ENNA SEIDHAALUM ENDHAN THUNAI NEEYE - IRUMBU THIRAI

 

song : enna seithAlum enthan thuNai neeyE
film : irumbu thirai
singers : Radha Jayalakshmi
music : S.V.VENKATRAMAN
lyric : PApanAsam sivan 

enna seithAlum enthan thuNai neeyE 
en annaiyae umaiyE .. ennai nee (enna) 

chinna vayathu muthal unnaiyE nambinEn 
sinanthenai adithAlum parintheduthANaithAlum - ini (enna) 

mun vinaiyAl inba thunbangal viLainthida 
mooda mathi kondunnai nOvathen pEdhamai 
en vidhiyAl idar Ayiram soozhinum 
ellam un thiruviLaiyAdal enreNNi ini (enna)

A Raga’s Journey — Kingly Kharaharapriya

CHARULATHA MANI

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arts, culture and entertainment

The luxurious pastures of this raga – Kodipalai in ancient Tamizh music; the regal Kharaharapriya in Carnatic music – are evergreen and have stood the test of time for centuries. A sampoorna (complete with all seven notes) raga, this scale takes Sadja, Chatusruti Rishabha, Sadharana Gandhara, Suddha Madhyama, Pancama, Chatusruti Dhaivata, and Kaisikhi Nishada. This raga has symmetrical tetrachords in its scale. The harmonies that are possible in this raga are many and priceless, like the RG-DN or GRS-NDP prayoga.

Saint Thyagaraja has composed several masterpieces in this raga, some slow, some fast, some yearning for Rama, some discerning the truths of worldly maya. We have “Chakkaniraja”, “Mitri bhagyame”, “Nadachi nadachi”, “Pakkala nilabadi”, “Kori sevimpa” (one of the Kovur pancharatnas) and many more, each one of them testimony to Kharaharapriya’s divine power. Dikshitar and Shyama Sastri have not composed in this raga. Papanasam Sivan’s “Appan avatharitha”, “Senthil andavan” and “Janakipathe” are immortal, and one cannot forget”Navasiddhi Petralum” of Neelakanta Sivan.

One of the earliest appearances of Kharaharapriya was in”Kubera Kuchela”, the song “Nadai alangaram kanden” sung by P U Chinnappa, and composed by Carnatic musician Kunnakudi Venkatrama Iyer. The song went on to become a super-hit and Kharaharapriya became a “happening” raga in film music. In the film “Shakuntalai”, M. S. Subbulakshmi sang “Endhan idathu tholum” laden with brighas and sangatis in Kharaharapriya, and this too was well received among the music lovers. The music by S. V. Venkatraman was a treat.

“Maya valaiyil” from “Gulebagavali”, sung by TM Soundararajan, is structured along the lines of “Navasiddhi”. The bright opening heading towards the upper Sadja establishes the raga indubitably. “Ariyaparuvamada” from “Missiamma” is a cute song in this raga sung by P. Leela and tuned by S. Rajeswara Rao. The beginning in Dhaivata and calm landing in the Pancama point clearly to Kharaharapriya.

“Enna seidhalum endan thunai neeye” from “Irumbu Thirai” is one of my personal favourites. Composed by S. V. Venkataraman, the song's opening once again highlights the Dhaivata-Nishada combination.

“Madhavi pon mayilal” from “Iru Malargal” is one of the most famous pieces in this raga. Composed by MS Viswanathan and sung by TMS, this song begins regally in the upper Gandhara and the phrase culminates with a lovely gamaka at the Nishada. Progressive sangatis, clever structure and deft raga-handling make this song a favourite.

“Maharajan ulagai” from “Karnan” by MSV-Ramamurthy is a different approach to Kharaharapriya - subdued, classy, and in tisra-nadai. “Isaiyai Tamizhai” from “Agasthiyar” is a lilting piece in Kharaharapriya. Kunnakudi Vaidhyanathan's music, complemented by the voices of Seerkazhi Govindarajan and T R Mahalingam, makes this complex piece an aural treat.

Ilayaraja has composed several pieces in Kharaharapriya, noteworthy of which is “Poo malarndhida” from “Tic Tic Tic”. A slightly westernised presentation, aimed at being a little light-hearted and funny, this song sticks to the grammar of Kharaharapriya. “Sangeeta swarangal” from “Azhagan” composed by Maragathamani is an interesting piece, the phrase “DNP GRGMP” comes as a refrain ushering in a fresh approach to the raga.

