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kamal spoke about Ilayaraaja yesterday in NDTV. He said the first option for the MD For dasavatharam was "" (didnt hear properly) and next it was A R Rahman. Since ARR was busy, they couldnt get him and finally kamal said he had the option of his favorite ilayaraaja but the producer had a different thing in his mind and so they had to go to some one else
One more chance missed ...KSR and Oscar hate ilayaraaja va...so bad
aascar and Raaja Are very good friends in personal front :) When 'Dasa' Started i dont think aascar was the producer :?Quote:
Originally Posted by kameshratnam
http://www.indiaglitz.com/channels/t...cle/39269.html
Highly inspired Mysskin on 'Nandhalala'
Talented and successful director Mysskin is upbeat and excited about his forthcoming venture 'Nandhalala'. A combination of many aspects of the film has kept the 'Nandhalala' team charged up.
Maestro Ilayaraja composing the songs and music for the film comes after a detailed discussion with the director. Not only was the maestro thoroughly impressed, but also struck a wonderful chord with Mysskin appreciating his talent and passion for filmmaking. Four songs have been recorded and all of them would be featured in montage sequences. With passion running high and Ilayaraja giving that extra bit of finesse, one can expect 'Nandhalala' to be a clean entertainer delving deep into the exuberance of humanness.
In an exclusive interview to Indiaglitz, director Mysskin said, "The story is about two children, one a 7 year old and the other a 30 year old child , who go on a journey in search of their respective mothers". The 30 year old child is played by the director himself. Though 30 years of age, the character is child-like in all aspects which could be refreshing to the script and the final impact the movie has in store for its audiences.
The 7 year old child is played by Ashwath Raman, a student of Chettinad Vidhyashram who is in his third standard. The boy, it seems, has a lot of exposure to stage acting in school and had already been approached by other filmmakers for roles. Ashwath Ramna's father is a petroleum consultant in Nigeria and his mother a house wife. His role in 'Nandhalala' is expected to propel his career in a big way.
'Nandhalala' very clearly is taking the road less traveled highlighting the lives of 'victims of circumstances'. With an emphasis on human emotions, the film is to be shot in Tamilnadu and Andhra Pradesh.
As the depiction of the characters in the picture above shows, the characters walk away from the camera embarking on the journey. Metaphorically, one can assume that though they move away, world cinema's eyes would be firmly fixed on them or even follow them. The way Mysskin has planned out the narration and with the fact that he is brimming with enthusiasm one gets the feeling that he is on the right path to get the right kind of attention.
Since most here have only heard it for free (oosi saapaadu), they dont have anything to lose...Good for you then, if you dont want to buy the CD, then dont. Also raja needs to worry only about those who bought a copy for rs.99, which anyway is a minority crowd (going by the proportion of dissatisfied fans over here)...why should he bother for anyone who only bothers to give a casual listening to a 1.5 minutes sample and makes a judgement out of it? Its like gangai amaran saying "indha maan undhan sondha maan" tune (karagattakaran) was ordinary, when it was played by IR on the harmonium while composing the tune..raja said,"oru sengalai paarthu kattadathai edai podaadhada madaiya" (dont judge the building by seeing just one brick....). We all know finally what a huge hit it was...
10 years down the lane, if there were another movie with historic theme i am sure there will be threads comparing it with uliyin osai :-)
Wish you all good luck in your wait for that sizzling 1.5 minutes sample MP3s of yet to be release films like nandhalaala, dhanam, or Nagas' favourite jaganmogini ;-)...
"Jaganmohini" to be remade. IR is the MD. It seems the original had lots of special effect and illusions and it was a big hit. Hope the remake will do justice to the original and hope IR gets inspired to create something special. Lets see.
http://tamil.galatta.com/entertainme...ack_16166.html
thanks,
Krishnan
[quote="vel"]thumburu, 100% right - the clips are poor selections and are disappointing
.Balanagamma is preKG style if you consider the class of Uliyin Osai - Vel, are u serious? :)
The frustration of a Raja fan inside me could be alleviated and I would be more than happy even if a couple of songs from "ULiyin Oasai" could measure up to 3/4th of the Bilahari brilliance in "koondhalile megam vandhu" or VJ solo "sangeetham en deham anro" .
BTW what are the ragas used in UO? Hope its not the same old Kiravani/MMG/Sudhadhanyasi/sindubhairavi story. Its not that I have something against these beautiful ragas. My grouse is, they sound utterly stale , coming from Raja in recent times
Hi Thumburu, Comparing balanagamma to uliyin osai will boil down to personal judgements - you have all the right to weigh one album down compared to the other !
