MGRFAN4EVER

A Daily Drop of Thoughts, Tunes, and Tributes - the 3 T's

[mgrfan4ever]

Belated 92nd Birthday Wishes to Director C.V. Sridhar – A Visionary Film Maestro

July 22, 2025

Ode to Director C.V. Sridhar

O bard of screens, with subtle grace, You carved your name in cinema's space. From Kalyana Parisu, love’s tender hue, To Then Nilavu’s romance beneath skies blue.

In Nenjam Marapadillai, memory stirred, A haunting tale, each whispered word. Nenjil Oer Alayam, hearts confined, Yet love and loss so deftly entwined.

With Kadhalikka Neramillai, joy took flight, A comic gem, forever bright. In Kalaikovil, the arts took voice, And music made the soul rejoice.

Through Vennira Aadai, a bold new dawn, New faces bloomed and journeys drawn. With Ooty Varai Uravu, breezy and free, You penned sweet notes of comedy.

Then Uthiravindri Ulle Vaa, Invited hearts with love’s own law. Each film you shaped with tender might, Still glows today in reel and light.

O Sridhar, master of tale and tune, Your legacy sings like an endless monsoon.

[mgrfan4ever]

Eternal Grace: A Tribute to Saroja Devi

O silver screen, dim now your light, A star has fallen from your night. The lotus-eyed queen of a golden age, Has taken her final bow from stage.

She was Abhinaya Saraswathi, divine, Each gesture, each tear, a sacred line. In silks and song, she ruled the frame, And carved in hearts her hallowed name.

With MGR, the people's king, She danced where love and valor sing. In "Nadodi Mannan", she lit the skies, In “Enga Veettu Pillai”, her smile defied goodbyes. “Panam Padaithavan” — her laughter rang, Through Rajan’s tales, her beauty sang.

Then came the thunder of Sivaji’s voice, In her silence, she made the bolder choice. "Paarthaal Pasi Theerum" — a classic cry, Their eyes alone could testify.

In “Aalayamani”, she broke and bled, While millions watched and softly said: “No actress we have seen or known, Could make a still face speak and moan.”

From Kannada temples to Telugu shores, In over 200 films, she opened doors — For women strong, for beauty kind, For dignity, with art aligned.

She was Kannadathu Paingili, the rose, Whose fragrance in our minds still grows. Not just an actress, but a flame, That danced in every household name.

She earned the nation’s grandest praise: Padma Shri, Padma Bhushan blazed. But her greatest honor ever won — Was the love of all, old and young.

Now the curtains gently fall,

The lights go dim in every hall. But somewhere stars rise in her name, And Heaven scripts her in its frame.

Farewell, Saroja Devi, queen of art — You’ve left your mark on every heart. The reel may pause, the music cease, But your spirit shines — in timeless peace.

[mgrfan4ever]

My Tribute to Saroja Devi – My favorite heroine of all time in any language

It is a shock to hear that India’s legendary actress Saroja Devi has passed away. Her cinematic journey, which began when she was just 17, only came to an end a few years ago. And now, she herself is no more.

Born in 1938 in Mysore, then part of the Madras Presidency, she belonged to the Lingayat community. At the age of 17, she debuted in the Kannada film Mahakavi Kalidasa, a national award-winning film that brought her significant attention. Although director Pandulu brought her into Tamil cinema in 1957, it was M.G. Ramachandran (MGR) who introduced her in “Nadodi Mannan” (1958) — and from then on, her rise was unstoppable.

For the next 20 years, she soared — especially dominating the screen throughout the 1960s. Not just in Tamil, but in nearly every Indian language, she left her mark.

If ever you wondered how beautiful and powerful a woman’s eyes could be — you saw the answer in hers. At once mischievous, maternal, and majestic — her gaze said it all.

The word "grace" found its embodiment in her very form.

She had universal appeal among cinema lovers. Top stars like MGR, Sivaji Ganesan, and Gemini Ganesan queued to act beside her. In a way, Savitri’s sudden decline opened the gateway for Saroja Devi — a place she secured with confidence and dignity. Even though Devika, Vyjayanthimala, and many others came and went, Saroja Devi’s place remained untouched.

Not even the artistic tide raised by Padmini could shake her foundation.

Though her films with MGR were hugely popular, her most emotional and profound performances came with Sivaji Ganesan, especially in unforgettable films like “Paalum Pazhamum” and “Bhagapirivinai.”

She was the first choice of renowned directors like Bhim Singh and K.S. Gopalakrishnan, and was also MGR’s preferred heroine. Her contribution to many of his hit films was immense.

She remained a leading lady for over 30 years, and even after 1990, she continued to play prominent, mature roles across languages — a noteworthy accomplishment.

Her eyes held power, and her natural smile was her divine gift. Till the very end, her eyes and that smile remained unchanged.

She may not have been trained in classical dance, and she had many so-called limitations. But she hid them skillfully, acted with instinct, and ensured that her weaknesses were never exposed — that’s where her true brilliance lay.

She will forever remain a part of the golden era of Tamil cinema. Her place there is eternal.

In no film did she ever compromise on dignity. She never let her attire slip into indecency. She proved that a woman could have a successful career in cinema without sacrificing grace or integrity.

She endured many false accusations and slanders, pushed forward through all kinds of whispers — including hurtful words from political groups like those led by "Pailwan" Ranganathan. But she stood tall through them all.

She won many awards and titles, but none greater than being called "Abhinaya Saraswathi" and "Kannadathu Paingili" — both of which have now become immortal.

In her personal life, she lived happily with her husband and three children. Though her husband's sudden passing affected her deeply, she eventually rose again, strong.

In a way, the kind of position J. Jayalalithaa later held in the AIADMK, was first offered to Saroja Devi. Many actresses, like Vennira Aadai Nirmala, were involved in the party, but it was Saroja Devi whom MGR personally invited into politics. She consistently declined.

After her husband's death, MGR even tried to make her an MP in the Rajya Sabha — again, she declined with grace. Had she accepted, she might have held a major role in the AIADMK — perhaps even as a symbolic “Periyamma” (matriarch figure). But she was never interested in that path.

Everyone agrees — Saroja Devi was the most fitting onscreen partner for MGR.

Old Tamil cinema and Saroja Devi are inseparable. Whether in love songs, sorrowful melodies, or emotional ballads — her face appears. And that face is etched forever in the memory of cinema lovers.

"Every life is a karma." In that way, she fulfilled her karma in the world of cinema, and through that very karma, she earned the affection and admiration of millions. Now, she has completed this birth and departed.

Let us pray for her soul to rest peacefully in the Lord.

