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GANGAIYILE ODAMILLAYO - RAAJA

 
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Sriram Kannan



Joined: 12 Sep 2007
Posts: 103

PostPosted: Sat Sep 22, 2007 4:12 pm    Post subject: GANGAIYILE ODAMILLAYO - RAAJA Reply with quote

Thanks to Ram and Saradha Madam for mentioning about this movie and songs already in this forum:

http://www.msvtimes.com/forum/viewtopic.php?p=92&sid=016b218f95afdb818eaa3a0edc608ff8

Few songs when heard for the first time, would make us forget ourselves for a moment and involve in the song more emotional. Our EMPEROR is a master at this, He would take us to the mood of every song he composes and fill our hearts, despite the emotions. When I heard this song for the first time, I was moved completely by the voice of PS, and thought it was a Bhajan. When happened to see the movie later, I got more affected to this song, because of the emotion and suspense maintained in the song, and beautifully shown by the EMPEROR (Even before watching the movie, one could think about the Meera incident on hearing this song, through the sadness ringing from PS' voice). But, only after watching the movie and hearing the song again and again, I was surprised at the fact that how the emotions of the character was displayed through the lyrics and music. (It is not a difficult task for the MD and the singer, who literally make everyone cry with the songs like "Mannavane Azhalaama" (Karpagam) and "Kannaana Poo Magane"(Thanner Thanner)).

"Raaja" was another hit in the Shivaji - Balaji combination, with the story of two brothers separated in the childhood, one to be a police officer, then working as a smuggler to catch the group, the other sibling, a smuggler in the group itself. A usual story that time, but the screenplay was very good (especially the last 30 minutes of the movie). EMPEROR's BGM for the movie and the songs are great. (I remember watching a car chase scene, the BGM would be as fast as the cars in the movie, with the background chorus of "Raaja.. Raaja", Excellent!!!). The songs were great, my another favourite being "Kalyaana Ponnu Kadapakkam Pona", a superb "pep" by TMS.

The scene for this song sequence is robbing a temple, in the disguise of saints, with the jewels of the idol hidden in a Ektaar (tuntun). The heroine, reluctant for this sin, expresses her guilty consciousness and her unwillingness to perform the robbery, through the song. I wonder about this song's composition, with the lyrics and music, I was dilemmatic about which came first. I guess it's a meter-for-matter song, then the mastery of our EMPEROR in grasping the situation and lyrics, clearly visible.

Enna Arpudhamaana varigal...

"Gangiyile Odamillayo En Kannanin kaigalil naan vara
enni vantha sedi solla"

The very first line would make us think about the love of Meera towards Krishna. Only Kaviyarasar can write this!!!

Tabla and veena forms the prelude for the song, with the Ektaar(tuntun) at intervals. A slow opening, marking not-a-very-happy situation. The chorus begins the song, "Gangayilie Odamillayo", followed by "Hare Hare Krishna Hare", the chants slowing down gradually. PS opens in high pitch at "Krishnaaaaa", the very impact of a distressed lady pleading for God's mercy brought in her voice. The flute following her words is very soothing.

I really wonder about the following lines, especially the second line, when PS prolongs at the end of "koodathenru", and then quickens the last words.

"Deepangal kovilile minnuvathenna
Avai paavangal koodathenru solluva thenna"

A clear insist upon the situation, a sin to be performed at the place of penitence, both through lyrics and music. This is the place made me think about, which of them came first, lyric or the music. Ippadipatta synchronization ORUVARaal mattume mudiyum!!! The chorus follows every line of PS throughout the song.

Violins open the first interlude, raising slowly like the suspense building, and taken by tabla, flute, ektaar. Flute and tabla plays a major role here. The sadness expressed by PS in the pallavi and charanam, is maintained by the flute in the interludes, with the tabla background, ektaar at rhythmic intervals. Veena brings the music back to the track down, joined by flute at the end. (The short beat of tabla before the start of charanam is very nice)

EMPEROR and Kavignar repeats the wonder in the first two lines of the charanam,

"En pola kandathundo unathu sannithi
un munnale paadumvarai konjam nimmathi"

Again, the prolongation at "paadumvarai" and quickenig at the end. Another insist upon the mentality of the lady. Awesome!!!!

Tabla paces up after the charanam along with flute, ektaar and bells at rhythmic intervals. The song moving towards the climax, with PS raising her voice, and the chorus repeating the chants. Who else can match the speed of PS at such stages, with her clear pronounciation (I find the ending of the song similar to that of "Raaman Ethanai Raamanadi" from "Lakshmi Kalyaanam", with the raising voice of PS and the chorus following it).


Like AVM Saravanan mentioned once, intha iruvarum (Kavignar and EMPEROR) "MEDHAI KUZHANTHAIGAL"
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Sriram Kannan.

