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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: nelson (@ 203.145.160.95) on: Tue Aug 19 08:24:10 EDT 2003
  
  Great song from Sumaithangi.All the other songs are on par with each other.SJ came to be known and popular from most of the Sridhar's films.
  SJ at her best in enthan paruvathin, en annai seitha pavam (Late Shivaji Ganesan's liked this song very much and was deeply impressed)
  
  
• From: bb (@ 206.154.118.2) on: Tue Aug 19 12:39:24 EDT 2003
  
  vengayam, kavadai?
  
  Saravanan, as far as I can remember, the film versin too had 'endhan paruvaththin kELvikku'..
  
  
• From: sk (@ 202.156.2.7) on: Tue Aug 19 13:41:53 EDT 2003
  
  bb:
  
  Saravanan is right. By the way, I have both versions of 'endhan p..' here:
  http://guppy.mpe.nus.edu.sg/~mpessk/sj/
  
  Many years ago Sridhar wrote a series of articles in Kalki recalling important incidents that happened in his film career. Last year, these articles were composed (by one S. Chandramouli) as a book titled: "thirumbip paarkkiREn - Director Sreedhar". It was published by Arundhadhi Nilayam, T Nagar. When I went to India last month I found that it was difficult to locate a copy of the book. Finally I got a copy in a shop called New Book Lands, North Usman Road, T Nagar. This is an interesting book. Sreedhar talks straight (similar to the way Kannadhasan does) about all incidents. Sreedhar fans would find the book valuable.
  
  About the movie sumaithaangi Sreedhar discusses only one item.. the climax. It seems many friends asked him why he chose to have Gemini become a christian priest at the end.. why not something else, say a Hindu sanyasi. For this Sreedhar says he chose that because becoming a christian priest is a very firm decision.. returning to family mode is strictly disallowed after that.
  
  Sreedhar also talks in detail about kAdhalikka nEramillai songs. During the movie shooting in ALiyARu dam, he suddenly felt that the number of songs recorded for the movie was insufficient. So he called MSV and Kannadhasan. Fearing that if they both got together in Chennai and composed two new songs, those songs may not be to his satisfaction, he asked both of them to come over to the shooting location. In one session lasting just one hour he had two songs composed (MSV did the tunes first and then Kannadhasan filled-in the lyrics). nALAm nALAm thirunALAm and nenjaththai aLLik konjam thA thA thA are those 2 songs.
  
  
• From: sriram (@ 163.181.251.10) on: Tue Aug 19 15:00:14 EDT 2003
  
  great song. I especially like the bit at the end of the interludes when the violins play their bit & then slowly fade away to silence when almost belatedly the tabla & the rest pick up the beat.
  One another bejewled moment is when PBS softly sings "manam manam adhu kovilAgalAm.."
  
  As vengayam has said, this is a song that is to be relished in a quiet spot during a kuLir mAsam mArgazhi when there is a power cut in the night, a gentle cool breeze wafting through the coconut trees and the radio announcer saying "aduththa pAdal SumaithAngi padathilirundhu MSV-TKR isaiyil PBS paadiya Manidhan Enbavan..." bliss!
  
  
• From: bb (@ 12.234.176.52) on: Wed Aug 20 01:34:31 EDT 2003
  
  Song of the Day: nee azhaiththadhup pOl oru gnaabagam from thoongaatha kaNNindru ondru.
  
  http://www.newtfmpage.com/cgi-bin/stream.pl?url=http://www.dhool.com/sotd/neeazhai.rm
  
  - Saravanan writes:
  
  "Nee azhaithathuppol oru gnaabagam" from Thoongaadha Kannindru Ondru-1983. (banner peyar evvalavu azhaithum gnaabagam varalavillai : ) Sung by SPB. Music: KVM.
  
  Thoongaadha Kannindru Ondru starred Mohan, Ambika, VKR, S Varalakshmi & others.It was directed by R Sundararajan.
  
  R Sundararajan had a fantastic run in the 80s, and struck gold repeatedly in his collaborations with IR - Payanangal Mudivathillai-1982, Naan Paadum Paadal-1984, Vaidehi Kaathirundhaal-1984, Kungumachimizh-1985, Amman Kovil Kizhakkalae-1986, Raajaathi Raja-1989, just a name a few. And even those films that didn't do too well had some great songs: Thazhuvaatha Kaigal- 1986, En Jeevan Paaduthu-1988, Thirumathi Pazhanisami-1992.
  
  And while his Mella Thirandhadhu Kadhavu brought together two giants of tfm, he worked with MSV in two films--and both Saranaalayam-1983 and Sugamaana Ragangal-1985 rate among MSV's best albums in the 80s.
  
  And though R Sundararajan's only film with KVM- Thoongaatha Kannindru Ondru might not have been a commercial success, KVM's songs for the film linger on in memory. (I think Andha Raathirikku Saatchi Illai-1982 was also directed by RS, though I am not sure about it)
  
  The other songs in the film were:
  Idhaya vaasal thirandhappodhu uravu vandhadhu-SPB & SJ
  Mazhai vizhum kodiyena nadhi vizhum kadalena- KJY & SJ
  Akkam pakkam aalaethum illai illai-MV & SPS
  
  ********
  
  From the mid 70s, KVM's opportunities in tfm were few and far between. He just couldn't keep pace with the changing trends. His conspicuous skills in classical scores were still in full flow though, and mythologicals/devotionals like Murugan Adimai, Gnanakkuzhandhai and Deiva Thirumanangal still offered him ample scope to display this forte. And starting from Shankarabharanam-1980, he brought back classical music to mainstream cinema with a reach that made history, and this glorious second innings continued upto Swathikiranam-1990.
  
