REVISITING
This is to revisit the topic of G. Ramanathan who had created waves in Carnatic music as well as light music in the cine field, only to make his contemporary music directors wonder with awe and amazement. We have discussed G. Ramanathan several times in the TFM Page (See here). He has always been considered a genius. Three were called the cine Trinity- G.R, SV.V and CRS. Starting off as a self-made composer, with no knowledge or training in music, he went on to create new inroads into the field of cine music. The songs that he composed are immortal and shall never be dimmed through the efflux of time. All the music directors of his days had a special love, respect and reverence for the ability and uncanny talent in imagining out of the box. The singers of his days yearned to sing under his composition. He set a very high standard and wanted all singers to measure up to his expectations, otherwise were greeted with strongly worded scoldings. P. Leela for instance has mentioned that she could not sing the song Ketpathellaam Kaathal Geethangale கேட்பதெல்லாம் காதல் கீதங்களே as expected in the movie ILLARA JOTHY. After a few takes GR used very hard words on her and she sat in a corner and was sobbing away. When she was quite composed he told her to come for one more take. Then the song was up to his expectation. He played the final version for her and commented, "Now listen to this masterpiece. This song will sing your praise even after you and I are no more" (Also related to me by the late Bairoji Narayanan of Radio Malaysia- actor Ravichandran's elder brother.) How true. And TMS has said this in a TV interview in the presence of Ilayarajah in about 1977. If one could only sing under G. Ramanathan, then it would be easy to sing under any music composer in any part of the world (entha Payalukkum paadividalaam) A right statement alright but made at the wrong place without any forethought. That along with one more statement that TMS made in Sri Lanka with reference to Maestro became the last straw on his singing career! Seergazhi Govindarajan who came to my house, and to whose house I went in Manthaivelipakkan near Chennai had this to say. "G.R gave some of the toughest songs to me. As soon as I entered as a cine singer, he used me for several movies, and they are there to speak volumes of his ability. Films for which he composed could have bombed in the box offices, but his songs met with a triumphant success. KOKILAVANI for instance…. Mere listening to those songs itself would enhance one's mood and feelings.
PREMATURE PASSING OF A GENIUS
It is so difficult to figure out why and how some who have gone to the peak would end up at the very bottom. We have seen the case of MKT. GR was another and this has nothing to do with his ability. Three factors are said to have contributed to his instant disappearance. First was his failing health. Second was this. GR took his own movie- Pattinathaar, with TMS as the main character. The movie, despite great songs failed at the box office. GR found it strenuous to climb out of the debts owing to the failure of the movie and found it difficult to settle payments to those involved. After some time TMS who had not received the payment due to him sent GR a legal notice. That sent shivers into the very heart of GR. "The very person whom I had trained is sending me a legal notice" was his comment. TMS gave some other explanation for this episode. The third was this- B.R. Bantulu used T.G Lingappa to compose for all his Padmini pictures. Come Veerappandiya Kattabomman in 1959 he used G. Ramanathan which had the best songs, and which earned the accolade of the best music director at the Asia- African film festival held in Cairo in 1960. Then came KAPPLOTTIYA TAMILAN in 1961, this time using poems of Bharathiyar. And the songs were immortal too. Bantulu then informed GR that he would be the composer for his next blockbuster KARNAN. This news was already flashed in some print media. Suddenly Bantulu switched to Visvanathan Ramamurthy as the production started to roll on. GR. was thrown into further depression. Adding to his failing health he landed into a hospital in Chennai. MGR for whose movies GR had composed some of the best songs- like MANTHIRI KUMARI, CHAKRAVARTHY THIRUMAGAL, MADURAI VEERAN, PUTHUMAIPPITHAN and RAJA DESING visited GR in the hospital and promised to use him in his next Raja-Rani kind of movie that he intended to produce. G.R died of heart attack, and the planned movie of MGR too did not take off the ground!
A RARE KIND OF GENIUS
GR started composing for cinema songs while he was still busy with dramas. He was a very fast harmonium player, no to be easily matched by others . As he entered the cinema field he lifted many of his drama tunes into the films as well and continued to do so till the very end whenever he had a chance. Thesea re some examples of the tunes he lifted from dramas and used in the films: 1. Sarasarani Kalyani from Raja Desing 2. Vanamevum Rajakumara from Raja Desing 3. Anbe En Aaruyire from Kaveri 4. Thene Unnai thedi thedi-from Ambikapathi. And of course, many more.
