Sunday, November 27, 2011

NEELI MAGAN NEE ALLAVO - MALAI KALLAN



http://en.wikipedia.org/wiki/Malaikkallan


Malaikallan 1954
M. G. Ramachandran, P. Bhanumathi, M. G. Chakrapani, T. S. Durairaj, Sriram, D. Balasubramaniam, P. S. Gnanam, E. R. Sahadevan and Sai-Subbulakshmi (dance)


runaway hit Malaikallan
The crowning glory of the Coimbatore movie mogul S. M. Sriramulu Naidu's career was Malaikallan (1954). The film established M. G. Ramachandran as a box office hero. Besides Tamil, Naidu forged ahead to produce and direct Malaikallan in Telugu ( Aggi Ramudu), Malayalam ( Taskara Veeran), Kannada ( Bettadha Kalla), Hindi ( Azad) and Sinhala ( Soorasena).

The Hindi version Azad (the first film of Dilip Kumar as a swashbuckling hero, cast opposite Meena Kumari) proved a raving hit! (Years later, Naidu told this writer that he had dreams of making it in English but wiser counsel prevailed to his benefit!)

Malaikallan was written by the famous Tamil scholar and poet Namakkal Ramalingam Pillai, inspired by “Mark of Zorro” and “Robin Hood.” The screenplay and dialogue were by Mu. Karunanidhi. S. M. Subbaiah Naidu scored the music, while the lyrics were penned by Namakkal Ramalingam Pillai and Thanjai Ramaiah Das. Bhanumathi played the female lead well supported by D. Balasubramaniam, M. G. Chakrapani, T. S. Durairaj and P. S. Gnanam. The film won a Central Government award. The music also contributed to its success, with one of the songs, a satire on social conditions, ‘Ethanai kaalam thaan ematruvaar indha naatiley', becoming a hit. This song rendered off-screen by T. M. Soundararajan and filmed on MGR riding a horse set the trend for many future MGR movies which had similar thematic songs sung by TMS.

All the versions of Malaikallan were box office hits and the best of them was Azad, the Hindi version. This film broke all box office records and proved to be a moneyspinner. Naidu was a no-nonsense person who never tolerated indiscipline and believed in calling a spade a spade. While launching Azad (1955), he approached Dilip to play the lead. 

The tragedy king of Hindi Cinema was amused that a Tamil film producer based in Coimbatore, whom he had never heard of before, should have come all the way to Bombay to engage him to play a swashbuckling role in his first Hindi film production! Naidu, who would never take ‘no' for an answer, persuaded Dilip to work in the Hindi version. He also brought on board Meena Kumari which proved to be one of the memorable movies of Hindi Cinema. During that period, there were no star-hotels in Coimbatore, and Naidu took Dilip around many bungalows in the city and the rooms in Pakshiraja Studios. Dilip chose to stay in the studio and so did Meena Kumari — something incredible today.

The pleasing music score by C. Ramchandra was also a major attraction with lyrics by Rajendra Krishan. Songs such as ‘Radha na bole re', ‘Apalam chapalam' and ‘Kitna haseen hai mausam' were hits. Naidu used some of these tunes in some versions of the film.

Not many are aware that the multi-talented Tamil filmmaker A. P. Nagarajan was cast as a police inspector wearing a turban and all. However, after shooting some scenes with him, Naidu for some reason chose to replace him with M. G. Chakrapani.

Even after half a century and more, Malaikallan, one of the most memorable movies of Tamil Cinema, sustains interest and is often revived on television.

Remembered for: the popular storyline, tuneful music, excellent onscreen narration, and good performances by MGR and Bhanumathi.

RANDOR GUY

Monday, November 21, 2011

MADURAI ARASALUM MEENAKSHI - THIRUMALAI THENKUMARI

Saturday, November 19, 2011

SABARI MALAIYIL - SWAMY AYYAPPAN - TAMIL







சபரி மலையில் வண்ணச் சந்திரோதயம் 
தர்ம சாஸ்தாவின் சந்நிதியில் அபிஷேகம் 
கோடிக் கண் தேடி வரும் ஐயப்பனை 
நாமும் கும்பிட்டு பாடுகின்றோம் என்னப்பனை 

