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dhooL.com

Topic started by bb (@ 24.4.254.104) on Tue Feb 20 03:21:22 EST 2001.
All times in EST +10:30 for IST.

Hi! We've made a major addition to newtfmpage, and that is a big song bank. Dhool features thousands of songs for your listening pleasure. This site is a part of the newtfmpage.com - swara.com group. Together with newtfmpage, we wish to make this the best place to listen to tamil film songs online and know about tamil film music. Our collection includes old, new, famous, rare and unheard of songs. We are still fine tuning and fixing the database errors, so please bear with us. We value your feedback, and this will help us build the site better. Please post your comments below or mail to comments@newtfmpage.com.
This work was done by us (bb and RR) with MS and swara.com ravi.

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Responses:

• Old responses
  
• From: Saravanan (@ 195.229.241.168) on: Tue Mar 9 11:01:56 EST 2004
  
  Spellbinding song! How many such obscure films have defied oblivion thanks to IR's generosity!
  Even 'Dimple Creations', the production company that produced Aaradhanai (Stg. Sumalata & Nizhalgal Ravi?) in 1981 might have folded up after this misadventure, but the film lives on in memory for this song and the other enchantment- 'Oru kungumachengamalam'.
  
  I haven't seen this film, nor am I ever likely to. But I have always wondered at the how the visual sequences of the song might have been. The song manages to capture so vividly the serenity of dawn in all its glory- the dampness of the morning dew on the grass, the chirping call of the birds, the sun lazily rising on the horizon; and at the same time magically finds expression of a heart trembling with longings of a love that seeks immediate reciprocation.
  
  bb, I have always thought it is 'iLam pani thuLi vizhum nEram'- are you sure about 'thuLir vidum'?
  
  
• From: bb (@ 206.154.118.2) on: Tue Mar 9 13:46:58 EST 2004
  
  doubter/Saravanan, you are probably right. Somehow, I've always hummed it as 'iLam pani thuLir vidum nEram'.
  
  
• From: Udhaya (@ 65.135.88.125) on: Tue Mar 9 15:06:02 EST 2004
  
  hmmm...from this kind of orchestration to mainstream monotony, what a fall from grace! Whenever I take up the "pre-83 IR is best" argument, "Aaradhanai" songs factor in as proof. I saw traces of this song in "niram piriththu paarthaen" from TIME.
  
  
• From: * (@ 161.114.64.71) on: Tue Mar 9 18:16:31 EST 2004
  
  Read the poem 'Gone are the days' - surely brings memories of TN. The rest of the posts are digressive
  http://www.aippg.net/forum/viewtopic.php?t=2158
  
  
• From: Subbu (@ 203.200.198.9) on: Tue Mar 9 23:47:18 EST 2004
  
  Aaradhanai hero was 7-footer Suman. Hopeless flop movie :-(
  
  The finest part of the song is that bit 'tha-na-na' to link the end of charaNam and restart of the pallavi. The singer's contribution is very limited as she blindly or religiously follows her mentor's footsteps.
  
  The singer's name as in record is Laththika. I don't know how it is changed to Radhika. Her daughter appreared in Saptha-SwarangaL(Sun TV) few months ago in a children special show. She sang her mom's only song effortlessly :-)
  
  
• From: bb (@ 24.6.216.148) on: Wed Mar 10 01:00:19 EST 2004
  
  Song of the Day: aanandha dhaagam from vaa indha pakkam.
  
  http://www.newtfmpage.com/cgi-bin/stream.pl?url=http://www.dhool.com/sotd/anandha.rm
  
  - Saravanan writes:
  
  Sung by Deepan Chakravarthi & S.Janaki. Lyrics by Vairamuthu. Music by Shyam.
  
  Ponmalar International’s Vaa Indha Pakkam- 1981 starred Pratap Pothen, Uma, Anumanthu, Rajamani & others. It was produced by Jayadevi and directed by Mouli. It was a simple, interesting story (reminiscent, albeit in parts, of Piya Ka Ghar) of the initial, shy days immediately after marriage, the expectations and the disillusionments, the frustrating lack of privacy in the close confines of a typical middle class urban dwelling of an extended family, and the adjustments that go to make marital life all the more pleasurable.
  
