Film making is an arduous task consisting of various, equally important layers of the creative process.The most important of these are story line,characterization,role play of actors, dialogues,choreography, sound recording and the addition of music, followed by a course of comprehensive editing, that would make the end product a perfect piece of entertainment for enjoyment.As far as music is concerned, the background musical score takes a movie to its next level of acceptance and admiration.An Indian film can hardly be without songs and no film is complete without the background music score.Similarly,a film as per Indian norms,is also remembered by the quality of its songs and the way the songs are pictured.
During the initial decades of Tamil Cinema, music played a wholesome place with songs at times, overtaking dialogues.This was because, most of the actors themselves were great singers. Actors like M.K.Thiagaraja Bhagavadhar, P.U.Chinnappa, T.R.Mahalingam and K.B.Sundaraambaal excelled in their acting by singing, as songs became an inseparable part of their roles and the audience those days went to the theaters, mostly to listen to the songs.
When the next generation actors who could not sing took over the scene,there came into the picture a line of playback singers. With the induction of playback singing lip synchronization became necessary for the actors to be seen as singing the song. Moreover an enlivening presentation of song sequences,became necessary to create an ecstatic ambiance for film music. Hence, presentation of song sequences became a prominent part of the film making process, towards adding an extra edge to the audiovisual scope of the movie.If the song and its picturing are not worthwhile, it will only drive a section of the audience to the restrooms and snack bars for a popcorn hunt.
Usually, the presentation of a song sequence varies from one type of song to the other. A film maker should know how to present a solo song,a duet number,a group song and one that needs adept choreography.To begin with, the solo songs were shown with heroes on horse back or driving a horse cart or a bullock cart.This was how songs like 'Sathiyame Latchiyamaai Kolladaa'{Neelamalai Thirudan}'Acham Enbadhu Madamai yada'{Mannadhi Mannan}'Ohoho Manidharkale Oduvadhenge koorungal'{Padithaal Mattum Podhuma}'Manushana Manushan Saapiduranda'{Thaikupin Thaaram}and'Nenjam Undu Nermai Undu'{En Annan} were pictured.Some times the hero would let the heroine sit on horse back and pull the horse as a mark of serenading.This is what MGR did in Malaikallan for the song sequence of 'Ethanai Kaalndhaan Emaatruvaar' Most of the solo songs of MGR that voiced social justice and social equality, showed him with active limb movements, challenging the evil forces.
Whereas,quite a lot of Sivaji Ganesan's philosophical songs portrayed him,walking in a desperate mood, pouring forth his disturbed emotions.Songs like'Satti Suttadhadaa'{Aalayamani} 'Ponaal Pogattum Podaa'{Paalum Pazhamum}'Aaru Maname Aaru'{Aandavan Kattalai}'Ullam Enbadhu Aamai'{Paarthaal Pasitheerum} are a few samples that would belong to this category.
Some times the hero or heroine would sing a song riding a cycle as Sivaji Ganesan did for the song'Vandha Naal Mudhal indha Naal varai'{Paava Mannippu} or as Gemini Ganesan and Sarojadevi performed for the song 'Vaadikkai Marandha dhum Eno'in Kalyana Parisu.Songs lulling a baby in a cradle also formed one of the highly desirable song sequences and the most remembered songs in this category are'Poomalai Puzhudhi mun Mele'{Parasakthi} 'Malarndhum Malaradha'{Pasamalar} and 'Chinna Arumbu Malarum' from Pangaalikal.
There would be solo or group songs on running trains.Some of the songs in this category were'Sitthirai Maadham Pournami Neram'{Raman Ethanai Ramanadi}'Ethanai Manidhargal Ulagathile'{Needhikku Thalai Vanangu}'Maratha Vachavan Thanni Oothuvaan' {Panakkaaran}'May Maadham Thonnu thettil Major Aanene'{J J} and the memorable group songs 'Koodayila Karuvaadu' {Oruthalai Raagam}and 'Vellerikka Pinju Velerikka'{Kaadhal Kottai}.Similarly, the most popular boat/ ship songs were 'Ulavum Thenral Kaatrinile' {Mandhiri kumari}'Oho Endhan Babi'{Thenilavu}'Mullai Malar Mele' {Uthama Puthiran}'Amaidhiyaana Nadhiyinile Odam' {Andavan Kattalai} and the fabulous 'Adho Andha Paravaipoa Vaazhavendum'{Aayirathil Oruvan}.
