Tag Archives: music

Filmy Ripples – Movie featured Festivals

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By P.V. Gopalakrishnan

We cannot imagine a life without festivals. The customs, colours, flavours, aromas, warmth, joy and whatnot that they bring to cement family & friendly relationships and bond the community at large! It’s hard to overstate their importance in our lives and the life of a community. Festivals are the very spirit of mankind. Through them, we are made to spread happiness and share good times. They motivate us to be better people and to share our joy with the world.

Every country has their own festivals, dependent on their culture & civilizations, such as The Beer Festival of Germany and The Tomato Festival of Spain. But when it comes to India, there are so many festivals as divergent of the various cultures & beliefs that our country is composed of. India can be easily called a Country of Festivals that is spread throughout the year. This brings colours, aroma, gaiety, bonding, culinary delights everything to the fore.

Our films, after all, represent the way we live here. As such, the screenplays of our Indian films do capture these festivities in some sequence or the other. We will look at some of the important Festivals as they were shown in our films.

Diwali, the most prominent & popular of all Hindu festivals, is celebrated with a lot of pomp and show. During this festival of lights, people wear new clothes, participate in family puja, burst crackers (now increasingly without it), and share sweets with friends & families. Sridhar’s Directorial debut was ‘Kalyana Parisu’ (1959) in which he also wrote the story & screenplay. It was a highly acclaimed film, which was later made in Hindi too as ‘Nazrana’. This triangular love story featured a song-sequence celebrating Deepavali as it is celebrated in the South.

Kalyana Parisu

Song book of Kalyana Parisu with the page containing the song UNNAI KANDU NAAN PC: From the archives of TCRC

Mid-January is an important time in the Tamil calendar as it marks the Harvest Festival, Pongal, which is the quintessential ‘Tamil Festival’. Pongal marks the traditional occasion for thanks giving to Mother Nature, for celebrating the life cycles that give us grain. This is the height of any culture, so to say. They say ‘Thai pirandhaal vazhi pirakkum’, and believe that knotty family problems will be solved with the advent of the Tamil month Thai that begins on Pongal day. ‘Thai pongalum vanthathu’ from the film ‘Mahanadhi’ showcases the important visual aspects of this great Festival.

Navrathri festival is celebrated throughout India though in different ways. In Gujarat, it is a nine-day celebration with rejuvenating Garbha nights and highly energetic Dandiya Raas dances, when People dress in beautiful, colorful traditional clothes bringing youthful environment. Basically, this festival denotes the celebration of the Goddess Amba or Sakthi as sheer Power in nine different forms.
 The South of India celebrates it with the households making a colorful Expo of dolls, known as ‘Kolu’. It is believed, kolu dolls represent the assembly of Goddess Durga. Best-dressed womenfolk exchange visits to each other’s Kolu where they sing devotionals & are given haldi, kum kum & prasadam. Durga Puja & Dusserah are variants of celebrating the Goddess!

Catch Nadigaiyar Thilakam Savithri in a Navarathiri Kolu sequence song from he film ‘Navarathiri’ in which Doyen Sivaji Ganesan donned nine different characters.

Navarathiri

Song book of Navarathri with the page containing the song NAVARATHIRI SUBHARATHIRI PC: From the archives of TCRC

Holi, known as the festival of colors, too is one of the important festivals, celebrated mostly in North India, with a lot of fervor. On the eve of Holi, people make huge Holika bonfires and sing and dance around it. On the day of Holi, people gather in open areas and apply dry and wet colors of multiple hues to each other, with some carrying water guns and colored water filled balloons. Holi signifies the victory of good (Prince Prahlad) over evil (Holika) and the arrival of spring. Holi falls on Full moon of March of the Gregorian calendar. There are many Hindi film songs on Holi but this song ‘Anthi mazahai megam’ from Nayakan (Tamil), filmed in the erstwhile Venus Studios, stands out as capturing the spirit of Holi. Why Holi in a Tamil fim? Well, the ‘Nayakan’ character played by Kamal was based on the Tamil Don of erstwhile Bombay, Velu Naicker of Dharavi!

Krishna Janmashtami or Gokulashtami is again a beautiful one among the most important religious festivals of India. its celebrations in Mathura and Vrindavan are notable. Visiting temples, praying, dancing, and singing bhajans (hymns) at midnight is a part of the celebrations of the birth of Lord Krishna with kids, often, dressing up as Lord Krishna this day. As part of Janmashtami festivities, breaking pots hung from lofty heights by revelers forming a human pyramid, is common sight. The Shammi Kapoor starred Hindi film Bluff Master featured the song ‘Govind Aalaa re’ showing the revelry of ‘handi’ breaking, which in Tamil is known as ‘Uri adi’.

Ganesh Chaturthi, another important Hindu religious festivals, is a ten-day affair of colorful festivities, in places like Mumbai. Huge handcrafted Ganesh idols are installed in homes or public pandals and Pujas are performed, before the deity is taken with grand fan fare on the last day for immersion. Cultural activities of singing, dancing and theater go hand in hand on this occasion of great celebration of the elephant faced God. The film Agnipath featured a typical street procession atmosphere during Ganpathi festival, normally witnessed in Maharashtra, charged with devotion & celebration. The song ‘Sree Ganesha Deva’ from the film is an all time favourite of Ganesh devotees.

Onam is the most important festival of the state of Kerala. It is also a harvest festival and is celebrated with joy and enthusiasm by people of all communities. According to a popular legend, the festival is celebrated to welcome King Mahabali, whose spirit is said to visit Kerala at the time of Onam. Carnival of Onam lasts from four to ten days. Elaborate feasts, folk songs, elegant dances, energetic games, caparisoned elephant, Snake Boat races and flower decorations (PookaLam) all are a part of the dynamic festival called Onam. We feature ‘Thiruvavani Ravu’ bringing the essence of Onam from the Malayalam movie ‘Jacobinte Swarga Rajyam’.

Raksha Bandhan festival, aka Rakhee, is one of the important festivals in the North. Celebrated each year in the month of August, this ceremony takes place on the full moon day of Shravan. The festival highlights the bondage between siblings. On this propitious day, a sister ties the sacred thread of Rakhi to her brother’s wrist for his prosperity & long life, even as the brother promises to protect his sister from all hardships of life. Rakhi is an emblem of love and protection. This festival of sibling bondage between sisters & brothers was showcased in the film ‘Chotti Behen’ in the song ‘Bhaiya mere Rakhi ka bandhan’.

