Vani Jayaram's Tamil Film Songs Chronology - by Saravanan 1973 1974 1975 1976 1977 1978 1979
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We shall commence our journey through the year 1978. However, before we actually begin with a retrospective of the wonderful songs that Vani Jairam sang this year, let me, in this part, ruminate in leisure, (I am in the "Random thoughts" mood!) over the tfm scene in 1978, especially concentrating on the Music Directors who made a mark, and the female singers who got to sing some good songs this year.
We have to surely begin with Ilayaraja, for he had already become the industry's blue-eyed boy. Every film that carried his name as MD had songs which became assured hits as a matter of course. IR was bestowing refreshingly different and enchanting scores on film after film. The sheer numbers of his films speak volumes of his increasing popularity. 4 in 1976, 12 in 1977 and 21 in 1978. In the coming years, these numbers would only increase more and more.
We have already seen that in his very second year, he bagged the prestigious TN State Government Award for his awesome score in "16 Vayathiniley". It was again in 1977, that producer K.Balaji had turned to IR for his lighting his Deepam. While Panju Arunachalam, Devaraj-Mohan and S.P.Muthuraman were already IR regulars, when Bharathiraja, an old friend of IR, got an opportunity to direct, IR was his musical backbone. In 1978, this partnership created magic in 2 completely diverse themes, Kizhakke Pogum Rayil and Sigappu Rojakkal.
Again it was in 1978 that not being content with merely making music, IR brought about a revolution in tamizh film music by introducing stereophonic sound in "Priya". Of course, this became possible only with the help of KJY who had bought the equipment, and willingly allowed IR to experiment and record the songs in 8-track stereo. TFM would never be the same again!
This was a period when Tamizh cinema was itself passing through an invigorating phase of renaissance. Melodramatic themes with ageing actors in studio settings were slowly but surely being shown the door. While Bharathiraja was among the pioneers of this movement, two others who set new standards in filmmaking this year were Rudraiyya (Aval Appadithaan) and Mahendran (Mullum Malarum). And of course, it was IR who added spellbinding sheen to their path-breaking ventures.
It was not the new wave directors alone who were seeking IR's musical support. Veteran Sridhar, who was an ardent admirer of MSV and who never worked with any other MD since "Nenjil Or Aalayam"(1962), crossed over to IR to create the songs for his "Ilamai Oonjalaadukirathu" in 1978. And no less a person than Sivaji Ganesan is said to have remarked at that time, that of all the songs of 1977, "Senthoorappoovey" was the one he liked the most! (Notwithstanding the magical songs created with painstaking care by MSV in 1977 for Sivaji, even in insipid stories like Avan Oru Sarithiram and Annan Oru Koyil).
And how did MSV fare this year? It terms of numbers, he had more films than IR: 28. And in many of them, he crafted wonderful songs. But the fact remains that many of his songs were overshadowed by the contemporary works of IR. He would still be a force to reckon with, but the irreversible descent had begun.
Let us take a quick glance at the other MDs and their works this year.
KVM's plebeian score in "Radhaikketra Kannan" was a big let down. V.Kumar, as usual breathed melody into the songs of Kannamoochi, Ival Oru Seethai, Annapoorani and Chathurangam. And Vijayabhaskar got to compose the music for a K.Balachander film, and in spite of its name, VB's songs had thapaadha thaalangal! Another film that came his way was "Per Solla Oru Pillai".
Shankar-Ganesh continued to be a godsend for low-budget producers who weren't too particular. Devar, after the stupendous success of "Aatukkara Alamelu" the previous year, continued with S-G for Thaai Meedhu Sathiyam. S-G also gave a couple of great songs in A Bhimsingh's last film "Kai Pidithaval". Among S-G's other films this year were Unakkum Vaazhvu Varum, Panchamirtham, Meenakshi Kungumam and Ullathil Kuzhandaiyadi.
Chandrabose, who had arrived the previous year with his "Mathura Geetham", shot to fame in 1978 with his enchanting "Maampoove siru mainave" in Machanai Paartheengala. His other film "Mangudi Minor", along with the songs, sank without a trace.
Shyam, who had earlier worked with R.C.Shakthi and Kamal in Unarchigal(1976), came together with the same team in 1978 to create some lovely songs in "Manitharil Iththanai Nirangala". Sathyam and Ramesh Naidu peeped into TFM and gave some good songs in Mudisooda Mannan and Melathalangal respectively. R.Ramanujam gave an excellent account of himself in Ananda Bhairavi. When the super hit Malayalam film Madanotsavam was dubbed into Tamizh as Paruva Mazhai, TFM was honored to welcome to its fold, the genius called Salil Chowdhry. (Salil's first tamizh venture "Karumbu" was never released). M.B.Srinivasan wasn't so lucky. Though he composed two wonderful songs for Jayakanthan's "Pudhu Seruppu Kadikkum" in 1978, the film found no takers and never saw the light of the day. HMV Raghu gave an appealing score to Kanchi Kamakshi.
So much for the MDs. Now let us look at the works in this year of female singers (apart from VJ, whose songs we will be looking at in detail).
S.Janaki was, of course, there, right on top. She had strongly consolidated her postion in 1977, and in 1978, she would effortlessly retain her postion. The songs that she got to sing for IR this year were really memorable. Consider a sample of these spellbinding solos: "Matha Un Kovilil"(Achaani), "Veenai meettum kaigale"(Vaazha Ninaithaal Vaazhalaam), "Vaazhkkai Odam sella"(Aval Appadithaan), "Vasantha kaala kolangal"(Thyagam), "Adadada maamarakkiliye"(Chittukkuruvi), "Kanden engum"(Kaatrinile Varum Geetham), "Yethamirachu"(Bhairavi) and "Poovarasampoo pooththachu"(Kizhakke Pogum Rayil), all absolute gems!
Her list of duets for IR in 1978 is equally awesome. Ranging from TMS to Kamal, she sang with various singers to create lovely duets of lingering enchantment. A random selection from them: "Alaiye kadal alaiye"(Thirukkalyanam), "Engum niraindha iyarkkaiyil"(Ithu Eppadi Irukku), "Hey paadal ondru"(Priya), "Kovil mani osai" and "Malargale"(K P Rayil), "Then malli poove"(Thyagam), "Ninaivo oru paravai" and "Indha minminikku" (both Sigappu Rojakkal), "Oru vaanavil poley"(Kaatrinile Varum Geetham), "Aazhakkadalil"(Sattam En Kaiyil), "Kinnathil then vadithu"(Ilamai Oonjalaadukirathu).
And with IR showing the way, other MDs too gave SJ some great songs this year. "Sugamaana Sindhanayil"(Taxi Driver-MSV), "Ninaivu pothum"(Punniya Bhoomi-MSV), "Ven Meghame"(Aayiram Jenmangal-MSV), "Sindhunadhippoovey"(Shankar Salim Simon-MSV), "Ithu ilamaikaala iravu"(Kai Pidiththaval-S-G), "Penn ninaithaal"(Meenakshi Kungumam-S-G), "Ananda veenai naan meettum pothu"(Melathaalangal-Ramesh Naidu), "Then malar kannigal"(Paruva mazhai-Salil Chowdhry), "Oh kaadhal bodhai"(Mudisooda Mannan-Sathyam), "Ponne bhoomiyadi"(Manitharil Iththanai Nirangala-Shyam).
PS was definitely not where she was, say even 3 years back. The number of her songs was steadily coming down. However she still sang some lovely songs in 1978. Recollect these ones: "Darling darling"(Priya), "Thaalaattu"(Achchaani), "Iyarkkai rathangale"(Vaazha Ninaithaal Vaazhalaam), "Megame thoothaaga vaa" and "Moha sangeetham"(Kannan Oru Kaikkuzhandhai), "Dhinam dhinam oru nadagam"(Idhu Eppadi Irukku), "Thangakudathukku pottum itten"(Maariamman Thiruvizha), "Orey idam"(Sattam En Kaiyil), "Unnai nambi nethiyile" & "En kannmani"(Chittukkuruvi) - all IR, "Manjal itta nilavaaga"(Aval Thandha Uravu), "Kannanai ninaikkatha naalillaiye"(Seervarisai), "Veera magan poraada"(Maduraiyai Meeta Sundarapandiyan), "Joyful Singapore"(Varuvaan Vadivelan), "Udhadugalil unathu peyar"(Thangarangan) - all MSV, "Vaa nilave"(Panchamirtham-S-G), "Neram vandhachu"(Thaai Meedhu Sathiyam-S-G), "Kannanukku kovam enna"(Annapoorani-V.Kumar), "Sirithaal andha sirippil"(Ananda Bhairavi-R.Ramanujam).
One singer whom IR brought back into the limelight this year was the great Jikki. Jikki (Pillavaallu Gajapathi Krishnaveni) was the queen among singers in the 50s, and this was no mean achievement, for in the 50s, unlike in the later decades, highly talented and trained singers were many in number. Jikki proved herself as a singer of rare merit in this galaxy of stalwarts like MLV, (Radha)Jayalakshmi, R.Balasaraswathi, T.V.Rathnam, P.A.Periyanayagi, P.Leela, T.S.Bagavathi, A.P.Komala, Soolamangalam Rajalakshmi, K.Jamunarani, and later PS and SJ. She was said to be one of the two favorite singers of G.Ramanathan, (the other one being S.Varalakshmi). However towards the beginning of the 60s, due to personal and other reasons, Jikki lost out and quickly became history. Though she made a comeback of sorts in the early 70s and got to sing a few songs in the following years, it was IR in 1978 who gave her an alluring solo- "Kaadhalennum kaaviyam, kanni nenjin oviyam"(Vattathukkul Sathuram). And oldtimers who were deprived of this voice all these years got to hear vintage Jikki again in all her glory. It remains to this day a song of mesmerizing beauty.
LRE got one of her rare opportunities to sing for IR this year: "Nee Mohiniya"(Thirukkalyanam). Among her songs for MSV were "Oru pakkam neruppu"(Vandikkaran Magan), "Kottu Potta" and "Azhagi Oruthi"(both Pilot Premnath).
It was a memorable year for BSS as well. "Itho itho en nenjile"(Vattathukkul Sathuram with SJ - IR), "Nadigai paarkkum nadagam"(Oru Nadigai Nadagam Paarkkiraal), "Adiyenai paaramm"(Vanakkuthukkuriya Kadhaliye) and "Rathi devi sannidhiyil"(Oru Veedu Oru Ulagam) – all MSV, were her songs this year.
K.Swarna got to sing two songs for her husband in Chathurangam, "Ada abishtu" and "Aarambam maalai nerathu".
It was in 1978 that Manorama sang her evergreen "Manjakkayiru thaali manjakkakyiru" for S-G in Unakkum Vaazhvu Varum. She also got to sing for IR this year, "Adhu maathiram"(Achchaani) and the famous "Kaanaankuruvikku kalyanamaam"(Vaazha Ninaithaal Vaazhalaam).
Again, it was in 1978 that a new, distinctly enchanting voice suddenly made its song heard. She sang her first tamizh song with SJ for IR. The song "Vaanathu Poonkili" from Thiripurasundari may not have become a big hit, but the new singer Jency Anthony would attain instant stardom, and in the following 4-5 years, go on to sing wonderful songs in blockbuster movies, at the same time maintain an amazingly low profile (I don't recollect ever reading any interview of hers or even seeing her photo in any magazine!) and one fine day, simply diasappear from TFM, never to return. The other songs of Jency in 1978 are "Adi Penney"(Mullum Malarum), "Aada sonnare"(Vattathukkul Sathuram) and "En Uyir nee thaane"(Priya).
The voice of S.P.Shailaja too was first heard in 1978, though she would make a full-fledged debut only in 1979. In 1978, she gave a spellbinding humming for an ever-appealing song of her brother's, "Mazhai tharumo en megam"(Manitharil Iththanai Nirangala MD:Shyam).
Speaking of brothers and sisters reminds me to add that in 1978, Shobha Chandrasekhar sang a dreamy, magical duet with her brother S.N.Surendar, for Ilayaraja. I am sure at least some of you would recollect the class song "Maalai ila manathil" from "Aval Oru Pachchaikkuzhandai".
This, in short (!), was the tfm scene in 1978. In this year of wonderful music, Vani Jairam reaped a bumper harvest of excellent songs for various Music Directors.
Anbargaley, let me confess that I was a mere child in 1978, and I have absolutely no business to be dissecting the state of TFM prevailing then, as though I had observed it firsthand!! So, if any of you who were old enough in 1978 recollect any interesting happenings in TFM that year, please help me. Again, if there are any errors in what I have written, Mannitharulga!
In his foreword to his famed autobiography (so aptly titled "Roses In December"), M.C.Chagla writes "God gave us memories so that we may have Roses in December".
A few minutes ago, as I was debating with myself about the choice of the songs with which to begin the 1978 retrospective, a flood of nostalgia overcame me. Most of these songs were an integral part of my childhood. I grew up listening to these songs. The very thought triggered off a kaleidoscope of memories of those enchanted days, innocent, carefree and unfettered. True, all for a long time we didn't have a TV, and I used to barge into my neighbor's house to watch Friday's Oliyum Oliyum and Sunday's movie, and when finally we could afford one, we got an EC B&W TV (on instalment basis), and for music, we had only the faithful radio. Ilangai Oliparappu Kootuthavanam Tamizh Chevai 2 and Vividh Baharathi. And yet we never felt the lack of anything. Today I have all the latest gadgets, but I'd give anything to bring back the happiness of those childhood days!
These songs bring a wistful lump in my throat, a sort of happy-sad feeling, it is like seeing a treasured sight through a window, but knowing you can never actually go out. For a minute, I am back in Madras of the late 70s, (with a stepcut and wearing drawer/bellbottoms), with near and dear ones, friends with whom I have lost contact with long back, and relatives, some of whom have departed forever, these songs belong to that timeframe. Sitting here in office today (with an unsuspecting boss who would surely not be amused to know what his dear junior is furiously typing away), miles and seas away, and decades later, older and not much wiser, these songs seem to be a magical time machine transporting me to that lost world. Paradise Lost and Paradise Regained (at least temporarily!).
We will commence, as is our wont, by discussing Vani's songs for the Mellisai Mannar.
