SOUTH INDIAN CINE MUSIC DIRECTORS – TAMIL - [OLD VERSIONS] -- V

 MUSIC DIRECTOR’S ROLE   IV

SONG RECORDING

As I have been reiterating, the information furnished here pertains to the activity during 1960s -80s and several changes have come about in subsequent period. Song recording is the sequel to song composing. Song composing may refer to the ‘composing’ of lyric as well as that of ‘tune-setting’ and musical formulation for–pre, inter and post-ludes in a song. Invariably the then MDs would finalize the tune when the lyric was framed by the lyricist. Later, they would assemble the musical scores. But, all such components would have been finalized or nearly so for rehearsals. As I had earlier suggested, singer[s] and members of orchestra used to have independent rehearsals first and later in unison. Several rounds of rehearsals were common then, because any error in the recording phase would rob both time and effort, since corrections were not possible; besides everything would have to be again recorded from the beginning. So, the labour on rehearsals was worth its weight in gold because for anyone,time is precious and none could afford to spend time for the same work all over again.

Song recording activity is far more complex relative to that of scoring BGM. A number of assistants may have to co-ordinate different sections of the work like training the singers, providing notes to each member on the orchestra for his/her part and the precise places when [s]he has to perform; there are also ‘conductors’ who may or may not wield a baton. In South India, most MDs have their assistants for such work. At the time of a song recording some MDs concentrate on the singer[s] and other components are taken care of by assistants. All important members of the MD’s team wear headphones to critically follow the song progression as [in the form] it goes to the recording bay. Sometimes ‘sound engineers’ call for some corrections in tone or in alignment of track for different instruments.  The issue has become really complex with the advent of ‘multi-track’ sound separation and stereophonic recording. The work has become more of technology and less of aesthetics,

It is opportune to recall the earlier forms of song recording to grasp the extent of ‘advancement’ in this domain. The earliest recording studios were heavily thatched enclaves with microphone suspended in the singer[s] arena; I am sure, the present day singer would run away from work, if asked to record his voice in such thatched hut. Acoustic balancing in those huts was largely achieved by mounting a number of earthen pots along walls and corners; pots of different sizes were in place to ‘quench ‘ruffle’ or echo in that ‘room’. Later, song recording studios came into being –as a part of some studios. Even today we can notice names of song recording houses and also of other audio recording theatres as a part of the movie title. This is so largely because video recording and voice recording [for dialogue / songs] have become segregated for convenience of ‘post-production refinements’ requiring high-tech equipment. Such facilities also require being updated from time to time so as to keep abreast of modernity; it is an endless race of investment, improvement and enhancement of returns by way of charges levied.

Even in 1960s and till about late seventies just one microphone was in place for singers [of even duets] and several women singers used keep themselves as much distal from the singing  male counterparts and managed to peep into the microphone to render to their portion in the duet number. Some singers [male] used to move back a little to help the lady stay near  he microphone and render her portion; only to reverse their positions when the male artiste was to record his stretch. Yet they have delivered magnificent pieces at quite some personal discomfort.  Another interesting happening relates to ‘presenting a echo-like’ repeat of voice, when echo gadgets were not known in 1965-66.

For a specific song, it was desired to give echo effect, though such a facility was not available in recording houses then. A simple strategy was used; the singer was advised to sing out a phrase in a certain volume from near the microphone. Again he was to repeat the same phrase in the same volume about 2-3 feet away from the microphone at a previously marked position; for the third time the singer had to move another foot and a half farther to a marked destination to repeat the exercise. After 3 such efforts, the song was continued; when the job was completed , a new product befitting the screen requirements for an early echo effect in the song was made just by some judicious execution of ‘recording skill’ ending up in an acceptable format. [The song was done by Shri. TM S ‘pudhiya vaanam’ for movie ANBE VAA released in 1966]. Several such ‘make shift’ arrangements have served admirably well to fulfill requirements. Fearsome sounds have been generated using ‘wood-cutting saw’ to create bizarre effects like devil coming into a scene [UTHTHARAVINDRI ULLE VAA, ‘thenAtrin karaidhanile’]. In another instance, pathos of mood was generated by using the saw much like a violin to play very shrill notes of melancholic gloom [PADAGOTTI ‘paattukku paateduththu’].  

A variety of domestic items have been profitably employed. [Sound of Horse hooves in ‘Raajaavin paarvai’ ANBE VAA was generated by stroking Bamboo segments tapped on floor] Nearly the same effect was brought about in ‘kadsavul oru naal ulagaikkaana’ SHANTHI NILAYAM and also in ‘kaadhal raajjiyam enadhu’ MANNAVAN VANDHAANADI, by tapping empty half shells of coconut. Likewise, the moving steam engine sound was simulated by rubbing pieces of sand paper near microphone – ‘theril vandha raja raajan en pakkam’ RAAMAN ETHTHANAI RAAMANAADI. After exploring  several different possibilities , Whip cracking sound was effectively simulated; by piling up 6-7 Amorces [தீபாவளி கேப்/ DEEPAVALI CAPE] and smashing each bunch by a hammer,the “whip-cracking effect” was achieved and the song was recorded in ‘pattaththu raani’ SIVANDHA MANN.

Space constraints my citing more instances. Members on the then orchestra were keen to deliver the best possible effect. Those were days of human effort. Innumerable instances of mimicry have been availed of in Tamil songs in the times of our reference.  Now–a-days pre-recorded voice data may be availed of, given the dependence on computers.

To continue

Prof. K. Raman

SOUTH INDIAN CINE MUSIC DIRECTORS – TAMIL - [OLD VERSIONS] -- IV

 MUSIC DIRECTOR’S ROLE   III

SONGS IN A MOVIE     

Without batting an eyelid, anyone would say that the songs are straightaway credited to the MD. But, strictly speaking each song owes itself to the movie-maker –the producer, for, had it not been for the producer no song would ever have emerged in the first place.  It is the producer who formulates the team of lyricist[s], MD and arranges for the recording of those items in a specific recording house. So, the producer arranges for the genesis of the song. In plain terms all others are ‘employed’ for that purpose.

Working patterns of different MDs may differ in details; but the overall plan of work is generally the same. The difference largely pertains to who participates, when or where. In the good old days, Producer[s], Lyricist, MD and a couple of assistants and the Director of the movie used to congregate in the Company office of the production house. The story / song situation, participating story characters their link in the plot are thoroughly briefed for song making.  With these inputs on hand, the Lyricist makes a few opening lines [‘PALL AVI’] for the song. The fitness of the ‘pallavi ‘ for the story line and to the emotional verve of the tune composed right there was assessed by general consensus. Some agile MDs used to throw up several tunes for the same lyric frames and seek to have the ‘most appealing one’ from among the members in the then gathering. It is extremely difficult to say if a tune is appealing or not –especially in the first hearing. We know from personal experience that only by repeated hearing that ‘popular opinion’ gets shaped even for the final form of a song. If so, how hard would it be for anyone to guess if a particular tune would succeed or not. Yet, several tunes accepted from popular opinion among the small gathering have proved themselves to be ‘hit‘ numbers. 

Without reference to names, we have ourselves heard that different scales of intervention were known in the movies of 1960s – 80s or so. ‘Intervention’ is meant to suggest frequent crossing of ideas relating to how better a tune or orchestration may be modified. Some producers would partake in those deliberations [for instance SS Vasan’s representative Kothamangalam Subbu, Mr. Kumaran of AVM, Gopu of Chitraalaya and of course the well known MGR and Director Sridhar]. All these persons would insist on changes in tune, pace or peppy beats etc; I shall narrate specific instances to substantiate the suggestion if the right opportunity comes along. All stanzas of a song receive the same intense attention of everyone until it is completed in that sitting itself. When the basic structure and tune are finalized, the MD would adopt strategies of embellishing the song by orchestral decorations in prelude, interludes and postlude as cosmetic elements of strengthening the decoration of a song.

The cruel part of the truth is, the rendering of lyric, voice embellishing by ‘aalaap’ or backdrop chorus, orchestral variations in ‘notes’ / octaves everything should be accommodated to a strict schedule of 3minutes 40 seconds – the normal span of time over which the old gramophone record would complete all the revolutions to traverse the sound track. Packing the whole song with all its ‘decorations’ into a rigid time-frame is no mean feat for any MD by any standard. Unless a person is well versed in all spheres of ‘composition’ of a song [s]he cannot succeed as a Music Director. Exceptional alacrity in perceiving harmony by blending different tones of musical instruments is a hallmark of all grand Music Directors. Tamil cinema has had the fortune of ‘fielding’ some brilliant brains in the game of music composition and assemblage of high quality instrumental play. Quite a number of instrumentalists have lent their skill in embellishing each song. Actually, the dexterous play of subtle tones and notes have been products of human wizardry in handling those instruments till about 1980 or so. The best of those men and women were always the most sought after by all contemporary MDs then.  They were held in high esteem as experts by MDs of that period. Slowly, technology entered the arena of cine music through ‘imitative gadgets’ like key board, drum pad and a few other devices which took a toll of artistes who were making a living from playing some instruments. To date the best of such artistes have not been shown the door simply because every fine note suggested by an MD CAN BE READILY AND SWIFTLKY PLAYED BY experienced players; to do the same and with fractional variations thereof, human skill cannot be imitated leave alone being surpassed.