Christmas is an annual festival commemorating the birth of Jesus Christ, observed most commonly on December 25, though in some parts of the world like Russia it is observed in January. Christmas, religiously celebrated by the vast majority of Christians, is celebrated by other communities as well, as a cultural festival. There was a song & dance featured celebration of Christmas in the Tamil film ‘Kanne Pappa’, which we bring in here.

Kanne Pappa

Song book of Kanne Pappa with the page containing the song Merry Merry Christmas  PC: From the archives of TCRC

In the Islamic Faith, Eid al-Fitr (Feast of breaking the fast) is an important celebration by Muslims worldwide that marks the end of Ramadan, the Islamic holy month of religious fasting. During the holy month of Ramadan, muslims fast from dawn to dusk when they refrain from consuming food & liquids, smoking, and engaging in any pleasures. They are supposed to carefully abstain from sinful behavior that may negate the reward of fasting, such as false speech (insulting, backbiting, cursing, lying, etc.) and fighting. Chand Raat is an important day in the month of Ramadan which marks the end of Ramzan fasting as the moon (Eid ka Chand) sighting is done.

Here is a song on the happy sighting of Eid Moon in the Hindi Film ‘Barsaat ki Raat’

 

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 – Accordion in Film Music

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  By P.V. Gopalakrishnan

In the early times when classical music was by far the stronghold in cinema, the orchestras, which were mostly owned in-house by Production Houses, comprised, mostly, traditional Indian musical instruments, including Harmonium & Jalatharangam.

Listen to this song by K.B.Sundarambal from the cult classic film ‘Avvaiyar’ (1953), in which Jalatharangam features along with violins.

Another old song where the BGM, which included Harmonium is minimalistic was from the film “En Manaivi” (1942), featuring Nellore Natesam.

Some of Western & African instruments were also in used in the Tamil movies produced prior to fifties, such as Clarinets, Trumpets, Violins, Piano et al.

Here is an old hit from Vazhkai, in which you could hear Clarinet dominantly in the BGM.

In fact, till much later, Clarinet solos featured in many Tamil film hits, like the song ‘Inbam Pongum Vennila’ from Veera Pandiya Kattabomman, composed by the legend G.Ramanathan. You can hear clarinet in this song in the opening music itself after Sitar, Violins & Univox, in that order.

The Magnum Opus production, “Chandralekha” (1948) by Gemini Vasan had its soundtrack composed by S.Rajeswara Rao with R. Vaidyanathan and B. Das Gupta collaborating with M.D.Parthasarathy  on the background score. In an old interview with ‘The Hindu’, Rajeswara Rao had recalled that it took him over a year to compose the music for the film, with much of the time being taken for the drum dance sequence. He stated that the music for the mammoth Drum Dance sequence they had used Trumpets, piano, many Double Bass violins and drums from Africa, Egypt, and Persia acquired from a visiting African war troupe. Cooling Rajiah played the Accordion & Piano in the gypsy song in the same film.

Chandralekha

A still of Ranjan from the Film Chandralekha directed by S.S. Vasan.
PC: From the Archives of TCRC

In the Post Independence era, the Tamil movies started seeing changes in terms of story subjects, the way dialogues were delivered & even the music compositions, in tune with the overall metamorphosis that was witness to the change of air, all around.

The music directors were ever ready to bring in new music instruments into film music.

Though Tamil Cinema, despite being the big brother of other Southern Regional Filmmakers, traditionally followed trends in Hindi film industry.

The sensational Rajkapoor film ‘Awara” (1951) had Musical notes that was thought to be Accordion notes, which distinguished the song “Awara Hoon” by Music Directors Shankar-Jaikishen duo, inspired by an old Turkish tune.

However, there is a theory that the notes were, in fact, not Accordion at all but was played on Harmonium by one Vistasp Balsara, who passed away in 2005. He claimed, in an interview to Calcutta Doordarshan, to have played such Harmonium pieces also in other classics such as “Yaad Kiya Dil Ne” (Patita, 1953) and “Aye Mere Dil Kahin Aur Chal” (Daag, 1952).

But Accordion has come to stay by then as an important cine instrument in Hindi. Here is another breezy number from another Rajkapoor starrer, ‘Dastan’, where notable Accordion notes by the player Goody Servai decorate the song composed by Naushad.

There were other noted Accordionists in Hindi Film Industry such as Kersi Lord (Roop tera mastana in Aradhana), Sumit Mitra (Har Dil jo pyar karega in Sangam) Enoch Daniels (Beqrar karke hame from Bess saal Baad). Of these we have to specially mention about Late Kersi Lord, who was a multi instrumentalist & who immortalized some of the Hindi film hits with his contribution. He was honoured with Dadasaheb Phalke Award in 2010, as a cine musician. He was the one who played the bells like sounding ‘Glockenspiel’ instrument in the famed song ‘Main Zindagi Ka Sath Nibhata Chala Gaya’ composed by Jayadev in ‘Hum Dono’.

The accordion thus became an oft-used instrument in Hindi cinema under legendary Music directors such as C Ramchandra, Naushad, Shankar-Jaikishan, Salil Chowdhury and S D Burman as they made it a part of their compositions.

It was in Pava Mannippu (1961) that MSV-TKR featured Accordion in ‘Athan….En athan’ composition & the  Accordionist was our own Mangalamurthy.

Accordionist Mangalamurthy was this writer’s craft teacher in the high school, in the late fifties, but owing to his parallel music career he was hardly seen in the school and was on long leave.

MSV had used Accordionist Mangalamurthy in many of his compositions. Some of the songs where Accordion has predominantly featured are “Avalukkenna” (server Sundaram), “Ulagam piranthathu enakkaga” (Paasam), ‘Kannirandum mella mella’ (Andavan Kattalai),  Ponaal pogattum poda (Palum Pazhamum), “Netryvarai nee yaro” (Vazhkkai Padagu), “Unga ponnana kaigal” (Kathalikka Neramillai), “Poranthalum ambilaiyaa” (Policekaran Magal), “Kan pona pokkile” (Panam Padaithavan), “Iyarkkai ennum ilaiya kanni” (Shanthi Nilayam), “Varavu ettana” (Bhama Vijayam), “Naalai intha neram parthu” (Uyarntha Manithan).

In the following video of Avalukenna song, Mangalamurthy features himself playing accordion, along with his other legendary co musicians, such as Philip (Guitarist) & Raju (Mandolin/Santoor/ Yodelling).

The accordion’s origin is said to be from Berlin & this heavy instrument, worn on the player’s chest, weighs about 7 kgs.

