Ragas in Film Music

JAIYE SAJNA - DHURANDHAR

2026-04-19T14:25:00.000+05:30

DESTINY MANN ATKEYA - DHURANDHAR

2026-04-17T21:30:00.001+05:30

KABHI BEKASI NE MAARA - ALAG ALAG

2026-04-17T20:50:00.006+05:30

AY HAIRATHE - GURU

2026-01-10T18:30:00.000+05:30

ABHI NA JAAO CHHOD KAR - HUM DONO

2026-01-07T21:01:00.001+05:30

ENNAI THEDI KADHAL ENUM VARTHAI ANUPPU - KADHALIKKA NERAMILLAI SERIAL

2025-06-17T21:16:00.007+05:30

TERE MERE MILAN KI - ABHIMAAN

2024-11-10T15:03:00.000+05:30

KUCH TO LOG KAHENGE - AMAR PREM

2024-11-10T14:59:00.003+05:30

NENJE NENJE - RATCHAGAN

2024-11-10T14:57:00.001+05:30

SONNALUM KETPADHILLAI - KADHAL VIRUS

2024-11-10T14:54:00.004+05:30

KAMBAN EMAANDHAAN - NIZHAL NIJAMAGIRADHU

2023-06-08T13:15:00.003+05:30

NINAITHAL UNAI THAAN NINAIPPEN - UNNIDATHIL NAAN

2023-02-17T19:02:00.004+05:30

KANNA NEE THOONGU DA - BAAHUBALI 2

2022-01-27T21:43:00.000+05:30

படம்: பாகுபலி 2

பாடல்: மதன் கார்க்கி

இசை: மரகதமணி

குரல்: நயனா நாயர்

முறைதானா முகுந்தா………

சாிதானா சனந்தா

முறைதானா முகுந்தா

சாிதானா சனந்தா (2)

பூவையா் மீது கண்

மேய்வது முறையா பாவை

என் நெஞ்சம் தினம் தேய்கின்ற பிறையா

போதுமே நீ கொஞ்சம் துயில் கொள்ளடா

கண்ணா நீ தூங்கடா

என் கண்ணா நீ தூங்கடா

உன் விரலினில்

மலை சுமந்தது போதுமே

கண்ணா நீ தூங்கடா

என் கண்ணா நீ தூங்கடா

உன் இதழினில்

குழல் இசைத்தது போதுமே

கண்ணா நீ தூங்கடா

என் கண்ணா நீ தூங்கடா

கண்ணா நீ தூங்கடா

என் கண்ணா நீ தூங்கடா

கோபியா் குளிக்கையிலே

உடைகள் திருடி கலைத்தாய்

ஓய்வெடு மாயவனே

பானையில் வெண்ணையினை

தினமும் திருடி இழைத்தாய்

தூங்கிடு தூயவனே

சா…………………………மனா………

மோ…………………………கனா………

போதும் கண்ணா நீ

செய்யும் திருட்டு வானம்

எங்கும் சூழ்ந்தது இருட்டு

மாா்பில் சாய்ந்து கண் மூடடா

கண்ணா நீ தூங்கடா

என் கண்ணா நீ தூங்கடா

கண்ணா நீ தூங்கடா

என் கண்ணா நீ தூங்கடா

சோலையின் நடுவினிலே

மயங்கி கிரங்கி கிடந்தேன்

நான் உனதழகினிலே

மயங்கி கிரங்கி கிடந்தேன்

தான் உனதழகினிலே

மா……………………தவா……………

யா……………………தவா…………

லீலை செய்தே என்னை

நீ கவிழ்க்க காளை மோதி

உன்னையும் கவிழ்க்க

காயம் என்னால் கொண்டாயடா

கண்ணா நீ தூங்கடா

என் கண்ணா நீ தூங்கடா

கண்ணா நீ தூங்கடா

என் கண்ணா நீ தூங்கடா

முறைதானா முகுந்தா

சாிதானா சனந்தா (2)

மாதனா மதுசூதனா

மனோகரா மணிமோகனா

மாதனா மதுசூதனா

மனோகரா மணிமோகனா

முறைதானா முகுந்தா

சாிதானா சனந்தா

கண்ணா.. கண்ணா..

ஆனந்த அனிருதா

கண்ணா

கண்ணா கண்ணா

கிருஷ்ணா ராதா

ரமணா கிருஷ்ணா

கண்ணா நீ தூங்கடா

KANNUKUL POTHI VAIPPEN - THIRUMANAM ENUM NIKKAH

2020-04-05T16:31:00.001+05:30

படம்: திருமணம் எனும் நிக்காஹ்
வரிகள்: பார்வதி

கண்ணுக்குள் பொத்திவைப்பேன்
என் செல்லக் கண்ணனே வா
தி தித்த தை ஜதிக்குள்
என்னோடு ஆட வா வா

அடிக்கடி உனைப்பிடிக்க நான் மன்றாடிட
இடப்புறம் விரல் மடக்கி நீ டூ காட்டிட
என் கண்ணனே வாடா வா
விஷமக் கண்ணனே வாடா வா

கண்ணுக்குள் பொத்திவைப்பேன்
என் செல்ல கண்ணனே வா
தி தித்த தை ஜாதிக்குள்
என்னோடு ஆட வா வா

அடிக்கடி உனைப்பிடிக்க நான் மன்றாடிட
இடப்புரம் விரல் மடக்கி நீ டு காட்டிட

என் கண்ணனே வாடா வா
விசம கண்ணனே வாடா வா

சிறு சிட்டிகை பாசம்
பெரும் கடலாய் மாற
மணித்துளி எல்லாமே
அரை நொடிக்குள் தீர

மழைத்தறியா உள்ளம்
பிசுபிசுப்பை பேண
எதற்கடி திண்டாட்டம்
கதகதப்பை காண

நீ ராதை இனம்
சொல்லாமல் சொன்னாயே

செங்கோதை மனம்
உன் பேச்சில் தந்தாயே
உன்னாலே யோசிக்கிறேன்

உன் விரலை பிடித்து
நடக்கும் நிமிடம் யாசிக்கிறேன்

கண்ணுக்குள் பொத்திவைப்பேன்
என் செல்லக் கண்ணனே வா
தி தித்த தை ஜதிக்குள்
என்னோடு ஆட வா வா

அடிக்கடி உனைப்பிடிக்க நான் மன்றாடிட
இடப்புறம் விரல் மடக்கி நீ டூ காட்டிட
என் கண்ணனே வாடா வா
விஷமக் கண்ணனே வாடா வா

உயிர் எதையோ தேடும்
மனம் அதையே நாடும்
தனித்தனியே ரெண்டும்
ஒரு வழியில் ஓடும்

எது எதற்கோ பொய்கள்
எதிர் எதிராய் மெய்கள்
எது எதுவாய் ஆகும்
விடை கடந்தே போகும்

கண்ணாடி முனை போல் எண்ணங்கள் கூராய்
முன் இல்லாததை போல் எல்லாமே வேறாய்
உன்னாலே பூரிக்கிறேன்

உன் சிரிப்பு சரத்தில்
மகிழ மரத்தில்
பூ தைக்கிறேன்

கண்ணுக்குள் பொத்திவைப்பேன்
என் செல்லக் கண்ணனே வா
தி தித்த தை ஜதிக்குள்
என்னோடு ஆட வா வா

அடிக்கடி உனைப்பிடிக்க நான் மன்றாடிட
இடப்புறம் விரல் மடக்கி நீ டூ காட்டிட
என் கண்ணனே வாடா வா
விஷமக் கண்ணனே வாடா வா

PANAME UNNAL ENNA GUNAME - SANJAY

2017-12-25T12:30:00.001+05:30

பல்லவி

பணமே உன்னாலென்ன குணமே - தண்டம்
பண்ணினேன் சற்றுமென் கண்ணின் முன்னில்லாதே

அனுபல்லவி

மணமில்லா மதமோகம் குரோதம் துன்மார்க்கமும்
மூர்க்கமும் யார்க்குமே போதிக்கும் - பணமே

