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Looking back- 1964-65 and around-I

 
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madhuraman



Joined: 11 Jun 2007
Posts: 1226
Location: navimumbai

PostPosted: Sun Jul 04, 2010 3:39 pm    Post subject: Looking back- 1964-65 and around-I Reply with quote

Dear Friends,
Fot quite sometime, except the songs section and the closely relatedthreads, all other threads are static. Not that our friends do not relish them; but thre are not much updates. Some of the later postings in these have just been unintended repeats of earlier ones for want of familiarity to the earlier pieces. In any case, I thought why not initiate some new line, so that our friends can add to them and enjoy nostalgia.
My choice of the period for discussion [1964-65 and around] has several reasons. Prime among them are
a] new trend in TFM,
b] all mega movies hit the screen in the period,
c] Transition from B&W to colour
d] Technicians in movie-making started receiving serious attention,
e] all movie-making houses and producers keep charging the audiences' taste
f] Quite a few bold ventures in movie making
g] Viswa's music style set the trend for music score in all South Indian language movies [as for instance the movie "Idhaya kamalam" produced by Prasad had KVM's score which was modelled on MSV's pattern]. Everyother MD of that era had to style the music score to the trends of MSV,
h] for the next generation movies of [1970- 80], 1964-65 had laid the foundation. from where people had to only branch out because the products of 64-65 had signalled the rich potential in orchestration especially by Viswanathan. If any evidence is needed recall how in 1979 MSV came back effortlessly with the blockbuster "ninaithalE inikkum"
[for some it was "ninaithalE vayitrai kalakkum" experience].
i] also 64-65 was the time when lyric and music used to compete like flavour and taste, making it difficult to draw lines of supremacy.
j]If the number of movies, active movie-maker houses, parallel prevalence of tradition and trial [experimentation] were reckoned, 64-65 had a lot to offer
k] fan following for Directors, Technicians, MDs began in the same period.

In view of the plethora of features of the then movies besides progressive shift to low decibel dialogue, 1964-65 deserve deeper study of the said features taking examples to strengthen the ideas indicated. LET US ENJOY THE GLORIOUS PERIOD FROM VARIED PERCEPTIONS.
This is a just a broad indication for the things to come.
Members can participate adding their views abd responses to make it a grand feast on the golden era.

Warm regards Prof.K.Raman Madurai.
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ragasuda



Joined: 17 May 2007
Posts: 1532

PostPosted: Sun Jul 04, 2010 7:05 pm    Post subject: Reply with quote

டியர் ராமன் சார்,
தங்களுடைய தேர்வு மிகவும் சரியானது. சொல்லப் போனால் 1964-1966 என்று வைத்துக் கொண்டால் இன்னும் சிறப்பாக இருக்கும். காரணம் 1965ல் விஸ்வநாதன்-ராமமூர்த்தியின் பிரிவுக்குப் பிறகு உடனே அவர் மிக வேகமாக கலங்கரை விளக்கம் மூலம் சீறிப் பாய்ந்து விட்டார். அன்று தொடங்கிய அந்த வீச்சு இன்று வரை ஓயவில்லை, அவர் பக்கம் அடித்த இசைக் காற்று இது வரை வேறு பக்கம் சாயவில்லை. தனியாக இசையமைத்து வெளிவந்த முதல் படத்திலேயே தன் பரிணாமங்களை வெளிக் கொணர்ந்து தனக்குள் இருந்த அந்த இசை எனும் உலகின் பல புதிய வாசல்களைத் திறந்து காற்றில் விடுதலை செய்தார். எனவே 1964-1966 என வைத்துக் கொண்டால் பொருத்தமாக இருக்கும். மற்றொரு காரணம் விஸ்வநாதன் ராமமூர்த்தி இணையிசையமைப்பு, விஸ்வநாதன் தனி இசையமைப்பு இரண்டையும் அலச இது ஒரு நல் வாய்ப்பாக இருக்கும்.

மேலும் தொடர்வோம்.

ராகவேந்திரன்
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madhuraman



Joined: 11 Jun 2007
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Location: navimumbai

PostPosted: Mon Jul 05, 2010 7:07 am    Post subject: Tamil film history Reply with quote

Dear Mr.Ragasudha,
I am fully aware of your sentiments and the way MSV firmly sealed all debate relating to the contributory domains between V and R. In fact, the TFM lovers were some what divided on this point for quite sometime. "Kalangarai viLakkam" proved its name in resolving issues relating to V or R?

