ILaiyaraaja!
The name is etched in the hearts of millions of people-laymen and cognoscenti.
With his entry, the word Orchestration assumed a new meaning. Seamlessly blending all major forms, he makes us realise that Music is universal and Divine. Like a colossus, he strides and wields his magic wand mesmerising people across the globe.
This Blog is an attempt to explore his compositions in multiple languages, his background scores and his non-film albums.
It is a garden of flowers.We see the trees, plants, and creepers.We hear the song of the birds..
Is it just the birds?
Hey, wait! We feel the trees are singing; the plants and creepers providing the orchestra; the birds and animals dancing.
It is a garden of Swaras.. A Musical Garden!
‘Nadhiyai Thedi Vantha Kadal’(1979) was yet another novel adapted for movies.Written by the tamizh writer Maharishi, the novel revolved around one middle aged woman.
This was the last film of Jayalalitha who played the middle- aged woman.
But let us focus our attention on the musical garden.
The composition starts with the simple but beautiful humming of Shailajaa.
The birds welcome us ..and…the floodgates open.
It is a dazzling canopy as one hears the flute and we jump and run with joy.We chase the birds as the strings and the violins play.
We get to see the jumping rabbits, romantic deers, majestic lions, astonishingly beautiful monkeys, and sweet parrots in the first interlude.
In the second interlude dominated by the violin (and how wonderfully conceived!), we see the multi hued butterflies flapping their wings and playing with the flowers.We see the luscious fruits.We see the covey of birds.
A grand spectacle!
It is palpable blithe in the third interlude as the violins follow the strings.
Harmony all around.
Yes, harmony of nature.Harmony of his music.
Garden of flowers-Garden of Swaras-Garden of the Emperor of Film Music!
Saint Thyagaraja lived in the village Thiruvaiyaaru-meaning the confluence of Five Rivers.
The River Danube flows in Vienna considered to be the Temple of Western Classical Music.
One can give more and more examples..
Apart from these facts about the composers and rivers, we also know how musical the river sounds when it flows.
It is said that in the olden days, Carnatic Musicians used to do Saadhakam(practice) standing neck deep in the river.
The River gave their voice a special charm and Shruti unison.I have a feeling that it also gave them the Laya Gnaanaa(sense of rhythm)!
The Emperor of Film Music also grew up in a place very close to where the Vaigai River flows rhythmically.. And I am sure this has had a great impact on him.
There is an old composition of his where the river Cauvery has been dealt with romantically.
The song is ‘Cauviriye..’ from ‘Archchanai PookkaL’(1980).
River and Romance..
Is there any surprise then that he chose the Mohanam Raga for this?
With just the sound of the strings, we are transported to the banks of Cauvery.
We see the white water birds welcoming us.
The Bass Guitar and the strings play and river smiles as we place our feet somewhat stealthily on the water.
The golden voice of SPB hums blissfully with the repartee from the flute and there..we jump into the river ready to taste the beauty of the music.
Janaki joins with her sweet voice and we begin to swim.
We see the sinuous waves as the violins play and we go with the stream.We see the playful fish under the water as the Flute throbs.
As the Charanam is sung, we look up at the golden sky and are mesmerized by the sight. As the alien note is used now, we take a turn and watch a grand spectacle.
We see the celadon green fields as the river speaks to the plants and trees.
The raindrops now fall on us and now it is the romance between the river and the rain. It is the vibrant Flute again.
The River now passes through craggy surface and is slightly obstreperous as it gushes out spraying water all around.
It is in perfect synchrony as it continues to flow nonchalantly .We get out of the river and step on the banks reluctantly…. only to take a plunge again!
Status of women in the society- a pet topic of many. A topic that will be discussed/debated/argued but finally end up doing nothing. The way society (society includes women too..) contradicts itself baffles us.
At one extreme, women are glorified as Gods(or is it goddesses?).At the other extreme, they are considered as glamourous creatures meant for providing fun and entertainment.In between are the various roles that they are expected to perform without fail.
Why should they be deified in the first place and then pushed to a corner?
Let us look at films. Of course, a majority of the films is ‘hero-oriented’ and the heroine speaks like a doll, dances like a doll, runs like a doll, cries like a doll, laughs like a doll.. But what about the ‘Heroine-oriented’-or rather ‘Women-oriented’ subjects ? Here, the lady invariably sheds tears, does a lot of ‘sacrifices’, brings up her children/brothers(or even husband!) but reveres her ‘mangalasutram’ and finally dies on her husband’s lap.