With more and more of gadget-generated tones, the thrill of listening to the live play from any instrument is the major casualty and we hear sounds and no emotions from them. Also, in later times songs are being filled in ‘bits and pieces’ to accommodate for varied commitments of artistes including those of singers; this has simply robbed the song of its life because sustaining an emotion with absolute fidelity can never be an ‘installment’ business. Besides, there is no chance for mental co-ordination between singers, as each of them records his/her portion in isolation. However, such pale shadows of sound ‘pass’ for a song because, the present day song is just a time-filler and space-filler in a movie with no specific value worth the name.   

From an era of intense participation of all stake holders for a song, we have come to a phase where things happen to convenience and songs rarely survive for weeks. The lone contribution of the present day cine song is its potential for generating livelihood for dance artistes; each song needs 50+ dancers wearing colourful costumes just remind us of our viewing a colour movie. There is an illogical assembly of numerous men and women even if the song is between a hero and the heroine under the grip of romantic mood. How dozens of them suffer the same hormonal surge is a mystery not decipherable by the best of biologists. Such illogical approaches if allowed for long, may soon enough strangulate cine music to its eternal end. So, mend or end is the silent message.

Prof. K. Raman

 

 

SOUTH INDIAN CINE MUSIC DIRECTORS – TAMIL - [OLD VERSIONS] -- III MUSIC DIRECTOR’S ROLE II

SOUTH INDIAN CINE MUSIC DIRECTORS – TAMIL - [OLD VERSIONS] -- III

MUSIC DIRECTOR’S ROLE   II     

RE-RECORDING

For reasons of convenience, I reserve ‘Song- composing –recording’ aspects to  a later point ; for now let us consider aspects of re-recording or BGM [ Background music ] score, which amplifies the impact value upon a viewer. Sans those musical scores, any movie would be a bland diet devoid of tickling the palate. BGM scores have to be judiciously employed; at times total silence can make a huge effect in place of crisscross play of musical notes. That is the reason why, astute MDs get themselves armed with complete details of twists and turns along the course of the movie, just to lend a musical support at places of significance.

Normally a BGM work schedule may last for 2 days each of two shifts. By late evening on day -2, the movie is generally ready for further steps. The old method of sound registration on films was by registration of optically printed lines along the side of the film. As a movie film is run through the projector in a cinema hall, these optical densities are converted to Audio values brought out by amplifiers in the theatre. I do not know the present system of audio incorporation on to the video image record.

For BGM sessions, generally the entire orchestra under the MD concerned is made available for recording. First the MD, in the company of the Director of the movie watches the footage for 10 -15 minutes. In all places where the MD requires clarification, the scene is ‘stopped’ and the Director explains the effect needed. The MD formulates an idea and asks the team [orchestra] to note down the required playing of instruments and for how long. Very smart MDs quickly fix-up the BGM scores for the 10-15 minute stretch; in the next few minutes, instruments are played in the suggested sequence and simultaneously recorded on to the ‘on-going’ film. Normally MDs select 10- 15 minute stretches   so that with fresh memory they can fix up ‘emotionally congruous’ musical scores to fortify the scene by musical back up. Mind you, the MD has to emotionally integrate self with the movie character, to be able to  ‘plan and execute’ the correct combination of instruments for a ‘tell-tale’ effect. Normally, in movies emotionally disparate situations may have been aligned in sequence, as a strategy of sustaining the  tempo of the storyline. Since the MDs watch the final version in footage, they have to cope with the presented visual for planning the musical scaffold. Sometimes just the foot step, strokes are played on string or percussion as a strategy of ‘interpretation’. 

At times a popular song from that movie may be played by one or two instruments just to indicate the present ‘fate’ of the characters involved. In certain thrillers, human voices are used as back drop chorus in different tonal values to enhance the value of uncertainty or ‘suspense’.   On such situations, members of the orchestra and the MD too may lend their voice for chorus. These decisions are arrived at, as and when the footage is critically weighed for the necessary musical ‘build up’.

There are sentiments among MDs in working for BGM. I know one MD who preferred to initiate BGM work on reel no 5 and later used to fill up 1—4. The same MD had a knack of working typical of him. Though he preferred certain instrument players, at times in order to oblige the movie release schedule, work may have to be completed with the available players. On such occasions, knowing their potential, the MD used to provide ‘notes’ with which the person could comfortably execute the plan. If the presence of a specific artiste was absolute necessity, then recording of other stretches would be done and the gap filled later with the right expert. Other problems that the then MDs had to surmount was hectic schedules of work prior to festivities like Deepaavali, Pongal or New year [Tamil/ Telugu/  Malayalam] and so on. We gleefully enjoy music without an iota of ‘concern’ for the toil of persons on the job even for a split second!

To continue

Prof. K. Raman 

SOUTH INDIAN CINE MUSIC DIRECTORS – TAMIL - [OLD VERSIONS] -- II

 SOUTH INDIAN CINE MUSIC DIRECTORS – TAMIL - [OLD VERSIONS] -- II

MUSIC DIRECTOR’S ROLE         

In my understanding to a large measure music contributes to the upbeat performance of a movie in captivating the audience and catapulting the commercial prospects therein. Too often we settle for the idea that MDs role is significant for the songs in a movie. If that is our notion, I have to painfully remind our friends that in every frame right from the title card no. 1, his /her keen musical narration begins. It is not as if some instruments are used as ‘fillers’ of time; rather the MD has a quick narrative to deliver. [S]he ‘plays’ the critical notes that suggest the movie tempo even as the title cards flow in succession.

In this domain [BGM] MDs have several demands like having to score for ROMANTIC plots, thrillers, horror movies, Hilarious subjects and plots of thick emotion, besides those of historic value or Epic value. Accordingly they assemble the key players of instruments for background score or BGM or re-recording –as the name goes. Even while scoring for title cards, alert MDs insert changes in score as and when critical cards appear; say –the name of the movie production house, studios where the picture was shot, names of writers of Script/ dialogue, Lyricist, MD and finally that of the Director. At these places, the MDs give a pep or two to the musical score like onetime pumping in bugle or Sax or Trumpet and swift change of percussion which has to come in a smooth flow  or seamless in blending. If the hero of the movie is a producer, one can notice a specific thrust in music for the card showing XXXX presents ----- movie. Next to the Director of the movie, the MD critically follows the movie frame by frame and has sustained role till the last card bids farewell to the audience.

SONGS                                                                                                                                                                        MDs always insist on understanding every turn and twist in the movie so that they can use the most appropriate ‘swara‘ combinations ideal to sustain the emotion of characters therein. It is a folly to assume that the lyrics are given to the MD to make the songs; the most astute of MDs insist on clear explanation for the purpose of the song; the olden day MDs used to have joint sessions with Lyricist, Directors and at times with the actors concerned.

Every minute detail is furnished for the MD to ‘shape’ a song, covering the mental characteristics of the ‘on screen character’. Very old lyricists like Shri Papanaasam Sivan , used to frame lyrics upon some or the other classical ‘Raga’ and the MDs had to simply  adopt the pattern for the song. Some writers like ‘Pattukkottai Kalyanasundaram’ would provide the lyric to which, the MD should provide a right tune. That means P K had not furnished lyric for pre-set tunes. Many lyricists used to work both ways; i.e., open lyric or lyric for a tune. On one occasion, Mr. Pattukkottai and MD visited the weaver community in Kanchipuram area to have a ‘first hand’ idea of how rhythmic the weaving work goes; the result was the song ‘chinna china izhai pinippinni varum’ song in PUDHAIYAL movie.

  https://www.youtube.com/watch?v=D6M_ykslPMw

Also notice the change in the tune for this song to oblige the lyrical frames and again the tune‘unites’ with the ‘Pallavi’. The idea is to indicate that in those days very close co-ordination prevailed between Lyricists and MDs . Varied percussion options are predetermined to help the movie Director to make use of ‘dance sequences’ through the song.  Good old films had lyrics of noted poets – Kamban or Bharathi or Muthuswami dikshithar or Syaama sastri ; no lyric alteration was possible and too often they were reproduced in the classical  style and on such occasions MDs had the least say except to simply record the song in a suitable voice. Later more and more social themes were used for movies and progressively, the scope for narration of ideas through songs and the musical interpretation for those lyrics also became relevant and demanding. Under such circumstances, movies began divergence into old themes and new themes and new style of music composition slowly came about.

