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

[madhuraman]

Dear Friends,
Though I have posted this under items by MSV, TKR has also been a part of these to a large extent since this genre was almost new to TF and was slowly withdrawn from a formula type of aproach. What I intend saying here is this TFM had a formula especially between late 1960s to early 1970s though it went through perceptible changes. The basic formula was at least a song each for the lead artistes , Philosophic songs, Duets and songs by TWO SINGERS. Somgs by two singers were an innovation by MMs and Directors used it to enhance the appeal. Before I bring the salient issue, MDs had to be rich in repertoire , lest should fall by fatigue composing about 6-8 songs per movie and satisfy the variety needed. [Now-a-days Duet song involves the hero and heroine and 100+ extras dancing -probably wiping out the shyness of the two involved! Literally they are chorus type and suffer from the same rhythm, variation being only in artistes and the degree of nakedity in new locales]
TWO SINGER Songs were quite different from duets; either narrating the story [as in Penn onru kandaen- Padiththal mattum podhuma?] or a sequence making fun of the heroine for her alleged change in attitudes cosequent to her new-found love [as in Thoodhu sella oru thozhi illai ena- Pachai vilakku ] or as reflection of friendship or as suggestive romanticism [ as in Paladai maeni- Anubavi Raaja anubavi].Almost all such numbers have been supreme compositions requiring very involved rendition. The singing had to be in different styles conveying the intent of making fun while the accused should portay sudued defence. The requirements were formidable and MMs established their stamp of class in every one such number. There are very many such items that added to movie-watching pleasure. 8 out of 10 times it was LRE - PS PAIR and occasionally SJ, PS DUO. AN EXCELLENT PIECE OF THIS TYPE was
ADI PODI PYTHTHIAKARI [PS, LRE] in Thamarai nenjam. I post these here
with a clear intention. 1. For analysis 2. Suggesting a new trend then that lived as a perennial challenge to lyricists and MDs. Our legends the MMs made deep and indelible stamp of authority in this version too. I look forward to aggressive contribution from our clan the MSV addicts.
Warm Regards. Prof.K.Raman Navi Mumbai
_________________
Prof. K. Raman
Mumbai

[madhuraman]

[quote="madhuraman"]Dear Friends,
Though I have posted this under items by MSV, TKR has also been a part of these to a large extent since this genre was almost new to TF and was slowly withdrawn from a formula type of aproach. What I intend saying here is this TFM had a formula especially between late 1960s to early 1970s though it went through perceptible changes. The basic formula was at least a song each for the lead artistes , Philosophic songs, Duets and songs by TWO SINGERS. Somgs by two singers were an innovation by MMs and Directors used it to enhance the appeal. Before I bring the salient issue, MDs had to be rich in repertoire , lest should fall by fatigue composing about 6-8 songs per movie and satisfy the variety needed. [Now-a-days Duet song involves the hero and heroine and 100+ extras dancing -probably wiping out the shyness of the two involved! Literally they are chorus type and suffer from the same rhythm, variation being only in artistes and the degree of nakedity in new locales]
TWO SINGER Songs were quite different from duets; either narrating the story [as in Penn onru kandaen- Padiththal mattum podhuma?] or a sequence making fun of the heroine for her alleged change in attitudes cosequent to her new-found love [as in Thoodhu sella oru thozhi illai ena- Pachai vilakku ] or as reflection of friendship or as suggestive romanticism [ as in Paladai maeni- Anubavi Raaja anubavi].Almost all such numbers have been supreme compositions requiring very involved rendition. The singing had to be in different styles conveying the intent of making fun while the accused should portay subdued defence. The requirements were formidable and MMs established their stamp of class in every one such number. There are very many such items that added to movie-watching pleasure. 8 out of 10 times it was LRE - PS PAIR and occasionally SJ, PS DUO. AN EXCELLENT PIECE OF THIS TYPE was
ADI PODI PYTHTHIAKARI [PS, LRE] in Thamarai nenjam. I post these here
with a clear intention. 1. For analysis 2. Suggesting a new trend then that lived as a perennial challenge to lyricists and MDs. Our legends the MMs made deep and indelible stamp of authority in this version too. I look forward to aggressive contribution from our clan the MSV addicts.
Warm Regards. Prof.K.Raman Navi Mumbai[/quote]
_________________
Prof. K. Raman
Mumbai

[saradhaa_sn]

"உனது மலர் கொடியிலே
எனது மலர் மடியிலே" (பாத காணிக்கை)

"மலருக்கு தென்றல் பகையானால் - அது
மலந்திட கதிரவன் துணையுண்டு" (எங்க வீட்டுப்பிள்ளை)

"குங்குமப்பொட்டு குலுங்குதடி" (இது சத்தியம்)

"அன்றொரு நாள் இதே நிலவில்" (சுசீலா - ஈஸ்வரி) நாடோடி

"அவள் பறந்துபோனாளே" (பார் மகளே பார்)

"சொன்னதெல்லாம் நடந்திடுமா சொல்லடி கிளியே" (பாத காணிக்கை)

"கட்டோடு குழலாட ஆட" (டி.எம்.எஸ். சுசீலா, ஈஸ்வரி)

"பாடினாள் ஒரு பாட்டு" (ஒருதாய்மக்கள்)
_________________
Saradha Prakash