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PADITHATHU,PAARTHATHU, KAETATHU ON OUR MASTER
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VaidyMSV & Sriram Lax
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PostPosted: Mon Jun 15, 2009 11:00 pm    Post subject: PADITHATHU,PAARTHATHU, KAETATHU ON OUR MASTER Reply with quote

dear MSVians

i just want to start a thread , so anyone can enter here what they have read, seen , and heard of our master so , we have a titbits on MSV , after some days .
probably some one would have mentioned this under some other thread , but still i though , this would benefit , many who rarely gets chance to read esp .
Let me start what i have read

[b]READ [/b

1) Courtesy RANI (weekly ) -rani is writting on ARR RAhman , in that , two weeks back , an item .
ARR , likes MSv music , a lot , and he wanted MSV to sing song for him , and accordingly told , the producer , to book him . , Msv was asked , to sing the song AALALAGANDA , in sangamam .when , the question of remuneration came , producer wanted to pay an amount . ARR didnot like the amount , and he wanted a bigger sum , he apparently told the producer , the amount producer wanted to pay may be for the singer , but he wanted to pay his respect .if they have any issues , they can adjust in his (arr ) remuneration . the amounts have also been mentioned there .
the amount producer wanted to give rs 50000 , and what ARR wanted to pay rs 200000.
i salute ARR determination , to paying respects to the Bhishmer of Film music.

2) courtesy again Rani -last week's - P SUSEELA'S INTERVIEW .

A) question to PS - how can you sing tamizh , so perfectly , when your spoken tamil is not .
the answer ;; MSV , used to correct , me the language , and finally i have got perfected .
(one wonders now .)

B) to another question - how she is able to change her voice to every heroine
PS answer is - No i sing the same way , and i donot change my voice , but MSV , tunes such a way that it looks different
(can u imagine - pesuvathu kiliya and andru oomai pennalo sung the same way )


ii) SEEN - courtesy again ARR rahman's interview in a TV channel with VIVEK
question to ARR -- you have worked as an instrumentalist to great MSv , and you made him sing your tune too
and what is your experience
the answer - as an instrumentalist its very tough , because , its live , and we have to remember the tunes , and play correctly .
and making him , to sing , was my wish , and Vivek intervenned to say

its a KICK - when MSV sings - but ARR answer was excellent , he said His BHAVAM - no one can get , and his BHAVAM stood out with even hariharan following MSV , and he mentioned esp the line -- MAHANEY , MANHANEY - and added that MSV gave life to that song .- how truely he judged , a great COMPOSER, applauds THE GREATST EVER .
now pls continue the thread [/u]
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PostPosted: Tue Jun 16, 2009 4:47 pm    Post subject: Reply with quote

Great writing Mr. VijayKrishna. 'Neenagal ezhudhikkonde irungal, Naangal paarthukonde irukkirom'.

Thanks

N Y MURALI
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PostPosted: Tue Jun 16, 2009 7:52 pm    Post subject: Reply with quote

thank you Mr. murali

i tried to write this in thamizh , but could not .
i am sure there are a lot about this great man , only thing is we should compile .-hope fully i will do max possible
thanks and w regds
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PostPosted: Sun Jul 05, 2009 9:51 pm    Post subject: Reply with quote

இன்றைய என்றும் எம் எஸ் வி நிகழ்ச்சியில், தொகுப்பாளர் ஆதவன் சொன்ன ஒரு சுவையான செய்தி(!):

"சமீபத்தில் ஒரு கருத்தரங்கு நடந்தது. கருத்தரங்கின் தலைப்பு: நமக்கு ஏற்றது மக்களாட்சியா, மன்னராட்சியா? கருத்தரங்கின் முடிவு: நம் சமுதாயத்துக்கு ஏற்றது மக்கள் ஆட்சி. இசை உலகுக்கு ஏற்றது (மெல்லிசை) மன்னர் ஆட்சி!
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PostPosted: Mon Jul 06, 2009 10:14 pm    Post subject: Reply with quote

