Omane from Aadujeevitham

 

Note: the song is best experienced using headphones.

A disclaimer: I know it's a tad too late to write about the song, maybe, I am a year late. But given my confidence in its longevity, it's just delayed justice. It's a classic and needs no further explanation.

The song begins with a curious BGM and continues for most part of the song, guiding the song like the rail for the train. Through the entire song, it moves like water gently folding and making progression towards a destination it's sure of. And in just a few seconds, Chinmayi is almost speaking out the verses in monotone. She starts off singing like a person wandering in the woods, singing their favourite song so softly, and they are like a teaser or a precursor trying to convey about what's to come. 

In the background, you can faintly hear the santoor, cello, violin, and tabla playing shyly and humbly like they are being introduced to the audience who are to listen to an epic of a song. 

And then again, Chinmayi sings the same verses in a way that sounds like someone saying, ‘I repeat…’. By now, all the instruments are playing their notes in a beautiful flow.

Just when we think we are getting used to the song, Vijay Jesudas  comes in, with his first cameo act. He sings with so much emotion, a contrast to Chinmayi’s monotony in the beginning verses. Now the song is cruising ahead, like the train that's steadying and in full swing, on autopilot. And Chinmayi goes ahead with her part in full prowess. You cannot stop wondering about what to notice: her voice, inflections, or the way she effortlessly delivers the complex Malayalam lyrics. 

A note about the lyrics: I bet you cannot sing along, even after multiple attempts, and strategies such as listening to it a hundred times may help. I suppose you don't have to bother so much if your native language is Malayalam. This is in contrast to songs like Malare that have simpler and listener-friendly words. I've tried all means: to listen to it by paying full attention, sometimes by letting it play in the background, sometimes by understanding the lyrics, sometimes by reading it without the song, and trying to read the lyrics and sing along. Anyways, with respect to the sweetness of the song, somehow, I liked listening to the Telugu version best after the Malayalam version. Tamil, Kannada, and Hindi were ok.

So, back to Chinmayi. I've missed her so much since the likes of Kannathil, Enna Idhu, Zehanazeeb, and Titli, that now it's come to the point of not recognizing her voice. Of course, I was too preoccupied with my life. I must be… because even for me to be dazed in the voice of Kadhale from 96, it took quite a while! Obviously, Chinmayi is absolutely amazing. Add to the list of missing things in my life, and tending to the point of forgetting: the genius that Rahman is. This song compensates for everything.

Back to the song… by now, the first quarter of the song is done, which is almost like a teaser to the song. And, in the middle of the song comes a breather in the form of a chorus that sings carnatic, folk, and hindustani, followed by a qawwali. All blend together and one after the other in the middle portion of the song. The highlight of the qawwali is that it's sung not in the usual high-pitched rustic male voice, but in a cooing light-weight female voice, and that's something unusual yet amazing. The entire song sounds like it has a different structure because of this chorus. 

So, there's not a quiet moment in the song, like in most songs where the instruments play for a bit. The only time you can hear just the music is in the ending.

At this point, it's worth mentioning about the transitions: though there are a lot of times where the song changes hands, like Chinmayi handing it over to Vijay Yesudas, and back to her, and again from her to the chorus. Even until this point, there is no trace of transition elements, and yet the song goes on so smoothly. The best part comes when the song transitions from chorus to the qawwali bit. This is certainly the proof of inventiveness of ‘the’ Rahman: with just a half second of tabla playing, the song completely changes mood, with only the tabla and harmonium playing in the background. And the next transition is from qawwali to Chinmayi. Now the curious BGM comes to rescue, and we have no trouble getting back to square one with how Chinmayi started off. The penultimate transition is from Vijay Yesudas to Chinmayi, and that's rather abrupt: when he goes off on high-pitch, Chinmayi takes over the reins in a very unwelcome manner. But we can hardly think of it as rudeness. It is sweet, because she is on a mission: to safely steer, what started to look like a catamaran when the song started off, and that has now turned into a huge gigantic titanic.

