Cinema Comments
PSRemeshChandra’s comments on
CineMatters Old Malayalam Cinema.
Visit this rewarding site by Cine Matters.
വയലാറും, വെള്ളപൂശിയ ശവക്കല്ലറകളിലെ വെളിച്ചപ്പാടുകളും
Whether Vayalar Rama Varma believed in the existence of god or not is not a question on which we need to heat our heads. Once when asked this question a poet, not him, answered that it is safer to say he exists because there is no danger to come out of it whether he exists or not. But if one says he does not exist but he does exist, there would be reprisals. Vayalar too like others was a poet to be blessed enough with capriciousness and tact. The argument that he did justice to the character in the film for whom he wrote a song is justified and a logical one as evidenced by the ideologically contradictory lines quoted from different films mentioned in the article. His prime responsibility was to the character and whatever he wrote had to do justice to the context of the scene in the film. If he could set aside his personal philosophy and assume the mental processes of the character for a while, that was the manifestation of his professionalism, the key factor for his success as a film song writer. Many song writers of his times except P. Bhaskaran and Sreekumaran Thampi could not do this professional shedding of skins too often to be called to participate in so many films. Most other writers remained typified philosophically or politically. We shall never take this as inconsistency in opinions but as professional etiquette not to impose personal view points in a little piece of poetical utterance. Why this trio did not try to propagate their personal philosophy through brief film songs was because they, unlike other film song writers of their times, had their own kingdoms in Malayalam Poetry. Vayalar, P. Bhaskaran and Sreekumaran Thampi wrote excellent poetical collections through which they spoke to the world. In their poetical works, we see consistent writers, unwavering in ideologies. They did not need film field to speak to mankind. Neither shall their true poetical works forgotten amidst the abundance of their film songs, like Wordsworth’s excellent poems became inaccessible to readers due the forest of innumerable inferior poems surrounding them.
ഓണാശംസകള്.
When it was the time of Sathyan, Prem Nazir and Madhu, one film by each of them reached the theatre each year during Onam. Then it was the regret of most families that they could not see them all since they were allowed to go to a theatre and see only one film during the Onam days. Every film exhibited in theatres were seen without missing any single one, only by unmarried bachelors and lucky family men. Most of them made it their unchangeable custom to see the films on Friday itself, that is, when the film in the theatres changes. If it was a film bad enough to be run only two are three days, they also had the duty to go to the theatres on Tuesdays too. But there indeed were a few families and ladies who lived in advance of their times and went to the theatre each week who were called in the name of the famous beauty in the famous poem Karuna by Kumaran Asan, unfortunately. In the time of Raghavan, Vincent, M.G.Soman, Jayan, and Sukumaran also, production banners took care to release films in and around Onam days. Anyway, Onam provided Malayaalees excellent opportunity to see a vide range of good films. This time is past, unfortunately never to return. Those theatres have vanished due to no business since the spread of Television and film channels. Ticket charges for admittance to theatres soared high due to actors claiming crores as salaries and royalties. Because of the trend to present a lady character in the film and make the film move around her, stories flopped. If it was Sheela, Jayabharathi, K.R.Vijaya and Sarada, they looked like women, filled the screen and satisfied the spectators. Now we see only a few thin girls whom real film appreciators except unripe young boys loath for their presence on the films, obstructing the natural flow of the story. Inferior writers who have strong communal and financial connections write non-poetic lines which are tuned by non-musical orchestrators which no seasoned listener likes to hear again. So, dear Old Malayalam Cinema, what do we have to thrill us with, this Onam?
Lyrics by ONV Kurup | Melody meets Poetry.
What attracts one the most when he listens to old Malayalam film songs is the diversity of male voices in those times. When we had the need to get a song recorded in the voice of a particular singer which reflected well the feelings and emotions depicted in the song, we called some particular singer to render it. Thus we had Kamukara Purushothaman, A.M.Raja, K.S.George, Udayabhanu, P.B.Sreenivas and so many others who thrilled us with their heavenly voices. When we listen to their songs, we will be convinced that those songs, if were sung by anyone else, would not have possessed such charm and beauty. This diversity and richness in voices was the soul of Malayalam film music then. This continued till dear K.J.Jesudas appeared on the scene. From then onwards, everyone among the film producers, film directors and music directors wanted only Jesudas to sing in their films. The others, one by one lost chances and began to fade away. Since the time of Jesudas, there has been only one voice in Malayalam film music, that of Jesudas, singing all songs irrespective of the emotion and mood prevalent in the songs. Thus we can say that, though he was innocent, Jesudas was who destroyed this diversity and richness in voices in Malayalam Cinema Music. Whether he knew it or not then is another matter. There were exceptions indeed, like M.S.Viswanathan giving chances to extremely good singers like Jayachandran. M.S.Viswanathan even became furious when one of his singers, a famous one, could not bring out full the expressions in one of his songs, and unnatural to him, decided to sing the song himself. We know what happened with Hridayavahinee Ozhukunnunee. The strangest male voice in Malayalam film was born then, which perfectly well brought out the inner feelings and emotions of a rushing torrent, flowing towards eternity, touching and nourishing generations and civilizations. Even after singing and recording it, he would not have been satisfied that he had brought out at least a quarter of what he conceived and wished in his soul. Yesudas, or anyone else, could not have fully expressed a river’s soul that way, perhaps Udayabhanu could have. Even Devarajan, singing Ponnarival Ambiliyil added another unearthly and beautiful voice to our music archives. So, this diversity and richness voices was important to us and we have lost it.