SUNDAR C BABU IN POTHIGAI ON 6/07 /09 (chithiram pesuthadi fame MD, and veenai chittibabu's son )

while i am entering home today , interview was going on , and question is about our acharaya later i found out its sundar c babu .

he was asked about his interaction with MSV
he said that was a great feeling and added

when we look up to I R , ARR , they talk a lot high about MSV , and they look up to MSV , so MSV is in the height of hirachy.

to compose and get the song sung by him , is a great deal , and i was very happy , when he accepted to sing for me ,

i felt like , i was in heaven with MSv on one side ,and valee on otherside .

He appreciated my music , and i donot need anything more than that in life .
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PostPosted: Mon Jul 06, 2009 10:24 pm    Post subject: Reply with quote

!
Now Dhanush has also joined the club of heroes turned playback singers. Recently, he recorded his second song for the music of GV Prakash's Madraspattinam directed by Vijay.


This time he has crooned with none other than the Mellisai Mannar MS Viswanathan for a song which will be picturised on Arya and a character artist.

This song written by Na Muthukumar is a melody and will be the opening song of the period film set in the 1940s.

Says Danush, "I was really thrilled to render a song with our all time genius MS Viswanathan. I hope the song will be a remarkable one. The tune is very interesting..."
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PostPosted: Tue Jul 28, 2009 8:27 pm    Post subject: Reply with quote

dear all

what i have read in TFM page ..
the information would be correct , as written by manisegaran who is great and indepth knoweledge in old films like our ragavendra/prof etc
topic he is discussing is mis givings and mistakes that are prevailing
now pls go ahead on MSV

quote

1) Kan Mai Yenthum Vizhiyaada in Poojaikku Vantha Malar is attributed to Valee. But it was already written by Kannadasan for PACHAI VILAKKU, but lifted for Poojaikku vantha Malar.

2)In the record of Chitrayuga’s URIMAI KURAL (1974), we can see that the song Vizhiye Kathai Ezhuthu is attributed to Valee, whereas the original lyricist is Kannadasan. The record for DHEERKASUMANGALI says Kannadasan wrote the song Mallikai En Mannan Mayangum, but it was Valee. We may remember the film Arangetram with V. Kumar as MD. Ut the song[b] "Aaramba Kalathil" was composed by MSV. Kumar was also the MD for the fim Ethir Neechal, the song composed by MSV in ethir neechal was Enanamma ponnamma, a duet by TMS & P.Suseela for Nagesh and Jayanthi.

3)In the old Pioneer Films "SAKUNTHALAI" (1934) he composed songs and sang as well. The one song that became all time famous and favorite was:

“Kalaiyiley Ezhunthirunthu
Kanchi Thanni Illamaley
Kashtappadaren Kadavuley”

This song was so popular that Mellisai Mannar too used to sing it at the age of twelve.
4)
PONAAL POGATTUM PODA


Let me start off a song from a film by my all time favorite actor Sivaji Ganesan. Who can forget the immortal Paalum Pazhamum of G. N Velumani that has so many accolades to boast of? It was another feather in the cap for Director Bhim Singh for his excellent direction in bringing the inner talents of Sivaji Ganesan to the fore. Saroja Devi did well and she has attributed her good performance to the guidance given by both Bhim Singh and Sivaji Ganesan. As for the songs, Kannadasan had once again proven his tremendous ability to write lyrics to suit the storyline and the situation. We need not mention the soul stirring songs with music composed by Visvanathan Ramamurthy. Naushad had praised the work of the MDs in this movie.

