Exploring the Enigma called Illaiyaraja – Episode 9

As indicated in Episode 8, by the middle of 1980, Illaiyaraja had become a household name and a much sought after music composer. Even those who had gleefully predicted a short career for him had to accept that he was now a major role-player.

For the first time, listeners were taking careful note of the musical preludes and interludes which took film music to unexplored ground. This was over and above the creativity shown in the song’s tunes were complex Carnatic raagams were simplified and adapted to create modern melodies. The uninitiated enjoyed the flamboyant melodies while the Carnatic music lovers marvelled at the way Illaiyaraja was reinventing each ragam.

Illaiyaraja’s third collaboration with director I.V. Sasi was the Kamalhaasan-Sri Devi starrer, Guru, which released theatrically on 18 July 1980. The film was based on a commercial format and was made simultaneously in Tamil and Telugu. Illaiyaraja’s soundtrack was a major contributory factor to the film’s success at the box-office and the songs have remained firm favourites, even 45 years after its release.

A day after the release of Guru came the film Illamai Kolam. The film introduced a new director in N.Venkatesh and the story was penned by K. Bhagyaraj. Suman, Prathab Pothan and MR Radhika headed the cast in this simple but effective love story. The film gained some recognition because of the songs, but none of the songs received the deserved attention and accolades,despite the brilliance in the compositions that included the mesmerising Sri Devi En Vaazhvil Arull Seyyavaa sung by K.J. Yesudas.

Illaiyaraja’s effort in Illamai Kolam for a small budget film and an unknown director underscored his work ethic throughout his career, including the present. It did not matter to him what the budget was, who the film technicians were, or even who acted in the film. He ensured he delivered the best he could. As always, this effort was not restricted to only the songs – Equal emphasis was placed on the background score.

Two weeks after the release of Illamai Kolam saw the release of Rajinikanth’s Naan Pota Savaal, the last film of the great M.R. Radha. Once again, it was Illaiyaraja’s music that saved the film from financial disaster.

Johnny, which released a week after Naan Pota Savaal, was Mahendran’s fourth directorial and the first of his films to feature a story penned by himself. The film had Rajinikanth in a dual role opposite Sri Devi and Deepa, and once again redefined Rajinikanth as an actor. Because the film stayed well out of the commercial format, it had a slow start at the box-office. However, positive word of mouth, and the unforgettable soundtrack ensured the film’s eventual success. Illaiyaraja tuned Senorita, I Love You after hearing of the birth of his younger son, Yuvan, infusing the joy he felt into the melody.

Illaiyaraja’s fourth collaboration with I.V. Sasi was the action entertainer, Kaali which had Rajinikanth and Vijayalkumar in the lead roles. The bilingual venture unfortunately was a huge failure at the box-office, but the songs went on to become very popular, outrunning the film in theatres.

Releasing on the same day as Kaali – 19 September 1980 – was C, Rudraiah’s Graamathu Athiyaayam which had a story and screenplay by K. Balachander’s assistant, Anandhu. It was originally scheduled to have starred Kamalhaasan and Saritha, but both were unavailable. The film eventually had Chandrahaasan, the elder brother of Kamalhaasan, in the lead role opposite Swarnalatha. Once again, Illaiyaraja’s music gave the film a major boost.

Ellam Un Kairasi was Illaiyaraja’s first collaboration with veteran director, M.A. Thirumugam, the younger brother of Saandow M.M.A. Chinnappa Devar. This was also Thirumugam’s penultimate film as director. The film had Rajinikanth playing the lead role opposite Seema, the wife of director I.V. Sasi.

Almost a month after the release of Ellam un Kairasi came the Deepavali releases,  Nizhalgal and Moodu Pani, both marking the most notable albums of Illaiyaraja to date.