Though she acted in hundreds of songs, in some — her expressions, graceful movements like a chariot gliding through the clouds, her abhinaya, and her smile — like a dancing coconut frond in the breeze — are unparalleled and rare to come by.

In the film Bhagapirivinai, the way she walks in rhythm with Kannadasan’s poetic lines is one of the most aesthetically beautiful moments in Tamil cinema.

"தாழையாம் பூ முடிச்சு

தடம் பாத்து நடை நடந்து

வாழை இலை போல வந்த பொன்னம்மா"

— the walk, the music, and her presence defined the very meaning of abhinaya.

Another of Kannadasan’s lines that fits her perfectly:

"மண் பார்த்து விளைவதில்லை

மரம் பார்த்து படர்வதில்லை

கன்னியரும் பூங்கொடியும் கன்னையா அவர்

கண்ணிலே களங்கமுண்டோ சொல்லையா"

These lines describe her exactly. Regardless of language or plot, she blended in flawlessly. Like a creeper that blossoms without needing earth or tree, she stood out in her own right, and delivered the same standard of excellence opposite any co-star.

It is hard to accept that the beautiful face that appeared in:

“Aalayamaniyin osaiyai naan ketten”

— will be seen no more.

In Paalum Pazhamum, those divine words penned by Kannadasan soared because they were brought to life by that graceful dove:

"எலும்புக்கும் சதைக்கும் மருத்துவம் கண்டேன்…

இதற்கொரு மருந்தைக் கண்டேனா…

இருந்தால் அவளைத் தன்னந்தனியே…

எரியும் நெருப்பில் விடுவேனா"

But still — one cannot simply say, “Let her go, so be it.” Because her place in our hearts is irreplaceable.

[mgrfan4ever]

BELATED 95TH TO DIRECTOR K. BALACHANDER, my all time favorite

The 95th Birth Anniversary of the Director Who Sculpted Stars – K. Balachander 🌹

Today marks the 95th birth anniversary of the towering figure of cinema, director K. Balachander, who carved stars out of raw talent.

At a time in the film industry when actors were the dominant force, there arose a growing belief that true recognition rightfully belonged to the creator—the director. Even though the trend of hero-centric cinema has continued from MGR and Sivaji to the present day, it was K. Balachander who revolutionized this norm and brought deserved attention to the director's role. Though today marks his 95th birth anniversary, he remains ever-present in spirit.

Whether his films were commercial successes or not, there was never a "bad film" in his repertoire—only good or great ones. Regardless of the box office outcome, his unique touch was always unmistakable. Fans to this day speak of his films with reverence, recognizing a "KB film" by its distinct mark. Many flocked to theaters back then solely because it was a K. Balachander film—and he never disappointed.

Moreover, he holds the record for introducing the highest number of actors and actresses to Tamil cinema. Having launched over 65 talents, he didn't just introduce them—he made sure they left a lasting impression. It was he who filled the void after MGR and Sivaji by shaping the careers of Kamal Haasan and Rajinikanth, giving Tamil cinema its next legendary duo.

In a film industry that chases omens—like ensuring a film title doesn’t have eight letters, or insisting on auspicious first lines—KB boldly named his debut film Neerkumizhi (Water Bubble). From that humble beginning, his cinematic journey surged like the Niagara Falls, mesmerizing countless viewers.

While others struggled with creative droughts, Balachander stood tall as a bold revolutionary, crafting socially charged films with vision and originality. His early work in numerous plays endowed him with discipline, structure, and storytelling techniques that he seamlessly brought into cinema. Though initially criticized for theatricality, he quickly mastered the cinematic form and began delivering hits.

With films like Iru Kodugal, Poova Thalaiya?, Bama Vijayam, Thamarai Nenjam, Punnagai, Sollathan Ninaikkiren, Arangetram, and Aval Oru Thodarkathai, he not only elevated himself but also raised the standards of Tamil cinema.

His women characters were always strong, intelligent, and self-assured. Films like Iru Kodugal, Arangetram, and Aval Oru Thodarkathai showcased such progressive portrayals. In Thanneer Thanneer, he delved into politics, a bold move that earned him the National Award for Best Screenplay.

His Hindi film Ek Duuje Ke Liye became a blockbuster, and it marked Kamal Haasan’s breakthrough into Bollywood.

From Sindhu Bhairavi and Achamillai Achamillai to Kalyana Agadhigal, Punnagai Mannan, Manadhil Urudhi Vendum, Unnal Mudiyum Thambi, and Pudhu Pudhu Arthangal, his list of iconic films goes on.

Had he been alive today, legends like Rajinikanth, Kamal Haasan, and Prakash Raj—along with countless others—would be gathered at his home, paying tribute and seeking guidance. He would still be helping others in every way he could.

K. Balachander was a sculptor who chiseled unforgettable icons into Tamil cinema—transforming them into stars. As long as cinema exists, his creations will remain timeless, etched in memory forever.

Here is my way of wishing him:

A titan of tales, bold and wise, You lit the screen with fearless eyes. With scripts that stirred the soul and mind, You shaped a world both brave and kind.

From fragile hearts to voices strong, You gave the silenced their own song. Though time has flown, your stories stay— Eternal lights that guide our way.

Belated cheers to ninety-five, Your legacy keeps dreams alive. My favorite ever, that won't change— A master, vast in vision’s range.

[mgrfan4ever]

Division and Polarization

Reflections on Division: From Friendly Rivalries to Deep Polarization

Growing up in India, some of the most passionate debates that created temporary divisions among family and friends were centered around iconic rivalries: MGR vs. Sivaji, DMK vs. AIADMK, MGR vs. Karunanidhi, Jayalalitha vs. Karunanidhi, and MSV vs. Ilaiyaraja. These were intense discussions, often spirited, but they never caused lasting damage to relationships or friendships.

When I moved to the United States in the late 1970s as a student and began my career, there were few—if any—topics that caused real divisions among my circle. Occasionally, we argued over sports—college and professional football, tennis—but those debates were good-natured and harmless. I still vividly remember the friendly arguments I had in the early '80s with my friends just before John McEnroe beat Björn Borg for the first time at Wimbledon. Naturally, I rooted for the underdog, while most of my Indian friends were staunch Borg supporters. The same went for NFL and college football rivalries: Dallas Cowboys vs. New York Giants, Alabama Crimson Tide vs. Notre Dame.

Politics didn't enter my radar seriously until the late 1990s during the Clinton era, but even then, friendships remained intact. The infamous "blue dress" scandal sparked debate but didn’t cause real rifts among us.

