Padalgal Palavidham - பாடல்கள் பலவிதம்

[Murali Srinivas]

SIVAJI SEASON SONG 7

SIVAJI SEASON - ENDHAN PON VANNAME

எந்தன் பொன் வண்ணமே - Part II

NT & ACCIDENT

NT at that time (April 1978) was acting in multiple films and they were at various stages of production. Punniya Bhoomi – a remake of Mother India was complete and ready for release. Chinna Annamalai’s Vijayavel films was producing General Chakravarthi and it was also complete except for some patchwork. Pilot Premnath, a joint Indo– Srilankan production was almost over except for one final schedule in Sri Lanka. Justice Gopinath was more than half way through. In addition to these, Sivaji Productions’ own venture that would turn out to be the 200th Film of NT (It was not named at that point in time) was also fast progressing. Kavarimaan was also on the floors. Naan Vazha Vaippen was also started and a portion of the film was completed. As if all these were not enough, NT had agreed to do one more film and that was in Malayalam.

Navodaya Films is one of the famous banners of Malayalam cinema. It is owned by Appachan, who also runs a studio by the same name. Tamil audience would recogonise him on two accounts. He was the producer of My Dear Kutti Chatthan, the first 3D Film in India. The second is he owns and runs Kishkintha, the theme park in the outskirts of Chennai. He was also the pioneer in producing 70 MM movie in South India, when he produced Padayottam (Malayalam – 1982) in 70 MM. In 1978, he was producing a big budget movie (by Malayalam industry standards) and it was a historical. Like we do have Karna Parambara Kadhagal, Keralites do enjoy hearsay stories that come under the genre Vadakkan Pattu Kadhaigal. These are stories that talk about the exploits of rulers of Malabar area called North Kerala (Vadakkan Keralam). The much talked about Vadakkan Veera Kadha written by M.T.Vasudevan Nair and which brought the first National award for Mammootty (he has three) also falls under the same genre.

Now coming to the movie, it was named as Thacholi Ambu that had Prem Nazir playing the hero and Jaya Bharathy, the heroine. It also had Nambiar, KR Vijaya, Balan. K. Nair and Thikkurisi Sukumaran Nair. Jayan, the first Super Star of Modern Malayalam cinema, who lost his life in a helicopter accident while enacting a stunt scene for the film Kolilakkam in November 1980, at Cholavaram near Chennai, was an upcoming star at that time and he played a second hero role in this movie. There was a small but powerful role of a King who happens to be the father of the hero. For this they approached NT. We have discussed earlier that NT enjoyed a warm friendship with all other language film industries and he had a very strong relationship with Malayalam industry. Added to it, Appachan was a family friend and when NT’s best friends Nazir and Thikkurisi put pressure, NT accepted to do the role.

NT was a tireless worker and he used to work for hours together. Malayalam industry normally works very fast and people must have heard stories that they can finish off a film in 15-20 days. So for Thacholi Ambu, NT had gone to Kerala in the last week of April 1978 and he was there for a week. His work was almost finished. On May 5th of 1978, they were shooting a sword fight between NT and Nambiar. While doing a shot where he defended with the shield in one hand and flexing the right arm with the sword, he lost balance and fell down and he landed on the floor with his left hand taking the entire weight. He suffered a fracture in his left forehand. Shooting was stopped (it was almost over) and he came back to Chennai. On arrival here, doctors diagnosed that the fracture was more acute than what was earlier thought of. He underwent a surgery wherein fishplates were fitted in his hand to set right the fracture. Doctors also announced that it would take a minimum 45 – 60 days for him to return back to shooting. This unexpected happening threw his entire shooting schedules out of gear and NVV was one of the films that suffered due to this. It was tough on NT also because he had to sit idle and he felt sorry for the producers who were affected. A small digression here is, in Punniya Bhoomi that was released exactly a week later (May 12th of 1978), the father character played by NT would lose his hand in an accident and there would be a dialogue நல்லவங்களுக்குத்தான் கையெல்லாம் ஒடியுது, a normal dialogue (written much earlier) but that was apt for the occasion, provoking claps and sympathy at that point in time.