“Pachai nirame” from “Alaipayuthey” by A R Rahman is largely based on this raga and brings out the romantic, meandering, and relaxing facets of this scale. Recently “Sadhikkatha kangalil” from the film “180”, composed by Sharreth, is a delightful Kharaharapriya. I loved listening to this piece; the typical Keralite percussive instruments giving a traditional flavour to the soft love song.

Film songs are aplenty in this scale. The Kafi thaat corresponds to Kharaharapriya raga in Hindustani music.

http://www.thehindu.com/life-and-style/metroplus/a-ragas-journey-kingly-kharaharapriya/article3310742.ece

NAVASIDDHI PETRAALUM - NEELAKANTA SIVAN - ABHISHEK RAGHURAM

Listen to this masterpiece from the latest Superstar on the Carnatic Circuit.

Siva Bhakthi by Janani Kamakshi

Song: navasiddhi peTraalum
navasiddi peRRaalum
raagam: kharaharapriyaa
22 kharaharapriya mEla
Aa: S R2 G2 M1 P D2 N2 S
Av: S N2 D2 P M1 G2 R2 S

taaLam: caapu
Composer: NeelakanTa Shivan
Language: Tamil

pallavi

navasiddhi peTrAlum shiva bhakti illAda narargaL verum sAvi
evar budddhiyum taLLi suyabuddhiyum illAdu iruppavargaL perum pAvi

caraNam 1

nAthan aruL marandu bOdham illA kUttu naDippavar verum sAvi
sItamati aNiyum shivanai ninaiyAmal iruppavar perum pAvi

caraNam 2

pApamum puNyamum keNiyAmal paNattirkkE parappavar verumsAvi
kOpamum lObhamum koNDu nalla guNattai kulaippavar perum pAvi

caraNam 3

tAi tandai manam nOgha sheiginra guru drOhat-tanayargaL verum sAvi
nAi pOla evaraiyum sIRi saNDaiyiDum nalam keTTAr perum pAvi

caraNam 4

kETTum kaNDum anubhavittum uNmai uNarA garvigaL verum sAvi
vATTamillA gati koDukkum nIlakaNTharin aruL illAr perum pAvi

http://www.karnatik.com/c3298.shtml

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

ANBINALE UNDAGUM - PASA VALAI

You can listen to the suddha dhanyasi version of the same song here:

http://ragasinfilmmusic.blogspot.in/2011/08/anbinale-undagum-inba-nilai-paasa-valai.html

Paasavalai 1956

RANDOR GUY

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M. K. Radha, G. Varalakshmi, M. N. Rajam,V. Gopalakrishnan, V. K. Ramasami, A. Karunanidhi,T. P. Muthulakshmi, Kumari Rajamani, T. K. Rajeswari, Bhagyam,M. R. Santhanam, S. M. Thirupathisami, M. N. Krishnan, Sayeeram, ‘Master’ Baji, ‘Master’ Venkatesh, ‘Jayakodi’ K. Natarajan,E.V. Saroja (dance) and Tiger (Dog)

“Alibhadusha” was a popular story in the early decades of the 20th Century about a nawab, his family and the problems he faces because of his profligate brother. The story was made into a film during the 1930s, but few remember it today.

In 1956, the Salem-based movie mogul T. R. Sundaram of Modern Theatres took up the story for filming once again, making quite a few changes to it. Titled Paasavalai, he gave the project to editor-turned-filmmaker A. S. Nagarajan for direction. A king (Radha) is accused by his people that he is shielding his younger brother (Gopalakrishnan) who is after women. Touched to the quick, the king abandons his throne and walks out with his queen (Varalakshmi) and children. He wanders in the woods, looking for peace. The family gets separated. The king becomes mentally deranged, while his wife loses the children and works as a maid in a house. The children are rescued by some people, including a leader of a gang of thieves.

The brother meets the king in the woods, apologises for what had happened and promises to cure him of his mental illness. He meets a young woman (Rajamani) who has a magic cave with herbs that can cure his brother. He goes in search of it, but the woman, unable to seduce the repentant brother, converts him into a dog (Tiger). However, he succeeds in curing the king and dies in his arms. The blind king is saved by a princess (Rajam) who falls in love with him. She soon realises that he is still thinking of his first queen. After interesting twists, the king and the queen are united with the children and the princess dies accidentally…..