So, in the last quarter, the instruments play along with singers, with the assertive authority of someone who's got the hang of the song. What played very tentatively in the beginning, like seeking permission, now plays in a very sure-footed manner. Both the singers sing like they are traversing through a familiar terrain, a known territory with the support of the instruments. 

And in the end, when the mood changes to we bidding farewell, the music slows down like they are applying the brakes to a giant juggernaut, and ending on a rather melancholic note. By now, we experience that we've travelled through the life of a great long-winding epic.

~ 16Mar2025

A note about notes

I think I sold Rahman a little short in "Of Opera, Train Tracks, Rhapsody, and A Gentleman in Moscow" when I briefly touched upon his usage of Carnatic notes in his compositions. It brings such a ravishing feel to the songs, no denial about it. And yeah, the mention of Carnatic notes in a song tends one to slow down the conversation, sink into the current state of being with eyes closed, with swaying of heads and the four of your fingers count and group portions of the song by repeatedly contacting the thumb. But no, we are not anywhere closer to this state of being in most of the songs where Rahman uses the Carnatic notes. There is a lot of tempo that the notes bring to the songs.

I had mentioned about Yaakkai Thiri from Ayudha Ezhuthu, Mangta Hai Kya from Rangeela, Dil Se Re in Dil Se, Kannalane from Bombay, and Thee Thee from Thiruda Thiruda. Perhaps, it was a thoughtless list. So, here is some thought to it.

Like the 'seeing red cars' phenomenon, I could not help but pay attention to the ones that had Carnatic notes. Of songs in that category, I must not miss the titular song in Bombay Dreams (yr 2002). While the female chorus does have some notes, it is not until Rahman pitches in with his strained tone that the song picks a considerable pace, especially in the last minute. 

Well, the album was a bit of a let down for me, primarily because part of the album is a medley of songs from movies such as Taal, Mudhalvan, Dil Se, and Minsara Kanavu... the ones that came out in the last three years of the 90s. Be that as it may, a few of the original pieces do exhibit Rahman's genius. Take the How Many Stars song; it has such a beautiful stature, in both words and composition. Or, Salaam Bombay or The Journey Home for that matter. Through the Ganesh song, one cannot stop and wonder about the fact that the Ganesh Chathurthi festival in Bombay is nothing short of a celebration. And the second song in the Bombay Dreams album to exhibit the magic of notes is Wedding Qawwali. 

One more with notes is the Kariye Na song in Taal. It is a folk-themed song with more emphasis to the verses. And in his own style, Rahman would play down everything and keep it to a bare minimum. Add to it, the Noor-Un-Ala-Noor song from Meenaxi. While Taal was overrated and lived to its expectations, Meenaxi's songs are those that exhibit Rahman's passion and repertoire. Thankfully, I have listened to Meenaxi's songs over a thousand times in these 15 years and not seen the videos until today; even Mangta Hai Kya's video for that matter. Certain things (do not) happen for a reason! 

A few other notable songs with Carnatic notes are Luka Chuppi from Rang De Basanti and Tere Bina from Guru. 

Anyways, now to the closing notes: though my desperation to reach out to Rahman's new songs and familiarize them has died out, I still cannot stop being amazed by the fact that, by hook or crook, the songs end up reaching my ears.

Between Shades of Gray and Karwaan

How long has it been since I saw a movie as refreshing as the cool breeze on a sweaty evening! It was the Friday evening and my official weekend hours. Yes... weekend, for me, lasts for a few hours, and that is the Friday evening. The weekend is technically work for home. Work is work, isn't it, be it home or office. Anyways, c'est la vie! So, after a long time, I was surfing Amazon Prime to see if there was anything worthwhile, and this one popped up. The movie poster had Dulquer and Irrfan sharing a light moment with another young lady, and with tender coconut in their hands; so, by the first looks, it came across as a good movie to spend time on.