But his meteoric rise as undisputed composer of classic songs was phenomenal. The combination of Pabanasan Sivam as lyricist, MKT as singer and GR as music director was one that would never fade from the memory of old timers. GR himself used to say that the only one who would sing to his full expectation was MKT. And that may explain why all movies of the combination of this trio made big at the silver screens and radio stations, and later as personal collection of their vinyl records. We will vividly recall Haridas running consecutively for three Deepavalis. I believe there has been no other such record elsewhere in any other state of India. There were Carnatic music Icons in Tamilnadu who were totally against cinema songs as there was deeply seated opinion that Carnatic music used in cinemas can never match the originals. When the song Manmatha Leelaiyai hit the ears of these critics, at least one was deeply impressed, saw the movie in Broadway, and from there went to the home of GR and blessed him- for retaining the essence of the carnatic music and the Charukesi raga. And he was Vidwan Sithoor Subramaniam Pillai. That put an end to the conflict and contention between GR and those hardcore critics.
Why was GR successful? Simple. He went for bringing out the best in the singers. P.B. Sreenivas and I were having coffee in Woodlands Drive In in December 1984. He was referring to this uncanny ability of GR in squeezing the best from the singers. He quoted P. Suseela having rendered her best in this song Unnai Pol Pennallavo in the movie Vanangamudi. As we were discussing, Vairamuthu who just entered the film industry joined us. I left at once. I could see through him even at that infant stage of his entry into the cine field.
Many of the later year singers and music directors used GR as their benchmark and as a reference point. Of course, there were also SVV and CR Subbaraman, whose contribution cannot be under estimated.
EXPERIMENTS WITH MUSIC
G.R. had made many experiments in cine music at a time when technology was not that advanced. Singers, directors, producers, lyricists, instrument players, sound engineers- and such of these would sit together to compose the songs. That was the time when certain raga was to be used for certain part of the day or night, for certain situations, for certain occasions and to describe certain virtues. Raga for the morning period is Poobalam, for evening is Vasantha, for feelings of compassion is Neelambari, for joy is Sanyasi and etc.. etc.. This tradition was a strict requirement when composing music for films as well. But GR broke away from this tradition and made some experiments. We may remember the movie PONMUDI There is a song Aaruyire a love song that GR sang with TV Rathnam. That was set to a sad raaga, I think it is MUHARI? Seldom we have music directors using sad raaga to compose for love themes. That was a novelty and was immediately welcomed. The song was an instant success. GR tried the Muhari raga in the AMBIKAPATHY song Vaada Malare வாடா மலரே தமிழ் தேனே and was another instant hit. Bhanumathy refused to sing the song not because of GR breaking away from the tradition, but because the band players were bald headed as they had just come down from prayers at Thiruppathi. She could not bear looking at baldheadedness. GR told her to memorise the song and sing with eyes closed when it was her turn to sing. TMS was MSV too followed this style of breaking away from this tradition in a love theme in the movie SIVAGANGAI SEEMAI, on the request of Kannadasan and the song is Kanavu Kanden set in Muhari raga. Then comes KVM composing a love theme song in Sahana raga in the song Paarthen Sirithen in VEERA ABHIMANYU.
The uncanny ability of GR as well as CRS was seen in two movies. We know Mahakavi Bharathiyar wrote the Kannan songs, picturing Kannan as a Kaathalan, Kaathali, Sevagan etc. The song Kaatru Veliyidai Kannamma in KAPPLOTTIYA THAMIZHAN was written keeping Kannan as Bharathiyaars Kaathali. That is to say it was to be a solo description from the heart of a male lover. When the song was made GR made it a Duet- P.B.Sreenivos and P. Suseela. He really stretched his imagination to an imaginable height. Earlier in the movie MANAMAGAL, C.R.S has done the same- Chinnanjiru Kiliye Kannamma was written keeping Kannan as a child. Supposed to be a solo description from the heart of a mother. But it was made into a DUET with V.N. Sundram and MLV singing it out.
MAESTRO Ilayaraja in a show in Singapore in the 1980s had mentioned that there is no written document to classify songs according to Raagas. When you compose in the morning it is morning raaga and when you compose in the evening it is evening raaga, and went on. The films SINDHU BHAIRAVI and UNAAL MUDIYUM THAMBI throw some inkling on this subject and provoke our imagination. IR has said in an interview that it was for this song Paadariyen Padippariyen that he did intense research to get into the roots of the genesis of the Ragas.
