idhayam ( film )
idhayam is a 1991 tamil film directed by kathir. the film stars and in lead roles .
udhayanidhi' s 4th film titled
idhayam murali
for which hansika and has been roped in heroine and music director respectively. urltoken urltoken
idhayam (1991) tamil movie cd - rip 320kbps mp3 songs music by ilaiyaraaja - starmusiq. com
‎idhayam (from
kochadaiiyaan
) by a. r. rahman, srinivas & chinmayi on apple music
this ultimate soundtrack composed by maestro illayaraja for the film idhayam (1991) was the best ever in indian cinema. a stunner and an evergreen soundtrack that will never ever be forgotton. .
idhayam film was a major hit. why, i have never been able to understand. was it the music, or was it the campy college atmosphere, or was it the fact that the ...
speaking about the film, an excited priyadarshan said that his film is one of the 10 films and the only one from india in the final round .
idhayam is a 1991 tamil romance, drama film, directed by kathir and produced by sathya jyothi films. this film stars murali, heera, rajgopal, chinni jayanth, manorama, vijayakumar in the lead role. the films soundtrack and background score were composed by ilaiyaraaja with lyrics by vaali, piraisoodan .
the film is notable for its remarkable background score which gels with the story .
the film is written and directed by badri venkatesh who is a product of tamil nadu film institute. he was also a professor at the institute. he knows his job well and has already got a national award for a short film 'vidiyalai nokki' .
however the film will not feature the remix of the 'aathadi paavadai' from murali' s debut film poovilangu. earlier there was a talk in the media of this re - mix featuring in the film. the audio was released on april 30 at sathyam cinemas .
produced by vijay and ganesh, the film has actor prakash raj playing the lead role .
the film received standing ovation from the crowd for its entertaining, yet moving take on aids .
plot of idhayam set in a medical college backdrop, the film is about a person (introvert), who loves his fellow college mate, but does not have courage to convey his love to her. the film has some memorable scenes, where the hero wants to convey his love, then he mistakes that the heroine is in love with someone else (whereas, actually she is helping her sister and her lover to unite )
adharva, son of actor murali debuts in the film. interestingly it was sathyajothi films that gave murali one of biggest breakthrough films in his career. murali' s hugely successful film 'idhayam' was produced by the same company. samantha debuts as the heroine. samantha is the girl who played trisha' s role in the telugu version of 'vinnaithandi varuvaya'. even in tamil she played a cameo as the assistant to silambarasan who later becomes the heroine of his film. both the new comers have generated a lot of expectations. prasanna is playing an important role. karunaas is in charge of the comedy .
a short review i wrote without watching the film purely based on the review from this site. i would like feedback if possible .
director priyadarshan’s sila samayangalil was in the news last month for making it to the prestigious golden globe awards screening. the film, starring prakash raj, sriya reddy, ashok selvan and others, had its first premiere at the mumbai international film festival (mami) on october 24 .
sathya jyothi films who have produced award winning and evergreen films such as moondram pirai, kizhakku vaasal, idhayam, parthiban kanavu & em - mahan will be working with star director prabu solomon, director of some memorable films such as myna, kumki and kayal and national award winner dhanush, who has enthralled audiences with his performances in a variety of roles & films will be expected to deliver in yet another notable film .
priyadarshan, who is currently basking in the success of his crime thriller oppam, has another reason to celebrate. his tamil film sila samayangalil (in sometimes), a film which was made on aids awareness, has made it to the final round of selection for the 74th annual golden globe awards .
wanted to use that title for a film, odds are that by the time this one hits the marquee, it would have undergone a name change .
` baana kaathadi' is believed to be a realistic romantic film in which the highlight is supposed to be its climax. it is hitting the screens in may .
amil film - makers appear to have hit on a hot trend - - the one song appearance. it' s been going on for a while, actually - -
this film will be produced by sendhil thyagarajan and arjun thyagarajan. music is by d. imman, who will be continuing his successful combination with prabu solomon. motion picture. v. mahendran will lead cinematography and editing will be handled by das (don max), co - produced by g. saravanan and selvi thyagarajan. raahul will be this film’s executive producer .
` baana kaathadi' is a unique film as it brings together a few third generation young talents in the business of films. this film is produced by senthil thyagarajan and t. arjun, the next generation from t. g thyagarajan household. similarly it introduces atharva who is the son of actor murali. and then there is yuvan shankar raja another new generation doing the music .
