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Topic started by RR on Sun Jan 20 23:25:43 2008.

Hi Friends,

I take great pleasure to announce that one of the pioneers of TFM, Mr. Manisekaran will be initiating a new series on TFM Page after a long time. Here is a short intro from him:

"Thai Piranthaal Vazhi Pirakkum"- Belated Pongal Greetings to all dear
fans of TFMPage. For quite some time several TFM Page fans have been
urging me to start a series on old Tamil songs. I had to postpone
contributing threads for several reasons, most importantly my busy
nature of work did not permit to be active in the TFMPage. Now that I
am able to devote some time, it has become possible for me to make my
contributions.

Over the past 30 years I had picked up inputs on various aspects of
Tamil Cinema songs, which I found to be highly informative and
interesting. I have highlighted selected songs in my previous postings
spread out over various threads. This time I propose to provide
background to several songs with the aim of
entertaining fans of old songs, in the spirit of "Yaam Petra Inbam
Peruga Ivvaiyagam."

This is also to say that this thread will serve for educational purpose.

- Mani

Quote:

* Index of Posted Articles
* Subscribe to receive updates on new articles: http://movies.groups.yahoo.com/group/tamil_classics

| RSS Feed | Email me when a reply is posted

Responses:

From: tvsankar on Sun Jan 20 23:57:22 2008.

Dear Mani Sir.
WELCOME BACK......

Namba veetu relatives - long tourla ooruku poitu veetuku vandha oru feelings varumae - andha feelings ippo enaku varudhu.....

vishayangal niraindha ungalin post kaga avaludan kaathirukiren.....

With Love,
Usha Sankar.
From: NOV on Mon Jan 21 0:00:55 2008.

hope that this series will bring out the oldtimers as well as those who appreciate tamil film songs, especially those from the golden era.

malaysian hubbers are encouraged to watch astro vanavil every sunday at 8.30pm where Manisegaran comes on air the programme "andha naal gnabagam."
From: app_engine on Mon Jan 21 9:26:32 2008.

மீண்டும் நல்வரவு, நண்பர் மணிசேகரனுக்கு!

ஆவலுடன் எதிர்பார்க்கிறோம்!!
From: saradhaa_sn on Mon Jan 21 10:01:22 2008.

மனதுக்கு மகிழ்ச்சி தரும் அறிவிப்பு....

நண்பர் மணிசேகரனின் அபூர்வ சேகரிப்புகளைக் கண்டு, கேட்டு, படித்து, ரசிக்க இப்போதே தயாராக இருக்கிறோம்.

தமிழ்த்திரையிசை விரும்பிகளுக்கு நிச்சயம் இது ஒரு அறுசுவை விருந்து.
From: rajasaranam on Tue Jan 22 2:12:07 2008.

வருக வருக, மீண்டும் ஒரு விருந்துக்கு தயார் ஆகி விட்டோம்
From: mr_karthik on Tue Jan 22 2:12:18 2008.

Dear Manisekaran isr,

We are eagerly waiting for your coming back. We already enjoyed your posts about various interesting matters about Tamil songs. Now you are going to start your another innings by writing about 'Tamil Songs (O)'.

Tamil Songs (O) = Not only means Tamil songs (old), also means 'Tamil Songs (Original)'.

Please come with a big bang.
From: madhu on Tue Jan 22 3:32:28 2008.

வருக வருக...
From: pavalamani pragasam on Tue Jan 22 5:39:03 2008.

bayangaramaana varavERppai paarththaal...
From: Manisekaran on Tue Jan 22 5:47:45 2008.

bayangaramaana varavERppai paarththaal...

Enakke Bayamaaga Irukkirathu. Please do not expect much. It will be just one more of those postings.

Manisekaran
From: Manisekaran on Tue Jan 22 9:45:31 2008.

[tscii]TRIBUTE TO TFM PAGE

Dear Readers,
I had wanted to start the series straight away.
But I am duty bound to pay my tribute to TFM Page, before I do deeper. Slightly more than a decade has passed since my involvement in TFM Page. A decade ago, I had posted to say that ultimately TFM Page would emerge as the authority on Tamil Film songs. Rajaraman from the TFM Administration immediately responded by thanking me for the wishes. It is a consolation that this is slowly and surely being fulfilled. Today I see numerous threads covering a wide range of subjects, carrying tons of useful information.

There are many gaps in the history of Tamil film songs. In the past we had to rely on statements from the very authors of these songs. But most of them are no more around and the few living ones are already old, feeble and suffering from fading memory. That leaves us with no choice but to resort to written documents. But how far can we rely on written documents?

KANNALE KAANBATHUM POIYE, KAATHALE KETPATHUM POIYE

When you see the vinyl records we tend to believe what is printed. In the record for RR Pictures KUEBAGAVALI we can see the song Mayakkum Maalai Pozhuthe Nee Po Po. The MDs for KUEBAGAVALI are Visvanathan and Ramamurthy. But Mayakkum Maalai was composed by K.V. Mahadevan for R.R. Pictures KOONDUKKILI. The MD for Pakshiraja Studios MARAGADHAM (1959) is S.M. Subbiah Naidu, but the song Kunguma Poove sung by Chandrababu was composed by T.G. Lingappa. The M.D. of Nadodi Mannan is S.M. Subbiah Naidu alright. But the songs Senthamizhe Vanakkam and Sammathama were composed by N.S. Balasubramaniam. The M.D. for N.S.K�s MANAMAGAL is CR Subbaraman, but the song Villambu Patta Pun was composed and sung by C.S. Jayaraman. There are far too many examples of this nature.

AVM had produced many movies based in collaboration with other production houses. But in many cases AVM is not mentioned. Movies with AVM partnership that never mentioned the name of AVM are:

1) Parasaakthy- NATIONAL PICTURES
2) Kuladeivam- SK PICTURES
3) Pachai Vilakku- VEL PICTURES
4) Deiva Piravi- KAMAL PICTURES

The closes would be a credit to AVM as the studio where the filming took place.

In the record of Chitrayuga�s URIMAI KURAL (1974), we can see that the song Vizhiye Kathai Ezhuthu is attributed to Valee, whereas the original lyricist is Kannadasan. The record for DHEERKASUMANGALI says Kannadasan wrote the song Mallikai En Mannan Mayangum, but it was Valee. We may remember the film Arangetram with V. Kumar as MD. Ut the song "Aaramba Kalathil" was composed by MSV. Kumar was also the MD for the fim Ethir Neechal, but the song "Thamarai Kannangal" was composed by MSV.

Radio stations announce as they see in the records. Fans are duped!

Many radio stations announce the songs and give credit to the wrong persons. Listeners are certain to be influenced by the radio announcers who are accepted as some kind of authority. They announce based on what they see on the records or labels. Perhaps they base their announcements by referring to song books or vinyl records.

Even until this day there is confusion as to who had written the lyrics for, among others the following song:

1) Ethanai Kaalamthaan Ematruvar Intha Naatile- for a long time it was attributed to Namakkal Kavingar, but later confirmed that it was by Tanjai Ramiah Das.
2) Kanvazhi Pugunthu in Thookku Thookki was written by Udumalai Narayana Kavi with the ending by Maruthakazi. Both lyricists are being mentioned interchangeably.
3) Kan Mai Yenthum Vizhiyaada in Poojaikku Vantha Malar is attributed to Valee. But it was already written by Kannadasan for PACHAI VILAKKU, but lifted for Poojaikku vantha Malar.
4) Jeyakanthan in his book Or Ilakkiyavathiyin Kalai Ulaga Anubavangal has said that the song �Paattum Naane Bavamum Naane in THIRUVILAYADAL was written by Ka. Mu. Sherif. It is a mistaken song. He had intended to say that the song �Irukkum Idathai Vittu� in THIRUVARUT CHELVAR was written by Ka. Mu. Sherif. That too is a wrong statement. There are two versions of the song. It is true that one version was written by Ka. Mu. Sherif in the film PANAM PANTHIYILE. The other version was written by Kannadasan in THIRUVARUT CHELVAR. Jeyakanthan has confused both. He got confused and finally got us confused. Now as I type this I am confused! Confucius said thinking confuses man. I do not want to think any further.

The authors of history ranging from KALIDAS of 1931 have passed away. Most of them have not left written documents on old songs. But some have taken it as their lifetime responsibility to document the history and details of the Tamil Films. Prominent and outstanding among them is none other than Film News Aanandan. Following him many others who were directly associated with the film industry came to write the history of the Tamil films and songs. Without naming them, allow me to say that many of them had made several mistakes in their write ups. When pointed out, they had very magnanimously accepted their mistakes and have mentioned the retraction and corrections in their subsequent publications.

Mukta Sreenivasan in his series on History of Tamil Films has made several mistakes but was corrected later when the series took the form of book publication. Vamanan in his book Thirai Isai Alaikal has made some mistakes as well. But these are certainly careless mistakes. Even Valee has said that the song Nilavum Oru Pennagi in Ulakam Sutrum Valiban was composed by Visvanathan and Ramamurthy. S.M. Umar who had involved himself for more than 50 years in the cine world has written a book called Kalai Ulaka Chakravarthikal in which he has made the following statements:

1. M.D. for the film Kumari is C.R. Subbaraman (It is KVM)
2. Visvanathan Ramamurthy have contributed to the film Genova( M.S.V, M.S. Gnanamani and T.A. Kalyanam)
3. M.D. for Puthumaipithan was T.R. Pappa (G Ramanathan)
4. M.G.R�s leg fractured when he was acting in the play Advocate Amaran (It is Inba Kanavu)
5. M.D. for Bagdad Thirudan is T.M. Ibrahim (T.Govindarajulu Naidu)
6. Banumathy acted in Thai Sollai Thattathe (Sarojadevi)
7. M.D. for Aasai Mugam was K.V. Mahadevan (it is S.M. Subbiah Naidu)
8. M.D. for Parakkum Pavai is K.V. Mahadevan (MSV)
9. M.D. for Neerum Neruppum is K.V. Mahadevan (MSV)

This book has been read and appreciated by several other senior film personalities like Aaroor Dass, Manorama and AVM Saravanan, without correcting the mistakes. So readers may accept them as Gospel Truth.

Again Aranthai Maniam, a free lance wrier for the past 40 years has written a book called THIRA�CHUDARKAL� in which he said that MR Radha had acted with MGR in THIRUDATHE, PANATHOTTAM, KALANGARAI VILAKKAM and NADODI. This is totally wrong. If not corrected this may be accepted as the truth in the future. New born generation will certainly go for new films. They will not go for old movies, say in the next 50 years. Perhaps we are the last living generation to enjoy and appreciate the old movies and songs. As it is many music shops and DVD shops have slowed down on old movies and old songs all because demand is on a drastic drop! In the distant future, should some youngster sit to write history, he may quote from the above books. That will become his story and not history!

Compared to the few mistakes, we have to appreciate sincere efforts on the part of the writers mentioned above in trying to preserve the facts of the Tamil film songs. To make it clearer, these mistakes evaporate compared to the tons of other useful and invaluable information that they painstakingly compiled and left for us. Suffice to say that somehow gaps do remain in many of the documents.

WRONG STATEMENTS
Manorama had said at a public function that Kan Pona Pokkile Kaal Pogalama in the film PANAM PADAITHAVAN was written by Kannadasan.

Avvai Nadarajan, a scholar in Tamilnadu had also said that Katru Vanga Ponen in Kalangarai Vilakkam was written by Kannadasan.

We have been told umpteen times that Manorama first acted in Malayitta Mangai. One AVM publications says she first acted in Abalai Anjugam. One more source says she acted first in a Singhalese movie. So where do we stand?

DELIBERATELY DUPED
If we have some inside stories from the cine personalities, we would realize that those involved in the production of songs and movies have deliberately decided not to use their names. Kannadasan has said that he wrote the dialogue for the Vaidya Films MANGAYAR THILAKAM (1955) but owing to fear of criticism from the DMK thanga kambikal he refused to use his name. Again he did not write the full dialogue for Nadodi Mannan. Parts were completed by Raveendar. The movie Devar Films THAIKKU PIN THARAM was advertised as having Kannadasan as the script writer, finally it was Sa. A. Aiyasamy who did that work. Kannadasan has penned part of the dialogue for the Devar films THAI SOLLAI THATTATHE.

UNANSWERED FACTS
There are a few million dollar questions that remain unanswered. Let me quote one. We have known that K.V.Mahadevan made G. Ramanathan sing the song Ejamaan Petra Selvame in Alli Petra Pillai. There was a strong argument - very strong- that it was was G. Ramanathan who composed, sang, recorded and passed on to KVM. Only recently I resolved the matter. I had directly contacted the family of my favourite Maama KVM. A family member was there at the time the whole song was made. It was the contribution of Maama. But why was the doubt? Cinema world is a puzzle that no one has understood until now - and perhaps forever. All it takes is for someone to issue a controversial statement, out of mischief and if the statement is made by someone senior, then it is accepted as the truth.

Again, we know that AM Raja sang his first song in Samsaram. Vamanan quotes that A.M. Raja was booked for Kumari earlier and sang Azhiyatha Kaathal Vaazhvil first. It was Samsaram which came out first and so claims credit. Now there is a third version in some circles in Tamilnadu and that is AM Raja sang in Rajambaal first. Kani Mozhi Maathe Paar is the song they say. These are questions floating in the absence of the very authors of these songs.

STATEMENTS REVISED
What is most misleading is that sometimes we are taken for a ride in one direction. After sometime, we are led into another direction. Mannil Intha Kaathal Indri in KELADI KANMANI was attributed to Pavalar Varatharasan. In 2006 Gangai Amaran broke the secret in Malaysia that it was written by him and had to use the name of Pavalar Varatharasan for some unavoidable situation. Again there was a very strong publicity that SP Bala sang the stanza of that song without pausing. Bala himself said in a later interview that it was a technical trick and not true. So what is established at one point of time is revised or reversed at another period of time. This is the sad fate of facts in the Tamil Film Industry!

TFM Page- the Saviour
Now that most of the key players in the Tamil film industry are no more around, there are several websites that are actively constructing the history of the Tamil films. Prominent among them is TFM Page. It is unfortunate that some of the film veterans who are still with us are not computer literate and so they do not participate in the Discussion Forum. It is youngsters and computer literate figures like all of us who are now reconstructing the history and data base of the films. I, along with many of other contributors am posting our findings based on:
a) Direct interviews and association with film personalities
b) Publications
c) TV interviews
d) Viewing full length movies, or the credit sections of the movies

For the past decade, all the old timers have posted all the needed information, and created the data base. Many corrections and re-corrections have been made as well. Added to this, collectors of VCDs and DVDs are in a position to strengthen the data base. At long last today TFM Page is the authority. This is evidenced by many portions of TFM Page being copied and placed in other sites. Sometimes TFM Page is respectfully acknowledged.

I have listened to some of the Tamil radio programs in a few countries. I am proud to say that they seem to be picking tons of information from the TFM Page, although they may not acknowledge. The same case applies to some of the script used in TV programs.

LEARNING IS A LIFE LONG PROCESS
As fans are expecting much from me, I have to admit that I am just like anyone else in TFM Page. I have said several times before and am saying now- and shall always continue to say that I am also a beginner here. I may have some knowledge on some angles. I have made several mistakes in my postings. I have not corrected my postings although I have been given editing facilities. But I have learnt and continue to learn from postings by others. Some real experts seem to have left TFM Page for good. Hope they could come back and join us in this team effort.

READERS ARE AUDITORS
Many of those posting in this site are not cine personalities. We have other professions to concentrate on. It is the burning passion we have for the film songs that pushes us to commit ourselves, devote some time and post in the discussion forum. While some of us may make mistakes in our postings, there are so many silent readers, often knowledgeable, who come in to point out the mistakes. With the prevalence of such a check and balance effort going on throughout, TFM Page is on the right track towards perfection in creating a true and concise data base. So Kudos to TFM Page!
From: app_engine on Tue Jan 22 10:47:37 2008.

Excellent recap, Manisekaran!

While we are looking forward to your specific recollects on the 'pala vidham', just thought of restating the business aspect that sometimes confuses credits:

-Certain movies get completed but could never be sold
-Meanwhile, the songs get released and they become popular (popularity of the MD helps at times, like in the case of the movie 'oomai veyyil' whose 'sOlai pushpangaLE' and 'vadakkuththeru vaNNakkiLi' became quite popular thru IOKS but the film never got released)
-Some smart business savvy group "buys" the songs and use in another movie (the above songs got used in 'ingEyum oru gangai', perhaps got released in another disc as well)
-Unlike in the case above where IR was the MD for both movies due to his too powerful position in the time period, there could be cases where there were different MD's (one got credited in the never-released-original and possibly the other in the more fortunate one) and it could be even possible that one worked as the assistant to the other in some movies.

Confusions pala vidham:-)
From: RR on Tue Jan 22 11:28:56 2008.

Dear Manisekaran, Now you've put TFM Page on a high pedastal and raised the expectations Thanks so much for the compliments and writing a tribute to our beloved site. But really, without stalwarts like you and many many knowledgeable tamil song fans choosing TFM Page as the favorite site and voluntarily contributing their might, we couldnt've come this far. So credits go to you DF-ers the most. Neengal illaamal yaam ingu illai.
From: buggle on Tue Jan 22 13:28:57 2008.

As Mani sir and app_engine said i remember another incident where the singer name was used by mistake..
For the song "maniye mani kuyile" from Nadodi Thendral, we all know it's SJ and Mano. But vivith bharathi everytime said it was KSC and also on Friday night(i think 9:00 - 9:30pm) there used to be top 10 countdown of new tamil songs in vivith bharathi and it was hosted by Abaswaram Ramji - name of the program is Binaca Geetha malai. This song was at no.1 for few weeks and Ramji did say that they checked with the produder/md of that film and confirmed that the song was rendered by KSC - still a mystery for me since it was quite evident that SJ stamp was all over that song.

I didn't had the original cassette so could not comment from that angle.
From: thamizhvaanan on Tue Jan 22 13:47:00 2008.

Welcome back manisekaran sir

I, like most of the hubbers, am a fan of ur posts. Looking forward to much more
From: kingvj on Tue Jan 22 14:49:36 2008.

buggle, interesting piece of info on the Nadodi thendral song..!! Guess they (producer/MD) would hv mentioned about "yaarum vilayadum thottam".
From: kingvj on Tue Jan 22 14:51:51 2008.

Manisekaran wrote:

[tscii:85d1e8f11c].... Kumar was also the MD for the fim Ethir Neechal, but the song "Thamarai Kannangal" was composed by MSV.
[/tscii:85d1e8f11c]
From: buggle on Tue Jan 22 16:12:21 2008.

kingvj wrote:

buggle, interesting piece of info on the Nadodi thendral song..!! Guess they (producer/MD) would hv mentioned about "yaarum vilayadum thottam".

You are correct..but Abaswaram Ramji did comment like this "many viewers complained about the incorrect playback singer names for that song(maniyae manikuyile), so we talked to the producer/md of that movie and they clarified that as KSC"
From: vramesh on Tue Jan 22 16:43:21 2008.

Mani Sir, I have enjoyed your writings for some years and I am delighted to hear about your new series. I join others and welcome you again with thanks for your service
From: app_engine on Tue Jan 22 23:19:20 2008.

maNiyE manikkuyilE - definetely SJ. I had an echo cassette longtime back and it credited "IR/Mano/SJ" as singers. Why should anyone even have a doubt / verify as to whether it's KSC - that too someone of abaswaram Ramji's calibre? (andha 'mAlai iLam kadhirazhagE' line itself will showcase the aged SJ kural...Funny:-)

These sites seem to credit properly (and I think they probably got from a cassette / CD only and not by checking up with the producer):
http://www.musicindiaonline.com/music/tamil/s/movie_name.4930/
http://www.raaga.com/channels/tamil/movie/T0000111.html
From: rajasaranam on Wed Jan 23 1:21:20 2008.

Why is this thread not made sticky
From: selvakumar on Wed Jan 23 2:54:15 2008.

