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!
Neel's VJ Songs
Responses:
- Old responses
- From: OISG (@ 193.188.97.152)
on: Tue Feb 18 05:32:03 EST 2003
To my knowledge
Ilayaraja s "Poguthey ,Poguthey" (not the Kadalora KAvidhigal song) was played for MGR s funeral procession in the IFDC version.Even the lyrics & Voice were his.
- From: OISG (@ 193.188.97.152)
on: Tue Feb 18 06:04:08 EST 2003
Thayagathin was banned in Srilanka for the lines
"Poonaigal enam pole padhuguthal izhivaagum
Pulyinam neeyenil porudhida vaarai"
What was CV s post on Arngetrem?
- From: Saravanan (@ 213.42.1.174)
on: Tue Feb 18 06:21:39 EST 2003
OISG- I don't remember in which thread, but C V had recalled that Marupiravi and Arangretram were released at the same time, and there was a running poster war between the films. He even recalled the exact wordings of the posters!!
Neenaglum onnum salaithavar alla! The day I read your review of 'Kaadhal Azhivathillai', I nearly fell down laughing, and my colleagues were looking askance at me!
- From: Cinema Virumbi (@ 210.214.95.126)
on: Tue Feb 18 08:32:43 EST 2003
Friends,
On popular demand, I reproduce the following from the archives (Music Director TR Pappa thread)!!
Some trivia about 'maRupiRavi'!
Both 'maRupiRavi' and 'arangERRam' were released on the same Friday (I think!) and had an 'A' certificate screaming from posters! There ended the commonality and they were as different as chalk and cheese! For the first few weeks, both the distributors indulged in a poster war (in Dina thanthi). 'idhu kaNavan manaiviyin dhaambadhyap prachnai! kaasukkaagak kaRpai viRRavaLin kadhaiyalla!' from the 'maRupiRavi' side was countered by ' idhu oru thyaagak kaaviyam! pOliyaana kiLugiLuppoottum kadhaiyalla!' from the 'arangERRam' side. At one stage, this was going beyond limits, with both becoming losers, which made the producers and directors intervene and end the poster wrangle!!!
- From: Naaz (@ 24.87.28.203)
on: Tue Feb 18 10:03:03 EST 2003
Saravanan, OISG:
Yes, there is a VJ version of Idhayam Oru Kovil. I remember this version being part of the MGR funeral procession reel when I watched the film at Devi Kala cinema in Chennai. This version was recorded after the release of the film (hence her name not being part of the credits and also not part of the audio released.) IR fans should also be able to confirm this.
- From: Naaz (@ 24.87.28.203)
on: Wed Feb 19 11:09:28 EST 2003
Has anyone heard this song by VJ/SPB (MD: IR) from Pozhudhu Vidinjachchu:
"Indha Kangal Rendum Kaadhal Deepangal, Andha Kaaman Thandha Vannak Kolangal, Kulir Kaatril Dhinam Dhinam Yetri..."
A fine duet that disappeared with the film (which was more asthamanan than vidiyal) and did not get any airtime. If anybody knows of a link to this - Please post it here!
- From: Naaz (@ 24.87.28.203)
on: Wed Feb 19 12:25:50 EST 2003
This Just IN:
I have received a letter (finally) from VJ thanking all her listeners for discussing/appreciating her songs. She said that the interview (uploaded on the webpage) was well received and many of her colleagues commented on it.
In my thank you note to her (mailed last year) I had mentioned that there were some neyars who wanted to discuss song details in "formal" terms (ragas, notes, recording studio incidents, process etc.) and felt the interview to be too short. Her response to this query was that she would willingly answer all the questions regarding her music, and, if possible, even sing to elucidate her point...
She mentions that she is committed to concert tours 'til after Tamil New Year's Day and perhaps, if there is any interest, she would off us a 2 hour interview (dealing with "specifics" of her songs) sometime in May or June.
Before I reply to this letter, I was interested in what the members of this forum think about this follow-on to the original interview. Please share your comments/ideas/questions with me in the next two weeks - and then I can mail a reply to VJ.
Thanks for your consideration.
- From: s0 (@ 139.95.250.2)
on: Wed Feb 19 13:39:35 EST 2003
wow. that is great news. one more interview!! now, to come up with some good questions...
- From: Kaumudi (@ 136.142.153.250)
on: Wed Feb 19 16:46:49 EST 2003
Naaz
Ahaa! This just IN was just great. What more do we want than a 2 hour interview. I wish I could meet her in person, but a 2-hour interview would do. A huge green signal from my side - I do have some very specific questions that I always wanted to know her opinion of.
