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LOOKING BACK-16- "PADAGOTTI"

 
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madhuraman



Joined: 11 Jun 2007
Posts: 1226
Location: navimumbai

PostPosted: Fri Jul 23, 2010 7:09 am    Post subject: LOOKING BACK-16- "PADAGOTTI" Reply with quote

Dear Friends,
During the period [1964], Padagotti was a grand hit almost
exclusively for the songs that were picturised in outdoor sequences in parts of Kerala and around Chennai. It was one of the early movies to have moved out of the studios in pursuit of natural ambience [not as made out to be that things started after 1976]though MGR and Saroja Devi were mega stars by then.

The movie was produced by GN Velumani ubder his banner 'Saravana'. Obviously GNV entrusted Music to the duo VR whi had by then entrenched their credentials as firebrand composers of the South Indian screen, besides as leaders of trend in Music and BGM.
Certainly the movie turned a mile stone for the lyricist Valee. Through some of the revolutionary phrases, he managed to strengthen the
movie situation, brilliantly availed of by V R with delight.

The important songs from the movie are

'thottAl poo malarum' TMS PS
Was an instant hit by virtue of a sedate tune effectively captured by the claps that pervaded this number to a telling impact. Such a composition had never appeared before and the picturesque locales added true value to the viewing.

'pAttukku pAtteduthu' PS TMS
Was another fresh approach to tune that carried both pitch and pathos as intertwined elements; the use of wood cutting saw to pep up with high frequency note to emphasize pathos was an innovation of sorts. The long winding charanams rendered in a low pace at a pitch created a mind boggling effect.

'tharai mEl pirakka vaiththAn' TMS
created a clear market for the lyricist by some down-to-earth observations, like
'kadal neer naduvE payaNam pOnAl kudineer thaubavar yArO?
'veLLi nlAvE viLakkAi eriyum kadal thAn engaL veedu'
'oru nAL povAr oru nAL varuvAr ovvorunALum thuyaram'
'oru chAN vayitrai vaLarppavar uyirai
oorar ninaippadhu sulabham'
one of the rich play of emotions through words was catapulted to zenith by the emotion-rich rendition with just a few instruments befitting the occasion. MSV revealed his penchant for handling situations.

'ennai eduthu thannai koduthu' PS
Another pathos song underscoring the impact of separation. The heavy emotive voice back-up of male is that of MSV himself. This song was among the listeners' choice in most radio programmes then.

'nee oru kuzhandhai nAn oru kuzhandhai' TMS
an extremely brilliant composition by every facet like lyric, tune, orchestration and swift changes in percussion. A delightful song that reverberates in mind after every listening.

So, if we look at every piece the common feature of all songs is the non-resemblance between themselves. The lone commanality is their ability to cause a very deep impact especially if we sit through the movie.

Other friends may please add their views on the subject.

Warm regards Prof.K.Raman Madurai.
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S.V.Srinivasan



Joined: 21 Mar 2008
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PostPosted: Fri Jul 23, 2010 12:40 pm    Post subject: Reply with quote

Three more songs from Padagotti - each one a gem:
1. "Koduthathellam koduthan". The story goes that Vaalee had written this song many years before and took it around to several MDs, including M.B.Srinivasan; none of them felt these lyrics could be set to music. But see what MSV did with this song!
2. "Azhagu oru ragam". An unforgettable seductive number by the peerless Susheela. A distinct westernized-cum-Arabian touch in orchestration by our Master.
3. "Kalyana ponnu kannana kannu". A jolly number with a memorable tune and lovely percussion.

