Oh okay, I confuse both a lot.
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Oh okay, I confuse both a lot.
About the song itself, what majestic, complicated phrases in succession below:
navarasa naTanam (swaram) jatiyuta gamanam - set the pace with a trot
sitagiri chalanam suranadi payanam - go low here decrease pace
bharatamaina naaTyam - Maintain tempo, wait for the kill
bratuku nitya nRutyam - Start Pouncing
bharatamaina naaTyam bratuku nitya nRutyam -
tapamuni kiraNam taamasa haraNam - Pounce!
tapamuni kiraNam taamasa haraNam - Rip!
Sivuni nayana trayalaaSyam - Kill!
And right here: WARNING: DANGEROUS CURVE AHEAD!
dhirana dhirananana takiTa takiTatadhimi
dhirana dhirananana naatyam dhirana dhirananana takiTa takiTatadhimi
Great discussion, Plum, on the Telugu originals!
Please keep'em coming!
Sorry for the confusion, I was talking about my account keeping (one song per day) and how I'm behind by 3 songs, as I didn't post on Sat / Sun / Mon (Sep 3/4/5) .Quote:
Originally Posted by balaji
Even now, I'm behind by a day and I'll post two songs today (for Sep 6 & 7) to catch up :-)
You're right Plum, it's by SPB and I remember hearing this a few times.Quote:
Originally Posted by Plum
thiraippAdal says MV and that prompted me to skip it even without mentioning.
Cannot be called a "hit" IMHO.
#138 தகிட ததிமி
(சலங்கை ஒலி, 1983 )
Kozhikkode is a very interesting place, a city where it rains heavily during the monsoon and the place is perhaps second only to Mangalore in annual rainfall in SI. I had the privilege of being there on two different monsoons - raining non-stop, getting drenched thoroughly etc. One of those occasions has a connection to 'thakida thathimi'. Actually, 3 connections - rain, liqour and food :-) Fortunately, it was a 'sugha booze' and not 'sOga booze'. (Well, this was not college days when I was a toto teeto but a decade later).
The rain connection is obvious, the song's music has the rain sounds, KH gets drenched while dancing on the well pipe. Similarly wet was I in Kozhikkode, with two friends, when we reached hotel room after a training day. (Oh, those trainings away from home were always fun).
Obviously, on a rainy evening in a hotel room in Kozhikkode with close Malayali friends, "getting wet" was the natural thing to follow. And the friends gave a different kind of training in liquid diet. A new method for the first time. Swallow 1/3 of a 650 ml Kingfisher bottle and refill that part with whisky and consume :lol: What a terrific feeling, real nice high!
தத்தரிகிட தத்தரிகிட தா, தரிகிட தா, தரிகிடதத்தரிகிட தா, தரிகிட தா... those KH "dialogs" prior to thakida thadhimi are among "the best ever" in Indian films!
Well, after a couple of hours, we were extremely hungry. Observing that I was such a big parOttA fan and that I was having parOttA as BF/Lunch/Dinner all days (one should taste parOttA at Kozhikkode, mouth waters as I write this), the friends arranged to go to a very special place that they knew. One of the friends, who looks like Sathyan Anthikaud, had a great tongue for taste and terrific database on top places to eat. So, happily complied, pushing all three of us into one of those incredible autos. (Even in 90's one can go to most places inside Kozhikkode for < 5 bucks on auto, perfect meter, returns 50p etc , great, great drivers!).
Now, that night's food was once-in-a-life-time kind of experience! What great parOttAs and what a fantastic curry! All three of us weren't even counting and let the server do that for us :-) appadiyE enna oru piramAdhamAna, sugamAna anubavam - no comparisons at all! (The bill was so low - I don't know how those businesses survived but ever thankful for providing such a delicious meal).
Now, what is the connection between this song and that food?
The scene that leads to the song - the தத்தரிகிட தத்தரிகிட தா one - is so much one of a rare kind. Phenomenal!
