The 2010 action thriller film Anwar has Njan song. It is a smooth peppy dance number featuring Prithviraj Sukumaran and Mamta Mohandas, both also lending their voice. The singers also include Reshmi, Priya, and Asif Akbar. It is composed by Gopi Sundar from lyrics by Rafeeq Ahmed.
Prithviraj, Sayanora, and Anoop sang Oru Kadha that served as the title track for the 7th Day movie. The music of the track was composed by Deepak Dev. Lyrics were penned down by Vinayak, while Anoop wrote the rap lyrics.
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Ivide is the theme song of a Malayalam-English language crime drama of the same name. The soundtrack and background score were composed by Gopi Sundar. It is a soft heartbreaking and motivating song. Along with Prithviraj, the video also features Nivin Pauly and Bhavana, both playing supporting roles in the film.
Prithviraj Sukumaran rendered a soulful melodious track Arikil Ini Njan Varaam. It is from the 2017 thriller movie Adam Joan. The music is composed by Deepak Dev with lyrics penned by Santhosh Varma. Additional work on keyboards, bass, acoustic, electric guitars, drums, and percussions are by Deepak, Mithun, and Nirmal Antony.
The latest song by Prithviraj Sukumaran is Adakachakko, co-sung by Biju Menon. It is the promo song for the Ayyappanum Koshiyum movie. The music is by Jakes Bejoy and the lyrics are penned by B K Harinarayanan. The ethnic vocal is by Nanjamma, with backing vocals are by Keshav Vinod, Ajaey Shravan, Sangeetha, Devu, Sreekanth Hariharan, and Sreeraj.
The theme of such films, either at the centre or the peripheral, places the spirit of a person who succumbed to unnatural death and thereafter becomes a supernatural creature believed to be perturbed and restless due to some factor that prevents them from moving on to nirvana, due to violent death, unsettled matters in their lives, or simply the failure of their survivors to perform proper funerals. They are able to alter and assume forms of various animals at will, but are usually seen in human form. As the earth is regarded as sacred or semi-sacred they go to lengths to avoid contact with it, often floating above it. They cast no shadows, and prefer to appear in white clothing. Sometimes they haunt specific houses which are typically places where they were killed or which have some other significance.
The film was produced and directed by Prakash under the banner Movie Crafts and written by Jagathi N K Achari. A lady is found missing and her brother is informed by a person called Das that she was killed by her lover. In the night, a ghost like figure is seen roaming with a haunting song Nizhalaayi Ninte Pirake . The disheartened brother goes in search of the lover who reveals that actually Das was the person who murdered her. It was later revealed that the driver of the wicked Das was a CID officer and the ghost was none other than his wife assisting the CID to unravel the mystery. Unfortunately neither the print of the movie nor its digital version is available now.
The song Padunnu Puzha Padunnu has three versions. First one sung by Jayachandran ( K J Yesudas), second by Rajalekshmy and Indu (P Leela) and the third the disturbingly haunting song (S Janaki). Dakshinamoorthy scores three different tunes for the same lyrics which is a unique phenomenon in film music composition. The first one, a pleasant melody, second version semi classical and third the haunting song.
Produced by Chitranjali and directed by K S Sedhumadhavan, the story was by P Keshavadev. A writer, who is working in the city, decides to write a novel. He requests his peon to find out a peaceful place in the nearby vicinity. The place is identified and the writer shifts to his new abode. The owner of the house was really pleased to see the educated handsome bachelor who is also a government servant. The village people in the neighborhood without hesitation came to see the writer. Whenever he took his pen, a new visitor appeared or a new incident occurred in such a way that not a single word was written. Night came. The writer felt happy since he thought that hereafter nobody is going to disturb him. To his surprise, a very old men stroll into the room. He introduces himself to be a neighbor and incidentally narrates the story of a Brahmin lady who was a resident in the house years back and finally committed suicide. In all full moon days, he swears, the lady ghost is seen in the house. The writer in the bed was troubled and in the dark hours saw the beautiful Brahmin lady ( Jayabharati, as a guest artist). Singing the song Ottuvalaedukkaan Marannu, the yakshi laments on her fate in the following lines
The song is a beautiful melody having the features of Mishrasivaranjini ragam. However, Komal madhyamam is also used in the song. The prelude to the song starts with a movement in strings followed by a humming by Susheela and ends with the strumming of the banjo. The interlude before the charanam is edited in the record version of the film.
Related : Pranaya Sarovarame from C I D Nazir (1971) , with lyrics by Sreekumaran Thampi and sung by S Janaki . The song, though picturised in an eerie situation unfortunately lacks the beauty of a haunting song.
