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