The Unseen Threads: How Ilaiyaraaja Wove the Same Story into Two Unforgettable Songs

Have you ever had that experience? You hear a particular thought, or perhaps read an interesting fact, and immediately, your mind conjures up a perfect song to match? For me, it's a peculiar "vyaadhi" (condition) – everything seems to trigger a melody! Just this morning, I stumbled upon a fascinating scientific tidbit: regardless of age, a mother's voice acts as a potent stress-buster. "Why science experiments for this?" I thought. "Our songs have been telling us this for ages!"

And instantly, two songs bloomed in my mind, echoing this very sentiment, yet in strikingly different ways:

• "Keladi Kanmani" from Pudhu Pudhu Arthangal (1989)

• "Poongaatru Thirumbuma" from Mudhal Mariyaadhai (1985)

  
  

One might immediately think of lines like, "நான் வாடும் நேரம் உன் மார்போடு தான், நீ என்னைத் தாலாட்டும் தாய் அல்லவா" from "Keladi Kanmani," speaking of a mother's lullaby as solace. Or the poignant plea in "Poongaatru Thirumbuma": "பாராட்ட மடியில் வச்சு தாலாட்ட, எனக்கொரு தாய் மடி கெடைக்குமா?" – yearning for a mother's embrace.

But as these two songs resonated, I realized something profound: beyond the shared theme of seeking maternal comfort, these two masterpieces by Ilaiyaraaja have an incredible number of similarities – and equally fascinating differences – in their very fabric.

Let's dive in.

The Shocking Similarities: Two Films, One Core Story

The biggest revelation connecting "Keladi Kanmani" and "Poongaatru Thirumbuma" isn't just their lyrical content, but the very narrative backbone of the films they belong to. The plot of Mudhal Mariyaadhai and Pudhu Pudhu Arthangal are, surprisingly, almost identical:

• Mudhal Mariyaadhai (1985): A village tale starring Nadigar Thilagam Sivaji Ganesan, directed by the legendary Bharathiraja.

• Pudhu Pudhu Arthangal (1989): An urban story starring Rahman, directed by the visionary K. Balachander.

One is set in a village, the other in a city. The settings are different, but the core story remains unchanged: a successful, well-respected man, unfulfilled in his marital relationship, forms a profound emotional bond with another woman. Her compassion and affection lead to a connection that society might not accept. Isn't this the heart of both stories?

Back then, songs were crafted for the story, not for hook steps! So, if the stories were so similar, is it any surprise that the songs echo each other?

Lyrical Echoes: The Shared Anguish of the Male Protagonist

Both songs are deeply rooted in the male protagonists expressing their profound sadness and mental distress.

In "Keladi Kanmani," the hero laments his sleepless nights:

"என்ன சொல்லுவேன் என்னுள்ளம் தாங்கல

மெத்தை வாங்கினேன் தூக்கத்த வாங்கல"

(What can I say, my heart can't bear it. I bought a mattress, but not sleep.)

He has the wealth for comfort, but his mind is in turmoil.

Being a popular playback singer in the film, his sorrow takes on another layer:

"பிறர்க்காக நான் பாடும் திரைப் பாடல் தான்

இந்நாளில் தானே நான் இசைத்தேனம்மா

எனக்காக நான் பாடும் முதல் பாடல் தான்"

(My film songs are always for others; only today am I singing for myself, my first song.)

He sings for others' happiness, but finds none for himself, unable to voice his own sorrow.

This very sentiment is mirrored in "Poongaatru Thirumbuma":

"உள்ள அழுகுறேன் வெளிய சிரிக்கிறேன்

நல்ல வேஷம்தான் வெளுத்து வாங்குறேன்"

(I cry inside, but smile outside. I play the good role well.)

Men, burdened by notions of self-respect and family honour, often suppress their sorrow, unlike women who might express it more freely. This suppression only amplifies their stress. It's an undeniable truth that sharing grief offers a form of solace.

This is precisely where the female companionship becomes crucial.