A vast number of duet songs those days would show the hero and heroine going round a tree,the heroine moving first and the hero running after her.Gemini Ganesan and Savithri would perfectly fit into this duet mode.MGR would do this with more physical force, gripping the the shoulder of the heroine and at times biting his lips. Sivaji Ganesan would hardly miss a passionate embrace of the heroines.
Most of the group songs were also shown in a stereotyped mode.A few exceptional songs that have outlived their times are 'Vaarai En Thozhi Vaaraayo' {Paasamalar}'Maamaa Maamaa Maamaa'{Kumudham} 'Sithaada Kattikittu'{Vannakkili} and 'Nallavan Enakku Naane Nallavan'{Padithaal Mattum Podhumaa} not because of any novelty in presentation,but because of their enchanting musical richness.
Later there came a few fascinating group songs such 'Paasamullaa Paandiyaru''Aataamaa Therottamaa'{both from Captain Prbhaakaran} and 'Adi Rakkamma Kaiya Thattu' {Thalapathi} the first two remembered for the lively dance steps of Ramya Krshnan and the other one for Rajini's nimble and stylish body movements, but both for Ilayaraja's musical richness .The latter was also beautifully choreographed and pictured.
However surpassing these normal depiction of song sequences, there are a few highly imaginative and uniquely creative portrayals of song scenes in many films, that would make us realize that depiction of a song is not that easy and if it is done differently it will stay in our memories as effectively as a good film does.From my movie watch I am recording some such song sequences that have lastingly settled in my memory.
The earliest in this category was the most vibrant dance number with the captivating song 'Thedinen Vandhadhu' in P.Suseela's superb voice,from Sridhar's film Oottyvarai Uravu. K.R.Vijaya's hey day energy, was vigorously reflected through out the song sequence.A similar sprightly dance portrayal was noticed in the song 'Thattattum Kai Thazhuvattum' in the film En Thambi. Here it was B.Sarojadevi who scored high in presenting the song, the fabulous way it came out.
Another unforgettable song sequence was found in'Mella Nada Mella Nada' from Pudhiya Paravai wherein Sivaji Ganesan would be seen following Sarojadevi, with a casual stylish gait, wearing a glazing slack shirt,tucked into his shining pants.In addition to Viswanathan Ramamurthy's musical mesmerism, it was the hero's pep and spark that made the song memorable.Similarly, it was a pleasure to watch MGR dancing with the professionally skilled L.V.Vijayalakshmi for the song 'Aadaludan Paadalai Serthu'{Kudiyirundha Koil}for which the energy levels of the actors perfectly matched the tempo of the song composition.The beauty of this particular song portrayal lay in the flow of vigor throughout the song, without any drop in energy, at any point.
Most of the dance numbers of actors like Vijay,Prabudeva and a few other heroes, are beautifully choreographed with vigorous songs and agile body movements leading to a beautiful display of song sequences.Songs such as 'Aal Thoetta Boopathi Naanada' and 'Pokkiri Pongal' are remembered mainly for their exuberant presentation.
These days computers help a lot in creating wonderful fusion of shots to synchronize with the song by adding tantalizing touches, shot after shot.Mixing visuals in agreeable proportions without spoiling the significance of a song well written and music well composed,requires a lot of aesthetic sense. Otherwise,film music as one of the most salient aspects of film making, will go dry, making the whole exercise futile.I still remember the duet song in Kamal's Sathya showing the hero and heroine travelling on a bus and singing the song'Valayosai' In one of the shots of the song Amala the heroine,will show the biceps on her hand and Kamal will gently touch it.It still stays stuck in my memory.
How beautifully the visuals for the song'Vennilave Vennilave Vinnai Thaandi Varuvaayaa'{Minsaara Kanavu}were shot and how elegantly the shots were made to travel with the song. Prabhu Deva and Kajole would be seen getting closer and then would escape from their bodily entanglement, only to get closer at the culmination of the song.So poetic the narration was and no doubt the song and its presentation have become immortal. 'The song Ennavale adi Ennavale'from Shankar's Kadhalan is yet another exquisite portrayal of song sequence,with a series of seamless mixing of shots watched with a marvelous feel of aesthetic splendor.