It is an established fact that the production of songs came from a perfect combination, a combination that could never be replaced. Kannadasan has to write the lrics, Visvanathan Ramamurthy have to compose, TMS and P. Suseela have to sing, Sivaji Ganesan has to act, and Bhim Singh has to direct. This perfect formula produced some of the outstanding songs in all the films of the “PA”series directed mostly by Bhim Singh. Paalum Pazhamum was made at a time when there was a tendency for the producers, directors, music directors, singers, lyricists, singers and sometimes actors would sit down for discussion. That may explain as to why songs of Paalum Pazhamum went very well and deep into the films and into our own hearts. With publicity hitting the media even while Paalum Pazhamum was in the making, much was expected from this movie.

THE SONG
The climax song Ponaal Pogattum Poda shall always be remembered for the combination of strong lyrics by Kannadasan, appropriate and haunting music by the “Irattaiyar”, unparalleled performance by Sivaji Ganesan, meticulous direction by Bhim Sing, and good camerawork by Vittal Rao.

Once the situation was explained, Kannadasan started to write the lyrics. But sometime earlier, it is said that Kannadasan had learnt of someone dying from dog bite. A thought emerged in his mind that human life is so ephemeral. This impression had rejuvenated in his mind. But he had no occasion to pen the lyrics immediately. In Paalum Pazhamum, there is a situation where Sivaji loved his wife so much. Upon learning of her departure, he had to face the reality and accept that one who ascends to the next world would under no circumstances return, however much effort is exerted. Therefore the only solution is to take the position of complete detachment and submission to the will of nature. It was to this situation that Kannadasan wrote the song for the film.

As he started off the Pallavi with the words “Ponaal Pogattum Poda” MSV immediately intervened lovingly, saying how could Kannadasan use words like “Vada Poda” for such a strong, climax and philosophical situation. Kannadasan defended saying that it is the simplicity in the lyrics would fetch a high place for this song sometime in the future. MSV was not too convinced, as his duty was to compose. But he accepted the lyrics and composed the tune and intial music, together with Ramamurthy’s assistance.

We know MSV is an extremely hardworking MD and a believer in perfection. He will not leave any stone unturned in order to bring out the best within his means. As this was a situational song, it is said that MSV and TKR even made a visit a graveyard to get the feeling of the mood of the surrounding situation. Mimicry king Sadhan too seemed to have accompanied them. They listened to the familiar sound in the surroundings. (MSV himself has narrated that for the song Varathappa Varathappa Kanji Varathappa in BABU, he went to a factory site to see for himself and get the feel of the people’s behavior before composing the music)

Finally the music and the song came out very well, with the lifting voice of TMS. The talented Sadhan did a good job by mimicking wild animals usually associated with graveyard.

The song was then picturised. It was one of the best walks of Sivaji Ganesan, a unique and elegant kind of walk that no one else could emulate- and none has emulated till this very day. Sivaji Ganesan is capable of providing a variety of styles for every kind of body movement. Directors would go bewildered not knowing which to choose, as each was excellent in its own way. Following the picturisation, other external clippings containing animals and bird assocaited with grave yard were added to lift up the life in the song. Then came the meticulous editing! Finally the best was obtained for the entertainment of us fans.

ON THE SILVER SCREEN
Words fail to describe the superb manner in which the song came out. Each aspect of the song earned praises in abundance. Suffice to say that the song starts off with “Ohoho” with Sivaji Ganesan walking away from the burning fire in the graveyard, shot from the distance, there was a kind of magical spel on the movie goers. Then Sivaji Ganesan emerges with open arms, holding the walking stick in one hand- in the most majestic manner. I recall vividly the thunderous applause in the theatre, caused by the electrifying atmosphere provided by the audiovisual effect!

(Viewing song scenes from movies over even the best equipped home theatres do not produce the same effect as in the theatres.)

In this song alone Nadikar Thilakam walked in different styles, sometimes slanting, sometimes slow and sometimes fast. That was a wonderful treat by Sivaji Ganesan. Not only that, in every of his movement in this song there was applause from the audience. He simply kept the audience mesmerized and glued to their seats! No words could adequately describe his inborn talents that surfaced in this song alone.

