From: Manisekaran (@ 161.142.2.11)
on: Fri Jun 14 02:41:04 EDT 2002
PART ONE
The Tamil film industry has produced many genius artistes, including in the filed of music. The late KVM is certainly one of those great souls whose contributions generations yet to be born would appreciate, should they have some inclination, involvement or at least some taste for Karnatic based music. The Tamil Film music world has lost several maestros of rare talents, and some of these losses are irreparable. The passing of KVM last year is certainly a loss that no pen could adequately describe.
Those who had created some form of permanent impact in the hearts of the Tamil Film fans have been affectionately branded by some names or given some titles. While many of those were self given titles, some were in true recognition of their contribution or telents exhibited by them. We have had four renowned "Thilagams"-Makkal Thilagam MGR, Nadikayar Thilagam Savithri, Nadikar Thilakam Sivaji Ganesan and Thamizh Thirai Isai Thilakam KV Mahadevan. These are titles fully endorsed by the fans. All these thilagams have left us, and it is very much doubted if the vacuum created by their ascension would ever be filled. My personal feeling is many more endeavour to rise to the occassion. THey may rival these deceased heroes, but they would never replace them.
Tamil Film Music Directors have been given several titles, such as Mellisai Mannar, Mellisai Mannarkal, Isai Methai, Isai Gnani, Isai Puyal, Innisai Venthar, Innisai Thialagam, etc etc etc... many of the titles, which I do not wish to mention here have been "fly by night" titles. But a sincere soul searching effort would establish beyond a shadow of doubt that the title "Thamizh Thirai Isai Thilagam" is not only most appropriate, but very much befitting to KVM. He worked hard to earn the deserving title laboured to live to the expectations of the fans. It is most unfortunate that one more mediocre composer of today is also carrying the title of "Isai Thilagam" but it is for the fans to differentiate between gold and bronze.
KVM's journey in cine music goes back to the year 1942, when the World War II had already surfaced its ugly head. (Most of the readers here, including me were not yet born)He had composed actively for 40 over years and left for posterity music that would be cherished for generations after generations. Many of the Singers, MDs, Producers, Directors and even and Actors used to affectionately call KVM "MAAMAA" The great peot Kannadasan described KVM as the "MAAMAANGATHU MAA MANNAR" There is a song in Thiruvilayaadal- Isaithamizh Nee Seitha Arum Saathanai- Nee Irukkayile Enakku Perum Sothanai" by TR Mahalingam. Kannadasan has on many private conversations with KVM changed the lines and praised KVM as "Isaithamizhukku Nee Seithatu Arum Saathanai- Nee Irukkayile Enakku YEthu Sothanai?" (Details would follow later in the series.
In a society that is greedy for publicity, KVM avoided blowing his own trumpet following successful hits. He was never, throughout his career and life a seeker of publicity. He limited press interviews.When invited to speak during film celebrations, he spoke nothing more than a few lines. All the praise, appreciation and glorification of KVM were given by the fans and critics. Again that brings to my mind an immortal song of Kannadasan which goes "Vilambarathaaley Uyarnthavan Vaazhkai Nirantharamaagaathu" This applies to KVM too.
There is also a saying in Tamil-"Muthal KOnal, Mutrilum KOnal" Therefore the first efffort or the first impression of KVM to a large extent was decisive in so far as the film music is concerned.
From: Manisekaran (@ 161.142.2.11)
on: Fri Jun 14 04:06:52 EDT 2002
PART 2
In 1942 KVM was invited to compose for the film "Manonmani" starred by P.U. Chinnappa Bagavathar. That was not only a great honour but also a challenge for KVM. It is quite unusual for beginners to be given the Herculean task of composing for very great singers. KVM was requested to compose for PU Chinnappa Bagavathar who was an uncrowned king among his contemporaries. One may also call to mind MKT who was also causing pleasant ripples in the souls of many fans, but critics of music are of the strong opinion that PUC was an abler singer than MKT. MKT was a more charismatic singer with mass support. So KVM made his debut by composing for a greater and abler singer of his time. (Of course KVM did compose for Sivakami-MKT's last film in 1960) Now to compose for such a great and majestic personality like PUC requires tremendous capacity, ability and confidence, which KVM never lacked. At this time there were great MDs like SV Vengatraman, G. Ramanathan, and C. Paandurangan,and yet the chance went for an untested MD-KVM. That only shows that KVM had proven his ability to rise against all competitors and odds in the cine field.
The old song fans, now in their fifites would still remember the song "Moganaanga Vathani" sung by PU Chinnapa in Manoinmani of 1942. That song became an instant and sensational hit, and drew the attention of many fans and producers towards KVM. The beginning itself had been decisive, became a milestone in KVM's journey in the cine music field.
Every MD has his own style of rendering music.KVM, right from the beginning had cut a name and fame for his own style of music. He was very particular in composing music. He believed that music is devotional, and ensured justice by adhering as far as possible, within limitations set by producers, to the basics of karnatic music. He excelled both in Karnatic and semi classic music so much so that for the 40 odd years he was active, there was a saying that "If you want good quality karnatic and semi classical music you must seek KVM" This was the trade mark that he had until the end of his career. Perhaps that was the reason that many knowledgeable fans and critics of music used to comment that one could feel the "Dheiveegam" in KVM's music. It is for that reason that most of the Purana and Ithikasa films went to KVM. In an effort to add quality and richness to music, KVM also made full use of the more popular South Indian musical instruments such as narambu karuvi-Veeenai; Oothum Karuvi- Nadhaswaran and Thol Karuvi- Miruthangam in his carnatic compositions.
His effort paid off handsomely. It was in 1967 that a South Indian MD received a national award for being the best MD in India, and that was KVM for "Kanthan Karunai" which had excellent semi classical songs. After a period of 14 years KVM once again received a national award in 1981-this time for immortalising carnatic songs in Sangarabharanam. The only South Indian MD who received national award twice- at least unil his active involvement was KVM- a fame that could not be overshadowed easily.
There was also another style that he had cut for himself- and that was popularising the folk songs. Before the coming of the genius Ilayaraja, it was KVM who was excelling in composing some of the best folk tunes. Other MDs also composed folk tunes, but KVM was exceptionally good where all his folk songs were instant hits that remained echoing in the ears of the fans for decades. Therefore two things were set straight. KVM was more or less a great composer of semi classical songs and folk tunes. The moment story lines were created and sufficient green light was obtained for making of village-based and purana films KVM was a natural choice.
Continues........
He had also made use of western and North Indian musical instruments.
Let us be clear and honest that he had not adopted modern and western music as much as MSV had done. There are two reasons for this-firstly he was seldom approached for such western and modern music, and secondly MS was already excelling at it. But the fact is, only MDs who are all rounded could succeed in the cine field. KVM had good knoweledge of modern music, but the only unfortunate thing was that he seldom had to compose.There would be a discussion on the modern hits of KVM later in the series.
From: Manisegaran (@ 161.142.2.11)
on: Fri Jun 14 05:38:49 EDT 2002
PART 3
A few words about the other two Thilagams- MGR and Sivaji Ganesan cannot be avoided. We would have known so much about these two majestic personalities. It is my intention to establish their active involvement with KVM. These two cine idols ahd their own areas and strength and weaknesses- areas of accord and discord. MGR knew almost everything in the cine field except "acting" This is highly debatable, subjective, relative, controversial etc etc. Please allow me to qualify that this is my peronal opinion. But one of MGR's greatest strength was the choice of proper MDs and best music. Knowing his weakness in the area of acting, MGR compensated by pushing forgood fights, young and beautiful heroines, eye-catching outdoor scenes, dialogues to soothe and suit the downtrodden and illiterate, and good humour. He avoided too much sad scenes. These were among the areas of strength. But the real strength of MGR's films was songs in movies acted by him. He would himself involve in setting the lyrics,tunes and even screenplay for song sequences. MGR himself had said that most of the songs in films acted by him were approved by he himself. He was a hardworking and active man who made it a point to learn basics of both modern and classical music. With some knowledge and knowledge of the taste of fans for cine music he used to sit with MDs to "OK" the tunes. That included KVM. When I met KVM in his house in 1984 for a personal interview, KVM mentioned the difficulties he had with MGR for composing the tune for "Aayriam Nialve Vaa" with SP Bala. This song was a matter of personal prestige for MGR as he wanted to build up SP Bala agtainst TMS who defied MGR's orders. But MGR squeezed MSV more than KVM because MSV was most accommmodating. With KVM MGR maintained a respectable distance for two reasons- firstly KVM was an elderly person, and secondly MGR knew KVM would come out with good music without supervision.
But it was MGR who made a choice of going for MSV for modern hits and KVM for semi classical hits. MGR produced three movies under his banner-
1) Nadodi Mannan- MD was his close friend SM Subbiah Naidu
2) Adimai Penn- MD was KVM
3) Ulagam Sutrum Vaaliban-MD was MSV.
So MGR knew whom to use for which taste. And all the three films had songs which are still on our lips. KVM was part of MGR's life history in that sense.
Again on the choice of playback singers- MGR went for the best available and it was TMS. TMS sang for almost all stars of his time and did not really depend on MGR, although MGR's film song undeniably boosted some market for TMS. But where did MGR pick up TMS? It was during the recording of songs by KVM. In the early days Trichy Loganathan was one of the singers for MGR, along with MM Mariappa. In 1954 KVM was composing a song for Sivaji Ganesan for the film Koondukkili- the only film where both the Thilagams acted. It was a production of RR Films. The song that TMS sang for sivaji Ganesan was
That was also the first song of TMS for Sivaji Ganesan under KVM's composition. As TMS was singing in the studio, MGR heard the song and imediately took a liking for the golden voice of TMS. MGR enquired the details of the singer. He was told of the "Madurai Boy" TMS. MGR immediately recommended and used TMS in his next film "Malaikkallan" produced by Kovai Patchiraja films in the same year of 1954.There TMS sang "Ethanai Kaalamthaan Ematruvar Intha naattiley. MD was SM Subbiah Naidu. Malaikkallan is another history by itself. Sufice to say KVM's contribution for MGR in berief.
Next we come to the other Thilagam Sivaji Ganesan who knew everything on acting except other things that MGR knew- "good fights, young and beutiful heroines, eye-catching outdoor scenes, dialogues to soothe and suit the downtrodden and illiterate and good humour"
But Sivaji's full concentration focussed on acting alone, an area which to him was like fish to water. Other technical details were left to the other technicians and artistes. In the area of music for the films he very seldom sat down with the MDs. He firmly believed and was right that he could just cash on the strength of his mind boggling acting ability. That is the reason we see that while MGRs films genrally had excellent songs, Sivaji's films generally could never guarantee great songs. In the case of Sivaji's films the producers and directors and song writers did the job of working out great songs. Sivaji only sat down for his own films like Puthiya Paravai, Kungumam and his other proxy movies.
This being the general case, Sivaji Ganesan divorced from his usual working style and sat down with KVM for the movie Thillana Mohanambaal. As the Nadaswaram tunes were composed, Sivaji Ganesan put his head on the lap of Kannadasan and listened to the great tunes composed by KVM and Pugazhendhi. He was almost in the verge of forgetting his own self.It is said that this had never happened in the life of any MD except forKVM.
It is common for us to forget ourselves when we listen to great songs. Many domestic accidents have happened when great songs are played in the radio. Many stories could be related about how the MDS or sound engineers have felt great after creating great songs with fine melodies and tunes. But there has been one instance where the sound engineer was so mesmerised by the tune that he forgot to switch off the recording machine even many seconds after the recording was completed. To the best of our knowledge this happened under KVM's composition. The film was Samboorna Ramayanam. (In the case of Ilayaraja too a related incident had happened. The compsers forgot themselves as they were composing the song "Maatha un Kovililey" by S. Janaki. Precedence was still by KVM)
There is one more unusual achievement of KVM.It is not usual for one MD to use another MD as a singer. But KVM has used G Ramanathan to sing a song composed by KVM in Alli Petra Pillai. The song is "Yejamaan Petra Selvamey En Sinna Yejamaaney" A horse was shown singing this song. Singer GK Vengatesh has sung for MSV and TKR, but that was a work within the same unit. But GR Is completely a competitor and a great MD, and to bring him to sing under KVM's tune, the tune itself must be of good quality. And KVM ensured it. This is still my favourite song in Gramanathan's voice. Even Gandasala the Telugu MD had sung under KVM's tune. Gandasala's last Tamil song too was by KVM- Muthukku Muthaaga- in Anbu Sahodararkal.
Agian, in those days and even today, the song writers would sit with the MDs to create a song. Whenever the MDs found it difficult to compose tune to the lyrics, the MDs would request the lyricists to give alternative words. There has been no exception where song writers were alive. In the case of composing tunes for songs of deceased poets lile Barathi and Ramalinga Swamingal it is a diffferent matter altogether. But where lyricists were alive, the MDS felt at ease composing tunes for the songs with these lyricists hanging around. The only exception was KVM who was highly talented in composing songs in the absence of the song writers. All he wanted was blank lyrics. KVM would compose any song without changing the words. Kannadasan himself testifies to this. OF the 1,500 songs of Kannadasan KVM had composed, at least 800 songs in the absence of Kannadasan. This needs a great ability.KVM possesed it.
