31 CHAPTER - II BACKGROUND MUSIC IN TAMIZH FILMS 2.1 Introduction In the first chapter a brief introduction was given to music in films in general and to Foreground music' and ‘Background Music' in particular. This chapter will take up a detailed study of Background Music in ‘Tamizh’ films. In the ‘Tamizh’ Film Production circles, which are mainly located in Kodambakkam, in Chennai, journalistically referred to as ‘Kollywood’, many terms, 'Re-recording’, 'Pinnani-Isai' (in Tamizh language) are used to refer to the concept of Background Music. 2.2 Re-recording or RR; Pinnani-Isai This is a common term used in the music field in different contexts. Among film field technicians it is more familiar with the usage of the term as RR (re- recording). And the corresponding term used in Tamizh language is 'Pinnani Isai’ (Vamanan 1998:42-43) Anuradha Mohan states, “Re-recording refers to the process of scoring background music for the entire film, excluding the songs which are recorded and picturized at a much earlier date (Anuradha 1998:138). Again while describing the composing work of Music Director Ilayaraja, she states, “The recorded sound track is then juxtaposed on the image track and the same reel is screened again for studying the final effect”. Re-recording is defined thus -“Juxtaposing the sounds, noises, words and music in a picture is a process called re-recording” (Film fare 1957: 36-37). Music, dialogues and the various sound effects involved in the making of a film are recorded in separate tracks, and finally the sound engineers combine it in a proper order and bring it in to a single track.«Qua yecisn & : In the section 1.5, foreground and background music have been explained and discussed. As much as the foreground music has an important role to play in the narrative aspect of the film, the background music has a larger and greater role to play in supporting and linking the movement of events in the film. The contribution of the background music may be listed thus. 1 Accompanies actions on screen 2 Fills in silent gaps 3 Symbolically communicates a character's thought/ emotions 4 Helps convey cultural background of the society (in the film) 5 Builds up suspense 6 Reinforces the emotion portrayed in the film and develops intense feeling in the audience The various roles will be explained with audio illustrations furnished in Appendix-2, 1 Accompanies actions on screen . As will be seen below there are many kinds of situations and emotions in a film and according to the mood they are supported by background music. There are some actions which are very common and inconsequential and which if left unsupported by music will drag and feel listless. Instances of such actions are many and audio references are being furnished in the Appendix CD. a) In the film ‘Adisiya Piravi’ there is a scene in which one of the two main characters (done as a double role by the actor Rajinikanth) is being fed sweets by his uncle whichvare injected with poison. While the character is eating the sweets and conversing with the relatives there is a gentle music of a North Indian melody played on the Sitar. As the poison starts taking effect, the nature of music also changes as is evident in the audio illustration. (Appx 2- Ta) In the film ‘Naanal’, there is a scene of a betrothal function for which the boy and his parents are visiting the house of the girl. The conversation is casual in nature and is supported by a Hindustani music, alapa of raga Saranga, played on the Sitara. (Appx 2-1b) 2 Fills in silent gaps: Background Music comes in very useful when preventing silent gaps in scenes becoming boring. However in some occasions when scene is emotionally packed silence has to be pregnant and introduction of background music would ruin the feeling of tension. Hence BGM is used only where the silence is gap when a character is proceeding from one place of even to another. The examples are being presented here.Bs a) In the film ‘Dawood Ibrahim’ there is a riot engineered by the men of a mafia don ‘Dawood Ibrahim’. The hero, a police constable brings the riot under control and while doing so meets the heroin. He asks her to wait for him in the same place. After the events are under control he comes to rest in his humble dwelling, the background of which is reinforced by the ‘mooing’ of a buffalo. The hero suddenly remembers having asked the heroin to wait and rushes back to the place of riot. The time gap between his leaving his house and meeting her is filled with music. This music has the playing of a few note alternately and is supported by chords. (Appx 2-2a) b) In the film ‘Naanal’ there is a scene in a house invited by escaped convicts, where one of the friends of the inmates visits the house and becomes suspicious about the conduct of the inmates and soon knocks on a packet of ‘beedi’ (native cigarattes) and suspects the younger brother in the family of smoking. This scene is supported by sound effects rather than music created through musical instruments. (Appx 2-2b) ¢) In the film ‘Naayakan’ the main character Velu Naayakar, a mafia don is arrested and is being taken to the court. His chief assistant assures him that everything would go in his favour. The duration of the walk to the court is filled by music. The music is made up of different chords played with a kind of dissonant intervals. (Appx 2-2c) 3. Symbolically communicates a character's thought/emotions In some situations in films the feeling and emotion of a character conveyed, not through any spoken words, but through music which symbolically conveys the emotion the music is usually one which has been rendered at an earlier part of the film and which keeps recurring at important junctures. For instance in the film ‘Naayakan’ there is a lullaby song rendered by the main character ‘Velu Naayakar’ for putting his children to sleep. The instrumental version of the opening passage of this song occurs at many situations in the latter part of the film. a) The daughter of Velu Naayakar disapproving of his profession leaves the house and latter marries a police officer. Velu Naayakar, being hunted by the officer goes to meet him at his flat for negotiations. His daughter is there alone with her baby sleeping in the bed room. Feeling of affection and love engulf Velu Naayakar and is intensified as he senses the presents of the grandson. The daughter pleads with him to go away as she does not want her son become aware of this darker side of the family. The music in the background initially is a variation of the opening part of the lullaby melody rendered on instruments and later transforms into the real melody itself, and this symbolically helps portray the feelings transpiring in the hearts of Velu. (Appx 2-3a) b) Again in the same film, the police is trying to arrest Velu Naayakan but without success as-the inhabitants of the colony refuse to divulge his place.ae The residents are being beaten up and depresses by this Velu Naayakan rings up the police officer’s residence to announce his surrender. The officer's wife (Velu’s daughter) lifts the phone, but is full of affection this time, and Velu is tries to be very businesslike. This conversation again is supported by background music, which is the same instrumental rendering of the lullaby to communicate the exchange of feelings. (Appx 2-36) In the same film, towards the end Velu is shot by his own mentally retarded bodyguard. His daughter and others are in tears and again the lullaby song is introduced in the background to symbolically convey the mood; with words this time, almost like a voice-over song, (Appx 2-3c) 2 4 Helps convey cultural background of the society (in the film) Normally the visual in the film itself will convey the cultural background of the society. But the background music will reinforce this message. For instance, the film ‘Aruvaaavelu’ commences with the scene of the main character being about to be hanged to death for a crime. He is very quite and does not share his feelings with the jailors and others. A police officer remarks that he is unusually secretive. But in the mind of the main character the events that led to his being sentenced to death run like a film and this is flashback is shown. That he hails from a village is shown with joyous mood of a festival-taking place. The music accompanying this reinforces this statement. (Appx 2-4a) In the same film, the daughter of his employer is shown walking down the agricultural fields supervising the women working there. The music played on the flute accompanying