(Unlike that night's meal, though, this can be had whenever we feel like - thanks to technology / youtube.)
No words can describe the great way SPB has sung this song and the great way rAsA put together the melody and orchestration - one of a kind number!
A song on which volumes can be written. A song whose mention gets the vAtAvaraNam inside your head raining cats and dogs. The thunderous percussion rains through the song thus amplifying the ambience.
Rhythm innovation, eh? This is rhythm innovation masquerading as background music for the song.
Note for grouch - this song throws lip sync to dustbin and Vairam does his own thing. Result is as much failure as naadha vinodham where failure was induced by the attempt to stick to lipsync.
narudi brathuku natana -
Ishwarudi thalapu ghatana
Aa reNdi natta naduma
Neekkendhuku intha tapana?
That's thunderous declaration of his philosophy by the protagonist keeping with his fiery persona.
In comparison, this looks a limp statement:
Ulaga vaazhkai nadanam
Nee oppukonda payanam
Mudiyum bodhu thodangum
Thodangum bodhu mudiyum
That's really not from our fiery protagonist: this is from some wimpy soul unlike our grandiose failed artist
Ofcourse, the peak moment in the song is SPB's aaaaa aaaa humming with the percussion stopping its thunderous effect as a stunned Kamal beholds Jayapradha.
The veenai strains just before that as Pradha decides to wear kungumam - P Vasu and KSR, choosi nErchkOndi. That is how you milk thali sentiment and move the viewer classily. Not by getting ponnambalams throwing manja thanni on Manorama.
I am digressing. If those veenai strains aren't the inner feelings of a conflicted traditional women, I am the queen of England
I think given the strong Telugu brahmin ambience of K Viswanath's world, which reflects in his movies, songs and lyrics, with endless off-the-cuff references to Hindu Gods and the myths associated with them in parallel to the story and situation, atheist Vairam is not exactly comfortable in translating the idioms seamlessly. It is a tough task, admittedly, and probably needed Kannadasan to do justice.
It is not that Vairam doesn't know Ramayana or Mahabharatha or possibly even scriptures and other stories. But it is clearly not inside him as it would be inside someone like Kannadasan or Veturi, lyricist for this song. Veturi probably is able to empathise with the protagonist's cultural background as he is from the same background. The references slip out from him very casually - they don't even seek attention as references.
Needless to say, all those posts came spontaneously at the mere mention of the song. There was no need to refer by playing it.
Etched in memory. This is art fusing 5 extraordinary artists each of them in extraordinary form. No, I am not counting Pradha, who is slightly more than adequate.
It looks like Venki is busy or not in a mood to engage. Let me step-in.Quote:
Originally Posted by Plum
You are brain storming all ideas why Tamil lyrics is not as good as Telugu one while ignoring the obvious. The Telugu lyricist got the first chance to write lyrics and most probably got reviewed by director and revised few times. Tamil lyricist had to write song that lip synch well with Telugu lyrics, fit the tune and also make some sense in Tamil. Also we will never know how much of it was translated by Raja himself. There is no wonder it is not as good as Telugu original for you and I wonder about the usage of weird words in Tamil. Salangai Oli songs have very "foreign" sounding words. They could have just released the original as is, like Sankarabaranam.
Of all K.V's movies Sippikkul Mutthu has the best Tamil Lyrics (Vaali?) and another Kamal movie has the worst.
#139 வேதம் அணுவிலும் ஒரு நாதம்
(சலங்கை ஒலி, 1983 , ஷைலஜாவுடன்)
Excellent, musically rich number that does the climax of this movie. Still, in my ranking within the movie, this comes at the bottom - for inexplicable reasons. How can a song that sounds so sweet, has SPB and his sis, classically based, supposedly for a historic scene - not occupy the top spot in the album? Well, to explain this, I need to get into the favourite food analogy again :wink:
Back to Coral hostel days of 3rd sem where me and my room mate - "narambans" in appearance - were often wondering how those northies are so mOtA but we are not. The brilliant conclusion was "it has to be the diet". Well, we decided to switch to the "B" mess just behind our hostel where most northies ate.
