எம்.எஸ்.வி நினைவுகள் - ஜனனி

Saravanan Natarajan writes :

Another July 14 is upon us, another anniversary of the sad, sad day when Tamil Cinema suffered an irretrievable loss…. Let us pay a heartfelt tribute to the great Master by picking up an album from an unlikely decade…the 80s…

* * * * * *

The summer day is closed, the sun is set:
Well they have done their office, those bright hours,
the latest of whose train goes softly out in the red west…

-Bear Bryant (An Evening Reverie)

It is never easy trying to chronicle the years that ushered in the end of a glorious career, the dusk that finally enveloped a dazzling day. The 80s were, on the whole, not a happy decade for the Mellisai Mannar.

MSV had enjoyed a long uninterrupted reign as the absolute monarch of Tamil film music. Growing from strength to strength in the 50s along with TKR, MSV found the 60s opening the doors of fame and fortune. The duo outshone and outdid the great puritans in the field, and rode on a light-music wave of trail-blazing glory. His split from TKR saw MSV rising to greater heights with all the top banners firmly under the spell of his baton. He experimented with music of every genre, engaged the listeners with classy preludes, added innovative touches in orchestration, ensured refreshingly different interludes and did not release the singers until they came up to his expectations, at least in part. Attending a recording session of MSV, Naushad was said have been amazed at the nonchalant speed in which the song was born. There was absolutely no competition for MSV- V. Kumar, Shankar-Ganesh, and later Vijayabhaskar made their entry and did commendable work, but they could never reach the league of MSV. KVM found greener pastures in Telugu. And so the master remained, perched in snug invincibility, till 1976 and Ilaiyaraja came along..

Not that MSV was much affected by the new entrant, at least in those early years. He had his hands full even in the late 70s, and continued making wonderful music. But he saw some of his trusted clientele being drawn gradually by the mesmerizing music of Ilaiyaraja… Balaji, Thirulokachandar, and even his great friend Sridhar didn’t think twice before knocking Raja’s door (though they all came back to MSV for some of their movies in later years). Ilaiyaraja won the coveted TN Government Award for the best Music Director in 1977. MSV gave all he had for ‘நினைத்தாலே இனிக்கும்’ (1979) and that immortal album filled his loyal fans with ecstasy.

In the beginning of the 80s MSV was still in much in demand, but as the decade progressed, the offers dwindled to a mere trickle. The rough graph of MSV’s score vis-à-vis the total films released in each year of the 80s looks like this:

1980: 21/107
1981: 25/104
1982: 23/119
1983: 17/96
1984: 11/117
1985: 10/130
1986: 10/ 110
1987: 11/ 102
1988: 4/ 97
1989: 5/ 99

MSV did try to adapt to the changing trends, he used the synthesizer, he worked with younger singers, and being very much in possession of all his creative faculties, did come up with some worthy numbers. But these were not sufficient to stem the tide. Even the last few loyalists like KB and Mukta Srinivasan, who had stood by MSV all these years, switched camps now….‘The king has lost his crown’ as a popular ABBA number goes. The big door was closed with a resounding bang, but God, in His infinite wisdom, quietly left a small window open, and MSV got to work with R.C.Sakthi and S.A. Chandrasekar, crafting unforgettable songs for some small budget movies.

Like a sudden gust of wind that in a delightful drench blows down the drops of water remaining on the leaves long after it had stopped raining, these albums seemed to resurrect the Mellisai Mannar to his erstwhile throne, albeit for a brief reign…

I had once written a series on MSV’s albums in the 80s….Picking up today a jewel crafted by the master music-smith in the twilight of his brilliant innings…

* * * * * *

Writer/ Director Netaji had always been one great fan of MSV. That comes as no surprise, considering Netaji was an avid film music enthusiast during his college years in the early 70s when MSV was still the absolute monarch of Tamil film music; and for anyone who harbored even a passing fancy for film songs in those times, MSV was an icon worthy of awe and veneration. However, his interest in film music notwithstanding, it was his literary passion and pursuits that Netaji was more known for. He was hugely popular in the campus circles for his repeated successes in debates and elocution competitions, and his ability to come up with spontaneous poetic lines to suit the occasion. Soon afterwards, he wrote a serial story in Dhinamani Kathir. All this led to him to him even assuming the editorship of Navasakthi for a while.

It was during Netaji’s tenure at Navasakthi that he caught the attention of ‘Mukta’ Srinivasan and A.S. Prakasam. And so it was Srinivasan who brought Netaji to cinema, by inviting him to write the lyrics for a song in his ‘அந்தரங்கம்’. Thus Netaji made his debut in tfm, writing the arresting 'ஞாயிறு ஒளி மழையில்’; the song, tuned by Devarajan and sung by Kamalhasan, zoomed to the top of the charts. But this song remained Netaji’s sole claim to fame for a while; bereft of an enthusiastic patron, it wasn’t so easy for an aspiring lyricist to get continuous opportunities. Kannadasan and Vaali pretty much divided all the work that there was amongst themselves. Pulamaipiththan, Na.Kamarasan and Muthulingam subsisted for most part only on MGR movies. The coming of Ilaiyaraja then saw the rise of Panju Arunachalam and Gangai Amaran.

R.C.Sakthi and Shyam gave Netaji his next outing - 'அட மாமா’ (Kamalahasan/ Ceylon Manohar) for மனிதரில் இத்தனை நிறங்களா. Shyam was impressed by the enthusiastic youngster and persuaded the producer of his next album தேவதை (1979) to give Netaji a chance to pen the lyrics. Thus Netaji got to write the lyrics for one of Shyam’s best tunes ever, ‘களீர் களீர்'. The song, sung by a soulful S. Janaki is a sensitive soliloquy of an unmarried weaver woman whose youth is already waning…she works away on the loom, and she ruminates on her passing years, the hurdles that stand in the way of happiness…she sings wistfully of her uncertain future. Netaji mirrored the entire gamut of her emotions in this one song. ‘மாந்தளிரே மயக்கமென்ன' is another scintillating Janaki solo that Netaji wrote for the same film, but this is a complete change of scene, here it is a girl singing bashfully of her love.

Netaji next found place among the list of lyricists (the others being Pulamaipiththan, Muthubharathi and Poonkuyilan) in S.A.Rajkannu’s ‘கன்னிப்பருவத்திலே’ (1979/Sri Amman Creations). ‘நடைய மாத்து’ (MV/SJ) tuned by Shankar-Ganesh was a delectable folksy feast. The same year saw a prized offer coming Netaji’s way- an opportunity to write lyrics to MSV’s tune! The song, ‘எந்தன் கற்பனைத் தேரில்’ was a duet sung by T.L. Maharajan and B.S. Sasirekha in the movie ‘ஸ்ரீராமஜெயம்’ (1979).

However, to Netaji’s disappointment, this did not lead to a flurry of further opportunities. He bade his time, all the while filling little known literary magazines with his poetic outpourings. He had got into the good books of S.A.Rajkannu, and 1980 saw him drafting the screenplay for ‘சின்னச்சின்ன வீடுக்கட்டி’, produced by Rajkannu and directed by Yuvaraja. S.A. Rajkannu then decided to direct a film himself in 1981, and summoned Netaji to write the dialogues; but ‘அர்த்தங்கள் ஆயிரம்’ (1981) fetched neither of them any glory. Netaji next wrote the screenplay and dialogues for the Vijayakanth starrer ‘தீர்ப்பு என்ற கையில்’ (1984), which was directed by J.V.P.Sundar. None of these movies were noteworthy successes, and Netaji was still waiting for that elusive break.

It was in 1984 that Netaji cultivated the acquaintance of Jeppiar. Jeppiar perceived a spark in the multi-talented Netaji, and within no time, agreed to produce a movie for Netaji. And the MGR devotee that Jeppiar was, the movie was titled ‘உன்னை விடமாட்டேன்’, borrowed from the title of the movie that was touted as MGR’s comeback vehicle after he became the CM, and given up later due to various reasons. Besides writing the directing the movie, Netaji acted as the hero as well! Poornima Rao was his pair. And his favorite MSV was the Music-Director. Thus a full decade after Netaji entered cinema, 1985 dawned finally as a year of realization of his dreams. Among the Pongal releases of that year was ‘உன்னை விடமாட்டேன்’ (Jeppiar Pictures), and it did moderate business.

* * * * *

Later in the same year came the movie that gave Netaji a fleeting hour of glory under the arc lights.

As we know the ownership of the legendary Gemini Studious had passed from S.S. Balan in the aftermath of ‘எல்லோரும் நல்லவரே’, and later in the sprawling premises came up the Parsn Complex, one of the first and at that time the finest commercial and residential address in the heart of the city. A magazine called ‘Gemini Cinema’ with the famed bugle boys as its logo came out in the early 80s and quickly gained circulation. And in 1985, there was widespread publicity that ‘Gemini Pictures Circuit’ under its new owner, Pazhaniappan Ramaswami, was back into filmmaking, and that the comeback venture was titled ‘ஜனனி’.

I remember vividly the hoarding put up in Luz Corner proclaiming the return of Gemini to filmmaking. Similar posters sprung up all over the city and this publicity evoked substantial interest in ‘ஜனனி’. Netaji scripted and directed the movie, besides penning the lyrics. Newcomers Udayakumar and Bhavya played the lead pair. Ilaiyaraja’ s கீதாஞ்சலி was being made around the same time, and the heroine, a Kannada import, was also called Bhavya. Hence our ‘Janani’ Bhavya re-christened herself ‘Gemini’ Bhavya! The other actors were Charlie, Murugesh, Prabhakar and Manimala. Somendhu Roy handled the camera, T.Karunanidhi was the editor. Netaji was assisted by an eager youngster called R.V. Udayakumar, who would soon rise to fame as a successful director in his own right.