Some innovative attempts were made in showing the hero and heroine passing through the different compartments of the refrigerator cutting the size of the human to fit into the fridge and this fresh attempt was made to present a duet song, in the AVM film Mr.Bharath. Later the hero and heroine were shown as minute and second hands of a wall clock for the film Panakkaran produced by Sathya Movies.
Both these big movie makers have specialized in the art of erecting massive studio settings for duet songs particularly those related to the dreams of the heroine about the hero.Those who had watched Sathya Movies' Kaavalkaaran would not have forgotten the dream sequence song 'Ninaithen Vandhaai Nooru Vayadhu'celebrated for its gorgeous visuals.If the film had come out in color it would certainly have created a greater impact.There was an exotic feel in the presentation of the song "Azhagu, Nee Nadandhaal Nadaiyazhagu"in Baashaa, another film from the Sathya Studios.
There were also some stage-prone songs signifying competitive spirit between individuals.Films like Vaanam baadi,and Pattanathil Bhoodham had such song sequences.But the best in this category were'Sinnanjiriya Vanna Paravai Ennathai Solludhammaa"from Kungumam and'Neeye Unakku Enrum Nigaraanavan' from Bale Pandia.
In the recent days song sequences were excitingly presented in a few movies of Vijay. The presentation of the songs'Molachu Moonu Ilaya Vidala'{Velayudham}"Antartica" {Thuppaaki} and"Nillaayo"{Bhairava}could be called visual fresheners dipped in exalting imagination and creativity.As said earlier, picturing a song to the audio visual satisfaction of the audience needs a special grasp of inspiring and ingenious credentials of creativity, without which freshness and fine fusion can never get into the presentation.
These days of electronically creative computer graphics, such fine mixed visuals are easy to blend and we know how director Shankar professionally proved it in his presentation of songs like 'Maayaa Machendra'{Indian} 'Mudhalvane' {Mudhalvan} and 'Kannodu Kaanbadhellaam'{Jeans}To conclude, beautiful song sequence is not the only thing for the success of any film.But it does contribute a special effect, adding up to the quality of the final product by making it visually more rewarding as a fulsome piece of entertainment. The examples given here are purely a subjective collection of song sequences from the films I watched.There could be more poignant song displays that have inspired other movie watchers.I give all those song sequences a big salute.
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During the initial decades of Tamil Cinema, music played a wholesome place with songs at times, overtaking dialogues.This was because, most of the actors themselves were great singers. Actors like M.K.Thiagaraja Bhagavadhar, P.U.Chinnappa, T.R.Mahalingam and K.B.Sundaraambaal excelled in their acting by singing, as songs became an inseparable part of their roles and the audience those days went to the theaters, mostly to listen to the songs.
When the next generation actors who could not sing took over the scene,there came into the picture a line of playback singers. With the induction of playback singing lip synchronization became necessary for the actors to be seen as singing the song. Moreover an enlivening presentation of song sequences,became necessary to create an ecstatic ambiance for film music. Hence, presentation of song sequences became a prominent part of the film making process, towards adding an extra edge to the audiovisual scope of the movie.If the song and its picturing are not worthwhile, it will only drive a section of the audience to the restrooms and snack bars for a popcorn hunt.
Usually, the presentation of a song sequence varies from one type of song to the other. A film maker should know how to present a solo song,a duet number,a group song and one that needs adept choreography.To begin with, the solo songs were shown with heroes on horse back or driving a horse cart or a bullock cart.This was how songs like 'Sathiyame Latchiyamaai Kolladaa'{Neelamalai Thirudan}'Acham Enbadhu Madamai yada'{Mannadhi Mannan}'Ohoho Manidharkale Oduvadhenge koorungal'{Padithaal Mattum Podhuma}'Manushana Manushan Saapiduranda'{Thaikupin Thaaram}and'Nenjam Undu Nermai Undu'{En Annan} were pictured.Some times the hero would let the heroine sit on horse back and pull the horse as a mark of serenading.This is what MGR did in Malaikallan for the song sequence of 'Ethanai Kaalndhaan Emaatruvaar' Most of the solo songs of MGR that voiced social justice and social equality, showed him with active limb movements, challenging the evil forces.