POST FILM ERA
Now the news! Following the grand success of this movie, Nadikar Thilakam was asked how it was possible for him to give such unique styles of walking in that song. He was humble to comment that it was the high philosophy and strength of the lyrics of Kannadasan that gave him all the inspiration for him to walk in that most majestic manner. Imagine the power of inspiration in the lyrics of Kannadasan. This answer of Sivaji Ganesan made his fans reflect on the power of the lyrics. Kannadasan’s lyrics had certainly contributed to the acting of Sivaji Ganesan in all the songs that he penned. (In another movie, Kannadasan wrote a song, knowing fully well that only Sivaji Ganesan could act it out- and it came out true)


We remember Kannadasan had predicted to MSV that the simple lyrics in this song would fetch a high place in society. While Kannadasan was still alive, one Minister was dismissed from his post. (I believe it was the Union Minister of Finance by the name of T.T.Krishnamachaari who was forced by Indian PM Lal Bahdoor Shashtri to resign in 1965.) The Minister returned home very sad and was down in spirit. While he was sadly seated on a swing at home, at that opportune moment the song Ponaal Pogattum Poda, Intha Boomiyil Nilaiyaai Vaaznthavar yarada was played. He concentrated again on the wordings-“Ponaal Pogatum Poda, Intha Boomiyil Nilaiyaai Vaaznthavar Yaarada.” It simply sent home the message that live is simply ephemeral, analogous to a bubble, that may explode any moment and no more be there. Anyway a politician’s tenure is short and short-lived. The Minister was so touched by the song that came as a balm to his wounded heart that he immediately called for the song writer. Kannadasan went as summoned. Kannadasan went to see the Minister, not knowing what the reason was. Upon seeing him, the ex-Minister hugged Kannadasan and appreciated him for the meaningful philosophy that came as a great consolation for him.

Now, that was not the end of the story. We shall come to the post Kannadasan era. One early in the morning when it was still pitch dark, a vehicle ran over the wall of M.S. Visvanathan’s house. Part of the wall collapsed and Visvanathan was deeply disturbed and distressed. Not knowing what to do he was lamenting. At that moment he heard a boy sing a song in the far distance while taking his goats for grazing. And that song was Ponaal Pogatum Poda, Intha Boomiyil Nilaiyaai Vaazhnthavar Yaarada. That line was so comforting to MSV. It was then that he recalled what Kannadasan had said while writing the lyrics. The living lyrics by Kannadasan were meaningful while Kannadasan was still alive, and continues to be meaningful even after that. It appealed from the last man on the road to those eminently placed in society.

Now, a word about the simple words used in the lyrics. When I met PB Sreenivas, he told me that the greatness of this song loaded with high philosophy was the simple words used in the lyrics. This is a song, which contains philosophy of life that applies to the entire mankind, with universal thought emanating from the verdant soil of Tamilnadu. Kannadasan himself had said that this song was reflective of his own philosophy. He also urged his fans in adversity to use the philosophy in the song as prescription for happiness.

In this song we see a wholesome satisfaction in every aspect- lyrics, singing, music, singing, direction, direction and performance. This I consider is a rare song which is a product of putting together the best brains!

When this song scene came in the theater, the atmosphere was simply electrifying beyond belief! Let us see for ourselves how the contents of our discussion fit the song.
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PostPosted: Wed Jul 29, 2009 12:30 am    Post subject: Reply with quote

Dear Vijaykrishnan,
Excellent write up on Ponal Pogattum Poda. Generally there would be a saying that one should not dwelve and research deep into any thing (rishimulam nadhimulam parkka koodadhu). But here it is just opposite. Visu Kannadasan pattukkalin rishimulam nadhimulam andha paattai vida arumaiyaai irukkiradhu, swarasyamaai irukkiradhu. How this song was composed, how this pallavi was arrived, I would like to reproduce my earlier posting leading to this under the thread anecdotes and/or nostalgia:

"சூழ்நிலை - பாலும் பழமும் பாடல் பதிவு
அமர்ந்திருப்பவர்கள் - விஸ்வநாதன், கண்ணதாசன்
வெகு நேரமாக பாடலுக்கான பல்லவியே கிடைக்கவில்லை.
குளிர் பானம் அருந்த முடிவெடுத்து பையனிடம் கொண்டு வரச் சொல்கிறார் கண்ணதாசன்.
பையன் வருகிறான். பதற்றத்தில் கண்ணாடி பாட்டிலைக் கீழே போட்டு விடுகிறான்.
கண்ணதாசன் பரிதாபப் படுகிறார். விசு, பரவாயில்லை, சின்னப் பையன் பதட்டத்தில் போட்டு விட்டான். போனால் போகட்டும், போய் வேறு கொண்டு வா என்கிறார் கவிஞர்.
டேய் விசு, இதாண்டா பல்லவி, துள்ளிக்குதிக்கிறார் கவிஞர்.
பாடல் உருவாகிறது
போனால் போகட்டும் போடா, எப்படிப்பட்ட சூழ்நிலையில் படத்தில் இடம் பெற்ற பாடல், எப்படிப்பட்ட சூழ்நிலையில் நிஜத்தில் உருவாகிறது.
இதுவல்லவோ டீம் ஒர்க்.
ஆதாரம் --- சித்ராலயா, 27.08.1971]"
http://www.msvtimes.com/forum/viewtopic.php?t=1972

Raghavendran
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PostPosted: Wed Jul 29, 2009 7:39 am    Post subject: Reply with quote

A couple of titbits more on 'Ponal Pogattum poda'

MSV once said that he was struggling to get an appropriate tune for this song and one day, when he was taking his bath, he suddenly got this tune in his mind, in a flash. This is a real case of 'Eurekha' (Archimedes discovered his principle of objects becoming lighter in weight while under water, while taking his bath and came running out of the bathroom naked, shouting Eurekha - meaning 'Discovered' in Greek!)

Ponal Pogattum Poda was very popular in those days and the 'record' was played on all occasions. Some people (and journals) lamented the inappropriateness of playing this song on auspicious occasions like marriages!

When the DMK lost a by-election in Bodinayakkanur, Ananda Vikatan carried a cartoon showing Annadurai singing, 'Ponal Pogattum Bodi!' with the letter 'போ' in bold, since in Tamil 'Po' and 'Bo' are written the same way!.

Vizhiye Kathai Ezhuthu: In Endrum MSV, this is what MSV said about this song. MGR wanted an additional song in the film, after he film was almost completely shot. Sridhar proposed this song, which he had got written (I am not sure, whether the composition was already over) by Kavignar for some other film. MGR initially did not like to have the song written by Kannadasan, since relations between them had strained at that time but yielded later on. I didn't know that credit was not given to Kannadasan for this song in the film.

I was all along surprised that 'Mai endhum vizhi aada' which bears a heavy Kannadasan stamp, was 'written' by Vaali. Thanks to Mr. Vijaya Krishna, the mystery is clear now.

MSV was given credit for 'Ennamma Ponnamma' in Edhir Neechchal' in the titles (rather predominantly, in keeping with his stature at that time) It was a disappointment to me that V.Kumar had scored over MSV in Edhir Neechchal', even if we compare only the duets, composed by both, for this film.
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PostPosted: Thu Jul 30, 2009 7:47 pm    Post subject: Reply with quote

dear all

all credits go to Mr manisegaran/ Mr murali srinivas , hoping he would not mind
i am just compiling what they have written in TFM page

here are a few more

quoting murali srinivas

our particular mentioning of the combination involved brings back the memory of one கேள்வி பதில் which came out in "Filmalaya" a monthly cine magazine in the year 1974-75. It was like this

கே: தமிழ் சினிமாவில் இனிமையான விஷயம் என்ன?

