Sunday, January 31, 2010
Saturday, January 30, 2010
Friday, January 29, 2010
Wednesday, January 27, 2010
Monday, January 25, 2010
Thursday, January 21, 2010
AADAL KAANEERO - MADURAI VEERAN
http://www.hindu.com/fr/2006/09/29/stories/2006092900720100.htm
Beauty, charm, charisma
RANDOR GUY
| With her versatile talent Padmini lit up the silver screen for over two decades. |
GREAT VARIETY: Padmini in Kaattu Roja.
A classical dancer, multi-faceted personality, and talented movie star, she brought rare power, charm, charisma, and great beauty to her many movie roles in Tamil, Malayalam, Telugu and Hindi.
A star with a track record of over two hundred movies, Padmini, the most popular of the trio, the `Travancore Sisters' (Lalitha and Ragini being the other two) died a few days ago in Chennai to which she had relocated after 35 years in the U.S., where she lived with her husband Ramachandran, a doctor.
Born in 1932 in Trivandrum, she made her cinema debut as a teenager in the sadly underrated dance-oriented movie `Kalpana' (1948), an Uday Shankar classic produced at Gemini Studios, Madras.
Soon after, the sisters and their mother P.K.Saraswathi Amma, a woman of immense drive, settled down in Madras to pursue dancing careers.
The sisters made a mark quickly and appeared in dance sequences in many movies like `Velaikkari,' `Geetha Gandhi,' `Krishna Vijayam' and `Pavalakodi' (all 1949), winning fame and name.
Gemini Studios boss and movie mogul S.S.Vasan, cast Padmini in the lead in `Mr. Sampat' (1952), a reworked version of Tamil social satire `Miss Malini,' which brought her to the attention of the Hindi cinema world where, before long, she began to make an impact.
Leading lady
Vaira Malai.
Meanwhile her career as leading lady began to take off and she appeared in many Tamil and Malayalam movies, quite a few hailed as classics, including `Madurai Veeran,' `Amaradeepam' (1956), and `Vanjikottai Valiban' with Gemini Ganesan (1958) and `Mannadhi Mannan' known for its lilting music.
The highlight of `Vanjikottai Valiban,' was the scintillating and enthralling `dance duel' between Padmini and Vyjayanthimala, which has come to be regarded as one of the best dance sequences in Indian cinema.
One of her finest Tamil movies, a major box-office success was `Thangapadhumai' (1959), a brilliant adaptation of the Kannagi epic by A.S.A.Sami who directed the movie. Her spirited delivery of jaw-breaking dialogue, recalled Pasupuleti Kannamba's classic `Kannagi,' was a masterpiece in movie acting.
According to Sami, Padmini virtually scored hands down over the hero Sivaji Ganesan. He recalled that while the climax sequence was being shot, Padmini worked on her dialogue not even taking a break for lunch.
"I have rarely seen such devotion among the numerous actresses I've directed in my long career," said Sami.
Malayalam hits
With Sivaji Ganesan in Vietnam Veedu.
Many of her Malayalam hits created film history. Mention must be made of `Snehaseema' (1954), a brilliant adaptation of Alfred Tennyson's famous story-poem `Enoch Arden.'
Other Malayalam movies include `Adhyapika' (1968) and `Adimagal' (1969).
Padmini's reputation as a classic actress of high merit rests on her memorable Tamil movies `Madurai Veeran,' `Amaradeepam' (1956), `Veera Pandiya Kattaboman' (1959), `Chitthi' (1966), `Penn Deivam' (1970), `Vietnam Veedu' (1970) and so on.
Her most fondly remembered Tamil movie is `Thillana Mohanambal' (1968), in which she proved to be a fine match for Sivaji Ganesan.
Directed by A.P. Nagarajan, based on a popular magazine serial by Kothamangalam Subbu, it became a cult classic with an excellent portrayal of the rich Thanjavur culture in its many aspects. Few are aware that prints of this film in 16-mm format were acquired by universities in the U.S. for the study of South Indian culture, Thanjavur in particular.
`Mother' roles
Besides her glamorous heroine roles, she excelled in `mother' roles, memorably in `Vietnam Veedu' and `Penn Deivam.'
Of a similar genre was `Chitthi' (1966) in which she portrayed a young woman forced to marry an elderly widower with a family and her problems in taking care of them.
Equally successful in Hindi, she excelled in `Jis Desh Mein Ganga Behti Hai' (1960, and did a scintillating song-dance sequence to "Kya huaa... ."), and `Mera Naam Joker' (1970) created by master showman Raj Kapoor. Padmini settled in New Jersey where she ran an Indian classical dance institute, the biggest of its kind in the U.S. She began working on her autobiography, deciding `to tell all,' and set about interviewing a chosen few (including this writer). Regretfully, she died without completing the book.
Warm-hearted and vivacious, Padmini was a rare human being. She will live on through her movies.
The Travancore trio
One of the most successful films of the 1950s in which the three sisters - Lalitha, Padmini and Ragini (`Travancore trio') — acted was "Thookku Thookki." It was the second version of the folk myth tale made by the noted cinematographer-filmmaker R. M. Krishnaswamy. It had Sivaji Ganesan, in the lead and T.S.Balaiah. The catchy music was composed by G.Ramanathan. Udumalai Narayana Kavi, one of the top lyricists based in Coimbatore, was in Madras for a day. He wrote eight songs, and an equally fast G.Ramanathan set them to tune! The songs sung by T.M.Soundararajan and P.Leela became super hits.
