Maestro's Malleable Motifs

Maestro’s Malleable Motifs

Version 1 – With a melody on flute fluttering its way over a tense layer of strings, the theme breezily emerges on soft yet dense strings. No accompaniments or counter melodies. Ilaiyaraaja hints the love theme just for the literal mention of the word “Love”. But, don’t we Tamil film watchers know from the very beginning what the two would end up being?

Version 2 – A relaxed evening at a Sea shore, Love theme on Saxophone

Version 3 – Love theme on piano - the one with most romantic sound of all instruments

Version 4 – The romantic twang of a Guitar supported beautifully by tender tinkles on bells

Version 5 – Love theme on Strings, again, but with additional supporting layers this one is quite different from Version 1

Version 6 – Love theme on Strings, but with deeply emotional chords this one is again totally different from Version 1 and Version 5

Version 7 – The love theme is modified just to an adequate extent to make us sense the hideousness just like how their love is kept hidden from the lovers themselves in the film.

Version 8 – Tickling the romance on tinkling bells.

Version 9 – Just the first few bars of the theme stated on strings

Version 10 – Love is in the air. Theme on Slow strings. The theme is played in a tempo much slower than that of Version 1 and Version 5, and sound far breezier than the other two versions.

Version 11 – Contemplative version on Piano where every key is hit with deliberate hesitance

Version 12 – The theme gets an exhilarating prelude, and soothing beats join in with velvety strings to create the most enchanting version of the theme.

Version 13 – A playful version with theme playing taking on a totally shape and form on a Saxophone

Version 14 – The hyper energetic and ecstatic melody running on piano and soaring strings race to quickly hit and hint at just the opening bars of the main theme

Version 15 – Phrases of the main theme played with longer pauses in between. Love is stuck.

Version 16 - How can a film with Ilaiyaraaja’s background score be complete, without the theme getting its moment on a Solo violin?

Version 17 – A flute joins in like a healer to the pain evoked by the Solo violin in this version.

Version 18 – Love theme in its entirety on somber strings

Version 19 - Love is in danger, Ilaiyaraaja uses just the first four notes of the theme to suggest that

Version 20 – The love theme on breezy strings again, and they lived happily ever after.

Version 21? – I could sense traces of the main theme in this piece, but I am not sure. This piece appears as the background longue music played in the restaurant in the beginning of the film. Is this piece a Jazz version of the main love theme?

I have written different theories to defend the composers who choose the melodies of the songs of the film to create background score cues.

Theory 1: Songs - at least those that are composed by composers, who put film maker’s vision above everything else - are now an integral part of the film’s narrative. The composer completes half of the film’s background score when he completes composing the songs for the film. These are songs made specific to the given situation of a given film and they cannot be used in any other situation of any other film. Composer need not break his head to compose new themes while writing the background score.

Theory 2: In Indian films, during the background music scoring stage, a composer would already have written all the songs of the film and would exactly know where each song is placed in the film. He would now have a clearer idea about the context and function of all the songs in the film. One of the most common scoring methods is using the melodies of the songs in the background score for scenes before, or for the scenes that immediately follow the actual song. There is no harm in this technique, as the song itself was conceived and composed for that specific situation in the film.

Composers may sometimes decide to write totally new musical themes without using melodies from any of the songs that were already composed for the film. Composer would write distinct themes for principal characters, for recurring situations, place, action and emotion. These themes would undergo a lot of variations in its form and shape along with its subject, throughout the film.

A composer composes the songs for the film even before the film is made. Though the songs are composed based on the characters and the situations in the film, with the strict 6-songs model in place, there is not always enough room in a film to create and use songs for all the principal characters and pivotal situations. For example, villains get no songs in Indian films. If a composer wants to trace the emotions and characteristics of a villain, there is no song’s melody to fall back on instantly. The composer must create a new theme for the villain character, which he could hint, develop or modify along with the way the antagonist’s character progresses in the story of the film.

However, I was always bewildered by Ilaiyaraaja’s penchant for writing new themes when he already has songs that he composed for the characters and their emotions. Last week, I was listening to Ilaiyaraaja’s exquisitely romantic background score for a mediocre film that has at least twenty different versions of the main love theme, and it suddenly struck me. I think I know why for some films Ilaiyaraaja chooses melody of the songs of the film for the background score, and for some, writes entirely new music material.

