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[madhuraman]

KAADHALIKKA NERAMILLAI -- VII

Dear friends,
Undoubtedly, Sridar, KaNNadasan , V -R formed an invincible team that established some real standards in cine songs. MSV gleefully acknowledges that CVS was a very good inspiration during composing sessions. But this present segment is devoted to Kavi Arasu KaNNadasan for his brilliance in chaste but simple Tamil and effortless conveying of ideas that tow the line of the movie unlike what we witness now-a-days. It would be no exaggeration to say that KaNNadasan songs have richly contributed to K N.

There are as many as 8 songs [ a number enough for 2 movies] and not one of them can be under rated if contextual relevance is the ruling factor.
What astonishes me even today is , for a well known light theme like K N, Kavi Arasu has employed only poetically poignant expressions though none would feel bad if he drops instyle with lesser words.

I do not intend scribing the entire songs. I shall just touch those incisive pieces that strengthen the occasion.

"ENNA PAARVAI UNDHAN PAARVAI"
In the very 2nd line of the Pallavi, he conveys the emotive bundage with "IDAI MELINDHAAL INDHA PAAVAI" Thinning of the waist is a poetic declaration of the grip of love . Also look at this.
"KANNANGAL ENNUM THANGA THATTU KAI PATTU
CHINNANGAL KONDADHO!" another veiled statement on what the boy did to her. [the beauty of the sandham too]

"VISWANATHAN VAELAI VAENUM"
Look at this innate reference to the story.
"PONNUNGA PAECHUKKU BUDDHIYAI MAATHTHIKKUM MOOLAI ILLAADHAVARAE, VAETTIYAI MAATHTHIKKA SAELAITAI KARRIKKA VETKAMILLADHAVARAE" . Still he maintains respectable expressions.

"UNGA PONNAANA KAIGAL PUNNAAGALAAMA"
Poet plays
"SAELATTAM KANNUM NOOLATTAM IDAIYUM THINDAATTAPPADALAMA
THAALAATUM PENNIN POOVAATTAM KAIGAL CAR OTTA VARALAAMA"
SAEL = Fish. Look at the natural augury in words that obey the sandham.

"ANUBHAVAM PUDHUMAI"
The very second half of the pallvi "AVANIDAM KANDAEN" is a dominant suggestion of the mood.
"AVAL ANGAE VANDHAAL NAAN ANGAE NINRAEN
NAANGAL ENGO SENROM" No better could have been said without initiating
vulgarity. Kaignar is always a class.

"MALARENDRA MUGAM ONDRU SIRIKKATTUM'
The second half of pallavi "MANAM ENDRA KARUVANDU PARAKKATTUM" right away touches the purpose of the song. "ELLU POOVUM MULLAI POOVUM SAERNDHU VANDHA KANNIPPOO " is another of his patent expressions to suggest drowsing romance.

"NAALAM NAALAM THIRUNAALAMM" aGain the second half of pallavi invites attention. "NANGAIKKUM NAMBIKKUM MANA NAALAM " Use of NANGAI and NAMBI for the pair and the subsequent expression "INDHIRAN THAERIL VARUVAARAAM" are richly poetic, elevating them to heavenly niche .The entire song is an exceptionally marvellous piece. The music team has given this unique number in an otherwise western style of composition for most other songs.

"KAADHALIKKA NERAMILLAI"
The apparent old man invites the girl to marry him by justifying
"KAAYILAE SUVAIPPADHILLAI KANINDHADHUM KASAPPADHILLAI
NOYILLA UDAL IRUNDHAAL 100 VARAI KAADHAL VARUM
MAAMIYYAR KODUMAI ILLAI MAAMANAAR YARUMILLAI
INDHA SAAMIYAI MANAMUDITHTHAL SANTHOSHAM KURAIVADHILLAI"
What an enticing phraseology to convince the girl ! Most impressive assemblage of indisputable facts . Only Kannadasn can elegantly do it.

"NENJATHTHAI ALLI KONJAM THAA , THAA
NEEROTTAM POLAY INGAE VAA , VAA.
Another excellent number where some dig is given to males.
"VAA ENDRU SOLLUM MUNNAMAE SAMMADHAM ANGU VARUMAE"
Of course it is quite natural that such cuts are logical between lovers.

So, for a light veined movie, Kavignar has accorded serious attention pegging the song to its right value of driving the story line to its logical course while still maintaining poetic aesthetics; who else but KaNNadasan can do it?
Warm regards Prof.K.Raman Madurai.
_________________
Prof. K. Raman
Mumbai