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Aayirathil Oruvan gets digitally enhanced.

 
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Venugopalan Soundararajan
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PostPosted: Thu Dec 12, 2013 5:17 pm    Post subject: Aayirathil Oruvan gets digitally enhanced. Reply with quote

Here's a news item that appeared in "The Hindu" of 7th Dec '13. Please take particular note of the sentence "The digitally restored film will also feature a completely re-recorded background music (BGM) played out by an assistant of veteran film director M.S. Viswananthan." Film Director M.S.Viswanathan??? I would like to know who is the Assistant mentioned in the news. Please read the news below:

Quote:
49 years after its release, MGR-Jayalalithaa starrer to return with re-recorded background score

Soon, one will get to hear the evergreen anthem of MGR — “Atho antha paravai pola vaazha vendum” — in digital surround sound at multiplexes across the state.

Nearly five decades after the release of the movie, featuring former Tamil Nadu Chief Minister and iconic actor M.G. Ramachandran and current Chief Minister Jayalalithaa in lead roles, ‘Aayirathil Oruvan’ directed by B.R. Panthulu is getting ready for a digitally enhanced theatrical re-release in January.

Divya Films, which released the Sivaji Ganesan epic ‘Karnan’ in digital format in 2012 to a good response, is working on the finishing touches to the digital version of ‘Aayirathil Oruvan’ at the Prasad EFX studio in the city.

The digitally restored film will also feature a completely re-recorded background music (BGM) played out by an assistant of veteran film director M.S. Viswananthan. It has been recorded in digital surround sound. The technicians at Prasad EFX who had previously done the restoration for ‘Karnan’ and ‘Paasa Malar’ are working on technical aspects of the restoration, including preparing the ‘digital intermediates’ (DI) and scope conversion for converting the 35 mm film to digital scope.

G. Chockalingam of Divya Films says he has been working on restoring ‘Aayirathil Oruvan’ ever since he completed the release of digital ‘Karnan’. “The film negatives were in a more damaged stage than those of ‘Karnan’. So, we had to painstakingly apply the digital restoration and corrections to every frame of the 18 reels. With ‘Karnan,’ just three reels needed extra care. But here, the entire length of 2 hours and 45 minutes has been digitally enhanced and that is why it has taken this long to be restored,” he said.

Mr. Chockalingam plans to unveil the marketing strategy for the re-release on December 24, coinciding with M.G. Ramachandran’s death anniversary. The film has been slated for a January release.

Though the Tamil film industry has seen a few classics being restored over the past two years and re-released in digital format — the most notable recent releases include the Sivaji Ganesan-starrer ‘Pasa Malar’ and the Kamal Hassan–Rajinikanth-starrer ‘Ninaithaale Inikkum’ — there is a lot of concern among industry veterans that the poor storage of film negatives would lead to a permanent loss of several classics.

“At least those films that deserve to be showcased in the arena of World Cinema need saving,” says national award-winning film maker Balu Mahendra. “I have already lost my own films including ‘Moonram Pirai’ and even ‘Marupadiyum’ that I made as late as 1993. I would really love to see classics like ‘Ratha Kaneer’ (starring M.R. Radha made in 1954) in digital format. But where can I go,” he asks.

The issue of preserving and archiving film negatives has been a contentious issue that every one passes the buck around. Though producers are the rightful owners of film negatives, there have not been concerted efforts to establish archival centres either by the Film Producers’ Council or by any other collectives.

