Maestro Ilaiyaraaja – 37 years of Musical Magic or Magical Music!!

An encomium on Maestro Ilaiyaraja – by Sowmya Suresh

The Invincible Musician who made his debut in Annakili this day 37 years ago has made all our lives so beautiful, meaningful, enjoyable, blissful with his astonishing, divine, unparalleled creativity. Let me start this humble tribute to the MAESTRO with a beautiful slokam sung by the Master himself from the title song of the Malayalam movie Aalolam.

http://www.4shared.com/audio/IMReRz-v/4OmMidhyeThadaksharamidam.html 

(Sung by the Maestro and Sri Jayachandran)

At the fear of sounding immodest, I would say this Genius revolutionized Tamizh film music. Hailing from a tiny hamlet of Pannaippuram, Maestro used his magical wand to create many leitmotifs. He stretched the horizon of background score in cinema. It was then people started identifying background score and learnt that music is not all about just composing songs. A fancy term called BGM was coined in that era. Needless to say, audience thronged cinema halls just to hear these BGMs that added soul to the film’s body.

Master of all he surveys, he ventured into Indian classical, WCM, Pop, Jazz, Folk etc with ground breaking results. A composer who could mesmerize everyone with his lilting tunes, his strings tug at the heart strings and a whole generation still swear by HIS compositions. A Composer nonpareil, the Wizard has managed to extract the best out of his singers and musicians while unearthing some outstanding gems.

Superlatives become mandatory to describe, analyze and appreciate the music and background score by Maestro. The BGMs are seemingly different and add scores of embellishments to the film.The music creates the tone that’s essentially required for the movie and in turn gives an exponential rise to its aesthetics. The classical touch of Raja sir exudes in every piece and every scene. HIS music in films elevates the mood consistently. The songs give the required flow for the film to qualify as a “Musical.” The BGMs speak volumes about the emotions involved. When he uses some of the music pieces that are instrumental versions of the song tunes, he ensures to use them in varied proportions aiding the situation in the film.

Over a span of 920 movies, many devotional albums, around 4500 songs with countless BGM score, Preludes & Interludes that have left the listeners in awe. The flute, an ocean of Strings section including Violins, Violas, Cellos, Double Bass, Guitars & Bass guitar, Veena, Piano, Brass section and all the percussion instruments have just dazed us in every single song of HIS! The instruments have bowed down to the Master's command, HIS music notations and the end result is sheer ecstasy. I bow down in reverence to the musicians who have played / have been playing and the singers who have sung/ have been singing for this Genius till date! _/\_

On this wonderful day, I wanted to list out my most favorite 37 songs ! It does sound absurd to shortlist my favorites from the Ocean of HIS compositions.. Nevertheless, I am listing out some songs below that flashed in my mind while I was typing this tribute.

Malayalam: 

1. Paadoo Sakhi Paadoo - Chaitram (A gem that went unnoticed since it was a part of an unreleased movie!) There are many precious gems like this from Maestro that went into oblivion either because the movie was a damp squib or the song didn't make it to the movie's final cut or simply because all the other songs in the movie ended up mighty popular.

  

2. Alli Ilam poovao – Mangalam Nerunnu

3. Shivakaru damaruka – Kochu Kochu Santhoshangal

4. Ponveyilile - Oru yaathramozhi

5. Poo Kunguma poo - Raasathanthram

6. Thaaraapadham – Anaswaram

7. Kaiyettha – Vinodha yaatra

8. Kunnatthae Konnakyum – Pazhasiraaja

9. Aruna Kirana Deepam – Guru

10. Hridhu Baedha Kalpana – Mangalam nerunnu

Telugu:

1. Madhana Lathika Haare - Aalapana (Friends, Please listen to this astonishing marvel. Unfortunately, this gem didn't appear in the movie!)

2. Priya Priyaththamaa Raagalu - Killer

3. Kaliki Maenilao - Sankeerthana

4. Yenaadu Vidipaoni - Sri Kanaka Mahalakshmi Recording Dance Troupe

Kannada:

1. Anuraga Yaenaythu - Nee Nanna Gellalare

Tamizh:

1. Sreedevi en vaazhvil - Ilamaikkaolam

2. Vaanin devi varuga – Oruvar vaazhum aalayam

3. Rojappoo – Agni Nakshatram

4. Raajathi Raaja un thandhirangal – Mannan

5. Vaanam Engae - Nenjilaadum Poo Ondru (Watch out for the chorus portion in this song)

6. Kalyana Maalai – Pudhu Pudhu Arththangal

7. Anjali Anjali Anjali – Anjali

8. Oorellaam un Paattu thaan – Oorellam un paatu

9. Naan enbadhu nee allavao – Soorasamhaaram

10. Vaanavillae – Ramana

11. Puththam Pudhu Poo Pootthadhao - Dhalapathi

12. Kalaivaaniyao Raniyao – Villuppaattukkaaran

13. Alli Sundaravalli – Kanngalin vaarthaigal (A very stylish composition)

14. Meendum Meendum – Vikram

15. Devanin Kovil – Aruvadai naal (A tear jerker)

16. All the time I think of you - Naadodi thendral (the orchestration & the string arrangements in this song never ceases to amaze me )

