payanangal mudivathillai
listen to payanangal mudivathillai (original motion picture soundtrack) [ remastered ] now .
‎payanangal mudivathillai (1982) directed by r. sundarrajan • film + cast • letterboxd
payanangal mudivathillai (1982) tamil movie cd - rip 320kbps mp3 songs music by ilaiyaraaja - starmusiq. com
is a tamil drama movie, directed by r. sundarrajan. the cast of payanangal mudivathillai includes mohan, poornima bhagyaraj .
√ music album | ilaiyaraaja, s. p. balasubrahmanyam & s. janaki | payanangal mudivathillai (original motion picture soundtrack) - rockol
travel literature: s. palaniyandi for ‘payanangal mudivathillai' and manos for ‘jerusalem.' eighteen others were given consolation prizes under the above categories .
song: aatha athorama .
payanangal mudivathillai
is an indian tamil film. it was released on 26 february 1982. the film was a blockbuster and compl… | pinteres…
according to the illustrated weekly of india, payanangal mudivathillai was the first indian film to have
larger - than - life cut - outs
of its music director. [ 16 ]
payanangal mudivathillai, starring mohan and poornima bhagyaraj. the film showcases the true love of mohan to poornima in that he didnt want her or her father (poornam vishwanathan) to know... see full summary »
r sundarrajan destined cinema as payanangal mudivathillai, vaidhegi kaathirunthaal, and rajathi raja. after a opening of 12 years, sundarrajan is into instruction of film' chithirayil nila soru'. subscribe for exclusive interviews, events, gossips etc urltoken
the love story payanangal mudivathillai created history. a silver jubilee hit starring mohan and poornima, it ran to packed houses in coimbatore theatres for more than 300 days. ilayaraaja' s classic ‘ilaya nila' in spb' s butter smooth voice became an evergreen hit .
payanangal mudivathillai is a 1982 tamil action - romance film, directed by r. sundarrajan and produced by mother land pictures. this film stars mohan, poornima jayaram in the lead role. the films soundtrack and background score were composed by ilaiyaraaja with lyrics by muthulingam, gangai amaran & vairamuthu .
payanangal mudiva ...
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payanangal mudiv ...
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payanangal mudivathill ...
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movie title - - - payanangal mudivathillai its ranked number 5 tamil movie in the year 1982 in imdb. imdb rating - - 7. 5 director r. sundarrajan directs actor mohan for 1st time. director r. sundarrajan and music director ilaiyaraaja joins for 1st time. cast - - rajesh guest appearance s. s. chandran s. ve. shekher t. s. chandran below actors passed away - - poornam viswanathan died on 01 - oct - 2008 movie details - - directed by - r. sundarrajan music by - ilaiyaraaja produced by - pollachi m. v. rathinam produced by - p. muthusamy produced by - r. elanchelian story - - payanangal mudivathillai starring mohan and poornima bhagyaraj. the film showcases the true love of mohan to poornima in that he didnt want her or her father poornam vishwanathan to know... review - - ananda vikatan rated the film 48 out of 100 .
payanangal mudivathillai was released on 26 february 1982. [ 17 ] the film ran for over 365 days in theatres, [ 18 ] thereby becoming a silver jubilee film. [ 19 ] in a review dated 21 march 1982, the tamil magazine ananda vikatan rated it 48 out of 100. [ 20 ] mohan won the filmfare award for best actor – tamil, [ 21 ] and poornima jayaram won the filmfare award for best actress – tamil. [ 1 ]
a humble a person that he is, gangai amaran wants to do more for the people. by the time the brothers stepped in to the industry, they knew what the audience expected of them. they lived an ordinary life and understood what common people like to watch and listen. they started with folk music and later picked up western music. “we wanted to do music for the masses. ilayaraja gave the classical touch to his folk compositions and sensitised people to the nuances of classical music. for instance, the song ‘yeh, aatha, athorama variya’ from the movie ‘ payanangal mudivathillai ’ sounds like a folk music but it has the classical touch, ” he says .
payanangal mudivathillai, starring mohan and poornima bhagyaraj. the film showcases the true love of mohan to poornima in that he didnt want her or her father (poornam vishwanathan) to know about his terminal illness (leukamia / blood cancer at the final stage) and his counting days. with this intent, he was planning to create a gap from poornima. however, poornima and her father intrepreted him badly as if he had changed his mentality after becoming rich. they were depressed because he become rich from a pauper stage only because of poornima and her fathers opportunity to him to give a lot of singing opportunities to him. poornima and her father realise the real cause of change of mohan' s mind only after rajesh (the doctor who attends mohan) tells about his sickness. rajesh beleives that mohan does not know but mohan has eavesdropped the report while rajesh was discussing in his clinic. the story reaches climax with the suicide of poornima and mohan in that their journey through music ...
‘vaigaraiyil... ’ from “payanangal mudivadillai” is typical subhapantuvarali, the melody beginning strikingly at the dhaivata and with a flourish of sangatis landing at the sadja after plunging soulfully into the dhaivata. sp balasubrahmanyam sings it with a certain heaviness in his voice to suit the actor’s heavy heart. ‘theertha karai orathile’ from “theerthakaraiyinile”, sung by spb once again, showcases ilaiyaraaja at his best in this raga. in each one of these songs, the lyrics add great power to the melody. when a colossal raga meets powerful lyrics, the result is musical magic .
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a raga that evokes grief and sorrow in the hearts of listeners is subhapantuvarali. one often hears this raga played on the shehnai for sad scenes in tamil films. in reality, this raga is supposed to be auspicious. in weddings up - north, this raga is often played on the shehnai to usher in the festive spirit. the notes taken by this sampoorna raga are shadja, suddha rishabha, sadharana gandhara, prati madhyama, pancama, suddha dhaivata, and kakali nishada. the tivra madhyam in conjunction with the sadharana gandhara brings forth the feel of pathos in this scale .
the classical compositions in this raga are few but striking. thyagaraja' s ‘ennalu urake’ is a beautiful piece. the most popular kriti in this raga is of course ‘sri satyanarayanam’ of dikshitar. this raga was known as ‘shivapantuvarali’ in ancient times, and in ‘pasupatiswaram’, composed by dikshitar, about the deity at kathmandu, he writes ‘shivapantuvarali raaga priyam ati caturam’ .
in film music, this raga has been used innovatively by composers. one of the finest representations of subhapantuvarali in tamil cinema is ‘intha nadagam’ in the silken voice of p. susheela in “paalum pazhamum”, in the music direction of the viswanathan - ramamurthy duo. the heart - rending phrase ‘kalyanam aanavalai kannipol akkivittaai’ acquires special appeal with the notes ‘mdns sgrs srsg’ — a dramatic start at the madhyama, finishing off the lament with flourish at the upper gandhara. often, in film music, this raga may not have been used in its purest form. there may be deviations in certain notes in order to fulfil emotional and lyrical constraints .
‘kaala magal’ from “ananda jyothi” is a simple and catchy song sung by p. susheela in this raga and msv - ramamurthy tap into the audience pulse with a medium tempo. ‘unnai naan sandhithen’ from “ayirathil oruvan” is largely based on this scale, though a few foreign notes appear. an evergreen melody with a middle - eastern flavour to it, thanks to the background music, this song is once again composed by the msv - ramamurthy duo and sung by p susheela .
ilaiyaraaja’s handling of this raga is deft and refreshing, covering a spectrum of emotions from sorrow to bubbly fun. ‘azhaikkindran madhavan’ from the film “sri raghavendrar” is a pristine depiction of this raga by the maestro. sung by k. j. yesudas, this piece depicts the final journey of sri raghavendra, a revered saint. the composer couldn’t have selected a better raga for this situation. the lines ‘thaedinen deva devaa, thamarai paadame’ establish the raga beyond doubt, the key phrase being ‘s, rg, g, rss / srgr ssn’ .
‘vaa veliye’ sung mano and chitra from the film “paadu nilave” begins with a flowery alapana and is structured like a classical piece, though the back - ups are western. an attempt at fusion music, once again a novelty. would anyone conceive a happy, bubbly melody in such a raga? ilaiyaraaja has, and made it a super - hit. ‘kandupidichen’ from “guru sishyan” is a fun song, a tad folksy too. the versatility of ilaiyaraaja is reflected in this exceptional piece .
in hindustani music, this scale resembles the todi thaat and is considered an important raga. ‘har nayi kiran’ from the film “sant gyaneshwar” sung by manna dey (music by laxmikant - pyarelal) is a good example of the usage of this raga in hindi film music .
big screen: central theatre in coimbatore among the oldest in the city, has been given a facelift recently. photo: k. ananthan | photo credit: k _ ananthan
coimbatore' s romance with cinema goes back a long, long time, writes k. jeshi
and, the popular film was made by actor r. sunderarjan, a coimbatorean. the film director from coimbatore gave a number of hits such as kilinjalgal, vaidehi kathirunthaal, mella thirandhathu kadhavu and amman kovil kizhakaley .