‘ஜனனி’ (Gemini Pictures Circuit) was released on September 29, 1985. It was during the school

quarterly holidays. Throwing aside the complexities of Keppler’s Laws and Analytical Geometry that we had to come to grips with as part of the holiday assignments, and not minding the dire imprecations that we were threatened with at home, my cousin and I took off to Thiruvanmiyur Thyagaraja to watch the movie. I don’t remember the movie scene by scene, but the story was fairly routine- a college romance that triumphs over several obstacles, including fiery ego clashes. The narration, however, was invigorating, the performances convincing, and the movie was thoroughly enjoyable to us teenagers playing truant :)

* * * * * *

And, of course, the songs! Shrug off the irksome Malaysia Vasu/Saibaba inanity, ‘நாட்டு சரக்கிது’, and what wonderful songs remain! I guess that it was Netaji who insisted for and got his favourite MSV to compose the music. And providence was never so propitious, for MSV set Netaji’s lines to enticing tunes, and the songs brought back to MSV the glories of his heyday…..they were aired on Radio Ceylon all day long even before the movie’s release. I remember listening to the nightly trailer on Vividh Bharathi, and once the movie was released, the songs flooded the ‘Ungal Viruppam’ requests and were the toast of the season. The Mellisai Mannar had not called it a day yet… no sir!!

The movie opens with fun-filled sequences of campus capers. Hilarious ragging scenes and practical pranks filled the frames. Janani defeats Venkat in the college elections and insults him at a college function. He bides his time and then spikes her drink during a college picnic. In an inebriated state, she lets off a blood-curling yell, shakes her hair loose, and dances as though in a trance. The fun waxes fast and furious even as a priest from a nearby temple is brought in to exorcise the evil spirit that seems to have possessed her!

I remember Udayakumar and Bhavya being quite nimble on their feet, and the song being an absolute riot. Half the crowd in Thyagaraja that afternoon were on their feet, whistling, clapping and swaying to the song!

MSV opens his account with the udukkai as the exorcist’s weapon, and the ever-obliging SPB draws a cloak of youthful mischief and merriment over the proceedings. Janaki is the obvious choice to counter each missile from the man with characteristic confidence and gives back cheerfully all she gets and more! As in many of the master’s intricacies, there is a marked difference in the pallavi as sung by SPB and Janaki- he sings the lines hurriedly, as though eager to end her drama and impatient to bring her to her knees; while she sings her pallavi with unhurried nonchalance, as though to accentuate her cool insolence- there are even subtle variations in pitch in her second repetition of the pallavi. MSV alternates between the udukkai beats and the drums and gives the song a catchy, contemporary cadence. Netaji’s fun-filled lines such as ‘அடி கட்டிலுக்கு தூக்கம் வருமா, கள்ளு bottleலுக்கு போதை வருமா’ add to the amusement.

Song # 1: ஆடுறது எந்த அம்மனோ
Sung by SPB & S. Janaki

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

And as it so often happens, and in no time at all, antagonism turns into affection; spite and wrath find themselves vanquished by love. Unlike poles attract, it is said; he had found her headstrong and arrogant, but aren’t these the very qualities that he finds so intriguing now? And ‘he is so brash and foolish’, she had ranted, only a little while ago. And now…. ‘oh, he’s so delightfully impulsive and charmingly naïve!’ she gushes! Cupid rubs his hands in glee, for it’s all in a day’s work for him. But for the young lovers…oh, delicious is the ache and sleepless are the nights….he yearns to be with her and cries out in despair. She is similarly afflicted, but counsels patience till the dawn of that auspicious day that would unite them forever…

MSV strings together a semi-classical treat, a scintillating Shanmugapriya that transcends time in its tantalizing allure. The pulsating prelude offers a teasing glimpse of the treat that is to follow. SPB, of course, is at hand to act out this piece of lusty longings. And who else but Vani to bring to life the splendor that MSV envisaged and more in this intricately crafted classical fare! She makes a dazzling entry in the charanam, and the bashfully lowered voice in ‘நூலாக எந்தன் இடை மெலிந்து போகும்’ shows class tact in this classical act. Netaji the poet immortalises himself in that unforgettable parallel ‘இடையென இறைவனா, உள்ளதா இல்லையா’ And SPB, of course, has to give that sardonic snigger while singing it! How much frustration is encapsulated in that ‘அந்த நாள் தேடி நான் வாடவா!’ And hark at Vani usher in so many subtle variations in that ‘வாராயோ நீ என் உயிரே’ – I can imagine MSV sigh in contentment!

The song ranks high in my list of favorites from the 80s, and I am certain it would in most of yours as well…

Song # 2: கொஞ்சும் மலர் மஞ்சம்
Sung by SPB & Vani Jairam

https://www.youtube.com/watch?v=0cs5lubaQNg

However, all this was merely a wistful dream of a besotted Venkat. Janani cannot bring herself to forgive him for the incident at the picnic. She thwarts his advances with anger, derides his penitence as pretense, dismisses his affection as affectation… At a college function, he sings…his song is a fervent, forlorn plea for forgiveness….

MSV must have thought of Yesudas as soon as he saw the lyrics, for this was the time soon after their own rapprochement after years of not working together, and these words seeking pardon for past mistakes perhaps reflected the unsaid thoughts of both the stalwarts… And of course, Yesudas was just the person to do justice to this song with a patina of pathos!

Netaji’s lyrics need special mention here, what heart-rending, evocative lines he has written! ‘உன்னருகில் வாழ உந்தன் நிழலுக்கு இடமில்லையா’, and what poignant lines does he sign off his supplication with: ‘என் இதயம் உன் உடமை, உனக்கது புரியாதா? இன்னுமதை நீ மிதித்தால் உனக்கது வலிக்காதா?’ Surely, Netaji must have experienced first-hand the anguish of remorse and a failed love to write heartfelt lines such as these…

Song # 3: மன்னிக்க மாட்டாயா
Sung by K.J. Yesudas

https://www.youtube.com/watch?v=Mwwqu8lKtsE

In order to keep Vankat away, Janani agrees to get married to Jagan….Venkat is shattered, but even then he wishes her well and he sets about reforming the Jagan, who is a habitual gambler and drunkard… In the process, he gets wounded by Jagan’s sidekicks and even ends up in prison on a trumped up charge….. When the truth is revealed, a chastened Janani perceives the innate goodness in Venkat…

It is now her turn to beseech his pardon, and like him, she chooses a public platform to do it…on Doordarshan, no less! Her ‘உன் இதயம் உன்னிடமே, நீ நல்ல முடிவையெடு’ perhaps as a poignant rebuttal of his earlier declaration is filled with so much angst, even while tempered with tremulous hope. Bravo, Netaji!

MSV calls Susheela this time around; and that veteran whose fortunes at that time were on the downslide after a long and magnificent innings, returns to recreate the magic of the past when as the reigning doyenne of Tamil film music, she sang stunner after stunner for the master. The gentleness and grace that Susheela brings in her delineation warms one’s heart at every listen. MSV keeps the orchestral support to the bare minimum, for he knows fully well the strength of Susheela’s vocals. Nevertheless, the guitar in the short interludes seems to mourn in empathy with the mood of the song.

Song # 4: மன்னிக்க மாட்டாயா
Sung by P. Susheela

The song does not appear in fill in the movie; here is the audio:

https://www.youtube.com/watch?v=u7Zrnf5AD10

Things then move towards a swift climax; All is well that ends well.

* * * * * *

‘ஐனனி’ however, didn’t do as well as expected, despite being a fairly entertaining movie, and despite being blessed with the bounty of a rejuvenated Mellisai Mannar. Bhavya shrugged off the ‘Gemini’ prefix and went back to Calcutta. Finding no further takers, the handsome Udayakumar sunk to abysmal depths appearing in Malayalam movies of dubious distinction and few TV serials.

All the same, MSV had made a fetching statement, his work won widespread appreciation; the songs were immensely popular in their time. His detractors who had earlier trumpeted his decline were silenced at this sudden success. His loyal fans were delirious with joy…they believed that the king has returned from exile to stake his claim to the throne… But sadly, ‘ஜனனி’ remained only an iridescent tongue of flame from the dying embers….

* * * * * *

The lack-luster performance of ‘ஐனனி’ must have hit Netaji hard. But putting the disappointment of ‘ஐனனி' behind him manfully, Netaji went on direct few movies more in the coming years. Before that, he was one of the lead actors in ‘உன்னிடத்தில் நான்’ (1987). Scripted by Sujatha, produced by a NRI called Shankar Ramani and directed by Arun Veerappan, the movie was a modest success.

Netaji next scripted and directed two movies produced by Trichy A. Chandran under his National Movie Makers banner, but both சொல்வதெல்லாம் உண்மை(1987/Vijayakant & Rekha) and கோயில் மணியோசை (1988/ Pandian & Abinaya) failed to fetch commercial or critical dividends. In an attempt to resurrect her declining career, the aging K.R.Vijaya produced ‘சிலம்பு’ (1990). The movie was scripted and directed by Netaji, and had in its cast K.R.Vijaya, Saratbabu, Vijayakumar, Murali, Rohini and Chadrasekar. I have seen the movie, and found it surprisingly engrossing, tackling an inventive theme. However, the cinefans of the 90s had no patience to watch a புன்னகை அரசி past her prime, and the film was sent back to the cans without much ado.

I am unable to trace Netaji’s career post ‘சிலம்பு’. I read somewhere that he tried his hand in some TV shows, but don’t recall watching any of his works on TV. An avid film enthusiast called Vijayakumar, whom I came know through good friend Sundar, happened to meet Netaji a few years back in Kundrathur. Apparently, Netaji had chosen to settle in the suburb, far from the tinsel town, and was enjoying being the owner of ‘Motilal Ice Cool Bar’ in a quiet street in Kundrathur.

Perhaps he is even now hopeful of another turn behind the camera. Even if that doesn’t come to pass, I wish some of the current music-directors would harness Netaji’s infinite and proven capabilities in writing poetic lyrics. Who knows, this may happen yet, for life holds a surprise at every bend…

Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/2079560915408957/

‘Aasai povathu vinnile’ from Naam Pirandha Mann

Saravanan Natarajan writes:

June 24 marks the birth anniversaries of two of the stateliest colossi of Tamil Cinema. Muse and Music were born on this day a year apart…. What better way to celebrate Kannadasan and MSV than to recall one of their myriad magnificent collaborations….And as always, we do not indulge in a superfluous search from the surface of this mighty ocean, we dwell deep into its recesses and lay our hands on a glistening pearl that lies in a forgotten crevice…..