ப: கண்ணதாசன் எழுதி விஸ்வநாதன் ராமமூர்த்தி இசையமைத்து டி.எம்.எஸ் பாடி சிவாஜி நடிப்பதை விடவும் தமிழ் சினிமாவில் இனிமையான விஷயம் இருக்கிறதா என்ன?
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PostPosted: Fri Aug 21, 2009 8:00 pm    Post subject: Reply with quote

PADITHATHU

DEVI - 19/08/09 - AR Rahman - on tamizh thai vazhthu

After two months of heavy schedule away from city , when i heard tamizh thai vazhthu, i felt like MUTHU MAZHAI PAYTHATHUMATHIRI -

NO NEED TO TELL ALL , TTV - IS DONE BY OUR MSV

KAETATHGU

JAYA TV ON 19/08/09 - chitralaya gopu - in thirumbi paarkiraen

he was narrating about shanthi nilayam , and was talking about good photography . good music , spb's first song etc . but i want to tell another incident MSV/ gopu visited ssv , and SSV ,, gave them the advance . after that MSV invited gopu , for lunch at his residence .
while travelling , MSV opened the cover ( it was not opened at ssv house )and was so surprised to see the amount , and exclaimed to gopu , and urged gopu to see the advance , On seeing gopu seemed to have literally fainted . the reason is MSV got rs 10000 as advance , and gopu got rs 5000 as advance .in those days the advances are normally 500 , 1000 it seems it seems MM quipped , whenever SSV calls we should immdtly go to his place,to get this fat cheques .

i am just imagining how much SSV would have made up on MSV composition
MSP, vazhkai padagu ,shanti nilayam.oli villakku ..
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PostPosted: Tue Sep 22, 2009 8:10 pm    Post subject: Reply with quote

ARTICLE IN THE HINDU -APL17 2009

Melody is his middle name

V. BALASUBRAMANIAN
Alone and with MSV, T.K. Ramamurthi has composed hundreds of songs that are immortal.
It was in 1950, while working for ‘Velaikkari’ under C.R. Subbaraman for Jupiter Pictures, that Ramamurthy first met M.S. Viswanathan.
Photo: R. Ravindran

SONGS EVERGREEN: T.K. Ramamurthi.
A legend of the film industry, this man is 87 years young. To our suggestion that we could finish the photo session first so that he would remain fresh for the interview, pat comes the reply, “I am always fresh and still raring to go.” Strains of Madhukauns pour out as he plays the violin enabling the photographer to complete his task. His control over the instrument even at this age is amazing.

Tiruchirapalli Krishnaswamy Ramamurthy has scored music for over 700 films with M.S. Viswanathan and for 30-odd films after parting ways with MSV. Way back in 1963, The Triplicane Cultural Academy — Kasturi Srinivasan Nool Nilayam — had conferred the title ‘Mellisai Mannargal’ on the duo and to date, the mention evokes nostalgic memories.

Born in North Rock Fort Street of Tiruchi Town, this grandson of violin maestro Malaikottai Govindasamy Pillai, never showed any inclination to play classical music on the violin. Instead he preferred film songs. His father taught him the rudiments of Carnatic music. As a student of E.R. High School then located near the Teppakulam, Ramamurthy was known for his pranks. Unable to bear his mischief, his uncle Manickam Pillai sent him to recordings alongside his father, thus sowing the seeds for a music director in the making.

“My father played the violin for the film ‘Kanda Leela’ at Premier Cinetone Studio, Coimbatore. I accompanied him and was fascinated by the recording process. I became a regular at his recordings. Musicians would go out for a walk after a day-long recording. On one such evening, I started playing the song ‘Divya Darisanam Tharalagadha’ sung by Bangalore Aswathama and a few ragas on my father’s violin in the studio room. Music directors C.R. Subbaraman and Thuraiyur Rajagopala Sarma who were in the adjacent room were so impressed that they urged my father to let me join their orchestra in HMV.” Ramamurthy has great admiration for C.R. Subbaraman’s talent as a composer.

