புதன், 7 செப்டம்பர், 2011

17. Veenai Pesum

The song 'Veenai Pesum' (from Vaazhvu en pakkam, starring Lakshmi) can be compared and contrasted with 'mouname paarvaiyaal oru paattup paada vendum, naaname jaadaiyaal oru vaarththai pesa vendum' from kodi Malar. Each song is addressed to a girl who is not enabled with the power to speak. The contrast is in the lyrics. In 'mouname paarvaiyaal', there is only a silent response from the girl, since the lyrics suggest that she use silence and gestures. But in 'Veenai pesum', the heroine hums because the lyrics suggest she speak. It is only natural that the humming from a girl not endowed with the faculty of speech is subdued. MSV could not have used a humming like the one in 'Sittukkuruvi muththam koduththu.'

'தென்றல் பேசும் அது மோதும் மலர்களில் நின்று.'

தென்றல் மோதினால் வலிக்குமா என்ன? அது சுகமாகத்தானே இருக்கும்? அதுவும், தென்றல் மலரின் மீது 'மோதும்போது,' 'எங்கே மலருக்கு வலிக்குமோ' என்ற உணர்வில், இன்னும் மென்மையாக அல்லவா மோதும்?

Who but Mellisai Mannar can bring out the entire import of Kavignar's lyrics into the composition?

The interlude before the second charanam is a class of its own. The progression of notes in the Veena reaching a crescendo, followed by other instruments (like violin) is a brilliant conception.

நான் அடிக்கடி நினைத்து நினைத்து அனுபவிக்கும் பாடல் இது. மனதில் ஒரு நீரோட்டமாக என்னை அறியாமலேயே அடிக்கடி வந்து என்னை வருடிச் செல்லும் பாடல்.


Originally posted in MSV Times.Com Forum on 22nd March, 2010

16. Yarukku Maappillai Yaaro – A Song Extraordinaire!

I don’t know how popular the song ‘Yaarukku maappillai yaaro?’ from the film 'Paarththaal Pasi Theerum' is (or, was, in its time.) But I find listening to this song a fascinating experience. It happens every time.

The prelude is something unique. I don’t think this kind of violin sound has been used in any other song. The orchestral note that launches the beginning of the pallavi is highly enjoyable. To me, it seems like a spring which unfolds and releases the pallavi with a gentle push. The interlude again is a unique orchestral feat.

The song is by way of a mild tease of the hero by the heroine (I am using this word for convenience, since the main heroine of this film is Savitri) peeved by the hero’s reluctance to accept her love. 

Kavignar has written the entire lyrics as a series of questions, since the heroine finds a question mark on her love, with the hero not openly reciprocating her feelings of love. All the lines end with ‘ro?’

The humming ‘ahahhahaa…’ that comes before the charanam reflects the teasing mood of the heroine. Again this is a unique humming that we cannot come across anywhere else. 

In fact the mocking expression ‘ahahahaa..’ is mostly used in conversations. This is probably the first and only time that this has been used so melodiously, producing an effect to enhance the pleasing demeanor of the song.

The picturisation, photography, the location and acting add greatly to the enjoyability of the song. Saroja Devi lives up to her title ‘Abhinaya Saraswati.’ With simple gestures, she conveys the meaning of each line so effectively yet effortlessly, naturally and pleasantly. 

The two different abhinyams she displays for the line ‘Dhoora ninRu jaadai purivaaro?’ are amazing. The choreographer needs to be applauded for making the performance so enjoyable with simple but sensible choreography.

The bright light and the shades that appear for a few moments during the song show the diligence and the intelligence of the cinematographer and the director. Black and white photography has a depth that cannot be matched by color photography, which uses artificial colors.

Last but not least is the performance of Sivaji Ganesan. Throughout this film, Sivaji performs with restraint, in keeping with the difficult position of the character he plays. His underplay of emotions and other reactions are a testimony to the versatility of the thespian. 

During this song also, he shows his reluctance by just being passive, yet displaying his dilemma. 

Another remarkable aspect of Sivaji’s meticulousness is the way he keeps his limping walk throughout the film with perfection. This may not be something that will be noticed by many but the actor, the perfectionist he is, takes extraordinary care to make his limping accurate and consistent. During this song, he is sitting and listening mostly, but he walks a few steps with that perfect limp.

After writing this much, I only feel that I have not been able to adequately express my feelings about the song and about my experience in listening to this extraordinary song from this film which is filled with gems of songs.

‘Yaarukku maappillai yaaro’ has remained and will remain one of my all time favorites.

Here is the link for the song.

Originally published in MSV Times Forum on 14th March, 2011.

July 1, 2022

Subhashri's presentation of this song in Quarrantine From Reality: