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NAAN UNNAI AZHAIKKAVILLAI-HOW TO VIEW FROM IMBALANCED MIND

 
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N Y MURALI



Joined: 16 Nov 2008
Posts: 920
Location: CHENNAI

PostPosted: Sun Feb 08, 2009 10:36 pm    Post subject: NAAN UNNAI AZHAIKKAVILLAI-HOW TO VIEW FROM IMBALANCED MIND Reply with quote

‘Naan unnai azhaikkavillai’ – The great song.

Before starting to write the song there is a confusion as to how to rate the songs in the movie. There is an opinion that ‘ore padal unnai azhaikkum’ comes first. Some others refer the song ‘sirrippil undaagum’. Why not the song ‘vandhavargal vazhga’? So there is different perception and each one is right in his own perception. That shows how MSV approached each song in different situation and came out with individual brilliance. This is not an isolated incidence. It happened in many of his movies. In fact the very good thing about me participating in this forum is that I get new information which supports my opinion. Take the case abut my recent posting about ‘chella kiligalam’ where our friends mentioned about how, for the first time the pubic were participating in a competition to list the songs of the movie ’paava mannippu’. So this kind of impact his songs created from 1960 onwards continued till probabily till 1980. That is why I call this period as the golden period for TFM.

But I must also here confess that somehow the same impact I do not get for the songs composed in TFM after 1980s to till date. There could be some exception. But in general this does not seem to happen when compared to the period 1960-80. This happens even to MSV composed songs after 1980s. People could dispute my claim. But I stand firm in my judgment. But I also know that MSV himself is not at fault for the slide. There are many factors. The first and foremost is the demise of KD. MSV-KD combination worked as heart and soul so much that when one of them left the scene then there was a total change of chemistry in TFM. Even kavinger Vali’s performance seems to have been affected. Till KD was in the scene Vali was having competition, inspiration, challenge and every other thing, but when KD left the scene there was emptiness in TFM. There were other factors like a generational change of directors for film, change of MDs, change of technology (like stereo recording, track recording, new instruments like synthesizers, key board) and of course new sets of lyric writers. So the perception changed totally. How to extract the best out of MSV was not known to these new generations.

Now let us come to the song. I picked this song based on the following factors. One, it is composed emotionally. And second there are lot of intricacies involves in composition of this song.

The situation of this song is
An young man who himself is a good lyric writer and a reasonably good singer turns ‘mentally imbalanced’ because of the shock of seeing his beloved lover committing suicide in front his eyes by jumping from upstairs. Now his father being with a very rich family background engages a girl ‘radha’ to act as his wife on hire to take care of him. After initial hick up with the problem of handling him she is now mentally prepared to take care of him and to some extent succeeds in making some drastic changes in his approach towards others. The young man also develops an emotional attachment towards her. At this moment there was a problem from the elder brother of the young man who insults this girl. So she decides to go out of the house. As she is just stepping out of the room the young man starts singing this song. This is the situation.
Now here I need to emphasize the importance of the relation between this man and the girl. This is not love affair. Because the girl is on hire to act as wife. The man is mentally imbalanced so he could not have been in normal love. So what is the relation for the young man towards the girl? We cannot explain. Could it be of a very caring care taker mother? I think it is more than that. That is why when the song reveals all the hidden emotions I myself become mentally imbalanced. Means my mind does not work. The entire day becomes very sober and I go out of mood for the whole day. This happened to me when I first tried this song 25 years before. Then onwards I started avoiding hearing this song. At that time I thought I was wrong. How can an ardent MSV admirer avoid hearing his song that too of his best admirer? But an answer to that problem came last week.

Last week I had a telephone call from Mr. Vatsan. I was having coffee at that time and jokingly I offered him the coffee to him through phone by pouring in to my phone. He replied and said that let us avoid the worldly affairs and talk about a song. I understood that he was in an emotional mood so I became serious. There was some discussion about some songs. Now he told about the song ‘muthu nagaiye unnai naan ariven’ and explained how he changed the tune or ‘dwani’ when the line comes ‘kaalazhgai paarthal (a pause for some seconds). Then ‘khalazhai paarthal’ (in different tune). Though I knew the change since I heard that song I did not see that movie. So I asked him why did he change. Mr. Vatsan replied that while the character was explaining the beauty of the small young girl one by one he comes to the feet and since the young girl does not have both the legs a pause for few second are given to make the feeling of the characters emotional change. The continuation of the same line in different sober tune is to make the emotional feeling of soberness but at the same time comparing it to the divineness.(kaalazhagai paarthaal deivathirkku)

And Mr. Vatsan continued and said that some how he does not hear songs like ‘Malai pozhudin mayakkathile’ etc because he becomes very emotional and avoids hearing those songs. He told further that one day when he was in USA he some how happened to hear this song in his car stereo while proceeding for some important work and he had to return home because of the heaviness of emotions.

