Best song in Kaadhal Kavithai

Thanks Nerd and Sorry for missed reading your earlier post about it.

V_S wrote:Please don't conclude anything just because there were not much takers. Please give me sometime, I will certainly explain what this soundtrack is all about. This one is such a beautiful soundtrack. I see some posts/views/comments that a song/soundtrack has to be a hit for it to become a good/best song/soundtrack, otherwise it becomes a decent/average song/soundtrack. Since this soundtrack was not a big hit, does it automatically become a decent soundtrack? I don't think so, especially on IR soundtracks. I will explain.

Nerd and all, please don't fall prey to hits and decide IR songs as the best/average. My humble request. This poll is a great idea, but let us not restrict it for only popular soundtracks (just because we will have good participation), we can also introduce some non-popular ones too giving everyone an opportunity to listen and decide.

Exactly - if we start following this agenda, we;ll end up like neenga naan raja saar talking only about andha kAlauthula 80sla Raja-nu oruthar irundhAru...1992la avaru seththu pOyitAr

+1 on V_S's opinion. I would really like to see discussions about albums that were not popular but had wonderful songs like Kaadhal Kavidhai. So, Nerd, no apologies needed, please.

Sorry for not responding to the poll soon, too held up at work   . I was in Chennai when Kaadhal Kavidhai released. This album had pretty decent TV time. It was one of the most played albums in our room along with En Swasa Katre, Kaadhalar Dhinam where most of my roommates had already written off IR at that time. I watched the movie in the theater and if I remember it was a decent hit, not a massive hit like Kaadhalukku Mariyadhai though. The movie was so-so and I didn't like it, mostly due to Prashanth. No complaints on the songs though, this album is predominantly synth driven but I never found that glaringly obvious. I would rate this as one of IR's finest synth driven soundtracks.

Coming to the vote, it's Alai Meedhu for me - I'm fascinated by the orchestration (whattay prelude), the vocal chorus that's present throughout the song, the slight melancholy in the tune with the string section increasing it's impact. I love the charanam more than the pallavi, too bad this is a short song. This is probably one of the very few songs of Bhavathaarini that I have in my playlist and that warrants repetitive listens for me every time I get to hear the song.

I will narrate the story with some background score pieces so that it will have the continuity. Almost like a ‘olichchiththiram’ instead you would be reading it instead of hearing it When the song situation comes, I will try to describe about that song. This would be similar to my narration of Sri Rama Rajyam’s score, but I assure you this will be much shorter as I don’t want to bore you. This way it will be more interesting and we can appreciate the score and songs more compared to just listening the songs. I know this thread is not about the score, but listen this way, I will assure you would get a complete experience and how the score has connection to the songs as well.

You might ask if there are so many wonderful films and excellent background, but why pick this one which almost everyone dismissed it. As I said earlier, this film might not be that attractive if you watch it literally, but when the characters combines with the music, ordinary scenes would be elevated to such a level that we forget all the Prashants, Charlies and Thalaivasal Vijays, we only see them as our own interpretation of the characters and how they jell with the music and become immortal.

Viswa (Prashanth) is a son of a rich business man. His father (Manivannan) and mother (Ambika) always quarrel with each other and he kind of fed of his life. He roams around with his friends and he has a habit of nitpicking and teasing others. He also eats in road-side stalls much to the embarrassment of this father. Fathers requests him not to spoil his image and Viswa promises that he won’t to that again. Next morning, he files to Delhi and calls his father from there much to his surprise. The best part here as he is talking to his father in a public booth, director introduces the heroine in a very unique way, we have not seen in any other movie. Normally heroine would be introduced very specially. Here she appears as a blurred image behind the hero as she is also seen talking over phone. This part I really liked when I watched first time at the time of release. That was the first time I am seeing Isha Gopikar is. For the next few years, she became my dream girl, blame on my marriage age. Automatically my mind went in for selection process LOL. So charming and gorgeous female. Not to mention that this was another reason I liked this movie very much.