பாலெனச் சொல்லுவது உடலாகும் அதில்
தயிரெனக் கண்டது எங்கள் மனமாகும்
வெண்ணை திரண்டதுந்தன் அருளாகும் இந்த
நெய்யபிஷேகம் எங்கள் அன்பாகும் 

ஏழுகடல் உனதாட்சியிலே வரும் ஐயப்பா இந்த 
ஏழுலகும்  உந்தன்  காட்சியிலே வரும் ஐயப்பா 
ஐயப்பா நீ தான் மெய்யப்பா ஐயப்பா நீ தான் மெய்யப்பா 

வாசமுடைய பன்னீர் அபிஷேகம் எங்கள்
மனதில் எழுந்த அன்பால் அபிஷேகம் 
இனிய பஞ்சாம்ருதத்தில் அபிஷேகம் அதில்
இன்பத்தைக் கூட்டுதையா உன் தேகம் 

ஏழுகடல் உனதாட்சியிலே வரும் ஐயப்பா இந்த 
ஏழுலகும்  உந்தன்  காட்சியிலே வரும் ஐயப்பா 
ஐயப்பா நீ தான் மெய்யப்பா ஐயப்பா நீ தான் மெய்யப்பா 

உள்ளத்தில் வெண்ணை தன்னை கையிலெடுத்து அதில் 
உன் பெயரைக்  குழைத்து நெற்றியில் இட்டு 
உருகும் விபூதியினால் அபிஷேகம் ஹரி ஓம் 
என்று  சந்தனத்தில்  அபிஷேகம் 

ஏழுகடல் உனதாட்சியிலே வரும் ஐயப்பா இந்த 
ஏழுலகும்  உந்தன்  காட்சியிலே வரும் ஐயப்பா 
ஐயப்பா நீ தான் மெய்யப்பா ஐயப்பா நீ தான் மெய்யப்பா 

சபரி மலையில் வண்ணச் சந்திரோதயம் 
தர்ம சாஸ்தாவின் சந்நிதியில் அபிஷேகம் 
கோடிக் கண் தேடி வரும் ஐயப்பனை 
நாமும் கும்பிட்டு பாடுகின்றோம் என்னப்பனை 

ஐயப்பா நீ தான் மெய்யப்பா ஐயப்பா நீ தான் மெய்யப்பா ஐயப்பா நீ தான் மெய்யப்பா 

HARIVARASANAM VISWAMOHANAM - SWAMI AYYAPPAN 1975

HARIVARASANAM VISWAMOHANAM - KJY



Harivarasanam Viswamohanam
Haridadhiswaram Aaradhyapadhukam
Arivimardhanam Nithyanarthanam
Hariharatmajam Devamashreye

Saranam Ayyappa Swamy Saranam Ayyappa
Saranam Ayyappa Swamy Saranam Ayyappa

Saranakirtanam Bakhtamanasam
Bharanalolupam Narthanalasam
Arunabhasuram Bhoothanayakam
Hariharatmajam Devamashreye

Saranam Ayyappa Swamy Saranam Ayyappa
Saranam Ayyappa Swamy Saranam Ayyappa

Pranayasathyakam Praananayakam
Pranathakalpakam Suprabhanjitham
Pranavamanidram Keerthanapriyam
Hariharatmajam Devamashreye

Saranam Ayyappa Swamy Saranam Ayyappa
Saranam Ayyappa Swamy Saranam Ayyappa

Thuragavahanam Sundarananam
Varagadhayudham Vedavavarnitham
Gurukrupakaram Keerthanapriyam
Hariharatmajam Devamashreye

Saranam Ayyappa Swamy Saranam Ayyappa
Saranam Ayyappa Swamy Saranam Ayyappa

Tribuvanarchitam Devathathmakam
Trinayanam Prabhum Divyadeshikam
Tridashapoojitham Chinthithapradam
Hariharatmajam Devamashreye

Saranam Ayyappa Swamy Saranam Ayyappa
Saranam Ayyappa Swamy Saranam Ayyappa

Bhavabhayapaham Bhavukavaham
Bhuvanamohanam Bhoothibhooshanam
Dhavalavahanam Divyavaranam
Hariharatmajam Devamashreye

Saranam Ayyappa Swamy Saranam Ayyappa
Saranam Ayyappa Swamy Saranam Ayyappa

Kalamrudusmitham Sundarananam
Kalabhakomalam Gathramohanam
Kalabhakesari Vajivahanam
Hariharatmajam Devamashreye

