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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: Kupps (@ 203.199.209.101) on: Fri Jun 13 01:50:18 EDT 2003
  
  >>>>>>>>>>
  "As a movie this should be consigned to /dev/null. If someone can grep all the BGM, it will be great."
  
  venkat :-)))
  >>>>>>>>>>>
  
  Nice one and not 'awk'word. isn't it bb :-)
  
  
• From: Kupps (@ 203.199.209.101) on: Fri Jun 13 01:59:47 EDT 2003
  
  In 'server' sundaram some of the dialogues between the film's heroine manorama, nagesh and the director s.v.rangarao would be hillarious.
  
  S.V.R.R: (to manorama, the heroine) Amma indha veLakkamaara apdi style pidichchi, ipdi ipdi koottanum avvaLavuthaan shot ok-aayidum.
  
  Nagesh: (hero, new face) hmm...pombalaikku kootaa solliththaraaru.
  
  Manorama: hey! yaarindha "payyan".
  
  
  Then in another scene (shooting of a love scene):
  Nagesh: (to manorama) kaNNae ice pOla undhan eyes-um; .....lace vachcha undhan blouse-um aha! AAHA
  
  Manorama: anbae "naaraasam" thdhumbum ungaL mugamum;.....aen "ullaththai" appidiyae "kollai" "kondu" vittana.
  
  Nagesh showing typical nagesh uneasyness expression on listening to these words.
  
  S.V.R.R: cut, cut. amma idhu thamizh maa thamizha Ozhunga paesumma (with a crying tone).
  
  
• From: bb (@ 12.234.176.52) on: Fri Jun 13 02:42:53 EDT 2003
  
  Kupps, you 'sed' it :-)
  
  GCT_Kuil, agnipravesam was expanded and written as sila nErangaLil sila manithargaL. The novel references the short story (as the story written by Nagesh).
  The sequel to this was "Gangai engE pOgiraaL".
  
  The story agnipravesam is here: http://www.tamil.net/people/pksivakumar/agni.htm
  
  
  
  
• From: Prabhu (@ 203.199.143.149) on: Fri Jun 13 04:53:55 EDT 2003
  
  When Delhi DD featured JK's plays on Apr 88 Friday 9PM slots, agnipravesam was featured in one episode. There was another Lakshmi(as an artiste)-Srikant(as a journo) starrer written by JK which must've won a major award I think - coz it figured on DD's Sunday aft regional movie slot about the same time.
  GCT_Kuil, did u use to post under the nick CM and is ur bday Jun 14?
  Music4ever, your hunt for a contender to Tendulkar's bday ends with JK!
  
  
• From: NagaS (@ 203.195.201.74) on: Fri Jun 13 05:39:10 EDT 2003
  
  Prabhu,
  
  >>>> another Lakshmi(as an artiste)-Srikant(as a journo) starrer written by JK which must've won a major award
  
  I think you are talking abt. 'Oru nadigai naadagam paarkkiRaaL'
  
  >>>> your hunt for a contender to Tendulkar's bday ends with JK!
  
  Yes, Music4ever was searching for that info ? :-)
  
  Infact, this (2003) April 24th, I started writing a (supposed to be humorous) article comparing JK and Sachin 'coz they share their b'days ... fortunately I didn't complete it :-D
  
  NagaS
  
  
• From: Prabhu (@ 203.199.143.149) on: Fri Jun 13 07:39:53 EDT 2003
  
  Thanx NagaS, ONNP is the one !
  
  
• From: Pal (@ 199.43.48.21) on: Fri Jun 13 08:59:41 EDT 2003
  
  GCT_Kuyil:
  
  'Aandavan illaa ulagam idhu' is from 'oru oothaapoo kaN simittugirathu'
  
  
• From: Naaz (@ 24.87.30.219) on: Fri Jun 13 09:17:53 EDT 2003
  
  bb -
  
  This is one of those songs which holds within it a rare aspect: It makes you see the whole film through the verses of JK. As a narrative device, it was deployed in a cinematically unconventional way: It is the anthem to the entire film as it occurs at the very end. I doubt anybody in the auditorium walked out for a "dum" or "ellurundai" during this moment. (cf. the abrupt ending of "Veedu" is a close second for such a shift.)
  As such, the entire sequence works as an effective coda for film. The third person point-of-view is effectively used, and the song sums up what the audience might be feeling/wondering, their loss and uncertainty poignantly precised by the lyric-narrative. An elliptical denouement which also leaves enough room for a sequel - that promptly followed - at least in print.
  