The first was Bharathiraja’s Nizhalgal which introduced Manivannan as a writer and assistant director. The film also marked the debut of Vairamuthu as a lyricist through the song Ponmaalai Pozhuthu. Nizhalgal was a commercial failure but went on to win accolades at international film festivals. The songs, however, were earth-shatteringly creative and varied from the rock-style handling of Madai Thiranthu to the Carnatic-based Poonkathave to the lilting rhythm of Ponmaalai Pozhuthu. The soundtrack continues to enthral generations of music lovers. For one verse of Madai Thiranthu, Illaiyaraja is shown in a recording studio lip-synching the line Pudhu Raagam Padaipathaale Naanum Iraivane – a line that would take on new meaning a few years later.

Released on the same day as Nizhalgal was Illaiyaraja’s 100^th film, Moodu Pani, written and directed by Balu Mahendra and starring his wife Shoba in the female lead in what would become her third posthumous release after Ponnagaram and Samanthipoo. The film had an unforgettable soundtrack which featured varied sounds like Yen Iniya Pon Nilaave, Paruva Kaalangalin Kanavu, Aasai Roja and an English song penned by Viji Manuel titled Sing Swing. The film’s background score matched the level expected of a landmark film – a very befitting performance for the 100^th film of an obvious genius.

Mahendran’s fifth directorial, Nenjathai Killathey, released a week later on 12 December 1980. It was the first major role for actor Mohan who had been introduced by Balu Mahendra in Kokila. The film also marked the acting debut of Suhasini, niece of Kamalhaasan , who would later become Suhasini Maniratnam. The film won three national awards and four state awards. Illaiyaraja’s music once again played a major role in the film’s positive reception.

Releasing on the same day as Nenjathai Killathey was director M. Bhaskar’s maiden production under his newly launched banner, Oscar Movies. The film, titled Soolam, marked the introduction of Rajkumar Sethupathi in the lead role opposite M.R. Radhika. The film’s moderate success was due largely to the soundtrack and background score composed by Illaiyaraja.

Illaiyaraja’s penultimate release for 1980 was Rajinikanth’s Murattu Kaallai which released on 20 December. AV Meiyappan had planned to do a film with Rajinikanth in the lead, but he passed away before anything came to fruition. His son, M. Saravanan then reminded director S.P. Muthuraman about his late father’s wishes.

The initial plan was to have Kamalhaasan and Rajinikanth in the lead roles, but Kamalhaasan reminded Muthuraman about the pact between himself and Rajinikanth not to act together again. They signed on Rati Agnihotri for the female lead and the team persuaded Jaishankar to play the role of the antagonist – a role that would revitalize Jaishankar’s flagging career.

Murattu Kaallai began the trend of an introductory song for Rajinikanth which remained a steadfast feature of the superstar’s films until very recently. The tune for Pothuvaaga en manasau thangam was the second tune Illaiyaraja presented to director Muthuraman after the director rejected an earlier tune. That tune would later be used for the song Hey Aaatha for the Mohan-Poornima starrer, Payanangal Mudivathillai.

Illaiyaraja’s last release for 1980 released on Christmas Day. Titled Rusi Kannda Poonai, the film had Sudhakar and Saritha in the lead roles and was directed by G.N. Rangarajan who made his directorial debut in Kamalhaasan’s Kalyana Raman. The film featured a song penned by S.Janaki in which she sang in a baby voice – a technique she was to repeat in the years to come.

Thai Pongal is a film that would have gone completely unnoticed had it not been for the scintillating soundtrack by Illaiyaraja. The film had Vijayan, Rajesh and Chakravarthy in the lead roles.

In the same category is the Sudhakar starrer, Karumbu Vil directed by Vijay which also would have gone completely unnoticed had it not been for Illaiyaraja’s soundtrack. The song Meenkodi Theril has an enchanting chorus and a hauntingly beautiful melody tat has ensured it popularity to this day.

By the end of 1980, Illaiyaraja had crossed many milestones, including his 100^th film, and firmly entrenched his place in the film industry with his name taking priority on film posters and other publicity material. Quite often, his name overshadowed the name of the director and even the members of the cast. This was only four years after his debut. A lot more would follow, as 1981 would prove to be even more successful than 1980.