Saranam Ayyappa Swamy Saranam Ayyappa
Saranam Ayyappa Swamy Saranam Ayyappa

Srithajanapriyam Chinthithapradam
Sruthivibhushanam Sadhujeevanam
Sruthimanoharam Geethalalasam
Hariharatmajam Devamashreye

Saranam Ayyappa Swamy Saranam Ayyappa
Saranam Ayyappa Swamy Saranam Ayyappa

Saturday, November 12, 2011

THILLANA - SWATHI THIRUNAL



I have heard it from others that Shri Lalgudi Jayaraman tuned the present version of this thillana.

The dancers are Eleonora Uhanova and Angelina Uhanova from Russia. They're founders and teachers of the Nataraja dance school (Rostov-on-Don,Russia)

Tuesday, November 8, 2011

BRINDAVANATHIL KANNAN VALARNDHA - MEERA




Behind the making of the classic ``Meera" are several interesting incidents. RANDOR GUY recalls some.



Ellis Dungan and M.S. at a shooting session
THE INDIAN film musical classic, "Meera" (1945) produced by Chandraprabha Cinetone and directed by Ellis R. Dungan is one of the most memorable milestone movies in the history of Indian cinema. Even after nearly sixty years this film is vividly etched in public memory, and its songs and MS as Meera, are evergreen in the minds, hearts and souls of Indians, especially in the south of Vindyas. 

With MS in the lead role, others in the cast were Chittoor V. Nagaiah as King Rana, Meera's husband, K. R. Chellam, K.Sarangapani, T. S. Balaiah, Serukalathur Sama, T. S. Durairaj, `Appa' K. Duraiswami, `Baby' Radha (MS's step-daughter, now Radha Viswanathan), `Baby' Kamala, and in a minor role, lost behind a white bushy beard, turban and all, M. G. Ramachandran! Not many are aware that the noted singing-star from Karnataka, C. Honnappa Bhagavathar was the first choice to play King Rana. On second thoughts V. Nagaiah was brought on board.

Honnappa Bhagavathar spoke to this writer about his life and career in films on audiotape during November 1990 at his residence in Bangalore, for two days in spite of his poor health and recent surgery. It was part of the Aural Film History Project in which this writer was deeply involved, for National Film Archive of India (NFAI), Pune. "I had met Sadasivam, and after discussions he told me that he would make arrangements for an advance payment and agreement, but I never heard from him again!

 I was more than surprised when I heard that Nagaiah was booked for that role. Of course I was disappointed. It is a rare honour to act with M.S., is it not?" he said in his Kannada-tinted Tamil. A Tamil film star of 1940s, he came into prominence after M. K. Thyagaraja Bhagavathar was arrested in December 1944 for his alleged involvement in the sensational Lakshmikantham Murder Case. MKT suffered a 30-month jail term, which effectively ruined his career and life. Honnappa Bhagavathar passed away some years ago.

According to the director of the film, Ellis R. Dungan, Nagaiah was his choice. "Somebody suggested P. U. Chinnappa, but I rejected him as he was uncouth and did not have the regal presence needed for that role. I recommended Nagaiah, and Randor, you will agree with me, he proved the right choice for a Rajput king!" Dungan told this writer during a long chat in Los Angeles) Lyrics were by Papanasam Sivan and Kalki, and S. V. Venkataraman was the music director. Thuraiyur Rajagopala Sarma also worked in the music department.

Musical feast
"Meera" was a musical feast with MS singing almost all the songs. Many songs became hits and the most famous of them all, "Kaatrinile Varum Geetham" (lyric-Kalki) is an immortal melody of Indian cinema. Its tune and melody were taken from a song by the famous Bengali singer, Juthika Roy, whose gramophone records were very popular in South India in those years. The original Bengali song was a favourite of Kalki's who hummed it often and not just in the bathroom! He suggested the tune to S. V. Venkataraman and the timeless, ageless song was born. Indeed, the first line became a metaphor in the Tamil language. Some critics and historians are of the firm opinion that the story of Meerabai is only a folk tale and not factually or historically true.

