Presented in this BLOG are some movie songs composed in the same RAGA, which will help getting an idea of how a raga sounds. It is aimed at providing an introduction to CARNATIC MUSIC.
Showing posts with label SINDHU BHAIRAVI. Show all posts
Showing posts with label SINDHU BHAIRAVI. Show all posts
T.R. Mahalingam, E.V. Saroja, Anjali Devi, M.R. Radha, Lakshmiprabha, K.D. Santhanam, Manorama, A. Karunanidhi, S. Ramarao, Seethalakshmi, Kamakshi, Pakkirisami, T.R. Radharani and Kamala
The story was an adaptation of the Tamil novelGhaleer Ghaleer written by LRV. The screenplay was by Era. Shanmugham, with dialogue by Viruthai Ramaswami, ‘Murasoli’ K. Sornam (later a successful dialogue writer for MGR) and Guruswami.
Majestic Studios produced the film with the backing of Muthukumarappa Reddiar, who owned the studio, which was active in those decades. It was later acquired by K.S. Gopalakrishnan who changed its name to Karpagam Studios. Indrani Films presented the film.
The hero, (Mahalingam), a rich landowner known as ‘mittadar’ dedicates his life to the fine arts — such as music, dancing, painting, and sculpting. While on a Nature study on the hills, the hero is involved in an accident caused by a granite explosion. Injured, he seeks refuge in the hut of a street-smart dancer (E.V. Saroja) who lives alone, holding her own against men. Unaware of his identity, she attends to his injuries, and both fall in love. After he recovers, the hero leaves for his home where he meets his dancer-cousin (Anjali Devi). Her father (Santhanam) becomes insolvent and is to be imprisoned for the non-payment of debts. So he seeks refuge in his sister’s house (Lakshmiprabha), the hero’s widowed mother.
Meanwhile, another of the hero’s uncle (M.R. Radha) sets his eyes on the hero’s estate and the dancer-cousin. She escapes the villainous uncle and meets the street dancer. The two women become friends. Realising that the street dancer is in love with the man she herself is in love with, the cousin decides to sacrifice her love. She pretends to agree to marry the villainous uncle, but at the wedding, she consumes poison and collapses at the end, doing what she does best — dancing.
True to its title, this film had quite a few dances performed singly and together by Saroja and Anjali Devi (choreography by P.S. Gopalakrishnan).
Music by maestro K.V. Mahadevan was a major plus for the film and many songs became popular. One of them, ‘Sottunu Sottunu…’, a duet (lyrics by A. Marudhakasi in the voices of Mahalingam and P. Susheela) filmed on the hero and the street dancer in her hut leaking in the rain became a super hit.
Mahalingam gave a good performance, singing in his usual style while Saroja drew attention with her dancing talent. Anjali Devi was her usual self, and her performance as the woman who gives up her love was touchingly impressive. M.R. Radha played the characteristic on-screen villain in his inimitable style, voice and dialogue delivery, punctuated with humour and satire. The film did fairly well at the box-office.
Remembered For The performances of the lead actors and the melodious music.
