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A JOURNEY WITH K.V. MAHADEVAN

Topic started by Manisekaran (@ 161.142.2.11) on Fri Jun 14 01:54:38 EDT 2002.
All times in EST +10:30 for IST.

This is an effort, in a modest way, to trace the great contributions of KVM to the Tamil Film Music. As Tamil Film songs originate from the Tamil films, I am aslo taking the liberty of discussing the background of the films where KVM had comsposed- with the intention of adding spice. I believe this article would serve as a nostalgic tonic to the fans of old songs.

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Responses:

• Old responses
  
• From: Manisegaran (@ 161.142.2.11) on: Thu Oct 17 20:43:23 EDT 2002
  
  
  Dear Subbu,
  
  I am not sure of this story, though I wish not totally set aside. As I have always maintained, the cine field is far too wide and stories may vary. What I know is that SP Bala had already sung with P Suseela in an earlier song- Iyatkai Ennum Ilaya Kanni in Shanthi Nilayam. Then only the Aayiram Nilave Vaa in Adimai Penn.
  
  However there is a popular belief that SP Bala's first song in Tamil was Aayiram Nilave vAa. Actually the first song was called "Athanukku Ippadi Irukku Manasukkulle" with LR Eswary in a film called Hotel Ramba. MSV was the MD. Both the song and the film never were released. Then came Shanti Nilayam, following which was the Adimai Penn. Close to this period came "Muthuchippikkulle Oru Poovundu" in Kuzhandai Ullam. SOmetimes even this song was announced as the first song by SP Bala.
  
  Most of his earlier songs were sing with what you described as "Jaladosham" voice. Just listen to the following songs:
  
  Anbu Vanthathu, Ennai Aala vanthathu
  
  Anbai Koduppathu Aanaa
  
  Angam Puthuvaitham Azhaginil Oru Vitham
  
  Vetri Meethu Vetri Vanthu Ennai Serum
  
  
  Tamilvanan, in his Kalkandu, criticised his voice in a mischievious tone. But personally speaking, his voice was like an uncut diamond in the beginning days. An uncut diamond is still a diamond. I still prefer his earlier songs.
  
  Thanks,
  
  Manisegaran
  
  
• From: Manisegaran (@ 161.142.2.11) on: Thu Oct 17 20:53:29 EDT 2002
  
  
  Part 48
  SANGARABHARANAM
  I had taken my discussions only to films of mid 1970s, and never intended to go further. But how could KVM be separated from Sankarabaranam. Therfore I am compelled to mention something about this film that I never understood, yet loved more than most of his films.
  
  Poornodhaya Art Creations "Sankarabharanam" deserves to be singled out for a special mention among the movies in which KVM had composed music. After Kanthan Karunai in 1967 it was Sankarabharanam that won KVM the national award at the 27th National Film festival. This movie is one that does not need knowledge of Telugu to understand. There is already ample language of music, which could universally be understood.
  
  The film's strength was the music, followed by the dance. It was a very simple plot, and non-famous actors. Yet the film broke record after record. The Director K. Viswanath had seen that there was neither over acting nor under acting. They all performed their roles as natural as possible. Lyrics had been carefully chosen and written to suit the music. Songs were from Baktha Ramadas, Veturi Sunderaramamurthy and Kalidas. The right singers chosen were Vani Jayaram, S. Janaki and S.P. Balasubramaniam. Originally KVM had wanted to use Dr. Balamurali Krishna. KVM consulted Pugazhendhi. Pugazhendhi said that Dr. Balamurali would sing well, but since the film has many soings of many moods, SP Bala would make a better choice. It was following this input from Pugazhendhi that KVM decided to use SP Bala. When they came to S.P Bala, he initially showed reluctance. One has to understand that SP Bala was not very highly qualified as a carnatic singer, but in the course of time he picked up talents in the spirit of "Pazhaga Pazhaga Varum Isai Pole- Thinam padiikka Padikka Varum Kavi Pole" With Pugazhendhi's words of encouragement, Bala decided to take up the challenge. He did sing very well- beyond expectations of everyone! Even he did not expect. It seems MS Subbulachumy threw a dinner to appreciate his singing ability in the film.( unconfirmed news)
  
  Now the invaluable gems of Sankarabharanam in the way I had understood.
  