The first true fracture in friendships and relationships came post-9/11. The U.S. involvement in global conflicts—particularly the invasion of Iraq based on false claims of weapons of mass destruction—marked a turning point. It was the first time I witnessed political views leading to tension, and in some cases, permanent shifts in political affiliations and allegiances. That divide has only grown since.

However, the real earthquake—the one that truly shattered relationships and created deep, lasting divisions—was the "Trump Effect." Support for Donald Trump and his policies not only fractured families and friendships but also significantly impacted our sense of freedom of speech. A simple example: Trump supporters often fear wearing a hat or displaying a bumper sticker in public, concerned about being confronted or attacked. In some places, such as Florida, they feel relatively safer—but that speaks volumes about the state of our polarization.

How did we get here? Both sides will tell their own version of the story. But the reality is undeniable: division and polarization are now widespread and deeply rooted. Personally, we have lost contact with many friends and even some family members. While I refer to this as the "Trump Effect," others dismiss it as "TDS"—Trump Derangement Syndrome. Regardless of the label, this is the most damaging division I have experienced in my lifetime.

Of all the issues that once divided us, the Trump era may leave the most enduring scars. It could take generations to heal—if at all. The question remains: how do divided families and friendships find their way back to the love and unity of the past? I wish I had the answer. I’m skeptical. President Trump may be gone from politics in a few years, but the damage to our personal bonds may take much longer to repair—if ever.

God bless us all as we try to rebuild what was lost.

I tried to capture these ideas in a poetic fashion below for your reading please if you have the patience.

Best Wishes

Mani

From MGR to Trump: A Journey Through Divides

In shaded streets of Madras past, Where fans of films would hold fast, MGR or Sivaji—choose your king, And with that choice, the passions spring. But never hate, just loud debate, And chai would cool the fires of fate.

The DMK, the AIDMK feud, A clash of wills, not hearts, intrude. Even Karunanidhi's fiery prose Could not make brothers turn to foes. For every tiff would end in jest, And love, not politics, stood the test.

Ilaiyaraja, MSV— Notes that sparked some rivalry, But songs, like incense, sweetly burned, And even critics slowly turned. We disagreed, but found our tune Beneath the calm of a Chennai moon.

Then westward bound, in search of dreams, To lands of snow and wider streams. The Reagan years came in a blur, With football chat and Federer. We differed, yes, but friends we stayed, No loyalties to break or fade.

But then, the towers burned and fell— A world unmoored, a silent knell. Iraq, a lie, a global stage, Where truth was lost and birthed our rage. Friends once close, now turned away, On battlefields of dismay.

Still, nothing cracked the way it did When Trump emerged, and threw his election bid. The air grew thick, the lines were drawn, Old ties unravelled, friendships gone. Where once we laughed with open hearts, Now silence holds us miles apart.

No film star feud, no party flag, No sports bar fight or hometown brag Could wound us deep or pull apart The love that once was at our heart. But this—a war of soul and speech— Built walls that kindness may not breach.

Will time restore the joy we knew? Can hearts forgive, and love renew? Perhaps, one day, a softer sun Will shine on all, and make us one. But now, I watch with hopeful dread— For some wounds speak what’s left unsaid.

So here's to times of lighter air, Of sibling spats without despair. And may our future children find A world less torn, a touch more kind.

[mgrfan4ever]

CR Subburaman

Death Anniversary - Ju e 27, 2025

தியாகராஜர், சியாமா சாஸ்திரி, முத்துசுவாமி தீக்‌ஷிதர் ஆகிய மூவரும் கர்நாடக இசையின் மும்மூர்த்திகள் என்று அழைக்கப்படுகிறார்கள்.

வெகு மக்களின் மனதில் இடம் பிடித்த எழுபதுகள் வரையிலான திரையிசையிலும் மும்மூர்த்திகள் உண்டு! எஸ்.வி.வெங்கட் ராமன், ஜி.ராமநாதன், சி.ஆர்.சுப்பராமன் ஆகிய மூவரும்தான் அவர்கள்.

இந்த மூவரில் சி.ஆர்.சுப்பராமன் இளம் வயதிலேயே, அதாவது 19 வயதில் தொடங்கி 28 வயதுக்குள் இந்த அந்தஸ்தைத் தன்னுடைய இசைத் திறமையால் பெற்ற ஒரே கம்போஸர் இவர் மட்டும்தான். ஒரு இசையமைப்பாளராக மட்டுமல்லாது, ஒரு குருவாகவும் இருந்து, தனக்குப் பிறகு தன் பெயரைச் சொல்ல மாணவர் பரம்பரையை உருவாக்கியவர் சி.ஆர்.எஸ். அவ்வளவு ஏன்! திரையிசையை ‘மெல்லிசை’ என்று ரசிகர்கள் வகைமைப்படுத்தி அழைக்கக் காரணமாக அமைந்துவிட்ட ‘மெல்லிசை மன்னர்கள்’ விஸ்வநாதன் - ராமமூர்த்தி என்கிற வெற்றிகரமான இசையமைப்பாளர் இணையை உருவாக்கிய அவர்களுடைய குரு சி.ஆர்.எஸ்.தான்.

கர்நாடக இசை, இந்துஸ்தானி, மேலை நாட்டிசை, நாட்டுப்புற இசை என்று பல இசை வகைகளிலும் தேர்ச்சி பெற்றிருந்தார். 1940களிலேயே இலத்தீன் அமெரிக்க இசையை தமிழ்த் திரையிசைகளில் புகுத்தியவர்.

தனது 16ஆம் வயதில் ஜி. ராமனாதனின் சகோதரர் சுப்பையா பாகவதரின் சிபாரிசில் சுப்பராமன் எச்.எம்.வி. நிறுவனத்தில் ஹார்மோனியம் வாசிப்பவராகப் பணியிலமர்ந்து, பின்னர்  இசை அமைப்பாளரானார்.

இசையமைத்த திரைப்படங்கள்

லவங்கி (1946) பைத்தியக்காரன் (1947) அபிமன்யு (1948) மோகினி (1948) ராஜ முக்தி (1948) கன்னியின் காதலி (1949) மங்கையர்க்கரசி (1949) ரத்தினகுமார் (1949) வேலைக்காரி (1949) நல்ல தம்பி (1949) பவளக்கொடி (1949) பாரிஜாதம் (1950) விஜயகுமாரி (1950) மச்சரேகை (1950) மணமகள் (1951) மர்மயோகி (1951) இசுதிரீ சாகசம் (1951) வனசுந்தரி (1951) ராணி[1] (1952) தர்ம தேவதா (1952) காதல் (1952) தேவதாஸ் (1953) மருமகள் (1953) வேலைக்காரி மகள் (1953) சண்டிராணி (1953)

மெல்லிசை இசையமைப்பாளர் சுப்புராமன் அவர்கள் புகழ் போற்றுவோம்.