He creates a new motif for the background score because the melodies of the song that Ilaiyaraaja composed for the film may not be malleable enough to create varied orchestral versions to use them throughout the film. Most of these new musical themes that Ilaiyaraaja writes are made of short phrases which could be shrunk, stretched, transposed between octaves, played at different speeds and easily played on wide variety of instruments. But, can’t any given melody be tampered with in any which way a composer wants, especially when the composer is Ilaiyaraaja? I am not sure. Ilaiyaraaja picks the melody of a song from the film when it in itself has this malleability; otherwise, he creates a fresh malleable motif that he could comfortably play with for the background of the film. Keeping the phrases short could also be because of the length of the shots on which these themes must be played throughout the film. The theme should be short enough to be hinted at in a shot running just for five seconds, and also have the scope to be extended or developed when the shots are longer. Even if the melody as a whole is longer, the first few bars should have the ability to reveal the theme’s identity and the key emotion. It cannot go on and on to reach its inflection point. It should be short, crisp and make its point quick. To me these decisions seem to be made more for the mathematical precision than the emotion, though the emotion is always taken care of.

Hence in Mouna Raagam, Ilaiyaraaja, instead of using melody of the songs “Nilaavae Vaa” or “Mandram Vandha” for all those moments between Mohan and Revathi, goes for a new musical theme. Also, the songs are composed for a specific mood of the moment, but the theme in the background score has to accompany the journey the characters embark on while their relationship evolves from Point A and reaches Point Z. The theme should be able to evoke all the varied emotions they go through in the midpoints of the journey. I don’t think the melodies of “Nilaavae Vaa” or “Mandram Vandha” is capable of doing that. Whereas in Kaadhalukku Mariyaadhai, which is a straight forward love story, where the relationship between the two in love remains the same throughout, Ilaiyaraaja sticks to the main melody of the key romantic song of the film. But, the love theme of Ninaivellam Nithya which too is a straight forward love story contradicts my theory about Kaadhalukku Mariyaadhai. Ilaiyaraaja composes three astounding melodies “Neethaanae enthan pon vasantham”, “Rojaavai”, “Pani Vizhum” and yet composes a totally new love theme for background score of the film. I guess, in Ninaivellam Nithya, Ilaiyaraaja wanted to differentiate the love story from other love stories by creating a theme emphasizing on the backdrop of the love story – the mountain village. The tribal folk rhythm creates a unique identity to the film and the love story though the story itself is terribly cliched. Like I always say, all of these are just my theories; the real reasons could be entirely different.

Listening to Kaadhalukku Mariyaadhai

My admiration for Ilaiyaraaja’s background score in Kaadhalukku Mariyaadhai grew when I got a chance to watch the original Malayalam version of the film (“Aniyathi Pravu” Music Composer - Ouseppachan). We often talk about films getting elevated by Ilaiyaraaja’s background score. His score in Kaadhalukku Mariyaadhai is one of the best proofs of that. It also reassures the fact that the directors do not have much of a say in the quality of background score that Ilaiyaraaja writes for the film. It is the quality of the content that dictates the quality of Ilaiyaraaja’s background score. This film is another example for how better Ilaiyaraaja understands the medium of cinema than anybody else, and sometimes his is better than even the director of the film.

Ilaiyaraaja has used almost all of the background music scoring techniques that we most admire of his, in this film. The melodies of the songs become motifs of the film's background score. A unique aural identity is given to the film, with the musical score having a coherent tonal pattern throughout the film. The omnipresent music precisely follows the shifts and cuts in the moods and actions on the visuals. The music is entwined with the film so much so that one can never say whether the background music or the film in itself have in it, all that it takes to move a viewer, as emotionally as it does.

