Murali Srinivas
08-23-2008, 06:12 PM

எந்தன் பொன் வண்ணமே



1. Oru Kuyilin Vaazhkai Sangeetham – a book by Kavitha Albert

2. Various Magazines of yesteryears

3. Our own tfm pages with special thanks to Mr.Manisegaran

4. Mr.Mohanram


To a great NT fan – Raakesh @groucho.


A song that showed that in spite of advancing age TMS had not lost his touch to strike chords. A song, which takes the top place in the combination of TMS –Ilaiyaraja. A song that again proved that age cannot wither nor custom stale NT the performer. For a change we are going to discuss a song of late 70s and about a combination, that if it had lasted, would have given more such songs. Let us dwell into that.


There was a period when Tamil cinema was passing through critical stage. The Films that got released turned out to be way below the averages and it directly affected the BO performance of the films. With the films failing to ring in the cash counters, the production houses were very much hesitant to produce films. This trend started in late 74 and by the end of 75, it had snowballed into bigger crisis and by 1976, it had become acute. Production had become costlier and efforts were on to bring down the costs. Even the Big stars NT and MGR at that point of time were not giving hits. Added to it were the conditions imposed by the Censor Board about song and stunt scenes and they insisted that violence and sex should not be shown. This had affected the collections in a big way especially in B & C centers. At that point of time Karnataka Government had announced a scheme by which a subsidy of Rs 50,000/- would be given to the producer, if shooting takes place in Karnataka. This was irrespective of the language of the film. So this prompted many producers to shoot their film in Karnataka.

Though the small and medium producers were doing business, many big production houses stayed away from production. AVM had stopped its production in 1972 after Kaasethaan Kaduvuladaa. Vijaya Vahini except for Vani Rani (1974) did not produce anything else. Gemini barring Ellorum Nallavare was hibernating. With big stars and big production houses failing to strike it rich, a lull was prevailing in the industry. Things were in such a sorry state that films that crossed 50 days were declared hits and a function arranged for the same. I remember the 50th day celebrations of “Oru Oothaapoo Kan Simittugirathu”. K.Balachander who presided over the function and Sp.Muthuraman the director of the movie spoke about this alarming trend. This decline gave rise to another trend. Unlike today, there were so many theatres and all these needed software. In other words, films for their survival. So English movies and Hindi movies started to rule the roost even in smaller towns. When many of the cities and towns started following this trend, Chennai (Madras at that point of time) was totally swept off by English and Hindi. Starting from Aradhana in 1969, Hindi films and songs were making inroads into the Tamilnadu market and by 1976, it had overtaken Tamil.


Come 1976 May, there was a film directed by Devaraj Mohan, the director duo who had apprenticeship under veteran director P.Madhavan, which got released. Starring Sivakumar and Sujatha, this Black and white movie had few takers in the initial weeks. There was no hype or hoopla surrounding this film and the story happening in a village milieu did not set the pulses racing. A new person had debuted as a music director. But after a week or two, word began to spread that the movie was good and the songs catchy. The folkish tunes started playing in the Radio and local mike sets began to play the songs in every nook and corner of Tamilnadu. The fast number Machhanai Partheengala was slowly but surely capturing the imagination of all the sections and suddenly the movie “Annakili” picked up and House Full boards were staring at people in almost all theatres all over TN. It heralded the arrival of Ilaiyaraja.

Panchu Arunachalam’s brother Kn. Subbu produced this film. Earlier in 1975 he had produced Avandhan Manidhan. Now he produced this movie. As I said earlier, to make use of the subsidy, this film was shot in Thengamaratta, a village nestled in the Karnataka Tamilnadu border. This success was way beyond their imaginations. But, of course, the same combination failed to strike it rich when they came up with Kavikuyil in the following year (July 1977).


Ilaiyaraja had finally tasted success but his path to success was not an easy one. Most of the readers must be aware of Ilaiyaraja’s early life and his struggles and so I am not elaborating on that. He was born in a tiny hamlet called Pannaipuram, near Theni and was the younger brother of Paavalar Varadharajan, who was a party member of the Communist movement. IR and his brothers [R.D.Baskar & Gangai Amaran] moved to Chennai for want of greener pastures. After a lot of struggle he joined as an assistant to G.K.Venkatesh, the music director. He had learnt the basics of music and after coming to Chennai tutored western music under Dhanraj Pillai and wrote the music exam on guitar conducted by the Trinity College, London. This helped him to cement his place in the GKV troupe and he became an integral part of the troupe. It is said that IR contributed to the music of GKV. As it happened in the case of MSV, when his compositions came in the name of SM Subbiah Naidu, the chances of IR’s tunes having coming out under GKV baton cannot be ruled out.

As luck would have it, IR as early as in 1971 got a chance to work as a MD. Dada Mirasi, who had directed movies like Raktha Thilagam, Puthiya Paravai and Moondru Deivangal, launched a movie but this time, unlike the previous three occasions when NT was the hero, this was planned as a double hero subject based on a story by writer B.S.Ramaiah. Gemini Ganesan and Jai Shankar were the heroes with Padmini as the heroine. The movie was even named. The title was Deepam. After the Pooja of the movie, song recording took place. During that time TMS was the uncrowned King of Tamil Film Music and it was no surprise that IR recorded the first song with TMS. The song had its Pallavi starting with Chithham thelivura Sivanai Naadu. Destiny it may be, it probably gave an indication of the route that IR would take in future. Unfortunate it is to say, for reasons best known to the producer-director, the film got shelved and the recorded song never saw the light of the day. IR, probably upset by this still continued to work under GKV.

After 3 years, IR again got a chance to score music for a film and this time it was Prasad Productions who were behind the movie. Again a song recording was done and again it was TMS who did the singing. The song, which had Pallavi of “Jinjaru Jinjaru”, did face some problems during recording. It seems that TMS and IR had some difference of opinion over the tune and composition. Fate again played a part and this also got shelved. So IR was getting a sort of unlucky tag around his neck but he could do little about that since cinema field is steeped in superstitious beliefs. So when Annakili came his way, IR was nervous and he was hoping that at least this should not get struck. But Panchu Arunachalam was determined and he decided to proceed come what may.

When the recording was about to start, the power supply went off. People started whispering. Power supply resumed and again when IR recorded the first song for Annakili the same was played to check whether the recording has been done perfectly and they found to their dismay that the song recording was not there. Due to some technical issue, the song never got recorded. Imagine the plight of IR. But Panchu and Devaraj Mohan asked him to do it again and it came out well. IR worked real hard. Here again TMS was booked for one song. There were two versions of this song Annakili Unnai Theduthe. It was the first song of the movie and S.Janaki sang it. In the second half, the hero forced to marry another girl because of family circumstances would repeat the song but in pathos mode. TMS it seems, during recording was not very comfortable with the tune and it is rumoured that he felt that it is more folkish than required and also it was very slow. IR had a grouse that the song recording could not be done to his satisfaction but he kept quiet. As I said earlier, the movie got released and IR was catapulted to fame. But in spite of tasting huge success on debut, IR found the going tough.


His second film was Palooti Valartha Kili directed by P.Madhavan. Madhavan had known IR right from his early days when he was an assistant to GKV and it was GKV who had composed music for Madhavan’s earlier film Ponnukku Thanga Manasu way back in 1973[This movie was the debut vehicle for actor Vijayakumar]. So with Annakili’s release, IR got a chance to work for Madhavan. PVK had Vijayakumar and Sripriya in the lead. It was released in August 1976. It had two good songs Naan Pesa Vandhen [SPB & SJ] and another SJ and chorus of kola Kolayaam Mundhirikkaa. But unlike Annakili this did not set the radio on fire. [Kumudam’s comment மலை வாழைத்தோப்பு மச்சானுக்கு பக்கத்து ஊர்காராக கூட யாரும் இல்லை]. The director duo of Devaraj-Mohan along with Sivakumar was engaged in a film called Uravaadum Nenjam. This was the third movie of IR that came out in Nov 1976. IR had given an excellent composition Oru Naal Unnodu Oru Naal but like PVK, this film also was a disaster in BO and so the place of IR started to shake. Within 15 days of release of Uravaadum Nenjam, ACT’s Bhadrakaali came out. ACT had attempted a different path when he chose to direct a film based on writer Maharishi’s novel by the same name. Rani Chandra an upcoming artist in Malayalam was roped in as heroine and Sivakumar was the hero. ACT rechristened the name of Rani as Gayathiri (which incidentally was the character’s name) but fate struck. On Oct 23rd of 1976, the flight in which Rani was traveling crashed and she died. The film was almost complete and only climax and some patch work remained. ACT adjusted it with a dupe. This served as a huge booster for the movie and it became a runaway hit. IR, on his part, had done a very good job and Kannan Oru Kaikuzhandai is one of his all time great compositions, IMO. He had also attempted a novel song, a club dance like number but in completely different lyrical style in the sense it was written in Brahminical Tamizh. Written by Vaalee, Susheela did an amazing job of Kettelae Ange. In spite of IR’s sincere work, the success was credited to Rani Chandra’s untimely death. This was the time when Balajee gave a great lift to IR. Balajee for more than 10 years had been using MSV as the music director for all his movies and why suddenly he should change and go for IR? For that we need to go back in time and as well to check the political changes that happened during that period.


During the discussions on earlier songs, we did talk about Balajee. When his acting assignments started drying up, he ventured into production and started his own company Sujatha Cine Arts. His first film was Annavin Aasai but that didn’t do well. He came to NT and ACT was booked as the director of the movie named Thangai. Balajee wanted a sure fire success and so he brought the remake rights of a Telugu Film. Thangai helped Balajee financially. He continued to produce films and his association with NT became so thick that his Sujatha Cine Arts ended up with the honour of producing the most no. of films starring NT. To be precise, it produced 17 films.

As for as possible, Balajee had the habit of repeating the same team for his films. Thus it was NT- ACT – MSV team for his first 4 films. While Thangai, En Thambi and Thirudan were remakes of Telugu movies, Engirundho Vandhaal was a remake of Hindi Khilona. Out of this EV became a super hit. After this Balajee felt that Hindi movies were a better proposition and for his next film he started looking out for a hit film. Balajee was the person/producer who gave a change of face to NT’s image. Till Thangai, NT’s image was something of a great actor who would be good in emotional and serious stories. An impression was gaining ground that action oriented entertainers were not his cup of Tea. While Thangai proved that he could carry any role on his shoulders, the stylish En Thambi and Thirudan made him dearer to youngsters. After Engirundho Vandhaal, Balajee decided again to go for an action film and moreover he was getting many requests from this younger audience. So he went to Bombay, searched and zeroed in on Johnny Mera Naam. It had Dev Anand and Hema Malini in the lead. He bought the rights of the film. Now at this point of time (this was mid 1971) Balajee had a feeling that an upcoming youngster who had made some sleek entertainers would be the best bet for this action mood film. Thus CV. Rajendran became the director of Raja and this film released on 26th January of 1972 went on to became a smash hit. So as his wont, Balajee repeated this combination for the next three films. Needhi (Dec 1972) and En Magan (Aug 1974) both celebrated 100 days. For his next film, he could not find a Hindi film that had a story suitable for NT. During that period a change was taking place in Hindi Cinema and Bollywood till that time known more for romantic musicals was witnessing a new phenomenon. A new type of hero character, which could loosely fit into the genre called “angry young man,” was storming the screens. It started with Zanjeer, followed by Majboor and when Deewar hit the screens, the hero attained cult status. Salim- Javed, the writer duo and creators of this genre, found themselves in much demand almost in the same level enjoyed by Amithab, the hero who changed the face of Hindi cinema.

Balajee saw Deewar and was very much impressed by it. But when he approached the writer duo, he had a shock. They were demanding 5 Lakhs for the remake rights. It was a huge sum for a remake right during those days and Balajee’s negotiating skill could not secure the rights for him. The writer duo refused to part for a lower amount. Balajee was upset. He had come to Bombay with the aim of buying the rights, but now this development upset him [Irony is the same Balajee purchased the rights of the same Deewar after 5 years and remade it as Thee in 1981]. But having come to Bombay, he didn’t want to go back empty handed. Somebody told him about another movie that had been released a year earlier. Balajee saw the movie and bought its rights. That was Namak Haraam, which itself was inspired from Hollywood flick Becket. It was a two-hero subject with Rajesh Khanna and Amithab playing the lead. After coming to Chennai, Balajee and CVR discussed the film with NT. The story revolved around two thick friends belonging to two different economic strata. The rich factory owner plants his friend in the labour union in his factory to make it dance to the tune of the management. But his move backfires and it leads to various twists and turns that result in an emotional climax.

Normally any Hero would want to do the poor friend’s role because it would help them to garner all sympathy while the rich man’s character had negative shades. But for NT, it never mattered and he chose to do the role done by Amithab. There was a discussion about the other hero and who should be chosen for the same. Many names came up but due to one reason or another, nobody could be finalized. Muthuraman, the actor who had done so many second hero roles in NT films, had now become full-fledged hero and he was not available. AVM. Rajan had lost his market value. Jai as usual was busy with so many films. So the mantle fell on Gemini Ganesan. The movie named “Unakkaaga Naan” was completed and was slated for release in 1976 Jan–Feb. It was a much awaited movie. But things that happened outside the film world simply upset all plans.


1975 June saw two important events unfold that created a political tsunami in India. On June 12th, Allahabad High Court came out with a judgement that set aside the 1971 election victory of Indira Gandhi from the Rae Bareli seat in Uttar Pradesh. This made all opposition parties come under one roof and they demanded the resignation of Indira Gandhi. Indira, in order to tide over the crisis proclaimed Emergency on the night of June 25th of 1975 and in a midnight swoop, all opposition leaders were arrested. The only person who was not arrested was our own Perunthalaivar Kamaraj. He was recuperating after an illness but this development that saw all his party leaders behind the bars upset him like anything which made his health deteriorate further and ultimately led to his demise on Oct 2nd of 1975. His passing away created problems for all Congressmen in Tamil Nadu, more so for NT.

