Read the full article on Film Companion, here: http://www.filmcompanion.in/article/southern-lights-20-years-of-thamarai-in-tamil-cinema
This is Thamarai’s 20th year in the movies. The lyricist talks about her poetry, her personal life, her politics.
Magnus Chase and the Hammer of Thor – “by the creator of Percy Jackson” – is the last book I expect to find in Thamarai’s living room, as I wait for her, watching a stray cat do whatever stray cats do. It is spread open and placed upside down to mark the page, and surrounded by issues of Nakkeeran and Reporter and unopened newspapers. Later, she tells me that the book is her 15-year-old son’s, but the last time I interviewed her, in 2010, she said she was a fan of Modesty Blaise. One never knows.
Thamarai is in the process of moving, so the living room is in a clutter. But it’s also because she doesn’t throw anything away. She has, from her Vaseegara days, pictures she took with Gautham Menon and Harris Jayaraj and Bombay Jayashree. She has the outlines for the Vinnaithaandi Varuvaaya songs in AR Rahman’s voice, from when he sent them over. She has all the awards she’s won, which are so precariously stacked in a shelf in a far corner that taking one out would cause a Jenga-like collapse.
She walks in as I’m eying the awards. I see a Saamy trophy and ask which song she wrote for the film. Idhu dhaana, she says. There’s also a trophy for Thenali, for which she wrote Injirungo, in the Jaffna slang. Kalli adi kalli, from Nandha, was written in the Batticaloa dialect. Thamarai knows her way around the region well. In 1996, she visited the island nation to “start a dialogue,” as she puts it. “Almost everyone, here, had stopped talking about Eelam after Rajiv Gandhi was assassinated, but over there, the war was still on, people were still affected.”
Continued at the link above.
Copyright ©2018 Film Companion.
Enna Koduka Sir Pera
January 11, 2018
Lovely read! Excellent writing which I wish kept going on for a few more paragraphs. I love the songs that come out of her collaboration with Gautham Menon. She literally paints pictures with her words in Tamil. Her phrases jump out as vivid images. For example, the following lines from Thalli Pogathey:
“Nagarum Nodigal
Kasaiyadi Pole
Muthugin Mele Vizhuvathinale
Vari Vari Kavithai”
How beautifully she could describe time like that!
Or these lines from Maruvarthai Pesathey:
“Mayil Thogai Pole Viral Unnai Varudum………….
Vizhi Neerum Veenaaga
Imai Thaanda Koodaathena
Thuliyaaha Naan Serthen
Kadalaaha Kann Aanathe”
I love these lines from Vinnai thaandi varuvaya song:
“Uyire neeyum naanum,
Pirinthadhu puvi-eerpu maiyathil thaaney
Iruthuruvam serum antha oridam,
Angeythaan naam sernthomey”
What is she implying by saying they will meet where the two poles meet? Is it foreshadowing what’s going to happen in the movie, that they can never be together like the two poles?
She is definitely the better of the new-age lyricists when it comes to Tamil prowess.
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lakshmi
January 11, 2018
A wordsmith talks to a word painter, and we get an exquisite piece of writing. I didn’t want it to end.
When I first heard Maruvaarthai pesaathey, I was reminded of the last scene in Farewell To Arms.
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Vivek narain
January 11, 2018
A stray cat or an alley cat or Modesty Blaise have the kind of morals that make them wanted by most he-cats and he-men, though some may call them wanton. Modesty’s cohort Willie Garvin, a useful handyman, is in fact a perfect he-hooker. And sometimes i dream that i have managed to kiss a she-policeman.
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Krish
January 11, 2018
Beautiful article. Fascinating to see how her principles and personal struggles have shaped her work. More power to her!
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Srinivas R
January 12, 2018
A very warm, insightful interview. I remember her 2010 interview, which is still one of my favorite interviews in the blog. She seems to have mellowed down from that time. Her lyrics are still outstanding. Loved the bit about Anal mele panithuli song. A big thanks for making this a written article rather than a video, there is so much flavor in your writing that makes it special.
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Uncouth Village Youth
January 12, 2018
Wow – nice interview. We need more proud Tamizachis speaking out. Tamilnadu needs them, Eelam needs them. Just hopped over to wiki to go through her films and ended up even more surprised.