சரணம்

தேடியுனை வைத்து மூடியவர்க்கு நீ
தீர்க்காயுசு தருவாயோ - இனி
நாடி யமன் வந்து சாடும்போது நீ
நானென்று முன் வருவாயோ
கூடிய பேர்கள் குடியைக் கெடுப்பாயே
கொல்லச்சொல்லி பின்னும் காட்டிக்கொடுப்பாயே
ஓடிஓடி அற்பரைப் போய் அடுப்பாயே
உத்தமரைக் கண்டால் ஓட்டமெடுப்பாயே

VELLAI KAMALATHILE - GOWRI KALYANAM

2016-09-22T19:13:00.001+05:30

சரஸ்வதி வணக்கம் - SUBRAMANIYA BHARATHI

வெள்ளைக் கமலத்திலே -- அவள்
வீற்றிருப் பாள், புக ழேற்றிருப் பாள்,
கொள்ளைக் கனியிசை தான் -- நன்கு
கொட்டுநல் யாழினைக் கொண்டிருப் பாள்,

பு{[மு-ப.]: மாய்ப்பதுவாய்ப் -- பவந்}

கள்ளைக் கடலமு தை -- நிகர்
கண்டதொர் பூந்தமிழ்க் கவிசொலவே
பிள்ளைப் பருவத்திலே -- எனைப்
பேணவந் தாளருள் பூணவந்தாள்.

வேதத் திருவிழி யாள், -- அதில்
மிக்கபல் லுரையெனுங் கருமையிட் டாள்,
சீதக் கதிர்மதி யே -- நுதல்
சிந்தனையே குழ லென்றுடை யாள்,
வாதத் தருக்கமெனுஞ் -- செவி
வாய்ந்தநற் றுணிவெனுந் தோடணிந் தாள்,
போதமென் நாசியி னாள், -- நலம்
பொங்குபல் சாத்திர வாயுடை யாள்.

கற்பனைத் தேனித ழாள், -- சுவைக்
காவிய மெனுமணிக் கொங்கையி னாள்,
சிற்ப முதற்கலை கள் -- பல
தேமலர்க் கரமெனத் திகழ்ந்திருப் பாள்,
சொற்படு நயமறி வார் -- இசை
தோய்ந்திடத் தொகுப்பதின் சுவையறி வார்
விற்பனத் தமிழ்ப்புல வோர் -- அந்த
மேலவர் நாவெனும் மலர்ப்பதத் தாள்:

வாணியைச் சரண்புகுந் தேன்; -- அருள்
வாக்களிப் பாளெனத் திடமிகுந் தேன்;
பேணிய பெருந்தவத் தாள், -- நிலம்
பெயரள வும்பெயர் பெயரா தாள்,
பூணியல் மார்பகத் தாள், -- ஐவர்
பூவை, திரௌபதி புகழ்க்கதையை
மாணியல் தமிழ்ப்பாட்டால் -- நான்
வகுத்திடக் கலைமகள் வாழ்த்துக வே.

[குறிப்பு]: ‘வேதத் திருவிழியாள்’ எனத் தொடங்கும் பாடல்
கையெழுத்துப் பிரதியில் அடிக்கப்பட்டுள்ளதாகக்
கவிமணி குறித்துள்ளார்.

பு{[மு-ப.]: ‘சீதக் கதிர் மதியா -- நுதல்’
‘சேர்ந்த தோரூகவண் குழலுடையாள்’
‘வாக் குத வுவளெனத் திட மிகுந்தேன்’}
முதலாவது-அழைப்புச் சருக்கம்

http://newdhool.blogspot.in/2016/09/vellai-kamalathile-gowri-kalyanam.html

AADUVOM VAARUNGAL - SAVITHRI

2016-08-11T21:13:00.000+05:30

Kumaraswamy Sundar writes:

கேதாரம்…da

‘Kabaalida’ – the hype and hoopla for ‘Kabali’ film have subsided with the release of the film… but some thing was gnawing me for quite a while. Whenever I got a glimpse of the lead actress of the film or read her interviews or just heard the name Radhika Apte I began to ruminate on another Apte , a totally forgotten versatile yesteryear actress, Shantha Apte. What interest I will have in ‘Kabali’ or Radhika Apte or its music! But sure I will have interest in Shantha Apte for this quaint melody,’ ஆடுவோம் வாருங்கள் பாங்கியரே ‘ that she sang for the film ‘Savitri’ (Royal Talkie Distributors/1941).

‘Savitri, a mythological, though remembered mainly for M S Subbulakshmi, Shantha Apte , who played the eponymous role, a Hindi-Marathi legendary singing star those days, is no less a celebrity. She was classically trained in music and dance and an acclaimed actress in Marathi and Hindi cinema.

M S Subbulakshmi was cast in a male role, playing the character of sage Narada! This unique casting was the idea of the filmmaker Y.V. Rao. This project is also said to have raised funds for ‘Kalki’ , the Tamil weekly launched by M S Subbulakshmi’s husband, Sadasivam. This was the first time in South Indian cinema that Narada was played by a female.

It was very difficult making Apte act in a Tamil film for Y V Rao for she did not know the language but insisted on speaking and singing in Tamil! The dialogue-writer T.C. Vadivelu Naicker with a Tamil woman, settled in Poona, taught her the lingo. To hoodwink the curious onlookers, Apte, disguised as a maid would visit the tutor's house through the rear door! The project was put on the backburner for nearly a year until Shantha Apte learnt to speak and sing on her own! She sang 7 to 8 songs in the film. Apte was apt for the role.

The film’s music was credited to Thuraiyur Rajagopala Sarma, and noted Bengali film music composer Kamaldas Gupta who was in charge of orchestration and arrangements. Papanasam Sivan wrote the lyrics. It is pertinent to mention here that Thuraiyur Rajagopala Sarma scored music for MS’ ‘Sakunthalai’ also.

Set in captivating Ketharam, probably the first full song in a tamil film in that raga, the tune suits the situation- where Apte merrily spends her time with her friends in the garden and where the hero Y V Rao tries to woo her.

Listen: https://www.youtube.com/watch?v=YkSfZQmAp8A

ஆடுவோம் வாருங்கள் பாங்கியரே
விளையாடுவோம் வாருங்கள் பாங்கியரே
ஆனந்தமாக உல்லாசமுடன்
விளையாடுவோம் வாருங்கள் பாங்கியரே

சிந்தை தீரவே மந்தமாருதம் சிந்தை தீரவே மந்தமாருதம்
வந்து வீசும் இந்த நந்தவனம்தனில்
ஆடுவோம் வாருங்கள் பாங்கியரே

வண்டு மொண்டு தேனுண்டு பாடுமே
குண்டு மல்லிகை செண்டு கொண்டறிந்து
ஆடுவோம் வாருங்கள் பாங்கியரே

Though not so good-looking Shantha Apte looks bubbly and vivacious. Just look at her singing…such a flawless rendition in her dulcet voice. She simply proves her mettle through this song. I find U R Jeevarathnam style of singing in her. Her enunciation of words is also fine.
******

Ketharam- either Sivan’s or Thuraiyur’s idea, it is just brilliant!

If subconsciously I have had an affinity for Ketharam it is because during my school days we had this prayer song- ‘சகலகலா வாணியே சரணம் தாயே!’. We used to sing this song very mechanically those days with utter disregard for its lyrical or musical values. By the time I understood it was a Suddhanandha Bharathi’s kriti, the beauty of the lyrics and its raagam, Ilaiyaraja came out with a stunning melody in ‘Ponmaalai pozhudhu’ for the film ‘Nizhalgal’ which gave Ketharam a new dimension altogether with its off-beat prelude and interludes.
****

In this MS’ birth centenary year it should go to the credit of Radhika Apte in a way that we remember Shantha Apte today whose 100th birth anniversary also falls in this year. She was also born in 1916. I wish some mention about this forgotten actress be made in the Doordarshan series ‘Kurai ondrum illai’, a weekly programme currenly being aired as part of MS centenary celebrations.
****

How I wish MSV had composed the line ,”Nee enak’kethaaram’ endrirukka unnai en vasa(m)thaa vena naan kaetka” in the song ‘Nee oru raagamaalikai’ (Penn ondru kanndaen/1974) in raga Ketharam itself (instead of his usual ‘Karaharapriya’)!

Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/1280181962013527/

KANNODU KANNAI RAGASIYAM PESI - MADHANA MOHINI

2016-06-22T19:22:00.000+05:30

Saravanan writes:

Let us today listen to a vintage classic by an unlikely singer:

Kannodu kannai ragasiyam pesi from Madana Mohini. Sung by K.V. Mahadevan & P. Leela. Lyrics by M.P. Sivan. Music by KVM.

It is only the audio that is available in the net, thankfully, for I am certain that video would be far from appealing!

Madhana Mohini (1953/ Liberty Pictures) was produced by M.L. Pathi. It starred an obscure actress of the 50s called C.R. Rajakumari in a dual role and Narasimha Bharathi as the hero. I recall seeing it on DD- it was a long-drawn meandering tale, a tedious amalgam of mythology, sorcery and romance. Shoddy editing, amateurish acting, and a screenplay that displayed an appalling indifference to logic compounded the woes of this misadventure, and the proceedings unwittingly ended up in a comical farce. And I would have given up on it too, had I not been riveted by its enchanting songs, and the knowledge that I was watching a slice of Tamil Film Music history.

Madana Mohini had songs in abundance, and there were at least 2-3 more songs than these 11 that I managed to gather over the years:

Vaana veedhi mele vilaiyaadum vennilave- P. Leela
Aanum pennum aasai vechu - A.P. Komala
UnmaikkE ulagil uyarvu thaazh illaiye (enne ikkaala maatram)- KVM
Aadhi mudhalaanava- A.P. Komala & N.L. Ganasaraswathi
Ko ko ko kokkarakko, kozhiyinna kozhi thaan- A.M. Appadurai
Pombalaithaan endru ennavendaam- A.P. Komala
Ilam kandrupole illam thullugindren- Jikki
Vaazhiya senthamizh thaaye- KVM
Agara mudhala (Ega uruvaam marundhu)- K.R. Lakshmi
Peru sollum peru sollum- KVM & Kasturi
Kannodu kannaai ragasiyam pesi- KVM & P. Leela
* * * *
The lyrics for the songs were by M.P. Sivan. Madhilakathuveedu Paramasivan Nair’s (M. P. Sivan) love for Tamil and theater made him leave his native Palaghat and join the famed Madurai Bala Gana Sabha. His proficiency in the language and his mastery over the Harmonium gradually earned him a revered position as a writer, lyricist, music composer and teacher in that celebrated institution. His foray into Tamil film music was short-lived- he wrote lyrics for a few films in the 50s, and a few devotional songs.

One of the reasons that Madana Mohini remains a piece of Tamil film music history, is that it was with this album that Thiruvanandapuram Kesavapillai Pugazhendhi joined KVM’s ensemble, and all of KVM’s subsequent films’ titles, till the very end, proclaimed: “Isai: KVM; Udhavi: TKP’’. An enduring and endearing association that, perhaps, has no parallel anywhere. And the credit for introducing TKP to KVM goes to M.P. Sivan. He was TKP’s Guru in Madurai Bala Gana Sabha, and the teacher and student shared a rare rapport. And when Sivan got an opportunity to write the lyrics (and the dialogues as well) for Madana Mohini, he pulled in TKP, who had been working with C.N. Pandurangan for a short while. Sivan’s warm recommendation, and TKP’s unquestioned talents, of course, fetched TKP a permanent place in KVM’s troupe.
* * * *
The other justification, for Madana Mohini’s place of pride among the landmark albums of Tamil cinema is KVM singing (for the first time) 4 of its songs. A journalist friend once told me that P. Leela, while reminiscing on Madana Mohini, said that KVM was a reluctant singer- it was because the singer who was to have rendered the songs failed to turn up for the recording, that KVM was coaxed into rendering them himself. P. Leela added that it was her fortune to have bagged an opportunity of a lifetime of singing a duet with KVM.

With a lovely Shanmugapriya opening, the song seems a scintillating precursor to S.V.Venkataraman’s Nenjil kudiyirukkum. We realize what we have missed…with a voice that seems to be a perfect blend of V.N. Sundram’s classy, carefully honed tone and Tiruchi Loganathan’s resonant, rich timbre, KVM could have been a much sought after singer, had he willed. To our misfortune, he deemed it more appropriate to restrict himself to composing music.
However, the few songs that he did sing remain with us, as a wistful window to the enchantment that could have been---the poignant resignation to the quirky twists of fate that cloaks his ‘Enne ikaalam maatram’ (Madana Mohini), the rollicking ride that KVM, along with Ratnamala, takes us for, crooning ‘ Lovukku lovukku love, Kissukku kissukku kiss! ’ (Naalvar), the joyous repartees that embellish KVM and K. Rani’s ‘abaraatham roobai aimbadhu’ (Naalvar), the ruminating, philosophical mien that KVM adopts, when, accompanied by A. Aandal, he sermonizes, ‘Vaazhvin kadamaiyai marandhu nee vaazhathe’ (KVM’s brugha-laden viruthams in this song are singularly spellbinding essays; from the film Nalla Kaalam). And as far as I can recall, KVM did sing for another MD- the forgotten M.S. Gnanamani was the composer who was picked for this rare favor- in the film Ulagam (1953/Society Pictures) for which Gnanamani composed 15 songs, KVM and N.L. Ganasaraswathi sang a delightful duet ‘kaadhalinaal ulagame inbamadhE’.
* * * *

June 21st marked the annual summer solstice: the longest day in the year. Solstice, from Latin, means when ‘the sun stands still’ (sol- sun, sistit-stands). In the annals of Tamil film music too, June 21st marks a solemn memory—for it was on that day 15 years back that Tamil film music seemed to stand still, mourning an irredeemable loss, that of the beloved doyen, 'Thirai Isai Thilagam' Krishnankoyil Venkatachalam Mahadevan.

However, the magic of his music will still continue to cast its spell on generations of listeners, and will continue to be cherished with reverence.

THENNANKEETRU OONJALILE - PADHAI THERIYUDHU PAAR

2016-06-09T09:00:00.002+05:30

Ganapathi Subramanian writes:

தென்னங்கீற்று ஊஞ்சலிலே
(Thennankeetru Oonjalilae)……………….

I have attachment in this song, since it has “Ponmalai( Golden Rock, Trichy ) link.
The song is an excellent one (It must be Saravanan’s favourite also)

. சிட்டுக்குருவி ஆடுது தன்
பெட்டைத் துணையைத் தேடுது

…These lines make me shed tears….

A very rare song, and a gem! Sung by PBS and SJ. A slow moving song, like a slow waltz, but a great composition. Many consider this a real gem, it hasn't lost its magic one bit over the years.
Although the movie was tragic, the particular song invokes "pathos"- a kind of longing and wishing for betterment.

Song: Thennankeetru Oonjalile
Singers: PB Sreenivas, S Janaki
Music Director: M.B.Srinivasan
Lyrics: Jayakanthan
Film: Paadhai Theriyudhu Paar

About the movie :
Paadhai Theriyudhu Paar (English: Look, the path is visible) is a 1960 Indian Tamil-language drama film directed by Nemai Ghosh.

The film stars K. Vijayan and S. V. Subbiah in the lead roles.
The film had musical score by M. B. Sreenivasan.
The film won the National Film Award for Best Feature Film in Tamil along with Kalathur Kannamma

Paadhai Theriyudhu Paar was the first Tamil film to be produced directly by communists.
Around 45 members of the Indian Communist Party, which included director Nemai Ghosh and the film's music director M. B. Sreenivasan, formed a production company called Kumari Films.Each of them contributed an amount ranging from ₹500 to ₹ 5,000 to start the banner. None of the members contributed more than ₹ 5,000 as each of them preferred to have their due credit for their contributions to the film.

The film was launched by the communist leader P. Jeevanandham.

It was originally titled Kaalam Maari Pochu but was changed to Paadhai Theriyudhu Paar by Jayakanthan, who played the role of a district tax collector.However, when the film had to be edited due to its excessive runtime, Jayakanthan requested Ghosh and the censor board members to remove his portion in the film.