Vigorous practice
Rajagopala Sharma was a task master and it was his chiding, during the recording of a song for the film ‘Sakunthalai,’ that made TKR redouble his efforts in mastering the instrument. “The vigorous practice during those years is standing me in good stead even now,” he says. TKR worked for Saraswathi Stores for a brief period before returning to HMV. By then, he had started earning enough to keep himself going.

When the HMV troupe was disbanded all the musicians were left high and dry. Staying in pianist Diwakar’s house, TKR scouted for opportunities and succeeded in playing for music directors Rajeswar Rao, Ghanatasala, Master Venu and Pinchalaiah.

It was in 1950, while working for the film ‘Velaikkari,’ under C.R. Subbaraman for Jupiter Pictures, that Ramamurthy first met M.S. Viswanathan, who was then working for his first film, ‘Jenovah.’ The premature death of Subbaraman with many films left incomplete saw the two join together to finish the assignments. Thus was born the Ramamurthy-Viswanathan duo. “That was how we were called initially. It was Kalaivanar’s suggestion that it should be Viswanathan-Ramamurthy. And how our luck turned! We went on to compose music for about 700 films and created many immortal songs. It was a privilege to be associated with talented people such as Kaviarasu (Kannadasan), Pattukottaiyar,Vali and directors such as Bhimsingh,Tirumalai Mahalingam, Ramanna and Muktha Srinivasan to name a few.”

TKR feels that each of the singers — TMS, PBS, P. Suseela, S. Janaki and L.R. Easwari — with whom he had worked, was unique. He considers it a great honour for having worked for films featuring MGR and Sivaji Ganesan and adds that it was a great challenge too. He mentions recording for the song ‘Engae Nimmadhi’ for Dadha Mirasi’s ‘Pudiya Paravai’ with about 120 musicians as something special.

“It was director Bhimsingh who gave me the task of scoring music for his film ‘Sadhu Mirandal’ after my relationship with MSV got strained during the making of ‘Aayirathil Oruvan.’ Vidwan M. Balamuralikrishna’s song ‘Arulvaye’ which I had composed in Sindubhairavi and ‘A for apple’ sung by A.L. Raghavan, S.C. Krishnan, M.S. Rajeswari, S.N. Sundar and S.N. Surendar were instant hits. Composing music for Kalaignar’s song ‘Kaagidha Odam’ for Murasoli Maran’s film ‘Marakka Mudiyuma’ was an unforgettable experience” reminisces TKR.

“Sivaji’s ‘Thangachurangam,’ ‘Madras to Pondicherry’ and ‘Sangamam’ had some mellifluous melodies. . ‘Naan’ was a silver jubilee hit and the song ‘Ammano Saamiyo’ was a chartbuster. Jayalalithaa, who was the heroine of the film, started calling me ‘Ammano Saamiyo’ thereafter. She conferred the title ‘Kalai Vithagar’ on me,” recalls TKR.

An honorary doctorate from Sathyabhama Institute of Science and Technology, Kalaimamani and an award from Kalaignar’s Muthamizh Peravai are the other accolades he won.

The patch up with MSV? “It was MSV who broke the ice during the early Nineties by sending his son Gopi as emissary and then I went to his house. It was an emotional reunion, with MSV, his wife and myself in tears.” (He hums ‘Pirindavar Meendum Serum Pozhudhu Azhudhal Konjam Nimmadhi,’ the immortal song from ‘Paalum Pazhamum’).

A composer TKR reveres is Naushad Ali, whose songs were a great inspiration to the duo. “Ilaiyaraaja is another composer who has mastered western, folk and classical music, fusing them intelligently. His background score for ‘Johnny’ impressed me a lot.” Generous words from a master.

TKR firmly asserts that self-confidence, self-esteem and will-power are the qualities that will pave the way for success.

