Vaanampaadigal pole - A tribute to M.K.Athmanathan

Kumaraswamy Sundar writes:

வானம்பாடிகள் போலே பிரேம கானம் பாடி மகிழ்வோம்….”

In my tribute to singer Andal that I posted last week, I mentioned, inter alia, thus:
“Some of us would remember a delectable Kaanada song ‘வானம்பாடிகள் போலே பிரேம கானம் பாடி மகிழ்வோம் ’ 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 Ganesan 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”.
But I did not elaborate there about the lyricist and music composer behind that song.
****

There was this announcement in Vividh Bharathi some time in 1974:

'புதையல்' படத்துக்காக சி.எஸ் ஜெயராமன் , பி . சுசீலா பாடியுள்ள பாடல்
இசை : விஸ்வநாதன் - ராமமூர்த்தி
பாடல் : ஆத்மநாதன்

That was the first time I heard the name ‘Athmanathan’ – ‘an unknown lyricist for a well-known song’, so went my thought.
****

M K Athmanathan(MKA) was both an under-rated lyricst and a music composer in spite of his extraordinary talent. MKA had his baptism as a theatre artist and when TKS Brothers visited Karaikkudi with their troupe MKA manged to impress ‘Avvai’ T K Shanmugham and from then on MKA became an integral part of their troupe who wrote all the songs and composed them. For their ‘Kalvanin kaadhali’ drama this song was both written and composed by MKA. This one song is enough to gauge how acute his mind has been musically bent.

Listen : https://www.youtube.com/watch?v=KfKt9B0uyOU




(Song courtesy: Kandasamy Sekkarakkudi Subbaiah pillai)

A very cute song! How sweet a melody! Set in Durbari kaanada, the song opens with a dialogue in the link:

“கல்யாணி, அதோ பார் , வானவெளியில் வட்டமிடும் பறவைகளை
நமக்கும் இறக்கைகள் இருந்தால் நாமும் பறந்து செல்லலாம் அல்லவா”….
….even this dialogue sounds musical!

வானம்பாடிகள் போலே
பிரேம கானம் பாடி மகிழ்வோம்

நாணற் கானிலே தென்றல் உலாவ
நாதம் பிறந்திடுதே
வானிலே முகில் கூடிடவே
மாமயில் ஆடிடுதே - நடனம்
மாமயில் ஆடிடுதே ..நாமே

வானம்பாடிகள் போலே
பிரேம கானம் பாடி மகிழ்வோம்

மெல்லலை துள்ளும் கொள்ளிட பெண்ணாள்
வீணையை மீட்டுகிறாள் - இதய
வீணையை மீட்டுகிறாள்
அன்னை காவிரி செல்வி இவள்
அன்பினை வாழ்த்துகிறாள் - நமது
அன்பினை வாழ்த்துகிறாள் -நாமே

வானம்பாடிகள் போலே
பிரேம கானம் பாடி மகிழ்வோம்

The honeyed voice of young A M Raja and the seasoned voice of Andal with a soothing orchestra make the song a veritable vintage treat . On listening to Andal’s stress at ‘நாதம் பிறந்திடுதே … ‘ her style reminds me of her tutor N C Vasanthakokilam. Also her style reminded me of T V

Rathnam’s singing in “swamy…kaadhal poyigaiyil moozhgi sugamadaindhe magizhvom’ (‘Aaruyire prema amudha variyil…’ with G Ramanathan in ‘Ponmudi’). But it is really unfortunate that this song did not find a place in the film. I wish to reiterate that had this song been there in the film both MKA and Andal would have been immensely benefitted. The lyrics in this song look simple but poetic.
****

When TKS Brothers decided to make their popular play ‘Raththapaasam’ into a film, they chose MKA to be the composer, ruling out suggestions of famed names. MKA did not disappoint them and particularly the song ‘Nilaiyaana inbham manavaalan anbey’ rendered by MLV is a classic.
MKA was also the lyricist-composer for all of S V Sahasranamam’s Seva stage and Seva Screens productions. When Seva Screens produced ‘Naalu veli nilam, the first realist film in Tamil, a T.Janakiraman’s story directed by Muktha V.Srinivasan, K V Mahadevan and MKA shared the credits for the film’s music. The film had two new singers in Andal (Nambinar keduvadhillai with A L Raghavan) and one Nellai Jayaraman (Inbha kavidhai paadudhu with S Janaki).
****

The majority in the unit of ‘Pudhaiyal’ felt that ‘Vinnodum mugilodum’ was of a high-flown literary style and might not touch the masses. But Krishnan-Panju and M Karunanidhi insisted to retain the lyrics, which went on to become a hugely popular unforgettable melody of MSV-TKR’s early compositions.


