Vani Jayaram's songs

Home Forum Wiki Notes Register FAQ Sitemap About Us Contact Us

Vani Jayaram's songs Vani Jayaram's songs

Topic started by avvaiyar (@ 203.116.61.132) on Wed Jan 27 02:29:28 EST 1999.
All times in EST +10:30 for IST.

I'm a new visitor to this website. I couldn't see anyone discussing about Vani Jayaram's songs.
Let me start this one.(It had been there previously pls. forgive me!)

"Ezhu swarangalukkul ethanai paadal..
Ithaya surangathul ethanai kelvi...
Vaazhum manitharukkul ethanai salanam.."

Wow! Beautiful voice!

VaniJayaram.com - A site that has lots of info and songs of VJ.

Responses:

Old responses
From: Naaz (@ 24.87.30.219) on: Sat Jun 21 09:00:59 EDT 2003

Saravanan / Kaumudi et al:

Once again Neel D waves the magic wand - and lo and behold - the song Pyar Kabhie Kam (Ek Muththi Aasmaan - duet with Kishore Kumar) - has appeared at the website overnight! It is a charming song, and was quite the hit when the film was released. It is a short song, but still lingers long after it is over.

I'd like to draw your attention to one small word in this song: "Kaante" = "Thorns"
Most singers, even native speakers for that matter, pronounce this word as "Kaate" dropping the essential and slightly nasal "na" in the word. When you listen to VJ - no matter what the language - even these small everyday omissions are made clear. Listen to this song just to hear how perfectly she enunciates this word. And for such perfection and committment to a language not her own, she was labelled as "accented" and "southie." What can you say about people who really don't know better?

Neel D and VJ.com - such fine hosts!
From: Kaumudi (@ 136.142.153.250) on: Sat Jun 21 13:54:01 EDT 2003

Naaz
Thanks for pointing out that song from Ek Mutthi Aasmaan. I don't particularly like this song since it is, IMO, one of the run-of-the-mill type songs that L-P gave a ton of. Neither the lyrics were notable nor was there any scope for VJ to express herself.

In any case, I found a gem of a song (a small piece, though) on the same page which more than compensated for the displeasure from the previous song. That is "Mora Sajan" from Pakeezah. It came as a pleasant surprise to me that VJ had sung a song in that movie, because I don't remember listening to/hearing about this song anywhere. VJ was incredibly blissful in this short but sweet piece. You guys must take a listen. This song definitely made me listen to it more than once. I wish it were a little longer than it is. How come I missed this song in Pakeezah is something which I can't answer.
From: Saravanan (@ 195.229.241.231) on: Sat Jun 21 14:02:35 EDT 2003

Naaz- I noticed that Neel had uploaded 'Pyaar kabhi kam' in the morning itself, and wrote in the egroup thanking him. Thanks anyway, for the pointer.

Kaumudi- I rather liked the song! And I thought VJ mentioned that Madanmohan was the composer? Are you sure it was by L-P?

And-yes, I guess you have reason to feel jealous :)) The programme is extremely engrossing, and I sit with pen and paper, not minding the snide 'Ithenna examukku padikkara maathiri'?! taunts from the Dharmapathni!
From: Kaumudi (@ 136.142.153.250) on: Sat Jun 21 16:18:58 EDT 2003

Saravanan
I meant to say that it was "like" one the run-of-the-mill songs of L-P, not that it was actually composed by L-P. But it is rather surprising to know that MM was the composer. Hmm.. maybe I give it another listen. I usually like Madanmohan's songs.

"not minding the snide 'Ithenna examukku padikkara maathiri'?! taunts from the Dharmapathni!" - Please don't mind the taunts. Maybe all of us here can do a little signature campaign for your benefit:-)
From: Naaz (@ 24.87.30.219) on: Sat Jun 21 18:10:18 EDT 2003

Kaumudi -

Saravanan is right, the composer is MM. Mora Sajaan is the hindi/braj equivalent (in delivery and expression) of Sagara Sangamame. Short - but enough to demonstrate the immeasurable talent of the artiste.
VJ sang one song for MM, one for RDB, one two for Naushad, maybe a few for Jaidev, in "Shaque" for Vasant Desai (duet with Mohd.Rafi)...and then packed up and left for Madras. By 1973 she was already singing for tamizh films. (Her career in bombay lasted all of three years, but she did get to work with some celebrated MDs.) Meera and Solwa Sawan came later.

