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Dear Mani,From: RR on Wed Apr 30 6:40:22 2008.
The song has already been discussed at length and I don't have much to add to the beauty of it. Anyway since you hinted at a discussion of the raaga, heres my 2 cents:
The first I heard about the raga of the song was thru a friend. (Then I knew very little about identifying and appreciating ragas.) When he said 'Maand', I was puzzled. Of all the ragas, why this raga? I used to wonder whenever I listened to this.. for a long time. I think I now have some theories
* Maand is a folkish raga and so obviously will lend itself to filmy tunes. But there are other light ragas., why only Maand. I think: Maand is a vakra raga - meaning it uses complicated music phrases. (Click here to listen to raga lakshana.) One swara deviation is enough to destroy the raga swaroopa. For this reason, it's used only in thukada's and not taken for elaboration, AFAIK. Now to bring out the Bhagavathar's expertise, isn't it fitting to use the Maand raga and explore it with alapana & swaras. I mean the 'kuzhalendrum' and 'yaazhendrum' parts which I believe are quite tough - to compose and sing. Amazing work by both KVM and BMK.
* Another line of thought is: Maand is a raga supposedly sung in Rajasthani courts to praise the king. This is apt for the king's court scene in the movie, but Balaiyah characters takes it to praise himself. Strange that, in the picturisation, the king oblivious of this and is instead full of smiles and appreciation.
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Dear Friends,From: Manisekaran on Thu May 1 17:27:17 2008.
This is to say that I am taking a break to attend to some pressing commitments.
A senior and veteran hubber has kindly come forward to continue posting songs of his selection in this thread. I am sure it will be another series of wonderful songs with interesting background stories.
I hope all of you would continue to participate actively as usual, and give him your fullest support.
Let the name be a suspense. You will welcome him and his articles the moment he posts the first song anytime.
Thank you.
Cheers
Mani
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அனைவருக்கும் வணக்கம்.From: Murali Srinivas on Thu May 1 21:44:22 2008.
தவிர்க்க முடியாத அலுவலக வேலை காரணமாக மணி அவர்கள் சற்றே ஓய்வு எடுத்து கொள்ள, இந்த பகுதியில் தற்காலிகமாக நான் வர வேண்டிய சூழ்நிலை. மணி அவர்களின் அன்பு கட்டளைகிணங்க இந்த குருவி பனங்காயை சுமக்க வந்திருக்கிறது. அவர் ஆண்ட இந்த பாடல் ராஜ்ஜியத்தில் அந்த சிம்மாசனதிற்க்கு நான் தகுதி உள்ளவன் இல்லை. இதை சொல்லும் போது ஒரு பழைய நிகழ்ச்சி, சரியாக சொல்ல வேண்டுமென்றால் இன்றைக்கு 39 வருடங்களுக்கு முன்னால் நடந்த ஒரு நிகழ்வு நினைவிற்கு வருகிறது. அது இந்த சூழ்நிலைக்கு பொருந்தும் என்பதால் அதை குறிப்பிட விரும்புகிறேன்.
1969 வருடம் பிப்ரவரி மாதம் 3-ம் தேதி அன்று தமிழக முதல்வராக இருந்த அண்ணாதுரை காலமானார். 9-ம் தேதி இன்றைய முதல்வர் கலைஞர் கருணாநிதி முதன் முறையாக முதல்வராக ஆனார். அந்த ஆண்டு ஏப்ரல் 14 அன்று திருச்சி வானொலி நிலையத்தில் தமிழ் புத்தாண்டு சிறப்பு கவியரங்கத்திற்கு தலைமை வகித்த முதல்வர் தனக்கே உரிய சிலேடையில் சொன்னது, " சென்ற வருடம் அண்ணா முதல்வராக இருந்தார். அவர் சென்று விட்டதால் நான் முதல்வராக ஆக்கப்பட்டிருக்கிறேன். கடந்த ஆண்டு (1968 ஏப்ரல் 14 to 1969 ஏப்ரல் 13) சௌமிய ஆண்டு. அது போய் சாதாரண ஆண்டு வந்திருக்கிறது. அந்த சௌமியன் போய் இந்த சாதாரணன் வந்திருக்கிறேன்". இந்த வரிகள் இங்கேயும் பொருந்தும்.