The film marked the debut of K. Vijayan, a former employee of the Golden Rock Railway Station inGolden Rock, Tiruchirappalli who later found success as a director, in Tamil cinema.Filmmaker and scriptwriter Ritwik Ghatak worked as an assistant director in the film.

Superb Lyrics by Jayakanthan:
பாடல் வரிகள்

தென்னங்கீற்று ஊஞ்சலிலே
தென்றலில் நீந்திடும் சோலையிலே
சிட்டுக்குருவி ஆடுது தன்
பெட்டைத் துணையைத் தேடுது ம்ஹ்ம்
சிட்டுக்குருவி ஆடுது தன்
பெட்டைத் துணையைத் தேடுது

ஆ ஆஆ ஆ ஆஆ ஆஆஆஆஆ ஆஆஆ
ஆஆஆஆஆ ஆஆஆஆஆ ஆஆஆ ஆஆஆ ஆஅஆஆஆ

நீலமேகம் ஏழு வண்ண
ஆடையோடுலாவுது
வானை பூமி அழைக்குது
தொடு வானில் இரண்டும் கலக்குது
தென்னங்கீற்று ஊஞ்சலிலே
தென்றலில் நீந்திடும் சோலையிலே
சிட்டுக்குருவி ஆடுது தன்
பெட்டைத் துணையைத் தேடுது ம்ஹ்ம்
சிட்டுக்குருவி ஆடுது தன்
பெட்டைத் துணையைத் தேடுது

ஆ ஆஆ ஆ ஆஆ ஆஆஆஆஆ ஆஆஆ
ஆஆஆஆஆ ஆஆஆஆஆ ஆஆஆ ஆஆஆ ஆஅஆஆஆ

தென்னங்கீற்று ஊஞ்சலிலே
தென்றலில் நீந்திடும் சோலையிலே
சிட்டுக்குருவி ஆடுது தன்
பெட்டைத் துணையைத் தேடுது ம்ஹ்ம்
சிட்டுக்குருவி ஆடுது தன்
பெட்டைத் துணையைத் தேடுது

ஆ ஆஆ ஆஆஆ ஆஆஆஆஆ ஆஆஆ
ஆஆஆஆஆ ஆஆஆஆஆ ஆஆஆ ஆஆஆ ஆஅஆஆஆ

நீலக்கடல் ஓலமிட்டு
இங்கிருந்தும் கூவுது
அதுவே பாடி நடக்குது கடலில் கலக்கத் துடிக்குது
தென்னங்கீற்று ஊஞ்சலிலே
தென்றலில் நீந்திடும் சோலையிலே
சிட்டுக்குருவி ஆடுது தன்
பெட்டைத் துணையைத் தேடுது ம்ஹ்ம்
சிட்டுக்குருவி ஆடுது தன்
பெட்டைத் துணையைத் தேடுது

ஆ ஆஆ ஆ ஆஆ ஆஆஆஆஆ ஆஆஆ
ஆஆஆஆஆ ஆஆஆஆஆ ஆஆஆ ஆஆஆ ஆஅஆஆஆ

You know why the song is so melodious?
“Valaji” Raaga

https://www.facebook.com/groups/1018417744856618/permalink/1249245085107215/

SOTTU SOTTUNNU SOTTUDHU PAARU INGE - AADA VANDHA DEIVAM

2016-05-18T22:01:00.001+05:30

Aadavantha Deivam (1960)

RANDOR GUY

COMMENT · PRINT · T T

T.R. Mahalingam, E.V. Saroja, Anjali Devi, M.R. Radha, Lakshmiprabha, K.D. Santhanam, Manorama, A. Karunanidhi, S. Ramarao, Seethalakshmi, Kamakshi, Pakkirisami, T.R. Radharani and Kamala

The story was an adaptation of the Tamil novelGhaleer Ghaleer written by LRV. The screenplay was by Era. Shanmugham, with dialogue by Viruthai Ramaswami, ‘Murasoli’ K. Sornam (later a successful dialogue writer for MGR) and Guruswami.

Majestic Studios produced the film with the backing of Muthukumarappa Reddiar, who owned the studio, which was active in those decades. It was later acquired by K.S. Gopalakrishnan who changed its name to Karpagam Studios. Indrani Films presented the film.

The hero, (Mahalingam), a rich landowner known as ‘mittadar’ dedicates his life to the fine arts — such as music, dancing, painting, and sculpting. While on a Nature study on the hills, the hero is involved in an accident caused by a granite explosion. Injured, he seeks refuge in the hut of a street-smart dancer (E.V. Saroja) who lives alone, holding her own against men. Unaware of his identity, she attends to his injuries, and both fall in love. After he recovers, the hero leaves for his home where he meets his dancer-cousin (Anjali Devi). Her father (Santhanam) becomes insolvent and is to be imprisoned for the non-payment of debts. So he seeks refuge in his sister’s house (Lakshmiprabha), the hero’s widowed mother.

Meanwhile, another of the hero’s uncle (M.R. Radha) sets his eyes on the hero’s estate and the dancer-cousin. She escapes the villainous uncle and meets the street dancer. The two women become friends. Realising that the street dancer is in love with the man she herself is in love with, the cousin decides to sacrifice her love. She pretends to agree to marry the villainous uncle, but at the wedding, she consumes poison and collapses at the end, doing what she does best — dancing.

True to its title, this film had quite a few dances performed singly and together by Saroja and Anjali Devi (choreography by P.S. Gopalakrishnan).

Music by maestro K.V. Mahadevan was a major plus for the film and many songs became popular. One of them, ‘Sottunu Sottunu…’, a duet (lyrics by A. Marudhakasi in the voices of Mahalingam and P. Susheela) filmed on the hero and the street dancer in her hut leaking in the rain became a super hit.

Mahalingam gave a good performance, singing in his usual style while Saroja drew attention with her dancing talent. Anjali Devi was her usual self, and her performance as the woman who gives up her love was touchingly impressive. M.R. Radha played the characteristic on-screen villain in his inimitable style, voice and dialogue delivery, punctuated with humour and satire. The film did fairly well at the box-office.

Remembered For The performances of the lead actors and the melodious music.

சொட்டு சொட்டுன்னு சொட்டுது பாரு இங்கே - மழை
கொட்டு கொட்டுன்னு கொட்டுது பாரு அங்கே
சொட்டு சொட்டுன்னு சொட்டுது பாரு இங்கே - மழை
கொட்டு கொட்டுன்னு கொட்டுது பாரு அங்கே
சொட்டு சொட்டுன்னு சொட்டுது பாரு இங்கே

கஷ்டப்படும் ஏழை சிந்தும் நெற்றி வேர்வை போலே
கஷ்டப்படும் ஏழை சிந்தும் நெற்றி வேர்வை போலே - அவன்
கஞ்சிக்காகக் கலங்கிவிடும் கண்ணீர்த் துளியைப் போலே - அவன்
கஞ்சிக்காகக் கலங்கிவிடும் கண்ணீர்த் துளியைப் போலே

சொட்டு சொட்டுன்னு சொட்டுது பாரு இங்கே - மழை
கொட்டு கொட்டுன்னு கொட்டுது பாரு அங்கே
சொட்டு சொட்டுன்னு சொட்டுது பாரு இங்கே

முட்டாப் பயலே மூளை இருக்கா ஆஹஹ்ஹாங்
முட்டாப் பயலே மூளை இருக்கா என்று ஏழை மேலே
துட்டு படைச்ச சீமான் அள்ளிக் கொட்டுற வார்த்தை போலே
முட்டாப் பயலே மூளை இருக்கா என்று ஏழை மேலே
துட்டு படைச்ச சீமான் அள்ளிக் கொட்டுற வார்த்தை போலே - மழை
கொட்டு கொட்டுன்னு கொட்டுது பாரு அங்கே
சொட்டு சொட்டுன்னு சொட்டுது பாரு இங்கே

