Printable View
app :thumbsup: as usual.
I love the fridge song, and the tenacity of the film-makers to come up with the silly concept of giant sets.
NOT....as hardcore as I was then, truly hated the film and loved the songs. I think even the film format was differently shot (wide screen one, and normal one).
During Virumaandi release, there was an interview of Thalaivar done by Madhan. He just went ballistic talking about the lyrics of this song - challenging why nobody questioned the vulgarity of the lyrics of songs like these (deliberately picking a song from his film rather than someone else's) but were up in arms about his film titles, commenting about cuss-words, kissing scenes etc in his films (@ sports shoes Krishnaswamy and Thol Thiruma). He was seething in this interview and he was like "Naan onnu kekkaren, 'naan pooveduthu vekkanum pinnaala' - appadinna enna artham?" - Madhan was clearly uncomfortable and would try to shift the topic, IIRC :lol:
Youtubela kedaikkumA?
Maybe. Will church and post from home, if i find it
:lol: - btw, sports shoes? Romba high rangekku poikitturukkinga puriyala
Avaru eppavum sport shoes dhaan pottruppaaru-nga :)
and also Peter England Shirts :lol2:
"pooveduthu vekkanum pinnaala' - appadinna enna artham?"
:oops: idhu double meaning na, eppadi purinjukardhu? idhu adhuva?
nanRi, groucho!
I posted only one song during the weekend, so two songs are due today. Needless to say both of them'll be from the same NOT movie...
#232 செம்பருத்திப்பூவே
(நானும் ஒரு தொழிலாளி, 1986 , ஜானகியுடன்)
During the initial couple of listens of this song, I never associated it with IR (though I was slightly doubtful here and there, got confused as to whether this is some Shankar-Ganesh's recent trick or some new IR-wannabe). Also, didn't know that this was from the same movie as nAn pooveduththu vaikkaNum pinnAlE - a song that had clear IR-stuff (right from the rhythm of the pallavi which was similar to chinnanjiRu kiLiyE). I didn't like the song with its yah-hoo kind of sounds and was sure it was not from IR. Unfortunately for me, it was an IR-Kamal song as found out in a "sound-shop" in a lane in the same "Sultanpet Junction" area of Palakkad :-(
When one comes from the workplace, you get dropped off about 100 meters before the junction. To go the "College road" (that leads to Victoria College) and catch another bus near the "Head post office", we normally take a side lane. The side lane at one point of time had this 'TSM textile' shop which was a branch of Coimbatore Shoba (the biggest cloth shop in Cbe OppanakkAra street owned by Malayali muslims in early 80's and got destroyed by arsonists during a religious riot). There was this "sound shop" with huge speakers, serial-light-sets etc that was blasting 'nan pooveduththu' followed by this song. A few similar "together-listens-on-buses-later-on" confirmed the sad fact that this was indeed an IR number. I still don't like this number but want to record here that it was a SPB-SJ-IR hit.
Before I close the post, want to register my love for Shoba shop. I liked it. It was then the Coimbatore equivalent of Trichy Saradhas. Where you can get fabrics for all costs. And readymades as well. I got the first pant-shirt after I started earning from that shop and got stitched in the Ambassador tailor in X-cut road. Fond memory. Also, prior to my first trip abroad, I got a lot of clothes from the same store with the "outfit allowance" given by the employer.
That was why I was sad when the store got torched and this song connects me to that lane, TSM textiles & to Shoba :-(
Oh I See, for some reasons,. I tend to like BR movies more than KBQuote:
Originally Posted by app_engine
#233 ஒரு நிலவும் மலரும்
(நானும் ஒரு தொழிலாளி, 1986 , ஜானகியுடன்)
The third SPB-SJ duet from the same movie, another song with flower in the pallavi (interestingly, the fourth and last song that will be posted tomorrow from the same movie also has pushpam in it :lol2:). With an awesome start and a real racy pallavi, the song is instantly catchy. The saraNam kind of kills the spirit - especially with some jingidi-chikkA sounds that our friend irir123 will be happy to post about - but the interludes and some excellent singing by SPB-SJ save the song overall. Kamal possibly enjoyed the song on-screen like 'varuthu-varuthu-vilaku-vilaku'. Those who have seen the movie / youtube, please post how it was picturized. Highly possible that it was a "dance" number (per Plum, 'kai-kAl Attal' number :wink:).