‘Aasai povathu vinnile’ from Naam Pirandha Mann
Sung by S.P. Balsubramaniam
Lyrics by Kannadasan
Music by M.S. Viswanathan

* * * *

‘Have you seen ‘நாம் பிறந்த மண்?’ was Kamalhasan’s query to Shankar when the director first narrated the story of his ‘Indian’ to him. Hearing the gripping outline of an aged freedom-fighter who becomes the nemesis for his wayward son, Kamal must have been engulfed by a sense of déjà vu, for Shankar’s narrative bore startling similarities to ‘நாம் பிறந்த மண்’. Kamal’s thoughts must have raced back to more than two decades when ‘Vietnam Veedu’ Sundaram met him with the script and offered the upcoming actor the role of the rebellious, well-meaning son.

நாம் பிறந்த மண் (Vijaya Arts/ 7.10.1977) had Rajasekhar’s story being drafted into Sundaram’s riveting screenplay and dialogues. It was produced by ‘The Hindu’ S. Rangarajan. Rangarajan had earlier tasted success by producing ‘கெளரவம்’ (under the banner ‘Vietnam Movies’) with Sivaji Ganesan in the lead and with Sundaram as the director. This time around too, Sundaram was initially appointed as director, but cameraman A. Vincent took over the direction later on. The titles credit the screenplay to both Sundaram and Vincent.

The movie recounted the life and times of a fictitious revolutionary freedom fighter called Sandhana Thevan. The first half of the movie is filled with his daring exploits, how even while leading the blameless life of a respected village-head during the day, Thevan heads a clandestine band of brave youngsters who strike terror at the British bases in the night. Not even his wife and sister are aware of his dual life. Thevan has to suffer untold miseries when his identity becomes known- his sister is molested and left to die, and he gives himself up to the British at the tearful entreaty of his wife. Thevan is released from prison when India attains independence. He has now lost all his ancestral wealth, and his son Ranjit grows up to a life of scarcity and poverty. Ranjit is disheartened by the depths to which the family fortunes have sunk, and he longs to restore to his proud father and long-suffering mother all that they have lost. All his attempts to secure employment are in vain, and he resorts to crime as an easier means to wealth. But he has not accounted for the anger of his principled father, and events then move to a tragic climax.

If Sivaji Ganesan’s performance as Thevan leading a dual life was marked by majestic histrionics, his restrained underplay as the father who refuses to sacrifice his lofty principles was heartwarming. Kamal as the frustrated son brimmed with righteous fury and anguish. K.R. Vijaya played Thevar’s wife Deivanayagi, and hers was a dignified portrayal. Gemini Ganesh as another revolutionary Joseph, Nagesh as the faithful family retainer Thavasu, ‘Fadafat’ Jayalakshmi as Thevan’s sister Papa and Reena as the British Sergeant’s wife were all well cast in their respective roles.

* * * * *

The proceedings were punctuated with several interesting twists and some emotional highpoints- the playful banter between Deivanayagi and Papa accentuating the deep affection they have for each other, the young revolutionary Viswanathan venturing out on a valiant mission on the night of his wedding and killing himself after shooting the British collector at Maniachi Junction, Deivanayagi nursing the British child who is down with chicken-pox and proclaiming the oneness of Mary and Maari, the amazement of Joseph when he discovers that Sandhana Thevan is none other than his employer ‘Vettaikkaara’ Thevan, the daring encounter that James and Thevan have with the British troops in the still of the night and their seeking sanctuary in a church, all the men in the village sporting bandages in their legs to foil the attempts of the British when they try to trace Sandhana Thevan through his wounded leg, the moving episode where Thevan escapes from police to attend the funeral of Joesph’s mother, Thevan rescuing the British commander from a pit into which they had fallen together, the unblemished loyalty of Thavasu even when Thevan has fallen upon bad times, the arresting arguments between the principled father and practical son with the anguished mother playing the eternal arbitrator, the moving scene where Thevan and Joesph meet after many years, the undisguised pride in Thevan’s eyes when Ranjit buys back their ancestral house and presents it to his parents, and how the same eyes fill with tears of shame and rage when he learns the secret of his son’s sudden affluence, the inexorable end…. The movie was also well made technically with Vincent’s cinematography and Mohana’s art direction presenting with pulsating life the ambiance of a feudal village down south in pre-independence India.

Despite everything going for it, நாம் பிறந்த மண் was a commercial failure. Perhaps the public were tired of another Sivaji movie having a father-son tussle, or it could be that the image of Chappani (16 வயதினிலே was released a few weeks earlier, on 15 September 1977) had the public in a trance which they were not willing to come out of.

* * * * *

But knowledge to their eyes her ample page
rich with the spoils of time did ne'er unroll;
Chill Penury repress'd their noble rage,
and froze the genial current of the soul…

- Thomas Gray (Elegy in a Country Churchyard)

The proud Thevar remains proud and principled, while the Thevar magan languishes in abject penury. He has grown up listening to tales of the fabulous wealth that was once theirs, the acres of land that yielded bountiful harvest year after year, the huge amounts that his father gave away in charity, the thousands of people who were fed by his family during temple festivities…. But all he has known first-hand is poverty and deprivation. He is not educated, not because he was a dunce, it was because his impoverished father could not afford to educate him. Much like the children of poor families whom Thomas Gray alludes to in the above verse, knowledge to our man’s eyes did never unroll. As a result, this illiterate youngster is unable to find a job. And when he does get a job in a wine shop, his enraged father comes to know and puts an end to that soon enough…. What does he do…he cannot bear to see his long-suffering mother scrimp and scrounge and starve herself even while trying to feed her husband and son… he cannot bear to see youngsters of his age enjoying life when he is stricken by perennial poverty… How true was the sagacious old woman when she observed ‘கொடிது கொடிது வறுமை கொடிது, அதனினும் கொடிது இளமையில் வறுமை!’

Frustrations galore… he lands a job as a crooner in a hotel… develops dubious contacts from there…. gets trapped in a vortex of crime that fetches him the riches that he has always longed for…He despises himself for what he has become, his inner conscience and his principled upbringing gnaw him to penitence, yet he stifles the alarm bells, justifying crime as a necessary evil… His is a brooding, introspective lot that evening… the usual revelers gather in the hotel, but he is lost in the labyrinth of his wretchedness…. And so he narrates his travails in a song that he croons....

ஆசை போவது விண்ணிலே
கால்கள் போவது மண்ணிலே
பாலம் போடுங்கள் யாராவது
பாடி ஆடுங்கள் இன்றாவது....

In the prelude to the song, Vincent employs some imaginative touches that capture the above philosophical lines of the bard… the first shot shows Kamal walking on the road (கால்கள் போவது மண்ணிலே), the next one shows an airplane in the sky (ஆசை போவது விண்ணிலே), and then…there are montage shots showing him meeting shifty men, receiving mysterious consignments (பாலம் போடுங்கள் யாராவது)…The scene then shifts to the interiors of the hotel where Kamal sings, a girl sways to his song, the bacchanalian audience intent on their own pleasures indifferent to the angst that peeps through his lines (பாடி ஆடுங்கள் இன்றாவது)….

And as his wont, Kannadasan lets his lines reflect the inner turmoil of the character… And the thoughts of the great writers of the world creep unintentionally into his poetic lines… Oliver Goldsmith’s ‘The nakedness of the indigent world may be clothed from the trimmings of the vain’ finds new meaning in ‘கட்டிடம் ஜொலிக்கிறது, அஸ்திவாரம் அழுகிறது.’ Ella Wheeler Wilcox would have discovered a kindred soul in Kannadasan had she happened to hear ‘யாரும் சிந்தட்டும் கண்ணீரை, நீங்கள் தெளியுங்கள் பன்னீரை’, for the line is a sardonic leaf out of her own ‘Laugh, and the world laughs with you; weep, and you weep alone…’ And had John Milton who wrote ‘These evils I deserve, and more…Justly, yet despair not of His final pardon, Whose ear is ever open, and His eye gracious to re-admit the suppliant’ and Alexander Pope who declared ‘To err is human, to forgive divine’ lived in the time of our bard, they would have doubtless saluted the heart and shook the hand that interpreted the same thoughts so eloquently in

தெய்வம் சில நேரம் சிந்திக்கும்
மண்ணில் பல பேரை மன்னிக்கும்
இந்த மன்றத்தில் ஆடுங்கள்...
அந்த மன்னிப்பைக் கோருங்கள்....
இறைவா.....
என்னை மன்னித்துவிடு......

As for MSV, he must have been delighted to obtain this philosophical soliloquy from the bard, and he sets it to a simple tune that brings to the fore the somber undercurrent of the lines. It is a stylish composition of the master wherein the first four lines of the charanam are but a variation of the pallavi’s tune. The first three charanams close with didactic reflections, while the last charanam ends with a desperate cry to the Lord for forgiveness. In perfect congruence with the plush interiors of the opulent hotel, MSV employs the guitar, drums and trumpets to tantalizing effect. There are four charanams, and alternate interludes are similar. The second and fourth interlude open with the bells that jingle in the glittering sequins of the danseuse’s dress, and as the singer’s thoughts fly to his mother amidst her domestic drudgery, MSV’s violins wail in empathetic anguish...

The sharpest weapon in MSV’s arsenal though, is SPB. How fetchingly does he portray the misery of the on-screen singer… Listen to the cynical chortle in ‘இன்பங்கள் தூங்குவதில்லை.....துன்பங்களும் அப்படித்தான்’ and the hushed sob in the final plea, ‘இறைவா.....என்னை மன்னித்துவிடு!’ Frustration, anger, guilt, rationalization, resignation, and prayer… all delivered with operatic flourish parade in mesmerizing succession in SPB’s song…

https://www.youtube.com/watch?v=xEAAUcOkZ74

Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/2047444261953956/

மலர்ந்தும் மலராதவை # 30

மலர்ந்தும் மலராதவை # 30

ஆறுகள் தோறும் நீர் வரும் காலம்.......