Since you have askde about ragas used in UO, here it is (sorry, some of it falls under your "same old list")
Ragas used in Uliyin Osai
1) chola vala naadu - shankarabharanam
2) kallil uyir kaatidalam - starts with kalyani, the charnams use more than one raga
3) agandhaiyil aaduvadha - rasikapriya - the only other rasikapriya is 'sangeedhamae' from kovil pura
4) aada vandha - tough one, i think charukesi
5) kallai irundhaen - sudhadhanyasi
6) azhagi vara - natabhairavi with brief scale shift to shankarabharanam !
7) kaalathai vendra - keeravani
Thanks Vel,
I think that is why Kallai irundhen sounds like "Maalaiyil yaaro.." ( being another Suddha dhanyasi number)
How about 'ding dong kovil mani'?Quote:
Originally Posted by vel
Infact, Because Namitha is involved, this movie will get more eyeballs than any other movie IR is MDing these days ;)Quote:
Originally Posted by vel
NagaS
I am glad that IR didn't do this project, the risk is always high. KSR is the last guy as a director we should be bothered about.Quote:
Originally Posted by kameshratnam
:-) RR, i meant only other IR song in this scale...
Nagas - long time no see - i too have come here after a long long time..
vel!!
welcome back.
Missing your interesting raga analysis for film songs.
Expecting to see more of such analysis from you.
It has always struck me as to why raja refuses to touch Bhairavi while he uses the allied ragas like Anandha Bhairavi and Sindhu Bhairavi regularly.
He is the non conformist who retuned Mari mari ninne who could have done atleast one song in Bhairavi. What is in Bhairavi that scares him?
Probably some situation has not yet been written in movies for Bhairavi???
Uliyin Osai Here :
http://www.mediafire.com/?n1yntgdpjjd
or Here:
http://themediasite.net/forums/showthread.php?t=51290
Aftet Repeated listenings I feel its a fantastic album in recent times from Raaja. My order of preferance of the songs:
1.Aganthaiyil Aaduvatha
2.Abinayam Kaatugindra
3.Pularkindra Pozhuthu
4.Kallai irunthaen
5.Kaalathai Vendra
6.Chozha Vala Naadu
7.Azhagi Varraa
Enjoy :)
Thanks RS for that link...Guess the songs would fit the theme well.
Pularkindra pozhuthu gives a nice classical feel.
Kallai irunthen is a nice melody.
On the whole,the album is in the lines of IRs' malayalam ones of recent times.This is the feeling i got on the first hearing.
RS,
Thanks for doing this.
To me..
1. Kallai irunthen
2. kaallathai vendra
3. Alaiyellaam Chozha
worst - Azhagi varaa
others are not 'hummable'. Maybe needs repeated listening.
Is Sriram a good choice? I am not an expert i carnatic music (like Vel :-) )- but his voice was not very good in several places in songs. Not enough depth in the voice.
When I listened to the samples I was yawning. Now listening to the full album, definitely classic & good stuff. Will it go with the current kuthu pattu loving mass ... doubt it.
The only song that made me think "oh no...why this (type of) song in this album" was "Azhagi Varra". "Alaiyelaam" was fine. All other songs impressed me one way or the other (either the classical stuff and/or the melody).
My order of preference is:
1) Aganthaiyil. Liked the way IR interspersed with dialogues and how seamlesly he introduced the mridangam, flute, udukkai, etc. bits (to match with the dialogues). I liked Sriram's singing.
2) Kaalathai Vendra: Loved the melody. Although the orchestration supplements the melody, I wonder how it will suit the period.
3) Kallai Irundhen: Liked the melody. Again, wondering how the orchestration will suit the period.
4) Abhinayam: Nice classical song with some nice orchestration (especially the ending).
5) Pulargindra: Another melody based song. I somehow got a little uncomfortable when Sriram sounded more casual in improvisation. Another strange thing was his voice sounded different in various places (even when he repeats a phrase).
6) Alaiyelaam: Just when I was thinking how come Madhu Balakrishnan is not used. Here he is. An okay song I would say.
I liked Sriram's singing (excepting those voice and little improvisation in "Pulargindra" song)
The album could have been more classical based (including the orchestration), but I guess IR did not want to make it like that (for whatever reason).