Melody of Songs as Motif – Kaadhalukku Mariyaadhai is one of those few films where the melody of a song has all that is necessary to be the main motif or love theme of the score of the film. It needs as much experience and expertise as Ilaiyaraaja to use these melodies, repeatedly, at the right moments in the film, but without any of it sounding monotonous. After having composed a beautiful melody like Ennai thalaatta Varuvaala, any composer would be tempted to use it to the maximum throughout the film. There is a difference, when Ilaiyaraaja does it. Ilaiyaraaja clearly knows that job of a score composer is not just playing lovely music in the background. Background music scoring is playing apt music. Ilaiyaraaja achieves aptness in score effortlessly with his orchestration skills. He orchestrates the same melody in varied ways to fit with the slightest of changes in the subject on which the main motif travels on throughout the film. The subject could be an emotion, a gesture, a character, a place or a recurring situation in the film. The variety in orchestration is one reason why we do not get bored of the recurring musical themes in Ilaiyaraaja’s films. Ilaiyaraaja’s romantic songs always have a melody, which could evoke both exhilaration of moments of hope and the doom of the moments of despair. One could use it for either mood, and it would aptly fit. The melody of the song Ennai Thalaatta Varuvaala is as romantic as it can get when used for romantic scenes, and is as painful as it can sound, when used to underscore the pain of separation.

Ilaiyaraaja always creates a unique pattern or palette of sound for the film with his background music. There are so many sounds that are unique in the background score of Kaadhalukku Mariyaadhai. The most notable one being Ilaiyaraaja's prominent usage of synthesizers for the first time in his career. The mix of Ilaiyaraaja’s melody and Synth sounded so fresh and unique. In fact the main love theme of the film has a signature Synth layer on loop. Though Ilaiyaraaja has used a lot of Synth stuff for the first time in this film, he does not allow the vastness in the variety of sound that Synth provides, to overtake the soul of the melody. Ilaiyaraaja has tried to bring out emotions even in these Synth sounds. The sound of flute and violin used all through the film is not the typical ones that we hear in other films scored by Ilaiyaraaja. The use of Bhavatharini and Arun Mozhi’s vocals is also very different; they sound like echoes of emotions from the deep inside the mind and soul of the characters.

The most fascinating of all aspects of Kaadhalukku Mariyaadhai background score is the precision with which Ilaiyaraaja punctuates the visuals with his music, and the mind-boggling details in each layer of the orchestration. With his precision and detailing, Ilaiyaraaja captures even the slightest of details in the visual narrative of the film. This precision is the biggest differentiating factor and the reason why Ilaiyaraaja’s Kaadhalukku Mariyaadhai is more emotionally engaging than Ouseppachan’s Aniyathi Pravu.

To understand the monstrosity of Ilaiyaraaja’s score, one has to move beyond from the generic overall perceptions to the specifics of music and its meanings in each and every scene of the film.

Jeeva meets Mini in a book store for the first time. Their first meeting happens like how it happened and at times still happening in most of Indian films. They stare at each other for a while. There have been innumerable Indian films in which a love story begins like this. But, not many times before, the emotions that the two go through for those few seconds were expressed as beautifully as Ilaiyaraaja's background score does it in this film. The unusual state of ecstasy that the characters attain is underscored by free flowing notes on Synth piano, and the accompanying vocal of Bhavatharini aptly sounds the innocence and serenity of the moment in which a seed of love is sown. In a flash, they return to reality and realize that they are in a book store. Their eyes disengage. Mini walks out of the accident spot and starts to move around the book store. She looks again at Jeeva from a distance to check if Jeeva is still looking at her. The flute that follows plays to the pleasant confusion they get about their own feelings and the heart ticking rhythm stirs a curiosity about what is going to happen.

When again both Jeeva and Mini accidentally pick the same copy of a book titled ‘Love and Love Only’ from the shelf of the book store, Bhavatharini hums the melody of the song Vizhiyil Vizhi Modhi Idhaya Kadhavondru Thirandhadhey – the lines of Pazhanibharathi that exquisitely describes in Tamil everything that happened a while ago. And the song begins. Using the melody of a song in the background score of the scenes that precede the actual song is one of the often used techniques in Indian films, but here it plays at the right moment, for right duration on the right instrument and above all, with a reason.

