Ragas in Film Music

PANCHA NADEESHA PAAHIMAAM - UNNAL MUDIYUM THAMBI

2012-02-10T08:52:00.000+05:30

It is a Patnam Subramanya iyer kriti. Pancha nadhi refers to Thiruvaiyaru. The presiding diety is Pancha nadeeswarar.

POOVE PANI POOVE - NILAVU SUDUVADHILLAI

2012-02-07T20:00:00.002+05:30

PAADU SAKHI PAADOO - CHAITHRAM

2012-02-07T19:18:00.002+05:30

This raga is the panchama varjaya janya of gowri manohari. Vasanthasri and ambamanohari are the two names of this raga.

NEE ALLAL INI YAAR ENAI KAAPPAAR - GNB - ABHISHEK RAGHURAM

2012-01-14T13:09:00.001+05:30

nee allal ini
raagam: kaanaDaa
22 kharaharapriya janya
Aa: S R2 G2 M1 D N2 S
Av: S N2 P M1 G2 M1 R2 S

taaLam: aadi
Composer: G.N. Baalasubramaniam
Language: tamil

pallavi

nI allAl ini yArennai kArppAr nidamuraikka vENumO nIlakaNThan manOhari

anupallavi

Ayak-kalaigaLum Ananda vAzhvum tUya neriyuDan tandaruLittAyE

caraNam

vEyamudUTTum kani vAyan sahOdari mAyayan hariyum vaNangum mahEshvari
tAyanaik-kanindu tAnAgavE vandu nEyamuDan ennai rakSikka vENumE

Other information:
Lyrics contributed by Lakshman Ragde.

http://www.karnatik.com/c3063.shtml

NAVASIDDHI PETRAALUM - NEELAKANTA SIVAN - ABHISHEK RAGHURAM

2012-01-04T09:11:00.001+05:30

Listen to this masterpiece from the latest Superstar on the Carnatic Circuit.

Siva Bhakthi by Janani Kamakshi

Song: navasiddhi peTraalum
navasiddi peRRaalum
raagam: kharaharapriyaa
22 kharaharapriya mEla
Aa: S R2 G2 M1 P D2 N2 S
Av: S N2 D2 P M1 G2 R2 S

taaLam: caapu
Composer: NeelakanTa Shivan
Language: Tamil

pallavi

navasiddhi peTrAlum shiva bhakti illAda narargaL verum sAvi
evar budddhiyum taLLi suyabuddhiyum illAdu iruppavargaL perum pAvi

caraNam 1

nAthan aruL marandu bOdham illA kUttu naDippavar verum sAvi
sItamati aNiyum shivanai ninaiyAmal iruppavar perum pAvi

caraNam 2

pApamum puNyamum keNiyAmal paNattirkkE parappavar verumsAvi
kOpamum lObhamum koNDu nalla guNattai kulaippavar perum pAvi

caraNam 3

tAi tandai manam nOgha sheiginra guru drOhat-tanayargaL verum sAvi
nAi pOla evaraiyum sIRi saNDaiyiDum nalam keTTAr perum pAvi

caraNam 4

kETTum kaNDum anubhavittum uNmai uNarA garvigaL verum sAvi
vATTamillA gati koDukkum nIlakaNTharin aruL illAr perum pAvi

http://www.karnatik.com/c3298.shtml

SAARASAM VASEEGARA KANGAL - KRISHNA BHAKTHI

2011-12-31T19:59:00.001+05:30

KURINJI, SINDHU BHAIRAVI, YAMUNA KALYANI.

saarasam
vaseegara kaNgaL
seer tharum
mugam chandra bimbam

saarasam
vaseegara kaNgaL
seer tharum
mugam chandra bimbam

saarasam
kaN aadidum Oviya
peNNaai
vaaiththaal
paerinbam

saarasam
kaN aadidum Oviya
peNNaai
vaaiththaal
paerinbam

saarasam
vaseegara kaNgaL
seer tharum
mugam chandra bimbam

aadum mayilaaL
abinaya mozhiyaaL
aadum mayilaaL
abinaya mozhiyaaL
ivaL anbai naadum puvimaiellaam
aadum mayilaaL
abinaya mozhiyaaL
aah haa
ivaL anbai naadum puvimaiellaam
eedillaa
deva kumari singaari
eedillaa
deva kumari singaari
ithikaasa suga rasa vaathi
saarasam
ithikaasa suga rasa vaathi

saarasam
vaseegara kaNgaL
seer tharum
mugam chandra bimbam

saarasam
vaseegara kaNgaL
seer tharum
iru kaNgaL seer tharum
vaseegara kaNgaL seer tharum
mugam chandra bimbam