Celebrating the birth centenary of Sathyan, the Real Master.
Sathyan remained in his throne in Malayalam cinema for very long years without canvassing producers, financiers, directors, actors or actresses which was his greatness. Today, as revealed by many people, of course posthumously after the demise of several famous actors in Malayalam film industry, most actors remained in their thrones either by engaging gangs of thugs to threaten other upcoming actors to leave the field, or by themselves financing the production of new films so that they would be cast in the role of heroes in those films. Without disparaging Late Sri. Prem Nazir, it can be said that a retinue of rich Trivandrum goons prospered under him in Madras whom he used to threaten the promising acting career of Mohan, who eventually had to leave the field of acting. Prem Nazir obtained 35000 to 45000 rupees as salaries for acting in a film and amassed great fortune. He used to loan shark this amount to needy film producers on the condition that he should be cast in the hero role, and his favourite actress as the heroin. When Sheela lost his favour, he supported Jayabharathi, who, though without the beauty or acting talents of Sheela, won the acting chances abandoned by Sheela. Many actresses of that times made several protests against such policies of Prem Nazir. Nazir acting as a mediary in between Udaya and Meryland was actually one of the reasons why Vijayasree took her own life. She, after acting with Nazir in a few films to fill the void Sheela created when she left, eventually lost Nazir’s favour and was hunted by the above said gang of rich goons and also by the defamation case filed against her by Udaya. If anyone has any doubts about these things, it is good for them to read the archives of the old Chalacchithra Parishad and the many interviews given to those film magazines of those times. Never have we read about any such unethical acts on the part of Sathyan. Why these things were mentioned here was to show what Sathyan did not do. What he did needn’t be mentioned here because they are all history. He simply came to the set, acted and went his way. Every innocent actor and actress of those times held him in awe. He was masculine, considerate to others and devoted in his work. Till now we have not heard otherwise. Perhaps distance is what determines respect. The less the former, the lesser the latter.
Harischandra (1955), Malayalam’s first successful mythological film By Cinematters.
Had Harischandra been thought about to be produced in the modern times of Malayalam Cinema and had the modern day Malayalam cinema producers and directors ever had seen the film at least once in their lives, the idea would not have been summarily dropped, like Cinematters in the beginning of this fine article observed. There is great scope for them to make a hit with just one scene, the seduction scene in the forest, which even in Subramoniam's conservative times was a sensation. No one need have any doubt about the surety of film makers of present times jumping to the chance, after the example of the loathsome greed for money manifesting itself in the remaking of sexually and sensuously appealing films like Rathi Nirvedam. But the seduction scene in Harischandra, a still from which is incorporated in the article above, was produced with such artistical taste which is extinct today that the loveliness and exquisiteness of the scene still haunt us after all these years. Another finery in this film was the vibrant, sweet song in the scene of the little kids going to the woods for collecting, I remember, firewood when the little prince is bitten by a snake. Very rarely do such fine songs, music and visuals being produced in Malayalam films. If such fine films were produced in our times making use of present day technology, people who leave theatres after shows would not have been whistling but weeping on their way and Malayalam film industry would not have fallen into a pit of venomous hatred, jealousy and self destruction.
Rafi, Kishoreda, Talat Mehmood, Lata, Asha and Malayalam cinema.
It was a pleasure and delight to listen to Lata Mangeshkar, Mannade and others singing Malayalam film songs. Also it was a variety to music listeners. No one felt any inappropriateness in them singing those songs under those gifted music directors. I fact, Kadali Chenkadali, Maanasa Maine Varoo and Kadale….Neelakkadale were unparalleled and unique in their musical perfection as well as in careful rendering. This variety which is mentioned here is very important in the field of music appreciation and enjoyment. These songs in fact still remind us that loveliness of voice is what distinguishes a singer from others. After Janaki, Suseela, Leela, Santha P. Nair and Jikki, none including Chithra and the subsequent ones, to tell frankly, had a lovely voice. This tendency of giving over importance to singers with no lovely voices was started by Devarajan when he introduced the shrilly and unpleasant voice of Madhuri. Since then, there has been not at all any sweet female voice in Malayalam Film Music. If I am free to speak what I feel, I think we were continuously fed with unqualified female voices that all seemed to coming out from throats with asthma. Fortunately this did not happen in the case of male voices.