many directors, actors, and technicians from the region such as jaishankar, manivannan, sivakumar, satyaraj, bhagyaraj, manikandan and krishnan panju have contributed immensely to the growth of cinema .
film lovers in coimbatore get nostalgic about the days when watching films was the major entertainment. present day kannan departmental store on trichy road used to be sreepathy theatre. they screened european films here at a unique ‘inter' show at 8 p. m. “we have watched classics such as christ stopped at eboli and the films of directors such as zanussi, fassbinder here, ” says artist v. jeevananthan .
those were times when movie halls became a place for intellectual gatherings. the films screened between 8 p. m. and 9. 30 p. m. with english subtitles, had a regular audience, some of them from even outside the city from as far afar as chennai. also on trichy road was the rainbow theatre (now the rainbow manor apartment). this hall along with central, sreepathy and sreenivasa on brooke bond road would screen english films .
jeevananthan remembers watching the james bond series, and classics such as african safari and ten commandments. “sreenivasa theatre used to be a small square shaped theatre, located near the railway track. whenever a train passed by, the wooden chairs would rattle, but still we enjoyed the films there, ” he adds .
the movie halls were popular for the canteens too. especially the keerai vadai and coffee served by annapoorna at central canteen. also, jaffar' s ice cream. thengai (coconut) biscuits, soda, coolers (cool drinks), murukku, samosa, tapioca chips and pori (puffed rice) were the other popular eatables at theatres .
if it was a mgr or a sivaji ganesan release, there would be ‘bicycle queues'. people lined up their bicycles to reserve a place in order to buy tickets .
the lines sometime ran to a few kms, especially in royal, raja and central theatres. theatres decked up for new releases. it was a festive ambience at the halls with larger than life plywood cut - outs and cloth banners. “my father used to hand paint portraits of rajinikanth and sivaji ganesan in giant 30 ft and 40 ft cut outs during the time of the film release, ” mr. jeevananthan says .
tiny booklets with lyrics of film songs used to be sold at the venue. “cinema used to be the only recreation. sadly, now there are no cut - outs and no crowds, ” says mr. jeevanathan regretfully .
sunday morning shows were another favourite family outing. cineaste d. anandan relives those days when, every movie goer was a regular at the theatre and they made many friends .
he has watched movies such as poseiden adventure, abba and apollo. “ all that jazz directed by boss fosskey ran for seven days at central theatre and i watched it on all the seven days to understand it better. later, we learnt that it had one of the finest editing and also won an oscar for best editing. ”
in those days, central was the first theatre after chennai' s sathyam to introduce 70 mm screen and six track stereophonic sound system. the kg theatre had four screens of which one was dedicated to english movies. there were many theatres in town hall. delite screened the silver jubilee hit sholay, aradhana ran to packed houses in raja and qurbani enjoyed huge success in naaz. kennedy theatre at r. s. puram screened exclusive hindi films. mahendran' s uthiri pookal ran for 25 weeks at royal theatre .
all sivaji ganesan films and kamal hassan' s thevar magan had a good run. carnatic screened many hits of director sridhar. annakili was yet another film which had a silver jubilee run at irudaya theatre, near vincent road .
sadly, many old theatres such as raja in town hall, unable to cope with the technological advances downed their shutters and were ultimately demolished .
now, the city has just about 22 theatres, which includes six complexes, says g. sivaraman, secretary of coimbatore district film distributors association, a veteran in the field for 40 years. now people watch films on internet. however, quality films and films with good production values continue to draw the crowds .
he cites the success of small budget films such as myna, kalavaani as well as multi - crore ventures like rajnikanth' s enthiran and kamal hassan' s dasavatharam .
ac halls, quality seats, neat and clean bathrooms, car parking facilities and food courts have become an indispensable part of the modern movie - going experience .
six screen multiplex theatre complexes are expected to become operational in brookefield complex and also on prime locations such as avinashi road shortly .
central, the oldest theatre operational from 1964, is on a renovation spree. the screens have been updated to 3d silver screen to ensure picture quality. central has installed 3d projectors too. the seating capacity in central has decreased to 1067 from about 1500 in order to accommodate broader seats. more leg space, led lighting, and an improved food court (the popular keerai vadai has given way to burgers and pizzas) and online reservations (www. thecentralcinemas. com) are the other additions .
in the past, central theatre, has had successful runs of english movies such as mackenna' s gold, the great escape, it' s a mad mad mad world, sound of music, casablanca, five men army and fast forward (199 days and it created the record as the second highest run in india). hindi movies such as qayamat se qayamat tak (302 days), chandini (75 days), kudha gawah (95 days) and tridev (100 days) have had great runs too .
