Tag Archives: K. V. Mahadevan

Filmy Ripples – Messiahs Embedded Lyrics

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By P.V. Gopalakrishnan

Film lyrics could be anything these days, for the lyrics are ever drowned in the racy BGM that appeals to the foot-tapping dance, resulting in the loss of intrinsic value of the songwriter. Even a decade or so back the situation was not this pathetic.

But the old movie lyrics stood out as the music was conducive to the words of the lyricist. In fact, many songs of the yesteryears are remembered to date by their evergreen lyrics.

Old songs often carried messages, useful to the community at large; And when these songs were delivered by the larger than life Stars of those times, they had an immaculate impact on the cine goers.

In this edition we would strive to look at some of such songs that carried good messages. In fact, there were too many such old songs that carried messages. However, we cherry picked some of them from different time frames, for our feature here.

N.S.Krishnan used to convey messages for the society through his comic coated songs always in the lyrics of Udumalai Narayana Kavi. One such was ‘Vatham vambu panna koodathu’ from the film “Dr.Savithri” (1955). The song, composed by Music Director G.Ramanathan, was directed as advice to married women, though not very relevant to the current generation, manifesting Bharathiyar’s ‘pudumai penn’!

In the bygone days, children had reverence for parents almost bordering on a fringe of fear about them. They were taught too that parents & teachers were equivalent to almighty. The values were different then.  Generations have since changed when most parents now have a single child or two to whom they afford the best in life & the children too, in turn, move with them more like a demanding friend. That reverential gap has since evaporated. Here is an old time’s song ‘Matha pitha guru deivam’ from ‘Naan petra selvam’ (1956), in the voice of A.P.Komala, the music being by G.Ramanathan.”

‘Aadi paadi velai senja’ from ‘Enga Veettu Mahalakshmi’ (1957), in the music of Master Venu, brings out the sterling fact that work done without pressure becomes a pleasure. The same has been recognized by mighty organizations that even play piped music to increase the productivity of its workers in shop floors as well as offices. The humble agrarian workers, labourers drawing mighty loads & hard sailing fisher folk – all of them – resort to singing in order to lighten their work strain. The modern housewives, whenever they have to cook in the kitchen or drive to work naturally resort to their favourite FM! The singers of the subject were Ghantasala & P.Suseela and the lyricist was Udumalai Narayanakavi.

Enga Veettu Mahalakshmi

Song book of Enga Veettu Mahalakshmi with the pages containing the song AADI PAADI VELAI SENJA PC: From the archives of TCRC

‘Sinthanai sei maname’ was an iconic song advising minds to have balanced views to get rid of evils. Sung by TMS, it was from ‘Ambikapathi’ (1957), produced by ALS Productions. The musical treatise was by G.Ramanathan’ & the lyricist was K.D.santhanam.

The innumerable instances where the alcoholics bring misery to their household, especially to the wives, have been the subjects of many films with a social cause. The film ‘Anbu Engey’ (1958) had a beautiful song with such a message ‘Ethanai kodi panam irunthalum’ in the pristine voice of P.Suseela. The music was by Vedha on the lines of Kannadasan.

‘Aathile thanni vara’ by Sirgazhi featured in modern Theatre’s ‘Vanna Kili’ (1959) in the lyrics of Maruthakasi & set to music by K.V.Mahadevan.’ Life has plentiful surprises both pleasant and otherwise. These have no explanations, which makes life unique. This has been the subject of this song.

Vannakili

Song book of Vannakili with the page containing the song AATHILE THANNI VARA PC: From the archives of TCRC

The songs in MGR starred movies used to carry lot of messages. One such was ‘Chinna payale’ from the Jupiter’s film ‘Arasilamkumari’ (1961) in the lyrics of the inimitable Pattukottai Kalyanasundaram, who died very young. He was an understudy of Poet Bharathi Dasan. The song gives Do’s & Don’ts to the child to whom it is addressed. The music was by G.Ramanathan.

Another character building song directed at kids was ‘Thirudathe papa thirudathe’ from the MGR film ‘Thirudathe’ (1961) in the voice of TMS, while S.M.Subbiah Naidu scored the music on the lyrics of Pattukottai Kalyanasundaram.

‘Engalukkum kalam varum’ was an inspirational duet song, by P.Suseela & TMS, etched in Positive Thinking from the iconic movie ‘Pasa Malar’ (1961), Kannadasan holding the fort for its lyrics. MSV-TKR composed the music.

‘Budhiulla manithar ellam’ rendered by Chandrababu from the AVM produced film ‘Annai’ (1962) had the music of Sudarsanam. The song illustrates the vagaries of life where cohesive things always do not exist.

Often film makers used to have off-screen songs which practice has dwindled over the time. One such song ‘Mayakkama kalakkama’, was very touchingly rendered by P.B.Srinivas in Sridhar directed ‘Sumai Thangi’ (1962) in the lyrics of Kannadasan.  The lyrics are just beautiful and about resolving mind games by lateral thoughts.

‘Dharmam thalai kakkum’, written by Kannadasan &  sung by TMS, was the Title Song of the Sandow Chinnappa Devar produced film of the same name, starred by MGR, who doles out a message with a song even as he drives. This movie of 1963 was given music by K.V.Mahadevan. The nobility associated with charity is highlighted to the masses by the song.

Money has overtaken the principles of life in today’s life. It is only increasing its velocity of such rate of overtaking over the years. ‘Kurangu varum thottamadi’ in the voice of TMS from the G.N.Velumani produced film ‘Panathottam’ (1963) vividly portrays this status. Music composed by MSV-TKR, this song has the golden words of lyricist Kannadasan.

Though all such songs as featured above must be appealing to listen even now, such genre has lost connect in today’s terms, with the current mass scale departure from what were routinely advocated & accepted things in the past.  Thanks to cultural change!

Filmy Ripples – When the vendors lipped a song

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By P.V. Gopalakrishnan

Roadside vendors, particularly those shouting out their signature calls to attract customers is a common sight in our towns & cities, though in some of the Metros this is decreasingly seen in this era of Mega Consumerism & Malls.

Our Films never failed to capture such vendors, even including a bit of music on their lips, as the characters happily musically vended their ware. Even big heroes & heroines of those times have had to carry such roles as vendors in some sequence or other, contrived by the directors.

Here we are seeing some instances of the cinematic vendors as they were featured in various films, chronologically.

