Other than such dubbed versions, we have umpteen carbon copies of Hindi tunes. “Raja ke aayegi bharaat” (Shankar-Jaikishen) became “Kalyana oorvalam varum”. There were many Hindi films dubbed in Tamil where senior Tamil playback artistes were used to sing.įor instance, Vikki (G.Krishnaveni), wife of A.M.Raja, who had a long innings lasting over four decades & rendering thousands of songs in Telugu, Tamil, Telugu, Kannada, Malayalam, Hindi, and Sinhalese too, had sung in Raj Kapoor’s dubbed versions of “Aah” in Telugu and Tamil. If a Hindi film was dubbed in Tamil, then there was the need to keep the orchestration & tune of original Hindi song, to be sung in Tamil by a local play back artiste. I have read somewhere that some moviemakers in that era handed down a bunch of Western/Hindi film records to the prospective Music Director and advised them to adopt or at least adapt the tunes. Song Book of Maya Bazaar PC: From the archives of TCRC ‘Kalyana Samayal Sadam’song from “Maya Bazaar” was inspired by the laugh tracks of the song “Laughing Samba”. This song was based on the Hindi song “Gore Gore” from the film ‘Samadhi’, which was in turn based on the Latin American song “Chico Chico”, from the film “Cuban Pete”! After all, mimicking is a form of compliment to the original!įor instance, the AVM film ‘Oar Iravu’ (1951) had a hit song rendered by MLV, “Ayya Sami” under the baton of Music Director Sudarsanam. Or even introducing a new genre to cine goers as a marketing tool. These could have been plainly due to compulsion from the Producers or Directors.
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But you also had the AVM produced, S.Balachandar directed, thriller movie “Andha NaaL” devoid of any songs whatsoever, but with only background score.Įven in those days, with abundantly talented Music Directors around, there were films, which openly plagiarized western tunes or Hindi film music. There have been Tamil films with countless number of songs per movie.
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They gave us outstanding music, which have withstood the efflux of time! In this context of comparison, the current music scenario seems a large departure. Most of them have spent long internships with senior music directors of their times, worked alongside with them under their supervision and had learnt the ropes. People like, Papanasam Sivan, C.R.Subburaman, G.Ramanathan, T.R.Pappa, S.M.Subbiah Naidu, Sudarsanam, M.D.Parthasarathi, Emani Sankara Sastri, Rajeswara Rao, Master Venu, S.V.Venkatraman and many more stood tall amongst the film music makers. However, those times, most of them were very strong in classical base, particularly in Carnatic Music. In stark contrast to this there were relatively few Music Directors in the past. We have, in the present days, a huge flock of Music Directors with their own creative talents. Often the Music Directors have strong lieutenants who are well versed in trained classical music to assist them, such as the late Pugazhenthi (of late K.V.Mahadevan). Whereas, largely, it is a one-man show, in the context of our movies where it is the responsibility of one individual, called “Music Director”, who is usually a brand name by himself, though he might have umpteen musicians specialized in some aspect or other, ably supporting him informally!
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which are all attended to by different dedicated professionals in Hollywood. Music in a movie has so many sectionalized areas such as composing, arranging, conducting, re-recording etc.