After repeated listening, maybe it is a situation based song - I don't think IR could have missed the lack of depth in Sriram's voice.Quote:
Originally Posted by krish244
jaiganesh, IR had a gilt-edged chance for Bhairavi in Moga Mull. The novel by Thi.Ja weaves a lot around Bhairavi. FOr whatever reasons, IR stayed away from Bhairavi. Maybe, he hadnt read the book and the director failed to guide him or maybe, Bhairavi is really tricky for him. Infact, the famed series of articles by Srirangam Lakshminarayanan tocuhes upon this point...
Finally. Got the tape in Bangalore and heard the songs.
To be honest, I had stopped expecting much from Illayaraja's Tamil albums and generally look forward to his Malayalam albums. Initially when I heard that Illayaraja was composing for a Mu.Ka. film I wasn't very enthused. Only when I heard the clips did I think this album was probably worth buying!!!
I haven't heard all of them fully yet but here are my initial impressions.
Agandhayil Aaduvatha: Starts off with the raga Rasikapriya. (Honestly I didn't recognize this. A musician friend of mine told this). Then in the charanams it shifts to Mayamalavagowla. The excellent and sophisticated way that Illayaraja introduces the instruments in the background when he is reciting is something new to Tamil songs I guess. Because they generally go "Veena" and there will one person playing the veena, just in case you missed the hint. This is not the in-your-face-you-are-dumb type music. The same way he recites the names of swaras in Tamil (equivalent to the Sadhja-Rishaba etc) he sounds the note at the exact point. A very nice way of doing it.
Pulagindra Pozhudu: The initial prose starts in Bouli and the song shifts to Kalyani. Just when you are wondering if this is one more Kalyani song, the first charanam shifts to Dharmavati. Then you think, "I have also heard quite a few Dharmavathis" and Illayaraja shifts to Vasantha in the second charanam. A very nice song. I wish K J Yesudas at his prime sang this !!!
Abhinayam: I wasn't sure of the raga. I could hear Charukesi but thought I heard some vivadhi usage as well. My friend confirmed that this raga is called Ragavardhi using a different Rishabam compared to Charukesi. The latter part of this song turns into a ragamalika as well. I could hear Karaharapriya, Sudha Dhanyasi and Hamsanandi. Need to listen more keenly to this.
Kalathai Vendra and Kallai are melodious songs. As mentioned by Krish the orchestration is modern. 'Kallai' is Illayaraja melody in the lines of 'Ilan Katru Veesudu' and 'Unnavida'. It is like a gentle breeze.
Choza Vala Nadu: A decent song. I liked the way he starts the song on slow beat and in the last stanza shifts to a folk beat and finishes the song in a robust way. You dont notice the shifts at all.
'Azaghi Vara' is 'drishti parikaram'.
What is evident throughout is the sophistication that Illayaraja brings to the album. The raga changes and the beat changes happen so very naturally. All in all, an album in Tamil from Illayaraja I am very happy with.
sureshs65 - great review !
jaiganes - may be has used bhairavi and we missed it - with nearly 900 films to his credit, we just may have missed hundreds of such gems...
its all really good reviews of albums. nice to read.
I see that I haven't typed out the raga name fully. It should be 'Ragavardhini' and not just 'Ragavardhi' for the song 'Abhinayam'.
Glad to hear that a pure carnatic based album is getting released after a long gap.
Will buy the CDs when I am coming to India.
There was this raga based program in Kairali where they would discuss every raga and cases of its usage in popular film music sense. The guys turned truly devotional and were commenting that Bhairavi should be used only for spiritually uplifting situations and its use in other situations is better avoided. I hope IR goes by this dictum. I hope sincerely that he does one TIS like effort on Abhirami andhaadhi where Bhairavi is handled by him.
Thanks, RS!Quote:
Originally Posted by rajasaranam
A google search on uyilin Osai returns THREE results :twisted: (one of them points to our hub :P )
Instead of Uyilin Osai try "Uliyin Osai". You may have more hits :lol:
:oops: At least I am not alone. tamilciema.com decived me.. Also google auto-correct has not picked that up yet !Quote:
Originally Posted by Fliflo
jaiganes - i am sure there would be someone who has recorded those kairali programs in a DVD - any idea if it is available anywhere?
Vel and Suresh, thanks for your raga updates.