I understood that he called up only to off load his emotions some how he got on that day. That was why he did not enjoy my joke and started not talking about the worldly affairs. But now the problem was that, I started feeling very emotional and wanted to offload my emotions to another person. I called Mr.Srikumar my friend and started to mention about this song ‘muthu nagaye’. He immediately intercepted and asked me not to mention about that song as he is in the office and he could become very emotional and he has a lot work to do. What a surprise? The feeling I had long before which I thought happens to me alone is in fact happening to many of us. Can any ardent admirers of any other MD have this uniqueness of the admirers themselves not wanting hear some of the songs composed by their admired MD? THIS CAN HAPPEN ONLY TO MSV iars.

Now coming to the song ‘naan unnai azhaikkavillai’ in order to express this song better, I thought it would be better for me to hear the song again. So I downloaded this song from our site and heard it in my audio. My mother was with me at that time. She asked me to play it again. I did that. She wanted it again. I again did that. This time there were tears in her eyes and she said there could be no other composer like him as she broke down. Now I decided that it would be still better for me to see the movie itself again which I saw 25 years back. So I purchased a DVD yesterday and we played in the night. Now with that experience I shall start.

The song starts with no prelude. It starts with TMS voice ‘naan unnai azhaikkavillai……. En uyirai azhaikkiren……..’ then a violin and a shenoy piece. And then the actual song in the scale starts. You would notice here that the first 2 lines are in some what at a higher pitch than the original scale of the song. The reason for this is that the first two lines are strong statements as the girl was about to leave, so in order to grab her attention he has to do it in higher pitch. Then once her attention is drawn the actual song starts in the normal pitch. The in between shenoy piece is showing her soberness. What a brilliant emotional start for a very very sober and sorrowful song.

Now a question comes to my mind as to how MSV would have looked at the composition from the view of a person who is mentally imbalanced!!!! Well there are number of songs composed by others and by himself for other situations. But how to look at from the perspective of a mentally imbalanced person. He has to be mentally imbalanced first. But at the same time he should also be mentally balanced to understand the emotions and express it to others by way of music. Has any thing like this been challenged to other MDs before and after MSV in TFM? What about the Hindi version? I am keen to know that.

So he was in a very tricky situation. But he came out well.

The song starts in raga ‘kalayani’

The aarohanam of the raga is

Sa-ri2-ga2-ma2-pa-da2-ni2-sa

The avarohanam of the raga is

Sa-ni2-da2-pa-ma2-ga2-ri2-sa

But there is surprise here. There is a mix of a swaram ‘ga1’ when the word ‘azhaikkavillai’ comes. Why? I think it could be for adding more soberness. I wish to inform here that normally the raga kalyani is used for happy occasion. I have mentioned before that the swarams ‘ri1’, ‘ga1’ ‘ma2’, ‘da1’, and ‘ni1’ gives very sober effect when used in conjunction with other swarams. The very difference between the raga ‘mohanam’ (which is normally used for happiness) and the raga ‘sivaranjani’ (which is normally used for sorrownes) is the swaram ‘ga’. In the case of mohanam the swaram that comes is ‘ga2’ whereas in the case of raga sivaranchani the swaram that comes is ‘ga1’. Rests all are common. So by just changing one swaram ‘ga2’ to ‘ga1’ in a scale we get two different ragas which normally contradict each other in the expression of emotion like mohana raga for happiness and sivaranjani for sorrowness.

The raga kalayani itself has the swaram ‘ma2’ which is as mentioned before could have a light sober effect. But MSV would have thought that since the situation is very emotional and sober it is better to use ‘ga1’ also in the kalyani scale which adds more soberness.
If we see the line ‘naan unnai azhaikkavillai……. En uyirai azhaikkiren……..’ This musical expression has the highest soberness. Not only that, this also gives the impression that the character is not calling back the girl in body and flesh but her soul. So you require a soul touching tune for that.