One of the very few exceptions was a film called ‘Thyaga Bhoomi’(1939)-story by tamizh writer Kalki-where the main protagonist fights for her rights till the end.This movie was a box-office hit and was later banned by the British Govt. for its pro-Freedom movement ‘propaganda’.More about this later in some other thread(maybe Vintage thread).
Though Rudraiah made an effort in ‘AvaL Appadiththaan’(1978), the film failed to make a real impact because of the weak screenplay.
It is rather unfortunate that exceptions have always been exceptions and no film maker dared to make a movie to show the woman as woman.
The film songs too echo the same sentiments.
The Lady Love will be addressed as ‘Maane Thenae’(Oh..Deer/honey) and will be mainly described as one who fulfils the wishes of her lover.
However, today’s Rare gem is an exception. Here too, the male sings ‘women are like deer’ with the female countering him. But the end is very interesting.
The song is ‘PaavaiyargaL Maanpole’ from ‘Ore Muththam’(1980).
The song starts with a beautiful harmonium piece- that lasts for at least half a minute- giving a Qawaali flavour.
The Pallavi-rendered by SPB- says ‘Women are like deer; like the Cauvery river.If only they lead their lives properly, they are more than angels. Why be modern?’
The Qawaali flavour continues in the first interlude with the Shehnai, harmonium and the claps..
The first charanam talks about the looks of an ideal woman-well-braided hair bedecked with flowers..It also asks the woman to read tamizh(does the poet mean tamizh culture or tamizh language?)
The second interlude changes beautifully.The Qawaali now becomes jazz with the trumpets, electric guitar and a host of other western instruments.
The tempo too changes in the charanam as Janaki renders ‘A virtuouswoman can be found in a forest or even in a ‘Daasi’s house(I am sure no translation is required for this word!).I know what I am and I don’t need anybody to preach me’.
The next tempo change is very interesting and intelligent too..The 4-beat Chatusram changes to the 3-beat Tisram.The orchestration is jazzy again and makes us tap our feet.
The male now sings ‘The heavens protect you when you wear a saree(silk!!).God comes to you when you are with your sindoor and flower(wow!what a way to suppress woman by glorifying her beauty!)’
Repartee by the female: ’Even if the God comes now, he will be by my side since times are changing.Please put things in the proper perspective.If you can’t ask me’.
The next interlude has the Shehnai bit alone indicating how the momentum has picked up. The tempo changes yet again and the male now sings’ Women those days would only look at the ground while walking (so scared of the silly men folk!) but the present day woman smiles directly looking at our faces(maybe so handsome!).If a woman laughs it is doomsday’.
One more jazzy interlude followed by my favourite charanam.
The female says ‘If I make a mistake, you are welcome to tell me and similarly, if I find a problem in you, I shall point out.After all, Men and Women are equal.’
Now both sing, ‘Good and bad exist in everything. Let us discover the world.Let us unite!’.
Yes.. let us learn this.
Men and Women differ physically.. biologically...maybe emotionally.. But both have equal rights. One cannot exist if the other ceases to exist.
The Music Director said ‘Thaanaa Thaanaanaa’ and the lyricist wrote’ Rajavai Paarunga’. Everyone in the composing room said ‘ok’. But the Youngman, an assistant to the Music Director said ‘No’.The perplexed lyricist looked at him and asked him the reason. The Youngman said ‘The tune is ‘Thaanaa Thaanaanaa Thaanaana Thaanaanaa’and therefore the word ‘Rajavai’ will not fit in ‘Thaana’.The lyricist changed it to ‘Raja Paarunga Rajavai Parunga’.But obviously he felt insulted.He had been there in the industry for more than a decade and here was a small assistant finding fault with his writings.
He vented his anger at the Senior Music Director in a party the same evening. He accused the MD of insulting him using a ‘chotta guitarist’.But the senior did not budge. He said ‘If there is a mistake, there is nothing wrong in pointing out’. This incident happened during the composing session of a Tamizh movie ‘Piriyavidai’.
Music Director - G.K.Venkatesh Lyricist – Vaali Guitarist/Assistant-Do I need to say?