GR also made some other experiments. A song would usually have a Pallavi, then anupallavi (though not a strict requirement) and then Charanams. GR tried with only Pallavi and anupallavi and then Pallavi again. The movie is GOMATHIYIN KAATHALAN. The song is Vaanameethil Neethiyodum Vennnilaave -this ispallavi. Then comes Anupallavi- Vattamaana Unmugathil vennilaave. Then the Pallavi is repeated- Pattappagalil Jothy veesum Vennilaave. This was considered a novelty in those days.
Sudharsanam master too experimented this in the movie PENN. The Pallavi is Sonna Sollai Maranthidalaamo-Pallavi. Innamutham Pol Pesidum Kanna- Anu Pallavi. Then the Pallavi is repeated- Thandai Oli Isaiyai Kettathillaiyo Vaa Vaa Vaa.
Maestro has done a wonderful composing in the movie Puthiya Vaarpugal along the same lines as above, using only Pallavi and Anupallavi- thamthana Namthana Thaalam Varum
But GR has used Pallavi Alone throughout a song in the movie Nalla Thangai. And the song is by TMS. Pallavi is Thuyil Neengi Ezhunthiduvaal . Again Pallavi-Vasal Manai Perukki. Again Pallavi- Rusi Ulla Karivagaigal. Again Pallavi and on and on and on…
In those days a song usually but not strictly and necessarily had interlude of music between Pallavi, Anupallavi and Charanam. Here is one song in AMBIKAPATHY by GR that has no interlude music between these segments of a song- Chinthanai Sei Maname சிந்தனை செய் மனமே....
Remember the song Mannil Intha kaathalandri in the movie Keladi Kanmani, the Charanams of which was wrongly publicised as one which was sung non-stop. SPB then clarified that it was done through some technical assistance and that no singer could sing non-stop for more than 30 seconds.
There was one song in AMBIKPATHY that TMS sang. The song is Vadivelum Mayilum Thunai- வடிவேலும் மயிலும் துணை. The charanam comes in as follows:
தாப மிகு வெப்பு வாதமொடு
பித்த மானபிணி மொய்த்து உடம்போடு
சாரும் உயிர் துன்ப சாகரமுழன்று
சாதனை இழந்து வருந்தா முன்
சாரும் உயிர் துன்ப சாகரமுழன்று
சாதனை இழந்து வருந்தா முன்
தாளை யளித்திட வேணு மெனத்துதி
பாடருணைகிரி நாதனழைத்திட
தயவுடன் இசைந்து அருள் மழை பொழிந்து
முத்தைத்தரு பத்தித் திருநகையென
முதலடி உதைத்த தழைத்த கருணையை
நினைந்து நினைந்து கவி மலர் தொடுத்த
தமிழ் மாலை தனைச் சூடுவான்
T.M.S himself has mentioned that it was one of the toughest in his singing career. No mention has been made as to whether he sang non-stop, but certainly was a strenuous effort. No other stage singer has attempted this song. At least one playback singer attempted but could not make it. And so TMS was right in saying, "If one could only sing under G. Ramanathan, then it would be easy to sing under any music composer in any part of the world -entha Payalukkum paadividalaam எந்தப் பயலுக்கும் பாடிடலாம்.
COPIED TOO
All Music Directors copy outright, or at least there will be lifting of ideas. Sometimes the Producers or even directors wanted such songs. In AARAVALLI there is a song by Jamunarani and TV Rathnam- Ila Meesayulla Ambalainga. This is direct lifting from the Hindi movie NAYA DAUR- Udan Jab Jab Zulfen Teri. All the songs of PONMUDI were from Hindi tunes.
Then comes an English tune Chinnapennaana Pothile. The original in English was sung by Doris Ray in Alfred Hitchcock's movie THE MAN WHO KNEW TOO MUCH. So, GR too has used or copied songs from other languages. It was TR Sundram who insisted MDs to reproduce foreign tunes in his Modern Theatres Productions.
It should not be surprising to see GR copying from foreign language tunes.
