kadavul
but for most part, m rajesh’s kadavul irukaan kumarui is just plain annoying .
kadavul irukaan kumaru - locality boys | song making | gv prakash kumar, m. rajesh
free wallpapers download of kadavul movie, hero, heroine, etc is available in our gallery section .
கடவுள் / kadavul, essentially means, to go beyond what is inside, to feel the supreme .
kadavul irukkaan kumaru - college scene | gv prakash kumar, m. rajesh | nikki galrani, anandhi
# endhiran2 # kadavul is back... .. yenna oru cutness style thalaivaaaaaaa... urltoken
jathiya munneduthu selkira hindu maththai kadumaiya edhir than maththa padi # kadavul illainu strong ah sonnavaru... .
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kadavul irukaan kumaru – hd trailer | upcoming tamil comedy movie | g. v. prakash kumar | rj balaji
kadavul irukaan kumaru - gum zaare hd video song | g. v. prakash kumar | anandhi | nikki galrani
we do not sell pirated kadavul dvds & vcds. we recommend you to buy movies of original dvd & vcd .
surprisingly, thirukkural which is generally agreed to be post - tholkappiyam time does not use the word
kadavul
at all .
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arai enn 305 - il kadavul cast list. this list of the arai enn 305 - il kadavul actors’ names (actors in the movie arai enn 305 - il kadavul) contains photos of the cast members when available. this fact - based cast roster includes any arai enn 305 - il kadavul actresses and all other actors from the film. arai enn 305 - il kadavul cast members have done many other films so be sure to check out the filmographies and individual pages of the stars of arai enn 305 - il kadavul. this list of who was in arai enn 305 - il kadavul can be sorted by any column, but is currently alphabetical and includes photos of who starred in arai enn 305 - il kadavul when available. this castmember list includes all major roles and many bit parts for actors in this movie. you can use the actors in this factual list to create a new list, re - rank it to fit your opinion, then share it on facebook, twitter or any other social networks you belong to. (11 items )
after disasters like all in all azhagu raja and vasuvum saravananum onna padichavanga, he returns with yet another crazy comedy titled kadavul irukaan kumaru .
it' s a time to collect @ gvprakash. . u made it... # # # kadavul irukan kumaru # # # urltoken
tamizh kadavul murugan so ...
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tamizh kadavul murugan s ...
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to conclude, kadavul irukaan kumaru is a watchable comedy entertainer and it might entertain if you don' t worry much about logical loopholes and some blatant comedy sequences .
kadavul temple is open daily for puja from 9 - 12am. please come early as the monastery grounds close at noon. members of the hindu faith may request archana .
all of this is pure guess work. we cannot use any available ancient literature for this analysis as both
irai
and
kadavul
are used in tholkappiyam, the oldest known tamil work .
capitalizing on his image, gv prakash kumar' s new release, kadavul irukaan kumaru is yet another comedy entertainer with several ajith - vijay references, spoofs on tv shows and celebrities to cater the masses .
kadavul is our nataraja temple, established in 1973, where the monks worship and meditate together each morning. there is a sixteen - ton nandi bull who worships siva day and night from his pavilion out front .
kadavul is a unique word it doesn' t have any derivatives from it. it means' the god'. but if you dissect the words' ka - da - vul' ka - meaning gain, da - meaning moves and' vul' - whatever existing. kadavul - the one who is above everything or the supreme being. i dont know which word is older but using word' kadvul' for referring the god is better .
read on to learn about the scriptures, denomination of hinduism and specific philosophy followed at kadavul temple, as well as the deity who is worshiped, the priests who worship him and the founder' s dynamic vision that made the temple manifest .
the
an
suffix in
iraivan
is just for indicating gender. there is a female version
iraivi
as well. we can work with just
irai
. the word has a plethora of meanings including king .
kadavul
on the other hand is extremely restrictive. it does not have any other meaning. . i think the older a word is the more chances there are of it getting new meanings. so one can assume that
irai
is much older than
kadavul
.
but
kadavul
is a coined word
kada + ul
which loosely means
something beyond (kada) everything present (ul )
. so it is likely that the word got coined when people started to shift from a personal god to an abstract form .