her actions conveys the mood of the locale and culture. (Appx 2-4b) 5 Builds up suspense Normally in a film, whether it be based on a social, horror or detective theme, the events might take a turn in a way that there will be uncertainty regarding the next step. A suspense would be created. To intensify the mood of suspense appropriate music would be set. a) For instance in the film ‘Dawood Ibrahim’, an honest police constable is determined to bring a Mafia-Don ‘Dawood’ to book. Towards the end he comes to the house of Dawood, informs him that bomb is planted in his house and that it will explode unless he confesses his deeds. The music introduced here reinforces the suspense about the bomb explosion and the building up of climax. The music is set to the notes of Revathi raga (sa, rin, mai, pa, ni:)played on the Keyboard with soft drum beats. Later gunshot sounds are heard. (Appx 2-5a) b) In the film “Naanal, towards the end the escaped convicts are determined to shoot the head of the family and escape. The Head offers to make a declaration that would help in their release. However two convicts prepare to carry out the threat. They stand on opposite side and shoot. At the right6 eee moment the head of the family ducks and the two convicts end up shooting each other. Meanwhile the house is surrounded by a large contingent of policemen. The officer appeals from outside asking the convicts to surrender. The suspense preceding the shooting of the head of the family is reinforced by music which is orchestral in nature and made up of western chords and melody. (Appx 2-5b) Reinforces the emotion portrayed in the film and develops intense feeling in the audience ‘As pointed out earlier, music generally accompanies all action. There are some situations when music is just a passive accompanist intended to keep the action from becoming boring. And in some situations the background is deliberately kept silent to focus on the action. However quite often action is supported by music which helps in reinforcing the emotion and developing intense feeling in the audience. a) d « In the film ‘Dawood Ibrahim’, a student has been killed by the police and a girl classmate had witnessed it. The police officer threatens the girl that acid will be thrown on her face if she testifies about the killing. The music in this situation reinforces the prevalent emotion. (Appx 2-6a) In the film ‘Dawood Ibrahim’ an honest Police Constable is seeking help of the public to prevent Dawood Inbrahim’s men from killing his fellow constables. To reinforce the mood a music dominated by chords has been used. (Appx 2-6b) In the film ‘Naanal’ convicts escaped from a Jail hold the inmates of a house captive. The betrothel of the girl in the family is to take place and the boy to wed her is a Police Inspector. The inmates inform the dacoits about this although the fact about the ‘police’ aspect of it is hidden. This conversation has a background music that heightens the feeling. The music is made up of a melody played on the violin and when the word ‘Inspector’ is uttered the orchestra enters with a force. (Appx 2-6c) Again in the film Naanal, the convicts are caught and the fear due to captivity that had engulfed the inmates is gone. There are tears of joy and the prevailing happy mood is reinforced by Hindustani raga ‘Behag’ played on the Sitara. (Appx 2-64) i In the film ‘Ramu’ the hero works in the Military service and is being recalled to duty. His wife is depressed over the impending separation and bids him farewell in the traditional style but with great apprehension. The background music her commences with ‘taanam’ played on the Vina and switches to Hindustani music on Sahanai playing the Hindustani raga Maalkauns. (Appx 2-6e)wok pra ar olde lia to We have seen that the term 'Background Music’ is used in two senses and this thesis will analyse the subject only with reference to music that accompanies the action in the scenes and not the prelude / interlude of film songs.32 2.3 BGM (Background Music) When it comes to scoring prelude and interlude music for songs, the same term ‘Background Music’ used in its short form as BGM. The prelude is set in the very beginning of the song, that is before the first section or the 'Pallavi', which is the refrain, commences. An interlude is generally set in between the first section and the second section, also between the refrain and the second section. Thus, in common the usage 'BGM is used in a slightly different sense by the Film Music fraternity in the South. Again the crore cee used in Tam Tamish is “Inaippu Isai’ (Vamanan — 1998:18) * Normally, Bac 1 Individual 2. Symbolic 3. Common 2.3.1 Individual When the bac! or heroine or et wel\nout aongs’ ground Music is employed in three different ground music is set for an individual chara¢ter, may be the hero any other important character in the film, it is individually highlighting tpi prominent role or character in the stofy. This is individual background m{ A specific sequence is set in order to introduce thy character of thp film. The increase in heroism in filmy that the hero/' a very bomba: and backgrour| sic. leading or the main ;, to necessarily indicate eroine is admirable in every way, the ¢haracter is introduced in tic and dramatic manner. This calls for dramatic sound effects id music. Other subsidiary characters apart from the hero dnd the heroine, might also take place in ina simple e same sequence or in a different gequence but, comparatively nner. For example, a servant character in a rich family might not be considered as prominent as the other ¢haracters, though he or she might have an important role in a few sequences of the film. Composing background 1 wusic, for the entry of these charac33 climate portrayed in the sequence. Often, the main characters are introduced a happy background, where the music also expresses the happiness with rhythm based melody, and so on. The characters may algo be introduced in various sequences, such as introducing them in the tetgple worshipping, taking blessings from an elderly person, sentimental sequencts, etc, where auspicious music serves as the background music. (Music set on ‘Nadasvaram’, ‘Veena’, ‘Sitar’ etc.) A character may be introduced in song sequences as well. 2.3.2 Symbolic background music Musically, conveying the idea of the visuak without any dialogue but with the expressions portrayed by the character is Symbolic background music. For instance, such kind of symbolic music usages are observed in various films, like Jaganmohini, Gulébakavali (1955), Pata)&Bhairavi(1951), Pattanattil- bhiitam, My dear Kutficcattan etc., Such usages are adopted in sequences of such films, when the magician or the witch character casts a spell on some of the characters, they immediately faint In a different dimension such symbolic background music is obs sequence of the film 'Vaidéhi kattirunda] (1984)’. The heroine (Vaidéhi) character is a widow, who falls in love with the second hero (who resides as‘a tenant in her house) who coincidently at severcircumstances saves the heroine from small issues and attracts heroine sits under the water falls and is lost in dream about the hero. Here the background music is set initially in the scale ‘Mohanam’ (Pghtatonic scale), is scale, another ed. As the audience portraying her happiness. But simultaneously, along with accidental note (Which is not part of this scale) has been is aware that the heroine’s dream of re-marrying woyld not come true, since the hero is already in love with another girl and thaj‘they both would not able to marry, the introduction of an accidental ngte in this scale in the the background music is suggestive and symbolj¢ of what is destined. This is purposely set so that it does not synchroniZe, which has been symbolically conveyed through music. However, this observation may not Ke identified or appreciated by layman. But to anyone who is musically sensitive the design of the melody would certainly make an effect. A quotation from Noi Y Neil, a British Stage Composer, in this context will be noteworthy. “TK musical accompaniment to a speech should steal in and steal out so Wel that the audience are no more aware of it than they are of some subtle¢hange in the stage lighting” (Gorbman 34). / / Therefore jX¢ background music should accompany the emotions portrayed in the sequehce without being individually prominent. 