This story was made into an engaging film by Nagarajan and produced by Sundaram with interesting photography by master lensman W. R. Subba Rao.

The music by Viswanathan-Ramamurthi was the major plus point of the film. The lyrics were by Marudhakasi and Pattukottai Kalyanasundaram. Many songs became popular, with ‘Anbinaal… Paasavalai’ rendered by C. S. Jayaraman becoming a major hit.

Another song that became popular, ‘Lol...lol….. Machaan …,’ has an interesting back story. Kalyanasundaram with a strong leftist leaning was a talented lyricist whose brilliant career was cut short by his demise when he was hardly 30. An event involving him regarding a song composition inPaasavalai needs to be narrated. The young woman who owns the magic cave (Rajamani) dances to a song; 

Pattukottai, as he was popularly known, wrote the lyrics of the song in his characteristic poetic style. T. R. Sundaram thought it was high brow and told him that he made films for the low brow with an eye on entertainment and a dance number like this one should not contain poetic images, metaphors or similes! Upset, Pattukottai walked away from the composing room, but Sundaram brought him back with the help of his henchmen to complete the song the way he wanted. To clear the hot air, Viswanathan said the song should contain down-to-earth words such as “Lol lol lol… (like a dog barking) machaan wunnai paarthu…” The producer forced Pattukottai to write the song on the lines suggested by Viswanathan, and, much against his wish, Pattukottai wrote it.…

The song was recorded and picturised. Much to the surprise of Pattukottai, this song became a superhit. He told the composer that no wonder TRS was so successful, because he knew the pulse of the people. That was not all. Rajamani during her brief career came to be known as ‘Lol Lol Rajamani’!

Radha, one of the top stars of Tamil Cinema, gave an impressive performance as the king. He was well supported by the bilingual actor Varalakshmi playing the queen. Multitalented actor Gopalakrishnan, familiarly known as ‘Gopi,’ impressed as the younger brother. Rajam as the princess was her usual charming self. Comic relief was provided by Karunanidhi and Muthulakshmi. Paasavalai did well at the box office, thanks to the melodious music of the fast-rising musical duo Viswanathan-Ramamurthi and the soul-stirring voice of Jayaraman. And the dog Tiger also made a mark!

Remembered for the melodious songs, impressive performances by Radha, Varalakshmi and Rajam, and good production values.

randor guy

ENDHAN IDADHU THOLUM - SAKUNTHALAI

ANANDAM PONGIDA PONGIDA - SIRAI PARAVAI

KARAHARAPRIYA SWARAM - ISAI PAADUM THENRAL

MAHARAJAN ULAGAI AALALAAM - KARNAN

I WILL SING FOR YOU - MANIDHARIL MANIKKAM

I Will Sing For You - Manitharil Maanikkam by Singasongoflove

ARIYA PARUVAMADA - MISSIAMMA

MADHAVI PON MAYILAL - IRU MALARGAL

NADAI ALANGARAM KANDEN - KUBERA KUCHELA 1943

Kubera Kuchela (1943)

Kubera Kuchela narrates a concocted tale inspired by Hindu mythology — how impoverished Kuchela (Papanasam Sivan), Lord Krishna’s boyhood friend, acquires wealth, which goes to his head. Driven by greed and ambition, Kuchela transforms himself into Kubera (Chinnappa).

In the film, there are three Kuberas — Kubera the Lord of Wealth (D. Balasubramaniam), Kuchela who transforms himself into Kubera (Chinnappa) and the third one, a demon transformed into Kubera (Chinnappa again). Meanwhile, Krishna (Govindan) creates a lovely woman (Rajakumari) out of a flower. Complications ensue with more than one Kubera falling for her. The ‘original’ Kubera steps in to establish his supremacy and more complications arise. However, Lord Krishna has his own bag of tricks and settles the confusion bringing the lovers (Chinnappa and Rajakumari) together.

Written by well known writer-playwright who also made a few movies, B. S. Ramaiah worked on the sets with the director of the movie R. S. Mani. Indeed their names appear jointly in the credits.

The film had excellent music by Carnatic musician Kunnakudi Venkatarama Iyer, assisted by N. S. Balakrishnan, with lyrics by Papanasam Sivan and Udumalai Narayana Kavi. The background music was composed by famed composer and sometime actor S. V. Venkataraman, and T. K. Ramanathan. The movie had 17 songs, including comic ones. ‘Nadai alankaaram kanden…’ (sung by Chinnappa and written by Narayana Kavi), composed in raga Karaharapriya, became a super hit. The other songs that became popular were ‘Maalai chooda vandhen Mallika…’ (voice Chinnappa, raga Khamaas) and ‘Ennai vittu engey senreer…’ (voice Rajakumari, raga Harikambodhi).

