Re: Malayalam films / music thread - മലയാള സിനിമ / സംഗീതം...

[groucho070]

Ettan confirmed doing a film with "Mr. Vijay". thala chuttunu, ettA, arrr......

[plum]

Yes Grouch - had an exchange with ajaybhaskar and Siv.S on Lalettan today
Plum Niyappa ‏@nom_d_plum
@s_ram82 Lalettan is beyond rescue now. Descended to Bachchan level selling jattis...#CocoNad

4 hrs Siv.S ‏@s_ram82
@nom_d_plum Recent-aa etho Lokpalum Oothikichu pola,I thought mamookka's career going through a bad phase. Saar,u have Jilla

4 hrs Plum Niyappa ‏@nom_d_plum
@s_ram82 ..adhai thAn ssosagamA en prev tweetla sonnEnE #Jilla #BachchanComparison ;-)

3 hrs AB ‏@ajaybaskar
@nom_d_plum @s_ram82 Yov, ennayya nadakkudhu inga?

25 mins Plum Niyappa ‏@nom_d_plum
@ajaybaskar #IOftenForgetYouFollowMe @s_ram82

[app_engine]

Sukumari is no more

நேற்று மாலை சுகுமாரி இறந்தார். இவரது கணவர் பீம்சிங், பிரபல திரைப்பட இயக்குனர். அவர் ஏற்கனவே இறந்துவிட்டார். இவர்களுக்கு சுரேஷ் என்ற மகன் உள்ளார்.

She had done many memorable roles with Mohanlal (I've mentioned dasaratham in this thread earlier ; another one that immediately came to mind is the 'boeing boeing' one...well, there were simply too many).

I remember posting about her doing the 'vArAy en thOzhi vArAyO' song of pAsamalar as the dancer who teases Savithri. (The director was Bhimsingh to whom she later became wife ; that way, she is chiththi of editor B Lenin & BR's cinematographer B Kannan).

[app_engine]

Director Fazil's son is an actor now...supposedly signed up by Gautam for his new Malayalam project.
(Another news about this boy : In love with Anirudh muththam Andrea )

nallA irukkattum!

[app_engine]

Look at what somebody had added to the wiki page of Sidney Sheldon's "Rage of Angels"

http://en.wikipedia.org/wiki/Rage_of_Angels

Film version
In 1983, a made for TV film was produced, Sidney Sheldon's Rage of Angels starring Jaclyn Smith, Armand Assante and Ken Howard. It was followed by a sequel, Rage of Angels: The Story Continues in 1986.
In 1986 an uncredited Malayalam film version loosely based on the novel was released in India titled Rajavinte Makan with Mohanlal, Ambika, Ratheesh and Suresh Gopi in the lead roles. The movie went on to become a huge box office hit, and turned actor Mohan Lal into a superstar overnight. The film was remade in Tamil as 'Makkal en Pakkam' with Sathyaraj, Ambika, Rajesh, Nagesh, Raghuvaran.

[V_S]

Season - Nice film.  Even though I had this film songs with me, I didn't realize that this film had Maestro's music until I heard the first note in the titles. I was wondering who could be the music director other than Raja as I was only hearing him. My speculation didn't go wrong. Except for both the songs which were not needed for the film (but beautiful songs), the score was phenomenal. That solo violin, thumpura and flute in the titles still haunts me.  Intriguing subject and what a performance by Lalettan. Fantastic location; glorious view of KovaLam beach and surroundings. Excellent screenplay by Padmarajan, thoroughly focussed script with no wandering business (except for the two songs). Film went really fast. There are some loose ends on how Fabien got into jail and it seemed so easy to escape from the jail etc. Still it was a great relief that Hero didn't have any heroine to sing any duet. The film starts and finishes extremely well. Padmarajan classic, not to be missed.

[V_S]

Drishyam       What a movie! Fantastic!! 
Not a big budget movie. Minimal cast. Totally engrossing with full of substance. Lalettan, what a performance!   Every one of them did extremely well. Meena, Kalabhavan Shajon, Asha Sarath, Ansiba did portray their roles extremely well. Even the little daughter. 

Edge of the seat 'family thriller'. There are few flaws, but I am going to ignore all those considering the way movie was executed with fineness. This is the kind of movie I would like to see Kamal or Rajini in it (not the remakes). But they concentrate on soul-less big budget movies with not much substance.

