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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: sk (@ 137.132.3.8) on: Fri Jun 28 03:31:25 EDT 2002
  
  I have put the Gulebagavali LRE vickkal song here:
  http://guppy.mpe.nus.edu.sg/~mpessk/assort/aasaiyumen.rm
  Jamunarani could not do the vickckal with the singing.
  That's why LRE was brought in.
  
  
• From: kozhuppu (@ 210.214.5.238) on: Fri Jun 28 08:20:56 EDT 2002
  
  Digression...
  LRE’s car registration number was MSV 7749. When she came to Malaysia we asked her why she was still not married. She pointed to MSV and said she was already married to music.
  
  I've seen a photo (B&W) in a studio at a TN town where both these are together in a pose as hubby & wife...In a way that used to be hung those days at homes...
  
  End digression
  
  
  
• From: Sriram Lakshman (@ 195.188.191.69) on: Fri Jun 28 12:55:01 EDT 2002
  
  The raaga for which swarams are sung by CSJ at the end, is Kambodhi. A great composition, awesome singing, an aural treat. This raaga was handled by KVM in 'AdappiranthavaLE AdivA' (arasa kattaLai), 'kalviyA selvamA veeramA' (saraswathi sabatham), 'arupadai veedu koNda thirumurugA' (kanthan karuNai). This along with Bhimpalasi figured more often in the mythologicals/raja rani movies of KVM. 'pachchai mAmalai pOl mEni' (thirumAl perumai), 'gOmAthA engaL kulamAthA' (saraswathi sabatham), 'kAthalAgi kasinthu' (thiruverutchelvar) are testimonies to his beautiful usage of this raaga...and ofcourse God bless the singers....TMS,Seergazhi,PS. There was another trend/style that was followed mainly by MSV and KVM in the 60s, which was, the xylophone always followed the chords, playing out the root note and this IMO heightened the overall effect. 'gOmAthA engaL kulamAthA', a supremely moving number, there is a pause after the line 'aruL pongum thirumAthA', after a xylophone note. The beauty/importance of the pause can be felt by any sensitive listener.
  
  
  
• From: Sriram Lakshman (@ 195.188.191.69) on: Fri Jun 28 13:03:02 EDT 2002
  
  According to Kannadasan and later, Pugazhenthi (his assistant), there was not a single instance of KVM requesting the lyricist to alter the lyrics to suit his tune idea. This, given the fact that he demanded pre-written lyrics for all his songs, is an achievement.
  
  
• From: Manisegaran (@ 161.142.2.11) on: Fri Jun 28 19:51:12 EDT 2002
  
  
  
  Sri Ram Lakshman,
  
  Thank you so much. This is what I term as a healthy and rich discussion. Good you are able to throw more light. You are truly examplery to many. The TFM page neends more people of your calibre.
  
  
  While it is true that KVM does not insist on changing the lyrics, there had been rare and isolated instances where he did ask the lyricists to change in order to suit the "santham".
  
  KVM somehow did not use Valee very much in the beginning days. It was after the film P{esum Deivam that KVM started to use Valee more than before. Pugazhendhi expected some poetic flow in songs, which to him was not to be found in Valee. It was Pugazhendhi who insisted on some of the lines written by other lyricists, and not KVM. On a few occassions Valee got crossed with Pugazhendhi and KVM and went off. KVM had even advised Valee that Lyricists and MDS should mix with each other like husband and wife to come out with good production. MGR too had advised Valee that he had to accommodate in the cine field given the situation where Valee had a long way to go.
  
  In Adimai Penn Valee had written
  Yemaatrathey Yemaarathey
  Yemaatrathey Yemaarathey
  
  But KVM told MGR that this pallavi does not suit the santham. So he himself changed it to:
  
  
  Yemaatrathey Yemaatrathey
  Yemarathey Yemarathey
  MGR liked the cahnged pallavi. Knowing that Valee would be crossed, KVM himself phoned Valee and got the approval. When KVM informed that MGR liked the change, Valee had to consent.
  