after three years in the making, bala’s naan kadavul has finally hit screens bringing along with it tremendous expectations of a film that can potentially make us relive the magic that is synonymous with his works. naan kadavul, the title tells you a lot, it is about a man who believes that he is the almighty and confers upon himself the right to decide the death and rebirth or otherwise of a soul. a complex concept and it requires a craftsman of bala’s accomplishment and persistence to execute it. the film explores a world and people that are largely unknown
hello to all my fans and viewers, as discussed @ superstarrajini announced his entry into politics on my birthday. when we both were talking about this early last week, he was adamant on doing this on my birthday because he felt that will fall in tune with the basics. # kadavul
velu prabhakaran is known in the industry circles as a director who believes in handling revolutionary themes like kadavul, puratchikaaran, and asuran etc. kadhal arangam, a film directed by him is still in censor tangle due to its unacceptable nature of content and the director is still unable to release the film .
released january 1 and inexplicably available for free download immediately all over the net, the soundtrack of bala’s long awaited film naan kadavul (whose title translates to the upanishadic “aham brahmasmi…. i am the transcendent god - ness”) has six songs from the semi retired illayaraja (in the vanaprastham stage of his creative life) .
naan kadavul is a movie starring arya, pooja umashankar, and rajendran. rudran (arya) in kasi. fourteen years later, repenting his act he goes with his daughter in search of him. he finds him there but is shocked to learn that he has become an aghori, a... see full summary »
kadavul hindu temple follows the saivite tradition, the oldest of the four main denominations of hinduism. in the tamil language of south india, our religion is known as saiva samayam, or simply saivam. we worship the one supreme being as god siva, and lords ganesha and murugan, whom god siva created to assist him in the care of his great creation. in saivism, shakti is god siva' s manifest power and is not separate from him. this is depicted most clearly in the image of god siva as ardhanarishvara, whose left side is female and right side is male. in kadavul there is no separate deity representing shakti, for in our tradition the supreme being is neither male nor female, but encompasses both .
disagree on that one (check out my blog for my review), but to each his / her own. back to the main topic, this naan kadavul review is the sort of thing that is all too often lacking in mainstream media reviews: i. e. an engagement with the music, such that questions of “agreement” or “disagreement” seem banal, and one is provoked to think about the music at hand .
now imagine meeting the same person again, years later, only to notice he’s still cracking those same jokes, the same way. kadavul irukaan kumaru (kik) feels like the seventh such meeting with that guy. kik is rajesh’s seventh film and it’s amusing to see how little his cinema has evolved. the novelty has worn out and replacing a jeeva / arya with g. v. prakash, or santhanam with rj balaji hasn’t done this film any good. it’s time to rest this one trick pony .
kadavul hindu temple is a traditional sri lankan style siva temple. it is the spiritual nucleus of kauai aadheenam, a 363 - acre monastery / temple complex also known as kauai' s hindu monastery. it is the primary temple for the resident monastics, who meet here each morning for siva puja in the early hours before dawn. the monks rotate in three - hour vigils round - the - clock during which time they worship, meditate, chant, practice sanskrit and perform personal spiritual disciplines. this sadhana has been maintained in unbroken continuity since the temple was established in 1973, adding to the temple' s profound power which changes the lives of many a visitor, much like the ancient temples of south india .
every hindu temple relies on a sacred text as its source of spiritual ritual, usually an agama. the agamas are an enormous collection of sanskrit scriptures which, along with the vedas, are revered as revealed scripture. like the vedas, the agamas (literally
that which came down
) were part of an oral tradition. as old as 7, 000 - 8, 000 years, the agamas are the primary source and authority for ritual, yoga and temple construction. in the south indian saivite tradition, there are 28 saiva agamas. as in temples run by the sivacharyas of south india, the traditional liturgy performed in kadavul hindu temple takes as its spiritual authority the kamika and karana agamas, and their derivative priestly manuals .
the philosophy followed and taught at kadavul hindu temple is the non - dualistic saiva siddhanta (advaita siddhanta) of rishi tirumular and his guru, maharishi nandinatha (ca 250 bce), which proclaims that god siva is love, both immanent and transcendent, both the creator and the creation. he is the totality of all, understood in three perfections: parameshvara (the personal creator lord), parashakti (the energy which permeates all form) and parasiva (absolute reality which transcends all). simply put, god siva is all, and is in all. souls and world are identical in essence with siva, yet also differ in that they are evolving. this philosophy differs from the dualistic form of saiva siddhanta propounded by meykandar (ca 1250 ce), which teaches that god is lord and creator, but he remains ever separate from man and the world. for more information about the saiva siddhanta philosophy, see gurudeva' s book dancing with siva, hinduism' s contemporary catechism .
