Best Soundtrack from Maestro's Love subject Films

Thanks App ji. Nice to know about your college-mate. I too felt Puththam pudhu kaalai being left out, but BGM kind of compensates it.

I think we need to soon come up the nomination list. I will go back to this thread and start collect all nominations and list it.

App ji, please post your remaining list.

panneer pushpangaL must figure in the nominations, for the outstanding quality of songs! Sophisticated, like nenjaththaikkiLLAdhE!

That SPB-SJ wonder 'poonthaLirAda' alone should push this album into TFM hall of fame. In addition, we have the simmEndramadhyama special 'Anandha rAgam' & bass guitar sweetie 'kOdai kAlakkAtRE'! (Once again, as in the case of NK, I'll set aside the "dhrishtippottu" vengAya sAmbAru that supposedly got inspired / copied from some western number).

As mentioned before, the movie was decent and nice. OTOH, the lead pair is "pAvam". However, Pratap Pothen was good in that film, much like NK.

I guess this will be a "vote-for-only-one-soundtrack" poll and may not get my vote...however, would like to nominate...

V_S wrote:App ji, please post your remaining list.

ippO thAn namma vaNdi 80'skku vandhurukku...konjam slOw, ji

poRuththaruLka

Sure App ji. Nice analysis on Panneer PushapangaL. Yes it is "only one selection" poll. For me it will be Muthal Mariyaathai and Geethanjali/Idhayaththai ThirudaathE next. Rest of my nominations; Punnagai MaNNan, SEthu, Azhagi, KadalOra KavithaigaL, Raaja Paarvai, NEPV, Eeramaana ROjaavE, Idhaya KOyil, NadOdi Thendral, Varusham 16 and Kaadhal Kavithai still stays, but won't find time to watch and re-validate during this time. The films for which I had written will be my forerunners.

moonRAm piRai, another Kamal-Sridevi starrer, this one from 80's, crafted very well by Balu Mahendra, has to figure in any top nominations in TF history

Whether it is love story / emotional tale / musical / visually pleasing / azhagiyal - whatever category, the movie has to figure in it!

The silukku portions notwithstanding  - those obviously pal iLichchify as commercial compromises / serukalkaL - the movie overall is classy! Even for those portions, rAsA had done tremendous job by way of BGM & the rhythm delight 'ponmEni urugudhE'

That the two KJY sweeties 'kaNNE kalaimAnE' & 'poongAtRu pudhidhAnadhu' are among the last ones by Kavingar can only add to the attraction of the album. The SPB-SJ number 'vAnengum thanga viNmeengaL' is one more special! KH-SD made the narikkadhai enjoyable as well.

With the exception of the "kAdhai adaikkum" sounds during the "natRAj" episode, the BGM is one of the finest in TF history, IMHO.

Lovely soundtrack - that can feature in anyone's top list!

payaNangaL mudivadhillai came during the same time as moonRam piRai (and had a much bigger commercial success, as observed by me those days). Songs were much bigger hits as well! The posters had "IlaiyarAjavin innisai mazhaiyil" for the first time! (I don't get tired of telling this )

V_Sji had a nice post about his personal experiences with this movie  Well, me too had mine documented in the SPB-IR thread of mayyam (all the seven songs had SPB! SJ is the only other singer in this album - singing one sugam & one sOgam).

The songs were so nicely entwined in the tale - never one felt that they were speed breakers or interruptions, even during multiple viewings! (Well, they were so awesome and had decent picturizations too, contributing to the success of the movie. People had to go to theater to watch the songs those days. Thus the songs were one of the main reasons for repeat-watches by audience, ensuring the silver jubilee run in multiple centers).

iLayanilA & rAgadeepam weren't "romance songs" but indirectly related to the tale (both situations help development of the luvvu). The other five are direct "love" numbers! As a standalone album, there are very few in TF history that can challenge PM IMHO!

The BGM was awesome as well (rAsA had traditional instruments like mridh chip-in sweet sounds as necessary in the right places, humming vocals were used every now and then as well in a sweet way).