- - in fact, the film also bagged seven other nandis into the bargain. and now soundarya is all set to play a snake - - okay, snake goddess - - in director
. with the film well past the 100 - day mark in tn, doing brilliant business in kerala and ap, and storming even far away centres like japan, the lass is on a roll .
- - a thriller, based on a terrorist operation centred in a movie house - - was a disaster at the box office, but has just won him the national award for best tamil film .
msv raja has worked for more than 500 regional films, one bengali, five hindi feature films and contributed more than 1000 songs for the film industry. here is one person who fits the dictionary definition of the word' versatile': m. s. v. raja or sax raja, as he is popularly known in the film circles, is an expert in playing the piano, saxophone, clarinet, and oboe. he is the music composer for abaavaanan' s
karuppu roja
, the first dts film in tamil. for over three decades, raja has been playing and conducting orchestra for several films .
more to the point, mani is slated to play an on - screen role in the film. nope, not the fleeting, blink - and - you - miss - it type of thing the likes of
that climax just rescued the film bigtime. i mean what else can you say except what you said, “come out of the movie chuckling”. people were angry and hooting but by the end, they were just dumbstruck 😀
btw, why do you call this a meta detail? this layer in the film is just a hint, a wink. the only meta layer as far as i could see was surya’s comment on his own career .
, a film loosely based on the recent indo - pak imbroglio. it will have
family sentiment
as an important ingredient, we are told - - so stand by for heroic sons and weepy moms / wives .
the film tells the story of eight characters who arrive at a pathology lab at 9 a. m to give their blood for an aids test. however, it all ends at 5 p. m when the results arrive .
most entertaining review, probably more fun than the film itself. but, a tiny nitpicking: your last but one sentence carries a ‘between’ followed by some four options. was that an oversight, or has the usage become acceptable ?
the romantic thriller film has been finally christened as thodari which roughly translates to train in tamil. and the first look, which are in fact two posters, are pretty exciting. the movie has dhanush and keerthi suresh in the lead roles .
, mani r' s latest, is now likely to have its full complement of ditties. someone, somewhere, apparently got the jitters at the prospect of a mani rathnam film sans chartbusting music, and that lacuna is now being plugged .
the film was shot in chennai, gujarat and thailand. important scenes were filmed in gujarat where the international kite festival is held every year. first time in kollywood history a song and scenes were shot with the real crowd at the kite festival .
` baana kaathadi' is a different film and the plot is new to south indian cinema. it' s about two young kite fliers, their life and their environment. the plot shows that tamil cinema is maturing fast to handle off beat plots .
richard m nathan who is an expert in shooting scenes amidst crowd realistically is the cameraman of this film. you must have seen the expertise of richard nathan in the recent trend setting 'angadi theru. rembon is the art director and suresh urs takes care of editing .
one of the main drawbacks of this film is its poor storyline that lacks guidance. after deciding to dish out a thriller on the lines of speed, prabhu seems to have committed the cardinal sin of incorporating a host of preposterous sequences which slows down this supposedly fast moving train .
that particular scene may not have been written about by reviewers / film critics. even if it was, the number of readers would not have been like what we have now. that one song scene or anything played out on a movie screen first runs in the mind of the director .
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santosh kumar t k: oh, i see why he did that. but this is not like the usual narratives at the beginning of the film, in text. here, there’s a lot of talk about success etc. , and then there’s a segue to thiss disclaimer. hence the mention .
sathyajothi films is one of the oldest and most respected production houses in kollywood. from its first independent production 'moondram pirai' in 1982 the banner has been consistently giving the audiences only clean entertaining family films like 'moondram pirai', 'kizhaku vasal', 'idhayam', 'parthiban kanavu', 'em magan'. the most recent one to come out of this banner was 'jayam kondaan'. after the success of 'jayam kondaan', sathyajothi films is now ready with 'baana kaathadi'. the movie was launched in may last year and is now complete and ready for release .
from these 10, five will make it to the golden globes, and the film has been cleared for its global premiere by golden globes. the hfpa (hollywood foreign press association) screening will take place on october 6 at beverly hills at 7 p. m. at the real d screening room ,
said priyadarshan .
of all the people who i felt may have had the artistic sensibility to make a genuine and thought provoking movie about the career path and destiny of 2 musical geniuses of indian film industry sj surya wouldn’t even make the list. and yet here he is with his latest இசை (isai – music) that charts a fictional path against the backdrop of real life incidents surrounding the career paths of ilayaraja and ar rahman .
and these are the reasons why i think there is a lot of difference between a zoom - in on the navel in a sj suryah movie compared to one in an item number of a commercial movie. in the latter, they do it for money, to sell more tickets and for various other reasons while sj suryah seems to be indulging in what he thinks as art. this movie is honest film - making in my opinion .
singer (s): ilaiyaraaja, deepan chakravarthy, s. n. surendar
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a village boy who comes to town to study medicine, falls in love with a city girl, but never discloses his love .