  MSV-VJ present their best here. If this does not typify excellence - compositional and recital - then I'd call the word meaningless.
  
  Sila Nerangalil Sila Manidhargal was, if I remember right, was originally titled "Kaalam Marum" but that was considered too "stodgy" and "boring" and hence the current name. Suggestive and open, the this title turns us back to the song, its ambiguity and the crucial elipsis within "neram" and "manidhar".
  
  Thanks for another classic weekend!
  
  
• From: GCT_Kuil (@ 67.112.201.218) on: Fri Jun 13 09:24:47 EDT 2003
  
  BB, I was not aware about the novel. The short story which I read, just gave a note - this was taken as a movie later! So I thought it was this short story which was taken as movie. Thanks for the info. I will try to get the novel here.
  
  Prabhu, No I always use this nick.
  
  Thanks Pal. Can someone please list the other songs in this movie?
  
  
• From: raja m (@ 24.44.133.72) on: Fri Jun 13 09:46:16 EDT 2003
  
  GCT Kuil,
  
  Kandadhai Sollugiren - sung by MSV is one I remember, MSV in his caustic element, raspy voice works so well for the situation. Great story, well acted and the title says it all.
  
  Excellent acting by Lakshmi. Who was the actress who played her grandmother/auntie? - remember "BURU vaam BURU" (for Bru coffee) YGP was a relief, playing the oldman with a lot in his mind . I somehow relate this song to Yezhu Swarangal from Apoorva Ragangal - may be theMSV-VJ-KD magic..
  
  
• From: Saravanan (@ 213.42.2.7) on: Fri Jun 13 09:50:38 EDT 2003
  
  bb- thanks for the song!
  
  GCT_Kuil- SNSM had just one another song- Kandathai sollugiraen (MSV) filmed on Nagesh.
  Btw, I have sent you a mail.
  
  
  
• From: GCT_Kuil (@ 67.112.201.218) on: Fri Jun 13 09:53:04 EDT 2003
  
  Thanx Raja and Sara..
  Sara, Just responded for that mail.
  
  
• From: Naaz (@ 24.87.30.219) on: Fri Jun 13 09:59:12 EDT 2003
  
  raja m -
  
  The "older" woman was play by Sundari Bai, I think.
  YGP was appropriately cast as a frustrated, sexist geezer. The other film ONNP had the SNSM YGP-Lakshmi scene on stage - being watched by the character Lakshmi played in ONNP! Intertextuality a la JK! :-)
  
  
• From: raj (@ 12.30.122.10) on: Fri Jun 13 10:01:25 EDT 2003
  
  sundari bai's Excellent acting was a an additional + to this Film
  
  
• From: Saravanan (@ 213.42.2.7) on: Fri Jun 13 10:06:38 EDT 2003
  
  raja m, I think that was Sundaribai, who played Lakshmi’s mother with finesse.
  Another scene that I recall – When Sundaribai questions Lakshmi’s unconventional attitudes, Lakshmi shoots back at her, asking if she herself had followed convention, i.e. why didn’t she get her hair tonsured when she was widowed. The next morning, when Lakshmi wakes up, she finds Sundaribai in the garb of a traditional Brahmin widow, with her hair tonsured. Lakshmi is filled with remorse at this sight, and breaks down. Sundaribai consoles her and asks her why she was crying ('Adi asadae, nallathai yaar sonnaalum ketkkanum'!)- Both gave hearwarming performances-
  
  
• From: Naaz (@ 24.87.30.219) on: Fri Jun 13 10:26:12 EDT 2003
  
  Saravanan / Friends -
  
  Here's a suggestion:
  I have some serious reservations about SNSM and JKs political agenda. If SNSM is considered a literary masterpiece, I think it can handle some closer scrutiny. Could we have a discussion about this film/song in a more in-depth way this weekend? It would make for some exciting intellectual sparring.
  I am aware that such suggestions are seldom successful around here, but I hope we can (for a change) make this an exception, and discuss the social phenomenon that was SNSM and the ideology(ies) of JK vis-a-vis caste/woman/status.
  Can we?
  