Now let us come to the anu pallavi. The line is ‘naan chinna kuzhandhaiamma solla theriyavillai’. If you notice this line you would understand that the raga changes here. How? Because the swaram goes through ‘ma1’ ‘da2’ and ‘ni1’. The swarams ‘ma1’ and ‘ni1’ are foreign to the raga kalyani. When this line is sung you would notice the background harmony goes in the chords f major (sa-ma1-da2). See the f major progression in the raga kalyani never comes as the swara ‘ma1’ is not there in that raga. So with this effect he was able to create a totally different melody piece for that particular line. In the raga way we can call this could be of a phrase in raga ‘harikambhodi’.

Here I want to mention one important aspect of MSV’s composition. Often you would have noticed I used a term called ‘chords based melody’ in expressing his style of composition. When I made my initial first 4 posting in the month of DEC08 there were some feedback. One reply stated that the western music day in day out consist of creating melodies based on the chords concept. I immediately felt that I made a mistake of not properly communicating my opinion about his style of composition. The problem was in the nomenclature called ‘chords based melody’. So it made others think that his composition is in western style. Though MSV used this concept in his composition yet he had his own way of communication through his musical expressions which came in its own and unique way. That is, it did not consist of a mechanical netting of one chord with other using the notation of those chords itself. If that happened people would have immediately stated that his music is western. But some how it had that western concept but also got mixed with the traditional carnatic raga style and the netting become very complex. But the truth is that it consists of the western method also.

Now after writing 100 s of posting about his song I am now refined. I think the best way of expressing his style of composition is to call as ‘MUSIC’ (Msv’s Unique Style In Composition). That is all. There is no other appropriate word I could imagine as his composition is very unique and never tried before him and after him.

I have used the word ‘refined’. Well. The refinement I got after writing various posting is that originally when I wrote I thought that this unique method of chords based melody is his major strength. But now I feel that that is only a process. The real strength is his ability to visualize himself to the view of the character and pronounce the sounds for the words by appropriate musical phrase. The phrase could come in a raga style or through a western style. That is immaterial. What matters is that a change of musical phrase takes place when ever there is a requirement of expressing an emotion. That is normally triggered by the word which requires a changed emotion and so he changes the musical phrase. The change of the musical phrase comes by adopting different chords harmony or through a raga. So the purpose is emotional and the notations used are the process.

I also found that we human beings day in day out are doing this even while we are speaking, leave alone while singing. I shall explain with an example.

One month before I was starting for my office. I am staying in the first floor and I went to the ground floor and was about to take my scooter. I found I did not carry my helmet. I called my daughter like this

‘Hey lakshmi. Get my helmet’

She seems to be busy. She replied

‘I am very busy’

Now I called up again

‘Lakhmi, please! Get my helmet’

Now again she did not respond.

Now for the third time I asked

‘Lakshmi Please ma. Why don’t you get my helmet as I cannot come upstairs’

She got my helmet and I started. After reaching the office during a free time I was thinking. Now the morning discussion with my daughter came to my mind. To my great surprise I found that the ‘dwani’ or the sound I made during those 3 statements towards my daughter were all in 3 different tones. While in the first case it was a normal ‘dwani’ or tone, where as in the second case the tone was lower and very different. The third was even lower and very very different from the first and the second. I was surprised. I thought that means we humans, even while speaking could create different tones in order to show different emotions. The second case is the emotive appeal to my daughter which is pleading. The third case was even more emotive appeal which is begging. So I understood that if we can do the ‘dwaini’ or ‘sound’ or ‘tone’ change while speaking ,we could also do it in music by way of changing the tones by making different swarams. The effect would be that we could go away from the raga route but who bothers about the raga? Now consider my earlier posting about ‘naalam naalam’ where I have mentioned about the ‘3 swarams’ composer who put himself in to the restriction by not going away from the 3 swarams he set. So how could he express his emotions for the words when the words require changed swarams in order to explain it in the musical way? But MSV never ever tried to restrict himself in to the tradition or rule. He would use the appropriate tone in order to express appropriate emotions. This is not understood by the so called experts in India and because of this fact though they themselves accept that MSV’S composition is unique yet since they could not understand they were not willing to award him.