Ilaiyaraja has often suffered the misfortune of some of his painstaking works being squandered on movies that were never released. M.S. Viswanathan, on this count, was largely fortunate, except for stray instances in later years such as முன் ஒரு காலத்திலே (remember ‘மங்கை ஒரு திங்கள்'?) and Plus 2 (recall ‘நினைவுகளின் ஊர்வலங்கள்’?), besides a couple of MGR non-starters.

Of course, in MSV’s halcyon days in the 60s, the number of movies that were released was significantly lesser; only established veteran producers were in the fray, and all the projects that were embarked upon were completed and released in due course.

In the light of this, it came as a surprise to me to know of this movie from the 60s- ‘ஞாயிறும் திங்களும்’ that was was inexplicably abandoned midway.

* * * * * *

I happened to listen to this song just once many years back on Radio Ceylon’s மந்த மாருதம். The announcement was just ‘அடுத்த பாடல் ஞாயிறும் திங்களும் படத்தில் ஜானகி பாடியது’. The lovely song persisted to linger on in memory and I kept returning to Lata’s Albela number ‘Dheere se aaja’, but I couldn’t glean any further information about the movie.

The next I heard this film’s name was when actress Devika mentioned it in an interview. When asked about the best roles that came her way, she mentioned நெஞ்சில் ஓர் ஆலயம், நீல வானம் and மறக்க முடியுமா. She then went on to reminisce on ஞாயிறும் திங்களும். Apparently she had a dream role in the film whose other actors were Sivaji Ganesan, Muthuraman & K.R.Vijaya; to my joy, she even recalled this song ‘பூமகள் மேனி’ filmed in the beautiful Berijam Lake above Kodaikanal.

Years later, in a recording center in Chennai, I met an old-timer who had come there seeking songs of K.B. Sundarambal. We fell into conversation about the film songs of KBS, and from that gentleman I was startled to learn that KBS was roped in to play a pivotal role in ஞாயிறும் திங்களும். Even more startling was his nonchalant addendum that MSV had recorded 3 songs with KBS for the film, for I had hitherto been under the naïve assumption that MSV was one composer for whom KBS had never sung! I was still in an incredulous daze at this discovery, when the aged gentleman added to my amazement that he thought that ஞாயிறும் திங்களும் might have been a project of Director Sridhar!

I was now more eager than ever to lay my hands on this intriguing album. I reached out to friends even in distant Colombo and Kuala Lumpur. But the hunt, dogged though it was, was leading nowhere. This album seemed to me to be one of Tamil film music’s best-kept secrets!

At long last it was at the cunning little recording center down South in Virudhunagar, which proved to be a beguiling cornucopia of mythical treasures, that this search too found its elusive goal. The taciturn gentleman in charge made me speechless with joy by pointing out two records of ஞாயிறும் திங்களும் - one LP and one EP. The year of manufacture was mentioned as 1965. The LP had 7 songs (Traditional / Kannadasan): ‘வகுத்தால் வகுத்த பகை'- a soulful virutham by KBS, ‘பட்டிலும் மெல்லிய பெண்ணிது- a great duet by the evergreen TMS/ P.Susheela duo, ‘பன்னீர் பூவே பாதி நிலாவே’-a breezy G.K.Venkatesh/ L.R.Easwari duet, the serene ‘சீறு தமிழ்ப்பாலுண்டு வெற்றிக்கு வேல் கொண்டு’ that progresses into a stirring 'ஓங்கார குடிக்கொண்டு’ (KBS), ‘கானகத்தில் நீரெடுக்க’- a poignant TMS/ P. Susheela duet, ‘நினைவுகளே நில்லுங்கள்’- a reflective TMS solo, and ‘கேட்ட வரம் கொடுக்கும்’- another KBS gem. I realized that I had the last song in a HMV cassette of KBS film hits titled ‘பழம் நீயப்பா’—mysteriously credited therein to காரைக்கால் அம்மையார்!

The EP had this lone ‘பூ மகள் மேனி' on either side ('இருப்பக்க இசை' in Radio Ceylon parlance)

When I first posted this song in Tamil Film Music Page way back in 2004, the response was

overwhelming, with many a film song aficionado delirious with joy at this treasure being unearthed. Today, of course, this song, like many other obscure ones, can be found at the click of the mouse…

During a conversation with good friend Murali Srinivas sir, who is a great fan of Sivaji Ganesan, we got talking about this movie. He informed me that the movie was nearly completed when it was given up due to reasons unknown. Even his enquiries in this regard with Ramkumar, son of the thespian, were futile.

However, Murali sir was able to lay his hands on some old issues of ‘பேசும் படம்’ that had information on ஞாயிறும் திங்களும் and was kind enough to forward the relevant pages to me. The project, apparently, was produced by ‘Sakthi Productions’ and directed, not by Sridhar, but by R. Sadagopan, who had worked as Director Bhimsingh’s assistant. The movie was scripted by Valampuri Somanathan. The project was initially announced with Gemini Ganesh playing the second male lead with a newcomer called Sashirekha. However, due to unknown reasons, they were replaced by Muthuraman and K.R. Vijaya. Again, Viswanathan & Ramamoorthi were initially entrusted with the sound-track, but by the time the project actually commenced, the duo had parted ways and the album went to MSV.

So, listen on to this stillborn song; hark at the master music-smith conjuring up vistas of a brook bubbling prettily amidst verdant valleys. While the flute evokes the mystic magic of the mountains, the santoor sprays over the listener the silver slivers of the streams… the lines are all about the joyous beauty of Spring, how flowers blossom heralding the arrival at of Spring, and bees that hover over the flowers for nectar…. The lines then speak of a young girl for whom the Spring brings in its wake the joys and the ache of falling in love…... Janaki’s lines are filled with youthful longing, each repetition of her ‘வசந்த காலம்’ gets bedecked in vivid, vibrant hues- wistfulness, an angst whose very pain is pleasurable, a pensive melancholy, languorous yearning, forbidden fantasies….. The remarkable songstress happily weaves magic for a composer who never gave her rightful due…..

Song: Poomagal meni
Film: Gnayirum Thingalum (Unreleased)
Vocals: S. Janaki
Lyrics: Kannadasan
Music: M.S.Viswanathan

https://www.youtube.com/watch?v=S-Y0JqxdKGc&feature=youtu.be

Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/2003657862999263/

மலர்ந்தும் மலராதவை # 20

Saravanan Natarajan writes:

மலர்ந்தும் மலராதவை # 20:

நீயா……இல்லை நானா......

I have a sudden hankering to watch Murasu TV at times, much to the despair of my wife and son. :) One a recent weekend evening, for instance, there was a hostile silence at home when I sat engrossed watching the 1948 movie ‘அபிமன்யு’, with plans made earlier for an outing given an unceremonious burial. I did make up later in the evening, though.

I am, however, glad that I did watch the movie, for even as the song 'புது வசந்தமாமே வாழ்விலே' appeared right after the credits, I recalled the famous anecdote concerning the composition of the song. My thoughts then continued tangentially to an obscure album that was composed years later which I realized was a worthy candidate for the current ‘மலர்ந்தும் மலராதவை’ series.

A little-known yet priceless keepsake of an enduring and endearing relationship between two great artistes of Tamil Film Music.

* * * * * *

Incident # 1: 1948. A balmy night at Central Studios, Coimbatore. 3 youngsters who were engaged as office attendants and assistants to composer S.M. Subbiah Naidu were making merry in the composing room as no one was around. The room doubled up as their accommodation for the night. One of them, a talented teenager was trying out on the Harmonium a tune that had struck him for a song ‘புது வசந்தமாமே வாழ்விலே’ that had been written for the movie ‘அபிமன்யு’ being made by Jupiter Pictures, the lessees of the Central Studious. The song, a duet to be filmed on Abimanyu and Vatsala, had had SMS stumped for a few days, as he could not come out with a tune to fit the lines.

As the teenager played his tune and sang the lines, his friends clapped with approbation. Unknown to them, there was another person who was watching the proceedings with incredulous joy; he was none other than SMS himself who had returned to pick up something he had forgotten. Seeing the 15-year old boy nonchalantly setting a tune into which the recalcitrant lines perched so snugly, the master was truly amazed. He stepped into the room and called out the boy’s name. And brushing aside the sheepish boy’s stammered apologies, he drew him into his arms and hugged him with affection. The boy happily played the tune again at his master’s bidding. SMS told the boy that he would play the same tune to the ‘Jupiter’ Somu and A. Kasilingam the next morning. However, he cautioned them not reveal to anyone that it was the boy who had composed the tune as the fastidious Somu would never accept a tune composed by a mere assistant. The next morning, when SMS played the tune, it was approved at once. And it was the boy who taught the tune to the singers Trichy Loganathan and U.R. Jeevarathinam. The song became immensely popular in its time, with the credit going to SMS.

You would all doubtless be aware that the genius teenager was none other than M.S.Viswanathan, while his friends were G.K. Venkatesh and Gopalakrishnan.

Soon thereafter, Jupiter’s lease of the Central studious came to an end and Jupiter Somu and his partner S.K. Mohideen decided to move to Madras. Many of the staff, including MSV, were made redundant. However, SMS rushed to the rescue of his protégé. He requested Somu to retain MSV and take him to Madras, and revealed then that it was MSV who had actually composed the tune for ‘புது வசந்தமாமே வாழ்விலே’. The song had become a great favourite of Somu; MSV was taken back on the rolls and traveled to Madras. Here, he was put under the tutelage of C.R. Subburaman who was composing for a few projects of Jupiter Pictures. The rest, is a history that is only too well known. And MSV would forever remain grateful to SMS.

