"MSV CLUB" - The Discussion Forum of MSVTimes.com

[madhuraman]

Dear Friends,
We begin our efforts on understanding the 'Trend setting' in movie-making way back in 1964. For reasons of genuine recounting, I choose "K A L A I K K O I L" for, except a very few, most of our members may not be fully aware of the features of this grand movie that inexplicably fell at the box office. Now on to details.

Movie house: Bagyalakshmi Productions
Producers: Visu, Ganga*
Direction: Sridhar
Cinematography: Balu**
Music: V R
Technical crew: all from 'Chitraalaya'

* Visu= MSV, Ganga= Art Director Ganga
** Balu = N.Balakrishnan

The story relates to the ruining of a young carnatic exponent of Veena, as he falls into the trap of a dancer girl. It all begins as professional appreciation of each other, despite the married status of the man. His first wife does not have the nuances of appreciating music. That makes the setting ideal for indulgence by the man. The man's family is deeply traditional in habits of life and music. The father who groomed his son into music faces the awkward reality of seeing his son fall to disgrace in the company of wine and woman. The young man often inebriated is unable to keep schedules nor even the all important dimension -
'the kAlapramAnam' or the time spacing typical to traditional ragas. On an occasion, when the son struggles hard to carry a 'raga', the ittitated father unable to stand the ignominy climbs on to the stage and renders the piece himself and collapses right on the stage over his Veena after restoring his [father's] prestige as an exponent of veena.
Much of these reappeared in another movie of 1980s in colour. But, it managed success for reasons unknown except that some big names were involved in the project.
To me, in terms of treatment "KK" was far superior as it never projected the art in bad light. In order to sustain culture values and seriousness, it was rendered in B&W. In terms of acting, it was an excellent movie with Muthuraman as the hero [ Chandrakantha as the heroine] Rajasree as the dancer girl. SV Subbiah played the father, Nagesh and Jayanthi as comedy pair. In fact, there are innumerable occasions that fervently portrayed emotions in the most elegant format. VR's BGM scores were of high order besides of course the hitherto unsurpassed songs for the lyric value , melody and stupendous orchestration for a low-budget movie. The movie is a goldmine of songs in TFM in the sense, no two songs can be compared since each pertains to a genre of its own. All songs appeared at apt locales, driving the story ahead.

'dEviyar iruvar muruganukku' PS
'nAn unnaichErndha selvam' PBS PS
'thanga radham vandhadhu' M.Balamurali PS
'MuLLil rOjA' PBS LRE
'Vara vEndum oru pozhudhu' LRE

These are unforgettable numbers while the use of Veena at key locales and the brilliance of 'late' Chittibabu on veena stay etched through the movie.
If 'thanga radham' was a masterpiece, all others were masterly pieces full of orchestral nuances, richly embellishing the numbers.

'muLLil rOjA' is a model lesson for composers. Keeping in mind the carnatic background of the hero, MSV has allotted carnatic sangathis for 'aalap' even when the hero plays inebriated character - a marvellous piece by PBS and LRE. The song has such a rich orchestration where all instruments blend into a mega feast - a typical MSV wizardry. None of the later movies of comparable situations have managed even a pale shadow of the musical exuberance of this song.

'varavEndum oru pozhudhu' by LRE has been acclaimed the first and the best Jazz piece of TFM. It is another musical extravaganza in brass and drums as well as sweeps of voice touching octave amplitudes.

'nAn unnaichErndha selvam' a pleasnt melody stands testimony to Kaviarasu's prowess for word play.

The presentataion of the movie in B&W is a logical step. But, to have chosen subdued lighting in all critical moments speaks of far sighted approach on the part of Balu and Sridhar. There was never a cinematic moment through the whole piece. The movie had several items worthy of deep study.
Now, friends can add their perceptions.
Warm regards Prof.K.Raman Madurai.
_________________
Prof. K. Raman
Mumbai

[parthavi]

Dear prof,

Congratulations on your outstanding review of Kalaikkoyil. I can't find a word better than 'perfect' to describe your painstakingly objective review.
I had no opportunity of viewing this film. I only have (had) a vague idea of the storyline.

I had fallen for 'naan unnaich cherndha selvam' the very first time I heard this song. To me, this is the ultimate in soft melody. The orchestaration is a class of its own. I was happy to find (believe) that MSV also believes this song to be the best from this film, on hearing his choosing this song to present from this film in Hummaa.com (Another film, where his choice happens to coincide with mine is 'Kaaththirundha kangal', from which he chooses 'vaa endradhu uravu' the favorite of mine as the best, from this film. Small things that make a rasikaa proud!)

