Life in a capsule

Song: Ullathil Nalla Ullam
Movie: Karnan
Singer: Seerkazhi Govindarajan
Lyricist: Kannadaasan
Music: M.S. Viswanathan

1970 was a Golden Era in Tamil Film Industry. A lot of classic movies both puranic and futuristic in content made it to the screens and rained cash in the box office. We will always debate who defines success when it comes to movies. Is it the story line, is it the director, is it music or is it heroes. While we keep debating on this one line equation let us look at this song from the movie Karnan.

Whenever this song is played on TV the entire house from my 70 year old grandmother to my 3 months old nephew, 3 generations drop our duties down to watch this song. Who said we tear only when we skin onions, we also tear when the realities of life present itself at unexpected moment. This is an emotion packed song in terms of music, lyrics, and characters. The songs starts with the scene where Karna is resting his head on the chariot after being hit by an arrow in the battle field and Krishna walks towards him as the visual and audio turns somber.

Ullathil nalla ullam urangaathenbathu
vallavan vaguthathada karna..
varuvathai ethirkollada

The song is set to Chakravaham aka Aahir Bairavi in Hindustani and is outlined by Dilruba (a musical instrument) and to support the emotions goes the old Sangam instrument Udukkai (Damaru). Charkrvaham is a very melodious tune usually employed in situations to convey the poignant mood and realities of life. Another beautiful song in the same raga was “ Vidukathayaa Vaazhkai” in the movie “Muthu”.

My grandmother gave her interpretation of Mahabaratha, and how Karnan was a victim of circumstance. She says life was never fair to him, but he still made the best use of his free will to over ride is fate. Though he was born to Kunti, but never did he have a mother that he could announce to the world. Kunti’s left him in the river and he was later found by a charioteer who taught him the art of warfare and archery. He had no one to care for him and in the tender years and eventually he joined the Duryodhanas’ having no choice. And as a result he had to fight for them having eaten their salt.

The entire philosophy of Hinduism and 18 chapters of Geeta are packed in18 lines. To encounter death in a peaceful way with dignity and courage Krishna says “Varuvathai ethirkollada”. A simple line with a profound meaning, implying that we are responsible for our actions and let us learn to reap our seed of karma.

Krishna dawns the role of typical psychiatrist in this song. He sympathizes with the opponent, one of the key traits of a perfect sales man before he points the finger in the last stanza.

Thaaikku nee maganillai
thambikku annanillai
oor pazhi aetraayada
naanum un pazhi kondenada
naanum...un pazhi kondenada

Even with anguishing pain Karna holds on to the arrow stuck in his chest and listens to Krishna with devotion filled eyes which ask Why me, why now and why this? Isn’t this a question we also ask at some point of life?

Not only did he excel in archery and in the art of warfare, but there was no one to beat him when it came to philanthropy. Prior to the battle he gave away his Kavach and Kundal and even on the death bed when Krishna asked him to donate all his good deeds he gave them without a second thought. To make his last moments easy and painless Krishna asks Karna to donate his karmas which he does without a second thought. What else can you expect from a philanthropist in the death bed? Nobility definitely comes by birth.

The very scene where the helpless Dharmadevathai shed tears on seeing the injured Karna on the battlefield makes oneself question the actions of Krishna and did he play the game with ethics. Dharmadevata couldn’t do much and stood to watch the cycle of Karma operate. Definitely this scene creates an outburst of emotions which soon trickles down our cheeks.

Mannavar paniyerkum
kannanum pani seyya
unnadi panivaanada karna
mannithu arulvaayada karna..
mannithu arulvaayada

Krishna stood besides Karna like a pillar of support. He apologizes to Karna that he had no other reasons to bring him down other than letting Truth triumphs over false. He justifies his action and why Karna had to face this kind of an end. I wonder if this is how all our lives will end with God is sitting across from us with a report card and going over line item by line item.

Senchotru kadan theerkka
seraatha idam sernthu
vanjathil veezhnthaayada karna
vanjagan kannanada karna..
vanjagan kannanada

Who else other than Seerkazhi Govindarajan’s can bring out the pangs of all kinds of emotion in his voice to go with the lyrics, truly a brass gong voice when the bells of life chimes.
NT Rama Rao perfectly fits the character of Krishna. One cannot distinguish between Krishna and Karna (played by Sivaji) both of them have lived those characters in reel life. It turned out that people accepted NTR as Krishna in real life. NTR exploited the naïve Andhraiites and dressed as Rama and Krishna during the election campaign.