The story does not end here. During the composing of BadrakaaLi, Vaali recalled this and asked Raaja if he remembered the incident. Any other lyricist would have held a grudge against a junior- who found fault with his lines- and would have waited for an opportunity to give it back. But not this gentleman.
That is Vaali!
I wish a very happy 78th birthday to one of the most brilliant lyricists (next only to Kannadasan).
Vaali’s original name is Rangarajan. He was born in a conservative family in Srirangam and right from his childhood showed a lot interest in sketching(both pictures and poems).Not many people know that he and writer Sujata(whose real name was also Rangarajan) authored a kind of magazine in Srirangam in their younger days. I am saying ‘a kind of ‘because this magazine was not printed and the contents were handwritten. It was called as ‘Kai Ezhuththu Paththirikkai’ and the concept was unique (unfortunately such concepts do not exist now. First of all, do we write anything at all? We only type!).
Rangarajan-the poet and the aspiring lyricist went to Madras during early ‘60s.Those days, it was very difficult for a newcomer to enter the film world. Repeated door-slamming and insinuations made him disillusioned. The Youngman decided to end his life…
It was at this point that he happened to listen to two songs-‘Vaazha Ninaiththaal Vaazhalam’(Bale PaNdiya) and ‘Mayakkam Kalakkama’(Sumai Thaangi) both penned by the great Kannadasan. The wordings had a deep impact on him. He gained confidence. His outlook and perception about life changed.
Rangarajan became Vaali.
His first song was for the K.S.Gopalakrishnan directed ‘Karpagam’(1963) and there was no looking back after that.He has seen four generations of Heroes(I am sure it will continue for the 5th generation too) and has written the most number of songs in Tamizh Cinema.
Vaali’s words are very simple but sharp. Of course, though he considers Kannadasan as his ‘Maanaseeka Guru’ he has his own style that is impeccable. He is also adept in writing ‘Pudhukkavaidhai’(a form of poetry that does not necessarily follow grammar).Unlike some other ‘poets’ who with their bloated egos call themselves as masters of this form and use dry meaningless fillers most of the times, Vaali’s Pudhukkavidhai is unique, is rich in design and is very meaningful. He penned many wonderful ‘Pudhukkavithai’s in the Balachander directed movie ‘Agni Satchi’.
His works in Pudhukkavidhai like ‘Paandavar Bhoomi’, ‘Avadaara Purushan’, ‘Krishna Vijayam’, ‘Ramanuja Kaaviyam’ were serialized in a tamizh magazine and I would say they are sure to find a place in the annals of Tamizh Literature. In fact, even a non-believer like KaruNanidhi appreciated these works on Hindu mythology. It seems he would read them first thing in the morning every week when the magazine was out and would pick up the phone to speak to Vaali.
I was also very happy to see the lines from PaaNdavar Bhoomi being used in a Bharatanatyam performance recently.
Like all great artistes, Vaali is a very sensitive and his short-temper is well-known. He never hides his feelings when he is upset. However, he also understands that it is all part of the game and gets on with the wrok. Once it seems Kamal was not happy with a song and Vaali had to keep changing the lyrics 5 times. The sixth time, he wrote something, threw the papers and said ‘This is it. I can’t write better than this’ and walked out. The song was ‘Unnai Ninaichen Paattu Padichen’ from ‘Apoorva Sagodharargal’
He is also very sharp with a great sense of humour. Once a scribe asked him the reason for his pen name. He replied that like the mythological Vaali -who had a boon of absorbing half the power of any opponent thus becoming doubly stronger- he also wanted to take and absorb good things from the people he met. The naughty scribe told him ‘But you don’t seem to have so much of power or knowledge’. Pat came the reply from Vaali ’That is because I come across only people like you in my life. ‘The scribe was zapped.
That is Vaali for you.
Vaali’s association with Raaja is very special.Pl. refer the beginning of this post. What started as a kind of spat between the two has now become a very healthy relationship, one of mutual admiration. Was it just a coincidence that he wrote ‘Raja Paarunga..Raajavai Paarunga’ when Raaja was just a guitarist?
All of us saw how he spoke about Raaja and Semmangudi sir’s appreciation for his music in the live show organized by a TV channel 4 years back. It came straight from the heart. He also said it was Raaja who taught him to write ‘VeNba’(a form of classical poetry in tamizh).Though I do not have numbers and records to back, I feel Vaali has written more number of songs for Raaja sir(than for any other composer).Their combination has produced some of the most memorable songs in the history of Tamizh Cinema.