BUT UNLIKE THE ABOVE SITUATION, THIS WOULD BE TEMPORARY.
உங்கள் அனைவரின் ஆதரவையும் வேண்டும்
அன்புடன்
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SIVAJI SEASONFrom: Murali Srinivas on Thu May 1 22:18:45 2008.
நலந்தானா
Acknowledement
1. To various magazines of 60s' and 70s' through which I had read and gathered informations about the film and the song.
2. To actor and fellow hubber Mr.Moharam who had provided certain information during the course of our conversations.
3. Last but not the least, Mani Sir who had thrown some light on certain points.
Dedication
To friend (though he is much younger to me) and fellow mod-hubber Prabhu Ram, who happens to be a great fan of this movie.
When we start a new thing, especially in Tamilnadu,we insist it to be a "Mangalakaramaana aarambam". As for as Tamil Kalaachaaram, panpaadu is concerned, Mangalakaram is synonymus with music and it is epitomised best by Nadaswaram. This instrument had been associated with the lives of Tamils for ages. So when we start with Nadaswaram, is there anything better than Thillaana Mohanambal and Sikkal Shanmugasundaram.
When you talk about Nadaswaram and Bharatha Nattiyam in Tamil cinema the first and foremost film that strikes everyone's mind is TM. The movie produced and directed by AP Nagarajan was released in 1968. But there is a story behind that which dates back to the middle 60s. As most of the people must be aware, TM was serialised in Ananda Vikatan and it was written by kothhamangalam Subbu.As it was vogue during those days, S.S.Vaasan the MD of Ananda Vikatan who was also the MD of Gemini Studio, always used to get the rights for filming the thodarkadhai under Gemini banner. It was the same with TM. APN by now was slowly establishing himself as a director. APN and VKR had joined together to produce some films (Makkalai Petra Maharaasi) and later APN did Vadivukku Valaikaapu,Kulamagal Raadhai and when he did Navarathiri under his own banner (Sri Vijayalakshmi Pictures) he was firmly established.
By this time APN had thought about filming TM. Though the experiment of filming novels was not proving successful (Akilan's Paavai Vilakku and Kalki's Paarthiban Kanavu failed to make it rich), APN felt that TM was film material. Though Konjum Salangai had a nadaswaram playing man as a hero, the movie did not concentrate on Naagaswaram. So AP.Nagarajan was confident of the film's success.He approached Vaasan but Vaasan refused to give the rights. APN after trying for sometime dropped the project and hit upon a new series of films.APN felt that Bakthi movement has great scope in TN.Another factor that influenced APN's thinking was, he being a Congress man wanted to counter the athesit propaganada of the DMK men who were cleverly using the medium to propagate their ideologies.With Nadigar Thilagam reposing full confidence in APN, the making of Thiruvilayaadal started and the film marked a watershed in TF industry. It was followed by Saraswathy Sabatham and Thiruvarutselvar and all crossed 100 days.In between SS and TVS, APN with his magic wand also gave new life to Kandha Leela, the almost shelved project of AL.Srinivasan, brother of Kannadasan. Kandha Leela rechristened as Kandhan Karunai with NT doing a cameo role was also a Box office success.
With this background, APN approached Vaasan now. This was fag end of 1967.APN also had Thirumal Perumai on floors . Now Vaasan realising the potential of APN was more than willing to give the rights to APN but he put up one condition. APN can direct but the film has to be under Gemini banner. APN was on strong grounds and was not willing to accept that because his banner has become one of the prestigious production houses and distributors were more than willing to pay what APN demanded.When Vaasan realised that APN was not interested, mooted the idea of joint production. But again this was not acceptable to APN. Vaasan realising that APN was not playing ball, decided to give the complete rights to APN without putting up conditions.[There is also another story. By this time the DMK government had assumed power in TN and Annadurai the Chief Minister had proposed to conduct the 2nd World Tamil Conference (Irandaam Ulaga Tamizh Maanaadu) in Chennai.For this Vaasan being the showman of South was appointed as Coordinator.Vaasan had to spend full time for this and the conference was held successfully in Jan 1968. Vaasan completely immersed in the conference realised that he cannot concentrate on the production and had given the go ahead to APN to produce under his own banner].It is said that to repay his gratitude to Vaasan, APN did Vilayaatu Pillai under Gemini banner, the film was again based on the story "Rao Bahadur Singaram"written by Kothhamangalam Subbu and serialised in Ananda Vikatan.