சொட்டு சொட்டுன்னு சொட்டுது பாரு இங்கே - மழை கொட்டு கொட்டுன்னு கொட்டுது பாரு அங்கே சொட்டு சொட்டுன்னு சொட்டுது பாரு இங்கே - மழை கொட்டு கொட்டுன்னு கொட்டுது பாரு அங்கே சொட்டு சொட்டுன்னு சொட்டுது பாரு இங்கே
கஷ்டப்படும் ஏழை சிந்தும் நெற்றி வேர்வை போலே கஷ்டப்படும் ஏழை சிந்தும் நெற்றி வேர்வை போலே - அவன் கஞ்சிக்காகக் கலங்கிவிடும் கண்ணீர்த் துளியைப் போலே - அவன் கஞ்சிக்காகக் கலங்கிவிடும் கண்ணீர்த் துளியைப் போலே
சொட்டு சொட்டுன்னு சொட்டுது பாரு இங்கே - மழை கொட்டு கொட்டுன்னு கொட்டுது பாரு அங்கே சொட்டு சொட்டுன்னு சொட்டுது பாரு இங்கே
முட்டாப் பயலே மூளை இருக்கா ஆஹஹ்ஹாங் முட்டாப் பயலே மூளை இருக்கா என்று ஏழை மேலே துட்டு படைச்ச சீமான் அள்ளிக் கொட்டுற வார்த்தை போலே முட்டாப் பயலே மூளை இருக்கா என்று ஏழை மேலே துட்டு படைச்ச சீமான் அள்ளிக் கொட்டுற வார்த்தை போலே - மழை கொட்டு கொட்டுன்னு கொட்டுது பாரு அங்கே சொட்டு சொட்டுன்னு சொட்டுது பாரு இங்கே
முழுக்க முழுக்க நனைஞ்ச பின்னே முக்காடு எதுக்கு? முழுக்க முழுக்க நனைஞ்ச பின்னே முக்காடு எதுக்கு? - உன் முக்காட்டை நீக்கு தலை ஈரத்தைப் போக்கு இருக்க எடம் கொடுத்தா என்னையே நீ தாக்குறே இருக்க எடம் கொடுத்தா என்னையே நீ தாக்குறே குறுக்கு மூளை பாயுறே கோண புத்தியைக் காட்டுறே - மழை கொட்டு கொட்டுன்னு கொட்டுது பாரு அங்கே சொட்டு சொட்டுன்னு சொட்டுது பாரு இங்கே
இகபர சுகமெல்லாம் அடைந்திடலாமே இந்த கதை கேட்கும் எல்லோருமே இனிக்குது நாவெல்லாம் உரைத்திடும்போதிலே (2) இணையே இல்லாத காவியமாகும்..(ஜெகம் புகழும்)
அயோத்தி மன்னன் தசரதனின் அருந்தவத்தால் அவன் மனைவி கெளசல்யா, கைகேயி, சுமித்திரை கருவினிலே உருவானார் ராமர், லஷ்மணர் கனிவுள்ள பரதன், சத்ருக்னர் நால்வர்..
நாட்டினர் போற்றவே நால்வரும் பலகலை ஆற்றலும் அடைய மன்னன் வளர்த்து வந்தாரே.. காட்டில் கெளசிகன் யாகத்தைக் காக்கவே கண்மணி ராமலஷ்மணரை அனுப்பினனே கண்மணி ராமலஷ்மணரை அனுப்பினனே..
தாடகை சுபாகுவை தரையில் வீழ்த்தியே தவசிகள் யாகம் காத்து ஆசி கொண்டனரே (2) பாதையில் அகலிகை சாபத்தை தீர்த்தபின் (2) சீர்பெறும் மிதிலை நகர் நாடி சென்றனரே..
வீதியில் சென்றிடும் போதிலே ராமன் சீதையை கன்னி மாட மீதிலே கண்டான் காதலினால் இருவர் கண்களும் கலந்தனர்(2) கன்னியை வில்லொடித்து சொந்தமும் கொண்டான்..
ஆணவத்தால் அறிவிழந்த பரசுராமன் அகந்தை தன்னை அடக்கி ராமன் வெற்றி கொண்டான் அரும் புதல்வனின் வீரத்தை கண்ட மன்னன் அளவில்லா ஆனந்த நிலையை கண்டான்...(ஜெகம் புகழும்)
மன்னவன் தசரதன் கண்மணி ராமனுக்கு மணி முடி சூட்டவே நாள் குறித்தானே(2) மக்கள் யாவரும் மகிழ்வுடன் நகரையே மகரத் தோரணத்தால் அலங்கரித்தனரே..
