MUSICAL MEMORIES
A recent biography and an even more recent debate prove that the life and times of singer-superstar MKT continue to enthrall readers, viewers and listeners.
AUG 1, 2010 – IF INDIA HAD A STUDIO CULTURE that, perhaps through a specialty wing, fostered biopics, the life of M K Thyagaraja Bhagavathar would, by now, have made it to a theatre near you. What a story! What a voice! What a rise! What a fall! Imagine the possibilities for historical recreation of a time when films routinely had 25 songs, patterned in pristine Carnatic ragas by the illustrious likes of Papanasam Sivan and G Ramanathan. Imagine the potential for gentle comedy – not just from the shenanigans of NS Krishnan, TA Madhuram or Kali N Ratnam, but also from the staging of sequences in a film language so quaint, so distanced from ours today. Then, in this midst, imagine the uproar unleashed by the Lakshmikanthan murder trial, leading to the incarceration of MKT and Krishnan. The entire thing, in short, is a screenwriter’s dream – from deification to disgrace, embellished with laughs, tears, murder and the music of the heavens.
A cinematic adaptation being a pipe dream, Suresh Balakrishnan steps in with the next best option, committing to words the story of one of Tamil cinema’s earliest and most glorious stars. Bagavather: His Life and Times takes the reader through MKT’s life, with chapters titled Childhood and the Formative Years, Cinema and Stardom, The Lakshmikanthan Murder Case, After April 1947, and Last Days and the Memory. If, at places, it appears that a tough editor might have dealt with the rough edges and made this a book for the ages, befitting its release during MKT’s birth centenary, the staggering research that illuminates this volume makes it indispensable to anyone even the least interested in MKT lore. Balakrishnan notes as much in his preface, that the writing this book consisted, primarily, of putting together “fragments of information that I managed to gather from multifarious sources in the course of my research.” His achievement is the consolidation of the bits and pieces of information lying hither and thither.
Where else, in the confines of two bound covers, are we to light on such nuggets as the contents of a letter from an MKT fan, written after seeing his idol on stage in Pavalakkodi? “The anticipation of his appearance caused a sudden silence in the theatre. [Devudu Iyer] adjusted both the harmonium and his shirt and tuned himself to a four and a half kattai sruti [F Sharp]. That’s it. Bhagavathar appeared majestically on stage singing a Kharaharapriya kriti of Saint Tyagaraja. [I] forgot myself when I saw his looks. His Raja Part dress, the crown on his head – wow! I felt as if I wanted to look at him forever.” Once MKT forsook stage for screen, the reviewer at Talk-a-Tone was decidedly less enthusiastic. “Sivakavi proves to be an Utter disappointment… Action poor! Technical Work poorer!! Direction Poorest!!!” Though, after this evisceration with exclamation points, even he conceded, “Bhagavathar’s singing and Elangovan’s dialogues save the picture.”
Balakrishnan is especially interested in MKT’s reputation as a Carnatic singer (as the songs, those days, were tuned in ragas and adorned with signature elements like gamakas, brigas and niraval), and within his discussion of each film, he reserves special space for a discussion of the music. In the context of Thiruneelakantar, for instance, Balakrishnan observes that the Sivan-MKT pairing proved immensely successful, with Chidambaranatha in [the raga] Hemavathi, Oru naal in Kamas, Eesan kanmino in Ragamalika and Maraivai puthaitha in Darbar. And he draws on Subbudu’s comments from a Kungumam article dated 18th January, 1990, where the notoriously persnickety critic raved, “The purpose of music is to touch the heart, melt the heart, give delight and encouragement… All these characteristics were there in MKT’s music in full measure… Deena karunakarane is full of kaarvais, improvisations, embellishments… The slightest slip means death. Try to sing it and you will get the message.”
And then came dissonance, with MKT’s implication in the murder of “yellow journalist” Lakshmikanthan. Let us take leave of Balakrishnan’s book, at this juncture, and follow his fascination with his subject through the pages of Sruti magazine, where, commemorating MKT’s centenary, Vamanan wrote an eminently worthwhile two-part feature in April and May 2010. In the next issue, Balakrishnan raged that Vamanan’s profile was disappointing. “At the outset, may I congratulate Sruti for paying homage to the great musician… However, as the biographer of MK Tyagaraja Bhagavathar, I am constrained to record my disappointment at Vamanan’s ill-informed and ill-researched writing…” In response, Vamanan termed Balakrishnan’s contentions as an “intemperate outburst,” adding with considerable snark, “The correspondent obviously feels that he is the one and only worthwhile source on Bhagavathar… Did he receive his tablet of commandments on Bhagavathar somewhere on Mount Sinai?”