I know Manisekaran is a hubber.
Veteran hubbers can throw more light on that !
I was about to post "Who is this Manisekaran?"
From: Sanjeevi on Wed Jan 23 5:01:12 2008.

selvakumar wrote:

I know Manisekaran is a hubber.
Veteran hubbers can throw more light on that !
I was about to post "Who is this Manisekaran?"

He is very famous in hub and Owner, Moderator, Author of Rajanna Raja Thaan!

From: rajasaranam on Wed Jan 23 6:02:07 2008.

Manisekaran wrote:

STATEMENTS REVISED
What is most misleading is that sometimes we are taken for a ride in one direction. After sometime, we are led into another direction. Mannil Intha Kaathal Indri in KELADI KANMANI was attributed to Pavalar Varatharasan. In 2006 Gangai Amaran broke the secret in Malaysia that it was written by him and had to use the name of Pavalar Varatharasan for some unavoidable situation.

Manisekaran,

Earlier during Discussing Raaja's Landmark Song you mentioned this in the following thread.
http://mayyam.com/hub/viewtopic.php?t=2534&postdays=0&postorder=asc&start=15

Manisekaran wrote:

Gangai Amaran has claimed many things, causing misunderstanding with many in the cine field. He claims to have improved ONE LINE in a song by Kannadasan in Sigappu Rojakkal in order to suit the tune, as Kannadasan was not to be found. He was furious that his name was not mentioned in the credit for changing the ONE LINE! He has composed some nice songs especially in "Vaazhvey Maayam." Yet, because of his uncalled for statements he is often referred to as a "loose talker" in the cine field. Without going into much details, this may explain why Ilayaraja kept him in cold storage for some time. "Mannil Intha Kaathalanri" and "Vanuyarntha Cholai Ellaam" are by Paavalar Varadarajan. Coming to that soon.

Is it now Clarified only by GangaiAmaran or did you also validate it from some other sources. ?

From: Manisekaran on Wed Jan 23 6:48:06 2008.

Dear Rajasaranam,

In 2006, ASTRO VAANAVIL organised a program called THIRAI ISAI PAYANAM. The theme was lyricists. One of the songs sung was Mannil Intha Kaathalandri by Paavalar Varatharasan.

When the show went live on air, Ganagai Amaran who was hosting the program together with Bharathwaj anounced to the viewers that the song was actually written by him. That was news to many of us.

The authenticity of that statement could only come from two persons- one is Pavalar Varatharasan who is no more with us, and the other is Gangai Amaran, who is still around to defend his professed claim. I find no other means of verifying his claim.

(Before and after the show I conversed with Gangai Amaran and got further details of what I had been looking for from him)

Thank you.
From: rajasaranam on Wed Jan 23 8:35:11 2008.

Dear Manisekaran,

Thanks for this piece of news. If he had gone on Air With this claim then he should have written it for sure. I asked, not because he wasn't capable to write such wonderful lyrics but for he is also a loudmouth
From: app_engine on Wed Jan 23 9:01:52 2008.

>>The authenticity of that statement could only come from two persons- one is Pavalar Varatharasan who is no more with us, and the other is Gangai Amaran, who is still around to defend his professed claim. I find no other means of verifying his claim. <<

Well, there is another person around, who can validate GA's claim or otherwise:-)

வேற யாரு, நம்ம ராசா தான்

However, it would be practically impossible to get him talk on such things, I think.
From: sivaramakrishnanG on Wed Jan 23 9:09:31 2008.

Kaalathai vEndra gaanangalaippatri suvaiyaana pala thagavalgalai solla vanthirukkum Thiru Manisegaran avargalukku nandrigal pala!

Arikuraiyaaga therinthu vaithirukkum naangal sila santhegangalukkum ungal moolam theervu peramudiyum endru ninaikkirEn.

MALAIKALLANIL idampetra ETHANAI KAALAM THAAN AEMAATRUVAAR endra paadal T<N<Ramiahdas ezhuthiyathaaga kurippittu irukkireergal.
Paalaviyaimattum ezhuthiya avar thayaarippaalaridam kObithukkondu sendruvittathaagavum KANJAN pada thayaarippalar Thiru KovaiAyyamuthuvai VAITHU saranangalai ezhuthi vaangiyathaagum kElvppattirukkirEn

Evvalav thooram UNMAI?

anbudan
sivaramakrishnanG
From: Manisekaran on Wed Jan 23 9:33:54 2008.

Dear Sivaramakrihsnan

"Arikuraiyaaga therinthu vaithirukkum naangal" Enru Ezhuthi Irukkireerkal. Athaivida Kuraivaanavan Naan. Knowledge is relative. For example, I learnt so much from so many other threads. I scooped so much information from people like Murali Srinivas and others on the Nadikar Thilakam thread.

As for Ethanai Kaalamthaan song, the vinlyl record has the name of Tanjai Ramiah Dass. In 2006 when Kavinyar Muthulingam appeared live on the same ASTRO program, he suddenly brought in the issue of this song. He said it was Tanjai Ramiah Dass and one Kovai Aiyamuthu who wrote it. This same Muthulingam had made another controversial statement on this same song in Kumudham many years ago.

Combination of a few people in wiring lyrics is not new. As a matter of fact there have been many songs written by more than one person. Kannadasan himself has changed the lines of many songs by others. MDs had given one or two lines and then lyricists would contiune. Suradha says Vennila Kudai Pidikka from Abalai Anjugam too had two lyricists. We shall discuss all these situations as the discussion progresses.
From: Manisekaran on Wed Jan 23 9:41:03 2008.

Dear Readers,

Shall I move on to the next part of my article?

Thank you
Manisekaran
From: vel1970 on Wed Jan 23 11:29:09 2008.

[tscii]// In the record of Chitrayuga�s URIMAI KURAL (1974), we can see that the song Vizhiye Kathai Ezhuthu is attributed to Valee, whereas the original lyricist is Kannadasan. The record for DHEERKASUMANGALI says Kannadasan wrote the song Mallikai En Mannan Mayangum, but it was Valee. We may remember the film Arangetram with V. Kumar as MD. Ut the song "Aaramba Kalathil" was composed by MSV. Kumar was also the MD for the fim Ethir Neechal, but the song "Thamarai Kannangal" was composed by MSV. //

Dear Mr.Manisekaran, excellent write up. It is very informative.

An observation. MSV in Edhir neechal, the song composed by MSV was Enanamma ponnamma, a duet by TMS & P.Suseela for Nagesh and Jayanthi. It was not Thamarai kannangal. It is ennudaiya siriya arivukku ettiya mattil :-)
[/tscii]
From: Manisekaran on Wed Jan 23 12:00:44 2008.

Dear Vel1970,

You are absolutely right about Ennamma Ponnamma. Sorry, had rushed the article without checking again.
Good to have you around.

Thanks
Manisekaran
From: Manisekaran on Wed Jan 23 12:07:26 2008.

[tscii:e8ba6e1c43][/tscii:e8ba6e1c43]INTRODUCTION TO PAADALKAL PALAVITHAM SERIES�

FILMS AND SONGS
Music and songs have always been part and parcel of Tamil films. Music plays several roles in Tamil films. Mukta Sreenivasan, a veteran producer of Tamil films has mentioned in an interview that three elements are used to bring out emotions and moods in films and they are:
a) Expression by artists;
b) Sceneries; and
c) Music

Even otherwise songs and music evolved from the very beginning. Cinema evolved from stage plays. Stage plays themselves were filled with songs. Therefore when dramas were adapted into movies, this important element of songs were rigidly retained.

EARLY TECHNIQUES
In the very first effort, films were shot as the actors sang. The music party used to play music close by, but never came into the frame. The cameraman had to be careful. But this gave problems. The sound quality was not good or disturbed by external noise. Therefore the songs were recorded in the studios. These songs were then played while the actors did the lip movements. This time the quality of songs improved. This was not playback singing. In those days an actor has to qualify as a singer as well. That is to say, anyone wishing to become an actor had to sing in his own voice as well. But that was not the first playback singing yet. The first playback singing was introduced in the Pragathi Pics NANTHAKUMAR of 1938. Lalitha Vengatraman sang for T.S. Rajalechumy. It is said that the first male actor to have escaped this requirement of an actor singing in his own voice was M.G. Ramachandran. The film is Jupiter Pictures RAJAKUMARI in 1947, in which S.M. Subbiah Naidu had composed music.

SOME BEGINNINGS
In the Select Pictures Circuit KALIDAS (1931) the first Tamil film, with dialogue spoken in Tamil, Hindi and Telugu languages two persons wrote songs- one was Baskaradass and the other was Nadarajachary. But Bhaskaradass is said to be the first to have written songs in that movie. The song was so popular that it was sung by the beggars in the streets to earn livelihood.
That first song by Bhaskaradass is:

"Indiyarkal Namavarkkul Eno Veen Sandai"

The first film to have the most number of songs is India Saba of 1932 release. There were a total of 71 songs in the film. In the Film NALLA THANGAL of 1934 there were 62 songs in all.

The first to actor to have written songs is PTV Krishnan. He acted in the film called "Mahatma Kabeerdass" in 1936 and also wrote songs.

The first person to have composed songs and acted was M.R.Swaminathan. In the old Pioneer Films "SAKUNTHALAI" (1934) he composed songs and sang as well. The one song that became all time famous and favorite was:

�Kalaiyiley Ezhunthirunthu
Kanchi Thanni Illamaley
Kashtappadaren Kadavuley�

This song was so popular that Mellisai Mannar too used to sing it at the age of twelve.

In the early days there was a novelist and an orator called A. Ratnasababathy who wrote story, dialogue, songs and acted in the Mohan pictures "DANGER SIGNAL" (1937) and directed it. He is undoubtedly the original Sagala Kala Vallavan.

It used to be thought that Roshana Begum is the first lady to have composed songs for movies, citing the Kungumap Pottin Mangalam from Saravana Screens KUDIYIRUNTHA KOYIL. But as early as 1949 Director K. Subramaniam's wife Meenatchy Subramaniam of Nagappattinam had composed a song for the film "Seethakathy" The song is:

"Aaru Mani Nerathukku Mel Velai Seivom"

After that a lady called Rajeswary wrote one song in the movie called �Katkottai� It was after this effort that Roshana Begum came into the picture.

The first Aasthana Kavignar (regional) to have written story and composed song for movies was Magaraja Vaathiyar of Ettayappuram. He wrote story for the film THAYALAN and wrote songs as well. PU Chinnappa acted in that film.

The first film to have used resemblance of Tamil literature was "NALLA THANGAL" of 1935. Vidvan Paramakkudy Sivaramalingam wrote a song as follows:
�Oru Uromam Ponalum Kavarimaaan Uyir Vazhadu"
This is a lifting from the Thirukkural which goes as follows:

"Mayir Neeppin Vaazhak Kavarimaan
Annar Uyir Neeppin Maanam Varin"

The first Seerthirutha Paadal was used in a film called "Bakthesa". One Papabansan Rajagopalaiyar wrote a song as follows:

Natta Kallai Theivamenbaar
Kettikkarar Peraiya
Sutta Kallai Pechiyenil
Suvargalin Per Ennada..

The first song to have been picturised totally outdoor was a song by Suratha in a Our India Films "EN THANGAI" (1953). That was also the first song by Surada. The song which as picturised in Santhome beach was:

Aadum Oonjalai Poley
Alai aaduthey�..

TRAINING FOR PLAYBACK SINGERS
In the early days it took at least one week for a song to be recorded. Singers were required to move into special studio premises and stay for a few days. They were provided with special food, with no uraippu and pulippu, and extremely cold water- vegetarian food. They were also required to swallow drops of oil to smoothen their throats. They had to get up early in the morning and immerse in cold water from which they had to sing out loud. Training went on for a week before their songs were recorded. But this did not last long as more and more movies were beign produced.

SONGS ARE INDISPENSABLE
In so far as a movie is concerned, music and songs seem to be the most important aspect for its success. Producers devise several tactics and measures to boost the running of the movies even while the movie is in the production stage. Special people are employed to give publicty to the movies for which so much will be spent. These people have to ensure that the movies create strong demand. They give special press release, and distribute stills from the movies- all catchy stills. Directors, produvers and cine artistes may give special interviews just to glorify the movie as a new effort hitherto unknown and unheard. But it is always the audio form of the movie that reaches the fans before the visual form reaches them. Discs of movie songs are passed on to Sri Lanka, Singapore, and All India Radio stations, and they are told to popularize the songs. These songs are played almost daily and slowly they may become popular request songs in the request programs. By this time, should the songs become hits, the fans would want to move to the next stage, and that is viewing the movies. Some of you may remember the movie Kohinoor, with music by Naushad. The movie took a long time for completion. But the songs were played for months, nay years. Finally when the film was screened there was a rush for the sake of the songs which had already become so popular.

Today, whenever someone is speaking about the yet to be released movie, mention will certainly be made on the songs. Songs are the greatest baits to hook people to movies.

There are some situations for us to meditate upon. Many films have run well at the box office on account of good hits. MGR starred movies especially run well on strength of his majestic charisma and excellent songs. Sivaji Ganesan starred movies run well on account of his excellent acting and good songs. In most cases, strong storyline combined with excellent songs push the movies up the ladder of success. Kalyana Parisu is one such case. However, there are some movies with wonderful songs, but have become commercial flops. Kokilavani is one such case. But Kokilavani shall always be remembered for the immortal songs composed by the great G.Ramanathan. On the other hand there have been exteremely wonderful storyline and good acting but without good songs, such as PUNNAGAI and PETRA MANAM. Whatever said and done, at the end of the day, songs become live wires for the Tamil Movies. Unfortunately, there have been films with good stars, storylines and songs, and yet they had not run as expected. PAARTHAAL PASI THEERUM has been quoted by the producers of a film that had not run as expected.

Whenever mention is made on any movie, remembering or recollecting songs from those movies become an inescapable process in our thinking minds. Songs seem to create the deepest impression in the minds of movie goers.

AVM�s ANTHA NAAL of 1954 was the film with no songs. But there was very good background music in the film. Though there were no songs, background music was prevalent to boost the mood and emotion in the movie. In a later movie called PASI, there were no songs alright. But a character was created to play gramophone records to tease Shoba, the talented heroine. Yeri Karayin Mele Poravale Penmayile� from the M.A.V Pictures MUDHALALI (1957) and Unga Ponnana Kaikal Punnagalama� from Chitralaya�s KATHALIKKA NERAMILLAI (1964) were played. This in a way compensated for the lack of songs in the movie. Even characters playing the role of deaf were given situations to sing songs- in dream sequence. In Viswabharathi�s THATTUNGAL THIRAKKAPADUM (1966), Chandrababu appears as a dumb, but being a singer cum actor he had wanted to sing in the movie. But how could a dumb sing? So a situation was created where he dances to a song from his own voice, supposedly aired over radio. The song is �Kanmani Pappa Kozhi Piranhathu Muttayilthaan Ena sonnathu Thappa.� To recapitulate, songs are more or less forced into the movies. Dream scenes are created to forcefully insert songs. (A statement from Aranthai Maniam says that since Antha Naal of 1954 to the year 2005 a total of 65 movies have been produced with no songs)

THE PLACING OF SONGS IN MOVIES
Songs were composed mainly to suit the storyline. Lyricists and composers were commissioned to produce these songs. Examples are far too many to substantiate this kind of making. In some cases famous poems by renowned poets are also used in films when these poems fit well into the storyline. Some brief examples:

1) �Korikkai Atru Kidakkuthanne� by Bharathidhasan, sunc by CS Jayaraman is one such poem that has been well used in AVM�s Kuladeivam in 1959.
2) Songs are also used as title songs to give the essence of the films. Vetri Venduma Pottupparada Ethirneechal depicts the theme of the Kalakendra Productions ETHIRNEECHAL (1968) in which the hero has to struggle up against all odds to become successful in life.
3) There may even be songs that may have no relevance to the story line, but are added in order to emphasis a message to the audience or to lengthen the songs in the movies. �Uzhaippathila Uzhaippai Peruvathila Inbum� by Seergazhi Govindarajan in the MGR Pictures NADODI MANNAN (1958) is one song that was used to emphasis MGR�s message to the audience. The song appears and disappears immediately with no connection with the main story.
4) Songs are sometimes added after the movie is completed to add to the length of the movie or to bring out mood changes. �Naanoru Muttalunga� by Chandrababu in the G.K.Productions movie SAHODARI (1959) was included later in order to length the movie and to balance the mood in the movie.
5) Songs do not always reflect the storyline. Some incidents may happen in the lives of lyricists. The incidents may have created deep impression in the minds of the lyricists. When the right situation comes, lyricists write songs to depict those incidents that have left indelible impression in them. Kannadasan has employed this tactic more than others. Athaan Ennathaan from Buddha Pictures PAVA MANNIPPU (1961) is one such song.
6) In some cases songs are deliberately written to hit at personalities. Sathiayame Latchiyamai Kollada in Devar Films NEELAMALAI THIRUDAN (1957) was written to hit at MGR.

I believe this long introduction has set the direction for our discussion. Now join me in the several songs that I am going to discuss one by one.

VIRAIVIL VARUGIRATHU��..
From: Murali Srinivas on Wed Jan 23 13:54:42 2008.

Dear Manisekaran,

It would be stating the obvious and would sound cliche but let me say it. The two introductory posts itself promises a great treat in store. Waiting for the same.

As a biassed person (everyone knows towards whom), shall I take the liberty to request you to start with a "Ganesan" song as it is customary to start any new venture with a Ganesh thuthi.

Regards

PS: I am previleged that a person of Mr.Manisekaran's stature has acknowledged my writing though I had written only whatever I know.
From: Manisekaran on Wed Jan 23 15:47:59 2008.

Dear Murali,
Those faithful to TFM Page and have made TFM Page evolve to this level of intensive growth ought to be righfully mentioned. You are certainly one of them!

Athu Irukkattum, what is the meaning of "a person of Mr.Manisekaran's stature?" I am Unnai Pol Oruvan- in cinema language.

As you are the first to request, I have no recourse, but to honour your request by sarting with Ganesa thuthi. Thanks for the Pillaiyar Suli. I will start with Nadikar Thilakam's song- a song that sent electric waves in the theatres! Let us give readers some time before I move on.

Anbudan,

Ummaippol Oruvan
From: rajasaranam on Thu Jan 24 2:44:57 2008.

Great Start Manisekaran
Awaiting eagerly for the First Song
From: Manisekaran on Thu Jan 24 11:16:24 2008.

PONAAL POGATTUM PODA

Let me start off a song from a film by my all time favorite actor Sivaji Ganesan. Who can forget the immortal Paalum Pazhamum of G. N Velumani that has so many accolades to boast of? It was another feather in the cap for Director Bhim Singh for his excellent direction in bringing the inner talents of Sivaji Ganesan to the fore. Saroja Devi did well and she has attributed her good performance to the guidance given by both Bhim Singh and Sivaji Ganesan. As for the songs, Kannadasan had once again proven his tremendous ability to write lyrics to suit the storyline and the situation. We need not mention the soul stirring songs with music composed by Visvanathan Ramamurthy. Naushad had praised the work of the MDs in this movie.

It is an established fact that the production of songs came from a perfect combination, a combination that could never be replaced. Kannadasan has to write the lrics, Visvanathan Ramamurthy have to compose, TMS and P. Suseela have to sing, Sivaji Ganesan has to act, and Bhim Singh has to direct. This perfect formula produced some of the outstanding songs in all the films of the �PA�series directed mostly by Bhim Singh. Paalum Pazhamum was made at a time when there was a tendency for the producers, directors, music directors, singers, lyricists, singers and sometimes actors would sit down for discussion. That may explain as to why songs of Paalum Pazhamum went very well and deep into the films and into our own hearts. With publicity hitting the media even while Paalum Pazhamum was in the making, much was expected from this movie.

THE SONG
The climax song Ponaal Pogattum Poda shall always be remembered for the combination of strong lyrics by Kannadasan, appropriate and haunting music by the �Irattaiyar�, unparalleled performance by Sivaji Ganesan, meticulous direction by Bhim Sing, and good camerawork by Vittal Rao.

