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Song of the Day #633: poonthendRalE from bhuvana oru kELvikkuRi.

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  • Balaji Srinivasan
    Song of the Day: poonthendRalE from bhuvana oru kELvikkuRi. http://www.dhool.com/sotd2/633.html - Saravanan writes: poonthendRalE from bhuvana oru
    Message 1 of 1 , Jun 1, 2005
      Song of the Day: poonthendRalE from bhuvana oru kELvikkuRi.


      - Saravanan writes:

      'poonthendRalE' from bhuvana oru kELvikkuRi.

      Sung by Jayachandran & Vani Jairam
      Lyrics by Panju Arunachalam
      Music by Ilaiyaraja

      * * * *

      bhuvana oru kELvikkuRi (1977/ M.A.M. Films) was directed by
      SP.Muthuraman and produced by N.S.Mani. It starred Sivakumar, Rajnikant,
      Sumitra, Jaya, Meera and others.

      Nagaraj and Sampat are friends, both working as petty salesmen. Friends
      they sure are, yet their characters are a study in contrast. Sampat is
      deeply in love and is shattered when the girl he loves comes to a
      gruesome end. This tragedy drives him to drink and a life of pathetic,
      aimless existence. Nagaraj is an unscrupulous philanderer who boasts
      unrepentantly of his growing list of victims. Bhuvana is one such girl
      who is lured by Nagaraj's charm, and is in deep trouble by the time she
      realizes his true colours. She becomes an object of scorn when her
      impending motherhood becomes known. Sampat offers her refuge in his
      house, though by this time he has become a wastrel and an alcoholic. An
      inexplicably beautiful relationship blossoms between the uncouth ruffian
      and the unwed mother, a relationship that hovers so tantalizingly over a
      platonic plateau. Nagaraj, meanwhile, gets married to a rich heiress and
      here finally is retribution- the couple remain childless. He tries
      unsuccessfully to persuade Bhuvana to give him their child. Years of
      intemperate indulgence finally take their toll- Sampat breathes his
      last, and Bhuvana is left all alone. What does the future hold in store
      for her?

      This, then, is the story that Panju and SPM chose for celluloid
      adaptation. And as they did in vattathukkuL sathuram, Panju Arunachalam
      and SP.Muthuraman worked on Maharishi's story, this time with
      spectacular results. The story itself was riveting, with heartwarming
      twists, and SPM and Panju pulled off a casting coup by picking on the
      upcoming Rajini for the complex role of Sampat. And in his 10th film,
      Rajini was a brilliant revelation; he showed that he was not merely
      style, but an actor of substance as well. Sumitra too made a fetching
      mark in the title role of Bhuvana. Besides winning critical accolades,
      the film was a commercial success as well, running for more than 125
      days. In Madras, the film ran to packed houses in Roxy, Paragon,
      Rajakumari and Pandian.

      Here is SP. Muthuraman being nostalgic about his years of association
      with the 'Super Star'; of particular interest is his reference to
      bhuvana oru kELvikkuRi:


      * * * *

      This was the year after IR's advent. And while in 1976 he had 4 films,
      in 1977 the tally was 12. The year was special, for IR won his first
      award - the TN Govt.'s Best MD Award for his work in 16 vayathinilE.

      bhuvana oru kELvikkuRi had only 3 songs; and IR bestowed upon each of
      the 3 the boon of enduring enchantment. While 'vizhiyilE malarndhadhu'
      is pristine vintage IR fare with SPB adding to the glitter in no small
      measure, the poignant 'raja enbaar mandhiri enbaar' (SPB/SJ) is the soul
      of the story, the music mirror that reflects the inner turmoil of Sampat
      and Bhuvana.

      'poonthendRalE' is a song that showcases IR's ingenuity even in his
      early days. The long drawn 'poonthendRalE' that the song commences with,
      as an irresistible summons to the fragrant zephyr, is such a bewitching
      opening. The innovative structure of the charaNam is an unceasing
      delight- the overlapping voices, with the singers taking their turn with
      nonchalant adroitness must have been something very innovative in that
      time. The interludes sound so fresh and attractive to this day. ennenna
      pudhumaigaL! ennenna inimaigaL!

      I've begun to be convinced that this was the first song for both
      Jayachandran and Vani under IR's baton. They had not been part of IR's
      1976 albums. The other IR albums that Vani sang in 1977 were durgadEvi
      and aaLukkoru aasai. As for JC, he too had sung in durgadEvi. And while
      bhuvana oru kELvikkuRi was released on 2nd September, both aaLukkoru
      aasai and durgadEvi were released on 9th December. (Of course the
      release date is not any indication of the date of the song recording!)

      "Somehow, I didn't get to sing too many songs for Raja, yet most of my
      songs in his music, both in Tamil and Telugu, did become very popular"
      Vani mused aloud when we met her for a leisurely chat. When we recall
      those songs, we realize the truth in her statement. Take the SOTD for
      instance- there is always magic in the air when JC and VJ come together
      for a duet, and here too their chemistry is sizzling. Hark at the
      cuddlesome intimacy that their 'kaNNana raja'/ 'ponnana raaNi' repartee
      suggests. The way VJ brings the song to a close leaves us hankering for

      * * * *

      And for those who are reaching for your mouse to log out, for this is a
      song that is commonly available everywhere, I entreat you to stop awhile
      and have a listen. You're in for an unexpected treat, even at the very

      [Non-text portions of this message have been removed]
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