Comeback
Of her second innings, mention must be made of Fazil's `Poovey Poochoodavaa.' The Malayalam filmmaker drew a fascinating performance out of Padmini, who played the grandmother, making the movie a success.
"I am blessed!"
Actor Vineet
Vineet is in a state of shock when you contact him. He is on the train from Trivandrum, on his way to Chennai, after hearing about his aunt's end. "I've been co-ordinating with Sukumari (actor and Padmini's cousin) aunty ever since I got news about Pappima's sudden illness," he says. The actor and dancer is the nephew of Padmini. "She came down to Chennai from the U. S. just about a month ago — this time for good. Her cargo is still to reach her. Just four days ago she was in our home in Kerala for the naming ceremony of my child," Vineet says softly.
Vineet is the son of Padmini's husband's brother. Sharing such affection with the in-laws, that too long after the husband's death is rather rare. "They were seven of them brothers including my dad. And Pappima has been in touch with all of us. Every time she came to India, she would visit us. She would take time to go to Calicut and meet my aunt. And whenever I went to the U. S. for my dance performances, Pappima was always there, watching me from the audience, encouraging me and blessing me," says Vineet.
In fact, it was Padmini who initiated Vineet into dance. "She told my parents that they ought to put me in a dance school, and it was on her insistence that I got into it. She was the one who got me my first dance costume. At every significant stage in my life, including my marriage, she has been present to bless me. `I'll be there for you always, any time anywhere," she would tell me.
Indelible impressions
The illustrious actor, an unassailable beauty of her times, has left an imprint that's not easy to equal. Padma Subrahmanyam, Vineet's dance guru, was herself very attached to Padmini. "Pappima gave her salangai (ankle bells) to Padhu akka (Padma) for her arangetram. `It was because I wore your bells then that I'm still dancing,' akka would often tell her."
Interacting with Padmini over the years has been a tremendous learning experience for Vineet. "She would narrate interesting experiences that she had had while working with greats such as Sivaji Ganesan. And she had an insatiable zest for life. `Now that I've decided to live in Chennai, I'm already excited about the December music and dance season,' she told us."
When Vineet says his aunt was an amazing actor and a remarkable dancer, they are matters you are aware of. But when he dwells on her punctuality and describes her as a perfectionist, you wish to know more. "She was never late for any event big or small. And whatever she did, even if it was a minor task, it had to be perfect," he says. When Padmini had gone over to Kerala this past week for the function at Vineet's place, she had come prepared to sing a song for the occasion. She insisted on having rehearsals the previous day so that it was rightly rendered. "After all, it was just a family get-together. Yet everything had to be properly done. That was Pappima," sighs Vineet.
He sums up his memories of his aunt in one word — "Divine!" And concludes, "How many would get a chance to have a guide and well wisher like her? I consider myself extremely blessed." More than anything else the exchange with Vineet offers glimpses of the wonderful human being that Padmini was. And that makes the sense of loss even more ...
MALATHI RANGARAJAN
KALAIYUM NEEYE - THAEN NILAVU
M:Kaalaiyum Neeye
Maalayum Neeye
Kaatrum Neeye
Kadalum Neeye
(2)
M: Aalaya manivaai Osaiyum Neeye
Arul Vadivaagum Deivamum Neeye
kaalaiyum Neeye...
Paalil Vizhuntha Pazhangalai Poley
Paruvam Uruvam NirainthavaL Neeye
(2)
Manathinil MEdai AmaithavaL Neeye
Mangala Naadagam aada Vanthaaye.
F: kaalaiyum...
M&F:kaalaiyum...
VEENAI KODIYUDAYA - SAMPOORNA RAMAYANAM
MOHANAM, ATAANA, BHOOPALAM, SARANGA, VASANTHA, NEELAMBHARI, DHANYASI, GAMBHIRA NAATAI, SHANKARABHARANAM, TODI, KALYANI, KAMBODHI.
http://ragasinfilmmusic.blogspot.com/2010/01/inru-poi-nalai-vaaraai-sampurna.html
Blast from the past: Sampoorna Ramayanam 1956
Sampoorna Ramayanam
N. T. Rama Rao, Sivaji Ganesan, Padmini, Chittoor V. Nagaiah, S. D. Subbulakshmi, G. Varalakshmi, T. K. Bhagavathi, N. R. Sandhya, P. V. Narasimha Bharathi, V. K. Ramasami, C. T. Rajakantham, Pushpavalli, ‘Jayakodi’ Natarajan and M. G. Chakrapani
The Ramayana, the story of the Rama avatar of Vishnu, is one of the immortal classics of India. A rich granary of story material, the epic not surprisingly excited and attracted the attention of filmmakers in the country from the Silent Film era. The first silent version came out in 1922 along with another version the same year, which was released as a serial in cinemas. The first talkie version came out in Hindi in 1933, in Telugu in 1936 and in Tamil (this version) in 1956. There were other language versions too.
Sampoorna Ramayanam, running over 22,000 feet, was produced by M. A. Venu. It had Sivaji Ganesan in the role of Bharatha, while N. T. Rama Rao and Padmini played Rama and Sita. The underrated stage and screen actor K. V. Srinivasan lent his voice to NTR. T. K. Bhagavathi with his excellent screen presence was the right choice to play Ravana. Varalakshmi as Kaikeyi was equally impressive, and so was Nagaiah as Dasaratha. Noted comedienne Rajakantham played the mischief-maker Mandhara. Also in the cast were Nagaiah, M. N. Rajam, P. V. Narasimha Bharathi, Lakshmiprabha, S. D. Subbulakshmi and T. P. Muthulakshmi.