Variety of voices was also important during the times of old Malayalam cinema about which this article by Cinematters is. To express each emotion, music directors invited and engaged each singer. Thus we had A.M.Raja, K.P.Udayabhanu, P.B.Sreenivas, Kamukara and K.S.George to express a variety of emotions in the most appropriate singer’s voive. This scope for a variety of lofty voices was destroyed by beloved K.J.Jesudas whether he knew it or not. Since his heavenly voice came into the fore, everyone wanted only Jesudas. Others silently were pushed back and they gradually vanished from the silver screen like the micky mouse, leaving that expression alone there.
There was a link provided above in this article regarding shifting of loyalties and the implementing of personal agendas. I read that linked article. It was like falling from a rose garden into a stinking flesh pit, especially after going through this proud article. Please withdraw that link. It is unnecessary and inappropriate in this article. I don’t think Jayachandran is a music director worth our attention, especially after his comment that S.Janaki is only coming to the right age to receive awards like Padma Bhushan. He is just a bag of hot air, inappropriately placed on a throne because, if not, someone undesirable would have jumped into that throne. ‘Mookkillaa Raajyatthu Murimookkan Raajaavu’ in paccha Malayalam.
The Bahadoor Award Recipients in Malayalam Cinema.
Vazhve Maayam and Anubhavangal Paalicchakal were two great films produced by Manjilas and starring Sathyan. Both films were great sensations during those times, bringing to Malayalam cinema the loftiness of character casting. The posters of both these films are still green in the memory of those who have seen them. Hope each one of them would be posted here. There was a joke running during those times. Seeing the famous poster of Sathyan standing like a true head load worker with a thorth turban on his head, the actor Sudheer in Kaliyugam imitated that pose. Kaliyugam flopped. Bahadoor was a great actor to whose credit goes the record for acting the role of the most simple, poor, rustic husbands burdened with the responsibility of marrying away daughters. In those times every husband and father in Kerala knew that Bahadoor was expressing their own inner feelings. It was right to honour KPAC Lalitha with the Bahadoor Award. But the 2009 award does not match and so was not apt.
Satyam Audio brings back the LP record but to what effect?
When I was a boy I eagerly awaited for the local mike set shop to open and play EPs and LPs amplified through horn-type loud speakers. When gramophone records begin to play we will have to wait a while for the actual song to begin. The sound of the magnetic needle moving through the groves of the record before the song begins was the greatest thrill. In those times the finery of all songs was the Thabala. Most often in those times, I listened to those songs especially to get thrilled by the exquisiteness of Thabala playing in cinema music. If some body has any doubts, just listen to the famous song, Arayilotta Munduduttha Penne. Malayalam cinema music producers then had a fine connoisseurship of finery in background and instrumental music. The bits of those times are surpassed by none living today including A.R.Rahman or the above mentioned Jayachandran. In fact, what those ancient music directors viewed before their minds’ eye were these gramophone records taking their songs to immortality. These gramophone records had another unique specialty. They provided a certain gap between two songs during which respite the listener could slowly release himself from the sweet clutches of the previous song and prepare himself for the rare experiences of the coming song. To express in other words, he had time to take breath. This gap which gramophone records provided was vital in retaining alive the interest in and the power to distinguish between the good and bad of Malayalam cinema music. Listening to these songs I became a singer and a poet and then a writer. Sathyam Audios did the right thing. Let the records come, the gramophone players will surely follow. But one thing has to be particularly noted here. The only one song worth listening in the presently released record is Pinneyum Pinneyum which is perfect. All others are rubbish, in my view. I have 45 years experience in listening to good music. If they are going to produce collections such as this, they will not break even, unless makers of such bad music purchase them in bulk. Turn to the finery of A.M.Raja, Kamukara, Udayabhanu, P.B.Sreenivas, Jesudas, Jayachandran. And if I mention the liquid marvels of S.Janaki, the new wave music director M.Jayachandran please don’t be offended.
P.S.Remesh Chandran.
Jul 23, 2011 @ 02:11:45
When I wrote my comment on Sathyam Audios releasing L P Records, of the singers and musical artists most worthy of appearing in new gramophone records, I forgot to mention a few immortal names which I think was an unpardonable offence. They are L.P.R.Varma, K.S.George, Santha Devi, P.Leela, P.Suseela , Sulochana and Brahmanandan. I really loved them all for enchanting through amplified records and also through All India Radio. The really thrilling were those drama songs including those of KPAC which are not available now. By KPAC Songs I mean those songs which are not aired and stopped in the middle irreverently by the Communist Parties. Bringing the George songs would be a great tribute to him. After singing all those fine and touching songs for the communist party, in his old age, poverty and disease, in Trivandrum during an election, he appeared to sing for Congress party. He was cruelly beaten by his once comrades. Even now they do not feel it a shame to air his songs through loud speakers in their meetings. His songs were actually blackened out by hysteric communists in Kerala. Regarding L P R Varma, a fine collection of his original records are kept safe by a noble man who married into his family. Unfortunately I forgot his name whom for this purpose I had once contacted.