Thank you baroque, for the explanation / posting the song situation. (My confusion was because 'enai nee dhAn pirindhAlum' part...)
V_S, nice reminiscence!
No question, mouna rAgam is quite poetic!
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Thank you baroque, for the explanation / posting the song situation. (My confusion was because 'enai nee dhAn pirindhAlum' part...)
V_S, nice reminiscence!
No question, mouna rAgam is quite poetic!
As Plum mentioned, PM in the biggie I was talking about (with one of the KSC mazhai numbers). Two songs are due today and I'll post both the duets from that movie and reserve the solo special for tomorrow :-)
What a song at all levels.
First up - let me get the nostalgia portion off my chest.
When this song was telecast in OLiyum Oliyum - it raised curiosity of everyone to insane levels.
Key reasons where shot placements - photography and offcourse music department.
The use of multiple reflections/shadows on window panes and juxtaposing them with real images
was a stamp of an auteur and it literally announced to the whole world that Mani is here and
he means real business. The intrigue of chandramohan-divya relationship was beautifully captured and the
lead up sequence was rewound and played by movie crazy idiots like me all over TN so many times.
The hero - heroine looking at each other from a distance was age old in thamizh cinema (usually so with
mohan movies where someone is singing and mohan is following or mohan is singing and heroine is following)
The same theme was strangely captured and recreated indoors by Mani - but telling a strong story inside the song.
wonderful and apt lyrics supported by the poignant melody and very sincere singing by Baalu saar - made this song an awesome gem. I like this better as a "narrative and mood communicator" than "mandram vandha" simply because of the visual play that was attempted by Mani and PC saar. All in all it is an "announcement call" inviting folks to the avant garde film making world of Mani ratnam and for that alone this is a song of lifetime for a film historian.
Jai,
Excellently narrated by you :clap: Every word is perfect. Where were you, we were missing your posts so much.
"The use of multiple reflections/shadows on window panes and juxtaposing them with real images
was a stamp of an auteur and it literally announced to the whole world that Mani is here and
he means real business." :notworthy:
Plum was also looking for you in other threads for your contribution. :smile:
Mouna raagam- MR-IR-Vaali best album
Mandram vandha - ever popular song and how subtly vaali had brought out the frustration of a husband who is living a bachelorhood even after marriage
hats off
Jai - oru vazhiyaa vandhu serndhingalaa? Koot :clap:
what other thread needs my olarals? tell me - angeyum oru "present saar" pottudalaam.
I think this "rAsA system" as you refer to :-) is the main reason for MR breaking away from IR. This is the only song that has this 'system' in this movie. Probably MR believes even melodies however rAgam based can be done with modern rhythms. Just my guess.. I could be wrong.Quote:
Originally Posted by app_engine
poignancy mood, Kiru.
I don't understand... ManiR went to Rahman, but some of Rahman's pathos are also elongated melodies with singular flute with humming(UYIRE UYIRE....BOMBAY) or minnaley.....strings orchestration
:roll:
Balachander, ManiR, Bharathiraja etc.. appadinnu all fellows ponaanga... enna ippo!
K.Balachander, MSV vittu Raja kittey vandharu, adhey maadhiri, Rahman kittey ponaaru...
idhellam sagajam.
Raja continues to serve new fellows like Cheran, Myshkin, Suseeindran etc..
Life goes on...
vinatha.
+1, I'd be lost after 92/93.Quote:
Originally Posted by Plum