The rare song ‘Annam vangaleeyo’ rendered by T.R.Mahalingam featured in ‘Pavalakodi’ (1949), composed by C.R.Subbaraman, where TRM was seen hawking a live Swan. Thank god, perhaps, the Wildlife Act was not in vogue those times!

Pavalakodi

Song book of Pavalakodi with the page containing the song ANNAM VANGALEEYO PC: From the archives of TCRC

 

A doorstep milk vendor used to be a common sight till a decade or two ago in our lives. Here is a girl hawking cow’s milk with a song, ‘Pasumpal’ The singer was P.A.Periyanayaki from the film Singari (1951), in the music of T.K.Kalyanam. Periyanayaki was a much sought after singer even prior to MLV’s stint as a play back singer on Tamil screen.

There was a song ‘Ayya mudalali vanga’ sung by A.M.Raja for Sivaji Ganesan in the movie Anbu (1953) in the composition of Veteran T.R.Paappa.  It is strangely novel that a young man becomes self-employed by selling ‘No Vacancy’ boards in times of acute job losses.

Anbu

Song book of Anbu with the page containing the song AYYA MUDALALI VANGA PC: From the archives of TCRC

Here is Gemini Ganesan pranking around dancing & singing as he sells flowers to the folks around with the song ‘Ayy ammadi namma arakku pachai’ from the film ‘Athisaya Thirudan’ (1958). The singer was TMS & the Music Director was S.Dakshinamurthy.

Another flower seller, this time by a blind female character enacted by Sriranjani in Gemini produced film ‘Raji En Kanmani’ (1954). The song is ‘Malligai poo jathi malli Roja’ rendered by R.Balasaraswathi Devi in the music composition of S.Hanumantha Rao, brother of the noted Film Composer S. Rajeswara Rao.

Jose Sancho Padilla’s haunting Western number “La Violetera” has largely inspired the song. To enable you to listen & compare with the original tune, a piece from the original is also being featured in between the subject song. The talented Master Dhanraj and R. Parthasarathi, who were part of the ‘Gemini Music Troupe’ at that time under Hanumantha Rao created this classic with western interludes, as inspired by “La Violetera”. The well-known Master Dhanraj was the guitar & piano guru to various celebrity music directors such as Ilayaraja, A.R.Rahman & Vidyasagar, in his music school at Luz corner, located above the landmark Nehru News Mart, in those days.

As to the singer R. Balasaraswathi, she was a child prodigy having started recording for HMV at her six & she was the first playback singer of Telugu cinema too. She had also acted in Tamil films Baktha Kuchela (1936), Balayogini (1937), Tukaram (1938), Thiruneelakantar (1939) etc. After her marriage with the Raja of Kolanka, she gradually faded out in her screen career & went into oblivion.

A seller of tantric talisman? Yes, here he is, singing, ‘Thayathu’. Catch MGR in the ghost voice of  TMS in the film ‘Mahadevi’ (1955)  in the music of MSV-TKR.

In the bygone days of old Madras, there used to be candy sellers on the streets hawking elongated candy strings as wound on a pole. Here is K.R.Ramaswami singing & enacting the song ‘Jilu jiluvena jolikkum mittai’ from the film Neethipathi (1955). MSV-TKR composed he music.

‘Elanthai pazham’ was made famous by a song of L.R.easwari in her song on that humble fruit, picturised on Vijaya Nirmala in ‘Panama Pasama’. But here we are bringing an older song ‘Aazhakku oar ana’ sung by Thankappan & Kamala  in the film ‘Yaar Paiyan’ (1957) in the music of S.Dakshinamurthy.

Yaar Payyan

Song book of Yaar Paiyan with the page containing the song AAZHAKKU OAR ANA PC: From the archives of TCRC

Navrathri Kolu Festival used to have a major seasonal market for colourfully painted clay figures in South India. Besides, they had a market in Temple festivals. There was a sequence where Anjali Devi sold these clay Dolls with P.Suseela rendered song ‘Jorana bommai parunga’ in the film ‘Manalane mangaiyin Bakkiyam’ (1957) as composed by Adhi Narayana Rao.

In the good old film Samaya Sanjeevi (1957), J.P.Chandrababu rendered the song ‘Paper Paper’ composed by the doyen G.Ramanathan, in a sequence selling local newspapers & magazines. An interesting song, which enlists all the magazines, those were popular then.

We are familiar with Sirgazhi Govindarajan’s voice being associated with songs of divinity, philosophical or even comical flavors. But he has sung rarely for a tea seller, enacted by K.A.Thangavelu in Sridhar’s film ‘Kalyana Parisu’ (1959) composed by A.M.Raja.

Baloon sellers are a common place anywhere in the world. You could spot them even at venues such as Disneyworld! Here is a local balloon seller with a song on his lips, ‘Paisavai pottu naisaka vaangi’ filmed on V.K.Ramasami, who has several messages to deliver in the song. The film was ‘Alli Petra Pillai’ (1959) & the singer was S.C.Krishnan for Music Director K.V.Mahadevan.

Bangle sellers were traditionally allowed to catch hold of any woman in their selling effort of bangles. Catch MGR in his funny make over as a fat bangle seller singing ‘Kalyana ponnu’ in the voice of TMS in the film ‘Padagotti’ (1964) in the lilting music of MSV-TKR.

The vast beaches of old Madras city first what was called ‘High Court Beach’ (then turned into part of Madras Port, reaching upto War Memorial) & the Marina used to be sprinkled with humble ‘Sundal’ sellers. Here is a song dedicated to one such, in the song ‘Thenga manga sundal’ of TMS in the ‘Neeyum Naanum’ (1968). The Music was of  MSV.

Before we wind up, I would like to cite a vendor’s song from a Hindi movie too. This time, it’s a ‘malishwallah’ offering oil massage services. Listen to ‘Tel Malish’ rendered joyfully by the veteran Mohd.Rafi in ‘Pyassa’ (1957) as composed by S.D.Burman. It is picturised on the late comedian Johnny Walker.

The street vendors are still omnipresent in India, despite the paradigm shift in the way people shop. May be the coming generations miss out on them as they become slowly irrelevant & disappear gradually. But their recognition on our screens of the past is indelible!

 

Filmy Ripples – Exotic Instruments in Film music – Part 2

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By P.V. Gopalakrishnan

In this second part on ‘Exotic Instruments’ that have been used in our film music, we would cover some more instruments.