To continue

Prof .  K. Raman

                                                                                             

SOUTH INDIAN CINE MUSIC DIRECTORS – TAMIL -[ OLD VERSIONS]

SOUTH INDIAN CINE MUSIC DIRECTORS – TAMIL   -[ OLD VERSIONS]                                                                  [On request from Prof. K. Venkataraman]

Preamble

A great deal of perception correction appears essential in the light of what I have seen of some friends discussing or portraying their version of ‘Music Direction’. There are several steps before a song takes its shape that we finally come to hear. A major component of most songs is the ‘metamorphosis’that a song proceeds through, before the MD ascertained with his colleagues “Shall we go for ‘take’?” A moment before this, the MD would already have verified the state of readiness by ‘sound engineer[s]’ who ought to satisfy themselves of the right output from every section in the orchestra. If needed, the Sound engineers may suggest some re-positioning of instruments or placing of microphones for improved reception. Honestly, the success of a song for its clarity and high fidelity tonal quality of instruments of those times was the silent contribution from sound engineering wing in audio recording. This was the situation till late 1980s after which computer-aided technology came into the domain of cine music. With advanced equipment and technology, track recording came about. Track recording meant ‘recording some skeletal voice for creating a space for the ‘final human voice’ to be incorporated in that space, by erasing the previous voice record. This gave enormous advantage to singers; earlier they had to stay in one recording theatre until a song was completed. With the advent of track recording, they moved between recording stations only to fill the slot by rendering a song in the suggested tune. Thus, they got far removed from critical facets like the co-singer[s]/ for which movie the song was and such data.

The story of the ‘manual era of song recording’ was totally different. In plain terms, it was physical participation by every member of the team in the same place, time and period. So, those songs were,  proudly [and rightly so] proclaimed as products of ‘LIVE RECORDING’. There were no ‘joints’ of pieces of music played by different teams. Every artiste played his instrument as per specification of the MD; the voice and orchestra were arranged to be in sequence and the entire song used to be recorded in the same format as we know of that song. Any error by anyone meant “repeat the whole song from the start”. There was no facility to correct the erroneous segment. Do it right or do it again and again until you do it right was the way that song recording was carried out in those times. Requirements were so rigid that MDs / producers/ singers /Orchestra members preferred thorough rehearsals before final recording. With so much of ‘repeats’ every member had a thorough grasp of his / her part and the final take was generally “perfection personified”. The then MDs and their assistants were too involved in the task that even minor slips were never allowed to pass by. Now, it should be clear as to why ‘uniform clarity’ has been typical of old songs.  With every instrument played on the spot, their tonal quality is/was fine. Key-board generated instrumental tones are just no match to live-play of any instrument. Besides, those songs were recorded by ‘live performance’ of all components. That is why those songs give a sense of rich satisfaction, as every syllable, note and synchrony look to flow smooth and frictionless; by repeat hearing we remember songs ‘by heart’.     

The process of Song making

The narration presented here is relevant and valid to what was the practice in 1950s – 80s. Later the process has witnessed changes just to accommodate for convenience. Convenience has swallowed conviction which was the original criterion in song making. By ‘conviction’ I suggest the relevance aspect for a song in a movie sequence. The long standing glory of old songs owes itself to the correct placement [relevance] and its value to the process of story-telling , better still- story propelling. Those songs carried the subtle idea of ‘portraying’ the mood of the character ‘on screen’. So, songs had to appeal by content. From appealing songs, we have come to a state of appalling songs.

Why did they appeal? Those songs were phrased to synchronize with the movie situation; they very much did so because, they were made under the supervision and consent of the Director of that movie. Directors then were held in high esteem and he /she ought to ‘clear’ every product before it finds a place in the movie. With the consent of the movie producer, the Directors used to choose the Lyricist/ Music Director in 1960s. Prior to that, a movie maker banner used to have ‘company MDs ‘ who were on their pay rolls, scoring music whenever the company made a movie. In any case, a song had its birth from a thorough discussion between the Script writer, Director, Lyricist and the Music Director. In the early days a song was written by lyricist and handed over to the producer for further decorations like tune, musical back-up and embellishment. By late 1950s all the movie-making team leaders used to sit and ‘develop’ a song. Developing a song involved three important parameters to be satisfied. 1] appropriate words befitting the stature of the ‘screen character’, 2] conveying of right emotions for the movie scene and 3] ‘comfortable‘ seating of words in the chosen tune. If a word or phrase does not fit the tune, alternative word or phrase would be provided by the lyricist. So, the lyricist used tostay on until the entire song is framed to a defined tune structure. In MDs’ language this part was referred to as ‘COMPOSING’. The assistants of the MD make note of the tune flow by depiction of ‘swaras’ and also the pattern of flow by noting down the musical scale [notations].  The MD with the consent of the producer, selects the appropriate voice for the movie character and effective conveying of emotions. Those singer artistes were repeatedly trained to sing the lyric in that tune. The singers make note of the song flow notations for them to deliver while recording the song. With a tune ready, the MD had to formulate   scores for prelude music, I interlude after ’pallavi’, II interlude after first charanam , III interlude after II charanam and a postlude to wind up the song in a mode  befitting the mood. Assistants of the MDs furnish musical notations for each instrument as fixed by the MD and SEVERAL ROUNDS OF REHEARSALS were followed; later the rehearsals would include singer[s]. Final rehearsals [3 or 4 times] were on full scale. Then came the “take”; it meant the playing of song for recording as prescribed.  So much of co-ordination was behind every song of the good old days. Let us consider how the MDs went about their task.

Prof. K. Raman 

SOUTH INDIAN CINEMATOGRAPHY – V

SOUTH INDIAN CINEMATOGRAPHY – V

I deem it my duty to tell our readers as to why I chose to embark on this topic and limited my observations to highlight only three persons. After all, cine industry is too big an outfit to restrict our range to a limited number of persons as wizards in the art. Still, I have justification enough to pitch on select individuals –Marcus Bartley, Aloysius Vincent and PN Sundaram.  Yes they had to regulate the exposure of frames so as to maintain parity in tonal scales in Black and white films. They had done it admirably. Though ‘Panchromatic’ by definition [meaning sensitive to all colours in the spectrum], responses of B&W film to varied hues of a colour or for different colurs was not uniform. So, extra carte ought to be bestowed on to the shades of dress worn by artistes and selecting a ‘common exposure’ details of dress and features of Skin [referred to as skin tone] should be registered on the negative film.  There used to be always a certain loss of image detail during transfer from negative to positive film. A major constraint in film photography has always been the need for ‘accuracy in primary image’ [negative image]; extra features cannot be ‘added’ to image on negative. [Digital image recording has the innate advantage of “post production correction”].  It means corrections can be done to image even after shots are completed on the sets. Images of digital variety are amenable to ‘modifications’ for clarity. Cinematographers of the then emulsion era [emulsion = film] had to strive for precise primary image density as corrections cannot be made later. Digital images are ‘memory stored‘  and there are no Negatives –as I understand. If wrong, please correct me. 

Emulsion [on a film] is a light sensitive coating on one surface of the film. Thus film characteristics are simply emulsion characteristics. Besides “BRAND VARIATIONS’’ even for a given specificity like film speed [sensitivity to light-expressed in units of arithmetic scale [ASA] OR Logarithmic scale [DIN].[ASA= American standards Association, DIN = Deutsche Industrie Normen ] Even if  films of different brands are rated in the same value , their performance characteristics are seldom identical. The cinematographer inevitably faces the ordeal of having to assess ‘behaviour’ for a select criterion -say reproduction of skin tones or dominant contrast or predominantly soft [low contrast] image rendition by a specific brand or its version thereof. Till 1960s most film stock was from Kodak Film, London or Rochester New York. After 1962—63, there were policy changes imposed by political situations in the country. Major policy shift was to discourage dollar payment and encourage Rupee payment for imported items. Slowly Kodak emulsion import faced restrictions; rupee payment in place of dollar payment brought in films from some European markets owned by Socialist governments Like E Germany, CZECHOSLOVAKIA, Poland and so on. Most movie films –newly imported were from E Germany.   Most cinematographers had to quickly adapt to these changes and also co-ordinate, lighting-processing strategies to furnish the most acceptable images for cinemas. A change in economic policy of a government can bring about abrupt changes in the working of select spheres. In this case, it was the cinematographer who had to rapidly reorganize self to satisfy all the on-going movie projects. The harsh realities of having to grasp the responses of the unfamiliar film stock and the minor modifications to certain already –set practices cannot be fully perceived by movie bosses whose prime interest has always been investment Vs yield; they are least interested in technical explanations for low performance; it would take time before one truly comes to terms with the ‘required changes in functional modifications’ essential to achieve the most desirable results. Leaving aside the predicaments of the then cinematographers, another difficulty had to be surmounted as well. It was more a problem for the movie makers. When foreign exchange restrictions were taking serious positions, the cine industry across India was keen to make colour movies in place of the traditional B&W movies. Audience were also more receptive to colour movies ; After 1963-64 all Hindi movies were only in colour; but South had to keep its movie-making activity  alive and were still making B&W movies even after 1975 and a little beyond. The perceptible difference between South and North in patronizing colour films had a serious ‘market consideration’. Hindi movies can always be profitably screened in best parts of the country; but Southern movies have a very limited geographical territory to market their movies. So, investing on colour films paying heavy Duty fee, was close to taking ‘mega risk’. Though films from Eastern Germany were less expensive, most technicians and laboratory protocols had been ‘fine-tuned’ for Western products from KODAK.  Switching over to a new film meant drastic changes in patterns of exposure and ‘film -processing’ besides, some new protocols in film handling.

