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Multiple Version Songs (1. Similar songs in Hindi and Malayalam. Guest article by Anuradha Warrier(There are some guests on whose arrival you exclaim, “Wo aye hamarey ghar khuda ki qudarat, kabhi hum unko kabhi apne ghar ko dekhate hain!”   Anu writes an outstanding blog spanning books, movies, music and whatever.

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She is also a writer and editor. With all that, and with the constraint of having grown up outside Kerala, it is indeed a very kind gesture on her part to agree to write on similar songs from Hindi and Malayalam movies. With such generous people I am confident we should be able to cover all the major languages in India in which such cross fertilisation with Hindi movies and songs have taken place. Thank you , Anu, for your excellent article. AK)I’d been following the mega- series of posts by Mr Ashok Vaishnav on the various combinations of multiple versions of songs on Songs of Yore with great interest. With AK hosting these posts, and Mr Arunkumar Deshmukh and Mr N Venkatraman writing on the links between Hindi- Marathi and Hindi- Tamil songs, it’s been a journey worth travelling.

I do not presume to have the knowledge of music that any of these gentlemen have; this post came about as a result of my telling AK that Hindi film tunes crossed boundaries into my home state of Kerala as well, and asking if listing them in the comments would be an issue. In return, he promptly asked me to develop that into a post. So, with trepidation, here I am, writing a guest post for the first time. Watch Kill Bill: Vol. 2 HDQ.

I agree with Mr Venkatraman that inspired/adapted songs from each of the four South Indian languages should have a separate post of its own; that said, I will only be writing about Malayalam film songs. Having grown up outside Kerala, my initiation into Malayalam film music, apart from the songs I heard over the radio, came much later in life. As is the case with Hindi music, I tend to like old Malayalam songs, with certain exceptions being made for some excellent work in later years. I would like to acknowledge the great help and support that a fellow blogger, Cine Matters, gave me when I was floundering, wondering where to begin. Malayalam Cinema. This was when the first silent movie Vigathakumaran (The Lost Child), directed by JC Daniel, was released.

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What is interesting about Malayalam cinema is that once talkies became the norm in the intervening two decades, Malayalam film songs drew their inspiration heavily from both Hindi and Tamil songs. For instance, the iconic Mohammed Rafi- Noor Jehan duet Yahan badla wafa kareappeared as Manoharamee rajyam. Unfortunately, I cannot find a video or audio clip for this song. It seemed that the state’s rich musical heritage was being deliberately ignored in favour of imported compositions. It wasn’t until Neelakuyil (Blue Cuckoo) in 1. Neelakuyil was a milestone in Malayalam films – a social drama that dealt with feudalism, untouchability and the treatment of women by society, made by a band of idealistic youngsters, and it changed the face of Malayalam cinema setting it firmly on the path of realism and in the social ethos of the state. Scored by K Raghavan, the songs introduced Malayalam folk music into Malayalam films for the first time.

Let me begin with pre- Neelakuyil examples. On his website, Cine Matters listed quite a few songs from Jeevitha Nauka (The Boat of Life)and Ponkathir that were direct lifts from old Hindi songs. Jeevitha Nauka, released in 1. Malayalam filmdom’s first ‘super hit’.

With a theatrical run of more than 2. Tamil and Telugu and later, a dubbed version in Hindi was released.

Its music director was the venerable V Dakshinamoorthy. In his debut film, Nalla Thanka (1. Tamil, Hindi and Telugu. For those who understand Malayalam, here is a clip where he describes the brief given to him in those early days.

Here are two songs from what Cine Matters calls the ‘Xerox’ years. There is absolutely no effort to mask the origins, and songs have been taken from as many Hindi films as possible. Watch Super Dark Times Putlocker# on this page.

Malayalam 1: Akale aarum kaividum (Jeevitha Nauka/1. MD: V Dakshinamoorthy/Singer: H Mehboob)Hindi 1: Suhani raat dhal chuki (Dulari/1. MD: Naushad/Singer: Mohammed Rafi. Malayalam 2: Anandamekoo bale(Jeevitha Nauka/1. MD: V Dakshinamoorthy/Singer: P Leela)Hindi 2: Hawa mein udta jaaye(Barsaat/1. MD: Shankar- Jaikishen/Singer: Lata Mangeshkar)Music director Mohammed Sabir Baburaj, better known as MS Baburaj is often credited as the man who engineered the renaissance of Malayalam film music. Having learnt Hindustani music in his childhood, he pioneered the use of Hindustani ragas in Malayalam music.

His professional association with lyricist P Bhaskaran and singers KJ Yesudas and S Janaki resulted in some of the evergreen hits in Malayalam film songs. Malayalam 3: Kadalivazha (Umma/1. MD: MS Baburaj/Singer: Jikki)This film saw the emergence of a new musical talent who would enthral listeners for almost two decades. Music director, MS Baburaj, who had made an indifferent debut in Minnaminungu (Firefly) three years earlier, began a new phase with the success of this film and carved a place for himself in the pantheon of the greats. Interestingly enough, this song mimics both lyrics and picturisation of its Hindi original. While the musical connection may seem tenuous to most listeners, that is because the music director, Baburaj, seldom copied the tune as it is. From what we have listened to from his huge body of work, one can safely say he was inspired by the tunes he heard to create his own, leaving his unique stamp on the final creation.

The cawing of the crow signifying the arrival of a visitor seems to be a belief common to many cultures. Hindi 3: Mori atariyan pe kaaga (Ankhen/1. MD: Madan Mohan/Singer: Meena Kapoor)Malayalam 4: Tamasamenthe varuvaan (Bhargavi Nilayam/1. MD: MS Baburaj/Singer: KJ Yesudas)A great fan of music director Naushad, Baburaj was inspired by the veteran composer’s tune from the Muslim social Mere Mehboob to score not one, but two songs in Malayalam. This was a true case of inspiration and paying allegiance to the master – while Mere mehboob tujhe was composed in Raag Jhinjhoti, Baburaj used Raag Bhimpalasi for Tamasamenthe varuvaan.

He later reworked his own tune for its twin version Pranasakhi njan verumoru from Pareeksha (1. Hindi 4: Mere mehboob tujhe(Mere Mehboob//MD: Naushad/Singer: Mohammed Rafi)Now, here are two songs from Avalude Ravugal, Malayalam cinema’s first ‘Adults Only’ movie, which became notorious outside Kerala – for all the wrong reasons.