To cut the long story short, even MSV had sought a singing chance from KVM.The only duet by Trichy Loganathan and P. Suseela was composed by KVM- "Adikikira Kaithaan Anaikkum"- a thanni aditha paadal from Vannakkili. AVM always used Sudharsanam for movies it produced, but finally came to KVM as well. The film Konjum Salangai of 1958 was said to be the best film for wide usage of Nadaswaram music. But Thillana Mohanambaal broke the record and gave a geater exposure to nadaswaram tunes, and credit goes to KVM. This film was nominated for Oscar award in 1969, but NaavalaR Nedunjeliyan redcommended ENga Veetu Pillai on party stand. That came back as it went. It was KVM who introduced LR Eswary, "Kavirithaai" Jayalalitha and AM Raja to the Tamil film music.
ONRAA IRANDD EDUTHU SOLLA?
So far only prelude explained in brevity. Details would snow ball as the series keep flowing.
Contiunes next week.........
Have a nice Weekend.
Anbudan
Manisegaran
From: Manisegaran (@ 161.142.2.11)
on: Sun Jun 16 21:17:32 EDT 2002
PART 4
HE LEFT NO HEIR TO HIS MUSIC
KVM passed away on 21 June 2001 at the age of 83. He left behind wife, two sons and three daughters alright. But to none of them KVM gave the responsibility of continuing from where he left. This is quite surprising to many of us. KVM was a highly successful MD, and yet he did not encourage nor impose upon any of his children to take up cine music. When one becomes successful in the film industry it is common to bulldoze family members. This aplies to film music, acting, producing, directing, technical expertise and every other area we could think of.
We have seen that in the field of composing music, T.Govindarajulu Naidu trained his son TG Lingappa; Shankar followed CR Subbaraman; Ilayaraja brough in his children Karthik Raja, Yuvan Shankar Raj and Bhawatharani. Gangai Amaran also came along with Ilayaraja in the initial stage. Govarthanam was the brother of Sudharsanam'
In play back singing Seergazhi Goviudarajan trained Seergazhi Siva Chidambaram; Malaysia Vasudevan brought in his son Yugendiran;Trichy Loganathan brought in his sons T.L. Mahalingam and Deepan Chakravarthy; TMS brought in his two sons; SP Bala encouraged his sister SP Sailaja and son SP Charan, and his daughter SPB Pallavi; P. Sandhiya I belive is the niece of P. Suseela; LR Eswary and LR Anjali are sisters; Soolamangalam Rajalechumy and RAdha Jayalachumy are sisters;D.K Pattamaal's grand daughter is Nityasree.........This lists has no end....
KVM too could have easily pushed his children into the film music world, but he totally refused. Surprisingly he comes from a family where his family members and ancestors were involved in music!Towards the evening of his life he gave an interview in which he revealed the real reason for not doing so. His argument was in simple terms "Engough is engough" He said that he did not want his children to undergo the tests, trials, tribulations, uncertainties and disappointments that he himself had to tolerate. But KVM was a successfuland highly talented MD! True, but his early journey was undertaken on a path full of thorns. He himself has said that in cine field mere talent and ability would not suffice. More than talent, luck has to be in your favour. A cursory of the history of the Tamil cine world would indicate how many talented artistes had been dumped, all on account of bad times or lack of luck. Many of the successful artisites shone out of stroke of luck. But KVM's success was based on talent first, and luck next.Most of us see him as a talented MD, but are not informed of his uphill struggle that was fought with untold difficluties.
HIS BEGINNING DAYS
Mahadevan was born on 20 March 1918 in Krishnan Kovil near NagarKoil in South India. His father was Vengadachala Aiyer, and mother was Letchumy Ammaal.His family members and ancestors were muciallly inclined. KVM's grand father was employed as a Sangeetha Viodvan at the Thiruvithaangoor Palace. His father Vengadachala Aiyer used to conduct Kathakaalachebam in the local temples. His father was also called Bahagavathar on account of his deep knowledge he had on carnatic music. KVM received his first education in music from his father. He then went on to widen his music knowledge from "Boothapaandi Arunachala Kaviraayar." KVM learnt proper music from him for a few years. It is said that at that young age and infant stage KVM had sufficeint knowledge, talent and ability to conduct Kachery on stages. His formal education acquired in school was only for three years. KVM then went to train his voice and learn "Pinpaattu" for Kathakaalachebam from Arangai Visvanatha Bhagavathar.
Following this basic education and training in music, KVM had to prepare himself for a livelihood. At the tender age of 13 KVM looked for chances in drama companies. In those days, before cinema glamour stole the hearts and mind of people acting in drama was a great attraction and glamour. These dramas also gave some form of livelihood for those simple folks who were not highly ambitious. The dramas groomed many talents such as acting, singing, dancing,painting, stage setting, props preparation and lighting. Those who were unsuccessful in school also ended up here either by parental force or by own choice. But KVM was looking for a chance in dramas where he could exhibit his musical talents. A chance came in "Boys Company" a drama troupe that used mostly boys. He joined the "Baala Gandharva Gaana Sabha" in Madras and played the role of a woman. AS he was just stepping into the outside world, the Baala Gaandharva Ghaana Sabha suddenly wasa wound up. KVM was pushed into the unemployed job market. Out of no choice, KVM was forced to work as a Server in a hotel. Following that bitter experience KVM went over to Kancheepuram and started to act in the local dramas there. But to his disappointement, there was no proper and regular income from the Kancheepuram dramas. So he had to leave them too.
Following these disappointments KVM got a chance to act in cine films- a field that was creating great sensations in the Tamil society.
(Perhaps KVM never forgot his beginning days. That could be the reason he humbled himself throughout his life. When I visited him in December 1984, a blind person came to him and wanted to be admitted into his unit to play flute. KVM told that blind person that he had come at a time when KVM had more or less retired from composing music. But KVM gave him a fifty rupee note through Pugazhendhi and told him to go for good meal. The blind person was not a beggar, but said that he decided to take the money in remembrance of the generous heartetness of KVM. This simple,and which to some may be a meaning less incident,really moved me to the core of my heart. This only told me that KVM had not forgotten his own beginning days.)
To be continued......
From: Manisegaran (@ 161.142.2.11)
on: Mon Jun 17 03:41:35 EDT 2002
PART 5
KVM’S DESTINY WAS DETERMINED
It so happened that KVM received the rare chance of acting in movies. HE was given a very minor role in the film called “Thirumangai Aazhvaar” in which he acted as a “Balagan” or small boy. Unfortunately that chance too slipped away in no time. This film was released in 1940. Meanwhile KVM turned his attention to what was popularly called “Special Dramas.” This time KVM was smart enough not to choose the role of acting, as he was fully convinced that was not what he was made for. He was fully aware that the talent that was latent within him was attuned to music. Therefore in about they year 1936 KVM joined a special drama troupe as a Music Director. That was the very beginning of KVM’s hands dictating music to harmonium. Harmonium had always been an integral and indispensable part of the Tamil dramas. This experience and exposure that KVM gained from 1937 reflected in his films throughout his cine career.
In 1937 KVM went with the drama troupe to a place called Kolar Gold Field, popularly known as KGF in Karnataka State. This is a district dominated by Tamil people. It was some form of divine providence that a turning point occurred in the life and career of KVM. While KVM had stationed himself at KGF to compose music for dramas, he happened to meet a great genius who was destined to shape the entire destiny of KVM. In 1937 AVM production house was making a film called “Nanda Kumar”. The Music Director who was contracted for this film was “Isai Arinyar” S.V. Vengatraman. S.V. Vengatraman and those involved in this film came to Bangalore for the making of Nanda Kumar. From Bangalore, S.V. Vengatraman also dropped in at Kolar Gold Field. There the four eyes met for the first time. SVV and KVM were introduced to each other. KVM had heard of S.V.Vengatraman, but S.V.V. had no inkling or the slightest intimidation whatsoever of who KVM was. At KGF S.V.Vengatraman noticed the rare talent and the outstanding ability of KVM in composing for the special dramas. SVV was truly astonished, amazed and impressed with the depth, style and speed of the musical presentation of KVM. Without the least hesitation and second thought S.V. Vengatraman invited KVM to join him as his assistant. This was an invitation and a temptation that KVM could not simply refuse. Thus opened the portals to the cine world. Most unfortunately, though the portals lay open, the path did not open up as expected and anticipated. KVM worked for some time with SVV, looking for some ray of hope. While KVM worked under S.V.Vengatraman, he did receive much training and blessings. Those were the days when not too many films were produced, and so not too composing chances came by. After that he worked as assistant under T.O Subba Rao. The third MD under whom KVM worked was T. A. Kalyanam. It was under T.A. Kalyanam that KVM was able to see light at the end of the channel.
Continues….
From: Manisegaran (@ 161.142.2.11)
on: Mon Jun 17 19:32:02 EDT 2002
PART 6
KVM STARTS OFF HIS CAREER AS MD
Everything happened so fast in 1937-joining Special Dramas as an MD, going over to Kolar Gold Field, meeting S.V.V, working under S.V.V, T.O Suba Rao and T.A. Kalyanam. One more incident of equally great importance took place in 1937. Those keen observers of the history of Tamil movies would be aware of the inception of the Modern Theatre production house. The Modern Theatres was also established in 1937. T. R Sundram was interested in giving movies according to the latest taste-mainly modern in style, presentation and nature, and he did succeed to some extent. Modern Theatres has a list of first to its credit. In 1937 Modern Theatres started its own and first film called “Sathi Akalya” In the beginning days three gigantic figures were involved in composing music for modern theatre films- T.G. Lingappa, T. R. Paappa, and T. A. Kalyanam. Time ticked away in agony for KVM. Not until the fall of 1942 did luck come his way. There were a few cast iron rules to enter the cine industry. One is the unwritten law of caste, which KVM easily passed. The other was the need of a proper introduction. In 1942 these three MDs introduced KVM to T.R. Sundram, the owner of Modern Theatres.
In 1942 Modern Theatres went on realising its ambitious plan of adapting an epic into a film. We may remember Professor Sundaranar who wrote an epic called “Manonmaniam” Modern Theatres made a movie of this epic. The film was named “Manonmani.” The main stars of this movie were P.U. Chinnappa, T.R. Mahalingam, T. R. Rajakumari, A Sakuntala and T. S. Palaiya etc etc-all great pillars of the Tamil cine world. T. S. Palaiya was very much appreciated for portraying himself as an excellent villain and the press of those days did not fail to point out this feat of him. The film was a resounding success and a feather in the cap for Modern Theatres as evidenced by the advertisement that read “ Modern Theatres Maatchikku Manonmaniyam Athaatchi” It was T.A. Kalyanam who was signed up as MD for the film. An incident took place that turned KVM into an MD. T. A. Kalyanam had to haste to Madras on an important and urgent call. Therefore KVM Who was the assistant of T.A. Kalyanam was commissioned to compose music in his absence. Fired by the enthusiasm to prove his ability KVM Set to compose for the film. KVM composed two melodious songs for the film. He walled his mind towards every other thought and focussed on composing good and rich music.
We all know who Nadaswara Vidvan T. N. Rajaratnam Pillai. He had just recorded and released vinyl records containing Nadaswaram music in Kaanada raga. As that tune was so popular among the lovers of carnatic and nadaswara music, KVM lifted the tune from there and composed a song for P{U Chinnappa. That song was “Mogananga Vathani” That was an instant hit. That one song became the highlight of the film, and added fame to the movie, the singer and the composer. That song instantly diffused and disseminated the name of KVM throughout Tamilnadu, and to other South Indian states where Tamils lived. All indications were very clear that KVM was already on the path to the height of glory. With just one hit song, some started to seek chance from KVM. There was one person known to all of us, who came seeking a chance from KVM. He had left beautiful songs by the tons, but KVM turned him off .
Continues..
From: Manisegaran (@ 161.142.2.11)
on: Tue Jun 18 03:49:05 EDT 2002
PART 7
MELLISAI MANNAR MEETS THIRAI ISAI THILAGAM
As soon as the songs of Manonmani became popular, there was a popular belief that the MD for Manonmani was KVM. In fact the real MD for Manonmani was none other than T.A. Kalyanam. KVM composed for only two songs. It just happened that the songs composed by KVM became greater hits, and hence the fame of KVM. As soon as the name and fame of KVM started to be scattered across Tamilnadu, a small boy came to KVM looking for a chance to sing. Remember this was at a time when KVM was not even a fully acclaimed and renowned MD. He was only an assistant MD in Manonmani. That small boy was MS Visvanathan, who became known to the film fans as the great Mellisai Mannar. MSV initially wanted to be an actor. But he did not mind trying other options. All he wanted was an entrance into the film world, after which he wanted to realise his ambition of acting, which only took place in recent years, following his semi retirement from composing music. (God willing I will contribute an article about MSV some time later) With that in mind MSV came to KVM for a chance to sing.
