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Thread: The Golden Era of Dr.IR and Dr.SPB

  1. #2381
    Senior Member Veteran Hubber baroque's Avatar
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    yes.. App_eng, Chechi is dancing enna aval dhaane inspiration for her lover!
    vinatha.

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  3. #2382
    Senior Member Veteran Hubber baroque's Avatar
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    Back to ENIGMATIC Vaanuyarndha Solaiyiley...... , Sivaranjani pathos for my pleasure, one more time or couple of more times

    haunting strings, bewitching humming by Janu, mysterious flute / kolusu / bird calls... MAGICAL ILAYARAJA




    மோகன் movies like கோபுரங்கள் சாய்வதில்லை, குங்கும சிமிழ், உதய கீதம், ரெட்டை வால் குருவி, மெல்ல திறந்தது கதவு etc ..I love to watch several times .

    ஸ்கூல் days , many of classmates simply loved மோகன்.

    good job , மோகன்! Glorious 80s
    Vinatha.
    Last edited by baroque; 30th November 2011 at 04:11 AM.

  4. #2383
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    app,
    Kootathila kovil pura.. padichuten.............. Diary madhirii iruku. nice to read app...............

    Raja songs.. afterall Feelings................ avvalavu dhan. inum enna...........
    Usha Sankar

  5. #2384
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    #214 யார் வீட்டில் ரோஜா பூப்பூத்ததோ
    (இதயக்கோயில், 1985 )


    I used to mildly wonder about the necessity of the fight-scene-kind-of-interludes whenever this song got played. It got to be situational man, the mind will tell. Also, it'll remind similar songs in almost every Motherland pictures movies - PM had rAgadheepam, maNiyOsai & vaigaraiyil, nAn pAdum pAdal had pAda vA, udhayageetham had udhayageetham pAduveN with similar characteristics - singer on a stage or recording theater with a melodious song and soft orchestration while the interludes have thadAladi drums / violin gumbal / wind instruments etc creating war-like sounds. So, it wasn't a big novelty to have a couple more in the next MP movie as well

    Though a sweet song adorned by SPB's singing, this is possibly the bottom number in the album for me. Possibly because all other songs had some specialty in them. Also, even in 80's, this felt like a song from the previous decade ("is it really from a new movie?"). Nevertheless, it's not boring even today which is remarkable. It was a regular on radio, buses and recording centers and the whole album seemed to be a favourite everywhere in Cbe. Possibly popular elsewhere in TN as well but my travel domain at the peak of this album was limited to few towns of TN with Cbe getting at least a weekly visit if not more.

    Like baroque mentioned, yet another 'recording' song, somewhat a reverse of pAda vA -there the hero met with an accident and here it seems the nAyaki gets into one. Limited range of imagination of the production house. Like some thodar kadhai writers in AV / Kumudam - very limited imagination and won't go beyond certain situations / scenes / drama but reasonably successful. Never aspired to be a Sujatha. Interestingly, despite being so closely associated with such mega talents as IR & SPB...
    Last edited by app_engine; 1st December 2011 at 04:23 AM.

  6. #2385
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    Quote Originally Posted by tvsankar View Post
    Diary madhirii iruku. nice to read app
    nanRi, Usha Chechi!

    BTW, no diary habit, all are memory recalls and ruminations.

  7. #2386
    Senior Member Diamond Hubber groucho070's Avatar
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    My fav of the album (my CD has a flaw, immediately after this song finishes it begins KootatthilE Koyil purA and stops...and the latter begins as next number). As usual app, wonderful.
    " நல்ல படம் , சுமாரான படம் என்பதையெல்லாம் தாண்டியவர் நடிகர் திலகம் . சிவாஜி படம் தோற்கலாம் ..சிவாஜி தோற்பதில்லை." - Joe Milton.

  8. #2387
    Senior Member Veteran Hubber V_S's Avatar
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    It's difficult for me to pick a winner in Idhaya Koyil except Oororama Aathupakkam song. Another aspect about the film which I would like to add is the separate comedy thread (with no connection to the main film story, it was common those days) in the film by the great Annan. I watched this film multiple times only for music and comedy. Definitely it is (not was) a surprise package by MR. Anyway at that time he was not much known (as he just did one tamizh film before this), we were not in any surprise. Everything transformed from Mouna Raagam.

