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[madhuraman]

Dear Friends,
Herein we look at the remaining items.

'KumarippeNNin uLLaththilE' TMS PS

A song that was quite different in composition even among its contemporary numbers. V-R have adopted new kinds of score involving the play of violins, bongo and a host of instruments typically blending in MSV style. The song is a clear demarcation between itself and 'mAndhOppil' as a vivid suggestion of the profiles of the persons involved. The tune per se keeps lingering in our minds until we try to root it out not by force but by substitution with some other item of equal value.

'peNN pOnAl' TMS PS
Though another duet for the same pair, the elements of composition are not the same. The tune itself has stayed unique and not repeated in any subsequent movie either. MSV has chosen to reframe charaNams quite deviant from pallavi but striking a chord of concurrence in mood. At short stretches, PS has been inducted to insert variations without the listener feeling anything of a violation, as for instance her singing of 'vandhAyO kooda vandhAyO' munbu illAdha sugam ---' in a sedate workup on emotions by silencing the percussion. Also, the play of bongo in all pallavi stretches is a model lesson in the sense, the bongo delivers the mood after the pallavi phrase is sung out and the way the tiny bongo has been dabbled with was quite a novel effort and every other instrument used in the song has a definite importance not appearing as one among the cluster. The captivating camera work of Vincent-Sundaram proved an asset beyond verbal accolades for this sequence.
Vast areas of the BrindhAvans in night lights -all in one frame has been a stupendous piece not within the reach of lesser mortals.

'malarukku thendral pagaiyAnAl' PS LRE
The song is literally V-R's signature in the sense , uni-gender compositions were their forte in answering 'hard' on screen demands.MSV has achieved the distinction of a monarch in this version of TF songs.
The poetic skills of the lyricist [Alangudi Somu] have come to the fore while V-R have penetrated the listener by the intense play of violins and strings in an unbelievable squeeze of emotions. The flute as a consoler elevates the agony by putting the singer on to that plane from where she has to carry the lyric in a deep couch of emotions. The listener comes back to the present only after the song ends. Such has been the powerplay of MSV through this song to this movie in colour. What a value the audio-visuals added to this movie is a matter of history , as very rarely do we witness perfect consonance in a movie as a team work product. Indeed those were days of human labour in rich dignity.
Warm regards Prof. K.R Madurai.
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Prof. K. Raman
Mumbai