The film had excellent music (K. V. Mahadevan) with lyrics by Marudhakasi. One song rendered by C. S. Jayaraman, filmed on Bhagavathi playing Ravana, ‘Indru poi naalai vaa,’ became an immortal melody. This song was composed in raga Thilang, which was an import from Sufi music and successfully adapted by Guru Nanak and his disciples who composed several hymns in this raga. It has been extremely popular with musical geniuses such as Ravishankar, Bhimsen Joshi, violin maestro Lalgudi Jayaraman and musicologist G. S. Mani. The great Carnatic musician D. K. Pattammal recorded a song, ‘Shanthi nilava vendum,’ in this raga on the occasion of the shocking death of Mahatma Gandhi in 1948.
Written by the successful Tamil film personality A. P. Nagarajan, Sampoorna Ramayanam was directed by K. Somu who was associated with Nagarajan on many films. Not many are aware that Somu worked with the celebrated American Tamil filmmaker Ellis R. Dungan, learning the art and craft from the great master. The film was made at Ratna Studio in Salem.
Sampoorna Ramayanam had the distinction of winning the appreciation of the eminent son of India, Rajaji, who did not think much of films. In the 1930s, he watched Ellis R. Dungan’s Sathi Leelavathi and in honour of his visit a day’s collection was handed over to him towards the Indian National Congress Party fund. After watching the movie, he sarcastically remarked that the main artiste in a charka-spinning sequence did not know how to handle it!
Remembered for the impressive performances of N. T. Rama Rao, Padmini and Varalakshmi, the melodious music of Mahadevan and the song ‘Indru Poi.’
INRU POI NALAI VAARAAI - SAMPURNA RAMAYANAM
SONG STARTS AT 2:33:00
THE VOICE OF NTR - N.T.RAMA RAO - SRI K.V.SRINIVASAN
Over to the ‘voice'
SOJOURN THAT HAS BEEN WORTHWHILE: K.V. Srinivasan.Photo: S.S.Kumar
RELATED
PHOTOS
Nonagenarian K.V. Srinivasan, the actor who dubbed for N.T. Rama Rao in all his Tamil films including ‘Karnan,' which is seeing a successful re-release, embarks on a nostalgic journey …
It was a very special occasion for the members of Nawab Rajamanickam's theatre troupe, Madurai Devi Bala Vinoda Sangeetha Sabha. They were enacting the story of Nandanar, and seated in the audience was Mahatma Gandhi! In fact, the play was particularly chosen because it espoused the evils of untouchability, a subject close to Gandhiji's heart. When the curtains went up the Mahatma expressed his wish to be on stage to have a clear view from the wings. And as he was being helped the three steps, he noticed the board that said ‘Leave your footwear here.' Immediately, he removed his sandals, went up and sat on the floor.
K.V. Srinivasan, a 12-year old member of the troupe, who was watching the great leader's humility, was moved. And when he sang ‘ Vaishnava Janatho,' along with two other boys – Iyyampettai Narayanasamy and Azhwar Govindan -- the Mahatma looked at Srinivasan, smiled, nodded in appreciation and said, ‘Achcha!' “If there is an actor in this country whom Gandhiji himself complimented, it's me,” K.V. Srinivasan's voice swells with pride. “Discipline was the watchword at Nawab Rajamanickam's. It was like an ashram where all of us imbibed values,” says Srinivasan.
The nonagenarianhas another rare distinction. He has given voice for N.T. Rama Rao in all his Tamil films. “About 55 totally, whether it was track change or straight dubbing, it was my voice that was used for him. Track change is done when the actor has spoken the dialogue in the language it is made in and yet his voice is replaced. Here, lip sync is tougher because it has to match the utterances of the actor perfectly.” KVS, as he is known, pauses for a moment. “But dubbed films are those made in other languages and brought to Tamil, and hence the process is easier. For Rama Rao, either way, it was my voice.” The day after he dubbed for ‘Jagadala Prathapan,' NTR, its hero, saw KVS at the studio and was all praise for his work. “ ‘Bale,' he said,” chortles KVS.
Now that the re-run of ‘Karnan' is playing to packed houses, KVS, who is the voice of Krishna (Rama Rao) in the film, is garnering attention all over again. It's surprising that he has also given voice for S.V. Ranga Rao in his early Tamil films. “‘Petra Manam' was one.”
“You may not be aware that Sivaji Ganesan himself has dubbed for another hero, before he debuted in ‘Parasakthi,'” smiles KVS. “The film was ‘Nirabaradhi' in which Mukkamala Krishnamurthy played the lead. I was a small time actor in films but a busy theatre and dubbing artist. I also acted in several AIR plays.” KVS has acted in more than a 100 films and has given voice for many main actors in an equal number of films. Not surprising, because the voice is still commanding!
Did KVS ever aspire to play hero? “I know my limitations. My physique wasn't suitable for it. I could only act in character roles. But my voice was an asset,” he laughs.