- From: Kaumudi (@ 136.142.153.250)
on: Wed Feb 19 16:48:44 EST 2003
"that I always wanted to know her opinion of." should read as "that I always wanted to know her answer to."
- From: Naaz (@ 24.87.28.203)
on: Wed Feb 19 21:22:46 EST 2003
Kaumudi, s0 -
Yes, the letter was long awaited. She said she was pleased that rasikas still talked about her songs and contribution to film music, although these days she seems to be concentrating more or less exclusively on devotionals and live concert tours. While a two hour time slot for a follow-on sounds enticing, given that it will once again have to be telephonically conducted, I'd much rather it were another 45mins to an hour addressing say 10 specific song related questions (the kind MS wanted to pose. cf. interview thread) VJ mentioned the time length as an estimate and this might have included the glitch time (I am guessing.)
Let us see what the other members of this thread and the VJ egroup think. I wouldn't want to conduct another interview of generalities. The time/length can be determined by the scope of the 10 questions. That might be a good way to approach the follow-on. If there are better ideas, please feel free to share it with me here or through email.
Another thing: She also mentioned about plans of visiting N.A sometime this year, but couldn't specify what month that might be. A tour of 7 cities is being suggested, she said.
- From: Kaumudi (@ 136.142.153.250)
on: Thu Feb 20 11:43:57 EST 2003
Naaz
"Another thing: She also mentioned about plans of visiting N.A sometime this year, but couldn't specify what month that might be. A tour of 7 cities is being suggested, she said.."
This is good news. I am surely waiting for more information in that regard.
- From: Naaz (@ 24.87.28.203)
on: Thu Feb 20 15:23:30 EST 2003
Kaumudi -
If the tour comes about that would be a good thing for all music lovers in north america. But given the issues of dates, schedules, and other logistics this can go smoothly, or be postponed for another time.
Let's hope it works out!
Did you check out the new devotional at the VJwebpage?
Malaigal Ezhin Madiyil Thavazhum Alarmel Azhaga...
It seems like a very simple song, but only a consummate artiste like VJ can pull it off (particularly the pallavi sections are examples of mastery) with aplomb. I am glad NeelD is introducing us to these pure tamizh songs. It is such a delight to hear VJ mine every word with the la,zha,na, Na, distilled to the perfect stress and note.
Give these songs a listen when you get tired of the commercial stuff on the net.
- From: Saravanan (@ 213.42.1.164)
on: Thu Feb 20 15:32:09 EST 2003
Great news, Naaz!
Appuram, VJ U.S. pogumpothu, enroutela konjam Dubaiyum etti paarthuttu poga sollunga!
- From: Naaz (@ 24.87.28.203)
on: Thu Feb 20 18:23:24 EST 2003
Saravnan -
Kelvi irundhaal, Kelungal Nayagane! :-)
It would be great to have your input for (and if) the follow-on interview does happen.
You missed VJ...she was in your neck of the woods not so long ago: She said she was just back from Kuwait after a well-received concert. This must have been sometime in October/November, I presume. Do you know if there was any coverage in the UAE papers? Like, say, The Khaleej Times?
Today I listened to Azhagiya Kalai Nilave from Rajarishi for the nth time. Every time I listen to that composition (which showcases the best of IR/VJ) my being bristles with gooseflesh. Bravo! seems shockingly inadequate as a response to this mind-blowing brilliance.
Thank god for Neel D's webpage, such miracles are only a click away!
- From: Naaz (@ 24.87.28.203)
on: Sun Feb 23 12:10:52 EST 2003
Neel D (if you are at all reading this!!) -
Manamagiya Thadagathil Aasai Masugal...
If somebody listens to this song and is unmoved...then they must be stone or stone cold (take your pick!)
Voice is a music instrument. VJs rendition of this pure devotional is a mark of a singer's singer.
I will try to elucidate in detail sometime in the egroup (if you miss this.)
Thanks for this soul cleansing music. Bless you!
- From: Saravanan (@ 195.229.241.233)
on: Sun Feb 23 13:26:16 EST 2003
Illai Naaz- neither Khaleej Times nor Gulf News carried anything about VJ's concert in Kuwait:((
Surprising, considering the wide publicity generally associated with any such event in these parts- especially the last few months have seen performances by various artistes- Sudha Raghunathan, Balamuralikrishna, KJY (with his not-so gifted son), Mandolin Srinivas, and a big group (Shankar Mahadevan, Unnikrishnan, Sreenivas, Anu Sriram, Sujatha) grace these shores.
- From: Naaz (@ 24.87.28.203)
on: Sun Feb 23 16:52:42 EST 2003
Saravanan -
That's really too bad. I guess VJ must have arrived with the musicians but sans the PR machinery. If I do find any other coverage of this concert I will post the link / details here.
