous repartees that embellish KVM and K. Rani’s ‘abaraatham roobai aimbadhu’ (Naalvar), the ruminating, philosophical mien that KVM adopts, when, accompanied by A. Aandal, he sermonizes, ‘Vaazhvin kadamaiyai marandhu nee vaazhathe’ (KVM’s brugha-laden viruthams in this song are singularly spellbinding essays; from the film Nalla Kaalam). And as far as I can recall, KVM did sing for another MD- the forgotten M.S. Gnanamani was the composer who was picked for this rare favor- in the film Ulagam (1953/Society Pictures) for which Gnanamani composed 15 songs, KVM and N.L. Ganasaraswathi sang a delightful duet ‘kaadhalinaal ulagame inbamadhE’.
* * * *
June 21st marked the annual summer solstice: the longest day in the year. Solstice, from Latin, means when ‘the sun stands still’ (sol- sun, sistit-stands). In the annals of Tamil film music too, June 21st marks a solemn memory—for it was on that day 15 years back that Tamil film music seemed to stand still, mourning an irredeemable loss, that of the beloved doyen, 'Thirai Isai Thilagam' Krishnankoyil Venkatachalam Mahadevan.
With all the din over the censor board cuts of the film “Udta Punjab” getting over with the landmark judgment from Bombay High Court ordering the release of the film with a solitary cut and a modified disclaimer and with the film also opening well with positive reviews…. the name ‘Udta Punjab’ did ring a bell from the day it was in news….and well, what is that…yes, it is from our own backyard…the name of the singer ‘Udutha’ Sarojini. This Udutha Sarojini is not to be confused with vintage singer M.S.Sarojini, very well known for her Pavalakkodi classic, “Saravana bhava ennum thirumandhiram”, the song, again, very well known for its scintillating Shanmukhapriya raga.
There are no much details available about singer Udutha Sarojini. Learnt that a squirrel is called ‘udutha’ in Telugu. How this sobriquet ‘udutha’ stuck to her name is not our concern here but the reason could be to distinguish her name from her senior namesake. Udutha Sarojini had started singing from ‘Devadas’ days in Telugu films and I believe it was our K.V.Mahadevan who brought Udutha Sarojini to tamil film music.
KVM gave Udutha Sarojini a song for which not only Sarojini but the entire tamil film music world is indebted to him. What a soulful melody is that? This song appears in “Makkalai pettra magaraasi”(Sri Lakshmi pictures/1957)…”Ondru serndha anbu maaruma”, a delightful melody from KVM. How fortunate for Udutha to have a co-singer in P B S! Udutha’s voice is really sweet and it sounds to me to be a blend of P.Leela and K. Jamunarani, with the mellifluity of Leela and the velvety streak of Jamunarani.
The tune is an off-beat one from KVM that no other song of his has the same tune or the same kind of melody and with his ample use of a Hawaiian guitar the song gets a distinguished place among his compositions. The singers have given life to Kavi Ka.Mu.Sheriff’s lyrics to make this melody immortal. That the song is set in the same tempo as that of “Vinnodum mugilodum” always fascinated me.
Here is the song:
The pauses KVM places after ‘munnaaliley konnda pollaappiley’ or ‘ennaaviye kanney un polavey’ and the downward progression in ‘innaaliley kaadhal…’ or ‘mann meedhiley vaeru penn…’ certainly lend more to the enchantment giving the song a unique appeal. The choice of young PBS for a young Nambiar deserves a pat whoever made it KVM or his able assistant TKP’.
பெண் : ஒன்று சேர்ந்த அன்பு மாறுமா?
உண்மைக் காதல் மாறிப் போகுமா?
ஒன்று சேர்ந்த அன்பு மாறுமா?
உண்மைக் காதல் மாறிப் போகுமா?
ஒன்று சேர்ந்த அன்பு மாறுமா?
ஆண்... ஒன்று சேர்ந்த அன்பு மாறுமா?
உண்மைக் காதல் மாறிப் போகுமா?
ஒன்று சேர்ந்த அன்பு மாறுமா?
உண்மைக் காதல் மாறிப் போகுமா?
ஒன்று சேர்ந்த அன்பு மாறுமா
பெண் : முன்னாளிலே கொண்ட பொல்லாப்பிலே
இன்னாளிலே காதல் மண்ணாவதோ?
முன்னாளிலே கொண்ட பொல்லாப்பிலே
இன்னாளிலே காதல் மண்ணாவதோ
ஆண் : சொந்தம் எண்ணியே
வாழ்வில் கொண்டோம் காதலே
என்னாசை தங்கமே நேசம் மாறுமா?