Poornima Jayaram was a regular winner in all the love stories she acted those days. OTOH, Mohan was just ok for a few and this was certainly one among such better ones

rAja pArvai is a tremendous one! Kamal-Madhavi, such a sweet pair in that movie! One of those very rare set of movies that failed with the public despite being my favourite To this day I cannot understand what went wrong with this movie or why people didn't like it    The only explanation that I can come up with is people's irritation with a "vizhi illAdha hero / heroine" (which seems to be having a very poor run with BO in TF history).

andhi mazhai, vizhiyOraththukkanavum, azhagE azhagu dEvadhai - terrific songs. Add the pandhuvarALi violin track - WOW! (I've posted many times about writer Sujatha's experience with this track when KH played to him prior to the release of the movie).

Sweet songs, emotional movie (kaNNeer flowing at times is guaranteed) and easily among the top-romantic-movies of all time!

nAn pAdum pAdal has this fantastic 'pAdavA un pAdalai' which should place it among all the top romance soundtracks of TFM! Add to it the "oru thalai" songs as 'pAdum vAnampAdi' & 'seer koNdu vA'.

Then there is the terrific 'dEvan kOvil deepam onRu' which leads to what is perhaps the most decent picturization of romance in TF movies! That love between singer Shyamala Gowri & her lover is such a sweet picturization on screen that places R Sundarrajan among all-time-greats!

Obviously, 'machchAna vachchukkadi' is a dhrishtippottu - not because of the song itself (great percussion arrangements by rAsA but double meaning lines by the lyricist and ugly picturization takes away whatever good rAsA had done there).

While the movie's ending was good (rejecting the proposal by the writer, stating that her husband still lives with her in memories), the way it is shown on screen was rank bad - including the "narambukaL = thAli" kind of dialog. Fortunately, any negatives like that in that movie got gloriously covered by Goundar and it went on to taste sweet success

Per my memory, the BGM was lovely (often variations of songs IIRC). Worthy contender!

app_engine wrote:Add the pandhuvarALi violin track - WOW! (I've posted many times about writer Sujatha's experience with this track when KH played to him prior to the release of the movie).

Meendum oru murai padhivu seyya oru kOrikkai... 

fring151 wrote:Meendum oru murai padhivu seyya oru kOrikkai... 

karumbu thinna sollukiReerkaL

It was during my +2 days, whatever rAsA-mOgam that started a couple of years back did reach its peak during my +2 years - with practically every other day some discussion with non-IRFs  Likewise, liking for Ganesh-Vasanth reached its peak as well (and their creator Sujatha). Though I hadn't seen 16V yet, thanks to olichiththiram and many appreciative talks by my cousin, there was soft corner for Kamal as well.

During that period I read both vikatan & kumudam each week without fail and also an array of newspapers at teakkadai (like dinathanthi / dinamalar etc) scanning for any rAsA-related-stuff to be full of ammunition for such TFM discussions with peers

It was under such conditions that Kamal's 100th movie got advertised in newspapers, with a violin in his hand and rAsA as MD. Until that time or even after that, Kamal wasn't always committed to having rAsA every time - for e.g. 'neeyA' was a S-G hit and so was 'thAyillAmal nAnillai'. 'ninaiththAlE inikkum' was a biggie for MSV; just the prior 1980 deepAvaLi, VNS in Kamal-MSV combo was a hit movie / hit album while IR-BR's nizhalgaL, despite those classics / hit songs, was a miserable flop movie.

That way, one could not automatically assume that a Kamal production will automatically have IR So, naturally, it was a terrific feel with ekiRal expectations for boys like me!

No need to stress that I was looking for every thuNukku / iNukku about that movie / album in every mag / newspaper / kadalai madichcha paper etc!

[To be continued...]

App ji,
Nice set of posts. Please continue.

app_engine wrote:It was during my +2 days, whatever rAsA-mOgam that started a couple of years back did reach its peak during my +2 years - with practically every other day some discussion with non-IRFs  Likewise, liking for Ganesh-Vasanth reached its peak as well (and their creator Sujatha). Though I hadn't seen 16V yet, thanks to olichiththiram and many appreciative talks by my cousin, there was soft corner for Kamal as well.

During that period I read both vikatan & kumudam each week without fail and also an array of newspapers at teakkadai (like dinathanthi / dinamalar etc) scanning for any rAsA-related-stuff to be full of ammunition for such TFM discussions with peers 

It was under such conditions that Kamal's 100th movie got advertised in newspapers, with a violin in his hand and rAsA as MD. Until that time or even after that, Kamal wasn't always committed to having rAsA every time - for e.g. 'neeyA' was a S-G hit and so was 'thAyillAmal nAnillai'. 'ninaiththAlE inikkum' was a biggie for MSV; just the prior 1980 deepAvaLi, VNS in Kamal-MSV combo was a hit movie / hit album while IR-BR's nizhalgaL, despite those classics / hit songs, was a miserable flop movie.