I happen to like Pyar Kabhie Kam for its breeziness, but you are right in that the song does not really give VJ too much scope (the last MM film has a similar (in mood) duet by LM/MR "Chhadi Re Chhadi Kaise Gale Mein Padi" from Mausam. ). I might be available at MIO.
From: Naaz (@ 24.87.30.219) on: Sat Jun 21 18:12:16 EDT 2003

Last line: "It might." I am definitely not available at MIO (only at the newtfmpage :-))
From: Maverick (@ 12.20.58.68) on: Mon Jun 23 17:01:16 EDT 2003

Mora Sajan ... I also got to listen to this lovely song by VJ. As Kaumudi said, I am also surprised that such a great song went unnoticed. Infact, I got to see the movie last week in Turner Classic Movies but I can't remember seeing this song in the movie (maybe I missed it ). And when I checked in Music India online, I was surprised to see the song not listed there - http://www.musicindiaonline.com/music/l/XX01000F0E

But, this one says so..

http://www.easybuystore.com/albumlanding.asp?albumid=4859

and, who is the MD ? Naushad / Ghulam Mohammad ?
From: Naaz (@ 24.87.30.219) on: Mon Jun 23 17:53:01 EDT 2003

Maverick -
The original score for Pakeezah was by GM. The background score (which included all the solos by other artistes) was recorded after GMs death by Naushad (GM was his disciple). Mora Saajan is there in the film (first half when Meena Kumari (sr) is visiting Veena ) but the dialogue is overlaid, so it is easy to miss it. Such a fine example of VJs artistry - all in about 3 minutes!
MIO only has the "popular" songs from Pakeezah.
From: Not Wondering But Shocked (@ 210.56.30.153) on: Wed Jun 25 01:08:41 EDT 2003

To put in the mildest terms, the reactions to the posting of a great song were a manifestation of extreme narrow mindedness and bigotry.
The stronget possible reaction, within the limits of reason, could have been something like, "A great melody; but this was not the best place for it."
Where is the Catholicity of disposition?

where is the society heading with such type of extremism and bigotry?
From: Naaz (@ 24.87.30.219) on: Wed Jun 25 10:19:58 EDT 2003

Saravanan -

This song - "Pudavai Kattikkondu Poovondru Aadudhu..." by VJ-TMS (MSV??) - which film is it from? And do you recall the picturisation?

Also, was there a VJ solo in Nayyakar Magal? I remember a classical tune from this film, but can't put words to it...any pointers?

NWBS -

For somebody who is so concerned about "catholicity of disposition" you might want to ponder (as you are not Wondering anymore) the duplicity of representation.
And for a comparative study I recommend you post these: a (preface-less) link to an ARR song in any IR thread (or vice versa) and a KJY song in a SPB thread, or a KSC song in a SS thread. And then sit back and gaze on the true face of bigotry.

So far:

You have not contributed in any meaningful way to this thread and/or the artiste being discussed.

You have started another (malodious) thread with a preamble that goes "Does Vaani come anywhere near..." (that's catholicity back at you.)

You have canvassed members from the VJ egroup (under another name, of course) imposing/soliciting approval of your preferred artiste.

Now, have you seen members of this thread perform any such acts of allegiance in any other thread(s)? We all participate in varied discussions, but we respect the parameters defined by those fora. We offer relevant parallels and other information without reservation. And we don't wave the VJ flag anywhere else but here.

The term Extremism is au courant for sure. But I'd say it refers more to your games than anything I or my colleagues from this thread are capable of.