Incidentally, the title of the movie was suggested by Vaalee himself, when the producer (or director) narrated to him the story about fisherfolk and asked him to suggest a very short, pithy title.
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ragasuda



Joined: 17 May 2007
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PostPosted: Sun Jul 25, 2010 9:08 am    Post subject: Reply with quote

எப்படித் தான் இந்த பாட்டை நீக்க மனம் வந்ததென்று தெரியவில்லை. இந்தப் பாடல் மட்டும் படத்தில் இடம் பெற்றிருந்தால் படம் மேலும் 100 நாட்கள் கூட ஓடியிருக்கும். ஏ.எல்.ராகவன் மற்றும் எல்.ஆர்.ஈஸ்வரி குரலில் கேளுங்கள் இந்தப் பாட்டை.
http://www.mediafire.com/?zzmwthjyzue

படகோட்டி படத்தில் இடம் பெற்றிருக்க வேண்டிய இந்தப் பாடலில் சாட்டையடியைப் போன்ற ஒரு ஒலி, மற்றும் உடுக்கை ஒலி, போன்ற பல விதமான ஒலிகள் இடம் பெற்று இந்தப் பாடலை மீண்டும் மீண்டும் கேட்கத் தூண்டிக் கொண்டே இருக்கும். முன்னம் ஒரு நாளில் வரிகளை எல்.ஆர்.ஈஸ்வரி ஆலாபனையைப் போன்று இழுத்துப் பாடும் போது ஆஹா... அதைத் தொடர்ந்து சதன் வாயில் எழுப்பும் ஒலி பாடலின் தாளக்கட்டையை அனுசரித்துப் போவதும், சரணம் வரும் போது தாளம் மாறுவதும்,

WOW ... MSV IS SIMPLY GREATEST ON THE EARTH

pity the song didnt find place in the film

ஒரு வேண்டுகோள்
இந்தப் பாடலை Headphone அல்லது Earphoneல் கேட்கவும்

ராகவேந்திரன்
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madhuraman



Joined: 11 Jun 2007
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PostPosted: Tue Aug 10, 2010 7:18 am    Post subject: Tamil film History Reply with quote

Dear Dr S R Shankar,
Nice to have your response to ''Padagotti''. However, there is no need to feel high or low about our own styles of writing. Honestly, it is the rich variety that our forum enjoys, keeps all of us happy.So my appeal is 'let us not spend time on our writing styles'. Coming to the live examples of MSV's mesmerism on 'common public, it is just phenomenal. Unfortunately his era had the culture of keeping everything private for personal enjoyment and there was not even a casual reference to the works of MSV. Nonetheless MSV gloriously lives in innumerable locales of mental islands of countless admirers. MSV's glories had to wait for a long time for the saying''seeing is believing"come true. After years of din in the name of cine music, at last those with a sense of clarity have come to recognize the true merits of MSV both as a composer and a grand embellisher through orchestration while according the richest priority for lyric phrases. In this sphere of work, priority has always been to squeeze out the intended emotion- far more than what the movie crew wanted. These parameters have literally blown off every other orchestrated hype to project themselves as 'novel creators'. If anything, the 'repeat hearing of songs 1960-1980' stands testimony to the fate of later compositions that faithfully decomposed.
Coming to your observation of PS's rendering of 'ennai eduthu', the pathos has been strengthened by the emotive 'fisherman chore' at the back; it is MSV's voice that handles the high drama though the tune is slow paced. What a thoughtful [resourceful as well]composer MSV has been! Depending on who reads, MSV offers unlimited range to admire, irrespective of all other criteria in a movie. Thank you for the response.
In fact, I have been holding back my posting, since you suggested that time be allowed for responses to arrive. Hope I can start a new topic soon. Thanks for the opportunity.
Warm regards Prof.K.Raman Madurai.
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Baskar CS



Joined: 19 May 2007
Posts: 203

PostPosted: Tue Aug 10, 2010 10:34 am    Post subject: Reply with quote

with poor responses i have to change the view and accept that your observation is right and only more postings frequently can kindle and elicit more views .

i admit my fallacy and anything cannot be indefinite and it will lead to complacency

right prof ,you are
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ragasuda