A R Rahman gave Accordion a home coming again & his accordion could be heard throughout the film Guru & even in his Tamil composition ‘Nenjukkulle’ from the film ‘Kadal’.

https://soundcloud.com/aruin/kadal-bgm-nenjukkule-accordion

We will talk about some more veteran cine musicians from old Tamil Films & their exotic instruments in our upcoming articles.

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- Inspired plagiarism in early music

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By P V Gopalakrishnan

Music in a movie has so many sectionalized areas such as composing, arranging, conducting, re-recording etc. which are all attended to by different dedicated professionals in Hollywood. Whereas, largely, it is a one-man show, in the context of our movies where it is the responsibility of one individual, called “Music Director”, who is usually a brand name by himself, though he might have umpteen musicians specialized in some aspect or other, ably supporting him informally!

Often the Music Directors have strong lieutenants who are well versed in trained classical music to assist them, such as the late Pugazhenthi (of late K.V.Mahadevan).

We have, in the present days, a huge flock of Music Directors with their own creative talents. In stark contrast to this there were relatively few Music Directors in the past. However, those times, most of them were very strong in classical base, particularly in Carnatic Music. People like, Papanasam Sivan, C.R.Subburaman, G.Ramanathan, T.R.Pappa, S.M.Subbiah Naidu, Sudarsanam, M.D.Parthasarathi, Emani Sankara Sastri, Rajeswara Rao, Master Venu, S.V.Venkatraman and many more stood tall amongst the film music makers. Most of them have spent long internships with senior music directors of their times, worked alongside with them under their supervision and had learnt the ropes. They gave us outstanding music, which have withstood the efflux of time! In this context of comparison, the current music scenario seems a large departure.

There have been Tamil films with countless number of songs per movie. But you also had the AVM produced, S.Balachandar directed, thriller movie “Andha NaaL” devoid of any songs whatsoever, but with only background score.

Even in those days, with abundantly talented Music Directors around, there were films, which openly plagiarized western tunes or Hindi film music. These could have been plainly due to compulsion from the Producers or Directors. Or even introducing a new genre to cine goers as a marketing tool. After all, mimicking is a form of compliment to the original!

For instance, the AVM film ‘Oar Iravu’ (1951) had a hit song rendered by MLV, “Ayya Sami” under the baton of Music Director Sudarsanam. This song was based on the Hindi song “Gore Gore” from the film ‘Samadhi’, which was in turn based on the Latin American song “Chico Chico”, from the film “Cuban Pete”!

‘Kalyana Samayal Sadam’song from “Maya Bazaar” was inspired by the laugh tracks of the song “Laughing Samba”.

Maya Bazaar

Song Book of Maya Bazaar PC: From the archives of TCRC

I have read somewhere that some moviemakers in that era handed down a bunch of Western/Hindi film records to the prospective Music Director and advised them to adopt or at least adapt the tunes.

If a Hindi film was dubbed in Tamil, then there was the need to keep the orchestration & tune of original Hindi song, to be sung in Tamil by a local play back artiste. There were many Hindi films dubbed in Tamil where senior Tamil playback artistes were used to sing.

For instance, Vikki (G.Krishnaveni), wife of A.M.Raja, who had a long innings lasting over four decades & rendering thousands of songs in Telugu, Tamil, Telugu, Kannada, Malayalam, Hindi, and Sinhalese too, had sung in Raj Kapoor’s dubbed versions of  “Aah” in Telugu and Tamil. “Raja ke aayegi bharaat” (Shankar-Jaikishen) became “Kalyana oorvalam varum”.

Other than such dubbed versions, we have umpteen carbon copies of Hindi tunes.

Modern Theatres produced ‘Digambara Samiyar’ (1950) (Music: S.M.Subbiah Naidu – G.Ramanathan) had two popular songs based entirely on Hindi tunes. The run away hit song, ‘Oosi pattase vedikkaiyaka’ was lifted from the Hindi song “ Oh…dilwale” and “parudappa parudappa’ was a straight lift from Hindi ‘Laralappa laralappa’ from “ek thi ladki”.

In  ‘Avan Amaran’ (1958), Music Director T.M.Ibrahim set tune to the song sung by Sirgazhi & A.P.Komala, “Kalana minjathayya”, which was a carbon copy of from a popular Hindi tune “Ramayya Vastavayya” from Raj Kapoor’s Shri.420.

In fact one more song “Vaan mathi nee arivay” in the same film was also carbon copy of “Jaye to Jaye kahaan” rendered by Talat mehmood for Devanand in film Taxi Driver.

Another Tamil number sung by Jikki in the music of G.Ramanathan from ‘Komathiyin kadhalan’ (1955), produced by T.R.Ramachandran,“anaganai nikartha azhagan”, which was a straight lift of the very popular Hindi song of Music Director C.Ramchandra’s composition “dekh tere sansar kitna badal gaya Insaan” from the movie “Nastik” (1954).

G.Ramanathan was otherwise a very respected Music Director of repute, for his very popularly melodic carnatic based tunes.

Our highlighting such outright adoption of the then existing Hindi tunes is not to put down the concerned Music Director. This is simply to highlight a timeframe, in the anthology of Tamil film music, when such plagiarism was sometime routinely in vogue. If the Producer & Director insisted on copying an already popular tune those poor Music Directors never had a way out!

“Konjum Purave” by MLV was a clone of ‘Thandi Hawaain’ by Lata Mangeshkar, set to music by the legend S.D.Burman in the film ‘Naujawan’ (1951). The very same tune was lifted in Tamil film “Thai Ullam” (1952) as “Konjuum Purave”. Nevertheless the Tamil version became a huge hit, owing to the lovely tune as well as the silky voice of MLV. I remember having heard this song, as a child, being played all over in Madras, in the fifties. The music score was duo V.Nagaiah & Ramachandra Rao. Coming to the song, the “Konjum Purave” opens with the First violinst to the slow humming of MLV to the backdrop of vibrafone, but quickly transforms into a quick-beated foot tapper with its Dholak percussion . The intermittent BGM brings back the first Violinist’s melancholic strains before MLV goes on to her fast pace. Whereas S.D.Burman’s BGM arrangement is uniquely different, with Hawain Guitar for interludes in place of the Tamil version’s Violin. The young Lataji’s voice is more delicate than that of MLV.