That way, one could not automatically assume that a Kamal production will automatically have IR  So, naturally, it was a terrific feel with ekiRal expectations for boys like me!

No need to stress that I was looking for every thuNukku / iNukku about that movie / album in every mag / newspaper / kadalai madichcha paper etc!

[To be continued...]

Enjoying! Continue...

*Dig*

I recently bought a short story compilation of Sujatha and really like some of the stories. To my surprise, he seems to have a penchant for tragedy and and a lot of his stories have a gloomy, grim outlook on life and dwell on the dark side of human nature. There is this story about a doctor who meets a stranger on the train and goes on to narrate how he once murdered a prostitute just because he wanted to experience what it feels like to take another life and how no one would ever suspect him because of his standing in society and the lack of a motive to pin him with. The story ends with the incredulous stranger first being psyched out, then "inspired" by the doctor who narrates his own death as the stranger wakes him up from his sleep when the train is crossing a river, confesses that the doctor's pscychoanalysis has convinced him and coolly explains he is travelling on another stranger's ticket and so "was never there" for all practical purposes. He then goes on to stab the doctor to death with the dying man's screams drowned out by the sounds of the gushing river.

Pretty dark, I think!

How are the Ganesh-Vasanth stories? I have heard a lot about them, but never read any...

*End dig*

Nice write-up on Mudhal mariyadhai V_Sji. I haven't seen this movie in a long time. I have become a big fan of the flute and IR's handling of the instrument, so maybe I will watch this again just for that.   

Btw, I am curious whether the flute is popular in non-carnatic circles in TN. Are there any flautist - folk musicians, do people in villages learn this instrument, what is its place in TN's music culture etc. I have heard yaazh and kuzhal are the most commonly mentioned melodic instruments in ancient Tamil poetry, but what about the recent past (say 18th century onwards)? Maybe some one like App who is familiar with rural life can shed some light on this...

fring,
Yes there are many long flute passages in the film,as it is one of the character. We don't get to hear such musical pieces at all. Please don't miss it.

Excellent write up about Muthal Mariyathai V_S sir.... Must have been years since the last time I watched the movie. Nijamaana gramathu manushangala ipdi thaan irupangalo, antha maatiryana oru unarvai kodutha movie. and the flute portions are addictive, haunting stuff!

Terrific point about 'flute' being a character V_S sir. Every single flute theme started playing in my mind one by one. Have to revisit the film soon, eventhough I saw bits and pieces of it just about a month ago.

And can anyone imagine these films without Raaja's score? We Raaja fans obviously acknowledge this fact. And we certainly have that in the back of our minds when watching these films. But the score is so ingrained that even non-fans and people who don't care about score per se will appreciate it, without them knowing about it. That's certainly Raajamagic.

Thanks Malar and Nerd. Please watch the film soon and nominate for this film, as I am the only one who nominated for this film so far I am planning to put a poll soon for films which has 2 or more nominations. If no one votes for this film other than me, it would be left behind   

fring151 wrote:How are the Ganesh-Vasanth stories? I have heard a lot about them, but never read any...

hA, my favourites...let me start a thread in the misc section to discuss Sujatha / Ganesh / Vasanth

https://ilayaraja.forumms.net/t165-sujatha-rangarajan-ganesh-vasanth

Great recap, V_Sji, about an all-time-great movie, MM

It will be definitely part of my nominations - but like I said before, I'm quite slow in this thread...

Thanks ji. Good that it will be selected for polls

Going to morattu thanamA argue for Aruvadai Naal here with a long, long read. Read at leisure. You will end up selecting Aruvadai Naal convincingly in the final 10/15 for vote. apparam iRaivan vutta vazhi. But imho, this is one film that deserves to be in the final list. My final vote may go for this or Johny. Taking most of the content from the blog and updating it over the past few months from what I've observed.