Today’s song is one such gem. It is ‘Kurinji Malaril Vazhindha Rasaththai’ from ‘Azhage Unnai AaraadikkiRen’(1979). Raaja sir is known for giving tough and very long pallavis.Most of them will have to be sung in single breaths(examples:KaNmaNiye Kaadhal Enbathu, Thiruththeril Varum Silaiyo..).
This song is no exception.
The Pallavi has 27 phrases. Imagine the plight of the lyricist listening to the ‘Tharana Tharana..’.Any other lyricist(of course with the exception of Kannadasan) would have asked for sometime to write and get back.Some lyricists also take a stroll in a park(it is not the metaphorical ‘walk in the park’) in the night and go back with the lyrics after a day or two!
Vaali wrote ‘Kurinji Malaril Vazhintha Rasaththai Urinja Thudikkum Udhadu Irukka Odiyathenna Poovidhazh Moodiyathenna En Manam Vaadiyathenna Oru Maalai Idavum Selai Thodavum VeLai PiRanthaalum Andhi Maalai Pozhuthil Leelai Puriyum Aasai PiRakkatho ‘
Romance bordering on eroticism..
Look at the rhyming words ‘Thudikkum’, ‘Odiyathenna’, ‘Moodiyathenna’, ‘Vaadiyathenna’ and Maalai, Selai,VeLai, Maalai,Leelai.’Maalai’ in the firs instance means ‘garland’ and in the second one means ‘evening’.
It is interesting to see the response of the lady.When she sings the Pallavi at the end of the first CharaNam, she changes the words and says ‘Kurinji Malaril Vazhintha Rasaththai Unrinja Thudikkum Udhadu Irandum Vaadiyathenna Poovidhazh Thediyathenna Ennidam Naadiyathenna Oru Maalai Idavum Selai Thodavum VeLai PiRakkatho Andha VeLai VaRaiyil KaaLai Unadhu Ullam PoRukkatho’.
Imagination and Creativity at its best!
I can go on writing about the CharaNams as well but would like to leave it to the readers to listen and appreciate the beauty.
Let me say a few words about the music now.
The prelude itself is brilliant. Look how the flute entices us with repeat notes, how the delightful electric guitar surrounds us and how the stirring violins play with harmonious precision.
In the first interlude, the accordion (?) is crisp, the Violins are deep, and the electric guitar enterprising.The lilting Veena and the soulful flute take over giving us an enchanting experience.In fact, the Veena dominates all the interludes and the reason for its sounding melancholic is because of the situation in the movie.(I am sure you all remember ‘Hey masthana’ from the same movie which was discussed in the same bolg sometime back).
The melancholy mood is seen in the second interlude as well while the third interlude is somber and intense.
All the three charaNams have melting phrases and both SPB and Vani Jayaram have done justice to the song.
‘Kurinji’ flowers are unique to Tamizh Nadu and its culture and one finds a lot of reference to this flower in Sangam Literature.This flower which is purple-blue in colour blooms once in 12 years -in Kodaikanal and Ooty and the name Nilgiris was acquired because of this flower only.
People like Kannadasan, ILaiyaraaja and Vaali are also like the Kurinji flowers..except that we get to see such flowers once in a century..
Said Kamalhaasan, '‘Like BC and AD, Tamizh cinema can be divided into two eras –BS and AS.There is no actor in the AS era who does not have the influence of ‘S’ '' .
What is AS and BS? First of all, who is that ‘S’?
I am sure most of you would have guessed who it is.
Yes,it is none other than Sivaji Ganesan, one of the greatest actors cinema has ever seen.
Vizhuppuram Chinnasamy Ganesan was born on the 1st of Oct 1928. He dropped out from the school at the age of 12 to join a Drama Company(yes..such things were existing those days!).
He learnt things the hard way.Small ,minor roles to start with ;supporting roles over a period of time;major roles; finally a Hero.
The play ‘Sivaji KaNda Hindu Saamraajayam’ was watched by none other than the great Thanthai Periyar who was so enthralled with the performance of Ganesan that he called him ‘Sivaji’ Ganesan.
And that was the beginning (that has no end).
