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Song of the Day # 746

From: bb on:  Tue Mar 28, 2006 12:42 am

Song of the Day: nadigai paarkkum from oru nadigai naadagam paarkkiRaaL.

Listen to the song

- Sathyakabali writes:

SOTD features today a rare unforgettable gem from the film oru natikai natakam parkkiral.

natikai pArkkum nAtakam athil
rasikarellAm pAththiram

Music: MSV.
Singers: Jolly abraham and B.S.Sasireka.

Before that a look into modern Tamil literature and Jayakanthans works.

Samuel Vedanayagam Pillai (1826-89 ) was one of the remarkable Tamil poets of the 19th century. His musical compositions include of "manam peridha, varumanam peridha?" ``naale nalla nall," ``nee malaikkade nenje," ``tharunam, tharunam... ". In 1860, he was appointed the District Munsiff of Mayuram and served there for 13 years and came to be known as Mayuram Vedanayagam Pillai .He was the one to introduce the new literary form 'novel' in Tamil, employing simple prose.His Pratapa Mudaliar Charitram (written in 1857 and published in 1879) remains a landmark in Tamil literature. The novel as a genre of Tamil literature thus began in the later part of 19th century .

Pratapa Mudaliar Charitram (1879), was followed by Kamalambal Charitram by B.R. Rajam Iyer in 1893 and Padmavathi Charitram by Anantanarayana Madhaviah in 1898.

A. Madhaviah was a writer par excellence. A social reformer, poet and novelist, Madhaviah focused on the evils of child marriage, sexuality, female illiteracy , widow abuse and patriarchy in 19th century south India. His writings were way ahead of his time and cried out for social reforms. Madhaviah was one of the pioneers who paved the way for the succeeding generation of writers that literature can be used as a a powerful tool for social purposes.

Subramanya Bharati (1882-1921 AD) was one of the greatest Tamil litterateurs of the modern times. He is renowned for his patriotic and devotional songs and intense prose writings on contemporary social affairs. Bharati's unfinished novel Chandrikaiyin Kathai deals with the problems of widows, their position in society and their re-marriage. Madhaviah along with Bharati ushered in the new epoch of renaissance in Tamil literature.

During the 1930s commercial magazines began to appear, the most popular being Ananda Vikatan. It owed its success mainly to Kalki R.Krishnamurty who had a huge impact on his readers. More magazines began to appear thus creating a vast market for popular writing.

The golden age of Tamil short stories began in 1933. K. Srinivasan, Va. Raa (V. Ramaswamy Iyengar) and T. S. Chokkalingam , three dedicated freedom fighters with innate love of Tamil took Tamil Literature into the modern literary world. Srinivasan with the help of Va. Raa. founded the Manikkodi . New in meaning, new in content new in style was the slogan which manikkodi adopted following Subramania Barathi. The first issue of Manikkodi came out on the 17th September 1933. Manikkodi was growing strong as a literary vehicle for creative writers and critics of the period. Manikkodi became a fortnightly literary magazine carrying several short stories, literary criticism, book reviews and short fiction in translation. Manikkodi was regarded as the golden era by the group of writers who participated in the literary adventure.- Pudumaippithan, Na.Pichchamurthy, Ku. Pa. Rajagopalan, Ka. Na. Su., Si .Su. Chellappa, B .S Ramayya, La. Sa. Ramamirtham, Mauni, Ku. Azhagirisamy Thi Janakiraman, Stalin Srinivasan, Sangu Subramanian and Chitti. ManikKodis existence as a magazine was short but it was the beginning of a literary revival.

It was during the 50s that Jayakanthan (JK) came like a breath of fresh air.

However lowly and decadent are the matters that I have to take up broadly for depiction in my story, I tend to place special emphasis on whatever is elevating and meaningful for life embedded in them. And thus I sing of the glory of life-Jayakanthan in one of his introductory writings.