Once the situation was explained, Kannadasan started to write the lyrics. But sometime earlier, it is said that Kannadasan had learnt of someone dying from dog bite. A thought emerged in his mind that human life is so ephemeral. This impression had rejuvenated in his mind. But he had no occasion to pen the lyrics immediately. In Paalum Pazhamum, there is a situation where Sivaji loved his wife so much. Upon learning of her departure, he had to face the reality and accept that one who ascends to the next world would under no circumstances return, however much effort is exerted. Therefore the only solution is to take the position of complete detachment and submission to the will of nature. It was to this situation that Kannadasan wrote the song for the film.

As he started off the Pallavi with the words �Ponaal Pogattum Poda� MSV immediately intervened lovingly, saying how could Kannadasan use words like �Vada Poda� for such a strong, climax and philosophical situation. Kannadasan defended saying that it is the simplicity in the lyrics would fetch a high place for this song sometime in the future. MSV was not too convinced, as his duty was to compose. But he accepted the lyrics and composed the tune and intial music, together with Ramamurthy�s assistance.

We know MSV is an extremely hardworking MD and a believer in perfection. He will not leave any stone unturned in order to bring out the best within his means. As this was a situational song, it is said that MSV and TKR even made a visit a graveyard to get the feeling of the mood of the surrounding situation. Mimicry king Sadhan too seemed to have accompanied them. They listened to the familiar sound in the surroundings. (MSV himself has narrated that for the song Varathappa Varathappa Kanji Varathappa in BABU, he went to a factory site to see for himself and get the feel of the people�s behavior before composing the music)

Finally the music and the song came out very well, with the lifting voice of TMS. The talented Sadhan did a good job by mimicking wild animals usually associated with graveyard.

The song was then picturised. It was one of the best walks of Sivaji Ganesan, a unique and elegant kind of walk that no one else could emulate- and none has emulated till this very day. Sivaji Ganesan is capable of providing a variety of styles for every kind of body movement. Directors would go bewildered not knowing which to choose, as each was excellent in its own way. Following the picturisation, other external clippings containing animals and bird assocaited with grave yard were added to lift up the life in the song. Then came the meticulous editing! Finally the best was obtained for the entertainment of us fans.

ON THE SILVER SCREEN
Words fail to describe the superb manner in which the song came out. Each aspect of the song earned praises in abundance. Suffice to say that the song starts off with �Ohoho� with Sivaji Ganesan walking away from the burning fire in the graveyard, shot from the distance, there was a kind of magical spel on the movie goers. Then Sivaji Ganesan emerges with open arms, holding the walking stick in one hand- in the most majestic manner. I recall vividly the thunderous applause in the theatre, caused by the electrifying atmosphere provided by the audiovisual effect!

(Viewing song scenes from movies over even the best equipped home theatres do not produce the same effect as in the theatres.)

In this song alone Nadikar Thilakam walked in different styles, sometimes slanting, sometimes slow and sometimes fast. That was a wonderful treat by Sivaji Ganesan. Not only that, in every of his movement in this song there was applause from the audience. He simply kept the audience mesmerized and glued to their seats! No words could adequately describe his inborn talents that surfaced in this song alone.

POST FILM ERA
Now the news! Following the grand success of this movie, Nadikar Thilakam was asked how it was possible for him to give such unique styles of walking in that song. He was humble to comment that it was the high philosophy and strength of the lyrics of Kannadasan that gave him all the inspiration for him to walk in that most majestic manner. Imagine the power of inspiration in the lyrics of Kannadasan. This answer of Sivaji Ganesan made his fans reflect on the power of the lyrics. Kannadasan�s lyrics had certainly contributed to the acting of Sivaji Ganesan in all the songs that he penned. (In another movie, Kannadasan wrote a song, knowing fully well that only Sivaji Ganesan could act it out- and it came out true)

We remember Kannadasan had predicted to MSV that the simple lyrics in this song would fetch a high place in society. While Kannadasan was still alive, one Minister was dismissed from his post. (I believe it was the Union Minister of Finance by the name of T.T.Krishnamachaari who was forced by Indian PM Lal Bahdoor Shashtri to resign in 1965.) The Minister returned home very sad and was down in spirit. While he was sadly seated on a swing at home, at that opportune moment the song Ponaal Pogattum Poda, Intha Boomiyil Nilaiyaai Vaaznthavar yarada was played. He concentrated again on the wordings-�Ponaal Pogatum Poda, Intha Boomiyil Nilaiyaai Vaaznthavar Yaarada.� It simply sent home the message that live is simply ephemeral, analogous to a bubble, that may explode any moment and no more be there. Anyway a politician�s tenure is short and short-lived. The Minister was so touched by the song that came as a balm to his wounded heart that he immediately called for the song writer. Kannadasan went as summoned. Kannadasan went to see the Minister, not knowing what the reason was. Upon seeing him, the ex-Minister hugged Kannadasan and appreciated him for the meaningful philosophy that came as a great consolation for him.

Now, that was not the end of the story. We shall come to the post Kannadasan era. One early in the morning when it was still pitch dark, a vehicle ran over the wall of M.S. Visvanathan�s house. Part of the wall collapsed and Visvanathan was deeply disturbed and distressed. Not knowing what to do he was lamenting. At that moment he heard a boy sing a song in the far distance while taking his goats for grazing. And that song was Ponaal Pogatum Poda, Intha Boomiyil Nilaiyaai Vaazhnthavar Yaarada. That line was so comforting to MSV. It was then that he recalled what Kannadasan had said while writing the lyrics. The living lyrics by Kannadasan were meaningful while Kannadasan was still alive, and continues to be meaningful even after that. It appealed from the last man on the road to those eminently placed in society.

Now, a word about the simple words used in the lyrics. When I met PB Sreenivas, he told me that the greatness of this song loaded with high philosophy was the simple words used in the lyrics. This is a song, which contains philosophy of life that applies to the entire mankind, with universal thought emanating from the verdant soil of Tamilnadu. Kannadasan himself had said that this song was reflective of his own philosophy. He also urged his fans in adversity to use the philosophy in the song as prescription for happiness.

In this song we see a wholesome satisfaction in every aspect- lyrics, singing, music, singing, direction, direction and performance. This I consider is a rare song which is a product of putting together the best brains!

When this song scene came in the theater, the atmosphere was simply electrifying beyond belief! Let us see for ourselves how the contents of our discussion fit the song.

[tscii:3a01d38ac8][/tscii:3a01d38ac8]
From: madhu on Thu Jan 24 14:12:50 2008.

MANI SIR..

simply superb ! evvaLavu arumaiyAna pAdal ? adhai sutRi ethanai vishayangaL ? vivarangaL ?

piLLaiyAr suzhi pOttu vitteergaL. inimEl gangai veLLam ena pongi varum poompunalil neerAda thayArAgi vittOm !
From: Manisekaran on Thu Jan 24 14:59:59 2008.

Muthal Vimarsanathirku Nanri,

I hope readers would also discuss among themselves, as I would like to learn from their postings.

Nanri

Manisegaran
From: bingleguy on Thu Jan 24 18:06:04 2008.

Vanakkam Mani sir .... This is the first time i am reading your writings ... absolutely all these years i have missed to see how deep a writing could go!!! Deeply appreciating !!!

All the instances that i have been missing are now presented with a new flavour i believe Lovely to get acquainted with such writings - infact inscriptions i would love to quote these as .... !!!

vandhadhu varattum
ponaal pogattum
endru karumame kanna irundhu vetriperuvaargaL ....

these words got its absolute meaning when they came out of Nadigar Thilagam !!!

The sounds of the animals - i never knew that they were made by a human ... my goodness !!! absolutely a tough thing - tat too for a song !!! good work by Sadhan !!!

" Kannadasan has to write the lrics, Visvanathan Ramamurthy have to compose, TMS and P. Suseela have to sing, Sivaji Ganesan has to act, and Bhim Singh has to direct " one can only imagine the blended outcome of such a combination ... which we have really seen it live !!!

Eagerly awating more inscriptions from you Mani sir !!!
From: rajasaranam on Fri Jan 25 3:26:52 2008.

Excellent Choice for a first song
Kannadasan,Sivaji, MSV - Stalwarts of Tamil Films are portrayed well in this essay.
Sivajiyum avar nadaiyum Naal muzhukka Rasichu Paarththutte irukaalaam. Kaandasan Paththi Sollvae vaendaa. Paamaranukkum puriyara Vaarthaigalla Pala Ullarthangal vaiththu Ezhuthi sellum baangu ini evarukkum kai varaathu. How we miss these giants nowadays cant be described in words
hmmm 'Poanaal Pogattum Poadaa'....
From: Manisekaran on Fri Jan 25 4:57:23 2008.

Dear bingleguy and Rajasaranam,

Thank you for your inspirng comments. I am most happy that the discussions are starting off with a healthy note. Hope to see the same spirit throughout.

Saradha, you have given a wonderful write up. But where is our dear Murali for whom I had dedicated this song?

You have now inspired me to write a thread on KANNADASAN-SIVAJI PAIR. I hosted a show on this topic in a leading hotel back in my country in 2005, with the use of LCD projector and was an instant hit. Then there was a request for me to do another show on KANNADASAN- MGR in Hong Kong, but I had to decline for the fear that I would be moulded into a full scale cinema man.

Kannadasan has on several occassions given explanations on his songs related to his childhood love. Some of the songs he has written were inspired by his first few loves.

1) Aval Kavinganaakkinal Ennai (Kalangalil Aval Vasantham)
2) Naan "aval" paerai dhinam paadum kuyilallavaa
"en paadalaval thandha mozhiyallavaa"(Ennai Yaaarendru)
3) Aval Paranthu Ponaale
4) Kalai Magal Kai Porule (surprising isnt it as the song is on Goddess Saraswathi? There is a background)

AND MANY OTHERS

Your superb writing on Ennai Yaarendu Enni Enni ought to be sincerely recognised and acknowledged. Please upload the song for others to get the feel of it.

Thank you
Manisekaran
From: Murali Srinivas on Fri Jan 25 8:41:41 2008.

Dear Mani Sir,

Million thanks for acceding to my request and presenting one of the best ever songs of NT. Sorry that yeterday I was totally held up with my official and not so official works. A problem with the internet connection also delayed my post.

The informations you have provided are partly known and partly unknown. But even the known one has been lucidly written by you which makes interesting reading.

The theatre response would be always tremendous as mentioned by you and now I am on a nostalgic path. Recently brought the DVD of this but again as you rightly said, nothing can bring the theatre impact.

Before signing off, your particular mentioning of the combination involved brings back the memory of one கேள்வி பதில் which came out in "Filmalaya" a monthly cine magazine in the year 1974-75. It was like this

கே: தமிழ் சினிமாவில் இனிமையான விஷயம் என்ன?

ப: கண்ணதாசன் எழுதி விஸ்வநாதன் ராமமூர்த்தி இசையமைத்து டி.எம்.எஸ் பாடி சிவாஜி நடிப்பதை விடவும் தமிழ் சினிமாவில் இனிமையான விஷயம் இருக்கிறதா என்ன?

Regards
From: RR on Fri Jan 25 11:32:44 2008.

Mainsekaran

Excellent narration. I think this song is a great example to illustrate the nuanced body language of NT. Even with sound off, one can get the full effect of the song. Thanks for taking us down the memory lane.

BTW, in an old discussion, someone claimed that Kannadhasan was inspired by a pattinathaar song. Would you have any information on that?
From: Manisekaran on Fri Jan 25 12:17:07 2008.

Dear RR,

Thank you for your comments. You may remember in 1998, while talking about Ilakkiyam in Cinema, people like Kanchana and I had discussed about Pattinathar songs. Of course one of the songs Kannadasan lifted from Pattinathar's works was VEEDU VARAI URAVU from Paatha Kaanikkai. Perhaps you are guessing the some kind of resemblance between Ponal Pogattum Poda and Veedu Varai Uravu

Readers are free to write their comments. However, I propose to introduce the songs of my choice.

Thank you
Regards
Manisekaran
From: s ramaswamy on Fri Jan 25 22:55:09 2008.

Hi Mr Mani,

Your pick of the first song of this eagerly awaited series for oldtimers like me is spot on. It's a great song, as you have mentioned acted out brillliantly by Nadigar Thilagam, penned with felicity by the great KD, composed so brilliantly by the incomparable TFM MD duo of VR and also, not to forget, sung with such depth and emotion by TFM legend TMS that it's as if acting maestro Sivaji and the singer par excellence have blended into one, voice-wise.

Just lisen to the words "Ponaal Pogattam Poda" sung by TMS at various stages of this incomparable song and one can say that he's not sung better earlier or later. The nuances of expressions he brings to these words at different octaves, from the high to the low, without "pisuru" is simply out of this world. Songs like these have truly established TMS as the singing voice of the one and only Sivaji Ganesan.

And as far as your comment about KD being inspired by Pattinathar, it's also spot on. He had been inspired by so many ancient Tamil poets, including the king of them all Kamban, but the beauty is how he's borrowed the ideas and made them his own in simplistic style to attract the man on the street. For example I have read that the song 'Athan Ennathan" was inspired by kavi
Kaalamega Pulavar's poem "Kallaithan mannaithan kaaichithaan Kudikkathan Karpitthaana..".

Once again a million thanks for starting this series which would be a milestone in the short but telling history of TFM, I am sure.

Warm regards

Ramaswamy
From: baroque on Fri Jan 25 22:55:51 2008.

Dear Manisekaran sir, How are you? Great to see your write-up. Ennai yaarendru.... runs on Rag Sindhubhairavi ambience is my all time favorite MSV musical, I can forever indulge this emotive musical enriched with shenai ludes, evocative singing by Shri.TMS-Susheela. Aahaa.. HOW DIVINE!!

Songs like ponaal pogattum podaa..., ennai yaarendru.... are available in assorted collections like vinnodum mugilodum or Sivaji Hits or Susheela HITS etc...
Please you and your friends bring hidden/forgotten gems like kannu irandum minna minna ... etc.. for novice people like me who knows only handful of musicals.
Thanks, Vinatha.
From: Manisekaran on Sat Jan 26 6:28:07 2008.

Dear Mr. Ramswamy,

Vimarsanathukku Aayiram Nandrikal. This is my contribution towards cheering the hearts of the readers. You would have observed that the very discussions on old songs would heighten our moods and spirit. It is simply nostalgic and moving. I was inspired to write, and you too seem to be inspired to read. This is what I meant by Yaan Petra Inbam Peruga Ivvaiyagam (TFM Pge)

Just to say, this is not the history of the Tamil films songs. Just recollection of some interesting information that enshroud some old songs. Looking forward to your active participation.

It is for people like you that I write and feedback from readers like you that give mne the needed inspiration to continue.

Thank you
Manisekaran
From: Manisekaran on Sat Jan 26 7:14:04 2008.

[quote
Please you and your friends bring hidden/forgotten gems like kannu irandum minna minna ... etc.. for novice people like me who knows only handful of musicals.
Thanks, Vinatha.[/quote]

Anbulla Baroque,

Nalam, Nalam Ariya Aaval

Thank you for your comments. I would love to bring your selection. However, let me finish all my selections which contain ineresting tidbits.

Since you have asked, let me say this. When PSV's Aandavan Kattalai was released, there was a cartoon in a Tamil weekly in Tamilnadu. It showed a drunkard holding a VAT69 bottle in his hands. His eyes were bloating out, and his legs were twisted- owing to over consumption of alcochol. Below the cartoon was written "Kannirendum Minna Minna, Kaalirendum Pinna Pinna" Very well twisted for a "KUDIMAGAN" case. But Kannadasan has indeed written the song with good wordings.

PBS:
Kannirandum Minna Minna
Kaalirandum Pinna Pinna
Penazhagu Povathenge Sollammaa
En Piththam Theera
Marundhondru Sollammaa
(kannirandum...)

LRE:
Kattazhagu Thullath Thulla
Kaadhal Kadhai Sollach Cholla
Pakkam Pakkam Varuvathenna Sollayyaa
En Paarvayile Marundhondru Illayaa?

(It is said PENKALIN ORU PAARVAI NOIYAI THEERKKUM, ORU PAARVAI NOIYAI UNDAAKKUM)

(kattazhagu...)

PBS:
Nei Manakkum Koondhalukku
Neela Malar Vaangi Vandhen
Vaangi Vandha Malargalile
Vandu Vandhu Mothuthammaa

LRE:
Vandu Vandhu Then Edukka
Vandhu Vitta Boadhayilae
Vattamittup Paaduthayyaa
Thottu Thottu Paesudhayyaa

PBS
Thottu Thottu Paesayile

LRE:
Sorgame Thondruthayyaa

PBS:
Patta Idam Aththanaiyum

LRE
Pani Pol Uruguthayyaa

(kannirandum...

It is only Kannadasan who could immerse into the hearts of the characters and bring out their emotions. He is simply matchless. His greatness is felt in his absence. There is a saying "A prophet is not recognised during his lifetime and in his own country"

Today is the case of "AALAI ILLATHA OORIL ILUPPAI POO CHAKKARAI"

Regards,
Manisekaran
From: madhu on Sat Jan 26 7:36:25 2008.

Mani sir..

wow!

எப்படித்தான் இப்படி எல்லாம் கற்பனை ஊற்று பெருகி வந்ததோ ?

ரோஜா, ஜாதி என்று எத்தனையோ மலர்கள் இருக்க, தன் காதலிக்கு வித்யாசமாக நீலமலர் வாங்கி வருவதும், அதுவும்
அது மணமும், மதுவும் நிறைந்திருப்பதால் வண்டு வந்து மோதுவதாகச் சொல்வதும் ( தலையில் சூடிக் கொண்டாகி விட்டதா இல்லையா என்று தெரியவில்லை) ஒரு புறம் இருக்க,

தேன் உண்ட வண்டு வட்டமிட்டு பாடுவதும் இல்லாமல் தொட்டு தொட்டு பேசுகிறதாம். என்ன ஒரு கற்பனை ? வண்டின் ஸ்பரிசம் பட்ட இடம் பனி போல குளிருமோ ? தொடுதலினால் ஏற்படும் குறுகுறுப்பை எத்தனை அழகாக வர்ணித்திருக்கிறார். ?

அடுத்த வரிகளிலோ "வாழைப்பூ கைகளுக்கு வளையல்கள்
வாங்கி வந்தேன்" எனும் காதலன் அந்த பாரத்தைக் கூட தாங்க
இயலாத மெல்லியலாள் ஆன தன் காதலியிடம் "வாங்கி வந்து சூடி விட்டேன். தாங்கிக் கொள்ள நான் வரவா ?" என்று கேட்கிறானாம்.

மணி சார்..

"ஆலை இல்லாத ஊருக்கு இலுப்பைப்பூ சர்க்கரை" தான்.

ஆனால் இலுப்பைப் பூக்களுக்கே பஞ்சமாக இருக்கிறதே !
From: Manisekaran on Sat Jan 26 8:21:38 2008.

Kannadasan himself has written that some time ago, he had written a poem:

"Thaai Pesa Ninaippathellam Nee Sei Vendum"

It was this poem that was converted into Naan Pesa Ninaippathellam in Paalum Pazhamum.

TMS comes in only one part-

"naan kaanum ulagangal nee kaana vaendum
nee kaana vaendum
nee kaanum porul yaavum naanaaga vaendum
naanaaga
vaendum "

The rest are beautiful hummings by TMS.
From: Manisekaran on Sat Jan 26 9:24:13 2008.

Enna Madhu Sir,

Ungal Peyarileye oru Madhu Mayakkam irukkirathe!

Neengale Kannadasanaaga mariyathu pol post panni Irukkureerkal
"மெல்லியலாள்" enra vaarthaiiyai solkiren

Sanga Kaala sotkalai Kannadasan satru athigamaagave payanpaduthi ullar. Some examples:

1) Nenjirukkum Varai endra padappaadalil Poonguzhalee endra sollai payan paduthiyullar- Poo Mudippaal intha poonguzhalee. Other words like "Vanthanal". This is a matchless and unprecedented song in Tamil film world

2) Kairasi padathil - "Aayizhai" sollai payan paduthi ullaar- Anbulla Ahaan Vanakkam, ungal Aayizhai kondaal thayakkam

3) Kathalikka Neramillai padathil Nambi- Nangai endra sotkalai payanpaduthi ullar- Naalaam Naalaam thirunaalam "Nangaikkum" "Nambikkum" Mananaalam"

Forgotten words were brought to live again.

and many more.....