"Kalangarai viLakkam" proved a landmark for fans of TFM, though it was earler in "nee" where MSV's calibre was vividly evident. The case of "Kalangarai viLakkam"'s importance then was its star value with MGR-Saroja Devi in the lead cast.
With so much to discuss, we can CERTAINLY EXPAND THE TERMS OF REFERENCE TO 1964-1966 AND AROUND, so that all critical elements can be brought in. With "nee" and "Kalangarai viLakkam" as the early movies of V of V or R era,MSV demonstrated his calibre again as a master composer, who was guided by the story and not by the banner or the star cast.
As a part of the then discusson, I recall
in College campuses and hostels, Tfm LOVERS USED TO LINE UP IN FAVOUR OF V and some in favour of R debating the individual's calibre with no firm clues. Students used to argue that since in the MDs name V figures first, the leader should be V; the not -so sure boys would say it could be R as well. The whole of Sundays were spent on inconclusive debate.
All expectant critics were silenced independently from the authoritative scores of MSV as against those of "Madras to Pondicherry" by R. Now the topic is irrelevant except for its academic value to TFM history. The short period of lull for V and R as indepencent sorers after "1000 il oruvan" [all their movies were under production] made the wait unbearable for TFM lovers, as is generally for expectant mothers.
What happened is all too well known for reiteration.
Thanks for the opportunity to revisit the territory while reassuring all that THE TOPIC WOULD BE 1964-66 and around just to have some detailed cases of study. Any one can contribute to make our study more comprehensive and enlightening.
As a co-moderator of the forum Mr.Ragasudha, may please revise the title to 1964-1966 and around.

Warm regards Prof.K.Raman Madurai.
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ragasuda



Joined: 17 May 2007
Posts: 1532

PostPosted: Mon Jul 05, 2010 8:25 am    Post subject: Reply with quote

Dear Professor,
It is my duty to appreciate the broadening of your outlook on the postings of fellow hubbers and in this case, to my views and accepting them. YES, NEE was the real testimony to the genius in Mellisai Mannar as the first individual output. And of course the star cast. To my mind, the song "one day one day" is an evidence to prove that MM proved his mettle from the word go. The variety in rhythm, the harmony used, the voice modulation and culture (dont blame me for hearing these words in TV channels often, which has been established in 1960s by MSV and other MDs), in this song is an ample proof to what was (and is) in store. And for that sentiment lovers there is always the song "Vellikkizhamai vidiyum velai" available. (Of course the same word Vellikkizhamai has been used entirely in different situation, different voice and culture in the film "Thangaikkaaga". The song meaning rathiri neram this word had been pronounced in a subtle manner showing you the night effect. You can hear this song just posted in the rare songs thread).

And not only the songs but also the BGM was different in style in the film NEE compared to VR duo. Maybe MSV wanted to differentiate himself from the myth of VR duo, himself and came out with roaring success.

There is no need to change the topic Sir, since it implies beyond 1965 in the words "around". So this "around" may be used for discussing 1966 also.

Thank you Sir,

Raghavendran
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S.V.Srinivasan



Joined: 21 Mar 2008
Posts: 48
Location: Bangalore, India

PostPosted: Mon Jul 05, 2010 11:37 am    Post subject: Reply with quote

Professor has selected a period - 1964 to1966 - which is a watershed era in musical styles and forms in almost all parts of the world.

In the west, it was the time of the Beatles, Cliff Richard and Elvis Presley.

In Bombay, wonderful music was being turned out by Shankar-Jaikishan, O.P.Nayyar, the fledgling Laxmikant-Pyarelal, S.D.Burman, Madanmohan and others; from about 1966, R.D.Burman joined this illustrious list although he had been around for about 5 years already.

And of course in TFM, first V.R. and then MSV by himself were kings of all they surveyed. In 1965, I was 7 years old. At that time, I didn't know it, but the songs I was hearing were seeping into my consciousness and soul. Today, there are some songs which leave me immersed in nostalgia and memories of a Bangalore where every road had trees on both sides, traffic on the streets used to die out by 8 pm, most houses didn't have fans, underground sumps and motors were unheard of because water used to rush out of the taps with tremendous force at any time of the day or night, and movie theatres like New Opera, Sree, Lakshmi, New City and Geetha sported a carnival atmosphere on Fridays when new Tamil films were released. Just the opening music of some songs is enough to catapult me to those days when I ran around in shorts and banian:

Aaru Manamae Aaru
Kannan Ennum Mannan Perai Solla Solla
Ilamai Koluvirukkum Inimai Suvairukkum
Enna Vegam Nillu Bama
Anbulla Maan Vizhiye
Amaidhiyana Nadhiyinilae Odam
Kelvi Pirandhadhu Anru
Naanamo Innum Naanamo
Sathiyam Idhu Sathiyam
Kumari Pennin Ullathille
Yaen Enra Kelvi
Netru Varai Nee Yaaro
Kangalae, Kangalae, Kaadhal Seivadhai Vittu Vidungal

Truly priceless memories! No music of any other period (M.D. endha kombanaga irrundhalum) can replace these chunks of our childhood!
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