Depending on the condition of the film, and the wear and tear, digital restoration of a full-length feature could cost anything between Rs.20 lakhs to Rs. 1 crore.
Unquote

Regards,
Venu Soundar
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VaidyMSV & Sriram Lax
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PostPosted: Sun Dec 15, 2013 10:13 pm    Post subject: Reply with quote

சோதனை மேல் சோதனை போதுமடா சாமி
ராகசுதா உங்களின் நட்புறவை உபயோகித்து அதிக விவரங்கள் தரமுடியுமா
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Sai Saravanan
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PostPosted: Sun Dec 15, 2013 10:46 pm    Post subject: Reply with quote

Let us pray that the songs do not get disturbed...
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vaidymsv
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PostPosted: Mon Dec 16, 2013 1:03 pm    Post subject: YET ANOTHER MASSACRE Reply with quote

Dear All,

It has now become customary for some unknown to get some of the finest of work done by our Legend into a shortest money making racket. They did it for Karnan, Ninaithaley Inikkum and it is now time for Aaayirathil Oruvan to get massacred.

Do you all know what????? We belong to the class called "mute spectators"..... God save all of us. I am not aware of this Assistant to Shri MSV who has ventured into (with what audacity that too???) this "murder" for gain!!!

"Nenju Porukkuthillayey, intha nilai ketta manithargalai ninaithuvittal".......

CHEERS

MSV
IS MUSIC!!!

VAIDYMSV

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ragasuda
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PostPosted: Tue Dec 17, 2013 10:43 am    Post subject: Reply with quote

நண்பர்களே,

இந்த விஷயத்தில் ஏற்கெனவே கர்ணன் திரைப்படம் ஒலியமைப்பு பற்றிய விவாதத்தில் ஏற்பட்ட கசப்புணர்வு காரணமாக நான் தொடர விரும்பவில்லை. கர்ணன் திரைப்படத்தைப் பொறுத்த மட்டில் நான் விநியோகஸ்தரிடம் என் மன வருத்தத்தைத் தெரிவித்து விட்டேன்.
பாசமலர் திரைப்படத்தைப் பொறுத்த மட்டில் நமக்கு எந்த வித மன வருத்தத்திற்கும் இடமளிக்காத வகையில் ஒரிஜினல் இசைக்கோர்வையில் ஒரு விநாடி கூட கை வைக்காமல் மேல் ஒலிப்பதிவில்லாமல் பீம்சிங் அவர்களின் புதல்வர் திரு லெனின் அவர்கள் மிகச் சிறந்த முறையில் நவீன ஒலியமைப்பு மட்டும் செய்து துல்லியமாக அமைத்தார். இதுமிகவும் பாராட்ட வேண்டிய விஷயம். பாச மலர் திரைப்படத்தின் நவீன ஒலியமாக்கலில் மெல்லிசை மன்நரின் இசையமைப்பைக் கேட்கும் போது ஒவ்வொரு இசைக்கருவியும் அதியற்புதமாக ஒலித்தது.

இந்த முறையில் மூல இசையமைப்பில் கை வைக்காமல் ஒலியைச் சிறப்பாக்கினால் பாராட்டலாம். ஆனால் மறுபடியும் அதை மீண்டும் இசைக்கோர்வையமைத்து செய்வது என்பது நம்மால் ஏற்றுக்கொள்ள முடியாத ஜீரணிக்க முடியாத விஷயமாகும்.

ஆண்டவன் அருளால் நமக்கு டிவிடி வசதியிருக்கிறபடியால் அதனை சேமித்து மெல்லிசை மன்னரின் இசையை அனுபவிக்கும் வாய்ப்பு உள்ளது.

இன்னும் சொல்லப் போனால் இருக்கும் நவீன வசதிகளில் இந்த டிவிடி ஒலியமைப்பையே பயன் படுத்திக் கொள்ளலாம் என்பது என்னுடைய விருப்பமாகும். அது நடைபெறமுடியுமானால் இதை விடச் சிறந்த வழி வேறு இருப்பதாகத் தெரியவில்லை.
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Venugopalan Soundararajan
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PostPosted: Fri Jan 10, 2014 11:27 am    Post subject: Reply with quote

I am giving below link to a news item appeared in today's The Hindu, about Trailer of digitally restored Ayirathil Oruvan being released today. I have also reproduced the news below, for ready reading.