Krishna Bhakthi 1948

P. U. Chinnappa, T. R. Rajakumari, K. R. Ramasami, SP. L. Dhanalakshmi, D. Balasubramaniam, N. S. Krishnan, T. A. Mathuram, P. A. Periyanayaki

memorable performances From Krishna Bhakthi

A concoction of mythology, historical characters, novels and imagination kindled by foreign films, Krishna Bhakthi was produced by one of the most colourful personalities of south Indian cinema, S. M. Lakshmanan Chettiar, better known as “Lena”.

‘Lena’ Chettiar had a roaring automobile business in Karaikudi; he bought and sold used cars. He circulated handbills about his vehicles in Tamil, then a novelty. Most Chettiars had no knowledge of English and were delighted to see ads about foreign cars in a lingo they understood well. Besides, Lena had an interest in the arts, especially the Tamil Theatre and its business side as ‘drama contractor.’ Soon, Lena promoted ‘Krishna Pictures’ in the early 1940s under which he produced films in Tamil and Telugu for nearly 15 years.

Krishna Bhakthi is the tale of a hypocrite saint, (Chinnappa) who lusts after a chaste court dancer (Rajakumari), and his ultimate redemption. The film was under production for nearly five years due to many difficulties. R. S. Mani, editor-turned-director who had directed the 1942 hit Kannagi, made it. The script on which Mani and his assistant S. Ramanathan worked for six months was inspired by Rasputin, the notorious Russian monk, and a French novel “The Monk” translated into English, which Ramanathan bought in Moore Market for one rupee! The dialogue was written by noted writers of the day — S. D. S. Yogi, Suddhananda Bharathi, Ku. Pa. Sethu Ammal and Chandilyan.

P. U. Chinnappa as the woman-crazy devotee of Lord Krishna (K. R. Ramasami) came up with a memorable performance old-timers talk about even today. One particular sequence worth mentioning for its technical excellence as well as Chinnappa’s amazing performance is a song-discourse (music: S. V. Venkataraman; and lyrics: Udumalai Narayana Kavi), Here, Chinnappa narrates the tale of a dancing girl named Sengamalam who refused to yield to any man and devoted herself to Lord Krishna. The recording of this ‘Harikatha’ lasted nearly six minutes and Chinnappa finished it in one ‘take’! Perhaps, this is the only such feat in the history of Indian cinema after pre-recording of music was introduced in the late 1930s.

Along with Chinnappa, others sang in chorus and a well-known artiste, S. V. S. Narayanan, played the mridangam. Krishnan and Mathuram provided comic relief. Not many are aware that Carnatic music icon M. L. Vasanthakumari appeared on screen in a regal court sequence, and sang ‘Entha Vedukonthu O Raghava….’ in Raaga Saraswathi Manohari. This was her only on-screen appearance. But, she sang off-screen. Indeed she was engaged to play the second wife of the potter-saint Gora Kumbhar inSudharshan, a Jupiter Pictures production. But for personal reasons, she opted out after a few reels were shot and (Yogam) Mangalam replaced her.

Remembered for the melodious songs of Chinnappa, and MLV’s solitary on-screen appearance.

RANDOR GUY

UNAI KANDU MAYANGADHA - ASHOK KUMAR - MKT

2011-12-31T19:30:00.002+05:30

SATVA GUNA BODHAN - ASHOK KUMAR - MKT

2011-12-31T19:24:00.000+05:30

DHYANAME ENADHU - ASHOK KUMAR 1941 - MKT

2011-12-31T19:14:00.004+05:30

Ashok Kumar 1941

M. K. Thyagaraja Bhagavathar, Chittoor V. Nagaiah, P. Kannamba, T. V. Kumudhini, M. G. Ramachandar, N. S. Krishnan and T. A. Mathuram

music, dominating factor From Ashok Kumar

A popular folk myth drawn from Buddhist tales built around Asoka the Great, his son Veer Kunal and young amorous wife was filmed more than once as a silent film in Hindi as Veer Kunal, and in Tamil as Ashok Kumar. (Kunal became Gunaalan in Tamil.) However, there is no historic proof of the story which has many parallels with another oft-filmed folk myth Sarangadhara.