His first movie 'Parasakthi' brought him many accolades.The story and dialogues of Kalaignar KaruNanidhi uttered with clarity by Sivaji Ganesan was the talk of the town then.
He also joined the Dravidian movement and came out of it in the mid ‘50s to become a staunch Congressman and a disciple of Kamarajar.
What can one say of his acting skills and talent?
Words like Multi Dimensional and Multifarious have no meanings in front of this Himalaya.
Though he was a natural actor, he constantly updated his skills and never hesitated to learn from anybody.
For his role as the poet Thirunaavukkarasar-a.k.a.Appar-in the movie ‘Thiruvarutchelvar’, his inspiration was the Paramacharya of Kanchi.He spent time observing the seer and brought out his mannerisms wonderfully.
Rajaji who hated cinema has watched only two movies in his entire life ,one of them being ‘Thikkatra Paarvathi, a story written by him on the evils of alcoholism.The other movie was SampoorNa RaamayaNam where NTR played the role of Rama and Sivaji,the role of Bharata.
He was so captivated by just an eye movement of Sivaji in one of the sequences that he said that alone is enough to show the genius of this man.
Very recently, I had the opportunity to attend a function to falicitate the great Bharatanatyam dancer Shri.Dhananjayan,who is very well known for his facial expressions.He remarked that Sivaji Ganesan was one oF his inspirations.
There are many souls across the globe who have been inspired by this great man.
There are also some who say he tends to ‘overact’.Fine..but is cinema itself not an exaggerated art form?
Sivaji and ILaiyaraaja were great friends and had mutual admiration.
I had written about Sivaji-Raaja story in my write-up on Deepam in the Vintage Raja thread.
In fact, some of the common traits are striking.
No formal education. Born geniuses. Came up the hard way. Very punctual(both of them will be in their respective studios at 7 am sharp!). Inspiring.(Tamizh cinema music also has two eras-BI and AI).
In fact, the day before Sivaji Ganesan passed away,Raaja sir was away in Mumbai doing the re recording for the Hindi film 'Lajja'.He was running very high temperature and as soon as he came to know that his idol was critically ill, he flew down to Chennai.
By then, it was all over.
But Raaja being Raaja accompanied the body-along with Kamal, Rajini,and Bharatiraja-in an open van till the crematorium-a four and half hour journey despite the high fever.
That is the regard and respect he had for the great actor-sorry,the greatest actor! And maybe that is the reason he gave some unforgettable music for almost all Sivaji movies-starting from 'Deepam' to 'Devar Magan'.
Coming to think of it, my all time favourite ‘Engengo Sellum’ is also from a Sivaji movie.
Today, we are going to see one of the gems.Incidentally, the three doyens-the three lions-of Tamizh Cinema,Kannadasan, Sivaji Ganesan and ILaiyaraaja are present in this song.
There is another interesting story-though personal.
My seven year old son loves this song and asked me to write about the song a year back.
Maybe it is destined to happen on this special day.
The song is ‘Thiruththeril Varum Silaiyo..’from ‘Naan Vaazha Vaippen’(1979).
The opening of the song itself is special. The Guitar jumps with joy as the violins join the party. Yes,it is party time! Party in Mohanam...
We see the beautiful Statue(of liberty?)coming to life with SPB’s voice. We see and hear the parrot as Suseela joins.
In the first interlude, we see the Statue and the parrot play-running around, hopping,dancing,and hide and seek.
The first Charanam epitomises Mohana Ragam.
Lullaby?Lotus Dance?Fragrance of flowers?Shower of Musical notes?
A beautiful Raga embellished by a beautiful composer.
The second interlude is another marvel.
Musical notes of one orchestra repeated by the other two-canon in western music parlance-produces a magnetic effect.
As we immerse ourselves in this beauty, we are stirred by the guitar that makes us sway giving us goosepimples.
In the second Charanam, we see the temple.We hear the music.We feel the breeze singing in chaste tamizh.
And there we see the masterstroke of the lyricist.
He describes the month of Karthigai as the one full of brightness -meaning Kaarthigai,the festival of lamps.Maargazhi,the following month as per Tamizh calendar is considered to be the most divine month.
The heroine here sings ‘Devan Varum Maargazhi’-the month when the Lord comes.Pl. note that Christmas is also celebrated in Maargazhi and it is believed that Jesus would one day come back here to save us all.