All:
Check this one out:
http://www.uecf.net/songs/songs.htm
Some fine solos by VJ, SPB, Chitra, Swarnalatha -
All under "Other Christian Telegu Songs."
- From: Naaz (@ 24.87.28.203)
on: Sat Mar 1 20:23:13 EST 2003
VJ is part of the 12 member TN State Awards jury.
You can read about it here:
http://www.dinakaran.com/daily/2003/Mar/02/cinema/CineNews0.html
- From: Saravanan (@ 195.229.241.233)
on: Sun Mar 2 15:05:30 EST 2003
1978 Part 5-
138.Ada Ennanga idhu- Justice Gopinath- TMS- MSV
Valliyandaan Pictures’ Justice Gopinath starred Sivaji Ganesan, Rajinikanth, Thengai Srinivasan, Major Sundararajan, KR Vijaya, Sumitra, CID Shakunthala, Aparna and others. It was produced by K Sivashankaran and directed by D Yoganand.
D Yoganand ,a veteran director, was perhaps more acclaimed in Telugu. His first film was Ammalakkalu-1953, starring NTR, Padmini , Ragini, Relangi Venkatramiah and Surabhi Kamalabai. The film was simultaneously released in Tamizh as ‘Marumagal’. Both versions were successful, the theme of a bride reforming all the ills in her husband’s house being an ever-popular one. The songs are remembered to this day.
This initial success paved the way for Yoganand’s long career, both in Telugu and Tamizh. Other memorable works of his in Telugu are Thodu Dongalu-1954, Vijayagowri-1955, Jayasimha-1955, Shri Gowri Mahathyam-1956, Vachina Kodalu Nachindhi-1959, Ummadi Kutumbam-1967, Tikka Shankarayya-1968, Baghdad Gaja Donga-1968, Kodaludidina Kaapuram-1970, Thathamma Kala-1974, Vemulavaada Bheemakavi-1975, Simham Navvindhi-1983 etc. He was among NTR’s favourite directors and he has also directed NTR’s son Balakrishna in many films. (Kaumudi, please point out errors- I am on shaky ground here!)
Yoganand made a mark in Sri Lanka as well- his Sundara Birinda-1960 is considered a milestone in the annals of Sinhalese film history.
Among Yoganand’s early works in Tamizh, noteworthy are Cauveri-1955, Anbu Engey-1958, Engal Selvi-1958, Bhoologa Rambai (part of which was directed by S Balachandar), Parthiban Kanavu-1960 and Parisu-1963.
From the late 70s to mid 80s, he made a series of films with Sivaji Ganesan, many of them being eminently forgettable. And just as he had directed both NTR and Balakrishna, he directed Prabhu too in films like Sumangali-1983 and Sarithira Nayagan-1984.
D Yoganand was honoured on 29.12.2002 by The Cine Technicians Association of South India. He was awarded the ‘Ramnath Award for Life Time Acievement’ on the occasion, and many including K Balachandar and Cho Ramaswami recalled Yoganand’s works with reverence.
In those days, I distinctly remember that any Sivaji film would ‘enjoy’ a decent run in Shanthi, Crown & Bhuvaneswari theatres in Chennai. (While I have been to Shanthi, I never knew where Crown and Bhuvaneswari were- just saw their names in the posters of Sivaji films as a matter of routine!). Justice Gopinath, its quotidian fare notwithstanding, would have undoubtedly enjoyed such a modest success, but its timing was all wrong, for it was Sivaji’s 199th film, preceding Thirisoolam by just a month. And this clash of dates sealed its fate.
Likewise it turned out to be just another Rajini film, in a year when there were
15 Rajini releases in Tamizh alone. (In a single day-30.10.78, he had 3 films releasing-Thappu Thaalangal, Aval Appadithaan and Thaai Meedhu Sathiyam) His film as a hero- Bhairavi, had come out on 2.6.78 and he tasted unprecedented popularity. JG (16.12.78) came in between En Kelvikkenna Bathil (9.12.78) and Priya (22.12.78).
I have seen the film- here’s what I dimly recollect of the proceedings- Sivaji and KRV are broken hearted when KRV suffers a miscarriage and the doctor ominously declares that KRV can never get a child again. A child of an incarcerated criminal comes into their hands and they bring him up as their own. He grows up to be Rajinikanth and Sivaji makes him study law, so that he can follow in his footsteps. This idyllic set-up receives a rude jolt in the form of the original father who is released after serving his term. Usual histrionics and melodramatic reels later, all is well that ends well.