With so many limitations, the cinematographers and laboratory technicians got down to work to ensure reliable delivery.  In the light of the difficulties associated with films, I earnestly recognize that using film for image rendition has always been a formidable task; it is a zone for ‘mistakes’ and replete with chances of poor image rendition. Spot corrections are possible in digital systems, while,‘re-doing’ was the lone option for technicians using films. Film technology is a living example of one of the Murphy’s laws which states,        “If anything can go wrong, it will.” So, I salute those veterans who enthralled us.

Prof. K. Raman

SOUTH INDIAN CINEMATOGRAPHY – IV

 SOUTH INDIAN CINEMATOGRAPHY – IV

P N SUNDARAM    [18-03-1934 – 22-03-2010]

PNS was from Palghat [now PALAKKAD] and his early life is reported to have been one of tussle and turmoil. At a young age of just around 18-20, he joined Vijaya- Vauhini as an assistant cameraman. Cinematographers were plainly called cameramen in those days. From there, he joined A Vincent as his deputy in Venus pictures. Even before that PNS had functioned in “UTHAMA PUTHTHIRAN” as an assistant cameraman for Vincent , who had already joined the team in Venus pictures A stage came, when names of both A Vincent and PN Sundaram appeared parallel on Title frames. So, PNS was rated as an equivalent of A V though initially junior to the latter.

As is often the case PNS chose to be a free lancer himself; he has worked for 250 movies across, Tamil, Malayalam, Telugu and Hindi. Like every creative mind PNS too revealed class as an original thinker. Not without reason I try to portray specific persons. Success in cinematography rested on precise assessment of exposure for a defined effect. Wherever Vincent was hailed for quality, Sundaram was an automatic contributor to the final product.

When PNS became a freelance worker, there was a beeline to engage him by his erstwhile associates in the industry like Directors P Madhavan, CV Rajendran, Gopu,  Vietnam veedu Sundaram and several others. I remind our friends now that, the times when PNS was rated high had more to rely on effort than on computer-aided imagery. Also, it is interesting to recount here that PNS has had a special credit for his having worked in large number of Black and white projects and on an equal number of colour movies. Those cinematographers could effectively use colour was because of their critical understanding of Tonal gradations in B&W, with which they could foresee the probable output from light values.

In late 1980s it was a fashionable for cinematographers to shoot slow movements of persons in song sequences to ‘attract’ youth by a slow flow rate of a scene. As early as 1968 , PNS had captured ‘Divinely float’ of movie characters through a song sequence ‘kanavil nadandhadhO kalyana oorvalam’ in the movie ‘ANUBAVAN PIUDHUMAI’. Also, PNS had availed of free flowing dress material to depict a heavenly look. Another innovative work of PNS was, to record ‘UNDER WATER’ play   BY ARTISTES. He had fabricated an underwater cage to house the camera and self. While working, the cage abruptly broke under [hydrostatic] pressure and large pieces of glass fell on Mr. PNS; he suffered severe injuries on his feet and had profuse bleeding.

 For three weeks he was off the work; he again got a stronger cage ready and shot the song sequence “Jil endru katru vandhadho” in NIL GAVANI KAADHALI movie. It was a pioneering work in Tamil cinema in that there have not been similar picturization earlier. Of course later CV Sridhar adopted the same technique for his movie AVALUKKENDRU OR MANAM for the song “malar edhu” . C V Rajendran had narrated these instances about a year before his demise.

Another facet of Shri PN Sundaram was his balanced disposition to the doyens of Tamil cinema – Shri MG R and Shri. Sivaji Ganesan as well as to Ms Jayalalithaa. On several outdoor sequences , Mr PNS has shown fine sense of scenic captivation. In his own right, he was among the best on the job in South India. 

Song sequences “Devane ennaippaarungal [GNAANA OLI] and Nalai indha velai paarththu [UYARNDHA MANIDHAN] , Adi ennadi rakkamma [PATTIKKADA PATTANAMA] Kanna neeyum naanumaa [GAURAVAM] and song sequences in THANGAPPADHAKKAM stand testimony to PN S’s skills behind the camera. Special mention ought to be made here of the ‘fine rhythm song ‘Azhagukkum malarukkum jaadhi illai’ [NENJAM MARAPPADHILLAI] shot in an orchard. Look at the swift tracking of the pony –drawn cart moving through the thick jungle like vegetation cover; a play of light and shade through the song in day light is easily a task of sorts. PNS –THE OPERATIVE CAMERAMAN in the movie had done a brilliant camera-tracking of that moving cart in this number that looks to be free of edited sequences. We feel literally the camera chasing the moving cart even as zoom close-ups on and off bring out the expressions from actors, making us feel that we are ourselves a part of the event.  PN Sundaram was easily a darling among several movie directors by his very accommodative nature.  

A sound performer was Mr. PN Sundaram.

Prof. K. Raman

SOUTH INDIAN CINEMATOGRAPHY- III

 SOUTH INDIAN CINEMATOGRAPHY- III

ALOYSIUS   VINCENT   [A VINCENT – A VETERAN CINEMATOGRAPHER]   

14-06-1928—25-02-2015

The name – A Vincent used to have a possessive effect on the movie goers –Tamil, Malayalam, Hindi and Telugu. Before he managed to be in the limelight, his career, like anyone else’s had a modest beginning at the age of 20 as an ‘Assistant / Trainee’ in the movie-making house –The Gemini studios, Chennai. For aspirants into movie dom, ‘Gemini’ was a mesmerizing name.  The then trend in movie-making was to have ‘employee technicians’ and not contractual engagements of technicians per movie. It was under Kamal Ghosh that A Vincent was groomed in his early career. There were 2 0r 3 different groups of cinematographers in Gemini studios then. Working styles of each group had a stamp of its own and were known as distinct schools of thought on the way of movie picturisation.  Clearly, they had lighting styles, scene-lab co-ordination and methods of exploiting camera angles and so on. Obviously, aesthetic presentation determined the efficacy of cinematography which was making a deep impact on the audience through the celluloid imagery.

The art of cinematography was then through a phase of experimentation, deeply constrained by an ‘emulsion characteristic’ called film speed [expressed in ASA –the arithmetic scale or DIN –the log scale]. Considering those limitations, Indian cinematography can hold its head high in pride, thanks to all our pioneer technicians who have given us delight through those immortalized images though they must have toiled a lot. The brief reference to the situations then is a must for us to recognize the value of human effort and that success in the era of technology is a product almost for the asking.   It was A V who disbanded the traditional grey back drop and chose to prefer orange background for balanced tonal reproduction. His grasp OF THE WORKING OF MOVIE FILMS WAS so clear that he worked out the ‘gamma value’* as a useful indicator for laboratory technicians for ;correct grade of film processing.

Soon, [1950s] A V moved to Venus pictures with T. Prakash Rao as their Director. If ‘Gemini’ was a macrocosm of the industry, Venus pictures was a microcosm that groomed talent in all spheres of movie making and understandably Vincent became their cinematography chief and hogged the limelight by his sheer novelty in lighting and image rendition that were distinct and demanding attention. It was ‘UTHTHAMAPUTHTHIRAN’- a Sivaji Ganesan starrer that catapulted Vincent’s popularity as a high-profile technician in Cinematography.  [In a song sequence work at Brindhavan garden, A V found a tourist using a ZOOM lens; he borrowed it for a while and shot a few frames using zoom. He sent the film to KODAK, LONDON and wanted them to bring out blow up pictures. Technicians in Kodak London were awe-struck by the exceptional skill of Vincent in making use of Zoom lenses –not known in many parts of the world then. [ Veteran actress Padmini,in an interview,  has vouched for this happening during UTHTHAMAPUTHTHIRAN shooting].

 In that movie, he had effectively captured 2 Sivaji Ganesans coming together in a single frame in several shots. It was a very healthy presentation devoid of a faint line of separation between the two images of the same artiste –in a well known par lance ‘double acting’. Instead of masking the lens alternately right and left to register 2 images of the same actor in the same frames, Vincent perfected a technique called ‘light masking’.

Light masking meant that one half the scene was held dark and later the other half held dark to facilitate the same person to get registered as 2 different persons in 2 places in a single frame. Perfect regulation of independent lighting of the scene, while the camera ought to stay steady in a place, is no mean feat to perform especially while registering the second image on the correct frame numbers –to ensure perfect assembly of 2 persons on opposite halves in responsive conversation. The non-occurrence of a separating line between 2 images was considered a magic of sorts even for cinematography technicians, since Vincent merely said it was ‘light mask technique’. Not many cinematographers could grasp what AV meant; anyhow A V had worked systematically on some strategies of improving the presentation on screen. His other specialty was upkeep of ‘lead lines’ though a shot to ensure the visual delight for viewers. Yet another fame for Vincent WAS his picturising the song sequence “Sonnadhu nee thaanaa sol sol sol in NENJIL OR AALAYAM movie. The song runs almost without cut shots – a secret till date; more cameras seem to have had parallel work and by appropriate linking of shots – a natural continuity has been delivered. [It was Vincent- Sundaram feat] Vincent was the first technician to have used a plain glass filter as a ‘diffuser’. He smeared Vaseline along outer perimeter of the filter to form a fuzzy outer region while the inner would present a ‘clear image’. His ingenuity in picturising a dance in ‘meenda sorgham’ using a camera suspended on a chord and of the song sequence ‘pen ponaal’ in ‘ENGAVETTUPPILLAI’ were sheer marvels. On the second occasion, his ‘end to end’ clarity along the very long landscape of Brindhavan gardens as a night shot was simply out of the world.