Mandolin, a 17th century evolved Italian instrument, with traditionally four courses of double strings, had featured prominently in almost all film music compositions till late sixties.

Among the multitude of songs using Mandolin here is the popular song ‘Neela vanna kannane’ from the film Mallika (1957), in the music of T.R.Paapa.

Mandolin used to be in most of MSV-TKR compositions, having been played by the Legend M.S.Raju. M.S.Raju was a dominant & very senior member of MSV’s orchestra as the man of many parts as he played Mandolin & Santoor besides whistling & doing konnakol.

Listen to ‘Thangathile oru kurai irunthalum’ (Bagapirivinai – 1959) in the beautiful mukhda of the song, in M.S.Raju’s Mandolin.

Bagapirivinai

Song book of Bagapirivinai with the page containing the song THANGATHILE ORU KURAI    PC: From the archives of TCRC

Santoor: is a Kashmiri instrument with seventy two strings and M.S.Raju as well as R.Visweswaran used to play Santoor for MSV.

It was Music Director Naushad, who made people to sit back & take note of this scintillating instrument in the song ‘Mere mehboob thuje’ from the film ‘Mere Mehboob’ (1963), when this instrument attracted attention of many.

The beautiful, reflective santoor used to be common in the BGM of many films, often as a gentle romantic hint in the score during the maiden romantic encounter.

Here is Santoor played by M.S.Raju in the song ‘Aaru maname aaru’ from ‘Andavan Kattalai’ (1964), in MSV-TKR composition.

You can also catch Santoor notes even in Ilayaraja’s ‘Chinna kannan azhaikkiran’ (Kavi Kuyil) in the opening BGM.

Sarangi, a bowed short-neck stringed instrument famed for its close imitation of the human voice, was rarely used in Tamil film songs. But wherever exceptionally used, they lent brilliant emotive grains to the song, as in ‘Ullathil nalla ullam’ from ‘Karnan’ (1964) in the composition of MSV-TKR. For this film MSV had brought musicians from the North.

There is an Instrument called Dilruba/Esraj, from Punjab, which sounds similar to the melancholic strains of Sarangi. The most famous exponent on Dilrupa in Tamil film industry was Dilruba Shanmugham who has played in-numerous scores for legends like MSV and Ilayaraja.

The lilting song, ‘Chinna thai aval’ from Thalapathi by Ilayaraja had Dilruba bits in it.

Sarod, a lute-like instrument from Afghanistan that rose to prominence in the Mughal courts too have featured in films, but exceptionally in Tamil films. The Sarod is highly versatile–when played quickly it can denote excitement and movement, and when plucked slowly it can touch your heart.

Here is a Tamil film song ‘Devan kovil maniyosai’ from the film ‘Mani osai’ (1963) in the music of MSV-TKR where Sarod appears twice in the song, post anthra, just after the flute.

The mesmerizing jugal bandhi between Sitar, Jaltarang and Sarod could be heard in the last portions “Madhuban Mein Radhika” (Kohinoor- 1960), composed by the legend Naushad.

Sitar, a multi-string plucked instrument that influenced the Western pop world in the 1960s (thanks to Pandit Ravi Shankar), when The Beatles and Rolling Stones adopted it. Tamil film music too has used it in songs & BGM.

Mr. Janardhan is a well known Sitar player who had played for film music too.

Sridhar’s ‘Nenjil oar Aalayam’ (1961) featured Sitar in its songs, in the composition of MSV-TKR.

Other notable songs in Tamil with Sitar notes included ‘Kettadhum koduppavane Krishna’ from Deiva Magan (1969) composed by MSV & ‘ennathan ragasiyamo’ from Idhaya Kamalam (1965) composed by K.V.Mahadevan.

Idhaya Kamalam

Song book of Idhaya Kamalam with the page containing the song ENNATHAN RAGASIYAMO PC: From the archives of TCRC

In Hindi, there are many songs featuring Sitar, one of which is the beautiful composition of Salil Chowdhri ‘Oh Sajna’ from the film Parakh.

Another classical based film song in Hindi featuring Sitar was ‘Tere bina zindagi main’ from Andhi composed by R.D.Burman.

Violin, a highly popular bowed four stringed Italian instrument with roots in 16th century Italy, has had global impact, including in orchestral performances of Indian film music, in a big way.

Violins are an integral part of film music orchestration. I’ve listed several songs that highlight its use as a solo instrument, or more commonly as part of a large orchestra seen in numerous Indian film songs.

In each cinema orchestra there will be a ‘First Violinist’ who leads the song along with the vocalist, without over powering the singer. Henry Daniels & V.S.Narasimhan were with MSV-TKR & Ilayaraja, respectively as First Violinists.

Then, of course, the cine orchestra would have a big collection of violinists.

Here are samples of how collective violin players contribute to the compositions. Here is ‘Poga poga theriyum’ from Server Sundaram where violin score has been very briskly & beautifully contrived by the music arrangers.

Shehnai, a double reeded wind instrument made out of wood with wooden flared bell at the other end, has been commonly used in Indian film music.

MSV-TKR had in their orchestra, Satyam whose delectable Shehnai notes could be heard in some of their compositions such as ‘Malai pozhuthin mayakkathile’ (Bagyalakshmi), ‘Avalukkum Thamizh enru paer’ (Panchavarnakili), “Alaya maniyin osaiyai naan’, ‘Ennai yar enru’ (Palum Pazhamum) ‘Kuthu vilakkeriya’ (Pachai Vilakku) & ‘Oru naal iravu’ (Kaviya Thalaivi).

Satyam was an asset to MSV-TKR. There was an episode when recording for Kaviya Thalaivi since MSV could not get what he wanted out of Satyam, resulting in multi takes, Satyam when he retired home after the work denied food from his wife & MSV had to call him up and cajole him!

Oboe, a double reed wood instrument like clarinet, but of treble range of musical notes, has also been used on & off in Tamil Film music.

A classic example is ‘Kanna karumai nira kanna’ from Naanum Oru Penn, in the composition of Sudarsanam in which oboe features.

Flute, an ancient instrument comes in different octaves as well as different pipe construction such as bamboo, metal etc. The traditional bamboo flutes of different sruthis (tonal variations) along with Piccolo Flutes (used in Symphonies) & Shakuhachi (Japanese Flutes) have been associated with pastoral compositions in Indian films.

