When did the playback system come into vogue in Tamil cinema?
In the '30s there were no technical facilities to pre-record songs in a sound- recording theater before the commencement of the film shoot as it is done today. Songs were recorded along with dialogue while the camera rolled. Consequently only artistes capable of singing with their own voices were chosen to act. While the actor sang members of the orchestra sat safely away from the camera range and played the background musical score. If the actor had to walk the accompanying musicians too walked along with him carrying their instruments ! That's why only instruments that could be carried or strung round the necks were used. Harmonium, flute, violin, clarinet, mridangam and such were commonly in use. No pianos or veenas, thank you!
In outdoor scenes the instrument-players sat under trees or on mats or trolley and played happily. If any player committed a mistake in playing a note or swara in the last line or word the shot had to be taken afresh! In one such song sequence the famed hero and "Stunt King" of Tamil cinema of his day, P. S. Srinivasa Rao playing the lead role of Lord Vishnu was singing a song which was being shot. Being a trained classical musician and also the music composer of the film " Srinivasa Kalyanam" (1934) he noticed a false off -key note being played by one of the instrumentalists. At once he yelled, "CUT!" but the director took no notice and went ahead with his work. Later during the first show of the film at Crown Talkies, Mint Street, Madras the audience howled with loud laughter when they heard Maha Vishnu yelling in English, "CUT!" in the middle of a song in poetic Tamil! A "SOS" message was at once sent to Srinivasa Cinetone Studio on Poonnamallee High Road in Vepery and a technician raced in a car to reach the cinema faster than wind and he simply scissored off the offending frames in English Surely when the frames were removed there was a jump in the sound track and music flow in the picture but nobody bothered about all that in those days!
In his later years after retiring from movies Srinivasa Rao had his 'bhajan music troupe' in Alwarpet, Madras in which noted citizens like Dr. Mathangi Ramakrishnan, Thangam Aiyadurai, and Y. G. Sundar took part and they were his disciples. He also taught bhajans to M.S. Subbulakshmi.
The playback system came into existence in Calcutta during mid- 1930's and was used in Bengali and Hindi films. In Madras the famed trio of film pioneers, Muthuswami Iyer ( Murugadasa)- K. Ramnoth-A. K. Sekhar built a studio in Adayar, Madras named Kartikeya circa 1937 and the studio released ads in magazines of that day inviting producers to use the studio. And its facilities which, according to the ad, included a) miniature photography and b) playback system. The first film produced by the talented trio at this studio was " Sundaramurthy Nayanar" (1937). But there is no positive evidence to prove that songs in this film were pre-recorded or sung while shooting was in progress.
However the first known instance of the use of playback in Tamil cinema took place in 1938 in "Nandakumar". The film was produced in Poona (now Pune ) as partnership venture in Marati and Tamil with the later day Indian movie mogul, AV. Meiyappan as the partner of the Tamil version. The film was directed by well known cameraman and Marati filmmaker, Keshav Rao Dhaibar. The cast included T.R. Mahalingam ( his film debut), T.P. Rajalakshmi, C.V.V. Panthulu , T. S. Rajalakshmi, T.R. Ramachandran ( his debut) and others. To many it was the first film and helping Dhaibar for the Tamil version in the script and direction was another newcomer, later the noted writer -director and producer, A. T. Krishnaswamy (ATK) The talented but sadly under-rated film music composer, S. V. Venkataraman also came into films with " Nandakumar".
The 'kid' Krishna was played by 'Master' Sethuraman. Later as Madurai Sethuraman he made a mark as singer for noted Bharatanaytam dancers and toured all over the world. ( A good pal of this writer he passed away sometime ago. )
T. R. Mahalingam played the 'boy' Krishna and became a star with his very first film.
A song sung by the actress playing Krishna's mother, Devaki was not up to mark and Meiyappan, ATK, Dhaibar and others were disappointed with the quality of her singing. Understandably they were eager to re-shoot the sequence but for many reasons it was not feasible. Meiyappan and others thought hard and then came up with an innovative idea. Why not replace only the sound track with another voice and shoot the song with the actress moving only her lips in 'sync'? ( movie world lingo for 'synchronization'). AVM gave the go-ahead signal and a prominent classical Carnatic musician based in Bombay, Lalitha Venkataraman was brought and she sang the song. It was re-shot with the actress moving her lips to the Bombay musician's singing. And, lo, playback system was born in Tamil cinema and Meiyappan made South Indian film history !
And Lalitha Venkataraman took the credit of being the first playback singer of Tamil cinema.
Even after playback system came into force and pre-recording of songs before the shoot became technically possible artiste themselves sang their songs and not by off-screen voice -lending playback singers. One of the earliest of such singers was V. R. Dhanam ( sister of the noted stage, screen and TV star, late lamented V. Gopalakrishnan)
The famed filmmaker of his day, Sundar Rao Nadkarni ( he made films like " Haridas"… " Shantha Sakkubai"… " En Manaivi "… " Krishna Vijayam"… " Sudarshan", and " Mahadevi".) recorded a song for " Sakkubai" (1939) which he picturised on T. S. Krishnaveni.