Bhagavathar’s career was now on an upswing and the South Indian movie-goers eagerly awaited his next film. He was in such a position that he could afford to take life easy which he did. He gave himself to many exciting things in life such as bathing in Ghazipur rose water. Besides, he was in great demand for his Carnatic music concerts. So his films took longer to make, a year and more. Anyway he pleased the public with Ashok Kumar, directed by Raja Chandrasekhar, another noted South Indian filmmaker of those days.

Ashok Kumar is about Asoka’s son Gunaalan, whom Tishyarakshita, the Emperor’s young wife, lusts after. Shocked, he rejects her amorous advances, and like the proverbial woman scorned, she tells her husband that his son tried to seduce her! Enraged, the ageing emperor orders his son to be blinded and banished. The condemned, but innocent, prince suffers, loses his child and is reduced to beggary. Ultimately, the Buddha restores his sight, rights all wrongs and all, except the Queen, live happily thereafter!

Bhagavathar played the role of the prince, while Kumudhini was his devoted spouse. Nagaiah and Kannamba played Ashoka and the queen. The duo with a wide range of talent came to be deservedly regarded as two of the greatest artistes in Indian cinema.

Pasupuleti Kannamba who hailed from Andhra Pradesh made her debut in Tamil with Krishnan Thoodhu (1940) and Ashok Kumar was her second film. She did not know Tamil then and had her lines written in Telugu phonetically, and spoke with ease, which was indeed remarkable.

One of the highlights of the film was a song and dance sequence, ‘Unnai kandu mayangaatha…’ sung by Bhagavathar to which Kannamba danced. No dancer, she worked hard for the sequence which was shot brilliantly during a single night at Newtone Studio by the sadly neglected Indian movie maestro, K. Ramnoth, without credit.

MGR played a minor supporting role and was credited as ‘M .G. Ramachandar’!

A newcomer playing a bit role as the Buddha was Ranjan, his first film, who in a few years’ time was to take the sub-continent by storm with his stunning performance in S. S. Vasan’s Chandralekha (1948).

Like any Bhagavathar film, music was the dominating factor in Ashok Kumartoo. Songs such as ‘Satvaguna bhodhan…’, ‘Bhoomiyil maanida janmam…’, and ‘Unnai kandu…’ became instant hits and the credit should go to Papanasam Sivan. Indeed, during his heyday, Bhagavathar insisted that his producers hire Sivan and Elangovan to handle the music and script respectively.

NSK and Mathuram provided the comedy as usual.

Remembered for Bhagavathar’s melodious songs.

RANDOR GUY

Movie: Ashok kumar
MD: Papanasam Sivan
Lyrics: Papanasam Sivan
Cast: MKT

dhyaaname enadhu manadhu niRaindhadhu
chandra bimba vadhanamthanil dhinam
dhyaaname......

kaantha sakthiyai innaaL aRiyen naan iru
kaN mayangi saavenO
dhyaaname.......

lokamum adhile thondrum indhriya
bogamum yaavum thuRandhen vishaya
bogamum yaavum thuRandhen kamala
mukamum vaseegara neeLiru vizhigaLum
mOhana uruvum peyarum aagavum
dhyaaname.......

courtesy:

rajraj

ISAI SANGAMAM - PUDHIYA THALAIMURAI

2011-12-27T16:22:00.000+05:30

Artistes featured: Injikudi subramaniam, Embar kannan, Shri Flute Ramani

Ragas featured : Karaharapriya, Kiravani, Chalanattai...

CHINNA NADE NA - THYAGARAJA - DR.S.RAMANATHAN

2011-12-25T00:06:00.001+05:30

Cinna nADe nA-kalAnidhi-tyAgarAja by Narayanan

http://www.sangeetasudha.org/thyagaraja/vol3/d13.html

http://sahityam.net/wiki/Chinna_Nade

chinna nADE- kaLAnidhi - Adi

In this kruti Tyagaraja reminds Rama that he was his devotee from his childhood onwards. He doubts whether Rama saves him or abandons.

P	chinna nADE nA chEyi baTTitivi \|\|	You held my hand in my childhood itself.
AP	enna rAni yuDigamu gaikoni entO nannu pAlanamu chEtunani \|\|	You took all kinds of services from me. I hoped that you would protect me well.
C	iTTi vELa nannu viDanADadamanO Elu kondunani enchi nAvO teliya brOvavO suguNa vAri nidhi goppa daivamA tyAgarAjanutu \|\|	At this time I don't know whether you want to abandon me or choose to protect me.O Rama the ocean of virtues, save me.You are the great God worshipped by Tyagaraja.

