Santhosh Narayanan to score music for Pandiraj's film with Vijay Sethupathi
's next directorial featuring
Vijay Sethupathi
in the lead role, has wrapped up its shooting phase and is set to enter
post-production
soon. The film tentatively titled '
VJS 52
' had been progressing without a confirmed music director until now. According to The Hindu,
Santhosh Narayanan
has officially been signed as the music composer for director Pandiraj's latest film, marking their first collaboration. With
Santhosh
Narayanan coming on board, expectations are high for the film's soundtrack, as he is known for delivering unique and captivating compositions.
Stellar cast and crew wrap filming; Post-production begins
This yet-to-be-titled film boasts a stellar cast, including
Vijay
Sethupathi,
Nithya Menen
, and Sembian Vinod, with cinematography handled by Sukumar. The movie's production has been completed, and the team is now shifting focus to its final stages, including editing, background scoring, and other post-production elements. Meanwhile, an official announcement from 'VJS 52' is loading on May 3, and we can expect the makers to confirm Santhosh Narayanan's involvement. The film's title and first-look poster are also anticipated to be revealed in the coming weeks.
Vijay Sethupathi sets eyes on next project as Pandiraj's film nears release
With this project nearing completion, Vijay Sethupathi is now gearing up for his next venture, which will be directed by Balaji Tharaneetharan. The actor has allocated dates for this upcoming film, signaling another exciting project in his lineup. Meanwhile, Pandiraj and his team are focused on wrapping up all post-production work efficiently to bring the film to audiences at the earliest. Given the combination of a strong cast, an acclaimed director, and Santhosh Narayanan's music, the film is shaping up to be one of the most awaited releases.
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The Hindu
12 hours ago
- The Hindu
Watch: Umayalpuram explains how to play for the stalwarts of Carnatic music
Mridangam maestro Umayalpuram Sivaraman shared his experiences of accompanying great musicians — each possessing exceptional mastery in their respective fields — and said that it became easier for him after undergoing rigorous training. He likened the experience to visiting a sweet stall. 'You will be bewildered about what to buy,' he said during a conversation with CPI(M) general secretary M.A. Baby at The Hindu office. 'You should have the reflexes to play immediately. Whatever is in your brain should come out through the mridangam. Through hard work, you reach the top and maintain your place by constantly improving. Otherwise, others will overtake you,' he said. Recalling his experience with Ariyakudi Ramanuja Iyengar, he said the veteran often sang in madhyama kalam, and sometimes the mridangam player had to establish the tempo before he began the kriti. 'I wanted to accompany him in one desadi thalam, but for a long time, we didn't get the opportunity. Then one day, he sang it, and I said, 'Today I am very happy, mama.' He replied, 'Only today do I have the confidence that you will play well,'' Mr. Sivaraman recalled with a smile. Mr. Sivaraman said one could never deviate from kaala pramanam (sense of timing) while playing for Chembai Vaidyanatha Bhagavathar. 'He would say, 'Ennathu? Odapidathe. No running. Nothing.' And you had to play with abandon because his voice was so powerful,' he said. In one programme, to showcase Mr. Sivaraman's scholarship, Chembai gave him five thani avarthanams in a single concert. 'After that, he asked me to drink Horlicks from a flask. He said, 'I will not stop singing, and you should not stop playing.' At the end of the programme, he said, 'I have earned name and fame. I also got money. You should earn all that too.' Then he sang the Mangalam,' Mr. Sivaraman reminisced. Playing for Madurai Mani Iyer was a different experience. The mridangam player could never deviate from shruti. 'The great T.R. Mahalingam said of Madurai Mani Iyer: 'If you want to worship Swara Devatha, here is Mani Iyer's music.' When Madurai Mani aligns with the tambura, there is no dichotomy. You have to tune the mridangam accordingly. If it's not in tune, he will look at you,' Mr. Sivaraman said. Semmangudi Srinivasa Iyer was known for sarva laghu singing. 'It is like the running of a horse. You won't have time to tune,' he said. G.N. Balasubramanian was famous for brigha-laden music, and Sivaraman had to adapt his playing accordingly. 'The Alathur Brothers were pallavi experts. When you ask them, they would say, 'There's nothing you don't know.' But then they would sing something I wasn't familiar with. While singing Thiruppugazh, if you didn't play aruti, they would ask why hadn't I played it,' he said. He added that while accompanying Musiri Subramania Iyer, he had to play the niraval properly and also provide the aruti. 'If you accompanied flautist T.R. Mahalingam, you would never know what he was going to play. He might play a misra gathi adi tala varnam. You had to be ready,' he said, and even demonstrated by singing Viribhoni Varnam. With Viswanatha Iyer, Sivaraman said he had to embellish his playing because Viswanatha Iyer himself knew mridangam well. 