Not even the novelty of seeing Sivaji and Rajini together could bolster the banality of the theme. Sivaji and Rajini would get together in a few films in the future- Naan Vazhavaippen-1979, Padikkathavan-1985, Viduthalai-1986 and Padaiyappa-1999.
Another song in Justice G is the TMS solo-‘Naana sonnen theerppu’.
VJ: Ada Ennanga idhu pollathanam china pillaiyattam?
Unga kurumbai adakka payal varuvaan singakkuttiyaattam!
Avan appanai pola gettikkaranaai sattam padippaanga-
Avan sattam padippaanga
Neenga vambu valarthaa kandupidichi dhandichiduvaanga!
TMS:Hmmm?
VJ: Yes, Your Honour!
VJ: Unga ishtappadi ippo kashtappada
ingu ennaal aagadhunga-
Konjam pechchu koduthaalum moochu iraikkudhu-
madiyil baaramunga!
TMS:Ini pillaikku thaana solladi kannu mudhal mariyaadhai?
Adi ennai gavanikka unnai vitta veru aalu kidaiyaadhey!
VJ: Naan kattil oru pakkam thottil oru pakkam-
poda therinjava thaan!
Neenga palliyaraiyila paadura paattukku aada therinjavathaan!
TMS:Ada enamma ippo ennoduthaan indha adhigaaram?
Unnai sinunga vaithu rasippadhellaam anbin adaiyaalam!
TMS:Indha mullai sirippilum kollai vanappilum
moham pirakkudhadi-
Adhu manjal kulikkira meni azhaginai konja thudikkudhadi!
VJ:Ippo kaadhal edhukkunga, coffee kudikkanum aari kidakkuthunga
Adhikaalai pozhudhiley veettai gavanikkum velai irukkudhunga!
Sivaji and KRV were among the most enduring pairs in the history of Tamizh cinema and shared an endearing on -screen chemistry. They paired together for the first time in Selvam-1966, and for the last time in Krishnan Vandhaan-1987. Many stalwart directors-KSG, APN, Bhimsingh, Sridhar, KB, P Madhavan, K Shankar, ACT, K Vijayan, Muktha Srinivasan, R Krishnamoorthi- have brought them together in memorable roles in dozens of films.
This song is probably sung when they are happily expecting the birth of their son, and the lyrics (Vaali) bring out the intimacy between the husband and wife. He is peeved that she is not ‘looking after’ him adequately, to which she pacifies him with suitable answers. TMS and VJ bring out the feelings vividly.
VJ’s ‘Hmmm- singakkuttiyaattam’ depicts so fetchingly the assertive pride of an expectant mother.
Again, words singing paeans to the Punnagai Arasi-‘Indha mullai sirippilum--’
(Nothing new considering MGR sang years back to her-‘Pavazhakkodiyile muthukkal poothaal punnagai endre peyar aagum’, Mohan would declare ‘Sapthaswaram punnagaiyil kanden’, Jaishankar would sing ‘Punnagai minnidum arasi’, Kamal, for his part, would exclaim ‘Muthu muthu pallum undu, thikkira sollum undu’!)
139.Namadhu kaadhal engum- Justice Gopinath-SPB-MSV
This duet featured Rajinikanth and Sumitra- perhaps their only duet together. (Not taking into account ‘Raja enbaar mandhiri enbaar’) –Years later, she would play his mother in Pannakkaaran. (More on Sumitra below)
SPB:Namadhu kaadhal engum endrum kaanadhadhu-
andha Kambanum verendha kombanum idhuvarai paadaadhadhu-
yendha kavignanum kalaignanum avanavan padaippinil kooradhadhu!
Namadhu kaadhal engum endrum kaanadhadhu-
Yaarum paadadhadhu-
Yettil kooradhadhu!
VJ: Varuvaan varuvaanendru -
Thoduvaan thoduvaanendru-
Valaiyaadum kaikkondu vilaiyaadum kandru!
Ulagam ariyavannam-
Udhadum sendhenkinnam-
Sindhaamal sidharaamal koduppaley annam!
SPB:Indha Devi irukkum thirukkovilukku-
en kann kaana ennaalil kumbabhishegam?
VJ: Yuva rani irukka, indha rajanukku-
oor kondaada eppodhu pattabishegam?
SPB:Andha mangalamelamum mandhira goshamum ketkkindradho?
VJ: Adhai kanngalum nenjamum karpanai seidhindru paarkindradho?
VJ: Vizhi naanam irukkum thiru meniyiley-
viral pattaalum thottaalum sendhoora kolam
SPB:Idhazh moodi irukkum kodi thaamaraiyey-
naan muththaada oththaada yen jaalam?
VJ: Mani muthirai ittavan sitridai thottavan polladhavan!