1978 Swing swing - Vanakkathukkuriya Kadhaliye Santhi my Holy Angel - Taxi Driver Ithu undhan veettu kili thaan - Shankar Salim Simon Kannan mugam kaana - Aayiram Jenmangal Medaiyil aadidum - Vandikkaaran Magan Oorai thiruththa oru pillai - Vandikkaaran Magan Ilangaiyin ilangkuyil - Pilot Premnath Azhagiya kiligalin oorvalam - General Chakravarthi Eththanai malargal - Oru Nadigai Naadagam Paarkiraal Andhamaanai paarungal azhagu - Andhaman Kathali Ninaivaaley silai seithu - Andhaman Kathali Anandam tharum ragangal - Iraivan Kodutha Varam Nalla kanavunukku manaiviyaanaval - Ilaiyarani Rajalakshmi Thendralil aadum koondhalil - Maduraiyai Meeta Sundarapandiyan Amudha tamizhil ezhuthum - Maduraiyai Meeta Sundarapandiyan Mangalam pongum - Maduraiyai Meetta Sundarapandiyan Ada Ennanga idhu - Justice Gopinath Namadhu kaadhal engum - Justice Gopinath Ilakkanam Maarudho - Nizhal Nijamaagirathu Sathiya Thirukkolam - Varuvaan Vadivelan Varuvaan Vadivelan - Varuvaan Vadivelan Neeyindri Yarumillai - Varuvaan Vadivelan Mein Hoon Lucky Ladki - Vayasupponnu Adho Adho Oru Sengkottai - Vayasupponnu Pudhu manjal meni chittu - Rudra Thaandavam Kalaimagal uravum Thirumagal varavum - Per Solla Oru Pillai Paada chollum nenjam - Per Solla Oru Pillai Sorgathai paarkkiren unnidam - Aval Oru Adhisayam Azhagaana ila mangai - Thappu Thaalangal Ammadi Ponnu ennamma kannu - Rajavukketha Rani Aalaippaar azhagaippaar - Rajavukketha Rani Udalenbaar Uyirenbaar - Puthu Cheruppu Kadikkum Aaana Kaanaa - Sri Kanchi Kamakshi Thamizh vendhan Pandiyanin angam - Ananda Bhairavi Orey Naal unnai naan - Ilamai Oonjalaadugiradhu Nee kettaal nnan maaten endra - Ilamai Oonjalaadugiradhu Thaali ondru thevai enna - Thirukkalyanam Thanakkoru Sorgathai – Vaazha Ninaithaal Vaazhalaam Nitham nitham nellu choru - Mullum Malarum Kannan arugae paada vendum - Kannan Oru Kaikkuzhandhai Yaengum deivam angae - Sonnathu Nee Thaana Kandaen engum - Kaatrinilae Varum Geetham Madhanorchavam rathiyoduthaan - Sadhurangam Andhiyilae sevvandhi jolikkudhadi - Annalakshmi Anna un idhayam - Annalakshmi Kannan angae Radhai ingae - Mangudi Minor Ellaam un arulaalae - Radhaikketra Kannan Ponna Porandhava - Radhaikketra Kannan Aadungal Paadungal - Radhaikketra Kannan Naan paadam solli koduppaen - Alli Durbaar Ponnae Bhoomiyadi - Manitharil Iththanai Nirangala Thalathalakkuthu minuminukkuthu - Mela Thaalangal Srirangano Srideviyo - Meenakshi Kungumam Muththamma chinna chittu - Meenakshi Kungumam Devadhai oruthi - Kamakshiyin Karunai Kadhai sollum silaigal - Karate Kamala Naanae oru vaettaiyaada vandhaen - Karate Kamala Kannaalam kattame - Ullathil Kuzhandhaiyadi Kannukku neeyoru kannipponnu - Ullathil Kuzhandhaiyadi
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Swing swing - Vanakkathukkuriya KadhaliyeSingers:VJ&JC - Music:M.S.Viswanathan
Based on a story by the late Rajendra Kumar, VK was directed by veteran A.C.Thirulogachander. It boasted of a talented star cast. Sridevi in a dual role, along with Rajinikanth, Vijayakumar, Jaiganesh, Jayachitra and others. It was a story of twins, separated at birth, (even an unborn baby can guess the rest of the tale) with one of them being clairvoyant to boot! (I vaguely remember one of them suffering from bouts of severe stomach ache as well. What about the headache that the attacked the viewers?! ) A film of insufferable boredom.
MSV had tuned in a couple of good songs that became popular. "Adiyennai paramma" by Jolly Abraham & B.S.Sasirekha was a big hit.
This song is filmed on Rajini and Sridevi, who appear as Christians, hence the English words in the lyrics. Among the rare opportunities that Jayachandran got to sing for Rajini (Vaazhkkaye vesham for Aarilirundhu Arubathu Varai was another one).
JC: Swing swing unathu oonjal naan VJ: Sing sing unathu paadal naan JC: Sweet sweet unathu azhagu thaan VJ: Sure, sure, unathu amudham naan
JC: Nenjodu ninaivu sumaigal neengatha uravu sumaigal VJ: Ennodu paruva sumaigal ellame azhagu sumaigal JC: Kannodu kanavu sumaigal kaiyodu kaniyum sumaigal VJ: Ondralla anbu sumaigal Ovvondrum inba suvaigal
VJ: My darling, indha mayakkam Good Morning sollum varaikkum JC: Naam kaanum indha nerukkam naal thorum nenjil irukkum VJ: Anandam ellai kadakkum angangal thannai marakkum JC: Manjangal kandu kalakkum nenjangal engum inikkum
A lovely, lovely song! MSV maintains the caressing romantic mood throughout. Hark at the way the English words are sung twice initially and then thrice in the repetition. The interludes, with the trumpet dominating, add to the western backdrop of the song. JC & VJ, my favourite pair, as usual, bring to life the singular beauty of MSV's vision.
Listen to it and you'll be "swing"ing with ecstacy! Nenjangal engum inikkum.
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Santhi my Holy Angel - Taxi DriverSingers:VJ&SPB - Music:M.S.Viswanathan
Saruchitra Films' "Taxi Driver" starred Jaishankar and Sridevi. 1978 seems to be the year of this pair. Apart from TD, they were together in Mudisooda Mannan and Idhu Eppadi Irukku as well. However Taxi Diver was the biggest hit of them all. In fact, it was among the last successful films of our Thennagathu James Bond, and did well in Sri Lanka too.
And like that old Hindi Taxi Driver, our tamizh TD also had an excellent musical score, thanks to MSV. The immortal SPB-SJ duet "Sugamaana sindhanaiyil idhamaana uravodu sorgangal varukindrana" was among Kannadasan's favorite songs in his last years. Another wonderful song was sung by MSV himself, along with SPB, "Ithu rajagopura deepam, agal vilakalla".
SPB: Santhi Santhi Santhi My Holy Angel VJ: Babu Babu Babu My Jolly Ranger
SPB: Poovin melliya Santhi punnagai arumbugal yendhi Nee vandha pothu naan kanda madhu ninaivil nindrathamma endhan ninaivil nindrathamma VJ: Poo viritha solaiyile ilankaatru vilayaadum neramithu bodhaiyile naan mayangi un maarbil arangerum paruvamithu
SPB: Vaanappandhal valamaana megam malargal isappaadum azhagu Kaatru thaalattum kanicholai marangal kavithai uruvakkum azhagu kavithai uruvaakkum azhagu VJ: Mangalam vilaigindra manamedaippola Mandhira malairajan azhagu Sangoli isaiyaaga ulagangal marandhu thaavidum paravaigal azhagu thaavidum paravaigal azhagu SPB: Thaavi varum un aruvi thallaadi neeraadi saaindhuvidu VJ: Poovidhazhil saareduthu polladha sugam thandhu serndhuvidu
VJ: Kodai kaalangal kulirkaalamaaga tholil uravaada vendum SPB: Odai neeraadi uravaadi magizhnthu kadhal padham kaana vendum kadhal padham kaana vendum VJ: Un manathu kettappadi ovvundrum nee kaana sammadhame SPB: Ennudane nee irundhaal ezhmai ninaiyaathu en maname
The inane "My Jolly Ranger" (!) notwithstanding, this remains a memorable composition. SPB carefully says "Santhi" and not "Shanthi" and the echo effects of his emotional call set the mood of the song. There is a subtle undercurrent of melancholy running right through the song, I wonder why. SPB and VJ are at their soulful best. The whistling in the second interlude is a typical MSV touch.
Ithu undhan veettu kili thaan - Shankar Salim SimonSingers:VJ - Music:M.S.Viswanathan
When Manmohan Desai released his "Amar Akbar Anthony" in 1977, he himself would not have expected its stunning success. And this lead to a spate of films having similar names in various languages. In Tamizh itself, I remember one more film, perhaps a dubbed one, "Ram Robert Rahim".
"Shankar Salim Simon" was the brainchild of P.Madhavan. It had Vijayakumar, Jaiganesh and Rajinikanth in the lead roles, supported by Latha, Manjula, YGM and Manorama (I don't remember the name of the actress who played Jaiganesh's pair though).
This was the year when Latha was finally freed of the yoke of being restricted to MGR films. As long as MGR was acting, I think the only outside films she did in Tamizh were "Sivagamiyin Selvan" and "Veetukku Vandha Marumagal". But after the end of MGR's film career with "Maduraiyai Meetta Sundarapandiyan", Latha found herself flooded with films with various heroes. And she blossomed to be a good actress too. Her performances in Vattathukkul Sathuram, Azhagey Unnai Aaradhikkiren and Annapparavai stand testimony to her capabilities as an actress of caliber.
MSV had an instant hit in "Sindhu nadhippoovey", which SJ had rendered with aplomb and characteristic panache, and MSV's Hindi lines (Yehi to pyaar hai, mohabbat ki nishaani hai etc) adding to the song's lure. Other songs included "Vandhaale oru maharasi"—SPB&PS and "Gopurathiley oru chittukkuruvi"-Kovai Soundararajan&Chorus.
In this song, Latha & friends (in tennis attire) are getting back at YGM & co, who had attempted a bit of eve teasing, and Latha tries to drive some good sense into the heads of these roadside Romeos.
Ithu undhan veettu kilithaan ithu undhan veettu kilithaan koondil vaithu kurumbu seiyya pazhathai kandu pasiyai theerkka parandhu vandhene parandhu vandhene
Ragangal irukku, pala vidhangal irukku idhai sugangal unakku tharavo Indha Rathiyai eduthu ungal madiyil anaithu inba kavithai padikka varavo Pachchai poonkodi manjal meniyil thullum mottugal ungal pakkam ichchai theerndhida aasai vandhadhu engey ponathu engal vetkkam
Panaththai madhikkum sila idangal irukku ivai kulathil pirandha kiligal Engal nadaththai ozhukkam panbai madhikkum pazhakkam avai padippil kidaitha vazhigal Kanni penngalai kannil kandathum jaadai seivathu budhdhikkedu Annai thandhayin ennam poloru pennai paarthathum kattippodu
Even in this (literally) pedestrian situation, MSV came up with a song of eternal allure. It starts off with some guitar notes, and VJ opens her account in superb style. Ivvalo sweeta oru dose vaangurathunaa, kadalai pottukkitte irukkalaam! If her humming followed by some whistling in the first interlude makes you long for more, then her lovely prolonging of "Varavo" makes you sigh with contentment. And that's not half of it. Wait till the end of the charanam, and you are in for a rare treat. Vani, without any warning, bursts into a brilliant but brief swara passage, beginning with ga ma ga ma pa, ma pa ma pa ni, pa ni pa ni sa, ni sa ni sa ni sa dha and flies in a Grand Prix pace to touch the pallavi again.
Ivar engal veettu kili thaan!
Kannan mugam kaana - Aayiram JenmangalSingers:VJ&JC - Music:M.S.Viswanathan
A Malayalam horror film called "Yakshagaanam" did brisk business, and that was enough for our Kodambakkam dream-merchants to promptly remake it in Tamizh. Directed by Durai, AJ starred Vijayakumar, Rajinikanth, Latha and Padmapriya.
I remember watching it with terror, and then spending many a sleepless night! The story was fairly simple. Rich Vijayakumar loves the poor Padmapriya. But her Murai Maaman (K.Kannan?) is determined to have her, and one day she dies while trying to escape from his clutches. Later Vijayakumar marries Latha and begins a new chapter. But when they come to the estate, PP's aavi, which is still hovering around, enters into Latha's body. Latha's brother Rajini suspects that something is wrong and thwarts the evil designs of the ghost, and in the petrifying climax, finally manages to exorcize Latha from it.
MSV's songs were great. SJ's two "pei" songs "Venmegame" and "Azhaikkindren" still strike my heart with chill. PS's "Naan aadaatha aattam" failed to create an impact.
This is a mellifluous song, filmed on Vijayakumar and Padmapriya.
VJ: Kannan mugam kaana kaathirundhaal oru maadhu Mannan vandha pinney thanninaivu enbathu yedhu JC: Kannan mugam kaana kaathirundhaal oru maadhu Mannan vandha pinney thanninaivu enbathu yedhu
VJ: Ponnum poovum minnum angam Kannan endhan kaadhal sangam Innum sollungal mangai ragangal ungal nizhal allavo Kannil nillungal nenjil sellungal neengal naanallavo Neengal naanallavo
JC: Modhum thendral kaadhal nadhiyil moga paruvam undhan madiyil Angam neeraada kanngal thaalatta pongum sugamallavo Thanga kinnangal vaira kannangal kavithai therallavo Kavithai therallavo
VJ: Sorgam endhan pakkam vandhum vetkkam vandhaal engey selven Engey nindraalum engey sendraalum ungal porullallavo Yengum ennangal pongum thaabangal enakkum undallavo Enakkum undallavo
MSV has provided a spellbinding tabla support throughout the song. A short Veenai bit is the prelude to the pallavi. My favorite pair at the vocals once again , the chemistry is as expected. The singsong prose like first two lines of the charanam, and their seamless blending with the tune of the third line is an astounding indication of the genius of the creator. The second interlude is different from the first and third. There's an unexpected bit of music in the middle of the charanam as well, before the lines are repeated.
A dainty, dulcet duet, one that will rank as one among the best ever of JC-VJ.
We had commenced our 1978 Journal with some of the songs by the Vani-MSV collaboration, and we will continue this week to recollect some more songs that VJ sang for the Mellisai Mannar.
Medaiyil aadidum - Vandikkaaran MaganSingers:VJ&SPB - Music:M.S.Viswanathan
MGR had become the Chief Minister of TN the previous year and the DMK party had received the worst drubbing in its history. Kalaignar wished to mould his son Muthu into a celluloid hero in the lines of MGR, but Muthu's film career was shortlived, and by 1978, he was all but forgotten. It was in this juncture that Kalaignar joined hands with "Makkal Kalaignar" Jaishankar to make "Vandikkaaran Magan". The film was based on CN Annadurai's story and had fiery dialogues by Kalaignar. The unexpected success of this film emboldened this partnership to try their luck again in the next year, but "Aadu Paambey" sank without a trace. However, Jaishankar was projected as a hero with DMK leanings in a time when MGR was the monarch of all he surveyed in TN. It is quite another story that some years later Jaishankar denied this by stating that neither did anyone from DMK invite him to join the party, nor did he evince any interest in doing so!