I think the movie didn't do well on BO. In any case, a couple of my classmate-colleagues who watched it didn't have anything good to say about it. Which meant that I was content with that "Sultan Pettai junction poster" and didn't bother much about the movie. I don't know what the connection with NOT and Sultan Pettai but my mind keeps lingering on that junction as soon as I started with the songs of this movie :roll:
Well, one more trip there in this post doesn't hurt. This was another restaurant, in the other side of the junction from Ashok Bhavan (i.e. east or Coimbatore road side, Ashok Bhavan was on the west / Palakkad town side). This was called "Elite" and was very dimly lit inside (actually dark, possibly they let the regular 230 volt bulbs with KSEB supply and didn't bother about transforming it). Hardly any crowd but fantastic food - parottA / peas masAlA was awesome and we used to visit every now and then, one of our co-workers who worked for the spares department was a regular there.
There was another Coimbatore Engineer who used to visit this place regularly and his favourite was fried rice. (It was really good and so was egg-parottA). However, our collegues weren't very enthusiastic about going with him there. (Reason? He was so fond of ketch-up and used to practically empty the bottle on the table with a plate of fried-rice it seems :lol:). Anyways, before long, the business didn't run well and the owner converted it later on to 'Elite fancy store' selling plastic stuff and now it was so bright with all tube lights :-) My wife bought our first "chopping board" in that shop (apart from a couple of blastic buckets) when we started our kudiththanam.
That's an understatement. I could even hear it crash here in Malaysia :evil: Sridharrrrr...:argh:Quote:
Originally Posted by app_engine
Naanum Oru thozhilali KH padama :shock: Never seen it, all this time based on the Titile, I thought it was VK Movie !
#234 பட்டுப்பூவே
(நானும் ஒரு தொழிலாளி, 1986 )
The SPB solo from this KH movie that makes it to the hit song list, apart from the 3 SPB-SJ duets that we've already posted about. Fast and jubilant / energetic number where the singer excels with his typical boyish enthu. For some reason, this song used to remind me of the SJ number 'nAn dEvadhai' from the movie soolam (music by IR, don't remember any other details now, from the early 80's, frequently on radio those days). Similar construct - may be even the same rAgA (experts please confirm). With some interesting wind instrument sounds and guitar accompaniment, this song is typical of 80's "club" numbers. So, one can expect some female with 'jigina-jigu-jigA' constume dancing with Kamal on-screen.
This movie also had a couple of female solos (one by SJ, another by VJ) and another SPB number 'mandha veLi' that does not evoke much memory and so I discounted that number from making into the thread. All the songs of this movie were typically on loudspeakers / buses, even in a non-TN location like Palakkad. So, I assume they were heard quite a bit inside TN as well. More than IR or Sridhar, Kamal must have been the reason for the reach of these songs as they were not extra-special by musical POV alone.
No big nostalgia with this song - since the term 'Sultan Pettai' was mentioned in the posts of other three songs, I'll add that here as well. With the additional information that the "Sultan" mentioned is none other than Mr Tippu Sultan (he had a fort in Palakkad and I lived a few hundred meters from that fort for a couple of years and will talk about it in a future post...this guy had quite a bit of leftovers in the Malabar area. One interesting thing is the name of a town - in Malayalam it is called 'sulthAn baththERi'. The British name was - or the English name even today for that place is - Sultan's Battery :lol:)
App,
Sorry to miss your posts for the past two weeks. Not in town.