  (My friendly chat with Valee, Gangai Amaran and Pandiarajan in Prasad Studio, Kodambakkam in December 1986. Some indications of Valee and KVM undercurrent has been also mentioned Naanum Intha Nootraandum)
  
  But KVM had all the ability to compose music to any pre-written lyrics- a capacity acknowledged by all in the cine field. I have something nice things to mention should I be able to cover Thiruvarut Chelvar song-Mannavan Vanthaanadi Thozhi.
  
  Thanks again.
  
  Manisegaran
  
  
  
  
• From: Manisegaran (@ 161.142.2.11) on: Fri Jun 28 23:30:28 EDT 2002
  
  PART 20
  CONTRIBUTION OF APN AND KVM IN THE 1960s
  I am still on APN and KVM combination.In order to keep going on APN and KVM combination I have to jump and go on to 1962 when the famous Vadivukku Valaikkappu was produced by Sri Lakshmi Pictures of APN, where VK Ramasamy had a share.APN wrote the story and dialogue, with Sivaji Ganesan and Savithiri as the main stars supported by VK Ramasamy, SV Subbiah, MN Rajam, TK Ramachandran, S Varalechumy etc. This was a very important movie for KVM. For close to a decade APN had seen the composing ability of KVM, who had built many films to his credit.
  
  Why is this film said to be important for KVM? A look at the credit or title would reveal it. In the title of Vadivukku Valaikkappu we see KVM being introduced as “Thirai Isai Thilakam.”
  
  MSV and KVM were already involved in some form of healthy competition by this time. The real start off of the competition was from SAmboorna Ramayanam of KVM and Malayitta Mangai of MSV/TKR- both of 1958. While KVM gave excellent carnatic songs in Samboorna Ramayanam, MSV/TKR gave wonderful light music in Malayitta Mangai. This continued throughut the 1960s. MSV/TKR team was used by many, but more notably by Bhim Singh while KVM was used mainly by Devar, along with others (Hope to cover Devar films too if time permits)
  
  
  It is from 1962- from Vadivukku Valaikkappu that KVM became popularly known as Thirai Isai Thilagam and later Thamizh Thirai Isai Thilakam. This was a promotion of KVM by APN against MSV/TKR. This is certainly a well deserved recognition as well. There is a song in the film by Maruthakazi which starts as
  
  Thilagame! Ulagin Thilagamey!
  Tamilnaattin Kalai Ulagin Thilagame!
  Senthamizhnaattin Kalai Ulakin Thilagamey
  
  The song was by Maruthakazi, and sung by TMS. It was certainly referring to KVM though picturised on a veena. Other songs are:
  
  There is a song by PS and LRE:
  
  Saalaiyiley Puliamaram
  Jameentharu Vacha Maram
  Ezhaigalai Kaakkum Maram
  Ellorkkum Uthavum Maram
  
  There is great song by S. Varalechumy:
  
  Thaamatham Seiyaathe Thozhi
  Nalla Tharunathgai Izhakkathey Sonnathai Marakkaathey
  
  One more good song of P.Suseela:
  
  Nilladiyo Nilladiyo
  Ninaichi paarthu Solladio
  Solladio Solladio
  Jodi Porutham Eppadio
  
  There is yet one more wonderful song by TMS in which TMS sings with great feelings that would easily move listeners:
  
  Pillai Manam Kalanguthendraal
  Petra Manam Urugatho.
  
  Yet one more wonderful melody of P.Suseela:
  Sillendru Poothu Sirikkinra Pennukku
  Thirunaal valaikkaapu –vaazhvil
  Thirunaal valaikkappu
  
  One of the best songs of TMS and P. Suseela is in this film:
  
  TMS-Seerulavum Inba Naatham Jeeva Sangeetham
  PS-Sevi Naadum Then Suvai Andro Thiruve Unathu Kaanam
  TMS-Aaviye Iyal Isaai Pole naamey
  Anbinaal kalanthey Magizhvom
  PS-Ezhai Enadhu Thaazhvai Agatri
  Vaazhvu Thantheer, Ellaam En Bagyam
  Naathathaal Manam Vasamaagumpothu Petham paaraathu
  TMS-Kathal alaikal Mothum Manathil Thaazahu vaazhethu
  PS-Aasai Mozhiye Pesi Enaiye
  Aalum Arase Ellaam En Bagyam
  TMS-Seerulaavum Inbanaatham
  
  
  This is truly a heart lifting song!
  
