Poet Laureate Kannadasan

[Plum]

But there is another theory that says TMS sings the same for both the thilagams, but its just our own perception that differentiates them...

In some show, I saw tharaimEl pirakka vaiththaan song played for a sivaji film and it really looked like sivaji singing the song!

Rakesh, I watched the tail bit only. Vaanavil :banghead:
Yes, MSV is humble and usually says the right thing. :D He also aways says that one of his eyes is Kannadhasan. (remember the pullaangkuzhal koduththa moongilgalE song... he changes the lyrics to engal kannadhasan pugazhai paadungalEn ... :bow:

MSV is a living legend - hope the govt of the day recognises him when he is alive now. :sigh2:

Unlikely from the Indian govt - he is already the forgotten man. He is not political enough to get backing from TN govts either. Dadasaheb Phalke-Avadhu kodukaNum but I dont think that will happen - during his lifetime or mine or yours.

[vishnuprk]

கவியரசின் புகழாரத்தில் ஒரு தமிழ் பூவை கூட காணவிலையே என்ன கொடுமையடா?

[NOV]

Just finished watching Karnan...


From: Manisekaran (@ bat-50-165.tm.net.my) on: Sun Feb 1 12:03:34 EST 1998

Kanchana,
Thank you really for touching on Gita.Taking the lead from that let me touch on "Aayiram Karangal Neetti" in Karnan. It used to be thought that Veiyitketra Nizhalundu Veesum Thendral Kaatrundu from Kalvanin Kathali laid the yardstick for translation into Tamil of foreign songs. That was a song of Umar Khayam translated by Desiga Vinayagam Pillai. Likewise in Karnan, Kannadasan has created great impression on the hearts and minds of the Veda chanters. Kannadasan amd MSV/TKR spent 15 days in Bangalore to compose the songs for Karnan. They brought the veda chanters to their hotel room and requested them to chant the vedas. After listening to the chanting, Kannadasan was highly inspired and he composed the following lines:-

"Aayiram Karangal Neeti
Anaikkindra Thaye Potri
Arul Pongum Mugathai Kaati
Irul Neekam Thanthai Potri
Thayinum parinthu Sala Sagalarai Anaippai Potri
Thazhaikkum Or Uyirkatkellam Thunakkaram Koduppai Potri
Thoorathey Neruppai Vaithu Saarathai Tharuvai Potri
Gnayire Nalamey Vazhga Nayagan Vadivey Potri
Naanilam Ulla Naal Mattum Potruvom Potri Potri"

In any translation, you may only get the form(Vadivam)but seldom the spirit(unarchi). When this song was relesed, remarks were made that Kannadasan was able to retain the original form and spirit of the Sanskrit Vedas in the Tamil translation. This piece remains one of the masterpieces of Kavgnar.

[groucho070]

Awesome...awesome....there was quick succession of songs in the middle of the movie, did you notice. From Kannukku Kulam Ethu, to the Poiva Magale and the valaikkappu song...only time when you don't mind bombarded by one song sequences to another. Come to think of it, Karnan has one too many songs for its time and they are all gold :D

[NOV]

I switched on when kangal engE nenjamum engE came on :bow: this was quickly followed by iravum nilavum valarattumE

man, tell me about paradise!

[Thirumaran]

Not sure whether it was shared here before.

Nice collections... :P

http://www.kannadhasanpathippagam.com/gallary.aspx

:cool2:

[groucho070]

Thanks TM. The shot during Sivaji's wedding is the most interesting. I saw the bigger version of that pix in NT's memoir, good to see all those important historical figures in one picture. :D

[hamid]

Not sure whether it was shared here before.

Nice collections... :P

http://www.kannadhasanpathippagam.com/gallary.aspx

:cool2:

Superb Collection TM :thumbsup: Thanks for sharing..

the photo at Sivaji's wedding is very casual.. I think this photo is what could have been referred in NT's thread when discussing about the friendship of NT and MGR :cool:

[Aalavanthan]

Not sure whether it was shared here before.

Nice collections... :P

http://www.kannadhasanpathippagam.com/gallary.aspx

:cool2:

Thanks Thiru..
This is the first time am seeing Bharathidasan in a picture. And yes, as groucho said, Sivaji's wedding snap was simple but awesome :)

[NOV]

money should be treated like salt for food....


கடலளவு கிடைத்தாலும் மயங்க மாட்டேன்
அது கையளவே ஆனாலும் கலங்க மாட்டேன்
உள்ளத்திலே உள்ளதுதான் உலகம் கண்ணா
இதை உணர்ந்து கொண்டேன்
துன்பமெல்லாம் விலகும் கண்ணா

[NOV]

Kannadasan from the book Kadaisipakkam. Page 21.


நம்பிக்கைக்கு மிகவும் தேவையானது மனம். அது உன்னிடமே இருக்கிறது; அதற்காக நீ ஒரு பைசாவும் செலவழிக்கத் தேவையில்லை!

[mahendra raj]

Hi Everybody,

Nice being engaged in this forum after a lapse of more than 7 years. I was just casually going through The Hub pages and was pleasantly shocked that our Kaviarasar has 're-incarnated' again and again. When I flipped through the original posting it was dated somewhere last year and I expected that it will show the end after only a few postings. Boy, was I in for a rude shock? The thread is still active! That was when I decided to be part of the fray rightaway.

During the long absence I chanced upon so many tidbits and articles from the various magazines and books about kaviarasar, including meeting up with some veteran film personalities in Chennai, which I hopefully will share with all of you regularly.

A cursory glance at the postings also prompted me to offer my comments like the song where kaviarasar was credited instead of Vaali. The song was 'Kan poenna pokkilae kaal pogaalam' ('Panam Padaithavan' 1965) and not as mentioned. (I will go through the whole threads at my leisure and if the need arises I will surely comment or rectify certain factual errors).

For starters, I wish to correct my very own posting done years ago in this Forum as to the song 'Antha Sivagamiyin Maganinidam...' (Pattanathil Boodham 1968). Well, according to Kanmani Subbu, Kaviarasar's eldest son, the situation was not so. Subbu gave me an interesting story to the effect. An intimate friend of his father (he told me the name but I can't recall) clarified the situation with historical and actual facts.

Kaviarasar usually prides himself with his association with Kamaraj. He usually volunteers to speak on the same platform as Kamaraj does. On occasions, our kaviarasar turned up late thus upsetting the schedule of speakers. This irked Kamaraj and kaviarasar promised to reform. On one occasion kaviarasar was supposed to do the opening speech but turned up an hour later and that too he did not walk up to the dais straightaway. Instead he huirriedly took a few puffs from his cigarette by the side dais and only then cooly walked up to take his seat. A furious Kamaraj watched with dismay the whole scene and thought enough was enough. When kaviarasar went to the mike to address the crowd, Kamaraj suddenly got up and said in his usual Nadar dialect that Kannadhasan is not to speak.

Kaviarasar was stunned and so was the audience who thought Kamaraj was just joking. But Kamaraj was serious and adamant. This incident jolted him and subsequent attempts to meet Kamaraj proved futile.

As a final attempt he telephoned Kamaraj but was answered by the latter's personal assistant going by the name of Velan. When kaviarasar insisted that he wished to speak to Kamaraj, Velan told him that it was Kamaraj's instruction to take down whatever message he was trying to relay. This reply further embarassed kaviarasar and it dawned on him finally that Kamaraj really meant business.

The year was somewhere in 1967 and it was at this time 'Pattanathil Bhootham' was being produced and kaviarasar penned his misery in the opening stanza of the song. Note, the word 'Velan' incorporated in that song. Kaviarasar was trying to convey the message that he wishes to see Kamaraj only and not any Tom, Dick, Harry or VELAN!

It was widely believed that kaviarasar fell out with Kamaraj during the Congress Party crises time in 1969 which has now been proved wrong since the song was written circa 1967.

More will follow folks and until then bye for now!

R. Mahendra Raj

[NOV]

whoa! :shock: what an amazing come back! :clap:

glad to have you back with us. Pls continue enriching us with your knowledge.

Let the fame of Kanandhasan transcend generations. :bow:

[NOV]

அந்த சிவகாமி மகனிடம் சேதி சொல்லடி
என்னை சேரும் நாள் பார்க்கச் சொல்லடி
வேறு எவரோடும் நான் பேச வார்த்தை ஏதடி
வேலன் இல்லாமல் தோகை ஏதடி

கண்கள் சரவணன் சூடிடும் மாலை
கன்னங்கள் வேலவன் ஆடிடும் சோலை
பெண் என பூமியில் பிறந்த பின்னாலே
வேலை வணங்காமல் வேறன்ன வேலை
நெஞ்சே தெரியுமா அன்றொரு நாளிலே
நிழலாடும் விழியோடும் ஆடினானே
அன்று நிழலாடும் விழியோடு ஆடினானே
என்றும் கண்ணில் நின்றாடச் சொல்லடி

மலையின் சந்தனம் மார்பினில் சொந்தம்
மங்கையின் இதயமோ காளையென சொந்தம்
நிலையில் மாறினால் நினைவும் மாறுமோ
நெஞ்சம் நெருங்கினால் பேதங்கள் தோன்றுமோ
காலம் மாறினால் காதலும் மாறுமோ
மாறாது மாறாது இறைவன் ஆணை
என்றும் மாறாது மாறாது இறைவன் ஆணை

இந்த* சிவ*காமி மகனுடன் சேர்ந்து நில்ல*டி
இன்னும் சேரும் நாள் பார்ப*தென்ன*டி
வேறு எவரோடும் நான் பேச வார்த்தை ஏதடி
தோகை இல்லாம*ல் வேல*ன் ஏத*டி

[pavalamani pragasam]

Sivagami magan is Kamaraj?

[sivank]

yes pp maam. sivagami ammaiyaar was the mother of PT

[app_engine]

[tscii:70a988d6d1]From Bhoori's blog :

http://awardakodukkaranga.wordpress.com/2010/03/23/%e0%ae%95%e0%ae%a9%e0%ae%b5%e0%af%81%e0%ae%a4%e0%a f%8d-%e0%ae%a4%e0%af%8a%e0%ae%b4%e0%ae%bf%e0%ae%b1%e0%a f%8d%e0%ae%9a%e0%ae%be%e0%ae%b2%e0%af%88-%e0%ae%a8%e0%ae%bf%e0%ae%a9%e0%af%88%e0%ae%a4/




சுஜாதா பதில்கள்

கவிஞர் கண்ணதாசனை நீங்கள் சந்தித்ததுண்டா ?
உண்டு. “நினைத்தாலே இனிக்கும்” கம்போசிங்கின்போது. சில பொதுக்கூட்ட மேடைகளில்.
எங்கேயும் எப்போதும் சங்கீதம்…… சந்தோஷம்! (கற்றதும் பெற்றதும்….)

...

எம்.எஸ்.வீயும், கவிஞரும் அன்யோன்யமாகப் பழகிக்கொண்டார்கள்.

“விசு, என்ன ட்யூன் ?”

“அண்ணே! சங்கீதத்தைப் பற்றிய உற்சாகமான ட்யூன்!”

“வாசி! “

விஸ்வநாதனின் விரல்கள் ஆர்மோனியத்தில் உலவ, அவருக்கே உரிய வசீகரமான குரலில், “தன் னானே தன்னானே தன்னானே தன்னானே” என்று பாடினார். உடனேயே கவிஞர், “எங்கேயும் எப்போதும் சங்கீதம், சந்தோஷம் ” என்றார். “பாடிப் பாரு !”

“கச்சிதமாக இருக்கு, கவிஞரே !”"அடுத்த அடி. ?”"தானனன்னே தானனன்னே தானனன்னே தானனன்னே…!”"தன்னானேக்கு பதில் தான னன்னேயா ? சரி கொஞ்சம் தத்துவம் பேசலாமா ?” என்று டைரக்டரைப் பார்த்தார், கவிஞர்.

பாலசந்தர், “தாராளமா! உங்களுக்குச் சொல்லணுமா கவிஞரே ! “

“ராத்திரிகள் வந்துவிட்டால் சாத்திரங்கள் ஓடிவிடும்…!” “சரியா ?”