2.3.21 Mouna geethangal (1981) In a sequence, the hero, heroine and their son happen to travel in the same taxi. But due to some misunderstanding they do not talk to each other. The hero is asked to get out of the taxi by the taxi driver, as the heroine gets down from the taxi half way being irritated by her husband. The taxi driver gets irritated and begins to yell at him, and abuses him. In the background 'Nandavanathilor aandi’ song has been set, in order to bring a comedy emotion in the serious situation built in the sequence, because a comical expression is portrayed by the hero. Added to this is the song whose words35 speak about a man who got a mud pot for himself and so thrilled was he that \e danced and the pot broke. _ In the\film 'Uyarnda manidan’ (1968) symbolic visual effects and sounds is observe. When the hero Vasu (Sivaji Ganesan) is forced to agree for a marriage that has been arranged for him against his desire, Vasu is put into a very confused\state of mind. On the one hand he has to obey his father who has threatened hi that he would commit suicide if he does not agree for the marriage, and on the other hand he feels miserable thinking about the terrible effect it would have 6g his beloved, if he agreed for this marriage. However, he is made to agree wher the respective parents exchange the sacred plate to symbolize the engagement. \The next visual shows a close up shot of ‘Vasu’, who is unable to bear the tym of events. The visuals show volcanoes erupting, strong winds blowing, and huge giant waves flowing. The visual effects are reinforced by sound effect 2.3.2.2 Chinnathambi Periyathambi (1987) The characters ‘Chinnathambi and Periyathambi’ (1987) (Sathyaraj and Prabhu), go to a restaurant to have food. Having came from a village, eagerly and curiously they order for numerous items of food th large quantity. When they begin to eat the food gluttonously, in the background the tune of the familiar song of the film 'Maya Bazar’ (1957), ‘Kalyana s: played. This heightens the emotions and introduces an element\of comedy in the sequence; their acting and this tune in the background. Note: (‘Kalyana samayal sadam' from the film ‘Maya Bazar'is a popular so 1950s sung by the character Ghatothkacha, son of Bhima of Mahabharata, who a short work of all food prepared for a wedding.)36 2.3.2.3 Avargal (1977) Heroine Anu (Sujatha) settling down in her house, into which she has moved in’as a new tenant. She performs a ‘pooja’ (worship), showing fire all around the house. In the background the chanting of ‘Bhagavata Gita’ has been kept create a divine atmosphere in the house. 2.3.3 Common Sequences: Certain common se§uences in films like, the introduction scene or the climax scene etc. mostly begin with a happy emotion. Under such sequences, common music set on strings, flute, ‘Sitar’, ‘Veena’ etc., are observed. Many films may have such commoy and similar sequences in them. For example, in “Rajaraja-Cozhan’ (1973), ‘Kumbakarai targaiyya’ (1991), ‘Rasayya’ (1995) and ‘Villuppattukkaran’ (!992) a co1 Under such common sequences, i\is observed that in order to bring an the background music based on ‘Nadaswaram’, Flute, ‘Veena’ etc. is compased. on sequence of constructing a temple is set. auspicious mood to the sequence) Therefore, in such commonly recurring sequdaces in films the background music employed is also found to be more or less si Background music plays an important role in highlighting the emotion of the sequence as well as the emotions expressed by the acters. It thus provides a supporting dimension to the action. For instance,in a scene where there is almost no speech background music serves as an eff create a mood or feeling. It is also observed that, when a charac! feelings through action devoid of dialogue, music substitutes for the of sound and supports the slow movements of the character. Thus, the background music as said above brings in an extra dimension to sequence, in the form of music and sound effects, thereby influencing the pace of the film as a whole. This chapter will now take up Sequences relating to different moods occurring in various ‘Tamizh’ films and discuss the kind of Background music scored for them. Initially the Music scored for opening Titles will be taken up.37 24 Title Background Music The beginning of every film usually starts with the title visuals, certificate, castes and other details. For this the background music is set in different ways. It may be just music or with sound effects. However it is composed in such a way that it symbolizes the nature of the story of the film, conveying to the audience before hand the basic emotion of the film. For example, the title music for the film ‘Nil Gavani Kadhali’ 1969), is composed in such a manner as to create a feeling of suspense and thrill since the story of the film is a suspense thriller. On the other hand if we observe the title music for the films Kandan Karunai (1967) or Thiruvilayadal (1965), which are mythological based films the title music are found to be set in with great slant on South Indian Classical based ‘tunes or songs. The title music for other social theme based films may also be set as tunes of songs which prepare the audience for the predominant emotion underlying the film. For example, for the Film: ‘Paar Magale Paar’ (1963) a song starting with the title of the film itself has been set as the title music. This song gives the introduction to the story, and is set in a way that reflects the sad emotion that dominates the story. Similarly, in the Film: 'Malayur Mammuttiyan’ (1983). Title has been set with a song 'Kattu vazhi pora ponne’. This song is set in praise of the hero character 'Mammattiyan’, describing about his character, genuine, character etc,. Generally, every film employs a set of common sequences in it, such as happy, comedy, fight, emotional, romantic sequences etc., which portrays a combination of various types of emotions. The study made here is about the nature of background music scored for these different sequences in various38 films under different situations. The following write up is based on the different films watched by me. It discussed how the background music has been scored; how far it has been instrumental in portraying the emotions; how the nature of scoring music differs from sequence to sequence; nature of sound effects given for certain sequences. 2.5 Happy sequence Usually, happy sequences are set in the first part and in the climax of the film. Amongst different sequences of a film, under different situations, various happy sequences are set. And the background music scored for it varies according to various aspects like the story of the film, the subject, characters, and the location of the story. 2.5.1 Chinnavar (1992) In the film 'Chinnavar’ (1992), a boat race sequence is set. Here the background music has been set in a male chorus, singing, Thaiyam Thaiyam... a folk melody tune has been set for these words, and has brought ina happy emotional climate for the sequence. The observation made here is that, usually, in such a sequence (boat race) a tense emotion will be portrayed or dominant. But here, this has been set as a happy sequence, because, the two competitors of the boat race are best friends (hero and his friend). Therefore, their emotions are devoid of any enmity or competitiveness. Both the characters will be happy in either of their victories. This is the reason for setting a happy emotional climate in the background score. 2.5.2 Deyva magan (1969) ‘An example for an emotional happy sequence has been observed in the film “Deyva magan (1969). In one of the sequences in this film, the hero character (Kannan) comes to see his father for the first time, after he comes to know that he is not an orphan, as his guardian informs him about his parent’s whereabouts. When the father sees his son, he gives a surprised expression. Here a close up shot has been set, for which the background music set for this particular shot to support the39 emotion expressed by the character. The background music has been set on string instruments. And when the father and the son hug each other, the background music has been set with a group of string instruments, portraying the utmost happiness of the two characters, which also emotionally involves the audience. Notes of major scale have been used to reinforce the feeling of happiness created in the sequence. Having observed two different types of happy sequences from two different films, it is seen that the basic emotion is one and the same in both the cases. In the first case, namely, in “Chinnavar’(1992), it is a very casual happy sequence, and only one emotion is dominant, no particular close up shot of the characters has been set to express the happiness, since, the sequence itself through the visual has expressed the happy emotion (location, long shots, etc). But, in the second case, (Deyva magan 1969), though the basic emotion is happiness, two emotions have been brought in. The happiness is the outcome of utmost grief, the father and the son seeing each other for the first time. Thus the emotion of happiness is founded here on pathos. Observing these two different cases, one realizes how the approach to scoring background music has to differ when two situations of happiness result out of varying causes, a case of two contrasting situations of happiness. Every type of a sequence, is set under different situations as observed from the above two examples. Therefore the situation under which a sequence is set brings an additional emotion along with the basic emotion present in the sequence. Thereby, the background music scored under such situation also varies and has to be molded according to the underlying transitory emotions as pointed out above. 