ILamai ennum poongaatru is a great song for a lot of reasons. The lovely tune, the epic bass guitar (The same guitar we all (okay at least me) pronounce as boss and not base), the ethereal chorus. Yeah, it’s a cult classic.
Watching the song can be very unsettling, said a friend, over chat. I know, I know, I know. Watching Ravikumar slobbering all over the figurine mass of Sridevi can be visually unsettling. But no. The song, with its Shakespearean moral dilemma of whether to do or not to do, brought out wonderfully by one Kannadasan, is indeed unsettling.
I was humming the interlude (yeah, I’m a Raaja fan like that) and wait, something intrigued. Came home –> heard song again –> mind blown.
First interlude of the song plays. The guitar and violins leave their trademark stamp as usual all over the place but are cut short by a very mellifluous flute. Humming the tune of the flute leaves you intrigued that it is the same tune that plays in the charanam. But Raaja, being the genius that he is, leaves the flute to play only a part of the charanam. And since the charanam begins almost immediately after the flute, he makes the flute play the final part of the charanam that it is hard to guess that the flute and the charanam share the same tune (from the dhega sugathil gavanam till maNNil aNayA bit, yes bit only) because the first part of the charanam distracts you from guessing so (whole song is very distracting. But that is for another day). So what is special about this? It is in the first interlude that he does this and not the second or third. Before he gives away the tune of the charanam in the charanam, he gives it off in the first interlude. Because he does this in the first interlude when we are hearing the virgin tune while the heroine loses hers, I feel it is deliberate. And it is hard to guess this unless you hum the tune for yourself. I mean, it sounds different.
I think he loves playing such games. I also think he is terrific. I also wonder what lies between his two ears. That motta bastard!