In the mid 1950s the rock music was rocking the world cine industry. GR bought those western records and listened to them to get the ideas and the feelings. And the song was inserted in an unusual film and was an instant hit and remains a hit and shall remain a hit for ages to come. Yaaradee nee Mohini- in UTHMAPUTHIRAN, Tamil make of the English movie THE MAN IN THE IRON MASK. In the song GR changes the tunes abruptly and for each tune he uses different female singer- Jikki, Jamunarani, A.P. Komala while retaining TMS for the male voice for the most suitable actor- Nadigar thilagam. The tail end of the song is there in the vinyl record, but not in the film. It goes so fast that only Jikki could have sung that. It goes " Naaum Neeyum Nalla Jodi thenum paalum Pola Koodi… fast fast and crescendos to superfast fast and then slows down abruptly. Hindi actress Helen did justice in dancing for this song. Attempts by stage singers to try this out failed including in my own program in Malaysian private TV channel Vaanavil. UTHAMAPUTHIRAN was a 1958 production and on the other side of the fence were Visvanathan Ramamurthy who came out with Rock rock Rock rock and a roll by Chandrababu and V.N. Sundram in PATHIPAKTHY of 1958 too. Listeners could decide which emerged victorious!
It is not clear who was behind the kind of songs GR brought out in the movies. What remains clear was that he would welcome ideas, but not intervention. What remains clear was that he went for a variety of songs in any one film. And in any single film he ensured there would be at least one heavy Carnatic song and a few light music songs. DEIVATHIN DEIVAM had all light music songs, but Kannan Mana Nilaiyai was highly classical. THOOKKU THOOKI had all themmangu songs but Sundari Soundari was a highly classic raaga song. Of the movie THOOKKU THOOKI GR commented that he composed the songs very casually, without much effort. MADURAI VEERAN has a variety of songs, and there was this Aadal Kaaneero by MLV, a highly classic raga song. He never wanted to part from that format.
He also employed extreme positions in presentation of songs- in any single movie. In VANANGAMUDI GR goes to two extremes- gives the lightest music and the heaviest Carnatic music. Mohana Punnagai Seithidum Nilave by TMS and Suseela- what a mellisai. Then comes a high pitch solo by TMS- Ongaramaai Vilangum Naatham. In CHITHOOR RAANI PADMINI there is a very melodious light music by Seergazhi Govinderajan- Oho Nilaraani, and suddenly comes the heaviest Carnatic song- Paarthukondirunthaale Pothum- a truly difficult song. I believe that must have been his toughest song by Seergaazhi Govindarajan.
GR was a master in recycling the entire songs or repeating the charanam parts of one song into other charanams in other songs. If we were to discuss this we will sink into a quicksand of no return. But let's visit some cases of he reusing and recycling full songs
CHALLENGES HE FACED
GR did face some challenges too. When TR Sundram produced the movie MANDHIRI KUMARI, a song Vaaraai Nee Vaaraai by Trichy Loganathan and Jikki was added in. Somehow TR Sundram was not happy with this song as he felt a climax song should be fast moving and high pitched. GR. was sad and shocked. Finally, a compromise was reached. It was decided that that song be tested in the first screening and if that was accepted by the audience, then the scene will be retained in all theatrical releases. In the premier run, there was unanimous welcome for this song, as the hero was indicating intention to kill her while the heroine did not get the hint. Throughout the song there was double meaning by the hero. As it turned out to be a great hit, the song was retained in all the theatrical releases. It was GR who won. And when we think about MANDHIRI KUMARI it is Vaaraai Nee Vaaraai that flashes into us. And what else. MGR films usually ran for good songs, in the composing of which he himself was involved. But in MANDHIRI KUMARI he does not give lip movements. In one solo song by MLV picturised on G. Sakuntala he plays harp! Later the dominant influence in his movies were songs.
There is a widely held view that TR Mahalingam known for high pitch songs had wanted an unusually low pitch duet song in MALAYITTA MANGAI. Naanandri Yaar Varuvaar sung with A.P. Komala. AP Komala was not a high pitched singer. The matching was fine and this low pitched song by T.R. Mahalingam still stands the test of time. Whenever GR got T.R. Mahalingam to sing any song, he would sing in very high pitch, which irritated GR and GR wanted to sing according to GR's requirement and not to go his own way. So was born the song in MANIMEGALAI -Kangalin Vennilavo. Bhanumathy is not the one known for high pitch songs. T.R. Mahalingam starts off with high pitch- old habits die hard, they say. Then Bhanumathy joins with her low pitch singing. It goes on high by T.R. Mahalingam and low by Bhanumathy. But the very end of the song is different. Both sing in the lowest pitch. It was proven that T.R. Mahalingam who used to sing in high pitch could also sing in the lowest pitch. Thanks to GR who was the one who first made this adjustment for T.R. Mahalingam.