This is the last message from me to you on this subject.
From: Naaz (@ 24.87.30.219) on: Wed Jun 25 11:11:42 EDT 2003

This just in:
A report on "nostalgia" and the TV programmes such as Sangeetha Sagaram featuring all the fine artistes who have given us many a golden memory.

http://www.thehindu.com/thehindu/mp/2003/06/23/stories/2003062301950100.htm
From: Saravanan (@ 213.42.2.8) on: Wed Jun 25 12:31:15 EDT 2003

Naaz- ‘Pudavai kattikkondu’ is from Simmasoppanam-1984. Music by KVM. The song was a duet by Sivaji Ganesan and Saritha.
No---- Don’t visualize it!!!

I think VJ had 2 solos in Nayakkarin Magal: Ennevendru solvenadi and Kalaiyaatha Kanavondru kandaen.

Thanks for the interesting link.
From: Naaz (@ 24.87.30.219) on: Wed Jun 25 14:04:59 EDT 2003

Saravanan -

I was thinking of Ennevendru Solvenadi...It was picturised on Jayachitra and Uma, right?

Now you've ruined the Simmasoppanam song for me altogther :-))

...and just so you know, there is word that keeps flashing my mind - it has a C, about three Os, it ends with a Y, and should I ask with a G ? :-)
From: raj (@ 12.30.122.10) on: Wed Jun 25 14:37:28 EDT 2003

heard a PJ & VJ from Panam pen paasam

Starts like kalaimaniye mani maligaye

it was nice
Saravanan/Naaz add some tips to this song who was the MD
From: Naaz (@ 24.87.30.219) on: Wed Jun 25 15:14:52 EDT 2003

raj -

The song you are thinking of is:

Kalaimamaniye Suvaimanganiye
Endhan Singara Chevvaaname
Anbe Sangeethame
Manimaligaiye Thiruvasagame
Oli Mangaadha Ponnarame
Anbe Sangeethame

Yes it is by PJC and VJ. MD: Shankar-Ganesh.
From: Kaumudi (@ 136.142.153.250) on: Wed Jun 25 16:46:02 EDT 2003

Naaz
Thanks for that Hindu link. Missing all the fun on TV.
From: Saravanan (@ 195.229.241.231) on: Thu Jun 26 01:19:41 EDT 2003

1978- Part 11

In this part of the 1978 reminiscences, let us dwell on 4 songs of VJ, three of them for V Kumar, and one for Chandrabose.

We have, in the earlier years, looked at some wonderful songs that Varadharajulu Kumar had given to VJ, and we have also shared some thoughts on Kumar, the Mellisai Maamani. Though Kumar’s baton first swung into action in 1965 and gave some enchanting scores to many Balachandar and Muktha films in the late 60s, it was in the 70s that Kumar blossomed into a full-fledged alternative to MSV. Most of his creations had melody as their mainstay, and that is perhaps why we remember him with gratitude to this day. Unfortunately, Kumar was perhaps the first casualty of the massive Ilayaraja wave that swept away many talented composers in its gargantuan tide---Kumar did continue valiantly for a few years, and gave some mellifluous songs, but the showers in his sky had petered down to a mere trickle. And by the 80s, tfm as is its heartless wont, had all but forgotten him, the memorable songs of Shankari (1984) and Meendum Mahan (1987) notwithstanding.

However, in 1978, he had done remarkable work in films like Annapoorani (Unai parka vendum-KJY, Kannanukku kovam enna-KJY-PS, Aierandu thingalilae-PS), Kannamoochi (Ponnai naan paarthathillai-SPB, Iravil paarthen-SPB-PS, Kannae ulagamae-SPB)) and Ival Oru Seethai (Pallava naattu rajakumarikku-SPB).

Let us look at in detail two other films of his in 1978, and VJ’s songs in particular.

163. Madhanotsavam rathiyoduthaan- Sadhurangam- SPB- VJ

Chitra Arts’ Sadhurangam was released on 30.6.1978. (it’ll be 25 years old in a few days!). This film starred Srikanth, Rajinikanth, Jayachitra, Pramila, VKR, V Gopalakrishnan, Pandaribai, Aalam, L Kanchana and others. It was produced by N Chandra and directed by Durai.