“It was Sivaji Ganesan who insisted that director Panthulu should think of none other than KVS for the voice of Krishna in ‘Karnan.' “ ‘As always it has to be KVS,' he said,” he fondly recalls. In the film, KVS also played the sage who christens the baby found in a box, as Karnan. His association with the thespian dates back to the era when Sivaji Ganesan played Padmavathy on stage and KVS was Manohara. Theatre troupes in those days always comprised an all-male cast. “Ganesan was brilliant in the female role. The finesse and the nuances he lent to the part were incredible.”
The two were part of Shakti Krishnaswamy's Shakti Gana Sabha. Krishnaswamy later became famous as the dialogue writer of ‘Karnan,' ‘Veerapandiya Katta Bomman' and ‘Periya Idathu Penn.' “Ganesan and I were there for more than a decade,” he says. KVS can't stop talking about the deference with which Sivaji Ganesan always treated him, even after he became a part of Ganesan's theatre troupe, Sivaji Nataka Mandram. “He was a big hero then. But whenever I entered the green room for make-up, Ganesan who arrived early, would get up from his chair and greet me,” he says. “He would ask me why I didn't visit him at his home often. ‘You live in a palace, Ganesa. I can't walk in just like that,' I would reply. But whenever possible, he suggested my name for roles,” smiles the actor. KVS should be familiar to avid watchers of Sivaji Ganesan films -- the Buddhist monk in ‘Annaiyin Aanai' and the lawyer in ‘Bale Pandiya' to name a couple. “I've acted with MGR too,” he adds.
Nambiar, a dear friend
His eyes turn moist when he talks of M.N. Nambiar, a dear friend from childhood, who went on to become a very popular screen villain. “We were in touch till the very end. Ours is 75 years of close association. We grew up in the same drama troupe. Age-wise the difference between us is just six months. For every Deepavali his wife would send new clothes for my children,” he remembers.
Today KVS is a contented man. “I never earned in excess. Nor was I in want. I live comfortably. My children, two sons and three daughters, are well-settled. I gave them the best of education, something which I missed out on,” he says. His sons and one of his daughters live in the U.S. “I'm 91 and my wife Sulochana, 83. We are waiting for the call from above, to leave the world. But for my wife's care I wouldn't have survived this long,” smiles KVS, as he walks up to the door leaning on his walking stick, to see me off. “Don't forget to mention my interaction with the Mahatma,” he requests, as I open the gate.
In sync
Many filmgoers of the day were under the impression that it was N.T. Rama Rao’s voice that they heard on screen. “I acted out a role in the AIR play, ‘Dharmayuddham,’ written by Dayanidhi. Suki Subramaniam, the producer at AIR, called me up a couple of days later. ‘Could you come over and see what we have for you,’ he asked, and showed me the letters he had received. The content in all was nearly the same. ‘Why wasn’t N.T. Rama Rao’s name mentioned in the announcement that gave the list of actors in the play,’ they wanted to know. We laughed, and I was happy that people identified my voice with Rao’s,” recalls KVS. He then imitates NTR’s powerful baritone to demonstrate the difference in their voices.
Wednesday, January 20, 2010
Tuesday, January 19, 2010
Saturday, January 16, 2010
PAARTHEN SIRITHEN - VEERA ABHIMANYU
Saravanan writes:
https://www.facebook.com/saravanan.natarajan.319/posts/635652329868540:0
14.4.2015
Epitaph to Enchantment
‘You know, I think I have not sung a duet with (Radha)Jayalakshmi after all!’ he said as I pulled a chair and sat across him at New Woodlands. The couple who had just occupied the adjoining table would have assumed that he was resuming an ongoing conversation. Little would have they known that I had left PBS more than a year back with this query of whether he had sung any duet with (Radha) Jayalakshmi, and upon sighting me approaching him now, he resumed our conversation nonchalantly shrugging off the long months in between. Today, on his death anniversary, I look back on those enjoyable annual encounters with PBS on my every trip to Chennai. I am filled with a sense of immeasurable loss. My vacations would never be the same again.
One among his countless fans, I had approached him rather diffidently the first time a friend and I saw him sitting alone at a table in Woodlands Drive-In. However, he soon put us at ease with his affable simplicity. True, PBS’ career in Tamil Cinema had all but ended by the time I started to listen to the radio in the late 70s. SPB and Janaki ruled the airwaves in the era of Ilaiyaraja, and PBS was a name seldom heard in our animated discussions. However, in the portals of Vividh Bharathi’s Thenkinnam and Ilangai Vaanoli’s Mandha Maarutham, PBS was a salubrious presence. The caressing voice that sprinkled enchantment on the evenings bowled me over and I have been under the spell of PBS ever since. The more I listened to his songs, I was filled with wonder at the silken strands of PBS that had woven themselves so beautifully into the tapestry of Tamil film music.