Thanks again.
From: pavalamani pragasam on Sat Jan 26 10:34:39 2008.

neela malar kurinji poovaay irukkumO?
From: sivaramakrishnanG on Sat Jan 26 10:40:47 2008.

anbu manisekaran sir,
azhagaga sendrukondirukkirathu inthappakkangal!

Naan pEsa ninaippathellam endra paadal thaniyaana POEM illai.
Athu BHARATHI FILMS thayaarippathaaga iruntha oru padathirkku ezhuthappatta paadal.
pEsa mudiyaatha thAi kuzhandaiyai thaalaattumpaadal

thAi pEsa ninaippathellam nee pEsa vEndum
thAi thoonga thaalaattu nee paada vEndum
nee paadum thaalaattai thAi kEtka vEndum - than
nilai maari aval kooda mozhi pesa vEndum

Antha thirai padam edukkap padaatha thaal paadal pinnar ingu ubayogappattathu.

anbudan
sivaramakrishnanG
From: Manisekaran on Sat Jan 26 10:47:00 2008.

Dear Sivaramakrishnan,

Mikka Nanri

Manisekaran
From: baroque on Sat Jan 26 16:19:51 2008.

Dear Mani sir, Thanks for writing about my favorite song. AMAZING LYRICS. I love P.B.Sreenivas. Such a konji konji voice ! Shri.MSV has composed in style with Rag KIRWANI gamakam.
Aandavan Kattalai has some amazing compositions.
Sirippu varudhu... Chandra Babu
Amaidhiyaana .....What an eternal enchanting beauty!
Azhagey vaa... Haunting musical.

What can we say about AARU MANAMEY AARU....- Philosophical jewel in ambience of rag sindhu bhairavi stands as Complement to the composer's genius- What a classical prowess, no two tunes are the same in any given rag but still a regular person will be immersed in the gamakam of the rag!!
Genius of Shri.MSV, Legendary Kannadhaasan & Shri.TMS!!
True musical makers, enriched our life.
What a thaalam, layam, emotional lyrics, delivered with grace by Shri.TMS.

Please write about that song too when you are ready!!

Madhu, I have a friend for brunch this saturday morning. He loved your thoughts, he wants to congratulate you.
Way to go, Madhu!

Already I am all smitten by that song, reading your varunanai.. Doubles the pleasure.
Aahaa..
Naan pesa ninaippadhellam.... COZY INTIMATE song.
Romance Romance Romance in the Air!
Saro is dreamy! BEAUTIFUL LADY!!

Loving it, Sir! Please continue! Whisk us to the world of fantasy!
From: Manisekaran on Sat Jan 26 17:01:12 2008.

Dear baroque

Thank you for your thoughts. Shall come to the song of your choice once my selctions are exhausted.

Manisekaran
From: Manisekaran on Sat Jan 26 17:04:21 2008.

Dear Participants,

I think we have discussed enough on the above songs. As I have started with a Nadikar Thilakam's song, shall I now move on to a Makkal Thilakam's song for a balance?

Awaiting your green light

Regards
Manisekaran

From: Sudhaama on Sat Jan 26 18:48:03 2008.

saradhaa_sn wrote:

s ramaswamy wrote:

And as far as your comment about KD being inspired by Pattinathar, it's also spot on. He had been inspired by so many ancient Tamil poets, including the king of them all Kamban, but the beauty is how he's borrowed the ideas and made them his own in simplistic style to attract the man on the street. For example I have read that the song 'Athan Ennathan" was inspired by kavi
Kaalamega Pulavar's poem "Kallaithan mannaithan kaaichithaan Kudikkathan Karpitthaana..".

Dear S.Ramasamy,

இந்நேரம் நான் படித்த ஒரு விஷயம் நினைவுக்கு வருகிறது. ஒரு கல்லூரிப் பேராசிரியை சொன்னது. அவர் சொன்னதை அவர் வாயிலாகவே தருகிறேன். அவர் சொல்லியிருந்தார்:

"ஒரு முறை சென்னை வானொலியில் 'இலக்கியங்களும் திரைப்படப் பாடல்களும்' என்ற தலைப்பில் ஒரு உரை நிகழ்த்த என்னை அழைத்திருந்தார்கள். நான் உரை நிகழ்த்தியபோது, இலக்கியங்களில் சொல்லப்பட்ட பல விஷயங்களை கவிஞர் கண்ணதாசன் எப்படி தன் பாடல்களில் எடுத்துக் கையாண்டிருந்தார் என்பதைச் சொல்லி விளக்கி, கிட்டத்தட்ட கண்னதாசன் பணடைய இலக்கியங்களில் இருந்து நிறைய காப்பியடித்துள்ளார் என்கிற ரீதியில் என்னுடைய உரை நிகழ்த்தினேன். ஒலிப்பதிவு செய்யப்பட்டு இரண்டு நாள் கழித்து என்னுடைய உரை வானொலியில் ஒலிபரப்பானது. ஒலிபரப்பாகி சுமார் அரை மணி நேரம் கழித்து எனக்கு ஒரு தொலைபேசி அழைப்பு வர, எடுத்துப்பேசினேன். மறுமுனையில் "நான் கண்ணதாசன் பேசுகிறேன்" என்று கேட்டதும் எனக்கு கையும் ஓடவில்லை, காலும் ஓடவில்லை.

கண்னதாசன் தொடர்ந்து பேசினார். "சற்றுமுன்னர் வானொலியில் உங்களின் உரை கேட்டேன் மிக அருமையாக பேசியிருந்தீர்கள். ஒரு விஷயத்தை உங்களுக்கு தெளிவு படுத்த விரும்புகிறேன். பணடைய இலக்கியங்களிலும் இதிகாசங்களிலும் சொல்லப்பட்டிருக்கும் பல நல்ல விஷயங்கள், உங்களைப்போன்ற பேராசிரியர்கள், பண்டிதர்கள் மட்டத்தோடு நின்று விடுகின்றன. ஆனால் திரைப்படப் பாடல்கள் என்பது நாட்டின் கடைக்கோடியில் குக்கிராமத்தில், பள்ளிக்கூடமே போகாத, மாடு மேய்க்கும் சிறுவன் வரை சென்றடையக்கூடிய வலிமை பெற்றது. அதனால் இலக்கியங்களில் சொல்லப்பட்ட பல நல்ல விஷயங்கள் அவர்களையும் சென்று சேர வேண்டும் என்று அவற்றை எளிமைப்படுத்தி தருகிறேன்.

உதாரணமாக, திருமணங்களில் ஓதப்படும் சமஸ்கிருத வேத மந்திரங்களில், கணவன் மனைவிக்கிடையேயான மன ஒற்றுமையை எடுத்துக்காட்ட
'நான் மனமாக இருந்து நினைப்பேன்... நீ வாக்காக இருந்து பேசு'
என்று ஒரு வரி வரும். அது நம்மில் எத்தனை பேருக்கு தெரியும்?.

ஆனால் அதையே நான்

"நான் பேச நினைப்பதெல்லாம் நீ பேச வேண்டும்"

என்று எழுதியபோது பெரும்பாலான மக்களை சென்று அடைந்தது. இது தவறு என்று சொல்கிறீர்களா?" என்று கண்ணதாசன் கேட்டார். அவர் சொன்னதைக் கேட்டது முதல் கண்னதாசன் மேல் எனக்கிருந்த மதிப்பு பல மடங்கு அதிகரித்து விட்டது".

இவ்வாறு அந்தப் பேராசிரியை சொல்லியிருந்தார்.

கவியரசர் சொன்னது ஒப்புக்கொள்ளக்கூடிய விஷயம்தானே..!!.

.
mikka nanri saarathaa,

ithee vishayaththai kanNathaasan vaanoliyilum kuuRa, waanum keetten.

athu mattumaa.?

viitu varai uRavu, veethi varai manaivi, kaatu varai piLLai kataisi varai yaaroo.? ennum azakaana thirai-ilakkiya variaLukku...

...muula paatam... pattiNaththaarin uyarwtha thamiz paatalkaL.!

...kaalangkaLil avaL vasawtham, kalaikaLilee avaL ooviyam, maathangaLil avaL maarkazi, malarkaLilee avaL mallikai...

..ennum azakaan soRkoorvai... karuththu-azakum tamiz ilakkiya azakum... uyariya thaththuva azakum.. orunkee kuuti keetpoorathu manathai paravasappatuththukinRana. allavaa.?

ikkaruththin muula paatam.. pakavath kiithaiyil... kaNNan thannaippaRRi vivariththa karutthukkaL.!
.

From: baroque on Sat Jan 26 19:09:53 2008.

Sure, Mani Sir, Go ahead with Shri.MGR - Charishma, Class & Grace!!
Hope you cover my another P.B.Sreenivas song Neeyo naano.... from Mannadhi mannan!
Shri.MSV with Shri.PBS - Class at display!
True musical makers!!

Mani sir, please continue your choices!
We are enjoying with exuberance!
From: Manisekaran on Sat Jan 26 19:27:08 2008.

Sudhaama,

Welcome on board.

Manisekaran
From: Manisekaran on Sat Jan 26 19:29:43 2008.

Dear Baroque,

Neeyo Naano may come much much later.

But let me dedicate one Vathiyaar song for you, with interesting background information.

ADUTHA MAATRAM.........

Manisekaran
From: Manisekaran on Sat Jan 26 19:57:50 2008.

[tscii:c468423bc0]ODUM MEGANGALE

Let me now select a song of my favourite entertainer MGR

The Pathmini Pictures Aayirathil Oruvan shall always remain a milestone in the history of Tamil movies for various reasons. The movie saw the creation of unity and disunity. It was a clear case of sorrow and joy embracing each other. DISUNITY- MSV and TKR departed from this movie. B.R. Bantulu and Sivaji Ganesan parted as opponents in the film industry. UNITY- Kannadasan and MGR become friends after short span of bitterness. MGR and Bantulu became very close friends from this movie. Jayalalitha and MGR started pairing up!

We know for a fact that from the mid 1950s the Tamil cine industry was slowly evolving into MGR and Sivaji units, while there were still some neutral units. But the MGR and SIVAJI Units had grown into goganticv proportions. Some producers and directors changed camps in later days, while some remained where they were rooted. There were some Sivaji Unit people who did not take movies on MGR, but had some respect for him. Mukta Sreenivasan though and Balaji are the only ones who never took movies using MGR. Actor �producer Balaji of Sujatha Cine Arts made it an annual affair to go to Ramavaram to convey pongal greetings to MGRand receive Rs 100 as Pongal gift. MGR would hint at Balaji, �You make movies there, but receive pongal gifts from here� to which Balaji would just smile off. MM Sinnappa Devar, for instance remained with MGR for good- from Thaaikku Pin Tharam right up to Nalla Neram (with a major misunderstanding that was short lived and they quickly got patched up). RM Veerappan did not cross over while MGR was still alive. In some ways those belonging to both camps played their games very well, for fear of retributions and facing the fact that cine world is a business world combined with a kind of politics. Each was aware of the fluid and delicate nature of the MGR and Sivaji camps. They all treaded a very practical path.

In the early 1960s there was a direct and keen competition between MGR and Sivaji Ganesan. In all fairness, it was this keen competition that made their movies even better. In the race to gain supremacy, both MGR and Sivaji Ganesan struggled to give their best performance. The competition was a blessing in disguise for us movie goers.

Though distanced between each other, both units were keenly spying on each other. Sivaji was fully confident of his acting ability. From 1960 right up to mid 1960s, MGR was developing permanent formula- dialogues for the downtrodden, good fight scenes, story line to fight for justice, and of course with songs with message, coated with excellent music. Devar�s movies dominated this period, with KVM composing music. During this same period, Sivaji Ganesan sent shocking waves in the theatres by showing his superp performance, with some of the best storylines. Most of the �PA� eries films diected by Bhim Singh went to Sivaji. While MGR starred movies were evolving as the best kind of entertainment material, Sivaji Ganesan�s movies were seen as a must see movies by families. Sivaji Ganesan proved himself to be an invincible actor, and a time tested excellence.

It was no surprise that both Sivaji movies and MGR movies were doing well at the box office. While Sivaji Ganesan movies ran for his superp performance, MGR movies ran for his charisma and entrtainment elements. Sivaji Ganesan, wanting to know the success behing MGR�s movies has asked Aroor Das the script writer on the secret behind success of MGR movies. Sivaji had said this, � I am sweating hard to give my best performace, but MGR just sings duets and his films run well. What is the secret� Aroor Das gave a very candid answer, � You have talents, while MGR has the support of the masses and that makes his films run.� MGR knew his support in Tamilnadu. But in the early 1960s there was a widely held view that people from middle class and upper class went for Sivaji starred movies, while the general masses went for MGR movies. MGR made his moves to improve his image dramatically by employing various techniques. One of the ways was to woo producers, directors and other crew from Sivaji Unit. While contemplating this, some unexpected turn of events took place in the cine industry, favouring MGR.

B.R. Bantulu was one such producer who was never an MGR unit man. He was always with Sivaji Ganeson making movies like Muthal Thethi, Kalyanam Pannium Brahmachari, Sabash Meena, Kappalotiya Thamizhan, Thangamalai Ragasiyam, Veera Pandiya Katta Bomman, Bale Pandiya, and Karnan. Karnan was big banner movie with costmume and setting strength, involving some of the leading artistes, who were highly paid at that time. While the film was in the making, the budget overbust and Bantulu incurred great losses in Karnan. He had difficulties in settling payment with Sivaji Ganesan. This was dragging on for some time, and Sivaji even thought of making strong moves to recover what was due to him. It was around this time that Bantulu proceeded in making Muradan Muthu. Banutulu always made it a point to release his movie, mainly of Sivaji Ganesan for Deepavali. He was planning to release Muradan Muthu for the Deepavali of 1964, as the 100th film of Sivaji Ganeson. The very brand of 100th movie of Sivaji Ganesan� he felt, would ensure Box-Office collection. But A.P.Nagarajan also of Sivaji unit pressed Sivaji Ganesan to complete his NAVARATHIRI as the 100th movie, citing the speciality of 9 roles in Navarathiri. APN argued that Sivaji Ganesan�s hundredth movie must contain a special stamp, and the stamp was not there in Muradan Muthu. Sivaji Gansan was more inclined in making Navarathiri as his 100th film. We must undersand that both Sivaji and Bantulu had valid reasons seen from their own standpoints. Bantulu was offended when Sivaji was inclining more towards A.P. Nagarajan�s Navarathiri. Despite repeated appeals by Bantulu, Sivaji went ahead, with his own reasoning and completed Muradan Muthu as the 99th movie and Navarathiri as his 100th film. Though released at the same time, Navarithri was announced as the 100th film of Sivaji Ganesan. Bantulu was totally disturbed and disappointed to see Muradan Muthu coming before Navarathiri. Muradan Muthu was fairly a good movie, but the bitterness was already planted in the depth of the heart of Bantulu. This open conflict was noised throughout the industry. Some broke mongers capitalized on the prevailing conflict between these two one time soul mates. (They had been visiting each other and echanging Deepvali gifts for so many years)

Cinema field has its own politics. MGR was following all these developments closely with eagle�s eyes. MGR was about to move into action, when Bantulu himself came looking for MGR, as Murdan Muthu movie was deviating from his set goal. When Bantulu was down in spirit during the making of Muradan Muthu, some friends persuaded Bantulu to see MGR and start making movies, meaning cross over to MGR unit. Bantulu and MGR met up. After a brief conversation, MGR said he would give all the cooperation to Bantulu and then passed him over to R.M. Veerappan, who went into details of payment etc, etc as usual. So came the offing of Aayirathil Oruvan as Pathmini Pictures first movie with MGR, and in the much glamorous Eastman Colour.

MGR himself was keen in making Aayirathil Oruvan into a great hit, for which he gave the greatest cooperation. MGR paid careful attention into every aspect of the movie- dressing, location, fight scenes, dialogue, and most importantly songs. Visvanathan and Ramamurthy were booked for composing the songs, and Govarthanam and Henry Daniel too were roped in as assistants to boost the best possible music- a live wire for MGR starred movies. So a full scale team was put up for composing the songs. Vaali was booked for penning lyrics.

Valee had composed a few songs for the film. But for one particular sitatuon, Valee could not measure up to the expectation of MGR. In fact after several efforts, Valee himself felt that he could not rise up to the needs of the song situation. Therefore MGR had to go for a lyricist who was retaining supremacy over everyone else in the cine industry. Who else, but Kannadasan was the towering figure in the cine field. Only some time had passed since the success of the film PADAGOTTI where Valee had penned all the songs that MGR made an open statement that henceforth Kannadasan will not write songs for his films. In a quick retaliation Kannadasan released a statement that henceforth he too would no more write for MGR. Valee was the gainer during this interim period.

But MGR, another perfectionist had no choice but to seek the best poetic brain of Kannadasan. As he proposed the idea, there was immediate resistance from those around him. But MGR was simply firm on his decision as he was looking for the very best. MGR started to phone up studio after studio and finally caught Kannadasan on the line. Kannadasan was surprised to receive this call from the very person one who only recently made a public statement to discard his songs. When the call went through and both heard the voices of each other, enmetity harboured in their hearts simply melted away like Swiss chockolates on both sides. MGR explained the difficulties Valee was facing in coming out with the right kind of lyrics for a a particular situation and called him to come over to his presence. Within 20 minutes Kannadasan appeared where MGR was. MGR explained the situation in the presence of Valee.

The situation was this. The heroine living in a palace proposes her love for the leader of a slave group. The slave leader has his own mission to achieve, and therefore has no place for love in his heart. At the same time the hero did not want to give an outright �No� answer, knowing fully well that a No answer would simply hurt her beyond endurance. This delicate situation has to be well handled and the negative answer must be conveyed in a mild manner so that the heroine is less wounded. Kannadasan was requested to pen lyrics, sending the message to her indirectly in the mildest form. At the speed of lightning, Kannadasan wrote the pallavi, in which the hero summons the passing clouds to console the heroine�s heart in distress.

MGR was fully, wholly and wholeheartedly satisfied with the pallavi that he requested Kannadasan to complete the song with stanzas. He also was told to complete the two other remaining songs- Naanamo Innum Naanamo and Atho Antha Parvai Pola Vaazha Vendum, which also came out excellent beyond expectation!

Here is the pallavi that MGR approved instantly:

oadum maegangalae oru sol kaeleeroa
aadum manadhinilae aarudhal thaareeroa
aadum manadhinilae aarudhal thaareeroa

Then he explains how both of them who are leading two diametrically opposite paths could never pair up:

naadaalum vannamayil kaaviyaththil naan thalaivan
naattilulla adimaigalil aayiraththil naan oruvan
maaligaiyae aval veedu marakkilaiyil en koodu vaaduvadhae en paadu
idhil naan andha maan nenjai naaduvadhengae kooru

Finally he says that he has his own ambition to achieve, for which the hero Manimaran cannot think of accepting the love of the heroine Poonkodi

oorellaam thoongaiyilae vizhiththirukkum en iravu
ulagamellaam sirikkaiyilae azhudhirukkum andha nilavu
"PAADHAIYILAE VEGUDHOORAM
PAYANAM POAGINRA NAERAM
KAADHALAIYAA MANAM THAEDUM ?
IDHIL NAAN ANDHA MAAN NENJAI NAADUVADHENGAE KOORU"

And that is Kannadasan who has time and again proven that he could rise to any occasion.

MGR again proved to the cinema world that he was simply the best in going for the very best- Kannadasan.
The song was very well worded and very well composed as one of the masterpieces of Visvanathan and T.K. Ramamurthy, supported by Govarthanam and Henry Daniel. The scene was well picturised in the hot, bright and picturesque Goa beach.