By the July 2010 issue, the debate was (or is) still raging. MKT’s son-in-law took issue with Vamanan’s statement, “Bhagavathar once remarked that he had not been punished enough.” Balakrishnan added, “There is every possibility that an unsuspecting reader might have assumed that Bhagavathar felt he was guilty.” Another correspondent, BM Sundaram, aligned himself on Vamanan’s side, stating that the article was an homage to a great singer-actor of Tamil cinema. Vamanan concluded that he stood by “my article, its facts, its thrust, its spirit and my integrity.” Finally, Sruti regretted that the clarification provided for MKT’s I-was-not-punished-enough statement had not appeared in time to mollify the sentiments of anguished family and fans. A hundred years after MKT’s birth, it’s astounding to note the passion with which he is still being discussed. Balakrishnan’s book and Vamanan’s profile are highly recommended, but first, if you can (and in case you haven’t), do listen to the man’s music, most of it miraculously still available. It’s why ears were invented.
Copyright ©2010 The New Sunday Express. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
Nandita
July 31, 2010
“It’s why ears were invented”-Amen to that.There is so much joy in the singing and the music is so uplifitng! Thiruneelakantar is an all-time favorite.All his songs, esp. Dheena Karunaakarane, Vasantha ruthu, Soppana Vazhvil..such gems each of them.Thank you so much for this article. I need to get my hands on this book now.
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rameshram
August 1, 2010
Tamil writers and historians do not know how to do biography well.
the best cultural biographers of south indians have been foreign(schulman and zimmer) or have lived abroad(coomaraswamy and ramanujan). This may change. it has something to do with the emic and etic sensibilities of cultural anthropology that makes local historians either too close to the action, too dogmatic or lacking in a viable audience to do justice to a well projected academic work of prominence and importance.
an aside:
my MKT songs post from a couple of years ago(also features some songs from moghamul(the T Janakiraman novel made into an artsy film in tamil with nedumudi venu ). miraculously, most of the youtube links still work.
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bran1gan
August 1, 2010
Nandita: Yeah. Vallalai paadum vaayaal, Amba manam kanindhu, Kavalaiyai theerkum, Radhe unakku… he had such a run of great songs. The latter was reprised by TMS in Iruvar Ullam, and it sounds almost as good. TMS’s voice in the 60s was something else altogether.
rameshram: I guess there’s two ways to look at it. I’m just happy there’s a book that talks about him in such detail, a one-stop shop if you will. The writing/editing are flaws I can live with.
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rameshram
August 1, 2010
Branigan,
I agree that a good detailed text is its own reward. Im still looking for a book that captures the essence of the 1970’s MGR phenomenon. only find smears..or jingo.
someone that could publish writing and transcripts of word/audio interviews from the day, after researching to find original source material would have my undying thanks.
there IS plenty of written source material in Chennai/TN..there’s just noone that will commit to doing the research for a mere biographical sketch I guess. If someone comes up with funding I’d love to volunteer to go to chennai/hyd/bgl and find PLENTY of good sources with source material about 1930s/40’s tamil cinema, and the players(of which MKT was the LAST, not first..)
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Vishnu
August 1, 2010
Hi,
For more details of the book, you can visit:
http://bagavather.blogspot.com/
Regards
Vishnu
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munimma
August 3, 2010
Recently, I was reading Randor Guy’s account on tamil cinema’s initial days and those stories are still fascinating. I think it is on sify. I wish we had better (as in more objective) biographies of the cinema world
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ravi vnkt
August 9, 2010
A 500 page biography of T.M.Soundararajan in Tamil written by Vamanan is very interesting. I remember attending a gala function which was held as part of its release (Cho, minister Rajaram, MSV and many other film music personalities attended). The book was published by Manivachagar Padhippagam. TMS has written a foreward to it. I think it is an official biography. The book brings forward many decades of film music history and involves lot of research. But it also reads like a novel.
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T.
August 26, 2010
. The entire thing, in short, is a screenwriter’s dream – from deification to disgrace, embellished with laughs, tears, murder and the music of the heavens.
I beg to differ — after disgrace there should be redemption and nothing like that happened in this case as far as I know…
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MysticPen
October 1, 2010
Trichy Cinemais waiting!
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Anuja Chandramouli
March 16, 2018
BR: Ever since you tweeted about the awesomeness of Vallalai paadum vaayai, I have become hopelessly addicted to MKT. Of course, I had heard about the great man and had vague memories of Manmadhan Leelaiyai but after clicking on the link you posted on an impulse, I have been listening to him obsessively for days. Such a divine voice and I simply can’t get enough of him. My favorites are Bhoomiyil maanida, Oru Naal, Deena Karunakarane, but I keep discovering gems and it is all too wondrous for words!! Been reading up on him big time and stumbled across this post of yours. Will definitely buy this book!
“but first, if you can (and in case you haven’t), do listen to the man’s music, most of it miraculously still available. It’s why ears were invented.” Truer words….
You have been a long distance teacher of mine for a while now and I will always be grateful for discovering you (Sorry BR Discover Venkatesh) and the many wondrous discoveries I have made through you. Thank you!
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