M.S.Rajeswari rendered “Enni Enni Parkum Manam Inbam Kondaduthae”, composed by R. Sudarsanam. The identical tune was used in the song “Chup Chup Khade Ho Tho” sung by Lata under the baton of the duo Husnlal-Bhagatram, in the Hindi Film Badi Behen released in the same year. While Vazhkai was remade in Hindi only in 1951 as Bahaar, in which Vyjayanthimala made her debut Hindi films, it is not clear as to which version of the tune was the original.

Another interesting info: The Jewish Music Research Centre, Israel has published a CD containing the rare Jewish songs in Malayalam language representing the Jewish tradition that was in Kochi from where a lot of Malayali Jews migrated to Israel. One of the Malayalam songs in such CD “Enni enni tirttu dinam”  – a Zionist song celebrating the Israeli independence from British, has been set to the tune of “Enni enni parkkum manam”.

Much later, Music Director Vedha was known in using popular Hindi tunes in his songs. His song “Oho ethanai azhagu irubathu vayathinile’ from Athey Kangal reminded you of ‘Pedal Pushers’ by Ventures.  Occasionally you could see even MSV using tunes from overseas in his songs. “Anubavam pudumai’ in Kathalikka Neramillai was based on Italian melody “Besame Mucho”. Puthiya Paravai’s ‘Partha gnabagam illaiyo’ reminded the American tune ”Sway with me”.

Even R.D.Burman’s ‘ Mil Gaya’ was a total lift from ABBA’s  “Mama Mia”. Shankar-Ganesh’s ‘Megame Megame’ too was a replay of the tune from a Ghazal by Jagjit Singh.

The list could be long.

For change there was also reverse copying, the popular American Hip Hop Band, “Black eyed Peas” took portions of Ilayaraja’s  “Unakkum enakkum anandam” by S.Janaki from ‘Sri Raghavendra’ and mixed it with one of their songs.

There have been Tamil film songs, which were kept as they were with little or no changes when the original Tamil movies were remade in Hindi. The instances are “Ilaya Nila” of Ilayaraja from Payanangal Mudivathillai was largely the same in Kalakar in the music of Kalyanji Anandji. “Muthu kulikka vaareegala” of MSV from “Anubhavi Raja Anubhavi” was retained by R.D.Burman in “Dho Phool”.

Adapting good musical notes from unknown cultures and blending it to our own music genres is after all is a creative service, I would personally opine. The outright lifting also perhaps served the same in times when Tamil films were not quite ‘connected’ with other languages and cultures, though within the country.

Ultimately, all songs have to be within the parameters of the seven musical notes, “Sa Re Ga Ma Pa Da Ni”!

 

 

 

 

 

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!

 

 

 

 

 

 

 

 

 

 

 

Filmy Ripples: Moonlit Movies (Part 2)

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By P.V.Gopalakrishnan

4) Moon in ‘Happy hour’: “Aaha inba nilavinile” from ‘Maya Bazaar’ (1957)

Maya Bazaar

Song book of Maya Bazaar PC: From the archives of TCRC

“Aaha inba nilavinile” was a lilting number from the Magnum Opus, ‘Maya Bazaar’ in the music of Ghantasala, filmed on Savitri as Vatsala & Gemini Ganesan as Abhimanyu, as they row their decorated boat in the serene waters of Ennore lake. This scene is highlighted by blissful music of Ghantasala (duet rendered by P.Leela & Ghantasala) & the raving cinematography of Marcus Bartley.

This evergreen song was actually shot by him at noon on Ennore lake and you can see, with the limited technology of those times, how they could create the illusion of pleasing moonlight!

The first mythological film produced by their studio, Maya bazaar marked a milestone for Nagi Reddy and Chakrapani. In addition to the technical crew, 400 studio workers – including light men, carpenters, and painters – participated in the development of the film. The film is considered a landmark cinema, with praise for its cast and technical aspects, despite the limitations of technology at the time.

5) Moon as an Arbitrator: ‘Varayo vennilave” from ‘Missiyamma’ (1955)

Another unique situation where both the hero & heroine address their complaints to the supreme Moon, thereby letting their thoughts known to each other without direct interaction has been picturised on the voices of A.M.Raja & P.Leela in Vijaya Productions’ “Missiyamma’.

The lead pair of this blockbuster constituted Savithri & Gemini Ganesh. Originally the female lead was to be done by Bhanumathi with whom some shoot was done. But owing to some misunderstanding the producers replaced her with Savithri. A trivia associated with this movie, as per Mr.Narasimham in his Article in The Hindu of October 2014, goes like this: “While watching the Missiyamma at Roxy theatre in Madras in 1955, a woman gave birth to a baby girl in the theatre. The mother and child were rushed to the hospital, where the baby was named Missiyamma by her parents.”

6) Moon as a spinster sees it:  ‘Amudhai pozhiyum nilave’ in ‘Thangamalai Ragasiyam’ (1957)

This beautiful solo, in the fresh & pristine voice of P.Suseela, was composed by T.G.Lingappa for the film ‘Thangamalai Ragasiyam’ & picturised on the pretty Jamuna as she wonders as to why the Moon could not descend & come proximate to her, as she sings by the studio pond.

This film had Sivaji Ganesan playing a Tarzan like role, growing up as a ferocious caveman till he meets the petite Jamuna, who turns him into civility.

7) Moon in separation times : “Idhaya vaanin udaya nilave” from “Vanjikottai Valiban’ (1958)

This is a pathos number, nevertheless very melodious, whereby both the separated heroine & hero sing to the Moon declaring their separation vows. Amazing music composition by Vedha who has deployed Vibrafone, Piano, Violins & Flute to touching effect on the listeners’ soul.

The lyrics of the subject song were of Vindhan.

8) Moon in times of ecstasy: “Aghaya veethiyil azhagana vennila” from ‘Manjal Magimai’ (1959)

This is a joyous situation where both the Hero & Heroine are together & are enjoying the beauty of a full moon . The voices were P.Suseela & Ghantasala & the music score was by Master Venu. The song features Pipofone & Univox organ which is the forefather of the modern synthesizers.

9) Moon in lighter moments: “Nilavum malarum paduthu” from “Then Nilavu’ (1960)

A boat ride by Gemini Ganesan & Vyjayanthimala in the serene waters of Dal lake in Kashmir, lip-syncing to a duet voiced by A.M Raja & P.Suseela, features in this visual. The song refers to the Moon & the Flower in concert to describe the pair’s romantic overture, as the serene tune by the Music Director A.M.Raja is soothing with Hawaiian-Guitar notes & serenading violins.