Kannadhasan has brought out the full glory of Karnan's character without losing the moral of life and message of truth. M S. Viswanathan has used creativity in the music by brining Dilruba and Damaru not so often heard instruments to create the sombre mood.

It has been more than 3.5 decades and still this song brings the touch of reality and amalgamates the philosophy of life in 3.8 minutes. This song is “Life in a capsule”.

Tugged my heart away - Idhayam Poguthey...

Film - Pudhiya vaarpugal
Song - Idhayam poguthey
Singer - Jency
Music - Illayaraja
Lyricist - Vaali
Actors: Rati Agnihotri, Bhagyaraj
Director: Barathiraja

It was 1979 and Illayaraja brought yet another voice to the TFM industry, it was Jency this time around. This was the time when Janaki and VJ were at the peak and new breed of actors and directors were hitting the screen and hence the need of new breed of singers to suit their voice and appearance.

Jency had a break in this movie with couple of evergreen melodies. She sang in Ullasa Paravaigal for Radhika, Sridevi in Jhonny, Radha in Alaigal Ooivathillai, Oru Kaithiyin Diary, niram maaradha pookal and more to add.Though the industry has forgotten her today but they will never forget her songs. Her songs were repeat request in Vividh Barathi and Ilankai Vaanoli.

In this movie she has rendered to melodies one with a lot of gaiety and other in pathos. Thamthana Thamthana….is the number in gaiety and Idhayam poguthey the somber one.

Having lost her heart to someone special….she sings the beautifully penned lines asking if her man will ever listen to the sad tunes of her heart. The first line shows the pain and her inability to keep her heart from reaching out to him. Then she says bitten by the love bug I am singing this song hope you will get to hear this somewhere.

Idhayam poguthey enaye pirinthein
kaadhal ilangaathu paadugindra paatu
kaadhal ilangaathu paadugindra patu
ketkadhoo idhayam poguthey..

In the next stanza he contrasts the beautiful past and questions if the bud of love will ever bloom to become a flower and if she will ever get to enjoy fragrance of love in her life.

Maniyoasai ketu maghizvoodu netru
kaigal thatiya kaalai sendrathengey?
arunbaana enn kaadhal malaraagumoo?
malaraagi vaazvil manam veesumoo?

Vaali metaphorically explains the state of her mind and compares her tears to the dew on the beautiful flower. The cloud of sadness in her heart is also sketched on the scenery in the village. The last two lines ends with a question if birds will chirp again and if the dew and mist will ever clear?

Suduneeril vizhundhu thudikindra meen pol
thogai nenjinil soagam pongudhamaa
kuyil koova vasandhangal uruvaagumoo
veyiltheendum poovil pani neengumoo

Vaali brings to our realization that nature and moods are intertwined. He expresses her grief and compares that to the dance of the peacocks in the rain without music. He brings the chastity of love by comparing two to self and shadow. With patience and grueling wait she asks if he will ever come back to fill the vacant spot on her forehead…..

Mazhaisaaral ooram mayilaadum neram
paadal solavum dhevan illayamaa
nizhal pola unnodu naan sangamam
tharavendum vaazhvil nee kungumam

Barathiraja is one director who has brought out the fragrance of south Indian villages to the Tamil movie industry without altering the flavor of life in villages. Who can forget the Barathiraja introduction at the beginning of every movie with folded arms welcoming the audience of Tamil Nadu (Yen uyirinum melana thamizh makkaley…)

Late seventies the crowd was still migrating towards metros like Chennai and he became an instant hit when he roiled up the emotions of the many who grew up in villages. It was village cinema on the city screens- Nagarathil Gramiya Manam. He has introduced the sequence of actress with names in the R…. Radhika, Revathi, Radha, Rama and later moved on the S…series Sukanya, Sangavi. Rathi Agnihorti, a young non tamil speaking Punjabi was the hero in this movie. And all of them have carved a niche for themselves in the industry.

This combination of Illayaraja and Barathiraja has worked wonders in the Tamil Film Industry. They bring the “maan vaasanai” or I should say infuse oxygen into our city lives with the lush greenery of village and rapturous melodies in the background. Barathiraja’s picturization of songs will never be relished by the genre of fast music today and will only look quite bizarre with fairies dressed in white dancing in the background.