  Not that he didn't continue to give good songs in social subjects as well- but most of the films that he worked for didn't fare too well, and the songs sank along with the films. However, thanks to Radio Ceylon, which was blissfully unaware of the fate of any film-(whether it was even released or not, leave alone its commercial performance!), we continue to fondly remember some of KVM's works in the early 80s like Manmatha Rathangal, Kurivikkoodu, Kaadhal Kiligal, Andha Raathirikku Saatchi Illai, Neruppilae Pootha Malar and Simma Soppanam.
  
  *******
  
  The lyrics (Vaali?) are as follows:
  
  Nee azhaithathuppol oru gnaabagam
  adhu aasai alaigalin oorvalam
  nee sirithathu pol oru gnaabagam
  adhu sindhaiyil nee seitha saagasam
  
  thanga mugachengamalam poothirukka
  nee thanimayilae en ninaivil kaathirukka
  neela nayanangalin--
  nalinangalil--
  bodhai kondu kodhai unnai anaithirukka
  
  naalai varum pudhu vasantha kaalamadi
  nam paadhaiyilae manamalarin kolamadi
  kaadhal ilakkiyathil--
  sarithirathil--
  neeyum naanum koyil kondu nilaithirukka--
  
  Mohan and Ambika, neighbours in a small colony in Coimbatore, start off with modhal, which naturally blossoms into kaadhal. Stiff opposition from parents follows. Mohan is a talented musician, with dreams of making it big in film music. He is scorned by all for not settling down with a consistent job. Ambika has faith in his music skills, but how long can she wait for him? As a last resort, Mohan goes to Madras, to try his luck in the film studios there. Finally his efforts bear fruit, and he gets a good opening.
  
  With resplendent dreams of their joyous future together, he boards a train to Coimbatore to delight her with his wonderful tidings, and bring her back with him to Madras. Meanwhile all is not well with Ambika- harsh treatment from her parents, and the unwanted attentions of an irrepressible suitor make life unbearable, and the very night Mohan is traveling to Coimbatore, she boards a train to Madras--
  
  Mohan falls in with a group of musicians in his compartment. One thing leads to another---and they urge him to sing.
  
  Alas, for Ambika, in her hurried flight from home, she enters a deserted compartment (an impossible supposition in either Cheran or Blue Mountain Express, even in 1983!), wherein there are only two men who are thaniya having a thanni party. They look at her with sudden lust, and emboldened by their isolation, accost her. She cries out Mohan's name in fright--
  
  ---And in that very instant their trains cross each other, as Mohan, in his train, starts his song "Nee azhaithathuppol oru gnaabagam"
  
  Thus the song unfolds, with the shots alternating between the interiors of the two compartments of the two trains speeding in opposite directions, the cutcheri and the catastrophe, the aalaapanai and the assault?
  
  How much longing he pours into his song--his hopes of a bright morrow for both of them glisten in his lines--little does he realize that as the trains are racing into the night, their very future is being derailed!
  
  *******
  
  It was in 1980 that KVM and TKP discovered for us that SPB, though bereft of formal training, could be coached to deliver winning notes in classical shades, and Shankarabharanam was a stunner in every sense. They have extended that experience here in this song. SPB delivers the goods, and how! The hero's aspirations and longings find evocative expression in SPB's song. And the swift and spellbinding swara passages that punctuate the song, especially in the cascading climax are something to cherish.
  
  Conveniently for KVM, Mohan befriends a troupe of traveling musicians with all their accompaniments, and the song thus attains a realistic hue. No doubt the interludes do sound a trifle passîYeven for 1983), but this 'dated' sound too has a quaint charm. The violin bits bring out so heartrendingly the pathetic irony of the situation --moving shots of Ambika beseeching the scoundrels to spare her, of frantically attempting to evade their advances, of vainly reaching for the emergency chain-- Hark at the chugging of the train that is heard throughout the song as the rhythmic backdrop.
  
  This was perhaps KVM's last worthy attempt in mainstream tfm. And like the last leap of a tongue of flame before the embers die down, like the sudden small shower of rainwater from the leaves swaying in a gust of wind long after the rain, this song kindles memories of a bygone era of film music. Krishnankovil Venkatachalam Mahadevan and Thiruvananthapuram Kesavappillai Pugazhendhi have given us much to be grateful for. This song is among their smaller bequests.
  
  *******
  
  Interestingly, Mohan and Ambika went on to enact an almost similar situation in 'Yaar veettu roja'- Idhayakkoyil-1985! Again by SPB!!
  
  
• From: raj (@ 202.54.137.100) on: Wed Aug 20 03:20:07 EDT 2003
  
  Again a SPB song, but This time a very rare song..
  
  Nice song by KVM.. KVM had good songs during 70's though LESS they were Class
  
  A haunting solo by SPB ..
  
  I've Seen this Film long back couldnt recollect the situation of the Song
  
  Nice Lyrics by Vaali
  
  Good Write up Saravanan - which had made me wait For Poonthenil Kalandhu another KVM -SPB song
  thanks
  
  

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