“as the audience is split (with the same film being screened in 10 theatres), the crowd at theatres has come down. still, our old customers keep coming with family ,
says senthil of central theatre .
“in earlier days, though theatres had poor bathroom facilities and very basic seating without any ac system, people thronged the theatres to get their fix of entertainment. now, they have many options, ” g. sivaraman adds. rajnikanth' s batsha and padyappa ran for 250 days in theatres here. “there is hope for revival. the best of directors, technicians and musicians are here in tamil nadu. we have a. r. rahman, ilayaraaja, maniratnam, shankar, rajnikanth (asia' s highest paid actor) and many more. there is a growing audience for meaningful cinema across the globe. this should open up the doors for good films and uplift the industry and the theatres, ” he adds .
coimbatore' s illustrious connection with cinema dates back to the 1917s. samikannu vincent, a south indian railways employee, relayed movies through touring talkies. he built south india' s first permanent cinema theatre ‘variety hall cinema' at town hall. even today, it functions as delite theatre on vincent road. sadly, now there are no night shows because of lack of audience .
coimbatore has a number of firsts in cinema — the central studios was the first film studio in tamil nadu set up in 1936 by sriramulu naidu, a pioneer in films. later, he set up pakshiraja studios which produced a number of movies including the blockbuster malai kallan in six languages, including tamil, hindi, malayalam, telugu, kannada and sinhalese. the popular thevar films, which has produced several silver jubilee hits, had their offices in the city before moving to chennai. pakshiraja studios and central studios were a hub around which cinema activity flourished. personalities like mgr and karunanidhi stayed in coimbatore and made films .
the studios have since been converted into cinema halls and film shooting is active only on the outskirts in pollachi and udumalpet .
old theatres such as murugan have shut down. royal barely survives. carnatic is getting the crowds after it has been renovated .
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nothing in this movie except ilayaraja' s musical feast. all the songs (about 8 or 9) were superhits and the film itself went on to celebrate 175 days. mohan is an aspiring singer and purnima jayaram falls in love with him... you really don' t care but for the songs and the background score .
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directed by r sundarrajan, the film has in pivotal role by mohan and poornima jayaram. the film has seven soundtracks with music coming from ilayaraja .
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மணி ஓசை கேட்டு ஏழுந்து | mani osai kettu elunthu video song | ilayaraja | s. p. b & janaki sad songs
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in the lead roles. it was released on 26 february 1982, and ran for over 365 days in theatres. music was composed by
the film showcases the true love of mohan to poornima in that he didnt want her or her father (poornam vishwanathan) to know about his terminal illness (leukamia / blood cancer at the final stage) and his counting days. with this intent, he was planning to create a gap from poornima. however, poornima and her father intrepreted him badly as if he had changed his mentality after becoming rich. they were depressed because he became rich from a pauper stage only because of poornima and her fathers opportunity to him to give a lot of singing opportunities to him. poornima and her father realise the real cause of change of mohan' s mind only after rajesh (the doctor who attends mohan) tells about his sickness. rajesh believes that mohan does not know but mohan has eavesdropped the report while rajesh was discussing in his clinic. the story reaches climax with the suicide of poornima and mohan in that their journey through music continues even after their worldly life .
the soundtrack was composed by ilaiyaraaja, while the lyricists were vairamuthu, gangai amaran and muthulingam. [ 3 ] [ 4 ] the song
ilaya nila
was originally composed for moodu pani (1980), but that film' s director balu mahendra rejected it. [ 5 ] ilaiyaraaja had over 20 retakes to get the song' s guitarist chandrasekhar play its flamenco notes to his complete satisfaction. [ 6 ] the instruments used in the song were an acoustic guitar and a flute. [ 7 ] gangai amaran described
yeh aatha
as a song that
sounds like a folk music but it has the classical touch .
[ 8 ] the song
vaigaraiyil
is set in the carnatic raga known as shubhapantuvarali, [ 9 ] [ 10 ]
mani osai
is set in sindhu bhairavi, [ 11 ] and
thogai ila mayil adi varugudhu
is set in latangi. [ 12 ]
ilaya nila
was later adapted by kalyanji–anandji in hindi as
neele neele ambar par
for kalakar (1983), [ 13 ] [ 14 ] and
yeh aatha
was remixed by mani sharma for malaikottai (2007). [ 15 ]
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play that beat mr. raja, vol. 1 - selected oddities from the tamil film industry (1984 - 1991 )
the times of india directory and year book including who' s who
. 1984. p. 234 .
sundararaman (2007) [ 2005 ]. raga chintamani: a guide to carnatic ragas through tamil film music (2nd ed .). chennai: pichhamal chintamani. oclc 295034757 .