I don’t listen to a few songs very often. Not because they are bad, but because they are difficult to get out of the system once I hear them. One such song is the indescribably beautiful Devanin Kovil. The song is the quintessential example of everything in my books. The way he uses it in the film to impact the viewer (who is also a listener) deserves a study which I aim to do today. But first the song. I am duty bound to lead you folks to two fabulous pieces on this song by Violin Vicky and Suka for Solvanam. Having done that, I shall start.

I don’t have any emotional baggage with this song. But often, the inexplicable melancholy in this song makes me run this in my mind at random hours and playing this song churns my gut out every single time. It starts with a Goosebumps inducing Raaja voice in chords singing in harmony in Tenor, Soprano, Alto and Bass all at once. He sings different synonyms for love (preparing us for a song of love). The effect it has is incredible. It is written like a shlOkA but rendered in a grammar true to Western Classical Music (WCM). As the knockout prelude ends, it is accompanied with what sounds like an organ and we have the piano ushering us to Chitra. The bass guitar does incredible things which Vicky explains in his post.

The first interlude, as with Chitra’s voice, tune and Gangai Amaran’s fantastic lyrics, bring a strange sorrow. It is strange because the song is set to a scale and rhythm reserved usually for peppy songs and is fast. Yet there is this an ache that pervades. The interlude brings violins with a church gong which underlines there is a Christian theme inherent in the film. As Chitra carries on to the charanam with wonderfully melancholic emotions and lyrics indicating separation (iNaivadhu ellAm piRivadharkkAga… maRandhAl dhAnE nimmadhi; what a line!), we get a feel this may not be happy film. The entire charanam sucks our soul and brings us to our knees. And hey, Raaja is narrating the film's ache and theme in this song itself. Master storyteller.

The second interlude has the violins going in rounds in a quick counterpoint before Gangai Amaran hums with “thandhana thandhana thananna…” and again this is a folk phrase usually reserved for peppy situations and yet when GA sings, at high pitch of all scales, instead of happiness he translates a sorrow as with Chitra’s voice. A flute follows, held together by the bass. As I am flummoxed at the sad soul in such a beautiful, fast melody, Chitra starts the second charanam and at Arudhal thEdi alayudhu nenjam, azhudhida kaNNil neerukku panjam. nAnOr kaNNi kAdhali, we are reduced to a lump due to the combination of one of the best voices in IFM's history soaked with sorrow, the import of the lines and the music. What a song! As for folks who might have a baggage with this with their personal life, which Suka and Vicky talk about, I can imagine how rude a part this song plays in their lives. One of Chitra’s greatest songs.



Now I shall try to decipher the song and its place in the movie. I will say this is one of Raaja’s greatest songs and the film revolves around this song and if not for this song, the film is not half of what it is. I would be glad to get into a physical brawl (though I’d lose) with anyone who disagrees (avvaLavu morattuthanam  ). This is the song’s video. Aah here, we see it is the film’s title song. Not very different from the audio version except that it has just the first charanam. It follows a woman on a motorbike across a path. The song underlines to us that it could be a sad path. The song ends and gives us clues on what this possibly failed love story could mean.



The film begins and this girl, face not shown, speaks to a sad Vadivukkarasi and leaves the house with a letter. We are taken to a flashback and are introduced to Pallavi, an orphan brought up in a Christian missionary by nuns. Watch this scene. It starts with Chitra humming the theme of Devanin Kovil and strangely, there is calm in the church. There are no downturns in the tune or the sorrows heard earlier and Chitra keeps it high on notes and in spirit (so much that a singer can bring in). It shows a young girl who looks happy with life as her mates sing in harmony. As she goes on her doctoral assignment, an urban score with the trumpet accompanies her (reflecting her attire). As she spots statues and explores them; Raaja almost immediately (and spontaneously) digresses to a folk leitmotif (different versions of one theme) in a flute of Devanin Kovil which reflects the lush surroundings and her exploratory nature (a restless, energetic soul). He embellishes it with lovely twists which evoke a village in the mind. Leitmotifs are Raaja’s zone. He is unmatched there. This sequence is a living proof. I don't rate BGMs as much as I rate the script and the acting in the film unless the film is a musical like a Thillana Mohanambal. But here, music fills in a lot of the silent spaces and adds so much depth that I find it hard to remove the music and appreciate the film. But for the music, the film does not stand.