chinna naaDE
raagam: kalaanidhi

22 kharaharapriyaa janya
Aa: S R2 G2 M1 S P M1 D2 N2 S
Av: S N2 D2 P M1 G2 R2 S

taaLam: dEshaadi
Composer: Tyaagaraaja
Language: Telugu

pallavi

cinna nADE nA ceyi baTTitivE

anupallavi

ennarAni UDigamu gaikoni yentO ninnu pAlanamu sEtunani

caraNam

ITTivELa viDa nADudAmanO ElukondAmani EncinAvO teliya
guTTu brOvavE suguNa vArinidhi goppa daivamA tyAgarAjanuta

Meaning:
Have you not taken me, clasping my hand from my childhood and accepted with grace numerous services from me? You had assured me of your care and protection to the last. Now it looks as if you are in two minds, unable to decide if you should accept me or abandon me to my fate. Please help me to uphold my self-respect at least as a devotee of yours. Oh Ocean of virtues! Transcendent Lord!

http://www.karnatik.com/c2243.shtml

AADUVOME PALLU PAADUVOME - NAAM IRUVAR

2011-12-23T19:13:00.001+05:30

THE SONG STARTS @5.40

Randor Guy writes :

Kamala danced to the songs, " ADuvOmE paLLu pADuvOmE…..." and " vETTri eTTU dikkum eTTa.!". These famed Bharatiyar songs highlighting the freedom sprit were sung off screen by the famous classical Carnatic musician and top star, D. K. Pattammal . A much applauded and highly respected lady of culture and charm, she was one of the earliest women performers of standing and stature to sing as voice-lending off-screen 'play-back' singer in Tamil cinema.

The credit of introducing such an eminent musician to movies goes to Meiyappan. Indeed in the song sequence an announcement is made over loud-speakers about her singing. It was a novel introduction during 1940's in South Indian cinema.. The music was composed by the AVM-in house music director, R. Sudarsanam, A person of much talent and skills with an excellent track record he is sadly under-rated and his work and contribution to Indian cinema need a reappraisal by film historians.

The Kamala dance numbers of both songs were choreographed by Vazhuvoor Ramaiah Pillai and the sequences not only proved to be the highlights of the film but also created film and cultural history. A cultural event in celluloid!

The two Bharathiar song-dance sequences became so popular that to this day after fifty-plus years on historic occasions like the Indian Independence Day- , August 15- Doordarshan ( the government. - owned TV channel of India) and other privately -run satellite TV channels telecast these scenes of " Nam Iruvar" every year.

Naam Iruvar 1947

T. R. Mahalingam, B. R. Panthulu, V. K. Ramasami, K. Sarangapani, T. R. Ramachandran, T. K. Ramachandran, T. A. Jayalakshmi and ‘Baby’ Kamala

beginning of an era From Naam Iruvar

During 1946 in Madras, a play, “Thyaga Ullam”, written by the then unknown journalist-playwright, Pa. Neelakantan, was running to packed houses at the ‘Wall Tax Theatre’ known as ‘Ottha Vaadai Kootthu Kottah’ in Tamil on Wall Tax Road near the Central Station.

It was the stage production of NSK Nataka Sabha, owned by T. A. Mathuram and managed by S. V. Sahasranamam. With N. S. Krishnan away in prison following the Lakshmikantham murder case, Sahasranamam organised the troupe, roping in an array of good talent such as actor-singer K. R. Ramasami and an unknown actor named V. C. Ganesan! One of its big hits was “Thyaga Ullam”. AV. Meiyappan saw the play and acquired the movie rights. Neelakantan was engaged as writer and assistant director. This marked his entry into movies, a modest start to a successful career as film director.

Meiyappan cast Sahasranamam as the hero, a role he played on stage, and the others in the NSK unit were also given the chance to do the same roles in the film. Shooting began at his studio on the outskirts of Devakottai. Thatched cottages were put up on the vacant land which served as lodgings, rehearsal halls and offices. Those who called it ‘hay and rope studio!’ had to eat humble pie when success showered on Meiyappan.

Sahasranamam could not report for work as agreed due to his pre-occupations in Madras - problems in the drama troupe, the murder case and lack of time. Meiyappan, a hard-headed businessman, was not amused. He replaced Sahasranamam with the hero of Sree Valli, T. R. Mahalingam. It turned out to be a change for the better.

One of the stage actors, who donned the same role of a black marketeer in the film, was a young man, cast mostly in elderly roles. With a good range, a flair for comedy and a fine sense of timing in dialogue delivery, he quickly made a mark as a character actor and had a long innings in Tamil cinema. He was none other than V. K. Ramasami!