Jency takes our hearts away in the rendition of this song… I have lost my heart again, but to her this time.
http://music.cooltoad.com/music/song.php?id=216787

Kannain Maniye

Song: Kannain Maniye
Singer: Chitra
Movie: Manadhil Uridhi Vendum
Music: Illayaraja
Lyricist: Vali

Barathi’s never seem to have left Tamilnadu, still a lot of unfinished job? Though we may have forgotten him but he came again through Vali to remind us about an evergreen social evil. A song that stands both in terms of content, message and quality. Yet another Balachandar film with a female centric theme. Sometimes it makes me wonder why KB is the only spokesperson for women and cruelties against her. But this Bhooloka Bhrama’s women characters are martyrs and their purpose of birth is to sacrifice and suffer. The song is tuned in Nadhanamakriya, though this raga is used to convey pathos, the notes used in this song show a tinge of pathos but mostly shows gambeeram and to add confidence and more flavor to the song we have Chitra’s voice.

Suhasini turns to be the alpha male in the family. Being the sole breadwinner of a big family with a retired father and 2 brother and a sister, she struggles with multiple profession in the city. She saves every penny like a bird and literally runs the family through letter and phone calls. Every facet of life seems to be unfair and fate seems to plot everything against her. With the death of her brother and father the ship sails without a captain and she picks up the role with confidence and makes us wonder if Barathi’s Puthumai Penn was already here.

First two lines are very beautifully sketched, however protective eyelids can be but still the pupil shivers even when a small spec of dust irritates. With so many big pieces of dirt in front of our eyes, the society is blind and is insensitive to women.

kannin maniye kannin maniye poaraattama
un kanngalil enna kaNgalil enna neeroattama
penn munnetram ellaam verum paechoduthaana
pazham paattoduthaanaa athan yettoduthaana
naaL thoarum paadum oomaigaL thaana

It was not just with KB, it started with the puranas. From Sita in Treta yuga and Paanchali in Dwapara yuga to Kannagi in Kali yuga, women are shown in bad light. Vali has very beautifully sketched these lines…

saathirangaL penn inathai moodi maraithathamma
antha aathirathil baarathikkum meesai thudithathamma
veedaalum penmai inge naadaalum kaalam vanthum
oomaigal polave endrum oayaamal kaNNeer sindhum

This film was released in the later part of 1980’s and he refers to India being ruled by a lady but sadly that has not changed the fate of women in India. Even though there are laws today, but nothing seem to have changed much. Barathikku soranai irukku matha male members illai.

yaenendru kaetkathaan ippothu aaL illai
sama neethi kaetkindra sattangaL yaen illai

The last two lines is the jewel on the crown, the poet loses his hope if there would ever be a sunrise in their world.

ulagamellaam vidintha pinnum
ungaLin iravugal vidiyavillai

Vali brings the use and throw attitude of men and the society looking at women as idol of enjoyment. He aptly brings out the social evils like dowry, which is still prevalent today.

paai virikkum penmai enna kaadhal padhumaigala
thinam yeaval seyya aadavarkku kaaval adimaigala
ponnaLLI vaithaalthaane poomaalai thoalil yerum
illaatha yezhaiyarkellaam pollaatha thanimai koalam

The same spool record has been playing in our society relentlessly and it just makes me wonder how many Barathi’s will have to come and how many more such songs have to be sung to eradicate the injustice to women in this male dominated society.

erigindra nerathil aNaikindra kai illai
solgindra vaarthaigaL ovvondrum poi illai
kanavugaLil mithanthapadi
kalangguthu mayangguthu paruvakodi

Definitely KB has done a great job in carving Nurse Nandini’s character. A character that remains afresh in our minds and she battles fate without any weaponry, she is an epitome of patience. With the demise of her father she is forced to choose her man for reasons of security in the society. She gets married to a male chauvinist who uses her like a door mat. The last straw breaks the yoke and she loses her patience and walks out of the marriage. There is enough of dowry and other social evils to fill her life, the badges of honor that society wears against women. When she moves ahead in life there comes another opportunity to sacrifice one her kidneys for her ex-husband (who is then married and with a kid). She sacrifices her kidney with compassion and magnanimity while her new boy friend accuses her of still living with her husband. With just a smirk, she calls it off and decides to continue her journey of life banishing the entire male gene pool.