Durai was a director who was high in demand in the late 70s and early 80s. He was equally at ease in both mindless commercial themes and challenging serious subjects. He commenced his apprenticeship under veteran D Yoganand whom he assisted in many Tamil and Telugu films.
He later worked as assistant director in GV Iyer’s immortal Kannada film Hamsageethe-1975. In the same year, Durai directed two films, and both Avalum Penn Thaanae and Oru Kudumbathin Kathai won critical acclaim. He found himself flooded with offers and the following years saw him churning out films in quick succession. Some of them: Aasai Arubathu Naal-1976, Raghupathi Raghava Rajaram and Sonnathai Seivaen- both 1977, Aayiram Jenmangal, Pavathin Sambalam, Oru Veedu Oru Ulagam-all 1978, Neeya, Pasi, Paathai Maarinaal-all 1979, Kilinjalgal-1981, Thunai-1982, Nalanthaana-1982, Veli-1985, Oru Manithan Oru Manaivi-1986 and Palaivanathil Pattaampoochi-1988.

Oru Veedu Oru Ulagam looked at widow remarriage with refreshing candour.
Pasi was a stark window to the life and times of the slum-dwellers, and Shobha’s convincing performance in the role of Kuppamma, the rag-picker, won her the Oorvashi Award. The film also won the National Award for the Best Tamil Film of 1979. In the State Level too, Pasi won the First Best Film Award for 1979-80 and Delhi Ganesh bagged the Best Actor (Special Award). Durai won the TN Govt.’s Best Director Award for 1979-80.
Kilinjalgal was a runaway hit, perhaps because of T Rajendar’s awesome score. Durai burnt his fingers badly by making it in Hindi – Do Gulaab, stg-Kunal Goswami was a dismal failure.
Thunai was a very different film with brilliant performances by Sivaji Ganesan, Saritha and Radha.

Gradually, Durai lost out to the new crop of directors who came up in the 80s, and faded into oblivion. Sometime in the 90s, in a magazine interview (Kumudam?), I was saddened to read that Durai was running a small eatery in Alwarpet to make both ends meet. But what impressed me was that even then he exhibited no bitterness, only a philosophical acceptance of the quirky turns of destiny.

1978 was a very important year for Rajinikanth, as he was standing at the threshold of his career as a hero- He had 15 Tamil releases this year. And it was from this year that he gradually cut down on his assignments as a villain, and concentrated on developing his new image as an angry young hero/ a rebel with a cause.
If Bhairavi marked a conscious first step in this direction, Thappu Thaalangal, Mullum Malarum and Priya were the firm succeeding milestones.

As for the other hero in Sadhurangam- Srikanth (Incidentally, the names of the two sons of the Major in Major Chandrakanth were Srikanth and Rajinikanth!), 1978 was the highpoint of his career. He bagged the TN Govt. Award for Best Actor for his realistic performance in Oru Nadigai Naadagm Paarkiraal, and his performances in Karunai Ullam and Oru Veedu Oru Ulagam also elicited appreciation. In Bhairavi, Srikanth was the villain, while Rajini was elevated to the hero. The future years would be bleak for this actor, and he would gradually fade away from the scene, to make a modest comeback in the small screen- even today you could probably see him on Sun TV in the serial Kungumam.

Sathurangam was based on a stage drama by Visu. (Visu himself filmed the story a decade later, albeit with slight modifications, as ‘Thirumathi Oru Vegumathi’) The theme, in short, was ‘Aavathum pennalae, Azhivathum Pennalae’- how a woman can make or break a man. Rajini and Srikanth are brothers in a conservative family. Rajini is a simple, innocent, straightforward and God-fearing man, who holds a responsible position in an office. Srikanth, on the other hand, is a notorious student in his college. Rajini gets married to Pramila, while Srikanth, by a turn of circumstances, is married to his rich college mate Jayachitra.