Pallavi has had an unsavory meet with Prabhu and she comes across him with his disciplinarian dad as he is celebrating and mistaking him to be a worker, complains about his misdemeanor. Watch the score here. It turns serious and as his father publicly reprimands him, a heavy cello playing one lengthy note indicating her tension and guilt and violins above the cello playing the leitmotif. WCM magic.



As Pallavi meets Prabhu who is punished further that night, she apologizes and is taken in by his straightforward innocence and charm, the theme recurs and we see a strain of happiness with the piano, bass guitar, mild rhythms and guitars as a friendship is made. Leitmotif lite Also tells us what a sadist his dad is.



They soon become friends and she encourages him to work. His dad severely reprimands him for the same and reduces his certificate to flames and the exact theme that played as the friendship was struck comes back with the exact same instruments it did in the previous scene sans the drums. But wonder of wonder, it sounds sad. Because the tempo is reduced due to the rhythm and it's magical. What wonders and pyro-techniques around one single theme! Even as she dreams about Prabhu being hung, I feel a single note from this song is sounded in a deep bass tone and brings in that horridness. As she discovers the following morning that he has attempted suicide and is forced to give a mouth to mouth resuscitation, he recovers. He proposes in his simpleton way and Raaja enters with that fantastic phrase Premam Premathi Prema Priyam… He is using the prelude phrase for love that has bloomed now. Awesomeness! As she deliberates, the same leitmotif which played for friendship and sadness now plays to support their love. Pure bliss idhukkum porundhum ya  



Pallavi now privately realizes she is in love, deliberates and prays. The same Premam Premathi Prema Priyam… comes to her as she prays and is chased by the messengers of cupid. Nice touch to have a dog running along Her English, Raaja's Sanskritized love theme with his music sounds bizzarely awesome. It digresses into a delightful folk tune as the Father, Ramkumar, enters and gives her the green signal (enakku sEva seyyi nu ANdavar unna kEttArA enna?  ). It breaks into a more delightful Kartharai nambi vidu in Malaysia’s voice as she is in love now. A fantastic folk shortie with pianos, tabla and guitars. idhu folk aa? Western aa with all chorus in bass and a higher pitch? Raaja is indeed a WCM Maestro and it is evident in snatches of awesomeness like this. A personal favorite. As she imagines a world where she is about to be married to him as a Christian woman but refuses, the theme waits with cellos, cutting back to her clinic with the leitmotif and as it turns back to her coming back in a Hindu attire, it breaks into a lovely Kalyani in a veena. She has convinced herself. These are (Kalyani in veena dig) eminent tunes which can be copied. Balki was right.



Prabhu enters the scene and as he takes the bed, the same leitmotif with keyboard and guitars comes in this time for her love. As she agrees to his love and he reels back in shock, the scene cuts to a beach with the messengers of cupid throwing flowers of blessings as Raaja goes Premam Premathi Prema Priyam… The theme is nailed in happiness. I attribute this enjoyable picturization and this admittedly “different” depiction of the love to the music. The scene is developed around the music and not around the script. You are welcome to have a fight (adhE morattuthanamAna lou for this song).



As they are expressly in love, they realize a woman is in trouble and egged by Pallavi, he chases them and as he shudders in his cowardice, the same theme turns comical, at around a minute, briefly as though underlining his faux bravery (due to love) is a farce with a toin toin toin toin-esque leitmotif  As his dad discovers their love and he takes her leave, the theme repeats more strongly with the older keyboard and guitars and as they separate, the violin underlines that the love has been sealed, with an underlying heaviness at her sorrow that he is such a coward.



She is angry at Prabhu for being the coward that he is. He surprises her. The theme is fast, stylish and has an urbane silliness; keyboard, pads, guitars present the silliness and fun at the devolving of the scene into the, if I can use the word, mess or ஊடல் to காதல்.



His dad permits to their love, and she goes to bring the nuns to begin her life with Prabhu, unaware of what is in store. She reminisces of the intimate times, the same leitmotif building the love.