Amman Koil Kizhakkaale was one of my favorite movies that time (guilty pleasures? :lol:). Only sore point was Annan's comedy was missing. Senthil alone could not match up to it.
I will have to do a lot of catch-up. Keep it going sir. :thumbsup: As Annan says, 'neenga pOrapadi pOnga, naan kadaisiya vanthu senthukkuren'. :smile:
Thanks rajkumarc for your kind words.:smile: Really happy to see your comments.
App,
Good to read about the topography of Palakkad and you made it interesting. Talking about Meendum Suriyodayam, I too remember that was the name mentioned in the Malayalam posters. Actually the movie was started in 1981 as a cinema scope venture and the name of the movie at that point of time was Sakthi. Kamal and Ambika paired for the first time and it was even mentioned that Ambika comes in a swim suit and I remember Kumudham carrying a still photo of the same. Due to reasons unknown, the film was put on the back burner for quite some time and only during late 85, the shooting started again. The name was changed to Meendum Suryodayam and shooting progressed. It was planned for a April 86 release which got postponed to May 1st of 1986.
At this point of time, there was this Local bodies election in TN that took place in March 1986. Remember after coming to power, MGR never conducted any elections to Local bodies except for Madurai corporation that was held in July 1978. Imagine almost after 9 years after coming to power he conducted these elections and again he did not include Chennai. To his surprise of surprises, DMK won many of the municipalities and town panchayats and for many political observers it was a shock/surprise depending upon where they stood. So at this point Sridhar must have thought that if the movie releases with Meendum Suryodhayam title, it would be seen as if they are welcoming DMK's re-emergence. Again Sridhar had one more title with him. Naanum Oru Thozhilaali. Irony is Sridhar under his own banner Chithralaya had started a movie with MGR in the lead titled Naanum Oru Thozhilaali in the mid 70s and that saw only one day's shoot and folded up.[It was a practice that the producer /director of a MGR movie that was under the verge of completion should start another movie with him and only then the earlier film would be completed. NOT was done to finish Urimai Kural and APN had to start Pilot Raju to finish Navarathinam]. So Meendum Suryodhayam was dropped like a hot potatoe and the film was rechristened as Naanum Oru Thozhilaali and the film got released on 1st of May 1986.
One interesting tidbit is Sridhar had one more release on the same day named Yaaro Ezhuthiya Kavidhai. About which I had written a short note in POW thread during my hub probation period. In fact this was one of my earlier posts long before I discovered NT thread.
While hosting Sridhar’s AOM song, Ramki had given a link to a discussion about Sridhar and it made interesting reading. In that Anand Sankar as music director for Sridhar’s film was discussed. He worked for Yaaro Ezhuthiya Kavithai. This was a movie based on Vaasanthi’s kuru novel (Kalki?). A bus on a hill terrain meets with an accident and the passengers are hospitalized. Out of them one woman due to the accident is affected by amnesia and nobody comes enquiring about her. She (Jayashree) stays back in the hospital/home of the Dr. (Sivakumar). Slowly he develops a liking for her and she starts to reciprocate. They decide to get married. Suddenly there is a twist. Somebody comes in search of her and it turns out that this woman is already married and the person is her husband (Rajesh?). True to Tamizh Panpadu, Sivakumar just hands over the woman to her husband and walks back. The same movie was made in Malayalam (“Innalae” meaning yesterday) by the famous Script writer/Director Padmarajan and I was fortunate to se that. It had Shobana, Jayaram (Lover, but here her mother was the Dr. played by SriVidya) and Sureshgopi did the Husband’s role. When Sureshgopi comes in search of Shobana, Jayaram becomes angry and tells SG to get lost. SG shows all the photographs but still