17. Isaiyil thodangudhamma – Hey Ram

18. Vecchaalum Veikkaamappoanaalum – Michael Madhana Kaamarajan

19. Ennullae Ennullae - Valli

20. Pooyaeru Kaonum - Thiruvaasagam

Hindi:

1. Aa Gaya Kaoi Sapna - Kamagni

2. Dilwaale Raath hai Jahan - Mahadev

Sir, Thanks so much for giving us enchanting music that emanates an air of serenity. We are beholden to you and your music remains immortal. Your presence made this place a land blessed by heavens! Let's all celebrate this genius and HIS music forever.

In the first charanam of the song Manikkutti Kurumbullaor (Movie: Kaliyoonjal, Malayalam. Music: Maestro), there is a line, "Nee Endae Aathmaavin Aanandha Madhuram" ... How true!! Avaradhu Isai Namadhu Aathmaavin Aanandha Madhuram allavaa! :)

My humble Pranams to our beloved MAESTRO "Isaignani" ILAIYARAJA _/\_  _/\_

Movie Review – Thadaka (Telugu) – Entertainment at its best!!

Disclaimer: This review is written by a Naga Chaitanya Fanboy

Tollywood stars may need to up their ante. There’s a new sheriff in town and there’s no doubt that he is a force to reckon with. Young ‘Yuva Samrat’ Naga Chaitanya will set a new box office record in Andhra Pradesh with his latest offering Thadaka. This star, like a tiger waiting for its prey, has been waiting since long time to touch stardom. Finally, his efforts bore fruits. He was so deadly, in fact, that his counterparts would go blind from over-exposure to pure awesomeness. The man is now set to break the records set by others, and stamps his supremacy in an already crowded galaxy of stars in Tollywood.

A man who believes in cherry-picking his scripts knew no bounds showing his acting prowess in this film. Innocence, romance, emotion, action, dance, comedy – say it, he delivered it at the drop of a hat.  Of all the multiple hues of Naga Chaitanya, the way he ably juggled his innocence and comic timing in the pre-interval fight sequence is the one to die for. In the film, you’d revere his cute look, rugged look, spiked look, and above all the macho look – all rolled into one. At the fear of sounding immodest, I would declare that the star is reborn. Need I say more! 

Having said that let me get touch base with reality. The above paragraph is a ploy to glue your eyeballs to the review. As a fan, I spoke a few things about Naga Chaitanya Babu and for the remaining dose of few good things, please watch Thadaka. After a long hiatus, with this breezy entertainer, director Kishore Kumar Pardasani struck like lightning. This film will burn other movies in its vicinity, that’s the immense energy it exudes. Kishore’s last outing was Konchem Ishtam Konchem Kashtam in 2009. This time he remade the Tamil film Vettai and delivered a no nonsense ensemble that’s replete with many WOW moments. He tried to keep the movie close to Telugu flavor and captured relationships and their interspersing emotions in a better way.

The movie is about two brothers – one fearful and the other fearsome. Their journey through life, how they complement each other, their love stories form the story. As every commercial potboiler, the movie is a loaded gun with bullets of comedy, action, songs, dances, villains, and other wicked elements and ultimately ending with good’s win over evil. So, don’t expect anything new, but the way the narration is layered makes it a novel one. The movie gives a déjà vu feeling of SVSC, Dhada, Gopi Kishan (Hindi) etc, but the taut screenplay swashes everything.

Sunil’s character was underplayed in the first half but he fires all the cylinders in the later one. He’s paired opposite the lanky Andrea Jeremiah who looked pretty and made a remarkable Telugu debut. Apart from the group songs there aren’t any duets for them. Tamanna occupied more screen space than Andrea. In an uncanny introduction of both the heroines, two extra frames were dedicated to Tamanna, and this made it clear that she is the apple of film-maker’s eyes. Some songs are forcibly induced in the narrative and the song Mara O Mara is a treat to watch. This song is hard hitting for obvious reasons and can be termed as modern avatar of Hey Goodbye Priya from Yuva.

The comedy track is laced throughout the movie. Certain symbolism – meka pothu, hanging name plate etc. – makes the laughter quotient exponential. Sometimes it’s Sunil who evokes chuckles, and most of the time it’s Brahmanandam, Rama Prabha and Vennela Kishore who take the mantle. Not to forget, Naga Chaitanya induces his dose of laughter in many scenes. Asutosh Rana looks menacing as the antagonist, and his magnetic presence lightens up the screen.

Three cheers to the adrenaline-rushing, well-choreographed action episodes. Cinematographer Arthur Wilson pushed his envelope in canning these action sequences. The slick editing of Gautham Raju is another reason to cherish. He managed to fit the movie into a reasonable runtime.