Prabhu’s father has tricked Prabhu into marrying his minor cousin. Unassuming Pallavi comes with one of the countless folk tunes from Raaja's oeuvre and her sisters from the Church. As they enter the home, all music is cut. Dialogs that add tension to us since we know the now aborted fate of her love but she doesn't. The silence plays on, adding to the tension. As she comes to realize Prabhu's marriage through the father’s acrid tongue, Raaja plunges the knife inside the viewer there. The theme is a dirge now. A wail in shehnai with a layer of violin. It is apparent why the song was sounding happy and yet offered a strange melancholy now (Esu nAdhar mAri, ellAthayum poruthuppAnga; some extremely well written dialogues there by Vishwam, who incidentally plays Prabhu's dad too). As she feels the sadness, the leitmotif courses like a whirlpool in a river with violins in a counterpoint. As she meets Prabhu, the same theme with the same keyboard and guitar now play the same tune but it sounds tragic at his unwitting betrayal. Absolutely magical.



The film courses along, Pallavi agreeing to leave the village in spite of Prabhu's wife agreeing to leave him and let him wed Pallavi but her clinic is burnt by Prabhu’s father with Prabhu’s wife also in it. Pallavi ends up dead, forgiving Prabhu, and Prabhu’s wife closes her eyes (now who was it in the original song if not Pallavi?!). Watch Raaja play the Chinna Ponnu Chinna Ponnu theme as Pallavi ends up dead. Chinna Ponnu is his wife's song who is married to him as a minor, a lovely song by itself, adjacent to the monster that is Devanin Kovil. Why? They are husband and wife now in a platonic for a fleeting few moments Prabhu kills his father and is finally released after a life imprisonment. The woman we saw in the title track is his wife. It all falls in place now. Why the song sounded sad, why it made us feel weak. The song also plays on our suspense by making us wonder all the while if that woman was Pallavi. Now we know the tragedy and the import behind the line Devanin kOvil moodiya nEram nAn enna kEtpEn DeivamE. The theme plays as he reads the letter from his mother and walks off in Pallavi's thoughts (possibly 18 yrs in prison and he is still with her, Raaja says without saying in this theme) and as he chews on his mother's word, pauses and puts his arms around his wife, it is Chinna Ponnu ending the film on the most melancholic manner thanks to Raaja's score.



I should probably post another couple of posts on Chinna Ponnu and Melatha Mella Thattu's awesomeness, two terrific songs that get dwarfed due to the monster that is Devanin Kovil. This entire movie is Raaja in Rakshasan mode. And to think he'd have completed composing and writing this score for a 150 min movie in 4 hrs. Phenomenal! This man has narrated the entire freaking film with a single score giving it the navarasas. He has fed human emotions into the film and the song and has made it immortal. That heavy sinking feeling of a cursed love as we hear the tune. That precision. That is Raaja, not just one of the greatest composers of songs, but easily among the finest story tellers in this world through music. Sorrow, happiness, hope, life, friendship, love, comedy, tragedy all through 1 tune. To paraphrase Violin Vicky, life hangs around the strains of Maestro’s music.

PS: idhu poll'ku varudhu. illa, tea kuLichuruvEn 

Again, I've narrated the tale from Pallavi's POV which is this theme that is a substitute for all that she feels. Film shows Prabhu, his wife (forgot real name), Vadivukkarasi, Ramkumar and Vishwam's scenes and builds their characters too. But this theme follows only Pallavi and her multitude of emotions and that is what you see in the scenes here. Just a 1 dimensional view and just watching her characterization inside this movie with Raaja's theme is the real deal imho. And his juxtaposition of this song with Prabhu's wife at first and interweaving Chinna Ponnu with Pallavi and finally with the wife is the real genius. I think I can rest my case here

Wow! DM on fire :the clap:This should be one of your best write-ups. I can understand how much you are totally into this movie. Really loved you narration and the clips. I have this movie bgm clips which I listen, but I have not watched the movie fully. I will try to watch this movie this weekend (as I had seen only parts of the movie).

Actually these are the kind of discussions I had originally intended when I started this thread. How one convinces others of his nominations? You had exactly done that. Thanks for that. I will vote for Aruvadai NaaL and take it to the poll

V_S wrote:Wow! DM on fire :the clap:This should be one of your best write-ups. I can understand how much you are totally into this movie. Really loved you narration and the clips. I have this movie bgm clips which I listen, but I have not watched the movie fully. I will try to watch this movie this weekend (as I had seen only parts of the movie).

Actually these are the kind of discussions I had originally intended when I started this thread. How one convinces others of his nominations? You had exactly done that. Thanks for that. I will vote for Aruvadai NaaL and take it to the poll

Thanks a lot nALaikki Melatha Mella Thattikittu, Chinna Ponnoda varEn