Jothi (Isha Gopikar) finds Viswa and his friend taking in thamizh and decides to get some help from them. As usual Viswa teases her and she moves away with embarrassment. They meet each other again and again and every time she gets embarrassed. Jothi and her friend think Viswa and his friends are tourist guides and asks them to describe about Kutub Minar. Next time, Jothi and her friend were in a restaurant. Viswa and his friend are also eating in the same restaurant. They both again meet each other. Viswa apologize to her for his kiddish behavior. This is where Maestro makes his memorable appearance in the form of Jazzy soundtrack. Piano, subtle cymbal clash.

The piece starts of with tabla and santoor, but when it gets more volume, we would be surprise to hear the santoor got transformed to piano (with bass guitar). Magic! One of the most exquisite pieces in Indian film music history. Hear the dialogues and now with the music how the whole scene gets elevated. Since this is a city restaurant, Maestro has chosen piano and plays in Jazzy way for the intended laid back scene with no rush in it, but absolutely gripping when you listen. Ideal for the evening/night. The musical piece ends in the same way it started with santoor and tabla.




Will continue next part soon…

02 Hide and Seek game - This location is very important in the movie, as it plays a vital role in climax. Jothi plays hide and seek game in the apartment terrace (may be 7th or 8th floor) with her kid friends. Synth guitar and beats. Flute plays over it. The melody of the flute describes the playful nature. The haunting rhythm arrangements imply the altitude of the apartment too. When Jothi comes to kitchen and asks her mother for the kids, Maestro replaces the flute with piano (with guitar). What a beautiful melody! He changes piano as the game is almost over as Srividhya removes her eye scarf. We can feel the morning freshness and the feel of the city apartment life. Lush and serene!

Super V_Sji. Pls continue. I think somebody posted the whole score recently in YT and also I watched, must say listened to part of the film recently. Very evocative score.

Thanks Sure will continue. I will try to post one/two clips per day (with description), so that I can complete it in two weeks. "Evocative" is a perfect word to describe the score.

V_S wrote:The piece starts of with tabla and santoor, but when it gets more volume, we would be surprise to hear the santoor got transformed to piano (with bass guitar). Magic! One of the most exquisite pieces in Indian film music history. Hear the dialogues and now with the music how the whole scene gets elevated. Since this is a city restaurant, Maestro has chosen piano and plays in Jazzy way for the intended laid back scene with no rush in it, but absolutely gripping when you listen. Ideal for the evening/night. The musical piece ends in the same way it started with santoor and tabla.

That is actually not an IR composition. It is a jazz standard called "As time goes by". It featured famously in "Casablanca", but has also been covered by many people later, including Sinatra. A standard/classic might be considered fair game for featuring as ambient music in movies, I don't know. I also haven't seen the movie don't know the scene and how it featured - if it was shown as playing in the hotel lobby or whatever (in which case it is legit), so I'll stop short of calling it a copy. Thought I'd clarify this..

^^^ Plays in the hotel as they dine so I presume it was simulated as a part of restaurant music which normally plays jazzy stuff (especially the high end ones) : https://www.youtube.com/watch?v=TDOk4Dvzd7A#t=11m15s

Thanks fring. I saw Casablanca many times (one of my favorite picture), but not recently and this piece did not even strike me. That was little disappointing to hear coming from Maestro, that too for a mere 1.30 minutes. He could have given new music (even though he tried to improvise on the melody).

Drunkenmunk wrote:^^^ Plays in the hotel as they dine so I presume it was simulated as a part of restaurant music which normally plays jazzy stuff (especially the high end ones) : https://www.youtube.com/watch?v=TDOk4Dvzd7A#t=11m15s

Seems plausible enough.

V_S wrote:He could have given new music (even though he tried to improvise on the melody).

In such situations, one may never know if the BGM got played from a CD or recorded by MD, also we don't know if there're a number of later-day versions of the orignal (with improvisation etc) that get played in hotels...that way, the question is whether that piece was by IR at all.