Guitar, Violin, Veena, Flute, Drums, Strings, Saxophone, Harmonica – No, I am not reading a list of musical instruments. These are the ones used by S S Thaman in the music department. After a long time, his music is refreshing. I generally refrain from commenting on his music, but this time I couldn’t resist myself. The background score is decent and elevated the scenes consistently. Now the great DSP got a competition because Thaman has evolved and learnt the art of churning a mass number.

Bottom-line: This movie offers three things – Entertainment, entertainment and entertainment.

My Rating: Expectation – 5/10; Reality – 6.5/10

SAHASAM story – Let the guessing game begin!!

Disclaimer:

---------------

This is an attempt by my friend Jayasimha to guess the story of Sahasam, directed by Chandrasekhar Yeleti, from the recently released trailer. He doesn’t intend to hurt anyone associated with this movie. The following story is written purely on his observations. It may be correct or wrong. There is some kick in any guessing game so he just gave it a try (based on his freedom of expression)..!!

Synopsis:

The story can be traced back to the year 1947. Satyanarayan Varma (Suman) was a diamond merchant owning Pushpakalavathi diamond shop near Indo – Pak border. In the month of ‘April 1947’ when the communal fight was in rage (during independence), he fears an attack from the mob (who takes advantage of such situation) that he would be looted and killed by them. Sensing the trouble, Satyanarayan Varma carries all the diamonds he had, and escapes from the back door of his house.

 

Document showing the date as 26th April.

 

He understands that it was inevitable that he gets killed. He hides all the diamonds in a cave which was supposed to be the cave where the idol of Hinglaj Devi exists. He gets killed in the communal clashes and the remaining people migrate to India. Along with them comes a child (Narendra Varma), father of Gopichand.

 

At present, Gopichand works as a security guard in Hyderabad. We can confirm Hyderabad from the below pic (you can see Sultan Bazaar on the shop’s address

 

 

Gopichand worships Hinglaj Devi and is an ardent devotee of her, but he doesn’t know her name and where her temple is. Taapse (is a guide) visits one of the dance programs for which Gopi takes care of the security. There he listens to her telling about Hinglaj Devi as the biggest Shakti Peetha in Pakistan and sees her photo. This creates curiosity in Gopi and he asks Tapsee to take him to that temple as he wants to visit at least once in his lifetime and it is the same goddess that he has been worshipping since his childhood.

 

To know about Hinglaj Devi Shakti Peetha, let’s walk through the mythology lane:

 

King Daksha (son of Brahma) organized a great yajna, but did not invite Lord Shiva and Sati (the first wife of Lord Shiva). Uninvited, Sati reached the yajna-site but Daksha ignored her and insulted Shiva. Unable to withstand this insult, Sati jumped into the sacrificial fire and committed suicide. Sati died, but her corpse did not burn. Shiva forgave Daksha.The grief-stricken Shiva wandered the universe with Sati's corpse. Finally, the god Vishnu dismembered the body of Sati into 52 parts, each of which became Shakti Peetha, temple to a form of the Goddess. The head of Sati is believed to have fallen at “Hinglaj”. So this peetha is considered as the most powerful place. Shiva is also worshipped at each Shakti Pitha in the form of Bhairava, the male counterpart or guardian of the presiding goddess of the Pitha.

 

 

Shakti Kapoor is a local goon (operating near Karachi) in the range of Kheerthar hills, in the Makran desert stretch. He keeps searching for artifacts and uses a team to collect such goods. During his quest to find clues about his ancestors, Gopi comes across an old stone on which his grandfather's name was etched as a donor of gold and diamonds for a temple.

 

He then encounters Shakti Kapoor gang and he comes to know that they have found a box which has a treasure but they don’t have the key. The key to open this box is a locket shaped metal which has a god with wings behind hands (representing Lord Garuda).

 

 

Gopi comes to know the importance of this symbol from an ancient book which has info about Kanishka, emperor of Kushan dynasty in the 2nd Century. This book explains the Rapa Nui and Indus scripts. It also explains the symbols related to Caduceus or two snakes (Herald’s Staff/ Aaron’s Rod). It contains the importance of Garuda symbol to open a box with treasure.

 

Gopi and Taapse get trapped by Shakti Kapoor and they are taken to the small natural cave where the idol of Hindlaj matha is present. As mentioned before, Shiva is the guardian at each shakti peetha, the following is the trap created with the power from Shiva that protects the treasure.

 

This is the box having treasure which is protected by Lord Naga.

 

Now the responsibility is on Gopi to protect and safeguard his ancestors’ property and save it from falling into evil hands of Shakti kapoor and gang.

 

THE END

 

P.S: We should really appreciate Director Chandrashekhar Yeleti for the originality in the story and correlating Indus Valley Civilization symbols, Independence communal fight, Shakti Peetha and some kinda treasure hunt. This is truly refreshing. All the Best to the team of Sahasam.

 

About the author:

Jayasimha daylights as a Telecom Analyst and moonlights as a Writing Catalyst.

He can be reached at njayasimha@gmail.com

Facebook Profile: www.facebook.com/njsimha