Let us return to SMS. Tamil Cinema remains indebted to SMS for many reasons. Besides setting MSV on a firm track thus paving his way for further opportunities, SMS was the composer who first set to music Kannadasan’s lyrics- ‘கலங்காதிரு மனமே’ (கன்னியின் காதலி/ 1949). He gave a young TMS his first singing opportunity - ‘ராதே நீ என்னை விட்டு போகாதேடி’ (கிருஷ்ண விஜயம்/ 1950). He was the composer who first made TMS sing for MGR ‘எத்தனை காலம் தான் ஏமாற்றுவார்’ (மலைக்கள்ளன்/ 1954).

Born in 1914 in Kadaiyanallur, Subburayalu Munusami Subbiah Naidu had an unhappy childhood. He ran away from home with dreams of finding his fortune in Singapore, but ended up working in drama troupes such as those of Jagannatha Aiyer and Nawab Rajamanickam Pillai. Finding himself drawn more to music than acting, SMS learned music from masters such as Rajagopala Iyengar and Subramaniya Bagavathar. When the company’s play ‘பக்த ராம்தாஸ்’ was made into a movie, SMS worked on the music for the movie as well.

SMS worked jointly with other composers on a few movies in the early 40s. He then composed music for the first movie in which MGR played the hero- ராஜகுமாரி (1947). All through the 50s, SMS continued to compose memorable songs in the movies that came his way. Albums such as ‘ஏழை படும் பாடு’ (1950), ‘காஞ்சனா’ (1952) and ‘மலைக்கள்ளன்’ (1954) helped him to consolidate his place among the front-ranking composers of the decade. My favorite SMS albums are ‘திருமணம்’, ‘மரகதம்’, ‘நாடோடி மன்னன்’ and the magnificent classic ‘கொஞ்சும் சலங்கை’.

Incident # 2: At the dawn of the 60s, SMS had been engaged to compose music for MGR’s ‘திருடாதே’. He had composed a few songs and was working on setting the tune for a duet when producer AL. Srinivasan made him listen to a song ‘என்னருகே நீயிருந்தால்’ sung by P.B. Srinivas & P. Susheela. The song had been composed by MSV-TKR for an earlier project and had remained unused. ALS suggested that the song be included in the ‘திருடாதே’ album. Seeing that it was by his protégé MSV, SMS readily agreed, and thus the song featured in ‘திருடாதே’ with the credit once again going to SMS.

As the 60s progressed, SMS, like other veterans G. Ramanathan, S.V. Venkataraman and R. Sudarsanam, found himself sidelined by the new wave of light music serenaded by the all-pervading magic of MSV-TKR. K.V. Mahadevan was the only other composer who managed to remain in the center stage. SMS did get a few projects in the late 60s - நாம் மூவர், ராஜா வீட்டு பிள்ளை, உயிர் மேல் ஆசை, சபாஷ் தம்பியாக, பணக்கார பிள்ளை, நாலும் தெரிந்தவன், சக்கரம். Though some of the songs did manage to find some airtime, they were nowhere close to the popularity enjoyed by the works of MSV. My favourite album of SMS from that period is ‘மன்னிப்பு’- 'நீயெங்கே.... என் நினைவுகள் அங்கே’ and ‘வெண்ணிலா வானில் வரும் வேளையில்’ …. enticing tunes that bespeak the genius of SMS to this day.

While he was composing music for ‘ராஜகுமாரி’ at Central Studious, SMS made the acquaintance of the hero MGR. This laid the basis for a lifelong friendship between the two, which was further strengthened during the making of ' மர்மயோகி’ and ‘மலைக்கள்ளன்’. When MGR turned producer/ director with ‘நாடோடி மன்னன்’, he invited SMS to compose the songs, along with N.S. Balakrishnan who had composed 2 songs. Later, when the fortunes of SMS were on the decline in the 60s, MGR secured for his friend a few opportunities such as ‘தாயின் மடியில்’, ‘ஆசை முகம்’ and even ‘தலைவன்’ (1970). In the 70s, opportunities were few and far between - சினேகிதி, வைராக்கியம், தேரோட்டம், தங்ககோபுரம்......SMS used to pass the time of the day in MGR’s house along with other members of MGR’s inner circle such as Ravindar.

MSV and Kannadasan, who have acknowledged many a time the crucial role played by SMS in shaping their career, organized a grand function to celebrate the 60th birthday of the master composer. In the function graced by MGR and Sivaji Ganesan, a cash award was presented to SMS as a token of his contribution to Tamil cinema.

In the late 70s, the health of SMS suffered a setback. The superbly crafted songs of ‘கவிராஜ காலமேகம்’ (1978) which SMS had painstakingly worked on went unnoticed as the movie was a commercial catastrophe. This disappointment, compounded by the ignominy of being forgotten by an uncaring film fraternity and financial woes hastened depression and multiple physical ailments. Seeing the plight of his Master, the noble MSV brought the childless SMS and his wife to his house and attended to their every need with solicitude. And it was then that occurred …

Incident # 3: A producer called upon SMS and wanted him to compose music for his upcoming project ‘அத்தி பூத்தது’. Though physically frail, SMS was overjoyed at this opportunity. 2 songs were composed by SMS and recorded. 2 more songs were needed to be composed when SMS fell seriously ill. MSV perceived that SMS would not be able to work on the remaining songs, and came forward to compose them himself- His only condition was that even the songs that he would be composing should come under the name of SMS. The producer accepted happily.

However, SMS, who was listening to this conversation, beckoned to MSV. The words that he whispered feebly had the Mallisai Mannar in tears- ‘Do not make me indebted for the third time, Visu! Please permit the songs that you are going to compose to be credited to you!’ SMS would not let go of MSV’s hand until he had secured his assurance on this.

SMS passed away a few days after this, in May 1979. Stepping into the role of his next of kin, the grief-stricken MSV performed the last rites.

MSV composed 2 more songs for ‘அத்தி பூத்தது’ when he was approached some time later. He did not accept any payment for his work. However, the producer was besieged by financial constraints and ‘அத்தி பூத்தது’ (Gnanam Movies) was shelved midway. The EP record containing the songs was released in 1981, with one of the songs composed by MSV finding fleeting airtime in Radio Ceylon.

The songs in the ‘அத்தி பூத்தது’ album were:

1.கன்னிப்பெண்ணே உன்னுடலில்- SPB. Lyrics by Ramraj. Music by S.M. Subbiah Naidu

2.அடி மல்லிகைச்சரமே - Malaysia Vasudevan & T.K. Kala. Lyrics by Paridasan. Music by S.M. Subbiah Naidu

3.மூவகைப்பாலில் - SPB & Vani Jairam. Lyrics by Vaali. Music by M.S. Viswanathan.

4. முக்கோன சக்கரத்தில் உட்காரும் தேவி- T.K. Kala, B.S. Sasirekha & Chorus. Lyrics by Vaali. Music by M.S. Viswanathan.

Here is the quaint ‘கன்னிப்பெண்ணே’ by SPB. SMS sets the lines to a lilting tune and sends for SPB to render it. Yes, the orchestration does sound a trifle dated for the late 70s- but that does not take away the inexplicable charm that the composition has. I have always wondered if Maragathamani had this song in mind when he composed 'Tu mile dil khile'.

Forgive the not-so perfect recording- I found the ravaged record under a heap of others in a center in Virudunagar. Wiped it off layers of dust myself before handing it over to the attendant for getting it recorded.

The song holds a special place in my heart for it was one of the last two numbers composed by a towering pioneer of Tamil film music. How much fulfilment it must have given the ailing SMS to wield the baton and relive, just once more, the vibrancy of a glorious past!

https://www.youtube.com/watch?v=UPbPFDkM0rc&feature=youtu.be

And here is ‘மூவகைப்பாலில்’ by SPB & Vani. MSV collaborates with Vaali and comes out with a composition of languorous enthrallment. The magnificent prelude is such a scintillating MSV signature! The seasoned singers usher in a mood of a dreamy, sensuous rendezvous. This song too holds a special place in my heart, for more than its compositional merits, it is a loving talisman of a fierce, loyal affection that is seldom witnessed in this callous, forgetful world. A gorgeous gesture of gratitude. A promise honored.

https://www.youtube.com/watch?v=tJqk81biQt4&feature=youtu.be

Two men. Two melodies. And a saga of a heartwarming surety, and a bond strengthened by the silken strands of music….

Discussion at:

https://www.facebook.com/groups/1018417744856618/permalink/1874215445943506/

மலர்ந்தும் மலராதவை # 14

மலர்ந்தும் மலராதவை # 14:

வானிலே எந்த நாளும் ஆனந்த சூரியோதயம்....

I’ve often wondered about this film 'Anu'. I honestly don’t know if it was ever released, for I have seen it (twice!) on Podhigai TV. And though the certificate of censor showed the year as 1982, I strongly suspect that it was already some years since the film was made. Perhaps it was destined only for a belated TV release (‘திரைக்கே வராத’ in Sun TV jargon)?

The film was produced by T.R.M. Sukumaran, the son of the T.R.Mahalingam, under the banner T.R.M. Creations. (Sukumaran had also jointly produced மற்றவை நேரில்). 'Anu' was scripted by ‘Vietnam Veedu’ Sundaram and directed by P.N. Menon. Jayadevi played the protagonist Anu; the lacklustre cast included a newcomer Raja, Hariprasad (who acted in நட்சத்திரம்), SSR Rajendrakumar, Rani Padmini and Anumanthu.

The story was of the affluent Anu falling in the love with the poor and principled Ramu, and marrying him with her father’s reluctant approval. Ramu’ s large family (numerous siblings, irresponsible father…) looks at her with initial mistrust, but soon enough, she wins them over with her warmth, simplicity and affection. Tragedy strikes early when Ramu succumbs to a sudden illness. Though benumbed by this irredeemable loss, Anu refuses resolutely to return to her father. She stays on in Raja’s house; gently guiding the hapless family find its moorings.