Regards,
Venu Soundar

http://www.thehindu.com/features/metroplus/fresh-take/article5558397.ece

Trailer of the digitally restored Aayirathil Oruvan from today

The trailer of the digitally restored version of M.G. Ramachandran’s Aayirathil Oruvan, in which he paired with J. Jayalalithaa for the first time, will be screened at theatres playing Veeram from today.

“We have not only digitally restored the 35-mm film to cinemascope, we have re-mastered the audio as well. We used live instruments to convert the mono-audio into 5.1 surround sound,” says D. Chokkalingam whose Divya Films also restored Sivaji Ganesan’s Karnan, which filled the coffers upon its release last year.

While Karnan released in around 70 screens, Aayirathil Oruvan is expected to be released this month in close to 100 screens across Tamil Nadu.

Apart from securing the negatives of the film, Chokkalingam says that appealing to the young audience of today was a priority. “The audience lap it up if the restoration is good. We used a lot of computer graphics to enhance the quality of the images in the original. It took us a two years to get the work done.”

Ulagam Suttrum VaalibanChokkalingam also has secured the rights of films such as Galaatta Kalyanam, Deiva Magan and Rickshakaaran.
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Venugopalan Soundararajan
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PostPosted: Sat Jan 11, 2014 5:50 pm    Post subject: Reply with quote

Here's the link to the Trailer of the digitally restored Ayirathil Oruvan. Except for 3 words, i.e. "மனம் கவர்ந்த பாடல்கள்", there is absolutely no mention about the outstanding music score of MSV (with TKR). As we all know, the movie is predominantly an action packed one and MSV's scintillating background score was the backbone of the film (and of course the super-hit songs). We fail to understand why they refuse to acknowledge this fact:

http://www.youtube.com/watch?v=87k12cq5Pv8

Regards,
Venu Soundar
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PostPosted: Sun Jan 12, 2014 5:38 am    Post subject: 'Aayiraththil oruvan' Songs Reply with quote

Dear Mr. Venu Sounder and friends,

Whatever the action-packaged in the movie, the songs lifted the movie sky high by the melodious tunes and youthful vigour of certain numbers. It is a curse that people who reap rich harvest of money from MSV[TKR] works pretend innocence by cleverly shielding MSV's name from public gaze.
If they are of the view that later MDs can do better why not they insert later one's scores and see what happensto such old movies?
As for 1000 il oruvan, MSV[TKR] chose to use specific styles of playing instruments to literally take the movie to the days of slavery of mariners and the tunes cast for that movie have not been imitated for any other movie by MSV or TKR just as they chose to offer One Karnan, one Kadhalikka neramillai, one Sivandha mann, one Nenjam marappadhillai, one NINAITHTHALE INIKKUM and so on.

The musical success of any movie has never prompted MSV to repeat a similar one. The best examples are 'Pudhiya paravai' and AnbE vaa'.

Understably, MSV's repertoire for fresh treatment in tune /orchestration is a huge treasure that any number of movies cannot exhaust those skills.

Alas, the movie-dom suffers from amnesia [selective] and shortsight.

Thanks for the opportunity.

Warm regards HAPPY PONGAL TO ALL
K.Raman Madurai
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PostPosted: Tue Jan 14, 2014 11:59 am    Post subject: NO SURPRISE AT ALL!!! Reply with quote

Dear All,

Though our hearts bleed when our Legend's work do not get the due mention that it totally deserves, this is no surprise at all for, there is a clout that wantonly does this and gets away with it also.

I wish to recall my earlier writing on this specific aspect......Karnan or Aayirathil Oruvan or for that matter any movie minus Shri. MSV's music will only get reduced to a mere colour or a B&W documentary. Needless to mention that it is beacause of one man's musical genius, all these so called producers became rags to riches stories overnight. But for the music, they would still be repaying their debts towards production of those movies as all of them would have miserably flopped at the box office.