In older movies, the director / editor / MD combo used to sometimes play "Boney M / ABBA" songs for some star hotel / cabaret kind of sichchuveshans (e.g. sigappu rOjAkkaL)..."authentic portrayl"

I agree. They probably just played it from a CD, like in Sigappu rojakkal.

I agree if the songs were played as is. Also during sigappu rOjaakkaL time ABBA and Boney M were very popular, that makes complete sense if that was played to give what people liked that time. This one, it is an instrumental version of a song which not many knew during 1998/99 when the film was released. Also I hear it was improvised little bit. Instead of doing all this, if we could have a got a new theme for the same situation, nothing like that.

V_Sji,
The original (from that B&W youtube) being quite old, there could be n number of smooth-jazz versions of that song. Such instrumental versions ALMOST ALWAYS have improvisations / changes from the original. (Detroit's V98.7 used to be my fav radio station when Alexander Zanjik had his smooth jazz broadcast...it's gone now but I used to listen to multiple instrumentals of some of my fav popular numbers such as careless whispers - and many of them had all kinds of improvisations).

Also, that jazzy piano stuff in the kAdhal kavidhai scene seems to be quite different kind of recording / ambience (real instruments) from the weak keyboard stuff that follows afterwards...I guess the keyboard thingy only was by our man while the jazzy piano stuff got played from a CD by the editor...in any case, this is purely my guess

Thanks Could be from CD as you explained, just that, I am greedy to hear something new (I thought it was new until fring explained). Anways it is just 1:30 minutes, still lot more left in this soundtrack

03 - Teasing

This scene was one of the most loved scenes in the film. Now it kind of faded out, still hear how music adds to the amusement, still lively and trendy. Jothi after coming to know about Vishwa and his friend’s (Charlie) tricks, corners Vishwa’s friend to tell the truth about him. Charlie reveals the real story about Vishwa. Jothi meets Vishwa in a library to expose his cheap tricks, but on the other hand she gets embarrassed again by Vishwa’s master plan. 

When she enters the library and sits in front of him, hear the music (first 27 seconds). Wonderful rock music through which Maestro forecasts the humor in it. He introduces this theme for the first time and continues wherever her she weakness/foolishness gets exposed. Maestro indicates that she is again going to fall for his tricks. Vishwa indicates the same that his passport is lost, so he could not go to Delhi (passport to travel within India? LOL). There itself he teases her, but she exposes his family history. Exactly when he realizes that she knows everything about him, Maestro (@0:44) starts on high note indicating his shock on how she got all his story. Maestro continues to play the keyboard on high octaves, ably supported by piano at middle/lower octaves to indicate his embarrassment and how to tackle her.

He asks how she got all the information about him. When she reveals it, Maestro changes the mood completely there with a mix of humor (from 1:09-1:15) indicating Vishwa got a brilliant idea to tease her back.

When he explains her fictional love story Maestro starts piano exactly at 1:23 when she utters ‘kaadhal’ with a surprise. Even though we can’t stop smiling at the whole scene, the music makes us intrigued to the scene as if it s true as Maestro too teases her (and the audience) with his pathos music with piano, violins  and choir (1:23-2:16) to believe everything is true.

You also need to make note of silence wherever applicable. He mutes the music between the scenes not just to go the next piece convincingly, but to bring the contrast nicely between the scenes. When Vishwa starts explaining about her lover, there is no music, but when he explains she is in the library and when Jothi asks where is she and Vishwa explains to see behind, that’s exactly Maestro again opens up the music (@2:29) with piano melody. Till now it is so serious.

Jothi asks him if she can intervene and talk to her to unite them both, Maestro changes the mood to humor as she is going to fall into a trap. It the similar rock pattern we heard in the beginning of this clip. Maestro plays yet another pattern from 3:17 (bass guitar) when she asker her opinion about love. I fall for this piece. So hilarious. When she asks Vishwa’s fictional lover to see behind and when she herself sees no one is there (as Vishwa escapes from that place), hear another pattern (from 3:52) from Maestro. ROFTL  Maestro gets into rap. Jothi is completely exposed.