There was an ardent devotee of Lord Krishna named Meerabai who composed the bhajans, but she was not married to the Rajput King of Chittoor. And she was not a contemporary of Akbar the Great. No Rajput king of the days of Akbar and his favourite court musician, the celebrated Tansen, had such a queen called Meerabai. Well, that's what serious historians say...

(The incognito visit of Akbar and Tansen to listen to Meerabai's soulful music, and leaving behind as a gift, a bag of gold coins bearing the Mogul Royal Seal is a highlight of the Meerabai tale, the plays in many languages like Telugu, and also the film.) The making of the movie "Meera" is interesting and the `back story' (as they say in Hollywood) deserves to be told.The brilliant technician trained in Hollywood, Ellis R. Dungan brought in many creative, technical innovations never ever seen before in Indian cinema of that period. Dungan shot a scene that created history in south Indian film technique.

The girl Meera, (Baby Radha, MS's step-daughter), changes into the young woman, Meera (MS), and the transition is made with a melodious song sung by Baby Radha and MS, "Nanda balaa enn manaalaa..." When the changeover takes place, there is a 45-second, fast-paced musical interlude by the background orchestra as bridge as part of the song. Normally such background musical interludes are recorded along with the song in a recording studio long before the shooting of the film commences. But Dungan did not do so.

He shot the scene first and the changeover sequence consisted of a number of shots of the statue of Lord Krishna... lighted candles with flames flickering ...flowers on trays... prayer offerings.... Krishna's flute in the statue...and then a cut to a close-up of MS singing with great feeling and emotion, "Hey! Murali... Mohana..." The shots were static, and also on fast trolley in close-up. (There were no `Zoom lenses' in 1944-1945!) Dungan edited them all by himself into a rapidly cut fast-paced sequence first, and then the sadly underrated but highly talented music composer, S. V.Venkataraman scored the background music, in rhythm with the shots in a recording theatre. The impact was ecstatic and brilliant. It was the first time such a technique was used in Indian cinema. Even today this sequence is breathtaking and evokes much admiration.

S. V. Venkataraman told this writer in 1980s.... "I almost went mad scoring music for that bit! In those days we had only mono-channel recording and few mikes, not like today. I had many instruments playing, and the players were seated on the floor. Only the piano-man was given a chair. ... It was hard work and took a whole day. But the results were excellent as you can see. Only Dungan could think of such a thing. He was a wonderful man, a genius." Another experiment Dungan made in "Meera" is also unique and few have done it to this day in India.
MS is a woman of exceptional beauty and charisma radiating inner charm. To capture it all on camera and project her ethereal beauty, Dungan made an experiment with his cameraman, another movie camera wizard, Jiten Bannerjee. He had a mould made of MS's face, and took shots of it from different angles with varied patterns of lighting. The shots were cut into frames and were studied repeatedly by Dungan and Bannerjee on screen with a `slide-projector.'

The best angles and lighting patterns were selected and used in the film. Consequently, the close-ups of MS in "Meera" are captivating, evoking appreciation from even film technicians of today.(The film is in Black and White.) Other songs by MS in "Meera" are "Enadhu ullamey....," "Giridhara Gopalaa....," "Hey Harey Dayalaa...," "Maraveney yenn...," "Maraindha koondil...," "Engum niraindhaayey...." (an eternally haunting melody, it has a male voice in the beginning and that's S. V. Venkataraman singing), "Janardhanaa Jagannathaa...." and "Brindhavanathil Kannan..." (a melodious chorus with MS leading). The interior sequences of "Meera" were shot at the then famous Newtone Studio in Kilpauk, Chennai. During 1937-1950s it was a hectic hive of film production in many languages like Tamil, Telugu, Kannada, Malayalam and even Sinhala. M. K. Thyagaraja Bhagavathar was a major investor in this studio and was on its board of directors.

Others were noted film technicians of that day, F. Nagoor (well known art director and filmmaker), Jiten Bannerjee, and Dinshaw K. Tehrani (famous audiographer). All of them worked on "Meera" with Ellis R. Dungan. (Sadly this historic studio no longer exists. The Rajaji Vidyashram run by Bharathiya Vidya Bhavan, to whom the land was donated by the kind owner, functions on the site. Not a trace of the studio, not even a broken brick is seen today....)