Till Perunthalaivar was alive NT was not unduly bothered about being in the opposition in both central and state levels. But his demise put him in a quandary. Majority of his fans wanted him to remain with the Congress (O) that was led by P. Ramachandran better known as PaaRaa and it was widely believed that he would remain so, though he didn’t spell it out in the open. Come December, there was an emissary from Delhi and she stayed put in Madras and took NT along with her to Delhi. Maragatham Chandrasekar completed her assignment successfully and NT met Indira on 1st of Januray, 1976. The meeting was kept under wraps till it took place and when it came out, it was a bolt from the blue for the fans. The fans association split with one group supporting his decision and the other opposing it. By Jan 30th the DMK Government led by MuKa was dismissed and Tamilnadu came under President’s rule for the first time. During those troubled times, Unakkaaga Naan was released on Feb 12th of 1976.

There was a section of fans that still believed that NT would not go to the ruling Congress. They had flocked to the movie as usual on the opening day. But 4 days later (i.e.) on 15th Feb of 1976, the liaison meeting between the Congress (O) and Congress (I) took place at the Marina that was presided over by Indira. The section that still believed that NT would remain with Con (O) was totally upset when they saw NT in the forefront at the merger function. This adversely affected the prospects of Unakkaaga Naan and it fell at the BO. Balajee after 10 years tasted failure for the first time. Not only Balajee but even for NT, the later half of 1975 was a period when his films continuously failed at the BO. Anbe Aruiyre, Dr.Siva, Vaira Nenjam and Paatum Bharathamum that came in the latter half of 1975 failed and when Unakkaaga Naan also fell there were alarm bells ringing all over. Subsequent films in 1976 after UN like Sathyam and Chitra Pournami also did not do well and only Graha Pravesam and Uthhaman made profits.


Balajee now decided that his next step should be safe and secure. NT was also veering round to the view that he needed to concentrate more on his strength (i.e.) strong story. Balajee turned his attention towards Malayalam movies and selected a movie by name Theekkanal. It had Madhu and Jayan in lead roles. NT saw the movie and gave the go ahead. Balajee took a decision to change the technical team. CVR was changed and Balajee spoke to Devaraj- Mohan who were riding the crest of Annakili success wave. NT had known them from the good old days when they had worked as assistants to P.Madhavan. But they politely refused saying that were not interested in remakes. Another upcoming director was Sp.Muthuraman but he was already committed on the same dates for another movie. NT remembered one person who used to double as an actor and director. The person was K.Vijayan and he had directed Kaaval Deivam way back in 1969 in which NT played a cameo. Vijayan also acted in movies and most of the readers would remember his role in Sivandha Man(n), in which he played one of the revolutionaries along with NT. He was put in charge of direction. Balajee also decided to bring in a change in the music department and he went and booked Ilaiyaraja. It was a surprise for many in the cine field. There were reasons for it.

For more than twenty years NT and MGR had dominated the Tamil film world and it was almost like two separate camps. As mentioned earlier in this series, the only common players were MSV, KVM, TMS, PS and LRE. For a new comer, it was very difficult to break into these camps. In that period of 10 years, the only two music directors namely MSV and KVM did music for NT films and the rare exceptions were T.K.Ramamurthi for Thangachurangam, G.Devarajan for Kaaval Deivam, Pughazendhi for Guru Dhakshinai, Govardhan for Anjal Petti 520 and V.Kumar for Niraikudam (irony is all the 5 films were released in 1969). At this juncture (1976), even Shankar-Ganesh having spent almost 8-9 years as MDs could not get a chance to do a single NT film though they did 2 MGR films. They finally managed to get the chance only in Thunai and that came in 1982. So when Ilaiyaraja managed that in his very first year, the cine field began to look at Ilaiyaraja with interest. The Film was named as Deepam.

IR who knew the importance of such a chance simply grabbed it. For the Paavalar brothers, it was a dream come true. Like every cinema aspirant, IR too had the same skepticism whether he would be able to meet NT at least once and when he got an opportunity to work for an NT film, his joy knew no bounds. He tuned 4 songs for the movie and 3 were sung by TMS. Here there was no second thinking. TMS sang Andhapurathil oru Maharani, Pesathe Vayulla Oomai Nee and Raja Yuva Raja. KJY sang the other song Poovizhi Vaasalil, which was for Vijayakumar in the movie. Andhapurathil and Poovizhi Vaasalil became Super Duper hits. Deepam released on Jan 26th of 1977 went on to become super hit and Balajee immediately planned for another movie with the same combination.


Again, he went to Malayalam and bought the rights of “Ithaa Oru Manushyan” which had Madhu in the lead. The movie was named as Thyagam in Tamil. This was village based and it was more of a Kerala type of story in the sense it was nativity based one. But still Balajee and Vijayan took a risk. Again the IR – Kannadasan combo turned out beautiful songs. Even at this point of time when the songs were recorded (i.e.) Sep – Oct 1977, there was absolutely no rift between TMS and IR or if at all it was there, it had not come out in open. If the two solos Vasantha Kaala Kolangal by Janaki and Nallavarkkellaam by TMS were chart busters, then the duet Then Malli Poove by TMS and Janaki simply captivated the audience. Thyagam, which came out on March 4th of 1978, was a super-duper hit and went on to celebrate 175 days and became the highest grosser for 1978. With two hits in a row for NT, IR had climbed steps and even producers of NT films other than Balajee started booking IR for their movies.


As we had seen earlier, right from 1952, NT never had to look back and he was very busy throughout his career. But the continuous failure of films in 1975-76 due to combination of factors (lack of good story, political decisions etc) had slowed down his assignments but when Deepam became a hit, his career was back on track. The end of 1977 (Deepavali) saw the release of movie “Annan Oru Koyil” followed by Andhaman Kaadhali (Jan 26th, 1978) and Thyagam (March 4th, 1978) and when all the three crossed 100 days, NT’s market was booming like good old days. Added to it when (a film that was in the making for long) Ennai Pol Oruvan that got released within 14 days from the date of Thyagam’s release (18th March, 1978) also became a hit, many producers were queuing up and suddenly NT found himself flooded with offers. There were three companies that got the call sheet of NT and they had booked IR for music. One was Rajanna Pictures from Bangalore that produced Kavari Ma(a)N, Amutham Pictures Kanne Kaniamudhe (which later changed to Vetrikku Oruvan) and one Asoka Brothers production Naan Vaazha Vaippen. In the month of March 1978, there was a full-page last page advertisement in Dina Thanthi that had a still photograph of NT and KRVijaya and it was mentioned as May veliyeedu (May release). Fans were really surprised because just 2 months time for making a full fledged movie seemed to be far from true but some were saying that KRV had got all things right and so it would come out. KRV? Yes, she was the producer and Asoka Brothers was her company.


KRV was one heroine who had an extended stay at the top. Having made her debut in 1963 with Karpagam, KRV was literally active as heroine till the middle 80s. She had brushed shoulders with greats like Savithiri and Padmini and was there till Revathy and Nadiya came. Two things helped her. One was her homely appearance (though she cannot be said to be beautiful in the classical sense), which fetched her a huge ladies audience, and this group was determined to see all her movies. The second reason was she was married to a big business man and she used the money and business power to her advantage. Her home in T.Nagar with a swimming pool and she buying an aircraft were hot news those days. Then she changed her attention towards cinema. Having realized that she has a dedicated audience, she created a team in cinema that would cater to her requirements and image building. She got married when nobody expected it but contrary to the general trend, she was one person who had a successful career even after marriage. Even when acting with NT and MGR, she had films on floor that had Jai, Muthuraman and Ravichandran in lead and most of them were written and directed by Madurai Thirumaran. The films that can be classified in this genre are Soothaattam, Vaayadi, Thirudi and Amman Arul, Aayirathil Oruthi. Meanwhile she completed 100 films with Nathayil Muthu in 1973, which incidentally was directed by KS Goplakrishnan who directed her first movie Karpagam. But she had developed one drawback. When she became pregnant, she started putting on weight and at one stage she became very fat. But she continued to act with NT in Bharatha Vilas (1973) and Thanga Pathakkam (1974). Later she realized that she cannot continue to ignore her physical appearance and she carried out some corrective steps and became slim again. Having attained a slim body she began to choose stories. Her husband Velayudhan Nair who was running Sudharsan Chit funds launched Asoka Brothers. KRV also used other names for the production companies and it was widely known that she used to finance films where she acted as heroine. There were films like Mittai Mummy (remember Thirukovil thedi Rathidevi Vandhaal) Mayor Meenakshi etc. She had produced/financed films like Annapoorani, Natakame Ulagam during those periods. She always chose stories that gave importance to her and so when the announcement came for Naan Vaazha Vaippen, there was a surprise because for the first time she had booked a star who was bigger than her. Later it transpired that it was a remake of Hindi Majboor.

Majboor, as mentioned earlier, was one of the films of Amithab that got released in 1975. It was an emotion cum action movie that added to the lustre of Amithab. It had a cameo appearance by Pran and this character was written in such a manner that it navigated the story in the climax. When it was decided to remake the film, initially only NT and KRV were confirmed. D.Yoganand would direct the movie and it would have music by IR. Then came the news that Rajini an upcoming star (1978 April) would be playing the role of Pran. Before this could be confirmed another incident occurred.


NT at that time (April 1978) was acting in multiple films and they were at various stages of production. Punniya Bhoomi – a remake of Mother India was complete and ready for release. Chinna Annamalai’s Vijayavel films was producing General Chakravarthi and it was also complete except for some patchwork. Pilot Premnath, a joint Indo– Srilankan production was almost over except for one final schedule in Sri Lanka. Justice Gopinath was more than half way through. In addition to these, Sivaji Productions’ own venture that would turn out to be the 200th Film of NT (It was not named at that point in time) was also fast progressing. Kavarimaan was also on the floors. Naan Vazha Vaippen was also started and a portion of the film was completed. As if all these were not enough, NT had agreed to do one more film and that was in Malayalam.

Navodaya Films is one of the famous banners of Malayalam cinema. It is owned by Appachan, who also runs a studio by the same name. Tamil audience would recogonise him on two accounts. He was the producer of My Dear Kutti Chatthan, the first 3D Film in India. The second is he owns and runs Kishkintha, the theme park in the outskirts of Chennai. He was also the pioneer in producing 70 MM movie in South India, when he produced Padayottam (Malayalam – 1982) in 70 MM. In 1978, he was producing a big budget movie (by Malayalam industry standards) and it was a historical. Like we do have Karna Parambara Kadhagal, Keralites do enjoy hearsay stories that come under the genre Vadakkan Pattu Kadhaigal. These are stories that talk about the exploits of rulers of Malabar area called North Kerala (Vadakkan Keralam). The much talked about Vadakkan Veera Kadha written by M.T.Vasudevan Nair and which brought the first National award for Mammootty (he has three) also falls under the same genre.

Now coming to the movie, it was named as Thacholi Ambu that had Prem Nazir playing the hero and Jaya Bharathy, the heroine. It also had Nambiar, KR Vijaya, Balan. K. Nair and Thikkurisi Sukumaran Nair. Jayan, the first Super Star of Modern Malayalam cinema, who lost his life in a helicopter accident while enacting a stunt scene for the film Kolilakkam in November 1980, at Cholavaram near Chennai, was an upcoming star at that time and he played a second hero role in this movie. There was a small but powerful role of a King who happens to be the father of the hero. For this they approached NT. We have discussed earlier that NT enjoyed a warm friendship with all other language film industries and he had a very strong relationship with Malayalam industry. Added to it, Appachan was a family friend and when NT’s best friends Nazir and Thikkurisi put pressure, NT accepted to do the role.

NT was a tireless worker and he used to work for hours together. Malayalam industry normally works very fast and people must have heard stories that they can finish off a film in 15-20 days. So for Thacholi Ambu, NT had gone to Kerala in the last week of April 1978 and he was there for a week. His work was almost finished. On May 5th of 1978, they were shooting a sword fight between NT and Nambiar. While doing a shot where he defended with the shield in one hand and flexing the right arm with the sword, he lost balance and fell down and he landed on the floor with his left hand taking the entire weight. He suffered a fracture in his left forehand. Shooting was stopped (it was almost over) and he came back to Chennai. On arrival here, doctors diagnosed that the fracture was more acute than what was earlier thought of. He underwent a surgery wherein fishplates were fitted in his hand to set right the fracture. Doctors also announced that it would take a minimum 45 – 60 days for him to return back to shooting. This unexpected happening threw his entire shooting schedules out of gear and NVV was one of the films that suffered due to this. It was tough on NT also because he had to sit idle and he felt sorry for the producers who were affected. A small digression here is, in Punniya Bhoomi that was released exactly a week later (May 12th of 1978), the father character played by NT would lose his hand in an accident and there would be a dialogue நல்லவங்களுக்குத்தான் கையெல்லாம் ஒடியுது, a normal dialogue (written much earlier) but that was apt for the occasion, provoking claps and sympathy at that point in time.


Now VCS, brother of NT had to do a trouble shooting exercise and he did it in right earnest. He had two films that were complete. Punniya Bhoomi was released on 12th of May 1978 and General Chakravarthi made it to the screens on 16th of June 1978. The films that had to be completed based on priority were Pilot Premnath, Justice Gopinath and Thirisoolam. So call sheets would have to be given in that order. But unfortunately the injury took longer time to heal and the 45 – 60 days got extended. Again there were problems on the call sheet front. By this time NT had to fulfill another duty, that of a politician. Though we are not into politics, we will do a slight peep into what happened. After the Congress lost the 1977 general elections, Indira Gandhi was keeping quiet for some time. When the Janata Government started taking action against her, she started protesting and she began to tour. During the tour of Tamilnadu on Oct 29th and 30th of 1977, the black flag demonstration staged by DMK against her at Madurai and Chennai turned violent and she escaped miraculously. After that she had parted ways with the old guard in her party and her faction which broke loose on Jan 1st of 1978 came to be known as Congress (I). The entire Tamilnadu unit of Congress had stayed behind her. After this came the assembly elections for Karnataka and Andhra in Feb 1978 and Congress (I) captured power in both the states with Devaraj Urs and Chenna Reddy becoming the respective Chief Ministers. It increased her political stake.