SPB:Ivan innamum unnidam panjanai saasthiram solladhavan!
A breezy romantic duet with good lyrics (Vaali,again). The opening humming – by both singers is a treat- especially VJ’s sing-song and prolonged ‘Aah Haa’ makes us say ‘Aahaa’! Hark at her weave magic in ‘Pattaalum thottaalum’ – that’s VJ-the consummate artiste for you!
140.Ilakkanam Maarudho- Nizhal Nijamaagiradhu- SPB- MSV
So many films come- with so many, many songs- many of them are forgotten, and get buried in the sands of time- only very few remain etched in memory forever and are treasured for posterity- ‘Ilakkanam Maarudho’ is one such timeless classic.
O Henry narrates in his famous ‘The Gift Of The Magi’- “Now, there were two possessions of the James Dillingham Youngs in which they both took a mighty pride. One was Jim's gold watch that had been his father's and his grandfather's. The other was Della's hair. Had the queen of Sheba lived in the flat across the airshaft, Della would have let her hair hang out the window some day to dry just to depreciate Her Majesty's jewels and gifts. Had King Solomon been the janitor, with all his treasures piled up in the basement, Jim would have pulled out his watch every time he passed, just to see him pluck at his beard from envy”.
Likewise had the Queen of Sheba and King Solomon proudly lined up the best works of the international musicians, singers and poets on their side, we would, from our window, play ‘Ilakkanam Maarudho’ just to gleefully watch them turn a nasty shade of green!
Kalakendra’s NN was produced by Govindarajan & Duraiswami, with Screenplay, Dialogues and Direction by K Balachandar . The film starred Kamal, Saratbabu, Sumitra, Shobha, Anumanthu, Mouli, Sundaribai, Oru Viral Krishna Rao and others. It was the first film of both Saratbabu and Shobha in Tamizh. And what a magnificent introduction it was for both of them!
Padmashri Kailsam Balachandar (born 1930) needs no introduction. Starting his career as an employee in AG’s Office in Chennai, he put together a drama troupe (Ragini Recreations) and staged epoch making plays with actors like Nagesh, Major S and Srikanth. He entered the film world as a scriptwriter for films like Deiva Thaai, Neela Vaanam and Server Sundaram. AK Velan gave him an opening to direct his own Neerkumizhi drama for the silver screen and the rest is history. He boldly ventured into hitherto unexplored areas of story telling and tasted unequivocal success. He took Tamizh cinema forcibly into a different realm altogether “where the world has not been broken up into fragments by narrow domestic walls, where words come out from the depth of truth, where tireless striving stretches its arms towards perfection, where the clear stream of reason has not lost its way into the dreary desert sand of dead habit---’ (Due apologies to the great bard)
KB, the Iyakkunar Sigaram enjoys a rare place of pride in the history of Tamizh Cinema. He has successfully worked with generations of actors and technicians to create films of eternal enjoyment. Even after directing films for nearly 4 decades, his thirst for novel themes and exploring new horizons remains unquenched.
Of late, he is concentrating on the chinnathirai, and even here, he has showed his mastery in every way. His ‘Anni’ has enjoyed enviable ratings, and he is all set to present ‘Sahana’-the sequel to Sindhu Bhairavi.
Kalakkira (Bala)Chandru! Pudhu media--pudhu nadigargal--pudhu technicians—Pramaadham!!
Nizhal Nijamaagirathu was a remake of the Telugu film ‘Chilakkamma Cheppindhi’ (Stg. Rajinikanth, Sripriya & Sangeetha) which had run to packed houses the previous year.
It was a role of a lifetime for the sadly under-utilised Sumitra. She brought out a plethora of so many shades of emotions, playing the complex character of the rigid, man-hating, soda-buddied dance teacher Indhumathi.
Diminutive and dainty looking Sumitra made her debut in MT Vasudevan Nair’s award-winning ‘Nirmalyam’-1972. It was director Durai who gave her memorable opportunities in Tamizh in Avalum Pen Thaane and Oru Kudumbathin Kathai-both 1975. She paired with Kamal in Lalitha and Moham 30 Varusham, and NN was the third. Years later, she would play his mother in Singaravelan.
She left a lingering impact in films like Annan Oru Koyil, Bhuvana Oru Kelvikkuri, Vattathukkul Sathuram, Sonnadhu Nee Thaana, Kadavul Amaitha Medai, Chittukkuruvi, Anbe Sangeetha, Mudhal Iravu, Mazhalaippattaalam and Sangili. She was more suited for demure and downcast roles, and hep roles that called for modern clothes did not become her at all. (Not that she didn’t try. I still shudder from the memory of the sight of Sumitra in a song in Aadu Paambe- where alongside a long well-oiled plait of hair bedecked with flowers, and jimikkis on either ear, and a big pottu on her forehead, she was literally dressed to kill, -in a shirt and bell-bottoms!)
