THE STORY ( from Niveditha's blog)

Meera, with nearly twenty exceptionally melodious songs, all vying with each for best song, is one of those films that one can never have one’s fill of. The music for the Hindi version was inspired by the famous musician-intellectual of the time Dilip Kumar Roy (1897-1980) and composed by S. V. Venkatraman

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The film starts with Sarojini Naidu (1879-1949) introducing “Subbulakshmi of the South to the people of the North”—and to the world. It is a spellbinding introduction of a spellbinding artist, from one of modern India’s great literary voices, effortlessly lyrical and heartfelt.

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The film tells the story of Meera’s single-minded devotion to Lord Krishna. A reluctant queen who sings the praises of Krishna, she is loved by the common people who call her Meera Maata, but criticized by the palace bigwigs for her unworldly ways. After many a trial and tribulation, Meera finally attains self-realization at the shrine of her beloved Dwarkanath.

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Legend has it that Meera, as a child, fell in love with an idol of Krishna that was brought to her house by a holy man called Rupa Goswami. In the following scene, Radha Sadasivam (M. S.’s step-daughter) plays little Meera, sitting on the lap of her grandfather, Little Meera is entranced by Krishna’s idol, which for a moment turns into a charming —the quintessential Krishna .

One day, little Meera sees a marriage procession from her balcony and, when she wonders about it, is told that she will also marry when she grows up. Then and there, she makes up her mind that she will wed only Giridhar Gopal.

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Baby Radha sings “Nanda bala mora pyaara,” and over the course of the song, she transforms into M. S. in what is now regarded as a sequence unprecedented in Indian cinema. The technicalities are best explained in film historian Randor Guy’s words, which I quote:

“When the changeover takes place, there is a 45-second, fast-paced musical interlude by the background orchestra as bridge as part of the song. Normally such background musical interludes are recorded along with the song in a recording studio long before the shooting of the film commences. But Dungan did not do so. He shot the scene first and the changeover sequence consisted of a number of shots of the statue of Lord Krishna… lighted candles with flames flickering …flowers on trays… prayer offerings…. Krishna’s flute in the statue…and then a cut to a close-up of MS singing with great feeling and emotion, “Hey! Murali… Mohana…” The shots were static, and also on fast trolley in close-up. (There were no ‘Zoom lenses’ in 1944-1945!) Dungan edited them all by himself into a rapidly cut fast-paced sequence first, and then the sadly underrated but highly talented music composer, S. V. Venkataraman scored the background music, in rhythm with the shots in a recording theatre. The impact was ecstatic and brilliant.”

(Randor Guy, “Full of technical innovations,” The Hindu, December 17, 2004)

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1) MURALI MOHANA

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2) HARI AAVAN KI AAVAAZ

After her marriage to the Rana of Mewar, Meera moves to the capital Chittor, where she leads the life of a householder in the eyes of the world only, for, at heart, she is wedded to Krishna. After fulfilling her daily responsibilities, she retreats into the world of Krishna

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3) BASO MERE NAINAN ME NANDA LALA

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4) GHAN SHYAM AAYARE HAMARE GHAR SHYAM

RANA AGREES TO MEERA'S PLEA TO BUILD A TEMPLE FOR HER GIRIDHARI AND MEERA IS SO HAPPY ABOUT IT. THAT SHYAM IS GOING TO BE HER PERMANENT GUEST.

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5) GIRIDHARA GOPALA

AFTER THE CONSTRUCTION OF THE TEMPLE, MEERA SINGS THIS GLORIOUS SONG AT THE TIME OF CONSECRATION OF THE TEMPLE.

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6) BRUNDHAVANA KUNJA BAVANA

THEREAFTER, MEERA SPENDS MOST OF HER TIME INTHE TEMPLE SINGING BAJANS IN ECSTASY . AND LIFTING THE DEVOTEES ALSO TO A TRANCE-LIKE DEVOTIONAL MOOD

(RSR) The song is sweet and great . MS video clip for this scene is pure bliss.

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As Meera spends more and more time at the temple, immersed in the glories of Krishna, she invites the ire of the Rana’s family, who instigate the Rana against her. In one scene, Meera, in a state of spiritual ecstasy with cymbals in hand, takes to the streets of Chittor, with the crowd following her, in her famous “Chaakar raakho ji” song.