The morning menu was pretty much similar to the other messes, kaLLichchottu kAppi in the early AM, then at 8 AM or so 4/5 slices of bread -toasted with butter on both sides- plus eggs - often mixed with onions / cayenne + black pepper powders & salt, not allowed to fully fry on the dOsaikkal , called "onion-half-boiled" - plus kaLLichchottu tea.
Lunch was different - chappAththees got served daily, have 4-5 of them with excellent dAl fry & beans, then rice with dAL -ghee, rasam, vegetables, fish on some days - and finally a cup of curd with one spoon of sugar. We had food much like everyone else around us. Followed by another kaLLichchottu tea at 3 PM.
Dinner was a variety of things each day, rich diet no doubt and we ate like any of those mOtA fellows - quantity and quality alike for months - but, alas, we continued to be the same songi narambans :-(
Well, we got educated on genes, metabolism and many other factors that play via this exercise.
Much like that for the last songs of Sindhu Bhairavi and Salangai oli. Excellent songs, hyped settings within the movie (ArOhanam in the case of SB, periya build-up with hospital scenes in the case of SO) but the end result is not the gold medal within the album. Reason? The genes / metabolism / etc that elevated the other numbers beyond reach :-)
SPS has to be commended for this song, tremendous effort to bring in the feel!
(aNNA paththi sollavE vENAm - not HajArE aNNA, ShailajAvOda aNNA)
:clap:Quote:
Originally Posted by Plum
:clap:
:clap:
BTW, who form the extraordinary pAnch?
rAsA, bAlA, hAsar, KV & Veturi?
Finally, after the long weekend, I've caught up with the song-a-day track!
There is this glorious duet left from SO, that will get posted tomorrow and bring 1983 to a sweet conclusion :-)
Genesis, I am only talking about the result. Don't take it as a slur on the lyricist. We recognise the perils of dubbing. The point I was making was that in this song, a probably frustrated Vairam throws lip-sync to the bin. He doesn't even make an attempt to match lip-sync, unlike in Naada Vinodam. Despite the jettisoning of this constraint, the results are unsatisfactory. To express something, you need to experience it. KV, his sensibilities, Veturi, this particular character in the movie all have alien sensibilities to Vairam. Therefore, his effort is intellectual not heartful. That's not a disgrace to the lyricist.
The exmaple I quoted is telling - in telugu, there is an explicit reference to the very Hindu philosophy of narudi brathuku natana, Eshwaridi talapu gatana. (Fate and God's will). This is in keeping with the character's background and sensibilities.
Vairam translates it to the same meaning but a more generic, agnostic platform. He says "you agreed to take this journey of life. It will start and end when it does". Explicit reference to Ishwara is removed. The emphasis is more on the individual here. In Telugu, there is almost a derisive self-effacing, resigned acceptance of God's will. It is still not heartful acceptance. There is a taste of bitterness in it(afterall human being nee vERa enna paNNa mudiyin unnala iraivan viruppam appadi irukka) but also that the protagonist is coming to terms with it.
In tamil, the words imply a very philosophical stoic full acceptance without the nuances.
Since he made the point of veering away from the constraints of lip-sync for this song, one can say Vairam didn't do enough justice to the character and situation. The usual dubbing constraints argument don't apply to this song.
I made that nuanced differentiation between the song with lipsync constraint and the one without it, in my previous post itself.
Yet, you clubbed the two and claimed "lip sync" constraint for both the songs together. Why?
Yes, ofcourse.Quote:
Originally Posted by app_engine
Wow!Quote:
Tamil lyricist had to write song that lip synch well with Telugu lyrics, fit the tune and also make some sense in Tamil. Also we will never know how much of it was translated by Raja himself. There is no wonder it is not as good as Telugu original for you and I wonder about the usage of weird words in Tamil.
sari, oru vishayam sollunga. iLaya nilA pozhigiradhae-la which lines we'll never know how much of it was written by Raja himself?