T. A. Jayalakshmi, tall and slim, who did small roles, was the heroine. After a few films, she quit, marrying soon-to-be noted producer-studio-owner Vasu Menon. Naam Iruvar had a team of comedians led by T. R. Ramachandran. V. K. Karthikeyan, also a comedian, showed promise but sadly faded into obscurity.

The role of the good-hearted elder brother of the hero was done by an import from the Kannada stage and screen, B. R. Panthulu. A little known actor in the 1940s, he rose to great heights as producer-director of Tamil and Kannada films, and during the 1960s, he was a name associated with colossal budget films.

Yet another person in the cast who later made it big as a dancer was Kamala, then ‘Baby’ Kamala. She appeared as the kid sister of the hero.

1947 was the year when India got its freedom - the end of the oppressive and exploitative British colonial rule of two hundred years and the dawn of free India. The name of Mahatma Gandhi sent Indians into raptures, kindling in them patriotic fervour. Meiyappan exploited this mood to good advantage in Naam Iruvar. Statues of Gandhiji, songs in his praise, characters wearing Gandhi caps, spinning the Charkha and greeting each other with ‘Jai Hind!’, ‘Baby’ Kamala dancing to songs with lyrics penned years ago by that revolutionary poet Subramania Bharati and rendered off-screen by the living legend D. K. Pattammal (Music - R. Sudharsanam) — Meiyappan packed them all into the film.

Naam Iruvar turned out to be a big money-spinner and pushed AVM to the zenith of success. The film made its hero T. R. Mahalingam a big star. The film, a milestone in South Indian cinema, ushered in a new era in Indian film history, the AVM era!

Remembered for: The scintillating song and dance numbers, ‘Aaaduvomey…..’ and ‘Vetri Ettum’, performed by ‘Baby’ Kamala who soon emerged as a cult figure and ushered in a cultural revolution in Bharatanatyam.

RANDOR GUY

MARUGO MARUGO MARU GAYEE - SATHI LEELAVATHI

2011-12-22T21:12:00.003+05:30

kamal enna paattu paadonom
sarala thanjavuru thannikitta aaththangarayilae
bhaagavadarellaam paaduvaangallo andha pattu paadunga maama
kamal thannikitta bhaagavadarellaamaa oh thiruvaiyaaththa
cholriya nee
sarala aaanadhaen
kamal kettudhu ppo

thadarinnathaa
aaahhaa
thaannnannnannaaa
appdipodungo
maama aen patta nirththupotteengo
unga sangeedhathla thobukatternnu KUTHICHU neechal adikkalaamnu
ododi vandha enna aemaaththi podaadeengo maama
paadungo maamaapaadungo

nanannanaaaathaannathaannnaaa

maarugo maarugo maarugayee
adi jorugo jorugo jorugayee
maarugo maarugo maarugayee
adi jorugo jorugo jorugayee
aahaa vandhirichchu aasaiyil odivandhaen
aahaa vandhirichchu aasaiyil odivandhaen
vaadi en kappakazhangae
kappakazhangaa

maarugo maarugomaarugo maarugo
maarugo maarugo maarugayee
adi jorugo jorugojorugo jorugo
jorugo jorugo jorugayee

neththu raaththiri thookkam pochuchu
inji iduppazhagaa hoi
hahahdhachee
manja chevappazhagaa hoi
yammaa
sundari neeyum sundaran naanum
ilamai idho idho hoi
yammaa
inimai idho idho hoi
maamaa
nelakkaayudhunaeram nalla naeram
nenjil paayudhukaaman vidum baanam

maarugo maarugo maarugayee
jorugo jorugo jorugayee
aahaa vandhirichchu aasaiyil odivandhaen
vaadi en kappakazhangae
maarugo maarugo maarugayee
adi jorugo jorugo jorugayee

ennadi meenaatchi sonnadhu ennaachchi
thanni karuththiruchchi hoi
thavalachaththam kaetturuchchi hoi
pottu vaiththa kaadhal thittam ok kanmani
raaja kaiyyaa vachchaa hoi
wrong a ponadhilla hoi
rumbum bumbumah aah aarambam bumbum
hey hey rumbum bumbum yahoopaerinbambum yaeyae

ponmaeni urugudhae hoaaa
aaaaaaa
ri ga ri ga ri ga ri ga ri ga ri ga ri ga ri ga ri ga ri ga
ni sa ri pa ga
ma dha ni sa ni
ni sa ri pa ma dha ni sa
ma ga ma ri ga ma ni ri sa
pa dha ni ri sa ni pa ni pa ma ga ma ri sa