Born in 1934 in Cuddalore, Jayakanthan dropped out of school after the fifth grade.Two of his maternal uncles were communist party members. He ran away from home at the age of 12, to Villuppuram where his uncle was a trade union leader and party activist. After doing odd jobs in petty shops, he came to Chennai and stayed in a commune near the CPI party office. He spent his teenage as an office boy in the Janasakthi office. He worked in the party's printing press and spent his evenings selling the magazine JanaSakthi on street corners. He came under the protective care of the functionaries of the CPI and became acquainted with some great CPI leaders like Jeeva {Jeevanantham] and Baladandayutham. He grew up listening to the discussions of these leftists.This early part of his life had a profound impact on his outlook and literary works in the later years. Many writers among party workers and sympathizers - S. Ramakrishnan (SRK), P. Jeevanandam, R.K. Kannan (who wrote the screen play for paathai theriyuthu paar), Vindhan, Thamizh Oli and Ismath Basha, encouraged him to write and influenced his writings in the earlier years.

Jayakanthan is a self taught man.He started writing around 1953. Jayakanthan's early stories appeared in the party newspaper Janasakthi and small magazines such as Sarasvathi, Thamarai, Santhi, Manithan, Sakthi Samaran Saraswathi, Thamarai and Grama Uzhiyan. Jayakanthan was the first Tamil writer to depict powerfully the miseries of the marginalized and downtrodden people living in the slums of Chennai. He wrote in their natural dialect.These stories, for the first time, spoke about their life and culture in their own language and shocked middle-class readers His characters displayed a moral anger towards the society.

They hold a notion that I have all along been writing about people of the lower strata. But haven't I really been writing about high level people among the so-called lower strata. Who belongs to the higher strata and who to the lower strata? That cannot be determined by their position or by their place of living. It is by how they are - how they live - that a determination should be made.

Jayakanthan was now becoming popular among readers.Mainstream magazines such as Ananda Vikatan, Kumudam and Dinamani Kadir started publishing his stories. He took up larger issues in greater detail .His stories dealt with middle-class life in general and raised questions about many of the social beliefs, attitudes marital relations.

He went on to become one the most prolific and powerful Tamil writers of the twentieth century. In a literary career spanning half a century, Jayakanthan has authored 15 novels, 30 novelettes, 15 anthologies comprising over 200 short stories and about 20 collections of essays. Two of his novels, Oru Manithan Oru Veedu Oru Ulagam considered his masterpiece, and Jaya Jaya Sankara, besides Oru Ilakkiya Vaadhiyin Arasiyal Anubavangal , a collection of autobiographical essays, have been translated into English. Many of his short stories have been translated into other Indian and foreign languages. His novel Sila Nerangalil Sila Manithargal won the Sahitya Akademi award in 1972.

Jayakanthan's contribution to the social and political scene of Tamilnadu and his own ventures into the world of films are chronicled in two of his books "Oru Ilakkiavadhiyin Arasiyal Anubhavangal" (1974) and " Oru Ilakkiavadhiyin Kalai-ulaga Anubhavangal" (1980).

Other notable works include Vazha vaikka Vandha Gandhi 1973 (Translation of Romain Rolland's French biography of Gandhi), Oru Kadhasiriyarin Kadhai 1989 ( Life of Munshi Premchand ), Essaysn- Bharathi Paadam, Imayaththukku Appaal . His short stories among others include Oru Pidi Soru 1958, Inippum Karippum 1960, Unnaip pol Oruvan 1962, Yugasandhi 1963, Unmai Sudum 1964,Suyadharisanam 1967,Chakkaram Nirpathillai 1975, Sumaithaangi. Notable novels and novelettes like Vazhkkai Azhaikkiradhu 1957, Yarukkaga Azhuthan? 1962, Parisukkup Po! 1966, Kokila Enna Seythu Vittaal? 1967, Sila Nerangalil Sila Manithargal 1970, Oru Nadigai Naadagam Paarkkiral 1971, Sinimavukkup Pona siththaalu 1972 Oru Manidhan Oru Vidu Oru Ulagam 1973, Jaya Jaya Sankara.. 1977, Gangai Engey PogiraaL 1978, Urukku Nooru Per 1979.