In disguise
Dungan had an interesting experience while shooting in Dwaraka. As he was not a Hindu, he could not enter the Krishna temple. But he was the director of the film and he had to be present.
MS was keen that he should be with her. So Dungan was made up as a Kashmiri pundit with turban, beard and all, and he went in with no questions asked or eyebrows raised!
He knew a few Hindi words like `Chalo,' `Jaldi' and `Kaam Karo', which he used liberally! If he spoke with a nasal American twang Dwarakapuri-wasis did not bother! Maybe that's how Kashmiri pundits speak Hindi, they thought perhaps.

Not many are aware that "Meera" was launched in 1943, and that N. S. Krishnan and T. A. Madhuram were to have acted in it. But with NSK's arrest in December 1944, in the sensational Lakshmikantham Murder Case, he could not work in the film. Instead, T. S. Durairaj played a minor role in the film, but could create only a poor impression, and was no patch on N. S. Krishnan.

"Meera" was released on Deepavali Day in 1945. Two years later, the Hindi version came out in 1947, and with it MS became a national celebrity. The film had an on-screen introduction by the noted politician and poet, Sarojini Naidu, who described MS as `The Nightingale of India'.

The film was seen by Pandit Jawaharlal Nehru, the Mountbattens and other leaders who became her ardent fans and friends. She went on to conquer new areas around the world and became an international celebrity.
"Meera" made more than half century ago, will always live in the hearts of Indians and moviegoers everywhere. The hallmark of a classic, an immortal movie.




YAAD AAVE YAAD VE BRINDAVAN KI

http://cinemacorridor.blogspot.com/2009/12/m-s-subbulakshmis-hindi-meera-1947.html

http://en.wikipedia.org/wiki/Meera

Meera

From Wikipedia, the free encyclopedia
Meerabai
Meerabai (c. 1498 – c. 1547AD) (alternate orthographiesMeeraMiraMeera Bai) was an aristocratic Hindu mystical singer and sahajiya (apasampradaya) devotee of Lord Krishna fromRajasthan and one of the most significant figures of the Sant tradition of the Vaishnava bhakti movement. Some 1,200–1,300 prayerful songs or bhajans attributed to her are popular throughout India and have been published in several translations worldwide. In the bhakti tradition, they are in passionate praise of Lord Krishna.
An article related to
Hinduism
Om.svg
HinduSwastika.svg
Details of her life, which has been the subject of several films, are pieced together from her poetry and stories recounted by her community and are of debatable historical authenticity, particularly those that connect her with the later Tansen. On the other hand, the traditions that make her a disciple ofRavidas who disputed with Rupa Goswami are consonant with the usual account of her life.

Contents

  [hide

[edit]Biography

Meera's temple to Krishna at Chittorgarh FortRajasthan
Meera, a Rajput princess[1] was born in Kudki (Kurki), a little village near Merta City, which is presently in the Nagaur district of Rajasthan in northwest India. Her father, Ratan Singh Rathore, was a warrior of the Rathore clan, the son of RaoDuda of Merta Rao Duda was son of Rao Jodha of mandore founder of Jodhpur.
As an infant Meera became deeply enamored of an iconic idol of Krishna owned by a visiting holy man; she was inconsolable until she possessed it and probably kept it all her life. Her mother was supportive of her religious tendencies but she died early.
Meera’s marriage was arranged at an early age, traditionally to Prince Bhoj Raj, the eldest son of Rana Sanga of Chittor. However her new family did not approve of her piety and devotion when she refused to worship their family deity and maintained that she was only truly married to Krishna.
The Meera Museum in Merta City
The Rajputana had remained fiercely independent of the Delhi Sultanate, the Islamic regime that otherwise ruled Hindustanafter the conquests of Timur. But in the early 16th century AD the central Asian conqueror Babur laid claim to the Sultanate and some Rajputs supported him while others ended their lives in battle with him. Her husband's death in battle (in 1527 AD?) was only one of a series of losses Meera experienced in her twenties, including the death of her mother. She appears to have despaired of loving anything temporal and turned to the eternal, transforming her grief into a passionate spiritual devotion that inspired in her countless songs drenched with separation and longing.
Meera's devotion to Krishna was at first a private thing but at some moment it overflowed into an ecstasy that led her to dance in the streets of the city. Her brother-in-law, the new ruler of Chittorgarh, was Vikramaditya, an ill-natured youth who strongly objected to Meera's fame, her mixing with commoners and carelessness of feminine modesty. There were several attempts to poison her.[2] Her sister-in-law Udabai is said to have spread defamatory gossip.
At some time Meera declared herself a disciple of the guru Ravidas[3] ("guru miliyaa raidasjee") and left for the centre of Krishnaism,Vrindavan. She considered herself to be a reborn gopi, Lalita, mad with love for Krishna. Folklore informs us of a particular incident where she expressed her desire to engage in a discussion about spiritual matters with Rupa Goswami, a direct disciple of Chaitanya and one of the foremost saint of Vrindavan that time who, being a renunciate celibate, refused to meet a woman. Meera replied that the only true man (purusha) in this universe is Lord Krishna. She continued her pilgrimage, "danced from one village to another village, almost covering the whole north of India".[4] One story has her appearing in the company of Kabir in Kashi, once again causing affront to social mores. She seems to have spent her last years as a pilgrim in DwarkaGujarat. It is said that Mirabai disappeared into the Dwarkashish Murti (Image of Lord Krishna) in front of a full audience of onlookers.