In July 1978, MGR had announced elections for Madurai Corporation alone in Tamilnadu and there was a 4-cornered contest (Janata being the fourth contestant). Congressmen brought Indira on some other pretext to Madurai and she canvassed in certain places by showing the hand symbol. Since she had come down, it now became imperative for NT to campaign. He also came to Madurai along with then TNCC (I) President Moopanar and this further delayed the start up of the shooting. . Finally NT started shooting on August 10th of 1978 and he did it for Naan Vaazha Vaippen. But since he had to complete other pressing assignments, this schedule was planned as a very short one.

NT went on to finish Pilot Premnath that got released on Oct 30th of 1978 for Deepavali, and then completed Justice Gopinath that hit the screens on Dec 16th of 1978. Meanwhile Thacholi Ambu had been released in Kerala. Thirisoolam after completion was released on Jan 27th of 1979 and as everybody knows it was NT’s 200th movie. Kavari Ma(a)n was the next release on April 6th of 1979. But Naan Vaazha Vaippen that was started almost at the same time got struck. There were reasons for that. The story of Majboor was one reason that put the brakes on the shooting. Let us take a look at the story.


Ravi works in an international ticketing counter at a travel agency. He has a widowed mother, handicapped sister and a school going brother. He is in love with a lawyer called Neela and her brother Ramesh happens to be the Public Prosecutor. Ravi is the sole breadwinner of the family. The Police get a man missing complaint and since this industrialist Jayaraj was last seen with Ravi (as he had come to collect his air ticket) the police question him. Ravi gets a severe headache on and off but he postpones the visit to the doctor.

The police stumble upon the body of Jayaraj in the underground drainage and again Ravi is questioned. Neela asks him not to get tensed up. Jayaraj’s brother announces a reward of Rs 5 Lakhs to any person who is ready to give a clue for identifying the killer. Ravi’s headache becomes severe and he consults a doctor and Ravi’s head is x-rayed. Doctor has some shocking news for Ravi. He is suffering from a brain tumor and that needs surgery. The bad news does not end there. The doctor is unable to guarantee that he would be normal after the surgery. Ravi is totally upset. He thinks about his mother, sister and brother and he is worried about their future. Ravi, remembering the offer of Rs 5 Lakhs announced by the brother of Jayaraj, hatches a plan.

Ravi calls up the police and informs that he would spell out the killer’s name provided the amount of 5 Lakhs is deposited as per his instructions. He gives the name of the lawyer to whom the money needs to be handed over and he writes to the lawyer that he has written a name of a person who would be the beneficiary of this amount and the same is put in a sealed cover and he puts up a condition that it has to be opened only after the accused is punished. Ravi then goes on to create some evidences that would show as if Ravi is the man behind the killing of Jayaraj. When Jayaraj’s brother deposits the money as instructed, Ravi gives himself up to police. In the court, Ravi simply confesses to the crime thus making Neela’s efforts go waste. Ravi is awarded death sentence. His family is totally shattered. He doesn’t heed the appeal of his mother and Neela to appeal against the verdict.

While he is counting his days in prison, again he experiences severe pain in his head and is hospitalized. He is operated upon and the tumour is removed. The court orders the execution to be delayed till he recoups. Ravi now completely cured of the disease realizes the folly of having falsely implicated himself in the murder and wants to come out. But everything is against him. Even the time for appealing against the verdict has expired. Now he is left with no other go except to jump prison and find out the truth about the murder himself. His journey takes him to a person called Michael D’Souza, a small time thief and he promises to help Ravi. How they along with Neela go about reaching their goal forms the rest of the story.

After completing a portion of the movie, somebody in the unit started doubting about the acceptability of the story by the audience and the fans. There were some people who said that the cameo role of Michael might pose a threat to the heroism of the NT character.

The character was wrongly understood by a section of people and they put pressure on the producer to change the story. But NT was firm in his stand that having inked the agreement, it is not correct to ask the producer to change the story and that too after almost half way through the shooting. Another factor was the role of Pran. Rajini had been booked but that was in 1978 April and in April 1979, much water had flown under the bridge. Rajini had grown in stature and at the same time trouble was brewing for him.

RAJINI – 1975 TO 1979

Sivaji Rao Gaekwad, his early life, he joining the Adayar Film Institute and grabbing the attention of K.Balachander, all these have been well documented already to merit a mention again. Rechristened as Rajinikanth (after the character names of the play cum movie Major Chandrakanth), this man made his debut in Aboorva Raagangal on August 15th of 1975. Of course that role didn’t set the screen on fire. His second film Moondru Mudichhu (also by KB) came out in 1976 October during Deepavali. The friend turned foe caught the attention of the moviegoers. His third film was also with KB and Avargal released on 25th Feb of 1977, showcased a sadistic husband Ramanathan and he was loathed by the Thaikulangal. Devaraj–Mohan and Panchu Arunachalam team basking under the success of Annakili were busy with their next venture Kavikuyil and the only major changes from the previous film were Sridevi for Sujatha and Rajini for Srikanth. This came out on July 29th of 1977, followed by Raghupathy Raghavan Rajaram on Aug 15th of 1977, where he played the murai maman of heroine Sumithira. [The film titled as R. Raghava. R, because of censor problems was changed to R. Raghavan. R].

Seeing the potential of the artist, Sp. Muthuraman who was filming the novel Bhuvana Oru Kelvikuri by Maharishi took a path breaking decision of booking him for a positive role and Rajini came out with flying colours [Sivakumar should be congratulated in equal measures for accepting to portray a negative character]. If BOK released on Sep 2nd of 1977 made a big headway for Rajini, the debut film of Bharathiraaja, 16 Vayadhinile that hit the screen on 15th of September put him on a high pedestal. Parattai had garnered equal fame attained by Sappani. The subsequent releases like Aadu Puli Aatam on Sep 30th, Gayathiri on Oct 7th and Aaru Pushpangal on Nov 10th (Deepavali) made 1977 a special year for Rajini.1978 dawned and when his first release Shankar Salim Simon came out on Feb 10th, he had become a star of reckoning. One month later on March 10th, Aayiram Jenmangal [remake of Sheela directed Malayalam movie Yaksha Gaanam] came out and it saw audience rooting more for second hero than the hero. This was when Rajini was booked for not one but two films of NT. They were Justice Gopinath and Naan Vaazha Vaippen, the film in discussion. Incidentally D. Yoganand directed both the films.


But the accident that happened to NT made Rajini wait for a longer period to start shooting. The adopted son’s character in Justice Gopinath (again to use the same phrase) did not set the screen on fire. But the period that intervened between his booking that happened in March 1978 and subsequent release of Justice Gopinath on Dec 16th of 1978 had seen Rajini grow in stature. In between he acted in Maangudi Minor, Bhairavi, Ilamai Oonjalaadugirathu, Sathurangam, Vanakkathukkuriya Kaadhaliye, Mullum Malarum, Iraivan Kodutha Varam, Thappu Thalangal, Thai Meethu Sathyam and Aval Appadithan. There was one more film Paavathin Sambalam in which Rajini had played a guest role and it also got released one week prior to Justice. Readers can very well imagine what would have been his impact on the audience. But poor screenplay was the reason for Justice Gopinath not getting the required attention of the public.

After this and before the commencement of Naan Vaazha Vaippen shoot, Rajini had done En Kelvikkenna Badhil, Priya and Kuppathu Raja. He had almost finished Ninaithale Inikkum. NVV, Dharma Yudham, 6 to 60 were half way through and Annai Oru Aalayam was about to start. During this period, on March 10 and 11 of 1979, there was a conference held in Madurai to celebrate the 200th film of NT (i.e.) Thirisoolam and the second day was for cine field. The first day was dedicated for political leaders and their speeches. Rajini had attended the meeting on the second day (In fact yours truly had attended the meeting and till date happens to be the only time I have seen him in person) and he spoke and told that he was a great fan of NT.

After the conference was over certain incidents happened that put a question mark over Rajini’s future. Vested interests wanted to use this development and urged the producer and NT to drop Rajini. But NT put his foot down and he as the President of Nadigar Sangam deputed Major the then Secretary of the Sangam to do all the required help for Rajini. He told the director and producer that Rajini’s portions could be shot after some time. Rajini after fulfilling his pressing commitments then joined the shooting and completed NVV. [Rajini was always a great fan of NT right from his younger days. He had the highest respect for NT. That aside, the reason NT stood by his side and helped him to come out of the troubled phase made him determined to pay back his gratitude to NT and his family. We can classify Mannan, Padayappa and Chandramuki as a token of gratitude].

Now with all the problems getting solved, shooting commenced on a full swing. Now coming to the songs part, this being a remake made the job of fixing the song sequences easier. There was one duet, one song for comforting the sister, one birthday song, one song for Michael character and the repeat of the song sung by the brother. IR decided to use all the top three male singers and PS for female voice. While SPB – PS sang Thirutheril Varum Silaiyo, KJY rendered Aagayam Mela song. TMS sung the two solos Endhan Pon Vanname and Ennodu Paatu Paadungal.


Ennodu Paatu Paadungal comes in at the birthday party of Neela. Ravi is asked to sing. But he had just got back from the doctor, who had told him for all his efforts, Ravi might not live longer. While others are oblivious of this happening, Ravi tries to be cheerful outwards but in his heart of hearts, he is crest fallen. TMS had sung the song along with a chorus. The song in discussion happens when the handicapped sister speaking of a prize in lottery and the ways she would spend it only to be brought crashing down to harsh reality by an innocuous remark from her younger brother. Seeing the hurt in her eyes, the elder brother Ravi sings Endhan Pon Vanname.


The tune was simple and catchy. Kannadasan as usual flowed. When the recording took place, TMS understood the mood of the situation and he caressed the words and made them soothing to the ears of not only the sister character but also to the listeners’ ears. Hear the following lines

கோவில் இல்லை என்றால் தெய்வம் இல்லை
இங்கு நீ இல்லையேல் கண்ணே நானும் இல்லை
வானம் இல்லை என்றால் மதியும் இல்லை ; உந்தன்
வார்த்தை இல்லையென்றால் ஒரு கீதம் இல்லை

having said that he compares his sister with the flower and when you hear it you feel the soft touch of the flower on your face

நீ வந்ததால் தானே பூ வந்தது
நீ வாடினால் வண்ண பூ வாடுமே

and then the caressing words

என் ராஜாத்தி கண்ணே கலங்காதிரு

In the second charanam, he compares gold and rays of sun with his sister and how he does it with a soft voice that touches you

பொன்னை கண்டேன் அதில் உன்னை கண்டேன்
காலை பொழுதை கண்டேன் இந்த கதிரை கண்டேன்
என்னை கண்டேன் நெஞ்சில் உறவை கண்டேன்
நீயும் இல்லையென்றால் நானும் எங்கே செல்வேன்

Then he highlights his mother’s role and see the softness in TMS voice

தாய் செய்ததே தவம் நாம் வாழ்வது
தாய் கொண்டதே வரம் நாம் வாழ்வது

In the third and final charanam, he instills confidence in her by saying since they are honest, they don’t need to fear anything. TMS brings gambeeram into his voice and says

கள்ளம் இல்லை நெஞ்சில் கபடம் இல்லை; நீ
கண்ணீர் சிந்த ஒரு நியாயம் இல்லை
காலம் வரும்; அந்த தெய்வம் வரும்
அந்த நாளும் வரும் நல்ல வாழ்வும் வரும்

When the charanam comes to an end, the brother makes a promise. He assures that he will take care of her future.

காலம் தனை நான் மாற வைப்பேன்
கண்ணே உன்னை நான் வாழ வைப்பேன்

TMS always brought out the emotions very clearly and even in a light song like this, he expresses clearly the emotions. The song with a simple tune rendered emotively by TMS with a soft voice lingers in our mind long even after a long time.


During the earlier discussions we have seen that though many singers have done playback singing for NT, it was TMS who had the lion’s share of the songs. Especially after 1960, it was out and out TMS not only for NT but also for MGR, Jai, Ravi, and Sivakumar etc. After the advent of SPB in 1969, things began to change and SPB began to slowly climb up the ladder. Director CVR when compared to other directors, who were doing NT films, always made it a point to give a youthful look to NT films. As a part of that exercise, he was responsible for bringing SPB to sing for NT in Sumathi En Sundari. After Pottu Vaitho Mugamo became such a roaring hit in 1971, CVR used SPB in Raja (1972) for Irandil Ondru song. This prompted VV Sundaram to use SPB for Gowravam (1973) for Yamuna Nadhi Inge song. Again it was CVR who brought SPB again with Ethhanai Azhagu Kotti Kidakkuthu in his Sivakamiyin Selvan in 1974. In the same year CVR this time used Kovai Soundararajan along with TMS in En Magan for Sonpapdi Sonapapdi song. If the following year (1975) beginning saw Manidhanum Deivamaagalam which had Seerkazhi singing for one of the dual roles, the year end saw a sweet voice debuting for NT. Yes, K.J. Yesudas sang Malare Kurinji Malare in Dr.Siva. The last NT movie of 1975, Paattum Bharathamum had a SPB song. CVR again made SPB sing Kaadhal Kadhai Solveno in his Unakkaaga Naan in 1976 beginning. The same year saw, SPB sing Padagu Padagu in Uthhaman. 1977 totally belonged to TMS except for Naalu Pakkam Vedarundu in Annan Oru Koyil but of course it was a background song. 1978 started with Andhaman Kaadhali and we heard KJY sing Andhmaanai Paarungal Azhagu and Ninavaale silai seithhu songs. Thirisoolam in 1979 again brought TMS, SPB and KJY together as they sang for the three different roles. But one thing if we have noticed is, all these films mentioned above had TMS singing the major songs. NT and his director/producer were particular that TMS should be there. First time this was broken in 1979 when Kavarimaan, the film after Thirisoolam came out without TMS. While KJY rendered the classical Brova Baaramma, SPB sang Poo Pole Un Punnagaiyil. Fans were shocked. The reasons were not hard to find.