“Perfect !”

விஸ்வநாதன் பாடப் பாட, கண்ணதாசன் அத்தனை சரணங்களையும் (“காலை ஜப்பானில் காபி…. மாலை நியூயார்க்கில் காபரே… அவங்க ஊரூரா போறாங்கல்ல ? “) உடனுக்குடன் உதிர்த்ததை பஞ்சு அருணாசலம் அழகான கையெழுத்தில் எழுதித்தர, சில மணி நேரங்களில் முழுப் பாட்டும் எழுதப்பட்டது.

இடையிடையே, கண்ணதாசனுடன் பேச்சுக் கொடுத்தேன். “எப்படி இவ்வளவு சரளமா வார்த்தைகள் வருது ? “

“தமிழ்ல ஆதார சந்தத்தைப் பிடிச்சுட்டாப் போதும்! பாருங்க, சீதைக்கு எத்தனை பெயர்கள் ? சீதா — நேர் நேர்; ஜானகி — நேர்நிரை; ஜனகா — நிரைநேர்; வைதேகி — நேர் நேர் நேர் …. இப்படி எந்தச் சந்தம் வேணுமோ அந்தச் சந்தத்துக்கு வார்த்தைகள் போட்டுக்கலாம். என்ன, எல்லா வார்த்தையும் தெரியணும்… அவ்வளவு தான். கம்ப இராமாயணத்தில் ஒவ்வொரு படலத்திலும், பாடலிலும் ஒரு புது வார்த்தை கிடைக்கும் !”
...

ஏறத்தாழ 30 ஆண்டுகளாகியும் அந்தப் பாடல் இன்றும்கூட எல்லா மெல்லிசை நிகழ்ச்சிகளிலும் கட்டியம் கூறும் பாடலாகப் பாடப்படுகிறது. கண்ணதாசன் அதைத்தான் செய்தார்… எங்கேயும் எப்போதும் சங்கீதத்தையும், சந்தோஷத்தையும் பரப்பினார். உலகில் தமிழர்கள் வாழும் ஏதாவது ஒரு மூலையில் பயணிக்கும் கார்களிலும், இல்லங்களிலும் அவரது ஏதாவது ஒரு வரி ஒலிக்காத நேரமே இல்லை.
[/tscii:70a988d6d1]

[NOV]

There was a Bhoori Hubber long ago.. :think:

[groucho070]

Ippo yen dink pannurengga. It's good to re-forward it. There are many Sujatha fans here who would take note :D

[app_engine]

There was a Bhoori Hubber long ago.. :think:

அது அவருடைய புதுப்பெயராம். "ஒரிஜினல் பெயர் RV " என்பதாகத் தன் சிக்னேச்சரில் போட்டிருக்கிறார்...

[mahendra raj]

Hi folks,

I wish to apologise at the outset for whatever I am going to post hereafter may be either a repetition or duplication as I am wary of going back to check on my earlier postings. So, sorry folks.

I just saw on this page re- the wedding of Shivaji and I wish to refresh a bit. The wedding took place when nearly all the Tamil film stalwarts belonged to DMK. At that function suddenly MGR proposed that kaviarasar conduct the marriage between Shivaji and Kamala. Dutifully obliging, kaviarasar read out a felicitation and gave the sacred thaali to Shivaji to tie around the neck of Kamala. All in all the total expense of the wedding was a mere Rs500!
Abiding by DMK principles at that time, the marriage function sans pomp and splendour. Even Shivaji reminisced and sighed when his grand-daughter was married to Jayalalitha's foster son in 1995 in a grand ceremony which could have made to the Guinness Book of Records.

On the same subject, one could easily see the comradeship between the DMK party cadres at that time until Shivaji fell out of line after his 'fateful' trip to Triputhi to fulfil a religious obligation. I believe my close friend Manisekaran had touched extensively on this subject.

Kanmani Subbu narrated an interesting situation. When 'Paalum Pazhamum' (1961) was being made Director Bhimsingh invited kaviarasar to pen the songs. Bhimsingh believed that with the roaring success of 'Bhaga Pirivinai' (1960) songs earlier kaviarasar can lend a magic touch.

Upon completion of nearly all the songs there was only one song to go. As usual, Bhimsingh along with Viswanathan Ramamurthy were seated when kaviarasar was penning the songs. When the last situation song was being written (at that time it was kaviarasar himself who wrote the songs) Shivaji suddenly walked in. It seemed Shivaji was staring hard at him which made our our kaviarasar uncomfortable since they were not on talking terms and he quickly handed over the letter-pad of the last song and bolted from the scene. Shivaji grabbed the letter-pad from Viswanathan out of curiosity and burst out laughing aloud. The song was was 'Ennai Yaar Endru...' Shivaji thought kaviarasar wrote about him for staring but the truth was kaviarasar was reminiscing his old flame in this song.

On the same subject again. When 'Veerapandiyan Kattabomman' (1960) was produced Shivaji recommended SSRajendran for the role of Vellaiya Thevan for two reasons. One was that SSR belongs to the Devar caste and the other for his delivery of fast dialogues. SSR backed out and Gemini Ganesan filled the bill. Around the same time SSR commited to act in 'Sivagangai Seemai' a production of kaviarasar which was seen as a rival to the 'Kattabomman'. Shivaji openly accused SSR of being a coward to act in a word-fighting film. I remember vividly way back in 1964 that in an interview SSR spoke otherwise. He said that his relationship with kaviarasar was greater than Shivaji and that he had no qualms to act the leading role in 'Sivagangai Seemai'. Both Shivaji and SSR were not on talking terms until ' Saanthi' (1965) although they had acted in films like 'Deiva Piravi' (1960), 'Kunkumam (1963) , 'Kai Kodutha Deivam' (1964).

R. Mahendra Raj

[mahendra raj]

Hi folks,

What I am going to pen is supposed to be confidential and private. That was what Kanmani Subbu asked of me about 7 years back. But I feel now that there are so many worse scandals around that this is nothing and after all it happened about 35 years ago.

As you all know that Vaanathi Publications' owner Ganapathi was a close associate of kaviarasar from time immemorial. Their friendship was such that each time kaviarasar was broke there was a ready hand to help him in the form of Ganapathi. Both belonged to the nagarathaar chettiar caste and their family ties were that bonding which dates from their forefathers in Rangoon, Burma (now Myanmar). For the record I had met up with Ganapathi on two occasions within a span of 7 years and spent long hours with him just to get more stories about kaviarasar.

It was also a silent understanding and incumbent upon Vanathi Publications to publish whatever articles, novels and the like by kaviarasar. Kaviarasar, not even once, had demanded to see the accounts so as to ascertain his royalty fees. What is the neccesity? As each time he was short of funds the publisher friend was ever willing to help him out, besides Chinnappa Devar and MGR.

In 1974, when Gandhi Kannadhasan, kaviarasar's eldest son by his second wife, after graduating from a law degree wanted to venture on his own. (I have met up with this guy on 3 occasions and I will narrate later as to what type of an opportunist he is). He sought kaviarasar's advice and the answer was that he compiles whatever works by him and publish the same. (My personal opinion is that kaviarasar must have been inebriated at that time).

Around that time there was a serial in the Kumudham weekly (I can't recollect the title) and it ended with high ratings and aplomb by readers. Seizing this opportunity Gandhi took to the process of publishing it in a book form. As usual, Ganapathi compiled the serials and published well before Gandhi unaware of Gandhi's intentions.

Ghandhi, upon seeing the publication , immediately sent a solicitor's notice (himself a layer) seeking cessation of publication as well as compensation. Upon seeing the notice a distressed Ganapathi sought out our kaviarasar who happened to be in his first wife's matrimonial house. When the chettiar showed him the notice our kaviarasar's temper shot up. He called Kanmani Subbu to follow him along with Ganapathi and went to his second matrimonial home and called out for Gandhi. When Ghandi appeared he ticked him off by saying that he was a greenhorn especially on matters pertaining to old family ties. He told him off sternly that should he proceed with court action then he will see a dead Kannadhasan hanging from the beam.

After this tiff, they dropped off chettiar in his publication office in T.Nagar and proceeded to Kodambakkam. When kaviarasar broke off with Panju Arunasalam after 'Gauravam' (1973) it was Kanmani Subbu who was his assistant besides Rama Kannappan. So, it was incumbent upon Kanmani Subbu to follow his dad especially in work-related martters, or more specifically, lyrics writing.

, The studio floor was Shivaji productions making of 'Thanga Pathakkam' (1975). Distressed and depressed with the tiff with Gandhi earlier, kaviarasar went straight to MSViswanathan as to work on the situation of the song. The other songs were already written a few days ago. Visu told him of the situation and immediately kaviarasar dictated the song 'Sothani Meyl Sothanai' and Kanmani Subbu duly recorded the same. Kaviarasar passionately took out a cigarette and after lighting it and puffing was seen in a pensive and depresive mood.

According to Kanmani Subbu, traditionally after each dictation the fair copy must be given to kaviarasar to attest the same. And the music director usually will start off composing with the first stanza of the just-delivered lyrics. What happened afterward was a deviation from the norm.

MSV started composing from the line '..Idi poley pillai vantha madi thaangumaa....". It was unusual of MSV's character because he was singing out the tune aloud with tears welling up in his eyes. Shivaji Ganesan who was shooting for the film 'Pon Unjal' in the same floor quitely walked to the composing room. Being his own production, naturally he was interested in the songs.

He never spoke a word but kept looking at MSV who was lost in his composition. Shivaji was wearing a white veshti and jippa fresh from the break of shooting of 'Pon Unjal' and he took his right forefinger and placed it on his cheek whilst observing MSV . Kanmani Subbu noticed that Shivaji's eyes were also welled up with tears. This was unusual too.

The following day Kanmani Subbu caught his father in his casual mood and inquired about the unusual scene at the recording scene the previous day.

Kaviarasar opened up and told Subbu that it was a matter of co-incidences of sorts the previous day. As what was already stated above re-Gandhi (the eldest son through the second marriage) I do not wish to repat. It seems MSV had had fisti-cuffs with his son, Gopi when the former learnt that one of the family's property house was given away to an upcoming actress (Sulakshana, who later married and divorced him). Coming to Shivaji, aha, almost a similar situation.

It seems Ram Kumar, the eldest son of Shivaji was having an affair with Sri Priya's sister and the situation was blown up on that morning whereby the latter took his shot gun and there was a commotion. (It was also reported in the press at that time but on a different version).

Co-incidentally all these happened on that particular morning involving the three stalwarts and their sons. And how the song 'Sothanai Meyl Sothanai' went on to become popular till to this date was an actual reflection of true-life incidences.

Incidentally, about two years ago I read in 'Ananda Vikatan' of Ram Kumar & Sri Priya's sister's son entry to films. Their marriage was not officially recognised since he was already married.

Forget about the private incidences. What matters most was the je
wel of the song 'Sothanai....'. You can see, feel and experience the life-like similarities of Shivaji, MSV and Kannadhasan.

Will post more interesting anectodotes later on folks.

Bye for now.

R. Mahendra Raj

[mahendra raj]

Hi folks,

Just saw in retrogession of the late Sujatha's reply re-kaviarasar.

If I am not mistaken in the same tone of the subject Sujatha who was mesmerised by kaviarasar's ability asked him of the secret. Kaviarasar just casually replied that he gains knowledge by constant reading especially on Mahabaratha and Bhagawad Gita. Once when the whole is context is grasped then writing songs for situations is nothing new. Sujatha who is a voracious reader himself was not impressed with kaviarasar's reply. He surmised that there was more to it. This piece appeared in Kumudham just before Sujatha's demise.

R. Mahendra Raj

[mahendra raj]

Mr. Moderator,

It appears that you were with RTM and I should be only too glad to communicate with you. Perhaps we would have met since I know all your contemporaries in RTM. I am damn too curious!

My mobile contact is 012-3947446.

Thanks and with warm regards.

