Later on reaching home, he will call up the star or the producer concerned and chat up with them on the finer points of the film. After the movie, Rajnikanth comes down by the lift and waves to the crowd outside who has gathered and jumps in to his car and disappears. Latha Rajnikanth brings all the snacks and refreshments from home. And you hear Kalyanam yelling out to the operator –"Start"! Kalyanam also sees to it, that nobody else is in the theatre or even in the lobby, when the superstar is watching a film. And at 6.30 pm sharp (you can correct your watch), Rajnikanth and his family will be seated. He immediately blocks it for the evening show. Kalyanam, knows that Rajni prefers the small screen 90 seater `Screen 2` at `Four Frames`. Normally the producer or the star of the film immediately calls up Kalyanam, Manager of ‘Four Frames’ preview theatre and arranges a show. So, when Rajnikanth comes to know that a film is doing well, he expresses a desire to see it. Added to that he is one actor, who has no qualms of saying that he watches all kinds of movies, unlike some actors who boast that they don't watch other’s films! And he never gets bored watching cinema of any kind. No wonder Rajnikanth is a superstar! He can gauge the feeling of an ordinary person to a mass film. He knows exactly what worked in its favour with the audience- the sentiments, the punchline, or a particular song etc after seeing it. There is nobody in Indian cinema who understands the nuances of commercial cinema as much as Rajnikanth. Rajni's biggest hobby is to watch super hits especially if they are in Tamil and analyze the reason for its commercial success. For today's audience, the Paruthiveeran soundtrack is a big yawn.Whenever a film in any language becomes a super hit, our superstar Rajnikanth makes it a point to watch it. This album could have been topical, perhaps in the 50s or 60s. When the male voice orders niruthungadi (stop it, you!), the listener is also compelled to stop the album. Ear-splitting singing and orchestration, with lyrics interspersed with unrefined words, create a cacophony of voices and noises. Uroram puliyamaram, the concluding number is just sound and fury, signifying nothing. Yuvan's voice, though, bears an uncanny resemblance to his father, IIlayaraja's. But the lyrics are unsavoury, bordering on the obscene in places. Kudos to Shreya Ghosal for modulating her velvetty voice to suit the folk number. Iayyayyo, a romantic number by Manickavinayagam, Krishnaraj, Shreya Ghosal and Yuvan is just bearable. True, fly-by-night 'poets' emerge during village festivals, but to make a mockery of such a classic song even in the name of realism is taking poetic licence too far you do not expect this from a composer like Yuvan Sankar Raja. The way it is rendered as if in a drunken stupor, eulogixing presumably some village VIP called Ramalingam, amounts to nothing less than blasphemy. The most abominable part of this album, however, is the parody of P Susheela's yesteryear superhit Gangaikarai thottam. The lyrics are too prosaic, devoid of all musical elements. In Tanka dunga, both lyricist and music director try hard to capture the village ambience, with music typical of art forms like therukoothu, karakattam, drama, rituals, pageantry etc. The legend on the cassette jacket mentions lyrics as 'compiled' by Ameer and Dinesan. The words overlap each other and one can hardly make out the lyrics. Sari sama pakuthi, by Madhumitha, Madhurai Saroja and Ameer, starts with a classical strain which is interspersed in between with a folk tune. This song is the album's highlight, mainly due to the maestro's voice and its haunting feel.
The opening track Ariyatha vayasu, rendered by Illayaraja, is all about youth who are not worldly-wise, and cannot analyse the vagaries of their own mind. Their whole life is focused on kadhal (love), and everything else is sidelined. Paruthiveeran falls well short in all these departments, except in the first track rendered by the maestro himself. It needs lyrical excellence, rhythm, music, and grace - all in the right measure. Folk music can be enchanting, as has often been proved by Yuvan's legendary father Illayaraja. But variety should not be for variety's sake. Yuvan himself proclaimed at the Paruthiveeran audio release that he wanted to do something different and decided to go folksy. Yuvan known to have something different in his kitty, and so with Ameer and Yuvan coming together again, expectations were very high.īut Paruthiveeran is a thorough letdown. For his forthcoming film Paruthiveera also, Yuvan has done the music. Director Ameer gave us a musical bonanza in Ram, with music by Yuvan Shankar Raja, one of the top composers today.
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