Best Soundtrack from Maestro's Love subject Films

Idhayam – One film which is very close to my heart and will remain for ever, the main reason being the right age when I watched this film with abundant college memories. The right age which looks for beauty everywhere you turn around. The age which does not know which is correct or wrong. I still remember how some of my friends ridiculed me since I watched this movie many times. At one point of time they didn't accompany me. Such was the passion I had for this movie at that time. One of the main reason is the story is so close to what I have experienced in my college days. I believe it would be for many. Something stops us for exhibiting our thoughts for some reason.  Those kind of hesitation and (some wrong) decision making was the norm of the college days which the movie brought out so profoundly well which was a big happy surprise. The small poems which the film carried as another theme for expressing love is another biggest attraction and the music associated with it. The film is little unrealistic at some places, but didn't take away its positives. This movie and music was the love anthem for many like me.

Second biggest thing is I could recall the time I watched PayanangaL mudivathillai and this movie where I had a better grasp of everything, especially the music. Almost these are the times I started focusing more on the background score (especially after Nayagan) and discuss among friends. If there is one film where I know all the BGMs by heart where it would appear (apart from SRR), it would be this film. It really tells how our heart beats for our loved ones. Needless to say how would I have felt after watching this movie for the first time? Nothing more to say. Heart weeps.

Some excerpts of BGM here including the title BGM.

Guna – Where to start and how to end? A total departure from all movies I had seen earlier (and the movies I am going to watch in future too), especially all love stories. What thinking by Kamal and what an execution! Till first hour 45 minutes or so, I didn’t understand what this movie is all about. Kamal was always chanting Abirami. Where is she? Is he referring to Goddess? What kind of movie is this? I was almost scratching my head. Nevertheless till we get to see Abirami, the movie races way too fast and keeps us occupied with the hospital, stealing scenes, brothel, sarcasm, comedy etc. The temple stealing scene was one breath-taking effort in any cinema. I still remember I could not control my excitement. The location where he lives. Everything picture perfect! Visual poetry. Most of all Kamal’s performance. Never seen him like this before. After we get to see his real Abirami, the movie straightaway went as God’s creation and I can’t imagine how many times I would have watched it despite many of friends forcing and taking me to Thalapathi. I even entered the cinema hall to watch Thalapathi (for repeated viewing, as both released on a DeepavaLi day) and returned to watch this movie. Such is the passion I had for this movie, still I do. I will never again see a film like this and a love story like this.

I still remember I am first one who bought the cassette of this movie songs in my town. All my friends were ridiculing as none of the songs made an impact at first listen. Most of the songs ended soon as it started, which they didn’t like. Especially, paartha vizhi. Even I wished this song should have been longer.  All those transient feeling went behind after watching the film and the way it was conceived. After watching the film, the cassette played continuously  till it torn. As I am writing this, I hear all musical pieces (score) revolve around me.I returned the hall with heavy heart. Art at its very best. I did understand that I will not understand the love between them as the movie was rightly captioned ‘மனிதர் உணர்ந்து கொள்ள இது மனிதக்காதல் அல்ல, அதையும் தாண்டி புனிதமானது’.

Excerpts of background score. How about voting for this?

Panneer PushpangaL – I didn’t remember much about the movie except for ‘vengaaya saambaarum’  song and VMoorthy’s famous joke, ‘black the clean board’ I mean ‘clean the black board’ very famous during school times. LOL . But I remember liking Alaigal Oiyvathillai more that time compared to this film (need to revalidate AO now). So I watched this film last night with a childlike enthusiasm. It always happens when it comes to picking any film of those days. It’s surprising Bharathi-Vasu made such a film those days. A neatly crafted film with no deviation from the subject. Crisp dialogues. Even if I don’t consider this film as a love film (more of first attraction/adolescence), I can’t leave this film alone as it sure captures the school moments, first attraction, their immaturity, ideal mentor, all leaves a lasting impact after watching the film. The main aspect I love about the film is how the directors approached the plot especially during the climax. Those two friends realize that they are closer towards each other, only when others feel that way. The end is the highlight of the film. Anytime watch!