  Among the other songs, ‘Ival devathai idhazh maadhulai’ (also Vairamuthu) comes a close second, wherein SPB, escorted by chorus voices, starts sedately enough with the pallavi, but breaking all conventions, VJ converts it into a delightful joy ride with her ‘puli vaalu meesa vecha aalu’, and the song allures in alternating adroitly between the two styles. Three solos by SJ complete the album- the rollicking ‘Swing-swing-swing with me’, the swift classical ‘Naane-- vaa, idhu enna kovam’ (both written by a lyricist called Bedi!) and the short, but superbly etched ‘Meri aawaaz sun-- isme hai bade gun’ (Hindi lines, written by a lyricist, incongruously enough called Pulavar Maari!)
  
  * * * *
  
  When, Mouli, known for his hilarious stage dramas, took to film making, he startled everyone with a refreshing, sensitive interpretation of the various complex issues surrounding bigamy (Maangaadu Amman Creations’ Ivargal Vidhyasamaanavargal- 1980), marked by convincing performances by Srividya and Fadafat Jayalakshmi. He followed it up with some interesting films with crisp narratives. After a long sojourn in Telugu Cinema, Mouli is back making Tamil films like Pammal K. Sambandam and Nala Damayanti. Mouli speaks about his film career here : http://www.rediff.com/entertai/2002/jan/21mouli.htm
  
  Actress Jayadevi, who produced some of Mouli’s movies, and also independently directed some films, talks at length here: (she is wrongly credited with directing Vaa Indha Pakkam, btw)
  
  http://www.chennaionline.com/interviews/jayadevi.asp
  
  Uma (incidentally the wife of Maruda Bharani, and daughter-in-law of lyricist Marudakasi) who made her debut in Vaa Indha Pakkam, shares her memories here:
  
  http://www.hindu.com/mp/2004/01/26/stories/2004012601740300.htm
  
  * * * *
  
  Shyam’s fascinating creations like ‘Nenjathil poraadum ennangal’, ‘Vaanam paneerai thoovum’ and ‘Mazhai tharumo en megam’ have earlier found place as SOTD. And though he composed music for only around 25 Tamil films, he will continue to be saluted for his wonderful works therein like ‘ Ponne bhoomiyadi’(Manitharil Ithanai Nirangala), ‘Bhoomadevi pole vaazhum’ (Panchakalyani), ‘Galeer galeer endre’ (Devathai), ‘Unnai padaithathum brahman’ (Nee Sirithaal Naan Sirippen), ‘Pura rendu vaanil sendru’ (Kuppathu Ponnu), ‘Idhayam idhayam’ (Idhayam Pesugirathu), ‘Mazhaikkaala Megangal’ (Kal vadiyum Pookal), ‘Thulli chellum kuyile’ (Kuyile Kuyile), ‘Selvame deiveega malare (Kuzhandhai Yesu), and ‘Muthu muthu punnagaiyo’ (Sandhosha Kanavugal). Even in his last Tamil film- Vilangu- 1987, he showed his class in ‘Sollathaan ninaithen’ (SPB), and when the same tune was intelligently turned to a poignant version (‘Unaithaan azhaithen’- KJY), Shyam makes you sit up and applaud admiringly at his brilliant variations in the orchestration.
  
  For more information on Shyam: http://newtfmpage.com/forum/7696.6859.02.29.28.html
  
  * * * *
  
  Writes Vairamuthu in his ‘en jannalin vazhiyE’: ‘madhinutppamum, nagaichuvai uNarvum pazhaiyadhai thagarkka vENdum ennum vediguNdu vEtkaiyum udaiyavar naNbar Mouli enbathu avar nirubiththa nijam’. In those early years, Vairamuthu wrote some memorable songs for Mouli like ‘Endhan poovanthil indru vasantham’ (Oru Vaarisu Uruvaagirathu), ‘Kaadhal kanavugale neeradum en ninaivugale’ (Nandri Meendum Varuga) and ‘Paanjaali ivala andha paanjaalan magala’ (Oru Pullankuzhal Aduppodhugirathu).
  