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multi - faceted: gangai amaran. photo: t. saravanan | photo credit: mamp06gangai
when kozhi koovuthu hit the screens it brought to light an efficient director and script writer in gangai amaran. the film was a blockbuster hit. everybody knew about his writing skills and his lyrical and composing talent, but none thought he could become a successful director without any experience and that too in his maiden attempt .
“it was my brother ilayaraja and panchu aruunachalam, who believed in my skills and wanted me to do the film. by god’s grace it caught attention, ” he says .
appointed recently in the central board of film certification panel, he feels he got enough opportunities in life and has used them to the maximum. “talent alone does not suffice in the industry. you need opportunities to showcase your talent, ” he says .
gangai amaran grew up listening to the music and lyrics of his legendary brothers ilayaraja and pavalar varadharajan. “my father was a theatre artiste and probably music runs in my blood, ” he chuckles. “i wanted to emulate my brothers on seeing the public reception for their music and songs. that drove me to learn music faster, ” he adds .
call him a music composer, lyricist, singer, script writer and director, gangai amaran’s has the conviction and determination to succeed in whatever he does. “i am a good student and i learn things quickly, ” he says. music is like a penance for him. the unquenchable thirst to excel is the main reason for his success. “we constantly experiment and explore new possibilities. ”
hailed as one of the best rhythm guitar players in the industry, gangai amaran has composed some soul stirring music. vazhve maayam as a musical album was a big hit and particularly ‘neela vaana odaiyil’ song earned him encomiums .
he feels his son venkat prabhu too did well in his debut attempt chennai 600028. “actually venkat was busy with his studies in london. when i was looking for a youngster for my new movie ‘ pooncholai ’, my wife suggested venkat’s name. we finished the movie but somehow the project did not take off and i did not release it after that. i did not want to ruin my son’s film career, ” he laughs .
he is also proud of his other son, premgi, who entered films as a comedian and music composer. having composed music for more than 50 films, gangai amaran is now busy anchoring a music reality show and feels satisfied. “at this age, i should leave way for new comers and enjoy life. ”
gangai amaran is now planning a guidance cell to help children identify their skills. “it is in nascent stage. we will spot talents and groom them in their respective fields. ”
and would kill any such woman whom he encounters. he falls in love with rekha (shoba) and believes marrying her will end his psychological distress .
moodu pani was the third directorial venture of mahendra and his second tamil film after azhiyatha kolangal (1979). it also marked mohan' s debut in tamil cinema. moodu pani was shot mostly in bangalore and ooty. the film' s similarities to alfred hitchcock' s psycho (1960) and the oedipal elements between chandru and his mother have been widely discussed. the soundtrack was composed by ilaiyaraaja, this being his 100th film, and his brother gangai amaran was the main lyricist .
moodu pani was released on 6 november 1980 to critical acclaim, with particular praise for the performances of pothen and shoba, and ilaiyaraaja' s music, especially the song
yen iniya pon nilavae
. the film was a commercial success, running for over 200 days in theatres. it was also responsible for a resurgence of the thriller genre in tamil cinema at that point. despite the film propelling pothen to stardom, it also led to him being typecast in similar roles .
chandru, the managing director of an export company in bangalore, has a hatred for prostitutes since childhood, as he was the victim of a prostitute who ruined his family by taking his father away from his mother. raghunath, a police inspector, knows chandru and his mother. his son ravi is engaged to rekha, the daughter of his friend .
haunted by memories of the prostitute, chandru lures two prostitutes to lonely places and murders them as he sees that woman in each of them. rekha' s female friend pallavi comes to bangalore to meet her, and telephones her for her residential address. the conversation is overheard by the madam of a brothel, who misleads pallavi. instead of being taken to rekha' s house, pallavi is taken to the brothel and forced into prostitution. rekha and raghunath search for pallavi. chandru comes to the same brothel and takes pallavi in his car, but kills her. rekha learns of pallavi' s murder through raghunath; neither rekha nor raghunath are aware that chandru is the murderer .
still photographer bhaskar takes pictures of his lover with a motorbike in the background. chandru, who had come on that motorbike, had parked it there and murdered a prostitute who enticed him near the same location, then rode away. reading about the murder in a newspaper, bhaskar shows raghunath the pictures with the murderer' s motorbike in the background. raghunath investigates and learns that the owner has lent it to his friend .