Jayachitra, with the backing of her father VKR, starts in earnest to reform Srikanth. Her single-minded determination bears fruit gradually- Srikanth is finally rid of all his vices, and turns into a model son and husband.

Rajini’s story is not so happy. Pramila hails from a poor family, and wants her husband to be rich. She is disgusted with the honest simpleton she has married and goes all out to convert him. First she lures him with the pleasures of the flesh, and then eggs him to be corrupt in his office. Needless to say, he comes to a dismal end.

Pramila gave a memorable performance as the avaricious wife of Rajini.
Pramila was introduced by KSG in the film Vaazhayadi Vaazhai-1972, but shot to fame with her winning performance in KB’s Arangetram-1973. Her other films in the succeeding years were Radha, Gomatha En Kulamatha,Manitharul Manikkam, Sondham-all 1973, Thaaipaasam, Kai Niraya Kaasu, Thanga Padhakkam-all 1974, Balapareetchai-1977, Paavathin Sambalam, Thanga Rangan, Ullathil Kuzhanthaiyadi, Makkal Kural-all 1978, Kavariman-1979 and Rathapaasam-1980. Though a talented actress, she ventured into some infamous films in Malayalam, and unfortunately came to be bracketed with the likes of Y Vijaya and Deepa, and earned money and notoriety, perhaps more of the latter. Later, she appeard in some DD Tuesday Night Plays. Her negative roles in Soorakkottai Singakkutti-1983 and Kettimelam-1985 failed to create any impact.

Other songs in the film were ‘ Aarambam maalai nerathin leelai’-SJ & K Swarna and ‘Ada abishtu nekkum nokkumaa kalyanam’- PS & K Swarna.

I vaguely recall the situation of this lovely song as this: Pramila introduces Rajini to the physical pleasures of marital life. Not content with merely that, she goads him to book tickets for them both for a sleazy Malayalam movie. And while Rajini is standing in the queue at the Cinema, he is titillated by the posters adorning the walls there, and falls into a reverie, imagining Pramila and himself rewriting Vatsayana’s famed treatise—and the song unfolds--

SPB:Madhanotsavam
Rathiyodu thaan
Rathi deviyo
Pathiyodu thaan

VJ: Uyiroviyam
unakkaaga thaan
Udal vannamae
adharkaaga thaan

SPB:Meen aadum kannil vizhunthu-
naan aadavo
Then aadum sevvithazh thannil
Neeradavo?
VJ: Puriyaatha pennmai ithu-
pooppondra menmai ithu
Ponnandhi maalai--
Ennenna leelai!

VJ: Kaarkaala megam thirandu
kuzhalaanathu--
Kanna un kaiyil purandu--
Sadhiraaduthu!
SPB:Alankara devi mugam-
adangaatha aasai tharum
Ondraana neram
oru kodi inbam----

The term “Madhanotsavam” can be traced to ancient Indian texts- it is by this term that Holi, the festival of colours and the herald of Spring, is referred to in the famous play ‘Mrichhakatikam’ by Shudraka and in the 7th century play ‘Ratnavali’ by Harshadeva. It also finds mention in scriptures like Dashakumara Charitha and Garuda Purana.

Here our Vaali uses this term to depict the frame of mind of our hero- all his desires surging as he is lost in a trance, his thoughts converging on the act of physical union, the copulative coalesce of Manmathan and Rathi---

And how imaginatively has Kumar translated these thoughts to spellbinding music- true he seems to have sought inspiration from Bappi Lahiri’s ‘Maana ho tum’ (Toote Khilone) –however since that’s only for the pallavi’s sandham, we can certainly waive this irregularity. What, however, is irksome is that S-G adapted the same tune with a modified finish for their ‘Lakshmi vandhaal maharani pol’- Panam Penn Pasam, and what is unforgivable is that two decades later Aadityan thought it fit to plagiarise the beginning tune for his ‘Azhagoviyam uyiraanathu’ in Roja Malarae.