You get to traverse most of the first part with Dulquer's misgiving in his life. But then, it does not come out so on-your-face, like the typical lifeless guy with a beard. He is a guy who had to lose his passion for the sake of his father, who harps on a solid career, rather than dwelling on one's passion. For his father, Dulquer's passion was a mere insecure vocation that vacillated unsteadily, tethered by luck at the binding end. Dulquer is shown desperately seeking the attention of his love interests at a few places, and that is still reasonable for a guy with a single status. There is not much of a background for Irrfan, apart from the fact that he owns a few vehicles, but not the suave kinds, along the lines of his character in Piku; yet, he is a practical, lovable, and a rustic character. He has a brotherly affinity for Dulquer, and this clarifies or convinces us as to why he would take his personal vehicle to help Dulquer; a vehicle styled similar to the Volkswagen Camper.

So, Karwaan refers to a caravan, the vehicle that Irrfan drives to exchange Amala's mom's mortal remains with that of Dulquer's dad. Both their parents had travelled to the Ganges on a pilgrimage and the bus meets with an accident. For a few seconds, I actually could not recognize the beautiful Amala, but then her gait and body language lets you make the guess. Before the exchange act starts, there is a piece on the way the travel company and the courier company handle the demises; it does look a bit stony and dramatic, but I guess that is how it really is... perhaps more like the way George Clooney presents himself when he issues the pink slips in Up in the Air.

The exchange of conversation between Dulquer and the spoilt brat in Amala's daughter, and the situational romantic tragedies when Irrfan's tries to hit on a woman he falls for, form the rest of the movie. The movie evokes memories of Soodhu Kavvum and Neram, in the way it has dealt certain parts of the plot. Now here, I must say that my references to the other movies is certainly an injustice to Karwaan, especially after having had so much fun watching the movie. It certainly has a refreshing appeal and is a must watch. There's no doubt about it.

Karwaan was actually sandwiched between two of the many quick reading sessions of the book, Between Shades of Gray written by Ruta Sepetys. That night, after watching Karwaan, I was extending my weekend hours for a little longer, and I was not too sure if I must continue the emotionally heavy book after seeing such a light-hearted movie. But then, I reasoned it out saying that a good movie stands apart for the lightness it brings, despite the drama contained external to it. And, a good book like Between the Shades of Gray, however tragic it may be, does not dwell in your mind for the horrors endured by the protagonists (Lina and her fellow members), but the positivity and the ray of hope that beams throughout the narration.

Thereon and until the end, there was still a lot more tragedy in Lina's life. There were places in the book that were ghastly, and yet, Karwaan's aura never faded. And, neither did I feel so desolated after I finished the book.

Of course, even though there was a little hope saved at the closing of the book, when the inspecting doctor arrives, it still is not a happy ending. Could be primarily because of the number of years after which the countries surrounding Lithuania, the Baltic countries, got their freedom from the tyranny of Russia. In all, a very good book after a really long time. And it is yet another book that carries values and reinstates the spirit of hope amidst doom and despair.


Dated - Oct 06, 2018

A Heart-Warming Tale

Eddie the Eagle

Apparently, a tad old review. Be that as it may, I wanna write it anyways.

This one is such a heart-warming true narrative of Eddie, a kid who aspires to be at the Olympics. The movie's director manages to create the endearing feeling for the protagonist by showcasing his zeal to participate in the Olympics, despite his shortcomings. You kinda get a feeling of having won a medal for Eddie when the only thing that he achieves is the minuscule victory of having qualified for the Olympics, and that too when there were hardly any stringent minimum qualifications laid for qualifying for participating in the Olympics.

Most of us are mediocre folks, who live a life of a cigar that is either smoked or trampled, all done too quickly. So, this one eggs us to dream, and go after it. Another remarkable point is about the freedom that Eddie's parents give him, especially his mom who is super-supportive of Eddie's dreams. Consistently, the endearing mom that she is, she puts his aspirations at the top of her list and forgives and encourages that self-motivating lad. And, all of this, despite Eddie's dad who had long given up on him. Wish we could have a person like Eddie's mom in our home team!

And, not really sure why the handsome Hugh Jackman would have wanted to do the role of a prodigal ski jumper. Anyways, good to be seeing him without the metal prongs.

Translation of Mazhai Vara Pogudhe from Yennai Arinthal

There she comes, the rain.
And now, she begins to shower.
Would it do to not get soaked?

The flower garden is closing in.
And now, the place is oozing with charm.
Would it do to not get lost?

