Exploring the Enigma Called Illaiyaraja – Episode 11

We return to this series on the genius of Maestro Illaiyaraja and, as has been evident from Episode 1, there is an intense focus on the songs and music produced in his first ten years in the film music industry. The reason for this particular focus would be outlined later in this series.

Illaiyaraja was born into a home that was originally Christian. However, because of his father’s association with the Communist Party of Tamil Nadu, Illaiyaraja and his brothers grew up to be atheists. Despite this, most of their engagements came from Temples and they found themselves in a Hindu environment for much of their time. Despite this, Illaiyaraja remained an atheist. This would soon change in the most dramatic way possible in 1982.

Bharathiraja’s 1981 film – Alaigal Oyvathillai – marked the first production of Pavalar Creations launched by Illaiyaraja’s brother, R.D. Bhaskar. The film featured a story by Manivannan with Bharathiraja writing the screenplay and directing this landmark film. Alaigal Oyvathillai introduced Karthik, Radha and Thyagarajan to films although none of them dubbed for the film. S.N. Surender dubbed for Karthik, Anuradha for Radha and Bharathiraja himself dubbed for Thyagarajan. The film’s assistant directors were Manivannan and Manobala – both of whom would form a lasting bond with Illaiyaraja when they became directors.

The entire soundtrack for the film was composed within 40 minutes. An additional song recorded for Mahendran’s permanently shelved film, Maruthani, was included in this album – the masterful Puthum Puthu Kaalai penned by Gangaiamaran and sung by S. Janaki. The song was not used in Alaigal Oyvathillai and would later be reprised for the 2014 film, Megha. The soundtrack was a huge hit and remains a part of many current playlists.

As had become customary by then, Illaiyaraja’s background score received as much attention as the songs. Audiences were by that time taking note of the background scores of films – especially those that had Illaiyaraja’s music.

Twelve days after the release of Alaigal Oyvathillai came the film Kohyil Pura written by actor Vinu Chakravarthy and directed by K. Vijayan. Vinu Chakravarthy had earlier written Vandichakkaram and was the actor who introduced Vijayalakshmi to the screen after renaming her Silk (pronounced Silukku) Smitha. In Kohyil Pura he penned yet another love story. The film would not have survived for more than a week had it not been for the musical genius of Illaiyaraja.

07 August 1981 saw the release of one of the worst performing films of Rajinikanth to date. The film released in three languages – Tamil, Malayalam and Kannada – with the Tamil version titled Garjanai. Directed by I.V. Sasi and produced by Hem Nag pictures, the producers of the ill-fated Rajinikanth-Seema starrer, Kaali, Garjanai had a run that did not exceed 52 days in any of the releasing cinemas. The songs were popular, but not the kind of hit status expected of an album by Illaiyaraja.

A week later saw the release of Karaiyellaam Shenbagapoo – an under-appreciated soundtrack by Illaiyaraja which was a blend of western styles with Carnatic and folk music in a blend that was nothing short of magical. The idea for the film’s story came from Illaiyaraja – a thriller set against a rural backdrop. Novelist Sujatha then penned the story, with G.N Rangarajan directing the film. Unfortunately, the film did not do well and could be one of the reasons for the album not receiving the deserved level of appreciation.

The following day saw the release of two films – Shankarlal and Nettrikan. Illaiyaraja was supposed to have done the background score and soundtrack for the film, but there were severe delays in the shooting. When the film’s writer and director, T.N. Balu approached Illaiyaraja again, he had no available dates and Balu then agreed to sign on Gangaiamaran as a replacement. However, Balu pleaded with Illaiyaraja to do at least one song, which he agreed to. The song was Ilangiliye picturised on Kamalhaasan and Sridevi. Unfortunately, T.N. Balu passed away during the filming of this movie and the film was jointly completed by Kamalhaasan and N.K. Viswanathan.

Releasing on the same day as Shankarlal was Netrikann. Netrikann was the inaugural production of K. Balachander’s Kavithaalaya Productions and was directed by S.P. Muthuraman. The story and script was penned by Visu while K. Balachander wrote the screenplay. S.P. Muthuraman – who had developed a solid relationship with Illaiyaraja immediately asked Illaiyaraja to score the music, but he was met with some opposition by K. Balachander. Eventually, Muthuraman was allowed to use Illaiyaraja.

There are various reasons attributed to Balachander’s hesitation to use Illaiyaraja, all of them anecdotal. This will be dealt with in a later episode of this series that would examine how and why these two parted ways after Manadhil Uruthi Vendum.

Almost as if to prove himself, Illaiyaraja delivered a wildly creative and musically diverse album with some stunning fusion styles that transcended merely the fusion of music styles. The soundtrack was initially criticised, but later went on to be a reference point for many aspiring musicians. Netrikann had Rajinikanth playing an unusual dual role supported by Lakshmi, Saritha, Menaka and Vijayashanthi.

Enakaaga Kaathiru was the second directorial of cinematographer P.S. Nivas who made his directorial debut with Kallukkull Eeram. Filmed on location in Kashmir, the film starred Suman, Sumalatha, Nisha and Banuchander. The soundtrack is an amazing one and it is unfathomable that these songs are not spoken or written about more. The title music and score in the opening sequence was at least a decade ahead of its time, while the songs will thrill even the modern ear.

K. Shankar’s 1981 film, Bala Nagamma is another album of Illaiyaraja that deserves more attention, airtime, admiration and analysis. It is musically rich, creative and is a glimpse into the amazing depth of Illaiyaraja’s versatility. The film starred Sridevi, K.S. Vijaya, Sarath Babu, Manjula, Manorama, V.S. Raghavan, Gandhimadhi, S.A. Asogan and Vennira Aadai Moorthy.

Kamalhaasan’s Tik Tik Tik released for Deepavali on 26 October 1981. It was Bharathiraja’s second modern movie with an urban setting. The film was a thriller with a modern theme and Illaiyaraja matched this with a modern soundtrack as well as a memorable background score. The film marked the second screen appearance of Radha who had made her debut earlier in the year in Alaigal Oyvathillai. Costumes won by Radha, Madhavi and Kamalhaasan in the film were all designed by Vani Ganapathi, then married to Kamalhaasan. Despite the modern treatment, the film did not attract great reviews but still went on to be remade into Hindi and dubbed into Telugu. The soundtrack saw the singing debut of Latha Rajinikanth (Rajinikanth’s wife) in the song Netru intha Neram.

Tik Tik Tik owed much of its success to the brilliant background score by Illaiyaraja.

Illaiyaraja’s last release for 1981 was the Kamalhaasan-Madhavi starrer, Ellaam Inba Mayam. The film also starred Jaishankar, Suman, Thengaai Srinivasan and Y.G. Magendran. Once again, Illaiyaraja’s songs explored a wide range of styles and genres, including a funk rock fusion song, Solla Cholla enna perumai. The film was written by Panju Arunachallam who also penned all the lyrics. G.N. Rangarajan directed the film which went on to become a box-office success.

There were also two other films that were advertised for release in 1981 but remained shelved. One of these was Panchami which held tremendous promise. It was directed by Peter Selvakumar and had cinematography by Balu Mahendra. Mohan, Rajalakshmi, Preethi and Chandrasekar were in the cast. The film was completed but a much publicised dispute between the director and producer saw the film permanently shelved. This was a pity as Illaiyaraja’s soundtrack was an outstanding one. Three of the film’s four songs appear below. The fourth song is titled Pani Kaatrin.

The other unreleased film, Oomai Ullangal also had an intricately composed album but has since been forgotten because the film did not release.