Maruvaarthai - An ode to the incomplete

Every once in a while there are melodies that are unheard when they first surface in the music scene, and then suddenly the rendezvous takes place at the opportune moment. Maruvaarthai Pesaadhe is one such melody that captured my imagination a little late. A mysterious Mr.X composes a tune that showcases the romantic oodal of Reetigowlai and Desh raagas... skillfully written by Thamarai, soulfully rendered by Sid Sriram. As the melody grew on me I just had to celebrate the lyrics.

Maruvaarthai Pesaadhe is an ode to incompleteness. I mean notice the opening lines:

மறு வார்த்தை பேசாதே!
மடிமீது நீ தூங்கிடு!
இமை போல நான் காக்க
கனவாய் நீ மாறிடு !
Maruvaarthai Pesaadhe madimeedu nee thoongidu. Imai pola naan kaakha, kanavaai nee maaridu...


Words are interrupted, all she needs to do is place her head on his lap and sleep, she would become a dream which is probably the most experienced motif of incompleteness.

மயில் தோகை போலே விரலுன்னை வருடும்!
மனப்பாடமாய் உரையாடல் நிகழும்.
Mayil Thogai Póle Viral Unnai Varudum! Manappaadamai Uyraiyadal Nigazhum.

His hands would touch her, not like the way hands should but like a peacock's feather, ever so gently without the completeness of a human touch but just enough caress to invoke love's passion.

விழிநீரும் வீணாக
இமைத்தாண்டக் கூடாதென..
துளியாக நான் சேர்த்தேன்..
கடலாகக் கண்ணானதே..!
Vizhi Neerum Veenaaga Imaithanda Koodathena… Thuliyaga Naan Serththen… Kadalaaga Kannaanathey…!

The conversation is a ritualistic one, not focussed, there is a trance that invokes tears that cannot cross the threshold of the eyelids and the eyes become an ocean. Take a moment... visualise it. Beautiful incompleteness right?!

மறந்தாலும் நான் உன்னை
நினைக்காத நாளில்லையே ..!
பிரிந்தாலும் என் அன்பு..
ஒருபோதும் பொய்யில்லையே !
Marandhalum Naan Unnai Ninaikkadha Naal Illaiye Pirindhalum Yen Anbe
Orupodhum Poi Illaiyae!

Incompleteness is taken a notch above with the unabashed hero saying there isn't a day that he doesn't remember her despite forgetting her. Forgetfulness is also unable to complete the task at hand.

விடியாத காலைகள்..
முடியாத மாலைகளில்..
வடியாத வேர்வைத் துளிகள்..
பிரியாத போர்வை நொடிகள்!
Vidiyadha Kaalaigal… Mudiyadha Maalaigalil…. Vadiyadha Vervai Thuligal…!
Piriyadha Porvai Nodigal…!

The song tugs at your heart as images of a newly discovered love are woven by Thaamarai as he talks about mornings that are not dawned and evenings that don't end. As he quickly alliterates the previous line with Vadiyaadha vervai thuligal, Piriyaadha porvai nodigal... the listener smiles secretly imagining the lovers in embrace. Every image suggests the closure that's amiss; poetry thrives.


மணிக்காட்டும் கடிகாரம் தரும்வாதை அறிந்தோம்..
உடைமாற்றும் இடைவேளை அதன் பின்பே உணர்ந்தோம்!
மறவாதே மனம்..
மடிந்தாலும் வரும்..!
முதல் நீ...! முடிவும் நீ...!
அலர் நீ...! அகிலம் நீ...!
Manikaattum Kadigaram Tharumvaadhai Arindhdhom! Udaimaattrum Idaivelai Athan Pinbe Unarndhom…!
Maravathey Manam… Mudindhalum Varum!