Produced and directed by P Subramaniam, the movie was written by S L Puram Sadanandan. Vikraman heads a team of gangsters who have a jungle hideout . Mala is the daughter of the tribal chief and she loves Veeran from the tribe. Vikraman, fascinated by the beauty of Mala, one day cunningly takes her to his place on the pretext that Veeran, her lover is lying there injured. Realizing the treachery she tries to escape. A tussle followed and the girl collapses. Sensing the seriousness of the situation Vikraman buries the body. Next day, in the night, people hear the melodious and haunting voice of a female singing the song En Chundil Raaga nombaram. All of them where really petrified to see the profile of Mala roaming the woods singing the song.
Its very interesting to note that there is another song in this film Ambili Vidarum Ponmaanam which is so close in its tune with this song. This song has another version in the film rendered by P Susheela. Though the lyrics of the two songs are different the tune is same and the haunting effect in this song is added effectively by the BGM. Thanks to T K Pukazhenthy who assisted Vedpal Varma in the BGM part. Vedpal Varma, composed melodious songs for Hindi and Punjabi films.Tum na aye sanam shama jalti rahi by Lata Mangeshkar ( Bhoot Nath /1963) of Vedpal Varma is one example for his talent to create soft melodies.
The film produced under the banner Rajapriya was directed by Crossbelt Mani. Padinjarekkara is a village. A few residents strongly believe the existence of ghosts. Another group firmly disapproves it. In between, there is a third group of gangsters cleverly manipulating the people for their ends. In this situation the CID enters and the usual sequence of events follow. Finally the truth is revealed and the film ends. The song is sung by Vidhubala, a hapless lady who fall into the trap of the gangsters. They make use of her to lure the CID to their hideout.
One of the fine compositions of R K Sekhar who contributed equally in composing the tune for the lyrics and for the supporting BGM. The prelude starts with a movement in the major scale and as it progresses enters the flat notes. The piece of music in the finishing part of the intro first in synthetic vibes and then supported by guitar proves the talent of RK Sekhar. Though the song seems composed in the Misra Sivaranjini, R K Sekhar on a few occasions deliberately mixed a few different notes to produce the haunting mood for the song. The song is edited in its record version by deleting the charanam part of the song which I remember is only available in the movie version.
The song is repeated till the end of the film. The song, even today, lives in the heart of all music lovers. M S Viswanathan uses the ragam MisraSivaranjini and in the anupallavi and charanam drift to the borders of natabhairavi to make the lines medina medini nin in the anupallavi and Yamini Yamini nin in the charanam much more pleasing. MS Viswanathan in the song explains how a haunting song can be created by the judicious mix of ragas.
Related : Pokaam Namukku Pokaam from the same film by Vayalar and sung by S Janaki. Though the song leads us to the climax of the film, it failed to generate the melody and went unnoticed.
Gopi returns back to his house to inherit his ancestral property. The immovables were managed by Raman Nair, the karyasthan, at his will who disliked the sudden appearance of Gopi. The irritated Raman Nair decides to work out a plan to scare Gopi so that he will flee from his home forever. One night, Gopi was awoken by a song, Ee Kaikalil . The song starts with a humming followed by an enthralling prelude so typical of Salil Chowdhury. Composed in minor scale, I feel that this is the best Malayalam haunting song of Salil Chowdhury. The interludes are lead by synthetic strings beautifully accompanied by the oboe.
Related : Rappaadi Paadunna Raagangalil from Vishukkani (1977), written by Sreekumaran Thampi and sung by P Susheela. The song is composed in minor scale. Still the musician elevates the song to new heights with his masterly application of b major (different note) in the line Talirum Taarum polinju.
M Mani produced the film in the banner Sunitha Productions. M Krishnan Nair directed the film. Kalliangattu Neeli is a part of the folklore of the erstwhile Travancore State. The story of the film revolves around a rest house. One day the guide takes the tourists to see the nearby places. In the evening the team reaches the deserted and haunting place called Kalliangaad. There the guide narrates the story of Neeli. A beautiful village belle, she falls in love with a warrior travelling through her locale. They get married. The warrior, a thug in disguise schemes her murder, kills the pregnant Neeli, robs her jewelry and flees. Thereafter Neeli is seen by many, clad in a white saree. The yakshi entices the travelers and finally drinks their blood. She meets her beau again, and seduces him with the sweet Nizhalaai Ozhuki Varum njaan, and finishes him off. 152ee80cbc
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