MSV-TKR had an important orchestra member in Nanjundappa, the flautist. Listen to one of his chirpy works in the very beautifully composed melody ‘Indha manrathil oadi varum’ (Policekaran Magal).

In ‘Chingari Koi Bhadke’ – Amar Prem, composed by R.D.Burman, one can hear the rich & moving notes of a Bansuri flute of bamboo make usually used to signify a tragic or devotional flavours, transporting the listener to a different world.

Who can forget the beautiful flute piece in ‘Chinna kannan azhaikkiran’ (Kavi Kuyil) composed by Ilayaraja, as it seamlessly takes over from the Santoor bit & vioilin serande in the song.

‘Naan manthoppil’ by L.R.Easwari in the film ‘Enga veettu pillai’ (1965) features the shrill Picollo flute which has very high registry.

There are innumerable Tamil film songs embodying delectable flute notes, which are very pleasurable to listen but it would be impractical to mention all of them.

We will continue discussing more of the exotic musical instruments used in our films in our next posting too.

 

Filmy Ripples- Exotic Instruments in Film music – Part 1

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By P.V. Gopalakrishnan

If you have found yourself listening to old Tamil film music and felt like you attain absolute ecstasy from the mosaic of sounds that the blend of various musical instruments produced, pleasing your eardrums, we know exactly how you felt!

From traditional Indian instruments to the exotic instruments from various parts of the globe, the music composers of Tamil screen composed their lilting music. In fact, by virtue of music composers like A. R. Rahman having become a global player, such globalization in music has brought some very exotic musical instruments such as Balalaika, Cajon, Harpejji etc to our door step.

The track record of Tamil film music goes much beyond the music directors & playback artistes who literally lived them. The immaculate talents of extremely talented musicians, who never were known to the listeners at large, deserved the credit of the lively compositions we cherish even to-date. The fruits of their creativity is an ever lasting a gift to the current & future generations of music-lovers.

In order that we appreciate those highly talented music makers of the Tamil screen, we must know about the various musical instruments they used in their breezy compositions, under the direction of music directors.

Here in this Article, we will have a ringside view of the various musical cine-orchestral music instruments along with links to videos and songs wherein these were used, particularly in Tamil films till the early seventies. However, we will eschew Accordion since we have already devoted a special Article on that.

Univox organ:

In old Tamil films the organs used to produce musical notes similar to the mighty church organs. Since then the organs have gone through a long history of evolving & development resulting in today’s one-man orchestra provided by the modern electronic keyboards.

Listen to ‘Ennai alum Mary matha’ by P.Leela from Missiyamma (1955), in the composition of veteran S. Rajeswara Rao, where the beginning music is of the organ.

 Bagpipes:

These are wind instruments using enclosed reeds, fed from a ‘bag’, which acts as the reservoir of air. The player keeps pumping air orally into the ‘bag’ as he plays. So, the difference between any wind instrument & bagpipe is that unlike the other wind instruments which are blown into with air directly from the player’s lungs, bagpipes receive air first into its bag from where it goes to the pipes. Though Bagpipe is predominantly seen as a Scottish instrument, bagpipes have been played for over a millennium throughout other large parts of the West.

I have not come across a bagpipe being used in any Tamil film songs. Though someone said, it has been used by K.V.Mahadevan in the song ‘Thottu vida thottuvida thodarum’, on a careful listening, I find, the bits resembling Bagpipes are in fact produced by the Organ of those times known as Univox.

As far as my information goes, Bagpipes were used only in the Raj Kapoor film Sangam (Music by Shankar Jaikishen) in the song ‘Bol Radha Bol Sangam’.

Banjo:

A plucked stringed instrument, which originated in Africa & got adopted in the country music of USA.  Banjo had not been very widely used in Tamil film music but there are specific songs where this has been used. For instance, MSV-TKR had used Banjo in few of their compositions & the one we have here for citing is ‘Ennathan nadakkum nadakkattume’, from ‘Pana Thottam’ (1963), where the string instrument you hear is a Banjo.

Ennathan nadakkum(Panathottam)

Song book of Pana Thottam with the page containing the song ENNATHAN NADAKKUM NADAKATTUME    PC: From the archives of TCRC

Bongos:

These are Afro-Cuban percussion instruments consisting of a pair of small, open bottomed drums of different sizes & played by fingers & palm.

Indian films till the sixties used this percussion instrument very frequently in the compositions. In fact instruments such as Accordion, Bongos & Mandolin ruled the roost In Tamil film compositions prior to seventies but became slowly extinct as there was a paradigm shift to the music genre & compositions. MSV-TKR had used Bongos in very many memorable songs. Ganesh (of Shankar-Ganesh Duo) who was a formidable member of MSV’s orchestra played Bongos.

Some of the songs using Bongos for percussion that deeply rooted in my mind include ‘Ullam enbathu aamai’, ‘Pesuvathu kiliya’, ‘Poga poga theriyum’ & ‘Silai eduthan oru sinna ponnukku’.

Here is ‘Pesuvathu kiliya’ from Deiva Thai, composed by MSV-TKR with the Bongo beats.

In ‘Silai eduthan oru china pennukku’ (Server Sundaram) too you get to hear percussion beats of Bongos.

Silai eduthan(Server Sundaram)

Song book of Server Sundaram with the page containing the song SILAI EDUTHAN ORU CHINNA PENNUKKU     PC: From the archives of TCRC

 Castanets:

 These are rhythmic percussion instrument comprising of a pair of concave shells joined on one edge by a string, originating from Turkey. O.P.Nayyar had used it often in his compositions. It is a hand held instrument used to produce clicks for rhythmic accents or a ripping or rattling sound consisting of a rapid series of clicks.

Here is a Tamil composition by MSV-TKR in the song ‘Pillaikku thanthai oruvan’ from ‘ Parthal Pasi Theerum’ (1962)., where you can hear the rhythmic wooden clap sounds produced by Castanets.

You can spot castanets in few other Tamil songs too such as ‘Kelvi piranthathu anru’ (Pachai Vilakku), the music director being MSV-TKR.