  NAVARATHIRI
  The film Navarathiri of 1964 is another important film for KVM. By this time APN started his own Sri Vijalachumy Pictures. The first film produced under this banner was the immortal Navarathiri- 100th film of Sivaji Ganesan where Sivagi Ganesan successfully portrayed the nine different emotions in a man. Here APN had stopped using Maruthakazi and went for Kanndasan alone. This film has many nice songs to boast of :
  
  
  A song that is widely appreciated even today is one by P Suseela:
  
  Navarathiri Subarathiri
  
  There is one song of Knnadasan which Kannadasan says has been written to reflect his own days of felicity, and that is sung by TMS as follows:
  
  Iravinil Aattam Pagalinil Thookkam
  Ithuthaan Engal Ulakam Engal Ulakam
  
  
  There is a mental hospital scene where many ladies from the "world of fantasy" sing as they like. While Kannadasan has written this comedy song, KVM has composed music, lifting tunes from other MDs.
  
  The song tunes are such as Vantha Naal Muthal, Javatheu Medayittu, Kaattukkuley Thiruvizhaa, Vanga Machan Vanga, Yaradi Nee Mohin (part tune) etc, This was very much enjoyed by the fans. At the tail end of the song, KVM gives a marvellous western orchestration. LRE, Jamunarani, P Suseela and Soolamangalam Raajalechumy sing this comedy song.
  
  There is also a village-based song by TMS:
  
  Pottathu Mulaichathadi Kannamma
  Kettathu Kidaichathadi Kannamma
  Kai Niraiya Kettathu Kidaithathadi Kannamma
  
  The highlight of the movie is of course a Therukkoothu scene on Sathiawan Savithri, which TMS and P Suseela sung very well. Sivaji and Savithri excelled in this scene. This was a great gift of KVM to the village folks in Tamilnadu who had for generation after generation been accustomed to such form of entertainment.
  
  KVM’s own training of the earlier days in the boys company drama troupe in 1930s had been an asset to him in composing the music for this wonderful masterpiece. Old habits die hard they say, in the case of KVM the old talents resurfaced to manifest in the fuller glory.
  
  
  Up to the production of Navarathiri this time APN had seen the talent of KVM and now Sivaji Ganesan has also proved time and again his talent. Sivaji Ganesan was at the height of glory when Navarathiri was released. Once APN was more than fully convinced that he could count on the music of KVM and the acting talent of Sivaji Ganesan, he took a big bold leap to add one more taste for the cine goers. What he had started off as simple village stories and some social themes turned out to be big banner productions, with a variety of tastes. He wanted to go for dialogues where the Tamil language could be exploited to cheer up the audience. That he felt couyld be best done by reverting to Puarana stories. This was the second risk following his 1958 risk taken in Samboorna Ramayanam at a time when he was discouraged. He cleared the hurdle.
  
  But in 1965 he took a longer shot and by once again going for purana based story. Many discouraged him saying that people are moving away from puranas to modern social themes and new technologies. But APN was not willing to give in. The advisers and foes alike then went and discouraged Sivaji Ganesan himself. However APN forged and surged ahead with vigour. He was of the firm conviction that his dialogue, Kannadasan’s songs, KVM’s music, and Sivaji’s talent could be counted upon. So did APN go for big banner productions, involving many big stars, costume, settings and also made his first colour movie, which was a new craze those days.
  
