I happened to randomly find out yesterday that the song Sundari Kannal Oru Seidhi, has 2 ragas, Kalyani, as we all know, and Kosalam.
The pallavi begins with two love lorn lovers marrying. Kalyani seems to be an ideal Ragam for the happiness that is around and it begins with exquisite orchestration as Rajini picks up Shobana, kattifies the thaali and celebrates the Santhi Muhurtham. They then separate. Nayagan goes for war. Nayagi is alone. It is pangs of separation for both and an added burden of war for the Hero. Kosalam makes a grand entry in the interlude presenting all its seriousness with a grander orchestration. Then as the Hero finds external peace in between the war, her thoughts come back to touch him and he parries her questions. She asks him if he loves her and if her love is a mirage. He tells her to ask the moon to know about his pain. To explain this weird fusion of the joy, on being able to speak with each other, albeit through thoughts, and the pain of separation at the same time, Raaja brings in both Kalyani and Kosalam in the charanam. Hence the charanam sounds both joyful and melancholic at the same time. The beauty is Kalyani and Kosalam differ in just one swaram. Kalyani has R2 while Kosalam has R3 in their respective Rishabams. War again, Kosalam again and separation till he reaches her. In the second charanam, they talk about the joy of being together and the pain of being separated after having resolved their “oodal”. Kalyani and Kosalam together as metaphors again. He finally reaches her, it is pallavi and it is only Kalyani now for they are both in joy and the pain of separation is over.
However, what was extremely interesting was when the first charanam gets over (they are still separated mind you) and the pallavi comes with Kalyani, Rajini and Shobana come together in their dreams. This song is itself a dream. A dream within a dream (to get them together, bring the joy and justify the usage of Kalyani).
What do I say?
However, what I find funny is, when Rajini and Shobana actually separate for real and forever in the film, the BGM goes “Naan unnai neenga maatten…Sundari Kannal Oru Seidhi” and it is only Kalyani here. And the Kalyani does create a lump in your throat. It did, at least for me. And ironically, it is “Naan unnai neenga maatten” he chooses to begin it with when they are actually separating, so as to suggest that the separation is only physical. Again, what to say?
Now there are 2 versions to it. First when they separate, the violins come out in all glory and when it goes Sundari, it stops for a microsecond and the flute takes over for Kannal oru seidhi and that microsecond pause brings out the pain in its entirety with the perennially present sun present here too behind the hero Surya (“Suryaputran” to be more precise) looking on while setting to bring forth the darkness. The next version is when Rajini meets Shobana outside the house in the dark and here, it is only the violin this time because there is no new pain but for the leftover memories and the Kalyani again provides the lump in the throat, and they come near each other this time, though they remain separated.
Who do I praise here? Mani? Rajini-Shobana? SPB-S Janaki? Vaali? Or Raaja? Ada pongada. This, at least for me, is proof that when a bunch of inspired geniuses come together, even a run-of-the-mill-lovers-separate sequence can be made to look poetic.
One of the many instances where life is suggesting what hidden gems are still left unearthed and proves to me #WhyRaajaIsGod
Filed under Filim, Ilayaraja