Jayakanthan has also written a few memorable film songs: In the year 1960 some of his friends with lefist ideologies produced the film Paadhai theriyuthu paar under the banner Kumari films. It is Jayakanthan who named the title of the film. He also wrote two songs for the movie. Some say he also acted in that movie and the scenes were later edited out.

thennang keetru Unjalile (Paadhai theriyudhu paar)
azhudha kanneerum paalaagumaa (Paadhai theriyudhu paar)
kandathai sollugiren (Sila nerangalil sila Manithargal)
veru idam thedi povaalo? (Sila nerangalil sila manithargal )
nadikai paarkkum natakam (Oru nadikai natakam parkkiral)
ethanai malargal (Oru natikai natakam parkkiral)
chithirap poo selai (Pudhu cheruppu kadikkum)
udal enbaar (Pudhu cheruppu kadikkum )
pugazh serkkum (Eththanai konam eththanai paarvai )
enna viththiyaasam (Eththanai konam eththanai paaravai)
eththanai konam (Eththanai konam eththanai paarvai )

In 1996 he was inducted as Fellow of Sahitya Akademi. He received the prestigious Jnanpith Award in 2002, the second Tamil writer to be honoured after Akilan. His works were described as one that delicately unvieled every depth of human emotion and equations. Announcing the award, L.M. Singhvi said "He has not only enriched the high literary traditions of Tamil language but has also made outstanding contribution towards the shaping of Indian literature. His literature presents a deep and sensitive understanding of complex human nature and is an authentic and vivid index of Indian reality."

Tamil cinema has a strong tradition of drawing from the vast repertoire of literary sources. Many of his literary works have been made into films, since he ventured into the celluloid world in 1964. Here is how he describes his first venture in the film world:

ɢ ! Ǩ Ȣ . Ȣ . Ǩ Ǣ Ը . ɡ ɢ ¢ħ 츢. â ը§¡, ġ ը§¡  . Ȣ ɢ ¢̧¡ɡ, ǡ 츢.

ɢ Ũ Ţɡ 󧾧 Ţ, ɡ 󾾢. ɽ¢Ģ , Ҿ иȣ. ɢ. § ɢ â ȡ.
¡ ġ ¡. . 측 ɡ š. Ģ ɢ򧾡. Ǣ ź ¡. ʦ¡ â . ɢ . â ¡â ġ š ɣɡ ġ

§¡, 򾢦ġ â¡? ɡ ؾ . 쨸 . ҦáԺ 񽢧. Ţɢ ؾ. ɧ ɢ š Ţ, ҦáԺ 쨸 , ɢ ɾ ؾ . ġ ž. ҦáԺâ . , Ҿ ¡! о ȡ. ġ 츨 ؾ. ɡ. о? ?

ȡ ? ŦȡŨ . ! ! â ҦáԺ ġ, á 츢ȧ ɡ. , ¡? š쨸¢ § о .
, ? . á Ţ. 󧾡 ո â Ţ . ¡â ШԼ 80,000 . ɡ . ¢ ¡ Ţ. ʸ, ɢ ġ ġ ¢ . . ¡ 츢ġ ¡. â ġ ʧ¡Ţǧ â š츢. â ź Ħ. â Χ¡Ƣ . Ӿ ġ .٨ 측 츢ȡ ȡ. , âŢ. á . ۨ Ţ¡Ǩ . - ǡ - á ȡ. . ׾ɡ? . ׾ ȡ ɢ .

Jayakanthan produced and directed Unnai pol oruvan under the banner Asia jothi films. His very first film won the President's bronze medal for the third best film of the year. The film went into production in 1964, was certified in Dec 1964 and released on 27 Feb 1965.