10) Moon’s dilemma: “Athi kaay kaay..kaay” from ‘Bale Pandiya’ (1962)

This Moon scene features two pairs of lovers appealing individually to the Moon whereby each pair urges that the Moon shines on the other person. This is another unique situation with a tinge of Lucknowi tradition of “pehle aap”!  Again, a studio moon but this time meeting the pairs involved, as they plead her to shine on the other. Quite a quandary for the Moon as to whereupon to shine, indeed!

The lyrics of this song is a great master piece by the legend Kannadasan, as the names of fruits & vegetables have cleverly been used in the lyrics to convey different interpretations through the song.

11) Moon as witness to pathos:  “Nilave ennidam nerungathe” from ‘Ramu’ (1966)

A beautiful composition in the Raga Bagheshri, this song has become an iconic one. Filmed in a sequence where the hero warns the Moon not to near him as he was in a dilapidated state of mind. This situation is in complete contrary to what the heroine of ‘Thangamalai Rahasiyam’ desired, where she invited the Moon to come proximate to her! This shows that the Moon was omnipresent in every unique situation like love, courtship, separation, dispute resolution, frustration and what not, in various movies.

This song, from the film ‘Ramu’ music scored by MSV, is a cult song, liked by all owing to its classical base as well as impeccable rendering by P.B.Srinivas in his sonorous voice timbre.  Incidentally, this was also the song that SPB sang before MSV when he was first auditioned him! By the by, this writer came across an Article, ”The song and its sweep”,  by Rangnath Nandyal in The Hindu dated 20.6.13 that this song was composed by Telugu Composer Pendyala for the Telugu version of the film.

12) Moon listening to a decree: “Paal polave vaan meedhile” from ‘Uyarntha manithan’ (1968)

In this song song “Paal Polave”, the picturisation is about a Nayika who is suffering solitude due to her Nayaka being away & thereby ordaining the Moon to vacate seat & return the next day, when she would be united with her love.  This sequence has been borrowed from early Tamil literature. Another unique occasion for a Moon song, indeed!

The filming of this song sequence, originally scheduled to be shot at Kodaikanal, had to be called off due to weather conditions. However, Art Director, A. K. Sekhar, constructed a special set at AVM studios, that mimicked the misty ambience of Kodaikanal, and the song was picturised in this set.

This was an award winning song as it won the National Film Award for Best Female Playback Singer for P. Susheela, making it the first Tamil film to win a National Award under that category.

‘Uyarndha manithan’ was produced by A. V. Meiyappan under AVM Productions and had the legend Sivaji Ganesan (his 125th movie) and Sowcar Janaki in the lead roles. The film was written by Javar Seetharaman, based on Bengali fim ‘Uttar Purush’ and directed by the noted duo Krishnan–Panju, who had directed over fifty films in South Indian languages and Hindi.

We have seen, as detailed above, as to how the Tamil screen was obsessed with Moon in various emotive scenes. And they had their magic effect with alluring songs that accompanied them on screen. But times have changed & the Moon has disappeared from the silver screens, only to occasionally show itself up in movies, in rarity!

Filmy Ripples: Moonlit Movies (Part 1)

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By P.V.Gopalakrishnan

The poets, from as early as Sangam literature times, have been obsessed with Moon. Due to the attributes such as soft glow, grace, cool & calmness that Moon affords, poets always compared a moon to a women and the gender of the Moon itself was considered Female. So the natural association of a woman & moon came to be in place in literature. As a corollary the ‘nayika’ always considered the moon as her beloved friend to whom she could confide her emotions from the deep fathom of her mind! In fact, she considered Moon as her friend & emissary.

The song writers in cinema, known as lyricists, inherited such literary legacy and endowed the Moon in many a film song, There have been so many memorable songs in films with Moon as a subject of reference, either in the lyrics or visual form. Of course, the trend prevailed till such time in cinema till a generation changed along with the changed world they lived in. Now, you hardly have any reference to a moon in film songs, as the song writers too are from a different generation and any such references would perhaps become incongruent today, as subtleties & niceties of life & their associated charm are often not taken cognizance of in the current fast world! Technology, lifestyle & mindset of people too have so much changed that such moon sequences are thing of the past, as they were relevant only to the period of largely the Baby Boomers & to an extent Generation X.

A LP with a compilation of romantic songs with moon as a theme
PC: from the archives of TCRC

The old talkie movies from the Black & White era, often had sets depicting a glowing moon in a scene that portrayed peace, tranquility & romance. Often, there were water bodies in the scene, reflecting the studio moon, to add to the magic of the frame. Sometimes, a row-boat is added too to the water-body, trusting the physical prowess of the rowing actor. The studio hands did their best to imitate a real moon by propping up dome lights in the backdrops, as the artificial creepers slowly swayed on the sets denoting mild nightly breeze, thanks to the giant fans! And whenever the heroine was in her solitary space or with her hero, it was time for a melodious song, with the Moon invariable featuring in the frame.

The soul stirring “Chanda oh Chanda” by KishoreDa from ‘Lakhon mein ek’ in the music of R.D.Burman and  the immortal “Chaudvin ka chand ho” by Rafi in the composition of Ravi too are remembered to this date.

Such numbers demanded situations, which the present day films do not simply have or can relevantly have, as sentimentalism in romance has become a thing of the past. So to say, the moon has retired, sort of, in our films!

This writer made his own little research of some fifty popular Tamil film songs, referencing the Moon, from 1950 to 1973. Surprisingly, fifty percent of such songs were in the decade of fifties, summing up to twenty five. The sixties’ films had just seventeen songs on Moon. The early seventies had just about four only. This showed a diminishing trend of cinema, as far as moon was considered, based on the viewership expectation of the relevant times. Of course, even among later films there were romantic ‘moon’ melodies, by exception, such as in eighties, when infatuation about the ‘moon’ in cinemas had already become almost extinct. Who can forget “En iniya pon nilave” from ‘Moodupani’ (Lyrics:Gangai Amaran) & ‘Ilaiya nila pozhigirathu” (Lyrics:Vairamuthu) from “Payanangal Mudivathillai” (both Ilayaraja composed)? Then, there were “Nilave vaa” from Mouna Ragam (1986) “Vennilave Vennilave” from Minsara Kanavu (1997).

But, don’t you clearly think that Moon as the friend of heroine has slowly shied away from cinema?

The Moon appeared on earlier Movie screens in different contexts. When the single woman was in the clutches of Cupid, when she was with her new found love, when they disagreed on things, when they parted temporarily, when the parting was permanent, in times of sorrow and so on. There had to be some situation when the directors were too eager to film the Moon with a melody!