It happened in 1942 when MSV was first brought into the presence of T.R. Sundaram of Modern Theatres. MSV begged TRS for a chance to sing. T.R. Sundaram sent him to see KVM. KVM first entered into a general conversation in order to gauge the quality the voice of MSV. In that conversation MSV came to a conclusion that the voice of MSV was not up to the mark. Therefore KVM very diplomatically dismissed MSV from his presence. As an effort to pacify him, KVM gave MSV two rupees and a shirt. But MSV was great. He never took the discouragement as an insult. Later when MSV became an MD, he continued to respect KVM and there was a healthy competition between KVM and MSV/TKR. This competition started off in 1958 and went on until about 1976, when Ilayaraja came into the field and got both of them to retire. This healthy competition brought much benefits to the music fans, as KVM and MSV/TKR were forced to give their best to the Tamilnadu fans. KVM and MSV openly appreciated each other’s composition. They used to meet up at functions, and converse freely without any shadow of neither hatred nor envy. MSV always called KVM “Maama” In fact MSV always openly professed his two favourite songs. One is Oru Koppayiley en Kudiyiruppu from Iratha Thilagam. This is a song where Kannadasan himself appears and sings about his own life, with TMS giving playback voice. MSV and Kannadasan were very intimate friends. The other song is “Mannavan Vanthaanadi Thozhi” by P. Suseela from Thiruvarut Chelvar. Wherever KVM organised life shows, MSV would urge P Suseela to sing that song, as MSV felt once thesong is sung the “MANDAPAM KALAI KATTIVIDUM” The composer for both the songs is KVM.
Thadangalukku Varunthukirom....To be continued.....
From: Manisegaran (@ 161.142.2.11)
on: Tue Jun 18 19:53:23 EDT 2002
PART 8
A PERIOD OF ABEYANCE
Rome is not built in one day, they say. It is highly dangerous for anyone to shoot to the zenith of fame within a fleeting moment. Through Manonmani KVM became a brilliant star overnight. But for the next 10 years KVM faced untold trials and adversaries. Following Manonmani, KVM composed at random in a few Modern Theatres movies, such as “Maaya Jothi” and “Sivalinga Saatchi.” But nothing else is known of these movies. There is a generally held view that these films did not make it to the box office.
Until 1942 KVM was composing with other famous MDs. But he got a chance to independently compose for a full film. That was “Aanandan” produced by Yogi Films in 1942. This film was also called “Aanandan Allathu Akkini Puraana Magimai” Krishna Kanthan and P. Saraswathy acted in this film. Therefore on record Aanandan is the first full film in which KVM composed as an individual MD. In 1945 KVM received one more chance to compose for the film “Burma Raani.” This was the time when writer B. S. Ramayah was popular in Tamilnadu. In 1947 KVM composed music for the film “Thana Amaraavathy” for which P. S. Ramayah penned the storyline and dialogue and even directed it. In this film there is a song by V. N. Sundram, which goes “Yendisaiyum Vanangi Potrum Parasakthiye” This song became very popular. In 1948 KVM composed music for a film called “Devadasi”
Unfortunately luck and chances never breezed over KVM. KVM saw that the cinema chances were neither constant nor regular. He clearly saw some form of uncertainty and instability in composing music for films. Again, the payment was not that lucrative either. Therefore he had to look for greener pastures elsewhere. He left Salem where Modern Theatres Studio was situated and came to Madras in pursuit of livelihood. There he had the contact of Violin Mahadevan. With his contact and association KVM joined the His Master’s Voice (HMV) Gramophone Company. At this time KVM was away from cinema field and concentrated in cutting vinyl discs for HMV.
While with the HMV Company, one more cine personality of great reputation and fame came to see KVM for a chance. That great person was T.M. Sounderajan. Around this time TMS from the Chourashtra community was also desperately looking for a chance to go into the cine field as a singer. In fact TMS had just sung a few songs for cinema, but those songs did not take off. With a depressed spirit TMS came to see KVM for a singing chance in HMV. KVM had the habit of not turning away anyone who came in search of aid and assistance. So KVM made TMS sing two songs and got them recorded. After the recording was over, KVM gave TMS 80 rupees for pocket expenses.(That is to say 40 rupees per song. In the 1950s when the market of TMS shot sky high, he determined and demanded the rate. In fact among his contemporary singers in the 1950s it was TMS who demanded and determined the highest rate.He did this even with MGR, and MGR had to give in. In the 1980s when TMS lost all chances, Singapore fans invited him to sing in a Singapore show at a discounted rate. TMS did not reduce his rate at all. When they told him “after you are sitting idle in your house” to which TMS retorted “Gold may be lying idle in a goldsmith’s shops, but that does not mean the price has gone down. Gold is always gold and TMS is always like gold. The rate of TMS never drops.” Here we are able to see beginning days of struggle and the end days of arrogance of TMS. Talented people seem to build up some ego and arrogance. This is a well-deserved arrogance for such a talented singer.)
Before dismissing TMS, KVM gave the information that AVM was seriously hunting for new singers and new voices. Then TMS went over to AVM studio for singing chances. When KVM shot into prominence, it was the same KVM and TMS combination that gave some of the very best gems for us.
Meendum Santhippom...
From: Manisegaran (@ 161.142.2.11)
on: Wed Jun 19 20:15:49 EDT 2002
PART 9
SURVIVAL OF THE FITTEST
In the fall of 1950 KVM had to face unexpected challenges from two angles. One was quite unrelated but still had thrown some challenges, and people favoured dialogues than songs. Although songs were wanted by people, there was a temporary swing in favour of dialogue caused by the new wave writers from the DMK such as Karunanithi and Annadurai. These writers came with very powerful social themes, and soul–stirring dialogues that made the fans applaud in the box offices. Mandhiri Kumari in 1950 and Ore Iravu in 1951 are just two examples. In fact these two writers were already creating ripples from the late 1940s. The early fifties was the golden era for Karunanithi’s dialogue. It soon turned out that whenever names of Karunanithi and Anna were shown on the silver screen, there used to be thunderous clapping. So preference of the fans switched preferences. The irony was that these dialogue-preferred films too had very good songs. This was not a direct threat to the cine music.
Next challenge was the change in taste for more modern films. By the 1950s the influence of foreign films had its own direct effect on our people. People were in a way sick and tired of films based on puranaas, ithikasams, epics, folklore expressions, mysteries and magic. Social and modern themes were in full demand. Therefore the story lines had to change, and that called for a paradigm shift in the composition of music as well. Almost all MDS had to either sink or swim. The 1950s was the toughest period for all MDs and they had to compete to compose music for the changing times, and secondly they had to compete among themselves. So the 1950s was the period when Tamil film fans started to enjoy all forms of taste in Tamil film music- most carnatic, semi- classicals, Hindustan- based, Modern, Western and masala mixes. This became the survival of the fittest for all of them. KVM was naturally dragged into this unexpected struggle. He had to improve himself and compete with his contemporaries.
Who were his contemporaries? They were no ordinary MDs, and could KVM give a tough fight? It was a make it or break it battle. It was a battle of the titans.
From: Manisegaran (@ 161.142.2.11)
on: Wed Jun 19 21:11:01 EDT 2002
PART 10
EMERGING FROM OBSCURITY
The MDs of the 1950s were no ordinary people. They each had cut a name and fame for themselves. It was quite difficult to say who was better than the other. Each had his own area of strength and talent to exhibit. Each had his own following among the fans in Tamilnadu. G. Ramanathan was already making waves by composing almost all form of tunes- from pure carnatic to most modern. C.R. Subbaraman had his own way of rendering soul-touching sweet melodies, though his period in the filed was short lived. S. V. Vengatraman was creating his own line of taste with emphasis on carnatic based tunes, popularly appreciated by the carnatic music fans. Others like C. N. Pandurangan, M.S. Nyanamani, S. Dachinamurthi, V. Dachinamurthi, Chalapathi Rao, T. R. Paappa, R. Sudharsanam, T.A. Kalyanam, T. Govindarajulu Naidu, S. Rajeswara Rao, Pendiala, Gandasalan, S.M Subbuah Naidu and M.D. Parthasarathee are some among of those who deserve mention. Of these MDs G. Ramanathan, C.R. Subbaraman and S.V. Vengatraman were accepted as the “Tamil Thiraippada Mummoorthikal” Particularly G. Ramanathan was affectionately called “Isai Methai” while SVV was called “Isai Arinyar.” These were seniors in the filed and KVM had to rise above all odds. KVM could make it on account of his confidence and the talented mechanism that was inbuilt within him.
The year 1952 seem to be quite an important year for KVM. This was the year when KVM composed for the film “Kumari” acted by M.G. Ramachandran. This film was historical for a number of reasons, but not well received, and the write-ups were said to be not encouraging. That may be so. But this was a film of great historical significance for KVM, MGR and A. M. Raja. This was the first film of MGR where KVM had composed music. This was also the first film where AM Raja’s voice was recorded for cinema. But it was Samsaram that was released earlier in 1951 while Kumari was released a year later in 1952. Therefore there is a widely held view that AM Raja sang first in Samsaram.
Kumari is also the first film where AM Raja and P.G. Krishnaveni (Jikki) sang duet and the duet song is “ Iruliley Nilavoli Pol Avar Varuvaar.” AM Raja sang a song based on a popular Hindi film song, and that solo is “Azhiyaatha Kaathal vaazhvil Anaiyaatha Jothiyaai Oli Vessuvaal Ennalum Ulla Vaaniley” Aha what a nice song! There is also another solo called “Kaathal Solai” A song called “Aayo Shagimayo” by AP Komala is also a song of Kumari. There is also a group song called “Athairiyam Kolvathen” sung by Leela, AM Raja and others.
In view of the afore mentioned matters, Kumari may be a commercial flop, but it carries much historical significance that cannot be overshadowed over passage of years, nay centuries to come.
Perhaps I have to mention here how KVM and A.M. Raja parted off in different ways after the year 1958- within a period of 4 years of KVM building up AM Raja. AM Raja had sung under many MDs, including KVM. KVM had given AMRaja some beautiful gems like Mayakkum Maalai pozhuthey Nee Po Po (recorded by KVM in Koondukkili but used in Kulebagavali in 1955), En Kaathal Inbam Ithuthaana (Thaaikku Pin Thaaram in 1956) Anbey Nee Naan Ingey and Inbamey Pongumey (Bommai Kalyanam in 1958). In 1958 AM Raja became Music Director through Kalyana Parisu and shot into fame overnight. Then the usual arrogance set in. He was by nature a suspicious character that very much affected his personal life as well. Once he became an MD, AM Raja started to belittle or side step seniors in the field. He used to dominate, correct and change film tunes composed by others. This irritation was also felt by KVM while composing for the film Manamulla Marutharram. The song is “Kayiley Inippathenna Kaniyaanaal kasappathenna” by AM raja and Jikki. After this beautiful song was recorded KVM bid AM Raja farewell for good. Many others also said goodbye to AM Raja, but not to poor Jikki. But when AM Raja lost his chances, he did not allow Jikki to sing. However on rare occasions she did sing here and there. Following boycott of AM Raja by the cine field, he concentrated on his tourist car business to make a living and sang in some Telugu movies. Poor AM Raja passed away in 1989.
From: Manisegaran (@ 161.142.2.11)
on: Thu Jun 20 21:30:48 EDT 2002
PART 11
KVM AS SINGER CUM MD
Following the film Kumari in 1952, KVM got another a few more chances to compose in films. Rohini, Naalvar and Mathana Mohini are those films that came looking for KVM in the year 1953. There is nothing much to mention about Rohini. Mathana Mohini and Naalvar deserve some mention. Mathana Mohini was a commercial flop, but a success for KVM and lovers of music. KVM had sung four good songs in this movie. It was neverpre- decided that he would sing. But when the booked playback singer failed to turn up, KVM had no choice but to sing out the four songs. There is one most famous song that KVM sang with P. Leela, and the song is “Kannodu Kanninaai Ragasiyam Pesi” Oh what a nice song! It was well composed. This song was very much welcomed by the song fans all over Tamilnadu. Even today one could enjoy the sweetness in this song. There is one more song that KVM sang and it goes “Unmaikke Ulagil” written by M. Pabanasan Sivan. A.P Komala sings a song called “Aanum Pennum” Again there is one more song that KVM sang for Narasimma Bharathi called “Vaazhiya Senthamizh Thaaye” P. Leela sings a song called “Vaana Methi Meley” P. Leela, the well-seasoned singer of semi classical songs, in an interview has mentioned about this great song and appreciated the mature voice of KVM. P.Leela herself had felt that KVM could have been the main singer in songs composed by him, given the golden voice. But he was magnanimous enough to groom the others and contented with composing alone. It is also a fact that KVM’s voice was far better than some of those singing in his days.