Veerasamy,Gandhimathi and Master Parbakaran were the main actors. Unnaip Pol Oruvan deals with a kid in the city slum whose mother, a widow starts living with another man. I saw this film in DD 1 when they used to telecast regional best films on Sunday afternoons. That was the time I was willing to know about non-commercial and art cinema but much before I could appreciate such artistic works. But I had the patience to watch it alone in my aunts place while everyone was deep in the Sunday afternoon nap. My aunt asked me enna padam ithu? Verum iruttA, kudisaiyA irukku. ithaiyA pArkkurE! paduththu thoongu! I looked like someone from another planet watching this movie on a Sunday. No wonder, the producer whom JK approached asked the very same question like my aunt!

In 1966 , JK produced and directed Yaarukkaga Azhuthan (Asia jothi films), This story is about an innocent room boy (superbly played by Nagesh) in a small lodge, being unjustifiably suspected of having stolen a jewelry piece from one of the guests (K R Vijaya). Music by Ramanan. Radio Ceylon used to broadcast that rare Jesudas song uruvaththilE ivan manithan.

Originally Saravana pictures G.N.Velumani planned to produce this film with Sivaji ganesan and Savithri in the main roles. JK agreed to write the script and dialogues. For some reasons, Velumani had to drop his production and Jayakanthan went ahead and directed this movie with Nagesh and K.R.Vijaya.

In 1969, the much talented artiste, S.V.Subbiah in his Ambal productions adapted Jayakanthans story kai vilangu into the movie kaaval deyvam . JK himself wrote the script. Nadigar thilagam had a guest role. Incidentally, Lashmi is the heroine of this film. Late Devarajan master made his entry in Tamil as the music director with a wonderful melody ayyanAru neranja vAzhvu kodukkanum by Dharapuram Sunderrajan and Susila. Later, S.V.Subbiah wanted to make a movie of one more JKs work.The film didnt go into production.

Agni Pravesam is Jayakanthans notable short story. A young brahmin girl on her way home one rainy evening gets raped by a stranger inside a car. When she reaches home her mother , a brahmin widow is shocked but realises what has happened and asks her daughter to to forget it like a bad dream. The story ends with the mother giving the daughter an oil bath, a symbolic gesture of renunciation.( Here the mother is asking her daughter to renounce that accident behind her and get on with life). This short story when published in Ananda Vikatan, shocked the middle class readers and evoked crying and controversy those days. Jayakanthan later expanded it into a full-length novel, Sila Nerangalil Sila Manithargal.

Director A.Bhimsingh for a whole decade immersed himself in commercial cinema with family melodramas of the pa series with his abhimaana natchaththirangal. Being an admirer of Jayakanthans writings, in 1976, Bhimsingh ventured into directing JKs controversial novel Sila nerangalil sila manithargal. With JKs screen play and Lakshmis flawless and perfect portrayal of Ganga on the screen, SNSM became one of the finest movies adapted from a literary work in Tamil. Lakshmi bagged the Urvasi award that year. When the screenplay of SNSM was released as a booklet, in the introductory writing A.Bhimsingh wrote this:

ɢ Ц 츢§, 츢 츨. Ш¢ ġ ž м âŢ . , ܼ " Ǣ ɢ" 츨 . .. , ɡ š ɡ ȡ, ھ ɺ .

ɢġ Ш¢ - Ũ Ө ʧ , Ũ šġ š , ӾĢ 츨 ب¡ Ц ¡â , ¡ ž ĸ ¡ž Ƣ ϸ.

. .. Ш ú н ֧. Ũ Ţ, ġ, ġ âġ ¡âġ. š¢ġ ĸ á ġ 󧾸 .

With the sucess of SNSM, Bhimsingh-JK collaboration ventured on to film one more of JKS literary work oru natikai natakam parkkiral with the same starcast of Lakshmi, Srikanth, Nagesh and Y.G.Parthasarathy. (It is said JK wrote this novel based on his acquaintance and relationship with a little known actress who later came on to live with his family).The novel revolves around the two principal characters Kalyani and Ranga and JK goes in depth about the man-woman relationship, marital problems and the traditional beliefs of marriage. Through the character of Ragavan, he raises many questions about our legal system regarding divorce.