In "Poongaatru Thirumbuma," the hero sings:

"ஏதோ என்பாட்டுக்கு நான் பாட்டுப் பாடி

சொல்லாத சோகத்த சொன்னேனடி"

(Somehow, by singing my song, I expressed the untold sorrow.)

To which the woman replies, validating his feelings:

"சொக ராகம் சொகம்தானே"

(The raga of sorrow is indeed comforting.)

The main theme here is the peace found in sharing one's pain.

"நீ இதை கேட்பதால் நெஞ்சில் ஓர் நிம்மதி"

(Because you hear this, there's peace in my heart.)

Just the act of a woman acknowledging their pain brings immense joy.

One character sings:

"ஏதோ ஏதோ ஆனந்த ராகம் உன்னால் தானே உண்டானது"

(Somehow, a joyful raga was created only because of you.)

The other goes a step further:

"ஆத்தாடி மனசுக்குள்ள காத்தாடி பறந்ததே ஒலகமே மறந்ததே"

(Oh my, a kite flew in my heart, I forgot the whole world!)

In cinema, if a man is sad, he often confides in a female friend. If a woman's partner isn't right, she typically sings to her children ("Azhagiya Kanne"). These are the tropes of the 80s. Thankfully, modern cinema is slowly moving towards a more equitable portrayal, offering the same justice to both men and women. That's a small comfort!

Musical Variations by Ilaiyaraaja: Same Emotion, Different Color Palette

Now, let's explore the incredible variations Ilaiyaraaja wove into the music, despite the lyrical and thematic similarities.

1. Setting & Orchestration:

The most obvious difference is the setting. "Poongaatru Thirumbuma" is a village song; its melody and orchestration reflect this rustic charm. "Keladi Kanmani," a city tale, carries a more modern, sophisticated orchestration.

2. Vocal Delivery & Syllable Structure:

In "Poongaatru Thirumbuma," Malaysia Vasudevan's rendition is open-throated, fitting the idea of singing in an open, rural space. Raja Sir structured the song with long syllables:

"பாராட்ட மடியில் வெச்சுப் தாலாட்ட"

(Paaraatta... Madiyil Vechchu Thaalaatta) - Each word is stretched.

Contrast this with "Keladi Kanmani," where SPB's delivery is often whispered and intimate:

This subtle vocal nuance isn't accidental. It reflects the situation: in "Poongaatru," the man first encounters the woman, his heart unburdened, allowing him to sing openly. In "Keladi Kanmani," the protagonists are already close, but their relationship is socially unacceptable. They've run away, both married. This compels the man to sing secretly, almost confessing, unable to express his joy publicly. Raja Sir's composition perfectly captures this clandestine mood.

3. The Mood & Instrumentation:

"Poongaatru Thirumbuma" features the woman singing a reply, clarifying her perception of the man. She respects him as an elder and pragmatically offers comfort:

"இந்த வேதனை யாருக்குத்தான் இல்ல

ஒன்ன மீறவே ஊருக்குள் ஆளில்ல"

(Who doesn't have this sorrow? There's no one in the village greater than you.)

"Keladi Kanmani" is a solo. The woman's voice isn't heard directly, but the song's mood is notably darker. They are fugitives; their happiness is short-lived, and separation is inevitable. This underlying darkness is palpable, especially in the chorus of the second interlude, which evokes a sense of melancholy.

The use of the bass flute in "Keladi Kanmani" also contributes to this serious, slightly melancholic mood. Compare this to the flute in "Poongaatru Thirumbuma". The difference is clear – one is weighty, the other lighter-hearted.

A Concluding Thought

So, even with the same fundamental story and core emotion, the directorial vision and Ilaiyaraaja's unparalleled musical genius allowed for vast differentiation in mood and situation. They truly understood how to paint the same emotion with different color palettes, creating unique masterpieces.

Do you have any other songs that come to mind with similar underlying themes but distinct musical treatments? Share your thoughts in the comments below!