This is one rare song scene where MGR provides very powerful facial expression, and expresses the wordings of Kannadasan in the most striking manner. It was very well picturised.

The movie Aayirathil Oruvan is one of the best of MGR- indeed a wonderful movie watching several times.

[/tscii:c468423bc0]
From: mr_karthik on Sun Jan 27 3:57:00 2008.

Dear Mr. Manisekaran,

Good write up about 'Odum mEgangaLE' from Ayirathil oruvan, with rare and touchy informations.

(post edited, as per request of a hubber)

From: mr_karthik on Sun Jan 27 4:33:02 2008.

Manisekaran wrote:

ODUM MEGANGALE

And that is Kannadasan who has time and again proven that he could rise to any occasion.

MGR again proved to the cinema world that he was simply the best in going for the very best- Kannadasan.
The song was very well worded and very well composed as one of the masterpieces of Visvanathan and T.K. Ramamurthy, supported by Govarthanam and Henry Daniel. The scene was well picturised in the hot, bright and picturesque Goa beach.

This is one rare song scene where MGR provides very powerful facial expression, and expresses the wordings of Kannadasan in the most striking manner. It was very well picturised. Let us see the Odum Megangale, and bring our mind to focus on the background to this song:

Everybody will be happy on reading your analysis about this song, except a single man in the world. He is none other than T.M.Soundarrajan, the greatest singer TMF ever produced.

Yes, his name was not mentioned even in a single place of your detailed write-up.

From: Manisekaran on Sun Jan 27 6:48:40 2008.

Dear Karthik,

Poovukku Vaasamundu Endru Sollithaan Theriya Venduma?
Anyway you have mentioned TMS, who in your opinion is the greatest singer TMF has produced. I had focused on MGR, Kannadasan and the MDs in the creation of the song. I should have brought in TMS as well who gave life to the song. Mannikka Vendukiren.

The background of Aayirathl Oruvan movie and the clash between both MGR and Sivaji camps were most highlighted in the print media in those days. This was the talk of the industry. This matter still being kept alive in the cine world. The matter has been repeated in several forums. Many of us have written on this. Thank you for the posting by Saradha as well. We all speak the same language.

I have written on the clash between Karnan and Vettaikkaran as well. Devar was worried on the success of Vettaikkaran. Therefore he employed a trick. He caged the leapords that acted in Vettaikkaran and placed them in the theatre where Vettaikkaran was screened - for the audience to see before entering the theatre. Then he advertised on what he had done. That too pulled the crowd. It only shows how producers would go to any length to ensure the success of their movies. But certainly Vettaikkaran ran on the strength of the movie, with the combination of MGR, Kannadasan and KVM. Vettaikkaran has given some of the best songs to the Tamil cinema world. I remember listening to the instrumental on Unnai Arinthaal in one of the websites of ADMK, a song that shall live forever- sung by one of the best singers TFM has produced. In the state assembly elections of 1967, Perunthalaivar Kamaraj warned the electorate of Vettaikkakran (MGR) coming to the electorate to scoop away all the votes.

But my purpose is to bring the readers to the song Odum Megangale for which I had to recapitulate the background, of which all of us are well conversant with.

Let us be clear that this discussion is not on clash between the camps. It is how this particular song was created. Let us focus on the discussion on the song.

I admit, I too got carried away in typing the above. Let us come back.

Regards
Manisekaran
From: baroque on Sun Jan 27 15:49:47 2008.

AAYIRATHIL ORUVAN
Eternal magic of Shri.MSV-TKR!
Two gorgeous people MGR & JJ always a visual treat!
Every tea kadai blasts these songs for yrs & yrs, 3 decades + this album is fresh & attractive, we cherish them dearly.
MGR-MSV songs unite families, one sure way to bring family time, watch a MGR-MSV mega musical film, have fun!
We plan to have one with our friends with RAMAN THEDIYA SEETHAI this rainy, lazy afternoon after our daily/routine agendas.
Nalladhu kanney kanavu kanindhadhu
Nandri unaku
Uravil eazhundhadhu anbu viLakku
yes indeed!
, Sir Vinatha.

Sir, What is that 'adutha maattram...', you have mentioned!
Is that a song? I am unable to locate!
From: NOV on Sun Jan 27 22:36:24 2008.

5 pages!
i was away for thaipoosam (in penang) and am back to see this feast being prepared by mani & co.

pls bear a little digression:

1. in the intro page mani sir said that the breathless song, mannil indha kaadhalandri, was recorded using technology.
correct me if i am wrong, but i dont think such technology was employed then (circa 1985)
SPB's another breathless song in amarkkalam, saththam illaadha thanimaiyai kEttEn was the one where Bharadwaj used technology to make it appear like continuous singing.

2. pOnaal pOgattum pOdaa - i remember reading somewhere that while writing/composing the song, kannadhasan was advised by his assistant that his house was going for auction and that is when kavignar said, pOnaal pOgattum pOdaa."
the ppl in the studio thought that the particular line would be most apt for the situation in the film! how true is this?
From: NOV on Sun Jan 27 22:36:26 2008.

coming back to the song in question, Odum mEgangalE, one line in the song attracts attention.

aayiraththil naan oruvan - which can mean "I am just a common man" as in the context of the story OR "I am extra special" as in the personality of MGR. superb word play by kannadhasan
From: vijayr on Mon Jan 28 1:16:15 2008.

NOV, mannil indha kaadhal came out around 1990. And according to SPB they had just edited the song at that time to make it look like as if it was rendered breathless. But having said that, SPB is capable of almost reproducing it live too.He just takes a few well-positioned mini or micro breaths which is hard to find for the listener.
From: Manisekaran on Mon Jan 28 8:31:02 2008.

Dear Nov,
Weclome after some absence.

Surprised you are asking about background to songs. As pioneer of TFMPage, you should have gone through the postings of the early days, where much had been said about background to old songs.

The explanation for your question is not Ponal Pogattum Poda, but Silar Sirippar.

But let us take caution in that one song may have several stories, depending who tells the stories and when it is told. Some told at ealier period have been retold in another mould at later times.

If you read the entire collections of Kannadasan you will get some good inputs on how the songs of Kannadasan were born. Then comes Rama Kannappan who gives some information, which at times seem to be contradicting.

Three years ago there was a long series in Raani weekly which summed up all the major events in the life of Kannadasan, highlingting Kannadasan's songs.

Major weeklies in Tamilnaadu have published most of the background to the songs of Kannadasan, and off and on they are being repeated.

You are in Malaysia. You may remember Kannadasan Neram, a radio program which ran for several weeks, where the background to Kannadasan was given by Mydin Sultan.

Mahendraraj and ardent fan of Kannadasan, in his articles in TFM Page has stated in brief the background to most of the songs with some background. Postings of the pioneer period in TFM Page also carry much information on the background to old songs.

So background to songs of Kannadasan have received the widest possible publicity over the print media.

But there is a difference. Kannadasa's songs can be discussed again and again, and yet it provides the same spirit and entertainment. Perhaps that is the reason as to why many of us, at least I, am deriving happiness in repeating them.

Other than that you have to read Naanum Intha Nootraandum by Valee which gives more of background to songs from MGR starred movies.

Recently books have come out on MSV and TMS, which do carry some interesting informaion as well, some quite controversial as well.

AVM has come out with some publications which also throw some background to the songs. Other books by Bharathiraja, actor Sivakumar, Muktha Seenivasan, Aranthai Maniam, Aroor Das and B. Lenin also throw some light.

In the olden days film magazines carried so many articles on background to cinema songs. Untortunately, many have not come out in book form.

Just to tell you that there are hundreds otherwise thousands of books, and booklets on Tamil cinema songs.

You are going to Chennai often. You can get many of the books from Higgin Bothoms in Mount Road, from where I myself got most.

Thank you
Regards
Mani
From: Manisekaran on Mon Jan 28 9:27:37 2008.

[tscii:6cc581fde1]PALLAAKKU VAANGA PONEN

When DMK came to power again after the demise of MGR, the late actress Banumathy gave an interview to a private TV. In that interview she reminisced about MGR. She said to this effect, �There are people who claim that MGR rose because of DMK. I deny that. MGR is DMK and DMK is MGR! If there had been no MGR, there would have been no DMK. This is the truth!�

This is a controversial statement. Let us not go into that, as we also may get divided. My point is that, cinema was the post powerful agency in spreading DMK policies to the masses. There had been Narayanasamy, Senthamarai, KR Ramasamy, SS Rajendran and several others who spread DMK in the movies. But it was MGR who did most, as actor, producer and director. Even in movies not directed by him, his involvement was there to a large extent. After Nadodi Mannan was released, Kannadasan has said that MGR is an all rounder, knowing all details of production and direction as well.

When DMK was publicized in the movies, the Censorship Board was paying careful attention. But MGR always gave ideas to escape Censorship Board�s knife in the early days.

In dialogues he brought in DMK. In dressings he went for black and red. In shooting scenes too he focused on black and red. In the song Thanga Thoniyile from Ulagam Sutrum Valiban, foucs is on the ship�s chimney in back and red.

UDAHAYA SOORIYAN.
Udhaya Sooriyan, symbol of DMK was highly promoted as well. In Chakravarthy Thirumagal, Udahaya Sooriyan was placed as pottu on MGR�s forehead, and the Censhorship Board could not come near.

In Kalaiyarasi, Udahaya Sooriyan symbol was placed on the Kulla of MGR.

In Adimai Penn there is a song Kaalathai Vendravan Nee. In this scene MGR folds his hands. At his back was the dance troupe that raised its hands, forming the symbol of Udhaya Sooriyan. There was thunderous applause.

In Nam Naadu, there is a song Vaangaiyaa Vathiyaraiyaa. When TMS sings ��Sooriyan Udhichathunga�MGR places himself in front of a big tree and opens up his arms. At the back you could see the rays of the morning sun spreading out as Udhaya Sooriyan�s rays.

These were all done with the knowledge of dirctors and producers.

There is one movie where MGR gave an idea to TR Ramanna. It as Panakkaara Kudumbam. There is a song- Pallaakku Vaanga Ponen. MGR had suggested to TR Ramanna that he would walk past the Kalvaazhai Maram after halting for a moment. As the song was a night scene, there was a lot of lighting.

The song scene was filmed and the film was released. In the very first release TR Ramanna was in the theater to get the reaction of the fans. It was a sad scene. But as MGR approached the Kal Vaazhaimaram and halted for a while, singing the line:

�Kaathalukke Vaazhnthirunthen Katpanai Illai
Kalyanam Kolvathu Mattum En vasamillai, En Vasamillai�

there was thunderous applause from the fans. Rammanna was confused. He did not expect the applause in a sad scene. Therefore he concentrated on the scene with keen observation. He saw that the Kal Vaazhai maram was highlighted with lighting and it resembled UDHAYA SOORIYAN.

It was only then that Ramanna knew the purpose of MGR giving that idea of he walking past the lighted tree. It was publicizing DMK�s Udhaya Sooriyan!

[/tscii:6cc581fde1]
From: madhu on Mon Jan 28 9:59:50 2008.

Mani sir,

superb...

yes. MGR has included that udhaya sooriyan thing in many of his songs I think. But in some places like "pudhiya vaanam" song, somehow they hv changed it as "pudhiya sooriyan".

Is there any other song in which the word has been changed ?
From: Manisekaran on Mon Jan 28 11:46:23 2008.

Dear Madhu,

Many words have been changed in many songs and this has been discussed before in some other threads.

As for MGR's politically based songs let me give a few examples:

1) In Naan Aanayittaal song a line comes as follows:

En Kaalam Varum En Kadamai Varum Intha Koottathin Aattathai Olippen.

Supposed to be intha "Kaakkaikal Koottathai. But "Kakkaikal" would refer to Congress. Fearing censorhip problem, they used the word Koottathin in the movie and retained Kaakkaikal in the records.

In the next stanza it reads,

Oru Kadavul Undu, Avan Kolkai Undu Athai Eppothum Kaathiruppen- this is in the film

in the record it is Oru thalaivan Undu Avan Kolkai Undu...

In the movie- Petralthaan Pillaiya there is a song - Nalla Nalla Pillaikalai Nambi

In the last part of the song MGR gives lip movement as Medayil Muzhangu Aringar Anna Pol, but TMS sings Medayil Muzhangui Thiru Vi Kaa Pol. Record has it as Anna Pol

Many more of this kind.
Thank you
Mani
From: baroque on Mon Jan 28 15:20:49 2008.

[tscii:a22ccfd862]Pallakku vanga ponen....
Emotive musical, the raga Chakravagam ambience in prelude shed tears!
Everybody�s favorite pathos!

MGR- indeed a shrewd mind!
Coloured Hameer Kalyani CHANDRODHAYAM ORU ..... & Slightly Shivranjani polished THANGA PADHAKKATHIN MELE... have those DMK-Symbols.
Whatever, I am not interested in politics,
MGR & JJ talented, gorgeous looking people always a pleasure!
MGR & JJ in Shri.MSV musicals Rock!
[/tscii:a22ccfd862]
From: madhu on Mon Jan 28 23:11:28 2008.

Mani Sir..

thanks a lot. yes.. words in lyrics of many songs have been changed.. ( chandrodhayam oru peN aanadhO and nAn nanri solvEn are having totally different lines in some stanzas)

But nAn kEttadhu only "udhaya sooriyan" or "sooriyan" only.

thanks

madhu
From: saradhaa_sn on Tue Jan 29 1:46:48 2008.

Dear Manisekaran,

Superb discriptions you give, about how 'Udhayasooriyan' was used in MGR movies, directly and indirectly.

Nice collections from various movies.

I also enjoy your write-up, about how the songs were changed to escape from Censor Board.

Interesting.....

From: raajarasigan on Tue Jan 29 1:57:22 2008.

madhu wrote:

Mani sir,

superb...

yes. MGR has included that udhaya sooriyan thing in many of his songs I think. But in some places like "pudhiya vaanam" song, somehow they hv changed it as "pudhiya sooriyan".

Is there any other song in which the word has been changed ?

in this song itself, the lip movement was for "Udaya Sooriyanin paarvayile"...i.e. in record.. but after censor, it was changed to 'pudhiya sooriyanin"...

while seeing the song, we can identify this.. though it is bit tough since both 'U' and 'pu' sounds similar..

From: Murali Srinivas on Tue Jan 29 4:50:49 2008.

Dear Mani Sir,

After Ponal Pogattum Poda, you have come out with two good songs of MGR which are different from the usual in the sense both don't belong to the exuberant category, MGR songs are known for.

Coming to Udaya Sooriyan, I beg to differ on one account. Chakravarthi Thirumagal was released in 1950s. At that point of time DMK's election symbol was not Udaya sooriyan. DMK first contested the elections in 1957 and they were given symbols normally allotted to Independant canditates as DMK was not recogonised by the election commision then. Even Annadurai contested in Seval Chinnam (சேவல் சின்னம்). Only in 1962 general elections, they were given Udaya Sooriyan. And as you had mentioned MGR had began to highlight this in his movies after 1962. Even Kalai Arasi, was it released in 1961 or 63? If it is a 1963 movie then what you are saying is correct. I have specically written about this (Udaya sooriyan) while doing a review of "Koondu Kili" in NT thread. May be it is a sheer coincidence in Chakravarthi Thirumagal as it happened with Thai Sollai thattathe song (I think it is Sirithu sirithu sirailittai) when MGR would hold a stem that would have Two Leaves( இரட்டை இலை)

Another movie that comes to my mind other than what you have highlighted is Chandrodayam,where in "Chandrodayam oru pennanatho" song, the female lead sings the pallavi as "Ilam sooriyan undhan vadivanadho" where again the sun's rays would form the background when MGR stands in front of the hand pulling cart.

Sorry for the interference. Continue your great work.

Regards
From: Manisekaran on Tue Jan 29 5:13:07 2008.

Dear Murali,

Thank you so much.
Need not feel sorry for what you call "interference." I consider it further contribution. Am so happy to see many views. Otherwise how could this forum become so interesting?

Thank you for pointing out on the two songs from MGR starred movies. Song selection is based on stories behind them, not so much on their popularity.

Thank you for pointing out about Udhaya Sooriyan as well.

I was speaking about the promotion of the DMK symbol way back before the official allocation of the symbol in the 1962 elections.

We know that with the spilt with Periyar the Dravidar Kazhagam Administrative Committee met on September 17, 1949 in Chennai. A new party under the name "Dravida Munnetra Kazhagam" (DMK) was formed on the same date.The Organization Committee met the next morning (September 18, 1949) and issued a statement forming the new party and went into further details. One of them was the designing of the flag and the symbol.

The design of the DMK flag was decided to be a two-colour rectangular flag with the top half black and the bottom half red. The philososphy was said to eb that the that black color reflected the dark political, economical and social situation of Dravidians. The red color was to signify the "rising sunlight" that is supposed to remove the darkness. It was years later that when DMK contested elections, it would take "rising sun" as the party symbol.

Since the founding of the party in 1949, the party, its symbols and its philosphy were promoted by various means,with MGR doing it in his film ways. That the symbol was officially used by the party in the 1962 elections is another chapter.

Chakravarthy Thirumagal the first product of ALS came out under the banner of Uma Pictures in 1957. Kalai Arasi came out in 1963, directed by Kasilingam.

The name of MGR in Chakravarthy Thirumagal was Udhaya Sooriyan. He used Udhaya Sooriyan as pottu. So Udhaya Sooriyan was popularised even before the symbol was officially alloted to DMK in 1962.

In the song Sirkkinraal Indru Sirikkinraal, first MGR song written by Valee for Nallavan Vaazhvaan, released in 1961, he had used the words

"Udhaya Sooriyan Ethiril Irunthaal Ulla Thaamarai Malaratho"

(I met Valee in December 1987 in Prasad studio during a recording session. Had a long conversation with Valee, and one of the subject matters was on the above song)

Annadurai had gone through the lyrics and apporoved with some slight changes. Anna was called Ethayum Thaangum Idhayam. But this was also in the same song. It is

"Ethayum Thaangum Idayamirunthaal
Irunda Pozhuthum Pularatho"

So even before the symbol was officially allotted to DMK in 1962, it was already being promted and popularised by many, including MGR.

Thank you.
Regards
Manisekaran
From: rajasaranam on Tue Jan 29 6:26:29 2008.

Dear manisekaran,

I've come to known that those days the full song along with orchestration will be recorded in one take. Do have any idea about What were techniques they adopted when the need was to change one word or one line in a song Do they Record the full song once more with changed words?!!
From: Manisekaran on Tue Jan 29 6:33:56 2008.

Dear Rajasaranam,

I have discussed how songs are recorded before in some other thread.

Before the track system was there, there used to be to approaches:

1) Record a song a few times, and take the best portions and make out one song. - this was employed by KVM, as related by he himself in a rare radio interview.

2) Record the song, and stop every time there is a mistake, and retake.

But there had been cases where songs were not corrected even if there had been mistakes.

Should this thread continue long enough, I shall give examples.

Konja Naal Poru Thalaivaa!

Unmai Thondan Manisekaran
From: Manisekaran on Tue Jan 29 7:21:52 2008.

Dear Friends,

Can we have more thoughts on Pallaakku Vanga Ponen, before I move on?

Thank you and regards

Manisekaran
From: Murali Srinivas on Tue Jan 29 10:00:01 2008.

Dear Mani Sir,

Thanks for your clarifications. That Udayasooriyan was considered to be the party symbol in the consitution adopted by the DMK on 18th Sep 1949 is news to me.

As you said, let's stop discussing on Udaya sooriyan and hear more on the song.

Regards
From: Manisekaran on Tue Jan 29 15:47:49 2008.

Dear Saradha,

I truly appreciate you for your kind understanding.

Thank you so much.

With sincere regards,

Manisekaran
From: jn on Tue Jan 29 19:43:54 2008.