I don't know if any other language can describe lovemaking in such a poetic manner. Look at the use of words like vaadhai and the beautiful rhythmic quality of arindhom and unarndhom and again showing us the perfect incompleteness by saying mudindhalum varum :)

The next two lines and the word Alar in particular is what I suddenly realise is the literature connect. Whether deliberately or not Thamarai uses the word Alar. This word appears in சீவக சிந்தாமணி, if reading aids me right, to describe the face of the beloved. Alar is simple terms means just blossomed... but subtitles in the official single translate it to happiness. Either ways it is the ecstatic state of her face that he describes and extending that noment of ecstacy he says agilam nee... aptly preceeded by mudhal nee mudivum nee... juxtaposing the beginning and the end with the beginning of ecstasy at the fully bloomed face of the beloved which then is dispersed into the entire universe.

Mudhal Nee! Mudivum Nee! Alar Nee! Agilam Nee!

தொலைதூரம் சென்றாலும்...
தொடுவானம் என்றாலும் நீ...
விழியோரம்தானே மறைந்தாய்..
உயிரோடு முன்பே கலந்தாய் ...!
Tholaidhooram Sendralum… Thoduvaanam Endralum Nee… Vizhioramthaane Mataindhai! Uyirodu Munbe Kalandhai…!

And then as if to contract the joy of calling her the universe he goes on to say even if she is afar or if she be the horizon itself, she is no more distant than a corner of the eye, infact she has disbursed into his life life itself. I mean who writes like this? Who sings praises like this?

இதழ் என்னும் மலர்கொண்டு..
கடிதங்கள் வரைந்தாய்!
பதில் நானும் தருமுன்பே
கனவாகி கலைந்தாய் ..!
Idhal Ennum Malar Kondu Kadidhangal Varaindhai…! Badhil Naanum Tharum Munbe Kanavaagi Kalaindhai…!

Almost as if complaining that about her impulsiveness, he brings in the image of a letter and an unsaid response. I simply loved the use of the word idhazh here... idhazh meaning lips and paper or letter.

பிடிவாதம் பிடி !
சினம் தீரும் அடி!
இழந்தோம்.. எழில்கோலம் !
இனிமேல் மழை காலம்..!!
Pidivadham Pidi! Sinam Theerum Adi! Izhandhom Ezhilkolam! Inimel…. Mazhaikalam….!

After the praise comes the plea. Poetry serves the cause of the pining lover. I simply cannot translate the last stanza and let the outstanding imagery and imagination fall prey to something less meaningful. For reasons unknown I was reminded of Andrew Marvell's "To His Coy Mistress" as the song reaches refrain. The lover effortlessly has his way through his song, the lyrics leave you with a world of imagination thrown open and the MONSOON and its aftermaths are HERE TO STAY. 

Kaatru Veliyidai - an expanse of the senses

"You had me at hello" was the first thing that came to my mind when the frames started rolling out... and when Karthi does an Arvind Swamy rendering Bharathiar's நெரித்த திரைக்கடலில் நின்முகங் கண்டேன் [neritha thiraikkadalil ninmugang kaNdaen] to his wronged damsel, one wants to swoon at the husk of the voice despite his exceedingly boyish face. The lost lover's face, visible in every nuance of nature seems to warn the viewer of an impending search later in the narrative. 

Mis en scene, Mise en place (setting the stage for thought and action) - absolutely no complaints. Maniratnam is the master. Ravi Varman true to his name spells magic with colours & sweeps you off your feet. One may begin to get restless for more defined action, more character impact, but the sheer awe inspiring visuals quickly distract you. 

Mirrors are an important prop of the narrative. Literally and figuratively. Whether it is the mirror where the bridal party sees itself in Sarattu vandilae, or when Leela is in a candid mood and her grandfather (played by Delhi Ganesh) appears at the far corner, the scene where Leela first says "I love you" or the defining "thottu sollatuma" scene that is both unpredictable, free of clichés and outrightly honest; the mirror is there (think of Alaipayuthe, Roja, Mouna Ragam where mirrors make a cameo). Not to forget the typical black telephone, tasteful duppattas and teakwood furniture as recurring motifs as well. The costumes are tasteful, elegant, and stylishly beautiful - despite being real. The make up is natural, especially when Aditi does not sport a perfectly done hairdo, her nails are cut like that of a real doctor;  found it difficult to digest the clean shaven look of Karthi though. 