அந்த சொல்லைக் கேட்ட மன்னர் மரண மூச்சை அடைந்த பின்னர் ராமனையும் அழைக்கச் செய்தாள் தந்தை உன்னை வனம் போக சொல்லி தம்பி பரதனுக்கு மகுடத்தை தந்தார் என்றாள்..
சஞ்சலமில்லாமல் அஞ்சன வண்ணனும் சம்மதம் தாயே என வணங்கி சென்றான் மிஞ்சிய கோபத்தால் வெகுண்டே விலெடுத்த தம்பி இலக்குவனை சாந்தமாக்கினார்..
இளையவனும் ஜானகியும் நிழல் போல் தொடரவே மரவுரி தரித்து ராமன் செல்வதைக் கண்டு (2) கலங்கி நாட்டு மக்கள் கண்ணீர் சிந்தியே உடன் எனப் போவதென்று தடுத்தனர் சென்று..
கங்கைக் கரைஅதிபன் பண்பில் உயர்ந்த குகன் அன்பால் ராமபிரான் நண்பனாகினான் (2) பஞ்சவடி செல்லும் பாதையைக் காட்டினான்(2) அஞ்சக வண்ணன் அங்கு சென்று தங்கினான் (2)
ராவணனின் தங்கை கொடியவள் சூர்ப்பனகை ராமபிரான் மீது மையல் கொண்டாள் (2) கோபம் கொண்ட இளையோன் குரும்பால் அவளை மானபங்கம் செய்து விரட்டி விட்டன்..
கையில வாங்கினேன் பையில போடல
காசு போன இடம் தெரியலே
கையில வாங்கினேன் பையில போடல
காசு போன இடம் தெரியலே
என் காதலி பாப்பா காரணம் கேப்பா
ஏது சொல்லுவதேன்றும் புரியல்லே
ஏழைக்கு காலம் சரியில்லே
கையில வாங்கினேன் பையில போடல
காசு போன இடம் தெரியலே
மாசம் முப்பது நாளும் உழைச்சு
வறுமை பிடிச்சு உருவம் இளைச்சு
காசு வாங்கினா கடன்காரன் எல்லாம்
கணக்கு நோட்டோட நிக்குறான்
வந்து எனக்கு உனக்குன்னு பிக்குறான்
காசு வாங்கினா கடன்காரன் எல்லாம்
கணக்கு நோட்டோட நிக்குறான்
வந்து எனக்கு உனக்குன்னு பிக்குறான்
In 1959, S. S. Vasan was making a Tamil film which would be a bilingual to Hindi film Paigham starring Dilip Kumar and Vyjayanthimala with theme built around capital-labour relations.[2][3] The untitled film was referred as "Gemini Production .. ..", after some unsuccessful over the suggestion of the title, Vasan invited his employees to suggest a title for the under-production movie where almost 2, 500 entries was submitted to him.[2] After examining one by one, he finally satisfied with the title Irumbu Thirai, which means Iron Curtain, which symbolized the ideology of Marxist film theory.[2] He also hosted a reception to honor the boy who suggested the title and rewarded him with some price money.[2] For the mother of the lead actress, Vasundhara Devi the real-life mother of Vyjayanthimala was fixed where she also reprises her role in the Hindi version of the film,[4] along with her all the female cast including Vyjayanthimala, B. Saroja Devi, Pandari Bai also reprises their roles as well.[5][6]
He scrapped scenes shot at enormous cost and did them all over again if there was an error. Such was his penchant for perfection. A quality that made S. S. Vasan and his films legendary. In his centenary year, RANDOR GUY pays a tribute to the movie mogul.
HE WAS hailed as `the Cecil B. de Mille of India.' Indeed he was the first Indian movie mogul. Spectacle, grandeur and opulence, he was the first filmmaker in this part of the world, to invest the celluloid with such qualities. Like some kind of rare physician he knew the esoteric art of feeling the pulse-beat of moviegoers and learnt the exclusive and evasive skills of quickening it. He also understood that whatever might be the purpose and the value of the medium, cinema was basically a vehicle of mass entertainment and not education or elevation.
