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[madhuraman]

NENJIL ORE AALAYAM - VII
Dear friends,
In my posting on the initial piece about N O A , I have indicated that this was the first ever occasion when CV Sreedhar utilized V R as the MDs for his Chitraalaya banner. This relationship lasted for years between CVS and MSV. As it happens, at one stage CVS started searching for other MDs. Yet, if we count the number of movies, certainly MSV would top the list of MDs that CVS has availed of. In this the 7th entry on the movie NOA I wish to share my perceptions on music scored and the BGM rendered by MMs. What should not be lost sight of about this movie is the whole project was done in about 4 weeks and MMs were the busiest among the then MDs. There was just no scope of ' think , plan and execute' for the songs of N O A . Perhaps done in the shortest time, with the least period of gestation, the songs of N O A are holding the richest appeal as all time favourites of music lovers.
There are 6 songs in the movie. All except the title song have been rendered as solo numbers [3 by PS and one each by ALR and PBS, title song by TMS and LR E and co]
ENGIRUNDHAALUM VAAZHGA has no prelude although the song is a clear prelude to the entire story. The song is quite sedately tuned as the Doctor tries to understand his own position in the light of the 'new assignment; from Devika. Violins convey the dense mood of the scene.
NINAIPPADHELLAM NADNDHUVITTAL lavishes in the gentle play of flute and string instruments among which flute leads the show.
MUTHTHAANA MUTHTHALLAVO Is the lighest number but fairly richly orchestrated with more instruments than any other item in this movie. A song that was tuned in 3 minutes stays fresh after 47 years by virtue of its melodious tune and finely blended orchestral embellishments. The same song has a pathos version rendered by PS in a sobbing voice with a heavy base string as the lone instrumental back-up. MSV reveals his calibre in those single charanams rendered by PS
SONNADHU NEE THAANA, SOL SOL has been the STAR SONG of this movie. The tune itself is a delicate squeezer further embellished by sitar and tabla beats, Rather the tabla beats enhace the pathos effect. This is one song where lyric and tune overtake each other with supreme ease and MSV has firmly established his credentials as a master composer in this single song 47 years ago. All that we have known of MSV later, can be comfortably located in the 'sangathis' of this number. The beauty of this composition lies in its polite attack on the soul.
ENNA NINAITHTHU ENNAI AZHAITHTHAYO is an item of pathos. But it appeals as a majestic number through its subdued orchestration. See how MSV has exploited the vibrant Shenoy that blends with a cluster of violins that painfully narrate the sorrow mood. [ I wonder as to where they had the time to plan this orchestration in a carefully hurried project as
N O A. Certainly only divine grace alone can come to one's rescue at such moments]
ORUVAR VAAZHUM AALAYAM is the culminating number in this movie. PERHAPS CVS STANDS APART BY USING A SONG FOR A CLIMAX .
Truly, Mellisai Mannargal have lifted the movie to its highest echelons by a methodic design where voices and instruments unite to convey a feeling of sorrow in a very sedate humming joined by orchestral waves that progressively recede leaving the listener in a state of emotional isolation. I am poor analyst, but I do have feelings that make me gladly enjoy the musical wizardy of MMs. Often chorus songs are earmarked for jubilant moods. But as early as 1961-62 MSV -TKR have broken the tradition and have done it with supreme conviction.
BACK-GROUND MUSIC
In N O A, BGM OFFERS A LOT FOR THOSE WHO WISH A CAREER IN CINE MUSIC. There is just no BGM as the very movie opens. [MDs have a temptation to register a stamp as the movie opens. V R know that their stamp can be left all over with a higher telling effect].
In fact, the BGM largely goes with violins and quickly cascades in decibels as the conversation begins. Throughout the movie BGM truly has a backseat and therefore creates a serious atmosphere. At many intricate spots, the suspense gets enhanced by sheer silence but for the dialogues exchanged. There are moments of impactful BGM too.
When Devika meets [most unexpectedly] the Doctor, there is a thud that leaves the desired effect on us.
The second occasion relates to the shifting of Kutti Padmini to the surgery ward.
There is no inconvenient BGM [NONE AT ALL] as the surgery is performed on Muthuraman. MSV stands very tall just with the clicking of gadgets monitoring the vital parameters of the patient. MSV -TKR REMAIN ELOQUENTLY SILENT, WINNING OUR APPRECIATION FOR THEIR UNCANNY ABILITY TO CHOOSE THE SPOT TO RERECORD. MARVELLOUS IS THE LEAST, I CAN SAY OF THEIR WORK IN NOA.
THUS GO THE MERITS OF THE MOVIE, MAKING US WONDER THE MORE WE ANALYSE. I shall add further. [To Continue]
Warm regards Prof.K.Raman Madurai
_________________
Prof. K. Raman
Mumbai

[baroque]

Fantastic work!

Thanks Balaji for the songs - you tube.

NOA - musicals stand TALL for the composer's musical genius & his love for his work!

Please write about his films- BGM as much as you can.

Truly appreciate your passion! Looking forward to your next pick!

Feeling very emotional, reading your articles while listening to Legends- HMV release, Shri.MSV is like a kozhandhai, romba Simple & humble!


Vinatha.