Irrespective of being a male or female this songs gives the vitality when yoke gets overloaded, when injustice becomes the norm of the day. A great song to listen and feel charged, but I hope more people will wake up to this tune to fix the pending evils against women.

It is time we make such songs and movies obsolete. Penngalukku Kanneer Azhagunnu sollum kavingnai ozhippom!!!

http://music.cooltoad.com/music/song.php?id=104300

Midas touch - Avargal - Iru Manam Konda

Song: Iru manam konda
Movie: Avargal
Director: K. Balachandar
Singer: SPB
Lyricist: Kannadasan

Indian film industry has seen enough of love triangles in stories, but how about a love quadrilateral? Yes, Balachandar’s “Avargal” exposes this magical quadrilateral. On top of this Sujatha in this movie is a single mother and divorcee, quite a bold theme for the 70’s.

Here is the story:
The story starts with a young single mother, Anu, moving to Madras from Bombay and being stranded without a house and company. Janardhanan, who is a colleague offers to help her and find her a house. With difficulty, she finds a house with his help and tries to settle in. The puzzle of her current position is solved by a flashback. She was in love with Bharani who had to leave her and go to his struggling family. Forced by her ailing father, she marries his boss, Rajinikanth. She soon realizes that he is a sadist and cannot stand his poisoned words and actions. She leaves him and lands at her current job with her child.

Janardhanan, a widower and a ventriloquist, starts developing feelings for Anu and is struggling expressing himself. But, fate plays its hand in their lives and it turns out that Anu’s ex-lover, Bharani, is living in the house right opposite hers looking after his sick sister. When the lost lovers meet, sparks start and Anu, after a long time starts being happy again. Ramnath’s mother, Leelavathi who hears about his son’s misdoings, wants to take care of her daughter-in-law and grandson and enters Anuís house as a maid. When all things seem to be going well, Rajinikanth returns to his estranged wife seeking forgiveness, and she is in a total soup. The climax is very different and shows the resolve of the heroine. Balachandar has always shown his female characters in going through tempest of storms in life, but always with confidence, dignity and conviction to survive.

This song is beautifully picturised in the movie. Janardhanan picks this toy, Junior and performs the whole song in front of Anu expressing his love for Anu. Jana is too shy and very not sure about expressing, but he does it with his junior and together they convey the emotion and pangs of love. Anu just laughs all through the song, may be she is used to her men ditching her?

Kannadasan beautifully brings the main theme of the song in first four 4 lines. The whole story suffers with Irumanam of Anu, Jana, Bharani and Ramnath. Lyricist compares Anu as Iruvar kai bommai…. And ends with the question asking why are you still falling in this triangle?

Iru manam konda thirumana vaazhvil
Idayinil nee yen mayangukiraai?
Ilagiya pennmai iruvar kai bommai
Yen innum neeyum yaengukinraai?

He also brings the disappointment in taking ownership of Anu in the lines below. It was really an unexpected line at this juncture…. Only when you peel the layers of the onion you start tearing and same way Only Kannadaasan can bring portray a sad ending under a very happy covering.


Karaiyinil aadum naalaney nee
Nadhi idam sondham thedukinrdraai?

I thought it was a four sided love, but now Jana’s junior throws his hat in the race for Anu. Very beautifully penned, the last line shows that love can never be forged or put together.

Sirpam ondru sirikka kandu
Rubber bommai yaekkam kondu
kadhal keedhal seyyakoodatho?
Chinna payyan vayasum konjam
Bommai kenna manasa panjam
Otti paarthal ondrai seratho?

Jana absolutely concentrates in trying to keep his junior alive and lively and show his emotions through him. Unable to control his self pity he sings the next two lines….

Kadarkai dhaagam idhuthan undhan kadhal ada
Aduthavar raagam athai nee paaduthal paavamada

Balachandar is famous for showing relationships in a different light, so junior questions Jana at this point what if this relationship was like Aboorvaragam? But still Anu doesn’t seem to give any clue from her emotions or body language and Jana beautifully questions her need.

If it is aboorvaragam?
Vayalukku thevai megam yenbaai
Avalathu thevai arivaayo?

Paatai kandu raagam pottu
Neerai kandu dhagam kondu
Paavam keevam parka koodathu
No its’ bad
But I am Mad
Paavapatta jenmam ondru
Oomai kelvi ketkum pothu
Aasai mosam seyya koodathu

What kapa kapa kapa kapa?