Around this same time, a famous Hindi movie called Deedar was released with very good songs, composed by Naushad (whom I met in December 2001 in Mumbai, along with MD Ravi and Aanandji). There is a song called “Mere Kahani” KVM sang the Tamil version of this song that goes “Kaathal Enraale” (There is also a duetby AM Raja and MS Rajeswary in this tune. That was the only song where MSR and AMR sang). KVM sings a duet with A.P. Komala that goes “Malar Vizhigalai” This is another wonderful song. So KVM has also sung dubbing songs.
It is quite surprising why KVM sang very few songs, with such a golden voice. In a TV program called “Thirayum Isayum” conducted by MSV a few years ago, KVM sang the first few lines of the song “Mannavan Vanthaanadi Thozhi” Even at that advanced age his voice was just par excellence.
From: Manisegaran (@ 161.142.2.11)
on: Thu Jun 20 22:15:52 EDT 2002
PART 12
BEGINNING OF MANY GOOD BEGINNINGS
Now, a word of the film Naalvar released in 1953. This film was indeed a turning point for KVM and AP Nagarajan. This was the first film for AP Nagarajan. From this film right up to Thirumaal Perumai” released in 1968 APN and KVM enjoyed excellent working relationship. The films produced by their combination gave some of the best songs for the Tamil cine world. Some of the best Puarana movies were also the product of this combination. Going to theatres to see the puraana films of APN and KVM combination was like going to temple, as divine fragrance could be felt in theatres, among other things for reasons of saoul stirring songs and music.(Will discuss at the appropriate section comes)
AP Nagarajan was a product of the Tamil Stage Dramas. He used the Tamil Drama stage as a spring board to land himself in the cine field. In those days, the Tamil dramas were facing a steady decline owing to the speedy growth of the cine line. Cinema was the prime and number on enemy of Tamil Dramas. No prospect was to be found in Tamil stage dramas. Drama by itself was seeing a dead end. Cinema gave so much glamour that dramas could not provide at all. Cinema became the crowd puller for both the elite and the ordinary man on the road. So those who were far -sighted switched on to cinema at the slightest opportunity made available, while some appeared in cinema and maintained the stage. One of those who were such a far-sighted stage drama actor was AP Nagarajan. He was a stage actor, scriptwriter and producer of stage dramas. Therefore he had acquired sufficient training to take off well in the cine field.
Naalvar was a drama that APN himself wrote and acted. It was so popular that APN was affectionately called “Naalvar Nagarajan”
Nagarajan befriended M.A.Venu, the Production Manager in Modern Theatres. Venu was of the strong opinion that successful dramas could be made into lucrative movies. The 1940s and 1950s were also a period when dramas that were successful were turned into great movies. Venu saw the success of the drama Naalvar. APN gave the green light and it was made into a movie with APN as the main actor and Kumari Thangam as the heroine. This film became such a big sensational hit in those days, so much so that APN said goodbye to stage dramas and switched camp to the cinema field. The composition of music went to KVM. KVM, K. Rani, Rathnamala and Trichy Loganathan sang in this film. There was a song by Trichy Loganathan and MLV called “Vaanameethiley”. MLV sang “Inbam Kolluthey” and another thanippadal by Ayaloor Krishnan called “Mayile”. MLV also sang a solo called “Irul Soozhntha Vaazhvil Oli Veesum Nilavey”- an excellent song. KVM and K. Rani sang “Abaraatham Roobaai Aimbathu”. KVM also sang a comedy song that goes “Lovekku Love” The songs were not too bad and the film was a big hit. This film was said to be the beginning of many good beginnings for KVM. So another milestone in the joureny of KVM.
From: Manisegaran (@ 161.142.2.11)
on: Fri Jun 21 02:04:28 EDT 2002
MS,
This is what I shared with many over the emails:
"TMS was nailed in Malaysia by Ilayaraja. Ilayaraja was coming up from
Annakkili onwards, and has been using TMS as he was the star of the day.
However, IR was a trend setter, giving new music altogether, which TMS, PBS
and Seergazhi Govindarajan and a few others did not support (They told me)
But they all feared to voice out their opinion. TMS did bad mouth. Perhaps
TMS was of the opinion that IR was a small boy and would not shun TMS. After the success of Annakili there were a few other movies where TMS sang-Deepam, Naan Vazha Vaippen, Thiagam etc. Following that
IR came with TMS and a few others to Malaysia.
There was an interview in TV Malaysia. TMS has come many times and had known the officers in TV Malaysia. But these officers were speaking to IR as a new and upcoming MD who had made his first trip here. TMS saw that and called the head of the Section "Yow! Chinna PaiyanKooda Ellaam Enna Pechu Irukku? Vanggiya Naama pesikkittu Iroppom" and took away the officer. IR was very hurt but humbled himself.
In the gropu interview TMS was aksed " What is the difference between MDS of those days and these days?" TMS said "Antha Kaalathiley G. Ramanathan isaikku paadinaal ulagathil evanudaiya isaikkum Paadidalaam. Intha kallathilke enna Thiraimai Irukku?"
That was hitting IR below the belt, and upon return to Madras we saw TMS being slowly sidelined and completely shun by IR.
So I agree that TMS is talented as a singer, but bad mouths unnecessarily. He spoilt his career owing to his own mouth. But I still do admire his tremendous talent."
You see what happens following this posting. Its going to be fun.
MS,
You may edit the way you want, but I belive I will be consulted too for final editing.
No written contribution would be enriched without criticism from readers. I very much welcome that. Thanks for the idea.
The only regret is that I may break soon and take some time off and continue later, as for the moment I am still relatively free.
Manisegaran
From: Manisegaran (@ 161.142.2.11)
on: Fri Jun 21 19:59:04 EDT 2002
PART 13
NALLA KAALAM FOR KVM AND ASSOCIATES
In 1954 came Nalla Kaalam, which lifted KVM many steps higher. M.K Radha was the main actor with Bandaribai of Parasakthy fame as heroine. There was a saying that Nalla Kaalam, starred by NN Kannappa brought Nalla Kaalam to KVM, APN and the play back singers. In the earlier films there was no guarantee that the songs would be a hit. But Nalla Kaalam songs were very much appreciated by the cine fans and music lovers. This film had more songs, and more singers than before.
No admirer of R. Balasaraswathy Devi would easily forget the song:
Vaazhvu Malarnthu Manam Veesiduthey,
Inba Then Undu Aaduthey Vandu
This song is the highlight of this film. This is a 1954 song that has been immortalised by KVM to be appreciated for generations to come. Even a first time listener would be mesmerised by the fine and soul-stirring tune in this song. Balasaraswathy Devi sang another song called “ Manamey Un vaazhvil Nee”
Kalaivaanar NSK sang more under other MDs, but very seldom under KVM. Nalla Kaalam has one of those rare songs of N.S. Krishnan and the song is
Summa Irukkathunga-
thuruthuruthavan kaiyum kaalum
summa irukkathunga.
It is widely believed that this was the first song of NSK under KVM. NS Krishnan’s wife T.A. Mathuram sings a song called “Bharatha Naattin Kankal” here. Some unknown children sang a long song on Ramayana. Aaandaal and KVM sang a song called “ Vaazhvin Kadamaiyai Maranthu Nee vaadathey”. It is said that this song was popular and popularised in Ceylon as well. Therefore the fame of KVM was also noised abroad in 1954.
Aandaal also sang another song called “Kolakalamaaga Kondaaduvom.” Ganasaraswathy sang a song called “Kannaley Kaanpathum Poiye” written by Pabanasam Sivan. K. Rani sang a solo called “Kantham Pol”
In 1954 came one more film of APN – Mangalyam for which APN penned the dialogue, directed and acted as the hero. MA Venu of Modern Theatres produced this film while KVM was made the MD. This film has some excellent songs. There were other good songs too. Ka Mu Sheriff wrote a song called “Thottathu Roja” sung by Jikki. There was another song by Jikki called “Thinamey Unai Ninainthu” Radhe Jayalechumy had sung two very captivating songs- Ninaithaalum Inbam Tharum and Ottumiru Ullamthanai Vetttuvathu Nyayamillai. The latter is again one that could be appreciated for all time to come.
TMS sang two songs in this film. One is “Koojaa Kooja Kooja- Vaanaa Moonaa Kaana” with Chellamuthu. This is a political song. The other is “Nalla Kaalam Poranthiduchu” a solo by TMS. In discussing the song Kooja Kooja Koojaa we have to go back to a film produced in 1952-Panam where MSV and TKR combined for the first time. In that film produced by NS Krishnan there is a song promoting DMK. The song goes “Theenaa Moona Kaana” In those days the censor board did not allow, among other things political propaganda in movies. Following the resounding success of Velaikkari and Ore Iravu, C.N. Annadurai publicly gave a statement that should censorship be removed completely, within a few movies and a short span of time DMK would capture the state legislature in Tamilnadu. It was at this difficult period of time that NSK sang Theena Moona Kaana and in the next line mentioned Thirukkural Munnani Kazhagam. There was nothing the censorship could do about this though the purpose was tactfully and cunningly achived. Now APN and a few of his close friends at this time saw the DMK party growing like wildfire and so decided to suppress it. They were members of the Thamizharaus Kazhagam. Ma PO Si and Avai Shamnugam were strong supporters of this. Being a film penned by APN and produced by Venu, APN took the freedom to counter the Theena Moona Kaana song. A song was written in Mangalyam and the song was “Vaanaa moonaa Kaana,” sung by TMS and Chellamuthu. This was a reference to the comedy actor Ezhumalai who was named Va.Mu. Kazhugumaalai. This was a competition song between Ezhumalai and A. Karunanithi (Again Karunanithi!) The Tamilnadu got the message. Such competitions were needed in those days to make the films run.
The other song is Nalla Kaalam Poranthiduchu by TMS. It was a prophetic song as indeed Nalla Kaalam had dawned upon a few- TMS himself, KVM, APN and a few others. It was a great comeback for TMS!
From: Manisegaran (@ 161.142.2.11)
on: Fri Jun 21 20:00:46 EDT 2002
PART 14
TMS AND KVM
I am taking the liberty of discussing, very briefly the advent of TMS into KVM’s ambit, as his role with KVM is not too small to be neglected. We have seen how TMS came to see KVM for a singing chance. Now how could we divorce the combined contributions of KVM and TMS. Therefore allow me to say a few lines on TMS and KVM.
TMS was the second son for Meenachi Aiyangaar, a temple progithar who earned a living from Madurai aratharaja Perumaal Temple and singing in marriage functions. TMS had been training his voice from the age of 7 by singing the songs of MKT and P. U. Chinnappa Bagavathar. TMS studied till SSLC. He learnt carnatic music from Rajamani Aiyangar for two years and did his staging at the age of 23. He got married much early. He was singing in stage kacheris in the voice of MKT and many called him kutty MKT. TMS wanted to also become a disciple of MKT but MKT advised TMS to shape a separate identity for himself.
TMS had a burning desire to sing in cinema. Through actor Narasimma Bharathi, a person of his community, TMS worked in the Kovai Royal Talkies for a monthly salary of only Rs50. Then he went go over to Coimbatore Central studio to show his ability to the seniors in the field, such as K R Ramasamy and P U Chinnnappa. (Later KRR and TMS sang a song in Nirabarathy -Oruvam Kandu En Manathu Uruguthu) PU C took a liking for TMS and started to take him for movies. TMS found his own way of working for six months in the house of Sunderlal Natkarni, who was a director making good number of movies at the Central Studio, hoping to get a chance. But nothing was forthcoming. The director recommended to the MD S.M. Subbiah Naidu to give TMS a singing chance. SMS made TMS sing five songs for the film Krishna Vijayam starred by Narasimma Bharathi. The hit song was “Raathey Ennai Vittu Odathedi” a replica of a song written by Boomi Baalakadass and sung by MKT in the film Chintamani. He was paid Rs 625 for that. This film was released in 1950.
In 1950 he got a chance to sing a song Annamitta Veettiley for an unknown actor in the film Mandiri Kumari. G. Ramanathan had composed the music for this MGR film. Surprising MGR never gave lip movements for even a single song in Modern Theatres Mandiri Kumari though later his films were full of songs where he himself had given lip movements. In this movie MGR somehow missed TMS. In 1951 TMS acted and sang as beggar in the film called Devagi, and the song was “Theeraatha Thuyaralley.” In 1952 came Valayapathi where TMS sang two songs under S. Dachinamurthy. One was a solo “Kulir Thaamarai Poigaiyai Kanden.” The other was Kulungidum Poovilellaam” with K. Jamunaraani, based on a famous Hindi song by Mukesh and Lata Mangeshkaar. Bharathithasan wrote both songs. During the time of recording “kulungidum Poovilellaam” TMS was able to witness the fight between Bharadhidasan and the MD S. Dachinamurthy. Bharadhidasan wrote the first line as “Kulungidum Poovilellaam Thenaruvi Kamazhnthathanaal”, but the MD Changed “Kamazhnthathanaal” into Kandathanaal” to suit the tune. Bhardhidasan walked off and banged his car door. A boy came from the recording studio and told Barathidhasan that the car sound may be recorded, for which Bharadhidasan retorted “If your recording machine cannot record my “Kamazhnthathanaal” how could it record the car sound” Anyway the MDs version was sung by TMS.