Vandikkaran Magan had in its lead the hit pair of the 70s, Jaishankar and Jayachitra. How many films had these two acted together! Petite Jayachitra, with her mischief-filled eyes, was the perfect foil for the sober Jai and there was an undeniable chemistry on screen between them. However, by 1978 the magic had worn thin. Jai's swashbuckling image was a distant memory and Jayachitra had bought the one-way ticket to "Gundoor". 1978 marked the beginning of the end of the road for her. Her 100th film "Nayakkar Magal" was released in 1982 after years in the making. She returned to do supporting roles in Lakshmi Vandhachu(1986) and Paruva Ragam(1987). Her performances in both Agninakshatiram(1988) and Puthu Puthu Arthangal(1989) won acclaim. But, not being satisfied with this, she produced Pudhiya Ragam(1991), with herself as the heroine, and her son-in-law from Puthu Puthu Arthangal(Rahman) as her hero! The outraged public treated the film with the contempt it richly deserved. Jayachitra made some negligible forays into politics by becoming a member of the Congress party. Currently, she can be seen acting in "Alaigal" serial in Sun TV (though she seems to have disappeared for a long time now).
I have seen this song on TV long back. A pudgy Jaishankar and a pudgier Jayachitra dressed in royal costumes prance about singing, perhaps a dream song. Other songs in the film include "Paduththaal, purandaal, urakaamillai"-SPB&Ramola, "Oru pakkam neruppu"-LRE and "Nadagam nadakkuthu naatiley"-TMS.
SPB: Medaiyil aadidum melliya poonkraatrey nee aadaiyil aadinaal manmathan vilaiyaattey Menagai poloru punnagai pudhu paattey un meniyin saayalo ananda neerootrey
VJ: Pazhukka pazhukka rasam pizhiya pizhiya pazham ulloora kalloora thalladumo Kudikka kudikka manam midhakka midhakka dhinam vandaattam kondaattam undaagumo Odai meenaada Odai neer vendum Uravinil naan aada Oruvan nee vendum
SPB: Odiya odiya idai neliya neliya nadai ullasa pallaakkin oorgolamo Nerunga nerunga mella odhunga odhunga enum oodalgal yuvarani oyyaramo maalai idalaamo manjam varalaamo selai thodalaamo kaigal padalaamo
VJ: Nazhuva nazhuva ennai thazhuva thazhuva varum viththaigal kanna un vellottamo SPB: Mayakki mayakki pinbu maraithu maraithu vaithal anbey un selvaakkin adayaalamo VJ: Kaathal vilayaada kaaval kidaiyaatho SPB: Kaaval thadaippottaal aaval meeraatho
An exquisite duet from the Master. The swift charanams have longwinded lines with difficult words, but the singers are made of sterner stuff and effortlessly reach the finishing line in singular style. Can any of the present day singers mouth lines like "Pazhukka pazhukka rasam pizhiya pizhiya pazham uLLoora kaLLoora thaLLaadumo" with the elegant clarity of VJ, and that too in that speed set by MSV? The song was a big hit in its time.
Oorai thiruththa oru pillai - Vandikkaran MaganSingers:VJ,S.Govindarajan,K.Soundararajan - Music:M.S.Viswanathan
The other songs in the film are "Paduththaal purandaal urakaamillai"-SPB&Ramola, "Oru pakkam neruppu"-LRE and "Nadagam nadakkuthu naatiley"-TMS.
Kovai Soundararajan has sung the last part of the song. His real name is Chinnasami Srinivasan. When Aringnar Anna heard him sing in a programme in Coimabatore, he renamed him as Kovai Soundararajan, as his voice bore a striking similarity to the voice of TMS. KS struggled for opportunities, as while TMS himself was still going strong, there were very few takers for a TMS clone. However MSV, Vijayabhaskar and S-G gave him some memorable songs, and KS made the most of them. Songs like "Engaladhu bhoomi kaakka vandha sami"-Neethi, "Jambulingamae jadaathara" and "Mella pesungal"- both from Kaasethaan Kadavulada, "Indha naal nalla naal"-Aasirvaatham, "Kadavul potta kanakku"-Maalai Soodavaa, "Aanjaneya Anumanthayya"-Kaasi Yaathirai, "Sonpappdi sonappapdi"-En Magan, "Punnaimaram onnu thennai maram onnu"-Muththana Muththallavo, "Kannankarutha kuyil nirathavalae"-Dr.Siva, "Manjal poosi manjam konda" and "Appappa thambi"- both from Ungal Viruppam, Ilaya Thalaimurai title track, "Naan summa thodavae maataen"-Aval Oru Adhisayam and "Gopurathilae oru chittukkuravi"–Shankar Salim Simon, ensure a place, humble though it may be, for KS, in the galaxy of Tamil singers.
This song seems to be the exultant celebration marking the birth of a son, perhaps of Jaishankar & Jayachitra. The song exudes an air of festive and boisterous merry making.
VJ: Oosimel raapagalaa ukkaarndhu thavamirundhaa Urakkam varaama orukkalichu paduthirundhaa Pesi vechcha pechchuppadi paththaam masam peththeduthaa Aasaikkadal kulichava thaan azhagaana muththeduthaa
SG: Oorai thiruththa oru pillai porandhaan Appan peyarai nirutha rendukkannai thirandhaan Thaarai thambattam kottungadi Kai thaalam thappama thattungadi SG&VJ: Oorai thiruththa oruppillai pirandhaan Appan peyarai nirutha rendukkannai thirandhaan Thaarai thambattam kottungadi Kai thaalam thappama thattungadi
SG: Anippillai thennampillai kilippillai keerippillai aththanaikkum usandhadhu ennappillai Ada sollu pulla VJ: Oru aaththaa madi sumandha chinna pullai Thottu paartha kai manakkum vanna pullai Thottu paartha kai manakkum vanna pullai
SG: Vellarikkai vidhaiyaippola sirikkudhadi pillai vellaritham poovaattam irukkudhadi VJ: Kallirukkum thaamaraippo kaadirukkum malligaippoo mullirukkum seriyilae porandhadhadi ingae ullirukkum seithiyellaam arijidhadi Peththeduththa ammaiyoru panakkaari nalla peru vecha appanoru thozhilaali SG: Melidathai keezhidathil Oridathil serthuvaikka kaaranamaai vandhadhadi indhappillai indha kaariyathai verevanum senjathillai
KS: Anandha thenae arumai maganae naan sollapporadhai kettukkada nee nallathai kaathulappotukkada nee nallathai kaathulappotukkada
KS: alaiyil uzhaikkum thozhilaali unna arisayaikkodukkum vivasaayi mootaiyai thookkum paataali indha moovarum namakku kootaali
The song begins with a pleasant flute bit, and VJ enters with the gentle thogayara. The graceful line endings are typical VJ, while the extra soft last line beginning with "Aasaikkadal kulichchava thaan" is of particular appeal. This prelude is the hushed calm before the exuberant storm. All hell breaks loose when Seergazhi begins with "Oorai thiruththa oru", rumbustious revelries commence in right earnest and KS joins the party toward the end, singing a few words of socialist advice to the infant son!
Ilangaiyin ilangkuyil - Pilot PremnathSingers:VJ&TMS - Music:M.S.Viswanathan
"Pilot Premnath" was an Indo-Srilankan joint venture and had Sivaji being paired with a Srilankan actress, Malini Fonseka. It was shot almost entirely in the lovely isle. Seeing the enchanting locales the country had to offer, there were a number of films in quick succession to be shot in Srilanka, Nangooram(1979). Othayadi Pathaiyiley(1980) and Mohana Punnagai(1981), for instance. Years later, Puthiya Mugam(1993) and now Kannathil Muththamittaal had scenes shot in Ilangai.
Others in the cast were Sridevi, Vijayakumar, Jaiganesh, Jayachitra, Satyapriya, Thengai Srinivasan and Manorama. It had A.C.Thirulogachander in the cockpit.
The story was a modified rehash of Sivaji's Paar Magaley Paar(1963), which itself was the celluloid adaptation of UAA's stage drama "Petraalthaan Pillaiya". Pilot Premnath is a widower with 3 children - Vijayakumar, Jaiganesh and Sridevi. Accidentally, he comes to know that one of them is not his own child, and he loses his piece of mind. In the end the pieces of the puzzle fall in place and all is well.
The other songs include the catchy "Azhagi oruthi ilanee vikkira kozhumbu veethiyiley"-JC&LRE, the feet-tapping Ceylon baila "Coatu potta mudalilikku kolumbulethaan kalyanam"-Ceylon Manohar&LRE (what a blast LRE has in this one!) and "Who is the black sheep"-TMS.
This song features Sivaji with Malini Fonseka. I saw the film as a child, and remember being horrified at her gruesome death. The pumping stove bursts and she is enveloped by fatal flames. I was too scared to go inside the kitchen at home for days after watching the film!
TMS: Ilangaiyin ilangkuyil ennodu isaippaadutho salangaiyin oli enum sangeetham nagai aanatho VJ: Naadenna mozhiyenna ullangal uravaada Yedenna ezhuthenna ennangal parimaara
VJ: Endrum intha bhoomiyiley unakkaga naan pirappen Nee thaan en thalaivan endraal nooru jenmam naan eduppen TMS: Vilagaatha sondhamithu palakkaala bandhamidhu Inai serum noolizhaippol inaindhen un noolidai mel
TMS: Anbu deivam Gowthamanin arul koorum aalayangal Valarum nam uravugalai vaazhthugindra velaiyithu VJ: Kathir vaanam ullavarai kanamthorum kaathal mazhai Thamizh polum aayiram kaalam thigattaadha mohana ragam
An enthralling duet. One that will find place of pride among Sivaji's best duets from the 70s. TMS starts off with the sound of the kuyil cooing in reply to his pallavi. Contrast the hero of 1978 who likens his beloved's laughter to the music of anklets, with the hero of 1996, who is reminded of the telephone ringing when he hears his sweetheart laugh!
Hark at VJ's "Endrum indha bhoomiyiley unakkaga naan pirappen, nee thaan en thalaivan endraal nooru jenmam naan eduppen". Soulful is the word that comes closest to describing the amazing grace in her song. TMS sounds as majestic as ever. The song was/is immensely popular. I remember that it went to the first position in the "Isai selvam" programme of Radio Ceylon the very next week after it was introduced, and there it stayed for months.
Thamizh polum aayiram kaalam thigattaadha mohana ragam!
Azhagiya kiligalin oorvalam - General ChakravarthiSingers:VJ&LRE - Music:M.S.Viswanathan
General Chakravarthi was directed by oldtimer D.Yoganand and starred Sivaji Ganesan, K.R.Vijaya, Kavitha and others. I remember seeing it in Shanthi Theatre, Madras on its 100th Day (I remember it particularly well, as all children who went that day got a cool pencil as a compliment, and I showed it off proudly in class the next day. I was in 3rd standard then!).
I have also seen it subsequently on TV and remember the story as this: Sivaji (General Chakravarthy) and his wife Doctor Bharathi (KRV) have a daughter, Kavitha who is the apple of their eye. Kavitha falls for a handsome cricketer (Chattakaari Mohan?), and inadvertently becomes pregnant. Luckily, the strict General is away when KRV makes this shocking discovery. What does she do? Hold your breath. She pretends that the child is her own!!!! Sivaji returns and is told that he has fathered a child at this age! He takes it with a pinch of salt and the events that follow confirm his suspicion. I think he sees Kavitha feeding the baby, the truth is revealed, Mohan and Kavitha tie the knot and its time for "Subham", wait... KRV discovers that she is really pregnant!!
Other songs include the TMS-PS duet "Hello my dear doctor! What is the matter?" and the TMS solo "Nee enna Kannanaa, naan enna Kamsanaa?".
This song, in all probability featured Kavitha and friends having fun, teasing some men.
VJ: Azhagiya kiligalin oorvalam avasarappattaal nadakkathu Adikkadi neengal aadi asaindhaal azhagukku vaattam irukkathu LRE: Aalai annaipathil sooraradi adhil aasai ivarukku adhigamadi Kamanai pazhikkum Bheemanadi naan kaniyaaga pirakkavillaiyadi
VJ: Aiyah oruvagai minoradi ivar aathiram paduvathil majoradi Kaiyum kaalum thudikkudhadi ivarkku kalyanam aagalai theriyudhadi LRE: Kaathalai thedi povaaro Illai kappalai pidikka povaaro Paavam avarukku padharudhadi pakkuvamaaga vazhividadi
LRE: Poga ninaippathu poithaandi ithu ponnula mayangura kaithaandi VJ: Aadai thiruppura kadhaithaandi ivar horn adippathu adhuthaandi
I admit that there is nothing outstanding about this song, except that it has two favorite singers of MSV coming together for the first time. LRE (Lurdhumary Rajeswari) was a very talented singer and was the other female voice in most films of the 60s. Her voice had lost much of its sweetness by 1978, yet there was still a hint of the old charm. MSV staunchly stood by his protege even till the mid 80s, after which he himself found few takers.
Eththanai malargal - Oru Nadigai Naadagam PaarkiraalSingers:VJ&TMS - Music:M.S.Viswanathan
"Oru Nadigai Naadagam Paarkiraal" was second in the trilogy of the Bhimsingh-Jayakanthan collaborations. The first one was "Sila Nerangalil Sila Mnaithargal" (1977) and the third in the trailblazing series was "Karunai Ullam"(1978).
We had discussed JK and his works extensively while dwelling on "Veru idam thedi povaalo", and so let us proceed directly to talk about ONNP. I saw this film on TV in 1990, when I was in college, and was lost in wonder. For days afterwards, I used to go on and on about it to my friends! Sad to say, none of them seemed to share my enthusiasm.
This film too, like SNSM, had Lakshmi and Srikanth in the lead. As the name suggests, it tells the tale of a stage actress, Kalyani, so wonderfully portrayed by Lakshmi. Srikanth plays Ranga, a journalist (or perhaps a writer), who is attracted to her. Here is what I recollect of the story: They get into an easy, intimate relationship, with no questions asked. Presently Ranga wants to formalize their relationship, Kalyani agrees, and they get married. Kalyani continues to devote time to her career, and Ranga gradually finds himself disenchanted, his expectations of a traditional submissive wife are frustrated. Kalyani, with remarkable sagacity, understands his feelings, and gently endeavours to put things right. But the chasm gradually widens. Ranga proposes a divorce. Kalyani is greatly saddened, but agrees, telling him calmly that she had not forced him to marry her, and now she was not forcing him to divorce her either. (Nagesh plays a memorable cameo as the "divorce" lawyer). In this juncture, Kalyani wakes up one morning to find her legs paralyzed. Ranga doesn't have the heart to divorce her in this state (though Nagesh cheerfully tells him that now he has a valid cause for seeking divorce). In nursing Kalyani, Ranga gains a few insights into what love really signifies, the understanding, compassion and give&take, all which go a long way in nurturing a relationship. The film ends in this healthy note.
Lakshmi effortlessly stole the show, with her natural and heartwarming performance, with Srikanth too, enacting a complex character, with unexpected maturity.
The film had only two songs, both written by JK himself. The other song is the climax "Nadigai paarkkum nadagam, ithil resigarellaam paathiram"-Jolly Abraham & BSS. Both are asareeri songs, a style that Mahendran and Balumahendra would later adopt to stunning effect.