  9. #2388
    Senior Member Veteran Hubber V_S's Avatar
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    Thank you App for giving me this golden opportunity to do honors to our dearest Maestro. But I don't think I have done justice at all. Anyway here we go:

  10. #2389
    Senior Member Veteran Hubber V_S's Avatar
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    We know there are four paths of yoga; Bhakti, Jnana, Karma and Raja yoga. Similarly there are four goals of life according to Hinduism; Dharma, Artha, Kama and Moksha. Kama which is pleasure is often misunderstood as just sex, but the pleasure is a result of art, music, drama, dance, poetry including sex. Since the composition of interest is related to third goal (Kama), we will see how Maestro attacks every component of Kama Yoga through this composition. The interesting part of this whole composition is while all the above 6 components are tightly integrated, they can also be easily separated as per individual's taste and we can even add our own aesthetics in this composition (except the music part, haha).

    Before going to the composition, first we need to applaud K Bhagyaraj for coming up with some outstanding concept very little known in film industry. We might have seen so many songs using 'Manasatchi' (inner voice of ego) including love songs, but this song is unique as it talks about a person's inner feeling of the desire and pleasure. Actually there is a big risk taken and he has done it quite well nailing down by walking on the rope, but could have picturized better without all those standard p.t. exercises. Also song was not much appreciated at the instrument level, that's where visually it was not engaging!

    Having got the draft from the director, how Maestro works and develops into a full blown art is the topic of interest. We will come to that later.

    Dance and Drama
    Almost at the dawn, dreams galore. Hear how this composition showcases such a feeling with aplomb. Hero imagines being in indra loga with four gandharva kannigal, but his hands are tied. Why? There comes his manasatchi (manmadhan) first. This was another beautiful concept. Manasatchi appearing first than the actual person. Here KBR implies brilliantly that even before we start any physical interaction, our mind already attains/completes that state. புலன் வழி இன்பம் அடையும் முன்னரே மனம் அதனை அடையும். First manasatchi, then the actual person, so his hands were tied. Only thing I don't understand is why he was shown as an old man. May be just because of experience.

    Maestro complements musically by calling Vatsayanar, Adiveeraramapandyar (no idea who he is) and then those gandarva kannigaL; Athini, Sithini, Padmini and Sangini. There starts all the drama and dance. Crash cymbals for introduction of each female. Even there he adds some minuscule sounds from synth alternatively to our each ear, very pleasant to hear. Two trumpets one at lower octaves and another at higher octaves followed by great strings in crescendo, setting up the right tempo with trumpet echoing at last. Such grand opening is required for this big bash in that maaya logam. The trumpets implying the big ones used at those times. Somehow that grandeur was not much captured visually, especially when the trumpets and violins are played.

    How about this one? The two trumpets, the higher one is of the soul and lower one for the body. His manasatchi after introducing each one of those angels, he makes them disappear as the body actually tries to reach them, as he is not yet attained his desire. The high trumpet shows that agility of the soul, while the body is still in the phase of getting activated from the soul. Also manasatchi is not willing to give it to him, so he teases him every time. The time when violins plays in crescendo, he races behind each one of them and when the trumpets echo, they are gone, vanished! Magnificient Pause there (only in video).

    S Janaki and S P Shailaja sings alternatively. When they sing the angels appear again with the magic of soul, but he realizes now that his hands are tied. Maestro understanding this ahead, does not start the vocals with SPB (the body) instead starts with females to again build up the tension to the hero and sarcastically complemented by his manasatchi at the end of every line. As this is a dance song, Maestro brilliantly introduces the 'jathi' at every line and every jathi is different. Please hear the jathi. 1. nakinthinnaa nakinthinna thirana, 2. nakinthinaa thirana, 3. thakathimi tha, 4. thirikidathathom tha, 5. thirikidathom tharikidathom. Some great singing by TVG sir (I think) and it appropriately sets the tone for this extra-ordinary composition.

    Another beauty is how he has used the percussion instruments during the pallavi. For the single beat punches he uses mridangam. For every other beat he uses acoustic drum or hi-hat, if you hear closely. I don't know how he conceived that idea. May be because he wants to convey throughout those two instruments that those two beats are the heart beats of soul and the body and how it sounds when tapped one after another. Soul and body cannot exist independently. Both has to co-exist to attain the desire which they are longing for. But when listened casually we can only hear one instrument. Oh man what an innovation at every note. Colossal talent!

    Not just that, if you observe even closely, the beats coming from hi-hat are more compared to mridangam as he soul is slowly transferring its desire to body thereby the heart beat of the body is pounding faster than the soul. Brilliant! Brilliant!!