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two college students, the slum child raja and the dean' s daughter roja, chat with each other over the internet and fall in love. however, roja is engaged and raja cannot bear to disrespect her father, to whom he owes his livelihood .
a barber has a bad encounter with a gangster on the road and this results in him running all over the city to save himself .
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the urbane son of a village chieftain struggles between his personal aspirations and those of his family .
after a failed suicide attempt that ultimately leaves his lover dead, a dancer changes his life .
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a boy raised in a cemetery grows up with no social skills, and leads a turbulent life readjusting once he moves out of the cemetery .
the movie revolves around the struggle and vulnerability of 16 - year old mayil (sridevi) when in love .
after a difficult romance in a class - divided society, the love birds find out marriage is not what they thought it would be .
a pauper was made the member of legislative assembly by a politician and grows to become the strongest and most corrupt politician .
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finding love, falling in love, following love n failing in love (temporarily) is the story. the movie is a inspirational one and has made many people to fall in love. murali’s performance, ilayaraja’s music, kathir’s direction n a fitting climax makes it a classic .
in one scene chinni will be taking murali to a sex worker n will justify stating that, this is to gain experience before marriage. murali’s fitting response - are we ok if our future wife also thinks the same way .
in another scene heera will be teased n followed by raju sundaram. if i remember right she would say if you concentrate on your career, women will follow you .
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most excellent thing about the movie is it' s music (songs and background score). this is only because of maestro isaiyani ilayaraja .
the songs are very apt to the movie and screenplay. each carries heavy emotions which the character would convey. here is the list in the order of my favorites .
why could the tamil films not compete with the telugu films in terms of grandeur and sticks to quality less rural - oriented films of rajini fil ...
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isai genre: psycho drama director: s. j. surya cast: s. j. surya, sulagna panigrahi, sathyaraj storyline: an older musician is distraught when a younger one displaces him
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baana kaathadi' s music is composed by yuvan shankar raja. the music album features 5 songs and interestingly 4 of them are solo numbers. two are written by na. muthukumar. vaali, snehan and gangai amaran have written one song each .
finally, till the time he leaves the medical college, he does not convey his love to the lady and finally, by the time the lady understands his love, he becomes a heart patient himself, where he cannot digest a very happy or sad news .
sirikiraley kan ...
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now i have never heard it described like that – but now i have to see this .
venkatesh: connoisseur laam ille pa. just went to youtube and typed in a search and this came up… along with a lot more 🙂
( feel rather dumb doing this time and again. professional hazard. 😦 what to do? especially when i’ve been advertising your blog as model writing to my students! )
all intended to showcase surya’s prowess as a performer. (let’s just say kamal haasan needn’t lose any sleep. )
br, i see what you did when you started off with “borderline - legalese” but to be fair — of late — almost all movies come with that. don’t they? even when it is very very evident that the narratives unfold in fictional / alternative / cartoonish universes. because someone somewhere gets offended easily (sometimes for groups), this bit of legalese absolves the makers of any shit later on? so this has nothing to do with the real references alluded to in this particular movie ?
speaking of which, br, this is something i have wanted to ask you for a while now .
i know it’s subjective, but would love to know what you think of it .
also, regarding “ realistic, ” i’d like to know what filmmakers and writers start off with. “ this will be a realistic movie a) we acknowledge it and the viewers also acknowledge it b) only we, the viewers may / may not c) unintentional d) any other ”
iswarya: please. no need for apologies. i actually appreciate someone looking over my shoulder. as i’ve said, these pieces are written under a tight deadline and are hardly examples of “model writing, ” especially for students! ! !
when i write these reviews, the main things i look at is (1) whether i put down all the points i have in mind about the movie, and (2) whether i put it down with a semblance of style / wit / flamboyance .
in other words, the piece should be informative. the piece should not be boring. these are the only two things i care about on friday evenings .