That is why the poet says ‘En Devan Anuppiya Dhoothuvan’(Jesus is considered as Deva Dhootan-the ambassador of the Lord!).
The one who comes on the Grand Chariot..like Kannadasan, Sivaji and ILaiyaraaja.. Are they also not the ambassadors of the Lord?
Call it luck.. Call it fate.. Call it even destiny. The entry of the genius into Film music happened during my formative years.
It has been proved scientifically that the formative (or adolescent) years shape up one’s personality. What we are likely to be/ how are likely be in future is determined to a great extent during these years. I am not sure if I would have got into appreciating music, literature and aesthetic things in general if not for my exposure to his music during those years.
And if I were asked to thank somebody/something for my exposure to his music, without any hesitation I would thank Radio Ceylon(Sri Lankan Broadcasting Corporation, Tamizh service).
Listening to radio nowadays is confined to a plethora of FM Channels. But those days, one had to listen only to the State controlled AIR which had its own whimsical ways. Long back, I had mentioned about the banning of songs like ‘Vaangonna..’ and ‘Oram Po’.It was not just this aspect.They were also very choosy in airing songs.For example, they would play only two songs from a particular movie repeatedly making one feel there were no other songs from the album. Songs like ‘Gyaan Gyaan Paadanum’(PoonthaLir) were anathema since it had Malayalam lyrics(sounding crazy?).Of course, the only thing we all enjoyed was the commercial show between 9.30 and 10.30pm every night where the promos of movies would be played along with the songs.
In this scenario, SLBC was a Godsend to lakhs of people in Tamizh Nadu.The Programmes would start at 7 am in the morning and go on till 6pm in the evening.T he versatility of the programmes that ranged from very old songs to brand new songs was amazing!
In fact, they would even bring us recorded versions of a Live Studio Recordings.I remember listening to the recordings of ‘Kaaththodu poo urasa’(Anbukku Naan Adimai) and many wonderful songs.
The versatility was not just in the programmes. It was also in the way it was presented and this is where the announcers(sorry..I don’t want to call them RJs) played a major role. The majestic Mayilvaganan(Senior), the flamboyant K.S.Raja, the honey-soaked Rajeswari Shanmukham, and my idol B.H.Abdul Hameed..the list goes on.
All these Super 10s, and singing competitions that we get to see now on TV were conducted by SLBC more than 30 years back without in anyway compromising on the decency and decorum.
I am now sad not just because we no longer get to listen to this channel but also because of the present condition in Sri Lanka. I had a very unique bond with thousands of people who would regularly write/participate in the programmes there. I am not sure how many of them are alive.I am not sure how many of them are homeless. I am not sure how many of them have lost their parents, their brothers, their sisters.
My heart bleeds for these brothers and sisters who were instrumental in developing my taste.
Today’s Rare Gem is dedicated to all these people.
It is a song which used to be aired at least 15 times in a week (at times even thrice on a single day!).
It is ‘Aasai Nenjin KanavugaL VaLarpiRai’from ‘Mugaththil Mugam Paarkalaam’(1980).
On first listening, the song appears to be very mundane and simple. But once it gets into our system, it is very difficult to separate.
The strings of Santoor supported by a rather sharp percussion; melodious flute playing Mohanam;the violins making an appearance in western style; the resonant Veena joining gracefully. This is the 30 second prelude magic for you.
Malaysia Vasudevan starts the Pallavi in his own unconventional style.
The majestic Violin orchestra in full flow in the beginning of the first interlude. The Flute takes over in a folksy style as we travel from Vienna to Vaadipatti. The Veena joins again pulling the strings of our hearts. Carefully listen to the counterpoints here.. and of course the very subtle bass work. The mix of alien swaras in the Veena only adds to the beauty.
It is now Suseela’s turn as she starts ‘Pongi Varum alai..’ with the violins and the flute following her closely. Vasu now replies ‘Malar kaNaigaL..’ and we become drunk with the beauty.
The stringed instrument -that is ubiquitous in Raaja’s ‘70s compositions- partners with Bass Guitar and it is the Violin Orchestra yet again that flow like a clear stream with the Veena welcoming them with a smile. The Flute now jumps with joy and literally dances. This second interlude is one of my favourite interludes and I would be playing this mentally whenever I feel like it.