முழுக்க முழுக்க நனைஞ்ச பின்னே முக்காடு எதுக்கு?
முழுக்க முழுக்க நனைஞ்ச பின்னே முக்காடு எதுக்கு? - உன்
முக்காட்டை நீக்கு தலை ஈரத்தைப் போக்கு
இருக்க எடம் கொடுத்தா என்னையே நீ தாக்குறே
இருக்க எடம் கொடுத்தா என்னையே நீ தாக்குறே
குறுக்கு மூளை பாயுறே கோண புத்தியைக் காட்டுறே - மழை
கொட்டு கொட்டுன்னு கொட்டுது பாரு அங்கே
சொட்டு சொட்டுன்னு சொட்டுது பாரு இங்கே

பழுக்கப் பழுக்க உலையில் காய்ச்சும் இரும்பைப்போலவே
பழுக்கப் பழுக்க உலையில் காய்ச்சும் இரும்பைப்போலவே - முகம்
சிவக்குது இப்போ அது சிரிப்பது எப்போ?
குளிச்சு முழுகிவிட்டு குளிர்ச்சியாக ஓடிவா
குளிச்சு முழுகிவிட்டு குளிர்ச்சியாக ஓடிவா
செவந்து போன முகத்திலே சிரிப்பை நீயும் காணலாம்

கொட்டு கொட்டுன்னு கொட்டுது பாரு இங்கே
சொட்டு சொட்டுன்னு சொட்டுது பாரு இங்கே

திரைப்படம்: ஆட வந்த தெய்வம்
பாடலாசிரியர்: ஏ. மருதகாசி
இசை: கே.வி. மஹாதேவன்
பாடியோர்: : டி.ஆர். மஹாலிங்கம், பி. சுசீலா

RASAVE UNNA NAAN - THANIKATTU RAJA

2016-01-24T13:43:00.005+05:30

Versatility is her middle name. Remember Jaya Prada's fiery and graceful daughter in ‘Salangai Oli' or the sensational voice in ‘Johnny' that cooed ‘Aasaiye kaathule thuthuvittu'.

Singer. Bharatanatyam dancer. Dubbing artiste. Television anchor. Supporting actor. Moulds young talents.

Meet S.P. Sailaja, the multifaceted sibling of singing legend, S.P. Balasubrahmanyam. With more than 5000 songs to her credit in Tamil, Telugu and Kannada, Sailaja held her own as a leading singer in the 80s and 90s.

High expectations

What happens when you choose a career, your elder sibling is already well-established in? Expectations are naturally high.

“Being SPB's sister, pressure was always there. But, I needed to establish myself. Initially, I was an ignorant teenager. All I knew was I could sing. I didn't know a thing about expression,” admits Sailaja, who began her career in film music at 14. “But in the course of time, I learnt a lot, particularly from my brother,” she adds.

The charming singer reveals that she became a dancer by chance and not by choice. “The dance teacher used to come home to give lessons to my niece and cousin. They used to play truant, coming up with all kinds of excuses,” she recounts with amusement. “I felt sorry for the poor man and asked him to teach me instead. Later, I completed my arangetram.”

Film entry

Interestingly it was her arangetram photos that landed her a role in the critically acclaimed ‘Salangai Oli'. The director of the film, K.Viswanath who is related to Sailaja, decided that she would fit perfectly in the role of Kamal Haasan's pupil, after seeing the photos. When Sailaja turned down the role, he persuaded her father who convinced her.

The naturally expressive Sailaja goes on to describe her first and positively last experience before the camera. “I had no intention to become an actress. Yet, I felt comfortable during the shooting as Viswanath was a close relative. I had no trouble with expressions, but I found the dancing part quite difficult. Besides, it was not just Bharatanatyam but a fusion of other dances, I was required to perform.”

Sticking on to singing

Declining the roles that followed, she returned to her first love -- singing, and enthralled listeners with folk and romantic numbers under veteran music directors Ilayaraja, Gangai Amaran, and K.V. Mahadevan. She is best remembered for her vintage hits including ‘Super Staru' in Raja Chinna Roja, ‘En Purushan thaan', Gopurankal Saivathilai, ‘ Solaikkuyile', Ponnu Oorukku Pudhusu , ‘Malargalil Aadum Ilamai', Kalyana Raman and ‘Aayiram Malargale', Niram Maaraadha Pookkal.

Her transition from playback singing to anchoring television shows brought her closer to audiences. At present, apart from accompanying S.P.B on music tours abroad, television shows keep her busy.

She relishes her experience as a judge for singing competitions on television. “People ask me to sing all the time. But here, I get to listen to so many voices. It's a totally new experience. And there's a talented bunch out there.”

She points out prospective singers have a plethora of opportunities today and plenty of media exposure. “All they need to do is to grab the opportunity.” She is delighted at the prospect of moulding young talents by sharing her experience and interacting with the young crop. She wishes that parents would refrain from pressurising the children who participate in these shows. “It is enough that they have come forward to participate. You cannot push them too far,” she counsels.

Staple fare

Besides music, she reveals that books are her staple fare, though she favours no particular genre, delighting in everything that comes her way, provided it's in English or Telugu. “Reading is not my hobby. It is my passion,” she flashes a brilliant smile.

This unassuming artiste from Nellore is a contented person. She nurses no big ambitions or grand goals. “It has been God's grace so far,” she acknowledges simply. “Today, my home and my family come before my career.” S. P. Sailaja is married to Telugu actor, Sudhakar and they have a son Sreekar.

Despite the many roles she has essayed, she insists that at heart, she is essentially a singer and will always be. Because, “Music is divine,” is her parting shot.

Actor: ‘Salangai Oli'- played the role of a young dancer and Jayaprada's daughter.

Singer: More than 5,000 song

Dubbed for: Sridevi, Tabu, Sonali Bendre and Rekha

Judged: Many contests including Zee Tv‘Sa re ga ma pa' Little Champs, Vijay Tv ‘Airtel Super Singer'

Sailaja shares a close bond with her celebrated sibling, S.P.B, who has been a huge influence in her life. When she started out as a young singer, he gave her a piece of advice that has stood her well.

“If you wish to succeed in film music, you ought to remember you are singing for someone, for a character, for a situation.”

She cherishes performing with her brother.“It is demanding as he is a perfectionist and expects everything to be perfect during a performance, including the co-singer. But after 35 years of performing with him, I've become comfortable with him on stage. In fact, his perfectionism has caught on to me,” she chuckles.

It is obvious Sailaja has drawn a lot from her mentor and elder brother. “I have learnt a great many lessons from him- how to be a professional, how to approach people. What I am today, it is because of him,” she sums up.

VAAZHVINIL - PATTANAM POGALAM VAA

2015-06-24T19:07:00.003+05:30

TUMHARE BIN JEE NAA LAGE GHAR MEIN - BHUMIKA 1977

2015-06-01T18:11:00.004+05:30

RAMINCHUVA REVARURA - TYAGAYYA

2014-12-25T18:40:00.002+05:30

Lyrics:

rAminchuvA revaruraa raguutamA ninu vinA

anupallavi

shamAdi sadguNa gaNA sakala bhuvana janulalO (2)

rAminchuvA revaruraa…

CharaNam

rAmayanE su-marmamu rAmayanE sharmamu lasa

damara varula kabbenO tyAgarAja sannuta…

rAminchuvA revaruraa raguutamA ninu vinA

shamAdi sadguNa gaNA sakala bhuvana janulalO…

NEE KAETTAL NAAN MAATEN - ILAMAI OONJALADUGIRADHU

2014-12-25T13:59:00.001+05:30

Saravanan writes:

1.12.2014

It was Vani Jairam’s birthday yesterday. This year has been of particular celebration for her fans as the doyenne is back in the limelight- making a comeback in film music after so many years. 2 songs in Malayalam and 2 in Tamil so far this year… .. with Olanjaali Kuruvi topping the charts…

Here are the songs that she has sung this year: 2 in Malayalam and 2 in Tamil:

Olanjali kuruvi –from the movie ‘1983’
http://www.youtube.com/watch?v=9MSxbBWZJn4#t=12

Olichupoyi- from the movie Iniyum Ethra Dhooram
http://www.youtube.com/watch?v=ugDwt9inmnc

Narayana- from the movie Ramanujam:
http://www.youtube.com/watch?v=z10U7VZ7QNM

Thiruppugazh- from the movie Kaaviyathalaivan:
https://www.youtube.com/watch?v=0T5kcPXepVw

More than 10 years back, I was attempting a chronology of Vani Jairam’s songs in tfmpage. The posts evoked animated discussions and pleased reminiscences from well-informed enthusiasts. An ardent Vani Jairam fan, Ameen, who knew Vani on a personal level told her about these posts and Vani apparently expressed her eagerness to meet me. The meeting happened and I can still recall every small detail as if it happened yesterday.
I wrote about the meeting in tfmpage soon after returning to Dubai. Reproducing the posts here again…

Meeting Greatness – Part 1

“I have been waiting for your call…” said the voice at the other end—a voice that I have grown up listening and admiring—and I was speechless with joy at the warmth of the tone, and overwhelmed by the thought that I was actually speaking with a legend, and choked with emotion at the thought that she was actually looking forward to my call!