The music lends itself to the film's poetry and romance; so do the lyrics which capture exactly what Maniratnam wants captured and the protagonists want shown. When Karthi tries to woo his lady with the breezy and playful Azhagiyae penned by Karky, one taps foot and is reminded of the period textures of Hello Mr.Ethirkatchi from Iruvar. Rukmini Vijaykumar's excellent footwork in the tango inspired Kelaayo more than makes up for the missing long stem rose. Vaan varuvan is another Pacchai Niramae visually. The purple and brown hues please the eye and when Aditi dons the peacock colours to perfection one readily forgives the confusing dance moves. The fleeting bhangra bit at the flight take off is catchy. Saaraattu vandiyil is loaded with Vairamutthu's trademark subtle innuendoes; be it the vetthala potta udhatta enakku patthiram panni kodu or  katthazham kaattile matthalam kottudhu parts, one smiles secretly but never squirms. But then that's not just because it's Vairamutthu, Tamizh as a language of poetry itself has that quality.

I was obviously looking forward to watching Nallai Allai picturised in all of Maniratnam's glory but alas! Karthi though, does win his lady love's forgiveness and your heart with his pleading eyes and unshed tear. Aditi Rao Hydari is picture perfect with her snow induced blush. She manages to lip sync almost perfectly too.

What I absolutely loved about the film's screenplay was that it never, even for a moment, gets preachy. Whether it is speaking about war and the nation's soft stance on offensive attacks or when the larger discourse of women and their voice surfaces repeatedly. The script is clear that its focus is love, loss, VC and Leela. One does not see any other preoccupations.

Performance wise everyone does their job well. Karthi's best performance till date. One nods in approval when real life is played out in scenes like when Leela  asks "sattham podalaama" and hesitates, Karthi says "kenji kekaren" or Ilyas (RJ Balaji) longingly looks at Leela. Delhi Ganesh may have been utilised a little better than just the rum induced slur. K.P.A.C.Lalitha as Achamma is yet another grossly underutilised character. Why the hero has a family that is the way it is and a brother who has developmental issues is beyond my ken. Also the dialogues in the beginning have inflections like Malayalam where the characters talk about each other in the third person or by using names; in organic Tamizh one would simply use the pronoun nee/neenga. I watched the movie twice and both times there were scenes where tears would arrive at the threshold of my eyes but they wouldn't flow... some scenes are like that, you would expect them to overwhelm you but they would simply glide by without expected impact. There is also a lot left to the imagination of the viewer, the car scene during the avalanche or the scene after the sortie ride for instance. 

The light is a character itself in the film so are the planes, the snow and the sky. To sum it, Kaatru Veliyidai is for those who love poetry in any form. Go without any yardsticks and the film will not fall short of anything. I came out of the theatre with a smile and so did my real life hero who swears by Behind Enemy Lines, Top Gun and Shawshank Redemption, he also gave a rare thumbs up and meant it. Now that's a sign of a good film. 

Nallai Allai... That Poetry and Lost Love Go Unspoken

Every once in a while there comes a poem or a melody that leaves you smiling for no reason. Nallai Allai from Maniratnam's latest, is one such rare combination of a song of simple being yet complex meaning. A chance switching of channels caught me watching Karthik, the hero of Katru Veliyidai singing the opening lines of the song. It brought a smile instantly. Later that evening a "sangam poetry" exploring cousin messages asking if I heard the song and talks about a specific stanza where Vairamutthu pens stunningly a lover's yearning to touch the evolving face of his beloved by using the analogy of the stages of a flower blooming.
"Mugai Mugil Muthendra Nilaigalile
Mugam Thoda Kaathirunthen
Malar Endra Nilai Vittu
Poothirunthaal Manam kolĺa (மணம் கொள்ள) Kaathirunthen
Magarantham Thedi Mugarum Munne
Veyil Kaattil Veezhnthuvitaai"

I was hooked. I just had to hear the song and reckon. The obvious classic poetry reference in the haunting refrain "Nallai Allai" was enough to set my senses soaring. Sheer beauty that image from the 47th song of Kurunthogai invokes... Nallai Allai simply put means, "This is Not Fair"

The context of the Kurunthogai song is that a young girl sings to the moon for her lover who comes to walk by at night. She just scolds the moon that the nature of the moon and the illusions it conjures are simply  not fair.