MSV had whipped up a delectable duet, served in style by SPB & Vani: ‘சந்தனக்காட்டினில் மல்லிகைப்பூத்தது’. SPB and Vani have a natty albeit naughty duet as well: ‘நெனச்சது அப்போது’. ‘வானிலே எந்த நாளும்’ has a pathos version beginning with ‘சிரிக்கும் வாழைத்தோட்டங்களில்’ sung by Savitri, the daughter of T.R.Mahalingam. Savitri was earlier heard setting the stage for KJY’s enchantment to commence in the famed ‘காஞ்சிப்பட்டுடுத்தி’ (வயசுப்பொண்ணு) and following Janaki’s lead in the singular classical treat ‘அழகியப்பெண்னொரு சங்கீதம்’ (இவர்கள் வித்தியாசமானவர்கள்).

* * * *

“இந்தப்பாட்டு.... இது எந்தப்படம் ? ” asked a delighted but perplexed Vani ji when I played this song over the phone. And as I teasingly maintained silence, she laughed and added ruminatively: “It is so beautiful…Aahaa….MSV sir’s tune, definitely. It has MSV written all over it!” When I finally told her about the film, she could recollect it. She too felt that it was never released and added that ‘Vietnam Veedu’ Sundaram named it Anu after his daughter.

'வானிலே எந்த நாளும்' was popularised by Radio Ceylon, securing a regular berth in the Pongum Poompunal parade. The song finds place in the aftermath of Anu’s marriage with Ramu, and Kannadasan fills his lines with the euphoric moments of marital bliss. Content with creating a tune that verily serenades the soaring joys of a newly married girl, MSV leaves the rest to Vani. And as for Vani…oh, her singing surges with this rapturous repletion, and then adds on for good measure fervent hopes for this bliss to continue unabated. If she preens herself smugly in 'நாளெல்லாம் மணவிழா, வாழ்வெல்லாம் திருவிழா’, she is a picture of impassioned prayer in ‘அரசன் போன்ற என்ற நாயகன் அதிக காலம் வாழ்வாரென்று இறைவன் அருளைச்சொல்லுங்களேன்’; and if she is the bashful damsel singing of new found pleasures in 'சிவந்த கன்னம் பாலூறவும், கனிந்த வாயில் தேனூறவும் …’ (that hushed ‘சொர்கங்களே’ hints at so many unsaid delights!), she is the serene epitome of domestic happiness in Kannadasan’s wonderful lines 'ஒளியின் மேன்மை தீபத்திலே...தீப மேன்மை தெய்வத்திலே...தெய்வ மேன்மை கோயிலிலே...கோயில் மேன்மை குடும்பத்திலே.....’ .

This song was surely made for a kinder destiny!

Here is the audio link:

https://www.youtube.com/watch?v=xnXrPNj-puQ

And the video (the song is followed by the short pathos version by Savitri):

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

Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/1838704609494590/

மலர்ந்தும் மலராதவை 1

Saravanan Natarajan writes:

மலர்ந்தும் மலராதவை 1:

உயர் கவிகள் தந்த வரிகள்....

As part of the SOTD series, I had presented many years back a string of noteworthy songs from movies that never got to be released. Let us look back at some such songs again, for they are surely worth resurrection.

In his ‘என் ஜன்னலின் வழியே’, Vairamuthu refers to such songs as ' உறங்கி கிடக்கும் மொட்டுக்கள்’. I am not too sure if that’s a fitting description, for though the films these songs were composed for were nonstarters, the songs did come alive and they still live vividly in our memories, thanks to Radio Ceylon. Good old தமிழ்ச்சேவை இரண்டு was never unduly perturbed about the film itself. Thumping successes, dismal failures, straight Tamil movies, dubbed debacles, released and running new films, soon to be released hopefuls, unreleased losers… all candidates were on equal footing on Radio Ceylon’s scales and were given an impartial hearing. And as long as a song was found meriting airtime, Radio Ceylon went all out to celebrate and propagate it.

And the worthy station went an extra mile by coming with a programme called 'மலர்ந்தும் மலராதவை', an exclusive 15 minutes a day devoted to lovingly adopt, nurture and pamper orphaned gems from films languishing in the cans, never to light up the silver screen, never to revel in the excitement of the marquee.

For today, let us listen to the SPB marvel 'மங்கை ஒரு திங்கள்’. When I first shared this song as ‘Song of the day’ some time in 2003, there were many who responded with incredulous delight at reconnecting with a long-lost treasure. Since then the song has been widely circulated, and we now have it (only the audio, of course) even in YouTube.


Searching for hidden treasures in an unobtrusive recording center in Virudhunagar sometime in the early 90s, I had almost replaced a dusty vinyl record of ‘முன் ஒரு காலத்தில்’ back to its hibernation when my eyes fell on ‘மங்கை ஒரு திங்கள்’ listed in the tracks. My heart leapt in delight as memories came of the summer of 1983 when this song found regular airtime in Radio Ceylon. The song had captivated me at the very first listen, for the arresting word play, MSV’s astuteness in keeping the orchestration minimal, and of course, SPB! Kannadasan, MSV and SPB collaborated to create some priceless keepsakes where the alliterative lines were sheer poetry, they ensconced snugly onto MSV’s tantalizing trellis, and SPB understood the nuances and the notes, and went all out to immortalize them- Remember ‘தேரோட்டம்’ and 'வான் நிலா நிலா அல்ல’?

I had not heard it in all the intervening years, and to rediscover it now in Virudhunagar was a indeed pleasurable thrill. I lost no time in getting all the songs of the movie recorded. Besides this one, they were Kodaiyilae pachchai thanni’ (Kannadasan/ Vani Jairam), ‘Nallaarukkum nallaarukkum namma mala thenu’ (Kannadasan/ P. Susheela & Chorus) and ‘Otta paanaiyila nanda vitta’ ( Udhayanan/ P. Susheela). The record sleeve showed Malayalam actor Sudhir and Alam in an embrace. ( At circumstances such as these, it is a blessing to have only the audio!)

Listen on to this forgotten song, a quintessence of the craft of the great Kannadasan. A song where the imaginative lyrics take the center stage- and MSV wisely makes the music so inconspicuous with just the guitar providing an encouraging backdrop, and gives SPB a free hand with the song, and how SPB has enjoyed himself in this almost unplugged outing!

Song: Mangai oru thingal
Film: Mun Oru Kaalathil (Sajitha Creations/ Unreleased)
Vocals: S.P. Balasubramaniam
Lyrics: Kannadasan
Music: M.S. Viswanathan

https://www.youtube.com/watch?v=JpuoeBw-OtY




Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/1769141109784274/

The King's Treasuries - 22

Narayanan Swaminathan‎ writes:

The King's Treasuries - 22

Alessandro Alessandroni ஒரு ஆச்சரியமான திறமைசாலி. அற்புதமான கிட்டார் பிளேயரான இவர் ஒரு சிறந்த இசை அமைப்பாளரும் கூட. கிட்டத்தட்ட 40 படங்களுக்கு இசையமைத்துள்ளார். Sergio Leone, Ennio Morricone மற்றும் Alessandroni யின் கூட்டணியில் உருவான பல படங்கள் உலகப்பிரசித்தி பெற்றவை.

'ஸ்பகெட்டி வெஸ்டர்ன்' என்று ஒரு genre ஐயே உருவாக்கியவர்கள் இவர்கள். வெஸ்டர்ன் என்பது தமிழில் புரியும்படி சொன்னால் ஜெய்ஷங்கரின் (கர்ணனின்) கௌபாய் படங்கள். இவர்கள் இத்தாலியில் இருந்து படங்கள் எடுத்ததால் spagetti western என்று அழைக்கப்பட்டன. macaroni வெஸ்டர்ன் என்றும் ஒரு ஜானர் உண்டு.

இத்தாலி நாட்டு இளையராஜாவான Morricone (500 படங்களுக்கு மேல்), பட்ஜெட் காரணமாக முதல் சில செர்ஜியோ லியோன் படங்களில் பெரிய ஆர்கெஸ்ட்ரா பயன் படுத்த முடியாததால், கிட்டார், மோர்சிங் (jewish harp ), விசில், சாட்டைச்சத்தம், துப்பாக்கி சத்தம், ட்ரம்பெட் என்று செலவில்லாமல் பார்த்துக்கொண்டார். வல்லவனுக்கு புல்லும் ஆயுதம் தானே.. இந்த 'வாத்தியங்களை' வைத்துக்கொண்டே ஒரு இசைப்புரட்சி செய்தார்.

இங்கு தான் தன் பால்ய ஸ்நேகிதனான அலெசாண்ட்ரானியின் அற்புத திறமையை பயன்படுத்திக் கொண்டார். dollars trilogy என்று சொல்லப்படும்
A Fistful of Dollars (1964), For a Few Dollars More (1965) மற்றும் The Good, the Bad and the Ugly (1966) ஆகிய படங்களில் இவர்களின் கூட்டணி அட்டகாசம் செய்தது.