The beginning notes usher in the mood of slow, leisurely celebration of love—it is to Kumar’s credit that even in this sequence where baser instincts come into prominent play, he steers carefully off the lewd and the suggestive- no moans and groans here- and yet the soul of the song is so attractively soaked in sex- how dreamy SPB sounds as he begins with ‘Madhanorsavam’—VJ sounds as though a Khajuraho figurine had come to life as she begins with ‘Uyiroviyam’–--hark at both singers emote so well and give life to each line as though in the throes of passion—SPB’s repetition of ‘Neeraadavo’, VJ’s ‘Puriyaadha pennmayidhu’, again VJ’s repetition of ‘Sathiraaduthu’ and SPB’s ‘Oh-Alangara devi mugam adangaatha aasai tharum’ –--- SPB, VJ, VK ondraana intha neram-oru kodi inbam!

The way Kumar has put the guitar to brilliant use throughout this song, especially in the scintillating second interlude, shows the stuff he was made of. I can think of only one other song where the usage of guitar was so prominently impressive- incidentally that too was by Kumar, though for an unreleased film called Vasantham Varum-the song ‘Thendral thaalattum neram’ is a dazzling guitar driven melody.

164.Andhiyilae sevvandhi jolikkudhadi- Annalakshmi- TMS- V Kumar

I have no information on the cast or story of Sri Jayagowri Pictures’ Annalakshmi. However V Kumar has tuned in a few good songs for this film as well. Another good song is ‘Yendi chinna ponnu eno mayangudhu ninnu’ by K Swarna, Padma & chorus.

TMS:Andhiyilae sevvandhi jolikkudhadi
adi ammadi unnaattam sirikkidhadi
Kannottam kaadhalukku vellottam
un kattazhagu pogudhadi theraattam

VJ: Atha maga pola vandhu
pakkathilae ninnukkuttu
aala vattam podariyae--
artham ennavo?
Sonnaalum puriyaathu--
sondhamaavum theriyaathu--
punna pogum veembu unakkedhukku?!
Udambu-- Punna pogum veembu unakkedhukku?!

TMS:Katharippoo kannazhagi
rathinamae muthazhagi-
un azhagai seethanamaai koduthathaaradi?
Kandaangi selaiyilae
vandaa mayanguraenae
Unakkum enakkum porutham jodi thaanadi!

VJ: Aasai mattum koodaathu
avasaramum koodaathu
aambalaiyaa ponnakkelu attiyae illae--
TMS:Kalyana pandhalilae
kacheri nadakkayilae
muraiya mudichu moonu unakku poduraen

Both:Un manasum en manasum oru manasaaachu
Namma oru manasil uruvaachu thirumanappechu

It was while the recording of the songs of Ethirneechal was in progress that a problem cropped up. ‘Aduthaathu Ambujathai’ TMS-PS had already been recorded, and V Kumar was acquainting TMS with the notes for the title song ‘Vetri vendumaa pottu paarada ethirneechal’. TMS felt that the tune lacked the ‘verve’ that the lyrics needed, and asked Kumar to change the tune. Kumar was upset, understandably, but he readily agreed to ask KB permission to change the tune, as KB had already liked and approved it. KB was against any change, he liked the tune immensely “The tune stays. If TMS doesn’t like it, then get it sung by another singer” was what he told Kumar. It was thus that Seergazhi Govindarajan came to sing that memorable song.

Now, tell me had this happened to any other Music Director, wouldn’t he felt insulted, his talent questioned, and wouldn’t he have naturally avoided TMS like the plague henceforth?! But our Kumar was made of softer, humbler stuff- he quickly put the incident behind him, and went on to give many great songs to TMS even after this unpleasant incident.
Truly a great man, our Kumar!

This song is a simple, folksy one with a breezy lilt. TMS coats his tone in a rustic hue. Kumar’s interludes are short and melodious. VJ sounds playful in her ‘Udambu punna pogum veembu unakkedharkku’. TMS continues the banter with a mock aalaapanai after ‘muthazhagi’ and then proceeds to clear his throat in an exaggerated manner!