ACCIDENT AND AFTERMATH

Now VCS, brother of NT had to do a trouble shooting exercise and he did it in right earnest. He had two films that were complete. Punniya Bhoomi was released on 12th of May 1978 and General Chakravarthi made it to the screens on 16th of June 1978. The films that had to be completed based on priority were Pilot Premnath, Justice Gopinath and Thirisoolam. So call sheets would have to be given in that order. But unfortunately the injury took longer time to heal and the 45 – 60 days got extended. Again there were problems on the call sheet front. By this time NT had to fulfill another duty, that of a politician. Though we are not into politics, we will do a slight peep into what happened. After the Congress lost the 1977 general elections, Indira Gandhi was keeping quiet for some time. When the Janata Government started taking action against her, she started protesting and she began to tour. During the tour of Tamilnadu on Oct 29th and 30th of 1977, the black flag demonstration staged by DMK against her at Madurai and Chennai turned violent and she escaped miraculously. After that she had parted ways with the old guard in her party and her faction which broke loose on Jan 1st of 1978 came to be known as Congress (I). The entire Tamilnadu unit of Congress had stayed behind her. After this came the assembly elections for Karnataka and Andhra in Feb 1978 and Congress (I) captured power in both the states with Devaraj Urs and Chenna Reddy becoming the respective Chief Ministers. It increased her political stake.

In July 1978, MGR had announced elections for Madurai Corporation alone in Tamilnadu and there was a 4-cornered contest (Janata being the fourth contestant). Congressmen brought Indira on some other pretext to Madurai and she canvassed in certain places by showing the hand symbol. Since she had come down, it now became imperative for NT to campaign. He also came to Madurai along with then TNCC (I) President Moopanar and this further delayed the start up of the shooting. [But it did help Congress to become the main opposition party as it won 9 wards out of 65]. Finally NT started shooting on August 10th of 1978 and he did it for Naan Vaazha Vaippen. But since he had to complete other pressing assignments, this schedule was planned as a very short one.

NT went on to finish Pilot Premnath that got released on Oct 30th of 1978 for Deepavali, and then completed Justice Gopinath that hit the screens on Dec 16th of 1978. Meanwhile Thacholi Ambu had been released in Kerala. Thirisoolam after completion was released on Jan 27th of 1979 and as everybody knows it was NT’s 200th movie. Kavari Ma(a)n was the next release on April 6th of 1979. But Naan Vaazha Vaippen that was started almost at the same time got struck. There were reasons for that. The story of Majboor was one reason that put the brakes on the shooting. Let us take a look at the story.

STORY BACKGROUND

Ravi works in an international ticketing counter at a travel agency. He has a widowed mother, handicapped sister and a school going brother. He is in love with a lawyer called Neela and her brother Ramesh happens to be the Public Prosecutor. Ravi is the sole breadwinner of the family. The Police get a man missing complaint and since this industrialist Jayaraj was last seen with Ravi (as he had come to collect his air ticket) the police question him. Ravi gets a severe headache on and off but he postpones the visit to the doctor.

The police stumble upon the body of Jayaraj in the underground drainage and again Ravi is questioned. Neela asks him not to get tensed up. Jayaraj’s brother announces a reward of Rs 5 Lakhs to any person who is ready to give a clue for identifying the killer. Ravi’s headache becomes severe and he consults a doctor and Ravi’s head is x-rayed. Doctor has some shocking news for Ravi. He is suffering from a brain tumor and that needs surgery. The bad news does not end there. The doctor is unable to guarantee that he would be normal after the surgery. Ravi is totally upset. He thinks about his mother, sister and brother and he is worried about their future. Ravi, remembering the offer of Rs 5 Lakhs announced by the brother of Jayaraj, hatches a plan.

Ravi calls up the police and informs that he would spell out the killer’s name provided the amount of 5 Lakhs is deposited as per his instructions. He gives the name of the lawyer to whom the money needs to be handed over and he writes to the lawyer that he has written a name of a person who would be the beneficiary of this amount and the same is put in a sealed cover and he puts up a condition that it has to be opened only after the accused is punished. Ravi then goes on to create some evidences that would show as if Ravi is the man behind the killing of Jayaraj. When Jayaraj’s brother deposits the money as instructed, Ravi gives himself up to police. In the court, Ravi simply confesses to the crime thus making Neela’s efforts go waste. Ravi is awarded death sentence. His family is totally shattered. He doesn’t heed the appeal of his mother and Neela to appeal against the verdict.