His camera work on ‘KADHALIKKA NERAMILLAI’ in Eastman colour was a grand acknowledgment of his mastery in handling colour films; as much as  of the processing standards stuck to by M/S Gemini studios. Till then, even Tamil movies were being sent to Film center Bombay, on the faith that Bombay lab was more established. But, the quality of prints from Gemini labs proved a point that Chennai can deliver goods if called for. The Aaliyar dam site where 2 cars make parallel exit / entry just moving round the round-tana was an absolute delight to watch. Visual presentation of all songs in ‘KADHALIKKA NERAMILLAI’ was another matter of delight for movie viewers then. There was always a stamp of class in any work executed by Vincent. What a great craftsman he was!

*‘Gamma value’ is a measure of assessing image registering capacity of films relative to that of human eye.

Prof. K. Raman      

SOUTH INDIAN CINEMATOGRAPHY – II

 SOUTH INDIAN CINEMATOGRAPHY – II

In continuation of what I had mentioned earlier, we try to recall the meritorious contribution from some exceptionally brilliant cinematographers of later 1950s --1970s. Of the few chosen wizards, I have to make a sequence based on some criterion on which the narration has to proceed. The plausible option to begin and proceed would be according to the age of the person. It appears both sensible and free of any personal priority thereof.

MARCUS BARTLEY - [22-04-1917  --- 14-03 -1993]

M. Bartley was born in Yercaud, in an Anglo-Indian from a family of doctors. His passion for photography as a school boy was a serious setback to his studies. But, he was too good in choice of angles and   interpreting the ‘mood’ of the picture by the most appropriate lighting. [Later it proved a hurdle in his professional career]  He joined Times of India, Bombay in their news reporting section. He had a burning desire to ‘understand’ varied lenses, cameras and ‘correcting any defect in their working’. So to say he became a camera mechanic and revealed very good skill in correcting lens disorders. Also, he was moving to different places with so many interests relating to ‘picture’. He came to Chennai and was in search of some assignment. Vijaya- Vauhini studios were being established then. The owner Reddy appointed Mr. Bartley for organizing their film laboratory and to standardize the work in film processing. Soon, Bartley became their lead Cinematographer. For several years Bartley held that position in VV studios.

He also revealed his class in camera tricks. His work in ‘PAATHAALA BAIRAVI, MAYA BAZAAR and a host of other Telugu movies were widely enjoyed by audience. Abrupt change of dimensions of some characters in Maya bazaar, automatic flow of laddus into the mouth of SV Ranga rao, auto rolling of the magic mat and its flight in sky were sensations among cine goers then. The song sequence ”AAha inba nilaavinile” [ MAYA BAZAAR] was shot in sets, though it looks to have been shot in lake/ river  He had shot some footage in Ennoor back waters in broad day light [11.30 am or so.] He judiciously merged the outdoor frames with the studio shots to ‘simulate’ outdoor effect.

Mr. Bartley was an acclaimed expert in handling ‘MITCHELL’ CAMERA popular then in movie dom. He was a strict disciplinarian at the work spot; would not permit any chatting, while he was planning for ‘lighting the sets’. Once Bartley simply said, ‘shut up’ to a producer when the latter was speaking in a loud tone. Such instances of outburst by Bartley irritated the bosses and he lost his job. He then joined Gemini studios. He was a free lance worker and had worked for many projects.

Knowing his ability, Mr. Ramu Kariat assigned cinematography of ‘CHEMMEEN’ –a noted Malayalam movie to him.  He had made an indelible mark in cinematography of CHEMMEEN in Eastman Colour; his towering independence made him abruptly leave from remaining works for CHEMMEEN. Bartley wanted the movie makers to wait for Kerala monsoon to capture those giant waves to highlight the fisher men’s plight through rough weather on seas. Producers felt such artistry on screen may distract audience from the absorbing story line and refused to wait. Instead of obliging them, Bartley quit the project. The remaining footages for CHEMMEEN were done by U Rajagopal – another noted cinematographer of those days. Expectations were wide and rife that Bartley would snatch the National award for his work in CHEMMEEN -that year; but the jury refused to consider Bartley’s name on the ground that -Awards  cannot be announced when 2 persons have completed a project.

After all, talent cannot be denied its pride for long. His camera work in “Shanthi Nilayam” –a Tamil movie was pleasing to the viewers of all varieties.  Later, Mr. Bartley won the coveted National award [1970] for his work in SHANTHI NILAYAM in 1969 [EASTMAN COLOUR BY Gemini studio laboratory].  That has been the broad history of Shri. Marcus Bartley - who rose to the top by a stint of hard work and meticulous perfection in whatever he did..

Prof. K. Raman 

SOUTH INDIAN CINEMATOGRAHY

 SOUTH INDIAN CINEMATOGRAHY 

A conversation with Prof. K. Venkataraman, kindled the long etched memories within me that were in a somewhat sedate state. We were trying to recall some outstanding cinematography situations in some movies and as a natural corollary the central spot was cinematographers of those movies. In my daily routine of posting some topic in blog, I took a decision to share those ideas with my blog readers. So, for a few days it is likely to be the subject trying to focus on specific merits of those wizards.   Please read on

Unlike movies themselves, cinematography as a function has been free of language bias with Southern Indian technicians working for projects in Hindi and Western Indian Cinematographers working on Southern projects were all too common. Recall V Shantaram’s “Janak janak paayal baje” cinematographed by G Balakrishna who again worked for the Tamil project “Vennira aadai”[1965]. Pyar kiye jaa was picturised by N Balakrishnan [Balu] supervised by G Balakrishna. Technical teams always have had free access to work in most other projects, as they had to cater to technique and not to language.

 Given these advantages, the spectrum of languages in Indian cine industry stood the rich benefit of talent. Among them, some were outstanding in their period of work and I propose to recall some of them with a clear declaration that I confine my attempt to a few names though several others may have been experts in their own right. I consider ‘skill’ as an item of contemporary talent; so people of different era should not be ‘assessed by comparison’. Let us consider their unique ability as a feature of attainment in a defined domain. 

It was Gemini studios of Chennai that cornered the reputation for grooming [training] some of the best known names of that era and genre. Eyebrows may arch up on my using the term ‘genre’. Yes, with a degree of well deserved pride [from the intricacies of work involved], I call it so. To have worked to grueling precision under the vagaries of Sun light outdoors and a totally different [low] Kelvin values for indoor lighting, those cinematographers deserve the best of un-reserved encomia of any kind.

Among the then veterans, who have had a ‘seasoned training’ are the names of C. ELLAPPA, RAMAKRISHNAN [ more popular as THAMBU] and the unforgettable A. VINCENT. All of these men cornered glory as the Top cinematographers of South India, each in his own right.  They were trained by the veteran lens man Shri. KAMAL GHOSH of Gemini studios, in the early 1950s. KAMAL GHOSH’s skill as cinematography wizard is held in high esteem by all those who have seen the ‘Drum Dance’ sequence in the movie “Chandraleka” Shri. Ellappa chose to continue with Gemini as their as their lead Cinematographer. Thambu and Vincent joined other firms as cinematographers. What helped them to achieve distinction in cinematography was their ‘originality’, though they had the advantage of learning Kamal Ghosh’s ‘lighting technique’. They rather imbibed the spirit of the art and religiously avoided ‘imitating‘ the technique of Kamal Ghosh.

As this was going on, another group of brilliant cinematographers was also evolving in Vauhini studios. Notable among them was Mr. Marcus Bartley as their lead cinematographer. Later, P.N. Sundaram  joined  Vauhini group as camera assistant. Marcus Bartley shot into fame for his moonlight shots with amazing accuracy.  P.N. Sundaram achieved prominence for some original work strategies as a cinematographer. I intend bringing out some details of the technical skills of these veterans, just to remember them besides reiterating my conviction of the legitimacy in my paying accolades to them.

To continue          Prof. K. Raman 

LOMOGRAPHY

LOMOGRAPHY

Quite interestingly, a jolt is delivered to the believers that “Film is dead”. Yes, for decades now, films of the traditional ‘chemical image processing‘ nearly y disappeared except for some lingering film stocks in discrete corners of the world. So to say, the analogue version of photography was presumed to have had a burial.  With so many die hard practitioners of Film photography [Analogue variety] has after all been simmering in their minds hoping against hope that one day the wheel would turn a full circle ; restoring at least some of the bygone.