the niceties — grammar, punctuation, etc. — i leave to the subbing desk, at least at this point, till i return to this piece and re - read it and fix the things that are a problem .
you are actually saving me work. so please tell me where i am slipping up 🙂
also, wanted to point it out in the review, because the raja - rahman narrative was irresistible. to go by sj surya’s imagining of this narrative, raja ends up murdering mani ratnam on a rainy night 😀
about your second comment, will reply later. and please remind me if i don’t get back to it soon .
though was prepared by the heroine’s costumes and the picturisation of “isai veesi” as a trailer, naming as “savithri”, sj surya’s claims that this panipuri would be her replacement was a bit too far. now your review makes me wonder if he was really looking at the real one in a different way to what the rest of us looked at…
his supreme confidence on any “material” he produces, is really inspirational, though. . reminds of the other surya and “soapu dappa” in “pitamagan”. will try to venture this .
you pervert: -), and this is the blog people recommend to their students, help! . btw, no references to amadeus or its classic hindi counterpart shakalaka boom boom. brangan who would you say was more interesting - upen patel or s. j. surya. ?
@ iswarya - some say between is used for 2 things and among for more than 2. i hope you are not pointing this out. because this is not the case always. especially when we have distinguishable items, we can or rather should use between .
ok. you’ve certainly made me feel less guilty. as for the ‘model writing’ part, i should have probably clarified that i used to cite your reviews mostly in my own movie review classes for journalism students and so, they do have an idea of the constraints of time and all that. the idea was to make them see how much quality could be delivered even with all those constraints in place .
and that last line query sort of put me in a spot. my editor always used to give me this mysterious smile whenever i posed the question to her on how she could have possibly rewritten something. we both agreed, of course, that it was always easier to write something entirely your way than rewrite something written by anyone else .
well, in this case, i guess i’d have chosen to put it as “…lurches madly between x and y, between p and q” while making sure that x / y and p / q were genuinely self - contained opposites. but, i guess this doesn’t make much sense in your style of writing. probably why they say “le style c’est l’homme même. ” 🙂
navel and surroundings as non - stick skillet? the expression “saar, engeyo poiteenga…” comes to mind. that prabhu deva guy must be a genius !
audacity. .? ! really? desperation would be an apt description. this fringe movie personality called sj surya, scavenges all over and tries to spruce up his fundamentally b - grade movie making skills .
isnt sulagna panigrahi the girl from murder 2 and one half of the conjoined twins from the serial amber dhaara? that’s some journey from amber dhaara to isai then. .
as a side note on disclaimers, maniratnam was at his playful best in iruvar. the movie starts with the disclaimer “idhu unmai kadhai illai” .
if you read with a pause after unmai then: idhu unmai, kadhai illai .
i agree – the movie had its moments but boy did sjs indulge big time or what. sure, you do have to appreciate how he’s tried a slew of different things to make the 2nd half work but i don’t think he executed it very well at all. the one scene where i thought he acted really well was the miscarriage scene. the lines in that scene were lovely .
i am a huge fan of sathyaraj. i mean, there was a phase in the late 80s when he did some superb acting in movies like “vedham pudhidhu” and “paalaivana rojakal. ” of course, amaidhi padai is the stuff of legends. here, he got a very meaty part but i think he should’ve underplayed it a little. plus, he just didn’t come across convincingly as a musical genius. too many sathyarajisms and too little character delineation…but he had the best line of the movie i thought – “naan ilakanathukkulliye irundhen enna pazhasu - nu sollitaange. avan ilakanatha odachu odachu panitrukaan, avana pudhusu - nu solitaange. ” aptly sums up isai vendhar and ak shiva .
the one scene where i laughed the hardest was the one with raju sundaram and his assistant. the way he casually asks, “editor antony - ta povom ipo. avanaachu saaptrupaana? ” was hilarious, i thought !
it is possible that the subject is too contemporary (what with both protagonists still alive and creating) for someone (not sj surya) to make a meaningful movie on this subject that has it all – a rags to riches story, a story of enormous success fueled by sheer genius followed by a sudden eclipse commercially by another genius .
this is the stuff a good filmmaker could gorge on like someone who sees home cooked indian food after being on a business trip to a scandinavian country for a few months. during winter .
mani ratnam might have been a good candidate for bringing such a movie to life before his sudden drop in creativity in recent times. but i would guess since he has been involved with both geniuses it may not be easy to take an unbiased stance .