  The lyrics of this song glisten with all the charactersitics (and the mandatory vErvai!) of vintage Vairamuthu. And Shyam, fortified by such lyrical largesse, goes on to compose a song that engrosses, enthralls and ensures encores. The arresting prelude escorts in the scorching awakening of the sultry night, and Deepan and SJ bring to throbbing life the delicious agony of arousal that cannot find release. Deepan’s despair in ‘saayumO’ to her cautioning ‘mooththavar thalaigaL saayattum’, the worried concern in ‘yenamma?’ to her ‘kanniyin mEni vErkkuthE’ declaration, the humorous incredulity in his ‘ada rama!’ at her ‘jannalin kambi paarkuthE’ claim; SJ’s felicitous flexibility in expression in the mischief-filled ‘thooNdaathE’, followed by the imploring ‘thaaNdaathE’, rounding off with the admonishing ‘theeNdaathE’, the infinitesimal silence between ‘kaNNgaL mooduthE’ and ‘aNaikkaiyil kavikkuyil oomai aanathE’—some glorious moments in a song sculpted to absolute perfection!
  
  - Non Ilaiyaraja hits of 70s-80s: http://www.newtfmpage.com/forum/17164.27220.00:20:37.html
  
  
• From: raja m (@ 67.87.27.19) on: Wed Mar 10 08:18:08 EST 2004
  
  Smooth voices of Deepan and SJ make this song very enjoyable. Songs like Aanandha Dhaagam (always heard it as Aanandha Raagam) are part of a small group of songs that you loved and hated knowing these should have been composed by your favourite MD(s)when they were heard for the first time.
  
  bb - do you have Kaadhal kanavugale neeradum en ninaivugale ? This surely is a SOTD contender.
  
  
• From: farmaish (@ 202.54.137.113) on: Wed Mar 10 10:12:46 EST 2004
  
  raja m....yes in the movie 'nandri meeNdum varuga'
  
  
• From: KK (@ 65.211.103.2) on: Wed Mar 10 11:35:51 EST 2004
  
  Hmmm.. a nice song. Long time since I heard it.
  BTW, doesn't the song's interludes sound like the song Vada Kale Saajna from Haath Ki Safai ?
  
  -KK
  
  
• From: Naaz (@ 24.87.30.219) on: Wed Mar 10 12:30:47 EST 2004
  
  Saravanan -
  
  A fine choice that showcases Shyam's preference for soft, lilting compositions. Don't know why, but most of his tunes (from Mazhai Tharumo to Galeer Galeer to Anandha Dhagam) have a calming effect, like a hidden stream, heard but never seen. SJs "sweet-nothings" range is perfectly suited for such compositions (cf. Ninaiththaale Inikkum freom Ninaiththaale Inikkum, and the same phrased song from Kalyanaraman.)
  
  Vaa Indha Pakkam (or Step This Way For Modernity) was about a city-slicker (and a wannabe Svengali) who decides to "urbanise" a rustic belle into a svelte metropolitan. Toward the end there is some dialogue involving "scars and beauty-spots" I recall. The situation for Anandha Dhagam was similar to the one in Piya Ka Ghar, where the newly weds, deprived of privacy in a busy (and populated) household make do with snatched moments of furtive fumblings, their eyes always pinned to the clock - "Adikkadi Malarkodi Neram Paarkumo."
  
  Uma was charming in a way that Newness is. Pratap was his usual wide-eyed out-to-lunch self. But it was Mouli who fell between the cracks of commercial and artsy divide. :-)
  
  
• From: Udhaya (@ 65.141.103.203) on: Wed Mar 10 16:22:13 EST 2004
  
  Being the only Dheepan enthusiast around here, "aanandha dhaagam" quenched my thirst a bit.
  
  

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