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Rediff.com  » Movies » Ilaiyaraja's nostalgic fare in Azhagarmalai

Ilaiyaraja's nostalgic fare in Azhagarmalai

By Pavithra Srinivasan
May 19, 2009 14:25 IST
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A definite attraction of S P Rajkumar's Tamil film Azhagarmalai is maestro Ilaiyaraja's music. Here's what the album has to offer:

Sung by the maestro himself, Ulagam Ippo begins with melodious strains of the guitar, and with its steady rhythm, even pace and mild notes, it immediately takes you right back to the Kshathriyan days. Vaali's lyrics are happy-go-lucky, extolling the virtues of your own country and life, as against seeking others. It's a familiar number, but worth a listen.

Enna Senjalum begins, complete with a nadaswaram/thavil accompaniment in a raga the composer has shown himself to be an adept Mayamalavagowlai, and which harks back to Chinna Thambi and the number in Devar Magan. Muthulingam's lyrics, sung by Thippu, Benny and Group describe the simple devotion that characterises everyday individuals.

Madhu Balakrishnan and Bela Shinde sing Kizhakku Velukkuthu, penned by Mu Metha. It is a song that's about the sun rising and flowers blooming, so a fount of optimism, naturally. The pace is catchy but otherwise, everything from the violin and flute segments is a strong whiff of the late eighties and the nineties.

Unna Enakku penned by Pazhani Bharathi and sung by Bhavadharini is a run-of-the-mill romantic number, which is enlivened a bit by the raga Hamsadhwani, another favourite of the maestro.

Karugumani penned by Na Muthukumar and rendered by Ilaiyaraja begins enticingly; a strong dose of nostalgia sets the tone for this number. It is also mild and sweet, as characterised by the previous numbers.

Muthamma, sung by Madhu Balakrishnan and Rita and written by Snegan is strongly reminiscent of many folksy numbers.

It looks like the makers wanted a collection that was a complete replica of Ilaiyaraja's nineties work, and the album is almost a made-to-order catalogue of his works in those movies. They're productive of a lot of nostalgia, and you cannot help but admire the maestro's ability to marry rhythm with melody but there's nothing exactly new here.

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Pavithra Srinivasan