R. Mahendra Raj

[mahendra raj]

Hi folks,

Whenever time permits I watch 'Endrum MSV' courtesy Jaya TV. The innocent-looking Compere is witty with prose Tamil. But was is disappointing is that many songs which had interesting background and when the Compere asks MSV appears blank. Perhaps age is catching up with him.

Now folks what I am going to write may not go too well with fans of MSV. I was initially sceptical about the whole thing but then the 'inner circle' of the veteran film stalwarts knows the whole truth. After all we are only just fans. I am not going to cite the reliable sources because it might invite controversy. Just like when you tell a die-hard MGR fan of his other side! (The info I got about the other side of MGR will constitute another subject but of course will not go well with MGR fans).

Everyone knows the association of MSV with kaviarasar which was supposed to transcend all earthly things. Such was their friendship. But would it surprise you if I say that kaviarasar was more at home with mama KV Mahadevan instead of MSV? Shocking, is'nt it? Well, I double and triple checked the facts with veterans of the industry in Chennai. It is true! I am only going to give gist of what I heard because if what is reported in detail then it will not be nice.

Although appearing innocent at most of the times MSV had a deep inferior complex, that is what the veterans told me. I was shocked and dumbfounded. It seems that kaviarasar was stealing all the limelight although MSV gives his best on his part. On many occasions, over drinks, they were seen openly fighting with each other over the popularity and credits issue. This was not reported in the press, of course.

At one time MSV got cheesed off with kaviarasar that he extensively canvassed for Vaali. Remember, it was MSV who brought Vaali into limelight? His 'clan association' with MGR also worked to his advantage.That was done to spite kaviarasar's popularity.

But what happened later made MSV to make amends with kaviarasar seeing that there was no other choice. It was an undeniable fact that MSV's tune carried the lyrics of kaviarasar's fame to a higher level. Fans were openly acclaiming kaviarasar instead of MSV's works. This did not go too well with MSV who started to develop a complexity problem.

Now folks, can you remember any situation where KV Mahadevan or his able associate, Pughezenthi speaking of their work, or for that matter with lyricists? They minded their own business. Remember, it was kaviarasar who teasingly called KVM 'mama' aafter the all time hit song 'Mama, mama, mama' (Kumudham 1961)?

When kaviarasar was hospitalised in Chicago MGR suggested to MSV to make a visit. MSV declined but then agreed to MGR's other suggestion that he sends a casette recording for speedy recovery. The cassette was not sent.

When Ilayaraja 'took over' from MSV suddenly he developed more inferior complex than before, what with kaviarasar aligning with the former. After kaviarasar's death and sensing that his popularity was on the wane MSV decided to do something. It was during Jayalalitha's rule way back in 1994 that MSV purportedly publicised that kaviarasar appeared in his dream asking that a statue of him be erected. He knew very well that in order to survive he must make use of kaviarasar's name.

Ever since MSV takes upon himself to reminisce about kaviarasar in all his shows just to evoke the sympathy of the general audience.

When I heard all these info from the veterans during my visitation to Chennai I found it too hard to digest it.

But then again, there are lingering questions. MSV being a stalwart himself never ever gave credit to his erstwhile counterpart TK Ramamurthy. Can anyone recall, please? What TK Ramamurthy told me could become another interesting topic which I will reserve for later.

Being erstwhile friends why did not MSV spend kaviarasar's pre-departure days to Chicago? Why was it that kaviarasar was fetched by Ilayaraja to Meenambakam airport? Was it fate that Ilayaraja managed to solicit the last three songs from kaviarasar for the film 'Moondram Pirai' during the car trip to the airport? (Folks, please remind me to write on this particular song situation which I still consider very, very private).

Folks, you will remember well that it was due to the insistence of MSV and the like that Ilayaraja was almost shunned by the then government of MGR. The song 'Oram po' was banned, remember? Was MSV showing his inferiority complex again?

But kaviarasar, seeing the future of Ilayaraja in his keen observation, went on to become pally with Ilayaraja and his brother Gangai Amaran. Of course, this did not go too well with MSV.

So, after kaviarasar's death it dawned upon MSV that in order to popularly survive he cannot go solo. He is forced to mention kaviarasar's name in nearly all of his show. That is the order of the divine, I suppose.

Folks, I wish to clearly state herein that I am a great fan of MSV and still admire all of his work. Whatever I learnt from the stalwarts was hard to digest at first. But then again? I leave it to you all. Of course, hubbers here may have better information than me and I will only be too happy to hear it.

As I have mentioned elsewhere in this particular posting please remind me to write about the particular incidences. Getting old, I suppose!

Thanks and with warm regards.

R. Mahendra Raj

[Murali Srinivas]

Dear Mahendraraj,

Welcome back. Didn't see you much after the Paadalgal palavitham thread. It was nice to read the anectodes. But there is one disconnect here. It is regarding Sodhanai Mel Sodhanai.

While I have not heard about Gandhi Kannadasan - Ganapthy rift regarding Kaviyarasar's works, the other two incidents quoted in connection with that song composing is totally off the mark.

Thangappadhakkam was released on June 1st of 1974. So the composing /recording of the song must have been in late 1973 or early 1974 as the film was made in quick time. Ponnunjal got released on June 15th of 1973. But my disconnect is not about the date or time or in which set was Sivaji acting at that point of time. So let me go there.

The first one was MSV Gobi - Sulakashana issue. Sulakshana was introduced by Baghyaraj in Thooral Ninnn Pochu which was released on April 14th of 1982. So MSV having a tiff with his son in 1974 regarding Sulakshana is ruled out.

Same way in 1974, Sripriya was just getting into the filmworld and she had not even starred opposite Sivaji at that point of time. The first film for her with Sivaji was Paattum Bharathamum that got released on Dec 6th of 1975 and that too in 3,4 scenes. She became a heroine in Thirisoolam which was in 1979. Moreover Ramkumar was a College student in 1973/74 and the production side at that point of time was looked after by Sivaji's younger brother VCShanmugam. The gun incident that you were refering to actually happened with Prabhu and that was in May 1978.

Probably Kanmani Subbu had just combined three different incidents and told you about the "coincidence".

Hope this sets the record straight.

Regards

[NOV]

whoa Mahendra Raj saar, Murali! :shock:

I need time to digest all these. :boo:

[NOV]

It appears that you were with RTM and I should be only too glad to communicate with you.No saar, I have done programmes for both Minnal and THR long ago. Also have dabbled in the music and advertising industries.
Will call you soon. :D

[mahendra raj]

Hi folks,

Still on retrogesion of this forum.

Contrary to popular belief that kaviarasar was at his best only after his tipple let me say herein that it was not so.

After meeting up with his associates who also share similar habits (drinking) kaviarasar was never known to be drunk throughout his lifetime. Yes, he drinks but he never short-changed it for his career. Locally, (Malaysia), Dr. V. David, a seasoned politician and trade unionist, publicly told at a forum that those who drink with kaviasarar were the ones who were found to be inebriated. He never, for once, saw our kaviarasar drunk.


Kanmani Subbu told me that Shivaji Ganesan used to drop by frequently at kaviarasar's house in T. Nagar. Both will be enjoying their scotch and discussing the con-current affairs on politics but on films. (When he told me about this I was a bit sceptical because Shivaji had a sprawling mansion as opposed to kaviarasar's although in the same vicinity.) He even told me of his dad's affection of the late actress Devika.

Gandhi Kannadhasan told me that most of the leading actresses at that time like Devika, Padmini, K.R. Vijaya used to frequent kaviaraqsar's house. Normally they drink with kaviarasar in his private room locked. Sensing this, Gandhi's mother used to curse the ladies for momentarily 'stealing 'her husband, But Gandhi told me that the actresses were seeking out his father for consolation on their personal problems. Remember, kaviarasar is also a physchologist of sorts in the Tamil film industry?

Kanmani Subbu told me that after the release of 'Neela Vaanam' (1966) kaviarasar took the whole family (by his first wife's) for a dinner at Devika's house. It seemed that it was the first time ever that he tasted prawns cooked personally by Devika.

That incidence was a memorable event according to Kanmani Subbu. He also told me on the sly that only later he became to understand his father's relationship with Devika. But then again, the recent controversy surrounding Kanniga, Devika's only daughter has got nothing to do with her hereditary connection. Of course, there are people to attest that kaviarasar is the father but no, upon intensive inquiries it has been proved that Director Devadass, ex-hubby of Devika is the paternal and biological father.

I am not sure whether I posted earlier about kaviarar's relatiionship with Devika. But what I know was the fact that he wrote the song 'Poyilae pirantha' (Aananda Jothi 1963). That song was especially meant for Devika who had an informal relationship with our kaviarasar.

It was around this time that MGR started his best to court Devika. The efforts failed. Devika decided once and for all that she will not act opposite MGR. It was also a part of the MGR-Kannadhasan fall-out. Subsequently she was branded a Shivaji faithful in following films. But knowing MGR she tried her best to devote to her career but eventually she failed.

For the record, Muktha Sreenivasan, the veteran producer-director, told me this when I met him in his house. He told me also about MGR which I feel is not proper to tell at this forum.

Although I have been privy to so many personal incidences and secrets nevertheless I have a strong voice discouraging me to write about it. I leave it yo you folks. Hope you will give your comments without touching my conscience.

Anyway, who are we to delve into the private lives of the yester-year stalwarts? That is what is bothering me now.

With warm & cosy regards.

R. Mahendra Raj

[NOV]

Locally, (Malaysia), Dr. V. David, a seasoned politician and trade unionist, publicly told at a forum that those who drink with kaviasarar were the ones who were found to be inebriated. He never, for once, saw our kaviarasar drunk.I can vouch for this. I know a Chandra Mohan, a close aide of V. David who has told me that Kannadhasan would mix a lot of soda with his spirit and take sips only. A whole peg may last a few hours, thus keeping him a little high, but never drunk.

[mahendra raj]

Hi folks,

I wish to refer to our Moderator's comments re- kaviarasar's'drinking problems'.

Yes, I too know of Chandra Mohan. Let me re-cap of our kaviarasar's trip to Malaysia.

Dr. V. David, although I know him personally and had visited him during his hospitalisation days prior to his demise, is an old associate of kaviarasar.

During one of his trips to Malaysia, Dato' (an honorary titile likened to 'Sir' of the Brtish Empire, T. S. Sambanthamurthi , a prominent Public Prosecutor voluntered to fetch our kaviarasar from a function. He was having a Mercedes at that time. But our kaviarasar opted for a lesser brand of a car.

[groucho070]

Mahendra-sir, thank you very much for sharing those information. Whatever they were, it will never diminish our love for Nadigar Thilagam, MSV and Kaviarasar's wonderful talents. Excellent writeup.


Murali-sar, the dates and the situation make sense.

[app_engine]

Murali-sar, the dates and the situation make sense.

In any case, there are very few exceptions (especially among celebrities) for "தென்னயப்பெத்தா இளநீரு, பிள்ளயப்பெத்தா கண்ணீரு" :-(

[Irene Hastings]

moderator's note: while allowing for opinions, we cannot accept personal abuse. thus except for one line in this post, the rest has to be deleted.

-deleted-

அய்யா திரை உலகினரை ஒரு கலைஞர்களாகவே பாருங்கள்.

-deleted-

[P_R]

[tscii:904fd41026]
இடையிடையே, கண்ணதாசனுடன் பேச்சுக் கொடுத்தேன். “எப்படி இவ்வளவு சரளமா வார்த்தைகள் வருது ? “ Look who's talking ! :-)


“தமிழ்ல ஆதார சந்தத்தைப் பிடிச்சுட்டாப் போதும்! பாருங்க, சீதைக்கு எத்தனை பெயர்கள் ?
சீதா — நேர் நேர்
ஜானகி — நேர்நிரை
ஜனகா — நிரைநேர்
வைதேகி — நேர் நேர் நேர் …. இப்படி எந்தச் சந்தம் வேணுமோ அந்தச் சந்தத்துக்கு வார்த்தைகள் போட்டுக்கலாம். என்ன, எல்லா வார்த்தையும் தெரியணும்… அவ்வளவு தான்.
Whoa ![/tscii:904fd41026]

[NOV]

Feedbacks received on matters raised on previous post.