தகவல் களஞ்சியம் திரு மணிசேகரன் அவர்களுக்கு,
சிரம் தாழ்ந்த வணக்கங்கள். தங்கள் பாடல் தெரிவுகளும் அதைப் பற்றிய நுணுக்கமான தகவல்களும் மிக்க அருமை.
ஒரு பழைய பாடலை நான் ரசிக்கிறேன் என்றால் அதன் இசை, பாடகர்கள் மற்றும் வரிகள் மட்டுமே காரணமாக இருக்கும். மற்ற எந்த தகவலும் எனக்கு தெரியாது. நீங்கள் எழுதிய பல கட்டுரைகளைப் படித்து சில பாடல்கள் எந்த திரைப் படத்தில் இடம் பெற்றிருக்கின்றன என்பது முதல் கொண்ட சின்ன சின்ன பல விஷயங்களை அறிந்து கொண்டதுண்டு. தங்கள் எழுத்துக்களையும் பாடல் தெரிவுகளையும் படிக்க மிக்க ஆவலுடன் இருக்கின்றேன். நன்றிகள் பல.
போனால் போகட்டும் போடா பாட்டில் வாடா போடா பயன் படுத்தியிருப்பது ஒரு நண்பனிடம் தன் உணர்வுகளை சொல்வது போல எடுத்துக் கொள்ளலாம் அல்லவா? சிவாஜியின் நடையழகு மிளிரும் இன்னொரு பாடல் உள்ளம் என்பது ஆமை. காலில் குண்டு அடி பட்டிருந்தாலும் அந்த நடையிலும் ஒரு அழகு இருக்கும்.
ஓடும் மேகங்களே பாடல் தன்னுடைய அடிமை அந்தஸ்தை எளிமையான, அழகான வரிகளில் சொல்லியிருக்கும் ஒரு பாடல்.
பல்லாக்கு வாங்கப் போனேன் பாடலில் முழுவதும் நெகடிவ் அட்டிடுட (negative attitude)் நிறைய இருப்பது போல் தோன்றும். அவருடைய சூழ்னிலையை விளக்குவதால் அது மன்னிக்கப் படுகிறது.
From: thumburu on Wed Jan 30 5:21:28 2008.

"Ayirathil oruvan" had amazng songs and most of them were super hits. But my most favourite among them was the lesser recognized PS number "paruvam enadhu paadal" . The choral arrangement in this song is a case study material. Atleast few songs had the mid eastern flavour mainly in the interludes for a story like one from the "Arabian Nights" . V-R split must have dealt a big blow to the TFM lovers as their music was never the same after they went about their own ways. It is strange to note that the stupendous success of a movie which normally breeds happy partnerships actually led to a permanent crack. Jayalalitha never looked so bewitching as a nubile beauty as in "Ayirathil oruvan"
From: Manisekaran on Wed Jan 30 6:51:46 2008.

[tscii]Dear jn,

Thank you for your appreciation. I have to in all humility and respect for you decline that I am not a Kalanchiam at all. Kalanchiyam is a word that shall always remain with Film News Aanandhan. I am still a KATHUKKUTTI. To the best of my knowledge the only person who is a walking dictionary on Tamil film world is Film News Aanandan. Within the TFM Page, there were some highly knowledgeable persons who are no more with us. I am acknowledging them in the spirit of Maatraan Thottathu Malligayum Manam Veesum.

I have repeated several times before and am saying it again that I am not an expert in any way. I may have some knowledge in some angles. And knowledge is relative.

EARLY OBJECTIONS

1) When the TFM Page was started, I started to post the little information that I had. Somebody immediately started a thread called �Manisekaranai Kelungal�. I immediately objected and demanded the shutting down of that site. This is because I knew where I stood.

2) Another person posted himself as Manisekaran Bhakthan and started a thread on 27 January 1998, to which I vehemently objected as follows:

�I stress that I am not in any way an authority in Cine News. Therinthathu kai mannalavu mattumthaan. Vilyattu Vibareetham Aagivittathu- Kinaru Vetta Bootham Purappattuvittathu. I really enjoyed being with all of you.�

3) Again on the thread on WHY MGR FILM SONGS ARE ALWAYS POPULAR ( 4 December 2006), I posted as follows:

�Thank you for your confidence in me. I have said it before and am saying it again and again. I am not an expert, nor fully knowledgeable on Tamil films or music. My information is based on books and interviews from the cine field. If you read widely you will observe that many of these books contradict with one another. As for the cine personalities, I have met far too many of them. Sadly owing to old age and ailments, many of them are not able to confirm many matters.

There are a lot of gaps in the cine regime. So it is people like you who should check up whatever is posted.

Recently there was one person who somehow got hold of my personal email address and sent a nasty message asking me to stop posting, quoting many mistakes that I seem to have made.....

The email made me happy as the person has finally and clearly rejected me as an expert. That is exactly the way I had wanted to be treated.

So, to say it again, please do not accept everything I say as an expert opinion- Please. I am not from Tamilnadu, I rely on books and interviews with cine personalities. I also make my own mistakes.�

3) The latest objection is in the introduction to this series, which you would have read.

REPRODUCTION OF INFORMATION
Kindly allow me to say that no one in the discussion forum is directly involved in the cine filed, with some rare exceptions perhaps. We are not authors of the very events in the cine fields that we are discussing. I base my information on original sources i.e published sources, radio and TV interviews by artists and some discussions with them. I am reproducer of information.

This is a forum where most of us reproduce what we have read elsewhere, to entertain those who do not have the time to read or do not have access to the original sources. So you may at the most appreciate my efforts in the reproduction of information. Again sometimes i do make mistakes in the reproduction as well, and one should not take them as the one and the only truth.

MAIDEN ATTEMPTS
If you visit the archives created from 1997, you would observe that in the feverish enthusiasm many of us burnt the midnight oil to create a strong data base. If you have the time, you would observe that most of the topics on old songs and films have already been covered, perhaps in varying degree.

But there is an added advantage. These days we have CDs/ VCDs and even online movies from which we could build on from where we have left. These facilities were lamentably lacking when we started to create a data base in the infant days of our efforts.

ELLAARUM INNNAATTU EXPERT AAGALAAM
Some time ago I received an email from a Director of an Archives Department who wanted detailed reference on old films and songs. I told him to go through all the old threads in TFM Page. Three months later he came back to me and said that going through this site gave him a feeling of Alice in Wonderland, and had enabled him to complete his research much earlier than expected. He also said that this site is a one stop centre for whatever you want on old films and songs. Radio stations and TV stations, staffed by new generation people borrrow much information from here. There was also a write up in a Tamilnaadu weekly that has acknowledged the contributions of this site.

Therefore, if one goes through all the old posts, makes some amendments here and there, and starts a thread employing a different style of writing, then that person is sure to be seen to be expert. The very idea of the TFMPage is to make everyone knwledgeable.

I AM STILL A KATHUKKUTTI
After a decade of involvement I am still where I am- at learning mode. Kindly look at two mistakes I have made in this series and the corrections pointed out by Vel1970 and sivaramakrsihnanG. I am still learning. I may make mistakes and continue to be corrected. Education is a life long process. I do acknowledge and appreciate whenever I learn something new.

RECYCLING FOR A REASON
I am recycling postings from the 1990s era with new flavour. Why? In those days when we discussed, we were able to get audio effects alone from the MP3 audio links. Now, with availabity and affordability of hi -fi system and DVDs, I was approached to rewrite the articles so that this time the readers would get Audio-visual effects- a new kind of treat.

Of course you will see new information and new selections as well.
Sorry to have troubled you with a long reply. Kindly pardon me as well. I am sure you will.

(Please read my private message for you)

With immense respect for you.

Mani
From: Manisekaran on Wed Jan 30 7:07:50 2008.

Dear jn,

All the songs you have quoted are coincidently written by Kannadasan. Your observation is correct.

As for Ullam Embathu Aamai, I shall come to it some time later, and I shall dedicate it for you.

Thank you.

Regards
Manisekaran

From: Manisekaran on Wed Jan 30 7:11:16 2008.

thumburu wrote:

V-R split must have dealt a big blow to the TFM lovers as their music was never the same after they went about their own ways. It is strange to note that the stupendous success of a movie which normally breeds happy partnerships actually led to a permanent crack. "

Dear Thumburu,

You echo the sentiments of the entire cinema industry. I concur with you.

I shall post a song on their split some time later and dedicate for you.

Regards.

Manisekaran

From: sivaramakrishnanG on Wed Jan 30 12:59:57 2008.

Anbu Nanbar Manisekaran avargalE,

Dhinamum ungal pakkam ingu vanthu padithuvittu sellavittal ethayo tholaithu vittathu polirukkirathu.
Ingu ellam therinthavargal yaarum illai(Sambanthap pattavargalaithavira) enbathu therinthum aen kuraikoorugiraargal.Neengal ungal paNiyai thodrungal.
Naagal thayaaraaga irukkirom padippatharkku.
Inaintha iruvar pirintha sOgakkathai sollath thodangungal!
Athu Sarvar Sundaram (Avalukkenna) paap paadalaa?
Kaathirukkum
anban
sivaramakrishnanG
From: Manisekaran on Wed Jan 30 15:02:45 2008.

Anbulla Sahodarar Ramakrishnan Avarkalukku,

Nanri. Paadalkal Niraya Ullana.

Adutha Paadal Yaarum "Ethirpaaraathathu"

Kanikka mudiyukirathaa?

Nandri

Manisekaran
From: tvsankar on Wed Jan 30 15:26:14 2008.

Dear Mani Sir,
Neengal sonnadhilayae irukiradho???

From the film 'Edhirparadhadhu" ???? Which song??
From: Manisekaran on Wed Jan 30 17:24:57 2008.

Dear Sahodari Usha Shankar,

Aakka Porutha Manam Aara Porukkalaiyo? Ketkum Kelviyile Paadal Puriyalaiyo?

Antha paadalai ninaithaal enakku URUGUTHU NENJAM, PERUGUTHU KANNEER!
From: jn on Wed Jan 30 19:53:50 2008.

Manisekaran sir: Thanks for the reply. thangaLukku romba thannadakkam. mannippu nu periya vaarththaigaL solliyirukkireergaL.
I know that there is always something new for everyone to learn everyday. Yes, everyone DOES make mistakes. What I meant was, a LKG student like me, (may be not even LKG) has learnt a lot from your earlier postings. Thanks for sharing whatever information you share with all of us here. My thanks to you for your valuable time and dedication to an old song discussion thread like this which makes old song lovers very happy.
next song enna, enna enna?

From: NOV on Thu Jan 31 1:44:59 2008.

Manisekaran wrote:

Surprised you are asking about background to songs. As pioneer of TFMPage, you should have gone through the postings of the early days, where much had been said about background to old songs.

vayasaayiduchu saar.

Anyway, i am glad that you are revisiting the past with a new flavour and new hubbers who did not have the opportunity then, will surely benefit from this new thread.

Contrary to what you say, I find your details well-researched and authenticated with sources. Just like how IR "laid tar" over the "roads built" by MSV with ARR driving over them [

] the new generation will reap benefits and use your works as a reference.

ok, I really think its time to move on... mani saar, we are waiting for the next course.

From: nimalan on Thu Jan 31 2:20:02 2008.

Mani ayya avargale,
NeengaL thuvangi irukkum intha thodarukku mikka nandri. Thinam thinam suvaiyaana thagavalgalai nangal ethirpaarkirom. Endrum ungallukuu Thirumurugan thunai irrupaan. Paadaluku pongal ayya!
From: tvsankar on Thu Jan 31 2:36:03 2008.

Dear Mani Sir.
Thiru muruga
emru
oru tharam sonnal
urugudhu nenjam
perugudhu kannir
Indha padala??

En Tamil Sir ku piditha padalil idhuvum onru.

Ennudaiya aasiryaruku piditha matrum oru padal

"Thillai ambala
Nataraja
sezhumai nadhanae
Paramesa"
From: Manisekaran on Thu Jan 31 5:43:42 2008.

jn,

Thank you for taking my response in the right spirit. Was waiting for your acceptance of my explanation.

The source of all learning is knowledge of God. With the same hand He gives He shall take back. Let us thank God.

Manisekaran
From: Manisekaran on Thu Jan 31 5:46:46 2008.

Dear Nimalan,

Welcome on board. Valathu Kaalai Eduthu Vaithu Varum!

Manisekaran
From: Manisekaran on Thu Jan 31 5:53:48 2008.

NOV @ Namma Oor Vadivelan as you were teased by us.

Neer Varavendum Ena Ethirpaarthen.
Ninaithen Vantheer Nooru Vayathu.
Welcome
From: Manisekaran on Thu Jan 31 5:59:22 2008.

Dear sivaramakrishnanG, tv shanker, nimalan and jn.

"Avan potta kanakkondru Ivan potta kanakkondru -
Irandume thavaraanathu."

Please look at the Ethirpaaratha paadal in my next posting.

Thanks

Manisekaran
From: Manisekaran on Thu Jan 31 6:05:36 2008.

[tscii:87b2f03b90][/tscii:87b2f03b90]SWAPPANA VAAZHVIL MAGIZHNTHU

(Adapted from my posting made in 1998)

Dedicated to old timers who were blessed enough to have seen movies by MKTB.

No one could predict what is the Will of God. Kannadasan has said in simple terms:

Enge Vaazhkai Thodangum
Athu Enge Evvitham Mudiyum
Ithuthaan paathai, ithuthaan Payanam
Enbathu Yaarukkum Theriyaathu�.
(Kannadasan)

This is a song that sums up the rise and fall of the first super star of the South India Film Industry- MK THIAGARAJA BAGAVATHAR.

Some songs are created for cinema situations. By some strange co inidence the songs do sometimes turn out to portray their own lives. Numerous examples can be given in this respect.

I would like to bring a song of one of the greatest gifts of God to Tamilnadu (some concider him the greatest) - MK Thiagaraja Bagavathar.

We need not mention again and again the great tempo that MKT created thorugh his films and his soul stirring songs. His life is a case of prosperity at its peak in the first half and adversity at its lowest ebb during his last days. He himself has said in an interview, �EENNAI POL VAAZHNTHAVARUM ILLAI, THAAZHNTHAVARUM ILLAI'

MKTB was more popular for his songs rather than acting. Films ran for months, nay years all for his immortal songs. Producers rushed and begged him to make movies for them, knowing fully well that box office collection would be guaranteed.So many became millionaires on account of his movies.

MKT received the most hard core and die hard supporters hjitheto unknown in the cine world. The moment MKTB's songs picked up momentum, there was a craze for his songs, and MDs were tempted, and even forced by other producers to compose songs in the style of MKTB. Numerous are such examples.

HEIGHT OF POPULARITY
To recapitulate in brevity his earlier films

1) PAVALAKKODI,was a highly successful drama. ALRM Chettiyar came forward to adapt it into a film form. It was a super hit film that ran for 100 weeks with 55 super songs!

2) NAVEENA SAARANGATHARA, directed by K. Subramaniam- ran very well.

3) SATHIYASEELAN, MKTB's own film under the banner of "Thiagaraja Pictures" -ran very well

4) CHINTAMANI. This was produced by Royal Talkies and directed by O.Y.Rao who is the father of actress Lachumy. The film was well received. In gaiety it ran for a year. When the movie was shown by Mathurai Murugan Talkies, the film generated so much collection thatafter the run of the film was over, a new cinema Theater was built with the collection and it was called "Chintamani Talkies". Chintamani ran for one year in Gaiety theatre.

5) AMBIKAPATHY, produced by Salem Shankar Films and directed by Elankovan by Ellis R. Duncan. MKTB received RS 11,000 for this film. It was a great sum at that time. This became another great hit.

6)THIRUNEELAKANDER came with direction was by Raja Sando. By this time MKTB's fame got elevated sky high that people feared to act alongside with MKTB. There is one scene where the actor Sama was told to kick MKT. But he refused totally, untill MKT forced him to do so. By this time those in the higher bracket in society came forward to appreciate the movies of MKT. On the 25th week celebrations of the movie, Sathyamoorthy, the Congress Leader presided over the funtion and paid tribute upon MKTB.

7) ASHOK KUMAR was directed by Raja Sando. A well received movie of course.

8) SIVAKAVI. This is a film on the story of Poiyaamozhi pulavar. The title for the movie was given by Ilankovan who also wrote the dialogue. This film was produced by Kovai Pachiraja films(Sri Ramulu) and ran for one year.

9) HARIDASS- The most famous of all MKTB films. It was released during Deppavali, and ran for 3 Deepavalis. Untill this movie was made MKT used to act in one film at a time. But this film was so popular that MKT was booked for about 20 films in a row.

HEIGHT OF UNPRECEDENTED GLORY
It is a forgone conclusion that MKTB was bridging between the Karnatic Music and the Semi Classic music. At the time when the Tamil cinema was delivering carnatic songs, there were some hardcore Karnatic music lovers who claimed and clamoured that Tamil film songs can never contribute to the development of Karnatic music. One such person was the Sithoor Subramaniam Pillai who is the guru of Madurai Somu. When Haridas was playing, someone forced him to see the film for the excellent songs. Subramaniyam Pillai saw the movie and was very much impressed by the way GR rendered the delicate and difficult Sarukesi raga song Manmatha Leelaiyai veNRAr uNdo in a Janaranjaga way. From the theatre Sithoor Subramaniam Pillai went straight to the homes of GR and MKTB to express his overwhelming appreciation. G Ramanathan immediately prostrated at the feet of Subramaniam Pillai to show his respect for him. Therafter MKTB�s songs came to be accepted, openly, as good promoters of carnatic music in cinema.

Haridas gained popularity. Haridass ran in the Madras Broadway theatre for 3 consecutive Deepavalis. Haridas was so popular that it was the first film to be re-released in colour tint. In those days portions of the films used to be given single colours called tints. This was the beginning of the advent of colour films. Portion of Haridas were given colour tints. In the second release the entire film was given colour tint-thereby became the first film to be given tint throughout.

MKTB was living a princely form of life, with a palatial manion in Trichy with couintless number of servants. Shoes were not allowed in this mansion of MKTB.He had his own horse cart- with white horses. After the release of every movie he used to return to this palace for complete rest. Whenever he was free he used to ride horses himself, a game that was exclusively reserved for very special people in society. He had his own cars and motorbikes as well- all latest. No other cine actor had this status during the lifetime of MKTB.

He ate in gold plates. He is said to have taken bath in pannier. That he gave away for charity without limitations and publicty may not be known to many.

A new trend started in Tamilnadu. Children were named after then movies of MKTB (as well as the PU Sinnappa films) that started off this trend. New borns were named after films like Haridass, Chintamani, Syamala, Sathiaseelan, Asok Kumar, Ambikapathy and Sivakami. This does not mean that such names were non-existent before the release of these movies. The elite could have been aware of such names. But the peasant population picked up the names from such films.

In Tamil literature we would have learnt of "Pathu viral mOthiram" But MKTB was one of those few who had gold and diamond rings in all his ten fingers. Amongst the actors or even the singers in the Tamil Film world, it was MKTB who was the first to have enjoyed this status.

Most of the old timers would listen to songs aired over radio and appreciate. Some would go to movies both for the stories and movies. MKTB was not a great actor. But his songs cast magical spell over the listeners that pulled them to the theatres. Once they heard the songs, they had no choice, but to end up in the theatres. MKTB movies were the first to have repeat audience which went to movies several times. This was unprecedented.

MKTB is the first to have received the highest payment for acting in the movies. As early as 1944 MKTB was offered as much as RS 2 lakhs as advance alone- repeat as advance. (Next to MKTB, it was KBS who received Rs one lakh for Gemini's Avaiyaar in 1948.)

The movie Thruneelakandar was to be shot in Chidambaram. An unprecedently huge crowd, mainly of ladies had turned up to see him. The sub inspector had to be called to control the crowd.

Old timers know that MKTB was an extremely handsome personwithout make up. At a time when Tamilnaadu was deeply steeped in othodox culture, MKTB used to receive letters from ladies asking for some special �varams� from him. (Ask very old timers discreetly and they will tell you what I mean here. Unbelievable!)