Secondly, as I pointed out, in this song, Vairam broke free of the lip-sync constraint in this song so the dubbing-lip-sync-constraints defence doesnt apply to this particular song. Having broken free of the constraints, he had the opportunity to showcase his skills fully. While he showcased his own poetic skills, and his own take on the philosophy, IMO, he missed out on the nuances of this character and its sensibility.
Beautiful posts there, App. Silky as a drive off VVS' blade!
Plum, genesis, keep the discussion going... very interesting stuff.
I am not sure whether you really do not know or pretending. It is well known in hub, that VM wrote it as "Salavai Nila Pozhigirathey", but IR changed the word "salavai" to "Ilaya". As we all know "Ilaya Nila" sounds better than awkward "Salavai Nila", but VM's words bring the image of full moon in your mind immediately.Quote:
Originally Posted by Plum
I think you are so hung-up with VM not referencing God. I never missed God in these lines, since I do not understand Telugu. Remember it is not translation, but dubbing. If you ask VM to translate w/o other constraints he may be able to come-up with better words.
Also this song is mostly long shot with rain so lip-synch was not important. As you may know lip-synch is required only when the viewers can observer the lip movements. So even with in a song, based on the shot on screen, lip synch may or may not be required.
Every language has its own specialties; if you attempt a literal translation of certain sentences it may sound vague in another language or even funny. I am sure you know many Tamil songs that got butchered when they got dubbed in Telugu. (As Telugu people are more accommodative of dubbed films compared to Tamil). Unfortunately as my Telugu is close to 0%, I am not able to reference any song.
One interesting incident: I was a big fan of Chiranjeevi movies in my teens. In one of the movie some character referenced a full Thirukkural in a dialogue, and the whole theater shouted to register their objection.
You have not answered a single point I made. Instead, your responses are more and more generic and circumventing my points. Why?
For starters, I didn't ever point the lack of lip-sync as a problem so why justify lack of lip-sync:huh:
Do you pretend not to understand or just another muddying tactic?
It is very simple. You prefer Telugu lyrics over Tamil based on your understanding of Kamal's character. Since I am not exposed to Telugu Brahmin culture, I am missing the whole point. It is probably same with VM also. End of story.Quote:
Originally Posted by Plum
nanRi, KV...hope my food analogies weren't irritating.
Before someone jumps into the conclusion that I'm a glutton / food maniac, big disclaimer - I still continue to be more or less a lean fellow and not a great connoisseur of foods.
Last evening my amerikkan boss was asking me to choose a restaurant for project launch celebration (we just finished a launch that I worked for almost a year) but my memory on restaurants / food stuff is so bad that I was in :oops: mode, finally blurting out "olive garden, my fav".
The funny thing about that "olive garden" is the fact that on 99% of my visits there, it was the same "soup & salad" and same minestrone soup each time and filling up the stomach with the great breadsticks :lol:
App,
Was missing the fun. Excellent posts with some wonderful memories. I really enjoyed your post on keeping track of salangai oli as well as 1983 world cup match against zimbabwe. Yes you cannot miss either of them. :smile:
But my favorite of salangai oli is 'Vedham Anuvilum our Nadham'. As I said in my mudhal mariyaadhai post, my top most favorite film and this would be my top most composition. Added to that, this is one song I can hear/watch million times without getting tired. Especially when Shailaja remembers kicking him intentionally while learning dance from him and feeling guilty during this song is the true highlight where KV beats IR here (may be first time :wink:). KV takes this song to a level even IR would have never thought of. A True classic!
Another reason I could not think of any song which has just the notes (swaras) giving so much bhaavam. I normally hear many judges in TV shows saying notes has nothing, but beyond the notes, there is bhaavam, feel, soul, which the singers should bring out. But here again Raja is unique in bringing out the emotion with swaras only, no lyrics. Way beyond anybody's imagination. I am totally bowled out by the starting swaras SPB sings and the swaras which follows the first line of charanam 'sangeetha naatiyame oru yaaagam' .