To be precise, a revival of Analogue working has been made possible by a global effort to revive Film photography at least among the fans of film photography by providing supplies of film varieties to a limited extent. The name ‘LOMOGRAPHY’ is linked to the use of THE CAMERA ‘LOMO’ –a  Russian compact camera modeled on the lines of the Japanese compact camera- COSINA. In other words, the earlier used cameras had all gone silent and LOMA  restored film shooting and proudly used the term ‘LOMOGRAPHY’  to the  revived working of analogue photography. The idea fructified in   1982.  

The first cameras of LOMO –LC A were released in 1984 for photo enthusiasts in Russia; soon these cameras were exported to other Communist countries like Ukraine, Poland , Czechoslovakia and the old game began in those places.  Photo enthusiasts in Vienna found the LOMA images quite sharp and sensational. Soon Vienna faced a huge demand for those cameras.

By 1992, a Lomographic society was established in Vienna to popularize the art of Analogue photography. However, political developments in the region meant ‘swinging’ fortunes for Lomography. With increasing patronage Lomo cameras underwent design changes to provide for greater operational flexibility and improved picture quality. Slowly, it has permeated continents roping in all the fans of film photography to be Lomographers – a new clan of photo enthusiasts.

Happily, by the untiring efforts of those enthusiasts, film manufacturers keep making quality films for the enthusiasts. Almost every nation has Lomo enthusiasts and different film formats are available for use. India is also among the Lomo patrons and has facilities to import films from Hong Kong at reasonable pricing. So, photo enthusiasts shake off your slumber, find from where in India, your film stock can be had and location of processing stations / chemicals if you choose to work yourself.                              Good luck

Prof. K. Raman   

CAR PURCHASE

 CAR PURCHASE

Why suddenly a seemingly unfamiliar domain like ‘buying car’?  It was so, a few years ago; but now most mid-income families desire buying a car for domestic use. Even now some may not be convinced of the ‘need’ for the same.  Thus, among the mid-income families one may recognize two different attitudes on possessing a car.  There are reasons behind the progressive ‘accommodation’ of an idea which was held ‘Luxury’ or extravagant a few years ago.  Among those reasons, two are important. Children who have entered some ‘paying’ professions’ keep pestering their parents to ‘change’ the house and move into a new well furnished house. Often the parents have ‘deep etched’ sentiments to their places of living and seldom desire moving to a new quarter. Too often the parents would have had their house built from hard-earned money some 25 years ago or so; also, how they toiled through those harsh days of early family life carries both sentiment and extra bondage –not easy to disown. Such intimacy or bondage does not interest the son, who imagines that his parents are too conservative to give up discomfort for comfort.

So, as a second option he throws up the idea of Why not we keep a car at home?   True to their long –associated penury or parsimony, they resist the idea saying” What is the urgency now?” The son quickly convinces them saying ‘such investments can help in tax remission’ for such professionals as me. Yet another stimulant for middle class persons to favourably consider ‘car purchase’ an attractive proposition stems from advertisements in display at many bank branches. Human minds slowly yield to pressure though they do not succumb to it. Now, more than the son, the father is delighted to go round looking for cars.

The father a ‘true novice’ in this hunt, sheepishly elicits opinion from cab drivers who generally park their taxi in front of this house under the tree shade. Each driver suggests something and the old man is nervous about taking a decision. When at leisure, the father raises his doubts on choice of car based on cab derivers’ pet notions, the son frets that his father does not even know whom to seek advice from and reveals displeasure. The disturbed father asks in whisper ‘shall I talk to Mr. XXXX, Manager –TVS?’ “Appa, we are not buying any bus” shouts the son. The lady of the house emerges from kitchen and cautions her husband not to any more go about enquiring about cars. The father now comes under regimented regulation. The son now says ‘we will find out from Car show rooms ‘the coming Saturday / Sunday by 11. 00 am. The old man is angrily silent.  Yet, he opens the ‘ALMANAC’ [‘PANCHANGAM’] if the ensuing Saturday / Sunday are auspicious for new ventures. He does not reveal what he found out.

Showroom visits happened as scheduled. Each show room catered to a definite brand and this made the search more elaborate and time-consuming than anyone ever thought. There was some clarity in mind before visiting the show houses. One thing became clear; there were more models , within each there were variants by size, features like air bags , park sensors, reverse parking cameras , safety belt reminder only for driver, for both the front seaters, for all the travelers and so on . Some had ambient lighting, some had bottle holders on all the doors, some had it one each on front and back doors; all had A/C ; BUT SOME HAVE MUSIC SYSTEMS; some have INFOTAINMENT SCREENS , Power windows in the front , rear power windows. Some had only manually operated windows. Some models had wiper in both the rear and in front. Some had a single wiper for the whole car. Some show rooms were only rooms since they were waiting for the models to arrive. Some had engines -8OOcc, some 1.0 L, some 1.2 L, some were Turbo and so on; the angry father at one place said every car has an Engine –so good. There were also permutations / combinations of the above features forcing the buyer into a state of fatigue –having to decide the best option. Model, Brand, Size, ENGINE, Fuel, COLOUR, VARIANTS – Oh God – how to choose?  Can we consult the show room manager?

Show room managers are not so easy to reach by visitors. But, when sought, they would emerge and entrust us to someone’s care to clarify our doubts. Quite often the sellers are interested to know if we choose to buy   a vehicle on some ‘financial support’ [euphemism for loan / installments”]. If you prefer to go for outright purchase [personal funds] they have dampened spirits; but, the sales representative handling that version or model is happy that a product under his care finds its way out by sales.  Obviously, installment business seems to offer lot of perks by way of incentives. But, installments for major products like Car or housing facilities [or both together] have the potential to render us insolvent if something like ‘corona- threat lockdown’ hampers our earnings. Installment scheme is an inviting bait unless one is determined not to get trapped.  The claims of 0% interest is a tacit declaration about the fate of the customer after the sale.  

The pricing of vehicles is another ‘confusing’ strategy. The price starts at Rs 3.8 lakhs is the publicized amount. But, when all steps are completed, it would have touched Rs 5 lakhs, the contributory segments being road tax, insurance, RTO + OTHER TAXES besides the base price. The sellers can as well alert the buyer of the final cost, since they are mandatory components [Instead of mere base price]. That would not destabilize the buyer enthusiasm. Somehow, they refrain from truth as much as possible.  The sellers add  some frills to the bill like ‘car care scheme ‘, with special species there in like “Silver care “ or “Golden care” or” Platinum care “ just to add one or two service facilities more to justify the name Platinum, Gold or Silver. For each category fee is collected upon purchase itself   Thank God there is no bronze, Aluminium and Tin  services which would respectively offer ‘washing and inflating’, only washing and only ‘inflating’ the tyres twice a year as per agreement.

Another important information is, the sellers can provide several structural components like mud guard flaps, floor mat, foot rubber, cosmetic items like fragrance spray, cleaning tissue, cleaning brush and a few other sundry items at no extra cost , as several of them are received from manufacturers in the name of brand marketing. Unless the buyer demands these, they do not offer them so readily. If the buyer insists on their providing those, they try to accommodate to a large extent though they will try to wriggle out of providing some items –saying that right now they are not available with them. But , as if you are on an overseas trip, you have to hand over your Aadhar, PAN, Ration card copies and about 5 or 6 Passport size photos, and sign some 15 places even for ‘payment through your bank account’ . Imagine for how many days you may have to sign papers, if you were to seek some financial assistance! So, Car purchase is a somewhat ‘demanding exercise’; demanding –patience, perseverance, determination and perhaps a ‘fight to finish’ attitude.  

Prof. K. Raman 

"THAVIL"

 ‘THAVIL ‘

As is well known, the ‘Thavil’ is a percussion instrument that is the traditional companion of ‘Nadhaswaram’- the Pipe. The two are held sacred by South  Indian tradition and are termed “Mangala vaadhyam”- for, on all auspicious events in Temple or in Weddings the two are essential in musically ‘declaring’ the on-going process. The particular form of playing the instruments indicates the critical step being carried out in temple processions or in Weddings. Their status as choice instruments of preference for auspicious occasions is linked to their ‘high decibel’ output which calls attention of people away from the venue. Both instruments have high frequency tones which travel through air; it serves the intended purpose of calling attention. ‘Nadaswaram’ is more intricate in design; being a wind instrument, it places a high demand for lung power of the player.

Though by definition ‘Thavil’ is an accompanying instrument, it differs from other instruments of the same status. Even before ‘Nadhaswaram’ is played, it is Thavil that opens the play by a typical beat for 30-40 seconds; only later Nadhaswaram –the so-called lead instrument  joins in .Once ‘Nadhaswaram’ steps in , Thavil takes a lower position as an accompaniment. In any case, it is the beat that sustains the tempo of the concert. Depending on the requirement, different teams of instrumentalists- both Nadhaswaram and Thavil come together. They perform in competitive spirit and play elaborate ‘notes’ of a chosen ‘Raga’ variety and enliven the show.