maarugo maarugo maarugayee
jorugo jorugo jorugayee
aahaa vandhirichchu aasaiyil odivandhaen
aahaa vandhirichchu aasaiyil odivandhaen
vaadi en kappakazhangae
maarugo maarugo maarugayee
jorugo jorugo jorugayee

http://www.inbaminge.com/t/s/Sathi%20Leelavathi/Maarugo%20Maarugo.eng.html

MARA VAIRI RAMANI - RANJANI GAYATHRI

2011-12-22T18:20:00.002+05:30

THIS IS THE 70th MELAKARTHA WITH VIVADI SWARAS IN THE PURVANGAM.

Pallavi

māra vairi ramaṇī mañju bhāṣiṇī

O Beloved of Lord Siva – enemy of cupid!
O Sweet Spoken!

Anupallavi

krūra dānavēbha vāraṇāri gaurī (māra)

O Mother gaurI – the Lion (Lioness) –
enemy of elephant - to the cruel
elephantine demons!

Charanam

¹kāma bandha vāraṇa niṣ-kāma citta varadē
²dharma saṃvardhani sadā vadana hāsē
³tyāgarāja śubha phaladē (māra)

http://sahityam.net/wiki/Mara_Vairi_Ramani

maara vairi ramaNi
raagam: naasikabhooshhaNi

70 naasikabhooshhaNi mEla

Aa: S R3 G3 M2 P D2 N2 S
Av: S N2 D2 P M2 G3 R3 S

taaLam: aadi (tishra gati)
Composer: Tyaagaraaja
Language: Sanskrit

pallavi

mAravairi ramaNi manju bhASiNi

anupallavi

krUra dAnavEbha vAranAri gauri

caraNam

karma bandha vAraNa niSkAma varadE dharmasamvardhani sadA vadana hAsE shubha phaladE

Other information:
In some versions, "sadaa vadana haasE shubha phaladE" is replaced with "tyaagaraaja vinutha."

O Mother who is an obstacle to
those bound by desires!
O Bestower of Boons to those
whose intellect (mind) is bereft of desires!
O Mother Dharma Samvardhani abiding at
Thiruvaiyaru! O Mother whose face is
ever smiling!
O Bestower of auspiciousness on this tyAgarAja!

PAARKADAL ALAI MELE - RAJA DESINGU

2011-12-21T20:45:00.001+05:30

SHANMUKA PRIYA, SURUTI, SAMA, ATAANA, MOHANAM, BILAHARI, KAANADA, KAPI

I could hear sivaranjani towards the end just for one line. Maybe the last lines referring to kalki avatharam is in sivaranjani. I am not sure.

VANAMEVUM RAJAKUMARA - RAJA DESINGU

2011-12-21T20:40:00.000+05:30

http://www.enotes.com/topic/Raja_Desingu

Senji (Gingee) is around 160 km from Chennai and 35 km from Thiruvannamalai, stands an imposing remnant of a glorious past dates back to more than 700 years. Going by the rock inscriptions on the hillocks, historians opine that Jains had dwelt in Senji even earlier, from 200 B.C. to 500 A.D. Senji came under the Pallava, Chola and Hoysalas rule successively. It was during the Chola regime (900 A.D. – 1003 A.D.) that a small fort was first built atop the hill. However, it was later under the Konar regime (1190 A.D. - 1330 A.D.) that the fort was further strengthened.

When Senji came under control the Vijayanagar empire in the 14th century, Krishnadeva Raya entrusted Senji to Krishnappa Nayak. During the Nayaks' governance, the fort was expanded to massive proportions. In the subsequent centuries, Senji was under the control of the Bijapur Sultans, Marathas, Mughals, Nawab of Arcot and later was annexed by the French and finally by the British who warded off valiant efforts by Haider Ali to seize the fort.

However, the one name that invariably crops up at any mention of Senji is that of Raja Desingu, who ruled the kingdom, albeit for a short period, with sagacity and valour in the 18th century. Over the years, the saga of Raja Desingu has been become an enduring and endearing part of Tamil folklore. Countless ballads, stories, puppet shows, dance, stage and street shows have been inspired by the tragic tale of this brave hero of Senji.

