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[madhuraman]

Dear Friends,
With regularity, we have been looking at TFM from the major perception of MSV- the composer. This has brought in a variety of angles and dimensions of the composer and the general patterns of TF as an entertainment medium. A major domain in TF has been the lyrics.The role of lyric in a movie was firmly established by all lyricists right from 1950s or so. Obviously the most powerful era was that of Kavi arsu Kannadasan. Though times have changed, the lone concept without a conceptual change has been the " love duets" though we can not love these duets of the present day. But, TF lyrics have had a pattern in the Kannadasan era. For instance upto mid 1960s, besides other emotions, philosophy had a place of pride in movies. Some examples would explain this.
SATTI SUTTADHADAA- Padha Kaanikkai
PONAAL POGATTUM - Paalum Pazhamum
SATHIYAM IDHU SATHIYAM - Idhu Sathiyam
MAYAKKAMA KALAKKAMA - Sumai Thaangi.
NINAIPPADHELLAM - Nenjil ore Aalayam
AARU MANAMAE AARU- Aandavan Kattalai to name a few. There have been still others as an integral element for many Directors of TF. Slowly this culture of philosophy vanished , may be because a matching play of emotions by the later artistes was not easy to come-by and most other sequences in a fim were shot in sets of studios.
THE SUBSEQUENT TREND was a reference to Divine characters more as a timely reminder though not to fortify their glories. It all started with lord Muruga as a reference point. Some examples are:
SARAVANA POIGAIYIL NEERADI- Idhu Sathiyam
AZHAGAN MURUGANIDAM- Panchavarnakkili
DEVIYAR IRUVAR MURUGANUKKU- Kalai Kovil
PAZHAMUDHIRCHOLAIYILAE- Kuzhandhaiyum Deivamum.
MANAMAE MURUGANIN -Motor Sundaram Pillai . From this reference to lord Muruga in movies, other deities also started figuring in movie songs. To start with straight and total devotion was used except as a negative reference in KANNA KARUMAI NIRA KANNA-Naanum oru Penn. [This song's tune was exactly reproduced in Hindi].
But, all subsequent "GOD-SONGS" have been direct appreciation or appeals in distress. Some examples:
KANNAN VANDHAAN- Raamu
RAMAN ETHANAI RANANADI
VASANTHATHIL ORE NAAL- Moonru Deivangal are some instances. There are many more beyond the limits of religion. As for example: DEVANAE-Gnaaana Oli, ALLAH ALLAH-Mohd.BinThuglak and others. ALL THESE SONGS WERE IN ADDITION TO THE COMMON ELEMENTS OF "LOVE DUETS'' plus other pathos numbers.But, it should be mentioned that lyricists have brilliantly availed of the situations to bringforth refrerences to God in the most acceptable way. Often the movie heros were held at par with KRISHNA or RAMA. Care was taken to sustain the image of the hero / heroine as respectable individuals. Now-a-days, love duets portray the hero /heroine as from RAAVANA or DHURIYODANA family if the number of members in a song is any indication! They have a very large following of men and women which can be summarised as "KOOCHAMILLA PENGAL, ACHAMILLA AANGAL" an assembly that can not permit finer human emotions. What can we do except to lament?
Warm regards Prof.K.Raman Navi Mumbai.
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Prof. K. Raman
Mumbai

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