I would reqeest Sri Raghavendran, Mr. Jeev (who more than others are able to trace the links of many rare songs) and others who can, to get the link for 'vara vendum.'

I read this post the first time in the morning after logging into my PC and I feel rejuvenated, as I am typing this.

You have made my day, professor. Thanks, again!
_________________
P Rengaswami (9381409380)
MSV, Un isai kettaal puvi asainthaadum, idhu iraivan arul aagum.
http://msv-music.blogspot.in/

[ragasuda]

அன்புமிக்க பேராசிரியர், ரெங்கசாமி மற்றும் நண்பர்களுக்கு,
பெயருக்கேற்றவாறு கலைக்கோயிலாக அமைந்த உன்னத திரைக்காவியத்தை நினைவூட்டியமைக்கு மிக்க நன்றி. மிக மிக நீண்ட காலமாயிற்று இப்படத்தைப் பார்த்து. ஆம், அன்று வெளியான கால கட்டத்தில் பார்த்தது. வீணை இசை படம் முழுதும் ஆங்காங்கே இடம் பெறும். அந்த வீணை இசை தனியாக இசைத்தட்டில் வெளிவந்தது. ஆனால் தற்பொழுது அது இணையத்திலும் கிடைக்கவில்லை.

ரெங்கசாமி சார் சொன்னது போல் எல்.ஆர்.ஈஸ்வரியைத் தவிர வேறு யாரையும் நினைத்துப் பார்க்க முடியாத அளவிற்கு அந்தப் பாடலைப் பாடி யிருப்பார். அந்தக் காலத்து ஜாஸ் இசையில் மெல்லிய டிரம்ஸ் ஒலியுடன் பியானோ, கோரஸ் குரல்கள், டிரம்பெட், இணைந்து ஒலிக்கும் அந்தப் பாடலைக் கேட்பதே தனி சுகம். குறிப்பாக சரணத்தில் லேசாக ஒலிக்கும் Flang ஒலி மிகவும் புதுமை, Sound Effects அற்புதம். குறிப்பாக நீர் போலே ஓடும் நிலாவினில் ஆடும் அதே இன்பம் அதே சுகம் வரும் இங்கே என்ற வரிகளில் பின்னணியில் ரிதமாக அந்த flang ஒலிப்பதைக் கேட்கும் போது தற்போதைய இசையமைப்பாளர்கள் கற்றுக் கொள்ள வேண்டியது நிறைய இருக்கிறது என்ற எண்ணமே தோன்றும்.

ரெங்கசாமி சார், ஏற்கெனவே நமது தளத்தில் வேறோர் இடத்தில் இப் பாடலின் இணைப்புத் தரப் பட்டுள்ளது. இருந்தாலும் இப்போது இதனைக் கேட்க மீண்டும் இங்கே-

http://www.raaga.com/player4/?id=154561&mode=100&rand=0.5540385049346155

வாய்ப்புக்கு நன்றி
_________________
Visit my website for Viswanthan-Ramamurthi
http://mellisai.tripod.com
My blogs:
http://msvquiz.blogspot.com/
http://oldtamilfilmsongs.blogspot.com/
http://oldtamilfilms.blogspot.com/
http://mellisaititle.blogspot.com

[parthavi]

Thank you Raghavendran sir for the link. Somehow I missed to look for the song in raagaa.com

Let us hear what MSV says about his experience with Kalaikkoyil. He displays his sense of humor when he recalls Sridhar's doubt whether the film will be a box office hit or the box will hit the office back and his exasperation, when he dismisses the belated appreciation received from people after seeing this film on TV. (I think this film was shown in Dhoordharshan once long long ago.) I wonder why no TV channel has the video of this film or even the videos of songs from this film.

http://www.hummaa.com/music/song/Naan+Unnai+Serndha/37749#
_________________
P Rengaswami (9381409380)
MSV, Un isai kettaal puvi asainthaadum, idhu iraivan arul aagum.
http://msv-music.blogspot.in/

[parthavi]

Dear Mr. SR Shankar,
My compliments to you for your valuable appraisal complementing professor's analysis.
After reading your post, I also recall hearing a Sirkazhi song. Can you (or anybody else) give the opening line(s)?
_________________
P Rengaswami (9381409380)
MSV, Un isai kettaal puvi asainthaadum, idhu iraivan arul aagum.
http://msv-music.blogspot.in/

[Vatsan]

Great topic Prof Saab and value contributions from everybody else as well. Kalai Koyil is one of the most phenomenal pieces of work, mind you, only ONE of the most.......