My heart floats
like the cloud-like soft cotton,
What do I do to redeem it?
I wonder to whom would it listen!

With her sea-like eyes 
she tranced me.
I have already gone lost,
and yet, it is all for good.

A bit on the fire, 
a bit on the river,
unsure and still, stands my heart.

With her dark eyes, 
the doe-eyed keeps stabbing me,
and yet,
the pain has such sweetness.

She asks me to live in,
in her dimpled cheek.
What a priceless boon
for a lifetime!

She dropped by when the moon slept in the clouds, 
and I was drawn deep in my dreams.
And yet, when she left, 
she never bothered to caress me.

The eyes would not shut
and the sleep would not arrive.
She named it love,
and blessed me abundantly with it.

She nears, and my heart goes ahead.
She goes, and my heart goes behind...
My heart! You are so stuffed with her memories.

Keep the eyes of the butterfly shut,
and yet, it still reaches the flower.
What about the rain?
It does have to reach the earth.

Where you stand, 
there reaches my eyes.
I am so fixated that you walk back and forth, 
and my heart just keeps vacillating merrily.

You... 
are the swaying peacock,
with your tail on my shoulders...
I would watch it trail by, 
all my life.

Translation of Aavaram Poo from Poo

If there are a few movies that I respect, then the one certainly in that list would be the move 'Poo'. A landmark movie for so many reasons, it is a tale of social messages, tragedy, sacrifice, friendship, hardships faced by economically backward, and so much more. I am not qualified enough to appreciate its technical brilliance, but I suppose the level to which it keeps its viewers engaged is certainly a mark of its brilliance.

The movie is about a woman who has been in love with her cousin. It shows largely her viewpoint, but the way a few others feel about the relationship come about very subtly; the others include her cousin, her mom and her sibling, her friend, and at last her uncle. Though their views are shown subtly, only those are harshly pelted on to the flower, and its feelings.

And if there is one person who can be said to walk away with all the laurels, it is Parvathi Menon. She just leaves one wanting for more, because she was not seen in any Tamil movies, in spite of her amazing histrionics. And of course, the director for the characterization of Maari (played by Parvathi). He has shown Maari as a person who bestows unconditional love on her cousin. So much so that if one has to understand the meaning of 'unconditional love', it is from her. How can a person still love the other, even after they know that the person can no longer be part of their life again? I say unconditional because, it is not with a compromise made on her marital life; she adores her husband and yet wants to see her cousin happy, but just in vain. Just amazing characterization!

This one song that I have attempted to translate (Aavaram poo annalil irunthe...) depicts the movie's storyline briefly--it says about the yearnings of a woman, here the flower; the flower, and hence the title of the film, Poo. A very beautiful and simple composition by S S Kumaran is brought to life by Chinmayi, with the way she emotes the flower's yearnings, for the unrequited love in her life, and the way she is poised in her life. Not to mention Na. Muthukumar's beautiful yet uncomplicated lyrics that portrays a person's state of affairs--it is one reason that it is mostly his songs that I often attempt to translate; it is just that I realize this only after I am done with most of the translation work.

Here we go...

For whom has this flower been waiting,
so forlorn?
It has kept its bloom, bearing the dusk, 
the noon, the rain, and the scorching sun...
just for you.

Will not the root know,
this flower's love for its own root,
even if unsaid?

It sways in the wind and follows your way.
It keeps all its petals unfurled,
with all juvenile memories, to its dismay.
All the age-old sweet nothings,
would be just mine for me to assay.

Dearth and the dead leaves shout aloud,
about shortcomings and sufferings.
And all my words, hush up into the cloud.

For a lifetime, it upholds a penance
standing one-legged, to become a garland 
that decorates your firm chest, perchance.
It freezes in the chill, holding its life,
and would flourish at your one glance.

You are its colors and its fragrance,
and would perish, 
if you forsake it...

Will not the root know,
this flower's love for its own root,
even if unsaid?

For whom has this flower been waiting,
so forlorn?
It has kept its bloom, bearing the dusk, 
the noon, the rain, and the scorching sun...

It has been a long time since I wrote, leave alone translated any. I hope I have done justice...