Kangal irandal – Oru Vaarthai Illaye, Ithil Oosai Illaye,Ithai Irulilum Padithida Mudigirathey
Oru vetkam varuthe – Ketu Vaangi Kollum Thunbam,Kooru Potu Kollum Inbam( I think the first Kollum is the middle la, while the next is small ??)
Kalli adi Kalli – Ingum uravu oollathu,Tamilar manathu periyathu,
Oru Maalai – Unakaetra Aanaga Ennai Matri Kondaenae..(wishful thinking ??)
are some of the songs that I had mentally assigned to Pa.Vijai or Yuga/PazhaniBharathi or Na.Mu in random.
Her filmography is limited given her 20 year career. Was it a conscious decision, because she talks about kolgai. HJ-GVM camp, personal turmoil, her gender (acknowledged by her) are some of the reasons that come to mind.
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Sifter
January 12, 2018
A totally beautiful written piece. Felt heartfelt from you and from her. Glad to read than to watch!
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Madan
January 14, 2018
Not a lyrics guy but still enjoyed reading this a lot. As lakshmi said above, wordsmith meeting the word painter leads to magic.
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harish ram
January 14, 2018
Excellent insights.
On a tangent note, I hate HJ for spoiling the adj-noun coupling by over-milking it with the same meter for most of his songs and rendering it cliched.
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"Original" venkatesh
January 14, 2018
Question for the younger generation … – Do the kids of today go through poetry, song lyrics like we did when we were younger ?
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ThouShaltNot
January 14, 2018
Terrific write-up !
On Thamarai’s lyrics:
Thamarai, in her songs, embraces an austere strain of love that is stripped of the sexuality we are used to seeing in lyrics written by most male lyricists. Within a relationship, she evocatively craves modest pleasures (but ondraa rendaa aasaigal !) and the gratifications on offer sans physicality (maybe with some exceptions: idhazhgalai idazhgalaal nirappida vaa penne from uyirin uyire). It is undoubtedly good that she has brought a feminine point of view along with her distinctive style into the world of Tamizh film lyrics. It would be even better to have an assortment of such views. But the industry has straitjacketed her and turned her into more of a niche player. I have not caught up with her more recent songs, but my feelings about her lyrics continue to be mixed. As for her reluctance to compromise, she would belong in a club with PKS. Most other lyricists rationalize, like many of us. Vaali put it best to MGR, “enakku rendu Tamizh theriyum. onnu, virpanai Tamizh onnu karpanai Tamizh. virpanai Tamizh Kodambakkathukku karpanai Tamizh Kavi arangathukku”. To her credit, Thamarai keeps away from the kochchai.
Btw, she has used alaadhi before: un alaadhi anbinil nenaindhapin nenaindhapin naanum mazhai aanaen… (paartha mudhal naaley).
Line of hers I found fascinating: kankotta mudiyaamal, mudiyaamal paarthum, salikaadha oru pennum nee dhaan (such resoluteness in love is laudable 🙂 )
On her politics:
Thamarai is an unrelenting champion of the cause of Tamizhs in Sri Lanka. Unlike the political chest-thumpers who pay lip service out of expediency, she has consistently supported the Tamizh cause. Whenever the hour of reckoning arrived, she put her hands up. Gutsy and deserves a round of applause for that. But where I draw the line is in her embrace of Prabhakaran (although, many like her believe, he was the last man standing between a merciless government and the wretched lot of Tamizhs it had desolated over three decades; they conveniently ignore how he got to be that last man)
On Kannadasan:
Interesting that “Poo maalayil oar malligai” is one of Thaamarai’s favorites. That is a song soaked in shringaara ras and ranks high on my K-list.
sollaadha sollukku vilai aedhum illai
One of his best lyrical nuggets buried in a song that itself doesn’t rank quite high (at least in my K-list). What Kannadasan was reaching for there was transcendent emotion. It is best understood and requires no verbal articulation. Rather, language, meager in comparison to such emotion, stands no chance of adequate articulation.
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Rakesh
January 15, 2018
Considering that she already discussed about ‘Karka karka’ in her previous interview with you, I was hoping she would shed some light on her other introduction song from ‘Yennai Arindhal’. If Karka Karka was based on her ex-husband Thyagu(as she gushingly admitted in her first interview), I wonder if there was anything interesting this time around.