Kelvi Piranthathu(Pachai Vilakku)

Song book of Pachai vilakku with the page containing the song KELVI PIRANTHATHU ANDRU     PC: From the archives of TCRC

 Cello:

It is a four stringed bass instrument originated from Italy in 17th century, looking like a giant violin (held while playing against the seated cellist and traditionally played with a horsehair bow), has been used routinely in many Tamil Film Songs. However, due to its ‘Bass’ tone structure it has a low tonal registry & may not be heard separately unless played singly in the songs.

In ‘Silar sirippar silar azhuvar’ song from ‘Pava Mannippu’ (1960), composed ny MSV-TKR you can hear Cello.

In ‘Enge nimmadhi’ song  (‘Puthiya Paravai’ – 1963) too, one can distinctly hear Cello in the opening music just prior to the vocal of TMS.

Guitar:

A typically six stringed instrument with European roots with a multitude of incarnations from acoustic to electric, has featured commonly in many film songs.

Tamil Cinema has had amazing Guitarists such as Dhanraj Master, Philip, Ilayaraja, Chandrasekhar, Gangai Amaran & R.Visweswaran.  Of these, the last named late Visweswaran (husband of danseuse Chithra Visweswaran) was a close friend & college-mate of this writer. Visweswaran himself was an expert Guitarist who could play Flamenco genre music & had played for R.D.Burman.

Veteran Guitarist Philip debuted in the M.K.Radha starred Gemini produced film “Apoorva Sahodarargal’ (1949), introduced by the legendary Music Director S. Rajeswara Rao. Since that Philip had played for K.V. Mahadevan, Viswanathan – Ramamurthy, Sathyam and V. Kumar. Hindi music directors from Bombay such as Hemant Kumar, Madan Mohan, Chitragupta and Ravi wanted Philips to migrate to Mumbai. Philip, an autodidact, now in his eighties, was considered a genius. His guitar pieces were predominant in many Tamil film hits including  ‘Aha mella nada mella nada (Pudiya paravai), ‘Vannakili sonna mozhi’ (Deiva Thai), ‘Malar enra mugam onru’ (Kathalikka neramillai),  “Aval paranthu ponale’ (Paar magale paar), ‘Avalukkenna Azhagiya mugam’ (Server Sundaram), ‘Anubhavam pudumai’ (Kathalikka neramillai), ‘Aada varalaam’’ (Karuppu Panam).

In an Article by V. Balasubramanian titled “Harmony with strings” in The Hindu dated 27.4.2014, the author wrote “MSV during his heydays was a hard taskmaster who would leave no stone unturned till he gets what he wanted. During a particular recording, that started at 7 a.m, the work went on till next day morning. Philips pleaded with MSV to let him go but in vain. Finally, when it was pack up, Philips had to rush directly from the recording studio to the church where his wedding was to take place.“ This writer has had the opportunity of meeting this genius along with R.Visweswaran in early sixties.

“Ilaiya nila pozhigirathu” (Payanangal Mudivathillai) composed by Ilayaraja & rendered by SPB has ample guitar bits, played by Guitarist Chandrasekhar. As per an Interview by SPB, Ilayaraja had well over twenty retakes to get the Guitarist play those difficult Flamenco Notes to his full satisfaction. The results were obvious in the song!

We will continue discussing more of the exotic musical instruments used in our films in our next posting.

Filmy Ripples – Fifty Shades of Lullaby

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By P V Gopalakrishnan

A Lullaby, as per Cambridge dictionary, is “a quiet song that is sung to children to help them go to sleep”. Indeed, a down-to-earth meaning, as we commonly perceive them to be. It is said that when babies are disturbed by sudden movements or noises, their blood pressure and heartbeats shoot up instantly when a Lullaby could draw the disturbed child back to normalcy by calming them, in a jiffy. So, it is music therapy that is engrained in lullaby.

Ancient literatures have lullabies in them. Sages and ascetics have sung what are known as ‘PiLLai Thamizh’ in Tamil literature on Celestial Entities. Bhakthi has found its apt expression in the lullaby composition, ‘Mannu pugazh Kosalai thum mani vayiru vaaythavane’ on Lord Rama, by Kula Sekara Azwar.

The poignant lullaby “Omanathingal Kidavo”, had been composed by the famous Malayalam poet Iravi Varman Thampi as lullaby for the young Swathi Thirunal, strikes a tender chord as its soothing notes have lulled generations of children asleep.

Rhythmic usage of words like ‘Aararo’ and ‘thalelo’ are used in ancient Tamil lullabies, typically. Grannies used to twirl their tongue making phonetics to sound like ‘loLa loLa loLa aayeee’ to calm the child.

Lullabies are a part of the cultural legacy of humanity and they have always found a place, rightfully, in films.

The filmy lullaby has had even the proud history of being nominated to Oscar, with the Tamil lullaby, composed and sung by the popular Carnatic vocalist Bombay Jayashri in the Hollywood film ‘Life of Pi’ going for Oscar nomination!

 

 

Traditionally, Raga Neelambari is associated with lullabies. However, movie lullabies follow a freelance pattern and do not restrict only to Neelambari. The movie lullabies are set to soft music using music instruments such as pipo-fone, piano, flutes, sitar, bells, vibrafone etc. that produce baby friendly sounds, attributable to sleep mode. Listen to this beautiful Hindi lullaby, based on a Bengali tune, from ‘Sujata’.

 

Our own cinemas have featured many a lullaby, with various underlying emotions of the character that renders the lullaby song on screen. But the situations in which these lullabies were included in films had their own unique connotations, some sorrowful, some wishful about posterity, some tickling funny bones, some inspirational and some comical.

There have been innumerable lullabies on our Tamil screen & this writer could enlist about thirty of them in this write up, discussing some of them.

It is commonplace for a mother to sing a lullaby to her offspring, which is full of positive things as the child grows. She packs her natural love & affection into it that it is a form of maternal blessing, so to say, to the child, as it tries to catch forty winks.

The memorable songs in this ‘love & affection’ category include ‘Anbil malarntha nal roja’ (Kanavane Kan Kanda Deivam), ‘Kanne vanna pasunkiliye’ (Yanai valartha vanampadi), ‘Kannin maniye vaa’ (Valliyin Selvan), ‘Poonchittu kannangal’ (Thulabaram), ‘Thenral vandhu veesadho’ (Sivagangai Seemai), ‘Velli nila mutrathile’ (Vettaikaran) featuring either of the parents of the child, in the filmed sequence as rendering the lullaby.