J refuses to believe. SG pleads and J agrees to take him to Shobana on the condition that if Shobana recoginises SG on her own, she will go with him. If not she will stay with J. SG agrees because he believes she will immediately rush to him since they were a sort of made for each other couple before she embarked alone on that bus trip. J tells her that his old time friend is coming to meet him and his “would be”. When SG arrives, Shobana comes out and with a matter of fact face welcomes him and talks to him as if she had met him for the first time. SG is crestfallen and J couldn’t hide his joy. When Shobana goes in to prepare coffee, J simply rushes in and takes her in his hands and starts kissing. Shobana is unable to understand the sudden behaviour of J and feels embarrassed because somebody is sitting in the hall. But J is uncontrollable. Imagine the plight of SG, who can make out what is happening inside. When finally J& S come out, SG is not there and is seen getting into the car and driving away. The film ends there and this knife-edge story/scenes were beautifully handled by the Director and all the lead players were excellent. Compared to this, Tamil was a damp squib and the only saving grace was two good nos by Anand Sankar, one lovely song by KJY (I don’t remember the song, though it reminded me of a old song). At the end instead of usual Vanakkam, the title card will say “Ithu Sridhar Ezhuthiya Kavithai” the only novelty if you can call this as one. Sridhar had another release “ Naanum oru Thozhilali” on the same day (May 1st, 1986) a rare incident when two films of the same director is getting released and that too on a non festival day but unfortunately both bombed at the BO
Sorry app and others for the lengthy digression.
Regards
:lol: Tamizh kalaachaaram paduththum paadu
Thank you Murali sir, for the details!
Awesome, as usual!
Aama aadiku oruka aavaniku oruku vanthu register mark panrathu than unga vela pOla :lol:Quote:
Originally Posted by Plum
nanRi, V_Sji!
I'll continue with another KH film (albeit "dubbed" with SPB voice) :wink: Almost 180 deg turn from NOT :-)
#235 மனசு மயங்கும் மௌன கீதம் பாடு
மன்மதக்கடலில் சிப்பிக்குள் முத்து தேடு
(சிப்பிக்குள் முத்து, 1986 , ஜானகியுடன்)
The misra chApu delight (7 beat cycle, tha-ki-ta-tha-ka-dhi-mi) from the second of the three Telugu dubbing movies I've ever seen. (Repeat from an earlier post - those three are sAgara sangamam - salangai oli, swAthi muthyam - sippikkuL muthu, geethAnjali - idhayaththaiththirudAdhE, all IR delights, two had Kamal as hero / K Viswanath as director and the third had MR as director and Amala's husband as kavalaikkidamAna hero).
I remember reading a Sujatha article in Kumudam (or may be in AV) around this time where he wondered about what are the ingradients needed for a film's success (and concluded that nobody in the industry knew / could be sure about). I'm not sure whether there were references about the not-so-great-run of Vikram but I'm sure he contrasted the dismal result of big-budget movies in general to the terrific run enjoyed by movies made in totally contrasting style, quoting the "Thelungu movie that had Kamal as village appAvi" :-) It was ofcourse swAthi muthyam and it got dubbed into Thamizh in due time (possibly the only "Thamizh" movie where they used dubbing for Kamal - SPB spoke for him and possibly earned his ire).
That also meant that the automatic male voice for all songs was SPB in Thamizh (he was possibly the singer for Telugu originals too). (Unlike the employment of "whoever was available" methodology adopted for certain dubbed movies later on, including idhayaththai thirudAthE). Interestingly, though it had lovely songs, in my measure, was not in the same "range" as salangai oli. With one exception, however. The PS beauty 'varam thandha sAmikku' tops over every salangai oli song. Phenomenal number :thumbsup: I don't have the same level of closeness with any of the SPB numbers as I have with mounamAna nEram or thakida thadhimi. However, I agree these are good numbers and manasu mayangum is definitely evergreen.