Whereas,quite a lot of Sivaji Ganesan's philosophical songs portrayed him,walking in a desperate mood, pouring forth his disturbed emotions.Songs like'Satti Suttadhadaa'{Aalayamani} 'Ponaal Pogattum Podaa'{Paalum Pazhamum}'Aaru Maname Aaru'{Aandavan Kattalai}'Ullam Enbadhu Aamai'{Paarthaal Pasitheerum} are a few samples that would belong to this category.
Some times the hero or heroine would sing a song riding a cycle as Sivaji Ganesan did for the song'Vandha Naal Mudhal indha Naal varai'{Paava Mannippu} or as Gemini Ganesan and Sarojadevi performed for the song 'Vaadikkai Marandha dhum Eno'in Kalyana Parisu.Songs lulling a baby in a cradle also formed one of the highly desirable song sequences and the most remembered songs in this category are'Poomalai Puzhudhi mun Mele'{Parasakthi} 'Malarndhum Malaradha'{Pasamalar} and 'Chinna Arumbu Malarum' from Pangaalikal.
There would be solo or group songs on running trains.Some of the songs in this category were'Sitthirai Maadham Pournami Neram'{Raman Ethanai Ramanadi}'Ethanai Manidhargal Ulagathile'{Needhikku Thalai Vanangu}'Maratha Vachavan Thanni Oothuvaan' {Panakkaaran}'May Maadham Thonnu thettil Major Aanene'{J J} and the memorable group songs 'Koodayila Karuvaadu' {Oruthalai Raagam}and 'Vellerikka Pinju Velerikka'{Kaadhal Kottai}.Similarly, the most popular boat/ ship songs were 'Ulavum Thenral Kaatrinile' {Mandhiri kumari}'Oho Endhan Babi'{Thenilavu}'Mullai Malar Mele' {Uthama Puthiran}'Amaidhiyaana Nadhiyinile Odam' {Andavan Kattalai} and the fabulous 'Adho Andha Paravaipoa Vaazhavendum'{Aayirathil Oruvan}.
A vast number of duet songs those days would show the hero and heroine going round a tree,the heroine moving first and the hero running after her.Gemini Ganesan and Savithri would perfectly fit into this duet mode.MGR would do this with more physical force, gripping the the shoulder of the heroine and at times biting his lips. Sivaji Ganesan would hardly miss a passionate embrace of the heroines.
Most of the group songs were also shown in a stereotyped mode.A few exceptional songs that have outlived their times are 'Vaarai En Thozhi Vaaraayo' {Paasamalar}'Maamaa Maamaa Maamaa'{Kumudham} 'Sithaada Kattikittu'{Vannakkili} and 'Nallavan Enakku Naane Nallavan'{Padithaal Mattum Podhumaa} not because of any novelty in presentation,but because of their enchanting musical richness.
Later there came a few fascinating group songs such 'Paasamullaa Paandiyaru''Aataamaa Therottamaa'{both from Captain Prbhaakaran} and 'Adi Rakkamma Kaiya Thattu' {Thalapathi} the first two remembered for the lively dance steps of Ramya Krshnan and the other one for Rajini's nimble and stylish body movements, but both for Ilayaraja's musical richness .The latter was also beautifully choreographed and pictured.
However surpassing these normal depiction of song sequences, there are a few highly imaginative and uniquely creative portrayals of song scenes in many films, that would make us realize that depiction of a song is not that easy and if it is done differently it will stay in our memories as effectively as a good film does.From my movie watch I am recording some such song sequences that have lastingly settled in my memory.
The earliest in this category was the most vibrant dance number with the captivating song 'Thedinen Vandhadhu' in P.Suseela's superb voice,from Sridhar's film Oottyvarai Uravu. K.R.Vijaya's hey day energy, was vigorously reflected through out the song sequence.A similar sprightly dance portrayal was noticed in the song 'Thattattum Kai Thazhuvattum' in the film En Thambi. Here it was B.Sarojadevi who scored high in presenting the song, the fabulous way it came out.