Lavishness in production, splashing money in promoting, packaging and publicising a picture, he was a pioneer in Indian Cinema and had no equals, then, and now. `Be wise and advertise!' He had a character speak in his film "Miss. Malini" (1947), giving expression to one of his personal beliefs. And he showed what one could achieve with punch-plus publicity.
Writer, journalist, adman, magazine publisher, film distributor, studio-owner, filmmaker and producer — that was S. S. Vasan. He created film history establishing trends, and breaking box-office records in many languages. He and his Gemini Studio in Madras were household names and also part and parcel of the cultural scene of South India. The familiar Gemini Twins blowing the bugles (`When the bugles blow, there's a good show!' so ran the motto) was a stamp for quality, clean, wholesome, family entertainment and money's worth.
Vasan scrapped scenes shot at enormous cost and re-shot them all merely because somebody whatever be his age, status or qualification pointed out an error. During the making of "Bahut Din Huye"(a Hindi remake of the early Telugu Gemini box-office bonanza, "Balanagamma''), a huge expensive set had been erected and scenes between the villain, a lustful magician and the chaste heroine were being filmed. A boy working on the set pointed out an error, which he told his pal and was overheard by Vasan! A vital point that went against the character of the heroine! Vasan felt that the lowly boy was right and without batting an eyelid he packed up the shooting and ordered the entire footage to be scrapped. That was not all. He told his creative men to re-do the script in the light of the boy's remark and shot it all once again. That was Vasan!
He was making a Tamil film built around capital-labour relations. The film had no title yet and was being referred as `Gemini Production Number So-and-So.' The crowded Gemini creative team could not think of a title acceptable to the `Boss'. Finally Vasan invited his employees to suggest a title for the under-production movie. An avalanche of entries poured! One office-boy sent in as many as 2,500 titles written down in a notebook! Vasan read them all and one suggestion, ``Irumbu Thirai" (Iron Curtain, 1960) met with his nod in the listed 2,500 entries! The boy was handsomely rewarded by the `Boss,' who also hosted a reception in his honour! That was Vasan.
His films — ``Chandralekha" (1948, Tamil and Hindi, director, Vasan), ``Mangamma Sabatham" (1943, Tamil, director, Acharya), ``Apoorva Sahotharargal" (1949, Tamil, Acharya), "Miss Malini" (1947, Tamil, Kothamangalam Subbu), "Avvaiyar" (1953, Subbu), "Vanjikottai Valiban," (1958, Tamil, Vasan), ``Paigham" (1959, Hindi, Vasan), ``Gunghat" (1960, Ramanand Sagar), ``Gharana" (1958, Vasan), ``Grihasthi" (1964, Kishore Sahu) and others, — have left behind indelible footprints on the sands of Indian Cinema.
"Chandralekha," Vasan's first directorial venture after being producer for seven successful years is considered to be his finest work. Though many have contributed to the exuding excellence of the picture, it was Vasan who gave it the shine, sheen, shape and final form. With this film he created history at many levels and many ways. The most important of them all was his trail-blazing success in taking Hindi films made in South India to the rest of the sprawling nation. Vasan was the first South Indian filmmaker to break the fort walls of Hindi cinema and this is one of the most significant achievements of his life. Indeed he was the man who put Madras on the movie map of India.
Thiruthuraipoondi Subramania Srinivasan (alias S. S. Vasan) was born on March 10, 1903, and hailed from the culture-rich Thanjavur district and was born into a Brahmin family of very modest means. And to add to the misery of poverty his father died when Vasan was merely two years old. The lot of a Brahmin widow in the early years of the century in a small-town steeped in old-world orthodoxy, autocratic Brahminism, with its cruel rituals, was nothing short of hell on earth. But Balambal, Vasan's mother, was no ordinary woman. She was highly literate though she had undergone no schooling in accordance with the customs and social mores of the times. She was well versed in Sanskrit and Tamil classics, epics and religious lore. She instilled in her growing son a lasting love for literature, learning, and ancient Indian culture. Dreaming of a secure future, she and her son migrated to Madras. Like Dick Whittington's London the roads of Madras were not exactly paved with gold. Indeed life in the city was hard, harsh, often harrowing and the worried mother suffered misery to educate her only offspring.