While he is counting his days in prison, again he experiences severe pain in his head and is hospitalized. He is operated upon and the tumour is removed. The court orders the execution to be delayed till he recoups. Ravi now completely cured of the disease realizes the folly of having falsely implicated himself in the murder and wants to come out. But everything is against him. Even the time for appealing against the verdict has expired. Now he is left with no other go except to jump prison and find out the truth about the murder himself. His journey takes him to a person called Michael D’Souza, a small time thief and he promises to help Ravi. How they along with Neela go about reaching their goal forms the rest of the story.

After completing a portion of the movie, somebody in the unit started doubting about the acceptability of the story by the audience and the fans. There were some people who said that the cameo role of Michael might pose a threat to the heroism of the NT character.

The character was wrongly understood by a section of people and they put pressure on the producer to change the story. But NT was firm in his stand that having inked the agreement, it is not correct to ask the producer to change the story and that too after almost half way through the shooting. Another factor was the role of Pran. Rajini had been booked but that was in 1978 April and in April 1979, much water had flown under the bridge. Rajini had grown in stature and at the same time trouble was brewing for him.

RAJINI – 1975 TO 1979

Sivaji Rao Gaekwad, his early life, he joining the Adayar Film Institute and grabbing the attention of K.Balachander, all these have been well documented already to merit a mention again. Rechristened as Rajinikanth (after the character names of the play cum movie Major Chandrakanth), this man made his debut in Aboorva Raagangal on August 15th of 1975. Of course that role didn’t set the screen on fire. His second film Moondru Mudichhu (also by KB) came out in 1976 October during Deepavali. The friend turned foe caught the attention of the moviegoers. His third film was also with KB and Avargal released on 25th Feb of 1977, showcased a sadistic husband Ramanathan and he was loathed by the Thaikulangal. Devaraj–Mohan and Panchu Arunachalam team basking under the success of Annakili were busy with their next venture Kavikuyil and the only major changes from the previous film were Sridevi for Sujatha and Rajini for Srikanth. This came out on July 29th of 1977, followed by Raghupathy Raghavan Rajaram on Aug 15th of 1977, where he played the murai maman of heroine Sumithira. [The film titled as R. Raghava. R, because of censor problems was changed to R. Raghavan. R].

Seeing the potential of the artist, Sp. Muthuraman who was filming the novel Bhuvana Oru Kelvikuri by Maharishi took a path breaking decision of booking him for a positive role and Rajini came out with flying colours [Sivakumar should be congratulated in equal measures for accepting to portray a negative character]. If BOK released on Sep 2nd of 1977 made a big headway for Rajini, the debut film of Bharathiraaja, 16 Vayadhinile that hit the screen on 15th of September put him on a high pedestal. Parattai had garnered equal fame attained by Sappani. The subsequent releases like Aadu Puli Aatam on Sep 30th, Gayathiri on Oct 7th and Aaru Pushpangal on Nov 10th (Deepavali) made 1977 a special year for Rajini.1978 dawned and when his first release Shankar Salim Simon came out on Feb 10th, he had become a star of reckoning. One month later on March 10th, Aayiram Jenmangal [remake of Sheela directed Malayalam movie Yaksha Gaanam] came out and it saw audience rooting more for second hero than the hero. This was when Rajini was booked for not one but two films of NT. They were Justice Gopinath and Naan Vaazha Vaippen, the film in discussion. Incidentally D. Yoganand directed both the films.

NVV – CASTING AND DELAY

But the accident that happened to NT made Rajini wait for a longer period to start shooting. The adopted son’s character in Justice Gopinath (again to use the same phrase) did not set the screen on fire. But the period that intervened between his booking that happened in March 1978 and subsequent release of Justice Gopinath on Dec 16th of 1978 had seen Rajini grow in stature. In between he acted in Maangudi Minor, Bhairavi, Ilamai Oonjalaadugirathu, Sathurangam, Vanakkathukkuriya Kaadhaliye, Mullum Malarum, Iraivan Kodutha Varam, Thappu Thalangal, Thai Meethu Sathyam and Aval Appadithan. There was one more film Paavathin Sambalam in which Rajini had played a guest role and it also got released one week prior to Justice. Readers can very well imagine what would have been his impact on the audience. But poor screenplay was the reason for Justice Gopinath not getting the required attention of the public.