  
• From: bb (@ 12.234.176.52) on: Fri Jun 13 10:55:31 EDT 2003
  
  Naaz, please do. But remember to keep the timeframe of the novel in mind. What might have been revolutionary in one era might sound trite and contrived in another. It is difficult to judge literature without keeping this perspective.
  
  
• From: Saravanan (@ 213.42.2.7) on: Fri Jun 13 11:46:28 EDT 2003
  
  Naaz- sure-- while I don't think I am very intellectual:-)), I'm willing to listen to your views, think over them, and react--
  
  
• From: Naaz (@ 24.87.30.219) on: Fri Jun 13 12:16:58 EDT 2003
  
  bb -
  
  Thanks for seconding. The motion is passed :-)
  
  In line with newtfmpage tradition, the onus of following through on the suggestion rests with the "suggestor" - here's the opening "critical" moment (and hopefully not the kiss-of-death) to this discussion (please add, subtract, multiply, holler, demur...accordingly):
  
  Structure of SNSM:
  
  I don't recall a more pronounced metafictional exercise in modern tamizh literature than SNSM. That that novel was epoch-making in its time is to state the obivous. What was it that made this the hot-topic over hot dabras of coffee? Many reasons:
  JKs prose was dense yet accessible, the plot was (mostly) internal yet with some detailed scenic flourish, the predicament of the protagonist was horrible yet handled with mature restraint.
  
  The metafictional moment: How does fiction come about? What is the responsibility of a "writer" when s/he is writing "another's" story? What is authorial? What is authority? SNSM raises these issues within the text.
  
  A writer (the mise-en-scene with Nagesh watching Ganga's life unfold) on a stormy night sees a young woman waiting at a bus-stop. A car pulls up. After a brief conversation the door opens, the woman gets in. The writer doesn't know what the conversation, neither does he hear Ganga say "not this way, no, this is not the way to my home..." Ganga is raped. (In the film version this is visualised with a tacky symbolism - the tyres of the doing the bump and grind which is taking place inside.) Ganga is dropped off after the deed. She is rendered "corrupted." The writer/voyeur, follows Ganga home, and watches her mother get apoplectic upon the disclosure. She, the mother, is the first one to verbally ostracise her daughter.
  It is not her fault (more on how this assumes "destiny" connotations a bit later) yet Ganga is immediately an out-cast(e) without a future.
  In a deliberate move to prove that fiction can remain fiction (as in denial) the writer uses the rape episode in a short-story changes the reaction of the mother from destroyer to preserver with the power of the pen. Agni Pravesam, the short-story has the mother pouring blessed water over her daughter to wash away her "soiled" status and re-establish purity/virginity (cf. the biblical overtones of Jesus-Mary of Magdalene are obvious, and the "writer" assumes this authority through a reworking of the "compassionate" mother "washing away all sins.") This authorial interpolation in the narrative within the narrative draws our attention to the power of "writing as/for change." A perfect metafictional turn. In literary terms, this move leads us to a dual perspective on writer/writing, but leaves us without a conclusion:
  Does a writer have the "authority" to change somebody else's experience to make a wrong right? And if denial is substituted for purposes of "purity" then how "pure" is the "truth" therein?
  
  This is only the beginning, and as I add to this over the weekend, I will try to demonstrate how the novel, for all its stylistic prowess and "radical" prescriptions, reveals its own entrenchment in age-old concepts and ideologies about gender and caste.
  
  Please DO add to this.
  
  (bb - rest assured. My intention here is not to pull the work out of its period, but to point to the politics of woman/sexuality that are still at work - in this 21st century period. :-))
  
  
• From: Naaz (@ 24.87.30.219) on: Fri Jun 13 13:35:40 EDT 2003
  
  A crucial reference to to bear in mind when pondering the author / authority truth / fiction binaries is the other song in the film which emphasises the metafictionality that I was beginning to elucidate above -
  
  "Kandadhai Sollugiraen, Ungal Kadhaiyai Sollugiraen"
  
  Writer as Voyeur (KANN-dadhai Sollugiraen)
  Writer as Appropirator (of ANOTHER's experience (UNGAL kadhaiyai Sollugiraen)
  
  This - along with the coda of "Veruidam" - should sum up the nature of "writing".
  
  More when I get my next move in order.
  
  

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