For all the bonhomie between Gautam and Thamarai, he apparently dropped her like a hot potato on Illayaraja’s orders who reportedly issued a diktat that he would never work with her (has Illayaraja ever worked with a female lyricist before ? ) Wish she clarifies this in her future interviews ( or maybe she is saving it up for her autobiography ! )
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sachita
January 17, 2018
Are the pieces getting shorter or is it just the new format? (definitely missed your blog’s format in this piece – the tight spacing adds to the experience – oh well). Nevertheless really enjoyed knowing her tastes, her outlook.
There is kutty revathi too in the scene now. Last time she spoke about how people feel uncomfortable with a women in studio and now she talks about appearance order in credit – I am left shocked. Is this how bad things are in film industry that these trivial things are an issue?
To me Thamarai represents my feelings much much better than Diamond pearl ever does( he really is lmiles and miles behind on this) even though I love his lyrics too.
@ThouShaltNot: “they conveniently ignore how he got to be that last man” boggles me. ( and the child soldiers too).
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Rahini David
January 17, 2018
The length of this article seems pretty standard to me.
Not surprised that Lotus represents your feelings better. Lyric writing is very much the area were a lot of diversity is required. I feel that Vairamuthu had more ease in bringing a rural flavor than, say Vaali, did. We need young writers, and old ones, male and female writers and writers from all communities. The flavor brought in will be wonderful.
Kannadasan’s songs often gave me the feeling that he was definitely more comfortable while he was writing for male characters.
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Aravindan
January 19, 2018
Thank you very much for the interview. I am a big fan of hers and both your interviews are my favourites.
And, I am a big fan. Right from her உன்னருகே நானிருந்தால் days, the early days when she wrote a poem about Taj Mahal in Vikatan which promptly brought in reader’s angry letter (which Jyothika recites in the other and the boring Magalir Mattum), I have tracked her journey and her lyrics. Being a Thamizh lyrics nut-case who nurses secret, unrealistic ambitions of becoming a lyricist one day, it’s been inspiring and exciting to watch her grow and stick to her principles.
She is very unique. Vaali’s lyrics, apart from all other great qualities it had, brimmed with ஓசைநயம். (Raaja keeps repeating why Vaali chose the words he chose for சுந்தரி கண்ணால் ஒரு சேதி. That சேதி and the தேதி. How a good lyricist knows which words not to use in a tune or a song)Vairamuththu and Na Muthukumar are poets at heart and it shows in their work. They can paint poetry in such few words. Thamarai is not very strong in these aspects. She is not really concerned about ஓசைநயம். She picks the words required for her thought or to finish her thought; the sound of it is probably not the best for the tune. I don’t find much poetry or imagination in her lines (as against, say, Vairamuththu. Also, a few poems of her that I have read left me unimpressed). She rather talks about the mundane. Brevity isn’t her forte either, she likes to elaborate. There are words that I don’t want in a song. கமலாலயம், புவியீர்ப்பு, நளபாகம்.. They all fit well but at times you cannot shake off the feeling that there are some rough edges. Add the restrictions that she imposes on herself (or how she liberates her beyond english/obsene words)- it is very surprising how much of her lyrics clicks. Vaseegara sounds excellent with the tune and if you write it down, it’s at best உரைநடைக் கவிதை or like what some purists accuse her to be writing – prose. Some of her constructs are bizarre – மாடி வளைவிலே ஏறும் பொழுதிலே உன்னை நினைத்து நான் நின்றேன் / உன்னை அணைத்திடும் ஆசை பெருகிட கோபம் ஒரு கணம் கொண்டேன். When she says she needed an outlet for her thoughts primarily as against starting as a poet, it sort of makes sense to me. I was always looking for what new words or new things she got to say in a song. The lyrical aspect felt secondary. I am delighted to hear the thought – இசையாகப் பலப்பல ஓசை செய்திடும் ராவணன், என் மகன். The form in which it is delivered, not so much.