Again there is a small story.APN had paid a handsome amount by cheque to Vaasan for securing the rights. But APN being a writer himself had a guilty feeling that it is not proper for him to not to pay the writer K.Subbu as he was the creator of the story.By this time he got a news that K Subbu was not well and had been hospitalised. APN went to the hospital and after the courtesy call presented a cheque to Subbu along with fruits. He told Subbu about TM and his acquiring the rights.Subbu said that he was aware of the developments and said that he will not accept the cheque. He put his hand below the pillow and pulled out a cover and showed it to APN.It contained the cheque given by APN to Vaasan. Vaasan had sent it across to Subbu.See how magnanimus all the three persons are.Vaasan though holding the rights decided to give the cheque to the creator. APN though he had acquired the rights by paying Vaasan still went ahead and paid the story writer also.Subbu on his part could have easily hidden the fact that Vaasan had given the cheque to him and could have accepted the extra money APN had offered. But he politely refused the cheque from APN and informed him that Vaasan had already paid him.
Now the filming the novel became the biggest challenge for APN. There were many loose ends that need to be tied up. First the story had two parts (Irandu Baagangal). While the first part dealt with the issues faced by Shanmugasundaram and Mohana before marriage, the second part was about the problems they encountered ater marriage. APN decided that the screen play would cover only the first part and the film would end with the marriage of Shanmugam and Mohana. APN also made sure that the hero's character was well etched but at the same time he avoided giving undue importance to heroism. Nadigar thilagam was always a person who attached more importance to the characters than his personal image and he gave complete freedom to APN.
When screenplay writing progressed, APN found that the hero will not have any song sequences. He was bit apprehensive about how NT will react to this. But NT asked APN to go ahead. Another issue (though small in nature but important to Tamil peoples' physcological mindset) was about the non sporting of mushtache by the hero because Nadaswaram players don't sport mush. At a time when mush was a must for Tamil men and especially for cinema heroes, APN was apprehensive about the public reaction. To his discomfort someone pointed out that Rangon Radha where NT appeared without mush had failed at the Boxoffice. Even in APN's own movies such as Saraswathy Sabatham, Thiruvarutselvar and Thirumal Perumai, though NT appeared without mush in certain roles (Like Naradhar in SS, Periyazhwar in TP etc) there were other roles in the same movies where he had sported mush. But again APN and NT decided to take up the challenge.
About Mohana, APN had decided about Padmini.But there was one hitch.Padmini was 35 by that time (1967) and she also had got married. Though she continued to act, some movie experts had expressed doubts about Padmini doing justice to the role. But APN was of the firm opinion that Padmini alone could do the role and without her there would be no Mohana.Naatiya Peroli proved APN right and people who were doubting her ability had to eat humble pie.Especially in the song "Maraindhirundhu Paarkkum", during the lines
அழகர் மலை அழகா
இந்த சிலை அழகா
the camera would capture her from a low angle and nobody can say that she was 36 at that time.For other characters, APN decided that the film should have stalwarts and the likes of Baaliah,Thangavelu,TR Ramachandran, Saarangapani, Balajee, Nambiar, Naagesh,Manorama and Sahasaranaamam were roped in. Not to forget CK Saraswathy, A.Karunanidhi and Ambika etc.
There was one more thing that needed attention. If we say naadaswaram, the people who readily come to mind are Thiruvaduthurai Rajarathinam Pillai, Karukurichi Arunachalam, Sheik Chinna Moulana and MPN Sethuraman - Ponnusamy brothers.