Even in this kind of subject, Maestro has composed only four songs, can you believe it? He could have easily made it a 8 or 10 songs soundtrack. All the remaining appetite was shown in the form of background score. That’s the confidence we are talking about especially at the earlier stage. You have to surely listen to the faster (instrumental) version of kOdai kaala kaatrE (which was played during their picnic time), absolute Merry. The mouth organ and flute still lingers in my mind. Deeply emotional theme. The same theme comes in different format even with chorus. The whole score is guitar centric that it reflects the youth ebullience perfectly. Not to undermine the violin tracks, generates the consequential theme effectively as always.

One scene I was clapping really hard was when Suresh puts a letter in Shanthi Krishna's desk (in their classroom) apologizing for his mistake. The letter says, 'Sorry for what I did' with a red rose. Just when she reads the letter and turns back to him with a smile, gush violins/cellos start to play (prelude of aanandha raagam song). Goosebumps all over my body. Can't explain that feeling.

Now I really got confused what to vote. This score will tell you why.

AlaigaL Oiyvathillai – At last got a chance to revisit again. My faith on this movie still holds. Love subject that too in happening in a village, nothing like that for me. As a kid remember watching this movie and Panner PushpangaL back to back and I liked AO better. I hate to compare both the movies as they are differently handled, even though they have love theme in common. Now after watching both the movies recently and the same thing happened during my school days comparison becomes inevitable. Impact-wise even where there are no bloody fights, twists and stiff opposition to their love, PP wins by a whisker, as a movie. The part that they don’t even know they are attracted to each other in PP is so real vs. they fall in love at that tender age in AO and talking about their marriage is kind of dramatic. Leaving that aside, we know BR’s strengths in the narration and story-telling and the way he carefully handled a sensitive subject of religion. He is a master, no doubt.

Beautiful hilly locations of Ooty or the village at the sea coast? Suresh/Shanthi Krishna pair and acting vs. Karthik/Radha pair and acting?Haunting thagadhOm thagadhOm in Vizhiyil Vizhunthu or the soaring violins in aanandha raagam? Soaring violins or playful mridangam when they express their love? So very difficult to attach to one and not to another. The impact when both express their love or attraction to each other, is slightly more in PP.

Coming to the songs, 4 songs in normal duration, rest short songs. Songs of life time. The biggest difference/highlight between the two films is the score. Since PP is more of a soft tale that too  happening in a town with no dramatic twists, the score reflects with guitar centric themes.  Very soulful. Still Maestro’s usage of violins even beats the soft visuals sometimes. The number of distinct tunes/themes is little less (only compared to AO). I would not have said above statements if I have not watched AO.

On the contrary, AO’s BGM is something out of the blue. In the first half most of the movie score is vocal based with swaras. Mind-blowing. Especially when Vichchu approaches Mary and throws her a love letter and she crushes with her feet, the score is something I have not listened at all. Female sings swaras when Karthik approaches and exactly when she crushes, Raja comes to the fore and cries in pain extending the swaragathi on a different plane. Same way when she slaps him. Apart from this, there is big scope for score since the story has more drama in it and also he has to convey both the religions, their practices and beliefs all through music. Raja’s usage of One way ticket (Boney M) and a Hindi song (apna bhi koi nahi by Lata) at the background is one way to see at his preferences those days. Not to forget the variations of vizhiyil vizhunthu, sometimes comes in solo violin and solo guitar, so astonishing. This is one of the main love theme. Apart from this there is another love theme fully guitar based which comes often. Short guitar phrase when Mary refuses to each non-veg because of Vichchu. There are tons of musical pieces. Let me list out as I remember. When they approach each other to express their love, the letter exchanges through harmonium, when Vichchu runs behind Mary when she is leaving the village, when Mary express their pure love to her anni, Thyagarajan chasing and fighthing with Vichchu and many more. Not to forget those gentle bass guitar, flute and piano touches which follows the vizhiyil vizhunthu theme. Maestro has exhibited some phenomenal score identifying both the religions, blended them so well like the hearts of the lovers. Definitely I would have missed all these, if I have not revisited this movie. Now what to do? I am confuuuuuuuuuuuuuused!