2.6 Comedy sequence Generally, every film employs different types of happy sequences. But, a comedy sequence gives much more happiness than a happy sequence. Thus it is a light and enjoyable part of a film, which easily attracts the audience. A major difference observed between a happy sequence and a comedy sequence is that, a happy sequence mostly remains closely connected with the main40 story. When the characters in the happy sequence portray happy emotions, from the audience point of view it is a casual happy sequence to which they react normally for these emotions. Whereas, a comedy sequence is either set in connection with the main story, or is introduced as a separate track, or else an entire film may be set with the comedy as its basic prevalent feeling. Therefore, while watching a comedy sequence the audience easily gets involved and enjoys the sequence as it is light hearted compared to other sequences of a film. While observing the background music scored for comedy sequences, irrespective of the films released in different time periods, not much of importance has been given for a background score. Timely punches in between dialogues, or comedy gestures of the characters, etc are more prominent. The reason is that, in a comedy sequence through the dialogues, body language, face expressions etc., the basic comedy emotion is conveyed to the audience. A background score at this juncture might at times distract the audience or might fail to convey the basic emotion of the sequence to the audience. Some of the comedy sequences that I have observed in order to understand the background music are discussed below. 2.6.1 Sakunthalai (1940) Ina comedy sequence of the fin “Sakunthalfi” (1940) two comedians engage e basic emotion. in a quarrel in sharing a fis (N.S.Krishnan/and Durairaj). of this sequence is comedy. No backgfound music haf been set for this sequence. The dialogue deliveries by these two charactérs are very loud; the recording of the dialogues seems to Have been made At the shooting spot. In order to make the dialogues clear and audible introducing background music must have been avoided. / / 7 / However, this should not ledd one to conclude that background music never accompanies comedy sequénces. 441 2.6.2 Ooty varai uravu (1967) In the film ‘Ooty varai uravu’ (1967), in a comedy sequence, a conversation between two main comedy characters (Nagesh and Sachu) has been set. In the beginning of the sequence, the comedian (Nagesh) casually reads news from a daily paper, which speaks of an eighteen-year-old girl ‘Vijaya’ missing and announces an award of a cash prize of rupees ten thousand to any one identifying the girl in the photograph and giving details. At first the comedian (Nagesh) reads the news very casually without showing interest. No background music has been set in this part of this sequence. In the second stage of the same sequence, the comedian’s wife (Sachu) shouts at him for his negligence to make money and asks him to read the news again. So, the comedian (Nagesh) reads out the same news once again with a comedy mixed serious mood. Here background music is scored to give punches to pauses between dialogues. The background score in the second part of the sequence has played a dual role. Firstly, from point of view the characters as well as in connection with the story line of the film, also, this is a very important sequence. Secondly, a background score at this juncture changes the emotion of the characters in this sequence. While the audience is not completely out of the comedy mood set of the sequence, the background score has helped to convey the change in the emotion of the sequence very quickly. It is observed from the above example, how the scope of a background score extends in linking an important sequence of the story with a comedy sequence. Such type of sequences is rarely found in present day films. In some films the comedy sequences remain isolated in the film without any connection with the main story line. But, this practice of having a separate comedy track dis-linked with the story can be found in a few films of the seventies too. For example, in the film “Ayirathil oruthi’ (1975), the comedy track of ‘Singari’ (Manorama), and ‘Kabali’ (Thengai srinivasan) is totally disconnected with the main story. But, the background music has been set in drama like punches between dialogues.42 A similar example for such kind of a comedy sequence is also observed from the film ‘Idaya thamarai’ (1990). The comedy track remains disconnected with the main story throughout the film. But, here the background music has accompanied for the whole sequence. Wy Xe Idaya thamarai (1990) The comedian of this film is characterized as an absent-minded person. In one of the comedy sequences of this film, the comedian goes to the shop to buy a cigarette. But, carelessly, instead of the cigarette he absent-mindedly takes out a cracker and keeps it in his mouth. He does not even notice that it is not a cigar, but a cracker. All people around him watch this strange activity, waiting to see what is going to happen, trying to close their ears. None of them make an attempt to tell him that it is the cracker in his mouth not the cigar. Even after seeing that people around him are watching him strangely, and are closing their ears, he very casually lights the cracker in his mouth. This whole sequence sets in a comedy mood. Background music has accompanied throughout the sequence. The observation made here is that, usually in such type of comedy sequences either background music is not scored or background music punches are given which accompanies the comedy actions performed in the sequence. But, here the background score is set in a serious emotion, keeping in view the serious climax of the sequence. In other words, the actions performed in the scene are comical but, the background music scored sets in a serious emotion. Also, in this sequence, it is picturised as the people around watch the comedian’s actions emoting seriously. They have not laughed over his foolishness. Therefore, the background score might have been scored from the people’s point of view. Some times a comedy scene is accompanied by dramatic sound effects. This is seen in comedy sequences involving ‘Vadivelu’ and ‘Vivek’ in the film “Pennin manadhai thottu’.43 A contrasting emotion from the comedy sequence is the fight sequence. Having observed the comedy sequences with and without background music, fight sequences right from the old films; have been accompanied with either the background music or sound effects. 