In 1978 JKs story karunaiyinal alla was adapted for the movie karunai ullam. Produced by Vasantha Balaiah. JK wrote the script and dialogues. Music was by Sankar Ganesh duo.The starcast included Srikanth nad K.R.Vijaya.

In 1979 , JK expanded one of his short stories 'Pudhu cheruppu kadikkum' and made it into a moving film. It is sad that this black and white film never reached the theaters. TFM is fortunate enough to listen to the songs of this film composed by the gifted M.B.Srinivasan. Same fate followed in 1983 for the film eththanai kOnam eththanai paarvai for which Ilaiyaraja scored the music. Director Bhimsinghs son editor B.Lenin directed another of JKS work oorukku 100 pEr which won him the best director award in 2001.

In chinnath thirai, JKs novel parisukkup pO made its appearance as a fine and sensitive TV serial in Doordarshan much before all these satellite channels were born. Though I am unable to recall the name of the serial, I vaguely remember a few episodes with Lakshmi, Raguvaran and Poornam Viswanathan.

Oru natikai nadakam parkkiraal came in 1978 after the success of SNSM - another collaboration by Bhimsing and Jayakanthan with almost the same starcast. Srikanth, an ardent fan of JKs literary works had the fortune of working in many of his movies. ( I read somewhere that he acted in puthu cheruppu kadikkum. I am not sure about that.)

As in SNSM, JKs story revolves around the two principal characters - Kalyani and Ranga, well past their youth, attracted to each other and later getting married and their egos and creeping marital problems gradually spoiling the wonderful friendship. The marriage is on the edge going towards divorce. Fate and circumstances reunite them.
This is the story of Kalyani -a stage actress in her thirtys, single, owns Kalyani nataka manRam , acts and produces her plays with the help of Annasamy iyer(Y.G.Parthasarathy - the manager,actor, organizer and advisor to Kalyani). Lakshmi plays the role of Kalyani with perfection. What the readers felt about Kalyani in the novel while reading, the viewers see her alive on the screen. One more feather on this gifted artiste! She bagged the best actress award by the Tamilnadu state government.

This film is not for the ordinary cine goers. This is a deeper film about two matured individuals,their egos, the physical attraction gradually blossoming into friendship later into marriage, marital problems leading to emotional sufferings and separation and finally ending in their reunion. If you are the one looking for the commercial masala movies with songs in colorful foreign locales, boys girls romance, comedy track,dishum dishum fights and technological gimmicks- my advice is to stay away from this film. This is a deeper film for the ones who long for a rare breed of Tamil films which make you think and analyse about life and relationships. As Kannadasan puts it:

anubaviththEthaan aRivathu vAzhvenil
aaNdavanE nee En enak kEttEn
anubavam enbathE naanthaan enRaan!

Seeing this film with like minded friends will be an experience by itself. As JK writes rasikarellAm pAththiram, you will become the one watching Kalyani and her life through this film. Thanks to Bhimsingh, JK and Lakshmi for registering this literary work on celluloid!

The film opens and ends in the stage. Kalyani is in the make up room getting ready for the play to begin. Ranga enters the auditorium and has a verbal argument about his seat Hearing the loud noise in the front row, Kalyani gets distracted. The camera moves between the auditorium and the make up room with some close shots of Kalyani. Through a small glass window, she has a look at Ranga from distance. It is evident that she has an urge to see him again but has to hide her emotions as she has to perform on stage. Annasamy has invited Ranga as a critic . He now pacifies Ranga , takes him to the make up room and introduces him to Kalyani. Like a teenager, Kalyani is attracted but also disturbed by Ranga . With subtle gestures, like kaN asaippu, thalaiyai sAyththu oru pArvai, vetkam kalantha sirippu Lakshmi is simply superb . You are into 5 minutes of this movie. We know it for sure , it is going to be her show!