1) well, even if he chose to chart the careers of ir and arr, he still could have made a few changes to make it look sufficiently like fiction. it could have been something other than music, like art direction, camera work or even fashion designing. the passion of creation and disappointment of somebody else’s success happens in all fields. he is just making it too close to real people for the sensation - quotient of it all. is he trying to tell a story or just trying to annoy people for the heck of it ?
2) i guess we already discussed movies like this in the first broad reflections post. i just standby what i told there. urltoken
3) this movie is basically a “if mani can make iruvar, then so can i” with absolutely no consideration as to what made iruvar what it is. i am guessing that people make the same mistake in making their heroine as audacious as nirosha and hoping that it has the same effect as agnin. if only people knew that imitation and counterfeiting not the same thing .
i really didn’t understand the need to do this ir - arr hinting. whatever the man’s faults might be, i’m sure ilaiyaraaja doesn’t do murder and the such .
but what i really didn’t understand was a couple of parents in the theater with me. they got their 5 - 6 year old kids to the movie, knowing it was from sj suryah. then they spent a good chunk of it closing the kids’ eyes .
santosh kumar t k: well i operate on the principle that what the maker says / claims is less important than what he has ended up making — in the sense that if the maker says the movie is about x and i see the movie as being about y, then to me the movie is about y .
so in the case of “iruvar, ” i see it very much as the story of mgr and karunanidhi. in this particular case, the disclaimer — in my eyes — is purely a bit of legalese .
eg. “nayakan” (based on varadaraja mudaliar) and “guru” (based on ambani); the filmmaking, though stylish, is fairly rooted and “real” .
“hawaizaada” (based on shivkar talpade); the filmmaking is deliberately “unreal, ” set in a world of fantasy .
many farces (“rettaivaal kuruvi”, “mmkr”) come under this category; the situations are obviously contrived, but the execution is in a realistic style .
ram murali: i’m guessing that it would have been too obvious if they’d picked a raja tune. still, i agree — of all people, why l - p, who were hardly a presence in tamil cinema? or was the song a hint at kovaithambi or something ?
anything meta has to be a bit self - referential (which the raja - arr angle isn’t) and also with a bit of abstraction between the pointer and the pointed at. that’s why i say the raja - arr track isn’t really meta — it’s just a (very broad) wink .
rangan, thanks for the clarification. it was after reading your reviews of jigarthanda and ktvi that i thought that i understood what would constitute “meta. ” looks like i misinterpreted it…
“with jigarthanda and kathai thiraikathai, we seem to be in the midst of a little “meta” festival, with filmmakers outside as well as inside these films offering a running commentary on the state of the industry. ”
– > so, i thought that isai was similar in that it felt like a commentary on twisted geniuses and the more humble ones…but your distinction between meta and a wink makes sense. thx .
man i was laughing out loud and clapping! i am a little late to catch this movie i guess, but i thoroughly enjoyed it. there were a lot of lame scenes yes, but there were too many good, well - written and well - staged drama scenes that make up for them. and i thought the climax was a stroke of genius. the way he justifies all the logical flaws in one line! this guy knows what he is writing. he seems to have closed all the loopholes with that one twist .
the next para may be offensive to some, the idea is however not to offend anyone but just to give an opinion .
regarding the navel scenes, the scenes where he explains how he has to transfer the heart etc, i did find them very silly. you very nicely put it – “you don’t have to look any further if you wondered what it’d be like if a horny, hyper - imaginative teenage boy wrote a penthouse letter. ”
— i read real naughtiness in your above line. i was actually laughing when i read that bit and got a funny stare from people around me. “you don’t have to look any further if you wondered what it’d be like if a horny, hyper - imaginative teenage boy wrote a penthouse letter. ”
i happened to see one particular song from a famous movie by a famous ‘village’ subject specialist director .
the poor heroine is made to get drenched in waterfalls with ‘only’ a very thin white saree to boot. (like ram teri ganga. .) here the hero ‘collects’ the water flowing through the …
oh. . i cant even write more, lest it be deemed porn .
it brings in a thought that the director brings to screen the acts which he wants to do, but cannot. he had the ways and means to do what he cannot using the puppets he can control .
there is lust in the mind, some are able to show it and some dont. there is violence in the mind, some are able to show it and some dont .
i read somewhere, that you have a violent man inside you, if you even ‘think’ of killing someone. i guess the same applies in many contexts .