சொந்தம் எண்ணியே
வாழ்வில் கொண்டோம் காதலே
என்னாசை தங்கமே நேசம் மாறுமா
பெண் : பகையாலே காதலே அழியாது கண்ணா
பகையாலே காதலே அழியாது கண்ணா
ஆண் : பண்போடு நாமே இன்பம் காணுவோம் நாளுமே.. ! பாரிலே .
பெண் : ஒன்று சேர்ந்த அன்பு மாறுமா?
உண்மைக் காதல் மாறிப் போகுமா?
ஒன்று சேர்ந்த அன்பு மாறுமா
ஆண் : என்னாவியே கண்ணே
உன் போலவே
மண் மீதிலே வேறு
பெண் ஏதம்மா?
பெண் : இன்பம் மேவுதே உங்கள்
சொல்லால் நெஞ்சிலே
என்னாசை கண்ணா நீயென் தெய்வமே
ஆண் : அழியாத அன்பிலே இணைந்தோமே ஒன்றாய்
பெண் : பண்போடு நாமே இன்பம் காணுவோம் நாளுமே..! பாரிலே..!
ஒன்று சேர்ந்த அன்பு மாறுமா?
உண்மைக் காதல் மாறிப் போகுமா?
ஒன்று சேர்ந்த அன்பு மாறுமா
I don’t find any chemistry between the pair Nambiar and Rajam who appear in this song other than their common initials ‘M.N’.
Nambiar’s twirling a twig in this scene-a precursor to his great villain roles later?
KVM next called Udutha Sarojini for ”Nalla idaththu sammandham” (Sri Lakshmi Pictures/1958) where she sings the popular “Ponnu maappillai onnaa pogudhu jigu jigu vanndiyiley” along with Kasturi, Gajalakshmi and another talented singer by name Lourdumary Rajeswari who went on to become a very popular singer in the name ‘L.R.Eswari’. But that is a different story.
I have not heard any other song sung by Udutha Sarojini after this.
Composer KVM died on this day in 2001 and today is his fifteenth year death anniversary. My pranaams to maama.
During the course of the interesting conversation I was fortunate to have with singer Jayachandran earlier this year, we spoke of some songs of other singers that he was in awe of. One such name that sprung up more than once was Balamuralikrishna. Jayachandran raised his hands in reverence and added sadly that the great vocalist has not been keeping well in recent times.
"Padmavibhushan" "Sangeeta Kalanidhi" “Isai Perarignar” "Gana Sudhakara'' "Sur Singar'' "Geeta Kala Bharati'', “Chevalier”……the titles, doctorates, fellowships and awards that have been conferred on Mangalampalli Balamuralikrishna are too many to recount. Suffice to say, he has richly deserved them all. Let us, on this platform, confine our recollections to his tryst with Tamil film music.
MBK made an enchanting entry in Sridhar's Kalaikkoyil (1964); the song was ‘Thangaratham vandhadhu veedhiyile’. But in spite of subsequent success in immortal songs like ‘Oru naal pddhumaa’, he could not make it big as a playback singer in Tamil cinema. Nevertheless, he brought lingering luster to each song that came his way, be it T.K. Ramamoorthi's ‘Arulvaaye nee arulvaaye’ (Sadhu Mirandaal-1966), S. Rajeswara Rao's ‘Aadhi anaadhiyum neeye’ and ‘Chinna china kanne’ with S. Janaki in Bhaktha prahalada (1967)- MBK himself acted as Narada in the film, T.G.Lingappa's ‘Puththam pudhu meni’ with P.Susheela in Subadhinam (1969) or the two wonderful songs for KVM in Kanmalar (1970): "Thodudaya seviyan’ (with Soolamangalam Rajalakshmi) and ‘Ambalathu nataraja’ (with S. Janaki).
Presenting here the stirring ‘Thodudaya seviyan’.
* * * * *
Kanmalar (1970/ Ganesh Movies) was scripted by Madurai Thirumaran and produced by V.K. Ramaswami and V.K. Muthuramalingam. The movie was directed by Pattu under the supervision of veterans Krishnan- Panju.
Gemini Ganesh played Kannan, the city bred engineer who comes to a picturesque hamlet to construct a viaduct, and ends up falling in love with the demure Valli, (Sarojadevi) daughter of an impoverished Odhuvaar. Sowcar Janaki played the sprightly and bold Vadivu, the close friend and trusted confidant of Valli, who performs the supreme sacrifice and helps in reuniting Kannan and Valli in the end. A cliched story, with the lead actors well past their prime, the movie was destined to fail.
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K.V. Mahadevan’s album was the silver lining here. Working with Maruthakasi, Kannadasan, Thanjaivaanan and Vaali, the Thirai Isai Thilakam composed six songs in all. ‘poo undu pinjundu’ written by Maruthakasi, is a jaunty ditty that KVM rightfully entrusted the vivacious L.R.Eswari with. Thanjaivaanan penned the pastoral delight ‘Aathangarai orathile yaarumilla nerathile’ sung with relish by TMS. P. Susheela reveled in the two solos that came her way, both by Kannadasan, ‘Adi aayee aayee aayee kalyaana kaalamadi’ and ‘Podhumada saami ponnu patta paadu’ .