I love that hotel very much. The people and chats, typical of their 'relaxed' life-style. After first 30 minutes of slow start, how it races afterwards is a beauty. I thought of watching it in parts after first 30 minutes, once it crossed, I didn't even look at the clock; me and the movie. Wonderful lengthy dialogues. Music is not seen/heard at all. Clever plot, climax and brilliant end. Brilliantly done by Jeethu Joseph. He is just 41 years old, what a talent! Kudos to him! 

It is a heavy movie. The movie finished at 2:30 am. It took a while for me to get sleep, only to get up early. So wonderfully crafted one. Will be watching again. Not to be missed at all.

[counterpoint]

It is disappointing that instead of coming up with original scripts himself on the lines of 'A wednesday' or Drishyam, Kamal is merely content to star in the remakes of these films after thay have been declAred commercial successes in their languages. where are the screenwriters in Tamil? what happened to the screenwriting workshop conducted by Kamal and its attendees? All of them have gone to Malluland?
what is also disappointing is that instead of collaborating wht current crop of young directors he is content to surround hmself with the usual Crazy Mohan, Ramesh Arvind-type coterie. Hope KS Ravikumar is not next in line to do a film with him.

[app_engine]

dhrushyam - very nice!


The success of the script is in making one's conscience fight over his emotions (as in my case)

That makes it a very interesting movie. 

Like I mentioned in twitter, it would have been a bit more thrilling to me, if taken without flash-back mode (as I could guess / foresee a couple of twists). However, that doesn't take away the smartness of the writer overall.

Also, the "rough edges" to me are the opening and last scene. Quite cinematic and also inexplicable / not plausible. Well, such may be needed to get current audience clapping, but not my cup of chAyA

Spoiler below, actually a kostin,  in white color (select to read only if you've watched the movie) :
Why should someone who got acquitted come to police station and sign? 
What is the legal necessity?

 

[V_S]

Looping these two songs for the past two days. Beautiful songs. 

vijanathayil - How Old Are You? sung by Shreya Ghoshal. Music director: Gopi Sundar. As usual Shreya rocks except in one high pitch portion in between where she is struggling a bit to catch up to the sruthi, blame it on the "sadist" composer. That's the beautiful portion of the song. Such a beautiful song.




manjupeyume - Mili sung by Najim Arshad, Mridula Warrier. Music director: Gopi Sundar. This song only has guitar as accompaniment with no other instrument. The melody holds supreme. I like the visuals too. Read Amala Paul acted in this film without makeup.




In both the songs, if you see the song duration that tells lot of stories. One is around 4 minutes and another is around 3 minutes. We can clearly see there would not be much of interludes which most of the current crop shy way because of the famine/no ideas in that area. Even the melody lines in charaNam are only couple of line duration and then anu-pallavi jumps back so soon and they repeat it again. Very conscious effort both of these, nevertheless wonderful songs in that duration.

[V_S]

Weather is below freezing. Damn cold. Heavy warm clothes on with thick gloves & tight ear muffs to keep me warm. Except eyes, everything else is covered. Removed the overnight snow, warmed the car enough to start driving. Wore the glasses, held the car steering with the glove laden hands as it feels so good since the steering also is very cold to touch with naked hands. Turned the play button on without knowing what’s going to happen next.

Song gets played, pressing the replay button again and again as I am unable to go to the next song. Just as the journey progresses, my eyes start getting more wet with every listen. The frozen ILaiyaraaja’s fan heart melted. What the warm air inside the car could not do, a song did. As the frozen heart melted, there is no way for the droplets to pour, but it found a way up the path and pour it through my eyes. There is no way I can wipe the tears with gloved hands and with glasses and then decided to let it go as I have never been in this situation for a non-ILaiyaraaja song since long time. Yes, there is a huge bias in me.
 
My wife used to tell me that I am too critical when it comes to appreciating others songs. Even it happened to many IR songs. I agree.  I also used to tell my wife that but when it comes to appreciation too, I don't do with hesitation or restraint, it would be very deep with no constraints or boundaries. But that’s because of the benchmark created by his music that when it comes to accepting and appreciating others it has to melt my stone heart. Are they capable of demolishing my stone heart which has such huge bias and still enter in me?. That’s the biggest challenge. Very very rarely I encounter such a situation.  I also understand that appreciating just for the sake will not only betray me, but also betray what music I have been listening to. I have spoken about this song just in my earlier post above, but there too I have nitpicked a lot. Now it’s time to take them back as there is much more going in the song that those are nullable entities.
 