His portrait and one of the last legendary compositions by CRS. During the shooting of this movie, he passed away, so his able assistants MSV/TKR ended up completing the movie. The rest was history.

Ref: A great writeup by my friend Aswath in Telegram

[mgrfan4ever]

Why am I fervently anti-war??

"No Applause for the Bully"

I stand where silence seeks its voice, Where war drums beat, I make my choice. No gleam of medal, no marching line Can make this wreck of death seem fine.

I’ve seen the smirk of power boast When might kicks down a smaller ghost. They call it strength — I call it shame, To mock the weak and play that game.

They jeer at fists that won’t return, At broken hands, at cities burned. Then raise a toast, with poisoned grace, “Congratulations” — to a ruined place.

I hated war when fire first fell, When bombs made playgrounds into hell. The flags were loud, the truth was small, And still I saw through it all.

So spare me tales of glory's grin, Of victors proud and swollen sin. I’ll stand with those who choose the scar Of peace — not winners born of war.

I’ll never cheer the cruel parade, Or clap for empire’s masquerade. No war is holy. None is just. Only graves beneath the dust.

Let others shout with hardened breath — I’ll speak for life. I’ll mourn the death. And though the world may beat its chest, I’ll keep my heart an anti-war protest.

[mgrfan4ever]

Happy 97th to my most favorite MD, Mellisai Mannar

June 24, 2025

மெல்லிசை மன்னருக்கு ஒரு அஞ்சலி

மெல்லிசை கலந்த

துள்ளிசை ஒருபுறம்

தெம்மாங்கு கலந்த

தெள்ளிசை மறுபுறம்

அவரிசை இல்லா

இன்னிசை இல்லை!

அவர் போட்ட மெட்டு

செவிகளை தொட்டு

இதயம் வருடிவிட்டு

இன்பத்தின் எல்லையிலே

நம்முள் கலந்தது

நாம் செய்த புண்ணியம்

துயில் தேடி துவள்கையில்

நித்திரையின் மாத்திரையாய்

துன்ப துயரத்தில்

துன்பத்திலும் துணையாய்

இன்ப இனிமையில்

இன்பத்தின் இரட்டிப்பாய்

எனது

கண்ணீரில் அமைதியாய்

புன்னகையில் பூரிப்பாய்

இவ்வுலகில்

என்னை புரிந்துகொண்ட உணர்வே

என் மன்னரின் இசையே

கண்கள் அறியா காட்சி

நாசி நுகரா நறுமணம்

இதழ் அறியா சுவை

இவறிந்த இசைக்கலை

செவிக்கு மட்டும் வரம்

மன்னர் பாட்டின் தரம்!

நீவாழ்ந்த சமகாலத்தில்

நாங்களும் வாழ்ந்துள்ளோம்

என்பதன்றோ நாங்கள் செய்த

பெரும் பாக்கியம்

[mgrfan4ever]

Kannadasan's 98th Birthday

கவிச்சக்கரவர்த்திக்கு 98வது பிறந்த நாள் வாழ்த்து (கண்ணதாசனுக்கே ஒரு கண்ணிய அஞ்சலி)

கலையின் கனிவாய் பிறந்த நாள் இன்று, கவியின் குரலால் தமிழ்மொழி நின்று; பாடல் புகழாய் பரந்து விரிந்தது, பாரதம் முழுதும் உன்னைத் தெரிந்தது!

சிந்தனை ஆழம் உனக்கே சொந்தம், சஙகீதம் கொள்ள வானமும் பந்தம்; பாட்டில் உயிரைப் புகுத்திய மாயன், பழமொழி போல நீ வாழும் நாயன்!

அன்பும் அறிவும் கலந்து வந்த பாணி, ஆளுமை ஒளியாய் உதிர்ந்தது கானி; மனதை உருக்கும் சொற்களின் சூரம், மறக்க முடியாது உன்னோடு ஊரும்!

வாழ்த்துக்கள் இன்று வானளவில் உனக்கே, வார்த்தைகள் மலரட்டும் கீதம் நெஞ்சுக்கே; நின் நினைவு என்றும் நம் நாடியின் பாதி, தமிழ்  நிலவாய் என் நெஞ்சின் ஜோதி.

கண்ணதாசன் பிறந்த தேதி: ஜூன் 24, 1927 இன்று: 98வது பிறந்த நாள் (2025)

[mgrfan4ever]

It's Baila Time.

சிங்களத் தீவினுக்கோர் பாலமமைப்போம்…

Invasion of Kafrinha in Tamil Film Music

All the writings I have been doing, especially lately at this time of my life, have given me immense pleasure in doing deep-dive research and also dig deep inside in bringing out my childhood memories of growing up in Nandambakkam and Saidapet.  Most importantly, it keeps my brain active and memories fresh still before falling into that inevitable stage of dementia etc which is bound to happen in future.  To quench my thirst for finding more about my childhood, I recently started watching a series on Youtube, The Anglo-Indians of Madras (https://www.youtube.com/watch?v=wzyMKC6XzsA ).  In this, Episode 5 (two parts), gets into St. Thomas Mount, the place I grew up.  It was so much fun listening to words like மாஞ்சா நூல், கில்லி தாண்டு, கோலி பேந்தா, காத்தாடி, all those terms I grew up with.  Having lived in the middle of Anglo-Indians, I can immediately place myself in the middle of these episodes,

So what else do I remember about growing up in 60s and 70s?

As this was prior to TV and other visual communications, listening to Radio played a crucial role in our day-to-day entertainment.  If we needed to see any news, then we would go to theatres to watch the Newsreel, a short documentary film consisting of current news, and then the movie.  We never missed the newsreel if I remember correctly.

About radio, besides All India Radio, Radio Ceylon played a pivotal role.  I still remember

Amit Sayani’s Binaca Geethmala

S.P. Mayilvaganam and `Radio Mama' Saravanamuttu

Cricket commentary (eg, West Indies vs Australia)

பொங்கும் பூம்புனல், பிறந்த நாள் வாழ்த்து, இன்றய நேயர் என் விருப்பம் ஒரு படப்பாடல் , பூவும் பொட்டும் மங்கயர் மஞ்சரி விவசாய நேயர் விருப்பம்

etc

During this time, you could hear the songs from Ilangai Vaanoli:

சின்ன மாமியே

சுராங்கனி

கமலாப் பொண்ணு, கடைக்குப் போகாதே..

I also remember some of these songs sung by young men used as message in their eve teasing endeavors.  But I did not know where this music came from: Ceylon or Anglo-Indians.