Joined: 17 May 2007
Posts: 1532

PostPosted: Wed Aug 11, 2010 1:40 am    Post subject: Reply with quote

டியர் பேராசிரியர், ஷங்கர், பாஸ்கர், ஸ்ரீநிவாஸன் மற்றும் நண்பர்கள்,
பேராசிரியர் கூறியது போல் மெல்லிசை மன்னரின் இசையின் பல்வேறு பரிணாமங்களை அலசுவது மனதுக்கு உவகையும் அதே சமயத்தில் பிரமிப்பையும் உண்டாக்கக்கூடிய சுகமான சுமைகளாகும். குறிப்பாக படகோட்டி படம் ஒவ்வொரு காட்சியும் மெல்லிசை மன்னரின் திறமையையும் பெருமையையும் கட்டியங்கூறும் காட்சிகளாகும். நான் ஏற்கெனவே கூறியது போல் அந்த ஏ.எல்.ராகவன் எல்.ஆர்.ஈஸ்வரி பாடலும் படத்தில் இடம் பெற்றிருக்கலாம். அந்த 2 அல்லது 3 நிமிடங்களால் ஒன்றும் குறைந்து விடப் போவதில்லை. சரி அதைப் பற்றி விவாதிக்க தேவையில்லை.

என்னை எடுத்து பாடலைப் பற்றிக் கூறும் பொழுது அந்தப் பாடலின் ஜீவனே அந்த பின்னணி குரல் ஆகும். அந்த ஒலி அந்தக் காட்சியின் சிறப்பைக் கண்முன்னே நிறுத்துகிறது. மெல்லிசை மன்னரின் குரலில் அதைக் கேட்கும் பொழுது அந்த உணர்வு உள்ளத்தை வருடி அப்படியே நுழைந்து சென்று அமர்ந்து விடும். அது ஒரு புறம் என்றால் அழகு ஒரு ராகம் பாடல் வேறு வகை.

மேலும் அலசுவோம்

ராகவேந்திரன்
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Baskar CS



Joined: 19 May 2007
Posts: 203

PostPosted: Wed Aug 11, 2010 5:33 am    Post subject: Reply with quote

in general style of life we will say ponavan ponandi which is olloquel and natural way of expression from a disturbed mind .

but settting it in to a pathos and giving a feeling of the same word in a tune with the nativity of normal expression and making it memorable is not a small job any way .

but for our master it was just a ordinary effort ,oops can i say effort ,it is just a drop of rain on the way

situation ,voice of singers ,lyric ,acting and a not too attractive colour ,music and tunes and making it memorable even after 45 years in nothing short of geniusness

i have never felt so sad that i am not knowledgable about the music or the intracacies, in my life but these days it kills me that i am a novice .

sad to me but the enjoyment is the only solace and i hope the things get going
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parthavi



Joined: 15 Jan 2007
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PostPosted: Wed Aug 11, 2010 11:51 pm    Post subject: Reply with quote

Dear Mr. Bhaskar,

You don't have feel sad about your lack of knowledge of music. You have musical ignoramus like me to give you company.

Enjoyment of music is not the solace. It is the main thing we get from music. Sometimes enjoying the music not because we understand the musical nuances behind it but because it strikes a chord in us can be an advantage. We do not have to worry about deviations from tradition, grammar etc. 'Ignorance is Bliss,' if enjoyment is profound.
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madhuraman



Joined: 11 Jun 2007
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PostPosted: Thu Aug 12, 2010 11:19 am    Post subject: Tamil Film History Reply with quote

Dear Friends,
I do not suggest that responses should come overnight. They can keep coming in trickles. That is why I suggest that new topics are put under specific/ distinct thread so that apropriate responses get grouped under right head instead of a messy build up.
2. Why it should only be a response? One can begin a new topic and make the forum active and lively. My contention is, we should write as many pieces as possible and let people join the discussion according to personal convenience. I trust my perception is clearly laid out.
Thanks for the opprtunity.
Warm regards Prof.K.Raman Madurai.
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