After quite a break, we have again a romantically aligned historical movie, Uliyin Osai (The Sound of a Chisel) based on Tamil Nadu Chief Minister Kalaignar M Karunanidhi's work Sarappallam Samundi. The movie has been directed by his close friend Ilavenil, and produced by J. Nandini Arts.
Said to be a love story between a sculptor and a dancer, the movie is set in the times of Rajaraja Chola, one of the greatest kings of Tamil Nadu. Raising enormous expectations, its music has been composed by maestro Ilayaraja, whose expertise at weaving melody and lyrics into delectable fare is legendary. So what does the music of a chisel have in store for us?
Well, the first track Alaiyelam chozhavala nadu is rendered by Isaignani Ilayaraja himself, which finds him singing the praises of Chozha Nadu, its many merits in land and people. A simple tune, clearly reminiscent of the maestro's many rural compositions, it's got a steady rhythm. Madhu Balakrishnan, Saindhavi and Rita provide ample background support. Flute interludes instantly take you back to the village-centric classics so favoured by Vijaykanth et al; the only difference is that this one talks about a land that existed more than 1000 years ago. A kummi song forms the second half of the track, and then the song abruptly shifts to oyilattam and karagattam -- Tamil Nadu's folk dances. The beat shifts too, accompanied by nadaswaram and thavil. Pleasant, yes -- but it's a tune you've heard often.
Up next we have Pularginra Pozhuthu, a song with classical touch which opens with a soothing raga Boopalam sung by Sriram Parthasarathy, whose clean and refreshing voice flits in and out of the notes easily. Mu Mehta's words seem to talk more about the various stances of dance, as they dwell on the emblems and insignia of the kings of Tamil Nadu. Veenas and flutes bring the classic touch to this song with shades of Kalyani raga, and the second half has Ilaiyaraja contributing conversation. Each part, or charanam, is composed in different ragas, and though Sriram's voice ably commands it, the tune does meander a bit, especially when it re-joins the first line. Still, a charming song.
Aganthaiyil Aaduvatha, written by Muthulingam is a song where Ilayaraja contributes again, explaining the intricacies of dance, after Sriram's beginning lines. Ilaiyaraja's elucidation of classical dance is rather beautiful to hear, as he lists out the instruments, the voices, and musical notes and ragas that form a perfect dance composition. And then it's back to Sriram seamlessly. The veena comes into play again, and the opening raga changes into that staple of classical music, Mayamalavagowlai -- incidentally, one of the maestro's favourites, and you must admit, beautifully crafted. While it does have a few touches of vintage Ilaiyaraja, here again, the change between one raga to another doesn't quite seem to fit.
Abinayam kaatukinra begins with the steady rhythm of mridangam, and the readily recognizable voice of Bombay Jeyashree. Soon, veteran singer Sudha Raghunathan joins the melody, and the song seems to be a sort of competition between, presumably, two dancers, if the lyrics of Vaali are anything to go by. Interspersed with the veena, violin and flute, it's the archetypal classical concert and reminds you a little of the Vanjikkottai Valiban hit number.
Kallai irunthen commences with a refrain by Thanya. This song returns to the composer's familiar ground, the raga Suddha Dhanyasi, reminding you a little of Maalaiyil Yaaro, from Kshathriyan. Written by Pazhanibharathi, this is a romantic, simple piece uncluttered by too many conflicting instrumental pieces. Here, the veena and flute come into play again. Sriram Parthasarathy is at his fluent best, while Thanya's voice seems a shade less perfect in timbre; she also needs to practice her Tamil pronunciation. This number is easily one of the better songs in the album.
Azhagi Varra is sung by Tippu, Swetha and chorus is your average commercial song, with a pace, lyrics and sound effects the likes of which you'd usually find in potboilers -- the mandatory dappankuthu. It seems a bit out of place in a collection like this, though it probably has some relevance in the film itself. Snegan's words are typically aimed at the front-benchers, as is the whole song.
Kaalathai Venra is another soothing melody, though you've heard it often. This one has been written by Na Muthukumar, and sung by Sriram and Bhavadharini. It's almost like a fall-back to other, oft-used themes. With flashes of Ilaiyaraja's trademark melody and tones, its passes muster though  Bhavadharini's voice doesn't really measure up to the melody.
Coming from a maestro who's delivered classics in his times, the music for this historical romance falls a little flat. It's as though the musician in him had to push really hard for inspiration and the labour is obvious. While it sticks to the classical theme, there's nothing new here; no scintillating compositions, nothing to indicate that it takes place in the 10th century. Kudos for the Carnatic base, but where is vintage Ilaiyaraja?
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