தேடாத செல்வசுகம்
தானாக வந்ததுபோல்
ஓடோடி வந்த சொர்க்க போகமே
காணாத இன்பநிலை கண்டாடும் நெஞ்சினிலே
ஆனந்த போதையூட்டும் வாழ்விலே வாழ்விலே ...

சங்கீத தென்றலிலே
சதிராடும் பூங்கொடியே
சந்தோஷம் காண உள்ளம் நாடுதே
மங்காத தங்கமீது மாறாத வைரமிது
ஒன்றாகி இன்பகீதம் பாடுதே வாழ்விலே..

I am not aware of his political leanings but MKA was a favourite of MK and C N Annadurai that in almost all the films that they produced or co-produced till the 1960s MKA wrote lyrics – Ammaiyappan, Raja raani, Rangoon Radha, Pudhaiyal, Nallavan vaazhvaan, Edhaiyum thaangum idhayam and Avan piththanaa. Other films include Maheswari, Amaradheepam, Tenaliraman, Kuladeivam, Mallika, Thirumanam, Nadodi mannan, Thaedi vandha selvam, Naattukkoru nallavan, Pettra manam, Vijayapuri veeran, Kalathur Kannamma, Vikramadithan and Thirudathey.
A few other songs where MKA’s lyrics sparkle include ‘engey selvaayo‘(Raththapaasam), ‘thadukkaadhey ennai thadukkathey’ (Nadodi Mannan), ‘azhagu nilaavin bhavaniyiley (Maheswari), ‘thanga mohana thaamaraiye’(Pudhaiyal), ‘en ennam inippadhaeno’(Thirumanam), ‘neela vanna kannaney’ (Mallika)-[original ‘Jaa re saanwale salone natkhat banwaari’ (Paayal)-Hemantkumar?], ‘ullam thaedaathey endru solludhey’,’unakkum enakkum vegu dhooramillai (Edhaiyum thaangum idhayam), ‘aandavan oruvan irukkindraan, kuththaalam aruviyiley (Nallavan vaazhvaan) and ‘aayiram muththam tharuvaen’ (Avan Piththana).

A close look at the lists would show that MKA had collaborated with music director T R Pappa the most.

When he had finished writing the pallavi “kuththaalam aruviyiley,’ director P. Neelakantan asked him to change the pallavi (for the simple reason) that it opened with a shortened syllable (kuril) and hence was not auspicious. Annadurai, however, brushed aside the objection and approved the lyrics.
*****

It was very appropriate that in the centenary year of TKS in 2012, veteran MKA was conferred the Hamsadhwani R. Ramachandran Drama Award on 28th Jan 2012. The award carried a scroll of honour, a cash award of Rs.15,000 and a shawl.

MKA considered the Tamil Conference held in Madurai in 1981 a highlight of his career. He had to compose music for ‘Maduranayaki’, a dance-drama, for which Kannadasan had written the lyrics. The production saw J Jayalalitha taking the stage as a dancer after a long hiatus. Jayalalitha had choreographed the dance-drama and shown special interest in the sets and costume. Generously appreciating his contribution, Jayalalitha presented him a wrist watch. MKA preserved the watch and the newspaper clipping that carried a detailed report of the event. His wish to meet her after she became the Chief Minister, however, remained unfulfilled.

MKA gave equal importance to cinema and stage. He wrote lyrics and composed music for over 250 stage plays including Seva Stage’s ‘Thaerotti Magan,’ and ‘Kavichakravarthi Kambar.'
Having worked for 4 chief ministers of Tamilnadu, did he receive any award? Tamil Nadu Eyal Isai Nataka Mandram was very responsive when I called them to check this- Atmanathan was conferred the ‘Kalaimamani’ award for ‘Naadaga paadalaasiriyar-isaiyamaippaalar’ for the year 1977-78.
*****

I knew about the death of MKA only during the later part of the year 2013. I called his family and learnt that it was on this day in 2013 that Atmanathan passed away. Today is his 3rd death anniversary.

Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/1274308882600835/

‘Thendral vandhu veesaadho’ from Sivagangai Seemai (1959/ Kannadasan Productions)

Saravanan writes:

A vintage classic, this time. A song that moved me to tears when I first listened to it as a child, and had remained close to my heart all these years. And every time I read of a brave soldier losing his life defending his country, lines from this song come to sorrowful recall.

‘Thendral vandhu veesaadho’ from Sivagangai Seemai (1959/ Kannadasan Productions)
Sung by S. Varalakshmi & T.S. Bagavathi.
Lyrics by Kannadasan.
Music by Viswanathan-Ramamoorthi.



Sivagangai Seemai (1959) was Kannadasan’s labour of love, He wrote the script & lyrics and produced the film. It was his second venture in the wake of the success of Maalaiyitta Mangai the previous year. Sivagangai Seemai was directed by K. Shankar, and had a talented star cast led by T.K.Bagavathi, SSR, P.S.Veerappa, OAK Thevar, S.Varalakshmi, Kumari Kamala, M.N.Rajam and others.

Much has been discussed about Sivagangai Seemai- that Kannadasan embarked on this project as a challenge to Sivaji’s Veerapandiya Kattabomman which was also being made at the same time, and this flamed further the simmering animosity between Kannadasan and Sivaji Ganesan. Unfortunately for Kannadasan, Sivagangai Seemai was consigned back to the cans within no time of its release while the successful Veerapandiya Kattabomman was acclaimed as a magnum opus. Kannadasan ended up with a huge financial loss.

Sivagangai Seemai might have been a failure, but it was surely a failure that made history. For it remains among the best historical films made in Tamil. Kannadasan's native soil was the canvas, and he was familiar with its glorious culture, history, geography. He had a keen sense of the period, and his passion ensured that Sivagangai Seemai was much more than a commonplace costume drama. The film is immortal for another irrefutable factor- its wonderful songs composed by Viswanathan- Ramamoorthi.

Kannadasan had not written mere situational lyrics here, the lines and soaked with with poetic magnificence. Each song ought to be savored conscientiously, for the sheer poetry bedecked in V-R’s imaginative tunes feelingly rendered by a galaxy of talented singers fetches this album a place of pride in the annals of Tamil film music.

The film had 16 songs in all:

Saanthu pottu thalalanga - P. Leela, Jamunarani & chorus ( recorded earlier for an abandoned MGR project based on Maruthupandiyar)
Veerargal vaazhum dravidar naattai vendravar kidaiyaadhu -TMS
Muthu pugazh padaithu - S. Varalakshmi & (Radha) Jayalakshmi
Kottu melam kottungadi kummi kotti paadungadi- Jikki & chorus
Chinna china chittu Sivagangaiyai vittu- Jamunarani & chorus
Vaigai perugivara- C.S.Jayaraman & P. Leela
Maruvirukkum koonthal (traditional verse) - V.N. Sundaram
Aalikkum kaigal -V.N. Sundaram
Kannankaruthaa Kili kattazhagan thotta kili - P. Leela & chorus
Kanavu kandaen (happy) - TMS & T.S. Bagavathi
Thanimai nerndhadho - S. Varalakshmi
Thendral vandhu veesaadho - S. Varalakshmi & T.S. Bagavathi
Megam kuvindhadhamma – P. Susheela
Sivagangai cheemai -TMS, Seergazhi Govindarajan, A.P. Komala & chorus
Vidiyum vidiyum endrirundhoam - T.S. Bagavathi
Kanavu kandaen (pathos)- T.S. Bagavathi

* * * *
Circa the last years of the eighteenth century…

The (East India) Company is gradually establishing its complete control of the land using its crafty ‘divide and rule’ policy to subjugate the local chieftains and rulers.
Kattabomman had just been vanquished and hung from a roadside tamarind tree.
Oomaithurai, Kattabomman's brother escapes from the Company's penitentiary and seeks refuge with the Marudu brothers (elder played by T.K. Bagavathi, and the younger played by Mustafa)
From my limited awareness of this history, the Marudu brothers were Poligars (or PaalaiyakaarargaL/ Feudal Chiefs) who were ruling what was known as Sivagangai Seemai(consisting of Thekkoor, Okkoor, Siruvayal, Poongudi, Tirupattoor, Narikkudi, Tirumayam, Mukkulam, Naalukottai and Nattarasankottai).