There were several instances of trains being delayed whenever people heard of MKT commuiting. MKTB had was performing a kachery in Ernakulam and was about to return through Kochi Express. When the news of MKTB traveling by train was noised around, more than 10,000 fans had come and sat on the railway track at the Erode railway station - for more than five hours. They all wanted to pull out MKTB and have a look at him. The train arrived and there was an uprising in the crowd. When MKTB first showed his face, the crowd became feverishly crazy and estatic! He came out to the steos of the train a few times and waved at the crowd. Finally, with reluctance the fans allowed the train to go- after clear 5 hours! It is said that such a craze was unprecedented for an actor �cum singer in the entire history of South India.

It is said that there were die hard fans that even prostrated at the footprints left by MKTB. There had also been incidents where people had applied viboothi from the soil he had treaded.

When seeing movies by MKTB, people refused to go out for intermission (washroom included) for fear of missing his songs that may start off immediately after intermission.

MKTB is about the only kachery singer who received several rings while yet performiong live on the stage.Many fans could not slip rings into his fingers for lack of space. Angavasthiram, Pattu veshti, flowers, panneer thelithal etc were showered upon MKTB.

Cinema posters usually do mention names of the actors, MDs, director, actresses, producers etc to attract the movie goers. MKTB is the first to have set a new trend. All the posters for MKTB's movies had to do was to carry his name alone. Example "MKTB nadikkum Haridass" �that�s all. This was sufficient to attract huge crowd.

The MDs used to have some fixed imagination while composing musical notes for the songs. But many of the MDs are not able to milk out sufficient talents from these "studio singers." But in the case of MKTB, he was again one of the very few who was able to satisfy the musical needs of MDs like G Ramanathan, CR Subbaraman, and CN Pandurangan. GR used to liten to the records of MKTB and often times got carried away. Even the great Sithoor Subramaniam Pillai, the guru of yet another great Madurai Somu used to get mesmerised by the golden voice of MKTB. No other cine singer had this impact upon the heart, mind and soul of the sangeetha vidvans.

DOWNFALL
As Haridas was running the editor of Hindu Nesan CN Lachumykanthan was murdered on 8 November 1944. NKS and MKT were implicated and arrested. This caused traumatic shock waves across Tamilnadu. This was the time when MKTB was at the height of his glory and fame. But they came out under bail. They were arrested again on 12 February 1945. Court case was on 3 May 1945, and lawyers were employed from Madras as well as Bombay (Lawyer Munshir) The case was not in favour of MKTB and NSK. An appeal was made, but failed. They were sentenced for 2 years, 2 months, and 13 days.

Before going to jail he was booked for 20 movies and had accepted advance as well. He was so sad in jail as his closest friends too did not show concern towrds him. While in prison he was most depressed, distressed and dishearted. This is because no producer came to visit him there. His close friends deserted him. Those who used him as a golden goose discarded him. Some did turn up- to request MKTB to return the advance, thinking that he would never be released. This hurt him further. The only peron who refused to accept the return of the advance was Lena Chettiyar(the owner of Krishna Films who produced Madurai Veeran and Raja Desing) MKT who placed pride above self told his family members to sell off his property to settle with the producers. This is how he lost his property.

Meanwhile the producers took a different approach. Thinking that MKTB would never be released, they went on to create a substitute for him to act in the films scheduled for MKTB to act. This is how they dragged the Karnataka's Honnappa Bagavathar. They used him to produce Kalidas. It was a flop. Then they tried another film called Vaalmeeki. Also a flop! It then dawned upon them that people could only rival MKTB,
but never replace him.

Finally, with the good office of people in authority they were released early on 25 April 1947. A big group came to the jail entrance to welcome MKTB.From the jail MKTB went straight to Vadapazhani temple and prayed. On the same night he went off to Trichy as a very sad person.

Luck was in favour of NSK when he became an active promoter opf the ideologies of Periyaar. The DMK promoted him. But MKTB was not a supporter of the ideologies og of the DMK. So NSK and MKTB parted as friends.

In Trichy, he was given a hero�s welcome. Some wanted to book MKTY for movies and were willing to pay him any amount. But MKT had decided to call of his cinema career and concentrate on kachery. In the innermost corner of his heart, he was harbouring the bitterness from what he had suffered at the hands of the heartless producers.

A TRANSFORMED PERSON
When MKT came out of prison, he was completely a transformed person. He was able to look at the world and its people in the most objective manner. He accepted that the whole world is a stage and most of those who supported him all along were actors. He was robbed of his entire energy and happiness.

EVERYTHING FAILED
When MKTB started his second round of kachery, he did not get the crowd that he had pulled earlier. When he wanted to do Kachery there was not much support from the Sabhas, except for the Tamil Isai Sangam. He was dampened in spirit that he was no more a crowd puller. In stages he started to sing in small scale kacheris and accepted fee to support his other supporting artists.

BACK TO FILM EFFORTS
He then wanted to make a comeback in the film industry. But two developments took place. Firsty there was a change in the trend of movies, and secondly the person of MKTB lost out in popularity. In those days those linked with murderer incidents used to be ex-communicated in society.

Narendra Pictures Rajamukthi (1948) was the first attempt in the second round. It is said the movie had started off even before going to jail. Puthumaippithan penned the dialogue. The film was an unexpected flop. Puthumaipithan developed acute tuberclosis which lead to his untimely death. While this movie was in production MKTB�s mother died. Then Nagoor Cine Arts produced Amarakavi in 1952, using Suratha to write dialogue. This movie saw a slightly good run, but not big enough to make it big at the box office. Some Telugu producers took Syamala in 1953 under the banner of Yuva Pictures.This movie also failed at the box office. Next came the last attempt Puthu Vaazhvu produced by Sarvodaya Films in 1957. MKTB studied the changing trend in the cine field and took this film with a social theme. Somehow this film also did not fare well. With these continuous failures, MKT was forced to divorce himself from movies.

REHABILITATION EFFORTS
From the time he was released from prison, he was financially very down. Most of the leaders of Tamilnadu were ardent supporters of MKTB. Annadurai, an ardent supporter of MKTB had wanted to rehabilate him. He was offered one lakh to act in his movie Sorkavasal. But as the role was that of an atheist, he refused. Kamaraj seems to have requested MKTB to contest in a MLA seat, owing to his immense popularity he had once, but that too MKTB refused. Again there were some kind hearted souls within the cine industry who came forward to rehabilitate him. The movie Ambikapathy, this time starred by our Nadikar Thilakam was produced in 1957, he was offered the role of Kambar with a highter rate than Sivaji ganesan- Rs 10,000/-. That too he declined to accept. He was the original Ambikapathy, and he was not wiling to play second fiddle.

LAST OFFER TO HELP
MKTB�s health was failing him drastically. At this time S.S.Rajendran approached in the capacity of Prsident of Suth Indian Actors Assocatiation and rqeusted him to come to Chennai for treatment, to which MKTB refused. He also proposed a plan to rehabilitate MKTB through"Kanaka Abishegam." He refused despite repeated requests and appeals.

A MOVIE ON THE LIFE OF BAGAVATHAR.
M.A. Venu wanted to produce a film depicting the life of MKT. he played the role of Bhagavathar. Who else, but KVM Maama was booked to provide the heavy classical touch. When this movie was made, the health of MKTB was so serious that he could not see well owing to his poor eyesight. He could not even speak some of the dialogues. Songs that he sang and got recorded in those days were brought into the film. Again he could not provide lip movements for songs that he himself had sung. He only appeared in a few scenes when suddenly he died on the evening of 1 November 1955 at the Madras General Hospital. Thus his life could not be portrayed in full even in the movie. But half way he died and the film was completed with a new actor Jekkaiya who did not pick up. TMS had to sing to make up for the loss. The movie did not do well.

He was admitted to Madras Govenment Hospital. There many did not recognize him otherwise news would have spread.So, not many visited him there. When he died no one knew. The famliy was too poor to afford a proper vehicle to transport his remains in a befitting manner to Trichy. They managed with an average means of hearse. As the hearse was leaving Madras no one knew. As it crossed Thambaram area, some cine people whoe heard the news phoned each other and attempted to bring back the hearse to initaite a proper journey. But it was too late. Just think back of the glorious and unprecedented position he enjoyed in his life. Reflect upon the current resonse from the same crowd now.Finally his body reached Trichy, and was laid to rest in a small village called Sangili aandappuram. He was born on 1-3 1910 and died on 1-11-1955, at an early of only 45.

HIS LAST INTERIEW�
When MKTB was in the evening of his life, about to meet death, he was a blind man. He was livinig in Trichy. All India Radio interviewed him. That was the last interview. One last question in the interview was "UNGAL VAAZHKAYIL MARAKKA MUDIYAATHA SAMBAVAM ENRU ETHAI SOLVEEERKAL?"

After a moment of slight hesitation, MKTB said along the following lines " When I was in the height of glory the rich people used to book me to conduct kachery for their weddings. Some even booked me way before fixing their wedding dates. Some had even refused to go ahead with marriage when I declined to perform the kachery. In this same Trichy area, there was a hardcore fan of mine who invited me to perform kachery for his wedding in a nearby village. I refused, and he too refused to get married. As he was a hardcore fan of mine I finally agreed. I was the only shining star in the cine field at that time. So he wanted to protect me from the crowd's pressure. Therefore he booked an entire coach for me from Madras. As I arrived in Trichy junction there was a crowd of at least 40,000 people flocking to catch at least a flashing glimpse of me. I just could not alight from the coach. The crowd was overwhelmingly emotional, running amok, beyond the control of the security personnel who were specially arranged for the event. It took extra security features to get me out from the coach and push me into the car. There were so many garlands that completely blocked off my head. A mountain of garlands was created over my head. The organisers knew this would happen and had arranged for a special lorry to take away the garlands for dumping away. It took one hour for the crowd to disperse. The train was therefore delayed by one hour. The Trichy Railway Master relayed the reason for the delay of the train to all the other stations subsequent stations in the onward journey. So the train arrived late in all these subsequent stations by one hour. Many followed me to the village where the marriage was held, to listen to the kachery.

That was at the height of my glory. After losing my health and wealth I arrived again at the same Trichy railway station, this time as a blind man, with my wife guiding me. I asked my wife to tell me if anyone had come to see me. My wife told me that this time not even a single person acknowledged us."

After a pause and almost a chocking MKTB said, since you asked, this is the event I wish to mention here, as something I shall always remember"

MKTB could have ended the interview here. But he went one step ahead and said

"vaazhnaaLil ennaippOl vaazhnthavar evarumillai, ennaippOl veezhnthavarum evarum irukkappOvathillai"

There was one song that he had sung in an earlier period and included in Sivakami. The scene shows how the entire tamilnaadu- people of all walks in life- educated, literate, people in different ocupations, those from higher society to the last man on the road, males anmd females, rich and the poor- they all- one and all stood dumbfounded when his songs are played. It showed even animals- cows and calves were also moved by divinity in the songs of MKTB. The song ended with dialogue that is reflective of the disappointment of MKTB. That song penned by Pabanasam Sivan, was very aptly used in Sivakami, a film that was made to portray the rise and fall of the greatest hero of all time!

MKT�s life is a lesson to all of us. Nothing is permanent in our lives. It is a message that should prosperity befall us we should not rejoice with exceeding gladness. Again should adversity come upon us we should not be deeply grieved as well. This is because both are temporary conditions that may last a fleeting moment and be no more there.

Kadavulin Thiruvilayaadalai Yaarthaan Arivaar?

YES! WHO HAS TRULY AND FULLY UNDERSTOOD THE WILL OF GOD DESTINED FOR US?
From: saradhaa_sn on Thu Jan 31 9:47:04 2008.

டியர் மணிசேகரன்,

தியாகராஜ பாகவதரின் வாழ்க்கை வரலாற்றை அற்புதமாக தந்திருக்கிறீர்கள். படித்துக்கொண்டே வந்த நான், அவருடைய கடைசி கால வாழ்க்கையைப் படித்தபோது கண் கலங்கி விட்டேன். எப்படி வாழ்ந்த மனிதர், இறுதியில் எப்படி ஒரு சோக முடிவை அடைந்துவிட்டார். அவரது வாழ்நாளின் நிகழ்ச்சித்தொகுப்புகளை அருமையாக தந்துள்ளீர்கள்.

'வாழ்நாளில் என்னைப்போல் வாழ்ந்தவரும் இல்லை, என்னைப்போல் வீழ்ந்தவரும் இருக்கப்போவதில்லை' - எவ்வளவு சத்தியமான வார்த்தைகள்.

பாகவதரின் வாழ்க்கை நிகழ்ச்சிகளை பத்திரிகைகளில் அங்கொன்றும் இங்கொன்றுமாக படித்திருக்கிறேனே தவிர இவ்வளவு கோர்வையாக படித்ததில்லை.

நன்றி....
From: Manisekaran on Thu Jan 31 10:09:36 2008.

Sahodari Saradha Avarkalukku,

Naan Eduthukkonda Nokkathai Adainthuvitten Enbatharku Ungal Pathil Nalla Saandru. Oru Paanai Sotrukku oru soru Patham Enbaarkale- Athu Pola. You have made my day.

I was listening to his songs last night in order to get inspiration. And I was moved to tears as well. In the course of typing the article, towards the end I too was moved to tears.

Am happy that there are still some people who still value the legacy of MKTB.

If you can get hold of a book on MKTB by Vindhan, please go through. I am sure you would have read more of him in many other sources. I was firtunate to have spoken at length with SSR himself before I interviewed him on a TV program. He told me that MKTB was a man of pride for which he refused to stoop low.

I thought people have forgotten him. No, he still lives in the heart of all of us. He is an immortal soul in the annals of our history.

True and divine music lives forever.

Thank you sister, worth my effort.

Manisekaran
From: sivaramakrishnanG on Thu Jan 31 11:16:07 2008.

Arumai nanbar Manisegaran avargalE

aezhisai vaendhar MKT avargal sarithathai surukkamaaga azhagaga thanthatharkku migavum nandri.
sila varudangalukku munnar Chennai Luz Sastri Haalil nadantha oru nigazhchiyil intha ARPUTHA LEELAIGALAI paadal patriya vivaatham nadanthathu. Athil MKT avargalin magan pangu kondu psinaar.(Ragapravagam Sunder of Dhool.com earpaadu seithathu endru ninaikkirEn)
Sivagami padathirkkaaga marupadiyum inthap paadalai avar paadi pathivu seyya ninaitha pothu avaraal ethirpaartha padi paada mudiyaathathaal munnaalil thanippaadal isaithattaga velivanthirunthathai upayogithu atharku avar vaayasaithirukkiraar.
Ithai sollum pothu avar maganE varuthappattaar.

Nandri Manisegaran Sir,
Thodarattum ungal paNi.
anbudan
sivaramakrishnanG
From: madhu on Thu Jan 31 12:34:38 2008.

Dear Mani Sir

Its a brief life history of a Jambavan. Enakku therinthadhellAm MKTB nalla pAdagar and oru kolai vazhakkil sikkiyadhal thunba pattAr enbadhu mattumE.
NeengaL miga arumaiyAga viLakkiya vidhathil avar muzhu vAzhakiyin ottathai oru chinna postukkuL koNdu vandhuteenga.
From: Manisekaran on Thu Jan 31 13:02:16 2008.

Anbulla Madhu,

Regarding his murder case, it was all based on circumstantial evidences. When you read the judgement it becomes clear. Of course I can go on that on another page. But our focus is on songs.
It was a simple case of "YAARAI ENGE VAIPPATHU ENDRU YAARUKKUM THERIYALE- ADA ANDAM KAAKKAIKKUM KUYILKALUKKUM BEDHAM PURIYALE" (shall also discuss this song later)
Ithu Anaivarum sernthu oru rathathai izhukkira muyarchi- Oru team effort. I am most happy to see the cooperation of all.
Mikka nandri
Manisekaran
From: Manisekaran on Thu Jan 31 13:06:55 2008.

Dear Ramaksrishnan,

You are right and this is what I too have mentioned in my article.

Thank you

Vanakkam
From: jn on Thu Jan 31 15:43:44 2008.

Thanks Manisekaran anna for the nice article about the life history of MKTB. He must have been really depressed after all the fame and popularity and wealth he had and how fate intervened and destroyed all of it. But his songs live for ever.
I cannot help comparing how the current day cine personalities get away with crimes like murder very easily in these days and how being invlolved in a murder case and going to jail destroyed the life of Bagavathar.
From: Manisekaran on Thu Jan 31 17:32:34 2008.

Dear jn,

Thank you for your response. What has been said here is only a fraction of his life - for purpose of discussion of one song.

Ezhuthil Vanthathu Paadhi
Nenjil Thoongi Kidappathu Meethi

You know why?

Ninaithathellaam Vevliyil Solla Mudiyumaa Kanna?

But arden fans of MKTB with me included could write volumes. I doubt anyone is going to write the complete life history of MKTB. If someone does it, then it will be the biggest service done in fond remembrance of the great singer of our time.

There is no one comprehensive book on him.

Yaarum Varuvaarkalaa?

Regards
Manisekaran
From: baroque on Thu Jan 31 22:29:56 2008.

for my favorite Papanasam Sivan musical in Rag Madhyamavati. Now I crave for SAARASA MUKHA SARASIJA..... by Shri.Yesudas. this day a great day!

TFMLOVER, thanks for the visual treat.
From: thumburu on Fri Feb 1 3:31:36 2008.

ManiSekaran has paid a rich and glowing tribute to one of the best singers India has ever produced , the incomparable MKT. His unusual life and times is moving as well as chilling . Who can forget songs like "soppana vaazhvil midhandhu subramanya swamy unnai marandhen" ? My dad used to recall how the elders in his home banned kids then from listening to cinema songs , after the Carnatic era ended in TFM with likes of MKT, MSSubbulakshmi, GNB, PUC, DKP, N.C.Vasanthakokilam etc leaving the scene. He said LakshmiKanthan of "Indu Nesan" used to indulge in "yellow" journalism by slandering the character and personal life of cine stars like MKT, NSK which angered them to no end. They had to forcefully eliminate him to put an end to his menace .
My usual lament about the neo satellite channels like vijay, sun tv etc is why are they so obsessed with mediocre stars of today that they give wide coverage to even trivia like their birthdays , while they conveniently ignore genuine , rare talent like MKT, TRMahalingam and many more. Shivaji , MGR have been fortunate that way in finding most favour . DD Podigai is the lone saviour in bringing out precious artefacts about old time acheivers. But that is not enough.
From: rajasaranam on Fri Feb 1 9:55:15 2008.

Dear manisekaran,

that was heart wrenching account of the life of MKTB 'avar kural kaantham pol nammai izhikirathu' no wonder he was mobbed by public those days. Please also give us the life story of NSK someday
From: Manisekaran on Fri Feb 1 10:35:54 2008.

Ragathodu Vanthu Irangum baroque,

Thank you so much.

Manisekaran
From: Manisekaran on Fri Feb 1 10:41:01 2008.

Dear Rajasaranam,

I think I have written on NSK years ago. Shall check.

This thread is taking its own course. I shall pick songs at random and shall certainly try to bring in one song of NSK.

Vanakkam, Vaazhga
From: Manisekaran on Fri Feb 1 10:57:34 2008.

Dear thumburu,

My father used to sing MKTB's songs as well. Old timers used to sing his songs, and his songs alone. I simply could not digest. I happened to go to a relative's house where my uncle was playing his songs over gramaphone. With repeated playing I too got fascinated. And then I started to play them myself. Then I recorded almost all his songs and listened to them, so much so my children too started to hum away his songs. I got them to sing and record them as well.

Not that I want to tell my life story. I am trying to drive home the point that MKTB's songs are highly addictive. One has to listen a few times and thats it! And again, his songs have the power to transcend generations as well. His songs are for all seasons, if only public broadcasting stations could have slot for old songs. These days old songs means songs of the 1980s. I mean old songs from the golden period.

This depends on which age group is handling the selection of old songs. I will give you an example. The great playback singer P. Leela passed away recently. A fan of hers rang up one broadcasting station to play songs by playback singer P. Leela as mark of respect for her, who had just passed away that day. The DJ who picked up the phone enquired "Which Leela? Who is she" My friend banged the phone and went for hot single (perhaps, double, triple or quadruple) tea!