If we hear these pieces individually without this situation or visuals, it might not even convey anything and we may not even get connected to the music. But how it works in tandem with the situation and mood is the best kept secret only known to Maestro. Enhancing pathos and enhancing humor with music (and silence) is not an easy task at all. Another stunning highlight is he stayed with the trend of that time too by using contemporary music but also adds classical touches with piano, violins and choir without sounding anything odd. How all beautifully blends and bends to the situation and mood changes is written only in Maestro’s personal heart diary which no one can read, but his music reveals us the secret what Maestro wrote in his personal music diary.

04 - Hint of Love Theme

What I don’t like about this movie is the way visual sequences are introduced and the way each character interacts. The way Vishwa and Jothi meet each other is not in a natural way. It was as if in the whole city, there only two people and they tend to meet each other frequently. Even the same happens in Delhi episode. Wherever the hero goes, heroine is there and vice versa. It can be co-incidence once, but not always.

Here too in this sequence, Vishwa comes to a botanical garden to buy flowers, God only knows why and for who. Same way, Jothi is in the same place, just wandering as if she is waiting for Vishwa to come. So unrealistic and contrived. Let's leave that aside and focus on the situation alone.

As soon as Jothi sees Vishwa she gets angry as he fooled him in the library. Vishwa on the other hand tries to irritate her more by saying I Love You. This surely should been an eve teasing case. The only reason it is not is because Jothi is having some soft corner for him, but this is not evident clearly, but her silence and ‘the willing to accept’ his sarcasm confirms it. Still it is not love. You have to see her face when he expresses his love. Isha was outstanding there!

Vishwa scares her by conveying those words, but she is not yet ready to accept his love (just because she thinks he is really expressing his love, but Vishwa does this a part of teasing routine). The violin tremolo explains her nervousness while the following sweeping violins explains her scariness (on how to respond), but the piano sends her the calmness and relief as he stops uttering those words. The ending flute(?) phrase indicates the butterfly in her stomach explaining her state that she does not want him to be behind her all the time, on the other hand, she is not willing to leave him either. A delicate state beautifully explained by Maestro in this short one minute piece (actually the music is only for 35-40 secs). Hear where exactly he starts the theme. This is the love theme we will hear again and again in different flavors for various situations. So enduring!

05 - Vishwa goes to London

Maestro starts with soaring violins and switches to delightful piano, guitar and acoustic drums and again slowly introduces violins. With visuals it adds to the beauty of London. Lovely little piece of music. Please note the use of rhythm arrangements.




07 - Jyothi comes to London

Maestro did not use percussion in this score, when Jothi comes to London (yes she also comes to London, we should not ask why). Maestro kind of differentiates masculine/feminine characters in the score (with and without percussion). It is a simple piano melody but very effective and huge mood enhancer. Please hear this melody closely. This melody also has another context to it which we will come to it little later. Please note Jothi comes to London after the alai meethu song sequence which comes next.

06 - alai meethu

Vishwa starts on a boat tour of London. He hears a haunting thamizh song much to his surprise. He approaches where the song is coming from and he ends up meeting Pandian (he was playing this song in a cassette). Pandian is London settled NRI. He left his wife behind in India and married another English woman in London and lives with her. The London woman wants to have an Indian child assuming Indian kids look after their parent at their old age (meh idea by director). Pandian and Vishwa get acquainted with each other.

Actually this song comes only for few seconds in the film which is kind of blessing in disguise, because of two reasons. 1. Director knew Thalaivaasal Vijay’s limited acting skills that he cut short the song. 2. Director himself is not confident where and when to shoot this song. This song is a nice theme and could have handled in a better way in the film. Since this song is about the thoughts and memories of a woman (who was left behind by her husband), it could have played at a different time when Pandian was alone thinking about his wife (rather than in the boat when his other wife is there). This song needs a better visuals as it kind of nullified the impact it started to create.