    Poetry and Sex
    We have some great lyrics for the situation. Eventhough we have to appreciate the lyricist for conceiving appropriate lyrics for the situation, I am going to first appreciate Maestro for the lyrics. Why and How? The whole soul in the song is this jathi which is aptly sung by TVG sir. You can clearly hear where the jathi is leading to, from where it started.

    nakrithana thiranana na (starts the real fun)
    thana nakrithana thana dhiranana dhirana (improvisation compared to first line)
    nakrithana nakrithana nakrithana (kenjel, seendal, climax)
    nakrithana nakrithana nakrithana dhiranana na.. (salvation!)

    Why have I linked poetry and sex together?.
    Again purely my thoughts. Why Maestro adds more jathi here instead of actual lyrics. Could have been better? May be, but as I interpret, Maestro cleverly stops with sandham and wants us to conceive our own lyrics based on our imaginations for this jathi, so that composition becomes dynamic instead of being static. Instead of what is being given is what we have to listen, as I mentioned ealier, we can add more aesthetics to appreciate it better. Assuming Maestro has given us a small template where we can play with (on the final output, which is truly amazing!). Have we ever witnessed such scenario, I honestly do not remember.

    So, he is also teaching us to code on the template, but strictly there are no rules and syntax, except to match the sandhams.

    Singing these lines gives so much merry. Greatest aural poetry!

    Music
    At every section there is music. The drama, dance, poetry all associated with music. Here we will continue where we left off from previous section.
    The drums after the above jathi is just spellbinding, no one, I repeat no one can ever create this atrocious punch and magic, mavane dhool! He gives that chill and literally gets into our nerves, no one can ever give me! I remember one of my town friend who is elder to me and studied at CIT, Coimbatore during that time (may be 2nd or 3rd year - perfect time to be in college). He used to visit our town for semester holidays. He always calls Maestro as 'Mottai'. He used to always get hyper about this song, especially during this beat. He used to scream "mottai" during this part and used to say 'Mottai mandaikkula ennathaanda irukku'. Even now I am screaming and my wife and kids are in for a rude shock That's a monumental piece!

    I mean the whole rhythm arrangements and syncopation (as KV mentioned), surely cracking and out-of-the-world stuff!!

    While the energetic trumpets, bass guitar, ferocious violins tells the true story, visually KBR does not have a damn clue what needs to be done during this piece, just moves his legs here and there. Truly underwhelming!!

    We can now hear the single trumpet at very high octaves which is of the body as the body is now ready for fun (except he is still in bondage), while at the last we can hear the second trumpet dipping down (of the soul). After the soul has attained its desire, it is now passing it to the body. Now the angels prey for the actual body. SJ and SPS seize this opportunity and comes with some extremely cheerful and erotic singing. Superb tune in charanam, giving the appropriate mood. The highlight is how the tune goes to lazy mode exactly during 'raaghu kaalam pOnathu, yOga nEram Kooduthu', Paarizaatham vaaduthu dhaagasanthi thEduthu', as still the hero is in bondage and they are becoming restless. The last line goes in for a great finish with violins to follow! Experience the "Maestro Roller-Coaster effect"!!

    என்னைக்கும் இல்லாம இன்னைக்கு உன் கிட்ட ஆச (punctuations with synth/guitar?, clearly calling for hero's action!)
    எப்பப்ப வந்தாலும் அப்பப்ப கல்யாண பூச
    ஒன்னுக்குள் ஒன்னாக ஒன்றாகி நின்றானே சாமி
    அத கண்ணுக்கு முன்னால என் கிட்ட இப்போது காமி
    ராஹு காலம் போனது யோக நேரம் கூடுது
    பாரிஜாதம் வாடுது தாகசாந்தி தேடுது
    மதில் மேலே வரும் பூனை எதில் பாயுமோ (excellent guitar chord progression there!)

    The crescendo violins after the last line clearly states the body is now out of bondage and the soul has completely transferred what it got, to the body. That's where our hero SPB kicks in with thunder, this time 'Pala macham ULLa' and not 'Ada macham ULLa' except to be let down by some funny dance movements by KBR. No look back from now on musically. During this pallavi we can hear his manasatchi again punctuating with those jathis. When he sings "thirikidathom tharikidathom", we can easily put "nadakattum nadakattum". That's the magic I was talking about the template.

    High energy violins and trumpet in second interlude played only to again discover that KBR used it to some naive dance movements. Wasted opportunity! First time we are hearing flute as well in this interlude.