Now coming back to the song in the line ‘naan chinna kuzhandaiyamma’. Here we have to analyze it very carefully. The tune or the musical phrase of this line ‘naan chnna kuzhandaioyamma’ and the earlier ‘naan unnai azhaikkavillai’ is very different with each other as we all know. But why did he change the tune in that line?
I already mentioned that MSV has been challenged here to compose in the view of a mentally imbalanced person. What does a mentally imbalanced person do? He will make one statement. The next minute he will make another statement which is very different to the earlier one. This will create confusion for the person who is hearing the statement. Here by changing the tune for the line “naan chinna kuzhandaiyamma’ with the swarams ‘ma1’ ‘da2’, ‘ni1’ (by having ma1 and na1 as foreign swarams to the original raga or going to raga harikhambodhi) he tries to create confusion in the minds of the listener. Yet these are harmonical musical phrase as these come out in MUSIC that is in f major harmony (no more chords based melody word. This is the last time) there is confusion created for that raga kalyani. Also by using the swaram ‘ni1’ which I mentioned earlier it continued to give the sober effect. The previous line was in kalyani raga which is in the panchama shruthi. Since this line is through sa-ma1-da2 this line alone is in a way madyama shruthi (f major) a sort of shruthi bedam is effected. This is one way of changing the ‘bedam’ for a person who is mentally imbalanced (bedhalitha manadhu).

Now let us come to the charanam. The line ‘enna thavaru seidhen addudan ennakkum puriyavillai’. This line again starts in kalyani raga and again goes though ‘sa-da2-ma’ with f major harmonical background. The same effect of confusion or ‘bedam’. Because the line itself states that he does not know what mistake he made which he could not understand(puriyavillai means confusion).

Now comes the line ‘vandhu pirandhu vitten aanaal vazha theriyavillai’. Now we must notice here that after the word ‘theriyavillai’ there is an extension of the musical phrase sung by TMS. That extension of the musical phrase is in the raga ‘bandhuvarali’ style. It involves the swarams ‘ri1’ ‘ga1’ ‘sa’ and ‘ni2 all in the lower level of the ‘sthayi’ or ‘octave’. The phrase when goes through these notes gives the effect of the raga ‘bhanduvarali’. But why this musical phrase? I wanted to understand this better. That is why I wanted to see the movie yesterday. At that point of time Sivaji would sit on the floor and hitting both his hands on the floor. Literally meaning helplessness. What would we do when we are faced in that sorrowful situation? Any body watched how we cry? Initially it would be in high pitch but as the crying comes to end the sound or the pitch becomes lower and lower and finally there will be an extension of the cry which is called ‘yeena swara munagal’. That is exactly the emotion this ‘bandhuvarali’ style musical phrase conveys. Otherwise what reason could we say? Where is kalyani? Where is harikhambodhi?Where is bandhuvarali? How can we express the feelings or emotions we feel these phrases try to convey us, which are very different to each other yet combined in a single melody. The main reason as mentioned earlier is to express the emotion or the ‘bhavam’ of the respective line with respective musical phrases.

Now the next line ‘arugil irindhu solli koduthal ulagam theriyadhaa ammammaa……….. vivaram puriyaadaa’. This line goes in kalyani only. But we must notice here that it starts from the lower tone and goes higher and settles backs to the lower level at the time of ammammmaa ….. there is a pause after this word and then the line ‘vivaram puriyaadaa’ comes. The pause is to express the deepest ‘swaya pachaadabam’.

The second charanam has been very carefully written in order to convey the same kind of expression of emotions as the first charanam. Otherwise again very different tune would have to be made. You can feel the lines like ‘ennai padaitha thievam innum kannai thirakkavillai’ conveys almost the same emotion of the first chararam ‘enna thavaru seidhen’.

Again ‘unnai annuppi vaithaan aanaal unakkum karunai illai’. The same badhuvarali phrase fits very well here also. Even if the god who did not show benevolence to him, at least sent her to him. But she herself now is not showing her benevolence to him by deserting him. So the ‘yeena swara munagal’ is very appropriate here also. Now the next two lines in the second charanam fit much better than the first. See the word ‘irrakkam pirakkadha?’ ‘swaya pachaadabam’.