I remember seeing those huge size (printed) posters in Secunderabad / Hyderabad when visiting for an interview in late-85 (for Andhra Cements, they gave 1st class fare and also the job but I didn't join). I have never seen so big posters in Thamizh ever for any movie. Remember visiting Indira Park, Charminar & Birla Mandhir marble structure in Hyderabad during that visit like a typical tourist. Didn't see any movie, watched this movie in Coimbatore...we'll visit Coimbatore of 1986 in the coming few posts on the songs of this movie :-)
App,
Great song to start the soundtrack. :clap: Thanks for the excellent insight on how it was viewed then. We will be too busy this week I believe to relish all these great numbers from this amazing film and soundtrack. These soundtracks are milestones will be an understatement. While Salangai Oli had great blend of love and classical art, KV opted a totally different folk based village story on the shores of Godavari (if I am not wrong) in Swathi Muthyam. These songs reflect the life of the villagers more closely depicting strong human relationships. Totally contrasting music. Only Maestro can cross boundaries like this with enormous ease shedding all Tamizh flavor behind and dissolving into their culture completely. It's hard to pick the top one in both these soundtrack. I can listen to Rama Kanavemira any number of times for its innocence in SPB's voice, absorbing reeti gowlai and for its colloquial touches, as if the song is specially made for us. Most important a great twist at the end of the song by KV, daring I say!
Murali-sir, your cameo in this thread is a great bonus. Thanks for the info (I was right about the differing format).
App, my fav in Sippikkul Muthu is yet to come :wink: (ironic for a guy who's not into mythology).
Ah! Godavari delight! I don't know which song affengine has started with - but let me assume it is suvvi suvvi.
It is no wonder only vatapathra saayi was passed by app - the rest soak a pure telugu godavari flavour not easily transferrable to kaaverikarai appengine.
Vatapathra has the underlying classical flavour - although Vairam fails to translate the ethos of the song spectacularly and I don't blame him because he had very little scope in this song - that seems to have salvaged it as a common song between telgu and tamil. What's more, it was tuned to lyrics in telugu so VM had a tough task and hard to blame him for this one.
Coming back to Suvvi Suvvi - that catchphrase, V-S, should tell us that it is Godavari theeram, I think. From the be-sur alaap start - done a little too perfectly by SPB - to the swarams, to the thaananaa by Janaki, what a Gilchristian start to the innings! K Viswanath touched widow remarriage carefully(without alienating telugu sensibilities) but firmly here.
Just look a few posts above for Murali's note on Innale-YEK. A little miracle that this movie managed to run in Tamilnadu - I guess the telugu sensibilities that KV managed to appease took care of tamizh kalaacharam as well. There is no propoganda here but a matter of fact espousal of a woman's feelings - carefully wrapped around her (seeming) surprise, revulsion and shock at the thali episode by Kamal.
Yet, a few reels before, you have her sighing(just watch the end of the thanana interplay with the bumpkin in the beginning of this song - Janaki amma captures a thousand emotional jangling points in that one second), indulging in playful banter , listening to the bumpkin assure her that spring will return in her life - with a cynical and sighing response. (vasthundhA A nAdu, choosthAdA A painOdu) - We'll return to the lyrics later.
These are moments that capture the longing and yearning in her for a normal life just like any other young girl - and our man Raja, and Janaki go to work. SPB has a supporting role only here. KV would boldly go on to do Manasu Palike later in the movie - getting more explicit about the woman's yearnings. More about that later.
Those moments in the riverside with the innocent (whaddya call him - autistic? mentally challenged? bumpkin?) young man along with her child are her escape from the daily hell that is her household - which has turned her into a bhajan-spouting, temple-only-going vidhavai. You can see the certain amount of freedom getting reflected in the thaanananaa phrases before she ends it with a note that elegantly captures a sigh in the tune itself, perhaps reflecting the futility and the short-lived transitionary nature of her small joys here.
He is the only one who treats her like a normal young woman who has feelings - the rest are traditionally bound to expect her to play a role - that of a widow. The interludes are awesome here, and if you dont feel wet with the waters of Godavari on your body, you are Shakespeare's villain fit only for treasons, strategems and spoils. I'll leave it to V_S to talk about the percussion and the rhythm structure, and the progression of this through the song, in maximum pleasure mode in the interludes. Let me focus on the emotions.