After this and before the commencement of Naan Vaazha Vaippen shoot, Rajini had done En Kelvikkenna Badhil, Priya and Kuppathu Raja. He had almost finished Ninaithale Inikkum. NVV, Dharma Yudham, 6 to 60 were half way through and Annai Oru Aalayam was about to start. During this period, on March 10 and 11 of 1979, there was a conference held in Madurai to celebrate the 200th film of NT (i.e.) Thirisoolam and the second day was for cine field. The first day was dedicated for political leaders and their speeches. Rajini had attended the meeting on the second day (In fact yours truly had attended the meeting and till date happens to be the only time I have seen him in person) and he spoke and told that he was a great fan of NT.

After the conference was over certain incidents happened that put a question mark over Rajini’s future. Vested interests wanted to use this development and urged the producer and NT to drop Rajini. But NT put his foot down and he as the President of Nadigar Sangam deputed Major the then Secretary of the Sangam to do all the required help for Rajini. He told the director and producer that Rajini’s portions could be shot after some time. Rajini after fulfilling his pressing commitments then joined the shooting and completed NVV. [Rajini was always a great fan of NT right from his younger days. He had the highest respect for NT. That aside, the reason NT stood by his side and helped him to come out of the troubled phase made him determined to pay back his gratitude to NT and his family. We can classify Mannan, Padayappa and Chandramuki as a token of gratitude].

Now with all the problems getting solved, shooting commenced on a full swing. Now coming to the songs part, this being a remake made the job of fixing the song sequences easier. There was one duet, one song for comforting the sister, one birthday song, one song for Michael character and the repeat of the song sung by the brother. IR decided to use all the top three male singers and PS for female voice. While SPB – PS sang Thirutheril Varum Silaiyo, KJY rendered Aagayam Mela song. TMS sung the two solos Endhan Pon Vanname and Ennodu Paatu Paadungal.

SONG SEQUENCES & DISCUSSION SONG

Ennodu Paatu Paadungal comes in at the birthday party of Neela. Ravi is asked to sing. But he had just got back from the doctor, who had told him for all his efforts, Ravi might not live longer. While others are oblivious of this happening, Ravi tries to be cheerful outwards but in his heart of hearts, he is crest fallen. TMS had sung the song along with a chorus. The song in discussion happens when the handicapped sister speaking of a prize in lottery and the ways she would spend it only to be brought crashing down to harsh reality by an innocuous remark from her younger brother. Seeing the hurt in her eyes, the elder brother Ravi sings Endhan Pon Vanname.

TMS - DISCUSSION SONG

The tune was simple and catchy. Kannadasan as usual flowed. When the recording took place, TMS understood the mood of the situation and he caressed the words and made them soothing to the ears of not only the sister character but also to the listeners’ ears. Hear the following lines

கோவில் இல்லை என்றால் தெய்வம் இல்லை

இங்கு நீ இல்லையேல் கண்ணே நானும் இல்லை

வானம் இல்லை என்றால் மதியும் இல்லை ; உந்தன்

வார்த்தை இல்லையென்றால் ஒரு கீதம் இல்லை

having said that he compares his sister with the flower and when you hear it you feel the soft touch of the flower on your face

நீ வந்ததால் தானே பூ வந்தது

நீ வாடினால் வண்ண பூ வாடுமே

and then the caressing words

என் ராஜாத்தி கண்ணே கலங்காதிரு

In the second charanam, he compares gold and rays of sun with his sister and how he does it with a soft voice that touches you

பொன்னை கண்டேன் அதில் உன்னை கண்டேன்

காலை பொழுதை கண்டேன் இந்த கதிரை கண்டேன்

என்னை கண்டேன் நெஞ்சில் உறவை கண்டேன்

நீயும் இல்லையென்றால் நானும் எங்கே செல்வேன்

Then he highlights his mother’s role and see the softness in TMS voice

தாய் செய்ததே தவம் நாம் வாழ்வது

தாய் கொண்டதே வரம் நாம் வாழ்வது

In the third and final charanam, he instills confidence in her by saying since they are honest, they don’t need to fear anything. TMS brings gambeeram into his voice and says