Over the years, this type of music has been copied, partly or wholly, in songs such as:

Surangani (Avar Enakke Sondham)

Angamuthu (Thangaikkaga)

Vaada Maappilley (Villu)

Ullaallaa (Petta)

Jolly O Gymkhana (Beast)

I realize that Ravichander’s Jolly O Gymkhana (Beast) created ripples among music buffs not only because it was rendered by Vijay, but also because it brought back the Baila flavor, music originated from Ceylon, in Kollywood. Tamil cinema music has always experimented with genres, and this resurgence of Baila has gotten fans excited.  The electrical guitar portion in Vaada Maappilley (Villu) was based on the Ceylon Baila style.

The origin of Baila dates back to when the Portuguese landed in Sri Lanka with African workers.

After arriving in Ceylon in 1505, the Portuguese gradually set out to convert the Sinhalese and Tamils to Roman Catholicism, and to build their wealth and power through both the spice and slave trades. As early as 1630, African Kaffirs were brought to Ceylon to work as slaves or soldiers. The Kaffirs were once described as a people 'steeped in opium and witless with drink'. It was the carefree spirit of the Kaffirs that inspired two music forms known as chicote and Kafrinha infusing them with humor and satire.  The word Kafrinha itself comes from kaf (Kaffirs) and rinha which means 'local lady'.  The Kaffirs and Portuguese Burghers mixed freely together, and in time both chicote and Kafrinha came to be subsumed under the general term Baila, which is a Portuguese verb meaning 'to dance'.  In Spanish, “bailar” means “dance”.

Tamil cinema’s music composers and playback singers who also worked in Sinhala films in the early fifties were quite familiar with Baila:

Chandrababu, the singing comedian who had lived for some years in Colombo rendered the lovely Baila-style number ‘Pambara Kannaale’ (‘Manamagan Thevai’, 1957).

Veda composed the very typical song of the genre in ‘Dingiri Dingaale’ (‘Anbu Engey’, 1958).

Music composer G Ramanathan invested ‘Chinna Kutti Naathana’ (‘Aaravalli’, 1957) with ‘bailaesque’ hues.

The identification of the genre with carefree and youthful celebration is clear from ‘Once a Pappa met a Mamma’ in ‘Anbe Vaa’ (1966), in which a bus full of young holidayers is shown rocking to the Baila song.

One surprising piece that appeared in the earlier days of SPB was that of Shyam-Phillip’s ‘Poondamalliyile Oru Ponnu Pinnaale’ in ‘Karunthel Kannaayiram’ (1972) with Manorama.  An hilarious scene with Manorama, Thengai and others. Please watch it if you get a chance.

A noteworthy mentiom here is the contribution by AE Manoharan, a Ceylon Singer, who was called the “Pop Isai Chakravarthy”. Manohar’s career-transforming moment as a singer came with ‘Suraangani’ in Sinhala and Tamil in 1972 with a Surya label record which was frequently broadcast over Ceylon Radio. The foot-tapping number in which Manohar had written of a youth wooing his girl named Surangani was so infectiously catchy that soon every Tamil Nadu college student fest was rocking to the number.

Now, coming to our main topic, the Baila song, “Dingiri Dingale” from the movie Anbu Engey (1958).  Veda (aka Vedhasalam), the music director (well known for reproducing hindi music in JaiShanker movies) lived in Ceylon (now Sri Lanka) in the 1940s. This song was hugely popular amongst the Sinhalese community in Sri Lanka and they took it almost as their own despite the language being different. The Goans in India too played similar music.  As a dancer,

S.S.Rajendran was the best amongst the top Tamil hero actors, far better than M.G.R, Sivaji Ganesan and Gemini Ganesan. Otherwise, this song should have gone to comedian Chandrababu who also lived in Sri Lanka and knew the Baila music and the Baila dance.

When the film was planned it was decided by the director and music director that a dance sequence in a western – style club should be filmed. The director wanted an upbeat toe-tapping number. The music director suggested a Baila type melody. Yoganand, the director of the movie, gave the green light to Vedha. He composed a “Bailaistic” tune. The producer Govindarajan rejected it and wanted Vedha to compose a light classical number instead.  Fortunately, the director overruled the producer and the original tune stayed.

The lyricist V. Seetharaman was given the task of writing the song. Seetharaman had a flair for writing humorous songs and was known as “Sirippu Paadal Seetharaman”. When Seetharaman was searching for a catchy opening line, it was Vedha who suggested “Dingiri Dingaaley”. Apparently, Vedha who composed music for “Dingiri Menike”  (Dingiri – sweet little girl, manike- my love) liked the sound of the word “Dingiri”. Seetharaman went on to write the words of the song in a satiric mode. It was a general indictment of the pretentious changes in society due to western influence. In a song laced with pin- pricks of a lighter vein several English words too were used. Each verse was in two lines with an alliterative touch.  The song is sung by TM Soundararajan.TMS and of course, TMS does justice to the mood intended for the song with with his full –throated voice.  Finally, it is worth noting that a large number of Anglo- Indians in Madras were hired as dancers for the film shoot.

The song starts with a BGM intro accompanied by typical instruments used in any Baila music: violin, viola, acoustic guitar, drum, tambourine etc. Now the Pallavi starts and gets repeated:

டிங்கிரி டிங்காலே

மீனாட்சி

டிங்கிரி டிங்காலே

உலகம் போற

போக்கப் பாரு

தங்கமே தில்லாலே

Watch the comical steps (in combination with typical Southern kuthu steps with elongated tongue) by SSR.  Then he gets into this hilarious comical posture and starts the first charanam, split into two parts, a common these throughout this song:

In the first part, you hear

அதிகமாக

படிச்சுப் படிச்சு

மூளை

கலங்கிப் போச்சு

அணு குண்டைத் தான்

போட்டுக்கிட்டு

அழிஞ்சு போகலாச்சு

Followed by an interlude of BGM that extends the fervor of the song itself.  You may note the intention of the lyricist, satire, and the general indictment of the pretentious changes in society due to western influence, which is then reaffirmed in the second part of the charanam:

அறிவில்லாம

படைச்சுப்புட்டா

மிருகமின்னு சொன்னோம்

அந்த மிருகமெல்லாம்

நம்மைப் பாத்து

சிரிக்குதென்ன செய்வோம்

Followed by உலகம் போற போக்கப் பாரு தங்கமே தில்லாலே and the whole Pallavi is repeated.  Wow, in the year 1958, thinking this style as well as the pattern must have been something new and raised some eyebrows in the industry.  Kudos to Vedha!