Cannot blame them either. Old timers in broadcasting stations have to one day retire and return to the realms above from where we came. But I thought youngsters who are employed in such places have the social obligations and ought to make efforts to go back into the birth and development of carnatic songs in cinema. There was also a program called THIRAYIL SANGEETHAM, which played carnatic based songs in cinema. With the passing of old timers, this program has become a forgotten history.

Now at least baroque is poitning out the ragas from time to time.

Perhaps this is about the last few places we are discussing about MKTB. Not many though, but:

" Antha Naalu Perukku Nandri"

Manisekaran
From: Manisekaran on Fri Feb 1 11:15:33 2008.

Dear sivaramakrishnanG,

The whole film was to wind up the life of MKTB. By then two developments took place. The trend of films had changed. He was seriously ill. As I pointed out, he became partially blind and had to wear dark glasses. He was feeble so much so he could not speak the dialogue. He could not sing songs that he himself had sung those days. (Film News Aanandan had confirmed that the MKTB songs in Sivakami were the ones which were sung and recorded by him in an earlier period.)

As the movie was a winding up of his life, they used a seizable portion of this song to show how the whole nation fell under his magical spell. His songs took Tamils of Tamilnaadu and those living in Ayalnaadu by an unprecedented tempest, unknown in cine world. The song and the dialogue that follows is the summing up of his life in brevity.

We are the last living group to truly appreciate the immortal songs of the ever living MKTB!

Ungalukkum Nandri.
Manisekaran.
From: app_engine on Fri Feb 1 13:22:25 2008.

Excellent article, Manisekaran!

My father likes MKT songs and had some vinyl disks too. I love his voice too and enjoy hearing those songs occasionally. (However, to be honest, because of my stronger preference for instrumental portions in music in general and film music in particular, I don't hear them a lot). Same with NSK, my dad had a liking too with some vinyl disk collections, one of them being nalla thambi. Both of us recently watched together portions of "nalla thambi" on Sun TV...having such rare moments here in NA is really enjoyable.

Was P U Chinnappa a competitor to MKT at some point of time? I vaguely remember reading so in one of those dhinathanthi film history series...(MKT-PUC , MGR-Sivaji, RK-KH ?)...
From: Sudhaama on Fri Feb 1 13:58:45 2008.

.
.Eternal for all Generations... Immortal MKT. !!

Thanks a LOT AND LOT... Dear Mr Manisekara, for your nice presentation... quite interesting lively and vivid narration...

...photographic description impressive and interesting enough even to any stranger... may or may not be interested in Songs or Music.

Indeed it shows you possess the flaire for a Narrative presentation. Yes it is proved you are a good Writer.

You have dragged me to those golden era of about 70 years back.. the Peaceful days of serene atmosphere mostly caused by such immortal songs... Sweet Reminiscense

His eternal song Soppana Vaazhvil is in a rare Raga VIJAYA-NAGARI is a classic example for his competence to sing even intricate raga songs... quite at ease palatable even to commoner

Out of all others here I feel highly elated on these Nostalgic thoughts... because I know Mr MKT personally...

...since I have met him, spent happy times with him several times at my native place Srivilliputhur near Madurai...

..which he used to frequently pass through to meet and stay with one of his ardent Fans.. a rich Zamindar in our street.

I know what all you say... is cent per cent correct and true... although incredible for the present generation.

Please continue the same topic for some more time... so that we can hear more from you about that invincible Singer, a Legend... immortal for all age groups

I believe the present generation too can enjoy his songs of unique presentation... if anybody can just apply their ears sincerely and OPEN-MINDEDLY.

The present generation have to remember... that MKT acted only in about 15 movies... within which short opportunity...

... he could generate a great mass of fans for him... even after his life-time.

MKT was really a qualified Bhagwathar.. since he had learnt the Grammar of Classical Music... knows many keerthanas with Alapana and Swaras too.

He is the disciple of Alathoor brothers.... and has sung Music concerts in Sabhas and also at Thiruvaiyaaru Thyagaraja Sannidhi... before a huge audience.

The great wonder of all times... is the great amount of popularity MKT could create for his Cine songs... no other Bhagawathars including GNB, Musiri Subrahmania Iyer, Maharajapuram Viswanatha Iyer... the ever great Musicians of high standard.

No doubt their cine-songs too were quite relishable by voice and standard. However it was a mystery... why they could not compete over MKT songs... it is difficult to understand.

The attraction glamour and craze MKT created like a Flood within a very short time... unparallelly in India.... I have personally witnessed at several places.

Those days of Bullock-cart age... No Electricity at homes... Even the Cinema theatres mostly were run by Generators... Even then there used to be heavy crowd at the cinema halls...

...just to hear REPEATEDLY... his untiring songs.

I was just an Elementary Schoolboy... when I met him at his Friend Zamindars house...

I told MKT that I can sing his songs of Ashok Kumar.. although just then released.

"Oh appidiyaa. engae paadu" said MKT. Immediately I sang... Sathva guna bodhan

Then he patted on my back... and asked me.. One more... and One more repeatedly and made me sing the Five Gem Songs of that newly released movie... Ashok kumar.

Finally he presented me a Biscuit-packet... which I preserved for two years unopened. Such was the great regard... people had for him.

The storm song of those days was... Radhe unakku

Invariably all including MGR very much liked Ennudal thanil oru

The Bheeshma of Music world, Sri Semmangudi Srinivasa Iyer wondered and abudantly appreciated G.Ramanathan, Music Composer for simplifying the Charukesi Raga presentation beautifully sung by MKT... Manmathan Leelaiyai ... and he used to invariably see his movie repeatedly just to hear his uncomparable rich music based songs...

...although Cine.
.
From: Manisekaran on Fri Feb 1 14:54:11 2008.

Dear App Engine,

Thank you. Songs of MKTB are already coming out in CDs, but the warmth of the vinyl records and the audio cassettes is not there in the CDs. I had a large collection of vinyl records in th fomr of "thosaikkal" (78rpm), LP and EP. But got the songs recorded into audio cassettes. Audio cassettes are slowly fading away. I am looking for some equipment to convert the few thousand old songs into audio files. I do not want to give away the audio cassettes as some of the songs I have are no more available in some broadcasting stations and recording shops. Even Seergazhi Govindarajan came to my house and got the collections of his songs that I had. PB Sreenivas also has received, on request his songs that I had in audio cassettes.

Do you know if there is any technology that can covert audio casette songs into MP3 files?

As for the comparison you gave, you are right. Muktha Seenivasan, the first to hav introduced a dancing lady revealing navel (thoppul) has also highlighted this in his series in 1991.

At any given moment the cinema had pairs- one would be an able artist and the other charismatic.

PU Chinnappa was very able- listen to his Seetha Kaalachebam! MKT was on the other hand highly charismatic.

Sivaji was the best actor India had seen, while MGR was the most charismatic.

Kamal Hassan is highly telented, while Rajni is charismatic.

The future may repeat this kind of pairing.

But let us come back to the discussion on MKTB.

Thank you
Regards
Manisekaran
From: Manisekaran on Fri Feb 1 15:37:01 2008.

Dearly Respected Sudhama,

Thank you so much for your kind words. But I am not the author of the events. I am only writing what I have read or interviewed some. All praise ought to go to our Creater who, in His infinite mercy has given MKTB to Tamilnaadu. Wihout MKTB there can be no discussion of this kind.

Whenever I listen to the song of MKTB- Maanida Janmam Meendum Vanhidumo, in the depth of my heart I used to ask myself "Maanava Paruvam Meendum Vanthidumo" (minus the examinations of course)

This day I have become a student faced with the vast and wide information you are giving on MKTB. I feel like a tug by the side of an ocean liner!

Neengal Vaaramal Vantha Maamani!

I can go on to an extent, but this thread is about interesting tidbits related to a few hendred songs. So I have to move on. There is a already a seperate thread on MKTB.

After starting off with Nadikar Thilakan and Makkal Thilakam, I wanted to do an acid test by selecting MKTB songs- to gauge the extent of support he still has over TFM Page fans. There are not too many alright going by the inputs, but this particular article, as you said is revelation to the new readers.

I am ardent fan of MKTB and have never seen him in person. But you have associated with him. You are bringing first hand information. Please continue recollecting the period of MKTB. I shall be most happy to request you to write as long as you desire. Afterall this is an information sharing forum. We are all waiting for you to give us more and more of what you know. With the passing of old time artists in the cine world, the younger ones are "reel viduraanga" Here you are with first hand information.

For the past three days I am listening to only MKTB songs. It generates so much of spirit and uplifts your moods. Music is indeed food for soul. Right now as I type - Boomiyil Maanida Jenmam is going on...

Eagerly awaiting your contribution.

mudhal maanavan manisekaran.
From: rajraj on Fri Feb 1 15:44:41 2008.

Manisekaran wrote:

Dear App Engine,
Do you know if there is any technology that can covert audio casette songs into MP3 file?
Manisekaran

Manisekaran,
I don't think you want to put them in MP3 format.
MP3 compresses the data with some loss, known as lossy compression. CD is the best digital form.

I enjoyed your write up on MKT even though I have read about his life elsewhere. I remember watching only one of his movies in a touring talkies in 1946 or 47 when I was about seven years old. I don't remember much of it except that it was mythological.
It also brought back my memories of the summers I spent in my ancestral village where my uncle had a gramaphone and a stack of 78 rpm plates of songs by MKT and others. They were called plates, not records.
Those were the days ! Will never see them again!
Then there is my story about my singing 'manmathan leelaiyai' only to be corrected (chastised) and taught 'dheena karuNaakarane nataraajaa' ! I still sing that song along with other MKT pieces.
Keep up the good work!
Cheers!
From: Manisekaran on Fri Feb 1 16:52:13 2008.

Dear Rairaj,

So nice to be on board with you. So in stages we are seeing more and more of fans of MKTB here. A big consolation for me.

Thank you for the suggestion of putting the songs from the audio cassette songs into CDs I will look out for the technology.

I believe MKTB's life has been repeated several times in many books, magazines periodicals etc, but at diminishing rate. Vinhhan has writen on his life, though not a complete work.

You must have also visited this site which old timers had created:
http://www.mayyam.com/hub/viewtopic.php?t=2203&postdays=0&postorder=asc&start=0

I am happy you still continue to sing MKTB's songs. You must have been corrected at school I believe. If possible, please see Puthu Vaazvhu where you could see amazingly a new MKTB with powerful songs. There is one medley piece where he sings bits of the latest hist from other movies (his time) and he has performed better than the originals -unbelievingly moving!

Vanakkkam.
From: madhu on Fri Feb 1 21:41:30 2008.

Dear Mani Sir,

MKTB eppOthAvadhu classical touch illAdha songs pAddi irukkirArA ? AdhAvadhu themmAngu, nAttu pAdal mAdhiri .
From: Manisekaran on Sat Feb 2 2:50:00 2008.

Dear Madhu,

In the film Pudhu Vaazhvu, he has given a themmaangu kind of song.

Manisekaran
From: Manisekaran on Sat Feb 2 8:25:45 2008.

Sorry

Repeated as above
From: Sudhaama on Sat Feb 2 10:32:42 2008.

.

madhu wrote:

Dear Mani Sir,

MKTB eppOthAvadhu classical touch illAdha songs pAddi irukkirArA ? AdhAvadhu themmAngu, nAttu pAdal mAdhiri .

Dear Madhu,

Mr Mani means this song in Pudhu-Vaazvu.. I think...

- Paadupattu - MKT
http://www.musicindiaonline.com/p/x/a5fgEcFHkd.As1NMvHdW/

This is not Themmaangu... but Kavadi-chindu.. Of course Folk-tune (Nattuppurha mettu)

One more in the same Kaavadi Chindhu tune... MKT has sung in Thiruneelakantar...

..the Bharathi song... "Sollu paappaa".. as the Title Song
.
From: tvsankar on Sat Feb 2 10:36:51 2008.

Dear Mani,
MKTB ai patriya UNGALIN EZHUTHUKKAL

MKTB ai patri endha ennamum illadha en manadhil ,
Oru sirandha Kalainyan enra oru Periya idathai koduthu vittadhu.
Ungalin indha "AAYVUK KATTURAI" bathiramaga padhukakkap
pada vendum enru ninaikiren.

Ungalin indha kadithathinal, padipavargalal,

MKTB Avargalin "AANMA" Santhi adaiyum enru nambikai varugiradhu.

Avarin sila thani padalgal oru sila en ammavuku ninaivil irukiradhu.
Avai,
1.Sudhanthira kodi
parandhita par
Soozhum irulum
Ozhindhida par

2.Gandhiyai poloru
Sandha Swaroopanai
Kanpadhum elidhamo
Mahathma - Indha paatai naan radio vil en paatiyudan ketta ninaivu irukiradhu.

.Mahatma Gandhi irandha pin vandha oru padal

3 .Kai maaru seivadhundo
Ghandhiji ku - Kethar Gowla ragam -

indha paatum ketta ninaivu.

En ammavai kettu innum thagaval irundhal solgiren.

With Love,
Usha Sankar.
From: s ramaswamy on Sat Feb 2 13:42:05 2008.

My own fav. MKTB song is "Vadaname Chandra Bimbamo, Malarnda Sarojamo, Vadaname Chandra Bimbamo", the way he sings vadaname in different connotations is simply breathtaking. I like most of his other songs too and have a cassettle collection of his lesser known songs. In fact GR repeated his "Tiruneelakantar" hit "Deena Karunakarane Nataraja neelakantane" with different lyrics in "Maduran Veeran" sung by TMS and Jikki. Who can forget "Raadhey Unakku Kobam Aagadadi" of MKTB which was also repeated through the voice of his successor in cine field, TMS, in a later Sivaji Ganesan film set to tunes by KVM. TFM cannot forget the likes of MKTB, PUC, NCV, MSS, MLV, DKP and Dandapani Desikar. They paved the way for others to follow.

Mr Mani, again a wonderful write-up about a true TFM legend. Thanks a lot. Here's wishing more power to your pen or keyboard!
From: Manisekaran on Sat Feb 2 14:25:45 2008.

Dearly Respected Sudhama,

Thank you for the link, coming as answer to our Madhu.

Please continue posting your first hand information on MKTB.

Thank you

maanavan mani
From: Manisekaran on Sat Feb 2 14:33:32 2008.

Dear Sahodari Usha Shankar,

I am sure this DF is expected to stay forever. I hope TFM ADMIN will look into archiving the good threads. Right now many are already referring to this site, though they may not provide acknowledgement.

Thanks for pointing out those songs. You may want to visit the site an old site on MKTB that I had pointed out to our rairaj.

There I had said:

I had said that when Haridass was running MKTB was booked for the following movies:

1. Rajayogi
2. Sree Murugan
3.Valmeeki
4.Udhayanan
5.Bakthamedha
6.Bilharnan
7.Jeevagan
8.Kalidass
9.Nambiyandar Nambi
10.Sree Valli
11.VasanthaSena

As he went to jail, there was a feeling that he would never come out early. As MKTB had started a trend for the Bagavathar type of films, the producers wanted to quickly capitalise on the trend in the absence of MKTB. So they brought in Honnappa Bagavathar to complete the films that were originally sheduled for him. Honnappa Bagavathar did act in Valmeeki and Kalidass. Both did not do well. This Honnappa Bagavathar was equally dissappointed. So he later took a movie called"Ulavukkum Thozhilukkum Vanthanai SeivOm"

MKT had acted in a few scenes in Rajayogi, Sree Valli and Vasanthasena

Rajayogi was produced by AVM. There are 8 songs in this film. But the songs had not been released in records. It is believed that had this film been released it would have broken the record of Haridass by virtue of the strength of the songs.
From: Manisekaran on Sat Feb 2 14:46:03 2008.

Dear Mr Ramaswamy

Thank you for your input. In an earlir thread on MKTB which I have pointed to rairaj and Usha you may get other infomation on MKTB as well.

Since you mentioned on Vadaname Chandra Bimbamo, lte me give reproduce what I had said there:

" In the film Ashok Kumar MGR was playing jaalra for MKTB. When MGR came to rule Tamilnadu, many more jaalras emerged to jaalra MGR. There is a song called "Vathanamey Chandrabimbamo" in the film Sivakavi. There was a function arranged for MGR to attend, when he was the CM. Things were pre-planned. Untill moments before the arrival of MGR, several songs were played on records. But when MGR was about to arrive, they stopped playing songs. MGR's car arrived. As MGR alighted from the car the song "Vathanamey Candrabimbamo" was played loud enough. That pallavi was to describe with anology the face of MGR. MGR acknowledged with a broad smile. The next line was "Malarntha SarojamO". To this MGR gave a still boader smile. The crowd, mostly "jalras" burst into cheering. Of course the song was most appropriate to desribe the golden features of MGR.

Again the repetions of MKTB's song tunes by subsequent MDs was also mentioned in the same thread.

Thank you
Regards
Mani
From: Manisekaran on Sat Feb 2 15:45:11 2008.

Dearly Respected Mr Sudhama,

Could you kinldy provide more insight re your association with MKTB, or any other information that befits this discussion. You are a rare gift to this thread. Kindly oblige.

I join others in waiting for your invaluable input, which is sure to add lustre to this thread.

Anbudan Manisekaran

From: Sudhaama on Sat Feb 2 22:46:05 2008.

Manisekaran wrote:

Dearly Respected Mr Sudhama,

Could you kinldy provide more insight re your association with MKTB, or any other information that befits this discussion. You are a rare gift to this thread. Kindly oblige.

I join others in waiting for your invaluable input, which is sure to add lustre to this thread.

Anbudan Manisekaran

Yes my dear Mani sekara... I duly honour your expectations from me.

MKT was a very rare asset to India..

...as also for Tamilians all over the world. How.?

(1) He had such a God-gifted rich Voice... which could bend and twist according to the intricate nuances of Ragas... making his songs pleasant to one and all... Vasantha ruthu

..right from the poor to the rich... from the illiterate upto a Sangeetha Vidwan.. and all such contra-distinctory segments of Society.

(2) He is the only one Glamourous by look as also by Singing... who could act as a Hero Singer all through... till this day record in India.

(3) The amount of crowd he could pull.. not only to his cinemas but also to his visits... was a great Record break by several lakhs of people...

...equal to that for Mahatma Gandhi.

(4) He was called as the Saigal of South India... since KL Saigal was his counterpart in Hindi... a similar Singer-actor...

... and the Song Disc by MKT.. Krishna Mukunda was sold all over India.. even appreciated by the North Indian mass

(5) He could sing any trivial or complicated Raga quite at ease... with full clarity and simplicity...

..which other actors tried to follow or challenge but could not... for example in Hemavathi Raga.. Chidambara-natha

(6) He was a Sangeetha Vidwan which was proved by his competent singing with long swaras... even the intricate Raga...Huseni.. Rajan Maharajan

(7) He was greatly admired by the Vidwans as well as the Commonfolk... especially in this Song of Ragamalika some Vidwans wondered how he changes Raga like a River-flow. Pavazhamaal varai

(8) Normally School children were not allowed to either sing Cine Songs or even hear them. Whereas this was the first Cine Song taught in Schools as a Dance-Song with Abhinaya Kavalaiyai theerpadhu

(9) I was wondering to notice one group of about six friends of varied sorts by status musical knowledge and profession... daily visiting the cine theatre... by entering in time on the eve of this song and get away... immediately after this song ONLY... Unai kandu mayangaadha DAILY FOR SIX MONTHS.!

(10) Gjnana Sabhaiyil .. is a classic example of high classical value... but yet used to be sung by all including the Bullock cart men, Farmers and Coolies even... at par with Vidwans....unlike for any other Singer actor to such an extent.

(11) Arputha Leelaigalai is a beautiful composition well competently sung by MKt... has been taken as the Key-song for Madhyamavathi Raga... for the Music learners

(12) Only after hearing his rich Music .. Dhyaname ... many persons of all the rungs of the Society were lured to learn Karnatic Music. So to say Karnatic Music was spread by MKt by very easy and simple. means of Cine Songs but high classical value.

And the greatest wonder is... he has Fans amongst all the generations and Age groups...

...including those who were born long after his era.
.