To a much greater extent, not most of younger generation is aware about the initial phase of Tamil Cinema. Dialogues were quite minimal while yesteryear superstars like Thyagaraja Bhagavathar had insisted the makers of film to have at least 40-50 songs.
Lately, during the medieval period, the producers had to compromise themselves by reducing the numbers to a dozen.
Of course, by 70s we had our filmmakers Bharathiraja and T. Rajendran coming up with the innovative ideas of inserting dream songs merely to showcase the exotic outdoors locations in the backdrops.
But things are completely turning to be more contrastive as our contemporary filmmakers have decided to completely avoid such elements in their films.
The best illustration goes with ‘Nadodigal, ‘Yaavarum Nalam’, ‘Eeram’ and ‘Unnai Pol Oruvan’.
These flicks have seemingly broken down the cliched traits of what usual commercial cinemas carried with a title song, couple of romantic duets, one item dance and a final song with fast-beat numbers.
Naturally, with more developments in film industry the knowledge over world cinema has enlarged amongst our own audiences.
The present generation has well applauded for such films that have songs moving on with the film’s storyline.
Even, ‘Nadodigal’ had the typical pattern of commercial cinema on a title song, item number, but everything was in connection with film’s momentum. In the latter part, there were three songs that were depicted with montages and gripping screenplay.
Who can forget the pre-intermission point with ‘Sambo Siva Sambo’ lining up for 15mins with a fight, kidnap drama and semi-tragic quotients?
Similarly, ‘Eeram’ had 4 tracks in the musical album that goes inclusive of a signature song. To be precise, the opening song ‘Mazhayae Mazhayae’ has the collages with scenic beauty of locations and rest of the songs with same attributes.
‘Yaavarum Nalam’ – has couple of songs cut-short from the actual duration in musical album. Well, there were no songs in latter part which kept the audiences intact of not getting away with their attentions scattered.
Kamal Haasan’s ‘Unnai Pol Oruvan’ boasts about the special feature of not carrying any song and duration was perfect with just 100mins. Indeed, Shruthi Haasan had her promotional video to draw more crowd for the film.
Looks like, it’s a perfect changing phase in Tamil film industry and directors like Perarasu should strictly adhere themselves to such top-notching basics to save their films from sinking.
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Tags: Bharathiraja, Eeram, Films sans songs make it big in box office, Kamal Haasan, Mazhayae Mazhayae, Nadodigal, T. Rajendran, Thyagaraja Bhagavathar, Unnai Pol Oruvan, Yaavarum Nalam | Filed in Articles, Featured
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