  His first purana film in colour was Thiruvilayaadal (1965) that became a great hit. Again this film saw a great challenge by Enga Veetu Pillai of Vijaya Combines. This triggered off further challenges and pushed the running of the movie. The film was expected to run 25 weeks, but owing to the severe storm that year Thiruvilayadal had to stop after 20 weeks, short of five more weeks for silver jubilee hit. But it earned the best box office collection in 1966(a Cinema Express issue). This film had some of the best songs written by the one and the only greatest Kannadasan, composed by KVM and sung by some of the most sought after singers. Dr. Balamurali Krishna was brought in, KB Sundrambal was also brought in together with TR Mahalingam, not forgetting the ever talented TMS, PB Seenivos, S. Janaki, and P Suseela. Some of the songs are:
  
  A song by KBS underambaal that remains immortal is
  
  Pazham Neeyappa
  Gnana Pazham Neeyappa
  Thamizh Gnana Pazham Neeyappaa
  
  Another song of KBS is
  Onraanavan Uruvil Irandaanavan
  Uruvaana Senthamizhil Moonraanavan
  Nanraana vethathil Naankanavan
  Namasivaya Ena Ainthaanavan
  Inba Chuvaikalukkul Aaraanavan……
  
  Yet one more song by her is Gnana Pazhathai Pizhunthu a song of Sangaradass Swamikal
  
  Pothigai Malai Uchiyiley Purappadum Thendaral is yet a gem by PBS and S. Janaki.
  
  There is a sithar type of philosophical song by TMS
  
  Paartha Pasu Maram
  Paduthuvittaaal Nedumaram
  
  The song that caught Tamilnadu by storm was by Dr. Balamurali Krishna:
  
  Oru Naaal Pothuma
  Inroru Naal Pothuma
  Naan Paada Inroru Naal Pothuma
  Nathama Geethama
  Athai Naan paada
  Indroru Naal Pothuma…
  
  Raagama Sugaragama
  Ganama Devaganama
  En Kalaikkintha Thirunaadu Samamaaaguma
  En Kalaikkintha Thirunaadu Samamaaaguma
  
  
  Kuzhal Enrum Yazhendrum Silar Kooruvar
  Yen Kural Ketta Pinnaley Avar Maaruvar
  Azhiyatha Kalai Enru Enai Paaduvar
  Enai Ariyamal Ethirporkal Ezhunthoduvar
  Enai Ariyaamal Ethirporkal Ezhunthoduvar!
  
  Isai Kettu Ezhunthodi varuvaranro-Thodi..
  Odi Varuvaranro
  Enakkinaiyaaga Dharbaaril Evarumundo
  Azhiyathaa Mohana chuvai Naananro- Mohanam
  Yen Paattu Kaanada
  ISAI DEIVAM NAANADA!
  
  Appa! What a contribution by KVM, Kannadasan and Dr. Balamurali Krishna! T.S. Palaiya did very well too and gave life to the screen. (He was a professional stage singer before he came to cine field. He sang for the first marriage of the late V.N. Janagi to Ganapathy Butt.)
  
  
  P Suseela has a fishing village song to entertain us :
  
  Neela Chelai Katti Vantha Samuthira Ponnu
  
  TRMahalingam too came back after some abeyance and sang a song of high pitch, full of feelings:
  
  Isaithamizh Nee Seitha Arunsaathanai
  Nee Irukkayile Enakku Perum Sothanai
  
  TMS comes with another great song:
  Paattum Naaney Baavamum Naaney
  Padum Unai naan Padavaitheney
  
  It is mind boggling to put to a vote, which is the best song as each has it own taste, mood and flow. All the songs were excellent. KB Sundrambaal was able to sing at very high pitch even at this age. TMS was at his best in Paatum Naaney Baavamum Naaney. Balamurali Krishna who had made his debut in Kalaikoyil (Thanga Ratham Vanthathu Veeythiyiley) but became very popular in the song Oru Naal Pothuma, picturised on TS Palaiya who did very well. TR Mahalingam had sung very well with high pitch after so many years. Kannadasan’s contribution to enrich the lyrics could not be overlooked, along with Sivaji’s acting ability. KVM once again made a crowning glory for himself in Thiruvilayadal. The songs were regular requests in request programs of radio stations wherever Tamils lived.
  
  Volumes could be written of this immortalised film and songs.
  