Ilaiyaraaja uses the melody of Vizhiyil Vizhi Modhi song again in the scene in a restaurant where Jeeva gets to meet Mini for the second time. The trick is to allow one thematic idea to recur until Jeeva and Mini move beyond such moments of accidental meetings, and take their relationship to next logical step. In this scene, when Mini is surprised to see Jeeva in the same table in the restaurant, Ilaiyaraaja uses a small sound bite to break from silence in the soundtrack. Ilaiyaraaja does not use the theme music immediately. He could have easily played the humming of Bhavatharini again here, but there is no sufficient time, the focus soon shifts to the other characters in the scene. Ilaiyaraaja uses Bhavatharini’s humming exactly when Mini leaves the restaurant and turns back to see if Jeeva is still looking at her, and that is when the whole restaurant episode gets its meaning through the music.

Mini meets Jeeva. She requests Jeeva to put an end to his actions against her brother. Does Ilaiyaraaja play the main love theme of the film in its entirety at least in this moment, when Mini is talking to Jeeva for the first time? No. Not yet. It is all in Mini’s hands or rather heart. The relationship has not reached the stage where Ilaiyaraaja could reveal the main love theme of the film, but also it has reached a stage where he cannot use Vizhiyil Vizhi Modhi melody anymore. Ilaiyaraaja has to play something that fits this transient stage. The melody of the song Ennai Thalaatta Varuvaala was always going to be the main love theme of the film. Ilaiyaraaja begins to play on Guitar, a melody that sounds like a derivative of the melody of Ennai Thalaatta Varuvaala song, when Jeeva after discussing the issues with Mini’s brother shifts the conversation to about him, about Mini and them. When Jeeva, in an attempt to explain the extent of his love, says, "Naan unnai aayiram murayaavadhu pathiruppaen", the music precisely shifts to the film's signature Synth pattern. That was exactly the music played, earlier when Mini looks at the book "Love and Love only" in the book shelf her bedroom. Mild strings in the background gradually shifts the mood of the moment, as the music shifts the focus on to Mini, who is getting worried about Jeeva’s love for her.

Now, this whole conversation is not happening in a coffee shop or a public road. It is happening in a picturesque place. The characters are standing in the middle of a view point, where the tourists would prefer to stand and take pictures with the greeneries around. Ilaiyaraaja plays a breezy melody on the flute and strings to add to pleasing ambience in which these romantic conversations between Mini and Jeeva are set and shot. The ambient piece of music leads the way back to Bhavatharini’s voice that hums a brief melody of wonderment Mini experiences, precisely when Jeeva explains Mini why he cannot forget her – "Pona jenmam", "vittai kurai thotta kurai" and all that.

We know for sure that Jeeva is madly in love with Mini, but Mini has never been open about what she feels for Jeeva. The scene, in which we get a solid proof of Mini’s love for Jeeva, is the scene in which Ilaiyaraaja most appropriately plays the Synth pattern of the main love theme of the film for the first time on Mini. The music begins precisely when Mini turns to look at a book in the book shelf in her room, and the camera zooms in to show us the book she looks at. The book is "Love and Love only".

Mini meets Jeeva again. After Mini completes saying what she came to say, Mini asks Jeeva if she can leave - "Povattuma". Ilaiyaraaja plays a piece in which every note plucked on guitar or blown on flute hesitates to proceed further. It is played to sound Mini’s hesitation to leave. Jeeva says yes. Mini starts to walk away from the place. Mild strings and cello echo Mini’s disappointment in leaving without having a conversation. Jeeva and Mini walk together. Jeeva begins to talk. Ilaiyaraaja plays a piece of music that triggers a contemplation just like how Jeeva’s words trigger in Mini’s mind and just like how each line of Jeeva applies a brake to Mini’s walk, a two-note Synth bass piece plays as a brake to the contemplative melody that was playing when Jeeva spoke. The action happens in a loop in the visuals and so it does in the background music too.

The main love theme i.e., the melody of Ennai Thaalatta Varuvaala is used as a piece in the background score for the first time in the film in this conversation. The theme plays on flute precisely when Jeeva says, “Nee sumaiaya irrukkae” (You are a burden). The string section with a dominant cello section takes over precisely to play for the pain of Jeeva, when he says “Vedhanai”. When Jeeva asks uncomfortable questions to Mini about what she feels for him, in the background, a flute plays a melody that is as confused about the melody that it is playing as Mini is in that situation. When Jeeva agrees to give time to Mini to make her decision, the relieved expression in Mini’s face is enhanced by a harp glissando and by a soothing string section playing an operatic coda to the conversation.