But let me start at the rightful beginning, and the beginning was made by a friend and an ardent Vani fan called Ameen. When he knew that I was going to Chennai, he wrote to me suggesting that I should meet Vani, and before that I should mail her a few extracts from the chronology, as she had heard of it, and was eager to read it. I admit I didn’t take him seriously then, as I wasn’t sure that a celebrity would have time to spend with an ordinary fan, but I did post some extracts from the chronology, and I didn’t think it probable that she may find the chronology very interesting, either. (How wrong I was on both counts I would discover later--)

Some weeks went by, and Ameen wrote to me again, informing me that my post hadn’t reached Vani, and she was disappointed about it. It was then too late for me to send it again, and so I reached Chennai as scheduled on 26th September. I had to travel again for 10 days immediately. Coming back to Chennai, I did call her, but the ring went unanswered. I tried again a few days later, and I heard her pick up the phone, and no sooner than I introduced myself, she uttered those words—words that keep ringing in my ears to this day.

“What took you so long to call” she admonished me gently next. After my stammered explanations, she gave an amused laugh and the said “Jairamji and I are waiting to meet you. Ameen has said so much about you, that we are eagerly looking forward to see you”. This was Thursday, 16th October, and I suggested Saturday, the 18th, and she invited me over at 3 in the afternoon.

Earlier, I had contacted Suresh, another friend and fan of Vani in Chennai. When I mentioned to him that I was going to meet Vani, he too evinced a keen interest to meet her. I was only too happy—though I was jumping with joy at the thought of meeting Vani, I was also a little apprehensive – “What if she starts talking about Tumris and Abangs- won’t she think I’m a frightful ignoramus” was my secret fear. And since Suresh is well versed in all kinds of music, I was secretly relieved.

Finally on 18th morning, I called up Vani and confirmed that I’ll come at 3 and asked her if a friend called Suresh can come too. “Of course, please tell Sureshji that I’ll be glad to meet him” was the gracious answer. Within two minutes my cell rang- it was Vani again “Saravanan, I just wanted to tell you not fix any other engagement at 3.30 or something—I would like to have a long, leisurely chat with you” she said!

Earlier I had told Suresh how the extracts that I had mailed never reached her (Vani herself told me this over the phone ). The day before, I asked Suresh if it would be possible for him to take print-outs of some parts of the chronology from the website and bring them along when we meet her, and he agreed. He came, as scheduled, at 2.40 to pick me up. And as soon as I sat in the car, he said “And here’s the Bible” and handed me a beautifully bound book, and I could only gasp in surprise when I saw that he had printed out the entire chronology from the beginning, given it titles, sub-titles and page numbers ( it came to nearly 200 pages!- never realized it was so large!) –it looked so grand, that I was overcome with emotion. Suresh, as is his wont, brushed off my incoherent thanks....

Meeting Greatness- Part 2

Vani stays in an Apartment Complex called ‘Heritage’ in Nungambakkam. Suresh and I were so engrossed, as usual, in our conversation, that we didn’t remember until we were halfway in Nungambakkam High Road, (or Uthamar Gandhi Salai, as it is called these days), that we had forgotten all about a bouquet! Suresh assured me that there was bound to be some florist in Haddows Road.

But we couldn’t find any, perhaps there were closed at that time...after all, most of Chennai sleeps in a weekend afternoon. But our search for a florist took us past a place called ‘Marmalade’, and we cheered up and changed our objective from a bouquet to pastries! Marmalade is a quaint little joint, tucked cunningly away from the road. And we were delighted when we noticed that it had a florist too. Suresh gave the flowers exhibited there a searching scrutiny—‘ A bouquet wholly of white roses, please’- he was very particular. And as they were making up the bouquet, we ventured inside the pastry shop. We ordered a good assortment to be made up.

We were soon on our way again. Vani had given such explicit directions (I was to notice this precision and perfection in everything concerning her), that we had no difficulty in locating the complex. The Lift –Attendant asked “Vani Jairaama?” with a disarming smile, when we told him the floor and door number. And in no time...we were ringing the bell.

Meeting Greatness- Part 3

" I always feel that flowers, and the affection of the person offering them, must be given immediate respect”, explained Vani with a warm smile, as she placed an exquisite vase filled with the roses we had brought, on a side table close to where I was seated. And I found that warmth stealing into me as well, as I wondered how that spray of white roses could be arranged so daintily, and so quickly at that...!

Everything seemed like a dream to me —Vani and Jairam greeting us with folded hands at the door, Jairam in his trademark Kurta, Vani looking graceful as always, Suresh and I offering them the bouquet and the pastries, Jairam’s firm handshake and eyes twinkling behind glasses, both of them asking us to be seated, and Vani politely asking to be excused, almost immediately with the bouquet in her hand, and appearing minutes later with the aforesaid explanation. And our hearts promptly warmed up to this great person, who gives importance to even these small things, and I realized that it was such simple gestures that make up some of life’s finest moments.

Small talk ensued- Jairam enquired about us, what we do etc. I was too tongue-tied to talk much initially, and so Suresh, who is always unruffled, started responding in a pleasant casual manner. I looked around the elegantly appointed room - the cozy leather sofas, the handpicked handicrafts that were positioned in appropriate corners lending a chic, ethnic ambience to the room, the matching curtains that swayed gently in the breeze, the paintings adorning the walls--all pointed towards Vani, and her cultured, refined taste...attractive without being ostentatious, just like the person, and just like her songs.

I came back with a start when I found Vani enquiring about the chronology- “Ameen has told me so much about it- he said that it was something that I definitely must read” she was telling me. I got up and presented her with the volume. She looked at it with surprise, and then asked hesitantly “Is this for me? I mean, can I keep it?” I was again speechless by her simple, unassuming attitude, and Suresh hastily assured her that it was for her to keep. I added how Suresh had printed out the entire chronology overnight, and she thanked him with a smile.

Jairam was in a reminiscing mood—he spoke about the early years of their marriage in the North. He told us about his education (he had acquired a MBA degree, which was to be got only from London in those days), and his job. “Later, as she became busy, I dropped everything and became her secretary!” he said with refreshing candor.

Vani’s glance fell on the pastries, and she let out a sigh of mock horror. “Oh no, I put on weight so easily, and I have completely stopped eating pastries, or for that matter, sweets of any kind. In fact, I wanted to tell you this morning that in case you wish to get something for me, please bring fruits, preferably pomegranates” she said, and then added with a naughty twinkle “But then I also thought what would I do if you asked me “What gave you the idea that I was thinking of bringing you anything” – she said, bursting into muted peals of merriment, making us join in the hearty laughter. Her photographs have never done justice to her, I thought with regret, as I watched her eyes continue the smile that her lips began..

I asked “ Perhaps Jairamji likes pastries”?
“ Maybe. But if he knows what is good for him, he wouldn’t”- Vani replied, with the same mischievous smile. Jairam chuckled and listed the austere food that makes up their every day meal. “Age, you know..” he shrugged.

Vani then asked if we would like some tea, and we accepted her offer, she said that she would make some special tea, adding some extra ingredients, and with that she went into the kitchen.