They were all good songs, but there was no further chance for TMS. It was around this time that TMS came to KVM in the HMV studio and recorded two devotional songs for which he was paid Rs 80. KVM requested TMS to go to AVM which was looking for new voices. So TMS went to AVM where he sang two songs for the film Chella Pillai. One was “Podanum Kulla Podanum” and the other is “Naadu nadakkira Nadayiloey” with MS Rajewswari. The film came later in 1955, after Koondukkili was released in 1954.
From: Manisegaran (@ 161.142.2.11)
on: Fri Jun 21 22:26:01 EDT 2002
Vicky,
As I said Chellappillai was made earlier in 1954 but released in 1955. Koondukkili and Thookku Thookki were released in 1954.It was KVM who sent TMS to AVM to get a singing chance, and so ended up in Chellapillai. That was the first attempt of TMS under Sudarsanam. Naadu Nadakkira Nadayile is with MS Rajeswary.
The famous songs of this film are:
1) Kulla Podanum by TMS
2) Naadu Nadakkira Nadayiley by TMS and MSRajeswary
3) madhana Ezhil Raja Nee Vaa ny Jikki and KRR.
The first song TMS and P Suseela sang together is said to be Bantulu's film Enga Kudumbam Perisu. The song is "Ratha Madhava Vinotha Raja" an excllent song. The MD is TG Lingappa.
We have to be clear of one thing. There are far too many gaps in the cine industry. The authors of cine history themselves have forgotten them.Written records are very much lacking.
Thanks for the comments and interest.
Anbudan,
Manisegaran
From: Manisegaran (@ 161.142.2.11)
on: Sun Jun 23 21:07:53 EDT 2002
PART 15
KOONDUKKILI
In 1954 Through Maruthakazi’s recommendation TMS was taken to sing in Aruna Pictures Thooku Thookki. He was taken to the Film Center Studio for recording. Sivaji Ganesan who used to be given playback by CSJayaraman doubted the suitability of the voice of TMS. TMS was willing to sing three songs free. TMS and Sivaji Ganesan were introduced to each other. In the short conversation TMS studied the voice of Sivaji Ganesan. (Right from the beginning TMS was excellent at imitating the voices of most of the heroes he sang for.) And he did sing Sundari Soundari and Eratha Malaithaniley, imitating the voice of Sivaji Ganesan to the closest possible. When G Ramanaathan heard his voice and gave TMS the chance to sing all the songs for Sivaji Ganesan. G.Ramanathan had already used TMS in Mandiri Kumari (Annamitta Veettile). That was how Sivaji got involved with TMS. All the songs were instant and great hits. The fame of TMS shot sky high overnight. There was already a talk that the voice of TMS suited Sivaji Ganesan very much.
While this development was going on, in the same 1954 TR Ramanna and TR Rajakumari started the RR films that produced some of the best movies in Tamil. As the film was under production stage, TMS was given a chance. TMS was invited to sing only chorus. But Tanjai Ramayah Dass was very impressed with the golden voice of TMS, and he requested the story and dialogue writer Vindhan (at that time known as Makkal Writer, and a close friend of Jayakanthan) to give TMS a chance to sing a full solo. By this time Sivaji Ganesan had known TMS as they had worked together in Thookku Thooki songs. Koondukkili is the first film where TMS had sung under KVM’s composition, with the song Konjum Kiliyana Pennai. It was actually G. Ramanathan who built up TMS by that great movie.
That was the first song by TMS for Sivaji Ganesan. Just to mention that in films following Thookku Thookki, Sivaji Ganesan was not adamant about using TMS as playback singer, until the early 1960s when he started to insist on TMS singing for him.
But as the song was recorded MGR heard it and wanted TMS to be his permanent singer. He was used in MGR’s next movie Malaikallan where TMS sang Ethanai Kaalamthaan Ematruvaar Intha Naattiley” written by Tanjai Ramaiyah Dass and composed by S.M. Subbiah Naidu. History has it that Koondukkili was the only film where MGR and Sivaji, the two Thilagams acted together. P.A. Periayanayaki sings a song called “Enakku Theriyaley Nejamaa Enakku Theriyialey.” There was also a Deepavali song by TMS and K. Rani that goes “Vaangga Ellorum”.
A song by Ratha Jayalechumy that became popular in this film is:
Paar En Maghaley Paar paar,
Paranthu Kidakkum Annai Boomi
Arinthunnai Azhaikkuthu Paar Paar
But in this film it was Konjum Kilyana Pennai that made TMS very famous. From then on the TMS-KVM combination started off. There is a situation in the film where Thangaraju (MGR) asks Jeeva (Sivaji Ganesan) to look after his wife when Thangaraju is forced to go to jail owing to circumstances. Jeeva goes for Thangaraju’s wife whom he had fallen in love earlier. Then Jeeva faces a severe conflict within himself as to whether his action was justified. The song is very well written to suit this conflict. Can anyone answer these questions that Jeeva asks?
From: Manisegaran (@ 161.142.2.11)
on: Mon Jun 24 02:15:57 EDT 2002
a.a.
The a duet by AM Raja and MS Rajeswary that I mentioned is in the film Ulagam,with MS Gnanamani as MD, a movie released in 1953. Starts as "Premaiyin Ranee Kaathalinaale"
Right. Uruvam Kandu is from Neethipathy, and Kulir Thamarai is a duet. Slip on my part.
Uruvam Kandu-a duet by TMS and KRR, picturised on TS Balaya and KRR (in disguise as a female) a movie of 1955 release
Kulir Thamarai is the second duet for TMS. The first ever duet of TMS is Kulungidum Poovilellaam, MD is S. Dachinamurthy with Bharadidasan penning lyrics.
Happy there are auditors. Readers stand to gain.
Anbudan,
Manisegaran
From: Manisegaran (@ 161.142.2.11)
on: Tue Jun 25 00:20:57 EDT 2002
A few comments.
Pennin Perumai has other good songs too:
1. Vaazhkai Odam karai serum munnye puyal vanthaalum Kalangathey- by P.Leela
2. Kanna maraiyatheda by Jikki
3. Mugoortha Naalum Mudivachu Mookkanam kayirum Pottachu- a chorus song
Kuravanji is by TR Paappa (origninal name is Sivasankaran. All boys in the family and was dressed as a girl child and called him Paappa)
Arumai Anna (a.a)
The song Kaathal Enraaley is a solo by KVM sung for the dubbing movie of Deedar itself.
Regarding Neengatha Ninaivu, you are right he compsed an original tune for PBS to sing in the same situation. He has also retained the same tune of the original Deedar. The song is:
"Oh Oh Sinnanchiru Malarai maranthuvidathey" comes twice- once by P Suseela and LR Eswary (lyrics by Valee) and the other time by TMS?
There are other good songs too like "Engiruntha Pothumj Unnai marakka Mudiyuma" by P. Suseela, "Anbu Vaazhga Aasai Vaahzga Inbam Kondadum manam Vaazhga" bt TMS and PS. Paarthathunda Kettathunda solladi Kiliye" by LRE.
KVM subject is too deep, and I wonder what is going to eb the direction of this article.
Vanakkam
manisegaran
From: Manisegaran (@ 161.142.2.11)
on: Tue Jun 25 05:01:53 EDT 2002
PART 16
VASANTHA KAALAM FOR KVM
As soon as Koondukkiili and Malaikkallan were released, a permanent feature started off, and that was both Thilagams using TMS for their film songs. And both were right in selecting TMS.
The year 1955 was the real vasantha kaalam-spring season for KVM. Movies of this year were Town Bus, Aasai Anna Arumai Thamby, Pennarasi, and Mullai Vanam. Aasai Anna Arumai Thamby, Pennarasi and Town Bus were released with direct involvement of APN as actor or story and dialogue writer. Aasai Anna Arumai Thamby, has three songs that no one would easily forget. One is “Bayanthaal Aaguma” by Deva Narayanan and Sarojini. The other is a solo by SC Krishnan called “Athirshtam” which is fairly an OK song. The big hit song that took many by a pleasant storm is of course by R. Balasaraswathy Devi that goes
Kai Padaatha Mullaippoo
Kannaithaan Parikkuthu
Kaalam Seiyum Jaalamthannai
Enni Enni Sirukkuthu
This is indeed a song to be enjoyed in all seasons by fans of all age brackets. This film for which dialogue was by Sakthi Krishnamoorthy and starred by APN, TR Ramachandran, Sayiram, Ezhumalai, Maduri Devi, Raaja Sulochana etc was a hit in those days. The dream queen Maduri Devi herself produced this movie.
The next comes Pennarasi, which was a history by itself. Pugazhendhi from Kerala (Says Kannadasan in his book Chinthithen Santhithen) settled in Tamilnadu and teamed with KVM from 1954.He was an assistant to KVM from that year onwards, and has even composed individually. There have also been many songs composed by him, and added on to KVM movies.
Pennarasi was released in 1955. This film was taken to bash on the DMK propaganda. Manohara of Krunanithi had created a big sensation and so the dialogue of Pennarasi was toned to hit at the DMK movement. APN wrote the dialogue and acted in it with MA Venu producing it. It is said that while songs for Pennarasi were about to be composed KVM had to leave outstation. Therefore he entrusted Pugazhendhi to compose, and he came out very well. Trichy Loganathan and MS Rajeswary sang a very melodious song called
Inbam Engu Enrey Aatchi Puriyuthu
This became an instant hit. S.C. Krishnan and V. R.Chandra sang “Pennai Petha Aambalai” which was a famous song in its own way. The most famous was a comedy song by SC Krishnan and Kanaga which and the song is :
Mullai Vanam is also a release of 1955. This film has some wonderful songs, but unfortunately this film did not run well, all because publicity was overlooked. This is said to be the first cowboy styled movie in Tamil. A few songs are to be remembered in this film. Ratha Jayalechumy has sung “Putham Puthu Malarey Kurunagai Puriyum Vennilavey.” This is a song with catchy tune. Then comes one more of her song sung with TMS – “Engiruntho Ingu Vantha Rathiye-En Ullanthanaiye Nee Kolai Kondathen?” Here one could see the softness of TMS voice for a change. The song itself is soul lifting, and could be enjoyed even now. AP Komala sings “Kaaya Pazhamaa Sollunga” another famous song.
Let us see how many of the readers recognise and enjoy this golden contribution of KVM:
TMS: Engiruntho Ingu Vantha Rathiye
En Ullanthanaiye Nee Kollai Kondathen?
RJ: Kalla Ennamey Kondu Ennidathile
Nee Nallavanai Pol Pesa Ennuvathum Veen
TMS: Thenum Paalum Sernthathu Pole
Naanum Neeyum Onraaginom-
Naanam Eno Ennasai Maaney
Naamey Kaanbom Perinbamey
Engiruntho Ingu….
TMS: Engiruntho Ingu Vantha Rathiye
En Ullam Kavarnthe Nee Sellalaamaa?
Aha what a tune, and how enchanting the voices! I was playing this song over the cup of coffee, and the coffee was bitter, all because this song was sweeter. I just could not believe my ears. Both TMS and Radha Jayalechumy sang very softly, no high pitch. The song was simple and yet enchanting, and is sure to pierce one’s very soul.
Some time ago Malaysian friend met Radha Jayalechumy in her house and discussed her old songs, including this. She just was condemning the cine industry as a whole, as she said the industry does no more compose songs that moves the heart and soul, but only the bodies.
From: Manisegaran (@ 161.142.2.11)
on: Tue Jun 25 23:20:43 EDT 2002
Saravanan,
I can think of the following songs by Radha Jayalechumy in KVM's music:
Since you like her songs, let me give you some more of her songs from my immediate memory:
1.Be Happy- Kaithi-S. Balachander
2.Poochendu Nee Ponvandu Naan with TA MOti and Ganasaraswathy in ThayullamMD V. Nagaiyah)
3. Etham Pottu- Kanchana
4. Jagam Yaavum- Manithanum MIrugamum-TGovindarajulu Naidu
5. Kathal Kondaadugiraar- manohara-SVV
6. Aanantham Tharuvathu Sangeethemey- Samaya Sanjeevi- GR
7. Gangatharaney- Poologa Rambai- CN Pandurangan
8. Vaazhiya Needoozhi- Arivali SVV
9. Aaraaro Aaraaro- INdira En Selvam SR Pathmanaba Sastiri
10.Kanni Paruvam Aval Manathi Enna Ninaithaalo with PBS- Indira En Selvam
11.Anaiya Jothi with AM Raqja-Solaimalai Raani-CN Pandurangan
12. PAchai Kuzhandayadi Kannil Paavaiyandro Chandramathi- with SG -Odi Vilyadu Pappa- by KRishnamurthy
13. Nadanamaadinaar with Leela- Manamaalai-GR
14. Ethukkithanai Modi - Sarangadara- GR
15.Jagam Yaavumey- Ratha Pasam
16. Vazhvatho Mathu-Manohara-SVV
17. Aasai Mounamaai- Inspector -GR
18.Madhuvai parugum Vandu-Jameenthaar- GR
19. Malai Thiritha Magarasi with P.Leela and Ganasaraswathy-Moondru Pillaikal
20. Oh Alai Mothum-Puratchiveeran
Pokkiri Payale- Thayullam- Thayullam by V. Nagaiyah.