Kannadaasan brings his need very beautifully and how he has been waiting for this sunrise for a long time, but love arrived at the wrong time in his life.

Chithirai maadham mazhaiyai thedi vaadukindraan
Markazhi madham veyilai thedi oodukindraai
Boss, Love has no season or reason
Udayathai kaana merkku nokki ovvoru naalum yaengukindraai

Jana in the last paragraph portrays his bad luck and conveys his love without any regret and begs her for decision. She laughs, laughs leaving him in limbo…….


Adainjavanukku ippasi matham
Yaemaandhalum april maasam
Adiyen mudiyai sollakoodatho?
It is highly idiotic,
No boss, it is highly romantic
Konjum bommai paaduthu paatu
Kozhambiya nenjam sirikuthu kettu
Mudivai solli sirikka koodatho?

After Aval Oru Thodarkathai, this is the second song in KB’s movie to use ventriloquist, and SPB, Kannadaasan, MSV,Kamal, Sujatha combo have all done it again. Kamalhasan is said to have learned ventriloquism to help with the character. Yet another brilliant song picturized with a classic touch will remain in our hearts though Tamil Film Industry didn’t appreciate this movie much. Whom should we call the Midas here? KB, MSV, Kannadasan or all of the above?

http://music.cooltoad.com/music/song.php?id=186333

Marriages Made in Heaven - Kadavul Amaithu Vaitha Medai

Song: Kadavul Amaithu Vaitha Medai
Movie: Aval oru thodar kathai
Singer: SPB
Music: M.S. Viswanathan
Lyricist: Kannadasan

Movies in the 70’s stand out even today because of strong theme, bold characters, music and lyrics. This movie was made in 4 languages (Tamil, Telugu, Malayalam, and Hindi in the second half of 1970.

Aaina (Hindi)
Aval Oru Thodarkathai (Tamil title)
Aval Oru Thudarkatha (Malayalam title)

KAVITHA , a working woman, shouldering the responsibility of a large dependant family members, a fit for nothing elder brother with his family comprising wife and 2 children , a widow sister, father deserting the family very early…taking up sanyas…..Like any other young woman, she also had likes and dislikes, but had to sacrifice all her personal life in the larger interests of the family……at one stage , she had to sacrifice her lover also in pursuit of getting her widow sister re-married ….it was an extraordinary gesture on her part….

Here comes another situation in this memorable movie wherein KAMAL a mini character who will be her neighbour and a Ventriloquist (specialist in mimicry ) sings one of the most memorable song of the mid 70s….

Kavingnar Kannadasan had merely taken the famous English saying “Marriages are made in heaven” and given his special touch to the lyrics (philosophy of marriage and life is conveyed in 15 lines). To his lyrics MSV had given a Midas touch by brilliantly using a ventriloquist to bring the effects and sounds of instrument.

kadavul amaithu vaitha medai
inaikkum kalyaana maalai
innaarkku innaarenru
ezhudhi vaiththaanae devan anru

This is the only song in the Tamil Music industry employing a story telling style narrating the entire scene and the poignant situation of sacrificing a lover.

naan oru vigadakavi
inru naan oru kadhai solvaen
oangiya perum kaadu
adhil uyarndhoru aalamaram
aalamaraththinilae andha arpudha vanaththinilae

The song conveys the entire situation and with apt mimicry and lyrics to convey a heavy mood in a very lively way. Kannadasan's narration of love using parrots definitely make it feel very divine and priceless.

aankili irandundu penkili irandundu
angaeyum aasai undu
adhiloru pen kili adhanidam
aankili irandukkum mayakkam undu
anbae...aaruyirae...en aththaan

This is also the only song where animals like Cow and calf, elephants, deer, frog rabbit and instruments like Yaazh, melam, pallakku have been used according to hindu mythology to describe the marriage scene. Who else other than the legendary Kannadasan can pen such words?

kottum muzhakkangal kalyaana maelangal
kondaattam kaettadhammaa
aasai vimaanaththil aanandha maegaththil
seer kondu vandhadhammaa
thaen mozhi mangaiyar yaazhisai meettida
oorgoalam poanadhammaa
pallaakku thookkidum parivatta yaanaigal
pallaandu paadudhammaa

kanroadu pasu inru kalyaanap pen paarththu
vaazhththonru koorudhammaa
kaanventtup pillaigal poal
vandha muyalgal aangilam paadudhammaa