Bhavatharini has sung the song well with required bhaavam except for her nasal tone (which is by her nature sounds always flat). I think it was composed in Suddha Dhanyasi. The ambience it creates when listened on high quality headphones is ultimate. Especially the chorus which sounds so close to violins. Sublime chorus arrangements. The bass guitar with acoustic drums combined with grand violins and synthesizers gives the new-age dress up to the classical idioms. The slap bass between மாலை அந்தி மாலை வந்து என்னை மயக்கும் lines is not to be missed.

Through the harmony driven interlude with choir and violins finishing with piano chords gives a rich and grand feel with a tinge of pathos at the end, Maestro conveys that everything is there in London, but when Pandian is thinking about his wife (while listening to the song), he feels what he is really missing. 

The instruments which play along during the pallavi and charaNam (and during repeat pallavi at the end) with the same volume as vocals, scream his feelings along with her singing that even though he is here, all his thoughts are with her (this was conveyed indirectly when Pandian introduces his London wife to Vishwa and expresses that she is feeling guilt that she is being dishonest to his Indian wife).

A modern age western based song (contemporary western arrangements) with the soul of age-old love, affection and longing (classical arrangements, classical raagam, longing Indian melody and moving lyric) wonderfully presented by Maestro.

The best kept secret of the song is the context. I didn't know that this song is about Pandian's first wife until I saw the film twice and listened to the song multiple times. This is also one of the reason that since it was not well presented visually and also it occurred only for few seconds, this song and its context might not have reached the public. Please try to listen with the context and I am sure you will enjoy much much more.

ஆ ...ஆ ...ஆ ...
அலைமீது விளையாடும் இளம் தென்றலே 
அலை பாயும் இள நெஞ்சை கரை சேர்த்து வா 
உலகாளும் மாமன்னன் மனதென்னவோ 
உயிர் வாழ ஒரு வார்த்தை நீ கேட்டுவா 

மாலை அந்தி மாலை வந்து என்னை மயக்கும் 
ஓலை அவன் ஓலை பெற உள்ளம் துடிக்கும் 
தென்றல் என்னை அழைக்கும் 
தேகம் தொட்டுத் துளைக்கும் 
அவன் நினைவில் இங்கே ஒரு மாது உருக 
இளவேனில் தீண்டும் இளம் தொல்லை பெருக 

என் நிலையை அறிவானோ வருவானோ ஓ ஹோ ஓ ஓ ஹோ ...

Marvelous post V_S on Alai Meedhu. Never understood the context of this song in this movie until I read your post. I will enjoy the melancholy in this song even more now. As you said, listening to this song in a nice headphone is a fantastic experience.

Watched the film sequence where it occurs and Alai Meedhu works much better. I am inclined to agree this has to be among Bhava's best songs.

Thanks rajkumarc

I am not sure how many among the audience would have got that this song was about Pandian's first wife in the first place, because the way conversation steered more towards the English woman and her perception on Pandian (with all Peter stuff) even though it was related somewhat at the end of the sequence, from the guilt expressed from his second wife. Pandian's face does not even show a hint of separation/guilt on his face (not just in this scene the whole picture) which kind of takes away the essence of this truly moving song. The worst part it came only for few seconds that before the audience started to have a grasp of the context, it was taken away. Yes, definitely one of Bhavathirini's better songs.

அலை மீது விளையாடும் இளந்தென்றலே, புடிச்சுக்கோ இந்தா என் வோட்டு!

08 - Poetry

I had asked you to make note of a melody in 7th clip (Jothi comes to London) since it has another context. That piece was played when Jothi comes to London. In this clip too we hear the same theme (in a slower tempo) but the context is little different. Very minimalistic arrangements using a piano and bass guitar. Vishwa utters a poetry to his friend Pandian, which describes the beauty of London. See how Maestro relates this theme and the Jothi's London theme together. He brings that theme ahead, knowing Vishwa's (future) lover has already landed in London and by uttering the poem (showing his heart) with that music in background, he implies that  Vishwa is ready to fall in love with her any moment soon. Maestro ties both the context as one. How many would have got that time? I might have listened to this piece (and 7th clip) a 1000 times or more. I only think how it would have been if extended as a full blown song.