Ultimate lines in 'Uyir pirinthaalum nadamiduvene, en uyirai thedukireen maane', 'Natarajan padhathil thalai saayuma, naan sindum kanneerum karai meeruma' and 'saavin osai ketkum pOdhum paadham aadaadho'.
What an energy in this composition and how many twists and turns. Nothing like this!
Plum and Genesis, very interesting discussion. Thanks Plum for providing very good insights of telugu lyrics. Original is always the best, no comparison can be done.
nanRi, V_S, for the fine write-up on vEdham!
I've reserved my most fav to post in the end :-) With SPB-SJ-IR-great melody-sweet picturization - it screams aloud (despite promoting otherwise in the pallavi) for the gold medal :-) Unfortunately, there'll be some food reference (not a wholesale takeover) in that post as well...
சலங்கை ஒலிக்கும் சாப்பாட்டுக்கும் சம்பந்தம் செய்வது மொட்டத்தலை+முழங்கால் / அமாவாசை+அப்துல் காதர் போல என்றாலும், இரும்படிக்கும் இடத்தில் வரும் ஈ போன்ற எனக்கு வேறு என்ன எழுதத்தெரியும்?
(பி.கு. நான் இசை விமரிசகன் அல்லவே)
#140 மௌனமான நேரம், இளமனதில் என்ன பாரம்?
(சலங்கை ஒலி, 1983 , ஜானகியுடன்)
If anything wants to be called "sukhAnubhavam", then that has to feel like listening to this song!
Period!
No exceptions!
Like the smile of a child, feel of a furry pet, smell of a certain bakery when you walk on the lane parallel to Virudhunagar bazAr...or the fantastic meal cooked by my friend's mom...on the day he played this very song in his house's motta mAdi at uRaiyoor. She is among the top cooks who have ever fed me ( a very select few in that "lifetime list")!
We've met this friend before in this thread as the one who had a taste for old HFM LP's and a lover of RDB. Also as the one who was among the early ones to get "that" National Panasonic stereo and played his demo cassette featuring Paul Mauriat's arrangement of Mozart Symphony. Well, this was the occasion when he played that cassette, followed by playing the salangai oli songs! The music listening session after a top-taste-meal on banana leaf!
(Such a nice guy who sweetly reminded me, like, "hey, there's soap near the wash basin", and thus introduced me that nice habit of washing with soap! Even after all those flu messages getting posted in the bath rooms, I often see fellows here in the corporate office of a top multinational in America walk straight back to seat from urinal without handwash, yuck).
As mentioned before, he is now my co-bro (bachelor at the time when we both slAgiththufied music in his mottamAdi on a warm evening, enjoying the breeze along with PM & IR...didn't know it was PM then, also he wasn't a rAsA fanatic like me but enjoyed all kinds of music). Attending his wedding 2 years later resulted in me finding my mate, proving this theory : "marriages are made in wedding ceremonies" :lol2:
This song must be one of the best picturized songs ever in IFM history, IMSO. Especially the scene where JP switches on the music system, sits on the floor -enjoying, immersed in thoughts while drying her hair! Wow! SPB & SJ both in their very special elements, right from the humming in the prelude till the end. rAsA had enough kalakkals, with his tempo changes / stop-starts and what not! simbly pugundhu veLayAdal! The melody, interludes, background orchestration - all top class stuff!
Despite enjoying all the songs and being overwhelmed by them, I wasn't expecting that they'll give NA to IR. After all, there had been phenomenal scores like nizhalgaL that went unnoticed before and we had zero expectation. There was this notion that only "serious" stuff gets NA. It was a surprise that a janaranjaka album like sAgara sangamam got NA, despite comprising of lighties like vAn pOlE, thakida thadhimi & mounamAna nEram - the kinds with no parallels in the prior NA winning music of KV/KVM combo :roll:
The appAviththanam, vekuLiththanam, lajjai etc shown by Kamal after developing feelings for the rich woman - AhA, enna azhagu, enna azhagu!
