Film: Pokkisham
Producer: Nemichand Jhabak and V.Hitesh Jhabak
Director: Cheran
Music Director: Sabesh-Murali
Lyricist: Yugabharathi

Cast: Cheran, Padmapriya

Music on: Sony Music

Cheran’s films are known to be sensitive and sentimental narratives of very true to life and down to earth characters and usually have excellent cinematography and very pleasant and meaningful music too………therefore the audio release of Pokkisham has had audience waiting with high expectations to see how the composer duo of Sabesh-Murali (brothers of Deva) would maintain the high standard that was set in their previous film with Cheran ‘Thavamai Thavamirundhu’.  This is the duo’s 25th film and they have in the recent past composed music for films like Paarai, Mirugam, Koodal nagar, etc.

Aaj Monee is a mix of Bengali and Tamil lyrics sung by Ujjaini and Vijay Yesudas……also a mish-mash of styles as a sprightly Bengali folksy song slowly wanders into a slow and angst filled lament…..the beats keep changing as do the mood of the song……….however Vijay’s fairly good rendition is marred by his really bad diction…really surprising that a director like Cheran has allowed this to pass.

Anjal petti – a short love song by Karthik on the thrill of anticipation and exhilaration of just seeing the mail box is attractive enough on first hear –  the first  interlude sounds suspiciously like the pallavi of do lafzon ki hai………there is however some neat piano work at the end of the song………..

A couple of tunes seem to be the leitmotifs around which the movie’s sound track and narration are woven and intertwined.

Azhagu mugam – Prasanna’s gentle and pleasant rendition carries you through this song set to the rhythm of a train in motion …the song also speaks of life as a journey with new horizons and new paths and relationships to be forged.  Nice guitar work in the interlude.

Kanavu sila samayam – seems to be an extended version or the second verse of azhagu mugam with the lyrics again talking of the journey ahead –may have different picturizations

Siru Punnagai takes off where the previous song left off – one more extension of the earlier song by Prasanna rendered with emotion and feeling.

Ulagam ninaivil illai has the same melody as the earlier three except that this time it is a duet with a slight change in tempo and mood. The whistling and guitar introduction and the racy rhythm through the song make it the most interesting version!  Mahati joins Prasanna in this song and both of them do a fairly good job!

The next three songs also share a same tune – each has a different mood and take and interpretation by the different singers who have sung them……..but by and large very despondent and somber…..

Mozhi illamale is Madhu Balakrishnan’s lachrymose and sorrowful rendition about the agony of parting and separation and the way he weaves from low to high and solemn to ardent is very effective –.  Lovely strings and flute work help with the song’s narrative.

Moondru naal aaguma – sung by Karthik starts off very much like Rahman’s compositions from Duet – the melody is the same as the earlier song and melancholic too – with soprano chorus parts to set the mood – the arrangements for this song especially the sax portions are pretty good.

Varum vazhi yengum – a slightly different tempo sets apart this song from the earlier two – the tune again is the same and is sung this time by Ranjani – whose style of vocals are both rich and poignant.  There is an element of suspense-cum-animation in the percussion arrangements – maybe in keeping with the film’s storyline.

Nila nee vaanam is a slow and seductive love song. Chinmayi and Vijay Yesudas are quite appealing and endow the song with subtle passion and ardour.  Chinmayi as always is like a breath of fresh air with her faultless singing and clear and precise rendition of Tamil lyrics.

Ohh Ohh by Vijay Yesudas is a song rich in metaphors.  Once again, Vijay’s diction leaves a lot to be desired.  Otherwise, like most of the other songs in the film, a very short and averagely engaging number.

In all honesty, the music is not totally disappointing – in fact – there is a certain grace in the compositions and arrangements. However, overall, the repetitiveness of the tunes and extended versions of a couple of songs make for monotony and though the music directors have tried their best to infuse and inject different moods and feelings into each version, they still don’t leave a lasting impression.  Some of Sabesh-Murali’s tracks seem to be richly inspired by some older hits but their basic talent and creativity in arrangements and scoring come forth in quite a few places and cannot be brushed off or ignored.

Sudha (Lakshmi) Rao

May 13, 2009

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