கள்ளம் இல்லை நெஞ்சில் கபடம் இல்லை; நீ

கண்ணீர் சிந்த ஒரு நியாயம் இல்லை

காலம் வரும்; அந்த தெய்வம் வரும்

அந்த நாளும் வரும் நல்ல வாழ்வும் வரும்

When the charanam comes to an end, the brother makes a promise. He assures that he will take care of her future.

காலம் தனை நான் மாற வைப்பேன்

கண்ணே உன்னை நான் வாழ வைப்பேன்

TMS always brought out the emotions very clearly and even in a light song like this, he expresses clearly the emotions. The song with a simple tune rendered emotively by TMS with a soft voice lingers in our mind long even after a long time.

SPB – KJY SINGING FOR NT

During the earlier discussions we have seen that though many singers have done playback singing for NT, it was TMS who had the lion’s share of the songs. Especially after 1960, it was out and out TMS not only for NT but also for MGR, Jai, Ravi, and Sivakumar etc. After the advent of SPB in 1969, things began to change and SPB began to slowly climb up the ladder. Director CVR when compared to other directors, who were doing NT films, always made it a point to give a youthful look to NT films. As a part of that exercise, he was responsible for bringing SPB to sing for NT in Sumathi En Sundari. After Pottu Vaitho Mugamo became such a roaring hit in 1971, CVR used SPB in Raja (1972) for Irandil Ondru song. This prompted VV Sundaram to use SPB for Gowravam (1973) for Yamuna Nadhi Inge song. Again it was CVR who brought SPB again with Ethhanai Azhagu Kotti Kidakkuthu in his Sivakamiyin Selvan in 1974. In the same year CVR this time used Kovai Soundararajan along with TMS in En Magan for Sonpapdi Sonapapdi song. If the following year (1975) beginning saw Manidhanum Deivamaagalam which had Seerkazhi singing for one of the dual roles, the year end saw a sweet voice debuting for NT. Yes, K.J. Yesudas sang Malare Kurinji Malare in Dr.Siva. The last NT movie of 1975, Paattum Bharathamum had a SPB song. CVR again made SPB sing Kaadhal Kadhai Solveno in his Unakkaaga Naan in 1976 beginning. The same year saw, SPB sing Padagu Padagu in Uthhaman. 1977 totally belonged to TMS except for Naalu Pakkam Vedarundu in Annan Oru Koyil but of course it was a background song. 1978 started with Andhaman Kaadhali and we heard KJY sing Andhmaanai Paarungal Azhagu and Ninavaale silai seithhu songs. Thirisoolam in 1979 again brought TMS, SPB and KJY together as they sang for the three different roles. But one thing if we have noticed is, all these films mentioned above had TMS singing the major songs. NT and his director/producer were particular that TMS should be there. First time this was broken in 1979 when Kavarimaan, the film after Thirisoolam came out without TMS. While KJY rendered the classical Brova Baaramma, SPB sang Poo Pole Un Punnagaiyil. Fans were shocked. The reasons were not hard to find.

TMS – IR – THE RELATIONSHIP

At the beginning of this discussion, we saw that TMS did not sing as per the wishes of IR during Annakili. But IR had high respects for TMS. He used to say that any musician who grew up listening to the cinema songs of 50s and 60s could not but love TMS. So he used him in not only NT films but also for others. IR made TMS sing Kanakku Paarthu Kaadhal Vandhadhu for Muthuraman in Alukkoru Aasai in 1977. TMS again sang Nandooruthu Nariyooruthu for Rajini in Bhairavi in 1978. So what made IR turn away?

In 1978, TMS had gone to Srilanka and the he gave an interview to the daily newspaper Veera Kesari. Ponnu Oorukku Pudhusu directed by Selvaraj (the story writer of BR camp) and the song Oram po had become a huge hit. The paper had asked for TMS’ comment on the song. TMS would not have imagined that his reply is going to permanently ruin a relationship. Veera Kesari gave a sensational heading to the interview and the words mentioned (as if spoken by TMS) deeply hurt IR. The reactions were swift.