Today’s songs as I hear, there can be a catchy pallavi but only to be letdown by the charaNams or rendition or arrangements or all of these. Catchy is not just being trendy. Right from the first note till last note, it has to capture me, engage me, move me, and enthrall me. This is one such song.

The situation of this song is itself very moving. It describes the situation of a lady who was left alone by her husband and kid (citing she is useless). Gopi Sunder gets that depressed feel right way in the way he starts the song. The song starts in lower octaves which immediately invokes a sad/depressed feeling as the lyrics too describes the state of her mind.

விஜநதயில் பாதி வழி தீருந்நு
சொரி மணலில் வீணு வெயிலாருந்நு
ஆழமறியா சாகரெங்கள் நீந்தி நீந்தி
தீரமணையான் கூரிருளில் எகயாய் யொரோடமாகயோ

The last line above gradually builds the tempo as the notes move to higher octaves. ஆழமறியா சாகரெங்கள் நீந்தி நீந்தி line literally moved me to tears. Gopi how did you even compose such a line?

சுவடுகளே… தளரருதே…
ஈடறருதெ  வரூ வரூ போகாமகளே

and builds the rigor and climax through the above two lines beautifully thereby giving her confidence and boost to build a life on her own. The way the song started, gradually building the energy and tempo, the finish and then the connection to pallavi everything is so tight and breath-taking. Oh I have only listened to such a tight and moving composition only with ILaiyaraaja. Shreya Ghoshal rendering makes the mood even more intensive to the extent that it almost overpowers the visuals. That last two lines above similarly took my breath-away with stunning tune and Shreya’s emotive rendering. Thoroughly flattened. Just the pallavi-anupallavi alone is enough for me stay there. But what to do, life has to move on.

There comes the charaNam again starting in lower octave. Another significant feature here is the way it deviates from the pallavi/charaNam. He starts the charaNam with no relation to the pallavi (just like our Maestro does).

ஓடி மறையும் காலமெங்கோ
ஒர்த்தி  நில்காதங்கு தூரெ 

While the first two lines are truly mesmerizing with laid-back and relaxed tune, he peps in the next lines with lengthy lines to add more vigor and sweetness to the tune.

எங்கோ போயதெங்கோ என் கினாவின் வென்பிறாக்கள்
எந்தே மாஞ்சிதெந்தே மண்செராதில் பூத்த நாளம் (adada

And again the build up to climax with anu-pallavi tune to connect beautifully to pallavi. I visualize IR in this style .

புலரிகளே இது வழியே
இனியுனரூ வரூ வரூ
விண் வீதியிலாய் 

Hear how she sings இனியுனரூ word with little bit of improvisation leading to விண் வீதியிலாய்  and then the sudden mountain to sea-level drop to விஜநதயில். What a flow, variation, depth, great control, sweetness and most of all soulfulness!!

The last line (வின் வீதியிலாய் ) where Shreya breaks the curse of the heroine to march her life forward with no distraction/hestitation/inhibition,  is breath-taking and wonderfully conceived by Gopi Sundar. Shreya’s voice goes little thin there, but the sweetness does not fade an inch even because of that. I am melted completely in the last three lines and tears fell non-stop (செத்தாண்டா சேகரு மொமென்ட்!!!!) that when I reached office some might have interpreted I did some jogging and straightaway coming to office after that. 

Shreya's diction and also the way he surrendered into the soul of the lady of the film is truly remarkable. She has done wonders with many little such improvisations which adds to the emotion and energy of the song to scintillating heights. Shreya has done wonders with many little such improvisations which adds to the emotion and energy of the song to scintillating heights. Interludes are also quite good. Still I didn’t like the prelude humming (by Gopi himself?) which is too trendy for the mood. The second interlude has some resemblances to ARR style, but nothing to take away from the song and its originality.

Last but not least, I never imagined I will be writing about a non-ILaiyaraaja song this much, but the composition left me speechless that I even would like it to win all the honors and accolades this year for both Gopi Sundar, Shreya Ghoshal and the lyricist (don’t know who wrote the lyrics) and also like to win everyone’s heart and permanently stay there. A very very rare composition that it even broke the silence of an IR fan in me and spread everywhere within me. A big big    to Gopi, Shreya and the lyricist for giving such an intensive, moving and soulful composition. I can listen to it endlessly. It will stay with me forever. 