In traditional format, the two Thavil exponents represent different teams for the sake of a concert on a given day. Each brings off his skills in dexterous play of fingers that generate subtle tones that enthrall the knowledgeable in the audience. Sometimes the Thavil exponents join “JUGAL BHANDHI” – a format involving different cultural shades typical of Northern and Southern percussion play traditions. All said and done, South or North, the basic tenet –‘elegance’ determines the supremacy of art. In “JUGAL BHANDHI”, Thavils are pitted against Tabla ; at times ‘Ghatam’ [ mud pot percussion], Kanjira , Tabla and Thavil keep playing in sequence just towing a particular central idea and bring off a range of play skills and each establishes an unconquered mastery. In “JUGAL BHANDHI” all are winners – yes they win over the entire audience by their spirit of adherence to prescribed tradition and the artistes themselves gracefully accept the other mode of expression.

Thavil is a popular instrument in Thanjavur tradition; making of the instrument also appears to be a forte of the Thanjavur craftsman who make such instruments. Thavil is a barrel like instrument scooped out in a single log of wood of Jack tree. The barrel is broader at one end and narrower at the other. The dimensions must be adhered to, if tonal quality has to be ensured. The ends are the actual play heads covered by a well-cured skin of animal origin. Both ends differ in the extent of ‘taut stretch’ so as to make stiff / slightly relaxed vibrations upon playing. Well, right and left side of the instrument are ‘subjective’ since the Thavil exponent may himself be a ‘right hander’ or a ‘left hander’. Rarely a few are ‘Amphidexterous’. Long hours of play of ‘Thavil’ may hurt the fingers; so, the player shields each playing finger by a tight ‘thimble-like’ finger glove made of hardened glue from Maida flour. A mere touch with gloved finger makes ‘high pitch’ sound typical of Thavil. Times were when ‘Thavils’ were beaten like devils. Now, the playing culture has shifted to elegant nudges instead of brutal hits. Experimental combinations of VIOLIN-THAVIL ensemble in 1980s paved the way for soft play of Thavil. As a percussion device, Thavils are employed in music scores for movies too.

Prof. K. Raman

NUMISMATICS

NUMISMATICS

Though, beyond our general interest and consideration, the topic draws attention in the light of our recent survey of items declining or disappearing. Quite a number of coins have slipped into ‘inactivity.’ A broad perception shows that on and off, coins have enjoyed the status of currency or have been demonetized and some have faced ‘social apathy’. What is the social apathy we witness can be recognized if we recall the fate of denominations, below that of Re. 1/- There has been no official word on the withdrawal of them from circulation. But, they do not survive as ‘legal tender’ in practice. For paying a sum of Rs 2/- one cannot hand over 4 coins of denomination -50 ps. Same is the fate of several lower denominations. Abruptly, denominations below that of Re 1 have been rendered ‘inoperative’ by social practice. Yes, to ratify my observation, let me draw your attention to some typical market practice among vegetable vendors in our markets.

A unit price for some vegetable [250 grams] is quoted to be Rs 10/-. When we ask for 2 units [500 grams], the vendor suggests Rs 15/- for 2 units. Logically, a basic unit ought to be sold for Rs 7.50/-or 2 units [500 grams] ought to cost Rs 20/-. So, the actual price per unit is just Rs 7.15 ; to avoid the problem of collecting exact fare and refunding the balance in fractions of a Rupee, vendors round off at Rs 10/- or 15 [2 units]. Also some items are right away pegged at Rs 5/- as the base price below which the item is not sold. [for instance Coriander leaves and Curry leaves or a piece of Ginger or a cluster of green Chillies].

The denominations to have faced ‘social extinction’ are 50 ps, 25 ps, 20 ps,10 ps. 5 ps, 3 ps, 2 ps and 1 paisa. They were in specific shapes and size –fitting the value. 50ps and 25 ps had circular form differing in diameter -50 ps coin was larger. 20 ps coin was square in shape as also were 5 ps and 3 ps but progressively decreasing in size commensurate with value. Such variation in size / format helped the illiterate user as well as those visually challenged, so that transactions went on peacefully. Coins intended to carry values of 10 ps and 2 ps had similar wavy outline but drastically different in size as per value. Curiously 1 ps coin had different shapes; the later ones were of square format while the earlier ones were circular and in copper.

The metric system of coin denominations were introduced in 1957. Prior to that India had a system of denominations well known Re / anna [அணா]  /paisa . which was totally Indian in character. Somehow, the British did not tamper with it and maintained it. This is my understanding. If wrong please correct me. That system had its incongruities in that, a Rupee = 16 anna [அணா] and 1 anna = 6 paisa . If one converts rupee to paisa it would just account for only 96 paise as against the required 100. So, an anna அணா] was little more than 6 ps . By value it was 6¼ ps.  But, all transactions were going on.

The then lowest denomination in Re/ anna/ Ps system was ¼ anna.It had 3 different forms – a large coper disc, a smaller disc and one with a central hole big enough to accept a little finger of a man. Mind you  the ¼ anna had purchasing power!  One could buy items like peanut, peanut candy, ice fruit [kuchi ice].For ½ anna 10 betel leaves , 1 anna can fetch a table spoon of coffee powder . As late as 1969-70 a limited meal was at Ps 0.70 or 0.75 in Madurai; a cup of coffee= 30 ps,  May be because at that price bracket nothing can be done today, several lower denomination coins came under  social ‘apathy’ if I may use the term. So much of changes in the numismatic arena have occurred.

Prof. K. Raman

MOVIE HALLS - RELICS IN OUR OWN TIMES

MOVIE HALLS - RELICS IN OUR OWN TIMES

Even through the thick of our dreams, none would ever have felt that one day those massive theatres would face extinction. That it could happen in a matter of decades is painful, though we the audience have not suffered the set back. Yet, to lose out a cultural segment leaves a ripple of pain that several ancillary services connected with a movie hall too would have faced drought of extinction; it makes a sad reading indeed.  It is not our field of operation to analyze the underlying causes that led to the demise of that industry. But, ourselves having been the beneficiaries in our own way, cannot but lament that a glorious social event -  ‘moving going’ has reached a state of nightmare. What –‘Nightmare? Yes, I mean the magnitude of prohibitive cost of visiting a movie hall these days. What was a simple expenditure of Rs 20/- or so for a movie viewing [3 -4 people including for the snacks] is a thing of the past. It looks that unless one can manage to shell out Rs 1000/- a small family of 3 members, with no extravaganza of snacks or cold drinks, movie is just out of reach. People would console themselves citing that several other platforms cater to movie viewing within the confines of our homes. Agreed, but does it replicate the thrill of viewing a movie on big screen in the company of general public? Certainly it cannot. Movie-going was groomed into a culture largely because of the affordability factor then – even if a movie boasted itself of ‘star value’, imposing presentation and so on. With none of those ‘star factors’ the cost now looks unmanageable; slowly, it has led to loss of patronage resulting in ‘movie screening a tough proposition’. All said and done, mind being what it is, it chooses to recall things of the past.

Looking back

There was a near euphoria at the thought of an impending movie by the evening. Some revealed it while many concealed it. Probably, the mind was conditioned that except in a movie, no visuals of cinemas were possible then. At best, songs could be heard by radio or from music systems. So, the social acceptance for the mega stars of our times was greater than to what the present day ‘stars’ can hope to aspire for. In fact the then ‘stars’ remained confined to their territories – making themselves rare commodities. That way they were not available in public domain which in turn elevated the common man’s desire to ‘see’ them. Those stars could not manage a safe passage through audience, except if escorted. If someone could sight them in flesh and blood it was while they were in a movie shooting in tourist places. Together, these parameters made movie-going quite attractive and did not throw up any economic challenge. All pricing of tickets were reasonable; movie screening activity was profitable though low on fares. The present day fares look rather unfair running to a few hundred per ticket; but movie houses do not boast of profits. The then show sequences were ‘matinee’, the first show and the second show. Now first show opens in the morning hours by 6.30 or so in some cities. 

There were no ‘on line booking’ schemes then. People had to line-up in queues before the appropriate booking counter and tender correct fare or face the ‘ire’ of the issuing clerk who would at times turn down your plea and insist on your tendering the right fee. So, people were ready with right amount to buy the ticket without a hitch. As we move inward into the precincts of the hall, the lobby zone was a major attraction. It was here that ‘important ‘frames’ from that movie were on display as ‘stills’. Viewing stills was half of a thrill of viewing the movie. Those snaps were just a replica of the actual scene in the movie.  Some friends would suggest “let us see the ‘stills’ during intermission so that we know what these shots convey” –having seen the first part of the movie. The first level attraction in visiting a movie hall was those ‘stills’. Movie stills were really of high quality, they being the ‘ambassadors’ for each movie by silently advertising the product. Movie viewing in standard theatres had the thrill component as a part of the exercise.

The intermission in a movie was a time of buzz in procuring the eatables or beverages ; there were also moderately priced candies , fried peanut etc ; they were not fleecing in price [unlike at present]. Such standard movie halls had balanced acoustics and evenly served audio output in the auditorium. None of them can be aspired for even under the best of comforts at home.