Regarding gossip...well hardly do next generation get to hear about yesteryear gossip. I'd find it hard to feign disinterest in this For example, I was found the MSV spin in his last post quite interesting.



I for one, am quite interested in yesteryear gossip. It is the kinda thing you don't get to hear unless you have a knowledgable (even if biased and imprecise). Surely there is no way this can be argued, debated meaningfully. But I'd hate to lose out on this en masse !



On one side, the stories are very interesting, at the same time yeah they are very personal. But when it comes to Kannadasan, we have no qualms about knowing his personal life since he himself had no issues in revealing them.

[NOV]

Folks, let's lighten up and let the thread be.
If you have any further comments, please PM me.

[groucho070]

Speaking of PA, and I mean no disrespect, but do you see some kinda Kannadhasan "inspiration" there when he wrote Annan Enna Thambi Enna, Sontham Enna Bantham in Tharmathurai? Including "Sutathu, sutathu sattikal suttathadi which seemed to hint on the NT song, which was more to the point when Kaviarasar said, Satti Suttathadi, kai vittathadi. Wherelse, PA was just content with Sattikal suttathadi, so what? :roll:

By the way, Rajini's role there is definitely NTish hence the reference....there you go again, Rakesh, always bringing NT in :P

[app_engine]

Satti Suttathadi, kai vittathadi.

:lol: அது "சட்டி சுட்டதடா, கை விட்டதடா"!

இப்படியெல்லாம் பாலை மாத்தப்டாது!

[groucho070]

Satti Suttathadi, kai vittathadi.

:lol: அது "சட்டி சுட்டதடா, கை விட்டதடா"!

இப்படியெல்லாம் பாலை மாத்தப்டாது! :lol: Kanfiusan, boss. Tharmathurai version says Suttathadi, athan :oops:

[Plum]

Speaking of PA, and I mean no disrespect, but do you see some kinda Kannadhasan "inspiration" there when he wrote Annan Enna Thambi Enna, Sontham Enna Bantham in Tharmathurai? Including "Sutathu, sutathu sattikal suttathadi which seemed to hint on the NT song, which was more to the point when Kaviarasar said, Satti Suttathadi, kai vittathadi. Wherelse, PA was just content with Sattikal suttathadi, so what? :roll:

By the way, Rajini's role there is definitely NTish hence the reference....there you go again, Rakesh, always bringing NT in :P
There is also the more obvious reference to the song from Pazhani of which one can say Dharmadurai is a 80's masala rehash

[Plum]

NOV, the tabloid journalist in me is all ears for more gossip :)

[NOV]

plum, read the "Pazhani song" story here...

http://www.dinamalar.com/supplementary/varamalar_detail.asp?news_id=124

[NOV]

cross-posting here.....


Roshan yes I was talking about the lyric and Nov not about the title :)In that case there is absolutely nothing wrong.
VM has earned enough to credit himself these small praises. If you take away Kannadhasan, VM shines like an icon in Tamil cinema. In fact besides him, there is none other now. We make fun because of his sometimes compromising - but that shouldnt matter because his contributions overshine the less worthy stuff.

Kannadhasan is a different case altogether. His title Kavignar is suffice. No other cinema personality has received such acclaim as Kavignar.

(While Kavignar means Kannadhasan, Nadigar, Isai amaippaalar, Paadagar, etc doesnt pinpoint any individual. Such is the greatness of Kavignar.) :bow:

[mahendra raj]

Hi folks,

I am indeed very, very, very terribly sorry for the inordinate delay in getting engaged in this Forum. I had to go to East Malaysia for an official stint unexpectedly and being in a remote area the internet connection was almost next to impossible.

The first thing when I came back, I saw amongst the hundreds of mails in the 'In-box'' of the notification of the response. Kaviarasar being the soul and heart of me I decided to post something right away. For your information folks, when I did the previous postings I was actually in a hurry-burry situation. I am not going to look into the responses right away and all the retorspectives because I have to be back in East Malaysia (Kuching, Sarawak) soon to finalise my official matters which will culminate in an important governmental meeting on 5, 6 and 7 June 2010. But until then I have some important paper work to complete and of course I will be able to surf the entire topic dear to my heart and soul.

So, very, very sorry folks once again.

In the meantime, let me pose you a question. Why was that our Kaviarasar was not given the opportunity in full force for AVM films? Both being Nagarathaars and the trend then was to help someone of your own kind. This had been bothering me for sometimes until I met Aachi (Kaviarasar's first wife) in Singapore, 1996 when she was staying with her youngest son Venkat, an engineer by profession and a Singapore PR.

Aachi intimated to me that kaviarasar being a man of pride and ego never truly recognised AVM Meyappan chettiar as a film maker. According to Kaviarasar he was more of a shrewd businessman than a filmworld man. I nudged her further offering various opposing grounds even citing MGR for that matter. Finally she opened up by saying that her father was in the employ of AVM and that was the reason kaviarasar was not keen to work with AVM. In other words the ego in our Kaviarasar saw him not fit to work alongside with his father-in-law. And according to her, that was the first salvo at the nagarathaars since kaviarasar was seen to oppose all things involving capitalism which the former were famous.

Now, when I saw 'Thirumbi Paakerean' on Jaya TV recently where Panchu Arunachalam was the guest of honour, it attested my belief.
Panchu, whilst being diplomatic, did say something to this effect but not mentioning the strained relations between AVM an Kaviarasar.

Now, in retrospect, let us all see whether our Kaviarasar has really penned all the songs fully in an AVM film. When I was in East Malaysia I took along with me a few books which I bought in Chennai recently. Amongst them was AVM's history wherein AVM Saravanan had mentioned greatly about kaviarasar but at the same time said that he (Kaviarasar) is one person who must have debts, court cases and controversies looming over his head in order for him to pen situation songs perfectly.

Now, can you call that a compliment or otherwise? I tried backtracking to AVM films with my available resources, at least from 1960 onwwards. Lo! what did I find? Some or rather there were additional song writers besides our Kaviarasar. In other words, it went on to show that AVM fraternities were not fully confident with Kaviarasar. This is what Panchu said indirectly in his interview especially relating to songs like 'Marum agalae marumagale vaa vaa' (Saradha 1962) and 'Poo Poley Poo Pooley Pirakkum' (Nanum Oru Penn 1963).

Off the record, what I heard about AVM Meyappan chettiar when I was in Chennai the last time around will push our Kaviarasar to the backseats on matters pertaining to women!

It seemed that there was an indirect ruling that our Kaviarasar should'nt dominate in AVM films although Sudharsan, the contracted music director (also a Nagarathaar) was almost in all. I could'nt delve further due to time constraints. I will definitely get back to all of you folks on this issue but in the meantime I would appreciate if a debate is taken on this subject. The debate will surely offer me some input to further this subject.

Since I will be around in Kuala Lumpur for only a few days before my flight back to East Malaysia shortly I will try and go through all the earlier postings which I could'nt access earlier.

Rest assured folks, as mentioned much earlier I have a lot of sordid details which I will share with all of you.

Until then, once again folks, sorry, sorry and sorry. After this I will try and scrutinise the postings (it is past midnight now) and post appropriate replies.

With warm & kind regards,

R. Mahendra Raj
15/05/2010

[mahendra raj]

Hi folks,

Just when I was in the midst of preparing/reckoning of things during my absence I happened to watch or rather glance the movie 'Vasool Raja MBBS' on Astro Satellite channel (Malaysia) this evening. Kamal was trying to revive a stroke patient (sorry for the digression - first a stroke, then a coma and then a full stop for terminally-ill patients?@!!!) where he recites 'Nan Pesa Ninaipathellam' ('Paalum Paqzhamum 1961) to the patient whilst mentioning our Kaviarasar's name. What a relief after the respite!

What I don't understand about Kamal is that way back in 1990 in an interview with Ananda Vikatan he mentioned his lyricist style is due to Kannadhasan. He further mentioned that he learnt chaste Tamil thrugh Kannadhasan's songs.

Incidentally, Pugezhenthi, the Associate Director of AC Thirulogachander said a piece about Kamal's devotion to Kaviarasar.

When Kamal embarked on his maiden venture 'Raja Paarvai' Kaviarasar was asked to pen some songs besides Vairamuthu. The moment Kaviarasar walked into Kamal's studio office he asked what was the title of the film was about. Kamal mentioned that it was 'Anthi Malai' (remember the song by the same title by Vairamuthu?)

Kaviarasar advised Kamal to change the title because it was taboo ('anthi' means sunset which will not go well for a maiden venture). So, Kamal took Kaviarasar's advice by re-naming it as ' Raaja Paarvai' which was apt for the character.

But some or rather I notice Kamal not mentioning Kaviarasar's relationship but giving more prominence to Karunanidhi (that is another subject as to why he is always seen in functions relating to Kartunanidhi).

Although 'Raaja Paarvai' was a flop but can anyone forget the song of a blind man describing a maiden as 'seen' in his own words? That being one of last songs of Kaviarasar before his demise the song 'Andhi Malar' by Vairamuthu became the hit song.

Bye the bye, way back in 1993 Vairamuthu was interviewed in Radio Malaysia Dr. V. Poobalan (a staunch supporter of Kaviarasar) who was the deputy head of the Tamil service then and me casually spoke to the former for nearly an hour. But that fellow, never did once acknowledge our Kaviarasar although both of us were prompting him. We could only surmise that Vairamuthu was an egoitist for all and sundry. Remember, Ilayaraja, Bharathiraja, Kamal, Rajnikanth, AR Rahman etc. who all shunned him later?)

The following year (1994) Vairamuthu was down here in Kuala Lumpur, Malaysia for a function. Mydi Sultan, my erstwhile friend and a senior broadcaster in Radio Malaysia Television asked me for some tips relating to an exclusive interview with Vairamuthu.

I gave him my piece. Amongst the questions Sultan asked him was that since Kannadhasan is no more alive who will be the right person to acquire the title of 'kaviarasar' after him. To that, Vairamuthu replied that since Kannadhasan's demise the Tamil mother's seat is still vacant. At the same breath he appealed to Sultan (a poet too) and his likes to requisition the appropriate authorities so that he can occupy this vacant seat! That interview was broadcast in the Malaysia television and the purists viewed that with disgust. For the record, If I am not mistaken the seat is still vacant. If it is otherwise I hope you folks would enlighten me.

For the information of the Forum members here I wish to re-capitulate that Vairamuthu was bestowed the title 'Kaviarasar' by Balu Jewelllers when he went for a function. Since the name connotes both 'vairam' and 'muthu' the organisers found it fit to bestow such a title. Balu Jewellers have since been declared bankrupt. This was where the controversy started way back in 1998 when Shivaji Ganesan said some words which invited controversy. To wit, Shivaji mentiuoned that if Kannadhasan were to be alive he will surely lose out to Vairamuthu. That function was held in Singapore and immediately after that the Tamil Literary Society of Singapore (Aamaldass, the President and a good friend of mine) approached Shivaji and asked for clarification. Shivaji, being the fanatic of his kind, defended Vairamuthu. That started the storm and so much so Vairamuthu had to abandon his so-called title. Later Karunanidhi came to his rescue by bestowing the title of 'Kaviperarasu'. Remember Karunanidhi had always an axe to grind on all things Kannadhasan?

Will post more folks, hopefully.

With warm regards.

R. Mahendra Raj

Converserly, way back in 1977 when Sultan went to interview our Kaviarasar in his humble dormitory-like room (courtesy of the late Dr. V. David) it was just the opposite. Our Kaviarasar was giving his interview lying on his bed with his cigarette without any qualms. He appeared to be more than a down-to-earth person. He never showed any signs of ego and in fact requested that he be not called 'Kaviarasar'. (That title was bestowed in 1968). Just call him plainly as 'kavingar' would suffice, he said.