Then comes SRI VALLI movie where there is a song paired by TMS and T.R. Mahalingam . The song was for TMS was to continue after TR Mahalingam had completed in his usually high pitch. The song that T.R. Mahalingam sings is Karpagach Cholayile, and TMS was to continue the song Aathi Antham Illaatha Naayagaa. When G.R. proposed to TMS, the latter hesitated and said, "how could I sing in the same pitch with that of TRM?" GR said, " I know, I shall adjust accordingly" What GR did was allow T.R. Mahalingam to end his song completely, then GR gives a small interlude of continuous drumming, and then gets TMS to sing his part - Aathi Antham Illaatha Naayagaa. That interlude was given to break the pitch left by T.R. Mahalingam. But when TMS continues with Aathi Antham Illatha Naayaga, it would sound as though TRM was the singer. This is yet one more uncanny ability of GR, who had measured or gauged the ability of each singer and adjusted to the requirements. Sri Valli has some of the finest gems of GR. The film did not do well, but the songs have been immortalised! I often listen to the songs of this film. One thing is very clear. When GR composes, somehow he gives a variety of tastes, suiting the movie scenes and stretches his imagination to the maximum. And he does not allow interference from anyone. And that may explain why out of ten songs in any film, at least 8 will be great hits. The two others may be equally good, but for Carnatic song fans. To cite a case in point. All the 12 songs of KOKILAVANI could be enjoyed by one and all. The song Maalaiyile Manasaanthi by Seergazhi Govindarajan could be enjoyed by only the hardcore Carnatic song lovers.
CHANGING MUSIC TO SUIT CHANING TIMES
I had mentioned that all MDs either copy some old tunes from some other language movies within India and abroad. Here I wish to cite some old movie song tunes that were recycled after two or even three generations.
GR had taken the tunes of the AMBIKAPATHY movie in 1937 for acted and sung by MKT and used them in the AMBIKAPATHY of 1957 sung by TMS for Sivaji Ganesan. While the story is the same the songs were also for the same situation.
I wish to make a comparison as to how G.R played around with the tunes to suit the later mindset after a lapse of 20 years. The 1937 AMBIKAPATHY songs were composed by Papanasam Sivam while the songs of the 1957 AMBIKAPATHY were composed by GR.
1937 Aayakkalaikal Arupathi Naaninayum by MKT and 1957 the same Aayakkalaikal Arupathi Naaninayum by TMS
1937 Chandasooriya Pongathi Maarinum by MKT a solo, and in 1957 the same song comes as Masila Nilave Nam a duet by TMS and Bhanumathy
1937 Bajanai seivai maname by MKT and 1957 Sinthanai Sei Maname by TMS
1937 Satre Sarinthu by MKT and 1957 Satre Sarinthu by TMS
1937 Chandrasooriyar and Maane Unnai Naan is combined and made into a comedy song by NSK in the 1957 AMBIKAPATHY with the same tune.
The above songs can be sung interchangeably ie AMBIKAPATHY songs of 1937 and 1957
When Kannadasan was first introduced to actress Bhanumathy as a poet, she laughed at him and Kannadasan felt very humiliated. Later on, when Kannadasan was riding high, he wrote two songs in AMBIKAPATHY with the same Pallavi - Kannile Iruppathenna Kanni Ila Maane -one for TMS and the other for Bhanumathy. The songs were instant hits. In Bhanumathy' s version Kannadasan added a line- "BHANUMATHI MAARI VARUM VAANAGATHU MEENE". When Bhanumathy appreciated Kannadasan he reminded her as how she insulted him in his upcoming days for which she asked for forgiveness. Kannadasan himself has written about this incident in his book.
We move on to other examples
In the movie NAVEENA SARANGATHARA of 1938 Papabasam Sivan had composed this song Sivaperumaan kirubai vendum and sung by MKT. But G. R used this tune as Innum Enna Vendum sung by TMS with some variation in the movie SARANGATHARA of 1957. T.M.S. also composed music for a Thanippadal as a devotional song with the same tune – Mangalamaai Vaazha Vendum. And there is clear imitation of MKT by TMS here. In the nascent days of TMS, he was imitating MKT and wanted to sing under MKT's kacheri. MKT advised against that as he felt the latter would not grow under him. Then TMS went for cinema chances. Annamitta Veettile in MANDIRI KUMARI and Kulir Thamarai Poigai by TMS in VALAYAPATHI resemble MKT
Then we come to Deena karuna karaney Nadaraja neelakandane by MKT in the movie THIRUNEELAKANDAR which G.R. retuned as Echi Pizhaikkum Thozhile Sarithaana sung by TMS and Jikki in MADURAI VEERAN of 1956.