Now during the entire song we must watch the word ‘naaan’ musical phrase. The first two times are short musical phrases. But during other times in the song it is always extended with a sangadhi in order to form the opinion that the singer’s main subject is about him, his state of affairs, what he wants from the other person to whom he is singing. So the thrust is there for the word ‘naaan’

Now coming the interludes. How can I explain? At least the song expresses the emotions because of the words and the meaning. But in this song the ‘shenoy’ expresses the sorrowful emotion without any words and by sounds only. Unbelievable.

We should also notice one more thing here. When the line ‘enna thavaru seithen adu dhan yennakkum puriavillai’ comes it is followed by a violin strings and a shenoy piece. That musical phrase is in the raga ‘bhanduvarali’. Actually the raga ‘bandhuvarali’ phrase comes only after the next line ‘vandhu piranthuvitten aanal vazha theriyavillai’.

There is a saying called ‘yaanai varum pinne mani oosai varum munne’ ( the elephant comes back but its bell sound comes before) like this vilion and shenoy musical phrase informs us as to what is likely to follow in the next line.

Now about the lyrics. Any thing to be written? Nothing. The very line ‘naan unnai azhaikkavillai en uyirai azhaikkeiren’ meaning he is not calling her in flesh and body but calling her soul explains us the relationship between these two which is very unique.

Now how about acting? Well no words. Only one reference I shall give. Please see the movie and especially during this song and see how “Sivaji” expresses when the line ‘unnai anuppi vaithaan aanal unnakum karunai illai’. Some people say that he is doing overacting. They have to see this particular 2 seconds frame. No more explanation needed.

The very important information I need to add here is the acting of JJ in this movie. She is absolutely brilliant. I feet that people have not understood her acting skills properly.

To conclude the song. Mrs. Usha Sankar. The inspiration for this posting is because of your reply to my posting ‘chella kiligalam’ some how I avoided this song ever since first I heard. Of course I could have heard a few times. One such incidence happened last Sunday when we all met at Mr. Ramki’s house. But at that time we were all discussing various aspects. So some how I was not affected. But once you asked me in your posting asking for the songs from this movie this came first.
The reason is because this is very unique since it looks from the angle of a person who is mentally imbalanced. Do they really behave the way as ‘Sivaji’ did in the movie. Can they really explain the emotions like this song? Well I do not know.

But certainly I have a personal experience. My sister had one of her sons born with the deficiency called ‘mental retardation’ right from his birth. He passed away 2 years back because of both kidney failures. I have seen him from very close quarters and sensed many times he had all the emotions like all of us but he could not communicate. Because of this he would react very irrationally sometimes. But otherwise on a normal case he was a very soft boy and loves hearing music. Who knows what are all the emotions he wanted to convey in his 28 years of life. So this posting is dedicated to him. That is why I am always deeply affected whenever I remember this song. The situation for the other songs normally happens to all of us in our daily life. That is the reason when MSV was able to look at this angle and came out with this number I feel this is the best amongst all.

But let us not go by movie wise. Then it would be a historical research. Let us go by individual songs which touched our soul and heart irrespective of the movie. By doing that let us do archeological analysis and unearth the hidden treasures that are buried in this great ‘sangheedha saraswathi’ the only ‘mellisai brahmmam’.

Regards,

N Y MURALI
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Vatsan



Joined: 20 Jan 2007
Posts: 352

PostPosted: Mon Feb 09, 2009 4:02 pm    Post subject: Resp Reply with quote

Murali Mama, a heartfelt posting. Can almost feel your passion for expressing what you felt and the effort you have taken to make yourself understood. Great job !!!

MSV's music is such, has unparalleled dynamics, where a range of emotions , feelings are expressed and the beauty being, all within the wide canvas of the movie's theme. As you have experienced yourself Murali, it is absolutely important for listeners to musically "feel" through the song and why musically ? That's because the melody has been knitted together most tastefully. Songs such as this, that you have taken up for discussion prove how a myriad of emotions...pure despair, self-pity, desparation, sheer helplessness and utter hopelessness can be strung together and made to co-exist through a 3-4 minute time span and made to appear as different faces of negativity through the magic of a melody that can keep them on friendly terms. Talking about rules at this point seems to be such an insenstive thing to do.

Great music is always that renders you benumbed, takes you in, into a space / depth hitherto unexplored....so much so that as long as the musical effect lingers, one finds it impossible to perform anything related to the mundane, say even drinking a glass of water out of thirst. So thoroughly internalized that your senses cannot directed outside of the space you are in.