bala has tried to debate a few serious issues in the movie. the first is obviously about who is god? he also talks about life and death and how death is actually a boon to one who cannot lead a good life. summing up, naan kadavul is not a movie that everyone can digest. it shows reality in such brutality that you wonder whether such things really do happen. it cannot be called violent; the word ‘brutal’ has to be repeated often to describe the movie. one feels the director could have toned it down a bit, it leaves one very disturbed. and, it is hard to believe that the censors passed this movie with a u / a, it is difficult to see how children can be expected to digest such fare which at times borders on the gory. even adults would need a tough mind to endure this movie. it will make you squirm, cringe, nod and laugh in alternation. don’t’ expect a regular entertainer, be prepared to get jolted. verdict: brutal depiction of a world unknown
to most of us. it is hard to even imagine that such a world of misery and despair does exist very close to us; more than being hard to imagine, it is hard to believe. do such things really happen in the world around us? looking straight into the lives of people who have to beg for a living, naan kadavul takes what one might call a brutal view of the existence that they are forced to lead. what forces them to lead such a miserable life? one, it is their circumstances and their helplessness; second, it is a mafia of sorts being run by a heinous group of people indulging in human trade. we are made to feel the pain and distress in their lives. there are scenes that can make you squirm in your seats, literally. now, where does an aghori sanyasi from the holy terrains of kasi fit into such a plot? it is a lot like the return of the prodigal son to his fold after years of alienation. but here the son who has returned is not repentant but is foul mouthed, conceited and unapproachable. but, in spite of all the repulsiveness that he exudes, there is also an air of mysticism about him. largely unconcerned about what happens around him, he smokes weed, chants mantras in a different language, does death defying yoga poses, blows the conch and does many more things that increase the mystery about him. but as if by almighty’s design, he destroys the evil men. you might feel that the pace is slack in the first half, but don’t lose heart, things pick up considerably in the second .
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meanwhile it has been announced that he will be starting work on his next project titled ‘manaivikku nadanda thirumanam’ which is supposedly based on a real life incident. while talking about this film velu states that over a period of time women have been suppressed by men asphyxiating them within a circle saying that they are sacred and holy. on the contrary women are also normal beings just like their male counterparts and have every right to exhibit their feelings. this will be the central theme of his film. hearing this, many insiders opine that velu is likely to get into a fresh controversy with ‘manaivikku nadanda thirumanam’ also .
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rudran (arya) in kasi. fourteen years later, repenting his act he goes with his daughter in search of him. he finds him there but is shocked to learn that he has become an aghori, a character who gives moksha and prevents the soul from getting rebirth. nevertheless he brings him back to tamil nadu. the story takes a turn here and introduces us to the world of physically and mentally challenged beggars. a world controlled by the cruel thandavan (rajendran). hamsavalli (pooja umashankar) a blind girl is forcefully separated from her troop and made to join the beggars. soon she becomes another victim of thandavan' s cruelty. meanwhile, rudran leaves his house to find his place on a small cave, and soon meets hamsavalli, who tries her best to convince him to return home, but fails. thandavan then takes a deal with a malayali man of the same profession to sell some of the beggars. the malayali guy forcefully takes the beggars away, although they want to stay with the rest of the beggars. he ...
bala succeeded in shooting a scene in the 2007 ardha kumbh mela without anyone' s knowledge .
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so, we should be truthful to ourselves first. without that quality, praying to any god is of no use .
this has a relationship with the word ‘இறை’, if philosophy is related to science .
இறை → the meaning for it which i know is, ‘ minute ’→ smallest particle which you cannot define .
கடவுள் - philosophical, to make you go in the right way in your life .