At the beginning of this discussion, we saw that TMS did not sing as per the wishes of IR during Annakili. But IR had high respects for TMS. He used to say that any musician who grew up listening to the cinema songs of 50s and 60s could not but love TMS. So he used him in not only NT films but also for others. IR made TMS sing Kanakku Paarthu Kaadhal Vandhadhu for Muthuraman in Alukkoru Aasai in 1977. TMS again sang Nandooruthu Nariyooruthu for Rajini in Bhairavi in 1978. So what made IR turn away?

In 1978, TMS had gone to Srilanka and the he gave an interview to the daily newspaper Veera Kesari. Ponnu Oorukku Pudhusu directed by Selvaraj (the story writer of BR camp) and the song Oram po had become a huge hit. The paper had asked for TMS’ comment on the song. TMS would not have imagined that his reply is going to permanently ruin a relationship. Veera Kesari gave a sensational heading to the interview and the words mentioned (as if spoken by TMS) deeply hurt IR. The reactions were swift.


The first to get the axe was the song IR had recorded on April 14th of 1978. Old timers would be aware that even after MGR became the CM of Tamilnadu, he expressed his desire to act in movies. There were different opinions about this and political observers were expressing their doubts about the constitutional validity of such a move but there was no explanation given in the constitution regarding such a scenario. When questioned about this, the then PM Morarji Desai said that Central Government would not stand in the way. This emboldened MGR and he announced the film Unnai vida Maatten. This was to be produced by G.K.Dharmaraj of Yoga Chitra films, who had earlier produced Ilaiya Thalaimurai with NT. IR was booked as the music director. On April 14th of 1978, the pooja of the film was held and a song written by Vaalee, tuned by IR and sung by TMS was recorded. When this controversy broke out, IR made Malaysia Vasudevan sing the same song. Since the film didn’t proceed further, the song also never came out.

Then IR turned his attention to Ennodu Paatu Paadungal song and the same was again recorded with SPB singing this time. When TMS came to know of this development, he went and asked the director about this. He was told that the earlier song had a chorus along with the song. Since NT felt that chorus could be avoided so that it reflected the mood of the situation, they had done the recording again. Since TMS had gone out of the country and since they had to complete the shooting, they did it with SPB. Though TMS was not satisfied, he couldn’t do anything. NT never interfered in these matters. Moreover he had taken a liking for IR’s music. He was answering a regular Q & A session in Bommai magazine in 1978-79 periods and for a question asking about his favourite song of 1977, he had replied that it is Sendoora poove. This reply had put the lyrist Gangai Amaran and IR on cloud nine. Moreover NT was the chief guest for the jubilee celebrations of Kizhakke Pogum Rail held in Kamala theatre in 1978 and from thereon BR and IR had become close with him. NT rarely ever interfered in music and this also played a part in the subsequent happenings.

From thereon IR rarely used TMS. He avoided TMS wherever he could, like in Kavarimaan (being SpM- Panchu combo) and Pattakathhi Bhairavan (producer director VB Rajendra Prasad, the maker of Engal Thanga Raaja and Uthhaman, was a Telugu and he couldn’t object). When the producer was strong like Balajee and SS Karuppaswamy he used TMS like he did in Nallathoru Kudumbam (the classic Sindhu Nadhi Karaiyoram) and Rishi Moolam respectively. We can also add Vetrikku Oruvan in this category. IR had to face this problem only in NT films. For others he managed with SPB and KJY. But when Devar Films who booked IR for the first time for Annai Oru Aalayam (1979 Deepavali) wanted a TMS song as a matter of sentiment, IR gave the song Amma, Nee Sumandha Pillai to TMS.

The last film to come out of NT-IR-TMS combo was Rishi Moolam in Jan 1980. People still remember Neramidhu Neramidhu and 50-lum Aasai Varum from the same. After this there was a long gap of almost 3 ½ years before IR did another NT movie. Gangai Amaran who did music for Balajee’s Neethipathi in 1983 used TMS (remember Paasamalare song?) but in the very next NT film Imaigal for which again GA was the MD, he used Malaysia Vasudevan (Maadapuravo illai Manjal Nilavo?). This prompted IR to plumb for MV in subsequent movies that started with Vellai Roja (1983 Deepavali). The only exception was Thaaikku Oru Thaalaattu, where bowing to pressure from producer KRG, IR used TMS –PS for Pazhya Paadal Pola Puthiya Paadal Illai, which had the same tune as Unnai Ondru Ketpen from Puthiya Paravai. But for reasons best known to the director, the song was not there in the movie except for a brief part.


The picturisation was easier as it was an indoor song. There are a section of the readers who feel that any NT film after Thirisoolam is trash. They should see this song. NT even after completing 27 years in the industry was able to bring out the life of the character. He does it casually. The face and the lip movement convey the emotions. You should also check the scene when he talks to the doctor (Poornam Viswanathan), the way he expresses his shortcomings regarding his family is worth a watch and more.


What does TMS say about this? In the book (Oru Kuyilin Vaazhkai Sangeetham) he talks about this. He says that he told that songs like Oram Po and Machhani Paatheengala may bring fame for the MD temporarily but in the long run, people would identify the MD with only such songs and if he tries to give a classical song, he may be rejected. So there is a danger of being side lined with a dappankutthu muthirai. TMS says that the sentence Oramaaga Poi vida vendiyadhu varum was twisted and reported as some other word. He feels that IR could have contacted him and checked the veracity of the report. Another incident that further distanced the two was a musical night at Coimbatore. Out of 35–40 songs, TMS was given only 5 songs and this was filmed for a movie called Ilaiyarajavin Rasigai (of course it never came out). On coming back to Chennai TMS called IR and asked him not to call him (TMS) for light music concert anymore and hung up.

IR on his part never came out with his side. But once when questioned about not using TMs, he had to say the following

"TMS அவர்கள் மிகவும் பெரிய கலைஞன் என்பதில் சந்தேகமில்லை. எல்லா விதமான உணர்ச்சிகளையும் பாவங்களையும் தன்னுடைய குரலில் கொண்டுவரக்கூடிய ஒரே பின்னணி பாடகர் TMS மட்டும்தான்.
அந்த பெரிய கலைஞன் என்னுடைய இசையில் பாட முடியாமல் போனது அவருடைய துரதிர்ஷ்டம். அவரை என்னுடைய இசையில் பயன்படுத்திக்கொள்ள முடியாமல் போனது என்னுடைய துரதிர்ஷ்டம்."

But all said and done it was the fans, who were unlucky to have missed out this combo.


Coming to the film, the same was released on August 10th of 1979. There were slight skirmishes here and there in theatres and of course a section that always wanted to run down
NT said that it was Rajini who saved the film. Neither NT nor Rajini answered and on the 100th day celebrations. Rajini confessed that whatever he had done in the movie was taught by NT and he simply did what he was told to do. NT - Kannadasan combo this time joined with IR and proved that performers would score irrespective of the period and situation.

Before signing off, my personal experience. I had seen the movie on the opening show that was the matinee of August 10th, 1979 at Madurai – Sridevi. There was also a slight trouble but it was quickly brought under control. We thoroughly enjoyed the movie.


PS: Lyrics and Link given in the following post

Murali Srinivas
08-23-2008, 06:16 PM
Here is the lyric

எந்தன் பொன் வண்ணமே அன்பு
பூ வண்ணமே
நெஞ்சில் போராட்டமா
கண்ணில் நீரோட்டமா
அதை நான் பார்க்கவா
மனம் தான் தாங்குமா


கோவில் இல்லை என்றால் தெய்வம் இல்லை
இங்கு நீ இல்லையேல் கண்ணே நானும் இல்லை
வானம் இல்லை என்றால் மதியும் இல்லை உந்தன்
வார்த்தை இல்லையென்றால் ஒரு கீதம் இல்லை
நீ வந்ததால் தானே பூ வந்தது
நீ வாடினால் வண்ண பூ வாடுமே
என் ராஜாத்தி கண்ணே கலங்காதிரு.


பொன்னை கண்டேன் அதில் உன்னை கண்டேன்
காலை பொழுதை கண்டேன் இந்த கதிரை கண்டேன்
என்னை கண்டேன் நெஞ்சில் உறவை கண்டேன்
நீயும் இல்லையென்றால் நானும் எங்கே செல்வேன்
தாய் செய்ததே தவம் நாம் வந்தது
தாய் கொண்டதே வரம் நாம் வாழ்வது
என் ராஜாத்தி கண்ணே கலங்காதிரு


கள்ளம் இல்லை நெஞ்சில் கபடம் இல்லை; நீ
கண்ணீர் சிந்த ஒரு நியாயம் இல்லை
காலம் வரும்; அந்த தெய்வம் வரும்
அந்த நாளும் வரும் நல்ல வாழ்வும் வரும்
காலம் தனை நான் மாற வைப்பேன்
கண்ணே உன்னை நான் வாழ வைப்பேன்
என் ராஜாத்தி கண்ணே கலங்காதிரு


Here is the link to the song



Murali Srinivas
08-23-2008, 06:21 PM
:redjump: :bluejump: I LOVE THIS SONG :swinghead:

பொன்னை கண்டேன் அதில் உன்னை கண்டேன்
காலை பொழுதை கண்டேன் இந்த கதிரை கண்டேன்
என்னை கண்டேன் நெஞ்சில் உறவை கண்டேன்
நீயும் இல்லையென்றால் நானும் எங்கே செல்வேன்

murali ayya :clap: :thumbsup:

Thnaks crazy. Due to the length of the post exceeding the limit, had to repost it again and so your comments could be included only in this manner, as the previous thread which had become in complete has to be removed.


08-24-2008, 06:21 AM
as usual great Murali...though this is not one of my favourites......still as usual your study and presentation is faultless.

08-25-2008, 06:31 AM
Fantastic Write up as usual, Murali. A couple of comments I want to refrain from making, considering the sensitivities of people, however, cannot resist making:
1. How would it have been with a reversal of roles between Rajni and Sivaji in this movie?
2. KRV was more of silai varum ther, rather than ther varum silai when you see the picturisation:-)

08-25-2008, 09:56 AM

The tune was simple and catchy. Kannadasan as usual flowed. When the recording took place, TMS understood the mood of the situation and he caressed the words and made them soothing to the ears of not only the sister character but also to the listeners’ ears. Hear the following lines

கோவில் இல்லை என்றால் தெய்வம் இல்லை
இங்கு நீ இல்லையேல் கண்ணே நானும் இல்லை
வானம் இல்லை என்றால் மதியும் இல்லை ; உந்தன்
வார்த்தை இல்லையென்றால் ஒரு கீதம் இல்லை

having said that he compares his sister with the flower and when you hear it you feel the soft touch of the flower on your face

நீ வந்ததால் தானே பூ வந்தது
நீ வாடினால் வண்ண பூ வாடுமே

and then the caressing words

என் ராஜாத்தி கண்ணே கலங்காதிரு

In the second charanam, he compares gold and rays of sun with his sister and how he does it with a soft voice that touches you

பொன்னை கண்டேன் அதில் உன்னை கண்டேன்
காலை பொழுதை கண்டேன் இந்த கதிரை கண்டேன்
என்னை கண்டேன் நெஞ்சில் உறவை கண்டேன்
நீயும் இல்லையென்றால் நானும் எங்கே செல்வேன்

Then he highlights his mother’s role and see the softness in TMS voice

தாய் செய்ததே தவம் நாம் வாழ்வது
தாய் கொண்டதே வரம் நாம் வாழ்வது

In the third and final charanam, he instills confidence in her by saying since they are honest, they don’t need to fear anything. TMS brings gambeeram into his voice and says

கள்ளம் இல்லை நெஞ்சில் கபடம் இல்லை; நீ
கண்ணீர் சிந்த ஒரு நியாயம் இல்லை
காலம் வரும்; அந்த தெய்வம் வரும்
அந்த நாளும் வரும் நல்ல வாழ்வும் வரும்

When the charanam comes to an end, the brother makes a promise. He assures that he will take care of her future.

காலம் தனை நான் மாற வைப்பேன்
கண்ணே உன்னை நான் வாழ வைப்பேன்

TMS always brought out the emotions very clearly and even in a light song like this, he expresses clearly the emotions. The song with a simple tune rendered emotively by TMS with a soft voice lingers in our mind long even after a long time.

"TMS அவர்கள் மிகவும் பெரிய கலைஞன் என்பதில் சந்தேகமில்லை. எல்லா விதமான உணர்ச்சிகளையும் பாவங்களையும் தன்னுடைய குரலில் கொண்டுவரக்கூடிய ஒரே பின்னணி பாடகர் TMS மட்டும்தான்.
அந்த பெரிய கலைஞன் என்னுடைய இசையில் பாட முடியாமல் போனது அவருடைய துரதிர்ஷ்டம். அவரை என்னுடைய இசையில் பயன்படுத்திக்கொள்ள முடியாமல் போனது என்னுடைய துரதிர்ஷ்டம்."

There are very few songs I give credit to TMS than shivaji or the actor himself.

This is one such song.

apdiyE kuralil, kuzhainju neliji...kannil neerai varavazhaichiruppaar!

nee....vanthathaal thaanE poo vanthathu :thumbsup:

intha tune kkum, tms kuralin unarchikkum mayangaatha pergaL irukka muidyuma :thumbsup:

thanks murali, ONE OF MY MOST FAV SONGS![/tscii:413cc8f8e9]

08-25-2008, 10:25 AM
Murali sir, very good song selection & excellent writ-up as always.

I was just combing thru the lengthy post, taking my own time in between office work and finished it just now.

No doubt, it's a great song and I often used to watch it in my NT VCD songs collection. Clad in a silk lungi & jubba, NT would look very majestic. A very soothing melody by the Maestro with great lyrics. And, TMS would have brilliantly brought out the emotions of the song thru his voice.