21. Vennilaavum Vaanum Pole- kalyanam Pannnium Bachelor-TG Lingappa.
Thanks,
Manisegaran
From: Manisegaran (@ 161.142.2.11)
on: Tue Jun 25 23:36:57 EDT 2002
Aasai Anna (a.a),
Arumai Thamby ezhuthuvathu
I have not seen some of these movies, and that inludes Pennarasi. Let me see if I can recollect the missed songs for the moment. They are:
1.Ulagam Sezhippathgu- by P.Leela
2.Santhegam Ethukku by Sc. Krishan and Kanaga
3.Thodathey-SC KRsihnan and Kanaga
4Ezhuthi CHellum- SC Krishnan
5. Aadhiyaai- SC Krishnan
6.Vendrathu Soolchi by TMS
7.Seer Valara by TMS
8. Konjam Kooda Kuri Thavaraatha by Jikki
I am not able to think of the song you mentioned. May be you can post when you recollect.
In this article, I would want to mention only the famous and hit songs.
Sorry I am not giving all the songs from the films I am listing. I am trying to move fast and complete the series, while I still have the time. We have not even covered the tip of the iceberg so far.
Thanks,
Manisegaran
From: Manisegaran (@ 161.142.2.11)
on: Wed Jun 26 06:48:03 EDT 2002
PART 17
METEORIC RISE
Now we come to Town Bus a film that is still being spoke of and one that was very much loved by KVM himself. Before this KVM had composed music for a few movies and they may or may not have run well. In the case of Town Bus, it had good story line to capture the cine goers, and at the same time there were wonderful songs as well. In my interview with KVM I asked KVM which was his first film, and to my shock he said "Town Bus" I said couldn’t be. He then qualified and stressed that he could have composed for so many films, but Town Bus was his "first super hit movie" and so he decided to remember that movie as his first. Very much true! It was Town Bus that popularised KVM further and immortalised his name and fame.
This was another production of M.A.V Pictures of MA Venu, with story and dialogue scripted by APN and directed by K. Somu. N.N. Kannappa was the hero with Anjali Devi as heroine. Other stars were TK Ramachandran, VK Ramasamy, MN Rajam, Thamabram Lalitha etc, which clearly indicate that this was not a great star-rated movie. But then this film ran on the strength of songs comnpsed by KVM. There is a hit song here that is still hinges somewhere in our inner m,ind, and with the slightest effort, comes to our mind. Years, nay decades and even close to half a century has passed since tghis song was noised in Tamilnadu and abroad. But it continues to ring in our ears,without losing the sweetness. That immortal song by M.S. Rajeswary is:
There is also a sad version of this song. This song had some specialities, and the credit goes to KVM. It was meant for the heroin, but was compsoed in such a way that it could be enjoyed by elders and youngsters alike. That was the motive of the whole song, said Ka Mu Sheriff to a few of us when he came to attend the Tamil Writers Association in Kuala Lumpur in 1984.
He said that the song will always be part of our daily lives. Whenever we see chittukuruvi in our compound this song comes to our mind. The song has a sweetness that is eternal.
There is also a challenge song-challenge between ancient Tamil tradition and modernisation, sung by SC Krishnan and Seergazhi Govindarajan. This was one of the early entries of Seergazhi into the music of KVM. It is
Lady lady..lady Lady
Aasai lady Aruginil Vaadi
Aadi paadalamm.
This also became a popular hit. A sad song by Trichy Loganathan, MS Rajeswary and Radha Jayalechumy
“Ponnaana vaazhvey Mannagi Pomo?
Thuyaram nilaithaana? Ulagam Ithuthaanaa?”
This is a song with beautiful tune, melody and voicing. Still remains one of the all time favourites. Then comes a beautiful song by Radha Jayalechumy:
A real super song!
Town Bus cemented the relationship between APN, MAVenu and KVM and created a bond that lasted many years. This was one of the first films to retain supremacy in pulling the crowd even in the second and subsequent releases. Town Bus ferried Mahadevan throughout Tamilnadu, South India, Ceylon, Singapore and Malaysia, including Burma. (the last film the Tamils in Burma saw was Dharmam Thalai Kaakkum screened there towards end 1963. Hope to cover on Devar films if the article flows without interruption)
By 1957 APN and KR Ramasamy had already become very close friends. They started a film company called Sri Lakshmi Pictures and made a few movies together. The very famous Makkalai Petra Maharasi which had star value-Sivaji Ganesan, MN Nambiyar, Kannaamba, K. Banumathy, K Sarangapani, VK Ramasamy, MN Rajam etc. Story and dialogue by APN. The famous songs here were:
1. Manappaarai Maadu Katti by TMS. Maruthakazi told me in 1988 that this song was a true patriotic song as it made mention of many areas of Tamilnadu, and was sung in every remote village of Tamilnadu by people of all walks in life.
2. Sonna Pechai Kekkanum Munnum Pinnum Paakkanum by K.Banumathy. This was another hit song
3. Vanthathu Yaarunnu Unakku Theriyumaa by K Banumathy- also a good song
4. O Malliyakka- a famous dance song
5. Adi Tharaburam Tambaram Un Thalaiyiley Kanagamabaram- by SC Krishnan and Ratnamala
6. Poravaley Poravaley Ponnurangam by TMS and Banumathy
7. Makkalai Petra Maharasi by Jikki
8. Onru Serntha Anbu Maarumaa by PB Sreenivos and Sarojini. This is the first song of PB Sreenivas under KVM.
This film was another big hit. KVM proved that he could compose excellent folk music too. It was following this film in 1957 that many approached KVM for village based songs.
From: Manisegaran (@ 161.142.2.11)
on: Thu Jun 27 22:37:42 EDT 2002
PART 18
From the title readers ought to know what I am arriving at. Yes it was Samboorna Ramayanam. Following the resoundiong success of Town Bus, MA Venu was contemplating on the next movie. This time he decided to take a great risk by going for a daring theme. He wanted to produce a movie based on the epic Ramayanam. But Ramayanam has already been produced several times by others either in full or in parts.
Shadows of doubts were cast on the viability of this effort. Will such a film run?
This was the time when people were moving away from the stereotype movies and opting for modern themes, and would Ramayanam strike well? But a few plus and minus positions were carefully taken into consideration and studied. They could not risk at all, as the subject was too big and many leading stars were thrown in. APN guaranteed good dialogue based on wide research; KVM was there to give his best music; K.Somu was readily available for ably directing the movie. Then they worked out a range of great stars who would suit the characters. Sivaji Genesan came as Bharathan; NT Ramarao as Raman; Pathmini as Seetha: TK Bhagavathgy as Ravanan; Santhya (Honourable CM Jayalalitha’s mother) as Mandothiri; MN Raajam as super Soorpanagai. Narasimma Bharathi, and V.K Ramasamy were there to add strength. With the songs and music thrown in Samboorna Ramayanam created history and became one more milestone in cine field. Following the resounding success, a special souvenir book was released in which leading figures of the then Tamilnadu gave congratulatory messages. Even MR Radha, the hardcore hater or Ramayanam gave a congratulatory message, very ably and carefully worded..
Now what about the songs? It was said that until the coming of Ramayanam there was no one single film that carried so many Raagas in one film. It is said that this film had the most number of Raagaas. Ramayana is a long story that cannot be summarised. After so much adaptation and accommodation the film was cut down to just 4 hours. This was achieved after summarising certain portions of Ramayanam by means of songs. KVM very marvellously composed for the songs. This was a yardstick to measure the ability of KVM, and true enough turned out to be a crowning glory for Isai Thilakam. Let me mention only the hits among the hits.
1. Vaazhita Ulakam Enre Vaazhthidum by TMS
2. Thavamuni Visvamithiran Pinnaaley by CS Jayaraman
3. Sree Ramachandiran Magudabishega Thirukkolam Kaanbathatkey by Seergazhio Goveinderajan, SC Krishnan, Ratnamala,AP Komala, K Rani, Sarojini and Udutha
4. Uthaman Poginraan Uruguthey Makkal Ullam- Gandasala
5. Mannellaam Ponnaagum Raaman Varavaaley-SC Krsihnan, Ratnamala, AP Komala,, K. Rani, Sarojini and Pathma
6. Annayum Pithaavum Arivoottum Aasanaagi- by TMS and Thangappan
7. Paathugaiyai Thunaiyaagum Ennaalum-TMS
8. Anthiri Munivar Rama Lakshmanarai- Seergazhi Govinderajan
9. Pakkraan Summa Paakraan by MS Rajeswary
10. Pogathey Athgaan Pogathey by MS Rajeswary
11. Thennadudaiya Sivaney Potri- SC Jayaraaman
12. Veenai Kodiyudaiya Venthaney- Trichy Loganathan
13. Sangeetha Sowbagyamey by SC Jayaraman
14. Irukkum Idathai Paarthu-Jikki
15. Sabarikku Raman Than Nilai Kulainthey- Seergazhi Govinderajan
16. Penkalil Ennai Pol {erum Paavi Undo- R. Balasaraswathy Devi
17. Azhagiya Ilangai Nagarai Anuman by Seergazhi Govinderajan
18. Inru Poi Naalai vaaraai- SC jayaraman
Therefore, many of the leading singers of the later part of the 1950s were utilised to add richness to the music. Other than the premier screening, not all the songs were screened by the theatre operators owing to time.
Sangeetha Sowbagyamey
Sangeetha Sowbagyamey is a song that gives basic tuition to a beginner of Karnatic music. There is a dialogue in this song seeking clarification of the different ragas that are used for different parts of the day, different moods, and different events, and Raavanan gives explanation through the ragas accordingly. This was precedence again. Morning raga is Poobaalam; Raaga for noon is Saaranga; Raaga for evening time is Vasanthaa; Raaga for mercy is Neeelambari; Raaga for declaring war is Kambeera Naatai; Raaga for happiness is Danyaasi; Raaga for composing Venbaa is Sangarabharanam; Raaga for agaval paa is Thodi; Raga that is most appropriate for Tamil music is Kalyani; thus replies raavanan bys singing these ragas out in songs. Finally Mandothiri asks “Swamy, Kailainaathanai Thaangal Gaanathaal Mayakkiya Raagam Ethuvo?” to which Raavanan sings with beautiful surangal. What a gift of KVM in Raagamaalika?
Let me mention a song of Ramayanam mentioned in the introduction to this series. There was a song where the sound engineer forgot to switch off the recorder after the song was over. And that song comes from Sampoorna Ramaayanam. The song composed in beautiful Thilang raga is:
Inru Poi Naalaai Varrai, Yena
Yenai oru manithanum Pugazhuvatho?
Manmagal Mugam Kandey-Manam
Kalangidum Nilai IndruEn Koduthaai Eesaa
Endisai Vendrene-Andru
Innnisai Pozhinthunai Kandeney…..
The tail end of the song is a is truly mesmerising to listerners. The sound engineer was listening to the enchanting singing of C.S.Jayaraman. Once the song was completed every other technician had switched off his machines, but the sound engineer was just oblivious to surroundings. After many seconds, somebody patted him on the back and brought him down to earth.(Souvenir book of Samboorna Ramayanam)
Maruthakazi composed the songs and considered the contribution his all time privilege and achievement. This was the talk of those days and even this day. The film was is and would continue to be a feather in the cap for Mahadevan. All the lovers of carnatic music had nice things to say about KVM.
From: Manisegaran (@ 161.142.2.11)
on: Fri Jun 28 00:12:16 EDT 2002
PART 19
THE BOND CONTINUED
Although APN was using KVM all along it was after Samboorna Raamayanam that their bond became stronger to last for one full decade, and APN did not go for any other MD during this time. KVM and APN had already made their marks in Naalvar, Aasai Annaa Arumai Thambi, Maangalyam, Pennarasi, Town Bus and Samboorna Raamaayanam. Following Samboorna Ramaayanam, APN wrote dialogue for Neelavukku Nerainja Manasu and Nalla Idathu Sambantham, both released in 1958. In Neelavukku Nirainja Manasu was starred by Sriram, KA Thangavelu, Pandari Bai, MN Rajam, PS Veerappa, Ragini VK Ramasamy etc. The only good song here is “Otruaiye Namakku Uyir Naadi” by Jikki and Soolamangalam Raajalechumy. The other sons are not that popular.
