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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: Wed Jun 19 20:06:57 EDT 2002
  
  
  
  Dear Brothers sO, ROFTL, OISG, cp, kiru,sk,(and many others) who are have sent me emails, supporting this series. I am moved by your support. With the support you are giving, I have decided to lengthen this article into a silver jubilee hit (25 weeks) or, if time permits, a golden jubilee run(50 weeks).
  
  As for those who are out to split the hair and fish in muddy waters, I can olny think of Kannadasan saying in Padithaal Mattum Pothuma-Urithu Paarthaal Vengayathil ONrum Irukkathu-Ulari Thiribavan Vaarthayiley Oru Uruppadi Serathu?
  
  I again quote Kannadasan "POTRUVAR POTRATTUM-PUZHUTHI VAARI THOOTRUVAAR THOOTRATTUM..."
  
  I am not going to answer queries that I consider are unwanted so that I could concentrate my energy on preparing the essay.
  
  But am I entitled to give my opinions, which readers need not agree? I feel we are all entitled to our opionions, and no one could be wrong- as in the case of comments by TMS.
  
  Readers are free to contact me in my email.
  
  
  So long as all of you acknowledge that this is not an easy task, I am happy. I gain no intoxication from praises and glorifications. I am beyond that age.
  
  I have given permission to newtfmpage to archive this article, upon completion in the library of newtfmpage. "Naan Petra Thagaval Serattum En Vaasagargalukku"
  
  
  
  Nanri,
  
  Manisegaran
  
  
  
  
• From: Manisegaran (@ 161.142.2.11) on: Wed Jun 19 20:14:31 EDT 2002
  
  OISG
  Please give my your email address. I have a privi information to share with you on TMS.
  
  
  
• From: Manisegaran (@ 161.142.2.11) on: Wed Jun 19 20:15:49 EDT 2002
  
  PART 9
  
  SURVIVAL OF THE FITTEST
  In the fall of 1950 KVM had to face unexpected challenges from two angles. One was quite unrelated but still had thrown some challenges, and people favoured dialogues than songs. Although songs were wanted by people, there was a temporary swing in favour of dialogue caused by the new wave writers from the DMK such as Karunanithi and Annadurai. These writers came with very powerful social themes, and soul–stirring dialogues that made the fans applaud in the box offices. Mandhiri Kumari in 1950 and Ore Iravu in 1951 are just two examples. In fact these two writers were already creating ripples from the late 1940s. The early fifties was the golden era for Karunanithi’s dialogue. It soon turned out that whenever names of Karunanithi and Anna were shown on the silver screen, there used to be thunderous clapping. So preference of the fans switched preferences. The irony was that these dialogue-preferred films too had very good songs. This was not a direct threat to the cine music.
  
  Next challenge was the change in taste for more modern films. By the 1950s the influence of foreign films had its own direct effect on our people. People were in a way sick and tired of films based on puranaas, ithikasams, epics, folklore expressions, mysteries and magic. Social and modern themes were in full demand. Therefore the story lines had to change, and that called for a paradigm shift in the composition of music as well. Almost all MDS had to either sink or swim. The 1950s was the toughest period for all MDs and they had to compete to compose music for the changing times, and secondly they had to compete among themselves. So the 1950s was the period when Tamil film fans started to enjoy all forms of taste in Tamil film music- most carnatic, semi- classicals, Hindustan- based, Modern, Western and masala mixes. This became the survival of the fittest for all of them. KVM was naturally dragged into this unexpected struggle. He had to improve himself and compete with his contemporaries.
  
  Who were his contemporaries? They were no ordinary MDs, and could KVM give a tough fight? It was a make it or break it battle. It was a battle of the titans.
  
  
• From: Manisegaran (@ 161.142.2.11) on: Wed Jun 19 21:11:01 EDT 2002
  
  PART 10
  
  EMERGING FROM OBSCURITY
  
  The MDs of the 1950s were no ordinary people. They each had cut a name and fame for themselves. It was quite difficult to say who was better than the other. Each had his own area of strength and talent to exhibit. Each had his own following among the fans in Tamilnadu. G. Ramanathan was already making waves by composing almost all form of tunes- from pure carnatic to most modern. C.R. Subbaraman had his own way of rendering soul-touching sweet melodies, though his period in the filed was short lived. S. V. Vengatraman was creating his own line of taste with emphasis on carnatic based tunes, popularly appreciated by the carnatic music fans. Others like C. N. Pandurangan, M.S. Nyanamani, S. Dachinamurthi, V. Dachinamurthi, Chalapathi Rao, T. R. Paappa, R. Sudharsanam, T.A. Kalyanam, T. Govindarajulu Naidu, S. Rajeswara Rao, Pendiala, Gandasalan, S.M Subbuah Naidu and M.D. Parthasarathee are some among of those who deserve mention. Of these MDs G. Ramanathan, C.R. Subbaraman and S.V. Vengatraman were accepted as the “Tamil Thiraippada Mummoorthikal” Particularly G. Ramanathan was affectionately called “Isai Methai” while SVV was called “Isai Arinyar.” These were seniors in the filed and KVM had to rise above all odds. KVM could make it on account of his confidence and the talented mechanism that was inbuilt within him.
  