The Company gets a hint of Oomaithurai’s whereabouts and Major Welsh (played by Wahab Kashmiri) comes to arrest Oomaithurai. The Marudu brothers realize the strength of the company's army and ammunition and do not want an open confrontation. They plead for Oomaithurai's life.
But Major Welsh does not set much store by dignity or compassion; and in the very presence of the Marudu brothers make bold to arrest Oomaithurai. This brings matters to a boiling point- in the film, S.S.R, called Muthazhagu, the fiery army chief of the brothers, has been purveying inflammatory remarks all the while, and in time the younger Marudu is also provoked into challenging the Company's men.

Welsh and co. beat a hasty retreat, but make no secret of the action against the Marudhu brothers that is sure to follow. The senior Marudhu in fact chastises the younger for precipitating the state into war.
It is at this juncture, when the rumble of the white man’s guns seem imminent, when turbulent clouds of war loom threateningly...and the feudal land and its traditions seem on the verge of being annexed by the almighty Union Jack...that the wives of the Marudhu brothers sing this heartrending lullaby to their little children-the infants who are blissfully unaware of the historical forces that are crisscrossing their destinies. This lullaby is sung in the shadow of the clash between sword and gun...You know which is set to win...

This lullaby was picturized on S. Varalakshmi and Tambaram Lalitha who essayed the roles of the wives of the Marudu brothers. S.Varalakshmi sings for herself and Bagavathi sings for Tambaram Lalitha.

* * * *

We’ll keep for another day dwelling at length on Varalakshmi (she was the enchanting common factor to both Veerapandiya Kattabomman and Sivagangai Seemai) and Bagavathi (a favorite singer of Kannadasan, he had her sing ‘Annaiyin naattai pagaivargal soozhndaar’ in Maalaiyitta Mangai and ‘Kannodu vin pesum jaadai’ in Kavalai Illadha Manithan). In fact both these gifted singers find laudatory references in Kannadasan’s Sandhithen Sindhithen.
Kannadasan lives on in songs such as these. Though a fire-spewing Dravidian orator at that time, his essential humanity and aversion to blood and gore came through in this lullaby and he expressed it in sublime pathos.

Many of us would have been struck with gloom at each reading of the lines ’Rose a nurse of ninety years, set his child upon her knee - Like summer tempest came her tears-‘Sweet my child, I live for thee.’ (Alfred, Lord Tennyson/ Home They Brought Her Warrior Dead); admiration tinged with sorrow would have overcome us when we read “You ’re wounded!” “Nay,” the soldier’s pride touch’d to the quick, he said: “I ’m kill’d, Sire!” And his chief beside, smiling the boy fell dead’ (Robert Browning/ Incident Of The French Camp); we would have been plagued with despair at ‘Two noble sons fell by their guns, their names in glory shine; And a mother weeps on the River Thames, and a mother weeps on the Rhine’ (Eric Bogle / The Thames And The Rhine); but ‘Thendral vandhu veesaadho’ is in a league of its own….each line is resplendent with poignant lyrical beauty, and moves the listener to moist eyes, and to sigh at the futility of war and the wanton devastation that it brings in its wake.

The two women wonder wistfully whether tranquil times will visit their abode ever again…they sing musingly of the rich culture, glorious traditions and ancient history of their land and speculate if all this would be snatched away by the war, and express helplessness over the deprivations that their children may have to endure. The highpoint is of course, Varalakshmi’s emotional cascade, proclaiming with pride the courage of their warriors who are to take leave of their womenfolk and children and march on to the warfront, at the same time she tremulously expresses apprehension about their fate, whether their valiant men would return from the battlefront, or perish fighting for their land….

A song. A saga.

https://www.facebook.com/groups/1018417744856618/permalink/1251042728260784/