Kamalhassan performs this song at his lover’s wedding to entertain the guests. He enacts the entire song and lyrics with no vulgarity or jealousy lets his lover fly away from his life. A very decent way of letting her go…. There is a little heaviness in the voice when he says the words “Odhungudhammaa”

oru kili kaiyodu orukili kaisaerthu
uravukkul nuzhaiyudhammaa
ullaasa vaazhkkaiyai uravukkuk
koduthitta oru kili odhungudhammaa

MSV, Kannadasan and SPB have done a great job blending prose and poetry. At the beginning of the song the mood is very happy describing the wedding scene and as the song progresses it becomes packed with emotions. He aptly smirks at beginning of this line to show the jealousy in Vijaykumar’s eyes.

appaavi aan kili thappaaga ninaiththadhu
appoadhu purindhadhammaa
adhu eppoadhum kiliyalla kinatruth thavalaidhaan
ippoadhu therindhadhammaa

It has been 30 years since this movie was made and I have never seen such a beautiful picturization and music. I don’t how this song and situation has been picturized in other languages.

A big round of applause for KB for the picturization, MSV for the music, Kannadasan for the brilliant lyrics and SPB for lending his mellifluous voice.

We can never have a song like this again, though they tried something similar to this in the movie “Mundram Pirai”. The Tamil Film Industry can never forget this combination – MSV and Kannadasan and top it off there was KB.

What else can you ask? For those of you, who have never heard this song, please download now from http://www.coolgoose.com/music/song.php?id=53391

Energy Bar in S. Janaki's voice

Song: Jal Jal Jal enum
Film: Paasam
Singer: S.Janaki
MD: Viswanathan-Ramamurthy
Lyricist: Kannadhasan

The music directors Viswnathan and Ramamurthy like twin bulls wheeling the cart have given innumerable immortal melodies to the Tamil film industry and this one specially will make my feet and fingers tap even in the grave.

This song is a bottle of Gatorade when you are sapped. A very passionate high energy song with lot of valor and enthusiasm. I had my head phone on when I first listened to this song and I thought it was yet another song by P.Susheela. But later my mother corrected me that it was S. Janaki behind this burst of high energy voice. A very beautiful voice sung in real voice at right sruthi strictly adhering to the notations and great pronunciation. No wonder why Janaki stayed in the field for more than 5 decades.

The very first line is packed is like an energy bar….

Jal Jal Jal enum salangai oil
Sala Sala Sala vena saaliyile
Sel Sel Selungal kaalaigale
Serndhita venum iravukullae

There is so much of resonance her voice which is able to be mimic the exact sound of the block of words like Jal, Sala, Sel. They call this Irattai Kilavi and Adukku thodar in tamil grammer. Kannadaasan is a poet who doesn’t use his poetic license to trespass the rules of grammer.

Definitely this song makes my gland secrete more adrenalin. Even when I on my last lap of the treadmill and exhausted this song is like glucose gives me energy and makes my feet run faster than a bull.

Kaatinil oruvan yenai kandan
Kayyil ullathai kodu yendran
kaiyyil ethuvum illaiyenru
kaNNil uLLathai koduththuvitten

The magical spin that SJ gives when says the word Kayyil gives that extra feel of enjoyment.

Here is the second stanza where Kannadaasan gives away the plot…..

avanthaan thirudan endrirunthen
avanai naanum thirudivitten
muthal muthal thirudum kaaranaththaal
muzhuvathum thiruda maranthuvittaen

MGR plays the role of a thief in this movie. While acknowledging that fact, the lady conveys her newbie naïveté in romance.

Indrey avanai kaithu seivan
Yendrum siriyil vaithuiruppen
Vilakkam sollavum mudiyathu
Viduthalai yenbathum kidayathu

The last line is very nice, she says with conviction that he is imprisoned in her heart for life. Is that what they called TADA in those days? Lol! This song definitely drives us like race bull pumping the heartbeat and at the same time relaxes the mind with wonderful lyrics and sweet voice.

http://music.cooltoad.com/music/song.php?id=41691

Ilakanam Maarutho....Crux of life....