Any desire? “I am waiting for the Divine call but before that I would like to do a magnum opus with MSV, the music of which should be talked about for years to come.”
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VaidyMSV & Sriram Lax
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PostPosted: Sun Sep 27, 2009 7:30 pm    Post subject: Reply with quote

Thanks to Chennai on line – Dina MD for famous serial CHITEEEE
Dhina believes “my role models had been the legendary music composer M S Viswanathan and the music wizard A R Rahman, who scintillate the listeners with their wonderful tunes”.
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parthavi
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PostPosted: Wed Oct 07, 2009 5:20 pm    Post subject: Abhimanyu - The Real Heroes! Reply with quote

Excerpts from :
Blast from the Past
by Randor Guy
The Hindu 2nd Oct, 2008 (Cinema Plus - Page 16)

Quote:

Abhimanyu 1948

.....In Abhimanyu, a young man, blessed with wit, brilliance, a facile pen and silver tongue, wrote the dialogue, then assisting A.S.A. Sami, who was credited for the script in the titles. This man, who got no credit, was a man of destiny, who would create history not only as a script-writer but also as a political leader, a man of the masses, a person of rare charisma. His name was Muthuvel Karunanidhi!

(Sami told this writer years later that Karunanidhi, then unknown, used to spend his entire day with him at his residence and work on the script, writing the dialogue for Abjimanyu. He received a nominal three-digit salary per month during that period, though his contribution was immense. Even a cursory study of the dialogue will reveal that the man behind the powerful alliterative lines was Mu.Ka.

MGR who plays Arjuna, a minor role in the movie, gives a funeral oration after the death of his son in the battle. He describes him as "Anbu Thamizh Magan!" In one stroke, Karunanidhi made Abhimanyu, a son of the Tamil soil and shifted the Mahabharatham to this paert of the country!
...........
The music was a plus point (S.M.Subbaah, C.R.Subbaraman, lyrics: Papanasam Sivan, Boomi Palakadas, Sundara Vathiyar). "Pudhu vasanthamamey vazhviley..." (voice: Jeevaratnam and Tiruchi Lokanathan) became a hit. (This song was actually composed by a lad who was working as an office boy under Subbaraman. For obvious reasons, his name never appeared in the credits. That youngster later created history in Indian cinema as M.S.Viswanathan!)
.......
Remembered for: the melodious music, impressive cinematography and rich Tamil dialogue.

Unquote.

I think Randor Guy is wrong in mentioning that MSV worked as an office boy under Subbaraman. He was working under SMS, as he himself has often mentioned in public interviews.

Though the information about MSV composing 'pudhu vasanthamamey' is not a 'puthu vishayam' for MSVians, I am reproducing this because this forms an authentic information recorded in a newspaper of repute like the Hindu, by a person respected for his credibility and credited with inside information about the Tamil Film industry of the earlier times.
.
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madhuraman
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PostPosted: Wed Oct 07, 2009 8:10 pm    Post subject: Speak to members Reply with quote

Dear Mr.Parthavi,
The incidents quoted for the movie'ABHIMANYU' are pretty old. Its oldness can be guessed from the two facts that both Mu Ka and MGR [as declared devottes of thandhai Periyaar] used to avoid Puranic themes when they became cognizble entitities in TF industry. That they worked in the movie described, points to their state of infancy in the industry and they had little if any of a chance for propagating radical views. My observation tries to figure out the oldness of the issue from the stances of persons as a function of time. As for MSV, yes he was an office boy in Pakshi Raja studios/ Jupiter pictures and only later he became an assistant to SMS.According to some old information MSV was employee at studios where the then MDs would come for composing/ recording etc. Even if an office boy to start with, he had impressed all MDs as a firebrand composer with imagination par excellence. Otherwise how the producers would have permitted VR to complete all the unfinished tasks of CR Subbaraman [father of Shankar [Ganesh]if my memory serves me right].
MSV's is a life of sheer sincerity of labour for any one to emulate.
Warm regards Prof.K.Raman Madurai.
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