The first interlude normalises the relationship between Radhika and Kamal, as she hesitantly but irresistibly is drawn towards the innocence of the young man, and his antics that treat her like any other young woman. It is her oasis - and the violins play at medium tempo without soaring or ebbing. Specifically, immediately after the first burst of violins in the first interlude, there is a splashing gurgling kind of sound - which is not a special effect but a normal tune played by an instrument, wherein lies the genius of Raja - which gives you the feel of floating in water or wetting your feet in a vast expanse of water that Godavari is. As the relationship between the two warms, he is moved enough to relate her story to that of Sita - although it is unfair to blame her husband for kicking the bucket; the husband wasnt given much choice in the matter, was he? - the lyrics go thus in the first stanza:
andA dhanDa undAlani
kOdhandA ramuni nammukuntE
gundE lEni manushallE
ninu kondA kOnallak odhulEshAdA
You came to Ayodhya with grand dreams of living peacefully ever after but what did Sri Rama do - I hope I escape the wrath of Raja_Fan, I am just translating Sir, I am not making this up - he left you to the elements in the unforgiving jungles and mountains like a heartless fiend.
(I am not sure this translated effectively in VM's lyrics)
The beauty of this is you can ask is a bumpkin(autistic?) capable of making such eloquent comparisions. But if you have dealt with children, you know precisely that they are the ones who can invoke these analogies so easily. A later sequence in the movie establishes how the Rama kadha is an integral part of the village culture - Kamal can be seen predicting and performing upcoming parts of the story even as the song progresses, implying that he is familiar with the story
Plum? Plum? Halloo? Crap, someone got to him, Mods round up the usual suspect (Vinodh, Ajay, for now) please.
:lol:
Plumgaaru, what happened, please complete it.
:lol: - nadu nadula vElaiyum paNNanumla? Multi tasking, Grouch, multi-tasking(contrary to conventional belief around these parts, generously promoted by myself, I do a lot of productive work at office :lol:) . Anyway, continuing:
So, it is not surprising that he connects the plight of Radhika to Seethamma's misery at the hands of Rama(as I pointed out, the analogy is even inappropriate but he is too naïve to notice, isn't he?).
He has internalised that story very much. aggilOnA dhooki - poovvu
moggAlAga thElina nuvvu
neggEvammA oka nAdu -
ningi nElA nee ThOdu
You came out of the agnipariksha unscathed like a fresh bud; you will come out of this misery as well; the elements are with you
The amount of negizhvu she feels at this innocent vote of confidence and hope is caught in a minutely extended suvvi before the second interlude. Look at how she hurries through the rest of the suvvis, perhaps telling herself that the real world Is far too harsh for her to wallow in the pretty picture painted by her friend. Now, comes the second interlude, my favourite.
I have spoken about the second interlude, beautifully picturised as the brass pot floats down the Godavari; Raja throws in a flute piece there, with an underlying sound I know not made of what instruments that make you feel you are drawing a potful of water from Godavari, carefully perched on a shallow bank corner. Then, as the interlude progresses, that beautiful shot of Kamal rowing round and round on his makeshift boat. The next stanza captures the next level of exchanges as the relationship progresses, he is matter of fact about her plight but all the more child-like in his assurance of better days to come.
(first two lines I forget)
pattina grahanam vidisi - nee
bathukuna punnami pandaga gadiyA
ochEnnammA oka nAdu - choosthunnAdu painOdu
The eclipse that has shadowed your life shall disappear; a glowing full moon shall adorn your life one day....the fellow up there is watching over you.
Here, Raja/KV allow Radhika to break down almost, sighing loudly
osthundhA A nAdu - choosthAdA
A painOdu
Shall that day come? Is He really watching over my fate?