The next film of 1958 was Nalla Idathu Sambantham. MR Radha, Sowkar Janaki, Prem Nasir, MN Rajam, VK Ramasamy and K. Sarangapani were main stars. This is another good movie for KVM. It was in this film that Lurthumary Rajeswary (LR Eswary) became a full scale and independent singer. It was APN who changed her name to LR Eswary. This was not LR Eswary’s first attempt. She started off as a chorus singer in earlier films by other MDs. In the Sorgavasal song Aagum Neri Ethu Aagaa Neri Ethu, she sang chorus, where the MD was SV Vengatraman. Then she sang chorus for the song “Inbanaalithey” in Manohara, under the same MD. Following that she was used by MSV and TKR in the RR pictures Gulebagavali. There is a song by Jamunarani –Aasaiyum Nesamum Ratha Paasathinaal Enguvathai Paaraiyada” In between we here hiccups. The vickal is the voice of Eswary. Then in 1958 KVM used her fully and independently.
Sachu is a comedy actress. Her sister is Maadilechumy. LRE sang for her a song called Ivarethaan Avaru” As the song came out fairly well, she was commissioned to sing three more songs. One was “Puthu Penney Puthu Penney Nimunthu Paaru” with Kasthoori, Uduthaa and Kejalechumy. The other famous song is “Ponnu Maappillai Onnagum Pothu” which she sang with Kasthoori. The other solo of Eswary is :
xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx
Permit Me To Mention A Related Digression
As Eswary’s songs became very popular especially Puthu Penney and Thukkathilum Sirikkanum, many other MDS started to use Eswary as an independent singer- no more chorus or hiccups. KVM encouraged her to sing with other MDs as well. She sang many songs. Kannadasan has once said that in all family functions of the Tamil world his songs would be used. In Paasa Malar of 1961 release she sang “Vaaraai En Thozhi Vaaraiyo” I dobut there is a wedding where this song is not played, or at the least remembered. When KVM listened to this song for the first time, phoned up LRE and congratulated her and predicated that she had a good future. But then KVM had equal hold on the fame of LRE. In Panamaa Pasamaa where KVM composed she sang a song that Kannadasan had composed in typical Madras Tamil.
This song was an instant hit and in 1968 the vinyl record was sold off and was only available in black market for Rs30. Kannadasan wrote and regretted writing the song, saying that the taste of fans had become very cheap. This film saw silver jubilee and was screened in Russia.
But later LRE sang more with MSV. MSV lifted her in many ways. There is also a lift song in Nilave Nee Saatchi:
LRE’s car registration number was MSV 7749. When she came to Malaysia we asked her why she was still not married. She pointed to MSV and said she was already married to music.
xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx
In short Nalla Idathu Sambantham was an important film for KVM and LRE. Of course Soolamangalam Rajalechumy also made clear marks for herself.
From: Manisegaran (@ 161.142.2.11)
on: Fri Jun 28 19:51:12 EDT 2002
Sri Ram Lakshman,
Thank you so much. This is what I term as a healthy and rich discussion. Good you are able to throw more light. You are truly examplery to many. The TFM page neends more people of your calibre.
While it is true that KVM does not insist on changing the lyrics, there had been rare and isolated instances where he did ask the lyricists to change in order to suit the "santham".
KVM somehow did not use Valee very much in the beginning days. It was after the film P{esum Deivam that KVM started to use Valee more than before. Pugazhendhi expected some poetic flow in songs, which to him was not to be found in Valee. It was Pugazhendhi who insisted on some of the lines written by other lyricists, and not KVM. On a few occassions Valee got crossed with Pugazhendhi and KVM and went off. KVM had even advised Valee that Lyricists and MDS should mix with each other like husband and wife to come out with good production. MGR too had advised Valee that he had to accommodate in the cine field given the situation where Valee had a long way to go.
In Adimai Penn Valee had written
Yemaatrathey Yemaarathey
Yemaatrathey Yemaarathey
But KVM told MGR that this pallavi does not suit the santham. So he himself changed it to:
Yemaatrathey Yemaatrathey
Yemarathey Yemarathey
MGR liked the cahnged pallavi. Knowing that Valee would be crossed, KVM himself phoned Valee and got the approval. When KVM informed that MGR liked the change, Valee had to consent.
(My friendly chat with Valee, Gangai Amaran and Pandiarajan in Prasad Studio, Kodambakkam in December 1986. Some indications of Valee and KVM undercurrent has been also mentioned Naanum Intha Nootraandum)
But KVM had all the ability to compose music to any pre-written lyrics- a capacity acknowledged by all in the cine field. I have something nice things to mention should I be able to cover Thiruvarut Chelvar song-Mannavan Vanthaanadi Thozhi.
Thanks again.
Manisegaran
From: Manisegaran (@ 161.142.2.11)
on: Fri Jun 28 23:30:28 EDT 2002
PART 20
CONTRIBUTION OF APN AND KVM IN THE 1960s
I am still on APN and KVM combination.In order to keep going on APN and KVM combination I have to jump and go on to 1962 when the famous Vadivukku Valaikkappu was produced by Sri Lakshmi Pictures of APN, where VK Ramasamy had a share.APN wrote the story and dialogue, with Sivaji Ganesan and Savithiri as the main stars supported by VK Ramasamy, SV Subbiah, MN Rajam, TK Ramachandran, S Varalechumy etc. This was a very important movie for KVM. For close to a decade APN had seen the composing ability of KVM, who had built many films to his credit.
Why is this film said to be important for KVM? A look at the credit or title would reveal it. In the title of Vadivukku Valaikkappu we see KVM being introduced as “Thirai Isai Thilakam.”
MSV and KVM were already involved in some form of healthy competition by this time. The real start off of the competition was from SAmboorna Ramayanam of KVM and Malayitta Mangai of MSV/TKR- both of 1958. While KVM gave excellent carnatic songs in Samboorna Ramayanam, MSV/TKR gave wonderful light music in Malayitta Mangai. This continued throughut the 1960s. MSV/TKR team was used by many, but more notably by Bhim Singh while KVM was used mainly by Devar, along with others (Hope to cover Devar films too if time permits)
It is from 1962- from Vadivukku Valaikkappu that KVM became popularly known as Thirai Isai Thilagam and later Thamizh Thirai Isai Thilakam. This was a promotion of KVM by APN against MSV/TKR. This is certainly a well deserved recognition as well. There is a song in the film by Maruthakazi which starts as
NAVARATHIRI
The film Navarathiri of 1964 is another important film for KVM. By this time APN started his own Sri Vijalachumy Pictures. The first film produced under this banner was the immortal Navarathiri- 100th film of Sivaji Ganesan where Sivagi Ganesan successfully portrayed the nine different emotions in a man. Here APN had stopped using Maruthakazi and went for Kanndasan alone. This film has many nice songs to boast of :
A song that is widely appreciated even today is one by P Suseela:
Navarathiri Subarathiri
There is one song of Knnadasan which Kannadasan says has been written to reflect his own days of felicity, and that is sung by TMS as follows:
There is a mental hospital scene where many ladies from the "world of fantasy" sing as they like. While Kannadasan has written this comedy song, KVM has composed music, lifting tunes from other MDs.
The song tunes are such as Vantha Naal Muthal, Javatheu Medayittu, Kaattukkuley Thiruvizhaa, Vanga Machan Vanga, Yaradi Nee Mohin (part tune) etc, This was very much enjoyed by the fans. At the tail end of the song, KVM gives a marvellous western orchestration. LRE, Jamunarani, P Suseela and Soolamangalam Raajalechumy sing this comedy song.
The highlight of the movie is of course a Therukkoothu scene on Sathiawan Savithri, which TMS and P Suseela sung very well. Sivaji and Savithri excelled in this scene. This was a great gift of KVM to the village folks in Tamilnadu who had for generation after generation been accustomed to such form of entertainment.
KVM’s own training of the earlier days in the boys company drama troupe in 1930s had been an asset to him in composing the music for this wonderful masterpiece. Old habits die hard they say, in the case of KVM the old talents resurfaced to manifest in the fuller glory.
Up to the production of Navarathiri this time APN had seen the talent of KVM and now Sivaji Ganesan has also proved time and again his talent. Sivaji Ganesan was at the height of glory when Navarathiri was released. Once APN was more than fully convinced that he could count on the music of KVM and the acting talent of Sivaji Ganesan, he took a big bold leap to add one more taste for the cine goers. What he had started off as simple village stories and some social themes turned out to be big banner productions, with a variety of tastes. He wanted to go for dialogues where the Tamil language could be exploited to cheer up the audience. That he felt couyld be best done by reverting to Puarana stories. This was the second risk following his 1958 risk taken in Samboorna Ramayanam at a time when he was discouraged. He cleared the hurdle.
But in 1965 he took a longer shot and by once again going for purana based story. Many discouraged him saying that people are moving away from puranas to modern social themes and new technologies. But APN was not willing to give in. The advisers and foes alike then went and discouraged Sivaji Ganesan himself. However APN forged and surged ahead with vigour. He was of the firm conviction that his dialogue, Kannadasan’s songs, KVM’s music, and Sivaji’s talent could be counted upon. So did APN go for big banner productions, involving many big stars, costume, settings and also made his first colour movie, which was a new craze those days.
His first purana film in colour was Thiruvilayaadal (1965) that became a great hit. Again this film saw a great challenge by Enga Veetu Pillai of Vijaya Combines. This triggered off further challenges and pushed the running of the movie. The film was expected to run 25 weeks, but owing to the severe storm that year Thiruvilayadal had to stop after 20 weeks, short of five more weeks for silver jubilee hit. But it earned the best box office collection in 1966(a Cinema Express issue). This film had some of the best songs written by the one and the only greatest Kannadasan, composed by KVM and sung by some of the most sought after singers. Dr. Balamurali Krishna was brought in, KB Sundrambal was also brought in together with TR Mahalingam, not forgetting the ever talented TMS, PB Seenivos, S. Janaki, and P Suseela. Some of the songs are:
A song by KBS underambaal that remains immortal is
Another song of KBS is
Onraanavan Uruvil Irandaanavan
Uruvaana Senthamizhil Moonraanavan
Nanraana vethathil Naankanavan
Namasivaya Ena Ainthaanavan
Inba Chuvaikalukkul Aaraanavan……
Yet one more song by her is Gnana Pazhathai Pizhunthu a song of Sangaradass Swamikal
Pothigai Malai Uchiyiley Purappadum Thendaral is yet a gem by PBS and S. Janaki.
There is a sithar type of philosophical song by TMS
Paartha Pasu Maram
Paduthuvittaaal Nedumaram
The song that caught Tamilnadu by storm was by Dr. Balamurali Krishna:
Isai Kettu Ezhunthodi varuvaranro-Thodi..
Odi Varuvaranro
Enakkinaiyaaga Dharbaaril Evarumundo
Azhiyathaa Mohana chuvai Naananro- Mohanam
Yen Paattu Kaanada
ISAI DEIVAM NAANADA!
Appa! What a contribution by KVM, Kannadasan and Dr. Balamurali Krishna! T.S. Palaiya did very well too and gave life to the screen. (He was a professional stage singer before he came to cine field. He sang for the first marriage of the late V.N. Janagi to Ganapathy Butt.)
P Suseela has a fishing village song to entertain us :
Neela Chelai Katti Vantha Samuthira Ponnu
TRMahalingam too came back after some abeyance and sang a song of high pitch, full of feelings:
TMS comes with another great song:
Paattum Naaney Baavamum Naaney
Padum Unai naan Padavaitheney
It is mind boggling to put to a vote, which is the best song as each has it own taste, mood and flow. All the songs were excellent. KB Sundrambaal was able to sing at very high pitch even at this age. TMS was at his best in Paatum Naaney Baavamum Naaney. Balamurali Krishna who had made his debut in Kalaikoyil (Thanga Ratham Vanthathu Veeythiyiley) but became very popular in the song Oru Naal Pothuma, picturised on TS Palaiya who did very well. TR Mahalingam had sung very well with high pitch after so many years. Kannadasan’s contribution to enrich the lyrics could not be overlooked, along with Sivaji’s acting ability. KVM once again made a crowning glory for himself in Thiruvilayadal. The songs were regular requests in request programs of radio stations wherever Tamils lived.
Volumes could be written of this immortalised film and songs.
From: Manisegaran (@ 161.142.2.11)
on: Sun Jun 30 19:50:21 EDT 2002
PART 21
SARASWATHY SABATHAM AND THIRUVARUT CHELVAR
Once Thuruvilayaadal ran well, APN got inspired and went ahead with another great movie based on Navab Rajamanickam’s stage drama-Saraswathy Sabatham (1966). This film had very good songs as well. The songs are:
1. Komaatha Engal Kulamaatha by P Suseela. This song is being played by radio stations on pongal days.
2. Kalviya Selvama Veerama is a philosophical song that TMS sings.
3. Thaai Thantha Pichayile Piranthenamma by P. Suseela
4. Mugathai Kaattidum Kannadi- P. Suseela
5. Deivam Iruppathu Enge by TMS.
TMS sings another great song called Agara Muthala Ezhuthellam. This song was so popular that it puzzled the cine fans. They were not able to say who was the best- Kannadasan’s lyrics, KVM’s music, the voice of TMS or the camera work. It was really an all rounded song. What a high pitch song with so lovely lyrics. It is Kannadasan’s masterpiece with every line starting with the Uyirezhuthu in Tamil.