7) CHAKAR RAKO JI

When the news of Meera singing and wandering on the streets reaches him, the Rana is horrified at his minstrel queen.

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The Rana expresses his displeasure to Meera, who then promises to make amends by being present at court by his side for a ceremonial occasion. The day happens to be a special day at the temple as well, but still Meera agrees to fulfill her queenly duties at the court. The day arrives—but at the last moment, when, as a heavily bejeweled queen, she is all set to leave for the court, she hears “Kaanha ki bansi” (Krishna’s flute) from the temple and, utterly overwhelmed, runs to the temple and bursts into a song. Meanwhile, at court, the Rana is anxiously awaiting Meera. There is a look of sarcasm on the faces of Meera’s chief detractors—namely the Rana’s sister (K. R. Chellam) and his younger brother JayamanWhen the Rana hears about Meera’s lapse, he is furious and stomps into the temple, as the chorus builds up dizzyingly.

8) HEY HARE DHAYALA

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Jayaman, who hates Meera with all his heart, decides to kill her and persuades his trembling sister (who still has a spark of conscience) to give her poison. Meera drinks the prasad (or offering) laced with poison that her sister-in-law brings her. The poison does not affect Meera; instead, the presiding deity at Dwarka turns blue and the doors close, much to the shock of the devotees there. ..Meera when she realizes the miracle, goes into ecstatic trance and renders Pag Gungru re

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9) PAG GUNGRU RE

Meanwhile, hearing about Meera, people from all over flock to see her. And thereby hangs another tale. Supposedly, Akbar, the Mughal emperor at the time, accompanied by Mansingh, traveled all the way from Delhi to Chittor in disguise to see and listen to Meera, with an offering of a pearl necklace for Krishna’s idol. In this scene, Meera enters the temple with her tanpura and sings the captivating “Main Haricharanan ki daasi”—if I have to choose my favorite song in the film, it is this.

10) MAIYN HARI CHARANAN KI DHAASI

A suspicious Jayaman accosts the two visitors from Delhi, who, in their hurry to flee, accidentally leave behind an item that bears the stamp of the Mughal empire. Jayaman promptly reports this to the Rana and interprets this as a sign of the Mughals spying on Mewar. The Rana is enraged and, at the goading of his brother, orders the temple to be torn down. A triumphant Jayaman marches with the soldiers to the temple and tells all the Krishna devotees gathered there, including Meera, to leave. They refuse, convinced that Krishna will come to their rescue.

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11) HUM NE SUNO HARI

A mocking Jayaman orders the canon to be fired—at that very moment, in the palace, the Rana’s sister who is convinced of Meera’s devotion, confesses to her brother that she tried to poison Meera, to no avail, and pleads with him to stop Jayaman from destroying the temple. When he hears about the plot to kill Meera, the Rana is shocked. He realizes his mistake and runs to the temple—but it is a little too late. The canon has been fired, and Meera has made up her mind to go her own way in her quest for Krishna.

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12) MOARE THO GIRIDHARA GOPALA

Meera, with only her tampura, sets out on the long, arduous journey to Brindavan, the place where Krishna spent his childhood. She faces many hardships on the way, but steadfastly moves towards her goal

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13) DHARAS BINA

She finally reaches Brindavan, and all her tiredness vanishes.

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14) YAADH AAVAE YAADH AAVAE

When Meera reaches Rupa Goswami’s ashram at Brindavan, his disciples tell her that their teacher does not see women. Meera wonders aloud about this gender discrimination in the realm of Brindavan, in the realm of the all-pervading spirit of Krishna. Goswami hears this and comes out to see Meera, apologizing for his narrow mindedness. He recognizes her as the little girl to whom, long ago, he had given a Krishna idol.

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15) KUNJANA VANA CHADI

With Goswami and his disciples, Meera leaves for Dwarka,

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16) GANGA JAMUNA

17) SUNO MERI MAVYAATH

where the doors of the shrine still remain closed. In the last song of the film, “Suno meri manovyatha,” Meera’s plea to Krishna is answered, as the temple doors unlock and Meera attains salvation. The repentant Rana comes to take Meera back with him—but he is late

This December 11 will be M. S.’s 5th death anniversary.

http://cinemacorridor.blogspot.in/2009/12/m-s-subbulakshmis-hindi-meera-1947.html