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when dhanush, a pantry worker, finds himself in the midst of officials, trying to save the day by averting a major crisis, his romance with keerthi suresh on top of a train travelling at 90 kmph hardly makes sense .
action sequences too, looks a tad over - the - top and the lousiness is well supported by some poor visual effects .
when all is said and done, how dhanush and keerthi survive and thrive in this hazardous situation forms the crux of thodari .
it will be an big budget action entertainer that will appeal to all sections of audiences .
thazhuvaadha kaikal | tamil super hit family movie | vijayakanth, ambika | ilayaraja | r. sundarrajan
meyaadha maan | address song - adiye s. madhu song with lyrics | vaibhav, priya | santhosh narayanan
great 10 tamil songs of spb (s. p. balasubramanyam) with ilayaraja & mohan - volume - 1
‎kochadaiiyaan (original motion picture soundtrack) by a. r. rahman on apple music
jai ho! (you are my destiny) [ feat. nicole scherzinger ]
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incidentally, this has come at a time when the director' s 24 - year marriage with actor lissy ended .
specialise in - - the word we hear is that mani will play a character of heft and substance in his latest offering .
he dust is yet to settle in kargil, and the dream factory is already up and doing. specifically ,
, who for the first time handles a remake after a string of successful originals. and while on remakes, another one on the kannada floors is
, before going on to parlay his mobile features and rubber - limbed dancing skills into an acting career. now he is set to do another one dance appearance, in director
( raj, if you ask tamil movie fans) is on a roll. his own production (rai' s banner is duet, named after the
won him eight nandi awards, then went on to gain for him the national award, that too in the special jury category, for acting .
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actor arulnithi and his wife keerthana welcomed a baby boy on october 25 at a private hospital in chennai. an excited arulnithi posted, “super happy to let u all know... . that i’m blessed with a baby boyyyyy” (sic). the couple entered marital bliss on june, 2015. the actor has wrapped up radha mohan’s brindavanam and is looking forward for the release .
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bears the unique solo sax with veena, flute or solo violin with 9 people live orchestra. we are a well experienced
who are in to light music instrumental orchestration in sax with full orchestra led by sri. msv raja who have been in the cinema music for over 4 decades. so far sri. msv raja successfully presented many light music shows. and even before the origination of saxowinds, sri. msv raja has performed many stage shows with illayaraja, ar rahman, harris jayaraj, hamsalekha & yuvan shankar raja in india and abroad .
next event: 16th june 2018: sri raghavendra kalyana mandapam, kodambakkam - marriage reception at 6. 30 pm 26th august 2018: sgr mahal, medavakkam - marriage reception at 6. 30 pm 28th august 2018: kusalambal kalyana mandapam, chetpet - marriage reception at 6. 30 pm 30th august 2018: sanandha kalyana mandapam, tambaram - marriage reception at 6. 30 pm 06th september 2018: sivasakthi kalyana mandapam, west tambaram - marriage reception at 6. 30 pm 11th september 2018: balaji mahal, chrompet - marriage reception at 6. 30 pm 28th october 2018: sree varaaham convention hall, koyambedu - marriage reception at 6. 30 pm 13th november 2018: sri krishnaswamy kalyana mandapam, south boag road, t. nagar - marriage reception at 6. 30 pm 30th january 2019: sree devi mahal, saliyur, tambaram - marriage reception at 6. 30 pm
including kamesh - rajamani and a. v. ramanan' s' musiano' .
later, he was part of the ilayaraja' s troupe. he also worked as an assistant to music directors vijayanand, hamsalekha, manoj - ghyan, sirpi, haradhwaj and gurukiran. he has worked as a musical arranger for nearly 400 films. also, the artist is one of the rare oboe players in the country and owes much to a. r. rahman, who motivated him to learn the instrument .
oboe looks similar to shenai, but the sound and playing techniques is much different. it is used for highlighting emotional and sentimental scenes in pictures .
at present, it is not so popular in india as many are not familiar with it, but it is very popular in european countries .
he played clarinet in the background score for the signature tune of avm .
i re - recorded the tune during the 1980' s for the company. before me another person called meera bhai had played for the tune ,
he said .
he holds a licentiate degree from the trinity college of london (ltcl) in saxophone; has passed the associate degree of music (atcl) in clarinet & (a mustcl) in western music theory, vi grade in oboe and v grade in piano. he is presently working for fellowship degree of music (ftcl). his teachers are g. dhanraj (piano) ganesan (clarinet) vijayakumar (a student of lalgudi jayaraman) and they are teaching him different styles .