’s answer is logical. no one can easily prove which is older! !
many of irai' s meanings refer to someone highly respected and it is quite possible that it got extended from god to these other meanings or vice - versa. also
irai
is
idukuri
i. e, it is not a derived word like
sambalam = samba (paddy) + alam (salt )
. (i came across a blog where the author has tried to split
irai
, but i am not too convinced with the explanation) .
i think it is difficult to do justice to this topic in a quora answer as the analysis of tamil words for god is worth a ph. d thesis .
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tropical rainforests, soaring cliffs, cerulean seas, cascading waterfalls. this remote island is home to kauai' s hindu monastery, a center of global outreach for hinduism and intense spiritual practice leading to experience of the divine within all. its guru lineage is rooted in the saivite tradition... (more )
two days before his wedding, kumar (gv prakash) and his friend balaji (rj balaji) take a road trip to pondichery for a bachelor party. while returning to chennai, balaji buys booze in bulk but they get caught by three corrupt police officers (prakash raj, robo shankar and singam puli) .
despite their repeated failed attempts to escape from the cops, both kumar and balaji agree to bribe them with three lakhs! unfortunately kumar' s fiancée priya (nikki galrani) acts selfish and refuses to help him with the money but his ex - girlfriend nancy (anandhi) readily agrees. will kumar change his mind and end up marrying his ex ?
just like his previous films, rajesh has once again opted for a wafer thin storyline and gives more importance only to comic portions. thanks to rj balaji, prakash raj, singam puli and robo shankar, the film is enjoyable because of their funny one liners. however the major issue is that the comic sequences are not organic and only filled with occasional gags .
gv prakash kumar has successfully repeated his trademark mannerisms and the loser boy kumaru character is tailor made for him. but the two heroines, nikki galrani and anandhi are wasted in insipid roles, look bloated with tacky make - up and they sleepwalk .
yes, rj balaji' s comedy works but is it necessary to troll everyone including shruti haasan, str and even the film' s hero gv prakash' s pencil? the actor should probably work on genuine one liners instead of attacking individuals and peers in the industry .
kik is rajesh’s seventh film and it’s amusing to see how little his cinema has evolved .
remember that one guy you found really funny the first time you met him? the guy who took the excessive liberty to crack half - offensive drinking jokes and those completely offensive fat woman jokes? remember how laughing out loud at those jokes had felt before you realised that what you’d mistaken them political in - correctness as humour .
writing a rajesh film, i assume, has become so easy that the only conflict he must be facing is deciding whom to cast for the cameo in the climax… arya, vishal or jeeva .
just like in any other rajesh film, the hero of kik too is aimless. kumaru (g. v prakash) is a locality (local + city) boy, quick to rattle off lines in english that’s validated by his cbse school education. by cbse, he means corporation boys school, e section and he makes terrible, bsnl - style advertisements for a living .
he’s all set to marry priya (nikki galrani) and he chooses to go to puducherry with his best friend balaji (rj balaji) for his bachelor’s party. the trip, peppered with memories of his love story with his ex - girlfriend nancy, revolves around him making up his mind if he should go ahead with the marriage or not .
for a rajesh film, the only novel aspect of kik is there isn’t a single scene set in a tasmac. this self - imposed prohibition restricts the actors from acting silly, draining this film even further .
but that isn’t to say that the film is devoid of alcohol. in fact, the role of booze is biggest in kik. it’s the plot itself. for kumaru and balaji get caught as they try to smuggle a boot load of alcohol on their way back to chennai. what follows are their efforts to get back home in time for the wedding, avoiding police officers hot on their trail .
for a comedy, there are exactly two instances where i laughed. the first being a hilarious scene in which kumaru, a hindu, goes to church, to find out what communion bread tastes like. the priest, to check if he’s a christian, asks him to sing religious hymns and he duly reciprocates… by singing a series of harris jayaraj songs. the pleasures of seeing one music composer poking fun at another .
the film also spoofs a tv show, modelled around zee tamil’s solvathellam unmai, mocking how it manipulates human relationships for the sake of trp .
if two jokes that work is your idea of two hour comedy film, then kik is perfect for you. for others, it’s a lesson that there are other things more painful than standing in line to withdraw your own money .
one of the best pages. !! i just love every bit of it! !
sarcasm at its best �� keep it up. . don' t ever turn into a stereotype
akrosha bakthan aitan... love the way he trolls rather than abusing ...