Alessandroni கிடார் வாசித்துக்கொண்டே விசில் அடிப்பதில் கில்லாடி. இந்த 3 படங்களிலும் அவருடைய விசில் மற்றும் கிட்டார் தான் தீம் மியூசிக். கம்போஸர், கிட்டார் கலைஞர் என்பதைத்தாண்டி இந்த விசில் திறமை தான் அவரை உலகிற்கு அடையாளம் காட்டியது.

https://youtu.be/CpZjvbSC9_M
https://youtu.be/mLXQltR7vUQ
https://youtu.be/h1PfrmCGFnk
https://youtu.be/I3AFeCKFZl0
https://youtu.be/pLgJ7pk0X-s
https://youtu.be/2RGrz1mZve8

******
தமிழ்ப்படங்களில் Whistling என்பதை முதன்முதலாக விஸ்தாரமாக பயன்படுத்தியது மெல்லிசை மன்னர்களே.. சட்டென்று நினைவுக்கு வருவது நீரோடும் வைகையிலே, வந்த நாள் முதல், உள்ளத்தை அள்ளிக்கொஞ்சம் தா போன்ற பாடல்கள்.. யார் அந்த whistler என்பதை விவரம் அறிந்தவர்கள் சொல்லலாம்.

https://youtu.be/0Ded74fqkOA
https://youtu.be/Yhrp0_XgjdQ
https://youtu.be/Xt9pncmbTYI

SPB அருமையாக விசில் அடிக்கக்கூடியவர். மேடைகளில் பாடும் போதே விசிலும் அடித்து அசத்துவார்.. ரஹ்மானின் தொடத்தொட மலர்ந்ததென்ன பாடல் பற்றி அவர் பேசியது இதோ..

https://www.youtube.com/watch?v=U9qmN1mNJnU

YGEE MAHENDRA அவர்களும் ஒரு அற்புத விசில் கலைஞர்.. அவருடைய நடிகர், மிருதங்க வித்வான் போன்ற பல முகங்களில் இதுவும் ஒன்று. MSV - TKR பாடல்களை விசிலில் வாசித்து ஒரு சீடியே போட்டிருக்கிறார்.

https://youtu.be/94Bfzel8zPM

மெல்லிசை மன்னர்கள் தவிர எனக்கு ஞாபகம் வருவது சுதர்சனம் இசையில் அன்னை படத்தில் வரும் 'புத்தியுள்ள மனிதர் எல்லாம்' பாடல், மற்றும் தேனிலவு படத்தில் ஏ.எம்.ராஜா இசையில் பாட்டு பாடவா பாடலில் வரும் PRELUDE . மற்ற விசில் பாடல்களை ரசிகர்கள் நிரப்பலாம்.

https://www.youtube.com/watch?v=8ImA2bPgICM
https://www.youtube.com/watch?v=0qV8W1z6ZZo

********
ராஜா இசையில் பல பாடல்களில் விசில் அற்புதமாக பயன் படுத்தப்பட்டுள்ளது. அவரே ஒரு விசில் கலைஞர் தான். காதலின் தீபம் ஒன்று பாடல் கம்போசிங் போது உடல் நலமில்லாமல் மருத்துவமனையில் அனுமதிக்கப்பட்டார். PRELUDE, INTERLUDE எல்லாம் நோட்ஸ் எழுதி விடலாம். TUNE சொல்லிக்கொடுக்க பாடித்தானே ஆகவேண்டும்.. பாட முடியாத நிலையில் முழு மெட்டையும் விசில் அடித்தே சொல்லிக்கொடுத்தார் என்று கேள்விப் பட்டிருக்கிறேன்.

நினைவில் வரும் விசில் பயன் படுத்தியிருக்கும் ராஜா பாடல்களை கொடுக்கிறேன். மேலும் உள்ளவற்றை ரசிகர்கள் கூறலாம்.

ஏ ஆத்தா - பயணங்கள் முடிவதில்லை
மதன மோக ரூபசுந்தரி - இன்று போய் நாளை வா
காங்கேயம் காளைகளே - இன்று நீ நாளை நான்
டார்லிங் டார்லிங் - பிரியா
ஈரமான ரோஜாவே - இளமைக்காலங்கள்
உறவெனும் இனிய வானில் - நெஞ்சத்தை கிள்ளாதே
நினைவோ ஒரு பறவை - சிகப்பு ரோஜாக்கள்
வந்தாளே அல்லிப்பூ - கண் சிவந்தால் மண் சிவக்கும்

இவை எல்லாவற்றையும் விட ஒரு பாடல் எனக்கு மிகவும் விருப்பமான பாடல் ஈரவிழிக் காவியங்கள் படத்தில் வரும் பழைய சோகங்கள் என்ற பாடல். அந்தப் படத்தில் அனைத்து பாடல்களுமே Avant garde என்று ராஜா ரசிகர்களால் கொண்டாடப் படுபவை. ராஜா செய்த ஆல்பங்களிலேயே சிறந்தது என்று சொல்பவர்களும் உண்டு.

கிட்டார், ராஜாவின் குரல், மற்றும் விசில் அவ்வளவு தான். அந்த கிட்டார் ரிஃப்பை கேட்கும் போதெல்லாம் எனக்கு அலெசாண்ட்ரானியின் fist full of dollars தான் ஞாபகம் வரும்.

I think it was our Maestro's tribute to another Master.

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

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JK & Tamil Cinema: Part 4

Saravanan Natarajan writes:

JK & Tamil Cinema: Part 4

Sila Nerangalil Sila Manithargal

For us, avid readers of JK, not a day goes by when even for a fleeting moment we do not turn to JK when a twist of phrase, a peculiarity of characterization, an attitude or a turn of events, or even a quizzical glance or a pregnant silence brings in a sense of déjà vu… for didn’t JK draw all his stories from life itself?

Having dwelt on Paathai Theriyuthu Paar, Yaarukkaga Azhuthaan & Kaaval Deivam earlier, let us resume our journey today tracing his tryst with Tamil Cinema… Sila Nerangalil Sila Manithargal…

With his earlier forays into cinema filling him with dissatisfaction and worse, disillusionment, JK took a conscious decision to steer clear of the tinsel town in the late 60s, and concentrated on his writing in the years that followed.. He never saw a movie in those years not did he keep himself abreast of the changing trends or the new generation of artistes and technicians.

Sometime in the early 70s, Director A. Bhimsingh had approached JK, through his son Hridayanath, evincing an interest to take up JK’s Sila Nerangalil Sila Manithargal for celluloid adaptation. Writer Poovannan also met JK with the same message from Bhimsingh. JK gave his acquiescence to the emissaries. However, Bhimsingh was preoccupied with his other ventures and this project was put on the backburner…

Everything happens only in its own good time… In the meantime, in an interview to Kumudam, director C.V. Rajendran showered encomiums on JK and his works and revealed that he was working on a screenplay for SNSM. Accompanied by actor Srikanth, who was part of JK’s friends circle, Rajendran even met JK at his residence in this connection. It was this turn of events that spurred Bhimsingh and his associates into action and they approached JK again for the rights to the story.
And it is at this juncture that I ask myself the question that has had me bewildered- what made Bhimsingh, of all persons, venture into what is known as 'parallel cinema', and then make such an exciting success of the experiment?! For Bhimsingh, the ‘Monrach of melodrama’ is more remembered for his sentiment-filled family epics, star-studded affairs presided by Sivaji, emotional conundrums that had the viewers sobbing happily and asking for more. Surely, Bhimsingh turning to Jayakanthan is one of Tamil Cinema's most exquisite ironies!

But was this change of mind as sudden as it seems? As I muse over Bhimsingh's life and times, I conclude that it could not have been so. For I recalled that even as the 'pa' series movies were petering out in the mid-60s, Bhimsingh set about making some pioneering off-beat movies. No, he didn't direct them himself, but elevated his assistants Thirumalai-Mahalingam to call the shots, satisfying himself with financing the projects (under a new banner 'Sunbeam Productions'), besides drafting the screenplay. Saadhu Mirandaal (1966) and Aalayam (1967) were interesting experiments in this line. Both were made within modest budgets and defied valiantly the vicious 'hero-heroine-love-family-villain-action-all is well that ends well' permutations.

Bhimsingh had heard a lot from others about what a difficult man JK was. And so, it was with some trepidation that he called upon JK at his residence to discuss the making of SNSM. But he was in for a pleasant surprise, JK welcomed him with warmth and affection and happily gave his nod for Bhimsingh to proceed with making SNSM the movie. He asked Bhimsingh to develop his own screenplay and to feel free to use the dialogues from the story.

Having given Bhimsingh carte blanche to develop his own screenplay, JK was not entirely happy. For, as he says in his ‘Oru Ilakkiyavaathiyin Kalaiyukaga Anubhavangal’, even while writing a story, JK would visualize each situation ‘frame by frame’, would see his characters move, converse and react, and only then put pen to paper. So he felt that a screenplay by someone else for his story would not have the same effect as what he had envisaged. So when Bhimsingh’s associates came back to him with the screenplay that the team had attempted, JK did not give it even a cursory glance. For nearly a month and a half, he kept aside all his other commitments and dictated the screenplay and dialogues, scene by scene to Thirumalai and Mahalingam.

Bhimsingh was delighted with the excellent shape JK had given to the screenplay and dialogues. Even the minutest details were written down and filed, which proved to be of immense help when the actual filming commenced. JK recommended Srikanth for the role of Prabhu and Lakshmi was the unanimous choice for Ganga. JK did not interfere with the choice of the rest of the cast and crew. He penned the two songs and then left it all to Bhimsingh. Bhimsingh recounts JK’s reaction upon seeing the movie: ‘idhanai idhanaal ivan mudikkum endraaindhu adhanai avankan vidal’, a contended JK quoted an apposite Thirukkural, filling Bhimsingh with unsurpassed elation.

Sila Nerangalil Sila Manithargal, the movie (1.4.1977/ ABS Productions) won critical acclaim for its sensitive adaptation of the novel. A National Award winning, heartwarming performance by Lakshmi was backed by stupendous performances by Srikanth, Nagesh, YGP and Sundaribai. A realistic look at middle-class values, on-screen characters whom we meet in everyday transactions, scintillating conversational dialogues, (some entirely in English!), effective use of silence, brilliant black & white frames, taut editing and two unforgettable songs… they all added immense value. The film remains among the best Tamil movies ever made, and surprisingly for its genre, was a modest commercial success as well, crossing 100 days in the urban centers.

* * * * *

Recalling again the famous JK quote on what a writer does:

“Nothing has a right to live without a purpose. We don’t create our lives, but we create in our lives. Sometimes people may not be able to articulate the purpose in their lives. That's what a writer does. He gives... voice to those who can't speak; eyes to those who can't see; a mind to those who can't think; a heart to those who can't feel….”