165.Anna un idhayam- Annalakshmi- V Kumar

Anna un idhayam
naan kanda ulagam
naan paadum ragam
nee thandha paasam

Ninaikkaaatha pothum
marakkatha nenjam--
Unakkaga indrum endrum
uravu kondaadum--
Unnodu ingae
enakkulla bandham
Udanpirappae endru
azhaikkindra sondham

Thaai tharum anbil
un mugam kandaen
Thandhaiyin anaippilum
unnaiyae ninaippaen
Aayiram piravi
naan eduthaalum
aththani piraviyilum
annanaaga vendum!

A euphoriant song of singular beauty and perhaps the best among the solos that V Kumar gave VJ. It is a doting sister’s heart-warming paean to her affectionate brother, and Vani brings to her song, all the brimming emotions that the lovely lyrics call for. The soft, affection-filled call ‘Anna! Anna! Anna!’ with which the song commences gives an enthralling indication of the caressing tone that the song to going to adopt. ‘Ninaikkatha pothum marakaatha nenjam’---what soul stirring sentiments, and how soulfully has Vani sung the lines! Hark at the tender repetition of the line ‘Udanpirappae endru azhaikkindra sontham’- evocative touches of a bygone era! The repetition of ‘Aththanai pirippilum annanaaga vendum’, with an emphasised ‘Nee’ interjected before ‘annanaaga’- rarely has a sibling’s love so spellbindingly portrayed! Koyil vilakkondru kooda pirappendru paadum kural ketkkuthu! (to borrow from another great song!)

Ninakkatha pothum marakaatha paadal!

166.Kannan angae Radhai ingae- Mangudi Minor- Chandrabose

Aaya (!) Creations’ Mangudi Minor (Release Date: 2.6.1978- Bhairavi was also released on the same day) starred Vijayakumar, Rajinikanth, Sripriya, K.Kannan, MN Rajam, SV Ramdas, A Sakunthala and others.Screenplay, Dialogue and Direction by V C Guganathan. Guganathan is one of the two Sri Lankan Tamils, who made it big in Tamil Cinema, the other being Balumahendra.

I do not know much about Guganathan’s early career. I remember that MGR’s Pudhiya Bhoomi-1968 had story and dialogues by Guganathan. I guess he was also associated in films like Sudarum Sooravaliyum, Puguntha Veedu, Veetukku Vandha Marumagal, Petha Manam Pithu and Kanimuthu Papa. He is said to have married actress Jaya. He made a mark as a director in Madhura Geetham, which bagged the TN. Govt. Best Film Award- Second Place, for 1977-78. He turned out to be a prolific film maker. The highpoint of his career as a director was perhaps Rajinikath’s Thanikkaattu Raja-1982.

Guganathan’s favorite MD was Chandrabose, whom he introduced in Madhura Geetham-1977. Some other films in this combination were Emaatrathey Emmaaraathey-1985 and Michael Raj-1986. I read that Guganathan’s 250th film (!) Ethir Vaasal (Stg. Vignesh & Ranjit) is also to have music by Chandrabose.

On May 23rd this year, there was a dance ballet programme by local school children in Dubai, based on Kalidasa’s Kumarasambhavam, directed by danseuse Lakshmi Venkatesh. What was special was that the music was composed by none other than Chandrabose! He had composed 85 bits of songs set across 50 Ragas for the ballet. Chandrabose was present on the occasion, and though he spoke that this experiment was a “milestone in his career”. I could not help remembering with a pang the time when he was among the busiest composers in tfm.