Just a few seconds before, the love theme (Ennai Thaalaatta Varuvaala melody) was used for the pain of Jeeva. It is now played as a piece of ecstasy and romance, when Jeeva says ‘Un manasula enna irukkunnu enakku theriyum’ (I know what is in your mind). In the ecstatic version, of the theme, rhythm pattern that accompanies the melody is one that sounds like the amplified version of the real sound of the beat of the heart; whereas, in the other version that plays for Jeeva’s pain, the sound of the beat pattern is subdued and an additional Synth layer is to the itching presence of Mini in Jeeva’s mind.

The next day Jeeva is waiting for Mini’s arrival and reply. Mini decides to express her love to Jeeva the next day but her family’s trust in her puts her in dilemma again. This dilemma and Mini’s decision to avoid meeting Jeeva are why Jeeva is going through those painful waiting moments. Thus, for Mini’s dilemma, Arun Mozhi hums the main love theme with a tinge of sadness and the same follows for the Jeeva waiting scene too. It is Ilaiyaraaja’s way of establishing a link between a sequence and its consequence.

Jeeva is trying hard to forget Mini. Meanwhile, Mini is slowly gaining confidence to accept Jeeva’s love. The voiceless visual montage showing the transformations of the characters is accompanied by a differently orchestrated version of the main love theme. The montage comes to an end with Mini coming to Jeeva’s room. The shot of Mini standing at the door steps of Jeeva’s room, shown to us as seen from the eyes of Jeeva, blends so well with the Bhavatharini’s vocals in the background. The most fascinating aspect of the score in this moment is that the love theme – Ennai Thaalaatta Varuvaala melody – is heard on Bhavatharini’s voice for the first time. It is the musical equivalent of saying that Mini’s accepting Jeeva’s love for the first time, and it is also the first time she is going to admit it. The mild strings in the background that sounds the emotion of Jeeva on seeing Mini again brings in a sense of anticipation about what is going to happen.

Jeeva and Mini are now alone in Jeeva’s room. Both Jeeva and Mini stay at a distance and are shy even to look at each other’s eyes. Flute plays titillating stream of notes in staccatos in sync with the rhythm of Mini’s batting eye lids. Bells twinkle and a new Synth organ theme begin when Jeeva walks towards Mini. The main love theme takes over and creates a romantic aura when they begin their conversation. Both Jeeva and Mini are in loss of words to express their emotions and so is Ilaiyaraaja, who pauses when the overwhelming excitement of the moment seals their conversation. The Synth Organ theme resumes precisely when both Jeeva and Mini look at each other and begin to talk. This scene is an excellent example of precision and the impact of Ilaiyaraaja’s musical pause.

Jeeva is escorting Mini in his bike to a nearby bus stop. When Jeeva applies a sudden brake to stop the vehicle, Mini’s chain gets locked to Jeeva’s shirt collar button. A beautiful Synth Piano piece plays to the butterflies and the batting eye lids when together Mini and Jeeva try to remove the chain. There is a sense of urgency, because Mini has to catch the bus. The music, here, is not for that state of urgency. It is for the physical intimacy that the process of removing the chain naturally brings them to. Let us call this Chain theme. It is a crucial link to the main narrative twist that happens at the end of the film. The same theme is again played in the scene in which Jeeva playfully chases Mini to touch her. One of Mini’s brothers witnesses this chase and misunderstands the whole situation. The same Synth Piano theme is played at all the crucial moments of turn in the narrative. Chain Theme links the most insignificant incident in the film with the extremely significant part it plays in bringing the story to its logical end.

The next day, Jeeva meets Mini again. The background music to the conversation that follows is again a page from Ilaiyaraaja’s “How to write background score for a film” manual. The seamless transformations in less than a minute-long piece of music that unobtrusively traces the emotions in Jeeva and Mini’s conversation is to be heard to be believed. The piece begins with a whole new Piano theme, sprinkling the aura with enough romanticism. In the conversation, when Jeeva says, “Love and Love Only”, the theme that was constantly looping in the background thus far on one octave is pushed to an upper octave, sweetening the mood in the music further. Bhavatharini comes back with her ‘ahs’ to sprinkle a heavenly sense of wonderment precisely when Jeeva says “Pona Jenmaththu thodarbhu” and the accompanying harp glissandos add further to that mood. When Mini worries about her family’s acceptance, Ilaiyaraaja shifts to gloomy strings and suddenly when she becomes optimistic sitar is brought to play a melody of relief. The conversation ends with Bhavatharini’s ‘ahs’ and harp, when Mini gets awed by the amount of love and affection Jeeva has for her. And then they see a butterfly.