2.7 Fight Sequence Right from olden day ‘Tamizh’ films, up to the present day films, fight sequences have occupied a notable portion in the film. Also, they are an important commercial aspect in films. While observing fight sequences in the old “Tamizh’ films, the sequence was set according to the story line of the film. No artificial or deliberate insertions of fight sequences are found. When it comes to the background music scored for fight sequences, very simple sound effects such as noises of weapons or the sounds of the characters etc., are heard. Taking the film as a whole a fight sequence in the old films was set mostly in the climax sequence bringing the story to an end. Themes like historical, mythological, fictions and social etc. influence the nature of the fight sequences and consequently the music. In historical, mythological and fiction films fight sequences are accompanied by relatively more sound effects than the social theme based films. In historical, mythological and fictional films the musical instruments mostly used for fight sequences are rhythm instrument like ‘Tabala’, ‘Mridangam’ (Indian percussions), drums, Triple Congo drums, Thumba, Timpani. etc. and the sound effects of sword, sticks, and arrows etc., While observing the social theme based story films, little more sophisticated and more number of rhythm instruments, rhythm synthesizers are found to be used for fight sequences. The gradual increase in the heroism portrayed by the heroes in films is the basic reason for more number of fight sequences being artificially inserted in between sequences, some times not even connected with the story. In fact, it has become a conventional practice in films, where the hero is introduced in the story with a fight sequence!Various films can be mentioned as examples which have adopted this practice, ‘CID shankar’ (1970) ‘Urimaikural’, (1974), ‘Payum puli’ (1983) “Uyirulla varai Usha ‘(1983) ‘Siva ‘(1989) ‘Vetri Vizha’ (1989) ‘Shajahan’ (2001) etc., Observations made in order to study the nature of background music scored for fight sequences are: 2.7.1 Riksha karan(1971) fie j In a fight sequence of the film ’Riksha kgran’ (1971) the hefo “(M G Ramachandran’) tries to save the heroine “t engages in a stick fight with them. / / ) from eve teasers whereby he | Initially, only the mere’ sounds made by the sticks during the fight used to be supplied. Gradually, in order to boost’ up the 'macho' characfer of the hero background music is set along with the sounds of the stick with the increase in volume corresponding to the stages of success of the hero in the fight Sometimes musié based punches are made to sound whenever each of the Goonda falls. But in this film no background music has been set, only sounds of the sticks. AN 24.4 Thaikku pin tharam (1956) In this film, a stick fight has been set in which, the whole fight sequence has been set only with the sound of the sticks. No background music has been scored. Y 2.7.8 Bharathi kannamma (1998) In the climax sequence of this film, when the hero (Bharathi) rushes to the heroine’s house, the villain gang wrongly feels that he is going to engage ina fight with them. A long fight sequence has been set here. From the very beginning the background music set on strings starts along with other sound effects like, punching sounds and human voices. It is also observed in this sequence that not only the background music, but also, the sound effects accompanying the sequence, has been effective in portraying the45 seriousness of the sequence. And the tension atmosphere has been created through these effects. Since, this being the climax fight sequence of the film, such a heavy background score might have been set in order to bring about a tensed feeling in the minds of the audience. 2.7.4 Mayavathi (1949) / No fight sequence is set in # silent background. /It is either accompayiied with sound effects or with background music. But jn comedy fight sequences like in the film ‘Mayavathi’ (1949). The oman (Kali N.Rat ) himself engages goondas to tease the girl whom hee loves, so that, he ae come and save her like a hero from them. Here, no/background music or! ‘sound effects has been set. Only human voice has been set. vA 7.5 Pudiya padhai (1989) In this film, deviating from the conventional background score used for fight sequences, the usual rhythm instruments are not used and instead, strings have been set. In most of the films of this period, while observing the background music set for fight sequences, rhythm based scores are set in order to intensify the emotion of the sequence, as well as to emotionally involve the audience watching the film. In a fight sequence of this film, the hero engages in a fight with a gang of villains on the roadside. Here, it has been observed that non-percussion instruments have been used in the score. While observing the background music scored for fight sequences of the films of the early eighties and later, initially the fight sequence used to begin with heavy rhythms in order to portray the tensed and angry expressions of the hero or the person involved in the fight. Later, along with the rhythm, usage of other non-percussion instruments is also observed. A drama like score accompanies, in order to intensify the tension created in the sequence. Such kind of background music is found in films like Poonthotta kavalkaran, Ninaivellam nithya (1982), Panakkaran (1990), Mappilai (1989) etc.,46 This is a notable feature in the analysis of background music scored for different fight sequences in “Tamizh ‘films. 2.8 Romantic sequence Romantic sequence can be of different kinds as seen in the case of happy sequence. Hence the nature of background music differs according to the kind of romantic sequence. When a romantic sequence is set in a happy mood, the background music score brings in a happy emotional climate in the sequence. Whereas, when a romantic sequence is set in sad situation, the music differs as discussed below. 2.8.1 Nenjam marappadillai (1963) In this film, the title song of the film “Nenjam marppadillai” has been used as background music (both in voice as well as instrumental versions) in various sequences of the film, in different situations. This has been set in voice as well as in string instruments, etc., in different tempos. In one of the sequences, the hero character (Raja) comes to the heroine's house to see her (kannamma). Her father does not permit him inside the house and tries to shut the door. But, the hero forcefully pushes the door and forces himself in. Immediately after seeing her lover, she falls at his feet weeping. In the background the tune of the song “Nenjam marappadillai” (1963) played on a single violin is heard. In another sequence in the same film, the same tune repeats as a background score rendered by a group of stringed instruments, when the ‘Jameen’ (land lord) character (Raja's father) kills "Kannamma’. The same tune of the song has been set in a slow tempo, when the heroine (Vijaya) comes to know about her previous generation's incidents, through the hero. The slow tempo set for the tune brings in a feeling of past and forgotten emotions. 2.9 Song recurring as Background Music Various films can be cited as examples, as said above, which have adopted the melody of the song as background music in different sequences of the film. For example films like, “Nenjam marappadillai(1963), Nayakan(1987), Thalapathi(1991), Mudal mariyadai(1985), Annanagar mudal theru, (1988)47 Veedu(1987), Chinnakounder(1991), Karagattakkaran Chinnathambi (1991), Karuthamma (1994), Pasumpon (1995)etc,. This is being discussed now. 2.9.1 Annanagar mudal theru (1988) In the film “Annanagar mudal theru” (1988) in different sequences of the film, whenever the hero and the heroine meet, the melody of the song “Meduva meduva oru” repeats in the background, accompanied in different combination of instruments and in different rhythmical tempos. 2.9.2 Adarmam (1994 ) Similarly, in this film, a song in the background has been set for a funeral procession sequence (hero's elder brother). In the background, a solo song has been set (slow tempo song without rhythm) which portrays the grief emotional mood of the sequence. 2.9.3 Sindubhairavi (1985) Another different approach in setting the background music is observed. Setting a melody (humming) in the background. Such types of usages have been observed in films like, Sindubhairavi(1985) Pasumpon (1995) etc. For example, in the climax sequence of the film Sindubhiravi (1985), the heroine (Sindu) gives her child as a gift to Bhairavi, (Second heroine). When she hands over the child, the background music has been set in a child’s voice singing the lessons (sarali varisai ) (Basic lessons of South Indian classical music) of music. (sr gm pmgrsrgrs;,). This voice in the background singing the sarali varsai (basic lessons of South Indian classical music) makes the audience understand that the next generation of the singer (hero) is getting ready. The hero (JKB) is portrayed in this film as a leading, popular Carnatic musician (South Indian Classical Music). The observation here is that, without any dialogue such type of background music setting has helped to convey the meaning of the sequence. Therefore, comparing the above sequences in which songs are set in the background, we find that in the film Annanagar mudal theru (1988), under various situations48 according to the emotion portrayed, the melody of the song 'meduva meduva’ has been set to portray the basic romantic emotion of the sequence. In the next example from the film 'Adharmam’ , a song has been set in the background for a sad emotional sequence. Contrastingly, in the film ' Sindhu Bhairavi’, in the climax sequence, such usage of song in the background has been set, bringing in a happy emotional climate in the sequence. Thus, it is observed from the above analysis that, the usage of voice in the background has taken different roles in portraying different emotions set in different situations. But, the important aspect here is that, the melody pattern and the lyrics set for the song plays a major supportive role in conveying the emotions or feeling of the character as well as the emotion of the sequence. 