The advent of fresh faces like Radhika, Radha, Madhavi and Ambika left her with very few opportunities in the early 80s. She gave a last shot- she herself produced a film, acting as the heroine and made her mentor Durai direct it- but though ‘Oru Manithan Oru Manaivi’-which saw the light of the day belatedly in 1986, did win some good reviews, it was a commercial disaster.
However, in the meantime, Sumitra had made the transition to character roles gracefully- she was Bhagyaraj’s sister in Poisaatchi-1982, and Prabhu’s sister and Revathi’s mother in Kanniraasi-1985. She brought rare dignity in portraying the role of a wife suffering the humiliation of wedded to a husband who has another woman in his life- ‘Susheela Vishwanath’- her role in Agni Nakshathiram-1988, cannot be forgotten so easily.
Like many of her colleagues- Sumitra’s personal life was far from happy. Her marriage with actor Ravikumar was short-lived. She is said to have later attached herself to a Kannada film producer. Her daughter Uma is making waves as an actress- her performance as Vijayakanth’s sister in Chokka Thangam has elicited notice.
The second person whom we need to reminisce on, whilst talking about NN is that magnificent artiste Shobha. Shobha was the daughter of a small time Malayalam actress-Prema, who was ruthlessly ambitious and pushy to make her daughter all that she herself couldn’t achieve. Earlier Shobha had acted as a child artiste in some Malayalam films. Life took a different turn once she came to the notice of Balu Mahendra- he cast her as the heroine in his first film as director-Kokila, which won rare reviews in Karnataka, and beyond.
She was a natural performer, and essayed her roles with realistic simplicity. She exploded the myth that only arrestingly beautiful faces could make it big in films. She had an inexplicable charm, and a personality that exuded distinct grace and charismatic innocence. No one could believe that NN was her first Tamizh film, the way she stole the show effortlessly in her poignant portrayal of the rustic Thilakam with a mind of her own.
She went to capture the hearts of the film-loving Tamils in her subsequent ventures- alas, they were too few in number- Mullum Malarum, Oru Veedu Oru Ulagam-both 1978, Chakkalathi, Agal Vilakku, Azhiyatha Kolangal, Ennippadigal, Veettukku Veedu Vaasappadi, Oru Vidukathai Oru Thodarkathai, Pasi-all 1979, Moodupani, Veli Thaandiya Vellaadu, Ponnagaram and Samandhippoo- all 1980.
And just when we had thought we had our spirited answer to the likes of Smita Patil and Shabana Azmi, came in May-1980, the dreadful news of Shobha’s suicide. She took the extreme step, as her personal life with her mentor Balu Mahendra had not turned out as expected. Tamil Nadu, nay the entire South (Shobha’s Malayalam film Shalini Ente Koottukkaari was enjoying a stupendous success when she died) reacted with incredulous dismay. Ironically, she had just then bagged the Oorvashi Award for 1979for her wonderful performance in Pasi. Saamandhippoo was the last film she acted in- I think she didn’t live to complete it.
Balu Mahendra wrote a sentimental series of musings in Kumdudam titled ‘Shobhavum Naanum’, but the public knew the truth. And it was left to our Kerala brethren (KG George, to be precise) to boldly craft on celluloid the life and death of Shobha. Lekhayude Maranam-Oru Flashback (1983) stg. Nalini and Gopi told it all with stark reality.
But nothing would back Shobha. Shobha lives on---in the hearts and memories of thousands of fans.
NN had only two songs, and the other song is the spellbinding ‘Kamban yemaandhaan’-SPB
Now let us dwell on this epic song- the song that reflects the changes in the lives of the two women- Indhumathi and Thilakam.
SPB:Ilakkanam maarudho--
Ilakkiyam aanadho?
Idhu varai-
nadithadhu-
adhu enna vedam ?
idhu enna paadam?
Kallaana mullai-
indrenna vaasam?
Kaatraana raagam-
yen indha gaanam?
Ven megam andru-
kaarmegam indru !
yaar solli thandhar,
mazhai kaalam endru ?
Manmadhan-
enbavan-
kannthirandhano ?
Pennmai thandhano?!
VJ: En vaazhkkai nadhiyil-
karai ondru kanden;`
un nenjil aedho-
karai ondru kanden!
Puriyaadhadhaaley-
thirai pottu vaithen;
Thirai potta podhum-
anai pottadhillai!