Both: Eththanai malargal, eththanai nirangal Eththanai manangal- thirumanangal Aththanai malarum uthirvathillai Andha anbenum eeram ularvathillai Niththamum pudhu manangal Ingu nerndhidum thirumanangal
TMS: Muththinai pol paniththuli irukkum muththirukkum thottaal mullirukkum VJ: Budhdhanai poloru budhdhiyiley silar pookalai marandhaar bhoomiyiley intha pookalai maranthaar bhoomiyiley
TMS: Neeyum naanum yaaro yevaro nizhalaai uruvaai thunaiyaanom VJ: Thaayum thandhaiyum illaadha oru thanimaiyil kalandhu uravaanom
TMS: Malarinum mellidhu mellidhu sila manangal VJ: Mayangiyum kuzhambiyum theliyum sila gunangal, nalla gunangal TMS: Uravinil ezhum inba naatham, kaathal geetham VJ: Olikkum maniyellaam uyarndha vedham Udhirum malargal nallaasigal odhum
Awesome lyrics by the writer nonpareil, and sung with understanding by TMS and VJ. MSV gives an auspiciously apt Nagaswarm & gettimelam backdrop to the song. The song captures, in poetic lines, the essence of the film itself. You are left wondering anew at that genius called JK.
Andhamaanai paarungal azhagu - Andhaman KathaliSingers:VJ&KJY - Music:M.S.Viswanathan
Muktha films' "Andaman Kaadhali" starred Sivaji Ganesan, Sujatha, Kavitha, Thengai Srinivasan, Manorama, YGM, Senthamarai, Kaathadi Rammamoorthi, Sukumari, CID Sakunthala, Typist Gopu and others. Story and dialogues by Prakasam. Produced by V.Ramaswami and directed by V.Srinivasan.
Muktha Srinivasan, along with his brother Ramaswami started his career in the Accounts Section of Modern Theatres. He learned the ropes of film craft under the tutelage of trendsetters like K.Ramnath and S.Balachander. He got his break as a director in Mudhalaali(1957) produced by M.A.Venu. Under his own banner "Muktha Films", he made a mark in his early ventures like Idhayathil Nee, Poojaikku Vandha Malar, Ninaivil Nindraval, Niraikudam, Aayiram Poi, Bommalattam etc. The 70s and the 80s were the decades when the Muktha flag was flying high. The last film to come from the house Kanngalin Vaarthaigal(1998), directed by Muktha Sundar, and starring a pre-Sethu days Vikram sank without a trace. Though Srinivasan has worked with generations of actors like SSR, Gemini Ganesh, Muthuraman, Ravichandran, Jaishankar, Sivakumar, Kamal, Rajini, Murali and Pandiyarajan, his films with the Nadigar Thilagam are the most memorable.
Srinivasan, an old Congressman, quit the party along with G.K.Moopanar in 1996 and was one of the founder members of the TMC. He has also written a collection of short stories which fetched him critical acclaim.
The Muktha movies always boasted of wonderful songs. Whether the score was by V-R (it was Srinivasan who introduced Vaali to MSV during the making of Idhayathil Nee), V.Kumar, Shankar-Ganesh, Ilayaraja or Chandrabose, the films had great music. Even the disastrous Kanngalin Vaarthaigal had that alluring "Alli Sundaravalli"(Arunmozhi, MD:IR). However, it was with MSV that Srinivasan enjoyed a special rapport and the Mellisai Mannar would repeatedly come out with awesome scores in Muktha's films.
Time and again our filmmakers have taken stories revolving around the Andamans. Andaman Kaithi was a MGR-Thikkurasi Sukumaran Nair starrer that came out in 1952. Kaalapaani (Siraichaalai) in 1996, brought the focus back on the Andamans. Kaakka Kaakka and Iyarkkai are two films, parts of which are being currently shot in these lush isles.
Muktha Srinivasan chose the Andamans to be the enchanting milieu for the film, and in the process, exhibited, in glorious color, the breathtaking beauty of the islands. In 1979, he would shoot another Sivaji starrer "Imayam", almost entirely in Nepal.
AK is the tale of the loyalty of a wife to her husband from whom, she has been separated for long, by a quirk of fate. Sivaji (Prabhu) and Sujatha (Maragadham) a tribal Andaman lass, fall in love. Sujatha, however, is terrified of the repercussions that will follow if her clan comes to know. Presently, as is the rule in tamil films, they are forced to spend a night together, and the inevitable happens. Sivaji does the honorable thing by marrying her the next day, with a village temple deity as the witness, and they are all set for a happy married like. But fate wills otherwise. When Sujatha falls seriously ill, Sivaji rushes to Thengai (Dr.Banerjee). Thengai adamantly says that he would come only if Sivaji pays an exorbitant sum. In the heat of the moment, Sivaji strikes him, and Thengai falls still. Thengai's wife Manorama screams that her husband has been murdered. Horrified that he had killed Thengai, Sivaji flees to Tamil Nadu. There he happens to save a rich man from drowning, and this selvandhar is sufficiently grateful to take Sivaji under his fold, and also presently dies, leaving Sivaji as the guardian of his only daughter, Kavitha.
Years roll by. Kavitha is now grown up, and she is a great enthusiast of art forms. She wishes to see the works of a young sculptor, Madan, who is based in Andaman. Sivaji is reluctant to go to Andaman, as he fears that his nemesis will catch up with him. Nevertheless, he has never refused Kavitha anything, and so they travel to Andaman. Is it any surprise that Madan happens to be Sivaji-Sujatha's son, or that Thengai isn't dead after all or that Kavitha falls in love with Madan?
But what follows gives the story unexpected and interesting twists. Sujatha's uncle Senthamarai, is after Sivaji's blood, since he feels that Sujatha had been let down very badly by him, and Madan too wants to know who his father his, as he wants to make a statue of him, and tell the world what a scoundrel the man was. Due to this, Sujatha refuses to reveal that Sivaji is her husband, fearing for his life. Madan is adamant that he can think of marriage only after finding his father. Sivaji tries in many ways to make Sujatha reveal that he is her husband, but she thwarts all his moves. How the knot is untangled forms the engrossing climax.
The other two songs are by TMS. "Adi Leelakrishna Radharamani" and "Panam ennada panam panam".
VJ: Andhamaanai paarungal azhagu ilam paavai ennodu uravu Andha thennai thaalaattum ilaneer Indha theevu penn thoovum panneer
KJY: Indha mega koondhal kalaigal kadal neeril aadum alaigal Undha moga raga naadham indha ezhai paadum vedham Andhamaanum unpola azhagu ilam paavai unnodu uravu Andha thennai thaalaattum ilaneer indha kaadhal penn thoovum panneer
VJ: Nalla poovum thenum thirandu sugam pongum ullangal irandu Idhu raja raga swargam ini pesa enna vetkkam
KJY: Idhu yekkam theerkkum thanimai enna inbam amma un ilamai Indha devi meni manjal naan thediyaadum oonjal VJ: Ungal kaigalendra siraiyil varum kaalakaalangal varaiyil Naan vaazha vendum ulagil Andhamaanai pola arugil
Notwithstanding the fact that KJY's voice was completely unsuited for Sivaji, these two songs were among the biggest hits of the year. They remain to this day immensely popular. And this goes only to show the timeless appeal of MSV's magic. Though Sivaji had earlier featured in KJY's "Malarey kurinji malarey", this was the first time that he was actually moving his lips to KJY's voice. KJY could never impress as a singer for Sivaji, though he was very successful whilst singing for MGR. KJY's other songs for Sivaji were in films like Kavariman, Thirisoolam and Anbulla Appa.
The song is filmed on Sujatha, dressed in colorful tribal attires and atrocious headgears, and a bewigged and big-bellied Sivaji. The song begins with a bewitching humming by KJY and VJ. The opening music is unforgettable, and throughout the song, MSV dazzles with the polish and poise of his arrangements. VJ and KJY sound so wonderfully romantic. The song is a hypnotic experience.
Ninaivaaley silai seithu - Andhaman KathaliSingers:VJ&KJY - Music:M.S.Viswanathan
Another enticing song by the same pair. This time for an aged Sivaji and Sujatha, when they get together after years of separation. Greyhaired Sivaji, with a walking stick, and Sujatha, in simple cotton sarees, leaning on Sivaji's shoulder, as they take long walks all over the island, and boat rides along the coast.
KJY: Ninaivaaley silai siethu unakkaga vaithen Thirukkoyiley odi vaa Thirukkoyiley odi vaa Neerindri aarillai Neeyindri naanillai Verindri malarey edhamma Verindri malarey edhamma
VJ: Ayya un ninaivethaan, naan paadum ragangal Appodhum ippodhum thappadha thaalangal Kanneeriley naan theettinen kannathil kolangal Kannathil kolangal KJY: Sendhoora bandham, nilaiyaagum vannam Samsara theril naan eri vandhen Thirukkoyiley odi vaa
KJY: Mullaikku kuzhal thandha, pennmaikku pennmai nee Pillaikku thol thandha annaikku annai nee Adhikaalaiyil naan ketpadhu nee paadum bhoopalam VJ: En kanngal rendum pallaandu paadi Sevvaanam aanen, unnai thedi thedi Thirukkoyiley odi vaa
The song is a subject of a never-ending controversy that KJY mispronounced "Thirukkoyiley" as "Therukkoyiley". But to my ears, it sounds only as "Thirukkoyiley". However, KJY does sing "Sendhoorabandham" as "Sendhoorabendham". But these are minor errors, considering the mincemeat that today's singers make of our wonderful language!
That apart, this too is a mesmerizing song by MSV. Slow and dreamy, perfectly befitting the reflective mood of the old couple, as they look back in a philosophical mien, the twists and turns in their life. The "Aaaa Aahaa" before the repetition of "Thirukkoyiley odi vaa" is a stroke of the Master's genius. How much beauty it adds to the song! KJY's voice, which always has a tinge of melancholy in it, fits in the scheme of the song so well. As for VJ, appodhum ippodhum thappadha thaalangal! Ninaivaaley silai seithu vaikka vendiya arumayaina paadal.
Anandam tharum ragangal - Iraivan Kodutha VaramSingers:VJ - Music:M.S.Viswanathan
Iravivan Kodutha Varam starred Rajinikanth, Sumitra, Srikanth and others. I have a vague memory that it was directed by A.Bhimsingh, though I wouldn't bet on it. If it was indeed by A.Bhimsingh, then that great director had made 4 films in 1978. Oru Nadigai Nadagam Paarkiraal, Karunai Ullam, Iraivan Kodutha Varam and Kai Pidithaval. It was during the making of the last film that he passed away suddenly.
I have seen the film many years back on TV. I dimly recollect that Rajini played, with characteristic bindaas, a negative role of an unscrupulous womanizer. The other songs are "Mangai endraal" by Jolly Abraham & BSS, and "Vellai kalai uduthum" by MSV.
Anandam tharum ragangal avaladhu veenaiyil ganangal Kalam kadandha niyangal kanindhu pirandha nerangal
Kalyana melangal irumurai kettaval ponnana menikku saandhi indru ponnana menikku saandhi indru Kaanaadha kanavugal palamurai kandaval kannara kaangindra kaatchi Iru kannaara kaangindra kaatchi
Thaan ondru ninaithathai thaan seithu mudippavan Gnanathil sirandhavan Geethaiyiley gnanathil sirandhavan Geethaiyiley Sandhosham enbathai thaan thedikkondavan thullugindraan aasaiyiley thullugindraan aasaiyiley
Kaalathin vegam kuraindhadhendru avan kaadhalin vegam adhigarikka kaadhalin vegam adhigarikka Kaviya nayagan parappathenna than kaadhal nayagiyai anaithirukka kaadhal nayagiyai anaithirukka
Namey ninaithu, namey magizhvadhai naatinar solvaar madhiyendru Nayagi ninaithu nayagan mudippadhu nallor solvaar vidhiyendru Anandan ennum azhagiya yettil avargal ezhudhiya kavithai ondru Avargal ezhuthiya kavithaiyai padithu Aandavan seitha thitutham ondru
A long song, sung expressively by VJ. It gives us a glimpse into the story too. Apparently the heroine's first marriage was short lived, and she is now contemplating another marriage. MSV's song "Vellai kalai uduthum kalaimagaley, nee vidhavai alla adhai naan ariven" relays more of the story, her second husband dies suddenly. But the question is whether she is a widow, for her first husband is still alive!
The song begins with MSV's lilting music, and VJ exudes an air of exultant exuberance in the excellent pallavi. The auspicious sounds of a wedding, the Nadaswaram and the Melam are heard in the first interlude. The next interludes are filled with MBSish chorus voices portraying the meandering moods of the heroine. The voices and the music suddenly become solemn just before "Naame ninaithu", and VJ also sings these lines in a suddenly reduced tempo, and brings forth with characteristic grace, a feeling of restrained angst.
Nalla kanavunukku manaiviyaanaval - Ilaiyarani RajalakshmiSingers:VJ - Music:M.S.Viswanathan
I don't know anything about this film other than that Jaishankar was the hero, with perhaps Srividya as his pair. The title suggests a historical tale. The songs were heard often on the radio. "Adi ponnaa"-TMS, "Paatondru paada"-TMS and "Manam kavarndhu varum"-MSV being the other songs.
Nalla kanavanukku manaiviyaanaval andha Kadavulukkey nandri kooruvaal Avan vallamaiyai endrumey virumbuvaal anbu vaazhkkiyiley deepa oli yetruvaal
SriRaman Mithilai nagar veedhiyil vandhaan angu Seethai avan thol kandaal tholey kandaal Kaadhal konda Janakiyai Kamban kandaan andha kaadhalukku veeramey kaaranam endraan
ThiruMurugan veleduthu veeram kaatinaan andha Deivaanai Muruganukkey maalai sootinaa Kaalamellaam kaalaiyarkku valimai vendumey nalla kaariyangal saadhikkum thiramai vendumey
Thanneeril irangaamal neendha mudiyuma Dhairiyamey illamal vaazha mudiyuma Thannai nambum manithanaiye ulagam nambum indha thathuvamey illarathil nallathu seiyum
What a spellbinding sermon on courage, with hard-hitting mythological analogies! Indeed Dhairiyam is purusha lakshanam, and this wife gently puts across this message to her husband. VJ brings out, with enthralling empathy, the feelings of the wife who urges her husband to be "Bold, and thus beautiful". As in the case of many of MSV's songs, the first and third interludes are similar, while the second is different. The opening flute notes give the song an arresting prelude.
Another song that comes to mind in the same situation, of a wife wanting her husband to be brave, though in a lighter vein, is "Oru asadaattam en aambadayaan azhuthaappidikkaathu"-PS, from the film Thanikkudithanam(1977). It is said "Cowards die many times before their death, the valiant never taste of death but once", and it is quite understandable that a woman would want her man to be heroic. However, she ought not carry it too far, as James Leigh Hunt reminds us in his wonderful poem "The Glove and the Lions".
Let us recall three lovely songs that Vani sang for MSV, and all from the same film. The film that marked the end of a glorious career of an unparalleled Icon of tamil film history. Yes, I am talking about Soleeswar Combines' Maduraiyai Meeta Sundarapandiyan.