Another classical Carnatic musician who sang in films behind the screen during late 1930's was the great exponent and star performer, D. K. Pattammal. Her rendering of an emotionally charged patriotic song written by celebrated Tamil writer and journalist, 'Kalki' ( Ra. Krishnamurthy) and composed by Papanasam Sivan, " Desai Sevai Seyya Vareer….." in the Tamil film classic, " Thyaga Bhoomi" (1939) became extremely popular reflecting the mood of the times when the atmosphere was charged with Indian Freedom Movement. Interestingly this song was not issued as gramophone record along wih the other songs of the film and was brought out later as private disc by DKP with no mention of the origin of the song.
Other playback singers from the world of classical music include (Radha) Jayalakshmi, K. J. Yesudas, Mangalampalli Balamuralikrishna, P. Leela, and M. L. Vasanthakumari. ( She appeared on screen in a scene in R. S. Mani's "Krishna Bhakthi" (1948). She sings a song in a concert in a king's court. She is slim and very attractive in that scene!)
Not many are aware that M. M.. Dhandapani Desikar sang playback in a film for Chittoor V. Nagaiah who was himself an accomplished musician with good voice and style of singing.
Similarly in the AVM production " Penn" the comedian, J. P. Chandrababu sang the hit song "Kalyanam……." for S. Balachandar, a musical genius and also good singer.
In a chat with this writer during late 1970's SB told him. …. " It was a comedy song and I felt that Babu could sing it better than I could…. and you know the results! …. There was no ego problem at all…only the film mattered ….…you know, Randor… I am also a filmmaker."
In the early years of playback singing the gramophone discs did not carry the name of the singer. Instead the name of the character was printed on the label. For example in a duet was sung by P. Bhanumathi and T.A. Mothi in the Gemini Studio production, written and directed by Acharya ( T.G. Raghavachari), "Apoorva Sahodarargal" (1949), the disc did not carry the name of Mothi ( a well known playback singer of yesteryears). Instead the name of the character played by the star and fine actor, M.K. Radha., "Vijay" was given on the label.
As the years rolled over the horizon the playback system came to be accepted as normal and many singers entered the field. Today most actors and actresses do not sing with their voices. They do not speak either! Yet awards are given for "Best Acting"! Ridiculous? But that's the way it is in Tamil cinema… And nobody cares. Neither the film folks nor moviegoers! Happy situation indeed. Cheers!
http://tfmpage.com/forum/10239.20898.03.06.08.html
In the '30s there were no technical facilities to pre-record songs in a sound- recording theater before the commencement of the film shoot as it is done today. Songs were recorded along with dialogue while the camera rolled. Consequently only artistes capable of singing with their own voices were chosen to act. While the actor sang members of the orchestra sat safely away from the camera range and played the background musical score. If the actor had to walk the accompanying musicians too walked along with him carrying their instruments ! That's why only instruments that could be carried or strung round the necks were used. Harmonium, flute, violin, clarinet, mridangam and such were commonly in use. No pianos or veenas, thank you!
In outdoor scenes the instrument-players sat under trees or on mats or trolley and played happily. If any player committed a mistake in playing a note or swara in the last line or word the shot had to be taken afresh! In one such song sequence the famed hero and "Stunt King" of Tamil cinema of his day, P. S. Srinivasa Rao playing the lead role of Lord Vishnu was singing a song which was being shot. Being a trained classical musician and also the music composer of the film " Srinivasa Kalyanam" (1934) he noticed a false off -key note being played by one of the instrumentalists. At once he yelled, "CUT!" but the director took no notice and went ahead with his work. Later during the first show of the film at Crown Talkies, Mint Street, Madras the audience howled with loud laughter when they heard Maha Vishnu yelling in English, "CUT!" in the middle of a song in poetic Tamil! A "SOS" message was at once sent to Srinivasa Cinetone Studio on Poonnamallee High Road in Vepery and a technician raced in a car to reach the cinema faster than wind and he simply scissored off the offending frames in English Surely when the frames were removed there was a jump in the sound track and music flow in the picture but nobody bothered about all that in those days!
In his later years after retiring from movies Srinivasa Rao had his 'bhajan music troupe' in Alwarpet, Madras in which noted citizens like Dr. Mathangi Ramakrishnan, Thangam Aiyadurai, and Y. G. Sundar took part and they were his disciples. He also taught bhajans to M.S. Subbulakshmi.
The playback system came into existence in Calcutta during mid- 1930's and was used in Bengali and Hindi films. In Madras the famed trio of film pioneers, Muthuswami Iyer ( Murugadasa)- K. Ramnoth-A. K. Sekhar built a studio in Adayar, Madras named Kartikeya circa 1937 and the studio released ads in magazines of that day inviting producers to use the studio. And its facilities which, according to the ad, included a) miniature photography and b) playback system. The first film produced by the talented trio at this studio was " Sundaramurthy Nayanar" (1937). But there is no positive evidence to prove that songs in this film were pre-recorded or sung while shooting was in progress.