Papanasam Sivan as Kuchela sang a song which he composed himself ‘Kanna kanna kanna…’ in raga Kaapi. But no gramophone disc of this rare song by the icon was recorded.

The dances were choreographed by the celebrated Bharatanatyam guru, Vazhuvoor B. Ramaiah Pillai.

Chinnappa and Rajakumari made an excellent pair, and ‘the Dream Girl of South Indian Cinema’, then in her early 20s, was sensuous.

Noted stage and screen actor of the day P. S. Govindan played Lord Krishna and the comic relief was provided as usual by N. S. Krishnan, T. A. Mathuram and T. S. Dorairaj.

In one comic song, NSK plays a female role, while Mathuram plays Krishna.

Kubera Kuchela had excellent cinematography (Marcus Bartley) with impressive art direction by F. Nagoor and was shot at Newtone Studios, Kilpauk, Madras (now Rajaji School).

A little known fact about the histroy of Madras City — The film was released during the height of the Second World War when soldiers were milling around the city on motorbikes, heavy army trucks and cars. To attract them, the producers came up with an innovative poster, a first of its kind, a horizontal strip which contained the lines only in English — “Who Is Rich? Kubera or Kuchela? Watch The Movie!”

Remembered for: Chinnappa and Rajakumari’s excellent performance, great music, impressive cinematography and art direction.

Cast: P. U. Chinnappa, Papanasam Sivan, P. S. Govindan, T. R. Rajakumari, S. R. Janaki, R. Balasubramaniam, D. Balasubramaniam, N. S. Krishnan, T. A. Mathuram, M. K. Meenalochani, ‘Pulimootai’ Ramasami, L. Narayan Rao, T. S. Durairaj, P. G. (‘Alwar’) Kuppusami, T. V. Annapoorani and E. Krishnan

Keywords: Kubera Kuchela, Blast from the Past, tamil classic
RANDOR GUY.

Courtesy: Randor guy, Blast from the past, the hindu.

MAANCHOLAI KILI THAANO - KIZHAKKE POGUM RAYIL

Sangeetha Swarangal - Azhagan

POO MALARNDHIDA - TIK TIK TIK

MAAPILLAIKU - NETRIKANN

மாப்பிள்ளைக்கு மாமன் மனசு 

மாமனுக்கோ காமன் மனசு 

புதிய ஒரு ஜோடி பொருத்தம் பல கோடி 

பருவ வயது கடந்த பிறகும் துடிக்கிற 

மாப்பிள்ளைக்கு மாமன் மனசு 

மாமனுக்கோ காமன் மனசு 

நடந்த வரை வயசுக்கு பொருத்தமில்லை  

நடக்கும் கதை மனசுக்கு அமைதி இல்லை 

விதைத்த விதை முளைத்தது மாறவில்லை 

விதைத்து விட்டுத் துடிப்பதில் லாபமில்லை 

தசரதா புரிந்ததா 

ஹரிகதா தெரிந்ததா 

எனக்கும் உனக்கும்  

புரிந்தவரையில் புரியட்டும் 

மாப்பிள்ளைக்கு மாமன் மனசு 

மாமனுக்கோ காமன் மனசு 

கற்றவர்கள் எழுதிய கவிதையிலும் 

மற்றவர்கள் குறைகளைக் காண்பதுண்டு 

குற்றமெனச் சொன்னது சொன்னதுதான் 

நெற்றிக் கண்ணைத்  திறந்தவன் கண்டதுதான் 

சிவனிடம் துணிந்தவன் 

எவனிடம் அஞ்சுவான் 

உலகம் முழுதும் 

அறிந்த கதைக்கு விளக்கமா?

மாப்பிள்ளைக்கு மாமன் மனசு 

மாமனுக்கோ காமன் மனசு 

புதிய ஒரு ஜோடி பொருத்தம் பல கோடி 

பருவ வயது கடந்த பிறகும் துடிக்கிற 

மாப்பிள்ளைக்கு மாமன் மனசு 

மாமனுக்கோ காமன் மனசு 

AALAPANAI - UNNAL MUDIYUM THAMBI