Malayalam Lyrics:
വിജനതയിൽ പാതിവഴി തീരുന്നു
ചൊരിമണലിൽ വീണുവെയിലാറുന്നു
ആഴമറിയാൻ സാഗരങ്ങൾ നീന്തി നീന്തി 
തീരമണയാൻ കൂരിരുളി ലേകയായൊരോടമാകയോ 
ചുവടുകളെ തളരരുതെ
ഇടറരുതെ വരൂ വരൂ പോകാമകലെ
 
ഓടി മറയുന്നു കാലമെങ്ങൊ
ഓർത്തു നിൽക്കാതങ്ങു ദൂരെ
എങ്ങോ പൊയതെങ്ങൊ
എൻ കിനാവിൻ വെണ്‍പിറാക്കൾ
എന്തെ മാഞ്ഞിതെന്തേ 
മണ്‍ചെരാതിൽ പൂത്ത നാളം
പുലരികളെ ഇത് വഴിയെ 
ഇനിയുണരൂ വരൂ വരൂ
വിണ്‍ വീഥിയിലായ്
 
നീലമുകിലായ് വാനിലേറാൻ 
മേലെ മേലെ പാതി നീങ്ങാൻ 
ഉള്ളിൽ ഉള്ളിന്നുള്ളിൽ 
പണ്ട് പണ്ടേ നെയ്ത സ്വപ്നം 
വീണ്ടും തേടി വന്നു 
കണ്ണിലാളാൻ നിദ്രനീന്തി 
നിഴലുകളെ ഇനി മറയൂ 
പകലൊളികൾ നിറം തരും 
മണ്‍പാതയിലായ്
 
Tamil transliteration (please correct the mistakes if any)
விஜநதயில் பாதி வழி தீருந்நு
சொரி மணலில் வீணு வெயிலாருந்நு
ஆழமறியா சாகரெங்கள் நீந்தி நீந்தி
தீரமணையான் கூரிருளில் எகயாய் யொரோடமாகயோ
சுவடுகளே… தளரருதே…
ஈடறருதெ  வரூ வரூ போகாமகளே


காலமெங்கோ
ஒர்த்தி  நில்காதங்கு தூரெ 
எங்கோ போயதெங்கோ என் கினாவின் வென்பிறாக்கள்
எந்தே மாஞ்சிதெந்தே மண்செராதில் பூத்த நாளம்
புலரிகளே இது வழியே
இனியுனரூ வரூ வரூ
விண் வீதியிலாய் 
 
நீலமுகிலாய் வாநிலேராம்
மேலே மேலே பாரி நீங்கான்
உள்ளில் உள்ளினுள்ளில் பண்டு பண்டே நெய்த ஸ்வப்னம்
வீண்டும் தேடி வந்நு கன்னிலாளான் நித்ர நீந்தி
நிழலுகளே இனிமறயூ பகலொளில்கள்
நிறம் தரும் மண் பாதயிலாய்

[app_engine]

Nice experience, V_Sji!

Hearing the song for the first time and it is indeed sweet

[V_S]

Thanks ji  Requesting you to write the meaning of the lyrics whenever you find time. Even though I understood some parts and guessed some parts, there are some words which are hard to understand. Should be able to appreciate the song better with better understanding of the lyrics.

[app_engine]

Sad news thru twitter this AM :
Female singer Radhika Thilak is no more, who sang dEvasangeetham of Guru with KJY



ദേവ സംഗീതം നീയല്ലേ ദേവി വരൂ വരൂ 
(ഗുരു)

[V_S]

This is one my most favorite playlists recently and I end up listening few times daily. So gorgeous and soothing.

Shreya Ghoshal's Malayalam songs.

1. Shalabhamaai - KaLimannu - Music director: M Jayachandran
2. Kaathirunnu Kaathirunnu - Ennu Ninte Moideen - Music director: M Jayachandran
3. Vijayanathayil Paathi Vazhi Thedunnu - How Old Are You? - Music director: Gopi Sundar
4. Paattil Ee Paattil - Pranayam - Music director: - M Jayachandran
5. Eeran Kaattin - Salala Mobiles - Music director: Gopi Sundar
6. Kaana MuLLaal - Salt N’ Pepper - Music director: Bijibal
7. Paava Njaan KaLippaava Njaan - Ente - Music director: Shantanu Moitra
8. Kaarmugilil Pidanjunarum - Bachelor Party - Music Director: Rahul Raj

To top it all, how about Maestro's Avani Thumbi to end?. Heart is fulfilled.