I remember seeing this film during my school days and have never re-visited.

Needless to say about the interesting informations that you have deftly added in your write-up. Great work Sir.

The boy who plays NT's younger is Babloo @ Prithviraj, isnt it ??

08-25-2008, 12:43 PM
[tscii:35f5f03dba]Dear Muarli sir,

Wonderful cover-up about ‘Endhan pon vaNNamE’ from Naan Vaazha VaipEn’.

Your detailed writing has took me to the past, and I am still there, even after finished reading of your article / analysis / history.

Because, for the previous songs you have covered earlier, all the incidents which you have described by you, are heard (from various sources) and read (from various books and magazines) by us.

But for these incidents what you have described in this song analysis, I am one of the living witnesses for all those happenings. Yes from Thangai film to 100th Day function of Naan Vaazha VaippEn, I am the witness, and was watching all those happenings in those period, especially initial period of NT – IR relationship. Wow, what a golden memory they are. I already told, here and there in our NT's thread about the happenings at Chennai during Thiyaagam, Kavariman, Andhaman Kaadhali releases.

I have attended the 100th day function of ‘Naan Vaazha VaippEn’ which was held on 102nd day at Chennai Chitra Theatre, during the interval of its evening show. It was not arranged in any star hotel, but celebrated in the theatre itself. (I strongly hope, Mr. Raghavendhar might be there. He already told he was in 100th days function of Viswaroopam at Shanthi).

NT, K.R.Vijaya, Rajinikanth, D.Yoganand, Jaiganesh, Thengai Srinivasan, and other artists and technical crews were participated and awarded 100th day shields. When the show was started, all of us waiting for the interval (we already saw the movie in several number of times, but this time mainly for the function). After interval, the function started and nearly one and half hour the speeches and award function took place. They were the happiest moments in life, watching our idols in real.

Let me live for some more moments there. Even though there were many films for Deepavali 1978, the main competition was between Pilot Premnath (Alankar) and Sigappu RojaakkaL (Devi Paradise). Other movies are Thaai Meedhu Sathiyam (Wellington) , Vandikaran Magan (Gaiety), Thanga Rangan (Plaza), Kannamoochi (Midland) Thappu ThaalangaL (Pilot) and ThachOli Ambu (Shanthi)… wow what a golden period it was.

Thanks a lot Murali sir.
Your service always Priceless.

Murali Srinivas
08-25-2008, 05:41 PM
Thanks Mohanram Sir,


Thanks. About your questions, I would say that the reversal of roles would have given NT the edge. The reason being the role of Rajini was author backed. Especially the climax was one scene that was loaded more in favour of the Michael character (that itself was inspired from a Hollywood flick starring Charles Bronson - though don't remember much).

Second one - No comments except to say that she was better than what she looked few years before.


Glad that I was able to post one of your favourites.


Thanks and yes, the boy is Prithiviraj @babloo.


Thank you and for once you are spot on. Yes, we were all witnesses (our generation) to what was happening at that point of time. That enabled me to write about this song without meeting any personality connected with this movie. I too lived all those moments while I was writing.


08-25-2008, 07:01 PM
Excellent write-up Murali Srinivas!

Unquestionably the #1 song for IR-TMS combo as well as IR-Sivaji combo! IMO, this can easily make it to the best ever songs of IR, thanks to TMS!

'மனம் தான் தாங்குமா'வில் அவர் அந்தத் 'தாங்குமா' சொல்லும் ஒரு அழகே போதும் இந்தப்பாடலை ரிபீட் மோடில் இட்டுப்பல முறை கேட்பதற்கு! Often this song alone will play for the whole 25-30 minutes of my work commute!!

It's a very interesting song to see IR trying hard to get my attention in the prelude / interludes while TMS easily captivates through out! The song conveys emotions in an apt manner without too much of melodrama (which is typical IR style and a lot different from his predecessors, again IMO) and the strings in the prelude itself raises goose pimples! Raja scores again during one of the interludes which ends with the lovely veeNai oli leading to the singer, but in the final tally it's TMS who leaves an indelible mark. Kavingar's lyric is soft and apt, though not extraordinary here.

Looking back, it was definitely more of a loss to IR & his admirers as TMS has already had so many evergreen numbers in his kitty. The count of IR's evergreen numbers would have gone up like anything had he continued to use TMS. (IMO, other than SPB & KJY no other male singer did total justice to his compositions, though for some specific genre songs he himself & MV clicked somewhat... again in very limited numbers).

Being such a musical phenomenon whose prolificity and orchestral genius are unmatched, colloboration with a singer such as TMS would have made a lot more difference!
என்ன செய்ய, தமிழ் உலகின் கொடுப்பினை அவ்வளவு தான்:-(

I haven't seen this movie, though my cousin used to praise skyhigh Rajini's preformance. Can't wait to see the youtube of this song once I reach home...

08-26-2008, 12:39 AM
Thanks, Murali, for the heap loads of valuable details provided. For me, Yenthan Pon Vanname, remains as one of the best songs TMS has provided in the late 70s. While all the previous NT songs discussed were examples of excellent contributions by all parties concerned, TMS steals the show with his mellifluous and emotive rendition of this evergreen great.

08-26-2008, 05:03 AM
"..Thanks. About your questions, I would say that the reversal of roles would have given NT the edge. T"
exactly my thoughts. The hero role was so-so. Rajni's character was tailor-made for Sivaji Ganesan. Maybe, if the movie had been made a couple of years later, this would have actually happened.

08-26-2008, 06:06 AM
Hello MS wonderful writeup for wonderful emotional song.
Some queries from me
a. Did KRV act in Amman arul. Was it not Manjula?
b. ennodu paatu padungal is by SPB illiyo?
c. endhan pon vannme Susila version ungalidam irukka? PS sang for Master Bablu who tries to console Raaji.

08-26-2008, 07:12 AM
[tscii:a1a7ee8c24]டியர் முரளி,

'எந்தன் பொன் வண்ணமே' என்ற ஒரு பாடலைப்பற்றி அலசுவதற்காக திரையுலக வரலாற்றையே திருப்பிப்போட்டிருக்கிறீர்கள். அடேயப்பா, எவ்வளவு விவரங்கள். எவ்வளவு தகவலகள்.

** நடிகர்திலகத்தின் படங்களுக்கு இளையராஜா இசையமைக்க நேர்ந்ததற்கான காரணங்கள். அது தொடர்பான நிகழ்வுகள்.

** பாலாஜியின் திரைப்பட தயாரிப்புப்பணிகள், அதில் அவருக்கு ஏற்பட்ட ஏற்ற இறக்கங்கள். அவர் படம் மூலமாகவே இளையராஜா, நடிகர்திலகத்துக்கு இசையமைக்க துவங்கிய சம்பவங்கள்.

** இளையராஜாவின் ஆரம்ப கால வரலாறு, அவரது திரைப்பட பிரவேசம், அதில் அவர் கண்ட வீழ்ச்சிகளும் எழுச்சிகளும். அவருக்கும் டி.எம்.எஸ்ஸுக்கும் இடையே ஏற்பட்ட பிணக்குகள், அவ்ற்றையும் தாண்டி அற்புதப் பாடல்கள் (நடிகர்திலகத்துக்காக) உருவான சரித்திரங்கள்.

** ரஜினியின் திரையுலகப்பிரவேசம், அந்நேரத்தில் அவர் நடித்த படங்களைப்பற்றிய பட்டியல் மற்றும் அவற்றின் சுருக்கமான ஆய்வுகள். இப்படத்தில் அவர் பங்கேற்க நேர்ந்த சூழ்நிலைகள்.

** நடிகர்திலகத்துக்கு மலையாளப்படப்பிடிப்பில் நிகழ்ந்த விபத்து, அதற்கான ஓய்வு, அதனால் அவரது படங்களுக்கு ஏற்பட்ட கால தாமதங்களும் சிரமங்களும். ('தச்சோளி அம்பு' படம் பார்த்திருக்கிறேன். ‘இந்தப்படத்துக்காகவா அவர் கையை ஒடித்துக்கொண்டார்’ என்று எண்ணியதுண்டு). அந்நேரத்தில் தயாரிப்பில் இருந்த அவரது படங்களின் நிலைகள் பற்றிய விளக்கம். கூடவே அப்போது நிலவிய அரசியல் சூழ்நிலைகள் குறித்த ஆய்வு.

அப்பப்பா.... இவ்வளவு விவரங்களும் இத்தனை சிறிய மூளையிலிருந்தா வந்தன..?. உங்கள் அபார நினைவாற்றல் பற்றி என்ன சொல்வது. 'என்னோடு பாடுங்கள்' பாடல் எஸ்.பி.பி பாடியதல்லவா? இவர் டி.எம்.எஸ் பாடியதாக சொல்கிறாரே. சரிதான் வாத்தியார் மாட்டிக்கிட்டார் என்று நினைத்துக்கொண்டே படித்தால், பின்னர் அப்பாடலை எஸ்.பி.பி. பாடியதைப் பற்றி விளக்கியிருக்கிறீர்கள். என் சிறுமதியை நானே நொந்துகொண்டேன். அதானே... முரளியா கொக்கா?. ஒரு சின்ன தவறுக்குக் கூட இடம் கொடுக்க மாட்டீங்களே...!!.

பாடல் துவங்குவதற்கு முன் நடிகர்திலகம் தன் தங்கையிடம் பேசும் அந்த வசனத்தில்தான் என்ன கனிவு எவ்வளவு குழைவு..!. 'உனக்குதான் நடக்கவே முடியாதே. எப்படி பனிமலையில் ஓடுவாய்?' என்று வாய்தவறிக் கேட்டுவிட்ட குட்டித்தம்பியின் வார்த்தையில் திடீரென சோகம் கப்பிய முகத்துடன் பார்க்கும் தங்கையிடம், "அம்மா... உனக்குத்தான் எவ்வளவு பெரிய மனசு. கோடிக்கணக்கில் பணம் வந்ததும் அம்மாவுக்கு அது செய்வேன், அண்ணனுக்கு இது செய்வேன், தம்பிக்கு அது வாங்கிக்கொடுப்பேன்னு சொன்னியே தவிர, உன் காலை சரி பண்ணிக்குவேன்னு சொல்லலியேமா..." (எந்த வசனத்தை எப்படி பேசணும்னு மற்றவர்களுக்கு பாடம் நடத்திய ஆசிரியன் நீதான் தலைவா).

நடிகர்திலகத்தின் கதாபாத்திரம் இப்படத்தில் ரொம்ப பரிதாபத்தை உண்டாக்கும். தீராத BRAIN TUMER நோயால் சாகப்போகும் தன் மரணம், தன் குடும்பத்தை தூக்கி நிறுத்த உதவட்டும் என்று முடிவெடுத்து, கொலைக்குற்றத்தை தன் தலைமேல் போட்டுக்கொள்ளும் பரிதாபம் என்ன?. தன் நோய் குண்மாகிவிட்டது தெரிந்ததும், தானே உருவாக்கிய சாட்சியங்களில் இருந்து தப்பித்து விடுதலை பெற போராடும் சோகம் என்ன?. ஒவ்வொரு இடத்திலும் மிகையில்லாத இயல்பான நடிப்பு. திருட்டு நகை வியாபாரியான எம்.ஆர்.ஆர்.வாசுவை மிரட்ட அவர் குளிர்க்கண்ணாடி அணிந்து வரும் ஸ்டைலே ஒரு அழகு.

பல படங்களில் அஃறிணைப்பொருட்களும் கூட கதையின் பாத்திரங்களாக மாறுவதுண்டு (அழகன் படத்தில் டெலிபோன், பூவே பூச்சூட வா படத்தில் காலிங் பெல்) அதுபோல இப்படத்தில் முக்கிய தடயமாக வரும் அந்த முக்கோண கல் பதித்த மோதிரம், அழகோ அழகு (உடனே, 'பெண்கள்னாலே நகையில்தான் கண் போகும்' என்று நினைக்காதீர்கள்)

படத்தைப்பற்றியும், உங்கள் ஆய்வு பற்றியும் இன்னும் நிறைய எழுதலாம்.
அதனால் மீண்டும் வருவேன்....

08-26-2008, 08:09 AM

08-26-2008, 08:34 AM

Its a great honour that you dedicated this effort to me. Avalavu Herculean work, research, effort ellam edututhu, easy-ah enakku dedicate panniteengga.

What am I to say? Each time you post details surrounding a song, you give an entire world to it. We are transported through time, made understood of the sociopolitical and industrial scenario, before being spoon fed on the backgrounds leading to the participation of the leading talents in front of and in the back of these films.

What am I to say? The only way to reward your efforts would be to make it into a book and get a wider appreciation to congratulate you for sharing your love for these songs, and most importantly, for NT. To thank you would be too simple. All I can offer is my lifelong gratitude. And I salute you!

Coming back to the song.

NT/TMS/IR/ combo has its own uniqueness as would NT/TMS/MSV combo. As you mentioned, whatever rift they had, it was our loss. I am mesmerised by songs like Nallavarkellam, Peesaathey, Sindhu Nathi Karaiyooram, and many others.

Of course, the Endhan Ponvanamey is special, because its damned powerful. The pleading, soothing, slightly pathos inflected singing, justified the onscreen performance of the lead, NT. Both IR and TMS have had rift before, but it never showed in their occasional collaborations like this.

As for Rajini, his role was crucial to speed up the ending of the film, as a much needed ally. Did he steal the show? Of course. But put any others there, they will do the same. It's an actor-proof role, and you have to be a terrrible actor not to steal the show at that point of the movie.

My appreciation, sir, and again, my gratitude.

08-26-2008, 04:03 PM
முரளி சார்,
என்னவென்று சொல்லுவது ? இத்தனை தகவல்களா என வியந்து போகிறேன் :D

இளையராஜாவின் ஆரம்ப காலத்தில் அவரின் வளர்ச்சிக்கு நடிகர் திலகத்தின் படங்களின் பங்கு இந்த அளவுக்கு இருந்தது என்பது எனக்கு தெரியாது.