  The year 1952 seem to be quite an important year for KVM. This was the year when KVM composed for the film “Kumari” acted by M.G. Ramachandran. This film was historical for a number of reasons, but not well received, and the write-ups were said to be not encouraging. That may be so. But this was a film of great historical significance for KVM, MGR and A. M. Raja. This was the first film of MGR where KVM had composed music. This was also the first film where AM Raja’s voice was recorded for cinema. But it was Samsaram that was released earlier in 1951 while Kumari was released a year later in 1952. Therefore there is a widely held view that AM Raja sang first in Samsaram.
  
  Kumari is also the first film where AM Raja and P.G. Krishnaveni (Jikki) sang duet and the duet song is “ Iruliley Nilavoli Pol Avar Varuvaar.” AM Raja sang a song based on a popular Hindi film song, and that solo is “Azhiyaatha Kaathal vaazhvil Anaiyaatha Jothiyaai Oli Vessuvaal Ennalum Ulla Vaaniley” Aha what a nice song! There is also another solo called “Kaathal Solai” A song called “Aayo Shagimayo” by AP Komala is also a song of Kumari. There is also a group song called “Athairiyam Kolvathen” sung by Leela, AM Raja and others.
  
  In view of the afore mentioned matters, Kumari may be a commercial flop, but it carries much historical significance that cannot be overshadowed over passage of years, nay centuries to come.
  
  
  Perhaps I have to mention here how KVM and A.M. Raja parted off in different ways after the year 1958- within a period of 4 years of KVM building up AM Raja. AM Raja had sung under many MDs, including KVM. KVM had given AMRaja some beautiful gems like Mayakkum Maalai pozhuthey Nee Po Po (recorded by KVM in Koondukkili but used in Kulebagavali in 1955), En Kaathal Inbam Ithuthaana (Thaaikku Pin Thaaram in 1956) Anbey Nee Naan Ingey and Inbamey Pongumey (Bommai Kalyanam in 1958). In 1958 AM Raja became Music Director through Kalyana Parisu and shot into fame overnight. Then the usual arrogance set in. He was by nature a suspicious character that very much affected his personal life as well. Once he became an MD, AM Raja started to belittle or side step seniors in the field. He used to dominate, correct and change film tunes composed by others. This irritation was also felt by KVM while composing for the film Manamulla Marutharram. The song is “Kayiley Inippathenna Kaniyaanaal kasappathenna” by AM raja and Jikki. After this beautiful song was recorded KVM bid AM Raja farewell for good. Many others also said goodbye to AM Raja, but not to poor Jikki. But when AM Raja lost his chances, he did not allow Jikki to sing. However on rare occasions she did sing here and there. Following boycott of AM Raja by the cine field, he concentrated on his tourist car business to make a living and sang in some Telugu movies. Poor AM Raja passed away in 1989.
  
  
• From: vengayam (@ 203.200.84.66) on: Wed Jun 19 23:18:44 EDT 2002
  
  Manisegaran,
  Aren't you being a bit harsh on AMRaja.( no he is not my favourite I found his voice a bi too soft. Others know my leaning towards PBS) There is no denying Kalyana Parisu was a big hit- movie more than music I suppose but the spin off was AMR came to be recognised as an MD. He followed it up with Then Nilavu where the songs are better. the movie is good as adeparture from sentiment.AMR got caught probably in the predicament of entha kuthirayil prayaanam seivathuand in the process got left behind. But are you sure about the Jikki angle I've heard a couple of Katcheris of the duo where both of them used to perform sitting a la carnatic music. It came across that Raja had only perumitham niraintha love for Jikki.So it comes as a shock . Is it true? with Gemini, Balaji & second rung heroes Muthuraman opting for PBS, Sivaji & MGR for TMS not only AMR but Chidambaram jeyaraman, Trichy loganathan were all shunted out. Only Galeer kural Sirgazhi survived but limited to one genre of songs much like his son today-what a cultured voice!
  I think AMR came back for a brief while & sang for AVM Rajan in a couple of movies. Senthamaraye in Puguntha veedu & one no in Rangarattinam were popular.
  One thing is sure my liking for KVM has gone up several notches after reading your articles. Keep it up.
  
  
• From: Saravanan (@ 194.170.1.130) on: Thu Jun 20 00:46:58 EDT 2002
  
  Mani Sir, I am really sorry for hurting your feelings. As ROTFL said, I am new here and am not aware of your long association with tfm.
  
  I wrote that as I found some passages exactly similar to the book I spoke of. Thank you for replying so patiently and politely. Please accept my contrite apologies once again and carry on with your great work.
  
  
• From: Manisegaran (@ 161.142.2.11) on: Thu Jun 20 02:17:14 EDT 2002
  
  Saravanan,
  
  Take it from me that I am not at all crossed ith you. Ive said it before and saying it again, that I am in no way authority in cine news, as evidenced by you correcting me in the case of Radha Jayalachumy. If you had not corrected me the readers would have been taken for a ride. So you have done a good service in enriching my contribution. Cheer up.
  
  My irritation is only when Vengayam peels itself unneccessarily.
  
  
  
  Thanks,
  
  Manisegaran
  
  
• From: vengayam (@ 203.200.84.66) on: Thu Jun 20 04:09:21 EDT 2002
  
  Manisegaran,
  I do not know what made you write "My irritation is only when Vengayam peels itself unneccessarily."
  If I've hurt you in any way I am sorry. But I do feel - your above comment a generalisation - was hitting below the belt. So no more comments from me. go ahead. I've made your day!
  
  
  

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