Incidentally, I must make mention of Mydi Sultan here. He is a national figure especially in Tamil literary cirles. He is (was) a die-hard fan of Bharathi Dhasan and he can just recite off-hand of nearly all of his poems. But when I gave him all the books okf kaviarasar he became his fan overnight! Till todate he never fails to mentione our Kaviarasar's works during the discharge of his reponsibilities, be it as a DJ or a Compere at functions.

Before I sign off for now, I must mention that at the moment Radio Malaysia is playing the old hits (coutesy of my my friend, Chelladurai who is also another Kannadhasan fanatic). The closing song was 'Kadavul Irukindraar' ('Ananda Jothi 1963')

With warm regards,

R. Mahendra Raj

[mahendra raj]

Manisegaran,

I hope you are following this Forum. I have lost your mobile and email id. Please do keep in touch.

Folks, sorry for the digression. Manisegaran is my erstwhile friend and due to my erratic official schedules I could'nt oblige him earlier. Yes, to take part in this Forum.

But after, the recent developments I think the time is ripe or me to liaise with him. So, Mani, if you are still in Geneva please do let me know. I just contacted our Ministry of Human Resources Labour Attache, Malaysia for our delegation's stay there. There are leaving on 30/5/2010 at 2350 hours Malaysian time for Amsterdam en route to Geneva. If there is anything I could pass on to them please do let me know.

With warm regards,

R. Mahendra Raju

[NOV]

A special compilation on Kannadhasan will be shown on Astro Vanavil on June 24th at 9.30pm.
Do not miss the show!

[Plum]

We could only surmise that Vairamuthu was an egoitist for all and sundry. Remember, Ilayaraja, Bharathiraja, Kamal, Rajnikanth, AR Rahman etc. who all shunned him later?)

this is the first time I am hearing this angle. podhuvA, this is said only of IR that he was so arrogant that everyone deserted him :-)
(to some extent, Vairamuthu still works for some of them so this is not completely true)

[Murali Srinivas]

நான் நிரந்தரமானவன் அழிவதில்லை

எந்த நிலையிலும் எனக்கு மரணமில்லை

இன்று பிறந்த நாள் காணும்

என்றும் இறவாப் புகழ் கொண்ட கவியரசே

உன் புகழ் பல்லாண்டு வாழ்க.

அன்புடன்

[NOV]

Born A. L. Muthiah, born June 24, 1927
Sirukudalpatti, Tamil Nadu, India
Died October 17, 1981 (aged 54)
Chicago, Illinois, United States


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http://www.sangam.org/articles/view2/Kannadasan.gif
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Pean To The King Of Lyricists - Kavignar Kannadasan
82nd Birth Anniversary
Jun 23,2009

When remembering the king of lyricists Kavignar Kannadasan on his birthday today on June 24, the kind-of feeling evoked will be a reminiscence of the masterpieces by the laureate and the unforgettable galore of words he have left us which would captivate the generations to come.

If the lyricist should have been alive he would have turned 82 today and will still be mesmerizing us with his words. Unlike the lyricists in cinema, Kannadasan penned lyrics inspired from his real life incidents which carried the original emotions into the songs. Thus riveting us into the world of love, agony or anguish without giving a chance to realize it's the celluloid version of emotion.

Once veteran music director MS Viswanathan lauded Kannadasan for he is the only one able to write for every mood in life, be it bitten by the love bug or the sorrow of a betrayed lover. If we remember the nostalgic black and white movies the most romantic songs and the most melancholic will have been penned by the lyricist. It's doubtful if contemporary lyricists could veer between such different genres.

"Poonal Pogattum Poda" is one of the famed songs and a favorite of the yesteryear generation that evokes the deep hidden pain during the time of irrevocable sorrow. At the same time, he is immensely talented to sheen a new lease of light into our minds with a song like, 'Vaazha Ninaithal Vazhalam'.

The beauty of the poet lies in the era he was in where lyrics and voice were in the forefront with the instruments taking backstage. The verses will have a deep impact in our minds diverting us from whatever mood we are in to the milieu set by the musical number. Kalaignar Karunanidhi and Kannadasan were inseparable friends for forty years who later on went different ways due to contradiction. In their decade old friendship Karunanidhi a great writer himself praises his friend for his talent and admires his finesse when it comes to creating masterpieces. Superstar Rajinikanth had a great respect for the lyric writer and took his blessings, which is a rare occurrence in history. Such was the greatness of Kaviarasu Kannadasan and his virtue in real life paving way for the status of a great human.

The list of best songs penned by the poet go endless and mere words will never be sufficient to describe how soothing, assuasive and pacifying his songs are to the abounding emotions within the heart. In personal life, Kannadasan explored the limits offered by the world and the reflection was evident in the lines. The words possessed a tad touch of humor commingled with mocking sarcasm delivering a message rather than just entertaining the audience.

Without a doubt, we can conclude the verses of Kannadasan are an encyclopedia of life delving into every possible topic that we might have come across during different stages. The sole entrancing element lies in this realism and to better know the eminence of Kavignar Kannadasan listen to his best collections that would sure leave you fumbling for words to praise the poet.

Kaviarasu Kannadasan shares his birthday with his close friend and musical legend MS Viswanathan who composed the memorable classics of Tamil cinema. A special pean to the duo for giving us a treasure of music and verses.
http://www.sivajitv.com/specials/Pean-To-The-King-Of-Lyricists-Kavignar-Kannadasan.htm

[sudha india]

Nice picture NOV....

Just wondering if there would be any reference to Kavignar in the world tamil conference today !!

Kavi arangathai kalai katti iruppar Kaviarasu :bow:

[NOV]

"geethaiyin saarathaiyum, thiruvalluvar, naaladiyaar, pattinathaarin, sangka tamil thatuvangkalai, paamaranum anubavikka seitha, maaperum kavi, naathikan aaka aarambithu, arthamulla hindu matham, geethaiyin saaram, vaditta, tamil thaayin thavaputhalvan ,indru tamil ulagamee unakku dhaasargal"

[Kambar_Kannagi]

[tscii:166d1aff36]கவியரசர் கண்ணதாசன் இப்பூவுலகில் வாழ்ந்த காலத்தில் ஒரு நாள், வழக்கம்போல, காலை 9:30 மணிக்கு தன் அலுவலுக்குச் சென்றார். அதாவது திரைப்படம் ஒன்றிற்கு பாடல் புனையச் சென்றார்.

சென்றடைந்த இடம் மிகவும் பிரபலமான ஸ்டுடியோவின் ஒலியரங்கம். அதாவது ரெகார்டிங் தியேட்டர். முன்புறம் இருந்த ஹாலில், இசை யமைப்பாளர் திரு. எம்.எஸ்.விஸ்வநாதன் அவர்கள்,
ஒரு ஷோபாவில் நீட்டிப் படுத்து, நல்ல நித்திரையில் ஆழ்ந்திருந்தார்.
வேறு எவரையும் காணோம். இவரை வரச் சொல்லியிருந்த அவர்
அதை மறந்து ஆழ்ந்த நித்திரையில் இருந்தார்.

சுற்று முற்றும் பார்த்துவிட்டுத் தன் காருக்கே திரும்பினார் கவியரசர். அவரைக் கண்டு ஓடிவந்த எம்.எஸ்.வியின் உதவியாளர் கவியரசரின் காதில் மெல்லக் கிசுகிசுத்தார் “அண்ணே, இரவு முழுவதும் ஒரு படத்திற்குப் பின்னணி இசை சேர்க்கும் வேலை. அது முடிவதற்குக் காலை ஆறு மணியாகிவிட்டது. அனைவரையும் வீட்டிற்குச் சென்றுவிட்டு பகல் பன்னிரெண்டு மணிக்கு வாருங்கள் என்று சொல்லிவிட்டு, தலைவர் இங்கேயே படுத்து உறங்க ஆரம்பித்துவிட்டார்,,,”

“அதனாலென்ன பரவாயில்லை!” என்று சொன்ன கவியரசர், காரின் டாஷ்போர்டில் இருந்த நோட்டுப் புத்தகத்தில் இருந்து ஒரு காகிதத்தைக் கிழித்து, அதில் இரண்டு வரிகளை எழுதி, “இதை விஸ்வநாதன் எழுந்த பிறகு கொடுத்து இதற்கு டியூன் போடச் சொல்லு, நான் ஒரு மணிக்கு மீண்டும் வருகிறேன். மீதி வரிகளை அப்போது எழுதித் தருகிறேன்” என்று சொல்லிவிட்டுப் புறப்பட்டார்.

இரண்டு மணி நேரத்திற்குப் பிறகு, எம்.எஸ்.வி எழுந்தவுடன், சீட்டு அவரிடம் சேர்க்கப்பட்டது.

சீட்டைப் பார்த்த எம்.எஸ்.வி புன்னகைத்தார்.

“அட, இது கூட நன்றாக இருக்கிறதே!” என்று சொன்னவர், அதற்கே அன்று மெட்டைப் போட்டு வைத்தார். கவியரசர் திரும்பி வந்தவுடன், அந்த வரிகளை வைத்தே பாடல் முழுமையாக எழுதப்பெற்று, பாடலும் பதிவானது. பிறகு படம் வெளியானவுடன், அந்தப் பாடல் மிகவும் பிரபலமடைந்தது.

கவியரசர் விளையாட்டாக எழுதிக் கொடுத்து, பிறகு பிரபலமான அந்த வரிகள் இதுதான்:


“அவனுக்கென்ன தூங்கிவிட்டான் ...
அகப்பட்டவன் நான் அல்லவா”[/tscii:166d1aff36]

[NOV]

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http://farm5.static.flickr.com/4092/5021984238_ff988f6e84_z.jpg
[/html:7d5133182f]

[NOV]

what a closing!!!!

kannadhasan! :bow: :bow: :bow: :bow: :bow:

[saradhaa_sn]

[tscii:e28e53aad9]தன்னிடம் ஒரு அம்பாஸிடர் கார் இருந்தும், தன் நண்பரொருவர் வைத்திருந்த வெளிநாட்டுக்கார் மீது கண்ணதாசனுக்கு ஆவல். நண்பரும் அதை விற்கப்போகிறார் என்பதைக்கேள்விப்பட்ட கவிஞர், அதைத்தனக்கே தரவேண்டுமென்று விலையும் பேசிவிட்டார். முழுப்பணமும் கொடுக்க கண்ணதாசனிடம் பணமில்லை. எனவே மூன்றில் ஒரு பங்கு பணம் அப்போதே தருவதாகவும், பாக்கியை விரைவில் தந்துவிடுவதாகவும் சொல்ல ந்ண்பரும் சம்மதித்தார். அதுமுதல் கவிஞர் அந்தக்காரை தன்னுடைய கார் போலவே கனவு காணத்துவங்கினார். மறுநாள் காலை நண்பரிடம் இருந்து வெளிநாட்டுக்காரை எடுத்து வருவதாக ஏற்பாடு.

ஆனால் முதல்நாள் அந்த நண்பரின் மற்ற நண்பர்கள் சிலர், 'கண்ணதாசன் கொடுக்கல் வாங்கலில் ரொம்ப மோசமென்றும், அவருக்கு ஊரைச்சுற்றி நிறைய கடன் இருப்பதாகவும், எனவே நண்பரின் பாக்கிப்பணம் வசூலாவது கடினம்' என்றும் சொல்ல நண்பர் உஷாரானார்.

('இந்தியாவின் ஜனாதிபதியைப்போல சம்பாதித்தும்கூட, இந்தியாவைப்போல கடன் வாங்கியவர் கண்ணதாசன் ' என்று கவிஞரைப் பற்றி ஒரு சொல்வழக்கு உண்டு).

மறுநாள் காலை கவிஞர் குளித்து, உணவருந்திவிட்டு, வண்டியை எடுத்துவர தன் ஓட்டுனருடன் நண்பர் வீட்டுக்குச் செல்ல, நண்பரோ குண்டைத்தூக்கிப்போட்டார். ‘அந்த கார் தனக்கு ராசியானது என்றும், அதைவிற்க தன் மனைவிக்கும் மற்றவர்களுக்கும் விருப்பமில்லை’ என்றும் கூற, கவிஞர் ஏமாற்றத்துடன் வீடு திரும்பினார். தான் ஆசைப்பட்டு தனதாகவே நினைத்திருந்த கார் தனக்கு கிடைக்கவில்லையே என்ற வருத்தம் அவர் மனதில் தங்கியிருந்தது.