(While the official records, magazines and others mention the date of Vasan's birth as March 10,1903, according to the family he was actually born on January 4, 1904! During that period many families had `advanced' the data of birth to help in school admission it was entered in the `SSLC' (Secondary School Leaving Certificate) book. So for all practical purposes it remained the official date of birth! Obviously it had happened for Vasan too!)
Vasan's mother wished her son should get a B.A. degree, the hallmark of the intellectual Brahmin community in those days. It was also a passport to land a safe and secure 10 a.m.-5 p.m. desk job in any British Indian Government department, or an equally dependable European firm. However lack of resources prevented Vasan from graduating.
He realised the difficulties his mother had to undergo to educate him and he decided to enter the turbulent ocean of life and find a way to make a living. Innovative, enterprising and daring he chose a new activity — selling space. He secured advertisements for Madras-based publications and earned commission on the ad revenue he could generate. Indeed a precarious way of making one's living especially when publications were not many. However Vasan became a one-man ad agency. With his flair for writing he offered his copy to the few Tamil publications then in existence for which he also canvassed for ads. To get business he travelled widely.
Meanwhile, a relative who was working in the Madras and Southern Maratta Railway, offered to get Vasan a job. But a cash-security deposit had to be given which the family did not possess! Vasan had written a novel, which a kind publisher offered to take and give him the necessary cash. But the publisher failed to keep his promise, and out went the opportunity of Vasan working in the railways as a pen-pushing clerk!
Later in his life, in the silent hours of still nights, Vasan wondered how his life would have unfolded if he had got that job! Besides his ad business, Vasan carried another line of activity, equally novel for the day, Mail Order business.
He did fairly well and wished he could have a publication of his own. Soon he purchased a shaky humour-based monthly for Rs. 200 (Rs. 25 for each alphabet of its name!).
Working hard he built it up into a weekly and soon the weekly scaled to the top and the best selling Tamil magazine Ananda Vikatan is still running successfully after nearly eighty years.
That was not all. Vasan, with his penchant for taking risks, developed an interest in horse racing and soon he was a successful punter. Ere long he was flushed with funds and entered the world of movies as distributor-financier promoting his successful company `Gemini Pictures Circuit.' From distribution to production it was but a short leap ahead and in 1941 he bought a studio in the heart of the city on Mount Road, Madras, in `court auction' and he re-named it Gemini Studio. Thus it began, and rest, as the saying goes, is history...!
Since 1941 until September 1969 when he passed away, Vasan enjoyed a uniquely successful innings in Indian Cinema earning a permanent seat in its Hall of Fame.
His phenomenal success in Hindi Cinema is almost unparalleled to this day even though more than three decades have rolled over the horizon since his exit for the yonder blue...
Thiruvilayadal covers four stories in the Thiruvilaiyadal Puranam which is originally composed of 64 stories. The plot revolves around the "divine sport" of Lord Shiva (Sivaji Ganesan) who has the habit of confounding his devotees in order to test their devotion. The story begins when the Lord gives the sacred fruit brought by sage Narada to his elder son, Ganesha. His younger son Muruga becomes angry and thus goes to a hill abode of Palani in the clothes of a hermit sage. Goddess Parvathi (known as Sakthi here) (Savitri) comes and narrates the Thiruvilayadalgal ("Divine Sports") of Lord Shiva to Muruga, in order to calm him down.