The life and times of Marudur Gopalamenon Ramachandran (1917-1987) seem straight from the pages of a Hans Christian Anderson or Grimms Brothers' fairy tale. Born in a poverty-stricken family in Kandy, Srilanka, he rose to the position of the Chief Minister of Tamilnadu. However, nothing came to him in a silver platter. He had to struggle all the way. But he had the vision to dream, and the singleminded determination to transfer his dreams to reality.
He was 6 when he joined the Madurai Original Boys theater group. His first film was Sathi Leelavathi(1936). But he got his first major break much later in Rajakumari(1947). It was the era of singing stars, and MGR found the going tough, as he could not sing. However, from the mid-50s, with TMS as his singing voice, he rose to unprecedented heights of fame and success. His association with the DMK made him a political force to reckon with. He never forgot his humble origins, and perhaps that is one reason why he would always feel for the poor and the downtrodden and did his best to improve their lot. To them, he will always remain their "Idhaya Deivam", "Makkal Thilagam" and "Puratchi Thalaivar", and he is forever enshrined in their hearts.
Maduraiyai Meetta Sundarapandiyan, based on Akilan's "Kayal Vizhi", was some years in the making and was released in 1978, thus earning the distinction of being MGR's last film. (Of course, there were a couple of unfinished ventures Anne Nee En Deivam, Nalladhai Naadu Kettkum etc, and Bhagyaraj used a part of the footage for his Avasara Police 100 in 1990). In fact, MGR was keen to continue acting even after becoming the CM, but the then Prime Minister, Morarji Desai, asked him to refrain from doing so.
MGR was 60 years old when he acted in MMSP, and though his physique was awesome as ever, the wrinkles on his face belied his age. I think I have read somewhere that B.R.Pandhulu was the director initially, but since he passed way halfway, MGR himself directed the film. MGR's co-stars were Latha and Padmapriya. Latha's performance in the film fetched her the TN State Govt Award for the Best Actress 1977-78. The film also bagged the TN Govt's "Sirappu Parisu" for 1977-78.
I have seen the film on TV as a child, but remember only the impressive war scenes.
The other songs in the film were "Veera magan poraada"-TMS&PS and "Thaayagathin sudhandhiramey"-TMS (both by Kavignar Muthulingam). The story goes that MGR wanted KJY to sing "Thaayagathin Sidhanthiramey" too, but MSV insisted that the song needed TMS's "veeryam" and got his way too.
Thendralil aadum koondhalil - Maduraiyai Meeta SundarapandiyanSingers:VJ&KJY - Music:M.S.Viswanathan
This lovely unforgettable duet featured MGR and Latha.
KJY: Thendraliaadum koondhalilkanden mazhaikkonda megam en devadhai amudham sindhidum neram ini enna naanam ini enna naanam ini enna naanam VJ: Mannavan ungal ponnudalandro Indiralogam andhimaalaiyail andha Maaranin Kanaiyil yen indha vegam yen indha vegam
KJY: Paavai udal paarkkadalil palli kola naan varavo Pani sindhum kani konjum poovidhazhil then peravo VJ: Maalai varum neramellaam mannan vara kaathirundhen Vazhiyengum vizhi vaithu paartha vizhi poothirundhen
KJY: Aalilayin orathiley megalaiyin naadhathiley iravendrum pagalendrum kaadhal manam paarpathundo VJ: Kalla vizhi mogathiley thulli vandha vegathiley idhazh sindhum kavi vannam kaalai varai ketppathundo Kaalai varai ketppathundo
KJY: Karpagathucholaiyiley pootha malar nee allavo vizhiyennum karuvandu paada vandha paatennavo VJ: Kaaviyathu nayaganin kattazhagu maarbiniley sugam enna sugamendru mohana pann paadiyatho mohana pann paadiyatho
Classic lyrics by Pulamaipithan. Pulamaipithan (Iyarppeyar: Ramaswami) was foremost among the lyricists promoted by MGR. He showed his mettle in his very first song the meaningful "Naan yaar naan yaar nee yaar"(Kudiyirundha Kovil), and continued to impress with his artistry with words. His was a regular name in the credits of MGR films. MGR honored him by making him a member of the Legislative Council and also appointed him as the Poet Laureate (Arsavai Kavignar). Pulamaipithan is now again in the news. Jayalalitha has appointed him AIADMK's Headquarters Secretary.
Pulamaipithan won the TN Govt Best Lyricist Award for 1977-78, for his works in MMSP.
The song is said to be based on Aarabhi ragam. A melodious composition by MSV and mellifluously rendered by two classically trained singers. (Incidentally, KJY bagged the TN Govt's Award for the Best Playback Singer for 1977-78). The song begins with attractive notes on the flute and veenai. No two charanams sound similar. And each one is distinctly appealing. The two singers add so much beauty by their briga-laden rendition. VJ scintillates throughout, particularly memorable are her "Vazhi engum vizhi vaithu" and "Kaalai varai ketpathundo".
Amudha tamizhil ezhuthum - Maduraiyai Meeta SundarapandiyanSingers:VJ&JC - Music:M.S.Viswanathan
Another captivating duet, this one filmed on MGR and Padmapriya.
VJ: Amudha thamizhil ezhuthum kavithai pudhumai pulavan nee Puvi arasarkulamum vanangum pugazhin Puratchi thalaivan nee Puratchi thalaivan nee
JC: Idhazhil ezhudhi vizhiyil padikkum kavithai nayamum nee Siru idaiyil ulagin sugathai unarthum vilakka uraiyum nee vilakka uraiyum nee
VJ: Naanam oru puramum asai oru puramum nenjil midhappadhenna Unnai oru kanamum ennai maru kanamum ullam ninaipathenna ullam ninaippathenna JC: Naadham isaithuvarum paadha manichilambu ennai azhaippathenna Oonjal asainthuvarum neela vizhi irandin vannam sivappathenna
VJ: Ethukai adhu unadhu irukkai adhu enadhu pennmai aadattume JC: Oru kai kuzhal thazhuva marukkai udal thazhuva inbam thedattume inbam theduttame VJ: Vaikai ennai nerungi vaikai anai Madurai vaigai anai polavey JC: Mangai enum amudha Gangai peruguvadhu neendhi karaikkaanavey
Paaliyath Jayachandran is a singer whose voice is forever enchanting. Though a Malayali, his Tamizh is flawless. A contemporary of giants like KJY and SPB, he could never make it to the top like them. Nonetheless, he has sung some unforgettable songs, and for many fans like me, he will rank among our very favorite singers. Of late his career seems to got a fresh lease of life, with ARR giving him some excellent songs.
Though he was quietly making waves in the 70s, he very rarely got to sing for the reigning stars of the day. Whilst he never sang for Sivaji Ganesan (except the lovely asareeri "Nenjil ulla kaayam ondru" in Rishimoolam), he sang two songs for MGR, one was "Ethanai manidhargal"(Needhikku Thalai Vanangu) and the other was this "Amudha thamizhil". The song is said to based on Dwijavanthi Ragam. Raagathoda peyarey ivvalavu inimayaaga irikkirathey, appo indha raagathil amaindha paadal evvalavo inimayaaga irukkum? Irukkiradhu! Again, lovely wordplay by Pulamaipithan. A song where the lyrics, music and voices sit together is spellbinding sync.
Mangalam pongum - Maduraiyai Meetta SundarapandiyanSingers:VJ - Music:M.S.Viswanathan
A enthralling "dance" song, probably filmed on Latha, who was trained in classical dance.
Mangalam pongum Manithamizhnaadu pugazh manathodu kadhir poley vaazhiya needu
Sangamam kanda kaviththira naadu Engal sandhana thamizhukku veredhu eedu
Innisai thendral kaaviyam paada pudhu ezhilodu malar poothu solaiyilaada Penngal sirikka muththukkal thirakka Uyar pennmayin karpenum theekkanal parakka
Anbu malarndhida panbu valarndhida aramey vaazhga Thennai sezhithida kannal thazhaithida thiruvey vaazhga Thandai kulungida thaalam muzhangida kalaiye vaazhga Nenju magizhndhida konjum pasunkili thamizhey vaazhga Senthamizhey vaazhga Bharatha kalaiye vaazhga
Over the years, singers have been tested with such "dance" songs, and many have come out with flying colours. D.K.Pattamal's "Theeradha vilayattu pillai", N.C.Vasanthakokilam's "Eppo Varuvaaro", MLV's "Paarkkadal alai meley", P.A.Periyanayagi's "Neeli magan nee allavo", T.S.Bagavathi's "Pollathanathai enna solven kanna", A.P.Komala's "Varavendaam endru sollu", P.Leela's "Kaathiruppaan Kamalakkannan", T.V.Rathinam's "Govindan kuzhalosai keleer", Soolamangalam Rajalakshmi's "Kaana kann kodi vendum", Ravvu Balasaraswathi's "Thangam pongum", M.S.Rajeswari's "Bharatha naattikkinai Bharatha nadey", (Radha) Jayalakshmi's "Aadinaal nadam aadinaal", SJ's "Kannan mananilayaiyai thangamey thangam", PS's "Mannavan vandhaanadi" are all outstanding examples of songs of this kind.
Of course, VJ also stamps her class all over this short enchanting song. She would go on to sing some more such memorable dance songs in the coming years. The jingle of anklets is heard throughout the song, adding to its appeal. Another female voice is heard, singing the swift jathis. Wonder why MSV chose someone else for the jathis, considering how superbly VJ herself could sing them, as amply evident in that awesome song "Thottilil thodangidum thaalaattu"(Kanne Kaniyamudhey). Nevertheless, there is some contrasting allure in VJ singing the lines and that slightly gruff female voice singing the jathis in between.
Ada Ennanga idhu - Justice GopinathSingers:VJ&TMS - Music:M.S.Viswanathan
Valliyandaan Pictures' "Justice Gopinath" starred Sivaji Ganesan, Rajinikanth, Thengai Srinivasan, Major Sundararajan, K.R.Vijaya, Sumitra, CID Shakunthala, Aparna and others. It was produced by K.Sivashankaran and directed by D.Yoganand.
D.Yoganand, a veteran director, was perhaps more acclaimed in Telugu. His first film was Ammalakkalu(1953), starring NTR, Padmini ,Ragini ,Relangi Venkatramiah and Surabhi Kamalabai. The film was simultaneously released in Tamizh as "Marumagal". Both versions were successful, the theme of a bride reforming all the ills in her husband's house being an ever-popular one. The songs are remembered to this day.
This initial success paved the way for Yoganand's long career, both in Telugu and Tamizh. Other memorable works of his in Telugu are Thodu Dongalu(1954), Vijayagowri(1955), Jayasimha(1955), Shri Gowri Mahathmyam(1956), Vachina Kodalu Nachindhi(1959), Ummadi Kutumbam(1967), Tikka Shankarayya(1968), Baghdad Gaja Donga(1968), Kodaludidina Kaapuram(1970), Thathamma Kala(1974), Vemulavaada Bheemakavi(1975), Simham Navvindhi(1983) etc. He was among NTR's favourite directors and he has also directed NTR's son Balakrishna in many films.
Yoganand made a mark in Srilanka as well. His Sundara Birinda(1960) is considered a milestone in the annals of Sinhalese film history.
Among Yoganand's early works in Tamizh, noteworthy are Cauveri(1955), Anbu Engey(1958), Engal Selvi(1958), Bhoologa Rambai (part of which was directed by S.Balachandar), Parthiban Kanavu(1960) and Parisu(1963).
From the late 70s to mid 80s, he made a series of films with Sivaji Ganesan, many of them being eminently forgettable. And just as he had directed both NTR and Balakrishna, he directed Prabhu too in films like Sumangali(1983) and Sarithira Nayagan(1984).
D.Yoganand was honoured on 29th Dec 2002 by The Cine Technicians Association of South India. He was awarded the "Ramnath Award for Lifetime Acievement" on the occasion, and many including K.Balachandar and Cho Ramaswami recalled Yoganand's works with reverence.
In those days, I distinctly remember that any Sivaji film would "enjoy" a decent run in Shanthi, Crown & Bhuvaneswari theatres in Chennai. (While I have been to Shanthi, I never knew where Crown and Bhuvaneswari were, just saw their names in the posters of Sivaji films as a matter of routine!). Justice Gopinath, its quotidian fare notwithstanding, would have undoubtedly enjoyed such a modest success, but its timing was all wrong, for it was Sivaji's 199th film, preceding "Thirisoolam" by just a month. And this clash of dates sealed its fate.
Likewise it turned out to be just another Rajini film, in a year when there were 15 Rajini releases in Tamizh alone. (In a single day, 30th Oct 1978 he had 3 films releasing - Thappu Thaalangal, Aval Appadithaan and Thaai Meedhu Sathiyam). His film as a hero, Bhairavi, had come out on 2nd June 1978 and he tasted unprecedented popularity. JG (16th Dec 1978) came in between En Kelvikkenna Bathil (9th Dec 1978) and Priya (22nd Dec 1978).
I have seen the film. Here's what I dimly recollect of the proceedings. Sivaji and KRV are broken hearted when KRV suffers a miscarriage and the doctor ominously declares that KRV can never get a child again. A child of an incarcerated criminal comes into their hands and they bring him up as their own. He grows up to be Rajinikanth and Sivaji makes him study law, so that he can follow in his footsteps. This idyllic set-up receives a rude jolt in the form of the original father who is released after serving his term. Usual histrionics and melodramatic reels later, all is well that ends well.
Not even the novelty of seeing Sivaji and Rajini together could bolster the banality of the theme. Sivaji and Rajini would get together in a few films in the future, Naan Vazhavaippen(1979), Padikkathavan(1985), Viduthalai(1986) and Padaiyappa(1999).
Another song in Justice Gopinath is the TMS solo "Naana sonnen theerppu".
VJ: Ada Ennanga idhu pollathanam china pillaiyattam Unga kurumbai adakka payal varuvaan singakkuttiyaattam Avan appanai pola gettikkaranaai sattam padippaanga Avan sattam padippaanga Neenga vambu valarthaa kandupidichi dhandichiduvaanga
TMS: Hmmm?
VJ: Yes, Your Honour!
VJ: Unga ishtappadi ippo kashtappada ingu ennaal aagadhunga Konjam pechchu koduthaalum moochu iraikkudhu madiyil baaramunga TMS: Ini pillaikku thaana solladi kannu mudhal mariyaadhai Adi ennai gavanikka unnai vitta veru aalu kidaiyaadhey VJ: Naan kattil oru pakkam thottil oru pakkam poda therinjava thaan Neenga palliyaraiyila paadura paattukku aada therinjavathaan
TMS: Ada enamma ippo ennoduthaan indha adhigaaram Unnai sinunga vaithu rasippadhellaam anbin adaiyaalam
TMS: Indha mullai sirippilum kollai vanappilum moham pirakkudhadi Adhu manjal kulikkira meni azhaginai konja thudikkudhadi VJ: Ippo kaadhal edhukkunga, coffee kudikkanum aari kidakkuthunga Adhikaalai pozhudhiley veettai gavanikkum velai irukkudhunga
Sivaji and KRV were among the most enduring pairs in the history of Tamizh cinema and shared an endearing on-screen chemistry. They paired together for the first time in Selvam(1966), and for the last time in Krishnan Vandhaan(1987). Many stalwart directors such as KSG, APN, Bhimsingh, Sridhar, KB, P.Madhavan, K.Shankar, ACT, K.Vijayan, Muktha Srinivasan, R.Krishnamoorthi have brought them together in memorable roles in dozens of films.