And then the next charanam:

ஐயா வரவை

பாத்து வீட்டில்

ஏங்குறாங்க அம்மா

அந்த ஐயா இங்கே

கும்மாளந்தான்

போடுறாரு சும்மா

And the BGM follows similar to the first charanam with a delightful/funny “ha ha” from TMS.  The next part of the charanam has a kicker:

அப்பன் பாட்டன்

ஆஸ்தியெல்லாம்

சிகரெட்டாக மாறி

ஐயா வாயில்

புகையுது பார்

I am very sorry

When SSR sings this second part, you will see a man smoking in the cormer. SSR goes down to him singing the charanam and reaches out and snatches the cigarette from the man’s lips saying, “I am very sorry”.  Wow, what a situational song and picturization and the way TMS says “I am very sorry” was way ahead in times.

The last two charanams (3 and 4) are:

(3)

கறியும் கூட்டும் சோறும்

தின்ன மாட்டார்

இந்த மைனர்

காஞ்சு போன

ரொட்டித் துண்டும் சூப்பும்

இவரு டின்னர்

குறுக்கு வழியில்

பணத்தை சேர்க்க

இந்த மனுஷன் ஆச

குதிரை வாலில்

கொண்டு போயி

கட்டிடுவார் காச

One point I enjoyed in the third charanam was the way TMS says “minor” and “dinner” with stressing “irr” at the end of “dinner”.  Also TMS’s humming of “ah aha” as part of the interlude.  Just totally ahead of its time creation by Vedha.

(4)

கண்ணும் கண்ணும்

பேசிக்குது

மூக்கும் மூக்கும்

முட்டுது

பொண்ணும் ஆணும்

ஜோடி போட்டு

கையைக் காலை

ஆட்டுது

கண்டவங்க

மண்டையெல்லாம்

தாளத்தோட ஆடுது

காலு கையி

உடம்பையெல்லாம்

தூக்கித் தூக்கி

போடுது

And the song concludes with anglo-Indians dancing around the floor. A timeless classic, a total entertainment way ahead of its time with classic taunting lyrics that was rendered without rancor. Or advice.  You may agree that this original had a class compared to the remake that was done recently in a Malayalam movie Kurup with Dulquer Salmaan.

Hope you like it as much as I do and please let me know your comments.

[mgrfan4ever]

Unnai Arindhal Nee Unnai Arindhal

What is the most important tool for a person to succeed in life? Money, education, talent, luck? More than all of these, the true driving force is the ability to decide for oneself what is possible and what is not, and to act accordingly.

The mind thinks of thousands of things; desires lakhs; expects crores. But is it possible to achieve all of that? What is one’s strength, what is one’s weakness, what are one’s positives and shortcomings? Clarity about what one can engage in and perform well is absolutely essential.

If a person embarks on an effort without this clarity… it can make his life worthy of mockery.

The reason is that the path to success is rough and uneven—filled with thorns, stones, and shards of glass. One can travel this path only with great effort. The essential tool needed to journey such a path is knowing oneself.

This truth was beautifully and powerfully conveyed by the poet laureate Kannadasan in one of his songs, expressed in a simple yet impactful way that leaves a lasting impression on the listener’s mind.

Set to music by the maestro K. V. Mahadevan, based on the Shankarabharanam raga, and sung with great emotion by T. M. Soundararajan, the song etched itself deeply into the hearts of listeners and remains unforgettable even today.

The song featured in the successful 1964 film "Vettaikaaran", starring Makkal Thilagam M.G.R., and produced by Devar Films.

‘உன்னை அறிந்தால் நீ உன்னை அறிந்தால் உலகத்தில் போராடலாம் உயர்ந்தாலும் தாழ்ந்தாலும் தலை வணங்காமல் நீ வாழலாம்’ - இது பாடலின் பல்லவி.

A fearless mind that boldly faces everything will naturally arise in a person who truly understands himself. So, even if he faces situations that try to pull him down, he will not lose heart.

He clearly knows what he is capable of and what he is not. Therefore, he also knows how to overcome setbacks and lift himself up again.

The poet instills self-confidence by affirming that such a person can live with dignity—without ever bowing his head.

The way the poet skillfully weaves the essence of Thirukkural into simple and elegant lines in the song’s refrain is truly astonishing.

மயிர்நீப்பின் வாழாக் கவரிமான் அன்னார் உயிர்நீப்பர் மானம் வரின்’

Even if it has to lose a single hair from its body, the gaur (a wild bull) would rather give up its life. In the same way, humans who possess noble character will not hesitate to give up their lives if their dignity suffers even the slightest blemish. In the next stanza, Kannadasan conveys the essence of this Thirukkural in a single line, in a way that even the common man can easily understand

மானம் பெரிதென்று வாழும் மனிதர்களை மானென்று சொல்வதில்லையா?’ -என்ற கவிஞர் அடுத்த வரியைப் பல்லவியோடு தொடர்புபடுத்தி இருக்கிறார்.

பல்லவி என்ன? ‘உன்னை அறிந்தால் நீ உன்னை அறிந்தால்’ என்பதுதானே. ?

"Alright then… what is the benefit of knowing oneself? Kannadasan places the answer in the final lines of the first stanza: ‘When one understands oneself and speaks for the good of the people, do they not become leaders?’

In the first line of the next stanza too, the poet conveys the essence of a Thirukkural in the simplest manner: A person who follows the moral codes that must be upheld in this world, and lives righteously, will be regarded as equal to the divine beings in the heavens

வையத்துள் வாழ்வாங்கு வாழ்பவன் வான்உறையும் தெய்வத்துள் வைக்கப் படும்.

It is the idea of this Thirukkural that the great poet Kannadasan conveys as the first thought in the second stanza: ‘Aren’t all those who live righteously on this earth equal to God?’

The next line, ‘Those who understand the needs of others and generously provide—are they not the children of God?’ clearly reveals that this song was written with Makkal Thilagam M.G.R. in mind.

In this way, when a person understands themselves, upholds their dignity, and lives generously on the path of righteousness, fame comes to them naturally. And what kind of fame is that?

If they were to walk into a gathering of the greatest sages, garlands of praise would fall upon their neck. People would proclaim, ‘Is he not gold without impurity?’

With this, the poet concludes the song in the final stanza

மாபெரும் சபைதன்னில் நீ நடந்தால் உனக்கு மாலைகள் விழவேண்டும். ஒரு மாற்றுக்குறையாத மன்னவன் இவன் என்று போற்றிப் புகழ வேண்டும்’ இந்தப் பாடலின் சிறப்பம்சமே அது அமைக்கப்பட்டிருக்கும் விதம்தான்.