Some of the Music Directors, in the Pre- Ilaya Raja era, who had composed amazing songs on or about the Moon include, alphabetically:  A.M.Raja, A.Rama.Rao. Aswathama, C.Ramchandra, G.Ramanathan, Ghantasala, K.V.Mahadevan, MSV, MSV-TKR, S.M.Subbiah Naidu, S. Rajeswara Rao, T.G.Lingappa, T.R.Paapa, T.V.Raju & Vedha.

Here, we are going to talk about some twelve popular song sequences from Tamil movies of yester years, as representational of the various ‘Moon’ songs from 1943 to 1968, used in varied emotions & sequences. You will find, each of them was in different contextual situation, as we observed earlier!

1) Moon as compared to the facial features of Nayika: “Vadaname Chandra Bimbamo” from Sivakavi (1943)

SIvakavi

Song book of Sivakavi PC: From the archives of TCRC

Starting from the film ‘Sivakavi’  (pairing M.K.Thyagaraja Bhagavathar & S.Rajalakshmi) it had very beautiful song sequence where the hero compares his heroine’s face to a moon’s crescent, though the frame does not show any moon, per se. The musical score was by G.Ramanathan, the lyricist being Papanasam Sivan. By the by, the heroine of the sequence was S.Rajalakshmi, the elder sister of late Veena Maestro S. Balachandar. This song, “Vadaname Chandra Bimbamo”,  showing the romantic overture of hero & heroine, was a super hit song in the film.

There is an interesting anecdote on this duet by MKT & Jayalakshmi, set in Sindhubairavi Raga. Papanasam Sivan first wrote the opening line as “mugham athu Chandra bimbamo”. However, sequel to the recording when the Positive was projected every one was taken aback as it sounded like “Mohammed Chandra bimbamo”. Immediately Papanasam Sivan rewrote that line as “Vadaname Chandra bimbamo” still retaining the intended meaning. Those days, in the absence of tape recording, songs were first recorded on Sound Negative and later developed, to be projected. This was a tedious process to locate mistakes, if any.

 2) Moon & sky as a simile to inseparableness: ‘Neela vaanum nilavum ploey’ from “Pon Mudi” (1950)

The lovers (P.V.Narasimha Bharathi & Madhuri Devi) in Pon Mudi swear to live as inseparables in the simile of the Moon & the Blue sky, in this rather poetic song.

The story of ‘Pon Mudi’ was by Bharathidasan & was made into a movie by Movie Mogul T. R. Sundaram at Modern Theatres, Salem. For Direction, TRS engaged Ellis R. Dungan who delivered Pon Mudi full of glamour, though far ahead of its times. He gave Ponmudi excellent technical inputs, good cinematography and slick editing. As per Randor Guy, for the love scenes on the beach, Dungan brought the sand from Madras to the studio in Salem and shot the sequence, along with long shots of Madras’ Elliot’s Beach. G. Ramanathan was Ponmudi’s Music Director who himself has sung this song along with T. V. Rathnam.

3) Moon in times of loss of peace: “Amaithi illathen maname” from ‘Pathala Bhairavi’ (1951)

Filmed on N.T.Rama Rao & Malathi, the popular hit of those times, ‘Amaithi illathen maname’ rendered by P.Leela & Ghantasala was in a sequence where the love-lorn pair share their status of mental restlessness with the glossy Moon, up above the world, so high, as if an alibi to their romance.

In scenes featuring the moon in the background in this film, no hidden lights were used behind the painted moon, as a source for lighting. Instead, a drawn circle on a screen was lit to make it look like the moon. Cinematographer Marcus Bartley ensured that the actors in such scenes had their shadows away from the screen, which showed an illusion of a moon. Besides, he also used dissolve techniques.

Marcus Bartley, an Anglo Indian, served as a photographer with ‘Times of India’ in Bombay, in early years. While being there, he learnt cinematography and keenly studied the various methods and its applications & later became a ‘News Reel Camera Man’ for ‘British Movie Tone’ in India. He keenly observed the various lighting systems in photography in the films. He also experimented with these new techniques in photography.

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Marcus Bartley at a shoot. PC: unknown

Bartley debuted as the cinematographer for the Tamil movie “Tiruvalluvar” (1941) and worked for many notable films, including the Malayalam film “Chemmeen” for which he earned a Gold medal at Cannes Film Festival.

If you observe the set properties of this song sequence it would explain the attention to details that was involved by the Art Director. An entire ambience has been created by the Art Directors M.Gokhale and Kaladhar, as enhanced by the cinematography of Marcus Bartley and the lilting music of Ghantasala.

Pathala Bhairavi was the first big budget film produced by Vijaya Vauhini Studios. Major portions of the film were shot in lavish sets and many trick shots were deployed. On the centenary of Indian cinema in April 2013, CNN News 18 included Pathala Bhairavi in its list of “100 greatest Indian films of all time”.

                                                                                                                                                (to be continued)

Filmy Ripples :Ghost voices of bygone era (Part 1)

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By P.V.Gopalakrishnan

You cannot accept or even imagine Indian Films without songs. Whether it is a romantic duet or a parody number or song with some philosophy engrained in it or even an off screen rendering in the backdrop of a visual, songs have thrived,to the enchantment of the movie goer. There are instances where the songs have outlived the memory of a film in which they featured. In contrast, western films had limited number of musicals like My Fair Lady, Fiddler on the Roof, South Pacific where songs featured, as they were based on Broadway Musicals.

In the bygone days, the music came from those fragile vinyl records as they revolved under that magical pin! The success of Indian Cinemas’ music was amplified by the music companies such as HMV, Odeon, Columbia that published music, then. Out of these HMV fascinated me the most as a child, with its dog peering into the phonograph player, with inscriptions “His Master’s Voice”. In later adult years, I learnt that this logo was based on a painting by Francis Barraud, a Liverpudlian painter, with the same caption. Francis painted his late brother’s pet dog Nipper, as Nipper would run over to the phonograph and listen intently to the voice of his late master. In India, HMV became RPG when bought out by RP.Goenka Group and later came to be known as ‘Sa Re Ga Ma’.

In my childhood in the village, around late forties, I used to sprint to one of the neighbouring houses where a ‘thatha’ lived, to see & listen to his gramophone, as he played ‘oridam thannile’ song. Here is the video of the very song from the 1949 fim ‘Velaikkari’, sung by P.Leela & V.N.Janaki (wife of MGR) in the music of C.R.Subburaman & S.M.Subbiah Naidu.

