Exploring the Enigma Called Illaiyaraja – Episode 6

This series of articles began with the intention of examining one outstanding song by Illaiyaraja in each episode. However, after the first episode, we realised that there was a lot of misunderstanding, misinformation and even ignorance of how Illaiyaraja became the pride of India. The Wikipedia page on him contains huge lapses, and ignores some crucial aspects of his growth.

In particular, there is little or no reference to the prejudices he suffered as a child and as a young man trying to make his mark in the music scene. There is also very little reference to his spiritual background – of being born a Christian, becoming an atheist and then his transition to a staunch Hindu.

 

The immediacy of social media has seen an increase in articles designed to discredit him and put him in a poor light. The effect of these articles have been exacerbated by increasing incidents of what is perceived as anger, arrogance and ego by Illaiyaraja. The image painted of him recently is that of a bitter man who is money mad and greedy. There are those who nothing at all about him and who have now joined the bandwagon in this harsh labelling and name-calling.

This series of articles will not set out to refute all these articles, nor will it attempt to portray him as a saint. Instead, our aim is to provide a better understanding of the man and his music. For those who do not care one way or another about his life, the glimpse into his vast and varied repertoire is something that every Tamilian should savour – because a study of his music will reveal a level of genius that is unmatched in the history of Tamil music.

 

In 1979 CV Shridhar, who had formed a firm bond with Illaiyaraja, engaged him again for his bilingual film with Vijayakumar, Latha and Jai Ganesh heading the cast in the Tamil version, titled Aazhage Unnai Arathikkiren. Although the film failed at the box-office, it was widely praised by film critics, but the soundtrack was a megahit. The songs Naane Naana, Azhage and Kurinji Malaril were the most popular of this hit soundtrack.

 

The Rajinikanth-Sri Devi starrer, Dharma Yuddham, released on 29 June 1979, was the first collaboration between Illaiyaraja and director R.C. Sakthi. The film was a box-office success largely because of Illaiyaraja’s soundtrack which included Oru Thanga Rathathil and Aagaaya Gangai.

 

D. Yoganand’s directorial with Sivaji Ganesan, titled Naan Vazhavaippen had Rajinikanth, KR Vijaya and Jai Ganesh heading the cast. It was a film that once again drew audience attention to Illaiyaraja’s arresting background score. In addition to this, the instrumentation in the film’s two duets were fresh and exciting. All the songs went on to become hugely popular.

 

Bharathiraja’s Niram Maratha Pookal was originally meant to star Kamalhaasan, Rajinikanth and Sri Devi, but the producer died before the film was launched. With the new producer came a smaller budget and the film now had Vijayan, Sudhakar and Radhika in the lead roles. The original plot was penned by Panju Arunachallam but was reworked and rewritten by K. Bhagyaraj. Like Bharathirajas’s other films, Illaiyaraja’s music formed the backbone of this film. A closer look at this soundtrack will reveal an album that is rich in musicality, moving lyrics and musical arrangement decades ahead of its time.

 

07 September 1979 saw the release of the Sivakumar-Sumithra starrer, Kadavul Amaitha Medai, with a screenplay by lyricist Vaali and directed by S.P. Muthuraman. Illaiyaraja’s soundtrack in this film had two notable tracks. Mayile Mayile marked the first duet with S.P. Balasubramanyam and Jency and the beautifully composed Thendrale Nee Pesu marked the only song sung by P.B. Srinivas under Illaiyaraja’s music.

 

I.V. Sasi’s second Tamil film, Pagalil ohr Iravu, produced one of Illaiyaraja’s truly iconic albums. The film starred Vijayakumar, Sridevi, Ravikumar and I.V. Sasi’s wife, Seema, in the lead roles. Released on 15 August 1979, the film marked a brave deviation from the formulaic approach to films.

 

The Rajinikanth-Sri Priya starrer, Annai ohr Alayam marked Illaiyaraja’s first film for M.M.A. Chinnappa Devar’s production company, Devar Films. The soundtrack surpassed Devar’s own expectations as well as the expectations of the film’s director, R. Thyagarajan. Once again, Illaiyaraja’s background score magnetically attracted attention.

 

Sivaji Ganesan’s Pattakathi Bairavan was given a boost by Illaiyaraja’s soundtrack. The film, released on 19 October 1979, starred Jayasudha, Jayachithra, Sridevi and Sowcar Janaki and was directed by V.B. Rajendra Prasad, the director of the Sivaji Ganesan starrers, Engal Thanga Raja and Uththaman.

 

Released on the same day as Pattakathi Bairavan was Mahendran’s second directorial, Uthiri Pookkall – a title that was suggested by Illaiyaraja. Bangalore based Ashwini made her debut in the film in the female lead along with other newcomers like Kamalhaasan’s brother, Charuhaasan and Manorama’s son, Bhoopathy. Uthiri Pookkall went on to become a silver jubilee hit and won multiple awards, including the Tamil Nadu State Film Award for Best Female Playback singer, S Janaki for her rendition of the song, Azhagiye Kanney.

 

Agal Vilakku, which released on 07 December 1979, was the second film of actor Vijayakanth and his first film as lead actor. The film’s lead actress was Shoba, wife of Balu Mahendra. Once again, Illaiyaraja’s soundtrack gave this film a major boost at the box-office.

https://youtube.com/playlist?list=PLsesLQUY0cGhbbU8LLYAsEG2–HXtxw1y&si=OHjzTCySslVwOgak

Another Illaiyaraja film released on the same day. Titled Chakkalathi, the film was directed by Devaraj-Mohan, the duo who directed Illaiyaraja’s debut film, Annakilli. Chakkallathi marked the debut of actress Ambika who went on to become one of Tamil cinema’s most successful actresses of the 1980s.

 

Sivaji Ganesan’s Vetrikku Oruvan released a day later – on 08 December 1979. The film was written by Panju Arunachalam and directed by S.P. Muthuraman. The film did not fare well at the box-office, but Illaiyaraja’s soundtrack proved to be hugely popular. Once again, Illaiyaraja’s background score in Vetrikku Oruvan showed people what a good background score can do for a film.

 

In Episode 7: A look at Illaiyaraja’s released soundtracks in 1980.