Rajarathinam Pillai passed away in 1956. Karukurichi Arunachalam who gave the immortal "Singara Velanae Deva" in Konchum Salangai had also passed away. Sheik was not interested in movies. So the only person(s) left were the MPN Brothers Sethuraman and Ponnusamy. But there was only Shanmugasundaram as per the story. Both the brothers refused to play alone. So APN took the artistic liberty of creating a fresh character who would accompany Shanmugam and thus AVM Rajan came in and Sethuraman - Ponnusamy were more than happy.The shooting was about to start. Now NT felt that he should watch and learn about playing this wind instrument. It was not without reason. Balaiah, Saarangapani and Ramachandran were from the stage background and as they have to learn all skills there, they had a stint with Thavil and Mridangam.Added to it AVM Rajan hailed from a musical background (Isai Velaalar family)and so he could easily adapt to the act . NT told APN that he wanted to observe how the MPN Sethuraman - Ponnusamy played the instrument. So APN arranged for a concert. NT asked the Naadaswaram troupe to come home (Annai Illam). He was there to receive them. He the genius observed everything from the beginning. Right from stepping out of the car, holding the naadasswaram in hand, changing the tail piece, checking the sound,sitting posture at the stage, the breath they take in between were all keenly observed and stored. And how well he reproduced the same with telling effect. APN had used different musical pieces for different scenes.If the introduction sequence at Azhagar Kovil was traditional, it was Tamil isai at Singapuram (Aayiram Kan pothathu) followed by English notes.At Tiruvaarur it is Thillaana and the same Thillana becomes semi classic in Nalamthaana.In between he plays it to the gallery while at Manorama's dance.You could see NT adapting to all these situations with an expertise of a seasoned naadaswara vidwan.
Everybody played their part to perfection. We can write seperate essays on Balaiah and troupe and CK Sarawathy and troupe. But the major scene stealers were Nagesh and Manorama. Nagesh got the biggest break up of his carrier through Dharumi and afterwards though he was a regular in almost all movies, his another top notch performance came in TM as Savadaal Vaidhi. It is a mere coincidence that the NT-APN combo which gave Thiruvilayaadal was also behind TM. The second one was Manorama. Karuppayee alias Jil Jil Ramamani alias Rosa Ramani was one of the all time best performance of Aachi. Her dialog delivery with a slang and elasticity went down so well with the audience.
Music and the songs
KV Mahadevan alias Mama was the asthaana nusic director for APN. It was no different for TM. KVM gave a free hand to MPN Sethuraman - Ponnusamy brothers and only gave some corrections here and there to suit the film. APN and KVM decided on 3 songs. While the first song would be the introduction song for Mohana, the other song would be for the scene when the hero and heroine meet after a long time and hero coming out safely from a lethal murder attempt. In between the character Rosa Ramani running her own troupe was given a song. This was also to balance the film by catering to the average audience. The first song composing took place.
Kannadasan came and Pugazhendhi,the all in all of KVM played the tune to Kannadasan. He was briefed about the situation. He asked Pugazhendhi about the raaga in which the tune had been composed. He was told that it is Shanmugapriya. Kannadasan just looked up and the lyrics simply flowed from his throat. For every charanam, he finished with the word Shanmuga, denoting both the hero and the raaga. Of course as we all know it is child's play for Kannadasan.
For Pandiyan Naanirukka (for Manorama), he penned the lyrics using colloquial language. It suited the character very well.
THE SONG
As per the story, Shanmugasundaram sustains a grievious knife injury in his left hand at the Tiruvaarur Temple during the Thillaana competition and he gets treated at Chennai. Once he recoups the Tamizhisai Sangam President Kittaavaiyer arranges for the same combination at his Sabha. Shanmugasundaram would play Nadaswaram and Mohana would dance. Mohana and Shanmugasundaram are deeply in love with each other and after a long gap get to meet together. Moreover it is not normal circumstances as Shanmugam has just escaped from death. When such a situation pregnant with so much possiblities is thrown up, we have always seen Kannadasan coming out trumps. Not only that, he always used such situations to express his feelings towards certain happenings of that time.