Happy listening!!!

[V_S]

Whenever I listen to this song, I could not get Maestro out of this song. The distinct melody with Hindustani touches and the tight finishes, the breathing space between lines of pallavi and charaNams, the gorgeous guitar and bass guitar punches, the soaring violins, the sweet violin sneaks between the lines, mesmerizing flute passages, delightful cellos, the twists and surprises everywhere, and of course S Janaki's uber cool rendition, all unmistakably point to Maestro. I guess Johnson master listened to Maestro so much, that this song has thorough influence of Maestro in every note. Even many Malayalam songs I listened has main focus on the melody, but orchestration they keep it simpler. Does anyone feels the same about this song? What a song!!

aadi vaa kaattE paadi vaa kaattE aayiram pookkaL nulli vaa - koodevidE

[app_engine]

Sweet song, V_Sji!

One of my all-time-fav songs

(SJ - there is no one anywhere close to her IMHO)

[Usha]

Nice pick V_S.

Radio days... indha madhiri sila paatu.. apodhu kaekum podhu.. IR enrae ninaithu irundhen... anal edho oru kurai irukum pola thoniyadhu dhan.

andha madhiri inum oru paatu....

dhoora kizhakudhikum .. ovoru bit um.. IR styleil irukum....... including the chorus.....


https://www.youtube.com/watch?v=bGuX3RHLI2Q

[V_S]

Wow! Truly mind-blowing!! M Jayachandran at his very best again. Sure khambhoji should win him lot of laurels.
I can't say now which one I love the most as each one is competing against each other very well. 
Classical music lovers, please don't miss this.  Will post a detail one later, as this album will easily consume many days for me.

[V_S]

I am surprised none of the sites bothered to review this outstanding music by M Jayachandran for Kambhoji. The making of the soundtrack says it all.


The Hindu gives some excerpts on the film and music.
http://www.thehindu.com/features/cinema/vinod-mankara-on-his-new-movie-kamboji/article8938329.ece

We can clearly see the pain he has taken to deliver this one of the best soulful soundtracks in films. Even though the film style of composing is little less, it does not take away the way the melodies are woven and orchestrated. The way M Jayachandran handled the raagams is indescribable. He takes the unusual bass route which Carnatic classical music is normally not associated /famous for.

Nadavaathil – Soft, tender and a lilting melody. This is the only soundtrack which has some filmy style, but he has captured the heart of lady wonderfully. Chitra rendered sweetly. The melody glides and taps untouched territories of the raagam but at the same time taps our soul gently that we feel like we are heaven.  Veena (played by Rajesh Vaidya) is one of the highlight of the song.

In Sruthi ChErumo and Anguli Sparsam you can hear how deep (lower octaves) the melody can go in Carnatic raagams which even many pure Classical Carnatic concerts fail to express. The beauty is it is even difficult to find raagams in some songs due to this aspect as our minds was automatically tuned to middle octave krithis/notes in the same raagam. While K J Yesudas has rendered sruthi chErumO nicely, we can feel the shakiness in the bass portions and also some incompleteness in finishing some lines/brighas.  The tune also didn’t go much higher (may be considering KJY’s current limitations). The orchestration (string section, bass flute, tabla) makes it up beautifully that it gives a nice experience. I have not listened to such a different Kambhoji at all.

Bombay Jayashree's rendition is perfect in Anguli Sparsam. Her stress at every lower note is perfect, tells story on why she should have not associated with some other music directors (especially in thamizh) which has become an opportunity of ridicule. It is one of the best melodies in the film. The violin strains are beautiful to hear. The brigas are excellent. Mridangam and flute again adds so much brightness to the melody. Not sure if this song belongs to Bhairavi or Ahiri, because the stress is on the lower octaves of the raagam.

The most beautiful composition of the film belongs to Chenthar NErmukhi, not just because it is the only duet of the film, it is because the way raagamalika is handled and the disciplined singing of Sreevalsan J Menon and Chitra. Even though I hear Chitra’s usual nasal tone, it also sounds good. The song traverses from Suruti to Khamas to Saaveri to Shamugapriya and to Begada, the best part belongs to Sreevalsan Menon, especially his rendition in Khamas, what a beautiful raagam and rendition!