IR's REACTION TOWARDS TMS

The first to get the axe was the song IR had recorded on April 14th of 1978. Old timers would be aware that even after MGR became the CM of Tamilnadu, he expressed his desire to act in movies. There were different opinions about this and political observers were expressing their doubts about the constitutional validity of such a move but there was no explanation given in the constitution regarding such a scenario. When questioned about this, the then PM Morarji Desai said that Central Government would not stand in the way. This emboldened MGR and he announced the film Unnai vida Maatten. This was to be produced by G.K.Dharmaraj of Yoga Chitra films, who had earlier produced Ilaiya Thalaimurai with NT. IR was booked as the music director. On April 14th of 1978, the pooja of the film was held and a song written by Vaalee, tuned by IR and sung by TMS was recorded. When this controversy broke out, IR made Malaysia Vasudevan sing the same song. Since the film didn’t proceed further, the song also never came out.

Then IR turned his attention to Ennodu Paatu Paadungal song and the same was again recorded with SPB singing this time. When TMS came to know of this development, he went and asked the director about this. He was told that the earlier song had a chorus along with the song. Since NT felt that chorus could be avoided so that it reflected the mood of the situation, they had done the recording again. Since TMS had gone out of the country and since they had to complete the shooting, they did it with SPB. Though TMS was not satisfied, he couldn’t do anything. NT never interfered in these matters. Moreover he had taken a liking for IR’s music. He was answering a regular Q & A session in Bommai magazine in 1978-79 periods and for a question asking about his favourite song of 1977, he had replied that it is Sendoora poove. This reply had put the lyrist Gangai Amaran and IR on cloud nine. Moreover NT was the chief guest for the jubilee celebrations of Kizhakke Pogum Rail held in Kamala theatre in 1978 and from thereon BR and IR had become close with him. NT rarely ever interfered in music and this also played a part in the subsequent happenings.

From thereon IR rarely used TMS. He avoided TMS wherever he could, like in Kavarimaan (being SpM- Panchu combo) and Pattakathhi Bhairavan (producer director VB Rajendra Prasad, the maker of Engal Thanga Raaja and Uthhaman, was a Telugu and he couldn’t object). When the producer was strong like Balajee and SS Karuppaswamy he used TMS like he did in Nallathoru Kudumbam (the classic Sindhu Nadhi Karaiyoram) and Rishi Moolam respectively. We can also add Vetrikku Oruvan in this category. IR had to face this problem only in NT films. For others he managed with SPB and KJY. But when Devar Films who booked IR for the first time for Annai Oru Aalayam (1979 Deepavali) wanted a TMS song as a matter of sentiment, IR gave the song Amma, Nee Sumandha Pillai to TMS.

The last film to come out of NT-IR-TMS combo was Rishi Moolam in Jan 1980. People still remember Neramidhu Neramidhu and 50-lum Aasai Varum from the same. After this there was a long gap of almost 3 ½ years before IR did another NT movie. Gangai Amaran who did music for Balajee’s Neethipathi in 1983 used TMS (remember Paasamalare song?) but in the very next NT film Imaigal for which again GA was the MD, he used Malaysia Vasudevan (Maadapuravo illai Manjal Nilavo?). This prompted IR to plumb for MV in subsequent movies that started with Vellai Roja (1983 Deepavali). The only exception was Thaaikku Oru Thaalaattu, where bowing to pressure from producer KRG, IR used TMS –PS for Pazhya Paadal Pola Puthiya Paadal Illai, which had the same tune as Unnai Ondru Ketpen from Puthiya Paravai. But for reasons best known to the director, the song was not there in the movie except for a brief part.

PICTURISATION

The picturisation was easier as it was an indoor song. There are a section of the readers who feel that any NT film after Thirisoolam is trash. They should see this song. NT even after completing 27 years in the industry was able to bring out the life of the character. He does it casually. The face and the lip movement convey the emotions. You should also check the scene when he talks to the doctor (Poornam Viswanathan), the way he expresses his shortcomings regarding his family is worth a watch and more.