coming from a family, which has been closely associated with the tinsel world, raja' s father sellamuthu had worked as violinist for late g. ramanathan, sm subbhai naidu, kv mahadeven, & kunnagudi vaidhyanathan .
today' s youngsters are more intelligent and knowledgeable than us. with so much of advancements in the technology we can definitely strive more to give quality music to the masses ,
raja concludes .
msv raja playing sax for illayaraja, ar rahman, hamsalekha, harris jayaraj, yuvan shankar raja & others ...
creates a newdimension in instrumental orchestra since it is a rare combination of playing solo and duet with veena or solo violin, the total programme will be very pleasant to ears and mr. msv raja play even the difficult old & new numbers. we are totally customer friendly and can entertain the audiences as per their taste and tradition .
a unique way playing the duet cine songs in two separate instruments and solo songs individually. on fixing our programme we use to send a list of songs readily practiced by us and request the customer their choice of songs. on receipt of the song list from the customer, we perform rehearsals for the new songs requested by the customers. we also perform
the musical program by saxowinds on our wedding reception day was excellent and soothing. in contrast to the traditional light music program, the songs played with instruments without vocals was pleasant to hear and clear. the musical troop was ready to adjust with individual needs, and even played around 5 - 6 of our favorite songs. the troop members were friendly and interacted with everyone politely. the audience really enjoyed the event and many asked for contacts of saxowinds. we are glad for choosing saxowinds and we recommend them sincerely .
thank you very much m. s. v raja uncle for the lovely and lively program ...
- dr. srivani veeranarayanan & dr. m. sheikh mohamed, japan .
1) harivarasanam (swami ayappan), 2) nalam nalam thiru nalam (kadhalika neramillai), 3) sentamil then moziyal (t. r. mahalingham), 4) oru nall podhuma (thiru vilaiadal) 5) mettu podu (duet), 6) chinanj chiru keliae, 7) neila kaigiradhu (indhira), 8) singara velane (konjum salangai), 9) en ieniya pon nilave, 10) pattum nanae (thiru vilaiyadal), 11) karrinelae varum getham (meera), 12) vellai pookal malaratum (kannathil muthamittal), 13) malai sudum mana nall, 14) mun dhinam parhanae (varanam airam *), 15) vasigera (minnale), 16) avalukenna, 17) palingu nall oru maligai, 18) pani vilum iravu (mouna ragangal), 19) raja raja cholen (rettai vall kuruvi), 20) mere sapunike (aradhana - hindi song) 21) kurai onrum illai, 22) enna enna vartaigalo (vennira adai), 23) pesugiraen pesugiraen (satham podadhe *), 24) ennamo edho (ko), 24) pavadai dhavaniel, 25) mun andhi saralil (7 am arivu *) 26) anjali pushpanjali (duet), 27) athaan en athaan, 28) enna satham endha nerum (punnagai mannan), 29) unnai onru keatpen (pudhiya paravai), 30) nenjukullae (kadal) 31) oh o oh kiku eruthae (padaiappa *), 32) mannil indha kadhalukku, 33) chithiram pasudhade, 34) kadhal ovium, 35) kalyana samaiyal sadhum, 36) yarumilla thanimaiiyel (kaviath thalaivan *), 37) ek dho theen char (annjan *), 38) danga maari oodhari (anegan), 39) ganapathie varuvai (devotgional), 40) iam so cool (kakki sattai), 41) unakena venum sollu (ennai arjndhal), 42) kagitha kappal (madras), 43) anandha yazhai metugerai (thanga meengal) and 44) yarumilla thani arangil (kaviath thalaivan *) .
12 / 34, rajaji colony, virugambakkam, chennai - 600092, tamil nadu. india
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idhayam ( english : heart ) is a 1991 tamil language romantic film directed by debutant director kathir . the movie stars murali and heera and was a super hit . the music was composed by ilayaraja . it was popular and trend setter in between 1990s lovers . 
idhayam (english: heart) is a 1991 tamil language romantic film directed by debutant director kathir. the movie stars murali and heera and was a super hit. the music was composed by ilayaraja. it was popular and trend setter in between 1990s lovers.
idhayam (english: heart) is a 1991 tamil language romantic film directed by debutant director kathir. the movie stars murali and heera and was a super hit. the music was composed by ilayaraja. it was popular and trend setter in between 1990s lovers.