யாரிடமும் எதற்கும் எளிதில் வளைந்து கொடுக்காத ,ஒதுங்கியே இருக்கும் இளையராஜா நம் நடிகர் திலகத்தின் இறுதி ஊர்வலத்தில் அவரின் புகழுடம்புக்கு அருகிலேயே வண்டியில் நின்று கொண்டு வந்தது அம்மேதை மேலுள்ள பற்றினால் மட்டுமல்ல ,நன்றியினாலும் என்பதை உணர முடிகிறது.

Murali Srinivas
08-26-2008, 06:23 PM

Thanks. I understand your viewpoint and it was not only you but whoever grow up with those songs in that period felt about this in the same manner. The beauty of it was all songs of TMS - IR were good abd we were expecting more. But it was not destined to be.

Thanks nimalan. Yes, TMS stole the thunder from the other performers.


Thank you.

a.Regarding Amman Arul, you may be right. Probably I had some Amman film in which KRV had acted. I am not recollecing it now.

b. Ennodu Paadungal is by SPB (Ennodu Pattu Padungal from Udaya Geetham was also by SPB) but it was earlier recorded with TMS. Haven't you fully gone through the post?

c. I don't have that PS version. May be you can get it in our Memories of Yesteryears thread.


Thanks. ஏன் உங்கள் போஸ்ட்-ஐ எடிட் செய்தீர்கள்? இந்த போஸ்டின் தமிழ் வடிவம் கிடைக்குமா என்று கேட்டிருந்தீர்கள். அந்த முயற்சி செயல் வடிவம் பெறும் காலம் விரைவில் வரும். அது வரை பொறுங்கள்.


நன்றி. எப்போதும் போல் போஸ்ட்-ஐ பற்றிய விரிவான அலசலுடன் பாடல் சம்பந்தப்பட்ட ஒரு சில சுவையான நிகழ்வுகளையும் எழுதியதற்கு நன்றி. பாடலுக்கு முன் வரும் வசனத்தை பற்றியும் முக்கோண கல் மோதிரத்தையும் பற்றியும் குறிப்பிட்டதைத் தான் சொல்கிறேன். மீண்டும் வருவேன் என்ற உங்கள் செய்தி எதிர்பார்க்க வைக்கிறது.


Thanks. There is no herculean effort from my side here. I had gone on a trip down the memory lane and recollected all the incidents connected with the movie and song. I have just put it chronologically and coherently. That it has turned out to be very interesting for the readers makes me happy. I chose this dedication because of the fact other than NT, you have a soft corner for Rajini. I am glad that it turned out to be one of your favourite.


நன்றி. இளையராஜாவிற்கு மட்டுமல்ல பலருக்கும் நடிகர் திலகம் தொழில் ரீதியாக செய்திருக்கும் உதவிகள் அதிகம். பல செய்திகள் பதிவு செய்யப்படாமல் போனதால்தான் இவை பெரும்பாலோரை சென்றடையவில்லை.


08-27-2008, 02:32 AM
Murali sir,
Excellent write-up. This is the first time I am reading this series, thanks to your hint in another thread. I have seen this movie in DD/Raj Plus years back. Missed the first half but liked the movie. I don't think I can add anything, I am simply overwhelmed by the amount of information. Sivaji was excellent especially after he escapes from the jail. Each and every part of his body has acted in this movie, can not forget how his eyes emoted in the final scenes. Also this is definitely one of my favorite Rajini performances, especially his struggle after getting shot in the climax was very well done. I have never seen this song before, thanks to youtube and the uploader. One of my favorite IR songs :)

Now I must read your write-ups on other songs too :oops:

s ramaswamy
08-27-2008, 02:43 AM
Hi Mr Murali,

Tks once again for a very detailed write-up about a song which, at least for a tfm fan like me, is low down in hearing priority as I'm not a great fan of IR or ARR (unlike million others). I am certain TMS has sung legions of pathos-filled songs for NT, prior to IR era, which must be placed far higher than this no.

As far as NT-IR connection is concerned I like the Deepam song "Nallavarkellam" more. The movie, as everyone is aware, is a remake of the Uttam Kumar Bengali-Hindi starrer "Amanush" which had good songs.

I had stopped following keenly Tamil film songs, or for that matter Hindi too, basically from the mid-1970s though am aware of some hit songs like the one written about by you. For me IR's best albums were and still are:

1. Payangal Mudivadillai (I was enchanted by the songs when I saw the movie during a visit to south India soon after its release).

2. Agni Nakshathiram (Once again all the songs appealed to me as soon as I heard them while watching the movie).

There are many other fine songs tuned by IR too, but as far as entire albums are concerned these two have appealed to me the most.



Prabhu Ram
08-27-2008, 10:55 AM
Dear Mr.MuraLi,

What can I say !.....Groucho put it better than I can hope to.

What am I to say? Each time you post details surrounding a song, you give an entire world to it. We are transported through time, made understood of the sociopolitical and industrial scenario, before being spoon fed on the backgrounds leading to the participation of the leading talents in front of and in the back of these films. :exactly:

I am ust amazed by the quantum of information in each edition.
It's just great to have you here.

I will rest content with wishing you "all the best" to carry on.


PS: I am yet to listen to the song :P

Murali Srinivas
08-27-2008, 05:09 PM
Thanks Nerd. Yes, as you had rightly put it this movie is quite an enjoyable one. The actor in Rajini came out. After some unpleasent happenings, Rajini scored hatrick victories. Dharma Yudham which came before this (29th June,1979) and 6 to 60 (Sep 1979) which came after this, all met with success. Then Annai Oru Aalayam also succeded. NVV's posters and advertisement before it's release had captions நடிகர் திலகம் சிவாஜி கணேசன், புன்னகை அரசி கே.ஆர்.விஜயா நடிக்கும். After 25 days or so, there appeared one more name சூப்பர் ஸ்டார் ரஜினி. Kalaipuli Dhanu claims that he was the first to use the title SS for Bhairavi. I am not sure since I haven't seen it (Moreover he was just the distributor for Chennai and not the producer of the film). But this, I can confidently say that this was the first time it was used in advertisements.


Thanks and I respect your views. We have embarked upon a journey that covers decades and so I thought let us cover a song which happened in the later part of NT's career.


Thanks. Since you have quoted groucho, I have the same answer. It is my pleasure to share whatever I know. It makes me doubly happy when you people say, you enjoyed it. The only difficult part is trying to live up to those expectations, everytime.


08-28-2008, 03:05 AM
Murali Sir: A melodious song rendered soulfully and quite refreshing to see an IR-TMS combination in your pick. As usual, you have givena comprehensive account of the events and players surrounding the song and the movie. I was particularly intrigued to read your account of the struggles IR had to face even after the resounding success of Annakili. On a related matter, I recently happened to read a reproduction of the review of Annakili in Ananda Vikatan that appeared after the movie release. Nota word about the music!

Murali Srinivas
08-28-2008, 05:33 PM
Dear rra,

Thank you. It took some time for IR to get the recognition. Of course it happened for everybody till the 90s.


08-29-2008, 07:44 AM
NVV's posters and advertisement before it's release had captions நடிகர் திலகம் சிவாஜி கணேசன், புன்னகை அரசி கே.ஆர்.விஜயா நடிக்கும். After 25 days or so, there appeared one more name சூப்பர் ஸ்டார் ரஜினி. Kalaipuli Dhanu claims that he was the first to use the title SS for Bhairavi. I am not sure since I haven't seen it (Moreover he was just the distributor for Chennai and not the producer of the film). But this, I can confidently say that this was the first time it was used in advertisements.

That's real news Murali sir ! I salute your memory power.

And, as RRA quoted, I too read that Annakili review in AV and was shocked to note that not a word about the songs & IR was mentoned in it.

Sir, another doubt. In NVV, " Thirutheril varum silayo was by SPB and "Endhan Pon Vanname" by TMS. Is there any other films where more than one playback singer rendered their voice for NT in a single film, particularly in the 60's ?

08-29-2008, 08:55 AM
As far as NT-IR connection is concerned I like the Deepam song "Nallavarkellam" more.

'Nallavarkellam' is from Thiyagam ,another IR music.

Murali Srinivas
08-29-2008, 04:10 PM
Dear Mohan,

In the 60s, there were hardly any "dual singing" in NT films. There were films which had other singers doing play back singing for NT but it was an exclusive affair, in the sense there was only one singer. Paavai Vilakku (1960) had only CSJ, Vidi Velli (1960) had AMR, Punar Jenmam (1961) had AMR (here PBS had sung one song), Kappalotiya Thamizhan (1961) had Seerkazhi singing for NT and TMS was not there in the above mentioned movies. Naan Vanagum Deivam (1963) had one song from PBS (but here TMS was there). After this only Selvam (1966) had one song by Tharapuram Sundarrajan (Unakkaagavaa Naan --) but that was a background song. Other than these, there was no deviation from TMS. It bagan to happen from Sumathi En Sundari and I have covered that in the main post itself.


08-29-2008, 05:00 PM
superb writeup Muraliji.. :clap:

"எந்தன் பொன் வண்ணமே" பாடலைக் கேட்கும் பொழுதெல்லாம் ஏனோ "என் தம்பி" படத்தில் வரும் "முத்து நகையே உன்னை நானறிவேன்" பாடல் நினைவுக்கு வரும்..

காரணம் என்னவென்று எனக்கே தெரியவில்லை :P

நீங்கள் குறிப்பிட்டுள்ளபடி 60-களில் வந்த படங்களில் NT-க்கு ஒரே படத்தில் பல பின்னணிப் பாடகர்கள் பாடியதில்லை. ஆனால்
அதற்கு முன் வந்த ப்டங்களில் அப்படி இல்லை என்று நினைக்கிறேன்.

சபாஷ் மீனா படத்தில் டி.ஏ.மோதி (காணா இன்பம்) மற்றும் டி.எம்.எஸ் (சித்திரம் பேசுதடி, ஆசைக்கிளியே கோபமா) அவர்களும் பாடியிருக்கிறார்கள்.

வணங்காமுடி படத்தில் டி.எம்.எஸ்(மோகனப் புன்னகை), ஏ.எம்.ராஜா (வாழ்வினிலே) மற்றும் சீர்காழி கோவிந்தராஜன் (மலையே உன் நிலையை)
ஆகியோர் பாடியிருக்கின்றனர்.

இது தவறென்றால் தெரிவிக்கவும் please :P

09-01-2008, 07:23 AM
ramaswamy, joe: Probably, the song that brings NT's talents to the fore is "Pesade, vayulla oomai nee" in Deepam.

Murali Srinivas
09-01-2008, 10:30 AM

நன்றி. உங்களுக்கு முத்து நகையே பாடல் நினைவுக்கு வருவதற்கு காரணம், அதிலும் தங்கையாக வரும் ரோஜா ரமணி போலியோவால் பாதிக்கப்பட்டு இருப்பார் ("காலழகு பார்த்தால் " என்று நிறுத்திவிட்டு NT கண் கலங்குவாரே). இதிலும் தங்கையாக வரும் ராஜி நடக்க முடியாதவராக இருப்பார்.

60- களுக்கு முன்னால் வந்த NT பாடல்களில் நீங்கள் சொல்வது 100% உண்மை. பாடல்கள் விஷயத்தில் ஜாம்பவானான உங்களிடம் நான் தவறு கண்டு பிடிப்பதா?


mahendra raj
09-01-2008, 02:58 PM
Hi everybody, I wish to slightly contradict the popular belief that it was Ilayaraja who introduced fast-paced folk numbers through 'Annakili' (1976).

Can anyone forget the ever green fast-tracked song 'Ennadi Raakama' (Pattikaada Pattanama 1972) and the combination of folk and western 'Kettukodi Urumimeylam' from the same film? It was MS Viswanathan who set this trend but surprisingly he did not take upon himself for spin-offs in subsequent films. But this very song was often repeated and remembered in many films for more than a decade after it was released. Such was its popularity. According to norms, a song is rendered classic if it survives for 10 years.

KV Mahadevan did try his hand to be in the bandwagon by composing village based songs in the MGR starrer 'Pattikaatu Ponniah' (1973)but somehow it did not click.

It can be recalled that MGR insisted that MSV tunes a village-based melodius song like the popular Shivaji starrer 'Aagaya Panthililae' (1973). It can safely assumed that MGR wanted to equal Shivaji in songs and tempo.

It is my personal opinion that MSV songs are considered classics because it sans time and period. Ilayaraja's are popular for that particular period of time only. One has just to listen again to 'Ennadi Raakama' and 'Machanai Paarthingila' side by side to know it.

mahendra raj
09-03-2008, 02:41 PM
When MGR stopped acting in 1977 after becoming the Chief Minister of Tamil Nadu it was during this 'phasing out' period for veteran cine actors. During the mid seventies although it was MGR and Shivaji who held the roost second echolon actors like Muthuraman and Sivakumar were being cast as full-fledged heroes. Jai Shankar and Ravichandran were seen acting in low budget movies. Around this time Kamalhassan and Rajini and to a lesser extent Jaiganesh and Vijayakumar slowly started to exhibit their talents and were warmly received by the audience.

For the record Muthuraman refused to act as a second echolon hero in the film 'Unakaaga Naan' (1976). His refusal irked Shivaji who made some negative comments and if I am not mistaken they (Shivaji and Muthuraman) were not paired thereafter due to bad blood between them.

Viewers who were used to stereo-type and formula stories of the veteran actors warmly welcomed the refreshing changes. Kamalhassan claims that he was the pioneer in acting with moustaches drooping below the corners of the mouth. Hitherto, it was a pencilline moustache sported by all the leading actors. And what with the main characters playing the enti-hero subjects? It was unusual for the hero to portray negative scenes like binging on drinks and smoking and also getting away with serious pranks. The general audience who were tired welcome with open arms the new changes and trend.