This song is probably sung when they are happily expecting the birth of their son, and the lyrics (Vaali) bring out the intimacy between the husband and wife. He is peeved that she is not "looking after" him adequately, to which she pacifies him with suitable answers. TMS and VJ bring out the feelings vividly. VJ's "Hmmm... singakkuttiyaattam" depicts so fetchingly the assertive pride of an expectant mother.
Again, words singing paeans to the Punnagai Arasi "Indha mullai sirippilum". Nothing new considering MGR sang years back to her "Pavazhakkodiyile muthukkal poothaal punnagai endre peyar aagum", Mohan would declare "Sapthaswaram punnagaiyil kanden", Jaishankar would sing "Punnagai minnidum arasi", Kamal, for his part, would exclaim "Muthu muthu pallum undu, thikkira sollum undu"!
Namadhu kaadhal engum - Justice GopinathSingers:VJ&SPB - Music:M.S.Viswanathan
This duet featured Rajinikanth and Sumitra, perhaps their only duet together (not taking into account "Raja enbaar mandhiri enbaar"). Years later, she would play his mother in Pannakkaaran (more on Sumitra below).
SPB: Namadhu kaadhal engum endrum kaanadhadhu andha Kambanum verendha kombanum idhuvarai paadaadhadhu yendha kavignanum kalaignanum avanavan padaippinil kooradhadhu Namadhu kaadhal engum endrum kaanadhadhu Yaarum paadadhadhu Yettil kooradhadhu
VJ: Varuvaan varuvaanendru Thoduvaan thoduvaanendru Valaiyaadum kaikkondu vilaiyaadum kandru Ulagam ariyavannam Udhadum sendhenkinnam Sindhaamal sidharaamal koduppaley annam
SPB: Indha Devi irukkum thirukkovilukku en kann kaana ennaalil kumbabhishegam VJ: Yuva rani irukka, indha rajanukku oor kondaada eppodhu pattabishegam SPB: Andha mangalamelamum mandhira goshamum ketkkindradho VJ: Adhai kanngalum nenjamum karpanai seidhindru paarkindradho
VJ: Vizhi naanam irukkum thiru meniyiley viral pattaalum thottaalum sendhoora kolam SPB: Idhazh moodi irukkum kodi thaamaraiyey naan muththaada oththaada yen jaalam VJ: Mani muthirai ittavan sitridai thottavan polladhavan SPB: Ivan innamum unnidam panjanai saasthiram solladhavan
A breezy romantic duet with good lyrics (Vaali). The opening humming by both singers is a treat, especially VJ's sing-song and prolonged "Aah Haa" makes us say "Aahaa!". Hark at her weave magic in "pattaalum thottaalum" – that's VJ the consummate artiste for you!
Ilakkanam Maarudho - Nizhal NijamaagirathuSingers:VJ&SPB - Music:M.S.Viswanathan
So many films come, with so many songs, many of them are forgotten, and get buried in the sands of time. Only very few remain etched in memory forever and are treasured for posterity. "Ilakkanam Maarudho" is one such timeless classic.
O.Henry narrates in his famous "The Gift Of The Magi", "Now, there were two possessions of the James Dillingham Youngs in which they both took a mighty pride. One was Jim's gold watch that had been his father's and his grandfather's. The other was Della's hair. Had the queen of Sheba lived in the flat across the airshaft, Della would have let her hair hang out the window some day to dry just to depreciate Her Majesty's jewels and gifts. Had King Solomon been the janitor, with all his treasures piled up in the basement, Jim would have pulled out his watch every time he passed, just to see him pluck at his beard from envy".
Likewise had the Queen of Sheba and King Solomon proudly lined up the best works of the international musicians, singers and poets on their side, we would, from our window, play "Ilakkanam Maarudho" just to gleefully watch them turn a nasty shade of green!
Kalakendra's "Nizal Nijamaagirathu" was produced by Govindarajan & Duraiswami, with Screenplay, Dialogues and Direction by K.Balachandar. The film starred Kamal, Saratbabu, Sumitra, Shobha, Anumanthu, Mouli, Sundaribai, Oru Viral Krishna Rao and others. It was the first film of both Saratbabu and Shobha in Tamizh. And what a magnificent introduction it was for both of them!
Padmashri Kailasam Balachandar (born 1930) needs no introduction. Starting his career as an employee in AG's Office in Chennai, he put together a drama troupe (Ragini Recreations) and staged epoch making plays with actors like Nagesh, Major Sundarrajan and Srikanth. He entered the film world as a scriptwriter for films like Deiva Thaai, Neela Vaanam and Server Sundaram. A.K.Velan gave him an opening to direct his own Neerkumizhi drama for the silver screen and the rest is history. He boldly ventured into hitherto unexplored areas of story telling and tasted unequivocal success. He took Tamizh cinema forcibly into a different realm altogether "where the world has not been broken up into fragments by narrow domestic walls, where words come out from the depth of truth, where tireless striving stretches its arms towards perfection, where the clear stream of reason has not lost its way into the dreary desert sand of dead habit" (due apologies to the great bard).
KB, the Iyakkunar Sigaram enjoys a rare place of pride in the history of Tamizh Cinema. He has successfully worked with generations of actors and technicians to create films of eternal enjoyment. Even after directing films for nearly 4 decades, his thirst for novel themes and exploring new horizons remains unquenched.
Of late, he is concentrating on the chinnathirai, and even here, he has showed his mastery in every way. His "Anni" has enjoyed enviable ratings, and he is all set to present "Sahana"-the sequel to Sindhu Bhairavi.
Nizhal Nijamaagirathu was a remake of the Telugu film "Chilakkamma Cheppindhi" (stg. Rajinikanth, Sripriya & Sangeetha) which had run to packed houses the previous year.
It was a role of a lifetime for the sadly under-utilized Sumitra. She brought out a plethora of so many shades of emotions, playing the complex character of the rigid, man-hating, soda-buddied dance teacher Indhumathi.
Diminutive and dainty looking Sumitra made her debut in M.T.Vasudevan Nair's award-winning "Nirmalyam"(1972). It was director Durai who gave her memorable opportunities in Tamizh in "Avalum Pen Thaane" and "Oru Kudumbathin Kathai"(both 1975). She paired with Kamal in "Lalitha" and "Moham 30 Varusham", and "Nizhal Nijamaagirathu" was the third. Years later, she would play his mother in "Singaravelan".
She left a lingering impact in films like "Annan Oru Koyil", "Bhuvana Oru Kelvikkuri", 'Vattathukkul Sathuram", "Sonnadhu Nee Thaana", "Kadavul Amaitha Medai", "Chittukkuruvi", "Anbe Sangeetha", "Mudhal Iravu", "Mazhalaippattaalam" and "Sangili". She was more suited for demure and downcast roles, and hep roles that called for modern clothes did not become her at all. Not that she didn't try. I still shudder from the memory of the sight of Sumitra in a song in "Aadu Paambe" where alongside a long well-oiled plait of hair bedecked with flowers, and jimikkis on either ear, and a big pottu on her forehead, she was literally dressed to kill, in a shirt and bellbottoms!
The advent of fresh faces like Radhika, Radha, Madhavi and Ambika left her with very few opportunities in the early 80s. She gave a last shot. She herself produced a film, acting as the heroine and made her mentor Durai direct it. But though "Oru Manithan Oru Manaivi" which saw the light of the day belatedly in 1986, did win some good reviews, it was a commercial disaster.
However, in the meantime, Sumitra had made the transition to character roles gracefully. She was Bhagyaraj's sister in Poisaatchi(1982), and Prabhu's sister and Revathi's mother in Kanniraasi(1985). She brought rare dignity in portraying the role of a wife suffering the humiliation of wedded to a husband who has another woman in his life, Susheela Vishwanath, her role in Agni Nakshathiram(1988), cannot be forgotten so easily.
Like many of her colleagues Sumitra's personal life was far from happy. Her marriage with actor Ravikumar was shortlived. She is said to have later attached herself to a Kannada film producer. Her daughter Uma is making waves as an actress. Her performance as Vijayakanth's sister in "Chokka thangam" has elicited notice.
The second person whom we need to reminisce on, whilst talking about NN is that magnificent artiste Shobha. Shobha was the daughter of a smalltime Malayalam actress Prema, who was ruthlessly ambitious and pushy to make her daughter all that she herself couldn't achieve. Earlier Shobha had acted as a child artiste in some Malayalam films. Life took a different turn once she came to the notice of Balu Mahendra. He cast her as the heroine in his first film as director, "Kokila", which won rare reviews in Karnataka and beyond.
She was a natural performer, and essayed her roles with realistic simplicity. She exploded the myth that only arrestingly beautiful faces could make it big in films. She had an inexplicable charm, and a personality that exuded distinct grace and charismatic innocence. No one could believe that NN was her first Tamizh film, the way she stole the show effortlessly in her poignant portrayal of the rustic Thilakam with a mind of her own.
She went to capture the hearts of the filmloving Tamils in her subsequent ventures. Alas, they were too few in number, Mullum Malarum, Oru Veedu Oru Ulagam(both 1978), Chakkalathi, Agal Vilakku, Azhiyatha Kolangal, Ennippadigal, Veettukku Veedu Vaasappadi, Oru Vidukathai Oru Thodarkathai, Pasi (all 1979), Moodupani, Veli Thaandiya Vellaadu, Ponnagaram and Samandhippoo (all 1980).
And just when we had thought we had our spirited answer to the likes of Smita Patil and Shabana Azmi, came in May 1980, the dreadful news of Shobha's suicide. She took the extreme step, as her personal life with her mentor Balu Mahendra had not turned out as expected. Tamil Nadu, nay the entire South (Shobha's Malayalam film "Shalini Ente Koottukkaari" was enjoying a stupendous success when she died) reacted with incredulous dismay. Ironically, she had just then bagged the National Award for Best Actress(1979) for her wonderful performance in Pasi. Saamandhippoo was the last film she acted in. I think she did not live to complete it.
Balu Mahendra wrote a sentimental series of musings in Kumdudam titled "Shobhavum Naanum", but the public knew the truth. And it was left to our Kerala brethren (K.G.George, to be precise) to boldly craft on celluloid the life and death of Shobha. Lekhayude Maranam-Oru Flashback (1983) starring Nalini and Gopi told it all with stark reality.
But nothing would back Shobha. Shobha lives on, in the hearts and memories of thousands of fans.
Nizhal Nijamaagirathu had only two songs, and the other song is the spellbinding "Kamban yemaandhaan"-SPB.
Now let us dwell on this epic song, the song that reflects the changes in the lives of the two women, Indhumathi and Thilakam.
ilakkanam maarudho ilakkiyam aanadho idhu varai nadithadhu adhu enna vedam idhu enna paadam
Look at this question asked to K.Balachandar and his reply:
Q: In present day mainstream productions music has taken away the credibility of cinema and the genuineness of the medium. Is music an inevitable evil in Indian cinema? Who is responsible for the extreme use and abuse of music?
A: In Indian cinema the music comes from the same oral tradition which inspires all our arts. It may seem forced to a Westerner but we have all grown up with it. I do not think we are using or misusing music more than we have done before. I decided that I would not be ashamed of song sequences but use them to my advantage. I do them to entertain myself as much as the audience. You have to build these sequences into your screenplay, and at a point where it will give you the pause you want, lift a moment or emotion, provide a link or a leap. It is a license to transcend dramatic logic, use abstraction. Don't you do that in literature? If using songs makes it easier for people to grasp what I am doing, I do not mind using that language. Think of it as a compromise, or as a method of communicating.
This song does all this and more. But first, to appreciate this captivating song in full, here is Nijamaana Nizhalin kathaisurukkam. Dance teacher Indhu (Sumitra) lives with her brother Chalam (Saratbabu). She is a stern and rigid person, who hates the male species in general (I have a vague recollection of the reason being a suitor rejecting her). Stonedeaf Kaasi (Anumanthu) is their servant. Thilakam (Shobha), from a village, is brought in as the cook/help. Enters Sanjeevi (Kamal) a close friend of Chalam, who comes to the same town for work. He stays in the house opposite.
He finds Indhu fascinating and tries to break her reserve, but Indhu is unrelenting. Meanwhile Kaasi develops love for Thilakam, as she is the only one in the house who treats him as a human being. However, fate has other things in store for Thilakam. Chalam, who has an eye on her, seduces her one day. Thilakam becomes pregnant, and a scandalized Indhu casts her off. Cowardly Chalam hides the truth.
Sanjeevi comes to Thilakam's rescue. He arranges for her to stay in a small hut, with Kaasi for her kaaval. The neighborhood is agog with the unknown father, names of both Sanjeevi and Kaasi doing the rounds. Thilakam slowly realises Kaasi's love for her. Unable to bear Thilakam's shame, Kaasi, who knows the truth, threatens Chalam one day to accept that he is the father, else he would have to kill him. Meanwhile, Indhu comes to terms with her love for saadhikka vandha andha aadhikka nayagan Sanjeevi. Chalam speaks to his sister and admits that he is responsible for Thilakam's fate.
Though Indhu is shocked, she immediately goes to Thilakam, begs her forgiveness, and asks her to come back as her brother's wife. Thilakam does a volte face and replies in a cool manner, that she was even then living in her own house and points to Kaasi as her husband. Indhu goes back, thoroughly humiliated. To add to her woes, Sanjeevi announces that he is transferred to another town and has to leave at once. Indhu hesitantly asks if she could come with him, and after a delightful suspense, Sanjeevi takes her. Subham! The story, like cricket, is full of glorious uncertainties and that's what makes it appealing to this day.
And this song comes as an asareeri towards the end of the story, the point where Indhu cannot deny to herself that she has fallen for Sanjeevi, and the point where the pregnant Thilakam, living in seclusion with Kaasi, slowly realizes that Kaasi is indeed the "King" whom a roadside astrologer predicted would marry her.
A song which Kannadasan, MSV, SPB and Vani can display forever as proof of their respective talents. A captivating creation in every way. KB must have felt a trifle frustrated that Kannadasan repeatedly came up with songs that told in a few lines the entire crux of his complex stories! The delightful verities and stunning vagaries that make up life can be glimpsed in the situational lyrics of this song.
The first two verses are devoted to Indhumathi and the next two, to Thilakam.
The song begins with SPB singing "Ilakkanam maarudho" and the inimitable way in which he prolongs the question, and the percussion-dominated response of MSV make the song a winner in the very opening and fills the listener with a thrill of anticipation.