Song: Ilakanam Maarutho
Movie: Nizhal Nijamagiradhu
Director: K. Balachander
Music: MS. Viswanathan
Lyricist: Kannadaasan
Actors: Sumithra, Shoba, Kamalhassan, Saratbabu

Here is the movie jist:
This movie is about how an innocent maid gets sexually exploited by her boss who promises to marry her. His true color shows when she carries his child. When he is forced to marry her, She defies oppressive social norms by refusing to marry him, and choosing another man whom she has subsequently fallen in love with, who treats her and her baby with respect. Quite a bold theme and a message for the 70’s. Hats off to KB.

This film gave Kamalhassan another opportunity to bring out his dance talents on the silver screen. A powerful caste with Sumitra, Shoba, Saratbabu and Kamal interwoven with fine music from MSV kept the audience spell bound.

The first two lines are packed with the philosophy of life. Everybody’s life starts with a high pitch and then floats through lower octaves and then finally settles somewhere in the middle. Same way SPB’s initial high note delves into lower octaves as the song progresses.

These two lines give the message not only in the story but also of our life in a very subtle way…

Ilakanam maarutho Ilakiyam aanatho
Idhuvarai nadiththadhu adhu yenndha vaedam? idhu enna paadam?

The song starts with a very nice question, Ilakanam maarutho Ilakiyam aanatho? I found so many questions hidden in this one line. What is the grammar of life? Who write the rules of grammar? Can we make our own grammar and punctuations? What is right and what is wrong? Who punctuates our life? Can we make it a literature for the future generations?

The next two lines made me realize once again that every life has a story to be enacted and every soul has lessons to learn. How true, huh?

The line below portrays a male chauvanist who can use women like an a** wipe sorry Curry leaves. When there is no direct answer or when there is a need to give an evasive answer it is so easy to blame everything on nature and fate. The twist that SPB gives when he says Vaedam reminds me of the twists and flavors in life. SPB’s smirk in the beginning of the line “Yaar solli thandhar” makes it very suave.

He diligently pulls in the seasons in nature to portray the seasons in their life and the last two lines sounds as though women are species to be enjoyed by man. Very clever depiction…..

Kallana mullai indrenna vaasam
Kaatrana raagam yen indha gaanam
Ven megham andru karmegham indru
Yaarsolli thandhar mazhaikaalam yendru
Manmadhan yenbavan kann thirandhano?
Penmai thandhano?

Sometimes when we analyze why is it that we get attracted physically and emotionally to a person there is no answer on the face but there is definitely an answer deep down. The stupid girl falls for his love….I don’t know which took precedence here, her physical or her emotional need?

A very beautiful way of comparing her life with that of a river and she beautifully questions why shores attract?

Yen vaazhkai nadhiyil karai ondru kanden
Un nenjil yaeno karai ondru kanden
Puriyadhathaaley thiraipottu vaithen
Thiraipotta pothum anai pottadhillai

There is a wonderful twist at the end of this stanza. Tamil language is adeptly used to bring the beauty of the language. A single word with two pronunciations is used to bring things to light and explain - Vilakki

Maraithidum thira thannai vilakki vaipaayo vilakki vaipaayo?

VJ does a great job in differentiating the difference between the two in her voice. She certainly has built an anai (dam) in our hearts and made this song stagnate in our heart and mind.

Thalaattum pillai ullamum vellai
Thaalattu paada aadharamum illai
Deivangal yellam thaalattu paadum
Paadamal ponal yedhu deivamaagum
Marupadi thirakkum unakku oru paadhai
Uraipadhu geethai

The last two lines are very interestingly and beautifully written. It shows how philosophy can be misinterpreted to wash his hands on her future and the kid he fathered out of wedlock.

The stupid girl realizes the entire ploy of life and sums up his attitude in just 4lines. With no way to get out and with no going back she turns to the creator as a final refuge and instills faith in him. She ends the song by tying a philosophical knot to their relationship. Wish we all can be so sportive about our lives.....

Mazhai oosai yenna idi oosai yenna
Yedhu vandha pothum nee kaetadhillai
Nizhalaga vandhu arul seyyum deivam
Nijamaga vandhu yenai kaaka kanden
Nee yedhu naan yedhu yen indha sondham
Poorva jenma bandham

Who else other than Kannadaasan can give the essence of life in a short song like this? Don’t we all get taken for a ride in life? Life sometimes is on the anvil and sometimes in the frying pan. When no medicines work it is Philosophy that heals and brings solace to the wretched soul. I am still lost in the first tow lines of the song….

http://www.coolgoose.com/music/song.php?id=186338