He and EVK Sampath (F/o EVKS Elangovan) formed a new party Tamil Desiya Katchi in 1961 and Sampath contested the 1962 Parliament elections from South Madras but lost. Kannadasan used Bale Pandiya song "Yaarai Enge Vaippathunu Yaarukkum theriyalae" to express his anguish. When his own brother AL.Srinivasan tefused to give him money to clear some debts, he penned "Annan Ennada? Thambi Ennada?" for Pazhani. When he wanted his party to merge with Congress, he expressed his request "Andha Sivakami Maganidamum Sethi Solladi,ennai serum naal paarkka solladi" in Pattanathil Bootham.
Likewise when this song was getting composed, as mentioned earlier Annadurai was the CM. He had an attack of cancer. He had been affected by cancer even before 1967 elections but this was known only to very few people lest it would affect the chances of DMK in elections. But after the elections and he becaming the CM, the situation worsened and the news came out. He was told to go to USA for check up and treatment.He went to USA and had the check up done. He was trated there and he returned to India, Again it was only a temporary thing but the public was made to believe everything had become normal.
Now coming back to our song, Kannadasan who was once so close to Anna was upset about his health condition. They were not in talking terms. Still the poet's heart bleeded for his erstwhile leader. He started
நலந்தானா நலந்தானா
உடலும் உள்ளமும் நலந்தானா
நலம் பெறவேண்டும் நீ என்று
நாளும் என் நெஞ்சில் நினைவுண்டு
இலை மறை காய் போல் பொருள் கொண்டு
எவரும் அறியாமல் சொல் இன்று.
He finished with another charanam
நடந்ததெல்லாம் மறந்திருப்போம்
நடப்பதையே நினைத்திருப்போம்
கட்டுண்டோம் பொறுத்திருப்போம்
காலம் மாறும் சந்திப்போம்
Anna knowing Kannadasan, could understand the meaning and it seems he expressed his happiness when the movie was screened to him. Kannadasan completed the song and P.Susheela, the undisputed queen of TFM (why TFM, even Indian Film Music) simply breathed life into it. With the Kaviarasu,Thirai Isai Thilagam and Isaiarasi having completed a great job, now it was left to APN, NT and NP to show their mettle. Padmini with her expressive face and eyes showed all the right emotions.The love for his men, her anxiety about his health, her anguish about the injury not fully geting healed, the pain she undergoes on seeing her lover suffer, her desire to get united with him, all these things you could see in her body language within a matter of minutes. If Naatiya Peroli used her dancing skills to express things, the one and only Nadigar Thilagam just used his eyes to upstage her. His eyes would convey all emotions.You could see his eyes smiling when Padmini enters, his eyes showing pain when blood starts Oozing from his left hand, his eyes would acknowledge Padmini's feeling. Especially the lines
கண்பட்டதால் உந்தன் மேனியிலே
புண்பட்டதோ அதை நானறியேன்
புண்பட்ட செய்தியை கேட்டவுடன்; இந்த
பெண் பட்ட பாட்டை யாரறிவார்
NT's eyes would become red and tears would be filling around his eyeballs. Normally it is said that glyserine induced tears could not be held back.It would automatically start flowing. But for our NT, the tears would stay till the time he wants it to be there.It will start trickling only when he wishes so.It is said that he will even make it fall drop by drop. This becomes all the more absorbing in this context because when holding tears itself is difficult, playing the naadaswaram at the same time makes it more difficult.But NT would make it look so easy and natural.At the theatre this scene would always evoke thunderous applause.This is a song that has stood the test of the time for the last 40 years and would continue to remain as such. To say that this song played an important role in the film's success is not out of context.
It won widespread acclaim from all walks of society.There were some people who were predicting a disaster had their mouths shut when it became the biggest hit of 1968.It won the best film award and fetched best actor award for NT from the Tamilnadu Government.The annual Pesum Padam award, the cinema fans association award and so many awards from various sources just flowed in. MGR saw the film and he was so impressed it seems that he saw it for one time and it is said that when a foreign delegation came to meet him, he arranged for the special screening of the film for them through Idhyam Pesugirathu Manian.This goes to see how well the film was received. As the saying goes, Copying is the best form of flattery, this became evident when Gangai Amaran with the help of Ilaiyaraja did Karakaatakaran in 1989 and 10 years later Suresh Krishna with able support from AR Rahman did Sangamam. This shows how TM and it's story are still popular and holds relevance till today.