troubled by his constant anger, chandru meets with a psychiatrist who advises him to marry soon so that he will no longer be lonely, saying the loneliness is leading him to dwell on his past and indulge in extreme acts. chandru meets rekha at a theatre and then at a book stall. he proposes to rekha and even pleads with her to marry him. surprised at his extreme pleading, rekha politely informs him that she loves someone else (ravi), and their marriage is already fixed. raghunath is startled when rekha tells him about chandru' s marriage proposal .
chandru keeps following rekha; one day when she goes to visit her friend, he makes her unconscious and takes her away to a bungalow in ooty. when she regains consciousness, he tells her that he had purchased this house in ooty only for her, and again asks her to marry him. when rekha refuses and begs to be freed, he asks her to stay for at least a month so that she can understand him better, and then reduces it to a week. he makes all the arrangements to ensure that she cannot escape. rekha later slams chandru with a spade and runs away. he manages to catch and imprison her in the garage of his house, but is hospitalised for his injury .
raghunath visits chandru' s office for an enquiry and learns that he has gone to ooty. he also meets chandru' s psychiatrist and learns about his hatred for prostitutes. he immediately connects this with the recent news of the prostitutes murdered in the city. he visits chandru' s house. hidden in the garage, he finds the same motorbike photographed by bhaskar. with his suspicions growing stronger, he arrives in ooty to meet chandru and visits the police station, where he finds chandru' s car. the area' s inspector tells raghunath that an unknown person came in the car to the hospital and was admitted; the car was brought to the police station for safety. raghunath visits the hospital, but finds that chandru has left. raghunath is joined by ravi, and both rush to chandru' s house .
meanwhile, rekha escapes from the garage and enters the room where chandru earlier claimed his mother stays. however, she finds only a skeleton and is cornered by chandru, who tries to assault her. ravi and raghunath hear rekha screaming and rush to the room. raghunath subdues chandru, who collapses and reveals that the skeleton is his mother' s. raghunath understands chandru' s love for his mother and his traumatic childhood, which had made him develop a hatred for women with loose morals. chandru is arrested, while rekha and ravi unite .
moodu pani marked the first collaboration of balu mahendra (left) with ilaiyaraaja (right) .
moodu pani, which was balu mahendra' s third feature film and second in tamil after azhiyatha kolangal (1979), [ 5 ] was based on idhuvum oru viduthalai thaan, a 1978 tamil - language novel by rajendra kumar, [ 6 ] and the collector, a 1963 english - language novel by john fowles. [ 7 ] it was produced by raja cine arts, [ 1 ] and edited by d. vasu. [ 8 ] in addition to writing the screenplay and directing the film, mahendra also served as the cinematographer. the producer of the film is not credited, while k. r. shanmugham is listed under
thayarippu nirvagam
( production administration) [ 1 ]
pratap k. pothen was cast as chandru, the mild - mannered and psychopathic serial killer of prostitutes. [ 9 ] [ 10 ] he had previously collaborated with mahendra on azhiyatha kolangal. [ 11 ] shoba was chosen to play the female lead. it was her third appearance in a film directed by mahendra, following the kannada film kokila (1977), and azhiyatha kolangal, [ 12 ] as well as her final collaboration with mahendra before her death. [ 13 ]
n. viswanathan was cast as the police inspector raghunath, [ 14 ] [ 8 ] and bhanu chander was chosen to play raghunath' s son and rekha' s fiancé ravi (although he was not credited), [ 1 ] [ 4 ] while ganthimathi was cast as the madam of a brothel. [ 1 ] vijaychandrika appeared as a prostitute murdered by chandru. [ 1 ] mohan, who later became a leading actor in tamil cinema, made his debut in tamil with this film. [ 5 ] it was his second film under mahendra' s direction, following kokila. [ 15 ]
moodu pani was shot primarily in bangalore and ooty. [ 4 ] [ 16 ] according to cinematographer rajiv menon, mahendra was
trying to capture that misty feel
while shooting the film in hilly places. [ 17 ] in making moodu pani, mahendra faced the challenge of distinguishing it from p. bharathiraja' s sigappu rojakkal (1978), which had a similar theme. [ 18 ] the final length of the film was 3, 848 metres (12, 625 ft). [ 19 ]
although moodu pani is officially based on idhuvum oru viduthalai thaan, [ 1 ] it has frequently been described as also having been inspired by alfred hitchcock' s thriller psycho (1960). [ 20 ] [ 21 ] according to rukmini krishnan of daily news and analysis, it was psycho that inspired mahendra to make moodu pani. [ 22 ] r. ilangovan of frontline stated that while mahendra was inspired by psycho, his camera work, the