The below video is of a beautiful lullaby from ‘Kanavane Kan Kanda Deivam’ (1955), filmed on Anjali Devi, was in the music score of Hemant Kumar & the singer was P.Suseela. The music arrangement is simple with violins & guitar as main instruments.

 

 

Another beautiful lullaby of classical base, whose video is below, ‘Kannin maniye vaa’ rendered by M.L.Vasanthakumari in ‘Valliyin Kanavan’ (1955) in the music of P.S.Anantharaman, has been filmed on a lactating mother, enacted by M.S.Sundari Bai.

 

 

Another very melodious lullaby rendered by twin singers, S.Varalakshmi & T.S.Bhagavathy, is in the following video. The moving music, full of classical flute notes, was by MSV-TKR from the Kannadasan produced ‘Sivagangai Seemai’ (1959).

 

 

A fatherly lullaby can be heard in the following video, filmed MGR. T.M.Sounderrajan has rendered it very movingly in the melodious soft music of K.V.Mahadevan from the film ‘Vettaikaran’.

 

 

Sometimes, the lullaby incorporates situational advice to cajole a crying child as was in the famous film lullaby ‘Chinna pappa enga chella pappa’ (Vanna KiLi), where the mother tries to administer normalcy in an otherwise tense situation.

 

 

Often the lullabies also have an intense reflection of pathos & suffering, as are reflected in Blues genre of Western Music. We may cite such songs in the examples of ‘Konju mozhi sollum kiLiye’ (Parasakthi), ‘Malarnthum malaratha’ (Pasa Malar).

 

 

There are also lullabies incorporating tinges of inspirational messages, as was in ‘Kaala magaL kaN thirappaL’ (Ananda Jothi), as the character played by Devika sang to the then child star Kamal Hassan.

 

 

Even in comedy situations films have featured a lullaby genre of songs, an example of which could be the parody number, ‘Appappa naan appan allada’ (Galatta Kalyanam), where the situation demands Sivaji Ganesan to bring home & tend a baby! The way he dances about the baby, it must have given colic pain to the bay! Then in the same comedy flavor was another lullaby ‘Budhi sigamani petha pullai (Iruvar Ullam), unusually filmed on M.R.Radha.

 

In stark contrast, there could be situations of utter frustration & sadness triggering a lullaby as in the famous  ‘Ean piranthay magane’ (Baga Pirivinai), where the handicapped hero laments about a son being born to him in the unfortunate ambience and ’Poo maalai puzhuthi maN mele’ (Parasakthi).

 

 

 

Of course, utter proudness & exuberance do not deter a parent from singing a lullaby, instances of which are too many in our films. ‘Athai madi methaiyadi’ from Karpagam, ‘Chella Kiligalam’ (Enga Mama) (it was a mass lullaby for a group of children under the hero’s mentorship), ‘Min miniyai kanmaniyay’ (Kannan en kadhalan), ‘Naan petra selvam from the movie of same title, ‘Nee sirithal naan sirippen’ (Pavai ViLakku), ‘Pachai maram onru’ (Ramu) are all classic instances.

 

 

When you listen to ‘Chellakiliye mella pesu’ (Petralthaan pillaiya), off screen, it is a perfect lullaby of melancholic strains. But when you see the visuals MGR has enacted the song totally in a happy situation.

 

 

The other reflectively rendered slow paced Tamil film lullabies are ‘Neela vanna kanna vada’ (Mangayar Thilakam), ‘Chinnanchiru kanmalar’ (Pathi Bakthi), ‘Araaro nee yararo’ (Rajamukthi), ‘Eazhu malai andavane’ (Kalyanam panni paar), ‘Ellorum unnai nallavan enre’ (Bagyavathi), ‘Kalamithu kalamithu kannunurangu’ (Chithi), ‘Kanne Kamala poo’ (Periya Koil), ‘Kannan Varuvan’ (Panchavarnakili), ‘Kanne Raja kavalai vendam’ (Bagyalakshmi), ‘Mannukku maram barama’ (Thai piranthal vazhi pirakkum), ‘Ore oru oorile’ (Padikkatha medhai) & ‘Pillaikku thanthai oruvan’ (Parthal pasi theerum).

 

 

 

The opportunity of watching a lullaby sequence in a film has greatly diminished these days & it could even become extinct some day, as the trend of movies have departed from the film subjects of the bygone days..

But the music directors of different times have gifted us with beautiful lullaby songs that enhance our listening pleasures, even today. We will cherish them forever, for sure!

 

 

Filmy Ripples:Nadaswaram in old Tamil films

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By P V Gopalakrishnan

Nadaswaram played significant roles in some limited Tamil Films.

The nadhaswaram legend T. N. Rajarathinam Pillai, a major icon of those times, played an interlude in the movie Rajamukthi (1948), (Hero MKT & Heroine N. Janaki, later MGR’s wife). MGR, then a small time actor himself, was in a support role in this film. The film, made after the prison term of MKT, was shot in Prabhat Studios, Pune as MKT wanted to be away from the film circuit of Madras, in the aftermath of his release from prison. As such most of the technicians were Maharashtrians for this film. However, Rajamukthi, which was come back attempt for his film career, terribly bombed, witnessing MKT’s slide. (By the by, this film was the debut movie for M.L.Vasanthakumari as a playback artiste.)

Talking of T.N.Rajarathinam Pillai, he himself acted as a Nadhaswaram player in a wedding sequence in the film Miss Malini (1936), paying Todi & rendering a song in Rithigaula. In “Kalamegham” (1940), written by Bharathi Dasan & directed by Ellis Dungan, he acted as a Nadhaswaram playing Hero, singing many songs.

Kala Megham

An ad of the film Kalamegham in Ananda Vikatan Deepavali Malar 1939 PC: From the archives of TCRC

Another leading Nadaswaram vidwan, Namagiripettai Krishnan played off screen, while the credit titles ran on the screen in the movie ‘Town Bus’ (1955) and not the usual film orchestra. It was in the beautiful Raga ‘Mohanam’.

Who can forget the iconic song, “Singara velane deva”, in the combo of S. Janaki’s voice & the Nadaswaram rendition of Karukurichi Arunachalam, another doyen of Nadaswaram world? It would be strange to learn that the full Nadaswaram tune, in AAbheri raga, by Karukuruchi Arunachalam was recorded at Madras for use in the film. On later thought the Director M.V.Raman decided to have also a song sequence using the already recorded Nadhaswaram tune. Then, the high-pitched S. Janaki was commissioned to sing by the Music Director S.M.Subbiah Naidu on the lyrics written to suit the tune. Janak’s vocals were recorded at Raman Studios, Bombay. In those days it was marvel that Sound Recordist Jeeva could manually inter-spread Janaki’s each line of singing to be succeeded by each line of the Nadhaswaram. Bravo on that!