KVM invited Balamuralikrishna to render the two remaining songs. As the songs were to be sung on-screen by veteran Nagiah, himself an accomplished singer, and considering that Nagiah was playing an Odhuvaar in the movie, KVM must have thought it apposite to send for MBK. And the venerable vocalist did ample justice to the compositions. One is the haunting ‘Paamaalai avar padikka poomaalai naan thodukka’ rendered by a soulful S. Janaki, with MBK singing the impassioned preamble,‘Ambalathu Nataraja’. ’ The other song, is of course, Thodudiya seviyan with which the movie opens…
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During my childhood vacations in my village, a round of the three local temples was an everyday routine. And at the ancient Eswaran temple, I remember being stirred to piety by the heartfelt lines sung at the sanctum by a tall, thin person smeared liberally with scared ash, whose half-closed eyes always radiated serenity. He was referred to simply as ‘Odhuvaar’ and this humble man commanded the respect of everyone in the village. I am sure many of you would have heard the songs of Odhuvaars reverberate in the interiors of temples that you frequent.
The history of Odhuvaars can be traced back to the time of King Raja Raja Chozhan. During the sixth to the ninth centuries, Sambandhar, Appar, Sundarar and Manikkavasagar were in the forefront of a grand revival of Saivism as against the inroads made by Buddhism and Jainism all over the South. Singing emotive paeans to Lord Siva that we classify under Thevaaram and Thiruvasakam, these savants toured the length and breadth of the country. These spontaneous outpourings were unfortunately believed to be lost in the remorseless march of time. At the turn of the 11th century, King Raja Raja Chozha, himself a fervent Saivaite, initiated a massive hunt for these hymns, and the leaf-bundles bearing the invaluable hymns were finally located in the Nataraja temple at Chidambaram. The king entrusted a scholar named Nambiandar Nambi with the sacred task of compiling the hymns. Collectively called as ‘Thirumurai’ these hymns in 12 volumes are the compositions of 27 ardent devotees of Lord Siva.
And to propagate these soul-stirring hymns across the temples in his kingdom, the king employed more than 3000 singers who were called Odhuvaars, the name derived from the verb ‘Odhu’ meaning ‘to chant’. The Odhuvaars were humble, deeply religious and extremely austere in their daily life. They had to undergo rigorous training in the art of temple singing from childhood under exacting teachers. Their talents were carefully honed, and selfless dedication to the Lord inculcated in them with diligence. Over the centuries, generations of Odhuvaars have held sway in our ancient temples, singing the Thirumurai hymns of timeless allure. It is a matter of regret that bereft of patronage and significant means of livelihood, the Odhuvaars are a rapidly dwindling community today… I remember reading somewhere that there are currently less than 50 Odhuvaars in Tamilnadu.
It is still possible though, that in the dimly lit interiors of some obscure temple in the South, a sonorous line from Thevaaram would waft through the crevices, and you would come across a valiant remnant of this vanishing tribe opening his soul to the Lord, unmindful of the din around him…
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This song features one such Odhuvaar in a village temple… At the break of dawn, the temple bells toll; and in the gentle awakening of the day, as the doors of the sacred sanctum open, the aged minstrel draws his young students around him, and they recite the same piety-soaked verses that centuries ago a 3-year old child on the steps of the tank in the Seergazhi temple uttered in beatific response to his father’s puzzled query as who had fed him milk….the first Pathikam in the Panniru Thirumurai..
And moved by the tantalizing portrayal of the Lord in Sambandhar’s verses, the Odhuvaar breaks into a rapturous song of his own, ‘Odhuvaar un peyar Odhuvaar…’ he sings, immersed in the ecstatic contemplation of the divine. His daughter, who has been culling flowers from the garden and stringing them into beautiful garlands for the deity, joins her father midway, and her enchanting extolment is no less stirring…
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When Kannadasan listened to the lines, he is believed to have assumed that they were also from the Thevaaram. When he was informed that they were, in fact, penned by Vaali, he is said to have hugged Vaali in joy. The chorus voices reciting the Thevaaram verses in unison give the song an arresting opening. MBK lends Vaali’s lines a salubrious serenity that is so becoming, and the remarkable Rajalakshmi adds her inimitable flourishes that seem to envelop the lines in a divine halo. KVM crafts a bewitching Khamas…
Song: Thodudaya seviyan Film: Kanmalar (1970) Vocals: M. Balamuralikrishna, Soolamangalam Rajalakshmi Lyrics: Vaali Music: K. V. Mahadevan