Another unforgettable song sequence was found in'Mella Nada Mella Nada' from Pudhiya Paravai wherein Sivaji Ganesan would be seen following Sarojadevi, with a casual stylish gait, wearing a glazing slack shirt,tucked into his shining pants.In addition to Viswanathan Ramamurthy's musical mesmerism, it was the hero's pep and spark that made the song memorable.Similarly, it was a pleasure to watch MGR dancing with the professionally skilled L.V.Vijayalakshmi for the song 'Aadaludan Paadalai Serthu'{Kudiyirundha Koil}for which the energy levels of the actors perfectly matched the tempo of the song composition.The beauty of this particular song portrayal lay in the flow of vigor throughout the song, without any drop in energy, at any point.
Most of the dance numbers of actors like Vijay,Prabudeva and a few other heroes, are beautifully choreographed with vigorous songs and agile body movements leading to a beautiful display of song sequences.Songs such as 'Aal Thoetta Boopathi Naanada' and 'Pokkiri Pongal' are remembered mainly for their exuberant presentation.
These days computers help a lot in creating wonderful fusion of shots to synchronize with the song by adding tantalizing touches, shot after shot.Mixing visuals in agreeable proportions without spoiling the significance of a song well written and music well composed,requires a lot of aesthetic sense. Otherwise,film music as one of the most salient aspects of film making, will go dry, making the whole exercise futile.I still remember the duet song in Kamal's Sathya showing the hero and heroine travelling on a bus and singing the song'Valayosai' In one of the shots of the song Amala the heroine,will show the biceps on her hand and Kamal will gently touch it.It still stays stuck in my memory.
How beautifully the visuals for the song'Vennilave Vennilave Vinnai Thaandi Varuvaayaa'{Minsaara Kanavu}were shot and how elegantly the shots were made to travel with the song. Prabhu Deva and Kajole would be seen getting closer and then would escape from their bodily entanglement, only to get closer at the culmination of the song.So poetic the narration was and no doubt the song and its presentation have become immortal. 'The song Ennavale adi Ennavale'from Shankar's Kadhalan is yet another exquisite portrayal of song sequence,with a series of seamless mixing of shots watched with a marvelous feel of aesthetic splendor.
Some innovative attempts were made in showing the hero and heroine passing through the different compartments of the refrigerator cutting the size of the human to fit into the fridge and this fresh attempt was made to present a duet song, in the AVM film Mr.Bharath. Later the hero and heroine were shown as minute and second hands of a wall clock for the film Panakkaran produced by Sathya Movies.
Both these big movie makers have specialized in the art of erecting massive studio settings for duet songs particularly those related to the dreams of the heroine about the hero.Those who had watched Sathya Movies' Kaavalkaaran would not have forgotten the dream sequence song 'Ninaithen Vandhaai Nooru Vayadhu'celebrated for its gorgeous visuals.If the film had come out in color it would certainly have created a greater impact.There was an exotic feel in the presentation of the song "Azhagu, Nee Nadandhaal Nadaiyazhagu"in Baashaa, another film from the Sathya Studios.
There were also some stage-prone songs signifying competitive spirit between individuals.Films like Vaanam baadi,and Pattanathil Bhoodham had such song sequences.But the best in this category were'Sinnanjiriya Vanna Paravai Ennathai Solludhammaa"from Kungumam and'Neeye Unakku Enrum Nigaraanavan' from Bale Pandia.
In the recent days song sequences were excitingly presented in a few movies of Vijay. The presentation of the songs'Molachu Moonu Ilaya Vidala'{Velayudham}"Antartica" {Thuppaaki} and"Nillaayo"{Bhairava}could be called visual fresheners dipped in exalting imagination and creativity.As said earlier, picturing a song to the audio visual satisfaction of the audience needs a special grasp of inspiring and ingenious credentials of creativity, without which freshness and fine fusion can never get into the presentation.
These days of electronically creative computer graphics, such fine mixed visuals are easy to blend and we know how director Shankar professionally proved it in his presentation of songs like 'Maayaa Machendra'{Indian} 'Mudhalvane' {Mudhalvan} and 'Kannodu Kaanbadhellaam'{Jeans}To conclude, beautiful song sequence is not the only thing for the success of any film.But it does contribute a special effect, adding up to the quality of the final product by making it visually more rewarding as a fulsome piece of entertainment. The examples given here are purely a subjective collection of song sequences from the films I watched.There could be more poignant song displays that have inspired other movie watchers.I give all those song sequences a big salute.
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