Suresh, ragas like Bhairavi, Kambodhi , Begada etc are called "Gana" ragas . Not only IR, any film MD , unless they have strong foundation in Carnatic music would not like to do "visha pareekshai" of diluting them with "Anya" swaras for film music. Legends like KVM, GR, SVV were all well versed with Carnatic music and they freely used such Gana ragas in their films. Example : "kaviya selvama veerama" in Kambodhi, by KVM. Why Kambodhi, Raja has not even ventured into popular ragaslike Sahana, Dhwijawanthi , Kalavathy, SARASWATHY etc which MSV , surprisingly ARR who is perceived as a modern MD have used. IMO, Raja is so comfortable only with few scales like Sudha dhanyasi, Kiravani, SindhuBhairavi, MMG that he tirelessly reuses them time and again and after many songs , they start sounding predictable and stale. Moreover, Raja is not an MD who keeps experimenting with new scales unlike ARR, Vidhyasagar . His tunes come spontaneously rather than after much deliberation and thinking. That could be another reasn for his sticking to few known scales and risk sounding the same. Among today'd MD's Vidhyasagar alone seems to be capable of delving into classical ragas and delighting us with sweet melodies
Uliyin Osai review in Rediff:
http://inhome.rediff.com/movies/2008/jun/17ssuo.htm
thanks,
Krishnan
Mayakannadi - Not Ilaiyaraja's best.
CheeniKum - Not Ilaiyaraja's best.
Now,
Uliyin Osai - only for Ilaiyaraja's fans.
What more to expect from rediff ?
Thumburu,
While I do agree that Illayaraja has not used the ragas like Kambhoji, Yadhukula Kambhoji, Sahana etc it is also true that he has experimented with ragas which other great music directors of the past haven't thought of using. Examples are the amazing Gowla that he uses in Kovil Pura, Vasantha in Raja Parvai, Lalitha in Unnal Mudiyum Thambi. Not to forget that he is one who made Reethi Gowla popular with Kavi Kuyil. Chala Nata and Gambeera Nata were used by him. ('Pani Vizhum Malar Vanam', 'Innum Ennai Enna Seyya Pogirai'). So was the lovely Abhogi. Even in Uliyin Osai he has tuned a song in Ragavardhini and another in Rasikapriya. In my opinion, with due respects to the past greats, I don't think anyone has used as many ragas as Illayaraja has. Maybe the current crop of compositions may be in a certain group of ragas but that was not the case in the past.
While I do see that he uses a raga like Mayamalavagowla often I am amazed by the variety he is able to deliver in this raga. For example the Malayalam film 'Ponmudipuzayorathu' had two MMG based songs. 'Ammayennum Vaaku' and 'Oru Chiri Kandal'. Each was so different and inspite of hearing so many MMGs 'Oru Chiri Kandal' was still fresh. So was the 'Malai Nila' song from KKP.
I too would be happy if Illayaraja takes up Sahana, Begada or Bhairavi and delivers. For he is capable of coming up with some stunning melodies.
Suresh, nice points.
Thumburu,
some ragas like natabhairavi / keervani (ni2/ni3) offer better flexibility to show IR's strong foundation in Western Classical music while others do not allow much experimentation (like a heavily carnatic loaded sahana, bairavi etc). Legends like KVM, GR, SVV were all well versed with Carnatic music but were not that savvy with WCM and so they stuck to carnatic heavy weight ragas in their films.
Moreover, Raja keeps experimenting with new genres rather than just new scales like ARR, Vidhyasagar do (http://forumhub.mayyam.com/hub/viewt...372733#1372733).
ARR's usage of rare scales are 100% linked to his hindustani grounding (madhuvanthi, dwijawanthi and the malhar vagaiyaras) where his roots / strenghts lie. On the other hand vidyasagar foray into malayalam film world brought him a deep faith in sticking to melody based numbers and also he has excellent prowess in carnatic music since he got his training when he was 4 years old !
u mean to say khalbali from rang de basanti is a existing genre which ARR used with different scales?? :roll: ......to me, the eastern music was largely untapped until ARR stepped in......add to that north indian folk genres and ofcourse, the middle east genres......Quote:
Originally Posted by vel
First of all Thank U veryMuch for the Uploader Rajasaranam, This is what Raja is. King of Music. Uliyin Osai kathirkku inimai, manathirkku niraivu. "Gundu Malli Gundu Malli"from Sollamarantha Kathai and "Vasu pulla Vayasupulla" from Annan and Alaiyelaam ChozhaVala Naadu from this movie are based on same scale/raga itseems. 5/6 is ranking I give for this album.
Karthik!!!
unexpectedly listenable!!!
reflects the trend
at least for a difference, the rediff review speaks abt the classical base of the songs!