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saradhaa_sn



Joined: 17 Dec 2006
Posts: 268
Location: Chennai

PostPosted: Sat Sep 22, 2007 6:57 pm    Post subject: Reply with quote

Dear Sriram,

Thanks for given the link of my writing about the songs of RAJA. But it was my edited version only. And here is the full (without editing)


RAJA

As I thoought eloborating the story will occupy more space, and some hubbers also suggested me thro' PMs like that, let the story hang-up. Just we will discuss some points about Raja.

Regarding NT's action, we thought it is being a detective story and there will be no scope for his acting performance. But NT made us fools by giving his wonderful actions. The best one which everyone knew and wish to say is, HIS LAUGHING WHEN MANOHAR BEATES PANDARIBAI TO GET THE TRUTH THAT 'RAJA' IS HER SON, in front of his boss Renga Rao. Nadigar thilagaththin andha srippu verum sirippu mattumalla, avar kangalil 'ayyO ammaavai kAppAtra mudiyAmal soozhnilai nammai kattip pOttu vittathE' endra thavippu avar kangaLil theriyum. Another scene his angry,when Major told him Nagalingam, which is in the photo, is the one who killed their father.

The scene, where Balaji understand Shivaji is his younger brother, will be well shown by showing the 'boxing competition in the school' (but the same as in Hindi version).

Regarding the songs, I surprised why the songa of Raja are NOT well popularised ouside the movie, infact they are good ones.

"நீ வரவேன்டும் என்று எதிர் பார்த்தேன்
வரும் வழி தோறும் உந்தன் முகன் பார்த்தேன்
காலம் கடந்தால் என்ன ராஜா
காதல் கவிதை சொல்லு ராஜா"


Jayalalitha, who was followed by the police from the Railway station, acting as the lover of Shivaji, who is standing on the top of a wall. Kannadasan's lines are beautiful in charanam also

கொஞ்ச நேரம் என்னை தாலாட்டு
கொஞ்சும்போதும் என்னை பாராட்டு
இன்பத்தை இருவரும் கொண்டு வருவோம்
கொள்ளையில் இருவரும் பங்கு பெறுவோம்
காதலை இணைப்பது ஜாதகமே
காலமும் நமக்கினி சாதகமே
உன் மனமும் குணமும் நாடகம்
உம் மடியினில் நான் ஒரு குழந்தை...குழந்தை


RAJA

It will be enjoyable to watch NT's 'sEshtaigaL' with Jayalalitha in this song "nee vara vEndum ena edhir pArththEn'. In one stage, NT will touch her cheeks and JJ will push out his hands. NT, showing the policemen around them (like saying"ellorum pArkkirAnga pAr"). Then JJ will take his hand and rub with her cheek. Camera will show the jealous Inspector ('Shanthi' Kumar) in close-up.

The next song "கல்யாண பொண்ணு கடைப்பக்கம் போனால்" Picturisation is somewhat good, in Kerala locations and in a boat. NT's steps when starting the song is nice and his action with hands in his hips for the line "nEril vandha RathiyO mathiyO". But the surprise is, this tune is entirely different from that of original Hindi song "Nafrathkar-nE-vA-lOngE" of Johny mera nAm.

The third song, for Padhma Kanna from Mumbai, not only in dance but she acted in an important role also in 'Raja' as a pair of Randhava. This is one of the bests of L.R.Eswari, start with humming

"ரா...ர..ர..ர...ர...ர..ர.ர..ரா...."

"நான் உயிருக்கு தருவது விலை
என் உடலினி உனக்கொரு கலை
கண்களை கொண்டு வா... பெண்மையை காணவா
"


(especially கண்களை கொண்டு வா with her specialized husky voice)

the orchestration will be somewhat terrific and MSV poured the instruments like anything. Very heavy instrumental experience. No dabala, no bangoes, but fully drums, with Guitars, Violins, Truphet, Saxophone... and what not. MSV stands with his viswaroopam in this composition. But the very sad thing is, this song was also kept under shadow. WHY.....?????. We don’t know.

Next song, by PS for Jayalalitha in the Krishnan temple, when looting the jewels.

Before this song, there will be a nice dialogue between Jeya and Balaji, in their hiding place.

பாலாஜி: "ராதா, ராத்திரியோடு ராத்தியா கோயில் நகைகளை களிதாஸ் (நாகையா) துந்தனாவுக்கு மாத்திடுவான். சரியா நாலு மணிக்கு கோயில் கதவு திறக்கும். கிருஷ்ணன் சிலைக்கு முன்னால் நகைகள் அடங்கிய துந்தனா இருக்கும். மீரா வேஷத்தில இருக்கிர நீ கடவுளை கும்பிட்டு விட்டு துந்தனாவை எடுத்தால் யாரும் சந்தேகப் பட மாட்டாங்க".