mist - covered nights
of bangalore and ooty, and the
weirdness
of the subject made the film
unique
. [ 18 ] while idhuvum oru viduthalai thaan and its author were acknowledged in the opening credits of the film, hitchcock and psycho were not. [ 1 ] according to sify, there is a strong similarity between moodu pani and psycho as the male leads in both films keep the skeletal remains of their respective mothers, which they continue to communicate with. [ 23 ] mahendra' s disciple ameer noted the oedipal elements between chandru and his deceased mother. [ 24 ]
mahendra, in his now defunct blog moondram pirai... , referred to the film as a suspense thriller, [ 11 ] while n. venkateswaran of the times of india described it as a psychological thriller. [ 20 ] devika bai, writing for the new straits times, referred to moodu pani as a whodunit film. [ 25 ] the 2017 book indian horror cinema by mithuraaj dhusiya likened it to a slasher film because of the numerous prostitutes murdered by chandru. [ 26 ] k. hariharan, director of the l. v. prasad film & tv academy, noted that sexuality and the repression of desire were the dominant motifs in moodu pani, expressed through the mysterious misty atmospheres of ooty where the protagonist confronts their psychological antagonist. [ 16 ] he also noted that moodu pani, like many of mahendra' s films, borrowed its themes and stylistic devices from french new wave and new hollywood styles of filmmaking. [ 27 ] ilangovan noted that chandru' s character, which was depicted as having flashes of wickedness bordering on perversion, was new to tamil cinema. [ 18 ] crime and detective fiction writer pattukkottai prabakar considers moodu pani, along with sigappu rojakkal and nooravathu naal (1984), to explore the personalities and behavioural traits of psychopaths in detail. [ 28 ]
the film' s soundtrack and score were composed by ilaiyaraaja, this being his 100th film. [ 5 ] [ 29 ] it was also the first film in which he collaborated with mahendra; [ 30 ] ilaiyaraaja would later compose for all of mahendra' s films until thalaimuraigal (2013), the director' s last film before his death in february 2014. [ 31 ] mahendra recalled in 2007 ,
when i first met [ ilaiyaraaja ] i explained him what my kind of movie is and what i expect from him. the background score should allow meaningful silences in my films. i believe silence conveys more than words or music
. [ 32 ]
moodu pani marked a. r. rahman' s first association with ilaiyaraaja. rahman (then known by his birth name dilip) who was just 13 years old then, worked as a keyboard programmer in the film. [ 33 ] during the background scoring sessions of moodu pani, ilaiyaraaja fired his old keyboard programmer, due to the person' s drinking behaviour. [ a ] at that time, another one of his troupe members asked ilaiyaraaja to meet a boy named dilip, who was already doing keyboard programming for malayalam films. ilaiyaraaja agreed and sent for dilip, whom he instructed regarding the notes and tune he had to play. dilip, under ilaiyaraaja' s supervision, successfully completed the background score. [ 33 ]
described
yen iniya pon nilavae
as one of yesudas'
best songs
.
to name just a few? oh! i love his film music .
elements of
yen iniya pon nilavae
were incorporated by ilaiyaraaja in his song
baatein hawa
from cheeni kum (2007). [ 50 ] a remix version of
yen iniya pon nilavae
is featured on music artist m. rafi' s album aasaiyae alaipolae. [ 51 ] in 2006, yesudas performed
yen iniya pon nilavae
during a programme held at psg college of technology, organised by helpline arts academy to sponsor the education of underprivileged children in and around coimbatore. [ 52 ] in march 2010, singer vijay prakash performed
yen iniya pon nilavae
as part of a medley, at the star vijay music show
kaadhal unplugged
. [ 53 ] singer srinivas performed the song live the following year in a concert organised by rotary coimbatore central, [ 54 ] as did ajeesh, at the puthuyugam tv music show
yugam unplugged
in march 2014, [ 55 ] followed by yesudas' son vijay in a 2015 concert titled yesudas 50. [ 56 ]
moodu pani was released on 6 november 1980. [ 57 ] [ 58 ] the film was commercially successful, running for over 200 days in theatres. [ 59 ] it received critical acclaim, [ 60 ] with critics praising the performances of pothen and shoba. [ 61 ] [ 62 ] on 30 november 1980, ananda vikatan said that half the dialogues in the film were spoken by the camera, and felt that when there was great cinematography, there was no need for screenplay and dialogues. [ 63 ] the 1991 book indian cinema by india' s ministry of information and broadcasting states that mahendra and pothen
had brought superb craftsmanship to their sensitively told stories
such as moodu pani. [ 64 ] english journalist phil hardy stated in his 1997 book the bfi companion to crime ,
finally, given the tendency in indian cinema to remake successful hollywood films, it is worth signalling balu mahendra' s remake of psycho in tamil, moodupani (1980) .