However the first known instance of the use of playback in Tamil cinema took place in 1938 in "Nandakumar". The film was produced in Poona (now Pune ) as partnership venture in Marati and Tamil with the later day Indian movie mogul, AV. Meiyappan as the partner of the Tamil version. The film was directed by well known cameraman and Marati filmmaker, Keshav Rao Dhaibar. The cast included T.R. Mahalingam ( his film debut), T.P. Rajalakshmi, C.V.V. Panthulu , T. S. Rajalakshmi, T.R. Ramachandran ( his debut) and others. To many it was the first film and helping Dhaibar for the Tamil version in the script and direction was another newcomer, later the noted writer -director and producer, A. T. Krishnaswamy (ATK) The talented but sadly under-rated film music composer, S. V. Venkataraman also came into films with " Nandakumar".
The 'kid' Krishna was played by 'Master' Sethuraman. Later as Madurai Sethuraman he made a mark as singer for noted Bharatanaytam dancers and toured all over the world. ( A good pal of this writer he passed away sometime ago. )
T. R. Mahalingam played the 'boy' Krishna and became a star with his very first film.
A song sung by the actress playing Krishna's mother, Devaki was not up to mark and Meiyappan, ATK, Dhaibar and others were disappointed with the quality of her singing. Understandably they were eager to re-shoot the sequence but for many reasons it was not feasible. Meiyappan and others thought hard and then came up with an innovative idea. Why not replace only the sound track with another voice and shoot the song with the actress moving only her lips in 'sync'? ( movie world lingo for 'synchronization'). AVM gave the go-ahead signal and a prominent classical Carnatic musician based in Bombay, Lalitha Venkataraman was brought and she sang the song. It was re-shot with the actress moving her lips to the Bombay musician's singing. And, lo, playback system was born in Tamil cinema and Meiyappan made South Indian film history !
And Lalitha Venkataraman took the credit of being the first playback singer of Tamil cinema.
Even after playback system came into force and pre-recording of songs before the shoot became technically possible artiste themselves sang their songs and not by off-screen voice -lending playback singers. One of the earliest of such singers was V. R. Dhanam ( sister of the noted stage, screen and TV star, late lamented V. Gopalakrishnan)
The famed filmmaker of his day, Sundar Rao Nadkarni ( he made films like " Haridas"… " Shantha Sakkubai"… " En Manaivi "… " Krishna Vijayam"… " Sudarshan", and " Mahadevi".) recorded a song for " Sakkubai" (1939) which he picturised on T. S. Krishnaveni.
Another classical Carnatic musician who sang in films behind the screen during late 1930's was the great exponent and star performer, D. K. Pattammal. Her rendering of an emotionally charged patriotic song written by celebrated Tamil writer and journalist, 'Kalki' ( Ra. Krishnamurthy) and composed by Papanasam Sivan, " Desai Sevai Seyya Vareer….." in the Tamil film classic, " Thyaga Bhoomi" (1939) became extremely popular reflecting the mood of the times when the atmosphere was charged with Indian Freedom Movement. Interestingly this song was not issued as gramophone record along wih the other songs of the film and was brought out later as private disc by DKP with no mention of the origin of the song.
Other playback singers from the world of classical music include (Radha) Jayalakshmi, K. J. Yesudas, Mangalampalli Balamuralikrishna, P. Leela, and M. L. Vasanthakumari. ( She appeared on screen in a scene in R. S. Mani's "Krishna Bhakthi" (1948). She sings a song in a concert in a king's court. She is slim and very attractive in that scene!)
Not many are aware that M. M.. Dhandapani Desikar sang playback in a film for Chittoor V. Nagaiah who was himself an accomplished musician with good voice and style of singing.
Similarly in the AVM production " Penn" the comedian, J. P. Chandrababu sang the hit song "Kalyanam……." for S. Balachandar, a musical genius and also good singer.
In a chat with this writer during late 1970's SB told him. …. " It was a comedy song and I felt that Babu could sing it better than I could…. and you know the results! …. There was no ego problem at all…only the film mattered ….…you know, Randor… I am also a filmmaker."
In the early years of playback singing the gramophone discs did not carry the name of the singer. Instead the name of the character was printed on the label. For example in a duet was sung by P. Bhanumathi and T.A. Mothi in the Gemini Studio production, written and directed by Acharya ( T.G. Raghavachari), "Apoorva Sahodarargal" (1949), the disc did not carry the name of Mothi ( a well known playback singer of yesteryears). Instead the name of the character played by the star and fine actor, M.K. Radha., "Vijay" was given on the label.
As the years rolled over the horizon the playback system came to be accepted as normal and many singers entered the field. Today most actors and actresses do not sing with their voices. They do not speak either! Yet awards are given for "Best Acting"! Ridiculous? But that's the way it is in Tamil cinema… And nobody cares. Neither the film folks nor moviegoers! Happy situation indeed. Cheers!
http://tfmpage.com/forum/10239.20898.03.06.08.html
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