அன்று பிற்பகல் இரண்டு மணிக்கு, இயக்குனர் ராமண்ணா இயக்கத்தில் எம்.ஜி.ஆர். நடித்து வந்த 'பணக்கார குடும்பம்' படத்துக்கு ஒரு சோகப்பாடல் எழுத அமர்ந்த கவிஞருக்கு அன்று காலை நடந்த சம்பவம் மனதைக்குடைய, பல்லவியை இப்படி துவங்கினார்....

"பல்லாக்கு வாங்கப்போனேன் ஊர்வலம் போக - நான்
பாதியிலே திரும்பி வந்தேன் தனிமரமாக".

(சூழ்நிலைகளை தன் பாடலுக்குள் புகுத்திக்கொள்வதில் கவிஞருக்கு நிகர் அவர்தான்).
[/tscii:e28e53aad9]

[NOV]

[tscii:49d04c9605]Event: Musical event ‘Kannadasan Kalai Ilakkiya Vizha' to glorify Kannadasan organised by the Malaysian Tamil Forum in Chennai. The celebrity pair AL Ragavan-MN Rajam was conferred 'Lifetime Achievement Award' by the Malaysian Tamil people.

Guests: TM Soundararajan, LR Eswari, Vani Jayaram, Malaysia Vasudevan, PB Sreenivas, AL Raghavan-MN Rajam, Sivakumar. SP Muthuraman, Sankar Ganesh, Sachu, Rajashri, CID Sakunthala, Kumari Lakshmi, SN Parvathi, Jayanthi Kannapan, Gandhi Kannadasan and others

Date: December 10, 2010

Place: Kamarajar Arangam, Chennai

http://www.indiaglitz.com/channels/tamil/gallery/Events/24777.html

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(Thanks TFMLover :) )

[NOV]

with Wife Ponnammal
http://www.kannadasanpathippagam.com/Admin/gallary/60.gif

With Poet Bharathidasan
http://www.kannadasanpathippagam.com/Admin/gallary/57.gif

Composing for Sumai Thaangi
http://www.kannadasanpathippagam.com/Admin/gallary/56.gif

With Sirgazhi
http://www.kannadasanpathippagam.com/Admin/gallary/54.gif

[NOV]

with Russian writers
http://www.kannadasanpathippagam.com/Admin/gallary/48.gif

with wife Parvathi
http://www.kannadasanpathippagam.com/Admin/gallary/47.gif

with Rajni
http://www.kannadasanpathippagam.com/Admin/gallary/41.gif

moment of contemplation
http://www.kannadasanpathippagam.com/Admin/gallary/42.gif

[NOV]

with Parvathi and sons Gandhi & Kamal
http://www.kannadasanpathippagam.com/Admin/gallary/38.gif

with Kamarajar
http://www.kannadasanpathippagam.com/Admin/gallary/33.gif

http://www.kannadasanpathippagam.com/Admin/gallary/30.gif

http://www.kannadasanpathippagam.com/Admin/gallary/27.gif

[NOV]

with Sivaji
http://www.kannadasanpathippagam.com/Admin/gallary/17.gif

with Periyar
http://www.kannadasanpathippagam.com/Admin/gallary/15.gif

with MGR at Sivaji's wedding
http://www.kannadasanpathippagam.com/Admin/gallary/12.gif

in the office
http://www.kannadasanpathippagam.com/Admin/gallary/19.gif

[s ramaswamy]

Plum
1. Yes. கங்கைக் கரையில் தாஜ் மஹால் nu ezhudhi history teacher-ta argue paNNiyiruppeenga pOla. Yamuna is a right tributary. i.e. it merges into the Ganges and is not branch out. (so till then it has a distinct identity till it merges in Allahabad). Nice try though.
2. Poetic liberty-ai konjam extend paNNi வைகைக்கரைத் தோட்டம்னு பாடியிருந்தாலும் ஓகே தான் :-)

Is the 9/80 solved ?

Hi all,

Sorry to have missed this thread earlier. Very interesting postings.

Now perhaps because of the criticism abt Gangai being linked to Kannan, KD wrote later "Yamuna Nadhi Ange, Radhai Mugam Inge" in
Gowravam.

And only after reading the posts here did I think about Nilavin Edhiroli in that famous KJY song in "Aboorva Ragangal". Edhiroli or Edhir OLI, nice arguments. And the same KJY sang 'Pillai thamizh Paadugiren" with wrong pronounciation. Only Tamil pundits can tells us which is correct.

Ramaswamy

[Avadi to America]

with Sivaji
http://www.kannadasanpathippagam.com/Admin/gallary/17.gif

with Periyar
http://www.kannadasanpathippagam.com/Admin/gallary/15.gif

with MGR at Sivaji's wedding
http://www.kannadasanpathippagam.com/Admin/gallary/12.gif

in the office
http://www.kannadasanpathippagam.com/Admin/gallary/19.gif

kamarajar and kalignar are in the first and third pics respectively with Kavignar....

[groucho070]

The colour pix is Kavingar performing in a drama. Forgot what drama it is.

[NOV]

The colour pix is Kavingar performing in a drama. Forgot what drama it is.
karuppu panam?

[groucho070]

I think so. Is he a regular actor on stage? Or just here and there. In his two memoirs/arthamulla indhumadham books, he hardly mentions his acting roles (mostly politics in the former and of course religion in the latter).

[NOV]

The only two people I would die for....

http://a1.sphotos.ak.fbcdn.net/hphotos-ak-snc1/5692_121079313800_534633800_2175032_8260039_n.jpg

[groucho070]

Ada ada ada, what a beautiful pix. How I wish I was there when these greats were chilling out. NOV have you met Kavingar in person? Tell us your experience. He's been here, and especially Penang a lot I think.

[NOV]

Unfortunately no Rakesh, I was barely out of my teens when he passed away. :(
Which reminds me, I must meet up with MSV when I am in Chennai in Dec this year..

[groucho070]

Dad remembered him making a trip down to Kluang. But it was for Arthamulla Indhumadham tour, not much on his cinema life. Wish he had lived longer and still competing with Valee :sad:

[NOV]

was he ever competing? :shock:
anyway, its best to go when one is on the top...

[groucho070]

I know they were not, and Valee reveres him (referenced him several times in the 80s songs). Chumma sonnen, competing like Rajini is competing with Kamal. But yeah, he could have contributed a lot more.

[hamid]

Setting: Sung by two sets of newly-weds under the full-moon (always conveniently available in movies).

aththikkaai kaai kaai aalangaai veNNilavae
visham poalak kodiya (aalangaaiyaip poalak kasakkum) veNNilavae, nee vERu dhisayil kaai

iththikkAi kaayaadhae ennaip poal peNNallavoa
indha dhisaiyil kaayaadhae, ennaip poal neeyum nANam niRaindha oru peNdhaanae

kannikkaai aasaikkaai kaadhal koNda paavaikkaai
angae kaai avaraik kaai mangai endhan kOvaik kaai
indhak kannikkaaga, ivaL avar mEl koNda aasaikkaaga, avar mEl kaadhal koNda indha paavaikkaaga
nee en mannan/thalaivanaagiya avar irukkum dhisaiyil avaridam kObam koL/oLi veesu (kaai has two meanings)

maadhuLangaai aanaalum ennuLam kaai aagumO
indha peNNin manam kaai pOl aanaalum en uLLam avaLidam kaayaadhu

ennai nee kaayaadhae ennuyirum neeyallavoa
self-explanatory

iravukkaai uRavukkaai Engum indha Ezhaikkaai entire stanza is self-explanatory too

Elakkaai vaasanai poal engaL uLLam vaazhak kaai
thOlinnuL irundhu maNam veesum Elakkaiyaip pOl engaLiruvar manangaLum naRumaNaththOdu vaazha oLi veesu

jAdhikkaai pettagam poal thanimai inbam kaniyak kaai
moodi vaiththirukkum jaadhikkaai petti poal thanimai inbam etc..

sonnadhellaam viLangaayO thoodhu vazhangaai veNNilaa
sonnadhu purigiRadhae, adhaith thoodhaaga pOi avaLidam solvaai nilavae

uLLamelaam iLagaayoa ovvoru pEchchuraikkaayoa
un uLLam iLagi ennidam nee oru sollaavadhu ennidam pEsa maattaayoa

veLLarikkaai piLandhadhu poal veNNilavae sirikkaayoa
self-explanatory

kOdhai enaik kaayaadhae kotRavaraik kaai veNNilaa
peNNaagiya ennaik kaayaadhae, ennaik koNda mannavaraagiya ivaraik kaai, nilavae

iruvaraiyum kaayaadhae thanimaiyil Engaai veNNilaa
nilavae, nee engaL iruvaridamum kaayaadhu, engaLai vittup pOi, un thanimaiyai eNNi Enguvaayaaga!

:notworthy: chanceless.. Didnt know the full meanign of it.. thought there will be some kaai's used just for teh sake of it. but no words to say .. just unbelieveable..can the present poets including vairamuthu/vaali come up with a sogn like this?

[geno]

"..தலைவர் மாறுவர் - தர்பார் மாறும் தத்துவம் மட்டுமே அட்சய பாத்திரம்.." என்று பதிவு செய்து தன் விலாசம் சொன்ன, உண்மை சொன்ன கவிஞன் கண்ணதாசன்.

"..ஆளாளுக்கு தலைவன் ஆக ஆசைப்பட்டு - தனக்குத்தானே கட்சி துவங்காது - ஒரு தலைவனை ஏற்றுக் கொள்ளவேண்டும்" - என்று சொன்ன கவிஞனெல்லாம் - தன் தலைவன் சொன்னான் என்பதற்காக, மனசாட்சிக்குப் பூட்டுப் போட்டுக் கொண்டு, அவன் கால் நக்கி வாழத் துணிகிறான்.

ஆனால் உண்மையான விடுதலை விரும்பியான கண்ணதாசனால்தான் "அதோ அந்தப் பறவை போல வாழ வேண்டும்!" என்கிற உன்னதப் பாடல் எழுத முடிந்தது. ("ஆயிரத்தில் ஒருவன்" - 1964)

"ராமன் ஆண்டாலும் ராவணன் ஆண்டாலும் எனக்கொரு கவலை இல்லே" என்று சுதந்திரக் கூவல் பறைசாற்ற முடிந்தது! ( "முள்ளும் மலரும்" - 1978).

சொல்வேறு செயல் வேறு என்றிருக்கும் பேடிக்கவிஞனுக்கு மீசை மயிரு ஒரு கேடா?
"மீசை வரால் மீனுக்கும் இருக்கு!"

[tfmlover]

"..தலைவர் மாறுவர் - தர்பார் மாறும் தத்துவம் மட்டுமே அட்சய பாத்திரம்.." என்று பதிவு செய்து தன் விலாசம் சொன்ன, உண்மை சொன்ன கவிஞன் கண்ணதாசன்.

"..ஆளாளுக்கு தலைவன் ஆக ஆசைப்பட்டு - தனக்குத்தானே கட்சி துவங்காது - ஒரு தலைவனை ஏற்றுக் கொள்ளவேண்டும்" - என்று சொன்ன கவிஞனெல்லாம் - தன் தலைவன் சொன்னான் என்பதற்காக, மனசாட்சிக்குப் பூட்டுப் போட்டுக் கொண்டு, அவன் கால் நக்கி வாழத் துணிகிறான்.

ஆனால் உண்மையான விடுதலை விரும்பியான கண்ணதாசனால்தான் "அதோ அந்தப் பறவை போல வாழ வேண்டும்!" என்கிற உன்னதப் பாடல் எழுத முடிந்தது. ("ஆயிரத்தில் ஒருவன்" - 1964)

"ராமன் ஆண்டாலும் ராவணன் ஆண்டாலும் எனக்கொரு கவலை இல்லே" என்று சுதந்திரக் கூவல் பறைசாற்ற முடிந்தது! ( "முள்ளும் மலரும்" - 1978).