I'm a little confused to see that SPB won NA too for sAgara sangamam. Confusion because the article says year 1984 as I very clearly remember this to be a 1983 movie. Someone please clear this confusion...
ok, 1983 is done! I'll post the compilation of url's tomorrow.
(This time I'll avoid the "arabian nights story" style linking and provide all 140 together in one post if possible)
Kv, firstly there was no discussion between Genesis and me.
Sorry to pick on you but that is precisely the superficial reading that annoys me.
Even now, gen hasn't understood my posts. Obviously, an opposite view point is to be welcomed.
But here, there is no opp view point. He makes 3 posts seeming as if he is contradicting me and finally comes to the same conclusion as me.
I see this in two lines
1) Lack of understanding of what I posted but an urge to defend his idol. That urge is acceptable but I also expect logic along with it
2) An attempt to muddle the water by saying unrelated or muddling things and devaluing the discussion
To call this a discussion - I take that as an insult. Again, I don't mean to pick on you and I respect you and your contribution here but just wanted to express my annoyance at the way a genuine discussion is being prevented by either lack of understanding or cunning or both
Sorry the post is addressed to v_s not kv
App
Excellent Songs; Apptly complemented with excellent write up...
Awards are given the following year and hence the article might have the said the award in 84 (instead of saying it is for 83)
Anyways, IR, SJ and SPB richly deserve any music related award in the world.
In word CLASSIC!!!
Thanks
bala
Plum/Genesis - good discussion. It is very difficult to capture the nuances of one language in another language. Even Tagore regretted Geetanjali translation. I do not like TIS translation that much, even though I think it is a good attempt. In movies, pazhassi rAja, lyrics or kaalapani lyrics sound much better in malayalam. That is why I try to learn other languages (not very successfully). I envy you guys enjoying 'sundara telungu' lyrics.
Re: college/food stories - no objection..only acceptance/appreciation from me. That egg recipe was called 'podi mass' in college of engg. guindy (CEG). I just lived on that+ rasam and curd/sugar for lunch. Hated the sambar there. breakfast was 'bread omellete' - just egg/bread/salt/pepper. good/better than the paste of a pongal. Saw 'nayagan' both tamil and hindi versions being shot in CEG, apart from many other movies.
I liked the description of 'sukhAnubhavam' for that song - what would that word be in chaste tamil (?).
Kiru, i said perils of dubbinh in my very first post.
I really don't know why I am repeatedly inundated with " you know plum it is difficult to translate".
When did I say otherwise?
A gentle, hushed humming with just a bass guitar keeping company. Then, a momentary silence. The song then softly blossoms, like a tender flower. Divinity is thy name, Raaja.
Plum, I kinda see why the 'discussion' rubbed off on you the wrong way. PesAma, pudhusa oru thread 'lyrical challenges in dubbing songs' nu open pannIdalAmA? Neenga anga vandhu kavignar ezhudhina dubbing/lifted songs paththi eduththu vudunga (adhdhaan appo Veda, TR Paapa lAm irundhAngale.. sure must be some suttufied songs with kavignar's varigal, illa?). KammAn tiger!
nanRi balaji & kiru :-)
& kiru, I'm glad that some of your college memories got stirred up :-)
Reg, sukhAnubhavam's Thamizh - one has to think about it. Malayalam (sanskrit) came automatically to mind and to the post...
KV, my critique of Thakita Thadhimi was least about the challenges of dubbing a song.
thirumba thirumba adhai thAnE solREn?
Me: This song doesnt even fall under lip-sync as lip-sync was not used. So, there was no dubbing constraint on VM. He failed to use this advantage to reflect the spirit of the original.
See how people have been refuting this:
1.