Maraithidum-
thirai thanai-
vilakki vaippaiyo,
vilakki vaippaayo?!
SPB:Thallaadum pillai-
ullamum vellai-
thaalaattu paada
aadharam illai!
Deivangal ellaam
unakkaga paadum;
Paadamal ponaal
edhu Deivam aagum?
Marupadi-
thirakkum-
unakkoru paadhai
uraippadhu Geethai!
VJ: Maniyosai yenna-
idi osai yenna-
edhu vandha podhum-
nee kettadhillai!
Nizhalaaga vandhu -
arul seiyum Deivam-
nijamaaga vandhu-
ennai kaakka kanden!
Nee yethu-
Naan yethu-
Yen indha sondham?
Poorva jenma bandham!
Look at this question asked to K Balachandar and his reply:
Q:In present day mainstream productions music has taken away the credibility of cinema and the genuineness of the medium. Is music an inevitable evil in Indian cinema? Who is responsible for the extreme use and abuse of music?
Ans: “In Indian cinema the music comes from the same oral tradition which inspires all our arts. It may seem forced to a Westerner but we have all grown up with it. I don't think we are using or misusing music more than we have done before. I decided that I'd not be ashamed of song sequences but use them to my advantage. I do them to entertain myself as much as the audience. You have to build these sequences into your screenplay, and at a point where it will give you the pause you want, lift a moment or emotion, provide a link or a leap. It's a licence to transcend dramatic logic, use abstraction. Don't you do that in literature? If using songs makes it easier for people to grasp what I'm doing, I don't mind using that language. Think of it as a compromise — or as a method of communicating”
This song does all this and more. But first, to appreciate this captivating song in full- Nijamaana Nizhalin kathaisurukkam- Dance Teacher Indhu (Sumitra) lives with her brother Chalam (Saratbabu). She is a stern and rigid person, who hates the male species in general (I have a vague recollection of the reason being a suitor rejecting her). Stone-deaf Kaasi (Anumanthu) is their servant. Thilakam (Shobha), from a village, is brought in as the cook cum hired help. Enter Sanjeevi (Kamal) a close friend of Chalam, who comes to the same town for work. He stays in the house opposite.
He finds Indhu fascinating and tries to break her reserve, but Indhu is unrelenting. Meanwhile Kaasi develops love for Indhu, as she is the only one in the house who treats him as a human being. However, fate has other things in store for Thilakam- Chalam, who has an eye on her, seduces her one day. Thilakam becomes pregnant, and a scandalised Indhu casts her off- cowardly Chalam hides the truth.
Sanjeevi comes to Thilakam’s rescue- he arranges for her to stay in a small cottage, with Kaasi for her kaaval.. The neighbourhood is agog with the unknown father-names of both Sanjeevi and Kaasi doing the rounds. Thilakam slowly realises Kaasi’s love for her.Unable to bear Thilakam’s shame, Kaasi, who knows the truth, threatens Chalam one day to accept that he is the father, else he would have to kill him. Meanwhile, Indhu comes to terms with her love for saadhikka vandha andha aadhikka nayagan-Sanjeevi. Chalam speaks to his sister-he admits that he is responsible for Thilakam’s fate.
Though Indhu is shocked, she immediately goes to Thilakam, begs her forgiveness, and asks her to come back as her brother’s wife. Thilakam does a volte face and replies coolly, that she was even then living in her own house and points to Kaasi as her husband. Indhu goes back, thoroughly humiliated- to add to her woes, Sanjeevi announces that he is transferred to another town and has to leave at once. Indhu hesitantly asks if she could come with him- and after a delightful suspense, Sanjeevi takes her. Subham! The story, like cricket, is full of glorious uncertainties and that’s what makes it appealing to this day.
And this song comes as an asareeri towards the end of the story- the point where Indhu cannot deny to herself that she has fallen for Sanjeevi, and the point where the pregnant Thilakam, living in seclusion with Kaasi, slowly realises that Kaasi is indeed the ‘King’ whom a roadside astrologer predicted would marry her--
A song which Kannadasan, MSV, SPB and Vani can display forever as proof of their respective talents- a captivating creation in every way. KB must felt a trifle frustrated that Kannadasan repeatedly came up with songs that told in a few lines the entire crux of his complex stories! The delightful verities and stunning vagaries that make up life can be glimpsed in the situational lyrics of this song.
The first two verses are devoted to Indhumathi and the next two, to Thilakam.
The song begins with SPB singing ‘Ilakkanam maarudho’ and the inimitable way in which he prolongs the question, and the percussion-dominated response of MSV make the song a winner in the opening itself and fills the listener with a thrill of anticipation (like the fantastic first few overs of India’s innings yesterday!)