சொல்வேறு செயல் வேறு என்றிருக்கும் பேடிக்கவிஞனுக்கு மீசை மயிரு ஒரு கேடா?
"மீசை வரால் மீனுக்கும் இருக்கு!"

raaman aandaalum raavanan aandaalum ' by Gangai Amaran


Regards

[venkkiram]

"..தலைவர் மாறுவர் - தர்பார் மாறும் தத்துவம் மட்டுமே அட்சய பாத்திரம்.." என்று பதிவு செய்து தன் விலாசம் சொன்ன, உண்மை சொன்ன கவிஞன் கண்ணதாசன்.

"..ஆளாளுக்கு தலைவன் ஆக ஆசைப்பட்டு - தனக்குத்தானே கட்சி துவங்காது - ஒரு தலைவனை ஏற்றுக் கொள்ளவேண்டும்" - என்று சொன்ன கவிஞனெல்லாம் - தன் தலைவன் சொன்னான் என்பதற்காக, மனசாட்சிக்குப் பூட்டுப் போட்டுக் கொண்டு, அவன் கால் நக்கி வாழத் துணிகிறான்.

ஆனால் உண்மையான விடுதலை விரும்பியான கண்ணதாசனால்தான் "அதோ அந்தப் பறவை போல வாழ வேண்டும்!" என்கிற உன்னதப் பாடல் எழுத முடிந்தது. ("ஆயிரத்தில் ஒருவன்" - 1964)

"ராமன் ஆண்டாலும் ராவணன் ஆண்டாலும் எனக்கொரு கவலை இல்லே" என்று சுதந்திரக் கூவல் பறைசாற்ற முடிந்தது! ( "முள்ளும் மலரும்" - 1978).

சொல்வேறு செயல் வேறு என்றிருக்கும் பேடிக்கவிஞனுக்கு மீசை மயிரு ஒரு கேடா?
"மீசை வரால் மீனுக்கும் இருக்கு!"

சார், நீங்க எப்போதுமே இப்படித்தானா? ஒருத்தரைப் புகழணும் என்றால் கூட உங்களால் இன்னொருத்தரை வசை பாடியே புகழ வேண்டியிருக்கு. உங்களுடைய தமிழ் நடையை இப்படிப்பட்ட சிலை உடைப்புகளிலேயே விரயம் செய்யாதீர்கள். நாளடைவில்
மனச் சோர்வுதான் மீதமிருக்கும். கலை உலகம் என வரும்போது படைப்பாளிகளை அவர்களின் தனிப்பட்ட குணங்கள், அணுகுமுறைகளைக் கொண்டு எடை போடவேண்டாமே!

[NOV]

https://fbcdn-sphotos-a.akamaihd.net/hphotos-ak-ash4/379013_207419036017697_100002488071379_419896_8928 16396_n.jpg

[NOV]

My son's status on Facebook:


When the creditor comes asking for his dues, will he leave you alone if you say no?
Even if you cry citing your loved ones and their misfortunes, can you escape death?
Making a scene won't help and this is one case that you can't win in court.
Once you enter this fort, there is no turning back.

[NOV]

From: Sathiya Keerthi (@ panorama.nus.edu.sg) on: Sun Oct 19 23:56:12 EDT 1997


Naan paalum pazhamum patri ezhuthiyavatrai paaraattiya ellOrukkum mikka
nandri. I saw Aalaya MaNi in the weekend (Thanks to NOV for telling me that
this movie was being shown on Malaysian TV) and I am compelled to write another
long posting. Although the movie has excellent songs such as thookkam un
kaNgaLai thazhuvattumE, ponnai virumbum boomiyilE, and kallellaam maaNikka
kallaagumaa, I just want to write about the song in the movie, satti
suttadhadaa. The song is usually classified as one depicting sadness (see
TMS sOha geedhangaL.. thread, but I want to argue that it is just the
opposite.

There are good (divine) and bad (animal) qualities in-born in every human being.
In some people, one or more of the bad qualities such as fear, jealousy, anger,
etc., are present in an extreme level, causing deep mental agony. The hero of the
movie is one such person; the problem in him is extreme jealousy. If he loves
a certain thing and if someone else sets eye on it, he loses control and becomes
furious. When he was a small boy, he even caused the death of a dear friend who set
his eyes on a doll that the hero loved. The hero, who otherwise is a person of
good character, has been having this deep feeling of guilt that he (the deep
jealousy in him) was the cause of his dear friend's death. Hence he
has been consciously making an effort to control jealousy whenever it
arises, and is also doing so many good deeds to others as atonement. BUT, the fact
was that jealousy was always rooted inside him, just waiting for a chance to explode.

Naayagan oru azhagaana peNNai kaNdu mayanginaan; avan perum paNakkaaran aanadhaal
avaLudaya petrOrai sulabhamaaga convince paNNi avaLai maNam mudikka nichchayamum
seydhaan. Avanukku oru uyir naNban. Andha naNbanukkum thanakku varappOgum manaivikkum
kaLLa uRavu irukkindradhu endru kELvippattu naayaganum avargaLai sandhEgikka
aarambikka, uLLil idhuvarai adangi irundha poRaamai endra mirugam viswaroopam eduththu
varugiRathu. Than uyir naNbanai kolai seyya andha mirugam thooNdugiRathu; naNbanai
thaniyaaga oru malai uchchikku kootti selgiRaan thaLLivittu kolvadhaRkku. Kolai
seyyap pOgum tharuvaayil avanudaya uyir naNban uNmaiyai sollugiRaan: oru kaalaththil
avanum appeNNum kaadhalargaLaaga irundhadhu uNmai; aanaal, naayagan avaLai virumbugiRaan
endru therindhadhum avaLai naayaganukkaaga vittu koduththuvittaan; avaLum konjam
konjamaaga naNbanai maRandhu naayaganai nEsikka thodangivittaaL!

Indha uNmai therindha nilaiyil naayagan enna seydhaan? Enna seydhaan enbadhai
konjam postpone paNNivittu, enna seydhiruppaan endru aaraaivOmaa? Nam manadhukku
iraNdu solutions thOndra vaayyppirukkiRadhu. Avai enna endru paarppOm.

uNmai enna endru naNban solliyum, naayagan manadhil viswaroopam eduththa poRaamai
ennum mirugam avanai thodarndhu aagramiththu, indha naNban iruppadhu unakku
eppOdhum aabaththuthaan; avanai kondruvidu, adhuthaan unakku nalladhu endru
thooNda, avanum adhanpadi nadandhirukkalaam. I call this as the animal solution.
Naayaganukku idhu nadakkavillai. En? Let us analyze.

Manidhan, poRaamai pOndru manadhil irukkum mirugaththai iraNdu muRaiyil deal paNNalaam.
He can just accept that as a part of him and act whatever that animal instinct asks him
to do. If this had been the case, the animal solution would be the most natural
result.

But, nammudaya naayagan was not so; he had always considered jealousy as a
disease and had been fighting and resisting it all his life. Adhanaal, naNbanidamirundhu
uNmai therindha pin avan, chE chE, ennai indha poRaamai ennum mirugam engkE koNdu
sendruvuttadhu paar endru sindhiththu adhanpadi manidhanaaga seyalpattiruppaan.
(avargaLudaya vaazhkkaiyai patri avan enna mudivu seygiRaan enbadhu ingku mukkiyamalla.
So I will not go into that.) I call this as the human solution. The key thing
to note here is that jealousy is still present in him; indha muRai adhu viswaroopam
eduththa pOthu adhai avan adakkivittaan, avvaLavudhaan; pinnar avan vaazhvil adhu vERu
oru kaaraNaththiRkkaaga paayndhu veLi vara vaayppu irukku innum.

uNmai therindha andha nEraththil avanukku, mElE solliya reNdu solutions-um nadakkavillai.
AppuRam ennadhaan nadandhadhu? naNbanidamirundhu uNmai therindhadhum avan udanE ninaiththaan
(Oh how stupid I have been):

budhdhi kettadhadaa nenjai thottadhadaa
naalum nadandhu mudindha pinnaal nalladhu kettadhu therindhadhadaa

avan vaazhnaaL muzhuvadhum poRaamai-yai resist seydhu manadhilum seyalilum nallavatraiyE
seydhu vandhaanE, avaiyellaam avan manadhil dheyvam vaLarvadhaRkkaaga pOtta viththukkaL.
PoRaamai ennum mirugam viswaroopam eduththu nindra pOdhu, uNmai therindhu, enna
madaththanam seyyavirundhEn endru avan ninaiththa pOdhu, andha instant-il (as JK
says, you can even say that time was not involved here; it happened instantaneously)
avanuL vaLarndhu vandha dheivam innum periya roopam eduththu poRaamai endra mirugaththai
azhiththu saambalaakkiyadhu! He was free of jealousy for ever! This is what they
call as God's Grace or as a spiritual experience, something that cannot
be planned and executed via the mind process! I call this as the divine solution.
As JK says, when there is a snake right in front of you ready to bite and you truly
realize how deadly it is, what do you do? You immediately take action to get rid of it!
This is what happened to him. IdhaRkku Kavinjar azhagaana uvamai kodukkiRaar paadalil.
Soodaana oru sattiyai (compare this with the jealousy-animal which had taken a huge form)
kaiyil pattadhum (he realizes the stupidity of following jealousy), by reflex action you drop
it (he becomes free of jealousy instantaneously):

satti suttadhadaa kai vittadhadaa

Kavinjar follows this with beautiful lines that describe, in a nutshell, what happened
in his mind from birth till now:

paadhi manadhil dheivam irundhu paarththu koNdadhadaa
meedhi manadhil mirugam irundhu aatti vaiththadhadaa
aatti vaiththa mirugam indru adangi vittadhadaa
amaidhi dheivam muzhu manadhil kOyil koNdadhadaa

(Actually I would have preferred the word azhindhu instead of adangi.)

aaravaarap pEygaLellaam Odi vittadhadaa
aalayamaNi Osai nenjil koodivittadhadaa
dharma dhEvan kOvililE oLi thulangudhadaa
manam shaanthi shaanthi shaanthi endru Oyvu kaNdadhadaa

(As said already, spiritual experiences such as this cannot be planned; the are god-given.
So, avanuL irundha poRaamai azhindhadhu kadavuL avanukku koduththa pichchai; andha dheivaththai
dharma dhEvan endru kavinjar solvadhu kuRippida thakkadhu.)

Gnanam endra vaarththaikku Knowledge endru podhuvaaga naam translation
solvadhuNdu; aanaal Gnanam innum aRpudhamaana ondru. Hindu philosophy-yil
Gnannam is used to denote the the ultimate understanding of the Aathman
that comes from a profound spiritual experience. Naayaganukku vandhadhu spiritual
experience (yaanai) enbadhu uNmai; aanaal adhu vandhadhu avanuL irukkum poRaamai
(eRumbu) endra mana nOyai kolla; avanukku muzhu Gnanaththai koduppadhaRkkaaga alla;
after the experience he is not a realized soul or any such thing; it's just
that he got rid of jealousy from the roots! Idhai kuRippida kavinjar thErndheduththa
varigaL:

eRumbu thOlai uriththup paarkka yaanai vandhadhadaa
en idhaya thOlai uriththup paarkka gnanam vandhadhadaa

Being so thrilled at the peace that has come in him, our naayakan further sings:

piRakkum munnE irundha uLLam indru vandhadhadaa
iRandha pinnE varum amaidhi vandhuvittadhadaa

Summarizing, ip paadal sOhap paadal alla. In fact, it is sung by the character
in great happiness, no, actually more, it is in esctacy! Paadalukku kavinjar
Kannadhasan varaindha varigaL aRpudham. Saanthamaana tune pOttu, kadalin alaiyOsaiyum,
aaravaarap pEygaL kaththuvadhaiyum, aalayamaNiyin Osaiyum sariyaana idangaLil izhaya
vittu paadalai unnadhamaaga aakkivittanar mellisai mannargaL; paadalai nalla uNarchchiyudan
paadi asaththivittaar TMS. Padaththil, Shivaji Ganesan-in nadippu indha paadalil avar kaattum muga bhaavanaigaL
pramaadham endrE sollavENdum. Overall, it is a beautiful song perfectly made for a
wonderful situation.

