Came across this fantastic re-interpretation of a magical kind altogether the other day, based on a small report in the Malayala Manorama daily. KV Jyothilal, an accomplished and experienced artist from Kollam has done this exquisite series of paintings based on the Malayalam Classics that we have grown up on, and have come to love and cherish. He has done a series on his favorites composed by Vayalar and another series dedicated to the classics by P Bhaskaran.
It is quite commendable and the more you go through his ontepretation of Vayalar’s compositions, one is amazed at the different layers and textures that he reveals, that is the best part about the sets. He had just completed an exhibition of the series last week, a tiny report of the same that stoked my curiosity. And thank God, he did have the good faculties to have uploaded all of it as separate blogs termed Nirakkoottam ( a play on the term Nirakkoottu – color palette). I have attempted to showcase his creation against the celluloid original ( as available on the Web ) that was his inspiration so that it becomes easy to put them in perspective. He has in total, painted 32 interpretations of his beloved classics of which only 10 have been displayed online. Here are a few from the series. Continue reading →
There is no other dirge that we hold close to our heart than the classic Samayamam Rathathil (In the Chariot of Time, here I am, on my journey to heaven), which has become a symbol of passing regardless of caste, creed or social boundaries. No ‘Passing ‘ is complete without Samayamam Rathathil, if you are in Kerala, regardless of caste, color creed or social barriers. It is amazing that a hymn written as an exultation of praise and longing to be with the Lord, somehow over time gradually migrated to represent the collective pathos and separation of a whole community. I believe it was Aranazhikaneram(1970) that played an important role in the popularisation of this hymn that somehow got stamped as a dirge with the effective usage of that in the movie. Vayalar seems to have taken the original lines written by Rev V Nagel, tweaked it a bit, and Devrajan Master speeded up the tempo a bit to form Samayamam rathathil, as we know it today. But the song itself, along with the central idea of the chariot that’s taking one on a journey has some interesting cousins in history. I’m sure most of you know it, this is for the ones who don’t. Continue reading →
S Pavamani‘s first film production, it was the remake of the NTR starrer Samsaram (1950), directed by PN Sundaram under the newly formed PrathapChithra banner. He spared no expense in getting Prem Nazir, the reigning celluloid god to play the hero and KR Vijaya as the main female lead. A pure commercial blockbuster, he made sure the buzz factor notched up a few notches up with getting the one and only Kishore Kumar to sing in Malayalam.Continue reading →
Salil Choudhary had this amazing sensibility to really get under the skin of any genre of music that he was briefed to create according to the Director’s vision. Add to the sound tapestry that we are familiar with, when it comes to Salilda‘s contribution to Malayalam cinema, a Russian composition for Nellu (1974), and I would say the most perfect Christian harmonic church chorale I have ever heard onscreen was in Aparadhi ( 1977), Nanma Cherum Amma. It is also surprising that he never repeated that composition anywhere, maybe because it was so appropriate and unique, just perfect for that moment for that one film in Malayalam. I have had the misfortune to listen to countless versions ( really really horrible, terrible, scary covers) of the song available in the market, and I chuckle to myself when you realise that even with the latest cut-and-paste sound engineering magic in recording studios these days, NO ONE has been able to replicate the haunting harmony of the song! Continue reading →
There were four songs and an instrumental dance track in Poombatta (1971). The lyrics for all the songs were by Yousuf Ali Kechery, set to music by G Devarajan. Being a self-styled ‘Children’s Film’, the songs were also crafted and set to music to gratify that belief, which also explains the song about King Shibi from the Jataka Tales.
I guess BK Pottekkad included it to probably propagate a sense of higher value and worth that the film conveys, but P Madhuri’s voice is not exactly what sounds agreeable to me as the voice of a loving mother (here Raagini) singing to her daughter ( Baby Sridevi). Continue reading →
My Grandpa used to get very offended, when, I used to tell him that King Mahabali (from now on refereed to as Maveli) had to be the only ‘Socialist’ ruler in mythology, for being able to manage a kingdom where the material needs were none, and everyone had enough to keep them happy! Now, I can’t find a better and finer example than the concept, more beautifully lived out in our mythology, than the legend of Maveli. And ancient texts, scriptures, mythology have always been a favorite hunting ground for our film makers, going back all the way to Raja Harishchandra in 1913, our first movie from India ! Continue reading →
Songs that celebrate the festive spirit of Onam, the harvest festival of our homeland ( wait a minute, harvest festival? I can’t even recall the last time someone celebrated a decent harvest), have got themselves their own special place in the realm of Malayalam Cinema. Come to think of it, it has been quite some time, since someone decently picturized a traditional Thiruvathira recital or an Onappaattu worth its salt in recent years. Should we blame the increasing disconnect with our traditions, and as an implication, less recognition by the movie-watching public, which again means less marketability? I don’t know. Continue reading →
From being the cinematic ‘experience’ of the movement, captured from real life ( with a reasonable amount of commercial ingredients added), I guess the genre got itself a kick in the face (literally) when Adoor Gopalkrishnan‘s Mukhamukhom (Face to Face) released in 1984. Adoor, just pulled apart the rotting guts of the ‘movement’, and then laid it bare on the silver screen. Broadly, I feel, from this point on, the focus was more on the effect of the ideology on the individualities/personalities, rather that glorifying the ‘revolution’. The past 2 decades haven’t budged from this perspective – it was more about the “I, than the Ideology ” . I guess the ones that come to mind, across these 25-odd years, reasonably explains well, the enduring perspective of the dilemma of the human being who gets caught between the ideology, consumed by it, and is gradually disillusioned by it. Continue reading →
Its hard when you have a body of work that is more than 1000 plus songs to his credit in Malayalam Cinema, and most of them compete with each other on your favorites’ list. Right from the first composition in Kalam Maarunnu (1955), “Aa Malarpoyikayil”, a duet – sung by KS George and K Sulochana, it becomes a delightful exercise every time I try to compile my favorite 10 songs of ONV. I think ONV had two great associations for the collective number of films collaborated, when it came to making great songs for cinema, G.Devarajan and Salil Choudhari.
Even though, they were so different in their sensibilities and mainly the language, ONV’s genius adapted to both the Maestros, churning out hit after hit, knowing exactly what the “situation” demanded of him, and how it would turn out after the ‘final mix.’ Another one who almost equalled ONV in this dexterity of creativity must have been Girish Puthenchery, who passed away in the prime of his career.
Surprisingly, the ONV-Devarajan combination came together for only around 20-odd films, I guess, and it was around 16 films with Salilda.