Love this ~~~~~~~~~~~~~~~~~~~~~ Abruptly, the song changes courses, with strains of nadhaswaran, while Blaaze suddenly jumps into the fray with Thamizh rap, bizarrely beginning "*Kamba Nattazhwan* …" The words sound odd and forced, but after a while, the fusion actually begins to appeal to you, courtesy the rhythm. Dazzling Thamizh letters intriguingly emerge from boiling oil as *murukkus*, while ethnic singers take up the chorus. ~~~~~~~~~~~~~~~~~~~~~
Warm Regards ~~~~~~~~~~~~~~~ Vinayak http://www.flickr.com/photos/rightplacerighttime/ On Tue, May 25, 2010 at 2:46 PM, $ Pavan Kumar $ <[email protected]>wrote: > > > > http://movies.rediff.com/review/2010/may/25/south-review-tamil-ulaga-tamizh-semmozhi-maanadu.htm > > Rahman's *Tamizh Anthem* is a pleasant experience > May 25, 2010 13:43 IST > > Scholars and academicians are gearing up for the biggest academic event > of the year, the World Classical Tamil Conference to be held in Coimbatore > from June 23 to 27. > > In preparation, Chief Minister M Karunanidhi [ > Images<http://search.rediff.com/imgsrch/default.php?MT=m+karunanidhi> ] > has already released the Conference's anthem titled *Ulaga Tamizh Semmozhi > Maanadu*, tuned exclusively by A R Rahman [ > Images<http://search.rediff.com/imgsrch/default.php?MT=a+r+rahman> ], > and filmed by director of the moment, Gautam Vasudev Menon. > > Sung by 30 different artists who represent the cream of Tamil industry's > musical elite, the lyrics have been penned by Kalaignar Karunanidhi. Here's > what the anthem has to offer: > > With an enthusiastic crash begins the *Semmozhiyaana Thamizh Mozhiyaam* > anthem, > starting out with the first Thamizh letter (the letter morphs from its > earliest, centuries-old version to its present form), and the impressive > words, "*Pirappokkum Ella Uyirkkum*," sung by legend T M Soundarrajan > after a flash of Thiruvalluvar's statue at Kanyakumari, eagerly picked up by > A R Rahman himself, singing "*Yaadhum Oore, Yaavarum Kelir*." > > Other singers like Harini, Chinmayi and Karthik follow, singing the simple > phrases that make up Thamizh's long literary lineage and even as Karthik's > voice rises in an impressive crescendo, the instrumental background score > takes over, and the song proper begins. > > Montage shots of stone-etched Thamizh inscriptions flow, while Hariharan [ > Images <http://search.rediff.com/imgsrch/default.php?MT=hariharan> ], A R > Rahman and Yuvan Shankar Raja croon the song, and then the entire team of > songsters take up the refrain, "*Semmozhiyaana Thamizh Mozhiye* …" while > the words glow in the background. > > The beat thunders while it rises and ebbs across the musical plane. In the > midst, another legend, P Susheela takes up the song, even as the Thamizh > alphabet runs across the screen. Bharathanatyam dancers flit around while G > V Prakash, Nithyashree Mahadevan and Sowmya show their vocal power, > classical fashion. > > Abruptly, the song changes courses, with strains of nadhaswaran, while > Blaaze suddenly jumps into the fray with Thamizh rap, bizarrely beginning " > *Kamba Nattazhwan* …" The words sound odd and forced, but after a while, > the fusion actually begins to appeal to you, courtesy the rhythm. Dazzling > Thamizh letters intriguingly emerge from boiling oil as *murukkus*, while > ethnic singers take up the chorus. > > From hereon, the jump from classical to rap occurs more frequently; the > melody is unstructured, yet appealing. Thamizh's gradual ascension from > stone temples to blackberrys is shown. Singers like Naresh Iyer sing in pop > fashion on brightly-lout stages, while at the same time, *poi kal kudhirai > * and *karakattam* dancers spin around in festivals; even Chinna Ponnu > contributes. > > The anthem, meanwhile, rises slowly note by note, closing with a grand > crescendo amidst crashing beats, even as the chief minister sits at his > desk, signing documents with a flourish. > > The lyrics themselves are unstructured at best, and take some time getting > used to but the meaning contained within the instrumental arrangement and > varied vocals make it a very pleasant musical experience. > > Praise for Thamizh is lavishly sung, even while exploring its development > through the centuries, its ability to adapt and stay within the common man's > grasp without dying out, and evolving into the digital age. > > A R Rahman has gone with his favourite template, it seems but even when you > can predict the rise and fall of notes, it's still very appealing for the > swift shift in genres and style. The lyrics and picturization undoubtedly > add to the allure. > > *Rediff Rating:* > > * > * > > * > > > * > > >
