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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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• Old responses
  
• From: p (@ 207.188.29.248) on: Fri Jun 14 19:37:01 EDT 2002
  
  Ayya Manisegaran avaRgalukku vanthanam
  
  
• From: Manisegaran (@ 161.142.2.11) on: Sun Jun 16 21:17:32 EDT 2002
  
  PART 4
  
  HE LEFT NO HEIR TO HIS MUSIC
  
  KVM passed away on 21 June 2001 at the age of 83. He left behind wife, two sons and three daughters alright. But to none of them KVM gave the responsibility of continuing from where he left. This is quite surprising to many of us. KVM was a highly successful MD, and yet he did not encourage nor impose upon any of his children to take up cine music. When one becomes successful in the film industry it is common to bulldoze family members. This aplies to film music, acting, producing, directing, technical expertise and every other area we could think of.
  
  We have seen that in the field of composing music, T.Govindarajulu Naidu trained his son TG Lingappa; Shankar followed CR Subbaraman; Ilayaraja brough in his children Karthik Raja, Yuvan Shankar Raj and Bhawatharani. Gangai Amaran also came along with Ilayaraja in the initial stage. Govarthanam was the brother of Sudharsanam'
  
  
  In play back singing Seergazhi Goviudarajan trained Seergazhi Siva Chidambaram; Malaysia Vasudevan brought in his son Yugendiran;Trichy Loganathan brought in his sons T.L. Mahalingam and Deepan Chakravarthy; TMS brought in his two sons; SP Bala encouraged his sister SP Sailaja and son SP Charan, and his daughter SPB Pallavi; P. Sandhiya I belive is the niece of P. Suseela; LR Eswary and LR Anjali are sisters; Soolamangalam Rajalechumy and RAdha Jayalachumy are sisters;D.K Pattamaal's grand daughter is Nityasree.........This lists has no end....
  
  KVM too could have easily pushed his children into the film music world, but he totally refused. Surprisingly he comes from a family where his family members and ancestors were involved in music!Towards the evening of his life he gave an interview in which he revealed the real reason for not doing so. His argument was in simple terms "Engough is engough" He said that he did not want his children to undergo the tests, trials, tribulations, uncertainties and disappointments that he himself had to tolerate. But KVM was a successfuland highly talented MD! True, but his early journey was undertaken on a path full of thorns. He himself has said that in cine field mere talent and ability would not suffice. More than talent, luck has to be in your favour. A cursory of the history of the Tamil cine world would indicate how many talented artistes had been dumped, all on account of bad times or lack of luck. Many of the successful artisites shone out of stroke of luck. But KVM's success was based on talent first, and luck next.Most of us see him as a talented MD, but are not informed of his uphill struggle that was fought with untold difficluties.
  
  HIS BEGINNING DAYS
  
  Mahadevan was born on 20 March 1918 in Krishnan Kovil near NagarKoil in South India. His father was Vengadachala Aiyer, and mother was Letchumy Ammaal.His family members and ancestors were muciallly inclined. KVM's grand father was employed as a Sangeetha Viodvan at the Thiruvithaangoor Palace. His father Vengadachala Aiyer used to conduct Kathakaalachebam in the local temples. His father was also called Bahagavathar on account of his deep knowledge he had on carnatic music. KVM received his first education in music from his father. He then went on to widen his music knowledge from "Boothapaandi Arunachala Kaviraayar." KVM learnt proper music from him for a few years. It is said that at that young age and infant stage KVM had sufficeint knowledge, talent and ability to conduct Kachery on stages. His formal education acquired in school was only for three years. KVM then went to train his voice and learn "Pinpaattu" for Kathakaalachebam from Arangai Visvanatha Bhagavathar.
  
  Following this basic education and training in music, KVM had to prepare himself for a livelihood. At the tender age of 13 KVM looked for chances in drama companies. In those days, before cinema glamour stole the hearts and mind of people acting in drama was a great attraction and glamour. These dramas also gave some form of livelihood for those simple folks who were not highly ambitious. The dramas groomed many talents such as acting, singing, dancing,painting, stage setting, props preparation and lighting. Those who were unsuccessful in school also ended up here either by parental force or by own choice. But KVM was looking for a chance in dramas where he could exhibit his musical talents. A chance came in "Boys Company" a drama troupe that used mostly boys. He joined the "Baala Gandharva Gaana Sabha" in Madras and played the role of a woman. AS he was just stepping into the outside world, the Baala Gaandharva Ghaana Sabha suddenly wasa wound up. KVM was pushed into the unemployed job market. Out of no choice, KVM was forced to work as a Server in a hotel. Following that bitter experience KVM went over to Kancheepuram and started to act in the local dramas there. But to his disappointement, there was no proper and regular income from the Kancheepuram dramas. So he had to leave them too.
  
  Following these disappointments KVM got a chance to act in cine films- a field that was creating great sensations in the Tamil society.
  