Kalyani is not her self. With Ranga in the front row curiously watching her , it is difficult for Kalyani to perform on the stage. She had to get the help of the prompter in many of the scenes. The next morning, she wakes up to read the worst ever criticism of her stage career in the newspaper. What is bothering Kalyani is not the criticism by Ranga but how to find a way to meet him. She writes an anonymous letter naan yaarunnu ungaLukku therinthaal ennai santhikkavum. Much like Kalyani , Ranga is attracted too and her thoughts come and go. He knows that the letter is from Kalyani and writes to her asking a date for an interview. Kalyani asks Annasamy to reply in his own writing. Having known Kalyani for many years, Annasamy notes the subtle changes in her feelings, gesture and speech. As a father like figure, he wants her to settle down with a man like Ranga.

Ranga comes and finishes the interview. The glances and gestures are enough to convey their physical attraction. Both are emotionally disturbed but remain silent during the interview, Ranga tells Annasamy that he will come back on Wednesday with the writeup for approval. Annasamy while leaving for home says to Kalyani with a wicked smile budhan kizhamai naan vara mAttEn.

Ranga , the journalist cum critic- a widower with a daughter lives in a single room in the upstairs with his Chinna nayina and his wife Thotha (nice work by Thengai and Gandhimathi speaking Madras Tamil-Telugu dialect). His daughter is brought up by his sister in law (Anandhi ) in the village.

When Ranga comes back, Kalyani gives herself and tears down the writeup saying there is no need for it now. Ranga now has become a regular visitor to Kalyanis house, silently watching the rehearsals of the drama and music troupe..Both Kalyani and Ranga dont think about marriage. JKs Ranga and Kalyani are both unconventional who dont confine within the norms of the society. Kalyani doesnt care about the social approval. She is happy and content with this arrangement. It is Annasamy who is worried and asks Ranga to marry Kalyani. Ranga goes to the village to get back his daughter. Anandhi who for years nourished hopes of marrying Ranga oneday, now pleads with him not to take the child away from her. Chinna nayina and Thotha, though living their entire lives in the slums of North Madras are proud about their lineage (Adhikesava naicker street named after Rangas grandfather) and against Ranga getting married to a natikai. Ranga has to stay away from his family and daughter.The much worried Ranga marries Kalyani and now has to live his life in Kalyanis house.

eththanai malargaL eththanai nirangaL
eththanai manangal thirumanangaL
neeyum naanum yaarO evarO
nizhalAy varuvAy thuNaiyaanOm
thaayum thanthaiyum illAtha oru
thanimaiyil kalanthu uRavaanOm

Friendship with Kalyani and the arrangement before marriage brought him much happiness. Now after marriage, Ranga is a disturbed man . For Kalyani, stage is her life.His intellectual mind knows that. He doesnt want her to sacrifice her stage career..Ranga , the husband expects Kalyani to be a normal wife prepared to do anything for him. He is torn between his emotions - the normal expectations of an ordinary husband and the matured Ranga who understands Kalyani as an artiste and a friend. A difficult and sensitive role to play on the screen. Srikanth does an adequate job. It is Jayakanthans dialogues which play a crucial role in such situations. For Kalyani everything remains the same. Happy and content the way it was before marriage. Her mind is calm as a deep ocean. Arguments and discussions bring more mental sufferings for Ranga. As days go by, Kalyani is saddened to see Rangas emotional struggles. Ranga feels marriage as a hindrance to the beautiful friendship between two good souls.

It is again Ranga who asks Kalyani that they should get separated to remain as friends. Even then, Kalyani is calm and her usual self saying I am ready to do whatever you say. When you said marriage I said Ok. If you think of separation I am ready for that also. ungaLukku sugamA iruppEnE thavira sumaiyA irukka mAttEn.

malarinum mellithu sila manangaL
mayangiyum kuzhambiyum theLiyum
sila guNangaL nalla guNangaL
nallathenbathum theeyathenbathum
naamaNinthidum vEdamE! - ithil
velvathennadi thOlvi ennadi - naam
mEdaiyil viLaiyaadaiyil!