  The film starts with a song by SP Bala and S. Janaki.
  
  OMKARA NADANU
  
  Then comes the next song by S. Janaki and S.P Balasubramaniam:
  
  SANGEETHA SIKSHANA
  
  
  S. P Bala sings a very wonderful solo:
  
  RAAGAM THAANAM PALLAVI
  
  S.P Bala also sings a high pitched solo:
  
  SANKARA NADHA SARIPARA
  
  Vani Jayaram sings this song:
  
  AE THIRUGU NAANU DAYA CHUSEDHAVOO
  
  One character by the name of Pattabhi mutilates and distorts the following song:
  
  BROCHEVAREVARURA
  
  He gets rebuked by Shankara Sashtri for this distortion and mutilation of divine music.
  
  Then Vani Jayaram and SP Bala sing the same song with original carnatic base.
  
  The child, which come to learn music from Shankara Sastri sees him sleeping and sings the following song:
  
  MANASA SANCHARARE
  
  Half way through, the child forgets the lines and the Shastri even in his sleep continues the song. Then Vani Jayaram and SP Bala complete the song.
  
  There is a song where the daughter starts thesong with a divein tune and gets carried away in the blindness of love and then changes to love raga, only to be rebuked by the Sashtri. That song sung by S.anaki and SP Bala is
  
  SAMAJA VARAGAMANA
  
  The bridegroom in order to prove his knowledge of carnatic music sings the following song, with SP Bala providing the backround voice:
  
  MANIKYA VEENAM
  
  Vani Jayaram sings this song for the child that comes to the house of the Shastri:
  
  PALUKE BANGARAMAYANA
  
  The last song of the film is by SP Bala and Vani Jayaram :
  
  DORAGUNA ITUVANTI SEVA.
  
  The film was completely mesmerizing. Then came the success story- celebrations. All the veterans were there. When KVM was aksed to receive his award, he went a few rows behind on the stage to fall at the feet of his guru S.V. Vengatraman and get his blessings. KVM- you had not forgotten the year 1948 in Kolar Gold Field when SVV recruited you to work for him! At the success celebration of the movie, it was pointed out that the success of the movie was to a large extent attributed to the write up of Cho Ramasamy in Thuglak magazine. (Cho writes this in the book “Thirai Ulakai Thiruppuvom”) Cho had no original intention of seeing the movie, until one day Major Sunderarajan came over and dragged Cho for the movie. Cho was so impressed that he wrote a review in praise of the movie. This is unusual for Thuglak.
  
  
  Then came interviews after interviews. People asked as to how he could make SP Bala sing so well, and KVM said, "The credit goes to him. I taught him the basic tune. It was his ability that made him sing so well" Again KVM you did not blow your trumpet! Following all these there were talks, comments and criticism in the music field. Someone had rumoured (Not KVM) that a new raga was used in the Sankarabharanam songs. Dr. Balaamurali Krishna, as an authority in carnatic music refuted this.
  
  SP Bala and Vani were picked up as the best playback singers for the year.
  
  By this time the market of SP Bala, Vani Jayaram and S. Janaki went up. I am told KVM's market shot high in the Telugu film industry. The film was a trendsetter. Many films were produced along this line. Isaikku Oru Kovil is just one of those.
  
  The Malaysian Scenario
  Most of the readers are already aware of the tremendous tempest form of impact that this movie created throughout India. But I am sure you may want to learn of the ripples it created in the Malaysian soil.
  
  It is not usual for the Malaysian Theatres to screen Telugu movies, as only a handful of people of Telugu origin would patronize the shows. Therefore a big movie going crowd was needed for the cine industry to get the distribution rights for Malaysia. The theatre owners are always sensitive to the support a movie receives before booking the distribution rights. While the movie was being screened in Andhra Pradesh and other parts of India, the songs were already making waves in Malaysia. There was an excitement in the air in my country. Tamil weeklies and monthlies from India as well as dailies were keeping us posted of the developments in India. As the craze went high, the Telugu Association here pressurized the theatre owners to bring over the great movie to Malaysia. With some form of loose undertaking given, the theatre owners brought the movie here.
  