And so JK gives himself a role in the proceedings of Sila Nerangalil Sila Manithargal. R.K.Viswanatha Sharma (played by Nagesh with nonchalant brilliance) a library attender who is a writer as well, notices a college girl accepting a lift from a stranger on a rainy evening. Thereafter his imagination takes over; he spins a story of what could have happened, and with a rare catholicity, gives his surmise a cathartic conclusion; a solution that is an exercise in compassion, common sense and courage. He titles his tale ‘Agnipravesam’, for he deems his heroine’s redemption a trial by fire…

But is that what actually happened? Did Ganga’s story really have this happy ending? Years later, Ganga happens to read the tale and is riveted by the startling resemblance it bears to what had happened to her, though she was not as fortunate as the girl in the story. She seeks out RKV, and thereafter commence some of the movie’s delectably poignant moments.

The raconteur himself playing a part in his parable is nothing novel- it is as ancient as our ancient epics, but Sila Nerangalil Sila Manithargal remains the only instance in Tamil Cinema wherein the writer slips into the story as one of the characters, and ensures that the movie has adequate allusions to its wellspring.

For Agnipravesam was the short story that JK wrote in 1966, and it appeared as part of Suyadharisanam, a collection of JK’s sort stories (1967/Meenakshi Puththaga Nilayam) I believe that the revolutionary ending of the story evoked some protests. As though bowing to popular demand, JK altered the ending to a conventional, convenient conclusion, but had the last laugh as he developed the story further into a remarkable novel spanning situations that are far from conventional or convenient. Sila Nerangalil Sila Manithargal (1970/Meenakshi Puththaga Nilayam) won the Sahitya Akademi Award in 1972.

* * * * *

As a child, movie outings were very rare for me, but I did manage to tag along with my parents when they went to watch a late night show of Sila Nerangalil Sila Manithargal at Leo Theater, Chennai ( then Madras). Quite naturally, I did not understand the proceedings at all and soon went to sleep. But I woke up at this song, and even now recall laughing aloud at Nagesh’s antics….he sits in a park with a sheaf of papers, and a sudden gust of wind blows some of them away…as he runs to retrieve them, it is the turn of the papers he has left behind on the bench to fly…. and he now runs behind these with an expression of comical dismay…What a gifted performer he was!

M.S.Viswanathan wisely sings JK’s profound lines himself, for his mystic voice rings as the voice of the soul, the voice of the conscience within that seldom manages to get heard without…the guitar strings lending their approbation throughout, the violin and whistles painting a melancholic hue into the interludes, the unobtrusive percussion providing scintillating support…the master is in his elements here…

https://youtu.be/dtWMrA98Gjs



- Sila Nerangalil Sila Manithargal to continue

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KANNAN KOVIL PARAVAI IDHU - AKKA

Saravanan Natarajan writes:

கண்ண(தாச)ன் கோயில் பறவையிது...

It is the birthday today of the dulcet diva. When I called her to wish her this morning, I just played the opening lines of her own 'ஆயிரம் ஆண்டுகள் ஆயிரம் பிறவிகள் பூமியில் பிறந்திட வேண்டுகிறேன்..'. Vani ji sounded moved and happy “So kind of you, Saravanan!” she exclaimed, filling me with a pleasurable thrill, for I had not spoken a word until then! “I know it is you” was her simple explanation when I asked her how she guessed who the caller was, for I had called her old-fashioned land-line and she had no way of noticing the number. I was at a loss for words, and as if to ease the silence, she went on to enquire pleasantly about the well-being of my family, mentioning my wife and son by name. I could hear her cell phone ringing and even as I tried to end our conversation with my wishes and prayers, she continued unhurriedly talking to me, conveying her blessings and thanks. Blessed I am, truly!

It is my pleasure to celebrate this joyous occasion by posting a song that has remained close to my heart ever since the first listen decades ago- Thanks to Radio Ceylon, an ennui filled afternoon transformed to sheer enchantment as I listened transfixed to Vani ji’s soulful soiree...

The first time I met Vani ji at her home, I started off by referring to Kannadasan’s singular tribute to her in his ‘சந்தித்தேன் சிந்தித்தேன் ’ (originally serialized in குமுதம் as ‘இந்த வாரம் சந்தித்தேன்’). She folded her palms in salutation to the greatest bard of our times. ‘That write-up gave me a honor that even a Bharat Ratna cannot equal’ she commented. As memories seem to rush in, she continued musingly, ‘Kannadasan Sir has worked with generations of singers…great singers who have done justice to his lyrics over the decades, yet to think that he chose to single me out for that rare honor, of being the only singer he devoted an episode to, I’m overwhelmed!’ she said humbly, her eyes moist with emotion.

‘That morning, when the Kumudam issue containing his write-up on me hit the stands, he called me up at 6 and said ‘வாணி, உன்ன பத்தி என் மனசில தோன்றதெல்லாம் எழுதி இருக்கேன். படிச்சு பாரு', she recollected with a smile. She went on to share with us some special memories of Kannadasan. “He looked upon me as a member of his family. Once when he was celebrating his birthday with only his family members, he took Jairam ji and me along with his family to Madurai, and we were fortunate to be with them during the special pooja at Meenakshi Amman temple, and share some intimate moments with his family’

Vaniji and Jairamji seemed to be lost in memories of the Kaviyarasar and the special relationship they shared with him- After a pause, Vani ji continued ‘Again, another time, when he was contributing to some Annadaanam scheme, he called me and affectionately demanded ‘வாணி, நீயும் உன் பங்குக்கு ரெண்டு மூட்டை அரிசி கொடு ’- that was how close he was to us.’
‘A great man. His simplicity, goodness of heart, limitless creativity and humility are qualities that set him apart. I am privileged to have sung so many of his songs, and blessed to have received his good wishes and fatherly affection in abundance’ she said feelingly.

‘I am happy that Kannadasan Sir’s family still continues to shower affection on us. Even last week I had been to Kannadasan Pathippagam –Sir’s son gifted me a book titled ‘கண்ணன் கோயில் பறவை...'

I couldn’t resist interrupting her flow of thought and said excitedly ‘That’s one of my favorite songs!’ Vani ji smiled indulgently, and….did what I was waiting for with bated breath….she sang the pallavi, and the first charanam of that spellbinding classic. Oh, the ageless allure! Her voice, as sweet as ever, took us briefly to another world, another time, when giants like Kannadasan, MSV & Vani Jairam were making magic with Tamil film music….
* * * * *

‘Full many a flower is born to blush unseen,
And waste its sweetness on the desert air’

I can never, never understand why this magnificent composition did not hit the popularity charts.
The movie அக்கா (1976) had K.R. Vijaya in the title role, with Jaiganesh, Vijayakumar and a debutant Vijayabala (who was never heard of since) as her co-actors. The புன்னகை அரசி essayed the role of a vocalist Kamala. Her love for her younger sister and the villainous machinations of her husband formed the crux of the narrative.

The movie opens with a series of mysterious events. Vijaya makes her appearance well into the proceedings as part of the flash back narrated by her sister, and this is the song where we are introduced to the acclaimed vocalist Kamala…

கண்ணன் கோயில் பறவை இது
கருணை மன்னன் தீபம் இது
அண்ணல் கடலின் ஓடமிது
அதுதான் இப்போது பாடுவது...

What a virtuoso performance!! இதில் கண்ணன் கோயில் பறவை யார்- கிருஷ்ணகானம் படைத்த கவியரசரா, அதற்க்கு மெட்டமைத்த மெல்லிசை மன்னரா, இவ்விருவரின் கூடத்தில் அகல்விளக்காய் ஜொலிக்கும் வாணியா....அல்லது மூவருமா? I used to wonder at Vani’s exclusion from the immortal MSV- Kannadasan collaboration ‘Krishna Ganam’, released the same year, wherein all the popular singers of the time found place. I get the answer every time I listen to கண்ணன் கோயில் பறவை இது...perhaps MSV and Kannadasan felt this song equaled if not surpassed that album! The rendition is punctuated by spellbinding and swift Swara sojourns (particularly towards the end) and amazing alaapanais. The brughas are reminiscent of the great S. Varalakshmi in her prime. Also mention must be made of the subtle variations in each repetition of the refrain 'அதுதான் இப்போது பாடுவது'. A wonderful ragamalika, which MSV had masterfully woven in Hamsadhwani, Charukesi, Aarabhi, Dhanyasi, Behaag….

Many may recognise the similarity in structure, which this song shares with the pathos filled தேவியின் கோயில் பறவை இது - (Janaki), from அவளுக்கென்று ஒரு மனம் . Both songs are by Kannadasan and tuned by MSV. While the line ‘அது தான் இப்போது பாடுவது’ recurs at the end of each verse in this song, the corresponding last line in தேவியின் கோயில் is 'கண்ணீர் எழுதும் கவிதை இது'. And most lines end with 'இது' in both songs. However, while தேவியின் கோயில் is an emotional cascade, கண்ணன் கோயில் is a classic, soulful Krishnaganam, which Kannadasan created with poetic lyrics in ode to his favorite God.

I leave you with this song and with Kannadasan’s eloquent tribute to his Vani in his சந்தித்தேன் சிந்தித்தேன் – “முறையான சங்கீதப்பயிற்சி உள்ளதால் எளிய கர்நாடகத்தில் வாணியின் குரல் ஒலிக்கும் போது அதன் சுகமே அலாதி. ஏழு சுரங்களில் பாடலை நான் எங்கே கேட்டாலும் என்னை மெய்மறக்கச் செய்து நிற்கவைக்கிறது. பானுமதி, வரலக்ஷ்மி, சூரியகுமாரி போல் வாணியின் குரலும் தனித்தன்மை வாய்ந்தது. அவர் குரலில் ஒரு குடும்ப சுகம் இருக்கிறது. எல்லா பாஷைகளிலும் அவற்றினுடைய த்வனி தவறாமல் உச்சரிக்கும் வல்லமை பெற்ற வாணி ஒரு ஆயுட்கால பாடகியே. பெயர் பொருத்தம் பலருக்கு அமையாது- வாணிக்கு அமைந்திருக்கிறது. வாணி உண்மையிலேயே ஒரு கலைவாணி தான்!"

To add anything to that would be sheer arrogance!

https://www.youtube.com/watch?v=8mWDq7GbOp0


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