I believe Chandrabose and Deva started their career together by giving ‘Light Music’ performances. Later Chandrabose got a break as a singer, and the song ‘Yendi Muththamma’- Aaru Pushpangal-1977 (Music- MSV) became immensely popular. In the same year, he composed music for his first film Madhura Geetham. Both Kannan engae (SPB-PS) and Sugamana ragam suvaiyaana thamizh paattu (TMS-Seergazhi Govindarajan) were good songs. (However while ‘Kannan engae’ was a lift from ‘Sapna mera toot gaya’ (Khel Khel Mein), I recently heard that ‘Sugamana ragam’ was originally composed by SM Subbiah Naidu!). Anyway, in the following year, Chandrabose showed his class in ‘Maampoovae siru mainave’- Machanai Paartheengala. He would go on to give some excellent songs in the coming years. In the early 80s, his opportunities were few and far between, but he made a strong comeback with Ponnu Pudichirukku-1984. There was no looking back since then. He became a regular feature in many films of Muktha Srinivasan, K Balaji and later V Shekhar. The crowning glory came when he became the ‘Aasthaana Iasaiamippalar’ of AVM productions- I believe he scored music for 11 AVM films in this period. However this Spring soon gave way to an Autumn, when his films became less in number, and soon he was totally forgotten. He is still busy, however, composing music for TV serials. Since many of VJ’s songs post1978 were for Chandrabose, we will be seeing more of him in detail in the coming years.

Coming to Mangudi Minor, it was a shoddy remake of Manmohan Desai’s 1972 hit film Rampur Ka Lakshman stg. Randhir Kapoor, Shatrughan Sinha and Rekha. Vijayakumar played Randhir Kapoor’s role of a country bumpkin coming to town. I think Rajini (playing Shatrughan Sinha’s role) was the villainous long lost brother. Guganathan added an element of nativity by showing Vijayakumar as a big fan of MGR.

The other songs were ‘Eru pudicha kaigal’-TMS, ‘Anna neenga ninachappadi nadanthirukku, puratchi thalaivar kaiyil ippo naadirukku’’-TMS and ‘En kaiyil iruppathu’-PS.

Kannan angae
Radhai ingae
anbae vaa--
unakkagave thandha
ullam engae

Thedum kannil devan varathathenna
thirudikkonda nenjai tharaathathenna
Vaadum poovai kaigal thodaathathenna
mannan thinnum annam peraathathenna
Vaaraano---

Ilamai konjum pathumai unnodu vandhaal
inaiye piriyaa nizhalaai pinnodu vandhaal
Thanimai thuyaram siruthum thaalaamal nindraal
Thalaivan ninaive manathil meelaamal nindraal
Naan vendum—

Arresting guitar notes mark the short prelude, before VJ starts off with breezy ‘ra raa’ humming. The stress on ‘Angae’ and ‘Ingae’ is a sweet touch.
Again the humming towards the end of the charanams is memorable, with a short laugh before ‘vaaraano’ and the lingering last lines are soft and seductive.

Here is a link to the song:
http://in.briefcase.yahoo.com/bc/nat_saravanan/vwp2?.tok=bcjLDD_ADFnsD8ZA&.dir=/&.dnm=17+-+Track+17.mp3&.src=bc

(Hope it works! Thanks SK for your patience and help!)

Having said all this, I must also add: This song is a direct lift from RD Burman’s ‘Albela re albela re rook jaana, dil thodke tu kahaan jaatha hai’-Lata Mangeshkar.

---We’ll meet again with VJ’s songs for some other MD in 1978
From: Saravanan (@ 217.165.189.250) on: Thu Jun 26 01:28:11 EDT 2003

Naaz: Got your hint! That word keeps flashing in my mind too!I'm sorry about the delay.

Forgot to add- Albela re is from Rampur Ka Lakshman.

List all pages of this thread

Post comments

Sections: Home - TFM Magazine - Forum - Wiki - POW - oPod - Lyrics - Pictures - Music Notes -
Forums: Current Topics - Ilayaraja Albums - A.R. Rahman Albums - TFM Oldies - Fun & Games
Ilaiyaraja: Releases - News - Share Music - AR Rahman: Releases - News - AOTW - Tweets -
Discussions: MSV - YSR - GVP - Song Requests - Song stats - Raga of songs - Copying - Tweets
Database: Main - Singers - Music Director's - Lyricists Fun: PP - EKB - Relay - Satires - Quiz