"MSV CLUB" - The Discussion Forum of MSVTimes.com

[madhuraman]

POLICE KARAN MAGAL – VI
SONGS….. Contd.
5 ‘pon enbEn siru poo enbEn’ This song was a legitimate, instant hit among all items in this movie. Varied suggestions used to emerge those days of the story discussion between Kavignar- CVS and MSV. One of them was that CVS wanted a tune that would suggest a song , like a conversation in whispering style. MSV instantly responded with what later came to be loudly talked about as ‘this’ whisper. In fact, my suggestion of songs propelling the story is demonstrated here.
The girl asks her boy friend “ennai eppidi kooppiduveenga?”
The boy responds ‘ pon enbEn siru pooenbEn’ FOR A SIMILAR QUESTION FROM THE BOY THE GIRL RESPONDS ‘en enbEn kalai yEdenbEn’. Through the song KD has nice spots of pleasant expressions of robust love between the two. Girl : ‘chinna chinna paravai annai avaL madiyil thavazhvadhu pOl nAn thavazhndhiruppEn’
Boy: ‘kaNNai mella maraiththu, unnai kaiyil eduthu kAlamellAm nAn aNaiththiruppEn’. His intent for a future cheating is brilliantly camouflaged by these smooth caressing terms. MSV has played ‘havoc’ with emotions in this number. As if to heighten the impact of whisper-like utterance of pallavi, the opening of interlude on violins is an abrupt push of the song to a floating plane from where singers keep floating –still in polite whisper-like lullaby by firmly clinging to the mood of elation –absolutely oblivious of the world around. Is that all? It is a song where MSV has his viswaroopam all over from start to finish. How? Soon after the pallavi words, singers slip into the grip of mutual warmth through the wordless play of ‘ah ah ah aa aa aah ohaho ho oah and come the gushing violins quickly joined in by a host of harmonious orchestral embellishments. The proverbial flute in MSV’s repertoire puts the song to its slot for singers to take over. Not merely that, he has inserted umpteen strategies just to arrest the listener into his infallible trap of musical mesmerism. Some catchy spots in the song are the way certain words are dealt especially in the repeat phase [a strategy that MSV has mastered to perfection].
Look at PBS’s unnai nan arivEN AND IN THE REPEAT SEGMENT
‘unnai n aan ari vEn’ the spacing brings off more life
ALSO SJ IN HER CHARANAM SINGS ‘ chinna chinna paravai’ takes on a smaller tone that amplifies at ‘paravai’ to strengthen the word chinna both in form and volume.
LIKEWISE PBS at ‘unnai kaiyil eduththu’ renders the line with a smart spacing as
‘unnai kaiyil eduththu - the process of taking her in arms has a time element – a precise strategy by which MM mentally picturizes the mood through appropriately timed singing of words or phrases and at times letters too.
Shri MSV has always been live to every syllable in a song; not without reasons his songs are vivid, timeless and ageless.
MORE TO COME K.,Raman Madurai
_________________
Prof. K. Raman
Mumbai

[Sai Saravanan]

Dear Professor,
The flow of descriptions for each song that you have written has brought the scenes before my eyes. We have possibly seen most of the songs on TV on some occasions, but they have become meaningful now! Exceptional clarity!
Thanks Sir!
Sai