She narrates the story of when the Lord opened his third eye, an episode where Lord comes to the city of Madurai of the Pandya Kingdom in the form of a poet. That time, the King Shenbaga Pandian (R. Muthuraman) wants to find out the answer to an unsolved question, and announces a reward of lot of gold coins to anyone who finds out the answer. Poet Dharumi (Nagesh) wants this reward and Shiva (as the poet) gives him a poem containing the answer. Overjoyed, Dharumi takes it to the court and recites the poem, but the ego-filled poet of the Durbar, Great Tamil Poet Nakeeran (A. P. Nagarajan) claims it is incorrect. When Shiva hears this, he gets enraged and turns Nakeeran into ashes. Later, he revives Nakeeran who apologizes, and finally realizes himself.
She also narrates in another episode that the Lord marries Dhatchayini (Sakthi) against the will of Dhatchayini's father Dhatchan. Dhatchan also performs a Mahayagna without inviting son-in-law Lord Shiva. Sakthi asks permission to go but Shiva refuses. But Sakthi disobeys him and goes there, only to be insulted by Dhatchan. Sakthi curses him and returns back to the abode of Shiva. Shiva refuses to live with her and a war enrages. Shiva burns Sakthi to ashes and performs his 'Mahathandava' dance with great fury. But later he gives life to Sakthi and orders her to be born as a fisherman's daughter as a consequence for her actions.
Sakthi, now born as Kayarkanni, is the daughter of a fisherman. When playing with her friends, a strange fisherman (Shiva in his fisherman form) approaches and flirts with her, despite her disapproval. Later after he saves everyone from a shark, Kayarkanni accepts to marry him.
She recites another time when the Lord took the form of a woodcutter and settled in a kingdom which was trying to be conquered by the great singer Hemanatha Bhagavathar (T. S. Balaiah). Shiva teaches a lesson to Bhagavathar, that pride even with the greatest talent is no good. Disappointed, the latter leaves and everyone in the kingdom rejoices.
Listening to all these stories, Muruga's rage finally subsides and he reconciles with his family. Subsequently, it is revealed that the name "Palani" is a portmanteau of the two Tamil languageterms Palam ("Fruit") and Nee ("You"), hence literally meaning ("You are the Fruit"), referring to Muruga.
The story was conceived by A. P. Nagarajan, he wrote the screenplay as a five part play. The stories were taken from an ancient Tamil epic, Thriuvilayadal Puranam, which consists of 64 stories, written by 64 nayanmargal (Saivate devotees). Like 12 disciples of Jesus, these Saivates were the devotees of Lord Shiva.[3] Actor Nagesh, who played a crucial role in the film, wrote in his biography,
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"Everyone kept telling me that I had done a superb job and at times stole the scene from the hero, so I was extremely scared it might not see the light of day as the director was struggling to trim the film's length. One day when I was in the recording theatre, Sivaji [Ganesan] walked in and wanted to see the “Dharumi” piece. He did not notice me in the dark sound engineers' room. He watched it once and then wanted to see it again — by this time I was sure that my scene, especially the solo lamenting, would be axed. To my astonishment, Sivaji turned and said, ‘Do not remove a single foot from this episode as well as the episode featuring T. S. Balaiah. These will be the highlights of the film. This is my opinion, but as the director, you have the final say. Whatever dubbing additions have to be done, get that fellow (Nagesh), lock him up in the studio and don't let him run away till he completes it to your satisfaction. He has done outstanding work.' Such was his generosity to his fellow actors."[4]
Thiruvilayadal was very well received, Sivaji Ganesan's performance was also acclaimed and it contributed to his long string of successful films.[6] The other actors were also praised. A reviewer said "The roles of Muthuraman, Nagesh and Balaiah, though short, are portrayed aptly with vigor and expertise."[7]Cinema Chaat called the film an "absolute classic", stating that "it’s one to watch again and again. 5 stars."[8]
Considered one of the most "elaborate films" of the 1960s, Thiruvilayadal enjoyed great success at the box office.[9] The film ran for 25 weeks in Shanti, a theatre owned by Sivaji Ganesan.[10] It was declared a "silver jubilee" film.[11]