Here, KV goes the full distance in his espousal of a widowed woman's feelings and yearnings for a fuller life. Telugu sensibility or not, this is a woman who, encumbered by the tradition, is yearning for a normal life a la other young women. Janaki smoothly walks away with the (wo)man of the match for this innings here with a wistful, sighing rendition at this point. SPB is the hero of this thread, but Janaki is the heroine of this song...
And just now I realised, app engine has written about Manasu Palike first. Never mind, I will restore cosmic balance by writing about it when app features Suvvi Suvvi.
Needless to say, the song plays automatically in the mind as soon as I see Swathi Muthyam on print. Sadly, age is catching up and I seem to have forgotten some lines but never mind, the interludes are firmly implanted in the mind. Lyrics were written by someone else, after all. Raja's work will stay in the mind, eh? Firmly sticking to that conviction.
:clap: Awesome Plum. It must be tough to remove the VF Hunter uniform, and don back IR/KV fan uniform. Wish I could see the Tamizh/Telugu lyrics side by side in full, the Telugu one translated. Wishful thinking...
Not tough at all grouch - remember, multi-tasking? ;-)
Excellent Plum. It made me want to watch this song immediately rather than the one posted. Even I would like the lyrics in Telugu with the translation.(not trans-literation as people tend to do regularly)
(Translation pOtturukkEnE).
Emotionally, Swathi Muthyam has a bigger hook than Saagara Sangamam in terms of songs - as V-S put it, the latter celebrates art an intelllect although KV being KV the human relationship touches are there but the former is full-on IR only territory - subtle emotions, specific milieu, tenderness in relationships. This piece iR only fossible. As a bonus, I-d like to pick "Enadu Vidi poni" from Sri KanakaMahalaxmi drama troupe", a later movie but is picked from a crucial BGM piece of this song. Coincidentally, the lyrics of that song have relevance to Swathi Muthyam's situation, too.
Excellent Film (Sirpikul muthu), kamal simply excels! These kinds of roles are tailor made for kamal Ji :notworthy: I like "Thuzhi thuzhi neepadama seethaiyamma" , "raaman kathai keladi" and "Varamthantha saamiku" by PS more than any other songs.
I would like to mention, this is one of the song in which SPB hits Lower octave(note1) alias Muthalankattai with ease in the beginning of the song thulli thulli, most singers struggle extremely to achieve this, even the classically trained one (with the exception of Dr KJY/ Dr BMK). Only SPB possible!
:clap:
App anna , eagerly waiting for your experience with this song :)
It is suffocating to read Plum's post, it oozing with Telugu pride. (I am not saying it is bad... but I think he gets very emotional with KV movies for some unknown reason). So to bring us back to ground...here is my 2 cents.
While KV's Sanakarabaranam and Saagara Sangamam are great movies, I feel "Swathi Muthyam" and "Subha Sankalpam" are fake - particularly Subha Sankalpam. I **guess** the main reason is the first 2 movies told the story of Telugu Brahmin families, whereas other 2 do not.
Plum - What community does the hero and heroine belong to in Swathi Muthyam? I believe they are not TB, right?
As an outsider (non-Telugu), I could be totally wrong.
A Stellar one Plum! :notworthy: You have minutely identified every piece of this composition and given an in-depth analysis. I could not pick the better ones as everything was best. As I read your narration with some excellent lyrics translation, all the musical elements comes along without any hinderance, especially the second interlude, divine! You said it all.
"if you dont feel wet with the waters of Godavari on your body, you are Shakespeare's villain fit only for treasons, strategems and spoils." ---> Only Plum fossible! :D
I felt wet, but this time in my eyes too! Your write-up tempts me to watch this extra-ordinary film again, will be watching it tonight.
IMHO, I would Rate KVM's Shanaraparanam much higher than Saagara Sangamam in terms of Both the story line and music wise, Shankaraparanam was heavily Carnatic based music, where else Saagara Sangamam was more or less like "semi classical".Quote:
Originally Posted by genesis
And again IMHO , you can not beat KVM in Heavy Carnatic based music!