2.10 Background music and emotion portrayed There are instances of sequences in various ‘Tamizh’ films that I have observed for the purpose of my analysis, where the background music scored for certain sequences simply exaggerate the emotions portrayed, over and above the expression of the character's dialogues and even the visual. Some of the films that I have observed with respect to this observation are, Todi ragam (1983), Kodi parakkudu (1988) and Thali pudusu (1997). In many sequences of these films such a kind of exaggeration is found. For instance in the film Kodi parakkudu (1988), the introduction of the hero, his dialogues, silent actions, movements etc., are filled with a heavy background score, which ultimately exaggerates the situation over and above the visual presentation. Similarly, in the film “Oru thayin sabadam’ (1987), it is observed that in many sequences of this film also, heavy musical background scores have been employed, which has exaggerated the visual as well as the emotion. Such musical exaggerations are found in various sequences even in the present day films.49 In the same lines, the background music scored for some sequences in some of the films, seem to contradict the emotion portrayed in the visual. Such kind of music may not be successful in supporting the emotion portrayed in the visual and might even be counter-productive. For instance, proving this observation, in the film Thali pudusu (1997) when the hero dies on the road who is shot dead by the Villain gang, the background music has been set on the instrument flute. The melody set in the score does not sink with the grief emotion portrayed in the visual. In some cases, some of the songs of “Tamizh’ films of different time periods have been utilized as background music for different sequences. For instance, in the film “Mayor Meenakshi” (1976), in a fight sequence of this film, the hero engages in a fight with his enemies. In the background the melody of a ‘Tamizh’ film song “Thulluvado Ilamai” has been set. In this context, the song in the background and visual portrayed in the sequence seem to alter the original emotion set in the sequence. Because, the fight sequence is set with the serious emotion, but the melody of the song being set as a background music here changes the basic emotion of the sequence in to a comedy one. But, such a practice is not effective all the time. There are instances of films that have adopted the melody of those songs in the sequence, which have been successful in portraying the emotion of the character as well as the visual. In the film “Namma veettu deivam’ (1970) the song “Manmada leclayai” (Tyagarja Bhagavathar) has been set in the sequence where the character ‘Thangadurai’ looks at a girl ‘Bavani’, with bad intensions. Here, the lyric of the song suits the emotion of the sequence. 2.11 Sound effects Not all sequences are backed by background music; instead mere sound effects have been set which have also helped to convey the emotions that are portrayed. In the book ‘The art of watching films’ the author Joseph M. Boggs has discussed about visible and invisible sounds under sound effects. In this, talking about the early days of sound films where emphasis was placed on recorded sound which was later synchronized with the visual image; comparing this with the talking pictures where the human voice was reproduced, 'Visible sound’ has been identified.Gred cMadwnoak The terms ‘Visible sound’ and ‘Invisible sound’ used by Boggs appear to be echoing, the concepts of ‘diegetic sound’ and ‘non-diegetic sound’. For instance, background music heard in a scene in which the heroin is walking through agricultural fields would be invisible sound or non-diegetic. An naeled poyt so tS eed recon DN50 That is although the talking pictures involved both sound effects as well as human voices, the audience were generally fascinated by sound that would naturally and realistically emanate from the images on the screen. This has been termed as 'Visible sounds’ by the author. The dramatic power of the human voice and the sound effects which conveyed the sense of reality together contributed to new dimensions to the film making art. This new dimension inspired the filmmaker to explore the other uses of sound and discovered ‘invisible sound’ or in other words sound emanating from sources not on the screen. The major use of invisible sound was found to extend the dimension of film, beyond what is seen, and to achieve powerful dramatic effects as well. Therefore, in other words, this ' invisible sound’ can also be termed as ‘background music’ which also conveys the same meaning as well as it does the job of accompanying visual images. But practically, terming sound as visible and invisible seems to be incorrect, as sound cannot be seen or touched itcan only be sensed and felt Boggs 1991197). x jwred chfadwnok 2.11.1 Chittukkuruvi (1978) For instance, in the film ‘Chittukkuruvi’ (1978) there is a sequence where the hero of the film fills water near a water pump. Around him, there are people washing their clothes (by hitting the cloth on a stone). Suddenly, the hero receives a shocking message. Here, the noise or sound of the people washing the clothes has been set in the background, instead of any background score. 2.11.2. En uyir thozhan (1990) A similar kind of sound effect has been set in the film “En uyir thozhan”(1990). In a sequence, a character named citizen (an old man), advices the hero (Dharman) to get married, when the hero says that he has to search for a bride for his leader (Thalaivar). The old man questions the hero; why not search for a bride for yourself?51 For this sequence, after this dialogue the background sound effect has been set in the same way as the sound of hitting cloths on the stone while washing. This sound effect has accompanied the thythmical close-up shots of the hero. Similar examples are also found in films like Anda 7 natkal (1983) (Those seven days) (1983) and “Chittukkuruvi” (1978), Poi kal kudirai (1988). In the film “Chittukkuruvi’ (1978) a marriage reception sequence is set. The villain takes the person opposing him, inside the room and beats him. But, this sequence is not shown; instead visual projects the marriage reception and the ‘Tavil’ (percussion instrument) performers. When the bashing up incident goes on inside the room the close-up shot of the “Tavil’ has been set. A similar close-up shot has been set on the instrument “Thappattai” (folk drum) for a sequence in the film “Anda 7 natkal” (1983) (Those seven days) (1983). In this sequence, the hero (Palakkadu Madavan) goes to take bath, but there is no door lock for the bathroom door. So, he warns his assistant (Gopi) to sit outside the bathroom until he finishes taking bath and inform him in case someone comes, As per his instructions the assistant sits outside, but suddenly when he hears the sound of the playing of the folk drum (Thappattai) outside, he gets tempted to go out and dance for the drumming. So he goes out and gets engrossed and begins to dance. Coincidentally, the heroine comes to take bath and opens the door and both get alarmed. The hero comes out with raging temper and looks out for his assistant (Gopi), who is found to be dancing happily outside. Seeing his temper rises further, pulls him out and begins to beat him thoroughly. When he beats him, the close-up shot of the drums is shown. Symbolically, this suggests that the hero is beating him (Gopi) as hard as the drummers beat their drums. However the emotion underlying this sequence is comedy. Rhythmical background music has been adapted for many films in order to portray the temper and angry emotion of the character. In the film ‘Poikal kudirai’ (1983, the hero (Indu) hires a drama artist to act as his house owner, in front of his lover (heroine). The house owner as per the hero’s instructions makes a big racket in front of the heroine, complaining that the hero has not52 paid the rent and asks him to vacate the house immediately. Here, also the same type of heavy rhythm based background music has been set. In the same film, the heroine’s mother beats up her husband. But the visual is not shown, instead in the visual of Goddess ‘kaali’s photo is shown, for which a similar rhythmical background music has been set in temple percussion instruments (Udukkai - Folk rhythm percussion of South India). In the same film, Anda 7 natkal (1983), in a sequence, the heroine of the story quarrels with her parents, disapproving her marriage proposal arranged by them. Here, only silent actions (without dialogues) are portrayed; for this in the background the sound effect of a siren has been set. All the characters in this sequence are speaking simultaneously, by muting the dialogues the sound effect of the siren has brought in the serious emotion set in the sequence. Various films adopt the technique of special sound effects in order to bring in an exaggerated expression to the sequence. Due to technological developments, especially due to the arrival of Dolby surround stereos, sound quality improved. Since, all these technology and developments were not known then, the older films adopted original sounds or manually produced sounds through different instruments. An example for the adoption of such sound effects can be found in the film ‘Nenjam Marappadhillai’ (1963). 2.11.3 Nenjam marappadillai (1963) In the climax sequence of the film, the old man (Villain), lies to the heroine (Vijaya), that her lover has been bitten by a snake and tries to take her deep into the forest to kill her. For this sequence, background has been set with special sound effects (non-music effect) of blowing wind and the haunting sounds of owls. These special sound effects set here, have been successful in creating a tensed and frightened emotion in the minds of the audience. 2.12 General observations on different film sequences In the film ‘Chandrodayam’ (1966), all the sequences have been set ina drama-like pattern that is the dialogues, the characterizations, etc. The background music set for such sequences too has the touch of drama music53 scores. Most of the sequences of the film are accompanied by background music. But compared to it films like Raja rani’ (1956) and ‘Gyana oli’ (1972) which are based on a heavy theme and include powerful action and dialogue, background music has occupied a minimum role. 2.12.1 Harichandra (1943) A sequence has been set in the burial ground. ‘Harichandra’ (1943) _, wife (Sivaji Ganesan, Anjali devi and their son) and son are the characters in this scene. In this sequence ‘Harichandra’s wife comes to the grave yard with her dead son’s body to get him buried. ‘Harichandra’ does not notice that the person who has entered is his wife and is busy with his work. She delivers long dialogues in grief and sorrow, crying. Harichandra standing a little far, stunned and shocked at his fate of having to bury his son? In the background, sound effects created on bass drums have been set which portray the grief and sad emotions, as well as bring in a haunting effect as the sequence is set in the graveyard. General observation made in this context is that such kind of bass drum effects is given in sequences and situations like a king entering a palace, war time etc., in such sequences the bass drum effect is given especially to bring attention of the people to the seriousness or serious emotion portrayed in the sequence. Similarly, in this sequence too, such bass drum effect is set. The difference is that since, the sequence is set in the grave yard, in order to portray the haunting silence in the grave yard, and the grief emotion being set, the drum rhythm is set in long intervals to portray the same.54 2.12.2 Raja Rani (1956) In this film a drama sequence from the life of Socrates is arranged. The background music for this sequence has been set in a western style. The observation made here is that the volume level of the dialogues and its rhythm tempo synchronize well with the volume level of the background score set on strings and bass drum effects. The soft violin and cello in the background have boosted up the serious emotion portrayed in the sequences, relating to Socrates in a court and in a jail. Even in an early film such as ‘Mayavathi’ (1949) usage of western style background score is observed. In this film, in all the sequences where the heroine comes in songs have been introduced. One such song, “Thazhude en manam', a completely western based. In the climax sequence of the same film, the hero tries to commit suicide, the background music for which is set as a western piece on piano and strings. This does not totally suit either the emotion or the character. Probably a borrowed score appears to have been used. 2.12.3 House-full (1999) This film has no songs in it and comparatively fewer dialogues than other films. The background music scored in this film has completely adopted western style of orchestration. This film is a noteworthy example for proving the importance of background music. The emotions of the character, their feelings etc have been heightened by the background score, without resorting to much dialogue. In the climax sequence of this film, the hero (theatre owner) looks at the audience inside the cinema hall from the roof. The people inside do not know that there is a time bomb set inside the theatre. But, outside the hall, the police are busy searching for the bomb without letting the audience know about it. People outside, come to know about this, get tensed and begin to shout, asking permission to rescue their relatives and beloved sitting inside.55 In order to save everybody from the mishap, the owner of the theatre changes the film reel in the projector room, so that, the audience would continue to remain inside un-frightened till the removal of the bomb. Rhythmical background music has been set which suits the tensed emotional climate of the sequence and matches the rhythm of the visuals. Many close-up shots have been set for the projector wheels to convey the importance of the rolling film. 2.13 Sequences without background music After having observed different types of sequences from various films and the background music scored for them there arises a question. Being accustomed to the conventional practice where music and sound effects have been continuously accompanying stage characters how far would a visual be successful if it is devoid of the support of background music and sound effects? When discussing sequences devoid of background music, it is understood that apart from music and sound, the camera, lighting, background settings, locations etc., are also the major aspects that govern the portrayal of the emotions of the sequence. In other words, in a sequence, all these aspects combined with background music help evoke an emotion. When the music and sound effects are muted, the visual alone remains and has to take effort to portray the emotions. And we do have such instances in ‘Tamizh’ films. 2.13.1 Thaikku pin tharam (1956) Ina sequence of this film “Thaikku pin tharam’” (1956), the hero’s father dies. A long conversation is set between the hero and his mother. For the above long sequence, no background music has been set. 2.13.2 Avargal (1977) In the film “Avargal” (1977), the heroine makes a revelation about her former husband and everybody gets shocked. But for this moment no background music has been set. It is also observed that for most of the sequences of this film, comparatively very less background music have been set.nye 9 wool sh ate fia 2 "This being an wel w= Pope sequence in the story, with long dialogue (arguments), absence of background music must have been intended to boost up the emotion of the sequence. “56 2.13.3 Cheran senguttuvan wok we In the film ‘Cheran senguttuvan’, a conversation sequenc reson the king and the queen, in the backyard of the palace has been set) This being an important sequénce in the story, with long dialogue (arguments), no a music has been scored in order to boost up the’emotion of the equence. 2.13.4 Anbu (1953) Similarly in the film “Anbu” (1953) a family entertainer the whole film has been set with less background music. 