Gen: Becausee of lip-sync constraint, dubbing songs cannot be good as original hence thakita thadhimi didnt shine in tamizh lyrics
Me: Eh? nAn enna sonnEn. nee enna solRa? indha
pAttula dhAn lip-sync illaiyE adhanAla dhAnE pAttu failed to translate the spirit of the song despite not having the constraint
Gen: indha pAttukku lip-sync thEvai illai because of long shots and rain shots :rotfl:
Me: allOv indha Pattukku lip-sync thevainu nAn eppO sonnEn. edhukku idhukku lip-sync thevai illainu ennai pArthu solrApla? nAna sonnadhaiyE thiruppi sollittu ennai contradict paNdra mAdhiri oru thenAvattu vERa :huh:
Gen: dubbing pandrache pAttu sidhaiyaradhu jagajam
Me: adhu dhAn nAn modhallEyE sonnEnE. idhu andha normal dubbing case illainu sollittu dhAne arambichEn. ennayyA purinjukkaringa?
Gen: (Drops all previous defences) enakku telugu culture theriyAdhu. VM-kum theriyAdhu. adhAn borderla ooduruval nadandhirichu
Me: idhai thAnE nAn modhallEyE sonnEn. appO ennatha nInga modhallErundhu contradict paNNApla?:huh: :banghead:
Idhukku pEru discussionA?
Plum,
On a dipperent song, i.e. mounamAna nEram (hardly any lip sync, "idhazhil mounangaL"), how do the lines compare?
mounamaana neram is not bad at all on lyrics but not on lyrical flourish (i.e.) sonorous words fitting the tune but that is the power of Telugu so VM not at fault :)
:rotfl2: And WTF was that about the Chiranjeevi movie? Is he a brother/alter ego of someone who has been terrorizing the hub?Quote:
Originally Posted by Plum
P.S: Fie on the new hub :hammer: :shame on you:
I can't freakin quote a message (the message from Plum. Getting an error message totally unrelated)
IF IT AIN'T BROKE, DON'T FREAKIN FIX IT
Plum,
I understand your concern. Apologies if my post hurt you.
As you were saying on 'Thakita Thathimi' song "there was no dubbing constraint on VM. He failed to use this advantage to reflect the spirit of the original". I agree that he should have written lyrics considering the character and situation and also considering it is a new movie. And not based on Veturi's challenge or based on whether it is a dubbed movie. Purely it should be based on the spirit. Completely agree there. You have explained very much in detail.
But on Mounamaana neram, you were saying "that is the power of Telugu so VM not at fault". Here you have no complaints on VM. So it seems VM has understood this situation perfectly and also considers this as a new move rather than a dubbed one, but just that telugu language is superior in expressing this situation better compared in Tamizh? So just wanted to know how the telugu lyrics compares to thamizh lyrics, if you can post in telugu lyrics thread. Because I love the lyrics here.
So it seems for the first one you liked Veturi's lyrics (irrespective of the language), but for the second one you liked the telugu lyrics (irrespective of the lyricist) :wink:
aaaa...aaaa...
mounamaana naeram
mounamaana naeram
iLa manadhil enna baaram
idhu mounamaana naeram
iLa manadhil enna baaram
manadhil OsaigaL idhazhil mounangaL (I love these lines)
manadhil OsaigaLidhazhil mounangaL
aen endru kaeLungaL(mounamaana)
iLamaich chumaiyai manam thaangikkoLLumO
kuzhambum alaiyai kadal moodikkoLLumO
kuLikkum Or kiLi, kodhikkum neer thuLi (oh man! brilliant)
kuLikkum Or kiLi, kodhikkum neer thuLi
oodhalaana maargazhi
neeLamaana raaththiri
nee vandhu aathari (mounamaana)
ivaLin manadhil innum iravin meedhamO (beautiful!)
kodiyil malargaL kuLir kaayum naeramO (enna karpanai!)
paadhai thaediyae, paadham pOgumO
paadhai thaediyae, paadham pOgumO
kaadhalenna naesamO
kanavu kaNdu koosumO
thanimaiyOdu paesumO(mounamaana)