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LookingBack-14 "KarNan"

 
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madhuraman



Joined: 11 Jun 2007
Posts: 1226
Location: navimumbai

PostPosted: Tue Jul 20, 2010 7:41 am    Post subject: LookingBack-14 "KarNan" Reply with quote

Dear Friends,

With our recall still in 1964, I thought, this time why not peep in to "KarNan". Our friends know that I do not go by any specific priority, except the element of convenience and my personal familiarity to the theme chosen. "KarNan" though intended by the producer to highlight the virtues of the epic character, the infectious name brought off quite a few 'KarNans' to the fore in the critical domains of movie-making. Why I prefer to reckon them as 'karNans', rests on the point of lavish contribution by the respective personality to enrich his /her domain in the movie.
To have a learned borrowing from Mr. Vatsan of our forum, most of them reveal "karNanesque" contribution of boundless value to the movie.

I request all friends to come up with their perceptions on the subject.

B R Pantulu:
As a producer, he has invested substantially in the movie to bringforth the grandeur of the era of 'Mahabharatha'. Palatial sets were erected. A number of artistic fountains, royal courtyards, decorated pillars and vast stretches of highways and chariots abound the movie; the costumes, the headgear and cosmetic dress ups would certainly have cost the production substantially. Also, to sustain the looks of Royal ambience the movie was shot in Jaipur. All the war scenes had to be in land terrains absolutely devoid of electric wire, telephone poles, buildings revealing later culture and had to be in the chaste corridors of rural setting. Cost would have escalated moving the men and material back and forth to the shooting spot. Certainly BR P turned a 'KarNan'

Ganga -The Art Director.
In those days, [next to V -R FOR MUSIC], the most common sought after Art director, by big banners was Mr.Ganga. He brought such a grandeur to the scenes of all the mega movies of that period and 'karNan' was one. Most of the in-house shots demanded overwhelming richness that Ganga managed in that distant locale.
There are some tit-bits that we can look at later.

NT Sivaji Ganesan.
Everything relating to presentation depended heavily on NT. On matters of KINGLY disposition, turn arounds letting off casual look through the corner of the eye, proud twitching of the moustache are just second nature to Sivaji Ganesan. All of them were rich in evidence through the movie.

NT Rama Rao.
Though brief to appear, he held the audience spell bound by the way he deprived KarNan of all the potentials of invincible shields around him. NTR was the best bet to don Lord Krishna's role.

VISWANATHAN -RAMAMOORTHY
ALL SAID AND DONE, with a brief central point "KarNan", the whole movie rested on the shoulders of MDs and VR demonstrated how much of karNan they could themselves be in doling out a music that has saturated the deepest corridors of listener minds not by the din of noise but by the sheer beauty of of handling the genre of music. Despite the spree of songs that flow in an unabated sequence, each number keeps haunting the listener all the time with an unfailing element of solace and comfort; it is a mockery that such a stupendous performer in MSV remains unnoticed by powers that be. But, quality being what it is, it all the time has the blessings of Almighty to stay a glorious element of Nostalgia with those who draw their strength, solace and boundless happiness even in era of cacaphony around. That way V R immortalized 'KarNan' for all posterity to come. Interestingly V or R has never repeated the genre of this music for anyother film and have gloriously sustained with this commitment for ever in a portrayal of the message that 'I have enough to go about; and need not re-enact it again' It has made "karNan" a stuff of 'never before /'never after' kind holding aloft a challenge for anyone to compete with it.
"KarNan" is a MUSICAL RIVET in TF history for all time to come.

Speaking of V R , Kannadasan cannot be forgotten and he should be looked into. Please wait.
Please add your perceptions-dear friends.

Warm regards Prof.K.Raman Madurai.
_________________
Prof. K. Raman
Mumbai
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Baskar CS



Joined: 19 May 2007
Posts: 203

PostPosted: Tue Jul 20, 2010 7:00 pm    Post subject: Reply with quote

when the film was in progress kannadasan had booked his famous woodlands of bangalore ( room no 36 his favourite i learnt ) and had penned the songs over there

at a situation when he had a doubt about the story of lord sun and athidya hridhayam he called the pundits over there and clarified certain doubts before he penned enna koduppan . such is the dedication and they did with love ,passion ,involvement and deep professional ethics and with a fear that they should do well to reach the masses and they succeeded and the proof is our point of discussion .

i feel that i have born late .
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Baskar CS



Joined: 19 May 2007
Posts: 203

PostPosted: Tue Jul 20, 2010 7:00 pm    Post subject: Reply with quote

when the film was in progress kannadasan had booked his famous woodlands of bangalore ( room no 36 his favourite i learnt ) and had penned the songs over there

at a situation when he had a doubt about the story of lord sun and athidya hridhayam he called the pundits over there and clarified certain doubts before he penned enna koduppan . such is the dedication and they did with love ,passion ,involvement and deep professional ethics and with a fear that they should do well to reach the masses and they succeeded and the proof is our point of discussion .

i feel that i have born late .
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N Y MURALI



Joined: 16 Nov 2008
Posts: 920
Location: CHENNAI

PostPosted: Wed Jul 21, 2010 9:33 am    Post subject: Reply with quote

Dear Friends,
As Prof mentioned the production of movie karnan has made some karnans who generously contributed their talent. But MSV is also a 'kanjan' with respect to the time taken. When director BRB gave them days in Bangalore for the song composition they finished it within 3 days.

Also the incident Mr. C S Basker mentioned is about the song 'aayoram karangal neetti' for which he consulted the Pundits to explain them the meaning of 'gaayathri manthra' which is the main manthra and speaks about the Sun.

N Y MURALI
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Vatsan



Joined: 20 Jan 2007
Posts: 352

PostPosted: Wed Jul 21, 2010 1:48 pm    Post subject: Resp Reply with quote

One cannot stop writing on the music of Karnan.
The raga-agnostic MSV has consciously chosen ragas this time around, proving all along the way, that when he does go the raga way, he is once again far ahead of the rest of the field.
Sudha Sarang, Hamir Kalayani which threatens to go the Behag way sometimes, Semi-classical Pahadi, Hindolam, Mohanam, Darbari Kanada, Hamsanandi, Sudha Dhanyasi, Gambeera Nattai, Sahana, Karaharapriya, Pilu, Sudha Saveri (actually Hindustani Durga), Ahir Bhairav.... all of them startle the listeners into total surrender. The other rare true Carnatic ragas that make their presence felt are Anandha Bhairavi, Neelambari (a PBS lullaby song that was removed from the movie).

But do hold on, it the orchestral flavour impart to all the above numbers is quite unimaginable, even considering the North Indian greats !!!! The only Hindi song that can come close to the above numbers in orchestration is Roshan's 'kAhE tarsAyE' set to raga Kalavati, but again, not quite, MSV is a clear winner here.

Ramnarain Bhatt was taken to task for the Hamsanandi piece prior to PBS' 'enna koduppAn' and 'uLLathhil nalla uLLam'. The prelude of 'ennuyir thOzhi' is well and truly a lesson in creating a synergy between purely Indian instruments to match the harmony created through westernized orchestration. The mood induced can ONLY be experienced!!! Mixture of Sarangi, flute mixed with Shehnai, jaltarang and Sitar and God knows what !!! Apt rolls on the Mridang tabla that only a composer of MSV's class can even conjure up. And what mix of instruments, sitar on a vibraphone and jaltarang and what not !!!

IN every way, an unparalleled epic !!! The re-recording for this movie needs to be released as a Hindustani instrumental album. More later !!!!
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