The gentle romantic tones of PBS perched so snugly in sync with the halcyon unhurried 60s, and song after song, most of them tuned by MSV-TKR and KVM, embodied so fetchingly the aching wistfulness of being in love. Serenading solos like ’Kaalangalil aval vasantham’(Paava Manippu), ‘Poo varaiyum poonkodiye’ (Idhayathil Nee), ‘Kaadhal nilave kanmani radha’ (Hello Mr. Zamindar), ‘Netru varai nee yaaro’ (Vaazhkai Padagu), ‘Nilavukku en mel’ (Policekaran Magal), ‘Kan padume’ & ‘Thullithirindha’ (Kaathirundha Kangal), ‘Mouname paarvaiyaai’ (Kodimalar), ‘Yen sirithaai ennaipaarthu’ (Ponni Thirunaal) and ‘Unnazhagai kandukondaal’ (Poovunm Pottum), PBS stamped his tantalizing timbre all over them. His duets with Suseela such as ‘Yaar yaar yaar’ (Paasa Malar), ‘Rojamalare rajakumari’ (Veera Thirumagan), ‘Anubavam Pudhumai’ (Kaathalikka Neramillai), ‘Oruthi oruvanai’ (Saradha), ‘Anbu manam kanindhapinne’ (Aalukkoru Veedu), ‘Ennaithottu sendrana’ (Paar Magale Paar), ‘Nee pogum idamellaam’ (Idhaya Kamalam), ‘Kaatru vandhaal thalai saaiyum’ (Kaathirundha Kangal), ‘Naan unnai serndha’ (Kalaikkoyil), ‘Odivathu pol’ (Idhayathil Nee) are all legendary and have earned a hallowed place in the annals of Tamil film music history. Even a mythological like ‘Veera Abhimanyu’ had 4 dazzling PBS- Suseela duets of diverse delights- ‘Velum villum’, ‘Povom pudhu ulagam’, the Sahana sensation ‘Paarthen sirithen’ and my favorite- the mesmerizing ‘Neeyum oru pennaanaal’.
His duets with Janaki had a special place in PBS’ heart, easy to understand why- ‘Pon enben’, ‘Indha mandrathil odi varum’, ‘Aandrondru ponaal’ (Policekaran Magal), ‘Oh mambazhathu vandu’, ‘Endhan paruvathin kelvikku’, (Sumaithaangi), ‘Poojaikku vandha malare’ (Paatha Kaanikkai), ‘Chithirame nilladi’ (Vennira Aadai), ‘Azhagukkum malarukkum’ (Nenjam Marapathillai), ‘Paadatha paatellam’ (Veerathirumagan), ‘Podhigai malai uchiyile’ (Thiruvilayaadal), ‘Maalaiyum iravum’ (Paasam), ‘Andharangam naan ariven’ (Ganga Gowri) are all surely the stuff dreams are made of. Janaki’s first ever Tamil film song to be released- ‘Kannukku nere’ (Magadalanaattu Mary/1957) was a duet with PBS.
His songs with the other female singers of his time, ‘Kaniyo paago karkando’ (Karpukkarasi) with M.L.Vasanthakumari, ‘Yedhukko indraanandham’(Sathiyavan Savithri) with S.Varalakshmi, ‘Gamagamavena’ (Samayasanjeevi) with Jikki, ‘Kanni paruvam aval’ (Indira En Selvam) with Soolamangalam Rajalakshmi, ‘Inbam kondaadum maalai’ (Indira En Selvam) with K.Rani, ‘Ondru serndha anbu maaruma’ (Makkalai Petra Maharasi) with Sarojini, ‘Aadhi manithan kaadhalukku pin’ (Bale Pandiya), ‘Parakkum paravaigal neeye’ (Kavitha) and ‘Padikka vendum’ (Thaayillapillai) with Jamunarani, ‘Kannirendum minna minna’ (Aandavan Kattalai), ‘Neeye sollu’(Kumarippen), ‘Raja raja sri rajan’, ‘yaarodum pesakkoodaathu’ (Ooty Varai Uravu), ‘Malarai parithaai’ (Senkamala Theevu) and ‘Sandhippoma’ (Chithi) with L.R.Eswari are no less in their appeal...PBS croons, cajoles, woos and wins! Much later the magic was still intact when he sang ‘Maalai mayanginaal’ with the young S.P.Shailaja (Inikkum Ilamai/1979).
Philosophical lines tinged with pathos have been brought to evocative life by PBS and such poignant numbers hold a place of pride in his portfolio. ‘Nilave ennidam nerungaathe’ (Ramu) stands timeless testimony to this. Has melancholy ever sounded more mellifluous? The lines laced with listless lament are sculpted to a perfect melody by MSV, and when rendered by PBS, serendipity happens and the composition attains the hues of an immortal Ghazal. Janaki once said that none other than PBS could have done justice to this song. Suseela is said to have waited patiently to listen to PBS render this song in a concert before rushing to catch a flight. SPB chose this song to sing when he was summoned for a voice test by MSV. Suffice to say; even if PBS had sung just this one song, he would have still been enshrined for posterity. Generations of aspiring singers would continue to speak of this song with awe. Then, of course, there are the other unforgettable ones such as ‘Ninaipathellam nadanthuvittaal’ (Nenjil Or Aalayam), ‘Mayakkama Kalakkama’ (Sumaithaangi), ‘Yaar sirithaal enna’ (Idhayathil Nee), ‘Kangale kangale’, ‘Chinnachinna kannanukku’ (Vaazhkkai Padagu), ‘Avan allaal’ (Premapasam), ‘Nenjam alaimothave’ (Manamaalai), ‘Poi sonnaare’ (Kadavulai Kanden), ‘Udalukku uyir kaaval’ (Manapandhal), ‘Thedidudhe vaanaminge’ (Uthami Petra Rathinam), ‘Puriyaadhu puriyaadhu (Aadi Prukku)’, ‘Sirippu paadhi’ (Enga Veettu Pen)…