    எங்கெங்கும் முந்தானை கண்டாலும் உண்டாகும் போத
    சத்தங்கள் இல்லாத முத்தங்களின் என் காதல் கீத
    மெத்தைக்கும் வித்தைக்கும் எப்போதும் பட்டத்து ராசா
    உங்க கட்டுக்குள் வந்தாலே மொட்டுக்கள் தள்ளாடும் லேசா
    நீரில்லாத மேடையில் நீந்த போகும் மீன் இது (hear how he extends the 'Ithu', so elegant!)
    பாயப்போகும் வேங்கையை சாய வைக்கும் மான் இது
    புயல் வீசி வரும் வேகம் கொடி தாங்குமோ (hear how SPB pronouces ThaangumO, what a punch! Only him possible)

    When he finishes the pallavi lines for the last time, for the same lines TVG sings jathi differently. "nakinthinna nakinthinna thiranana na" instead of usual "nakinthinaa thirana", so breathtaking! Maestro demonstrates how much space is there to pack more things in the same span.

    Art
    All the above sections contribute for an excellent art. Maestro here combines all the above pieces to demonstrate Kama Yoga. He also cleverly leaves some portion for us to fill, thus making the composition a dynamic one.

    Explosive trumpets (drama), extravagant rhythm arrangements (dance), high energy jathis and violins (poetry), terrific guitar and some glittering tune and singing (music) all makes it a wonder composition. So, all the above sections, Maestro has done through music alone. Is it not a wonder? Wonderful Keeravani (?) based composition with western pop/jazz arrangements. Maestro has used just 5 main instruments, violin, guitar, drums, trumpets and mridangam to create this grand wizadry of art.

    If an art is an expression of creative skill and imagination in visual form, Maestro does not have a chance there, as the music is not a visual form. On the other hand, if a Maestro can bring visuals in front, to his listeners with his music alone, then there is a 100% chance of being called as art. Maestro does not need a separate visual media to reflect his work. In fact, he is the source for the visuals (as described in the above paragraph). It is then a superior form of art (IMHO). Why it is superior form of art?. In visual art, we can analyze the product in detail, write reviews and even point out the areas we like and dislike it. In music, with Maestro, each listener is taken to another level apart from the areas pointed above. That is the listeners visual imagination about the product of work. I wrote my thoughts above, but another person will come in and pour totally different set of ideas/perspectives on this composition (again I am not talking about reviews here). Third person can come in and paint a different set and so on. Again, if a child listens to this music, he can paint his own visual imagination over this. Only few visual art forms have his boon.

    For example, take the same composition and listen again, completely forget all my above irrelevant thoughts. I am 100% sure, no one can even think about eroticism here. We can just enjoy the tune, singing and the orchestration, that's it. Unless you go by the lyrics or the situation, this composition is absolutely friendly to everyone. It will immediately trigger us to sing/hum the composition along. You are now the visual medium for the listener (may be for your family now). Even if you sing alone, you are still hearing and appreciating it and you are both the singer and the visual. If Visual forms like Dance, Film, Drama, Painting, Sculpting etc invoking visual imagination in us is such a great thing, a non-visual form like Music, especially Maestro's music invoking visual imagination in us is not a superior form of creative art?
    Last edited by V_S; 1st December 2011 at 08:40 AM.

  11. #2390
    Senior Member Veteran Hubber V_S's Avatar
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    Few titbits about the movie:
    The first 1 hour of the film is a must watch. Typical KBR's punches. Few moments I loved.

    KBR does not like her wife, as she is fat. But she does not want him to be embarrassed before his family. So she sends jasmine flower in one of his lunch can, so that his parents will appreciate that his son is loving his wife. In the evening KBR acknowledges that and in turn gives her 'ThirunelvEli Halwa' and instantiates that he also have a heart.
    While giving her the halwa he says 'The sweet behind the love is sweeter than the sweet ; This is english, I am B.Com, ithellaam unakku puriyaathu'. Later to be discovered that the sweet he bought was actually stolen from his father.

    In every KBR film, the last title of screenplay/direction will be put at a very special place. It will not come as usual at the start of the film. You have to see this film when his name comes as a screenplay/direction. Please watch from 2:05 (yes at the 2nd hour, not 2nd minute), too hilarious, but first time you will definitely believe he is speaking while sleeping. Too much!

    Father-in-Law buys him a light blue scooter. He asks him if he likes the color, he in turns sarcastically replies, ' color konjam bright'a, irrukku (light blue bright color'aam). intha maroon, pacha intha maathiri irunthirunthaa romba nalla irunthirukkum'

    His brother-in-law finds his illegal affair. For that KBR requests him.
    dei unka akka kitta solidaathe, ediakku edaikku chocolate vaangitharen!


    A must watch film (atleast for the first hour).
    http://www.bharatmovies.com/tamil/wa...vie-online.htm

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