  (Perhaps KVM never forgot his beginning days. That could be the reason he humbled himself throughout his life. When I visited him in December 1984, a blind person came to him and wanted to be admitted into his unit to play flute. KVM told that blind person that he had come at a time when KVM had more or less retired from composing music. But KVM gave him a fifty rupee note through Pugazhendhi and told him to go for good meal. The blind person was not a beggar, but said that he decided to take the money in remembrance of the generous heartetness of KVM. This simple,and which to some may be a meaning less incident,really moved me to the core of my heart. This only told me that KVM had not forgotten his own beginning days.)
  
  To be continued......
  
  
  
• From: avr (@ 143.127.3.10) on: Sun Jun 16 23:54:47 EDT 2002
  
  Manisekaran:
  
  Thanks a lot, for those illuminating posts. That was a free treat!
  
  
• From: Manisegaran (@ 161.142.2.11) on: Mon Jun 17 03:41:35 EDT 2002
  
  PART 5
  
  KVM’S DESTINY WAS DETERMINED
  
  It so happened that KVM received the rare chance of acting in movies. HE was given a very minor role in the film called “Thirumangai Aazhvaar” in which he acted as a “Balagan” or small boy. Unfortunately that chance too slipped away in no time. This film was released in 1940. Meanwhile KVM turned his attention to what was popularly called “Special Dramas.” This time KVM was smart enough not to choose the role of acting, as he was fully convinced that was not what he was made for. He was fully aware that the talent that was latent within him was attuned to music. Therefore in about they year 1936 KVM joined a special drama troupe as a Music Director. That was the very beginning of KVM’s hands dictating music to harmonium. Harmonium had always been an integral and indispensable part of the Tamil dramas. This experience and exposure that KVM gained from 1937 reflected in his films throughout his cine career.
  
  In 1937 KVM went with the drama troupe to a place called Kolar Gold Field, popularly known as KGF in Karnataka State. This is a district dominated by Tamil people. It was some form of divine providence that a turning point occurred in the life and career of KVM. While KVM had stationed himself at KGF to compose music for dramas, he happened to meet a great genius who was destined to shape the entire destiny of KVM. In 1937 AVM production house was making a film called “Nanda Kumar”. The Music Director who was contracted for this film was “Isai Arinyar” S.V. Vengatraman. S.V. Vengatraman and those involved in this film came to Bangalore for the making of Nanda Kumar. From Bangalore, S.V. Vengatraman also dropped in at Kolar Gold Field. There the four eyes met for the first time. SVV and KVM were introduced to each other. KVM had heard of S.V.Vengatraman, but S.V.V. had no inkling or the slightest intimidation whatsoever of who KVM was. At KGF S.V.Vengatraman noticed the rare talent and the outstanding ability of KVM in composing for the special dramas. SVV was truly astonished, amazed and impressed with the depth, style and speed of the musical presentation of KVM. Without the least hesitation and second thought S.V. Vengatraman invited KVM to join him as his assistant. This was an invitation and a temptation that KVM could not simply refuse. Thus opened the portals to the cine world. Most unfortunately, though the portals lay open, the path did not open up as expected and anticipated. KVM worked for some time with SVV, looking for some ray of hope. While KVM worked under S.V.Vengatraman, he did receive much training and blessings. Those were the days when not too many films were produced, and so not too composing chances came by. After that he worked as assistant under T.O Subba Rao. The third MD under whom KVM worked was T. A. Kalyanam. It was under T.A. Kalyanam that KVM was able to see light at the end of the channel.
  
  
  Continues….
  
  
• From: Kupps (@ 156.153.255.126) on: Mon Jun 17 04:28:02 EDT 2002
  
  great article Manisegaran sir...could not resist the temptation for forthcoming parts.
  
  a small digression. it is regd. MDs singing under other MDs. MSV had sung for IR in thaai moogambigai and G.K.Venkatesh has sung for IR under gayathri/kavikuyil ( i dont remember it right now but will let know sooner).
  
  Manisegaran sir,
  
  i guess KVM is the first MD to make the specialist actors/actress to sing (eg) PUC, MKT, TRM, MS etc were singers cum actors. but sivaji, mgr etc are specialist actors alone. in that aspect KVM made Jayalalitha to sing(as u've mentioned) for the song amma aendRaal anbu. I guess this attempt is the first of its kind. Please correct me if it is wrong
  
  
• From: Manisegaran (@ 161.142.2.11) on: Mon Jun 17 04:42:01 EDT 2002
  
  Kupps,
  
  Thanks for the compliments and comments. I am avoiding replies to comments, as all these would be covered in the approproiate sections as the article progresses. Should I start replying now, there would be two problems I anticipate:
  1) You may see me repeating the matter later on and the punch in my article would be diluted.
  2) Some answers may open up the pandoras box, inviting heavy shelling. This has happened before.
  
  Anyway you are right in GKV and MSV singing under IR. That is in the 1980s, but I am talking about the pioneering efforts in the 1940s and 1950s, and gave these exampples only to illustrate a point.
  
  KVM is not the first MD to make the specialist actors and actresses you mentioned sing.
  
  Kindly wait for the article to unfold. This would be a long article. You see I am still at the preamble stage now.
  
  
• From: kalai (@ 203.195.196.130) on: Mon Jun 17 05:11:39 EDT 2002
  
  Thank you manisekaran ( databank of old songs) for the good article!.
  
  

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