Birth of two stars
Dear all,
One can imagine the plight of new lyricists when Kannadasan was in his peak churning out songs – each of which had his class imprinted all over them. The rumour is that several lyricists knowing they would never get a break with Kavignar around gave up and disappeared into oblivion.
Ironically one such lyricist, disillusioned with not having enough chances was planning to quit and leave Chennai. He happened to hear a Kannadasan song and decided to stay and grit it out after being inspired by its lyrics. The words “உனக்கும் கீழே உள்ளவர் கோடி; நினைத்து பார்த்து நிம்மதி நாடு” made an impression and gave him the much needed perspective he needed to stay and struggle through. This lyricist was Vaali and he got his first major breakthrough in 1963 that pushed him to stardom.
K.S. Gopalakrishnan was directing the movie “கற்பகம்” and Vaali penned the lyrics (he was the third choice for lyricist in this movie). Till date a lot of people believe that Kannadasan wrote the songs – such were the quality of the songs.
In this week’s song the hero (Gemini Ganesan) is constantly grieving his dead wife and ignoring the new wife he has been compelled to marry. The spirit of his dead wife sings to his conscience asking him to move on:
MSV starts the song with P. Suseela’s haunting humming and கொலுசு forming the rhythm before the rest of music join to create the effect.
Pallavi begins by consoling the hero:
“மன்னவனே அழலாமா கண்ணீரை விடலாமா
உன்னுயிராய் நானிருக்க என்னுயிராய் நீ இருக்க
மன்னவா மன்னவா மன்னவா”
These lines may seem ordinary but P.Suseela adds potency by her expressive singing – the word “மன்னவா” sung with distinct expression each time.
The chorus humming in the interlude depicts the agony of the hero.
The first Charanam is composed beautifully with எதுகை fitting the tune:
“கண்ணை விட்டு போனாலும் கருத்தை விட்டு போகவில்லை
மண்ணை விட்டு போனாலும் உன்னை விட்டு போகவில்லை
இன்னொருத்தி உடலெடுத்து இருப்பவளும் நானல்லவா
கண்ணெடுத்து பாராமல் கலங்குவதும் வீணல்லவா”
“கண்ணை விட்டு போனாலும் கருத்தை விட்டு போகவில்லை – out of sight but Not out of mind. The use of the word “கருத்தை” is novel here – this nice Tamil word caught my attention much later in Kannadasan’s last song கண்ணே கலைமானே (கருத்தினில் நிறைத்தேன்) – but Vaali has used it before here.
Look at the சந்தம் in the next sentence
“மண்ணை விட்டு போனாலும் உன்னை விட்டு போகவில்லை” – simple yet effectively conveys the message – typical Vaali.
In the second Charanam, the thoughts are strung together elegantly to make a convincing argument:
“உன் மயக்கம் தீர்க்க வந்த பெண் மயிலை புரியாதா
தன் மயக்கம் தீராமல் தவிக்கின்றாள் தெரியாதா
என் உடலில் ஆசையென்றால் என்னை நீ மறந்து விடு
என்னுயிரை மதித்திருந்தால் வந்தவளை வாழ விடு”
Here a consolation turns into an ultimatum – Vaali uses a unique but powerful strategy that checkmates the hero:
“என் உடலில் ஆசையென்றால் என்னை நீ மறந்து விடு
என்னுயிரை மதித்திருந்தால் வந்தவளை வாழ விடு”
Profound lines – if your love for me is superficial forget me; if indeed you love my soul, let the new wife live her rightful life.
Deivanayaki was a small time stage dancer dancing in Island grounds and had taken a picture with Gemini Ganesan. After seeing the picture the director K.S. Gopalakrishnan casted this young girl in a crucial role in this movie (renamed her K.R. Vijaya).
After this song MSV despite being very close to Kannadasan actively promoted Vaali for his talent – a magnanimous impartial gesture that speaks of his true character.
The movie was a huge commercial success. Two new stars were born – K.R. Vijaya and Vaali – and became household names. Such was the success of this movie, that Gopalakrishnan built the famous “கற்பகம்” studios using the profit from this project.
“கண்ணை விட்டு போனாலும் கருத்தை விட்டு போகவில்லை” – applicable to Vaali too!!!!
Recent Comments