Another song that copiously used Nadhaswaram in a film song was “ Vaaray en thozhi vaarayo” in the film “Pasamalar” by MSV-TKR, for a wedding sequence. It was an amazing blend of Nadaswaram with violins & mandolin in that number. Following this, wherever relevant the Music Directors have used Nadaswaram, such as ‘Oli mayamana ehtir kalam’ in ‘Pachai Vilakku’ (MSV-TKR) and ‘ Nadaswara osaiyile devan vandhu padugiran” in ‘Poovum Pottum’ (Govardhanam).

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Song Book of the film Pachai Vilakku PC: From the archives of TCRC

However, when we talk of Nadaswaram with reference to Tamil films, perhaps, the immediate recall reference could be the iconic movie “Thillana Mohanambal”, a romantic story of a Nadaswaram Maestro Sikkil Shanmukhasundaram with a danseuse Mohana, written by Kothamangalam Subbu. The film is full of Nadaswaram music played off screen by the popular Nadaswaram duo M. P. N. Sethuraman and M. P. N. Ponnusamy from Madurai. In this film Sivaji Ganesan has no songs requiring play back support, as all his musical renderings were on the Nadaswaram, played by the duo.

Thillana Moganambal

The LP cover of Thillana Mohanambal PC: From the archives of TCRC

Director A.P.Nagarajan who had the opportunity of listening to MPN Bros, at a wedding in Karaikudi suggested them to Sivaji. Soon, the duo was in Chennai for their rehearsals at Music Director K.V.Mahadevan’s studio.

As per the MPN Bros, Sivaji Ganesan listened to them, as they rehearsed for the film, lying on Kannadasan’s lap and earned liberal appreciation from all before Director A.P.Nagarajan confirmed their selection for the film.

Asst.Music Director Pugazhenthi decorated the “Nagumomu” composition of Thyagaraja, a master piece in the film, with incredible sangathis. Impressed by their performance of Muthiah Bhagavathar composed English Notes at the 42nd birthday celebrations of Sivaji Ganesan, APN included that piece too in the film. The MPN Bros recalled that the scintillating ‘Nalandhana’ song took about nine takes.

The body language & acting of Sivaji Ganesan to the playing of Nadaswaram synced so well that nobody believed he was not playing it for real. In fact, when a Russian delegation met Sivaji Ganesan sequel to the film’s release, it was incredible for them to believe that he was only acting and not actually playing!

When the movie was released in 1968 in Madurai, the home town of MPN Bros, the brothers, the seventh generation players in their family, were literally lifted by the crowd for bringing immortal fame to the Temple City.

MPN Bros since played for major VIP functions & every invitation card used to specially feature their names as star attraction. Since Thillana Mohanambal the duo performed in only the film ‘Kovil Pura.’

After that M.P.N. Sethuraman passed away & in a gory accident. M.P.N.Ponnuswamy lost his jaw, besides his wife’s life.

 

 

 

 

 

 

 

 

 

 

Filmy Ripples : Rainy Movies

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By P V Gopalakrishnan

Movies are all about dramatic interpretations of incidents of ordinary life; in projecting the life’s stories on this Earth on to silver screen, Cinema gets to be larger than life. In its course, Cinema brings to the viewers added excitement, dramatization, surrealism and what not. This is what is being cinematic! Rain in films is one such element that builds up the excitement, whether the movie is about romance, family subjects, horror, thriller, musical or comedy. So you see a pair holding hands & singing as the down pour is on them, a villain musters his might on the noble as he drenches himself in rain and so on & so forth!

Kovil Yanai.jpg

The lead pair from the film Kovil Yanai (1986) seen drenched in Rain. PC: From the Archives of TCRC

No matter what sequence, Movies always have had cloud burst on their characters! Here we are going to look at some of them, starting with a famous rain sequence from the celebrated Hollywood movie  ‘Jurassic Park’. In this tense sequence, Director Steven Spielberg had heightened both the excitement & fright about the Dinosaurs from the Mesozoic Era by adding rain. However, the film was made on the onset of the Information Era when Technology had already benefited film- making.

But our own period films have used their extremely innovative ideas in the absence of advanced technology. The below clip from the film ‘Avvaiyar’ (1953), produced by S.S.Vasan of Gemini Studios, shows the sequence in which the new born, but abandoned, baby Avvaiyar is carried in a casket by the flash floods following incessant rains, with reasonably credible on-screen presentation!

There have been clever ‘rain’ scenes in some movies, without actually showing any rain at all, as was the case in the movie “Aada vantha deivam’ (1960). Here, in the song “Sottu sottunu peyyuthu paar inge”, the hero & heroine are enacting the effect of the rain inside their porous dwelling while the simulated rain pours outside! The actors were T.R.Mahalingam & E.V.Saroja and this super hit duet of its times was composed by K.V.Mahadevan on the lyrics of Maruthakasi.

In the same year as the above Tamil movie, the black & white Hindi film “Parakh” directed by Bimal Roy was released with its iconic song number, “Oh…Sajna Barkha Bahar Ayee”. Some song sequences become evergreen & this is one such, where Sadhana sedately strolls by the portico and retreats indoors as the rain pours down outside. Shots of rain dripped vegetation and puddles are interspersed with close-ups of Sadhana as she sings about her love. The sequence filmed by noted Cinematographer Kamal Bose simply became equivalent to poetry, due to Shailendra’s lyrics, the music composed in Raag Khamaj by Salil Chowdhary (also happens to be story-writer of the film)  & the vivid capture of the monsoon moods on camera.

Everyone loves rain. The fondness for getting wet in the rain is ingrained in all from our childhood  & the film makers have always utilized such universal love for rain in making scenes of rain in movies where the characters in the film are made to soak themselves, drenching to their skins in the studio rain. Often they burst into songs as a pair under the downpour.  Here is a famous rain song sequence filmed on Sivaji Ganesan & Malini, amidst thunderous rains, in ‘Sabash Meena’ (1958), in the voices of T.A.Mothi & P.Suseela (1958), the music score being by T.G.Lingappa. Here goes the very song ‘Kaana inbam kaninthatheno’.