TMS ON IR & IR ON TMS

What does TMS say about this? In the book (Oru Kuyilin Vaazhkai Sangeetham) he talks about this. He says that he told that songs like Oram Po and Machhani Paatheengala may bring fame for the MD temporarily but in the long run, people would identify the MD with only such songs and if he tries to give a classical song, he may be rejected. So there is a danger of being side lined with a dappankutthu muthirai. TMS says that the sentence Oramaaga Poi vida vendiyadhu varum was twisted and reported as some other word. He feels that IR could have contacted him and checked the veracity of the report. Another incident that further distanced the two was a musical night at Coimbatore. Out of 35–40 songs, TMS was given only 5 songs and this was filmed for a movie called Ilaiyarajavin Rasigai (of course it never came out). On coming back to Chennai TMS called IR and asked him not to call him (TMS) for light music concert anymore and hung up.

IR on his part never came out with his side. But once when questioned about not using TMs, he had to say the following

"TMS அவர்கள் மிகவும் பெரிய கலைஞன் என்பதில் சந்தேகமில்லை. எல்லா விதமான உணர்ச்சிகளையும் பாவங்களையும் தன்னுடைய குரலில் கொண்டுவரக்கூடிய ஒரே பின்னணி பாடகர் TMS மட்டும்தான். அந்த பெரிய கலைஞன் என்னுடைய இசையில் பாட முடியாமல் போனது அவருடைய துரதிர்ஷ்டம். அவரை என்னுடைய இசையில் பயன்படுத்திக்கொள்ள முடியாமல் போனது என்னுடைய துரதிர்ஷ்டம்."

But all said and done it was the fans, who were unlucky to have missed out this combo.

RELEASE & SUCCESS STORY

Coming to the film, the same was released on August 10th of 1979. There were slight skirmishes here and there in theatres and of course a section that always wanted to run down NT said that it was Rajini who saved the film. Neither NT nor Rajini answered and on the 100th day celebrations. Rajini confessed that whatever he had done in the movie was taught by NT and he simply did what he was told to do. NT - Kannadasan combo this time joined with IR and proved that performers would score irrespective of the period and situation.

Before signing off, my personal experience. I had seen the movie on the opening show that was the matinee of August 10th, 1979 at Madurai – Sridevi. We thoroughly enjoyed the movie.

Here is the lyric

எந்தன் பொன் வண்ணமே அன்பு

பூ வண்ணமே

நெஞ்சில் போராட்டமா

கண்ணில் நீரோட்டமா

அதை நான் பார்க்கவா

மனம் தான் தாங்குமா

(எந்தன்)

கோவில் இல்லை என்றால் தெய்வம் இல்லை

இங்கு நீ இல்லையேல் கண்ணே நானும் இல்லை

வானம் இல்லை என்றால் மதியும் இல்லை உந்தன்

வார்த்தை இல்லையென்றால் ஒரு கீதம் இல்லை

நீ வந்ததால் தானே பூ வந்தது

நீ வாடினால் வண்ண பூ வாடுமே

என் ராஜாத்தி கண்ணே கலங்காதிரு.

(எந்தன்)

பொன்னை கண்டேன் அதில் உன்னை கண்டேன்

காலை பொழுதை கண்டேன் இந்த கதிரை கண்டேன்

என்னை கண்டேன் நெஞ்சில் உறவை கண்டேன்

நீயும் இல்லையென்றால் நானும் எங்கே செல்வேன்

தாய் செய்ததே தவம் நாம் வந்தது

தாய் கொண்டதே வரம் நாம் வாழ்வது

என் ராஜாத்தி கண்ணே கலங்காதிரு

(எந்தன்)

கள்ளம் இல்லை நெஞ்சில் கபடம் இல்லை; நீ

கண்ணீர் சிந்த ஒரு நியாயம் இல்லை

காலம் வரும்; அந்த தெய்வம் வரும்

அந்த நாளும் வரும் நல்ல வாழ்வும் வரும்

காலம் தனை நான் மாற வைப்பேன்

கண்ணே உன்னை நான் வாழ வைப்பேன்

என் ராஜாத்தி கண்ணே கலங்காதிரு

(எந்தன்)

Regards