2.13.5 Samrat Ashokan In the film Samrat Ashokan, the character ‘Samrat Asokan’ delivers a lengthy dialogue about his dynasty. No background music has been set for this sequence. Dialogues close up shots, and body gestures of the character are given more importance. 2.13.6 Veera Pandiya kattabomman (1959) In the same way in the film “Veera Pandiya kattabomman’ (hero king), in a sequence the character ‘Kattabomman’ enters in to the English man’s palace. At this point music has been set resembling Western music style. After that ’Kattabomman’ character renders a lengthy dialogue. No background music has been set for this sequence. The dialogues and face expressions make the impact. 2.13.7 Kappalottiya tamizhan (1961) In a court scene no background music has been set when, 'V.0.Chidarambaram Pillai’ (hero) questions the witness ‘Madasamy’ (a countryman). In another sequence, ‘V.O.chidambaram Pillai’ and ‘Subramania Siva’ conduct a public meeting in order to preach and arouse patriotic feelings amongst countrymen. ‘Subramaniam Siva’ explains about the atrocities of the Britishers and their policies. So, he requests everybody and brings out a policy57 against the British Government - 'Be Indian, Buy Indian’. During the conversation no background music has been set. But before the meeting begins, background music hasp been included. Though the conversation is set in a highly emotional manner, portraying patriotic feelings, no music has been set. Since this is an important sequence where a message is being conveyed to people, background music might have been avoided set which might distract or over lap the dialogues in the sequence. In the following scene ‘V.O.Chidambaram Pillai’s (ivaji Ganesan) wife puts on a dress made of foreign material to their son and adores it. But, V.O.Chidambaram Pillai disagrees with his wife and angrily removes his kid’s dress and immediately burns it. The background music scored here, not only portrays the serious emotion set in the sequence, but also brings out a feeling of patriotism and awareness to the viewers too. The movement against the British government of 'Be Indian Buy Indian’ sequence follows as a song sequence. 2.14 Sequence set only with background music 2.14.1 Lakshmi kalyanam (1968) In the film ‘Lakshmi kalyanam a lengthy emotional sequence has been set only with music without any dialogue. A sequence centred around three characters (Hero and his family) ‘Sivaji Ganesan’, “Venneeradai Nirmala’ and ‘Sowkar Janaki’. In the story, the marriage of the heroine never becomes successful. It keeps breaking off every time the marriage arrangement is made. In this sequence too, the marriage gets stopped. Here, the sequence has been set with high emotional portrayals, without any dialogue. Close-up shot of each and every character is linked together as they keep looking at each other crying.38 The observation here is that even the characters crying is made without any sound. It is conveyed through their melodramatic acting and expressions captured through tight close-up shots in the sequence. 2.15 Comaparitive sequences 2.15.1 Padagotti (1964) and Chinnavar (1992) In the film 'Padagotti’ (1964) a boat race sequence has been set. No background music is set here. But, the sound of water splashing, whistle sounds, people shouting and encouraging are being set. While comparing this sequence with a similar one in the film Chinnavar(1992), the boat race sequence has been set with a folk based background music-”Thaiyyam thaiyyam” (Male chorus). Though these two films are of different time periods the subject handled in both of these films are similar. 2.15.2 Ooty varai uravu (1967) and Sumathi en kadali (1971) Similar sequences are observed from the films ‘Ooty varai uravu’ (1967) and ‘Sumathi en kadali’. Even the situations set in the sequence are found to be similar. The roles too have been done by the same comedian (Nagesh). He comes across an advertisement in a daily of the missing heroine. Through the advertisement he comes to learn that the heroine is a famous actress. But, the reaction and the emotion portrayed in ‘Sumathi en kadali’ is one of serious mood and of the villainism of the character in contrast to the comical expression portrayed in the film ‘Ooty varai uravu’ (1967). The background music that is set here accompanies the serious emotion portrayed by the character. 2.15.3 Kadhalikka Neramillai (1964) and Avargal (1977) Also, similar sequences from two films 'Kadhalikka neramillai’ and ‘Avargal’ have been observed and compared. In both the sequences, the technique of59 split screen shot has been used in order to simultaneously portray what is happening in two different places. In the film 'Kadalikka neramillai’ (1964) the hero ‘Ashok’ (Ravichandran) speaks to his friend ‘Vasu’ (Muthuraman) over the phone. The split-screen device has been used to show the conversation at both the ends. Similarly, in the film Avargal (1977) the heroine Anu (Sujatha) listens to the flash back revealed by the hero. The sequence here is set in the same split screen shot, showing the heroine on the one half and the happened incidents revealed by the hero on the other half of the screen. Both these sequences from the two films are important sequences with regard to the movement of the story, perhaps increasing the rhythm or pace of the story, building it up for the main part of the film or the climax of the film. In such sequences no background music has been set, because mostly such sequences are used to convey messages or say even past incidents, flash backs, etc quickly. Such a technique is set as a connecting sequence which helps to move the story ahead. 2.16 SUMMARY In this study of background music in ‘Tamizh’ films, various films released during different time periods have been keenly observed and the background music scored for various sequences have been analyzed in this part of study. Happy, Comedy, Fight, Romantic, Sad sequences are commonly found in almost all films This individual sequence-wise analysis of films is the highlight of this thesis. Because, a combination of various sequences portraying different emotions put together makes a complete film. T have also adopted the same method of analyzing a film, sequence-wise, in my analysis chapter. Therefore. while observing, a film sequence-wise, the vminna “Peat bo iG (es Tamil Nadu has been exposed to many kinds of music. The rule of the Telugu Nayaks in 16 and 17 centuries saw the Andhra art and folk music. Later under the Maratha rule the Maharashtriana kirtan tunes and Hindustani art music became popular. After the British took over the western art and popular music gained currency. In the twentieth century due to the arrival recorded disc music and films music of the gypsies, other countries in the West Asia, East Asia, South-east Asia came into the country. In setting background music for films, the pre-1950 era, there is not much that is based on Western art and popular music. Even if western melodies or melodies having shades of western tunes were used, heavy use of ‘chords’ is not visible. The post-1950 saw gradual omission of Karnataka music, unless of course, the film was based on mythological or historical themes. Use of Hindustani ragas and melodic structures and musical instruments like Shehanai and Sitara is largely seen in the third quarter of the 20** century. In the later period, by and large, chords based western music and non-raga tunes are commonly met with except of course in the mythological, historical films and films set in the rural surroundings.60 emotion portrayed in the particular sequence, and the background music accompanying it are the two major aspects observed. The idea to see how far the visual is effective in portraying the emotions such as the camera angles, lightings, character’s expressions and dialogues and how far does the background music help to heighten the mood. ee drow Taking the films release before 1960’s we observe tao music in such films has played a niinimum role in connecting sequences or has been used Yo fill the gaps or to emphasize the slow movement of a\tharacter. Today, the.role\and importance of bacRground music has become a parcel of evel visual. advertisements, dycumentary films and evenin the news. The ears of the present generation have become attuned to fast music. In such a scenario, how far the audience would like a silent visual is a question to be debated. In future the background music and sound effects are likely to be much more intense. The next chapter will take up a detailed analysis of background music in a single film, namely, "Kadalikka neramillai (1964)'.