[NOV]

Can you spot all the celebrities?


https://fbcdn-sphotos-a.akamaihd.net/hphotos-ak-prn1/536424_361407800564809_132589456779979_1057495_548 186476_n.jpg

[Plum]

I see veegopalji - vera yaaru celebrity irukkA? :think:

[NOV]

:roll:

Chevaliar Sivaji Ganesan
Kavignar Kannadhasan
Mellisai Mannan MSV
Kumarasami Kamaraj
AL Srinivasan
Gemini Ganesan
Dr. J. Jayalalitha
her mother Sandhya
Legend P. Susheela
Anjali Devi
Savithri
Dhevika
Raja Sulochana
V. Gopala Krishnan
KCC Chithan

[Shakthiprabha]

I did identify almost all.. (that was 2 days back)

except
I still dont know where is devika. Face between vgk and gemini I thought was SHEELA (mallu acrtress)
I could not recognise raja sulochana (though looked familiar)
I did not know al srinivasan
It took solid 3 mins to recognise where is msv, even after u mentioned
I did think its anjali devi, but had second thoughts ( i thought may be sivaji's wife)
I thought man next to kamaraj was someone like sp muthuraman or the like
Who is k.c. chitan and where is he?
Who is next to kannathasan who looks like moopanar?

ofcourse rest I identified :ashamed:

[madhu]

Power...

neengale ippadi sollalaama ?

[Shakthiprabha]

What happ? is it mandatory that a persno should know kcc chitan?

:confused:

I really could not place person next to kannathasan.

[Rock star_KB]

I really could not place person next to kannathasan.

i think u r rong.. Vairamuthu is next to kannadasan in present day..

[Shakthiprabha]

I think there is lack of clarity in what I posted. Let me brief it this way.

I already (3 days back) IDENTIFIED.

Sivaji
Gemini ganesan
Savithri
JJ
Sandhya
PS
Kamaraj
Kannathasan
Anjali thevi (i also thought it may eb sivaji' sife ...but clear after nov's post)
v gopala krishnan
__

after nov answerd
I COULD SPOT

al srinivasan
rajasulochana (though familiar I failed to recognise her..shame on me)
devika :roll: ( I assume the only lady left, standing next to gemini...and I thought its sheela or someone else)

I still COULD NOT PLACE (as of now)

Who is KCC chittan? and where is he in the pic?
Who is the person next to kannathasan (who looks like moopanar) ?
Who is the person next to kamaraj (I find him too familiar....) (some producer or director i am sure :oops: ) ?

avlo thaan.

now someone clarify only the last 3 queries which I did not place..

[NOV]

https://fbcdn-sphotos-a.akamaihd.net/hphotos-ak-ash3/s720x720/598733_10150882511063801_269760053_n.jpg


https://fbcdn-sphotos-a.akamaihd.net/hphotos-ak-snc6/5692_121079313800_8260039_n.jpg

[NOV]

Kavignar with his grandson... what a simple man!


http://sphotos-a.ak.fbcdn.net/hphotos-ak-prn1/561480_477369175628258_88476163_n.jpg

[kalnayak]

i think u r rong.. Vairamuthu is next to kannadasan in present day..

போட்டோ படத்துல கூட கண்ணதாசன் கிட்ட வைரமுத்து நிக்கலை -ன்னு யாரும் சொல்லப்போறாங்க!!!

[NOV]

Astro Vellithirai celebrates Kannadhasan's anniversary tomorrow:

Maalaiyitta Mangai
Sivagangai Seemai
Kavalai Illadha Manidhan


Saravanan writes in TFM Page in 2004:


‘thendral vandhu veesaadhO’ from Sivagangai Seemai. Sung by S.Varalakshmi & T.S. Bagavathi. Lyrics by Kannadasan. Music by Viswanathan-Ramamoorthi.

Kannadasan Productions’ Sivagangai Seemai- 1959 was Kannadasan’s labour of love, He wrote the script & lyrics; and produced the film. It was his second venture in the wake of the success of Maalaiyitta Mangai the previous year. Sivagangai Seemai was directed by K.Shankar, and had a talented star cast led by T.K.Bagavathi, SSR, P.S.Veerappa, S.Varalakshmi, Kumari Kamala, M.N.Rajam and others.

Much has been discussed in these pages about Sivagangai Seemai- that Kannadasan embarked on this project as a challenge to Sivaji’s Veerapandiya Kattabomman which was also being made at the same time, and this flamed further the simmering animosity between Kannadasan and Sivaji. Unfortunately for Kannadasan, Sivagangai Seemai was consigned back to the cans within no time of its release while the successful Veerapandiya Kattabomman was acclaimed as a magnum opus. Kannadasan ended up with a huge financial loss.

Sivagangai Seemai might have been a failure, but it was surely a failure that made history. For it remains among the best historical films made in Tamil. Kannadasan's native soil was the canvas, and he was familiar with its history and geography. He had a keen sense of the period, and his passion ensured that Sivagangai Seemai was much more than a commonplace costume drama. The film is immortal for another irrefutable factor- its wonderful songs.

Kannadasan had not written mere situational lyrics here, the lines pulsate with poetic magnificence. Each song ought to be savored conscientiously, for the sheer poetry bedecked in V-R’s imaginative tunes, feelingly rendered by a galaxy of talented singers, fetches this album a place of pride in the annals of tfm.

The film had 16 songs in all:

Saanthu pottu thalalanga - P.Leela, Jamunarani & chorus
Veerargal vaazhum Dravidar naattai vendravar kidaiyaadhu -TMS
Muthu pugazh padaithu - S. Varalakshmi & (Radha)Jayalakshmi
Kottu melam kottungadi kummi kotti paadungadi- Jikki & chorus
Chinna china chittu Sivagangaiyai vittu- Jamunarani & chorus
Vaigai perugivara- C.S.Jayaraman & P.Leela
Maruvirukkum (traditional verse) - V.N.Sundaram
Aalikkum kaigal (one verse) -V.N.Sundaram
Kannankaruthaa Kili kattazhagan thotta kili - P. Leela & chorus
Kanavu kandaen (happy) - TMS & T.S.Bagavathi
Thanimai naerndhadho - S.Varalakshmi
Thendral vandhu veesaadho - S. Varalakshmi & T.S.Bagavathi
Megam kuvindhadhamma - PS
Sivagangai cheemai -TMS, Seergazhi Govindarajan, A.P.Komala & chorus
Vidiyum vidiyum endrirundhoam - T.S.Bagavathi
Kanavu kandaen (pathos)- T.S.Bagavathi

* * * *

Circa the last years of the eighteenth century---

The (East India) Company is gradually establishing its complete control of the land using its crafty ‘divide and rule’ policy to subjugate the local chieftains and rulers.

Kattabomman had just been vanquished and hung from a roadside tamarind tree.

Oomaithurai, Kattabomman's brother escapes from the Company's penitentiary and seeks refuge with the Marudu brothers (elder played by T.K.Bagavathi, and the younger played by Mustafa)

The Marudu brothers were Poligars (or PaalaiyakaarargaL/ Feudal Chiefs) who were ruling what was known as Sivagangai Seemai..(consisting of Thekkoor, Okkoor, Siruvayal, Poongudi, Tirupattoor, Narikkudi, Tirumayam, Mukkulam, Naalukottai and Nattarasankottai).

The Company gets a hint of Oomaithurai’s whereabouts and Major Welsh (played by Wahab Kashmiri) comes to arrest Oomaithurai.The Marudu brothers realize the strength of the company's army and ammunition...and do not want an open confrontation. They plead for Oomaithurai's life.

But Major Welsh does not set much store by dignity or respect; and in the very presence of the Marudu brothers make bold to arrest Oomaithurai.This brings matters to a boiling point-- in the film, S.S.R, called Muthazhagu, the fiery army chief of the brothers, has been purveying inflammatory remarks all the while -- in time the younger Marudhu is also provoked into challenging the Company's men--

Welsh and co. beat a hasty retreat, but make no secret of the action against the Marudhu brothers that is sure to follow. The senior Marudhu in fact chastises the younger for precipitating the state into war.

It is at this juncture, when the rumble of the white man’s guns seem imminent, when turbulent clouds of war loom threateningly...and the feudal land and its traditions seem on the verge of being annexed by the almighty Union Jack...that the Marudhu brothers’ wives sing this heartrending lullaby to their babes.. the infants who are blissfully unaware of the historical forces that are crisscrossing their destinies. This lullaby is sung in the shadow of the clash between sword and gun...You know which is set to win...

The lullaby, sung by S.Varalakshmi and T.S.Bhagavathi, was picturised on S.Varalakshmi and Tambaram Lalitha (if I remember right)--they are the wives of the Marudu brothers.

* * * *

We’ll keep for another day dwelling at length on Varalakshmi (she was the enchanting common factor to both Veerapandiya Kattabomman and Sivagangai Seemai) and Bagavathi (a favorite singer of Kannadasan, he had her sing ‘Annaiyin naattai pagaivargal soozhndaar’ in Maalaiyitta Mangai and ‘Kannodu vin pesum jaadai’ in Kavalai Illadha Manithan). in fact both these gifted singers find laudatory references in Kannadasan’s Sandhithen Sindhithen.

Kannadasan lives on in songs such as these. Though a fire-spewing Dravidian orator at that time, his essential humanity and aversion to blood and gore came through in this lullaby and he expressed it in sublime pathos!

Many of us would have been struck with gloom at each reading of the lines ’Rose a nurse of ninety years, set his child upon her knee - Like summer tempest came her tears-‘Sweet my child, I live for thee.’ (Alfred, Lord Tennyson/ Home They Brought Her Warrior Dead); admiration tinged with sorrow would have overcome us when we read ‘“You ’re wounded!” “Nay,” the soldier’s pride touch’d to the quick, he said: “I ’m kill’d, Sire!” And his chief beside, smiling the boy fell dead’ (Robert Browning/ Incident Of The French Camp); we would have been plagued with despair at ‘Two noble sons fell by their guns, their names in glory shine; And a mother weeps on the River Thames, and a mother weeps on the Rhine’ (Eric Bogle / The Thames And The Rhine); but ‘thendral vandhu veesaadhO’ is in a league of its own--each line is redolent with poignant lyrical beauty, and moves the listener to moist eyes, and to sigh at the futility of war and the wanton devastation that it brings in its wake--

The two women wonder wistfully whether tranquil times will visit their abode ever again--they sing musingly of the rich culture, glorious traditions and ancient history of their land and speculate if all this would be snatched away by the war, and express helplessness over the deprivations that their children may have to endure. The highpoint is of course, Varalakshmi’s emotional cascade, proclaiming with pride the courage of their warriors who are to take leave of their womenfolk and children and march on to the warfront, at the same time she tremulously expresses apprehension about their fate, whether their valiant men would return from the battlefront, or perish fighting for their land--

[RAGHAVENDRA]

http://farm7.staticflickr.com/6213/6340880822_44dbd43f3f.jpg

கவியரசரின் கடைசிப் பாடலை இசையமைத்த இசைஞானி இளையராஜா கூறுவதைக் கேளுங்கள்


http://youtu.be/fQ_HHdRHq8k

இந்தப் பாடலின் ஒரிஜினல் வீடியோ


http://youtu.be/H2WUTmlAv7g

கேட்கும் போதே நெஞ்சை உருக்கும் குரலில் என்ன அருமையான பாடல் .... ஜென்சியின் குரல் உயிரில் அல்லவா ஊடுருவுகிறது.

[NOV]

http://sphotos-b.ak.fbcdn.net/hphotos-ak-snc6/208887_511480705577984_151769045_n.jpg

[mahendra raj]

Hi Everybody, is this thread still active? I hope to share some additional stories of Kaviarasar which I was privy to when I was in Chennai just recently.