For very many years, tickets were moderately priced and the highest denomination for a one seat -box accommodation was below Rs5/-. The new generation youth may not accept that a large chunk of balcony seats were each priced Re1. Ps 10 [popular as one ten in late seventies].This would mean that the rear most accommodations in the ground floor were below Rs 1.10/- Such was the low pricing those days. But, several movies made huge profits even through this frugal billing. Good movies ran for several days with packed house. It was common to note many movies that ran for 100 continuous days in the same theatre; box office hits used to register Silver jubilee [25 weeks at a stretch in a theatre in many towns and cities]. One can   readily infer the patronage enjoyed by good movies. Now-a-days, the 10^th show for a movie is acclaimed as patronage.

Obviously movies of the day lack the binding element – emotion; the earlier movies of 1960s, reflected oneness with the common man in attire, day-to-day life pattern and a presentation of the most common domestic organization. The songs of those times had a purpose of propelling the story though a few of them did have romantic element. There was just no violence of the kind projected in present day movies. Heroes had certain prescriptions like looks, gesture and facial profile suitable for close-up presentation. All such criteria have been disbanded and blatant display of gender features and utterances all too rustic have robbed the movies of their pride as domestically acceptable entertainers. Naturally, among cine-goers, a bitter hate to the story treatment, offering forage for violence and vulgarity has come about. With systemic shortcomings movies have had a systematic rejection by audience. With whooping cost of movie production, high ticket pricing has had a ‘killer effect’ on movie-going’. The industry instead of making efforts to make the ends meet, has nearly met its end.

The net result of declining reception for movies among audience further eroded into viewer’s purse by a manifold increase of ‘expenditure for movie-going’. Many cinema halls have retracted from screening movies and have turned relics. Literally many are ‘empty halls’ with all the seats pulled off. Those halls in vantage points have taken new ‘AVATAR’ as marriage halls. Those in busy locales have turned parking lots. Prominent spacious movie houses have lent themselves to be mega shops for textiles. Some do not seem to have scope for any of these and STAND as edifices of empire once and now forgotten and disowned, looking as pale shadows of haunted structures. Time has played havoc.

Prof. K. Raman 

NO COST ENTERTAINMENT

 NO COST ENTERTAINMENT

Anything that draws attention and sustains the same can be rated as an entertainment. Any time – passing exercise which presents itself free of cost is ‘no cost entertainment’. To define it as entertainment the act must attract at least a few people, who temporarily suspend their work under the influence of ‘captured ‘attention, eagerly keep looking for the logical culmination of the ‘work’.

What is the work we are referring to here? The work is rather personal –in the sense that the person is seized of the stuff. Earlier we had ‘the stuff called snuff’; this time it is the stuff for stuffing. Yes, stuffing the stuff to mouth and go about munching it for several minutes. The act is ‘betel chewing’. Betel chewing has varying methodologies practised in different regions of our state. Betel chewing trend has dropped to low scale now-a-days, relative to what it was some decades back. Still it is a dominant social custom in villages of Kaveri delta region, though every other region also has the habit to varying degrees. The variation pertains to the nature or type of ingredients. The primary variation relates to the use of ‘tobacco’; some do not use tobacco while many use tobacco; there are also variants in the versions of tobacco used in betel chewing, Some use flat dried leaf of tobacco, some prefer ‘processed’ tobacco as dry shreds, some enjoy it in wet form with certain additives; still others use scented tobacco shreds popular as ‘panneer tobacco’ [not paneer anyway]. Be that as it may, betel chewers are personalities worthy of observation though not of emulation.

They have some common characteristics.

Generally, they are neatly dressed in spotless white; dhothi-clad , white shirt or ‘Jibba’ of ‘ larger than life’ dimensions and sport a fairly long gold chain that  sits relaxed over the sloping belly of the chewer. All these are peripheral manifestations of wealth. Richer among them are generally accompanied by an assistant who carries the betel + accompaniments freshly loaded everyday in a rectangular box –stainless steel or in Aluminium and neatly wrapped in a white towel. The assistant chooses to address the rich man as “Anna” though he is elder to the ‘Anna’. The unmistakable trait of the chewer is his basic practice of tilting his head backwards whenever he talks. It is a custom of safety to preclude the prospect of spilling the ‘Dracula-like saliva’ upon self, since for most of the time, his mouth is a mini wet grinder; He never asks his assistant to handover the betel box; his lateral look towards the assistant is signal enough to indicate the man’s urge for ‘fresh chewing’.   The assistant bends down a bit as he hands over the betel kit in all reverence. Despite, the ‘boss status’ betel chewers never ask their assistants to ‘formulate’ the items for chewing. Instead, they want to do it meticulously as per personal procedure of choice of material, the quantity and the volume of areca nut and that of calcium                    [Chunnam].

Honestly, what constitutes the no cost entertainment is our observing his rather methodic and lethargic way of assembling the ingredients, choosing the volume of matter for that session of chewing and the care he bestows on to the betel leaves before he cruelly bites them under the molar teeth. Like Lord Krishna the betel chewer harbours a mini world of ‘finely ground matrix of matter’ in his mouth.  My analogy has its basis in the fact that , it is not easy for us to have the glimpse of the contents in the mouth of Lord Krishhna or that of a chewer –for, the latter seldom keeps his mouth open for anyone to peep in. That his mouth is rich in ‘ground matrix’ is a logical inference from the bulged cheek that collapses to normal whenever the chewer  gets rid of the matter preparatory to either eating or for fresh chewing. As a part of their language, the chewers liberally pronounce ‘zh’ or ‘zha’ as they have to speak through the solid-fluid matrix of the oral content.

Morphologically, the chewers have ‘swollen’ tongue, the latter being immersed in betel-areca- tobacco ensemble. Their dentition [teeth] is frighteningly dark; not easy to have a precise count of teeth. A permanent tint of red adorns the edges of mouth of chewers. Whether or not they keep a pillow while sleeping, the betel box is near the head irrespective of where the assistant stays. These do not entertain us; that part of it comes when the chewer begins his hobby anywhere any time. That is the ‘no cost event’.

My calling it an entertainment is based on the curiosity of a cluster of boys and a few girls in the area, who make it a point to observe him in action. On most occasions a chewer chooses to sit –rather comfortably leaning over some rigid support. The fastest action by a chewer is when he quickly flings open the betel box and glances to see if every ingredient is in place. A bunch of fresh betel leaves are kept well stacked; the avid chewer does not prefer to fold the leaf until he does it himself. He just takes 2 or 3 leaves at a time and inspects each for surface cleanliness; leaves them on his lap – much like his children. He surveys the areca nut pool and picks out one. From underneath the box, he pulls out the nut cracker and with the nut on hold between the left thumb and index finger, he arranges the cracker to clasp the nut by the right hand and firmly and quickly slices the nut to thin pieces and manages to pool them on his left palm. Abruptly, he stops any further cutting; restores the tool to its hideout and locates a tiny container with a firm lid; quickly opens the lid and runs his right ring finger over the tightly packed calcium paste and retrieves a faint layer of white stuff on the right ring finger tip and by reflex puts back the calcium container into the box. His left palm still folded, betel leaves on his lap , calcium clad ring finger gently curved inwards to shield the calcium from drying up , chooses to speak of current affairs for a while. All eager onlookers are disappointed that he is lethargic.    In a minute or two he begins his deft handling of the art.

A caressing gentle swipe of betel leaf on the thigh of the chewer is a dexterous act by itself. He sweeps the surfaces over his fabric and only now folds the leaf vertically from end to end and gently pulls off the midrib from the stalk downwards splitting the leaf into 2 halves; pinches off the lower leaf tip and opens the leaf. By a gentle, careful sweep, 4 or 5 paintings of calcium onto back of  betel leaf occurs quick and the leaf is folded into a tiny cylinder and tucked between fingers of the left hand; the same sequence is repeated for the already chosen leaves. From the left palm, nut slices are dumped to his mouth and one after the other the betel cylinders are alternately tucked into the right and left molar teeth. With a semi open mouth, tongue slightly rlifed up, grinding starts; after a couple of mastication, he opens the betel box and takes out a small packet containing shreds of tobacco. Pulling out those shreds is another deft act. Using the right thumb and index finger he clasps a small pinch of tobacco shreds and pulls them out; they are entangled and more material emerges by entanglement. Like a cat with rat in its mouth violently jerking the head to destabilize the victim, the chewer too violently wobbles his right fist to break loose the entangled tobacco and succeeds; after securing the tobacco stock to its place, he quickly thrusts the tobacco to one side of the mouth.  Now he violently taps his right and left palms against each other to dislodge   traces of areca, calcium and tobacco  Any further grinding is in his closed mouth which keeps swelling by internal build up of solid-fluid matrix. In no time children vanish from the spot but keep watch to see if he repeats the chewing session later. It is the functional elegance that is entertaining- of course at no cost to any on looker.

Prof. K. Raman