best sarcasm page ever. these memes are just making my day. kudos to admin
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urltoken
you forgot jayamohan mate... in my view his dialogues carry the movie forward... regarding exploitation... this is not exploitation at all... this is showing what they are... but mani rathnam exploits children, lovers, et all for the sake of commercial hit of the movie... and the beggars laughing... let the beggars laugh too... yes arya' s portion was little... that' s again bala' s specialty... he will deliver something unexpected... it is not necessary that the hero should come for the entire movie... i was disappointed with his screen presence time... and actually aghories are cannibals, arya eats the people whom he kills... it would have been too much for a tamil film... bala has promised a 3 and a half hour director' s cut of the fim for the dvd version... i am waiting for that version
yeah... heard tat... and ya am waitin for it too... and ya regarding jayamohan... good work by him. many too good dialogues. and ya it helped move the movie in a good way. reg exploiting i don think he did for commercial purpose. but for some sake he did too much. like shooting everything real. he is tryin to prove something to someone which should not be the motto of a director. anyways a too good film for the recently released stupid tamil films. so i think we stop the arguement here... a k s
funny guys talking funnily... .. haha... dont try to square your personal tit for tat in comments... i dunno why mani ratnam came into this discussion... . .
the movie has promoted mercy killing. thats what the movie is all about !
ai irandu thingalai adangi ninra thumaye, kai irandu kal irandu kan irandu anadhae. udambavadhedhadi uyiravadhedhadi? udambal uyir eduttha unmai gnani nanadi. - - kaduveli cittar
. the film touches your soul and makes you salute the brave director for making this authentic milestone classic .
it is a technical splendor embellished with breathtaking visuals, brilliant music score by the maestro ilayaraja and award winning performances by arya, pooja and the entire cast of real life beggars and sadhus. the film definitely defies all conventions and demolishes all moulds, as the maverick director breaks traditional formula attached to commercial cinema in tamil. the way the film has been made and packaged is slick and it moves like an edge of the seat thriller and is racy and to the point at 2 hours and 15 minutes .
the film opens with a father in search of his son who he had abandoned 15 years back in kasi, as per the advice of all astrologers, who predicted that? he was a bad omen? . now the father in remorse finds his son who has become an
the father brings back his son to his native village malaikovil, in south tamilnadu, famous for its hill temples. a bald tough guy called thandavan (rajendran) runs a profitable beggar mafia business using physically disabled young, old and children to get sympathy from the pilgrims who visit the temple .
muthalali' s assistant is murugan a man whose conscience torments him at the same time is constantly living in fear of his boss who is ruthless and has no human feelings. one day murugan kidnaps a blind beggar and a singer hamsavalli (pooja) and forces her to be a part of the gang .
the story takes a turn as the downtrodden people' s prayers are heard and rudran turns out to be their savior, leading to a stunning climax and the film ends with a positive message. bala once again asserts that traditional human values will always triumph over evil .
the usp of the film is its perfect casting. the unkempt long hair, the red loony eyes, the ash - smeared face, the tongue snaking out of his lips, and that sloshy voice, arya pumps life and blood and gets under the skin of rudran, making his animal like character so convincing. he has delivered a performance that is hard to forget even days after you' ve watched the film. pooja as the blind singer is luminous and her outstanding performance will be talked about, as the film belongs to her, especially the lead to the climax .
the bunch of beggars handpicked by bala are amazing whether it is eunuch or the midget boy, the guy who plays murugan and rajendran as the villain are outstanding. the haunting music of ilayaraja gives the feel the mood and camera work of arthur wilson is poetry on celluloid. the screenplay and dialogues of noted tamil writer jayamohan is a major plus for the movie .
director) to take a walk. he has brilliantly portrayed the dark and disturbing side of the beggar mafia in places around devotional institutions in the country. it is stark realistic yet with large dosages of humour and leaves a lump in our throat. this is undoubtedly new radical tamil cinema. the industry people may call it
on the down side, the scene where arya' s father recognizes his son among thousands of sadhus in kasi is a little hard to believe. most of premises like the one inside the train (
) looks familiar. there are some disturbing scenes and the film cannot be digested by one and all .