As stated in the final stanza, if one wishes to receive great honor and fame in a grand assembly, what must be done? Read the first three stanzas — the answer will reveal itself naturally.

Why Kannadasan Emphasizes "நீ" (You)

The phrase "நீ உன்னை அறிந்தால்" (Nee Unnai Arindhaal) translates to "If you know yourself".

The "நீ" (You) is emphatic—it places responsibility and agency on the individual.

Kannadasan is urging personal introspection—a shift from blaming the world to understanding oneself.

The repetition of “unnai arindhaal” emphasizes that self-knowledge is not optional—it’s the first step to clarity, peace, and power.

In Tamil poetry and philosophy, this focus on self-awareness is very deliberate. Kannadasan, a deeply spiritual and philosophical lyricist, often intertwined Vedantic and Bhakti themes into his lyrics, even in popular film songs.

Connection to the Bhagavad Gita

There is indeed a philosophical resonance with teachings in the Bhagavad Gita. One relevant shloka is from Chapter 6, Verse 5:

उद्धरेदात्मनाऽत्मानं नात्मानमवसादयेत् आत्मैव ह्यात्मनो बन्धुरात्मैव रिपुरात्मनः॥ Uddhared ātmanātmānaṁ nātmānam avasādayet, Ātmaiva hyātmano bandhur ātmaiva ripur ātmanaḥ.

"Let a man lift himself by himself; let him not degrade himself. For the self alone is the friend of the self, and the self alone is the enemy of the self."

This verse teaches:

You must know and elevate yourself.

Self-mastery is the foundation of power and balance.

Your greatest ally or enemy is you—depending on whether you know and govern your inner world.

So, when Kannadasan writes “Nee unnai arindhaal…”, it directly echoes the Gita's emphasis on self-realization as a prerequisite for facing the world.

Philosophical Message in the Song

The lyrics continue to elaborate that if you know yourself:

You can understand the hearts of others ("ulagam adhu unakku illai"),

You won't be afraid of struggles or loss ("nimmadhi varum unakku"),

You can navigate life’s challenges with peace and poise.

Final Thought

Kannadasan was not quoting the Gita directly—but his core idea aligns beautifully with Krishna's spiritual message:

“Conquer yourself before you try to conquer the world.”

His genius lies in embedding such eternal truths in simple, emotional Tamil lines that resonate across time, faiths, and generations.

[mgrfan4ever]

MGR Buying a New Car

TVS Group, Financing a New Car for MGR

As early as 1948 Madras Motor Insurance Company (MMI) came into existence with Santhanam as its MD. The Company branched into other areas of general insurance, fire and marine in 1960, when it changed its name to Madras Motor and General Insurance Company (MMGI). While this business was doing well, Santhanam was already looking at growing his pet project, Sundaram Finance.

Thanks to his involvement with the Motor Vehicle & Allied Industries Association, he was aware of the non-availability of easy finance for operators and fleet owners. While banks dealt only with large commercial establishments, the small fleet owners were left high and dry. According to Santhanam, it was these transporters who persuaded him to get into the finance business. Till the end of his life he would always maintain that Sundaram Finance was established for the welfare of truck and bus operators.

Sundaram Finance came into existence on August 11, 1954 as a subsidiary of MMGI. Among the first loans from the company was one to a VIP customer, M. G. Ramachandran, who received a loan of Rs. 66,000 at 7.5 per cent interest for the purchase of a new Fiat car.

What about MGR’s view on buying a new car?  He wrote an Op-Ed page article in Swadesamithran, a Tamil language newspaper that was published from the then Madras city from 1882 to 1985. One of the earliest Tamil newspapers and the longest in print, Swadesamitran was founded by Indian nationalist G. Subramania Iyer four years after he had started The Hindu.

M.G.R. wanted to buy a new car. He himself wrote the following in a Pongal Issue of Swadesamithran:

For the past few days, my wife has been telling me that we should buy a new car as a Pongal gift. The car I currently have is old; it's been more than ten years since I bought it — that’s her discovery!

Generally, if cinema artists feel like it, they go ahead and buy a new car. But in my case, for some reason, it hasn’t happened so far.

There is some merit to my wife’s grumbling. Last year, on Pongal, I had supported her idea of buying a new car. Accordingly, I started inquiring about car prices from a couple of people. Seeing that, there was a glow of happiness on my wife's face.

But until the end of last year, all the talk of buying a new car remained just that — talk. What can I do! Sometimes, when I hear the price of a car, I’m stunned. Every time I hear those high prices and feel dizzy, people from the film industry and car dealers around me ask,

"You? Hesitating to buy a new car, M.G.R.?"

They assume I can buy any new model car at any price.

As these questions kept coming, another Pongal has arrived. But there’s another reason I haven’t yet bought a new car — it’s my emotional attachment to the old one. That bond keeps changing my mind about buying a new car.

The big car I have now has been very faithful to me; it has carried me all over the South; it has rushed me to studios to act in many successful films. Surrounded by thousands of fans, it has gained its own prestige and popularity.

Even from afar, many people recognize the car and shout my name in excitement. It has been enjoying that honor for the past ten years — how can I destroy that? Somehow, my heart doesn’t allow it.

Just because someone has become old, can you throw them away? I feel the same about my car.

I don't know whether my wife will accept my explanations and the reasons I’ve found, but for now, my old car still remains with me.

PS:

While I was in elementary side of Cantonment Board High School, situated near Nandambakkam/St. Thomas Mount, Chennai, I remember vividly standing outside the main entrance of the school with other children, waiting for MGR’s car pass by the Mount-Ponamalle Road.  I remember him stopping the car many times and shaking hands of the kids.  I think I was one of the lucky ones few times.

[mgrfan4ever]

Invasion of Algarve Caves

Whispers of Algarve Caves

Beneath the cliffs of Algarve’s shore, Where ocean songs forever soar, A secret chapel carved by waves— The lantern-lit Benagil caves.

Through turquoise glass, the waters glide, To hollow domes the tides once pried, Where sunlight spills from heaven's eye, A circle cut into the sky.

The sandstone walls, in ochre hue, Hold echoes old, yet always new, As if the Earth in breathless grace Paused time within this sacred place.

Paddle close, let silence guide, Feel wonder with the turning tide— For in these caves, both fierce and still, The soul drinks deep, the heart stands still.

[mgrfan4ever]

Actor JaiShankar (1938-2000)

#JaiShankar

At a time when legends like MGR and Sivaji were tying up big producers and making grand films, Jai appeared as a boon (like Kamadhenu) to producers who wanted to make films on a small budget.