Ilaiyaraaja has always given his best when he gets an opportunity to compose for the flight of a butterfly or in general for the feeling of flight. While in conversation, Mini sees a butterfly in the garden nearby, and she asks Jeeva to catch it. A sparkling melody on Celesta and the strings create a heavenly stir in sync with the rhythm of the flap of the wings of Butterfly. The strings slowly intensify to create a slight curiosity when Jeeva moves close to the butterfly. When the butterfly escapes, the whole orchestra, breaks out to play melodic phrases of enchantment together with celesta and strings playing to the sense of exhilaration in the flight of the butterfly.

The butterfly episode is the last moment when we see Jeeva and Mini is romantic mood. Mini’s brothers soon come to know about Mini’s love for Jeeva and the narrative takes a serious drift in its tone. Mini and Jeeva decide to run away from the family. Ilaiyaraaja plays quite conventionally in all the chasing scenes, and scenes that show the reaction of Mini’s and Jeeva’s families. There is not much space for romance and so no significant moments for Ilaiyaraaja to unleash his genius. When, for the first time, Mini without a trace of smile on her face and with her eyes full of tears says, ‘I love you’ to Jeeva, Ilaiyaraaja plays the main love theme on a serene flute injecting the much necessary sensitivity and soul to the sentimental visual telling.

Jeeva says to Mini that there is only one he knows who can help them in this situation. Mini asks who it is. When Jeeva says, ‘my mother’, Ilaiyaraaja plays a gentle Sitar melody filling warmth in the aura. It suddenly brings a sense of relief both to Mini and to the audience.

Jeeva and Mini decide to get married. The whole village is preparing for Jeeva and Mini’s marriage. The whole episode is filled with music, just background music. The percussions and Shehnai bring in the necessary festive mood. The music shifts to orchestral strings and flute that plays on a thin line between gay and gloom, when Jeeva and Mini are alone and in contemplation. The music seamlessly shifts to a comic interlude for Manivannan’s action and all of it ends on a happy note with a flourishing flute piece. Meanwhile, Jeeva and Mini decide to part ways and go back to their respective families.

The background score in the scene in which Mini and Jeeva part ways is one massive stroke of a genius. We have heard the main love theme – the melody of Ennai Thaalaatta Varuvaala in varied orchestral forms throughout the film, but the one that is contextually orchestrated for this scene is something that only a genius like Ilaiyaraaja can do. The melody of the theme is left incomplete deliberately - only the phrases of melody on the words Ennai thalaata are heard. We want the cue to end comfortably with the melody of the Varuvaala part, but Ilaiyaraaja does not allow it. It is exactly how we feel about the pair that is parting ways in the visuals. We want them to be together, but they do not. They are parting ways, and their life seems to be just as incomplete as the melody in the theme that plays in the background.

Jeeva finds that the Mini’s chain that once got stuck in his shirt collar button is still with him. Jeeva and his family go to Mini’s house to return the chain. The background score of the scene that follows could easily be one of the all-time best scores in Tamil cinema. The chain theme plays on Synth Piano again to rebind the broken links. It also fits perfectly for Mini’s excitement when she comes running out of the kitchen knowing well who the guests are. The awkwardness evident in the eyes of Jeeva and Mini’s brothers when they look at each other is underlined with bites of strange electronic pad beats. The same beat bite recurs when the kids in the house ask Jeeva if he is Mini’s fiance. The music that plays when Mini’s mother meets Jeeva relaxes the overall tension in the moment and sprinkles a cordial and calm aura between the characters in the scene. Silence again when Mini comes out of the kitchen with a tray of Juice glasses to treat the guests.

