Nandhalala - Soundtrack

This film is unique in the sense that there is a 40- minute climax which is all music and unarticulated! And a vital character in the film appears for just 12 seconds! The director says ‘I direct only 50% of my movies. Let the viewers direct the rest’. With Ilayaraja composing music for this complex movie, we can hardly wait for it to hit the screens. Six songs are featured in the album, but songs no.4 and 5 have been taken away from the movie. Why?


Mella oorndhu oorndhu...

This song softly trundles along just like the movement of the ‘ther’ or car that is mentioned in the song. The rhythms are unhurried, the guitar and violin notes tinkle along lazily and the keys add a soft tonal richness to the piece. Speaks a little bit of philosophy too. Well conceived.

Onnukkonnu...

Rather moving verses that speak of the all-conquering power of selfless love, ‘anbu’ as the poet aptly puts it. The right choice of Jesudas as the singer—he effortlessly brings out the poignancy in the song. Sensitive handling of native percussions, fine use of keys and measured notes from the flute and guitar all contribute to the overall effect of this song based on the Sankarabaranam mettu, like the first song.

Thalattu Ketka...

This huskily rendered song somehow reminds us of a couple of old Ilayaraja hits themselves. Another pathos-laden number with slow rhythms that speaks sentimentally of the sacrifices that mothers usually make in their lives. Suitably, the violin and guitar are subdued. When the singer goes ‘entha pillai theerthadundu?’ in the second charanam, the violin (?) essays a sad high pitched note that moves you.

Kai Veesi...

Such a pretty song that you wonder why this was excluded from the movie! Conceived on the Natabairavi scale ,the opening guitar piece that goes ‘ni sa sa sa ni sa sa sa ----ga ri sa ni sa ri and then ‘ga ga ri ri sa sa’ is so very stylish and so are the trendy rhythms in spite of the chatusra nadai. The way the flute and the guitar sing along with the voices, speak of the deftness of the composer. Sometimes the flute just slides into the keys. A song that goes wondering about the charms of Nature.

Oru Vaandu Koottame...

Another charming number in the Sankarabaranam scale—again you wonder why it has been left out in the movie! What a rich tapestry of rhythms and other musical instruments—like the guitar, violin, flute and keys! The percussions have been so carefully layered that there is so much ‘sowkyam’ built into the number. Celebrates the carefree spirit of childhood with sweet lyrics.

Elilea, Elilea...

A small fascinating piece, a ‘narikkorava’ song , this time. Of course you don’t understand the words, but watch how well the rhythm(udukkai) has been planned to move along with the ebb and flow of the song itself!

Verdict:

A very pensive, quiet album from the maestro this time, in keeping with the serious theme of the movie. Slightly melancholic, but what perfect crafting! You need to listen to it quite a few times to savor the delicate musical notes woven into the album-so like a lovely silk saree! Quality recording, too. Focused cinematography can really enhance the musical experience.