How beautifully Kaviyarasar depicts the subtle alterations in the mindset of the Indhumathi, "Ilakkanam maarutho ilayakkayiam aanatho", he wonders! How come something poetic called love has found root in her inflexible mind?
kallaana mullai indrenna vaasam kaatraana ragam enindha gaanam venmegham andru kaar megham indru yaar solli thandhaar mazhaikaalam endru manmathan enbavan kann thirandhaano pennmai thandhaano
Adadaa, arpudham! Awesome analogies that are quintessential Kannadasan, as SPB in the voice of Indhu's alter ego questions her, rather tauntingly, on the changes that love has wrought in her wrought-iron cased heart, now suddenly the self-imposed iron fetters rot and break to pieces, as the woman in her asserts herself! Hark at SPB's mocking chuckle while singing "Yaar solli thandhaar", can anyone else do this?
Enters Vani, Indhu herself bashfully answering her manasaatchi's queries.
en vaazhkkai nadhiyil karai ondru kanden un nenjil etho karai ondru kanden puriyaadhadhaale thirai pottu vaithen thirai potta podhum anai pottadhillai maraithidum thiraidhannai vilakki vaippaayo viLakki vaippaayo
How helplessly she brings out her bewilderment in these changes, how vulnerable she sounds when she pleads for an explanation. Trust Vani to so fetchingly bring out Kaviyarasar's lyrical play "vilakki vaippaayo, viLakki vaippaayo".
Now we come to Thilakam's tale of betrayal and infamy. SPB again,
thalaadum pillai ullamum vellai thalaattu paada aadharam illai deivangal ellaam unakkaga paadum paadamal ponaal edhu Deivam aagum marupadi pirakkum unakkoru paadhai uraippadhu Geethai
Soothing words of consolation rendered with compassion. The way SPB splits "Aa thaaram illai" facilitates a double interpretation: "aadhaaram" meaning she has no license to sing a lullaby, and "Aa thaaram illai" meaning she is not yet a wife, so how can she be a mother! Kannadasan, brings his favourite "Geethai" as an oracle of better times that are just around the corner for Thilakam!
Its Vani's turn again. Thilakam waking up to the love of her benefactor and bodyguard, deaf he may be, but dear he has become to her.
maniyosai enna idi osai yenna edhu vandha podhum nee kettadhillai nizhalaaga vandhu arul seiyum Deivam nijamaaga vandhu ennai kaakka kanden nee ethu naan ethu yen indha sondham poorva jenma bandham
The way VJ has rendered these lines so replete with expression shows how much she must have been moved by Kannadasan's lovely lyrics. She rounds off the verse with a haunting humming whilst getting back to the pallavi.
MSV deserves our unreserved praise, understanding that for this song the lyrics need prominence, and appreciating the fact that Kannadasan had penned lyrics of singular beauty and relevance, he selflessly desisted from flaunting his unquestioned musical skills here. True, he dressed the words in an enticing tune, but he stopped with that. His interludes are simple and short, so that the focus is not turned away from the words. But even within that self-imposed restriction, he showed his capabilities. Listen to the flute-filled first interlude, the magical baton of the Mellisai Mannar reveals itself!
A word on the picturization. As envisaged by Kannadasan, KB filmed the first half on Sumitra and the latter half on Shobha. A shot stands out evergreen in memory. Thilakam puts some clothes for washing, a vest of Kaasi's is among the heap. Just as she takes it to wash, Kaasi rushes to grab it from her. She looks at it, puzzled, when she finds the dirty imprint of her own palm on that. Long back, once when she found that her repeated calls had fallen on (actually) deaf ears, she had touched him to draw his attention. And Kaasi had carefully preserved the relic all these days. Understanding dawns in her eyes of his deep love for her. Oh, Shobha's eyes spoke so many volumes in that shot. Karuppu Vellaiyiloru kaaviyam indha paadal!
Forgive me for going on and on. But every time I listen to it, it tugs at my heartstrings. I think wistfully of the bygone times when we had such artistes who could create such enchantment.
Sathiya Thirukkolam - Varuvaan VadivelanSingers:VJ&TMS - Music:M.S.Viswanathan
K.Shankar started his career as an editor, and gradually graduated to direction. Like Yoganand, Shankar made a mark initially as director of mythologies for AVM Studios. He made in a name for himself as a professional director, with a planned approach and a meticulous eye for details. His forays into other languages have also won appreciation. Some of his early films were Shiv Bakth (Hindi-1955, co-directed by HL Narsimha), Dosthaara (Sinhalese-1956), Nagadevathai (Tamizh-1956), Sadharma (Telugu-1956, co-directed by KR Seetharama Shastri), the super hit Bhoo Kailash (Telugu and Kannda-1958), Bakthi Mahima (Hindi-1960), Rajkumar (Hindi-1964) and Bharosa (Hindi).
In the 60s, he was a much sought after director in Tamizh. His association with G.N.Velumani's Saravana Films brought out a series of memorable hits. At a time when MGR and Sivaji Ganesan were considered staunch rivals, K.Shankar was perhaps the only director to be patronized by both of them. Indeed, it is to Shankar's record that he managed the delicate balancing act quite creditably, especially when he was working on their films at the same time. Years later, he would chuckle and reminisce with nostalgia how he directed Sivaji in Aalayamani during the day, and rushed to direct MGR in Panathottam in the evening! Some of the films directed by K.Shankar that come to mind: Paadha Kanikkai-1962, Idhu Sathiyam-1963, Aandavan Kattalai-1964, Panjavarnakkili-1965, Kalankarai Vilakkam-1965, Anbukkarangal-1965, Gowri Kalyanam-1966, Kudiyirundha Kovil-1968, Kallum Kaniyaagum-1968, Adimaippen-1969, Pallaandu Vaazhga-1975, Uzhaikkum Karangal-1976, Indru Pol endrum Vaazhga-1977, Neela Kadalin Orathiley-1979, Mangala Vaathiyam-1979, Balanagamma-1981, Miruthanga Chakravarthi-1983, Thambi Thanga Kambi-1988 and Nalladhey Nadakkum-1993.
Starting from Varuvaan Vadivelan, K.Shankar turned to mythologies with a vengeance and made a remarkable series of them. Many of them were memorable and had wonderful songs. Some that come to mind: The Srinivasa Kalyanam part of Deiva Thirumanangal-1981, Thaai Mookambigai-1982, Rajarishi-1985, Navagraha Nayagi-1985, Mupperum Deviyar-1987, Velundu Vinaiyillai-1987 and Meenakshi Thiruvilaiyaadal-1989. It is due to these films that K.Shankar earned the epithet "Irai Arul Iyakkunar".
Films based on mythology had not appeared for a while, and Subbu Productions' Varuvaan Vadivelan, an entertaining socio-mythological with parts shot abroad, was received with enthusiasm. Its stunning success led to a spate of similar films by many directors, some of which had great classic(al) songs.
Varuvaan Vadivelan won the TN Government's Special Award for 1978-79. The film had in its cast Vijayakumar, Jaiganesh, Latha, Jayachitra, Fadafat Jayalakshmi and many others. I saw the film as a child and was awe-struck seeing the Murugan temples in Malaysia and Sri Lanka, and the great multitude of devotees that throng these temples with fervor and piety.
MSV had enhanced the film's appeal with a splendid score. Among the other songs were the famous "Bathumalai ThiruMuthukkumaranai paarthu kalithiruppom"(Bangalore A.R.Ramani Ammal, Seergazhi Govindarajan, TMS, PS, LRE, MSV and chorus), "Joyful Singapore colorful Malaysia"(SPB-PS), "Paaru paaru paaru"(LRE-LRA) and "Kadavul engey irukkiraar"(LRA & chorus).
Let us now dwell on this mesmerizing song by TMS & VJ.
TMS: Paavakkadai theruvil Paduthirundha paavai enai Gnyanakkadal thannil nadakka vitta Vel Muruga Aarupadai Nayaganey Avamadhikkum maanidarkku Maarudhalai kaatti manam thiruthum Vel Muruga Muruga
Sathiya thirukkolam Muthaiyan vadivendra thaththuvam arindhen Kandha Piththanin vilayaattu pizhai poruthe undhan perarul thandhaai Kandha
Kai sumandhaal enna thalai sumandhaal enna Kandhanai sumakkindradhu Avan Kadan thandha en meni kaalathiley vandhu kadanaiyum theerkkindrathu
VJ: Maadhumayaal maindhan Maasi magam kaana maanudam thiralgindradhu Indha makkalin vinaiyenum sikkalai theerkkum karam Sikkalil irukkindradhu karam Sikkalil irukkindradhu
TMS: Azhagappan menikku azhagu seithaal adhil Arul neri jolikkindradhu Thiru Aandiappan kaalil aasigal pera vendi Arasangam varugindradhu
VJ: Venthanal pol ezhundha vidhiyinil thudippaarkku sandhanam tharugindradhu Nalla veettu kulamagalai vilakketri vaikka cholli kungumam idugindradhu Mangala Kungumam idugindradhu
TMS: Avanidam ponavarkku Avanai adaindhavarkku Yamanidam bayamillaiye Andha Sivanidam Om endraal Ivanidam porul ketppaan Ivanukku mel illaiye
Both: Undaana aayudhangal onbathu ethirthaalum Dhandayudham kaakkume Avanai kondaadum pergalukku kurai yaavum odividum Kodaanu kodi varumey Kodaanu kodi varumey
TMS, apart from his unparalleled record in tfm, has sung many ever-popular devotional albums. Many of them being on Lord Muruga. Indeed his songs such as "Azhagendra sollukku Muruga", "Mannaanaalum Thiruchendhuril mannaaven", "Ullam uruguthayya", "Muruga nee vara vendum", "Endhan kuralil inippathellaam Kandhan kuraley" etc leave one filled with a tranquil enchantment. VJ too has sung spellbinding songs on Lord Muruga. The "Murugan Paadalgal" album, written and composed by VJ herself, won widespread acclaim.
In this song, both these great singers come together and sing the fervor-drenched lyrics with excellent understanding. TMS commences with the emotion-choked virutham of one who has woken up to the wisdom of the omniscient and omnipresent grace of the Lord. VJ's rendition thrills the listener with brimming devotion. MSV fills the interludes with Veenai, Nadaswaram and Chendai bits, and these accompanied by the tolling temple bells make this song a spellbinding devotional treat.
Varuvaan Vadivelan - Varuvaan VadivelanSingers:VJ - Music:M.S.Viswanathan
The vital aspects of a Bharathanatyam performance are said to be Angika (the body architecture), Vachika (song and lyric), Aaharya (stage decor) and Satvika (interpretation). In this lovely song, featuring a dance by Jayachitra in the temple precincts, Vani's Vachika stands out with captivating majesty.
Varuvaan Vadivelan Varuvaan Vadivelan Thanigai vallalavan azhagu mannanavan ninaithaal varuvan Vadivelan
Sirithu kurathi pennai anaikkindravan aval sengkani vaaidhazhai nanaikkindravan Idaiyinil kaikkoduthu valaikindravan Alli idugindravan sorgam tharukindravan
Adiyavar ketta varam tharukindravan endrum avar kannil neraaga therikindravan Kodiavar pagai theerthu mudikkindravan Seval kodiyanavan namakku iniyanavan
Thirumurgaatruppadai naan padavaa Illai Thirupugazh paadi ingu nadamaadavaa Kandhar Sashti kavacha kavi padava Avan mun kaiyendhavaa vetri kadal neendhavaa
Recently, Sangam Kala Group of New Delhi, thought it fit to honor Vani Jairam with an "Achievement Award" (Kumudam Junction dated 1.4.2003). Vani, in her speech said "Once Anu Malik told me 'Vaniji, you are an excessively trained singer. That is the main problem'. I have not understood what he meant till today!".
But isn't it due to Vani's training, that she is able to carry off such an intricate song with apparent effortlessness. The discerning listener surely perceives that the seeming effortlessness of her singing is rooted in technical mastery and ceaseless practice. If that training seems 'excessive' for you, Mr. Anu Malik, fine, VJ is better off by not singing for you! It is your loss, not VJ's.
In this song, said to be based on a Ragam called Sampoornam, VJ simply dazzles. The ease with which she so precisely distributes the words of the lyric line over the time cycle, the clear enunciation of the lyrics, the taut grip on the Kaalapramaana, the imaginative exploration of the vistas of the Ragam in changing speeds, each syllable soaked bewitchingly in the sruti - all of these exhibit her pedigree. Hark at the alaapanai in between the first Charanam, and the "Muruga, Muruga" uttered a dozen times in the 2nd interlude. Awesome!
Vaniyin Seppiya Naavai Sevvel Kaakka! Engal Vidhi sevi irandum Velavar Kaakka!
Neeyindri Yarumillai - Varuvaan VadivelanSingers:VJ&SG - Music:M.S.Viswanathan
Another song replete with a torrent of emotional devotion, shot probably in Kathirgamam in Sri Lanka. I am just guessing the situation, going by the lyrics. She sings to the Lord to restore her husband's eyesight, and what an heart-rending cry it is! Can the great Lord be unmoved, lo and behold, for the husband can now behold! And he breaks into a fervent thanksgiving.
VJ: Neeyinri yaarumillai vizhi kaattu Muruga Nenjuruga vendugiren oli kattu Nambikkai konduvandhen arul kettu Nee Gnanakkann thanai thirandhu vazhi kaattu Arule Arule Ulagam unadhallava Arivum porulum yaavum Nee allava
Thirupathi maamanukku kannillaiyo Maami ilakkumi enaippoley pennillaiyo Gavanthil engal nilai varavillayo Naangal Kathirgaamam Naangal Kathirgaamam vandhatharkku palanillayo Kaasi Visalatchi undhan maganidam solvaai Kanchi Kamatchi undhan maganidam solvaai Angayarkkanni undhan maganidam solvaai Adi Abirami nee unadhu maganidam solvaai
SG: Kanden! Kanden! Kanden! Muthukumaran Bakthi Saravanan Vaidhyanadhanai kanden Mudi udai mannan thiru mudi aruge kodi udai sevalai kanden Kothum naagam pollathaaga kathum thogaiyai kanden Kolam marida gnana kanngalum oona kanngalum konden
Veedu namakkundu Arupadai veedu Vedham namakkundu Muruganin paadham Virundhu namakkundu Kandhanin namam Marundhu namakkundu Vaidhiyanaadham Ayya Murugaiyya Ayya Murugaiyya
Padmashri Dr.Seergazhi Sivachidambaram Govindarajan (1933- 1988) remains among the best-loved voices of Tamil Nadu. Starting from 1954, when he sang "Sirippu thaan varuguthayya" (Ponvayal, MD-Thuraiyur Rajagopala Sharma), SG has sung many wonderful film songs. Though he initially sang songs of all kinds (including romantic and comic) for many actors, including MGR, Sivaji Ganesan and SSR, later he was assigned only asareeri and devotional songs. He won the TN Government award for the Best Singer in 1970 for his wonderful songs (Madurai arasaalum Meenakshi, Thirupathi malai vaazhum, etc) in Thirumalai Thenkumari. SG also made his mark as an actor. He played, with panache, the title role in APN's Agathiyar(1972). Other films that showed him in memorable roles were Kandan Karunai, Vaa Raja Vaa, Thirumalai Thenkumari, Rajaraja Chozhan, Thiruvarul and Dasavathaaram. SG has lent his voice to many a devotional album. His "Abirami Andhaadhi" set to tune by T.R.Papa is one album that will find place in most Tamizh houses. SG's son Dr.Seergazhi Sivachidambaram(a real MBBS doctor), who, despite being a good singer, has not been favored much by our current MDs.