ஜெயலலிதா: "பாபு, இதுவரைக்கும் மனிதர்களை மட்டும்தான் ஏமாத்தினே. இப்ப கடவுளையும் ஏமாத்தனுமா"

பாலாஜி: "என்ன ராதா இப்படி சொல்லிட்டே. நம்ம எல்லார் மனசிலேயும் அவன் தானே இருக்கான். இப்ப என்னமோ என் மனசுக்குள்ள இருந்துகிட்டு 'எடுடா நகையை'ங்கிறான். நான் எடுக்கிறேன்.thats all".


(there will be a big laugh and applause from audience).

The song will start with the chorus

"கங்கையிலே ஓடமில்லையோ என் கண்ணன் கைகளில் நான் வர,
எண்ணி வந்த சேதி சொல்ல ...
hare hare krishna... hare
hare hare krishna... hare
"


then PS starts the charanam:

"கிருஷ்ணா... கிருஷ்ணா...கிருஷ்ணா...

தீபங்கள் கோயிலிலே மின்னுவதென்ன
அவை பாவங்கள் கூடாதென்று சொல்லுவதென்ன
வைரங்கள் நெஞ்சினிலே ஆடுவதென்ன
அவை வஞ்சங்கள் வேன்டாமென்று பாடுவதென்ன"


Jayalitha will act for this song very nicely with little dance movements then and there. Balaji will be there in the make-up of a 'sAmiyAr'.

But for this song, Dir.CVRajendran and art director Thotta done a mistake that, the temple will seems in a North Indian style, thus it resembles that it is a remake movie. They should change it as a Tamil Nadu style temple.

The last song,
" இரண்டில் ஒன்று.. நீ என்னிடம் சொல்லு
என்னை விட்டு வேறு யாரு உன்னை தொடுவார்
"
by SPB.

In fact it is his second for NT, after 'பொட்டு வைத்த முகமோ' in SES. It is an interesting song mixed with comedy, when JJ closes the doors one by one, he will appear from another, and at last he will enter her bedroom. NT will be in a dark blue pant with dark blue half shirt (as usual without banian inside) and Jayalalitha will be in a dark green mini skirt. (She will wear the same type of dress in Pattikada Pattanama also).

Apart from the songs, we must definitely mention about the back ground score re-recording of the Great "Mellisai Mannar" MSV. The title music itself will give a big expectation about the movie. In the title music and in stunt scenes, he is not only using instruments but also vocal effects with special voices. (the title music also released in the form of record along with the songs).

We should also accept that, RAJA's back ground score was several times better and in high level comparing to its original Hindi version 'Johny mera nAm'.

During the fight with 'Wrestler' Randhava, he will give the sound
லா...லா...லா...லா...
ராஜா... ராஜா... ராஜா... ராஜா...


and NT's fight with K.Kannan in the mid night (the code word 'mani pannirendu') in the forest house, MSV will give heavy back ground score with instruments and also vocal as
"ரம்ம்ம்... பபம்....ரம்ம்...பபம்"

and in climax fight, he will mix all the above and also add.
"து து..து..து..ஜும்...துஜும்...துஜும்...
"து து..து..து..ஜும்...துஜும்...துஜும்...
"து து..து..து..ஜும்...துஜும்...துஜும்..."



and gradually he will increase the speed.. to the high pitch.

Actually these things are not in its Hindi version 'Johny mera naam'. It was purely by the imagination of our Mellisai Mannar.

What an incredible creator he is....!!!!!!!!!!!!.
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madhuraman



Joined: 11 Jun 2007
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PostPosted: Tue Sep 25, 2007 7:18 am    Post subject: Pick a Song and Analyze! - Raajaa Reply with quote

DEAR FRIENDS,
I am a poor analyst, yet, nothing prevents appreciating an item. As for "Gangiyilae Odamillaiyo". Un sannadhiyil paadum varai Konjam nimmadhi" opens the lead. As I have always reckoned, Stretching / Compressing words is a technique that MSV has employed as a silent embellishment. 'konjam Nimmadhi" is compressed to make it reveal it is a very small benefit considering the magnitude of the sin planned for. This is a dimension of MM that needs careful understanding to unravel how he has availed of occasions to strengthen the songs.
Warm regards Prof.K.Raman Navi Mumba
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Prof. K. Raman
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irenehastings
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PostPosted: Tue Sep 25, 2007 2:54 pm    Post subject: Reply with quote

Dear Sriram sir and saradha madam,

great write up about the songs of Raja. Sriram's detailed explanations and madam's background score bring us the feeling of sitting in the theatre and watching the movie again.

good, keep it up.
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