Visited Kottayam last week and witnessed one of the rarest incidents. Saw two lottery sellers fighting each other. You now think this is not an uncommon scene as fight is very common on the streets in this country. But the funniest thing was one of the fighters was blind and he was trying to hit the other seller with his walking stick kinda equipment. Do you believe this second ticket seller was seen struggling with his handicapped right leg! Both of them were fighting as if they were not physically challenged. One passer-by came into the scene rescuing the blind by beating the other fighter. But soon this stranger man was told by someone around that this blind person should not be given any help as he was more dangerous and troublesome than the one-and-a-half legged ticket seller. Then I saw the third ticket seller, who was physically alright watching the fight from a distance not less than 3 metres! I believe these kinds of adrinalin filled fights make people forget their shortcomings without attending any personality development courses :) The moral of this story is human is to err irrespective of their physical, mental or psychological illnesses.
Tuesday, August 30, 2011
Monday, August 22, 2011
An unasked question to Sathyan Anthikkad
Now am relieved! I could avoid asking this question to Sathyan Anthikkad, the film director. The question lost it's very significance.
"Sathyan sir, why Johnson master was not utilized to compose songs for your latest movies?"
To be precise, Johnson mash was not used after the movie 'Yathrakkarude sradhakku'.
Johnson master - Orma mathram
The highly talented Johnsonji possessed a unique style, which was impossible for others to imitate. He hid his identity in each and every song he composed. That was fantastic.. After hearing a few(n) songs, you easily identify the (n+1)th song of the master. It was Johnson whose songs I first identified that these songs belonged to this music director.
He had in-depth knowledge in playing instruments and was also able to incorporate western style in this compositions. So he was highly successful in background scores. This main disciple of Devarajan master was fortunate to work with great directors like Bharathan, Padmarajan, Kamal, etc etc.
I think the malayalam film industry didn't really make use of talents. He was gradually going away from the mainstream films due to the flood of fastfood kinda songs.. Only Sathyan Anthikkad was making use of his talents. So I used to anxiously wait for Sathyan movies to listen to Johnson's classic songs.
Unfortunately after 'Yathrakkarude sradhakku', Sathyan called upon Ilayaraja instead of Johnson. Heard that it was because Rajasab could easily compose all the songs within no time. But I myself felt that was not at all required. What Sathyan's films needed was met with Johnson's music. Whatever the genre may be, Johnson was able to produce all kinds of music including melodies, folks, touching songs filled with subtle feelings. But Ilayaraja was invited. Also, I feel the songs of Sathyan/Ilayaraj didn't much identity. And I could smell some sort of replication of tunes which didn't last long in the hearts of listeners. It didn't have any life in it.
Hence as a lover of Johnson's music, I had wished to meet up with Sathyan mainly to discuss this. And I believed it could bring Johnson back. One of my friends assured me that he would make the arrangement to meet Sathyan at Thrissur. But that didn't happen. Now when I heard Johnson master's departure news, this question again did pop up. 'Why Sathyan sir, why?'
"Sathyan sir, why Johnson master was not utilized to compose songs for your latest movies?"
To be precise, Johnson mash was not used after the movie 'Yathrakkarude sradhakku'.
Johnson master - Orma mathram
The highly talented Johnsonji possessed a unique style, which was impossible for others to imitate. He hid his identity in each and every song he composed. That was fantastic.. After hearing a few(n) songs, you easily identify the (n+1)th song of the master. It was Johnson whose songs I first identified that these songs belonged to this music director.
He had in-depth knowledge in playing instruments and was also able to incorporate western style in this compositions. So he was highly successful in background scores. This main disciple of Devarajan master was fortunate to work with great directors like Bharathan, Padmarajan, Kamal, etc etc.
I think the malayalam film industry didn't really make use of talents. He was gradually going away from the mainstream films due to the flood of fastfood kinda songs.. Only Sathyan Anthikkad was making use of his talents. So I used to anxiously wait for Sathyan movies to listen to Johnson's classic songs.
Unfortunately after 'Yathrakkarude sradhakku', Sathyan called upon Ilayaraja instead of Johnson. Heard that it was because Rajasab could easily compose all the songs within no time. But I myself felt that was not at all required. What Sathyan's films needed was met with Johnson's music. Whatever the genre may be, Johnson was able to produce all kinds of music including melodies, folks, touching songs filled with subtle feelings. But Ilayaraja was invited. Also, I feel the songs of Sathyan/Ilayaraj didn't much identity. And I could smell some sort of replication of tunes which didn't last long in the hearts of listeners. It didn't have any life in it.
Hence as a lover of Johnson's music, I had wished to meet up with Sathyan mainly to discuss this. And I believed it could bring Johnson back. One of my friends assured me that he would make the arrangement to meet Sathyan at Thrissur. But that didn't happen. Now when I heard Johnson master's departure news, this question again did pop up. 'Why Sathyan sir, why?'
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