I am probably increasingly sounding very critical of her but I really love her. Take உயிரின் உயிரே – I think it’s one of her bests. I think that song made me a fan. Every line packs a punch and adds something to the scene. இருளின் போர்வை என்னை சூழ்ந்து / மெல்ல மெல்ல மூடும் தாழ்ந்து is a brilliant line. (I hadn’t known her well or her principles then and had heard it as மெல்ல மெல்ல moodஉம் தாழ்ந்து and then.. to realize one fine day!). பாதமெங்கும் சாவின் ரணங்கள்.. தாமதிக்கும் ஒவ்வொரு கணமும் தவணை முறையில் மரணம் நிகழும். She is very consistent in Gautham’s films (except Vinnaiththaandi Varuvaaya, which was a disaster and it’s sort of understandable why Rahman-Thamarai might not always click). ஒரு வெள்ளிக் கொலுசு போல இந்த மனசு சிணுங்கும் கீழ / அணியாத வைரம் போல புது நாணம் மினுங்கும் மேலே is beautiful. Or மழைக் காலத்தில் சரியும் மண் தரைப் போலவே மனமும்.. The fantastic உள்ளுக்குள்ளே உச்சுக்கொட்டி தொடர்ந்திடும் பிழை பிழை.
But there is so much to like in her work outside Gautham’s work which are not often discussed – பூவாளியின் நீரைப் போல / நீ சிந்தினாய் எந்தன் மேலே / நான் பூக்கிறேன் பன்னீர்ப் போலே. நெஞ்சின் ராட்டினம் எனை சுற்றித் தான் தூக்க / வாழ்வின் உயரத்தை ஒரு நொடியில் நான் பார்க்க. விழாக்களில் இவள் தனித்திருக்கிறாள் / கனாக்களில் இவள் விழித்திருக்கிறாள். The smile that மேற்கு திசையை நோக்கி நடந்தால் / இரவு கொஞ்சம் சீக்கிரம் வருமா? or நானும் நீயும் பேசும் போது தென்றல் வந்ததே / பேசிப் போட்ட வார்த்தை எல்லாம் அள்ளிச் சென்றதே brings.
Though of late, I am very disappointed with her lyrics. Even the ones in எனை நோக்கி பாயும் தோட்டா doesn’t make a great impression. Apart from the knockout தள்ளிப்போகாதே and a couple of lines in அக்கம் பக்கம் பார், there isn’t much to enjoy. (To hear Thamarai explain how she wrote தள்ளிப்போகாதே is hilarious).To read about the turmoils in her personal life is disheartening – and that too how happy and proud she was to model கற்கக் கற்க around her husband. She once wrote அர்ஜுன மச்சம் and made people ask her what it means and never repeated அர்ஜூன anywhere and it still retains its charm. But to be repeating பிழை, கானல், கலாபம், மரகத சோம்பல், மரகத தேடல், அலாதி அன்பு, அலாதித் தூய்மை, i heard another அலாதி in Kee album yesterday and it’s not அலாதி தேர் yet, then there is நளபாகம், her bizarre obsession with hands being விசிறி.. To hear her write கண்னே காதலி / காதல் மார்வலி literally brings the pain. In a song from Nimir which also released yesterday, she has resorted to பாசாங்கு / ராசாவே / ரோசாப்பூ / பேசாமல் rhyme. You can almost see her just sleep walk through many songs. I hope she delivers more great stuff in the coming years.
P.S : I am in the minority probably, but her explanation for உதிரட்டுமே உடலின் திரை line made me almost laugh, almost ruined it. Like they say, never ask someone to explain what they wrote 😉
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brangan
January 20, 2018
Aravindan: Good to see you again in these parts. But allow me a small rebuttal.
One, anything that springs from the unconscious (like writing) is — over time — going to “sound the same” (i.e. give away strong traces of a signature), UNLESS the creator is given time to rethink (consciously) some of what has been written. And the time constraints in film-making don’t often allow for this. So “pet words” (like alaadhi) are something I can make my peace with, provided there are other compensations in the song.
Two, I vastly prefer Vaali in his MSV-phase than Raja-phase. In the former (take Pakkkathu veettu paruva machan), there was a such a sense of invention and playfulness. In the latter, there was a sense of just… “rhyming.” Of course, rhyming takes talent too — but I prefer new thoughts and constructions (even if they don’t fit perfectly into the metre) to “osai nayam.”
Of course, all this is subjective, etc.
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Aravindan
January 22, 2018
I vastly prefer Vaali in his MSV-phase than Raja-phase
I agree. I have much harsher criticism for him in that phase or the “second half” of his career 🙂
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