MSV's ability to churn off such music and pour like none else in the history of Indian cinema, needs to be placed alongside Goddess Saraswathi's Veena. But on the other side, MSV himself spoils the show with his misplaced ideas about his own abilities and worse, expressing them in a public forum. kalai magaL kaipporulE unnai gavanikka AL illayO ? The poet must have had MSV in mind !!!!
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tvsankar



Joined: 24 Jan 2007
Posts: 229

PostPosted: Mon Feb 09, 2009 11:44 pm    Post subject: Reply with quote

Dear Murali,
Naan edhir parthadhai pola

Great post from you Sir.

Ellam padithu vittu reply seigiren.

padithadhil
manadhil padhindha stanza

" coming to the song ‘naan unnai azhaikkavillai’ in order to express this song better, I thought it would be better for me to hear the song again. So I downloaded this song from our site and heard it in my audio. My mother was with me at that time. She asked me to play it again. I did that. She wanted it again. I again did that. This time there were tears in her eyes and she said there could be no other composer like him as she broke down. Now I decided that it would be still better for me to see the movie itself again which I saw 25 years back. So I purchased a DVD yesterday and we played in the night. Now with that experience I shall start. "

Yes. True Sir. T V il indha padam parthadhum
Udanae VCD vangi vangindu vandhuten.

Appadi oru Padam. Appadi oru composition....

"Yenna thavaru seidhen adhu dhan enakum theiryavilai"

Wat a ludes.....

Ungal post ai muzhudhum complete seiyavillai.
seidhuvittu reply panren Murali.

With Love,
Usha Sankar.
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msvramki



Joined: 18 Dec 2006
Posts: 418
Location: Chennai

PostPosted: Tue Feb 10, 2009 3:25 pm    Post subject: Reply with quote

Dear Murali,

What a fabulous posting on the wonderful 'Naan Unnai Azahikkavillai .." !
The emotions one would experience when hearing this song, is brought out crystal clear in each line of your analysis ?

As you have told neatly, Raaga is only just a referral point for MSV, who brings the emotions of the charecter of the movie so aptly into the listener, by the Bhavam of his music !!

After the meeting we had at my place, after listening to this song together as the last item of the meeting, I too had the same emotion like all others and listened to the song a few more times later !

--------

Dear Vatsan,

"Kalaimagal KaipporuLe Unnai gavanikka aaL illaiyoo" - points to only MSV, as you have said.

So thoroughly internalized that your senses cannot directed outside of the space you are in.

As we all discuss whenever we meet, MSV lives the charecter of the film in the situation and composes and we are taken to a different space where we are not ourselves.. We have to take very special tough efforts to come out of it ! At the end of composing a song, he just FORGETS what he had done and he does not even know how he he had done !
And that is the reason, he is not able to explain anything about his compositions in many interviews except repeating a few incidents again and again and ..... again ! But that is precisely his strength too because he is able to give us varieties, bundled with tonnes of emotions, all uniquely !!

Great going..
Carry on please

RAMKI
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Ramesh.P



Joined: 07 Dec 2006
Posts: 177
Location: Chennai

PostPosted: Tue Feb 10, 2009 4:56 pm    Post subject: Reply with quote

There was some discussion about some songs. Now he told about the song ‘muthu nagaiye unnai naan ariven’ and explained how he changed the tune or ‘dwani’ when the line comes ‘kaalazhgai paarthal (a pause for some seconds). Then ‘khalazhai paarthal’ (in different tune). Though I knew the change since I heard that song I did not see that movie. So I asked him why did he change. Mr. Vatsan replied that while the character was explaining the beauty of the small young girl one by one he comes to the feet and since the young girl does not have both the legs a pause for few second are given to make the feeling of the characters emotional change. The continuation of the same line in different sober tune is to make the emotional feeling of soberness but at the same time comparing it to the divineness.(kaalazhagai paarthaal deivathirkku)



Dear Mr.Murali

We heard quite often about YAAR ANDHA NILAVU song and finally NADIGAR THIALGAM WON THE RACE(AS TOLD BY MSV).

My humble opinion that MUTHU NAGAIYE song was not presented well in the big screen. I feel like crying whenever I heard interlude before NILAVUM VANNUM NILAMUM NEERUM lyric. I cannot and sit and listen entire song and somehow I use to feel quite uneasy and dont know why .
Thanks for sharing your feeling and I felt the same.

Regards
ramesh
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