In the initial days of Talkie Cinemas, it was a prerequisite that the main artistes had singing ability. Personalities such as M.K.Thyagaraja Bhagavathar, S.G.Kittappa, P.U.Chinnappa, Honnappa Bhagavathar, K.B.Sundarambal, M.S.Subbulakshmi, G.N.B, T.R.Rajakumari , T.R.Mahalingam, N.C.Vasanthakokilam were all singing stars. Most of them could travel to high altitude octave levels with ease. They had to be mostly loud in rendering as was the need of the recording technology available.

Somewhere, the play back artistes, who lent the actors their ghost voices, took avtar as a professional tribe in cinemas. That has a background too.

When AVM was making ‘Nandakumar’ he found a song rendered by the actress playing Krishna’s mother, Devaki was far from satisfactory. So he got an innovative spark of replacing the sound track of the song recorded by the actress with an external voice and shooting the song with the actress lips ‘sync’ing.  And he got cracking with that idea which finally worked. AVM commissioned a then prominent Carnatic musician of Bombay, Lalitha Venkataraman, to render the song. It worked, as the song was re-shot with the actress moving her lips to Lalitha Venkatraman’s singing. This is the origin of the playback system in Tamil cinema. Necessity, sure, is the mother of invention! It was a major breakthrough in those times, which practice is continuing with great tradition & aplomb even into these days of state of the art sound engineering.

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A still from a scene in the film Nandakumar published in the 1937 issue of Cine Art Review Magazine. PC: From the archives of TCRC

The current generation or even the immediately preceding one might not have had the opportunity of listening to the old Tamil film songs of fifties & prior, leave alone knowing the names of playback singers of those times? This writer has catalogued nearly seventy Tamil Film play back singers (some of them actors too) of sixties and the prior period extending back to thirties. These names, alphabetically, are: A.G.Ratnamala, A.L.Raghavan, A.M.Raja, A.P.Komala, A.S.Mahadevan, Balamurali Krishna, C.R.Subbaraman, C.S.Jayaraman, Chandrababu, D.K.Pattammal, G.N.Balasubramanyam, Gajalakshmi, Ganasaraswathi, Ghantasala, Hemant Kumar, Honnappa Bhagavathar, Jamunarani, Jesudas, Jikki, K.A.Chokkalinga Bhagavathar, K.B.Sundarambal, K.R.Ramasami, K.Rani, K.V.Janaki, K.Vijaya, Kanaka, Kothamangalam Seenu, L.R.Easwari, M.H.Hussain, M.L.Vasanthakumari, M.M.Dandapani Desikar, M.R.Santhanalakshmi, M.S.Rajeswari, N.S.Krishnan, Nagerkoil Mahadevan,  P.A.Periyanayaki, P.B.Srinivas, P.Bhanumathi, P.Leela, P.Suseela, P.U.Chinnappa, Pazhani Baghirathi, R.Balasaraswathi Devi, Radha Jayalakshmi, Raghunath Panigrahi, S.C.Krishnan, S.M.Subbiah Naidu, S.Varalakshmi, Sarangapani, Sirkazhi Govindarajan, Srinivasan, Sulamangalam Jayalakshmi, Sulamangalam Rajalakshmi, Sundari Bhai,T.A.Madhuram, T.A.Mothi, T.M.Soundararajan, T.R.Mahalingam, T.R.Rajakumari, T.R.Ramachandran, T.S.Bagaavathi, T.V Ratnam, Thavamani Devi, Thyagaraja Bhagavathar, Tiruchi Loganathan, U.R.Jeevarathinam, Udutha Sarojini, V.J.Varma, Vasundara Devi, V.N.Sundaram, V.Nagaiah, V.T.Rajagopalan, V.V.Sadagopan. Huff….even reading this long enumeration of singers of yesteryears makes one pant!

Here is another  popular song, in the lighter vein, “Oosi pattase” from the film ‘Digambara Samiyar’. (1950), in the voices of Gajalakshmi & V.T.Rajagopalan. The tune of this duet, between a young girl and her grandfather,  was inspired by a popular Hindi tune ‘O…..dilwalo!’. The music directors G.Ramanathan & S.M.Subbiah Naidu.

From the early talkie Tamil films and up till the fifties the film songs followed the classical Carnatic genre and there are gems among such compositions. Those days many senior music directors were employees of big Studios which owned orchestras.

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Music Director MD Parthasarathi with his orchestra at Gemini Studios. PC: unknown

AVM’s orchestra was known as Saraswathi Stores Orchestra. Even though these orchestras had many Western instruments like Trumpets, Clarinets & French Horns, besides typical desi instruments like Jaltharangam, Veena, Morsing, Hormonium, they all played Carnatic tunes. To say it all, in those days even the Madras Corporation had a Band consisting of Western Instruments playing songs like Chakkani Raja or Nagumo! There was also a famous private Brass Band in the old Madras known as Nadhamuni Bros. Band, which was, out and out, a Carnatic music band. This shows how strong the classical music had influence on general public.

It was only at the advent of MSV-TKR in the early fifties the cine music assumed a light music genre, which is why they were called Mellisai Mannargal. In fact, MSV-TKR duo stepped into main stream music direction when C.R.Subburaman died abruptly leaving unfinished music assignments. The era of MSV-TKR heralded a new chapter in Tamil film music. It was also the induction of musical instruments like Accordion, Dilruba, Bongos, Grand Piano, Spanish Guitar, Mandolin and the like into orchestration. They experimented with numerous genre of music. You could spot jazz, blues, samba, rock, cha cha cha and what not in some of their compositions. Their music never drowned the lyrics. Together they created magic through the voices of living legends for decades well into seventies. You need a dedicated write up to discuss their music.

In the early days they used the lyrics of celebrated personalities like Bharathiyar , Gopalakrishna Bharathi, Thayumanavar et al. Then there were composers of the tall order of Papanasam Sivan, Bharathi Dasan, Kalki Krishnamurthy. There were other well known lyricists such as Udumalai Narayana Kavi, Aroordas, Maruthakasi, Kamatchi sundaram, Thanjai Ramaiahdas, Pattukottai Kalyanasundaram much before the later lyricists such as Kannadasan & Vaali.