  
• From: Manisegaran (@ 161.142.2.11) on: Sun Jun 30 19:50:21 EDT 2002
  
  
  PART 21
  SARASWATHY SABATHAM AND THIRUVARUT CHELVAR
  
  Once Thuruvilayaadal ran well, APN got inspired and went ahead with another great movie based on Navab Rajamanickam’s stage drama-Saraswathy Sabatham (1966). This film had very good songs as well. The songs are:
  
  1. Komaatha Engal Kulamaatha by P Suseela. This song is being played by radio stations on pongal days.
  2. Kalviya Selvama Veerama is a philosophical song that TMS sings.
  3. Thaai Thantha Pichayile Piranthenamma by P. Suseela
  4. Mugathai Kaattidum Kannadi- P. Suseela
  5. Deivam Iruppathu Enge by TMS.
  
  Deivam Irupathu Engey
  Athu Ingey VErengey
  Thelintha Ninaivum Niraintha Nenjum
  Nirainthathu engey…
  
  Aadai Anigalan Abaranangal
  Aandaan Virumbuvathillai
  Angoru Kannum Ingoru Kannum
  Aalaiya Valipaadillai
  
  
  TMS sings another great song called Agara Muthala Ezhuthellam. This song was so popular that it puzzled the cine fans. They were not able to say who was the best- Kannadasan’s lyrics, KVM’s music, the voice of TMS or the camera work. It was really an all rounded song. What a high pitch song with so lovely lyrics. It is Kannadasan’s masterpiece with every line starting with the Uyirezhuthu in Tamil.
  
  Agara Muthala Ezhuthellaam ariyavaithai Devi
  Aathi Bagawan Muthalendru Unara Vaiuthai
  Iyal Isai Nadaga theebam Etri Vaithaai
  Eendravar Nenjindru Kulira Vaithai…..
  Uyir Mei Ezhuthellaam Theriyavaithaai
  OomayinVaai Thiranthu Pesavaithaai
  Ennum Ezhuthendrum Kan Thiranthaai
  Etram Tharum Pulamai Aatral Thanthaai
  Oli Thanthu mozhi thanthu Kural Thanthaai
  Ongaara Isai Thanthu Uyaravaithaai..
  
  
  The music goes deeper and deeper with Kannadasan equally competing with KVM, and who else other than TMNS could have brought the song out so well, with Nadikar Thilakam as the life wire?
  
  There is a comedy song by TMS:
  
  Rani Maha Rani Rajyathil Rani
  Netru varai Veethiyile Ninru Iruntha Raani
  Nilaimakalai marnthuvittu Thalai Kanatha Rani
  Yanai Malai Pttathaaley aala Vantha Raani
  
  
  One of the best songs of Kannadasan, TMS and KVM composition is the following song:
  
  Kalviya Selvama Veerama
  Annaiya Thanthaiya Deivama
  Onrullamal Matronru Uruvaguma-Athil
  Uvarvendrum thaazhvenrum privaaguma?
  
  Padithavan Karuthellam Sabai Eruma
  Porul Padaithavan Karuthaanaal Sabai Meeruma
  padithavan, Padaithavan yaarayinum
  Balam padaithirunthaal Avanuk Kinaiyaaguma
  
  
  Onrukkul Onraaga karuvaanathu
  Aothu Onrinil Ondraga Porulaanathu
  Onrai Onru Pagaithaal Uyarvethu
  moonrum Oridathil Iruntaal Nigarethu
  moonrum Oridathil Iruntaal Nigarethu
  
  Moonru Thalaimuraikkum Porul Venduma
  Kalam Mutrum Pugazh Valarkkum Mathi VEbnduma
  Thondrum padai N\dungum Palam Venduma
  Ivai Moondrum Thunai Irukum Nalam Venduma?
  
  
  There is also a dance music for which Padmini performs super dance!
  In this film again KVM used the basic South Indian musical instruments to the best of his ability.
  
  THIRUVARUT CHELVAR
  
  Following the success of Saraswathy Sabatham APN ventured into his next movie- this time Thiruvarut Chelvar. This was not a real commercial hit, but had wonderful songs, filled with so many couplets from Periya Puranam, Sundarar’s Devaram, Naavukkarasar’s Devaram, as well as poetic works of the great Kannadasan. Trichy Loganathan’s son TL Mahalingam at that tender age sang:
  
  Kaathalaagi Kasinthu Kanner Malki
  
  The Devaram of Sundarar is Pitha Pirai Soodi sung by TMS.
  