Srividhya is speechless. She is stunned by Mini’s beauty. A violin begins a melody with a classical tinge when Jeeva walks towards Srividhya and it continues to play when Mini serves juice to all guests. The violin piece along with its gentle rhythm enhances the overall sweetness in the ambience further. While we savour the violin piece, Mini has served juice to all the guests except for one – Jeeva. She hesitates for a while, before walking towards Jeeva. Ilaiyaraaja’s strings play a disturbed version of Ennai Thaalaatta Varuvaala melody and stir up curiosity when all eyes are on Mini and Jeeva, when Mini walks toward Jeeva. Ilaiyaraaja shifts suddenly to the melody of the lines Thathalikkum Manamae from the Ennai Thalaatta Varuvaala song. All this while, Ilaiyaraaja has been playing the melody of the line Ennai Thalaatta Varuvaala as the main love theme of the film, but in here, he chooses the melody of the words Thathalikkum Manamae over the main line. The words that the melody brings back to our memory and even the melody perfectly echo what Mini and Jeeva are going through within, in that moment.

When Jeeva’s family prepares to leave, sober strings and hesitant beats sound the strange sense of incompleteness in the minds of all the characters emotionally involved in the moment. Mini’s mother asks Srividhya to bless Mini, who is going to get married soon. Srividhya is hesitant to go near Mini. When Srividhya walks up to Mini to bless her, a traditional aura is spread with flute, sitar and Tabla. When Srividhya opens up and asks to send Mini with her, banging strokes for the reaction shots of all the characters, fittingly emphasize the sense of shock and surprise in everyone’s face. When Mini’s mother agrees to Srividhya’s plea, the moment of exhilaration is elevated by another classical piece with a violin and flute running together on ecstatic stream of notes. The theme pours like a blissful rain from a musical heaven. The strings and the flute piece play when Jeeva looks at Srividhya as if asking, "Why you did this to me", and soon all of it seamlessly come back to exhilarating violin piece. I do not know if any composer in any part of the world would have conveyed the relief of the characters and in turn the audience at this moment, better than how Ilaiyaraaja did.

Ilaiyaraaja and Ilaiyaraaja Only.

Talks on Scores

As part of a Presentation Workshop in my place of work, I had a chance to present on a topic of my choice. I gave a small extempore talk on ‘Film Background Scores’. To my surprise, no one had any clue whatsoever about film background scores. Most of them didn’t know that A.R.Rahman won an Oscar for background score. I asked, “What instantly comes to your mind when I say background score?” and I got two replies – ‘James Bond’ and ‘Sarkar’.

Two weeks ago, I was watching ‘Kaadhalukku Mariyaadhai’ in KTV. A friend of mine came to my room and sat with me to watch the film. The film was about to end. My friend joined when Jeeva’s (Vijay) family comes to Mini’s (Shalini) house to give Mini’s chain back. In this scene, when Mini comes running out of the kitchen, Ilaiyaraaja plays a joyous Piano piece. It is in here, my friend sitting next to me, remarked ‘Paathae illai, Thalai, yennama music pottirukkaru’ (can be roughly translated as “See, how well the master has put music”) and he continued to hum the background music all along and couldn’t stop praising Ilaiyaraaja’s background score till the end of the film.

I have never seen him speak about music or film background score before. He is someone, in whose Laptop, you will find music playlists named as ‘Ajith Hits’, ‘Vijay Hits’, ‘Danush Hits’ and not A.R.Rahman Hits or Ilaiyaraaja hits. And he doesn’t know that I blog about background scores. Then I asked him about how he was able to hum the background music of the film. He said that he watched ‘Kaadhalukku Mairyaadhai’ 13 times when it got released.

Listening to Kaadhalukku Mariyaadhai

The quest for Film of Background Score - 70 is still ON

YMP Upgrade

For the sort of write-ups that this blog is filled with, an inline Yahoo Media player is a boon. It helps the readers to listen to the audio and read the description without scrolling the pages. Impressed with its reader friendliness, I decided to upgrade all my score analysis write-ups with Yahoo Media player. Here are some which I have upgraded, others will follow soon

Lagaan
Guru
Making of a Score - Marudhanayagam
Pithamagan
Iruvar
Kaadhalukku Mariyaathai
Kadhal Konden

Listening Kaadhalukku Mariyaathai

My admiration for Ilaiyaraaja’s background score in Kaadhalukku Mariyaadhai grew when I got a chance to watch the original Malayalam version of the film (“Aniyathi Pravu” Music Composer - Ouseppachan). We often talk about films getting elevated by Ilaiyaraaja’s background score. His score in Kaadhalukku Mariyaadhai is one of the best proofs of that. It also reassures the fact that the directors do not have much of a say in the quality of background score that Ilaiyaraaja writes for the film. It is the quality of the content that dictates the quality of Ilaiyaraaja’s background score. This film is another example for how better Ilaiyaraaja understands the medium of cinema than anybody else, and sometimes his is better than even the director of the film.

