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..! :?
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?
Mahendra Raj
Mahendraraj,
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.
Regards
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 ???
Isai - thoonla irukku, thurumbula irukku, ivarkitta irukku
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.
Regards
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...Originally Posted by Murali Srinivas
app, enna ippadi sollitenga? Karagattakaran is quite popular?
app,
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.
Regards
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.
Anbudan….. Saradha Prakash
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.
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