Here is the text if the 47th Song from Kurunthogai:

பாடல்

கருங் கால் வேங்கை வீ உகு துறுகல்
இரும் புலிக் குருளையின் தோன்றும் காட்டிடை
எல்லி வருநர் களவிற்கு
நல்லை அல்லை நெடு வெண்ணிலவே!


Roughly (even badly) translated to : The moonlight makes believe that the image created by the huge Vengai tree whose flowers shed and cover a boulder that lies close by look like a young tiger cub... similarly the moonlight camouflages her image to the eyes of the lover who comes in search of his lady - this is unfair.
And Vairamutthu uses this larger image by simply using the two words Nallai Allai. Beauty!

This is not the first time the Kurunthogai inspires Vairamutthu. The ethereal melody Narumugaiyea draws from the 40th song of the same work. He seems to be the bridge connecting a lost era in poetry to an era of empty noises so the discerning, verse starved listener can actually negotiate life. His use of the words "yakkai thiri, kadhal chudar anbe... piravi pizhai kadhal thiruttham" in a disco number fetured in Aytha Ezhutthu is another fine example of bridging the classical with contemporary.

Moving on... back to the rest of Nallai Allai...

Vaanil Thedi Nindraen
Aazhi Nee Adainthaai
Aazhi Naan Vizhunthaal
Vaanil Nee Ezhunthaai


The word aazhi... root of the lovely utterance aazham meaning depth of the sea. What better way to describe pursuit than use the images of the abyss and galaxy! And when Satya Prakash with that husk and plea says "Ennai Natchathira Kaattil Alaiya Vittaai... Naan Endra Ennam Tholaiya Vittaai" one wants to rush to the aching heart and light a lamp or two for him to find his way back to life. Kudos Satya Prakash for that unperturbed, silky rendition. You do complete justice to ARR, Vairamutthu, Manirathnam, and Karthik's unmistakable glint of eye charms.

Just when you recover from the plight of the distressed, bewilderness the next stanza hits you with...

Oligalin Thedal Enbathellaam
Mounathil Mudikindrathe
Mounathin Thedal Enbathellaam
Gnanathil Mudikindrathe
Naan Unnai Thedum Velaiyile Nee
Megam Soodi Odi Vittaai

An extension of the search in the sky metaphor... the first and last line are brilliant. Juxtaposing silence, knowledge and bereavement.

Then comes the lines that actually introduced the song to me, made me take notice. I would have entirely missed the point had my cousin not brought it up.

Mugai Mugil Muthendra Nilaigalile
Mugam Thoda Kaathirunthen
Malar Endra Nilai Vittu
Poothirunthaal Manam மணம் கொள்ள Kaathirunthen
Magarantham Thedi Mugarum Munne
Veyil Kaattil Veezhnthuvitaai

In his words I quote "We were breaking our heads on why mugil( cloud) has to come here when he is talking about flowers. Google panninappo vandhudhu arumbu, mottu, mugai...So adhula mugai denotes the phase when petals start to just open up out of the bud . That process is called "mugizhdhal"

Unquote.

How beautifully the yearning of a lover who wants to touch the face of his beloved is described! But alas! before he could wed his priced flower, just bloomed, she is lost in the forest of aridness. Heart wrenching!

And then the last few lines extending the flower metaphor...

Nallai allai naaarum poove nee nallai allai. Mullai kollai nee nallai allai....

Still trying to understand the "naarum poove nee" bit. Is it simply referring to the fragrance of the flower or a reference to the bird naarai which thrives on the water lilly? Adding to the uncertainty is the closing part which uses the term Mullai kollai nee nallai allai. I am still figuring it out. And I am reminded of another beautiful melody in which the same Vairamutthu says "kavidhai vadivin suvai arttham puriyum varai" the flavour of poetic lines last until comprehension... I beg to differ. This song simply gets more beautiful as I decipher the meaning of each word layered rooted and drenched in sheer beauty of sangam.

Vairamutthu aiyya you have outdone yourself. And thanks to the Mozart of Madras for the simple melody that allows the poetry to thrive.