In the rarer jaunty, ebullient numbers that came his way, PBS has made merry. Hark at his endearing mischief in ‘Vaadatha pushpame’ that progresses to ‘Vanithaamaniye’ (Adutha Veettu Pen), ‘Ungal ponnaana kaigal’, ‘Maadi mele maadi katti’(Kaathalikka Neramillai), ‘Jaavrejaa’ (Kumarippen), ‘Kaadhal enbathu edhuvarai’ (Paatha Kaanikkai), ‘Kanni venduma’ (Pachai Vilakku) ‘Kaalam seitha komaalithanithil’ (Padithaal Mattum Podhuma), ‘One day one way’ (Nee), ‘Tikki dikki’ (Yaar Nee) and ‘Podhum sarithaan Mister (Punar Jenmam)’ and you’ll be left wondering why this fun facet of PBS was not exploited further. I particularly like his duets with TMS- ‘Pon ondru kanden’, ‘Nallavan enakku naane’(Padithaal Mattum Podhuma), ‘Kavalaigal kidakkattum’ (Bandha Paasam), ‘Aval parandhu ponaale’ (Paar Magale Paar), ‘Vaazhndhu paarkkavendum’ (Shanthi), ‘Paadinaal oru paattu’ (Oru Thaai Makkal), ‘Ulagin mudhal isai’ (Thavapudhalvan)- each one of them show the 2 singers at their best, the vibrant majesty of TMS is complemented so soothingly by the honeyed elegance of PBS. PBS more than held his own when called to join TMS & Seergazhi Govindararajan in songs such as ‘Aarodum mannil’ (Pazhani) and ‘Devan vandhaan’ (Kuzhaidaikkaaga). He rendered along with Trichy Loganathan, TMS & Seergazhi Govindararajan the stirring ‘Aayiram karangal neetti’ in the magnum opus Karnan. The movie also had the famous ‘Enna kodupaan’ by PBS. PBS bequeathed his unique value additions to even dubbed compositions such as ‘Nammaasai endranal roja’ (Jimbo), ‘Engum ragavan irupaane’ (Hanuman Paathaala Vijayam) and ‘Kothai un meni’ (Mayamani).
Quite inexplicably, even when his voice was as arresting as ever, PBS found fewer opportunities in Tamil coming his way in the later years of the 60s. Some significant songs that he sang in the later years include ‘Kalla paarvai’ (Engalukkum Kaalam Varum/1967), ‘Thamarai kannangal’ (Ethirneechal/1968), ‘Engengum un vannam’ (Kannamma/1972), ‘Naan chinnanchirupillai’ (Naan Avanillai/1974) and ‘Anbu vadivaaga nindraai’ (Swami Iyappan/1975). His lone song for Ilaiyaraja was ‘Thendrale nee pesu’ (Kadavul Amaitha Medai/1979). His only Tamil duet with Vani Jairam was ‘Oru paarvai podhum’ (Vadaimaalai/1982). Abhavanan and Manoj-Gyan brought PBS back into the limelight when they got him to render the inspiring ‘Tholvi nilayena ninaithaal’ (Oomai Vizhigal/1986). The same year, PBS joined TMS & Malaysia Vasudevan to sing ‘Neeyaa Paanchaali’ under the music of Sampath-Selvam for the unreleased Adimai Vilangu. Composer Vidyasagar invited PBS to grace his first ever movie Poomanam (1989), and PBS sang the ruminative ‘Sila neram’. In recent years, current generation composers like Yuvan Shankar Raja and G.V.Prakash got PBS to sing ‘Indhu enna maatram’ (7G Rainbow Colony/2004) and ‘Nellaadiya’’ (Aayirathil Oruvan/2010).
Whenever I asked PBS about the sudden decline in his songs from the late 60s, he would merely smile and dash his finger across his forehead as though to indicate ‘destiny’. He could never be bitter; instead he preferred to reminisce on the earlier years when he had held sway. He was thoroughly gracious and embodied old-world courtesy. Down to earth and friendly, he also revealed an impish sense of humour. The amusing anecdotes that he used to narrate with a twinkle in his eyes invariably had me in helpless splits. Our long, leisurely conversations were filled with his recollections of songs of bygone times and the stalwart singers and composers he had worked with. His eyes would light up with childlike excitement whenever I mentioned some long-forgotten song of his.
Humility was another virtue that he had to a fault- express your appreciation for any of his songs, and he would direct the credit to either the composer or his co-singer. Thus when you praised him for the graceful rendition of the intricately crafted ‘Idhuve vaazhvil aanandame’ (Mangaiyar Ullam Mangatha Selvam), he would shower encomiums on composer Aadi Narayana Rao. When you shook his hands for ‘Pon enben’ (Policekaran Magal) he would exclaim that while even with a bass voice he had found the low-pitched composition challenging, the Soprano Janaki achieved the impossible by singing the lines with beguiling ease. If you congratulated him for his rollicking yodeling in ‘Padhumaithaano’ (Koodivaazhnthaal Kodi Nanmai), he would salute the memory of composer Chalapathi Rao. If you spoke to him about the captivating ‘Naalaam naalaam’ (Kaathalikka Neramillai) or the resounding ‘Avan porukku ponaan’ (Vaazhkkai Vazhvatharke), he would ask you to pay special attention to the sweetness in Suseela’s voice. If you reminded him of the whispery ‘Pannodu pirandhadhu’(Vidivelli), he would wax eloquent on the prodigious talents of A.M.Raja. An allusion to the classic ‘Poonthendral isaipaada’ (Thaayin Karunai) would lead to PBS expressing his gratitude to G.K.Venkatesh. When you went into raptures over the undercurrent of despair shading the serene tranquility that graced ‘Iravin madiyil’ (Sarasa B.A.), PBS would rue over Veda’s talents that went untapped. If you talked about the angst and yearning that filled his ‘Devi sridevi’ (Devi), he would pay obeisance to the venerable Dakshinamoorthy Swami.