I have mentioned earlier that all MDs copy songs, as per the request of movie directors or producers. In the movie CHINTAMANI of 1937 MKT sings the song Rathe Unakku Kobam Aagathedi, a song composed by Papanasam Sivan. In the movie KULAMAGAL RADHAI of 1964 KVM uses the same tune and gets TMS to sing.
When GR recycled the tunes, he went for substituting MKT a hardcore Carnatic song singer with TMS- a lighter Carnatic song singer along with changes in the kind of instruments used.
ATTUNED TO THE LATEST TREND
We have seen how GR had been changing from heavy classic to relatively lighter classic songs as time went by. He had changed very much by the time he came to his last movie DEIVATHIN DEIVAM in 1963. Just before that he was still composing for Raja Rani kind of songs, which demanded somewhat heavy Carnatic touches. Back to 1958 Visvanathan Ramamurthy, though had been composing great songs earlier, became very popular after MALAYITTA MANGAI where all the 15 songs were hits. Movies after that too have wonderful songs – all light music. Then comes A.M Raja who made his debut IN 1959 as Music Director in KALYANA PARISU- all super hits and were light music. K.V.M who was also composing both light and Carnatic based songs was facing a healthy competition with VR and so came out some of his light music, especially for Devar films starred by M.G.R. The early 1960s was the time when most if not all the songs of V.R, A.M. Raja and K.V.M had been light and captured the hearts of the fans. The end result was that the fans had a tremendous liking for light music. Light music was retaining supremacy at this time.
G.R had to compete with these MDs. In 1960 came KADAVULIN KUZHANDAI with good songs alright but the movie did not do well at the box office. In the same year came RAJA DESING, came as a delayed release, but did not do well in the box office though the songs were good. RAJA DESING had heavy Carnatic raaga based songs which were good for the old timers, but not for those who were already basking under the songs of VR, AM Raja and KVM. In the same 1960 came THOZHAN which did had songs that could not compete with the songs of the aforementioned MDs. Then came ARASILANKUMARI and KAPPALOTTIYA THAMIZAN in 1961 which again had very good songs, but both did not do well enough in the box office. But their popularity stood the test of time. 1961 also saw the release of SRI VALLI, which had wonderful Carnatic raga based songs- but songs to be well enjoyed by yester year generation. 1962 saw the run of PATTINATHAR and DEIVATHIN DEIVAM. The former did not do well while the latter was above average run. From PATTINATHAAR to DEIVATHIN DEIVAM we saw G.R switching to the taste of the new generation- taste that was created by V.R, K.V.M and A.M. Raja- light music. Except for Kannan Mana Nilaiyai the other songs were all light. Anname Sorname by P. Suseela and S. Janaki was the lightest of all. Nee Illatha Ulagathile by P. Suseela, a sad and light music. So was the song Paattu Paada Vaayeduthen by P. Suseela. Kannukkul Ethanai Vellamadi by TMS was also light. Ennaruyire by PB Sreenivas and S. Janaki was light as well. A keen observation would show that GR had also decided to come out with light music along the lines employed by VR, KVM and A.M. Raja. That GR had become a light music composer was a topic of interest in the print media in those days. He was not belittled as even in those light songs he did great. In the social theme movies of the 1960s, GR had used light music alright, but there was a heavy inclination towards Carnatic Raga songs. Not in DEIVATHIN DEIVAM. It was the reverse – lighter and only one Carnatic based song. The earlier social theme movies were like DEVAKI, THIRUMBIPPAAR, INSPECTOR, ILLARA JOTHI, NALLA THANGAI, KATHANAYAGI, GOMATHIYIN KATHALAN, DOCTOR SAVITHRI, KOKILAVANI, NAAN PETRA SELVAM, MANAMAGAN THEVAI, etc. The list is not exhaustive which cannot be compared with DEIVATHIN DEIVAM. The last full movie of GR- DEIVATHIN DEIVAM was a game changer by which he was attuning himself with the latest trend. The next was ARUNAGIRINATHAR, a Carnatic raaga based songs. Half way through the movie he passed away, but it was completed by T.R. Paappa.
Volumes could be written about the talents and abilities of GR. To recapitulate, all the singers who sang under GR had placed him in the innermost corners of their hearts. All Music Directors too respected him and had many things to learn from his musical expertise. He reigned an era in the cine music world- Yet he shall live forever in the hearts of those serious music lovers.