This is an ungreatful world and the greatness of this man called MSV is ample proof for having given us enough music for generations to enjoy...

CHEERS

MSV IS MUSIC!!!

VAIDYMSV

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PostPosted: Sat Jan 18, 2014 2:17 pm    Post subject: Reply with quote

Oh God!
They know not what they have done and what they continue to do....It is the same refrain:
"...we have re-mastered the audio as well. We used live instruments to convert the mono-audio into 5.1 surround sound..."

Now all TV channels will replace or be forced to replace the originals. These will eat into the lively programmes on old songs like termites...
God save us.
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Venugopalan Soundararajan
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PostPosted: Thu Mar 13, 2014 5:54 pm    Post subject: Reply with quote

I came across review of the refurbished ஆயிரத்தில் ஒருவன் in today's issue of தின இதழ் newspaper. Quoting below from the review:

ரசனையின் காதுகளில் குடம் குடமாய் தேன் ஊற்றுகின்றன பாடல் இசையும் பின்னணி இசையும். ஒரு படத்தில் ஏதோ ஒரு பாடலுக்குப் போடப்படும் BGM எனப்படும் ஆரம்ப இசையை படம் முழுக்க ஆங்காங்கே தொங்க விட்டால் போதும்.... அது 'தீம் ம்யூஸிக்' ஆகிவிடும் என்று நம்பிக் கொண்டிருக்கும் இன்றைய இசையமைப்பாளர்கள், தீம் ம்யூஸிக் என்றால் எப்படி இருக்க வேண்டும், அதை டைட்டில் முதற்கொண்டு எப்படி பயன்படுத்த வேண்டும் என்பதை மெல்லிசை மன்னர்கள் விஸ்வானாதன் ராமமூர்த்தியின் இந்தப் படத்தில் இருந்து தெரிந்து கொள்ள வேண்டும்.

கூடுதல் இசை சேர்ப்பு சில பாடல்களைக் காயப்படுத்தவில்லை என்றாலும் 'ஏன் என்ற கேள்வி', 'நாணமோ', 'அதோ அந்தப் பறவை போல' போன்ற பாடல்களில் இந்த கூடுதல் இசை சேர்ப்பு என்ற பெயரில் TMS, P சுசீலா ஆகியோரின் குரல் சிறப்பையும், பாடல்களின் இனிமையையும் சிதைத்திருப்பது கொடுமை. அதே நேரம் sound effects எனப்படும் சூழல் ஓலீ சேர்ப்பு விஷயத்தில் அசத்தியிருப்பதை பாராட்டலாம்.

Giving below the link, where you can read the full review:

http://www.readwhere.com/read/242467/Dinaethal/13th-March-2014#page/11/2

Regards,
Venu Soundar
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PostPosted: Fri Mar 14, 2014 7:19 pm    Post subject: Reply with quote

We should really appreciate the reviewer for his remarks about the music. He has done something which (if I am right), the reviews published at the time the original film was released had not done. The review has also covered both the positive and negative effects of the mixing done.
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Venugopalan Soundararajan
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PostPosted: Tue Mar 18, 2014 1:04 pm    Post subject: Reply with quote

Please find below Review of the re-released 'Ayirathil Oruvan' appeared in 'The Hindu'.

Regards,
Venu Soundar

To watch Aayirathil Oruvan on the big screen is to go back in time, to an age when no one knew what a multiplex was, and the spit-stained theatre near your home played reruns of old movies all the time (one in the noon-show slot, another one in the regular shows).

To watch Aayirathil Oruvan is to be reminded of how new the concept of colour once was, and how delirious filmmakers were at the prospect of splashing it across the screen. When we first glimpse the despot played by RS Manohar, he seems to have stumbled out from an accident in a paint factory — scarlet shoes, blue tights, a spinach-green tunic, and a face Kabuki-white with makeup.