Jairam then offered to show us around the spacious apartment. Suresh and I got up and followed him…

Meeting Greatness- Part 4

Jairam pointed out some of the prestigious awards that Vani has won, which were displayed on a showcase mounted on the wall. “Jairamji, show him the lower shelf- he’ll be very interested” Vani called from the kitchen. Jairam smiled and opened two shelves that were below the showcase, and I held my breath- the shelves were filled with EP/ LP records! I looked at them till I could look no more--

The sitting room opens into a large, airy dining room. And as Jairam took us past the beautiful Pooja room, Vani joined us. As we bowed to those deities polished to perfection, she said “Every morning, I clean them, perform the abishegam, and change the vasthram. Prayers are something that I do whole-heartedly everyday” Both work and worship are whole-hearted activities for her!

Vani continued “ For many years we lived in our own house in Alwarpet, we bought the plot from the owners of “The Hindu” and built our house there.”
“Mayurapriya?” I asked, with an innocent look.
“Yes” she answered, with a surprised smile, “ that was what we named that house”
(I offered Vairamuthu mental thanks (“Mayurapriya- than veetukku mayil endru peyar vaithirukkiradhae oru kuyil endru manathukkuL rasithu koLgiraen” says Vairamuthu in his Kuyilin Kootil Konja Neram)

“But as we were traveling most of the time, we found it increasingly difficult to maintain that large house” added Jairam. “So we had to take the difficult decision of selling it. Only recently we bought this apartment and came here”

Even as Jairam was talking to us here, another sound wafted unobtrusively to us—that of Vani humming to herself, as she was busy making tea in the kitchen. She wasn’t even aware that we could hear her, but as her voice went up and down, enjoying itself with the notes of some little known Hindustani Geet, we automatically fell silent and listened in awe, for how many fans could get this opportunity of listening to her at such close quarters?

Meeting Greatness- Part 5:

…And so we returned to the dining room, drawn by that irresistible summons. We found the table invitingly laid with cups of steaming, fragrant tea, and assorted eats. Though Vani & Jairam have a healthy fixation for frugal, nutritious food, they don’t believe in imposing those stringent concepts on people calling on them! Vani was the perfect hostess, earnestly urging us, in regular, thoughtful intervals, to take generous helpings of the eats and dry fruits, as we ensconced ourselves snugly for a leisurely tête-à-tête.

I started off by referring to Kannadasan’s singular tribute to Vani in his ‘Sandhithaen Sindhithaen’ (originally serialized in Kumudam as ‘Indha Vaaram Sandhithaen’). Vani folded her palms in salutation to the greatest bard of our times. ‘That write-up gave me a honor that even a Bharat Ratna cannot equal’ she commented. As memories seem to rush in, she continued musingly, ‘Kannadasan Sir has worked with generations of singers—great singers who have done justice to his lyrics over the decades, yet to think that he chose to single me out for that rare honor, of being the only singer he devoted an episode to, I’m overwhelmed!’ she said humbly, her eyes moist with emotion.

‘That morning, when the Kumudam issue containing his write-up on me hit the stands, he called me up at 6 and said ‘Vani, unna pathi en manasala thonradha ellam ezhudhi irukkaen. Padichu paaru’, she recollected with a smile. She went on to share with us some special memories of Kannadasan. “He looked upon me as a member of his family. Once when he was celebrating his birthday with only his family members, he took Jairamji & me along with his family to Madurai, and we were fortunate to be with them during the special pooja at Meenakshi Amman temple, and share some intimate moments with his family’

Vani and Jairam seemed to be lost in memories of the Kaviyarasar and the special relationship they shared with him- After a pause, she continued ‘Again, another time, when he was contributing to some Annadaanam scheme, he called me and affectionately demanded ‘Vani, neeyum un pangukku rendu mootai arisi kodu’- that was how close he was to us.’

‘A great man. His simplicity, goodness of heart, limitless creativity and humility are qualities that set him apart. I am privileged to have sung so many of his songs, and blessed to have received his good wishes and fatherly affection in abundance’ she said feelingly.

‘I am happy that Kannadasan Sir’s family still continues to shower affection on us. Even last week I had been to Kannadasan Pathippagam –Sir’s son gifted me a book titled ‘Kannan Koyil Paravai’...

I couldn’t resist interrupting her flow of thought and said excitedly ‘That’s one of my favorite songs!’ V smiled indulgently, and--- did what I was waiting for with bated breath--she sang the pallavi, and the first charanam of that timeless classic. Oh, the enchantment! Her voice, as sweet as ever, took us briefly to another world, another time, when giants like Kannadasan, MSV & Vani were making magic in Tamil Film Music…

Meeting Greatness- Part 6:

I referred to the classic song ‘Kelviyin nayagane’ as an instance of the genius of Kannadasan, how in that song, with brilliant mythological analogies, he managed to succinctly summarize the entire story of ‘Apoorva Ragangal’- Vani nodded in concurrence and went on to sing the charanams of that memorable song, and had some special words of praise for the charanam that begins with ‘‘Thalaivaan Thiruchanoor vandhu vittan, devi dharma darisanathai thedugiraan’’- “Truly, to this day there is none to equal his creativity. What a genius!” she was effusive in her praise.

‘Another song where Kannadasan related the entire story…’I began. ‘Ilakkanam maarutho?’ V asked with a teasing smile- I could only nod in amazement at her astute answer! (Remember Watson and Holmes? – “Excellent” cried I. “Elementary” said he!) And yet another moment of enchantment as V began with ‘Maniosai enna idiyosai enna--’ As she rounded off the pallavi with that mesmerizing humming, I reminded her of the lines from another charanam in the same song, where she so fetchingly brought out Kannadasan’s wordplay - ‘Maraithidum thirai thanai vilakki vaippayo, viLakki vaippayo’- just a miniscule deft change in a single syllable, and oh, the difference! She willingly obliged us by singing that charanam too.

And with Kannadasan so much in our thoughts, can MSV be far behind? Our conversation drifted to the Mellisai Mannar. “ How many wonderful songs, how many memorable recording sessions!” Vani went down memory lane---Time seemed to stand still as she recollected aloud some heartwarming events from those momentous times--

“ Some people in Nemili wanted to honor me, and so they had arranged a small function. I accepted, of course. I had a recording with MSV Sir in the morning for a film directed by K Shankar Sir. I mentioned to them that I would be going to Nemili in the evening and told them about the function. Imagine my feelings when I went to Nemili in the evening- both MSV Sir and Shankar Sir were already there- they had come all the way just to see me being honored!” her voice showing the depth of emotion, as she recalled that special day.

She then said among her ever favorite MSV songs, one song has a special place in her heart, sang ‘Idhayam pesinaal—unnidam ennathaan pesumo’--and she crooned the song of soft allure. Many times during those few hours, Suresh and I had to remind ourselves that we were in Vani’s presence, and she was singing for us, and us alone, and all this was for real!

Meeting Greatness- Part 7:

The conversation drifted to Ilaiyaraja. “I have not sung many songs for Raja, somehow…” Vani said matter-of-factly. But before we could ponder over that statement with regret, she continued cheerfully, “However, most of the songs that I sang for him, both in Tamil and in Telugu, became immensely popular.” She went on to list some of her favorite songs like Orey naal, Naane naana, Nitham nitham nelluchoru and En ullil engo yengum geetham.

About Vijayabhaskar “Oh, he was a great MD and a wonderful human being. Though he was a Tamil, he could not make it big here, but in Kannada, he was a prolific composer. He has given me many excellent songs in Kannada. And even in the few Tamil films that he composed music for, I had some memorable numbers. He liked my voice very much.” she recalled nostalgically.

About ARR “I’ve known him since he was a small boy!” she smiled. “I enjoyed singing the Vandicholai Chinrasu song. I sang it separately, and SPB sang it separately. Later listening to the final version, I was struck by the imaginative arrangements. Whenever I happen to meet ARR nowadays, he says “Aunty, I am not making the kind of music that would be appropriate for you” she said candidly.

There was a pause, as we were ruminating on that statement...

Meeting Greatness- Part 8:

Vani proceeded to share her thoughts on her non-film albums. She spoke animatedly about her collaboration with the famed Birju Maharaj, and bowed with reverence to the great Kelucharan Mahapatra, and said that she felt honoured that KM played Pakhawaj for her Geeta Govindam album. She spoke about the best selling album ‘Onam’ that was by composed by V. Dakshinamoorti. She said, with endearing humility, that the Murugan Paadalgal album, written, composed and sung by her elicited excellent reviews and also proved a best seller.

We spoke about her songs in the Hindi film ‘Meera’ which had music by Pandit Ravishankar, and asked her experience of singing for Ravishankar. She smiled as memories came flooding in, and enthralled us by recalling a particularly interesting anecdote. Apparently during one recording session, Ravishankar had to be elsewhere, and he requested VJ to take care of the recording. Vani wrote the notations herself, taught the instrumentalists the notes, and executed the recording in just one take, all by herself. When Panditji returned and listened to the recorded song, he placed his hands on her head and blessed her, and was speechless with emotion. She said it was among the finest moments of her life.

Her thoughts then went to so many recording sessions. She said ‘ At one time I used to keep hopping from one flight to another. I would have a recording in Madras in the morning, one in Bombay in the afternoon, and again another song in Madras in the night. But I was very particular about being in time for each session. The woman who used to sweep the floor at AVM studios knew me well- for I used to be seated even before she arrived!’ she laughed as she recalled those heady days.

Jairam then got up and brought some photo albums and paper cuttings for us to view. We saw so many snaps, starting from Vani’s early days right to the current concerts. The early B & W snaps, with a tinge of sepia, were a joy to behold. I asked ‘Vaniji, why do you look so serious in all your snaps?’ She laughed outright ‘All my nephews pass the same comment. I don’t know…do I really appear too stern?’ she asked in a perplexed air!

Vani read to us some of her poems. She writes extremely well, and her verses are highly imaginative. Though I am not able to recall the lines, two poems stand out in memory- One was a wickedly witty whiplash on the standards of current day film lyrics (‘Pulamaipithan Sir was in splits when I read it out to him’ she chuckled), and the other was a moving complaint to Lord Muruga when cancer snatched away her sister’s husband when he was still very young.

Vani’s incredible talents don’t stop with this. She is also a gifted painter. She showed us some of her works, and they were such alluring images. When I admired them aloud, she took a pencil and sketched a particularly beautiful flower drawing effortlessly, signed her name and presented it to me..

Our hearts filled with happiness at having had such an enjoyable encounter, we rose and got ready to leave. Vani gave us a set of her devotional albums in various languages. She enquired about our families, and Jairam urged us to call upon them again.

As Vani & Jairam stood at their doorstep waving at us, we both took our leave. We went silently down the lift, each one lost in his own thoughts, for meeting greatness at such close quarters doesn’t come often in the way of ordinary mortals like us...

Met Greatness….

And thus ended our rendezvous with perfection, our tryst with grace, charm and a heart full of goodness. Thinking over the meeting, these are my impressions of Vani— unreserved appreciation for other talented singers, complete absence of rancour towards anyone, grateful for the wonderful songs that came her way, heart-warmingly humble, yet adequately conscious of her achievements and delightfully responsive to the enthusiasm of her ardent fans.

She has never sat sulking when her film opportunities started dwindling- she ventured whole-heartedly into non-film albums like Bhajans, Tamil devotionals, Tumris, Abhangs, Ghazals. She is constantly on tour, giving concerts all over India and also in various places abroad. At the prior invitation of the Devasthaanam, she sang in Thirumalai just one day after Chandrababu Naidu was injured in a bomb blast there. Anyone else would have had second thoughts about it, not Vani. To her, a commitment is a commitment; meant to be honoured at any cost. “But I thought that not many people will turn up, considering the scare and the Police restrictions. You will not believe it--I was astounded to see the hall packed to capacity…there were people even standing in the aisles” she said her eyes widening with surprise.

When we met her, she had just returned from Jaipur, where she had been invited to give a concert in an Inter College Cultural Festival. She is the same gracious Vani Jairam to everyone- right from the august Thirumalai Tirupati Devasthaanam to an unprivileged Lepers’ Home, whose inhabitants she enthralled with a concert sometime back. “They affectionately gave me a beautiful hand-woven bedspread…you can see it covering my bed now” she said happily.

She had also shared her experiences of serving, more than once, in the National Film Awards Jury. She deplored the attitude of some members who lobbied strongly for their own films. “One year, I sincerely felt that MSV Sir’s splendid work in Pathini Penn deserved recognition. But I didn’t suggest it…as a member of the Jury, my conscience wouldn’t permit me to, as I had sung the songs” she said, in another display of unshakeable principles and glittering integrity, such a rare commodity in today’s world.

Subsequent to the meeting, Vani and I spoke over the phone a few times. We spoke about meeting again before I left. Bur unfortunately, due to my pre-occupation with various family obligations, it couldn’t materialise.

A few days after meeting her when I spoke to her over the phone, she opened the conversation by enquiring my exact age. When I answered, she said “Yes, I thought it be around that. You are young enough to be my son! Jairamji and I have just read through the chronology. We are showing it to everyone who’s visiting us—and everyone is highly impressed. We are frankly amazed and at the same time deeply moved by your painstaking work. How was it possible for you? You must have been a toddler when I started singing in Tamil films!”

I didn’t know what to answer--I could only tell her that I had grown up listening to her songs, and I remember the songs that I’d heard on the radio. I spoke of a long forgotten song that I had discovered anew in my collection - A scintillating VJ solo that goes ‘Olai thaangi selladi’ from the unreleased film Anbu Magal. (Music by veteran CN Pandurangan. Lyrics by Sozhavandhan Rajangam)

There was brief silence, then VJ said that she now found a new meaning in these lines that she had sung, and went on to recite ‘Iraivan ena oruvan, enadhisaiyil mayangida varuvaan, rasigan endra peyaril, indru avan thaan unnai koduthaan’

Could I ask for anything more?!

Ragas in Film Music

JAIYE SAJNA - DHURANDHAR

DESTINY MANN ATKEYA - DHURANDHAR

KABHI BEKASI NE MAARA - ALAG ALAG

AY HAIRATHE - GURU

ABHI NA JAAO CHHOD KAR - HUM DONO

ENNAI THEDI KADHAL ENUM VARTHAI ANUPPU - KADHALIKKA NERAMILLAI SERIAL

TERE MERE MILAN KI - ABHIMAAN

KUCH TO LOG KAHENGE - AMAR PREM

NENJE NENJE - RATCHAGAN

SONNALUM KETPADHILLAI - KADHAL VIRUS

KAMBAN EMAANDHAAN - NIZHAL NIJAMAGIRADHU

NINAITHAL UNAI THAAN NINAIPPEN - UNNIDATHIL NAAN

KANNA NEE THOONGU DA - BAAHUBALI 2

KANNUKUL POTHI VAIPPEN - THIRUMANAM ENUM NIKKAH

PANAME UNNAL ENNA GUNAME - SANJAY

VELLAI KAMALATHILE - GOWRI KALYANAM

AADUVOM VAARUNGAL - SAVITHRI

Kumaraswamy Sundar writes:

KANNODU KANNAI RAGASIYAM PESI - MADHANA MOHINI

THENNANKEETRU OONJALILE - PADHAI THERIYUDHU PAAR

SOTTU SOTTUNNU SOTTUDHU PAARU INGE - AADA VANDHA DEIVAM

Aadavantha Deivam (1960)

cinema

Classics and Masters

Tamil cinema

T.R. Mahalingam, E.V. Saroja, Anjali Devi, M.R. Radha, Lakshmiprabha, K.D. Santhanam, Manorama, A. Karunanidhi, S. Ramarao, Seethalakshmi, Kamakshi, Pakkirisami, T.R. Radharani and Kamala

RASAVE UNNA NAAN - THANIKATTU RAJA

VAAZHVINIL - PATTANAM POGALAM VAA

TUMHARE BIN JEE NAA LAGE GHAR MEIN - BHUMIKA 1977

RAMINCHUVA REVARURA - TYAGAYYA

NEE KAETTAL NAAN MAATEN - ILAMAI OONJALADUGIRADHU