bala has made it hard hitting, raw and riveting, qualities that is lapped up by worldwide connoisseurs of good cinema. to be honest, the director has shown the dark underbelly of our less privileged citizens who are living like bonded slave laborers controlled by organized crime syndicates. the climax chase of arya and villain is one of the most fantastic scenes you' ve seen in films for a long, long time .
it' s a much darker film than the director? s previous works. watch
, because it' s one of those films that won' t easily get out of your head long after the film is over .
starring: arya, pooja. direction: bala. music: ilayaraja production: vasans visual ventures .
performances! in a bala film, you expect the actors to be at their best. surprisingly, for all the hype, arya does not have that much of screen time though he does make an impact whenever he appears. he doesn’t have much to work with though. he has always got the same stoic expression, uttering the same intonations and striking the same poses. but getting to maintain that demeanor is not easy and he has worked hard to do it which can be seen. pooja as a blind beggar touches us when she first appears, but the feeling soon wears off. nevertheless, she has maintained a consistent feeling of pathos putting in considerable effort into her performance. the disabled and mutilated people, who should have been picked straight out of real life, live their lives on screen. but the real surprise packet of the film is the comedian krishnamoorthy, who has been previously known only for his capers with vadivelu. he turns out a really well etched performance. all credit to bala for spotting the serious actor in him .
technically speaking the movie is high on production values. be it the townscape of kasi or the rustic temple environs or the dark dungeons, the images have been captured well. ilayaraja’s music surprisingly doesn’t make one sit up and take notice, mostly because it is gelled neatly into the narrative. dialogues by jayamohan are few but very crisp and one feels that he had an influence in the way actors and an actress of the current generation are mercilessly bashed about in a scene. and, if you think that the movie is set mostly in kasi then you are wrong, it is hardly around for 10 minutes .
irector m rajesh continues with his penchant for tedious comedies with long silly names .
music composer - turned - actor gv prakash, nikki galrani and anandhi play the lead, supported by prakash raj and rj balaji .
gv also composes the music for the film, which has nothing to offer but the antics of two friends, who are stuck in a mess of their own making .
kumar (gv) is to get married in a couple of days but his fiancé priya (nikki) is upset as his ex - girlfriend nancy (anandhi) is still stalking him .
nancy sends him flowers and sentimental messages and priya, in turn, makes kumar’s life hell. he wants to get away from it all by spending a day with his friends at pondicherry celebrating his bachelor party .
after a night of partying by the beach, kumar and his friend balaji (rj balaji) attempt to return to chennai the next morning, only to get caught on route by three corrupt policemen (prakash raj, robo shankar and simgampuli) .
they find a huge stock of alcohol in the trunk of their car and refuse to let them go .
with no money to pay the bribe, kumar and balaji try to escape in their car. but they are chased down, threatened and given an ultimatum .
will he return in time for the wedding? that forms the rest of the story .
he film is just one boring scene after another, with a few hilarious moments in between .
director rajesh, who made a stunning debut with siva manasula sakthi and followed it up with hit films like boss engira bhaskaran and oru kal oru kannadi, seems to have lost his mojo .
the plot is weak and every situation appears to be dragged on needlessly with long boring dialogues and unnecessary songs .
anandhi, who looked lovely in prabhu solomon' s ­ kayal, is overly made up and painted almost white .
what is a r rahman doing at a dubai mall? reader talib sends us a picture .
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kelvikkenna bathil: exclusive interview with pala. karuppiah (30 / 01 / 2016) - thanthi tv
thodari - official trailer | dhanush, keerthy suresh | prabu solomon | d. imman
am i in love? (from
love & love only
) [ feat. rachael leahcar ]
am i in love? (from
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play that beat mr. raja, vol. 1 - selected oddities from the tamil film industry (1984 - 1991 )
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now graced by visits from the dept of homeland security, gandhidham, darwin australia, chattisgarh, encyclopedia britannica, the us department of state, us department of defense, usaisc (the us millitary communications war command hq) the the new york times, new york state attorney general; s office, apple (to look at my tech gadget essentials), us house of representatives, the department of homeland security and the canadian ministry of education. and the office of the commissioner for baseball .
illayaraja’s life work which has been prolific and then sparse, is a whole musical universe, as are the work of most south indian film composers (a r rahman, m s vishvanathan, g k venkatesh, s m subbiah naidu, ghantasala) .