The mid seventies audience could relate to the new heroes unlike the old guys who were always 'teaching' on how to live life morally. In Kamal and Rajini viewers saw a reflection in themselves. The styles exhibited by Rajini was something so novel. Just a decade or so ago, it was Ravichandran who was known for his unique mannerism and dance styles. It almost had MGR worried because people started to call him (Ravichandran) 'chinna vaathiyar' as long shots of him appeared to be like MGR.

In 'Naalai Namathey' (1975) the remake of 'Yaadon Ki Barat' Kamalhassan was booked to act as one of the brothers of MGR. Several scenes of Kamal were already shot and it was then that MGR realised that his role (MGR's) will be relegated to that of persona-non-grata. Yes, the audience support at that time was slowly shifting to newvave actors like Kamal and Rajini. He had Kamal removed and replaced him with Krishna, a Telugu actor who was not that popular with the Tamil audience.

MGR was a shrewd thinker and had always had the audience pulse in his hand.

In 'Naan Vazhavaiypen' Shivaji lived up his role minus the exaggerated emotions. In one scene, as he goes about searching for Michael (Rajini) he is shown smoking a cigeratte with his left hand and discarding the stub with a stylish flick. Well, if this scene was in the 60s era Shivaji would have received accolodes. But he was actually competing with a stylish villain of Rajini who had already made an impact with his unique styles in Tamil films. The audience was ready to accept him even in negative roles.

I still remember ther audience waiting patiently for Rajini to appear in the second half of the movie. The moment he first appeared in the song scene 'Aagayam melae' the audience cheered him no end. When the fight scene between him and Shivaji was shown the audience support was for Rajini. Even the climax scene Rajini stole the show. This was in Malaysia so I could imagine how it will be in India. Shivaji too realised this change which is why he kept to a compressed acting whenever Rajini was cast alongside him. 'Viduthalai' (1985) and 'Padikaathavan' (1987) can be cited as examples.

A tidbit on Babloo who acted as the younger brother of Shivaji in 'Naan Vazhavaipen' - it was generally believed at that time that it was a girl who acted in the small boy role. Yes, those days it was common for girls to act in boys' roles eg. Daisy Irani in 'Yaar Payyan' (1958). Babloo indeed looked like a girl at that time. But after seeing his adult roles in several movies and tv serials it was confirfmed that it is Babloo indeed. When his role as a transsexual in the 'Arase' serial became popular, a Tamil magazine, 'Rani' ran an interview with him whilst praising his natural acting. He then revealed that he has a soft spot for this unfortunate group of people because he has a son who has similar qualities. Little wonder why the audience was confused after seeing 'Naan Vazhavaiypen'.

s ramaswamy
09-04-2008, 03:16 AM
Hi Mahendra Raj,

I fully agree with you that fast-paced folk numbers easily preceded the IR era by at least a decade or even more, perhaps. The prime example is the "Kumudam" song "Mama Mama" tuned by KVM. What about "Therodum Indha Seerana Madurayile" in "Baaga Pirivinai". Certainly it's a fast-paced folk no. in rural settings, a great composition by the VR duo.



09-04-2008, 10:47 AM
திரு மகேந்திர ராஜ்...

நீங்கள் சொன்னது முற்றிலும் உண்மையான விஷயங்கள். தமிழ்த்திரையில் இசையின் எழுச்சி 1976க்குப்பின் தான் வந்தது என்பது போன்ற ஒரு புரளி திட்டமிட்டு பரப்பப்பட்டு வந்தது உண்மை. ஆனால் அதை பொய்ப்பிப்பதுபோல இன்றைக்கும் தொலைக்காட்சிகளில் பழைய பாடல்களின் ஆதிக்கம் நிலைநாட்டப்பட்டு வருகிறது. விஸ்வனாதன் - ராமமூர்த்தி, கே.வி மகாதேவன், எம்.எஸ். விஸ்வனாதன் ஆகியோரின் பாடல்கள் இன்றைக்கும் மக்கள் மனதில் ஆட்சி செலுத்தி வருகின்றன.

பத்தாண்டுகள் ஒரு பாடல் நிலைத்து நின்றால் அது காவியம் என்று நீங்கள் சொல்லியிருப்பது முற்றிலும் ஏற்புடையதே. அவ்வகையில் மெல்லிசை மன்னரின் 80 சதவீத பாடல்கள் காவியங்கள் என்பதில் சற்றும் ஐயமில்லை.

பாப்புலர் நடிகர்கள் மட்டுமல்லாது, இடைக்கால நடிகர்கள் பற்றியும் நீங்கள் குறிப்பிட்டிருப்பது மகிழ்வைத்தருகிறது. குறிப்பாக ரவிச்சந்திரன் பற்றிய தகவல் (சாதாரணமாக, இவரைப்பற்றி மற்றவர்கள் சொல்வது அபூர்வம். அக்கால கட்டத்தில் வலம் வந்த இன்னொரு நடிகர் ஏ.வி.எம்.ராஜன்). ஒரு சின்ன திருத்தம், 'நாளை நமதே'யில் நடித்தவர் கிருஷ்ணா அல்ல, சந்திரமோகன்.

திரு எஸ்.ராமசாமி.....

நீங்கள் சொல்லியிருக்கும் பாடல் வரிசையில் மறக்காமல் சேர்த்துக்கொள்ள வேண்டிய பாடல் "தேருபா(ர்)க்க வந்திருக்கும் சித்திரப் பெண்ணே" (இரு துருவம்).

Murali Srinivas
09-04-2008, 12:43 PM
Dear Mahendra raj,

Welcome to the thread. You have penned your thoughts with interesting data thrown in. But not sure whether it will be sweet music for everyone.

Certain things, I beg to differ. You have written as if the anti - hero or negative character came to Tamil cinema only after the young crop came in, which is off the mark. Right from 1952 Oct 17th, when one young man ushered in a series of delectable variety of celluloid performances, this negative or anti - hero characters also formed a part of the same and people simply lapped it up. Again drinking and smoking by the Hero character was very much accepted even before 1977. In fact one of the biggest block busters of NT's career, Vasantha Maligai is a prime example of the so called trait.

One more info about Naalai Namadhe was Sivakumar was booked for the second brother's role (done by Vijay Arora in the original) but it was changed. Kamal was booked for Tariq's role but I am not sure whether he particiapted in the shooting. SethuMadhavan, the director was like a God Father to Kamal in Malayalam (like KB in Tamil) who gave him the first break as the hero in his Kanyakumari, was particular about Kamal and Sivakumar, but ----. Later Siva did Marupakkam with KSS and Kamal did Nammavar with him.

Expecting more from you


mahendra raj
09-04-2008, 02:25 PM
Hi & thanks to Ramasamy, Sharada & Murali for your observations.

Yes, Ramaswamy, you are right. 'Therodum' (Bhaga Pirivinai 1959) is a fast paced folk song. This was a period where the maestros MSV and TKR were slowly making inroads as the new generation music directors. Also at around this time Vedha's 'Dingiri dingalae' (Anbu Engey 1959) was so popular that it almost drowned the Bhaga Pirivinai number. But immediately prior to this no one can forget the evergreen 'Rock Rock Rock' song by MSV-TKR composed for 'Pathi Bakthi'(1958) sung by JP Chandrababu and Sundram. Perhaps it was a novel effort by the upcoming maestros to try an hand at classical and western fusion.

Yes, Sharada, that number from 'Iru Dhruvam' (1971) is definitely a song to reckon with. And don't forget the equally fast-paced village socialist themed song in the MGR-starrer 'Oru Thaai Makkal' (1971/1972) titled 'Ingu Nalla Irukunum Ellorum' (by Kannadhasan) [remake of 'Ayee Milan Ki Bela'].

Sorry, Murali I made a mistake by stating Krishna.

By the way, anti-hero subjects played by the main character did not go well with the crowd in the fifties and sixties, 'Andha Naal' (1953) with Shivaji and 'Panakaari' with MGR are examples. My reliable sources told me that MGR bought the rights for 'Panakaari' later when he firmly established himself as a successful actor and destroyed the negatives lest his image gets dented. Even the film 'Paasam'(1962) where MGR plays an anti-hero subject and dies in the climax was not well received by the audience.

When MGR started preaching the evils of drinking it was well received, so much so it was hard to find any heroes in the fifties, sixties and early seventies appearing in even social drinking scenes. The exception to this rule was where the hero gets depressed and goes on a drinking binge. But in the Hindi film industry social drinking by the heroes was generously shown.

But if there be an actor who lived his role as a drunkard or a mild social drinker then it is none other than the great Shivaji who donned the alcholic role in 'Punar Jenmam' (1960). Thereafter he was cast in such drinking roles like 'Sorgam' (1971), 'Vasantha Maaligai' (1972) 'Neethi' (1973), 'Engal Thanga Raja' (1973), 'Gowram' (1974), 'Unakaaga Naan' (1976) 'Unnai Pol Oruvan' (1979) and 'Thyagam' (1979). No one can forget the famous social drinking scene in a Singapore night club where Shivaji sips whilst watching Sowcar Janaki singing 'Paartha Nyabagam Illaiyo' (Puthiya Paravai 1964). No other leading or secondary actor was typecast for such roles until the new generation artistes appeared in the late seventies.

In the 'Dhairyamaaga Chol nee' song in 'Olivilakku' (1968) MGR took care not to be seen as drinking wilfully. The scene was made out as though he was forced upon against his will. Of course, it was just the opposite what Dharmendra did in 'Phool Aur Patthar' (original version of 'Oli Vilakku'). Remember, in Hindi films it was accepted. So you can see that MGR who had the general audience pulse in his hand took great care so as not to cause damage the sentiments of the people.

However, I stand corrected to whatever I have mentioned above.

A tidbit before I round up today's posting. Those who are in India would have watched the climax scene where the hero, Shivaji dies in 'Vasantha Maaligai'. But in Malaysia and Singapore, the climax scene depicts Shivaji recovering after the bout of poison he took earlier. It was a happy ending where Shivaji embraces Vaanishree with smiles all over. Even Kumudham, the leading Tamil weekly commented on this duality in its write up after being alerted by one of its readers. The producers reasoned out that overseas audience will never accept a hero dying at the end hence the two climax scenes - one for domestic and the other for overseas!

s ramaswamy
09-05-2008, 02:59 AM

Another unforgettable song to be added to the list is "Muthu Kulikka Vareegala". How the Thoothukudi "solvazhakku" is interwoven with some splendid bgm can be experienced by listening to this wonderful fast-paced folkish no. from KB's "Anubhavi Raja Anubhavi". And the way LRE and TMS sing simply takes this song to a higher plane.

Paens have been written abt TMS's ability to modulate his voice as per the on-screen actor for whom he sings. He has sung superbly for Sivaji Ganesan, MGR, Jaishankar and, for this no., Nagesh. How his voice suits Nagesh can be found by listening to "Muthu Kuliikka", "Madras Nalla Madras" (from the same film) and "Varavu Ettana Selavu Patthana" from KB's 'Bama Vijayam".

Like Saradha madam has said it's a misconception that fastish folk nos were started by IR. It was in vogue even in the great GR's era, one prime example being "Kattukkulle kanda poovu ennai mayakkudu" from "Naan Petra Selvam".



09-05-2008, 05:47 AM
I also think that IR is appreciated for the wrong reasons. It isnt necessary to shame his predecessors to praise him. Himself, he is a great fan of MSV, and he never misses an opportunity to mention that he just took MSV's way forward.

At the same time, what cannot be denied is that he brought in a new paradigm to music in tamil films and that wasnt his folk-tunes. In fact, much of that image may have to do with the gramathu raja title he received from his detractors initially. Talk of self-defeating barbs at your rivals:-).

What he brought in the context of folk songs might be defined by the TMS song in his first film. TMS, with his pedigree and background, objected to the raw lyrics and enunciation envisaged by Raja for Annakili. And that could be the reason why the illusion that Raja brough the real Tamizhnattu gramam to the fore multiplied. I mean, we had the folk songs earlier also, but then the lyrics? - the lyrics were chaste tamil, and that was the case with dialgoues, too. That might have created the illusion of Annakili ushering in a new era where the raw, unrefined enunciation of a thekathi gramathan was recorded in the tamil annals.
This could be interpreted in two ways - and it was. The supporters called it bringing in realism. The detractors called it destruction of the classical music framework and the phasing out of 'decent' tamil.

Now, I know you are going to say "Ammadi Ponnukku Thanga Manasu? Therefore, Eureka, Plum, you are wrong" but the point is it still carried TMS's sophistication much as he tried to infuse rawness. You cant compare the rawness in that song to the rawness in Solam Vedhaikkiyile. This is not TMS' failing.
To explain this, I can take an unrelated example. Sanjay Dutt could arguably said to have better-performed the role in Munnabhai than Kamal in Vasool Raja. But them Sanjay didnt have to act - the soft-hearted, idiotic, brawn-full Goonda role is close to his real life personality whereas Kamal's intelligence shines through his eyes and therefore, in comparison, his performance in that role could be lesser than Dutt's.
I am not taking this as an exact parallel because I consider IR and MSV both equal geniuses but as a singer, IR vs TMS could well be the same as Dutt vs Kamal as actors. Sanjay Dutt has one role that he can perform better than Kamal - that is, the role of Dutt. Similarly, IR brings in the unrefined rawness of a gramathan much better than TMS. As I said, this isnt TMS' failing - just that he was too well-trained as a singer to exude rawness from every pore of his voice as IR does. And it is not any special quality of IR that he can do rawness beautifully. That is just a God given gift to him, just as technically brilliant singing is God given to TMS.

Murali Srinivas
09-05-2008, 02:36 PM
Dear Mahendra raj,

It was nice of you to withdraw your comments. But I didn't mean that way. Just as you pointed out the propagation of the wrong notion that folk music started to bloom only after 1976, I mentioned that it is wrong to say that negative or anti - hero characters were accepted only after 1977. That's all.

