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Joined: 11 Jun 2007
Posts: 1226
Location: navimumbai

PostPosted: Mon Nov 21, 2011 3:47 pm    Post subject: KD -MSV OFFER PHILOSOPHIC DISPOSAL Reply with quote

Dear Friends ,
Life indeed is a complex jumble of swinging fortunes landing us in moments of momentary pleasure or pain, shifting from steady to dwindle, good to bad, peace to pieces-- all as fleeting experiences of ecstasy and despair. Nonetheless we are drawn in this whirlpool of changing fortunes with just no option whatsoever except to 'experience' the dictates of time. Yet, cine songs have the ability to offer the scope to tide over uncertainties as they are phrased to provide solutions to persons of all calibre independent of wealth, status and financial well being. In this exercise, again KD -MSV do signify value to all who have had the occasions to perceive the elegance of Philosophic disposal of such moments as are witnessed in our lives, mostly taken by surprise. The surprise element causes a bewildering deadlock seemingly hard to tackle. Careful consideration of the songs in this category does a world of good to all who can remember and recall these numbers. So, we owe a lot to these doyens of TFM for their richest doses of 'pain killers' delivered through our auditory senses.
'veedu varai uravu' "pAdha kANikkai" TMS -LRE
KD in a nutshell says
'aadum varai aattam aayiraththil nAttam'
'kkodi vaqrum koottam koLLi varai varumA?
'vittu vidum aavi, pattu vidum mEni '
'suttu vidum neruppu'
'sooniyaththil nilaippu' Are we not humbled. MSV did this wonder a pride of sorts way back in 1962 0r so, by an orchestration rich in violins and strings that portray the majestic but menacing flow of cross currents signifying the toil of the one trapped in this squeezing labyrinth of pressures. Certainly KD -MSV -a made for each other complements.

'sathiyam idhu sathiyam' "idhu sathiyam" TMS
KD chides
'panjaippOttu neruppai maraippavan pachchjai madayanadA'
'pAvam theerka paNaththai iraippavan paiththiakkAranadA'
Being a clarion call against immoral idiocy, MSV has set high tone for singing and fairly straightforward orchestration to project the lyric.

'pOnAl pOgattum pOdA' "pAlum pazhamum" TMS Sadan
If KD proved his 'down to earth attitude, MSV showcased his heavenly skills by choosing to blend instruments to SADAN'S HAIR-RAISING CALLS OF the fauna typical to graveyard ambience.
Despair at its peak ' elumbukkum sadhaikkum maruththuvam kaNdEn
idharkkoru marundhaikkaNdEnA?'
The winding of the song leaves us more thoughtful.

'amaidhiyAna nadhiyinilE Odam' "aandavan kattaLai" TMS PS

Though picturised as a duet song, the lead passages are philosophic and prophetic. 'aatrankarai mEttinilE aadi nirkum nANaladhu
'kAtradiththAl saai vadhillai kanindha manam veezhvadhillai'
indicating the need to endure disappointments. MSV crafted as classic number separating the two singers apart until the last time for pallavi to wind up. The reference to 'nANal' has been exploited to total advantage by both KD and MSV.

'parama sivan kazhuththil irundhu' "soorya kAnthi" TMS
Though shown as a song sequence, it carries the movie to the next logical domain for the displeased husband. Mind portrayal is a domain that only a few like KD can handle ; he cautions
'uyarndha irrukkum pOdu unnai madhikkum ulagm'
un nilaimai konjam irangi vandhAl nizhalum kooda midhikkum'
an object lesson to safeguard against later 'let down' in life. The song turned a mega hit long before the movie appeared thanks to MSV's prelude/ interlude scores that invite listening by any passer by.

'nilavu vandhu pAdumO' "raman eththanai ramanadi'" PS
Though not familiar with the movie sequence , I am able to see an undisturbed mind of MSV to portray a disturbed mind. How brilliantly whistles are interspersed though the singer laments thus:

'oomai kaNda kanavaiyum, karuvil uLLa mazhalaiyum uruvam kANa mudiyumO and recociles mudiyattum mydiyum pOdhu mudiyattum'
The philosophic note here is a reconciling attitude to face the harsh reality.

So, friends please add your points of view.

Warm regards K.Raman Camp: Navi Mumbai
Prof. K. Raman
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