நினைவெல்லாம் நித்யா - ரோஜாவை தாலாட்டும் தென்றல் 0

A song set in panthuvaraaLi ragam and waltz beat. IR has this penchant for composing solo violin pieces in panthuvaraLi as exemplified by one of the interludes of this song and also the theme of rajapaarvai.

One of the most intolerable movies, Ninaivellam nithya, it was supported unduly by some of IR's greatest tunes. The high point of this movie is that it has three numbers which were all set in particular ragas but with a superb beatsy orchestration giving a lay listener hardly any room to even doubt that they would be based on some carnatic stuff.

The heroine of this movie was a one time blunder by the name gigi. Another song of this movie which has been overlooked heavily is "thOLin mEle baaram ille", a superb peppy number from IR (may become sotd some day).

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Background Music from Johnny. 0

1.The title piece. Not your typical title song where the theme of the film is explored. Starts of with an aadhivaasi song (thOdars?). The final piano+guitar bit is excellent.
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2.Johnny meets his father. I don't remember this scene. A single flute with the background of birds chirping sets the somber mood.
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Introduction of the second rajinikanth (Vidhyasagar). Sounds like the beginning part of "aattukkutty muttai ittu".
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3.Introduction of Deepa (Bama). A playful piece that carries on the theme started with Vidhyasagar's intro.
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4.A very melodious sitar piece that comes when Johnny visits Archana (Sridevi) at her home for the first time. Sridevi plays the sitar.
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5.Johnny asks for a rupee from Archana, saying that it will be a talisman for him, and that he will keep it for life. IMO, this is the best BGM in the movie. If only IR could collect and release his theme tracks from such movies!
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6.A small bit that shows Rajinikanth and Surulirajan (with his annoying voice) cheating some hapless guy. Fast tabla percussion in this livens up the clip.
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7.Another short piece where Vidhyasagar catches Bama in his garden. At the end, Rajinikanth shouts like Karthik :-)
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8.Johnny agrees to marry Archana. Continuation of the theme that we saw earlier.
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9.Johnny meets his lookalike, Vidhyasagar. Starts off with explosive violins, and a violin maintains the tune till the end.
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10.Vidhyasagar shoots Bama for cheating on him.
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11.Police chases Johnny. This piece runs a little less than 4 and a half minutes. Is that a human chorus in the middle or is it a electronically generated one?
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12.Johnny at Archana's home, before he leaves. The main theme music continues, in a meloncholic and pondering manner. IR has used the flute so effectively in this clip to convey the mood of the scene, showing the uncertainity in their future.
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13.The climax of the film, after Sridevi has sung "kaatril endhan geetham". The main theme is explored more here, with hope and upbeatness in it.
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Song of the Day:தை பொங்கல்- பனி விழும் பூ நிலவே 0

Song: pani vizhum poo nilave
Film: Thaippongal
Singers: Malaysia Vasudevan, S.P.Shailaja
MD: Ilayaraja
Lyrics: M.G.Vallaban?

One telling aspect of MSV that sets him apart from others is the route he takes to negotiate the sandham back to the pallavi. Very rarely can you detect a preconceived feel in his music. It's that spontaneity that invites us back to his works endlessly. By preconceived, I mean the singing, the lyrics, or instrumentation that is forcefully shoe-horned so that the road back to the pallavi is achieved without complication. Lesser composers telegraph the sandham winding down way ahead and the energy leaks right out of the tune. ARR comes a distant second to MSV in this ability. Of course, IR had many such efforts in his pre-bald phase.

The SOTD begins with the flute capturing a lazy morning whistle and the violin stretching the stroll. Then comes a feverish MV with a first line that could start a short story. MV has thrown off many songs where he belts out lines that should be whispered tongue-in-cheek, but here he is all poise and weathered like a gentle giant. The long pallavi continues our guessing game and almost stops abruptly with a short, monosyllabic word, thEn. And what we get is another surprise: SPS. Not the top liner in anyone's list but here she is all nimble charm and youthful spirit to MV's thick stoicism. The tune continues with the whimsical tempo as the yin and yang of bass and treble are so brilliantly balanced by a dirge-like bass (one of IR's best bass efforts), tablas, and whet-with-emotion male voice greeted by a crisply light female voice, dulcimer-thin strings, airy flute, and a rolling flow. The song and the soundtrack remain permanently in my Ilayaraja collectibles.
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