The music goes deeper and deeper with Kannadasan equally competing with KVM, and who else other than TMNS could have brought the song out so well, with Nadikar Thilakam as the life wire?
There is also a dance music for which Padmini performs super dance!
In this film again KVM used the basic South Indian musical instruments to the best of his ability.
THIRUVARUT CHELVAR
Following the success of Saraswathy Sabatham APN ventured into his next movie- this time Thiruvarut Chelvar. This was not a real commercial hit, but had wonderful songs, filled with so many couplets from Periya Puranam, Sundarar’s Devaram, Naavukkarasar’s Devaram, as well as poetic works of the great Kannadasan. Trichy Loganathan’s son TL Mahalingam at that tender age sang:
Kaathalaagi Kasinthu Kanner Malki
The Devaram of Sundarar is Pitha Pirai Soodi sung by TMS.
The Appar Devaram is Maasil veenayum Maalai Mathiyamum sung by TMS.
Of course there are a few more. These songs were very much liked by the lovers of devotional songs.
This song came as a pleasant treatment to Tamils. Noting his mature voice, everyone predicted that he would be a good singer in future.
Kannadasan took an old Sithar song and composed this song sung by Seergazhi Govinderajan:
PART 22
THE ONE SONG THAT DESERVES SPECIAL MENTION
But the greatest song was Mannavan Vanthaanadi Thozhi by P. Suseela. Now I shall elaborate. A song had to be composed for Padmini to dance in the presence of Sivaji Ganesan.
I had stated earlier that out of the 1500 songs that Kannadasan has penned for KVM easily 800 were written and sent over to KVM which KVM composed on his own (Kanadasan’s Chinthithen Chanthithen)This was one of those. Kannadasan proved something here that he had indepth knowledge of ragas. We listen to some surangal in this song- They were written by Kannadasan, and KVM found it easy to compose it. KVM himself was astonished at Kavinyar’s depth. When the song became success, KVM had this to say, “Antha pugazh ellaaam Kannadasunukku thaan” (Thiraiyum Isayum program) Pugazhendi said in the same program that it is unusual for any lyrics writer to write lyrics in the absence of MD but Kannadasan not only did that, but also supplied wonderful surangal.
Then came the challenge. There was a popular opinion that only P Leela or MLV could sing carnatic based dance songs. APN wanted P Leela to sing, but KVM said P. Suseeela could do it. There was a challenge. KVM took the challenge. When the recording was about to start, Sivaji Ganesan himself had encouraged Suseela to sing it well (P. Suseela’s interview in Singapore live show, in the presence of Sivaji) KVM made P Suseela sing and she did it well and KVM won. P Suseela also proved that she is a versatile singer who could even excel in heavily carnatic based dance songs.
Then the picturisation. The song lsts for five minutes, but the shooting went on for 10 days.Sivaji came out of the make up room, and walked majestically like a king. The technical staff outside the make up room immediately stood up to welcome a king who had entered the studio, the realising that it was Sivaji Ganesan in make up.
During the picturisation, we could see Sivaji walking very majestically, may be an overacting they say. But my question is could any other star do even this overacting? People had spent millions to make up their faces to look like old man. But Sivaji spent one rupee of arithaaram to look like an old man. The paper Kalki never publishes photos of Cinema people, but Appar Sivaji ganesan was the front cover for Kalki in that year. So popular was the movie. APN and KVM and Sivaji were giving treat after treat for Tamilnaadu
This song was so popular that KVM received all round appreciations from all MDs, including MSV himself who was his healthy competitor. Whenever there was a live show of KVM, MSV would ask this song to be played. MSV felt that the hall would liven itself when this song is sung.
(Where are you KVM and Kannadasan?)
From: Manisegaran (@ 161.142.2.11)
on: Mon Jul 1 19:36:20 EDT 2002
CM,
I have mentioned in passing the song Pitha Pirai Choodi - Sundarar Devaram.Unable to give all the lines, as it will carry this article too far and wide. But if you really need, I can provide the lyrics. Please let me know.
Nilavin Nizhalo Nin Vathanam
Minnum Nilai Kannadiyo Unthan Kannam
Malayil Piravaa Maamaniye Naan
Koiyum Koiyaa Kaniye
Vaan Amuthum Thenum Etharku
Vizhiyale kaathal Kathai Pesu
Malar Kaiyale Santhanam Veesu
Thamizh Mozhi Pole Suvaiyoottum Senthene
Udal Naan Uyir Nee Thaane
Vaan Amuthum Thenum Etharku
Nee Aruginili Irukkayile Enakku.
(Hope the lines are correct)
KVM himself told me of the many songs he had composed, this , Malarkal Nanainthana Paniyale (Idhaya Kamalam) and Kalai Magal Kai POrule (Vasantha Maligai) remain some of his best.
When Suratha the lyricist for the above song was with me in Malaysia in November 1987, he said he won praises from thousands in appreciation of the Uvamaikal used in this song.
Seergazhi Govidarajan and Dr. Siva Chidambaram came to my house in 1986 and took away (I gave away) the entire audio cassette collection of Sergazhi's songs after he listened to this song. He himself used to sing this song at carnatic song functions- during the second half in order to cater for people of all ranges.
Thanks,
Manisegaran
From: Manisegaran (@ 161.142.2.11)
on: Tue Jul 2 01:22:22 EDT 2002
PART 23
THILLAANA MOHANAMBAAL
Thillaana Mohanambaal released in 1968 deserves special mention in the musical journey of KVM. That was a movie that was delayed far too long. Before producing Thiruvilayaadal, Saraswathy Sabatham and Thiruvarut Chelvar, APN was already trying to make this novel into a movie, but he could not get the approval of the copyright owner. Gemini Studios was running Aananda Vikatan in which Kothamangalam Subbu wrote a series called “Thillaana Mohanambaal” APN felt that should this novel be made into a film it would be another sensational hit. APN approached Vasan, but Vasan first refused outright because Vasan himself wanted to make a picture of that. Days moved. Then APN took Thiruvilayaadal, Saraswathy Sabatham and Thiruvarut Chelvar. When these movies were very well taken, Vasan himself wanted to become a partner with APN in making Thillanaa Mohanambaal, but did not openly tell it to APN. When APN approached Vasan again, Vasan told his idea of joint production, but this time APN refused. Finally Vasan gave the full rights to APN.
This was a difficult subject. There was a talk that movies made from novels would not run, as proven by earlier failures. But APN felt this could be overcome if properly treated. Again, Sivaji had no great role in the story. So the storyline had to be adapted accordingly to centre the film on Sivaji. This was done. But Sivaji was to act without moustache. Dangerous, as fans would reject such an appearance. But his acting talent and style would conquer it. Accepted! But there was to be no duet, at a time when Sivaji was appearing in many duet songs. APN felt that rich Nadaswaram music would rescue the situation. All adaptation and accommodation were done.
Now this film was a challenge for Sivaji himself, as he was working against all odds. In order to make the film a success, Sivaji got the famous Rajaratnam Pillai to play nadaswaram for five hours and observed the style. He completely immersed himself in the ocean of music and was oblivious to his own self. As he was listening to the music, Sivaji put his head on Kannadasan’s lap and enjoying the tune.
Speaking of nadaswaram we could think of Karukurichi Arunasalam, Sheikh Chinna Moulana, Thiruvaduthurai Rajaratnam Pillai and Madurai Sethuraman-Ponnusamy. In Konjum Salangai of 1958 Karukurichi Arunasalam composed Singara Veleney Deva based on a tune given by Sambamoorthy Aachariyar. SM Subbiah Naidu composed other songs. Nadaswaram music was there in that film but not to the extent used in Thillaana Mohanambaal. Here KVM himself composed the tune for Madurai Sethuraman and Ponnusamy. There were a few instrumentals, an English tune, Thillaana and instrumental of “Aayiram Kan Pothathu Vannakiliye” of Paavai Vilakku.
There is a Therukkothu song
“Pandiyan Naanirukka” by SC Krsihnan and LR Eswary.
There is a song by P. Suseela:
Maarainthirunthu Paarkkum Marmam Enna. When Pugazhendhi composed this song, Kannadasan asked him the situation and the name of the character in the film. Pugazhendhi said “Sikkal Shanmuga Sundaram” Then Kannadasan asked the raga in which the song was composed, to which Pugazhendhi replied “Shanmugapriya.” So Kannadasan added the word “Shanmuga” in a few places in the song. What a composition!
There is one more great song by P. Suseela:
Nalamthaanaa Udalum Ullamum Nalamthaana
Kannadasan intended the song for CN Annadurai who was ill after returning from America. Everyone visited Anna, but Kannadasan could not go for political reasons. Therefore Kannadasan enquired about Anna’s health as follows:
Nalamthana Udalum Ullamum Nalanthaana
Nalam Pera Vendum Nee Endru
Naalum En Nenjil Ninaivundu
Ilai maraikkaai Pol Porul Kondu
Evarum Ariyaamal Sol inru
The film came out, and was a resounding success, so much so that after about 30 years there are other soft remakes like Karakaattakkaran and Sangamam. When the film came out Ki Va Jagannathan, Seergazhi Govindarajan, Sagasranaamam, Aringar Anna and many others appreciated Sivaji for a good job done. Anna was very astonished at the lip movement of Sivaji when he played nadaswaram. AVM Rajan was somewhere in the film with Sivaji, but was easily overshadowed in the presence of Sivaji’s majestic personality. MGR himself went to see the movie-not once but twice, as he himself was a lover of Nadaswaram music. Whenever MGR used to travel in his van or was lonely, he used to listen to nadaswaram music.
This film was about to be sent for an award competition in Tokyo, but the ruling DMK sent Enga Veetu Pillai. Came back with no award.
It is also said that the 20th Century Fox of the USA had acquired the TV rights for this movie.
In short Thillaana Mohanambaal was, is and would always be remmebered for the rich nadaswaram music. The credit goes to KVM again.
From: raj (@ 198.151.230.253)
on: Wed Jul 3 00:14:16 EDT 2002
one More Point to be Added is PS Sang one Solo "Neela Selai " & One duet "Sambo Mahadeva"
with Seerkazhi Govindharajan in Thiruvilayadal
The APN-KVM combination had to break off after Thirumaal Perumai, a commercial fiasco. Vengadachalam who was the financier for many films produced this movie under the banner of Thiruvengadeswara Movies. Sivaji Ganesan, Padmini, Nambiyaar, ER Sahadeven, Nagesh TR Ramachandran, Sivakumar KR Vijaya, Rajasulochana, Sowkar Janaki G.Sakuntala and Manorama were among the leading stars. There were some Divya Pirapantha Pasurangal, Bharathi’s song and Kannadasan’s songs.
The prapantha songs are:
Kathiravan Kunathisai sigaram by Seergazhi Govindarajan
Maargashi Thingal Mathi Niraintha Nannaal by P Suseela
Pachaimamalai pol meni by TMS
A Bharathiyar song sung by Soolamangalam Rajalechumy is:
The song of Kannadasan sung by TMS is:
Malargaliley pala Niram Kanden
Again, P.Suseela and TMS sing this song by Kannadasan:
Sri Hari Hari Hari Gokula Ramana
Unthan Thiruvadi Saranam Kanna
P. Suseela sings another song by Kannadasan:
Kannanukkum Kalvanukkum
Pethamillai Thoizhi
P. Suseela and Soolamangalam Rajalechumy sing this song by Kannadasan:
Karai Eri Meen Vilayaadum Kaviri Naadu
TMS sings this song of Kannadasan:
Kopiyar Konjum Ramana
Gopalakrishna
The famous song of Kannadasan sung by TMS is:
Thirumaal Perumaiku Nigar Ethu
This is a wonderful song where KVM uses many ragas such as Mathiyamaavathy, Thanyaasi, Mohanam, Kaanada, Saranga, Kamas, Savery, Saarumathy, Surutti, Piyakadai and Sreeragam.
Somehow the film did not do well, and brought heavy losses. The unfortunate thing is that KVM was told to pay the debts. KVM and APN were business partners. KVM was busy composing music and so preferred to be a silent partner. APN used to rush into the recording room and ask KVM to sign in blank cheques. In trust he signed, and regretted after Thirumaal Perumai.
Following the split APN went over to Kunnakkudi Vaithiyanathan and did Vaa Raja Vaa, Thirumalai Thenkumari, Agathiyar and Kankaatchi. This new combination came out quite well initially, but started to decline over the years. Finally APN went to MGR to do Navarathinam, and that pulled APN six feet underground.
But the APN-KVM combined contribution to the Tamil Devotional movies and devotional songs as well as carnatic songs could never be blotted from our hearts. Their problem is theirs, but looking from distance their contribution would be remembered well in the annals of Tamil cinema.
LIMELIGHT OF APN AND KVM
They say films of the season. When APN was successfully coming out with good purana movies others also took interest in producing the likes. AL Seenivasan took Kanthan Karunai, and retained APN to do direction. This was a