With just the thampura sruthi, Bombay Jayashree renders Gopala Krishna Bharathi’s (a thamizh song in Malayalam film) Irakkam Varaamal pOnathenna kaaraNam so beautifully. I am poor in identifying Hindustani based raagams (not that I am good in CCM). Not sure if it is Desh or Sindhu Bhairavi, guess it is Behag

My favorite singer of the soundtrack is the lesser known Nandhini for breath-taking rendering of Harinaakshi and oLiviyal. Totally floored by her rendition. Goosebumps all over. Even thampura is taken off now. It is too difficult to sing that way without losing sruthi, pitch and rhythm. The way she traverses various regions of Kambhoji and Bhairavi effortlessly is mesmerizing. The best part is she sings with open throated (no nasal singing), brigas come out perfectly. Kottakkal Madhu’s rendition of the same song but a lengthy take (guru-student version) is also extremely well done. He sounds little bit of Balamurali Krishna. What a delight to listen to this with typical Kerala percussion!! (*YT describes it as a traditional composition and not sure if it was composed by Jayachandran).

Overall a complete soundtrack after a long long time from this generation of music directors. It is a very rare and precious soundtrack in the sense most music directors of today are not competitive to deliver such a soundtrack. Outstanding melodies with apt and soulful orchestration. M Jayachandran didn't complicate the orchestration much, kept it simple but very effective. He knows what he knows. M Jayachandran deserves huge applause for coming with such a soundtrack without compromising on ‘current crappy music trends' and for taking us on a phenomenal/eternal musical journey in Kambhoji. The soundtrack is also special in a way that this is ONV Kurup’s last penned soundtrack. In this generation of music directors, now I can firmly tell that M Jayachandran is the (only) one to seek for when it comes to films having to present our rich classical tradition in purest form. I will be listening to it for a long long time to come.

[V_S]

Making of nadavaathil. What divinity in the song and rendering!! Those subtle glides and twists!! Chitra chEchchi the last generation of finest playback singing.

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Not a very nice news
http://tamil.webdunia.com/article/national-india-news-intamil/lissy-got-a-devose-116091600051_1.html
(Lizzy-Priyadharshan divorce)

Both were part of one of my all-time-fav films, chithram

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oru yAthrA mozhi - as expected, below average  
(Prathap Pothen grossly inadequate to do a movie with NT / Lalettan, esp a Malayalam one).

However, simply watching NT and Lal together makes one forget all the negatives and finish the movie  (IR's BGM a big bonus, as usual). 

NT's appearance in the movie reminded me of seeing him closely in Coimbatore airport in early 90's   Very restrained / dignified performance overall (except for his yAthra scene where he was made to do his "old style"  )

Last scene (that is, after that 'yAthrA mozhi') is of course poetic. 

However, one or two remarkable scenes won't make great movie watching experience

[V_S]

Two new ear-worms. One by Bijibal and one by M Jayachandran for the upcoming MOhanlal starrer, MunthirivaLLikaL ThaLirkkumbOL. Great going    

Gorgeous singing by Swetha Mohan, Shreya Ghoshal and Vijay Yesudas.
oru puzhayarikil - Swetha Mohan. Pristine flow, mesmerizing singing, and absolutely gorgeous tune. Interludes are also amazing!!! I am continuously listening to this one.


aththimarakkombilE - Shreya Ghoshal & Vijay Yesudas. What a fun!! Lilting, lively and graceful song!!


When (original, sweet, non-distracting, indigenous & complex) melodies are getting difficult for music directors, with some of these guys, there is still (lot of) hope

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Two sweet MF songs from 80's that are in 7 beat cycle (misra nadai)
(I recently posted these on twitter)

rAree rAreeram rArO
(onnu mudhal poojyam vara)

https://www.youtube.com/watch?v=INStoqhEI5I


iLam manjin kuLirumAy oru kuyil
(ninnishtam ennishtam)

https://www.youtube.com/watch?v=IO6LcpFA0Uk


The iLam manjin song, happy version:
https://www.youtube.com/watch?v=8e9f6tWI-Xk



The ninnishtam ennishtam song is perhaps the best imitation of IR from that time period
(Director Priyadharshan, per wikipedia, the MD Kannur Rajan is father-in-law of the HCIRF Sharreth  He was also the MD for the famous hit album / movie Chithram)

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