As with any other legend in our film industry, its impossible to choose when it comes to our Nightingale of Celluloid, S Janaki, or fondly Janakiamma with all the respect that I can muster. Her voice is like warm honey over a cold heart when it wants to be and like a comforting cloak on a windy evening.While on the subject, I just felt I need to mention about Dhool, a wonderful resource for anyone who wants to learn more about the yesteryears of Malayalam playback singing amongst a host of other subjects. Sadly, it has been live but inactive since the past two years.
I have managed to write a note to the owner to keep it up forever. I sincerely hope he does.
I am yet to be made aware of another regional community that attaches so much significance to the presence of an insect, specifically, the picture wing dragonfly, when it comes to their greatest celebration that represents a new beginning, gaiety, mirth, hope and above all the warmth of homecoming. Our little Onathumbi has been so ingrained in our Onam celebrations, that it is but natural to find its reflections in Malayalam Cinema too.
AT Ummer was the most busy music director of the late 70’s. I guess he was under so much pressure to sustain the success of his teaming -up with Bichu Thirumala, and most of the times buckling under Producers who had a ready made Hindi or Tamil tune that had to be repackaged for their project.
It isn’t any different when it comes to IV Sasi’s Ina ( 1982), which had 3 of its songs borrowed from other languages.
Swami (1977 ), directed by Basu Chatterjee and produced by Jaya Chakravarty (mother of Hema Malini) had the melodious Pal Bhar Main Yeh Kya Ho Gaya , composed by Rajesh Roshan and rendered by Lata ji, brought alive on screen by Shabana Azmi.