Ranga takes Kalyani to his lawyer friend Ragavan. A memorable , short and sweet portrayal by Nagesh. Ranga accepts the fact that there is no legal reason for them to separate. He wants back the friendship he had before marriage and so he wants to go back to square number one. Hearing their story , Ragavan laughs out loudly and as a lawyer explains the legal proceedings for the divorce.They have to remain separately for one year without seeing each other. It is the ego which is spoiling this wonderful friendship and marriage. Why dont they go ahead and live their lives is the question in the viewers mind. Nagesh pours out all those feelings through his dialogues. Finally Nagesh asks a question intha idea yArukku muthalla vanthathu? Lakshmi just watches all these with calm and silence. A completely different kind of portrayal from SNSM (where she has to burst out all her emotions as the outcast, angered and lonely woman).

siRagodintha paRavaigaL
urimaip pOril velvathO?
uRavu inRi pirivu onRai
uLLam ERRuk koLvathO?

Ranga and Kalyani now continue with their lives separately each thinking about other more than ever . Chinna nayina is pestering Ranga to get married to a decent woman. For Ranga, everyday goes by thinking of Kalyani and the love and happiness she brought. It is increasingly becoming difficult for him to control his feelings to see Kalyani.

kaLLamenbathum kaRaigaL enbathum
kAdhalil Or baagamE!
vaLLal pOL ivaL anbu onRaiyE
vaari vaari vazhanginaaL!

Though things go on usual for Kalyani with drama rehaearsals, she has become more calm and silent. She is seclusive in her own world thinking of her days with Ranga.One morning Kalyani can not get up from bed. She is unable to move her legs and is diagnosed with spinal TB. Both legs paralysed, Kalyani is now confined to the wheel chair. Annasamy meets Ranga and explains Kalyanis condition. Ranga rushes to see Kalyani and is shocked to see her in a wheelchair. For the first time Kalyani cries and pours out all her emotions. Annasamy,Ragavan remain the silent witness to their reunion.

veeNai meettidum pOthilE
vidhi siriththathOr paadhaiyil
naatakam vaazhkkaiyAvathO- oru
natikai enna seyguvaaL?

Ragavan now asks Ranga Now you have valid reason for divorce. Ranga shouts at him naanga nanbargalaaga irukkaRathukkaaga piriyaNumnu kEttappO, ungaLukku antha thakuthi illEnnu sonnathu unga sattam. ennOda uthavi thEvaippadum ippO, manithAbimaanaththOdu irukka ninaikkumpothu neenga piriyalaamnu sollum unga sattam enakku thEvaiyillai. Saying this Ranga now takes care of Kalyani.

In such a poignant situation comes this rare composition by MSV. Jayakanthans lyrics adding further beauty .MSV has used the voices of two - not so regular singers- Jolly Abraham and B.S.Sasireka. Both have done their best to this jewel by MSV-Jayakanthan .

As the tune starts, Ranga takes Kalyani in the wheelchair and with the song in the background, he takes care of Kalyani carrying her in his arms, attending her routines and finally taking her to the stage where she performed. Kalyani the natikai who once played on the stage is a rasikai now in the front row .

natikai pArkkum nAtakam athil
rasikarellAm pAththiram.

As she watches the drama, her thoughts go back and forth between her performance as an artiste once and a rasikai now. Ranga is by her side comforting all along. Finally Kalyani dreams of getting to the stage herself one day to the applause of her fans.

kuRaigaL enbana iyalbenum
guNamadaivathE anubavam
iRaivan amaiththa mEdaiyil enRum
thirai vizhAtha naatakam.
natikai pArkkum nAtakam athil
rasikarellAm pAththiram.
mudivillAtha thuyarilum suba
mudivu kaaNum ivaL manam

Kalyani enRa antha natikaiyudan naamum sErnthu avaL vAzhkkai nAtakaththai pirathipalikkum intha inimaiyAna pAdalai rasikkalAmE!!!

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