A mention of the haunting ‘Thennankeetru oonjalile’ (Paadhai Thriyudhu Paar) would invariably elicit PBS’ admiration for the great M.B.Sreenivasan. If you hummed the opening lines of the bewitching ‘Malarodu vilayaadum’(Deivabalam), PBS would express regret that composer Aswathama did not get the recognition he deserved. If you commended him for the emphasis he brought to the meaningful ‘Endha oor endravale’ (Kaattu Roja), he would place the credit wholly on Kannadasan. When you spoke of that wondrous ‘Iravu mudindhuvidum’ (Anbukarangal), PBS would speak of the esteemed Sudarsanam. If you reminded him of the lovely duet ‘Kungumam pirandhadhu marathila’ (Paatondru Ketten), he would heap praise upon Chitalkar Ramachandra. When you commended him for his debonair delineation in ‘Engeyo paartha mugam’ (Nil Gavani Kaadhali), he would express admiration for L.R.Eswari’s humming that accompanied his lines. If you became effusive while recalling the subtle nuances that enhanced his rendering of Bharathiar’s lines in ‘Kaatru veliyidai kannamma’ (Kappalottiya Thamizhan), PBS would point to the genius of the great G.Ramanathan. And if you talked to PBS about the enthralling ‘Azhagaana malare’(Thendral Veesum) or the operatic ‘Kanavil nadandhor’ (Anubhavam Pudhumai), he would raise his hands in reverence for MSV’s majestic talents.
‘When are you coming back?’ he asked me when I rose to take leave from him in New Woodlands in August 2012. ‘Next August’ I said. ‘I’ll be here!’ he averred with his winsome smile and firm handshake. That is one promise he could not keep. I have with me a handwritten card with an adjective for each letter of my name that PBS gifted to me when I mentioned at one of our meetings that it happened to be my birthday. And, of course, I have his songs- priceless lifelong keepsakes….and enduring memories of the Man and his Music….Nenjam Marapathillai….
Friday, January 15, 2010
Wednesday, January 13, 2010
AYYE METHA KADINAM - NANDANAR
PUNNAGAVARALI, NADHANAMAKRIYA, BRINDAVANA SARANGA, SENJURUTI.
Ayye metha kadinam
By
Gopalakrishna Bharathi
Translated by
P.R.Ramachander
Ragam Punnagavarali
Thalam Aadhi
(This song is the reply given by NandanAr to his landlord when the latter, recognizing the great devotion of NandanAr, asks him to teach the secret of attaining Godhead. It is extremely complex and on my request Sri Lakshman Ragde sent me its meaning. I tried to understand it by reading what Sri Lakshman wrote and this is the result. I am also giving the meaning sent by sri Ragde from rasikas.org below my translation. Millions of thanks to Sri Lakshman Ragde . May God bless him.)
Pallavi
Ayye metha kadinam , umakku adimai , ayye metha kadinam
Anupallavi
Poyyatha Ponnambalthu ayya irukkumidam,
Naiyantha manitharkku uyyathu kandu kollum
Charanam
1.Balakrishnan paninthidum seela guru Chidambaram,
Mele vaitha vasayale kalan athru povadendru,
Chathiram nalla kshethiram , sar pathiram,
Jnana nethiram kondu, vasiyale .
Moolakanal vazhiye chuzhandru vara
Pujai panni paninthuttu , Mashara kundaliyai vittu
Aattume, manam moottume , melottume , vazhi kattume, indha,
Manabhimanam vittu thanagi ninravarkku ,
Senathipathi pola jnanathipathiyundu
2.Parume, katti karume , ulle cherume, athu porume, ange,
Sangai arave nindru, pongi varum palundu,
Angam ilaipari kondu , thanga bommai polave,
Nillume , yethum chollume , jnanam chollume, yadhum vellume, indha,
3.Attangam panninalum , nettangu panniyathu ,
Kittathu, kitti vara ottathu , muttiyathu,
Payum munai theyume , athu oyume, ulle thoyume, veda,
Manthirathile pottu yendirathile parru nee,
Thanthirahileyum illai , anthathile ava,
Daname , athu daname , bala veename , pesaa moname, antha
4.Muppazhum thandi vandhu , appale nindravarkk ,
Ipparvai kidayathu , appal thiru nadanam,
Aaduvaar, thalam poduvaar , anbar kooduvaar, isai paduvaar, ithaikk,
Kandarum kidayathu , vindarum chonnathillai ,
Andanda kodiyellam monray chamainthirukkum ,
Allavo parayan chollavo, ange chellavo. Neram aguthallavo
English translation
Pallavi
Sire , it is very difficult, I am but your slave,
It is very difficult for me to explain
Anupallavi
The place which the unfailing lord of the golden temple lives,
Can be easily understood by those humans who are strong.
Charanam
1.The religious books say that the fear of God of death,
Is not there , due the salutation with devotion that Balakrishnan does,
To the most holy teacher of Chidambaram,
Due to the fact that it is a great temple and he being a good receiver.