He rules the province of Neidhal Naadu with an iron fist and a rampant libido — and he sets the story in motion when he arrests Manimaran (MG Ramachandran) for helping a band of rebels. Manimaran, a physician, merely tended to a wounded individual, but that’s enough to get him and the rebels shipped off as slaves to Kanni Theevu, home of the beautiful princess Poongodi (Jayalalitha).

To watch Aayirathil Oruvan is to be reminded of how canny writers were those days in building an image for actors. We see this in the scene where a smitten Poongodi offers Manimaran a place in her palace. He says he’ll accept — but only if his cohorts are allowed to accompany him. Later, Manimaran is forced into a life of piracy — the film pretty much follows the template laid down by the Errol Flynn swashbuckler Captain Blood — by a pirate leader (how fun it is to see MN Nambiar gnashing his teeth again!), but he decides he will loot other pirate ships but not passenger ships. And when Nambiar relinquishes his throne and asks Manimaran to step in as leader, the latter says, “Thalaivar aavadhu en nokkam alla,” even as people fall at his feet and plead, “Neengadhaan thalaivar.”

To watch Aayirathil Oruvan is to be reminded of how even the songs were used to build this image, something that continues to be done today but with far less finesse. But let’s step back a second and recall these songs. What a hit parade from Viswanathan-Ramamoorthy. There’s, of course, the rollicking one-time Oliyum Oliyum staple, ‘Adho andha paravai pola.’ Then, there’s ‘Naanamo,’ ‘Paruvam enadhu paadal,’ ‘Yen endra kelvi...’

Let’s mull over the superb ‘Odum megangale’ for a minute. This is what happens: Poongodi tells Manimaran she loves him. He says he’s not suitable for her. What we’d normally see, in terms of a “song situation,” is either a before song or an after song. A “before” song would be a happy number, along the lines of “Oh, I love him and I’m going to tell him I love him, tra la la.” An “after” song would be a sad number, along the lines of “Oh crap, he said no, woe betide me.”

But the genius of ‘Odum megangale’ is that it’s a during song, sandwiched between the before and the after. As in the epic poems, the hero calls out to nature (the rolling clouds in the lyrics), and at first, he just seems to be singing a philosophical number about his predicament. She’s a princess, he’s a slave, and so forth. And then we get to the part that recalls the film’s title: “Naattil ulla adimaigalil aayirathil naan oruvan.” We were thinking all along, that he was special, that he was one in a thousand, but now he says he’s merely one among a thousand.

Of course, such self-effacement is only possible with the hero. The cosmic balance is restored, subsequently, when we get ‘Unnai naan sandhithen,’ where the heroine insists that the hero is aayirathil oruvan, one in a thousand.

To watch Aayirathil Oruvan is to be reminded of how perfunctory the plotting was those days, and yet, how pleasurable the films were. A modern-day screenwriter would laugh at, say, the pirate queen character (played by L Vijayalakshmi), whose sole function is to relay to Manimaran her husband’s nefarious plans. And while the anti-slavery theme is interesting — at one point, Poongodi becomes a slave too, and she’s “bought” by Manimaran, who was her slave earlier — it’s blunted by the rich-girl-poor-boy romance and the (minor) comedy track with Nagesh.

But something somewhere makes it all come together. Is it the soundtrack? Is it the director BR Panthulu’s broad good-versus-evil storytelling, which harks back to the simplest of fairy tales? Or is it just our rose-tinted nostalgia, our need to keep believing (despite the evidence on screen sometimes) that they don’t make ‘em like they used to? Whatever the reason, there’s enough here to warrant a trip to the theatre. If they’re planning to restore another vaadhyar padam, may I suggest Kudiyirundha Kovil? One of the great double-role movies. Not as much moralising. And a killer soundtrack too.

Genre: Action

Director: BR Panthulu

Cast: MG Ramachandran, Jayalalitha, Nagesh.

Storyline: A physician becomes a slave, then a pirate, then a saviour...

Bottomline: Still pretty decent after all these years.
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