Plot
The Mughal general Zulfikar Khan assigned the rule of Senji to Swaroop Singh, the fearless Rajput general of Buldelkhand in 1700 AD, with the rider that Swaroop Singh would have to pay cess to the Nawab of Arcot who was the agent for the Delhi Sultanate. Swaroop Singh soon won the respect and loyalty of the people of Senji. During his rule, Hindus and Muslims lived amicably in Senji and there was peace and prosperity all around the small state. A son was born to Swaroop Singh and his wife Rambai, whom they named Tej Singh. It was Tej Singh whose name was Tamilised as Desingu.

Swaroop Singh has a secret paramour called Jaan Bibi, and they have a son called Dawood Khan who was a little older than Desingu. Fearing that Dawood might pose a threat to the succession of the throne in years to come, on the advice of his commander and close confidant Yusuf Khan, Swaroop Singh persuades Jaan Bibi to leave Senji, taking little Dawood with her. Desingu grows up to be a handsome youth of integrity and courage. His bosom friend is another brave young man called Mohammed Khan, and two are always inseparable. At this juncture, the Sultan of Delhi offers to free any state coming under his dominion whose ruler manages to tame a wild horse in his stable. The dauntless Desingu manages to tame the stallion and ride it, to the loud cheers of the huge audience. Filled with admiration, the Sultan frees Swaroop Singh who had earlier failed in this endeavour and gives them a written proclamation of Senji’s independence.

Meanwhile, growing up under the slur of illegitimacy, Dawood vows to rule Senji some day. But in her deathbed, Jaan Bibi extracts a promise from Dawood that he would not cause any harm to Desingu. Dawood goes to Arcot and wins the confidence of the Nawab when he rescues the Nawab’s infant son from being crushed under an elephant’s feet. The grateful Nawab appoints him as his general. When Dawood expresses his determination to subjugate Senji, the Nawab expresses his helplessness, stating that nothing could be done as long as Desingu has the written proclamation of Senji’s independence in his custody. It is around the same time that Desingu dismisses his general Yusuf Khan from service when he is caught trying to commit adultery. Abetted by the humiliated Yusuf Khan who has now turned traitor, Dawood makes use of his striking resemblance to Desingu and extracts the written parchment from the unsuspecting wife of Desingu.

Now that Senji had no proof of its independence, Arcot declares war on Senji for non-payment of taxes. Under the resolute leadership of Mohammed Khan, Senji emerges triumphant in warding off the Arcot forces. But even as Mohammed Khan fetches water to quench the thirst of a dying soldier of Arcot, Yusuf Khan shoots him from the back. And not satisfied with dastardly act, Yusuf Khan kills Mohammed Khan’s fiancée Aysha who had come to the battlefield in search of her beloved. Wanting the brothers to fight against each other now, Yusuf Khan carries false reports to Desingu that it was Dawood who killed Mohammed Khan.

Athirst with revenge for the death of his friend, Desingu rushes to the warfront and soon challenges Dawood to a duel. Dawood is hesitant to fight with his brother, and even advises Desingu that they could leave the fighting to their troops. But Desingu is no mood to listen and soon the brothers are engaged in a bitter duel. Handicapped by his oath not to harm Desingu, Dawood is soon vanquished and lies mortally wounded. Desingu’s delight is short-lived, for Yusuf Khan now informs him that Dawood is none other than his brother. Adding to his grief at the death of his friend, Desingu is horrified at having killed his brother, and in a moment of abject remorse, kills himself. The Nawab’s troops now enter the fort in victory, and Desingu’s brave wife Ranibai commits Sati.

SERIKKUL IRUKINRA SIRPAM - KANN SIVANDHAAL MANN SIVAKKUM

2011-12-19T21:30:00.001+05:30

POONKAATRU THIRUMBUMA - MUDHAL MARIYADHAI

2011-12-11T22:59:00.001+05:30

MEGAME MEGAME - PALAIVANA CHOLAI

2011-12-11T22:55:00.001+05:30

This song is in the hindustani raga KAFI, which is not to be confused with the carnatic raga Kapi. It is the hindustani equivalent to our Karaharapriya, in scale, and there ends the similarity. We have KAFI thaat, which is one of the principal ten thaats in Hindustani music.

