It was almost midnight when I heard the song. Unavoidable
circumstances denied me an earlier delight of watching the show in its first
telecast. I had been angry that I couldn’t watch it, after planning for so
long, making sure we are subscribed to MTv, reminding everyone in the family
that I rule the TV from 8pm.
However, it was for the better. As rain drops toned down to
fall softly outside, after a sudden downpour, with just the silence of sleep
enhanced by the absence of electronic noises for company, I first heard
‘Nenjukulle’.
There are certain memories that cling to my
first-hears/best-hears of some Rahman numbers. Like Taal will always be rain,
smell of wet earth, chikki, hills of Lonavla, hide and seek with light through
some twenty odd tunnels, my green Walkman and a series of AA batteries.
Munbe Va is clock strikes midnight, Naresh Iyer crooning
“Naan naanai”, housing development drawing sprawled on A2 sheets on my wooden
drafting board, the radio, a T-scale suspended mid draft and a Steadtler 0.1 mm
lying forgotten.
Nenjukulle will always be rain, silence, a young happy girl
singing and ARR playing the accordion- lost in some inspiring microcosm of the
universe he alone has access to.
I loved everything about the song- the lovely lyrics, the
evocative music and Shakthi’s simple soulful rendition. Here was as song,
finally, after Saanwariya from Swades, where the emotions of a woman in love
with a man are so artfully described.
And as always, the ARR-Mani-Vairamuthu
combination makes me a synesthetic wreck! I can feel the cool breeze in this
song and a mixed smell of wet earth, sea, mallipoo and a non-repulsive smell of
sweat. Earthy tones- predominantly
brown, in contrast with the cool blue of the water- saturated.
I see furtive glances, long shots of the ocean.- a very
'Deivam thanda poove' kind of visuals for this song. Also maybe a little of
Raavan's detail in the foreground(like a golusu-clad feet shuffling away)-shift
focus-actor in the background kind of imagery!
And I can also sense that maybe the violin strains will be
part of the bgm for a major part of the film. Or well, here’s hoping!
It has been a really long time since a song evoked such a
strong deep reaction in me. The sincerity, simplicity and straightforwardness
of Rahman’s composition hits you like a sure shot arrow in this song. And you are
reaffirmed and want to believe in many of the finer, more honest emotions that
the world at large is losing out on.
I have always been biased towards Rahman’s music and seek
refuge in many of his songs whenever I feel my faith shattered or shaken. Over
the years, I have probably worn out the songs on so many hears and pretty much
know how they all pan out- voice, instrument, nuances wise- although many a
time, a sudden little curl of tune surprises me from between a piece. I was
pretty desperate for a new song to come cradle me. I needed that comfort, so I
can abandon myself in a song, in these confusing times.
Thank god, Nenjukulle arrived!