  Whenever popular movies are brought in a single premier show would be given at midnight to introduce the movie. This midnight show will be screened after all the three shows are over. So the first show of Sankarabharanam was screened as a midnight show. As it was a Saturday, I went for the movie alone (After sending my wife to work- a nurse at that time. Now nursing me). The theatre was packed to capacity with Telugu brother and sisters. AS the movie progressed, all the Telugu friends and the handful of Tamils were deeply drowned into the movie. With the subtitles around, it soon became clear that one need be knowledgeable to know the Telugu language to understand the movie. The celebration of the film in India was in 1980 June. But in Malaysia it came towards the end of 1981. Therefore we were lucky to see the movie preceded by scenes of the celebrations. Sivaji Ganesan, NT Ramarao, Nageswara Rao, KVM, Banumathy and many others appeared in the documentary showing the celebrations.
  
  The songs, music and the dance of Manju Bharkavi mesmerized us all. The very end of the movie was the climax that moved all hearts however hard they could be. Everyone walked out of the theatre with tearful eyes- including me.
  
  
  Surprisingly on the following day there was a flash in the papers, not only the Tamil dailies but also the English daily. That was a pleasant surprise. There was 4 column write up for Sankarabharanam in English. The English daily said to this effect, " A movie that could be understood and appreciated by even those who do not speak Telugu." There were more glorifications on the songs, music, photography, dialogue, story line and the actors and actors, especially Somayajulu. KVM was given glowing tributes.
  
  That evening I came back to the theatre for the second show. The press had done its work very well. The theatre was overflowing with big crowd, this time with people of all races. The English educated middle and upper middle class Indians were also there with their families. The film attracted a vast and wide variety of people. Singers, dancers, musicians, critics, and the normal moviegoers as well turned up. It was the most unusual sight for me. Black-Market mongers capitalized on the situation and I had to bow down to their mercy, whims and fancies. No choice. My wife shed tears for the first time, and I could not control even the second time.
  
  The cassette sellers quickly duplicated \thousands of the cassettes and sold them before and after the shows were over. This movie ran for many days. The video technology had just come into Malaysia and people made full use of it too. Soon after the movie the Bharatha Nattiyam dance schools swelled with mass enrolment of students. Manju Bharkavi was brought down for a stage dance performance. The hall was packed to capacity, but the glamour and close ups in the movie were absent here.
  
  
  On my part I made a special trip to Andhra Pradesh with my wife in 1987 to get a glimpse of that country blessed and steeped in deep music. An interview was arranged in All India Radio of Hyderabad. The first question they asked me was this "What made you come to Andhra Pradesh?" My immediate reply was, "Among other things the film Sankarabharanam." And interview continued on many other areas for 30 minutes. I bought the Sankarabharanam record there at Hyderabad on 24 December 1987, on the eve of Christmas.
  
  
  Although I could understand the movie without having basics of Telugu (except some words that my college friends taught me) if at all there is a regret, it is the inability top speak, read and write this language which Bharathiyar himself has described as "Sundera Telunginil Paattisaithu"
  
  “SASTRIYA SANGEETHAM ORU JEEVAMURTHAM”
  
  Could we have more enlightenment on this film please?
  
  
  
  
• From: sk (@ 137.132.3.7) on: Thu Oct 17 23:54:03 EDT 2002
  
  Manisegaran:
  
  I really enjoyed your writing on Shankarabharanam.
  It would be nice if someone can write more about
  the technical details of the songs (ragas etc)
  and whether KVM did some changes to the original
  carnatic compositions. I heard that some carnatic pandits
  reacted negatively to what KVM did. Any details
  on this? Whatever, KVM made songs like 'sAmaja
  varagamanA'
  to be enjoyed by all lay men in a 'light' fashion.
  idhE pAttai GNB-yin original carnatic style voice-il
  kEttAl podhu makkaLukku kottAvidhAn varum!
  
  

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