Ilaiyaraaja has used almost all of the background music scoring techniques that we most admire of his, in this film. The melodies of the songs become motifs of the film's background score. A unique aural identity is given to the film, with the musical score having a coherent tonal pattern throughout the film. The omnipresent music precisely follows the shifts and cuts in the moods and actions on the visuals. The music is entwined with the film so much so that one can never say whether the background music or the film in itself have in it, all that it takes to move a viewer, as emotionally as it does.

Melody of Songs as Motif – Kaadhalukku Mariyaadhai is one of those few films where the melody of a song has all that is necessary to be the main motif or love theme of the score of the film. It needs as much experience and expertise as Ilaiyaraaja to use these melodies, repeatedly, at the right moments in the film, but without any of it sounding monotonous. After having composed a beautiful melody like Ennai thalaatta Varuvaala, any composer would be tempted to use it to the maximum throughout the film. There is a difference, when Ilaiyaraaja does it. Ilaiyaraaja clearly knows that job of a score composer is not just playing lovely music in the background. Background music scoring is putting apt music. Ilaiyaraaja achieves aptness in score effortlessly with his orchestration skills. He orchestrates the same melody in varied ways to fit with the slightest of changes in the subject on which the main motif travels on throughout the film. The subject could be an emotion, a gesture, a character, a place or a recurring situation in the film. The variety in orchestration is one reason why we do not get bored of the recurring musical themes in Ilaiyaraaja’s films. Ilaiyaraaja’s romantic songs always have a melody, which could evoke both exhilaration of moments of hope and the doom of the moments of despair. One could use it for either mood, and it would aptly fit. The melody of the song Ennai Thalaatta Varuvaala is as romantic as it can get when used for romantic scenes, and is as painful as it can sound, when used to underscore the pain of separation.

Ilaiyaraaja always creates a unique pattern or palette of sound for the film with his background music. There are so many sounds that are unique in the background score of Kaadhalukku Mariyaadhai. The most notable one being Ilaiyaraaja's prominent usage of synthesizers for the first time in his career. The mix of Ilaiyaraaja’s melody and Synth sounded so fresh and unique. In fact the main love theme of the film has a signature Synth layer on loop. Though Ilaiyaraaja has used a lot of Synth stuff for the first time in this film, he does not allow the vastness in the variety of sound that Synth provides, to overtake the soul of the melody. Ilaiyaraaja has tried to bring out emotions even in these Synth sounds. The sound of flute and violin used all through the film is not the typical ones that we hear in other films scored by Ilaiyaraaja. The use of Bhavatharini and Arun Mozhi’s vocals is also very different; they sound like echoes of emotions from the deep inside the mind and soul of the characters.

The most fascinating of all aspects of Kaadhalukku Mariyaadhai background score is the precision with which Ilaiyaraaja punctuates the visuals with his music, and the mind-boggling details in each layer of the orchestration. With his precision and detailing, Ilaiyaraaja captures even the slightest of details in the visual narrative of the film. This precision is the biggest differentiating factor and the reason why Ilaiyaraaja’s Kaadhalukku Mariyaadhai is more emotionally engaging than Ouseppachan’s Aniyathi Pravu.

To understand the monstrosity of Ilaiyaraaja’s score, one has to move beyond from the generic overall perceptions to the specifics of music and its meanings in each and every scene of the film.

The full version of this article can be read in the book "Moods of Ilaiyaraaja".


P.S:- I understand that this was quite tough. Anyway here is the answer

Match the Following - 2

Video has 7 clips of scenes from the movie ‘Kaadhalukku Mariyaathai’ in which the 7 background score pieces given below are used. Match the video and audio clips.



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