The graceful Veena dominates the third interlude. The repartee by the Violins is the mark of the Master.The effervescent Santoor greets us all..
Though all lines are unforgettable, the second CharaNam has some special wordings that are very relevant:’KanavugaLe Ninaivil Varum..NinaivugaLe Nidamum Sugam’(Dreams come as thoughts and these thoughts are always enjoyable).
The thoughts linger in me.. the nostalgia.. the formative years.. the Radio channel…and the people of Sri Lanka..
And my dream is to see my brothers and sisters live peacefully again.
‘Enathu Nenjin KanavugaL VaLarpiRai’
It is like the waxing moon..Let us hope to see the Full moon soon!
Kannadasan, according to me is the greatest lyricist in Tamizh Cinema.
There are a lot of similarities between Raaja sir Kannadasan.
Both are spontaneous and can compose in a jiffy.
Both are from rustic background.
Both do not have formal education (school drop outs!).
Both are very frank and do not hesitate to speak their minds (and earned enemies/detractors because of this).
And yes, spiritually inclined..
Kannadasan had a special liking for Raaja sir though his favourite was MSV sir who was like a younger brother.
In fact, Panchu Arunachalam who introduced Raaja sir in Films is Kannadasan’s nephew.
Raaja sir also had(and has) the highest regard for Kannadasan.
Before leaving for the US in the year 1981, Kannadasan wrote two songs for Raaja and it seems told his assistant ‘Raaja is very lucky because I probably wrote my last song in movies.After returning from the US, I wish to focus fully on spiritualism and don’t intend to write anymore for films.’
How prophetic it turned out to be!
Kannadasan died in the US and would never write again..
And the last songs were written for ‘Moondram Pirai’.
Though there are lot of gems in the Raja-Kannadasan combination (‘Engengo Sellum’, ‘Devathai oru Devathai’, ‘Kovil Mani Osai’-just to name a few!), I am taking up a very rare song which cannot be seen anywhere..
Cannot be seen anywhere?
Yes, because though it was composed for a movie, it was not present in the final cut.
It is ‘Aazhak Kadalil Thediya Muthu’ from ‘Sattam en Kaiyil’(1978).
The whole song follows the ‘wavy’ pattern and is as soft as any lullaby could be.
The song starts with a whistle like sound followed by the flute in lower octave, Santoor and the violins.
The interludes are simple but great. The sudden surge of the strings in the first interlude looks like a huge wave raising and kissing our feet.
The ‘Heyyy..’ in the second interlude takes us straight to the catamaran on the sea.
The third interlude makes us close our eyes and enjoy the sea breeze.
In the third Charanam the mother and father sing to the child.
The mother says,’Your father gave the pearl.’ Father says’Your mother is a golden oyster’. Both of them say ‘We swam and had a dip to bring you out’.
One of the many beautiful things in this world is the flower.
Flowers give us fragrance. Flowers give us happiness. Flowers make us soft. Flowers make us mellow. Flowers give us strength. Flowers give us a new meaning in life.
Coming to think of it, that great thing in the world called as Music also gives us all these..
Our Literature is also replete with references to Flowers.
Music, Literature and Flowers.. Lot of similarities!!
What happens when flowers take out a march accompanied by Music and lyrics?
Is it not a triple treat?
‘Azhagiya MalargaLin Pudhu Vidha Orrvalame..’ from Ullasa ParavaigaL(1980) gives us this treat.
We see the buds swaying their heads in the first part of the prelude and these begin to dance to the beats in the middle part.
These buds now begin to smile as the western flute is played and …start blooming to the background of violins.
What a great sight it is!
Has anyone ever watched the buds turn as flowers..
His Music makes us see this marvel!
The first interlude is sheer magic as the flowers nod their heads to the pure western classical tune..
We see the Lily, We see the Daisy. We see the Daffodil, We see the Ambrosia. We see the Carnation, We see the Lavender. We see the Marigold, We see the Sunflower.
It is the Painter’s Palette!
The second interlude is a riot of colours as all these flowers march ahead acknowledging the music of the Great Composer…
The voice of Janaki flows like the honey from each of these flowers..
The phrase ‘Vannam Vannam Kannil Minna.. nana.. nana..’ makes the decoration even more beautiful.
The more I think of music or the more I listen to all forms of music, this phrase keeps coming in my mind and I cannot help it!
Maybe that is the power of Music itself.