Tuesday, November 1, 2011

RAMA BHAKTHI SAMRAJYAM - NEYVELI SANTHANAGOPALAN


rAma bhakti-SuddhabangALa

In the kRti ‘rAma bhakti sAmrAjyaM’ – rAga Suddha bangALa – SrI tyAgarAja describes the ecstasy he experiences. This song is addressed to his mind.

P rAma bhakti sAmrAjyam(E)
mAnavulak(a)bbEnO manasA

A A mAnavula sandarSanam-
(a)tyanta 1brahmAnandamE (rAma)

C 2IlAg(a)ni vivarimpa lEnu
cAla sv(A)nubhava vEdyamE
lIlA sRshTa jaga(t)rayam(a)nE
kOlAhala tyAgarAja nutuDagu (rAma)

Gist
O my mind!
By whomsoever was attained the empire of devotion to SrI rAma - praised by this tyAgarAja - who projected sportingly the tumult called the three Worlds!

Even beholding those persons, is an intense Supreme bliss.

I am unable to describe it (the empire of devotion) to be of such and such nature; it is knowable only through self experience.

Word-by-word Meaning

P O my mind (manasA)! By whomsoever (E mAnavulaku) was attained (abbEnO) (mAnavulakabbenO) the empire (sAmrAjyamu) (sAmrAjyamE) of devotion (bhakti) to SrI rAma!

A Even beholding (sandarSanamu) those (A) persons (mAnavula), is an intense (atyanta) (sandarSanamatyanta) Supreme bliss (brahmAnandamu) (brahmAnandamE);
O my mind! by whomsoever was attained the empire of devotion to SrI rAma!

C I am unable to (lEnu) describe (vivarimpa) it (the empire of devotion) to be (ani) of such and such nature (I lAgu) (I lAgani);
it is knowable (vEdyamE) only (cAla) (literally much) through self (sva) experience (anubhava) (svAnubhava);
O my mind! by whomsoever was attained empire of devotion to SrI rAma – Lord praised (nutuDagu) by this tyAgarAja -
who projected (sRshTa) sportingly (lIlA) the tumult (kOlAhala) called (anE) the three (trayamu) Worlds (jagat) (jagatrayamanE)!

Notes –
Variations -
1 – brahmAnandamE - brahmAnandamE manasA.

References –

Comments -
2 – IlAgani vivarimpa lEnu – I am unable to describe 'it' to be of such and such nature. In the books, 'it' has been attributed to the 'bliss' (brahmAnandamu) mentioned in anupallavi. If beholding those people who have attained the empire (sAmrAjyamu) is supreme bliss (brahmAnandamu), then, the empire (sAmrAjyamu) itself should be of greater bliss. Therefore, the caraNa 'IlAgani' refers to the said empire (sAmrAjyamu). The thrust of the kRti is not about beholding those who have attained the empire, but attaining the empire itself. That is what SrI tyAgarAja amplifies in caraNa as 'knowable only through self experience (cAla svAnubhava vEdyamE).

http://thyagaraja-vaibhavam.blogspot.com/2007/10/thyagaraja-kriti-rama-bhakti-raga.html