As for the lovers encountering the downpour, here is another instance from the film ‘Thazhampoo”(1965) starring MGR & K.R.Vijaya.

Director Prakash Mehra included the famous rain song sequence, ‘aaj lapat jaiye toh’ in the Amitabh starred hit movie ‘Namak Halal’ (1982), purely as a matter of ‘attraction’ where the pair was through the song wet in the ‘rains’! Smita Patil, featured in the scene along with Amitabh, was an actress par excellent, graduated from FTII. She belonged to a genre of actors such as Shabana Azmi & belonged to he parallel cinema of seventies. Her stellar roles with leading directors such as Shyam Benegal, Govind Nihlani, Satyajit Ray, Mrinal Sen & G.Aravindan cannot be forgotten.The commercial cinema Moghul, Prakash Mehra has used such an acting material for a pedestrian item in this song!

Sometimes, a lovelorn Nayika is seen dreamingly solo-drenching in the rain as Saroja Devi does it in this sequence from the film “Kudumba Thalaivan’ (1962).

The Directors add rain to a scene to make it more dramatic. And it was not always ‘boy meets the girl under the down pour’ sequence. Here is an inspirational message through a song from the MGR starred film ’Chandrodayam’ (1966) which has been shot in rain.  T.M.Soundararajan rendered it in the music of MSV.

From Sridhar’s “Nenjil oar aalayam” (1962), shot in a matter of less than four weeks, the song “Engirunthalum vazhga” rendered by A.L.Raghavan in the music composition of MSV-TKR was a super hit. This sequence of pathos genre was shot in the ambience of a dark rainy night. Whereas the team of Director Sridhar and Cinematographer A. Vincent have taken indoor shots of the hero singing while showing in between the nightly rain outside, to bring in that touch, complete with frogs croaking from the rain puddles. The orchestration in the song suggest sound of tip-tap rain drops falling with the Hawaiian Guitar Notes & Bongo beats that sustain through the song.

Whenever the Director wanted to add that ‘extra’ to an already tense situation, nobody helps him like rain. There have been many such instances in movies. Here is one such song sequence (Voice: SPB, Music: Ilayaraja) filmed on Mohan in ‘Payanangal Mudivathillai’ (1982) where the hero is drenched to the skin in the rendering of this popular song.

The Award winning, intense Malayalam Feature Film, “Perumazhakalam” (2004) (meaning season of heavy rains) exploited the heavy monsoon of Kerala throughout the film, in narrating the heart wrenching emotional story of a young girl whose spouse is given death punishment in Saudi. Needless to say, the rains soaked movie had its dramatic effects heightened by the real rains.

Are our Indian films alone when it comes to singing in the rain? Nay, look at this song from the MGM produced Hollywood musical ‘Singing In the Rain” (1952), where Gene Kelly tap dances in the rain.

The song ‘ Evano Oruvan Vaasikiraan’ in the mystic voice of Swarnalatha in ‘Alai Payuthe’ vividly demonstrated Director Mani Ratnam’s perennial obsession with rains, in the combo of lyrics and music, to magically contrive emotions. Beautifully cinematographed by PC Sriram, the song emphatically conveyed the binding passion between the hero & heroine.

As we said above, not merely song sequences attracted rains, but even fierce fight scenes were composed in rains, as in Mani Ratnam’s Thalapathi, where Rajanikant encounters with goons, shows.

In our movies, special effects people use hoses, pipes and sprinklers to create rain effect. They can be freestanding for close ups shots or mounted on a crane for larger wider shots. They also hose down the water in the backdrop to make it look dark, wet and drippy. Most film production units use a device called rain curtains along with fans and low lighting to create the illusion that it is raining.

If we closely observe films featuring day time rains, mostly the shots are from above with tight close ups on the characters so the audience won’t notice the fact that it’s not raining more than a few yards away. Whereas shooting nightly rain is said to be easier as the depth of field is shortened by the low light conditions, making it, anyway, difficult to see much beyond the characters being filmed.

 Well, the mythical Lord Varuna, thus, had been donning a role in our cinemas past & present. And today we have 7-D theatres where the moviegoer even gets wet in a rain sequence.  Not withstanding such surge in technology, there are, today, even specialist companies, that create digital special effects to simulate rain, as GenArts, in Hollywood.

So, keep watching for more rains in your neighborhood cinemas!

 

 

 

 

 

 

 

 

 

 

 

RARE: Original LP record of Sivaji Ganesan’s “Thiruvarutselvar” (Tamil, 1967)

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"Thiruvarutselvar" | LP Record - Front | Tamil | 1967

“Thiruvarutselvar” | LP Record – Front | Tamil | 1967

"Thiruvarutselvar" | LP Record - Back | Tamil | 1967

“Thiruvarutselvar” | LP Record – Back | Tamil | 1967

In our archives here at TCRC, we have the original LP records of numerous Indian films, right from the 50s to the 80s. Today, we share with you the photos of the LP record of “Thiruvarutselvar”, a Tamil film starring Sivaji Ganesan, Savitri, Muthuraman, KR Vijaya and others. It was released in 1967 and was directed by AP Nagarajan, the veteran filmmaker whose other hits include “Thiruvilayadal,” “Saraswathi Sabatham,” and “Thillana Mohanambal.” The music for “Thiruvarutselvar” was scored by KV Mahadevan and the lyrics were written by Kannadasan. Even today, one remembers P Susheela’s mellifluous rendition of “Mannavan Vanthanadi,” one of the most popular songs of the album.

In an interview with Mohan V Raman for The Hindu in April 2012, CN Paramasivan, the son of director AP Nagarajan had said that the overwhelming response to the re-release of “Karnan” was encouraging him to look into the restoration of some of his father’s films (click here to read that story). We at TCRC hope to see that happen.

Also, it must be mentioned here that the same team, i.e., actor Sivaji Ganesan, director AP Nagarajan and music director KV Mahadevan, came together for “Kandan Karunai,” which won KV Mahadevan the National Award for Best Music Direction in 1967, the same year in which “Thiruvarutselvar” was released. This was the first time that a National Award was constituted for the category of Music Direction. Since then, the most number of National Awards for Best Music Direction have been won by Ilaiyaraja and AR Rahman, i.e., 4 each.