How beautifully Kaviyarasar depicts the subtle alterations in the mind-set of the Indhumathi- Ilakkanam maarutho, ilayakkayiam aanatho- he wonders! How come something poetic called love has found root in her inflexible mind? Kallaana mullai, indrenna vaasam? Kaatraana ragam, enindha gaanam? Venmegham andru, kaar megham indru—yaar solli thandhaar mazhaikaalam endru?! Manmathan enbavan kann thirandhaano, pennmai thandhaano?! Adadaa, arpudham! Awesome analogies that are quintessential Kannadasan, as SPB in the voice of Indhu’s alter ego questions her, rather tauntingly, on the changes that love has wrought in her wrought-iron cased heart – now suddenly the self –imposed iron fetters rot and break to pieces, as the woman in her asserts herself! Hark at SPB’s mocking chuckle while singing ‘Yaar solli thandhaar’- can anyone else do this?
Enters Vani- Indhu herself bashfully answering her manasaatchi’s queries- En vaazhkkai nadhiyil karai ondru kanden, un nenjil etho karai ondru kanden! Puriyaadhadhaale thirai pottu vaithen, thirai potta podhum anai pottadhillai, maraithidum thiraidhannai vilakki vaippaayo, vilakki vaippaayo-----How helplessly she brings out her bewilderment in these changes- how vulnerable she sounds when she pleads for an explanation- trust Vani to so fetchingly bring out Kaviyarasar’s lyrical play- vilakki vaippaayo, viLakki vaippaayo—
Now we come to Thilakam’s tale of betrayal and infamy- SPB again- Thalaadum pillai, ullamum vellai, Thalaattu paada aadharam illai;
Deivangal ellaam unakkaga paadum- Paadamal ponaal edhu Deivam aagum? Marupadi pirakkum unakkoru paadhai-uraippadhu Geethai!
Soothing words of consolation rendered with compassion. The way SPB splits Aa thaaram illai- facilitates a double interpretation : aadhaaram-meaning she has no licence to sing a lullaby- and Aa thaaram illai: meaning she is not yet a wife, so how can she be a mother! Kannadasan, brings his favourite ‘Geethai’ as an oracle of better times that are just around the corner for Thilakam!
Its Vani’s turn again- Thilakam waking up to the love of her benefactor and bodyguard- deaf he may be, but dear he has become to her-
Maniyosai enna, idi osai yenna-edhu vandha podhum nee kettadhillai! Nizhalaaga vandhu arul seiyum Deivam, nijamaaga vandhu ennai kaakka kanden- Nee yethu-Naan yethu-Yen indha sondham-Poorva jenma bandham! The way VJ has rendered these lines so replete with expression shows how much she must have been moved by Kannadasan’s lovely lyrics.
She rounds off the verse with a haunting humming whilst getting back to the pallavi.
MSV deserves our unreserved praise- understanding that for this song the lyrics need prominence, and appreciating the fact that Kannadasan had penned lyrics of singular beauty and relevance, he selflessly desisted from flaunting his unquestioned musical skills here. True, he dressed the words in an enticing tune- but he stopped with that. His interludes are simple and short, so that the focus is not turned away from the words. But even within
that self-imposed restriction, he showed his capabilities- listen to the flute-filled first interlude- the magical baton of the Mellisai Mannar reveals itself!
A word on the picturisation- As envisaged by Kannadasan, KB filmed the first half on Sumitra and the latter half on Shobha. A shot stands out evergreen in memory- Thilakam puts some clothes for washing, a vest of Kaasi’s is among the heap. Just as she takes it to wash, Kaasi rushes to grab it from her- she looks at it, puzzled, when she finds the dirty imprint of her own palm on that – Long back, once when she found that her repeated calls had fallen on (actually) deaf ears, she had touched him to draw his attention- and Kaasi had carefully preserved the relic all these days- Understanding dawns in her eyes of his deep love for her--- Oh, Shobha’s eyes spoke so many volumes in that shot- Karuppu Vellaiyiloru kaaviyam indha paadal!
Forgive me for going on and on—but every time I listen to it- it tugs at my heartstrings so- and I think wistfully of the bygone times when we had such artistes who could create such enchantment—
- Ezhupathi ettin yettin adutha pakkathai siriya idaivelikku pin purattalaam---
- From: Naaz (@ 24.87.28.203)
on: Sun Mar 2 20:13:30 EST 2003
Saravanan -
I read your fresh-off-the-keyboards instalment with great relish and gratitude. Thank you for doing such a fine job with this chronology. Your effort is a tough example to follow!
Siriya Idaivelai, Periya Edhirpaarppu...
Don't keep us waiting for too long now :-)
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