Not just that—cinema is an industry. Heroes, heroines, character actors, comedians, writers, directors, music directors, lyricists, singers, supporting actors, art directors, stuntmen, choreographers, editors, processing lab workers—countless people depend on cinema for their livelihood.

When MGR and Sivaji could act in only 3 or 4 films a year, many producers had to make more films to keep these workers and their families fed. If a producer made one or two films and they flopped, they might disappear from the scene entirely.

It was during such a time that Jai elevated people like costumers, makeup men, and production managers to the status of producers. He proved that you didn't need a big budget or a grand storyline. With just 3–4 lakhs of rupees, using a tight script, filming three songs at Vijaya Vauhini studios, and wrapping up in 30 days with affordable heroes and villains, he helped create a whole generation of new producers.

Even if the film only made a small profit, he would still give dates for the next film. He often took only a quarter of his agreed salary, telling them, “Pay the other actors and the crew first. Give me what’s left.” There were likely no more than 10–20 films where he was paid his full fee.

If a writer was struggling, he'd get them hired at a production house. If a director was struggling, he'd connect them with a producer. More than the number of hit films, his legacy was the number of families whose lives he helped sustain.

During the same era when Sean Connery was dazzling Hollywood as James Bond, Jai earned the nickname "South India's James Bond." With cinematographer Karnan and Modern Theatres Sundaram, he starred in a series of detective and stunt films like Jambu, Ganga, Kaalam Vellum, and Enga Paattan Sothu, CID Shankar, Vallavanukku Vallavan, and Vallavan Oruvan, solidifying his place as a permanent hero.

To fans, the name Jai Shankar also recalls films with strong storylines like Kuzhandhaiyum Deivamum, Pattanathil Bhootham, Muhurtha Naal, Uyiraa Maanamaa?, Poovaa Thalaiyaa?, Nootrukku Nooru, Kulamaa Gunamaa, Soodaatam, and Thunive Thunai.

Jai didn’t just help producers and writers. He adopted an orphanage named Mercy Home. On his birthday, on co-stars’ birthdays, and during Diwali and Christmas, he would provide food and clothing to the children there and enjoy seeing their faces light up with joy.

A peaceful and loving family life is a divine gift for actors. Jai married Geetha, whom his parents chose for him, and became the father of two sons and a daughter.

Just as he lived his life with speed and intensity, he also departed this world swiftly—leaving us at the age of just 62 on this very day.

[mgrfan4ever]

Power of TMS, the greatest TFM singer in the history

The film Vanampadi was released in the year 1963. In this film, S. S. Rajendran played the hero. The music for this film was composed by K. V. Mahadevan. One of the songs featured in the film contains the line:

கடவுள் மனிதனாக பிறக்கவேண்டும் அவன் காதலித்து வேதனையில் வாடவேண்டும் "God must be born as a human; he must fall in love and suffer in pain."

This song was written by Kannadasan. Originally, he had written the line as:

கடவுள் மனிதனாக பிறக்கவேண்டும் அவன் காதலித்து வேதனையில் சாக வேண்டும் "He must fall in love and die in pain."

However, the playback singer T. M. Soundararajan (TMS), who sang the song in the film, was a devout believer in God. He asked Kannadasan, "Why do you have such anger toward God? You've written that God should die. How can God die? Please change that line, or I won’t sing this song."

Respecting his concern, Kannadasan agreed and changed the line to:

அவன் காதலித்து வேதனையில் வாடவேண்டும் "He must fall in love and suffer in pain."

If someone could change Kannadasan's, the greatest lyricist in the history, mind (besides the MDs) on lyrics, only TMS could do it. That shows the power and popularity of TMS and his voice during that period.

[mgrfan4ever]

1976 and 1992 in Tamil Cinema - Ilaiyaraja's legacy

As most of the Tamil music fans now know, there were clearly two deflections points in Tamil film music and fans' reception: one happened in 1976 and the next one happened in 1992.

In 1976, with Annakaili unnai theduthe, TFM fans got introduced to a newcome and new type of music with Ilaiyaraja and he pretty much ruled the fied for almost 15+ years until 1992, when another newcomer was introduced with a flick chinna chinna aasai from Roja and that newcomer was AR Rahman. Though MSV produced masterpieces during this period, especially in 80s, Ilaiyaraja remained to be the most sought after MD in tamil films,

So, on this 82nd birthday of Raja, what do I recall my time in Chennai in 1976?

Ilaiyaraaja, one of India's greatest film composers, has an extensive discography, but a few key songs were pivotal in capturing the imagination of fans and bringing widespread attention to his unique musical style, especially in the late 1970s and early 1980s. A standout among these is:

"Annakili Unnai Theduthe" from Annakili (1976)

This song is widely regarded as the one that introduced Ilaiyaraaja’s distinct sound and changed Tamil film music forever. Here's why it stood out:

Fusion of folk and Western orchestration: It blended Tamil rural folk melodies with Western harmonies and instrumentation — a hallmark of Ilaiyaraaja's style.

Emotional pull: The rustic simplicity and emotional depth struck a deep chord with Tamil audiences.

Cultural impact: It wasn’t just popular — it redefined film music expectations in South India.

After Annakili, Ilaiyaraaja quickly became a household name, and more groundbreaking works followed. Other early songs that cemented his genius include:

"Senthoora Poove" – 16 Vayathinile (1977)

"Ilaya Nila" – Payanangal Mudivathillai (1982) – known for its synth and guitar work

"Ninaivo Oru Paravai" – Sigappu Rojakkal (1978)

But Annakili was the spark that ignited the fire — it turned Ilaiyaraaja from a debutant into a musical phenomenon.

What do you think?

[mgrfan4ever]

Happy 82nd Birthday Wishes to Isaignani Ilaiyaraja, June 3, 2025

🎵 An Ode to Isaignani Raja 🎵 On His 82nd Birthday

In the silence between two heartbeats, He found a tune that time repeats. A whisper of wind, a temple bell’s chime, He wove them into the fabric of rhyme.

From village lanes to silver screens, He painted dreams in sound and scenes. A veena's sigh, a flute’s soft cry, Carried us all where spirits fly.

He did not just compose — he breathed, Melodies from the soul, unsheathed. With strings and keys, he spun a spell, Of love and loss we know too well.

In every score, a story lives, Of ancient truths and what art gives. A master of ragas, rhythm, and soul, He made the broken heart feel whole.

Today, as candles softly glow, We honor him — the music’s flow. Ilaiyaraaja, our guiding star, Your notes still reach us from afar.

Eighty-two, yet ever young, In every song that’s ever sung. To you, the crown of sound we raise — A legend etched in endless praise.