by Lakshminarayanan Srirangam Ramakrishnan
Rediscovering the Classical Genius of Ilaiyaraaja: A Journey Through His Cinematic Masterpieces
Recently, I had the chance to watch the movie *Chembaruthi*, albeit through a less-than-ideal, low-quality video cassette. The experience was reminiscent of trying to watch television with the clarity of a "soda-butti" (a person with thick glasses) without his spectacles. Yet, despite the poor visual quality, one element stood out brilliantly—the music composed by Ilaiyaraaja. Though I had heard the songs countless times back in India, watching the film triggered a wave of nostalgia and admiration for Ilaiyaraaja's genius, particularly in how he revolutionized Tamil cinema music with his classical touch.
Ilaiyaraaja’s ability to blend classical ragas into film songs while keeping them accessible to a broader audience is nothing short of remarkable. While I can't possibly cover every Carnatic-influenced song he composed, it's worth diving into a few examples that showcase his unique style and the dramatic shift he brought to Tamil cinema music.
The Mastery of Carnatic Influence in *Chembaruthi*
In *Chembaruthi*, Ilaiyaraaja composed six songs, four of which are based on Carnatic ragas. These songs were all massive hits. For someone familiar with Carnatic music, the ragas are clearly identifiable; for others, they are simply beautiful tunes. This dual appeal is one of Ilaiyaraaja's specialties—crafting songs that stay true to the raga while also becoming mainstream hits. Of course, the rhythms are often adapted to allow for cinematic dance sequences, which sometimes classifies these tunes as semi-classical or light music.
Take, for example, "Chalakku Chalakku Selai" in the raga Chakravakam. Ilaiyaraaja stays true to the classical structure of the raga, with no deviations or "impurities." However, the lyrics, somewhat lacking in depth, might push the song into the light music category despite its classical foundation. Ilaiyaraaja’s use of Chakravakam and its derivative ragas, like Malayamarutham, in songs such as "Kannmani Nee Vara Kathirunthen" from *Thenralae Ennai Thodu*, is a testament to his skill in weaving complex ragas into the fabric of popular cinema.
The Allure of Sindhu Bhairavi and the Depth of Kapi
Sindhu Bhairavi is a raga that has found its way into countless Tamil film songs, and Ilaiyaraaja has composed many memorable tunes in this raga. In *Chembaruthi*, two of the Carnatic-based songs, "Kadalile Ezhumbura Alaikalai" and "Kaadhalile Tholvi," are set in Sindhu Bhairavi. The former, sung by Ilaiyaraaja himself, is a haunting melody that captures the essence of the raga while telling the poignant story of a fisherman's life.
The use of Kapi raga in *Chembaruthi* is another highlight, particularly in the song "Chembaruthi Poalae." Ilaiyaraaja’s other Kapi compositions, like "Ada Maapila" from *Maapilai* and "Hey Paadal Onru" from *Priya*, showcase his ability to utilize this raga to evoke deep emotions, whether in a joyful or melancholic context. His treatment of Kapi in cinema is unparalleled, and these songs serve as excellent references for understanding the raga’s beauty.
Ilaiyaraaja's Contribution to Rare Ragams
Ilaiyaraaja's contribution to cinema music also includes his exploration of rare ragas. For instance, the song "Paartha Vizhi Poothiruka" from *Guna* is set in the raga Bhavani, a complex vivadi raga that isn’t commonly heard even in classical Carnatic performances. Yet, Ilaiyaraaja managed to create a song that not only fits perfectly within the cinematic narrative but also serves as an excellent reference for understanding Bhavani.
Similarly, his venture into the raga Hemavathi in the song "Manam Poala Maangalyam" from *Pudhupatti Ponnuthayee* was a delightful surprise. The raga’s intricacies are handled with finesse, showcasing Ilaiyaraaja’s deep understanding of Carnatic music and his ability to translate that into a cinematic context.
Karaharapriya and the Emotional Depth of Cinema
One of the ragas Ilaiyaraaja frequently revisited is Karaharapriya. Songs like "Anandam Pongida Pongida" and "Thana Vanda Sandanamae" illustrate his mastery of this raga. Perhaps the most poignant use of Karaharapriya in cinema comes in the film *Unnaal Mudiyum Thambi*, where the raga is used to underscore a heated argument between Kamal Haasan and Gemini Ganesan. The use of Karaharapriya in this context is not just musically satisfying but also deeply emotionally resonant, demonstrating how Ilaiyaraaja's music could elevate a cinematic moment to new heights.
Conclusion: The Timeless Legacy of Ilaiyaraaja
Ilaiyaraaja's ability to seamlessly blend classical Carnatic music with the demands of cinema is what sets him apart as a true musical genius. His compositions, whether in popular ragas like Sindhu Bhairavi or rare ones like Bhavani, have not only enriched Tamil cinema but also introduced many listeners to the beauty of Carnatic music. As we continue to explore his vast body of work, it becomes clear that Ilaiyaraaja's music is not just entertainment—it’s a timeless treasure that bridges the gap between classical tradition and modern creativity.
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