Papanasam Sivan wrote many beautiful songs for films which are greatly remembered & revered. Mostly these were set to Carnatic tunes. Some of these, like ‘Maa Ramanan’ which was a cinema song, has come to be sung on Carnatic Stages even today. Papanasam Sivan’s Carnatic compositions were largely popularised by D.K.Pattammal & D.K.Jayaraman. Another interesting thing about Papanasam Sivan is, neither his name was Sivan nor was he from Papanasam. He was, in fact, born Polagam Ramaiah. His ‘mudra’ name in his compositions was ‘Ramadas’. He spent a lot of time in Papanasam, thereby adopting the “Papanasam” tag. Also, it was a tradition to address men of respect as Sivan in those days, this explains the suffix to his name. It is also said that there was lot of influence of Mahavaidyanatha Sivan, during his tenure at Trivandrum, on his compositions, thereby making Sivan as his second part of the name.

AVM used many songs of Mahakavi Subramanya Bharathi in their films such as Naam Iruvar, Vethala Ulagam, Ore Iravu, Vazhkai. The rights to Bharathiyar’s works were held by a gramaphone company owned by Surajmal & Sons which bought the rights for Six Hundred Rupees. Later AVM bought the rights from them for Ten Grand. It was at the instance of Omandur Ramasamy Reddy , who was the then Chief Minister of Madras Presidency between 1947 & 1949, AVM relinquished their rights.

Bharathidasan’s ‘Thunbam nergaiyil’ written by Bharathi Dasan as expression addressed to a child was used in AVM’s ‘Oar Iravu’ (1951) in the voices of M.S.Rajeswari & V.J.Varma and filmed in a situation of romance between lovers, played by Lalitha & Nageswara Rao

                                                                                                                                                              (to be continued)

Filmy Ripples : Movie Studios (Part 2)

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By P.V.Gopalakrishnan

I have seen from the Kodambakkam High Road side, the mammoth sets put up within Gemini Studios, about the same place where today Park Hotel stands, for ‘Bhama Vijayam’. It was a two-story ‘building’ where the story unfolded. Similarly I have seen, from outside, a large Big Top of a Circus being put up in AVM for ‘Parakkum Paavai’.

All these studios were virtual dreamlands where the celluloid industry made its ware. There was an element of fascination & grandeur about them. The studios were products of necessity as films could be made only in controlled & capsuled spaces, where only production was technically possible. In the black-and-white era of those days when the film ran at slow speed requiring abundant light, the Director and Cinematographer had to exercise extraordinary judgment & vivid imagination.

A busy film studio was a beehive of activities as technicians, set property guys, lighting equipment handlers all moving about in feverish activity, even as the artistes applied grease to their face in preparation for their day’s shoot in humble green rooms, there being no private Caravans owned by any big star then.

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Image from Cine Art Review Magazine 1937. PC: From the archives of TCRC

In the humble recording theatres in these studios, dating back to pre-stereo era, many a musician huddled up in small recording rooms, amidst running power & audio cables, to produce the ever charming film music that we adore to date. Veteran Music Directors such as Emani Sankara Sastry, Parthasarathy, C.R.Subburaman, S.M.Subbiah Naidu, T.G.Lingappa, Sudarshanam, G.Ramanathan, T.R.Pappa, S.V.Venkataraman, S.Rajeswara Rao, Parur Sundaram Iyer,  K.V.Mahadevan, MSV-TKR, S.Dakshinamurthy & Pandurangan swayed their baton in these Studios in collaboration with legendary lyricists like Papanasam Sivan, Kothamangalam Subbu, Thanjai Ramaiahdas, and Ku.Ma.Balasubramanyam.

While recording ‘Engey Nimmathi’ song for Puthiya Paravai, MSV-TKR team had to accommodate the large number of spill over musicians on to the outside lawns. In this song the Music Directors used huge musical ensemble comprising instruments such as Harp, Violins, Cello, Bass, Vibrofone, Bongos, Kettle Drums, Flutes, Castanet, Trumpets, Tuba, Trombone, Clarinet & Mandolin.

The early films of Black & White era too had brief spells of outdoor shoots. But sets were more predominant as a rule owing to limitations.

Gradually the trend was increasingly towards outdoor shoots, away from the confines of the mighty studios, as evidenced by Kathalikka Neramillai (1964). Most of the outdoor locales of this iconic wholesome comedy were shot at Azhiyar Reservoir Dam, some sixty five kilo meters away from Coimbatore, located in the picturesque foothills of Valparai, in the Anamalai Hills of the Western Ghats.

Similarly, Karnan was notably the first Tamil film to be shot extensively in locales at Jaipur & Kurukshetra. The Art Director Ganga of Karnan got huge chariots made in Chennai and shipped them to Kurukshetra, where the war sequences were filmed in out door. With Central Government’s permission, real cavalry and infantry men from the Indian Army were deployed in the battles scenes at Kurukshetra.

Lobby Card of Karnan (1964) .Image courtesy The Cinema Resource Centre.

A lobby card  from the film Karnan featuring the chariot PC: From the archives of TCRC

The cameras have since become smarter and often airborne on drones. The Information Era has changed the very way films are made. Today, most of these mighty shooting spots called Studios have disappeared one by one, as Technology has made a paradigm shift in film making, which tendered  those mammoth sized studios redundant. The sophisticated equipment and availability of alternative resources enable film makers to shoot at any place of their choice. Thus the brick ‘n’ mortar studios of huge sizes lost their popularity.

In contrast, today the films are made about everywhere, ranging from the rural hamlets to urban slums, from deserts to highways, from cricket pitches to Pizzeria.

Several film studios in Chennai have downed their shutters and their vast areas have turned over to real-estate development. Many got transformed into hospitals, hotels, multiplexes, colleges, wedding halls and the like.

Similarly, the Bombay’s landmark studios such as RK, Mehboob, Filmistan & Famous too have lost their sheen.

In fact, by 1970s that filmmakers slowly ventured out of the studios of Kodambakkam, to shoot in outdoors and actual locales, abandoning the sets. The bougainvillea creepers, the ceiling dropped pigeons, ornate fountains of the make-believe sets were gone, with ‘as-a-matter-of-fact’ outdoor shoots setting in. A huge tribe of set making carpenters, painters, decorators, prop suppliers were all gone with the sets. These were the very people who feasted cine-goers with the celebrated visuals of the black & white era with their enormous sets. They made us relish the clever make over to the mythology and historical subjects of films. Who could forget the sets of Chandralekha or Avvaiyar? Even much later, the sets of Veera Pandiya Kattabomman, Karnan and the like provided us the much of visual enchantment.

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A photograph from the film Avvaiyar. PC: From the archives of TCRC

The Gemini twins, in their ‘langoti’s, blowing the bugle at the corner entrance of erstwhile Gemini Studios still haunt us, by their sheer absence there anymore.

But change is unchangeable!