Vani had sung earlier with SG. "Oru kodi aasaigal" (Uravukku Kai Koduppom-1975), and she would sing some more songs with him. Later on, while discussing Vani's songs for Shankar-Ganesh in 1978, we'll look at another memorable song.
Here VJ commences the song with a plaintive wail for her husband to get back his lost vision, and she makes it such an enchanting entreaty that the Lord promptly obliges. SG starts his song with a breathtaking aalaapanai in between the repetition of "Kanden" and then the inimitable "Isaimani", and the ringing Koyilmani give the song a fantastic finish.
Mein Hoon Lucky Ladki - VayasupponnuSingers:VJ - Music:M.S.Viswanathan
RGM Productions' Vayasupponnu, directed by K.Shankar, starred Rojaramani in the title role, with Muthuraman, Jaiganesh and Latha being others in the cast. The story was perhaps by Manian. I saw it on TV as a child, and remember being dismayed that Jaiganesh, whose name in the film was Saravanan, had an early death in the story!
The most popular song from the film was "Kanchi pattuduthi kasthuri pottu vechu"-KJY&Savithri, a lovely song set in the rare Kalyanavasantham ragam, the lyrics for which fetched Muthulingam the TN Government's award for the Best Lyricist for 1978-79. Another song in the film was "Ethanai Kodi (Mathalaathai thattikkondu)"-SPB&Chorus.
Rojaramani made an unforgettable debut as a child artiste in "Baktha Prahalada"-1967. She became a very busy child artiste in various languages (Meherbaan, Apna Desh in Hindi and Babu, En Thambi in Tamizh etc). Her first adult role was in "Chembaruthi" (Malayalam). The film's success ensured that Rojaramani would play the same role in the Tamizh and Telugu remakes as well (Paruva Kalam and Kanya Vayasulu, respectively). Rojaramani was a popular actress in Telugu and Malayalam. Her performance in Balumahendra's Kokila (Kannada) also fetched laurels. However, she could not make it big in Tamizh. Her few films in Tamizh include Vandikkaran Magan-1978, Sivappukkal Mookuthi-1979, Aayiram Vaasal Idhayam-1980 etc. She married her co-star of the Oriya film Choti Behen, Chakrapani in 1981 and thereafter continued in the Telugu film industry as a dubbing artiste, lending her voice for Radha, Suhasini, Poornima Jayaram and others. She was given the Cine-Goers award for the Best Dubbing Artiste in 1999.
This song has Rojaramani staring at herself in the mirror and singing a "Mirror mirror on the wall" type of song.
Mein hoon lucky ladki vayasupponnu azhagi Ennam muzhudhum Inbakkanavil niththam neendhum Vannapparavai
Egipthu Rani Kazhudhaipaalil Neendhikkulipaalaam Enadhu meni azhagai paarthaal naanam kolvaalaam Angam engum munnum pinnum vannam konjum Thanga kalasam
Payanam vandha paadhi vazhiyil pudhayal edutheno Manithan vadivil Devan vandhu yaavum koduthaano Kattuk kaaval vattam indri Vattam podum Chittukkuruvi
Wonder if Cleopatra really bathed in donkey's milk, or was that Vali's fancy! Anyway, the inane lyrics notwithstanding, VJ brings in a breezy, nonchalant air, which adds charm to the song. The variations she brings in the repetition of the Charanam lines are catchy and the slow laidback repetition of the pallavi is enticing. The way she prolongs the last syllables in "Vannapparavai", "Thanga Kalsam" and "Chittukkuruvi" is signature VJ!
Adho Adho Oru Sengkottai - VayasupponnuSingers:VJ&TMS - Music:M.S.Viswanathan
This song featured Muthuraman and Latha, going around Delhi. Muthulingam makes place for the Capital's landmarks like the Red Fort, Qutub Minar and the Yamuna in the lyrics of the romantic duet.
As we had seen earlier, after MGR became the CM, Latha started acting with various actors like Sivakumar, Kamal, Rajinikanth, Jaiganesh and Srikanth. Here she paired with Muthuraman.
TMS: Adho adho oru senkottai Idho idho oru thenkottai VJ: Yedho yedho un manakkottai Endrum endrum naan un vettai TMS: Nee oru Mumtaaz Naan oru Shah Jahan VJ: Naan oru Mumtaaz Nee oru Shah Jahan
TMS: Yamuna dheeram, maalai neram yavvana penn Radhai vandhaal Kanngal paarkka, kaigal serkka kanni magal naanam kondaal VJ: Kaniyin meley kiliyai poley koththa vandha kaadhal manna thazhuvum velai, nazhuvum selai vittuvidu aasai manna TMS: Adi malligaiye Kodi mellidaiye VJ: Pugazh mandhiramo illai thandhiramo TMS: Aaha pongudhadi kaadhal Gangai
TMS: Inikkum ragam paadum penney unnai oru veenai enben Kodhikkum meni neeril aada unnai oru odai enben VJ: Qutub Minarin uyaram poley un manadhu naanum kanden Nilavai thedum poovai poley un azhagil naattam konden Ezhil mannavaney Rathi mannavaney TMS: Kadhai sollidavo Kannam killidavo VJ: Aaha kattividu thaali ondrai
A nondescript duet, though MSV gives some lovely flute bits in the interludes. And while VJ says "Mumtaaz", TMS chooses to say "Mumtaaj"!
Pudhu manjal meni chittu - Rudra ThaandavamSingers:VJ&SPB - Music:M.S.Viwanathan
Alarmelu Manga Productions "Rudra Thaandavam" starred V.K.Ramasamy, Nagesh, Vijayakumar, Sumitra and others. It was directed by VKR himself, and proved to be a modest hit. The film was based on VKR's own play for propagating the 20 Point Programme during the Emergency years, and VKR played the lead role of Lord Siva with savoir faire.
Virudhunagar K Ramasamy (1926-2002) was among the most enduring actors in the long history of Tamil Cinema. His early apprenticeship in the drama troupes of Ponnuswami Pillai and Kalaivanar N.S.Krishnan served him in good stead throughout his career as an actor. At the age of 21, he played an elderly man in his first film AVM's "Naam Iruvar"(1947), and fate willed that he would play only predominantly elderly roles. Over the years, he gave memorable performances in hundreds of films like Parasakthi, Penn, Veerappandiya Kattabomman, Paavai Vilakku, Pudhiya Paravai, Paar Magalae Paar, Ooty Varai Uravu, Lakshmi Kalyanam, Vasantha Maaligai, Kasi Yaathirai, Aanpavam, Mounaragam, Velaikkaran, Varusham 16, Agni Natchathiram, Poo Pootha Nandavanam, Arangetra Velai, Arunachalam, Dum Dum Dum etc. His last film was University.
He was the recipient of the Kalaimamani Award instituted by the TN Govt. He bagged the TN Govt.'s Best Comedian Award in 1982-83, and the "Kalaivanar Ninaivu Virudhu" (also from the TN Govt.) in 1988.
Together with Akkammappettai Paramasivan Nagarajan, VKR started producing films under the banner "Sree Lakshmi Pictures". The films that came from this collaboration include Makkalai Petra Maharasi-1957, Nalla Idathu Sambandham-1958, Thaayaippola Pillai Noolaippola Selai-1959 and Vadivukku Valaikappu-1962. Later APN broke away from VKR, and started making his own films under the banner "Sri Vijayalakshmi Pictures". Navarathiri-1964 was the first film under this banner, followed by the famed string of grand mythologicals. Meanwhile, VKR produced Selvam-1966, under the banner "VKR Pictures". VKR has produced 13 films, and Rajinikanth made him one of the many producers of "Arunachalam". However, years of dissipated living eroded all his earnings, and with his son bringing financial ruin upon the family with his film "Sundarapandiyan" (starring Karthik) which is still lying in the cans, VKR died in penury after a brief illness on 24th December 2002.
Other songs in Rudrathaandavam were "Nee mannavana chinnavana"-TMS and "Oru aaththukku karaiyum"-LRE.
SPB: Pudhu manjal meni chittu pudaivaikkul oonjal ittu Nadanangal aadidum nayamaana azhagu Vizhiyae idhu enna rajangamo Vizhiyae idhu enna rajangamo VJ: Idhazh thottu thendral poojai idai thottu Kaaman poojai udalengum ungal poojai idhu thaanae ungal aasai Moham azhaikkindrathae nanam thadukkindrathae Hmm hmm naanam thadukkindrathae
VJ: Neer konda megangal kudai podavum nilai konda pushpangal manam thoovavum ther konda paravaigal sruthi meettavum thirumeni valam vandha sugam ennavo SPB: Kaarkoondhal kadal kanda alaiyaagavum Ther konda manichangu oli kaattavum Nizhal konda rathi devi uru vandhadho VJ: Angam thodaamal sangam illamal kannil sugangal illai SPB: Mannan varaamal Maharaniyennum pennnmai nalangal illai
SPB: Then sindhum sirukkoodu nadamaaduthu sirumullai magarandhappodi thoovuthu maan vannam madi meedhu vilayaaduthu mazhaiyaaga thamizh veenai isaippaaduthu VJ: Uravendrum sugamendrum ninaiyaadhadhu oru nenjil nilayaana idam theduthu iravendrum pagalendrum ariyaamalae idhamaana sugam kaana unai naaduthu idhamaana sugam kaana unai naaduthu SPB: Thanjam pugundha manjal nilavai endrum marandhadhillai VJ: Anjum nadungum pinjaaga nindrum aasai izhandhadhillai
If MSV based the opening tune of "Ilangaiyin Ilam kuyil" on his own "Bhale bhale" from Maro Charithra, for "Pudhu manjal meni chittu", he seems to have heavily borrowed from "Yae theegappovuno", another unforgettable number from Maro Charithra.
However, this inspiration does not in the least deter the fact that this song is an absolute delight, with SPB and VJ at their euphonious best. The "Nayamaana azhagu" part and its progression to "Vizhiyae ithu enna raajangamo" has both the singers adding their individual touches, and these cherished moments are alone enough to bring lasting allure to the song. Nayamaana azhagugal niraindha paadal.
Kalaimagal uravum Thirumagal varavum - Per Solla Oru PillaiSingers:VJ - Music:Vijayabhaskar
It is now more than a year since Vijayabhaskar passed on, and he has been, without much ado, callously consigned to the dustbin of history. His contribution to TFM has gone largely unrecognized and unappreciated. It is a crying disgrace that the TN Government has not found it fit to honor him in any way while he was amidst us, or his memory after his demise. A small consolation is that he was posthumously conferred the K.Subramaniam Award by the Cine Technicians Association of South India on Dec 29, 2002. Of course, while he was alive, the Karnataka Government honored him with its Dr.Rajkumar Award in the year 2000.
It is then left to us fans to remember him, with undying gratitude, for he bestowed upon Tamil film music some of its finest and defining moments in the latter half of the 70s. And this was no mean achievement, considering that he had no powerful promoter, no benevolent patron, no big-banner films. MSV was still going strong. Ilayaraja had made a dazzling entry and was composing wonderful songs film after film. S-G were around to cater to the smaller banners. Talented composers like V.Kumar, Shyam, Kunnakkudi Vaidhyanathan and a few others took the leftovers. Vijayabhaskar had to reckon with all these factors, and all he got in the years 1974-1980 were 22 films. Many of them were commercial disasters and two never saw the light of a silver screen. Yet, if today we remember most of these films, it is only for the eternally appealing musical score of Vijayabhaskar. Indeed his songs are gems of purest ray serene that the dark unfathom'd caves of those unremarkable films bear.
Vijayabhaskar was a born in a Tamil Mudaliar family. His ancestors hailed from Serkaadu, near Vellore. His father V.A.Krishnamoorthi had settled in Malleswaram in Bangalore. Even as a child, Vijayabhaskar learned Carnatic, Hindustani and Western music (he was a brilliant pianist). He started his career in Bombay, where he worked under great composers like Madan Mohan and Naushad. His first Kannada film was Sri Rama Pooja(1955). His first major hit was Santa Tukaram(1963), and there was no looking back since then. He came to Tamil through the dubbing route, this innings lasted 5 years, commencing with Anbe Deivam(1957), and ending with Arabu Naattu Azhagi(1961).
Save Anbe Deivam, many of these films were dubbed from Hindi and Vijayabhaskar's job was just to faithfully copy the original songs. However, the songs from those films like Jimbo (Kodaanukkodipperey-SJ, Nam aasai endra nalroja-PBS, En nenjam unnai-PS), Nagarathil Jimbo (Nenjil niraindha veera-Jamunarani, Pogappoga maarum-PBS&Jamunarani), Sathi Sulochana, Sri Rama Bhaktha Hanuman (Oru thirunaaley oru thirunaal-SJ, Maraiyaappuyalaai-AMR&Jikki), Veera Abhimanyu - not the 1965 one (Ezhil oviyam-AMR&PS) and Arabu Naattu Azhagi (Un anbai thedukindra & Kanneer thuli-both AMR&PS) became popular and were repeatedly featured in Radio Ceylon.
Meanwhile, he rose to great heights in Kannada films. After a long wait, Vijayabhaskar got an opportunity to work for a straight Tamil film. Chitramahal Krishnamoorthi, who was impressed with Vijayabhaskar's score in the Kannada film Nagara Haavu(1972), commissioned him to compose the music for his Kalyanamaam Kalyanam(1974). Ironically, when Nagara Haavu was remade in Tamil as Raja Nagam(1974), the music was composed by V Kumar. With the wondrous "Ilamai naattiya saalai" (TMS&SJ), Vijayabhaskar made a grand arrival in Tamil films.
He struck gold immediately and rapidly bagged a handful of films. In 1974 itself, Vijayabhaskar gave music for 4 films. In the next year, six films came out bedecked with Vijayabhaskar's scintillating scores. Chitramahal Krishnamoorthi and Panju Arunachalam made repeated collaborations with him. However, Chitramahal Krishnamoorthi's films weren't great commercial successes. Panju Arunachalam discovered Ilayaraja in 1976. And Vijayabhaskar was left with a few films from smalltime producers.
However, Vijayabhaskar was "too poor for a bribe, and too proud to importune; he had not the method of making a fortune". He did a film each for K.Balachandar and Sridhar. With an unforgettable swansong Soundaryame Varuga Varuga(1980), and with no regrets, he left the vicious portals of TFM forever. He continued making music of his own enchanting kind for Kannada films. He has left a lingering mark in a few Malayalam films as well. His songs in the Kannada film Neela won