KANNUKULLE UNNAI PAARU - MARAGATHAM

2011-12-11T22:07:00.002+05:30

TFM LOVER WRITES:

Radha jayalatchumi sang for Padmini for all the songs in maragatham( 1959)
this one with tms for Sivaji
i love the lyrics by R balu and the music by S. M. Subbaiah Naidu
everything peaceableness !
Padimini acted as a girl from Ceylon ( Sinhala )

kannukullE unnai paaru
enthan kannukulE unnai paaru
athu kaaviyam aayiram koorum
enthan kannukulE unnai paaru
athu kaaviyam aayiram koorum

ennathilE ezhil vannathilE
ennathilE ezhil vannathilE
minni thirigindra vennilavil
unnai dhinam dhinam kaangindrEn
unnai dhinam dhinam kaangindrEn antha
unnarchiyil ullaginai maranthEn
kannukulE unnai paaru
athu kaaviyam aayiram koorum
kannukulE unnai paaru

inbathin ellayil koodu katti
athil innisai paadum paravaigal naam
anbilnil pongum kadal pOlE
anbilnil pongum kadal pOlE
aasai alaigalai veesum kalai amudhE
kannukullE unnai paaru
enthan kannukulE unnai paaru

Odum aruviyaai naan irrukaa
adhil Odidum meen pOl thulli vanthaai
paadum kuyil enna naan irukka
angu aadum mayilena neeyum vanthaai
kannukullE unnai paaru
enthan kannukulE unnai paaru
athu kaaviyam aayiram koorum

Maragatham (1959)

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Maragatham.

Sivaji Ganesan, Padmini, S. Balachandar, Sandhya, T.S. Balaiah, T. S. Durairaj, J. P. Chandra Babu, O.A.K. Thevar, P. S. Gnanam, T. P. Muthulakshmi, Lakshmirajam, Lakshmiprabha, M. R. Santhanam, ‘Ennathey' Kannaiah and Lakshmirajam-‘Baby' Sacchu (dances)

Based on an interesting crime thriller by T.S.D. Sami, the film has a sub-title ‘Karunkuyil Kunrathu Kolai' within brackets.

Totally fiction, the title was obviously inspired by the sensational ‘Karunkuzhi Parcel Murder Case', though the content was completely different.

The film was well-directed by the Coimbatore movie mogul, S.M. Sriramulu Naidu who made many memorable movies such as Jagathalaprathapan, Pavalakodi, Kannika and Malaikallan. His studio in Coimbatore, Pakshiraja, was a hive of activity during the 1940s-1950s. The screenplay was by Naidu himself and the dialogue was by Murasoli Maran.

Maragatham narrated the happenings of a rich zamindari family in which the maharaja is murdered and the crime foisted on his innocent brother (Balachandar) and his lovely wife (Sandhya, Jayalalitha's mother). The wife waits for her husband who had escaped from prison. She pines for her daughter (Padmini) who is believed dead. Not knowing Padmini is her daughter, Sandhya saves her life in a boat accident and the girl comes to live with her. Noted comedian of Tamil cinema of yesteryear T. S. Durairaj plays the interesting role of the villain planning the murder, but the real killer is Balaiah. The prince (Ganesan) falls in love with his sister's daughter without knowing who she is!). Ultimately as it always happens in movies, the truth is revealed, the killers are exposed, the parted couples and the young lovers are united, and all's well that ends well.

Balachandar excels with an underplayed performance, while Sivaji Ganesan and Padmini make a delightful pair. Ganesan is a treat to watch in the guise of a servant who tries to find out the truth behind the murder. Chandra Babu as the lovelorn butler is his usual comic self. Sandhya is lovely and plays her role well.

The film had excellent sets (A. K. Sekhar) and the outdoor locations were picturesque. The cinematography by Sailen Bose was fine. S. M. Subbaiah Naidu's music was catchy, with one song, (a duet between Chandra Babu and Jamuna Rani) ‘Kunguma poovey konjum puraavey', becoming a hit — the song is popular even after half a century. Maragatham sustains interest even after five decades, and is worth watching even today.

Remembered for: excellent on-screen narration and direction by Naidu, impressive performances by Sivaji Ganesan, Padmini, Balachandar and Durairaj, and tuneful music.

NAVARASA KANADA, DESH, KAPI.

Celebrating One Lakh Views..........

2011-12-06T22:41:00.001+05:30

RAMA MANTRAVA JAPISO - THYAGAYYA

2011-12-06T12:43:00.000+05:30

NINNUVINA NAMADIENDU - M.S.

2011-12-05T19:56:00.000+05:30

PONNAL IDHU POLE - POOMPUHAR

2011-12-05T19:53:00.000+05:30

http://www.padangal.com/free-live-tamil-movie-watch-online-poombukar/poompuhar-video_7eb6d4fed.html

SONG STARTS @8.00

ANBALE THEDIYA EN ARIVU SELVAM THANGAM - DEIVA PIRAVI

2011-12-05T19:41:00.001+05:30

SONG STARTS @16.00