  The Appar Devaram is Maasil veenayum Maalai Mathiyamum sung by TMS.
  
  Of course there are a few more. These songs were very much liked by the lovers of devotional songs.
  
  
  This song came as a pleasant treatment to Tamils. Noting his mature voice, everyone predicted that he would be a good singer in future.
  
  Kannadasan took an old Sithar song and composed this song sung by Seergazhi Govinderajan:
  
  Irukkum Idathai Vittu
  Illaatha Idam Thedi Engengo Aliakinraal
  Gnana Thangamey-avar
  Ethum Ariyaaradi Gnana Thangamey
  
  The other wonderful song of Kannadasan, sung by TMS was:
  
  Nathar Mudi Melirukkum Nalla Paambey-Unakku
  Nalla Per vaithathu Yaaar sollu Pambey
  Aathisivan Thalai Amarntha Aanavamaa? Avan
  Angamellaam Vilaiyaadum Thairiyamaa?
  
  
  PART 22
  THE ONE SONG THAT DESERVES SPECIAL MENTION
  But the greatest song was Mannavan Vanthaanadi Thozhi by P. Suseela. Now I shall elaborate. A song had to be composed for Padmini to dance in the presence of Sivaji Ganesan.
  
  I had stated earlier that out of the 1500 songs that Kannadasan has penned for KVM easily 800 were written and sent over to KVM which KVM composed on his own (Kanadasan’s Chinthithen Chanthithen)This was one of those. Kannadasan proved something here that he had indepth knowledge of ragas. We listen to some surangal in this song- They were written by Kannadasan, and KVM found it easy to compose it. KVM himself was astonished at Kavinyar’s depth. When the song became success, KVM had this to say, “Antha pugazh ellaaam Kannadasunukku thaan” (Thiraiyum Isayum program) Pugazhendi said in the same program that it is unusual for any lyrics writer to write lyrics in the absence of MD but Kannadasan not only did that, but also supplied wonderful surangal.
  
  Then came the challenge. There was a popular opinion that only P Leela or MLV could sing carnatic based dance songs. APN wanted P Leela to sing, but KVM said P. Suseeela could do it. There was a challenge. KVM took the challenge. When the recording was about to start, Sivaji Ganesan himself had encouraged Suseela to sing it well (P. Suseela’s interview in Singapore live show, in the presence of Sivaji) KVM made P Suseela sing and she did it well and KVM won. P Suseela also proved that she is a versatile singer who could even excel in heavily carnatic based dance songs.
  
  Then the picturisation. The song lsts for five minutes, but the shooting went on for 10 days.Sivaji came out of the make up room, and walked majestically like a king. The technical staff outside the make up room immediately stood up to welcome a king who had entered the studio, the realising that it was Sivaji Ganesan in make up.
  
  During the picturisation, we could see Sivaji walking very majestically, may be an overacting they say. But my question is could any other star do even this overacting? People had spent millions to make up their faces to look like old man. But Sivaji spent one rupee of arithaaram to look like an old man. The paper Kalki never publishes photos of Cinema people, but Appar Sivaji ganesan was the front cover for Kalki in that year. So popular was the movie. APN and KVM and Sivaji were giving treat after treat for Tamilnaadu
  
  The song, after the thogayara is:
  
  Mannavan Vanthaanadi Thozhi
  Manjathile Irunthu
  Nenjathile Puguntha
  Mannavan vanthaanadi Thozhi
  Maayavanoi thooyavano
  Naayagano naanariyen
  Mannnavan vanthaanadi thozhi
  
  Senthamizh Solleduthu Isai Thoduppen- Vanna
  Santhathile Kavithai Sarangkoduppen
  Moonru Thamizh Maalai Soottiduven- Ini
  Muppozhuthum Katpanayil Atputhamaii vaaznthirukkum…
  
  This song was so popular that KVM received all round appreciations from all MDs, including MSV himself who was his healthy competitor. Whenever there was a live show of KVM, MSV would ask this song to be played. MSV felt that the hall would liven itself when this song is sung.
  (Where are you KVM and Kannadasan?)
  
  
  

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