To sign off, let me add my personal experience.The film was released on 27th of July,1968. It was a Saturday and in our Madurai, it was screened in Chinthamani Talkies.I was studying in St.Joseph's Convent and we were staying in Aarapaalayam. Myself used to travel in Cycle Rikhshaw and we need to cross the theatre on our way to school.What I saw in the morning of that day is still etched in my mind. People knowing the topography of Chinthamani would be aware that it is a ப shaped building, the two lanes on either side of the theatre acting as the length of ப. If we stand in front of the theatre,the left side would be having the high class counters (balcony) and right side the lower class.The main gate would allow the ladies in and they had a seperate counter inside. On the morning, when we crossed, the traffic had come to a stand still.There were serpentine Queue on either side and there were about 200 people in front of the gate trying to get in through the main gate.The police were having a tough time controlling the crowd and everytime the police wielded their laati, the crowd was spilling into the main road throwing the traffic (It is a busy throughfare wth buses and lorries plying round the clock) out of gear.It took 15 minutes for us to pass the strech (normally it would hardly take 2,3 minutes). School being half day (Saturday)we came back by 1.15 pm.Now the police force was more and the front gate was being guarded. In both the lanes,கண்ணுக்கு எட்டிய தூரம் வரை வரிசை காணப்பட்டது. There was a sea of people in the opposite paltform. Suddenly the main gate opened and some people who had watched the opening show were seen rushing out.They stepped out of the platform into the main road and one of them lighted a cheeni vedi charam amidst the shouts of "Nadigar Thilagam Sivaji Ganesan Vaazhga". More people by now had started coming out and more crackers were being burst. Our Rickshaw man cycled away from the theatre though I preferred staying back and watching the fun getting unfolded.That was my first experience of the opening show crowd and celebrations and it is still green in my memory.
The lyrics is as follows.
நலந்தானா நலந்தானா
உடலும் உள்ளமும் நலந்தானா
நலம் பெறவேண்டும் நீ என்று
நாளும் என் நெஞ்சில் நினைவுண்டு
இலை மறை காய் போல் பொருள் கொண்டு
எவரும் அறியாமல் சொல் இன்று.
கண்பட்டதால் உந்தன் மேனியிலே
புண்பட்டதோ அதை நானறியேன்
புண்பட்ட செய்தியை கேட்டவுடன்; இந்த
பெண் பட்ட பாட்டை யாரறிவார்
நடந்ததெல்லாம் மறந்திருப்போம்
நடப்பதையே நினைத்திருப்போம்
கட்டுண்டோம் பொறுத்திருப்போம்
காலம் மாறும் சந்திப்போம்.[/tscii]
Regards
[tscii:dfc9b9d59e][/tscii:dfc9b9d59e]
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Murali SirFrom: joe on Fri May 2 0:33:39 2008. 
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Murali Sir....Congrats !!! No words to explain. I was dumbstuck. All these details about the legends will definitely be spread to many by word of mouth (I myself have already started the workFrom: rangan_08 on Fri May 2 1:47:41 2008. ) Really enjoyed it. 
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Thanks Joe. It is my pleasure.From: Murali Srinivas on Fri May 2 4:09:58 2008.
I want to add one more information and one more clarification.
When I acknowledge Mani Sir, I must say that I had taken some information from Mani sir's KVM thread, which might not have been clear in the first instance.
The additional information is one of the top most production houses of Hollywood, 20th Century Fox had acquired the rights of Thillaana Mohanambal. the only Tamil film that has got this recognition from a Hollywood producer till date.
Regards
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Excellent write-up Murali sirFrom: littlemaster1982 on Fri May 2 4:12:49 2008. 
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From: Shakthiprabha on Fri May 2 4:30:05 2008.
Murali,
As ever, ur writing breathed more life into the song.
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From: madhu on Fri May 2 4:48:27 2008.
just oru curiosity 
)
why? any lines from the songs anti-islamic? 