"nAn unnai chErntha..", "dEviyar iruvar", "thangaratham...." all great numbers have been tuned for pre-written lyrics for sure. The santhams of the lyrics suggest so.

"nAn unnai chErntha..." is a masterpiece in several ways, how subtly the tunes of the charanams have been tuned differently for both the singers, the feelings the pallavi itself induces etc . The purposeful stretch at the word "deivam" is certainly to indicate the importance the partners accord to one another, a delightful piece. Wonder in what part of the song MSV managed to squeeze in that little bit of seriousness in this song that separated it from a light hearted ditty. MSV, as is obvious, excels in blending in several feelings and emotions and smearing the resultant effect all over the song, leaving the listener wondering where "it" all came from !!! This is a song that could have made the mikes the singers sang into, swoon with love and romance !!! Such is the overall effect !!!

"dEviyar iruvar" announces its "Sriragam" origins especially at "enakkOr idam nee tharuvAyO". But yet, please tell me if any other tune phrasing could have expressed the hidden drama behind those very words half as comprehensively as the one we are used to listening to !!! Was Sriragam invented only for it to embrace this lyrical piece from Kannadasan ? MSV's tuning dexterity can make you think so !!!! The "akaaram" that P Susheela unleashes as a part of the interludes is fit to be recalled for eternity, both for the sheer effortlessness in singing and once again, the expressions incorporated by MSV here. We have spoken about thematic expressions that seem pervade every atom of a MSV song, this song is no different, except that every language would hang its head in shame failing to the convey the essence of feelings. munnamirukkum intha chinna manithanidam pala mozhigaL pAdam pera vara vENdum. mounamAga intha pAdalai rusikka vENdum. What would then sink in, how the tune portrays the act of conveying a subtle message (of the extra marital affair) and the base expression the song needs to convey it !!! No mean task !!!

"varavENdum...." as facts state, had its tune composed first. Allow MSV to score the tune first, he can put the musical Gods on tenterhooks with completely unpredictably twists and turns, but all within the framework of the mood/ feeling. How I really wish MSV overrode Kannadasan's wishes to write lyrics first more often. The sheer flight and movements the tune goes through is quite astounding. The "blues" mood that Jazz generally induces is all prevalent here. MSV has added a touch of eeriness as well here, that "far away", elusive and the cryptic feel, as if the song emerges from a mysterious place of nothingness. The descent on the piano, both towards the end of the charanam and the pallavi subtly differ each time they are played out, sometimes on the beat, sometimes off the beat and downplayed. Wonder what this strange man had in mind !!! The prelude is piece that descended from the Gandharvas for sure, the brass shrieks, the typical Jazz-like drum rolls that seem to change the tempo but actually do not, an unpredictable call from the trumpet and an affirmative response from a piano chord press and ofcourse.....the feelings they induce Removing the word "Feelings" from the dictionary is tantamount to snatching the harmonium from MSV.

Prof saab spoke about one of the songs being a lesson for fledgling composers. I strongly disagree !!!! All songs from this movie can only be listened to and experienced by other composers young and old. The lessons can be imbibed and reproduced by NONE .

[Vatsan]

oops...forgot to mention the most important observation. From semi-classical to Jazz and what lies in-between, the big Daddy of composers has them all covered in this movie and yet this is merely a snapshot of this man's composing width. All genres of music reveal their contents to this man and therefore no other composer experiences their underlying "unity in diversity" nature more intensely. Every song of his is a fusion, probably MSV forgets the existence various genres of music !!! hmmm....talk about our home-grown , self-professed fusion composers who struggle to fuse rules from different music systems !!! They con you....and now you know "confusion" the true feeling expressed by these songs.

[madhuraman]

Dear Vatsan and every other friend,
I am happy that allof us are responsive as ever and that we get into the ring with firmly clasped fists and ready to send down power-packed strokes just to emphasize our feelings. This is what MSV Times.com has been all about.
Mr. Vatsan has taken exception [quite on friendly terms] that I Suggested one song 'muLLil rOjA' AS MODEL LESSON FOR ASPRANT COMPOSERS. Vatsan ji please read it that lessons are advocated to learn fundamentals and if Kalaikkoil is a chapter then 'muLLil rOjA' is the first lesson that throws up all elements to be learnt. Hope you would permit this viewpoint as it tries to explain the spirit behind the suggestion.
My current effort has re-inducted all our friends to the centre stage of healthy exchanges. That Kalaikkoil has such a serious material to rejuvenate all of us is a victory to the composer, for after 36 years the 'freshnes' stays of the songs though little is rememberd of the movie. Thanks for the opportunity.

Warm regards Prof. K.Raman Madurai
_________________
Prof. K. Raman
Mumbai