But one small correction regarding Vasantha Maaligai. even in India it was only happy ending. the only place where it was shown differently was in Kerala, where the film was shown to end after he talks to Vanishree and falls down with blood coming out from his mouth. This was because Kerala audience would always love such realistic ending.


Nice articulative post.


Good you brought up Anubhavi raja Anubhavi songs.


mahendra raj
09-06-2008, 02:43 PM
Hi everbody!

I just happened to click the archives of this thread and wow! what an indepth articulation on the birth of 'Engey Nimmadhi' and 'Ellorum Kondaduvom'! Mind you I just completed reading this two only for now. A doctorate can be easily bestowed on Murali!

I always have this sneaky feeling that if die-hard fans of Tamil films and music of yesteryears were computer savvy and who happen to know about this topic surely they would also contribute tremendously with hitherto unpublicised information.

When Shivaji Films celebrated its '50th film' (well that was what down here we thought so) we were cracking our heads starting from 'Puthiya Paravai' to count all the Shivaji Productions. Alas, we gave up. It was news to me after reading this thread that it was actually their 50th anniversary of existence. Murali, you truly deserve more than a pat on your back for enlightening us on the history of Shivaji Productions!!

I remember reading an article by Cho a very, very long time ago on NT. He seriously asked him as to why he is exaggerating his acting with unnatural emotions and gestures which were then seen as overdoing by critics. This was in the seventies. NT, as though expecting this criticsm from Cho, casually acted out a scene or rather a page taken out of a Hollywood film. With a straight face and upright posture, minus his usual gestures, he spoke the dialogue in Tamil but in a low key voice. Cho was mesmerised by this acting and immediately commented that he (NT) can equal the likes of a pure bred Hollywood artiste. NT told him that such a style of acting, a -la -Hollywood will be well received by the English-movie going fans only but not with the masses at large.

That goes to show that NT was all the while fully aware of the adverse comments by his critics but he had the obligation to fulfil the producers who cater to the general audience. To a certain extent 'Puthiya Paravai' brought out the latent Hollywood talents of NT.

Elsewhere in this thread I came across the information that from 'Deepam' onwards Balaji used IR for his productions especially after the success of 'Thyagam'. But for 'Billa' (1980), 'Thee' (1982), 'Savaal' (1981) and 'Sujatha' (1982) Balaji booked MSV for the musical score. What made Balaji revert to MSV, his erstwhile MD? Ironically it was Gangai Amaran and not IR for 'Vazhvey Maayam' (1982), another Balaji's production. Can anybody enlighten on this?

09-06-2008, 10:30 PM
NT paththi pesumbodhu IR-oda popularity justifiable-a, epdi irundhaar, avar enna saadhichaar-laam thevai illai-ndradhu ennoda thanippatta karuththu..! Indha panchayaththai vera thread-la vachikittu indha NT thread-oda nokkathula irundhu distract aaga vendaam-nradhum ennoda thanippatta karuththu..! :?

mahendra raj
09-07-2008, 01:21 PM
Thanks kingvj for your observations. At the same time you will surely agree with all of us that Murali's well researched intro article has virtually left everyone with little or none to add on. That is the reason why you may find slight digression every now and then but still connected to NT/IR.

Having said that I hope you will not mind me adding a bit of information on 'Thyagam'.

IR visited Kannadhasan who was hospitalised in a private ward for some serious ailment. Seeing him in drips and the various hospital implements attached to his body IR asked him whether he was a bit hesitant to ask KD whether he could complete the songs for 'Thyagam'. Balaji as usual booked Kannadhasan to write lyrics for this movie. Although he was physically weak and unable to even sit up straight in his bed, Kannadhasan sensed IR's intention and replied in the affirmative. His mind was still agile.

With IR's narration of the songs' situation he went on to dictate the lyrics which were transcribed by his assistant. IR was deeply touched by the song 'Nallavarkellam' which he thought that KD indirectly meant it for him. Remember, at that time he was facing endless obstacles as an upcoming MD. (Murali's intro will testify).

But what surprised IR even more was the song 'Vasantha Kaala Kolangal' which words just flowed automatically despite his severe medical condition. KD wrote the song whilst observing all the medical drips attached to his body and remininscing his own life. The first lines 'Vasantha Kaala kolangal' was a reflection of his own action in younger days and the second line 'Vaanil Vizhuntha Kodugal' is the resultant drips on the body. Seen from the angle of lying down the 'Vaanil Vizhuntha Kodugal' the drips were likened to 'kodugal'! He went further to tell about himself with the lines 'Kalainthidum, Kanavugal, Kannir Sinthum Ninaivugal'.

Can anyone forget NT's superb surpressed emotions and the in-between sipping of local whiskey straight from the bottle whilst Lakshmi mimes this song?

Murali Srinivas
09-07-2008, 05:18 PM

You had put up a sort of a question regarding MSV making a comeback in Balajee films. I had explained that when Balajee started Deepam, IR was just 5 months old into the industry but after Thyagam and Nallathoru Kudumbam (1979), IR had become so busy and his rate had gone up like anything. Balajee wanted IR to accept for a lower salary to which IR was not favourably inclined. Balajee considering the situation and budget went back to MSV. In fact between Thyagam and Nallathoru Kudumbam, there was one movie produced by Balajee but NT was not there for the first time since Thangai. The movie was Rathaikketra Kannan starring Sivakumar and Srividya and if my memory serves me right, it was the first film directed by R.Krishnamoorthy, who later went on to become the asthana director for Balajee and he was better known as Billa R.Krishnamoorthy. The film was released on June 23rd of 1978 and it didn't have IR music and the MD was KVM.

After Nallathoru Kudumbam, IR never did music for another Balajee film. As you said Billa (1980), Sujatha (1980), Thee (1981), Savaal (1981), Theerpu (1982) had MSV as the MD. Vaazhve Maayam (1982) and Neethipathi (1983) had Gangai Amaran as MD. Even when he wanted to change, Balajee did not go to IR and instead used GA. Shankar- Ganesh did the music for Bandham in 1985. Later he was using Chandrabose as the MD [Marumagal 1986 and Viduthalai -1986]. For his last film with NT - Kudumbam oru Kovil (1987), Telugu music director Ranga Rao was used.

So more of ego and buget considerations forced Balajee to change the MDs often.

Your account of Kannadasan's composing from the hospital bed makes very interesting reading and is poignant. Not for nothing he is still revered.


09-08-2008, 08:09 AM
Dear Murali sir, Mahendraraj & Plum,

Good to see some perceptive discussion going on here, about NT, TMS & IR. Congrats.

My personal feeling is that by the time IR started to work in NT films, TMS's voice was becoming more thicker in the sense, it sounded more matured. This obviously made his voice less suitable for duets, though NT was still singing duets at that time. His voice definitely lost the charm of a " Mannikka vendugiren", or a " Vellikinnamdhan" or a " Mayakkamenna" ....etc.

By this time young singers like SPB had already started to win the hearts of many audience. This made everybody to consider IR as the MD for next generation. This is the law of nature and nobody can be blamed for it. We have had enough of gems from these legends.

Murali sir, one request. Inspite of your busy schedule, pls try to make your valuable contributions in NT thread also, which is losing it's pace. And also, can we have a clue about the next song ???

Murali Srinivas
09-08-2008, 09:36 AM
Dear Mohan,

You have nicely summed up the situation that prevailed in the late 70s. Yes, changes are inevitable.

Regarding NT thread, why request and all? It is my pleasure. Would definitely contribute.


09-08-2008, 12:24 PM
Shankar- Ganesh did the music for Bandham in 1985.

Balaji also used S-G for 'vidhi' which went on to become a big hit, though without a "hero" in the movie. I think after gauravam / thangappathakkam (and to some extent 16 vayadhinilE), vidhi's "olichchiththiram" had a lot of popularilty in TN - perhaps the only one to have such in the 80's and beyond...

09-08-2008, 12:32 PM
app, enna ippadi sollitenga? Karagattakaran is quite popular?

Murali Srinivas
09-08-2008, 05:45 PM

You are right. Though Aroordas translated most of the original dialogues (Mujhe Insaaf Chahiye), it was still enjoyable and widely welcomed.

Mohan and others,

Due to unavoidable personal and official works, the next song is getting delayed. Will try to do it asap.


09-11-2008, 12:06 PM
Dear Murali sir, Mahendraraj & Plum,

Good to see some perceptive discussion going on here, about NT, TMS & IR. Congrats.

My personal feeling is that by the time IR started to work in NT films, TMS's voice was becoming more thicker in the sense, it sounded more matured. This obviously made his voice less suitable for duets, though NT was still singing duets at that time. His voice definitely lost the charm of a " Mannikka vendugiren", or a " Vellikinnamdhan" or a " Mayakkamenna" ....etc. By this time young singers like SPB had already started to win the hearts of many audience.
டியர் மோகன், உங்கள் கூற்றில் உண்மையிருக்கிறது...

உதாரணமாக 'நல்லதொரு குடும்பம்' படத்தில் டி.எம்.எஸ், மற்றும் ஈஸ்வரி பாடிய (ஆச்சரியம் இளையராஜா இசையில் L.R.ஈஸ்வரி) "ஒண் அன்ட் டூ சச்சச்சா" பாடலில் வரும் 'பம்பம்பாப பம்பபம்பா' என்ற நொட்டேஷனை டி.எம்.எஸ். பாடும்போது ரொம்பவே உரத்த குரலாக இருக்கும். நிச்சயமாக அந்த இடம் பொருந்தவில்லை. ஆனாலும் அந்நேரத்திலும் 'WHO IS THE BLACKSHEEP' போன்ற பாடல்களைப்பாட அவரை விட்டால் வேறு ஆளில்லை என்ற நிலைதான் இருந்தது. பின்னாட்களில் மலேசியா வாசுதேவன் பாடியபோதிலும் அந்த எஃபெக்ட் கிடைக்கவில்லை என்பது உண்மையே. (டி.ஆர். தன் படங்களில் 'நானொரு ராசியில்லா ராஜா', 'என் கதை முடியும் நேரமிது', 'நூலும் இல்லை வாலும் இல்லை', 'அமைதிக்கு பெயர்தான் சாந்தி' போன்ற பாடல்களில் டி.எம்.எஸ்ஸை நன்றாகவே பயன்படுத்தியிருந்தார் என்பது என் எண்ணம்).

எண்பதுகளில் பாலாஜி 'தீர்ப்பு', 'நீதிபதி', 'விதி', 'நிரபராதி', 'சட்டம்', 'விடுதலை', 'அண்ணி', 'ஓசை', 'பந்தம்', 'குடும்பம் ஒரு கோயில்', 'மருமகள்', 'மங்கம்மா சபதம்' என்று சகட்டுமேனிக்கு படங்களை எடுத்துத் தள்ளினார். இவற்றுக்கு சங்கர்-கணேஷ் (பந்தம், விதி, நிரபராதி, ஓசை), கங்கை அமரன் (வாழ்வே மாயம், நீதிபதி, சட்டம்), சந்திரபோஸ் ஆகியோரை மாற்றி மாற்றி பயன்படுத்தினார். முரளி சொன்னதுபோல பில்லா, தீ, சவால், தீர்ப்பு ஆகியவற்றுக்குப்பின்னர் அவர் மெல்லிசை மன்னரை அணுகவில்லை. அவர் மகன் சுரேஷ் பொறுப்பேற்றபின்னர் 'சிறைச்சாலை'க்காக இளையராஜாவை ஒப்பந்தம் செய்தார்.

09-11-2008, 01:27 PM
அவர் மகன் சுரேஷ் பொறுப்பேற்றபின்னர் 'சிறைச்சாலை'க்காக இளையராஜாவை ஒப்பந்தம் செய்தார்.

சிறைச்சாலை ப்ரியதர்ஷனின் மலையாளப்படமான 'காலாபாணி' தானே, வெறும் மொழி மாற்றம் என நினைக்கிறேன். பாலாஜியின் மருமகன் (மோஹன்லால்) நடித்துள்ளதால் அந்தத்தொடர்பில் தமிழில் இவர்கள் பேரில் வந்ததாக இருக்கலாம். மற்றபடி பாலாஜி தயாரிப்பில் மீண்டும் ராசா என எடுத்துக்கொள்ள முடியாது.

Murali Srinivas
09-11-2008, 05:45 PM

நீங்கள் சொல்வது சரிதான். காலா பானி பாலாஜியின் சொந்த படம் இல்லை. ஆனால் மோகன்லாலின் பிரணவம் ஆர்ட்ஸ் தயாரித்த சொந்த படம். அதன் தயாரிப்பு நிர்வாகத்தை சுரேஷ் பாலாஜி தான் கவனித்து வந்தார். ஆனால் அந்த படத்திற்கு ராஜா இசையமைக்க வேண்டும் என்று லாலும் ப்ரியனும் விரும்பி கேட்டு கொண்டதால் ராஜா இசையமைத்தார். மேலும் நீங்கள் சொன்னது போல் சிறைச்சாலை மொழி மாற்றம் செய்யப்பட்ட படம் தானே தவிர தமிழில் தயாரிக்கப்பட்ட படம் அல்ல.


09-20-2008, 02:41 AM
is this thread alive? :-(

Murali Srinivas
09-20-2008, 05:40 AM
Dear Kingvj,

Sorry. It was due to my pre occupation (both official and personal) that the thread has slackened. I am working on that and soon to come out with a new song.

To all who follow this thread, sorry again.


Murali Srinivas
09-29-2008, 12:47 PM
Dear All,

Sorry for the inordinate delay. If all goes well, the next song would be there in a day or two. Any guesses?


mahendra raj
09-30-2008, 08:06 AM
If given 3 chances my guess would be any one of the following :-

(1) 'Ponaal Pogattum Podaa'
(2) 'Ellorum Nalam Vaazha'
(3) 'Nallavarkellam Saatchigal Rendu'.

Murali Srinivas
09-30-2008, 07:03 PM
Dear Mahendra raj,

You have covered a long period by these three songs. 1961 to 1978. But unfortunately you are off the mark. But in a way you are very near to the actual song. Wait for few more hours