Though Raaja sir has melded all major forms of music in many of his compositions, I would like to take up one of the songs today as an example.
It is ‘Eriyile Elantha maram’ from ‘Karai Ellam Shenbagappoo’(1981).
The story was by Sujata and it came as a serial(sorry!not a TV serial) in the Tamizh magazine Ananda Vikatan between 1978 and ’79.
A very interesting fact about this story was that Sujata wrote this after Raaja sir asked him to write something about the folk songs of Tamizh Nadu.
The hero visits a village to research on the folk music.The story takes an interesting twist and becomes a murder mystery.
Sujata in his inimitable style had woven the story interestingly giving a special colour to each colour.
If the case of‘NaNdu’(Sivasankari-Mahendran) was one extreme where the story was changed (rather abridged), ‘Karai Ellam Shenbagappoo’ was another extreme.The Director G N Rangarajan stuck to the story religiously. But he failed to bring out the flavour of each character.
Therefore, it was like a replica but without any life.
For example, Sujatha touched upon the platonic love between the hero and Valli, the village girl in a very subtle poetic way. This was absent in the movie.
Subtle and Poetic?
Are we not expecting too much from Tamizh Cinema Directors?
But, yes, we are fully justified if we expect this from a Genius whose other name is ILaiyaraaja.
And he has never disappointed us.
Though all songs in ‘Karai Ellam Shenbagappoo’ are great, my pick is ‘Eriyile..’ Not without a reason..
The song gives us Carnatic, Western classical, Folk within a matter of seconds.
The notes of this raga form the Major scale in Western music.
The prelude starts with the bass guitar and the chorus voice sings ‘sa ri ga ma pa dha ni Sa’ followed by ‘Thanthana naadeenam Thanthananna’.
Any other proof needed for the universality of music?
And in the hands of the master, the universal music takes a wonderful shape.
The Pallavi gives us all shades of the scale in different octaves.
What does one say about the versatile Janaki amma?
Look at the way she sings like a 12 year old boy..
The interludes are great-as usual -starting with the flute in western style, chorus( in harmony), and the folk instruments in the first interlude, a mini percussion ensemble- called as ‘Tani avarthanam’ in Carnatic Music parlance-in the second interlude show the Emperor of Universal music in full flow.
When we listen to great music, we say it is out of the world..
We feel as if we are floating in the air..
We feel as if we are flying..
What happens if the song itself is sung in mid air?
Yes, the Hero and Heroine fly in different aircrafts and sing..
Absurd? Well.. maybe .But do movies follow any logic?
In a way it is good because we would not have got some gems. As long as we get great music, I do not think we should complain.
In Guru(1980), Kamal is a modern day Robinhood and the Villain tries to ‘sell’ military secrets of India to another country. This he does by hiring a small private aircraft. He is accompanied by-no prizes for guessing-the Heroine, Sridevi who has no inkling of what the villain is doing(pl. read the line again!). And thinks the Hero is the Villain.
Of course role reversals do take place everywhere..right?
The Hero-in another private aircraft- follows the Villain to thwart his attempts. Not just this..
He follows the Heroine as well and expresses his love..
How does he express his love?
Any other Music Director would have used ‘I Love You’..
But not the Maestro.
As soon as the situation was explained to Raaja sir by the Director I V Sasi, he devised an ingenious way.. musical way..
He used the aircraft signal (somewhat similar to morse code). The song starts with the beep sound which when translated means ‘I Love You’!
This beep sound forms the theme music of the entire song.
That is why I keep saying he is the eighth wonder…
He creates the atmosphere of aircrafts just with the Bass Guitar the wind instruments, and the violins..
The beautiful Flute in the second interlude makes us see a bird’s eye view of …not just the village/town/city/country but also the entire World. The Music World of the wonder called ILaiyaraaja!
Whenever I fly (normal aircraft of course!), I too say ‘Paranthaalum vida matten’-meaning I will not leave you even when I fly..
Yes….. I will not leave his music even when I am in midair..
I am a person with varied interests.
Music is my breath and though I like all kinds of music, I am enamoured of the variety and the depth of Indian Classical music.As far as Film music is concerned, I love Old songs and ILaiyaraaja-whom I consider as one of the best composers in the world- is my favourite composer.
I love travelling and meeting new people . A lover of nature, I prefer those long walks.