after redefining orchestration into a simpler, less assaulting version of the cello and base heavy tradition of the dominant south indian music of the day, in the seventies (ilayaraja used more violins, base flutes and the voice, and his music sounded less classical fret - ty, and more pop voic - y), illayaraja dominated the south indian music scene for more than twenty years with his prolific (he produced more than a hundred film scores a year with an average of six songs per film, very few sounding like one another). he seemed to work from a classical tradition of indian (the pre venkatamakin reforms schools of carnatic scales) and western music (baroque classical and pop orchestration) that was amenable to easy listening and complex imagining, simultaneously. many of ilayaraja’s best songs were the most complex hummable songs one has ever heard .
as he grew older ilayaraja’s children took to composing and singing. yuvan, kartik and (daughter) bavatharini are all personalities in their own right and ilayaraja has produced few and far between classics (such as the bharati soundtrack, the moghamul soundtrack and bala’s pitamaghan soundtrack) full of complete melodies that remind one of the experimenter with tradition and original creator that ilayaraja has been in the last thirty years .
the man is not without his flaws. he has been accused of singing flat and not thinking through his musical thoughts (which sometimes feel amateurish and a watered down patronizing when he’s really going for a pop sound. much music produced by raja has a maddenning lack of focus and directionlessness as if he’s making music during a creative block. like any original creator (which he no doubt is ,) ilayaraja’s ennui (when it is ennui that drives his work) shows through in his creations. he also makes unplanned assaults on genres that sometimes can make his songs feel like simplistic re rendering of compositions from other genres, instead of engaging fusions of musical thoughts across sound arrangements in many traditions .
still, a man that attracts so much passion about his music, like it or not, deserves the monolithic icon status ilayaraja enjoys among his fans (numbering many englands big) that have been nourished, grown old, romanced and had babies on his accessible, memorable melodies. he has not have changed the world for the disempowered or replaced god with music …. or created an illayaraja revolution in world music (he’s still young at 65) but it is the highest compliment to his creative idealism that you even want to want him to be all that in this jaded cynical world of art. and cinema .
the soundtrack starts with a remix of the early ilayaraja s janaki melody from acchani “ matha un kovilil ”. a rivetting focussed draft of elixir from janaki’s first song efforts that established firmly raja’s genius and janaki’s place as a replacement of susheela as southindia’s voice. as if to reiterate the fact that this is bala’s hommage to the maestro, there is also a madhumita cover of the older song. this sadhana sargam version (amma un pillai naan) is a slightly sleepy one with a “live program” orchestration that doesn’t stand up well to the original .
picchai paathiram is a punagavarali (raga) piece reflects ilayaraja’s nightime melodies from the nineties and late eighties. it also reminds you of the quiet (hindu) philosophy songs of bharati (the movie). the album rounds off with ilayaraja singing oru kattil alayum siragu which is ilayaraja ‘s song of quiet despair, the now familiar language that is part lullaby and part dirge made more poignant from illayaraja’s slightly flat faux amateur tenor .
we now wait for bala to wake the dead, or at least meditate on them in the burning ghats on the ganges .
haven’t heard the album yet, but this piece really engages with the music. by contrast, i found his review of the music of slumdog millionaire (urltoken) uncharitable and a bit too breezily dismissive.
kadavul ( english : god ) is a 1997 tamil anti-theist film directed by velu prabhakaran . the film features velu prabhakaran , manivannan , arun pandiyan , mansoor ali khan and roja in lead roles . the film , produced by h. anraaj , had musical score by ilaiyaraaja and was released on 5 december 1997 . despite having controversial themes , the film was well received . 
kadavul (english: god) is a 1997 tamil anti-theist film directed by velu prabhakaran. the film features velu prabhakaran, manivannan, arun pandiyan, mansoor ali khan and roja in lead roles. the film, produced by h. anraaj, had musical score by ilaiyaraaja and was released on 5 december 1997. despite having controversial themes, the film was well received.
kadavul (english: god) is a 1997 tamil anti-theist film directed by velu prabhakaran. the film features velu prabhakaran, manivannan, arun pandiyan, mansoor ali khan and roja in lead roles. the film, produced by h. anraaj, had musical score by ilaiyaraaja and was released on 5 december 1997. despite having controversial themes, the film was well received.