If one sees Him by his inner eye of wisdom through the arch surrounding the God,
By the path of primeval fire which surrounds it,
And worship Him and bow to Him , and leaves away the baser instincts,
Which are in his Kundali, which will shake him and also surround him like a cloud,
He would leave his pride and dignity and stand firmly,
And he would become a captain of wisdom like a commander in chief.
2.Understand this , protect this truth , assimilate it within yourself , that is all that is sufficient,
All your doubts will then vanish and by drinking the ebbing milk of understanding,
All your body and mind would get relaxed and you would stand like a golden doll,
You will start understanding everything , become wise and be a victor over everything.
3.Even if you undergo great strain by yogic methods , it would go away ,
It Would not be available , would not allow you near it,
And whatever little that touches you would make the mind blunt,
It would get exhausted and would disappear within you,
You would neither get it by recitation of Vedic chants,
Nor would you be able to get it through Yanthras,
Not even by thanthric practices and in the end ,
All achievements would be of no use ,
And it Would become your weakness and be a useless silence.
4.To those who stand outside crossing the three useless divisions of life,
This vision is not there for he would dance , keep rhythm by beats ,
Audiences will gather and would sing songs ,
There are no one who have seen this, and those have felt have not revealed it,
And there all crores of universes would have joined together.
Should this be told to you by one belonging to a debased caste.
Sir, the time is getting late, shall I go there.
Meaning of the song as given in rasikas.org
P: Oh, my master, it is very difficult. I am your slave, and it is very difficult for me to explain.
A: The presence of the all-pervasive, and unfailing Lord of the golden hall can be understood by ( and obvious to) those who have a strong devotion. (naiyAda manidar= those who are not weak)
C1: Balakrishnan (GKB's mudra) loves the supreme lord of Cidambaram. Because of that love there is no fear of death (kAlan=agent of death, yaman). That is the general dictum. Cidambaram is a great place and a fitting one at that. If one uses the eye of wisdom (jnAna nEtram) the image of the Lord with the scorching flame (around the arch; vAsi= ornamental arch over the idol) will manifest itself and if you worship Him, the kuNDali (the mystic circle in the interior of the underbelly??) will enhance your standing and show the path to salvation. When one renounces pride/dignity and material attachment to people and things (mAnAbhimAnam) then they will attain superior status.
C2: You please hold on to such truth. Then it will blend with you and that is enough. Then all your doubts/fears (sangai) will disappear. Consuming such milk (of worship) your bodily fatigue will disappear and the body will become like a golden doll (tanga bommai). That will confer you the required wisdom which can conquer everything.
C3: Even if one uses all his intelligence and resources at his disposal one may not attain godhead. All such efforts may only go to waste. One may not get it through recital of mandrams and the utilization of crafty strategies. Any achievement (avadAnam) is only abortive (not consummated). It is just a weakness. Even if one crossed all the three divisions (in life) of ethics, riches, and love one may not visualize the Lord. He dances, He keeps the rhythm, His devotees gather and sing. Nobody has seen such an occurrence (kaNDArum kiDiyAdu) and those who dissected (viNDAr) all this have not told others. It is all one enormous conglomerate. Should I, a lowly creature, explain this to you? Shall I go there (to Cidambaram), it is getting late.
That is the essence (perhaps vastly deficient in translation) of what nandan tells his landlord. Basically he tells the landlord it is difficult to explain devotion and one has to experience it internally. And then he seeks the permission of the vEdiyar to go to Cidambaram (which has been on his mind for a long time).
A: The presence of the all-pervasive, and unfailing Lord of the golden hall can be understood by ( and obvious to) those who have a strong devotion. (naiyAda manidar= those who are not weak)
C1: Balakrishnan (GKB's mudra) loves the supreme lord of Cidambaram. Because of that love there is no fear of death (kAlan=agent of death, yaman). That is the general dictum. Cidambaram is a great place and a fitting one at that. If one uses the eye of wisdom (jnAna nEtram) the image of the Lord with the scorching flame (around the arch; vAsi= ornamental arch over the idol) will manifest itself and if you worship Him, the kuNDali (the mystic circle in the interior of the underbelly??) will enhance your standing and show the path to salvation. When one renounces pride/dignity and material attachment to people and things (mAnAbhimAnam) then they will attain superior status.
C2: You please hold on to such truth. Then it will blend with you and that is enough. Then all your doubts/fears (sangai) will disappear. Consuming such milk (of worship) your bodily fatigue will disappear and the body will become like a golden doll (tanga bommai). That will confer you the required wisdom which can conquer everything.
C3: Even if one uses all his intelligence and resources at his disposal one may not attain godhead. All such efforts may only go to waste. One may not get it through recital of mandrams and the utilization of crafty strategies. Any achievement (avadAnam) is only abortive (not consummated). It is just a weakness. Even if one crossed all the three divisions (in life) of ethics, riches, and love one may not visualize the Lord. He dances, He keeps the rhythm, His devotees gather and sing. Nobody has seen such an occurrence (kaNDArum kiDiyAdu) and those who dissected (viNDAr) all this have not told others. It is all one enormous conglomerate. Should I, a lowly creature, explain this to you? Shall I go there (to Cidambaram), it is getting late.
That is the essence (perhaps vastly deficient in translation) of what nandan tells his landlord. Basically he tells the landlord it is difficult to explain devotion and one has to experience it internally. And then he seeks the permission of the vEdiyar to go to Cidambaram (which has been on his mind for a long time).
Subscribe to:
Posts (Atom)