[ 65 ]
bhama devi ravi of the times of india said ,
with his easygoing manners, pothan was brilliant as a serial killer, and the last few minutes of the film were rivetting .
[ 61 ] in february 2014, s. saraswathi of urltoken included moodu pani in her list ,
the best films of balu mahendra
. [ 66 ] k. s. sivakumaran of ceylon today described the film as
halfway between artistic and merely entertaining .
[ 67 ] s. r. ashok kumar of the hindu described moodu pani as one of
the [ tamil ] industry' s best films
. [ 68 ] the telegraph called it one of mahendra' s
masterpieces
, [ 69 ] as did u. tejonmayam, writing for the new indian express. [ 70 ]
for some reason, despite names like balu mahendra and yesudas being associated with this song, people get reminded of me when they listen to this. i have no idea what i did so well in this song to deserve that. this was also my last song with shoba. i remember how we looked into the sky just before the line,' panneerai thoovum mazhai'. balu mahendra made me listen to this song for the first time in chola sheraton. i learned just then that he got married to shoba. i told him that this song was so beautiful, that it was a great wedding gift for him from ilaiyaraaja .
— pratap k. pothen, on the song
yen iniya pon nilavae
, the hindu. [ 71 ]
after sigappu rojakkal, there was a resurgence of the thriller genre in tamil cinema, as evidenced by films like moodu pani. [ 72 ] according to film producer and writer g. dhananjayan, the film
inspired a generation to take up film - making
. [ 73 ] m. suganth of the times of india stated that mahendra
changed the landscape of tamil cinema with his distinctive visuals and eclectic films
such as moodu pani. [ 74 ] pothen recalled in january 2015 that it was the simultaneous release of moodu pani and his other film varumayin niram sivappu that made him a star. [ 75 ] however, both varumayin niram sivappu, which depicted pothen as an eccentric director obsessed with an actress, and moodu pani led to him being typecast in similar roles .
both roles caught the public imagination, and i admit i cashed in when i was offered similar stuff. now, unless i' m offered an unreasonable amount of money, i doubt i' ll accept these roles ,
he said in a 2014 interview. [ 10 ]
in iruvar mattum (2006), azhagu (abhay) keeps the skeletal remains of his mother and frequently talks to her; sify compared this plot detail to that of moodu pani and psycho. [ 23 ] malathi rangarajan of the hindu, in her review of julie ganapathi (2003) a film about a mentally deranged woman (saritha) who saves an accident victim (jayaram) from death, nurses him in her own home and also falls in love with him, but holds him captive there, stated that the film had
shades
of moodu pani. [ 76 ] actor veera bahu stated that he watched moodu pani in preparation for his role as a psychopath in the thriller nadunisi naaygal. [ 77 ] reviewing amara kaaviyam (2014), sify praised its cinematographer jeeva shankar for
showcasing ooty in trademark [ balu mahendra' s ] way
in the style of moodu pani. [ 78 ]
payanangal mudivathillai ( english : journeys never end ) is a 1982 indian tamil-language film directed by r. sundarrajan . the film stars mohan , poornima bhagyaraj in the lead roles . it was released on 26 february 1982 . the film was a blockbuster and completed a 300-day run at the box office . music was composed by ilaiyaraaja . both the lead actors won filmfare awards in their respective categories . it was remade in hindi as kalakar ( 1983 ) . 
payanangal mudivathillai (english: journeys never end) is a 1982 indian tamil-language film directed by r. sundarrajan. the film stars mohan, poornima bhagyaraj in the lead roles. it was released on 26 february 1982. the film was a blockbuster and completed a 300-day run at the box office. music was composed by ilaiyaraaja. both the lead actors won filmfare awards in their respective categories. it was remade in hindi as kalakar (1983).
payanangal mudivathillai (english: journeys never end) is a 1982 indian tamil-language film directed by r. sundarrajan. the film stars mohan, poornima bhagyaraj in the lead roles. it was released on 26 february 1982. the film was a blockbuster and completed a 300-day run at the box office. music was composed by ilaiyaraaja. both the lead actors won filmfare awards in their respective categories. it was remade in hindi as kalakar (1983).