Sunday, June 24, 2007

Ugaabhoga

Ugaabhoga - Those few lines that are sung before a devaranama (sometimes) or little compositions on its own, in kannada are very interesting chunks of discussion.

Ugaabhogas have been part of Carnatic music since centuries. Ugaabhogas were composed by Haris Daasas like Vyasaraya and Purandaradasa during the 13th century. What is interesting about Ugaabhogas is that they are simple and short in -construction, they are easily comprehendible, they talk about bhakthi, mainly hari bhakthi, very typical of the strict madhva community, they talk about life, the essence of life, about the importance of being associated with God and not with materialistic desires that ultimately lead us nowhere in life, and most of all they are raga based. Like how Hindustani has Abhang, Javalis, etc, Carnatic has Padha, Sulaadhi, Ugaabhogas and many more forms that add variety and vigor to the music form on the whole.

A small example is Dasanaguvudhakke Esu Janmada Sukruthavo - Raga Hindhola – by Purandhara Dasa, considered as the Father of Carnatic Music. The lines are as follows:

Dasanaguvudhakke esu janmada sukruthavo
Bhaasura ravi koti shreesha sugunavantha
Naasharahita ninna daasara daasyava
Lesaagi kodu kandya purandhara vithhala


Here daasa is pleading to God to allow him to be his disciple and give him that little right of slavery. Set in raga Hindhola, when this piece is typically sung before devaranama, Dasa Dasara Maneya, Dasaanu Daasa in Hindhola again, it is a feast for the ears.

Another example is Thumbida Maneya Mele Thulasidhalavanittu – Raga Kambodhi . A very interesting piece that talks about the variety of kannada compositions written during the 13th century, written by Sri Vyasaraya himself, humbly speaking about Daasa dharma and how Hari bhakthi has elated him to deliver these lakhs of compositions. Here is the script (may seem difficult to pronounce since it is kannada written in English):

Thumbida Maneya Mele Thulasidhalavanittu
Hari samarpithavendhu horage bandhu
Thraasu thoogidha kaiyige
Thaala thamboorigala melavannalavadisi modhadhindha
Vyasarayara manthropadesha padedhu
Lalitha kannada nudiya lakshopalaksha
Padha, sulaadhi, ugaabhoga nidhiya rachisi
Sarala sumadhura sangeetha saraniyindha
Sulabhavaagiye haribhakthi sudheyanunisi
Daasa dharma dhivyopadhesha gaiyidhu
Suramuneendhraamsha sambhootha
Sujanavinutha shree purandhara dasa sadhguruvarenya


While the Hari Dasas triggered the Bhakthi movement during the 13th century, their contribution towards carnatic music, their urge to reach out to common man, and the kind of success they received for their marvelous efforts and contributions is seen even today, when me, you or any third person tap feet to those great devaranamas like Thamboori Meetidava, or Pillangoviya Cheluva Krishnana, or even Vyarthavaayithalla Janmavu Saarthakaagalilla. The message that every composition carries to common man is what is to be identified and appreciated.

Here I end my post on Ugaabhogas, bowing humbly to all those noted personalities who filled music with life and who are continuing to fill my life with peace and divinity.

Do feel free to add on to the post.

Saturday, June 23, 2007

Nitty gritties and more on 'Sivaji - The Boss'

I am sure that most of you have already watched the movie. For those who have, you can relate more to what I have written here. For those who haven't yet, may be you should first watch it and then read. Just to be on a safer side that is. This is not about the whole movie coz I am sure lot of people have varied opinions on the same and thousands of reviews have been written already. I have written about what I observed. Not to hurt anybody's feelings or sentiments. :)

Songs in the movie:

Balleilakka - If only the choreographers had realized before the making of the song how tough it was to dance to such a fast paced number and yet lip sync correctly. For all the expectations that I had from such a superb song, the visuals were disappointing. Seemed like poor Rajini was forced to run as fast as he could and twist his hands and shake his legs faster than ever in those extra-ordinarily bright costumes. The Sadugudu part is so badly shot and each time Nayantara said 'Sattennu sollu', twisting her head - all of us, including Rajini himself would've been clueless. The only thing nice about the song is Rajini's spirit that makes the song worth watching. The efforts made to hunt men (side dancers) with huge ghatam like tummies and body paint pots, rajini's face, and tiger's face is commendable. I am sure they did not have a tough time finding such men in and around tamil nadu...:) Hey that's just a joke. Relax.

Vaaji Vaaji - This is one spectacular song that anybody would appreciate. The marvellous settings that looks like a palace, outfits of Rajini like an emperor, the vibrant colors of the palace that change with the costumes of the side-dancers (hehe), Shreya's Apsare kind of costumes, everything is simply spectacular, one song I just loved watching.

Style - Along with Oru Kudai Sunlight, Oru Kudai Moonlight, there is also Oru Kudai Lakme Rose Powder on Rajini's face. I thought Rajini looked aweful in his pink face which looked like as if he had developed a skin disease or something. It was just awful to watch Rajini turning white. Well the whole song itself was like a pun, but inspite of the context of the song, I think it was not good enough. Some costumes of Shreya, like the denim skirt which almost gave her a 'O so Bipasha' kind of a look, rest of them were too jazzy. Sometimes I wonder if the only theme of choosing dresses for Shreya was total waist exposure and deep-necked blouses. In almost every song she has worn low-waist long fish-cut skirts and deep-necked blouses. She looks good and dances well, so that pays for all the efforts. She also carries them well. So that's acceptable by me. I am sure for all the men, it is more than acceptable. :)

Sahara Pookkal - I imagined it to be shot something like Pudhu Vellai Mazhai in Roja, since the song spoke so much about nature embedded in romance. But the song was shot in very artificial looking glass house kind of sets, with Shreya having lots of shining make-up like kutti shining silver bindis all over her body, wonder if that was supposed to personify Sahara Pookkal...:( May be I will like the song if I watch it many more times and get used to it on Sun T.V, Jaya T.V, Raj T.V, am I forgetting any other T.V? :)

Athiradi Kaaran - A song out of the blue! I liked ARR's singing and the costumes and look of the song. Must watch is the way a pistol flies from Rajini's right hand, shoots the villain and comes back to his left hand! :O Nice peppy dance number, very arabic kind of feel, something like Maiya Maiya.

Sahara Pookal (slow version) - They have used this part for Shreya's first scene, the song sounds beautiful in the background, very typically shot, heroine walking in half saree in temple (wearing lovely color-combination half-saree), singing in temple, I loved her silver anklets.

Wondering why I did not comment much on Rajini's dressing and clothes? I thought his clothes were fantastic in the movie, all the formal shirts, blazers, trousers, emperor-like outfits, funky outfits, long coats, everything he has worn was very stylish and very well done. Manish Malhotra has definitely done a great job for Rajini.

Guess I covered all the songs.

Certain other observations that I made:
- Raghuvaran (playing a doctor) wearing a super white blazer to a construction site. :) Agreed he is a doctor, but...
- Kadhal Rojave and Kannalane played in the background when Rajini comes to meet Shreya in her Musical Instruments shop, this is called re-cycling music :)
- Shreya does not have a mookuthi (nose studd) before marriage, but has one during and after marriage :) Making a Wife-Style Statement there?
- Rajini showing Shreya some stock of medicines almost like a medical shop in his room, and almost 3 year old babies frocks for their baby! Very farsighted? :)

Over all, movie is okay, anything for Rajini's Acting and Style. Definitely a Super Star with Super Natural Style! Watch Sivaji and do feel free to add on to what I have written.