'These are all the ways I learned so many things. Everyone is great,' he said. Mr. Sivaraman also shared his experience of playing Simhanandana Thalam with 128 beats for Mudikondan Venkatarama Iyer at the Music Academy. 'He had a tuft. He would keep the thalam correctly. Sometimes, his tuft would come undone — he would stop to tie it back, but he never missed the thalam. You also had to play thani avarthanam in that thalam. So when you go through all these drills, it becomes easy. You really have to pass through all this,' he said. Asked whether playing for T.N. Seshagopalan was tough, Mr. Sivaraman said he was a very great musician in all aspects — composition, niraval, swaram, pallavi, and Thiruppugazh. 'When you play for Seshagopalan, he will also put you to the test. The thing is, you have to really prove your worth and create something great in the concert so that he will appreciate it,' he said. Reporting: B. Kolappan Video: Johan Sathyadas, Thamodharan B, Shiva Raj Editing: Shiva Raj
The Hindu
13 hours ago
- The Hindu
Watch: MGR and Sivaji Ganesan possessed unique music knowledge: Umayalpuram Sivaraman
Mridangam maestro Umayalpuram Sivaraman said that the musical knowledge of the late Chief Minister M.G. Ramachandran (MGR) and the late thespian Sivaji Ganesan was unique. Recalling his association with MGR and Sivaji Ganesan, for whom he played in the film Mridhanga Chakravarthy, Mr. Sivaraman said that when there was a controversy over who should play for the lead role, producer Kalaignanam, music director M.S. Viswanathan (MSV), Sivaji Ganesan, and director K. Sankar selected him, 'though there were many applications and missions from the music fraternity.' 'I went there, and the crescendo was recorded in one take. MSV couldn't believe it was done in one take. He said, 'You can play one more time.' But I said no. Then he said, 'Super,'' said Mr. Sivaraman in a conversation with CPI(M) general secretary M.A. Babu at The Hindu office. He also shared the experience of playing for a romantic scene in which the heroine, fascinated by the mridangam playing of the hero (played by Prabhu), runs upstairs. As MSV was not satisfied with the other mridangam player, he asked Mr. Sivaraman to play 'something romantic.' 'I had not tried romantic before. But he said, 'You have to play and make it sound passionate.' It was the first time I was seeing her. I played something, and he said it was romantic. Then I said, 'I will follow romanticism in all my concerts,'' he quipped. He also spoke about the humility of Sivaji Ganesan, despite being a great actor. 'Sivaji Ganesan used to call me Vathiyar (teacher). Before every shooting, he would ask whether Vathiyar had come. He would ask if his fingering was right. He could do anything—he was a great artiste. But look at the humility with which he asked me,' he said. MGR was also a fan of Mr. Sivaraman and would attend his concerts with journalist Manian and collect his recordings. He recalled how MGR received him warmly at Sathya Studios. 'Once, I was passing through Sathya Studios with my wife. I went in and gave my card to the watchman. He walked slowly. But when he came back, he was running. I asked him, 'Why are you running?' He said MGR was angry. He said, 'A great artiste is waiting and you behaved like this?'' When he met MGR, he asked, 'What do you want me to do for you?' I said, 'I don't want anything. I just want your love.' Inside the studio, there was a big simmhasanam (throne), and MGR asked Mr. Sivaraman to sit on it. 'I asked him, 'Why?' He said, 'You are the Chakravarthy (Emperor) of mridangam. I just apply grease paint and act.' Will anyone say something like that? The thing is—they truly enjoyed music,' he said. Mr. Sivaraman also recalled the presence of MGR and Devaraj Urs at the Music Academy to attend a concert by M. Balamuralikrishna, the year he was conferred the Sangita Kalanidhi award. 'Both of them were enjoying the concert. After it was over, we went and thanked both Chief Ministers. MGR came to me and said, 'You played well. But he prepared the pallavi at home. You played on the spot. You are great.' Will anyone say that? That shows how deep their musical knowledge was. The musical understanding that these actors had was something truly unique.' Reporting: B. Kolappan Video: Johan Sathyadas, Thamodharan B, Shiva Raj Editing: Shiva Raj
Indian Express
14 hours ago
- Indian Express
When Saroja Devi called MGR ‘anbu daivam' while talking about their bond; revealed why she never remarried after husband's early demise
With the passing of B Saroja Devi, South Indian cinema has lost one of its most cherished silver screen icons. At the same time, her demise has also taken away a major part of the legacy of actor-turned-politician MG Ramachandran (MGR). Interestingly, MGR and Saroja Devi were one of Indian cinema's most iconic on-screen pairs, often mentioned alongside other legendary duos like Raj Kapoor–Nargis Dutt, Dilip Kumar–Vyjayanthimala and Prem Nazir–Sheela. Besides sharing the screen in films like Nadodi Mannan (1958), Paasam (1962), Deiva Thai (1964), En Kadamai (1964), Thaayin Madiyil (1964), Panakkara Kudumbam (1964), Enga Veettu Pillai (1965), Nadodi (1966), Anbe Vaa (1966), Naan Aanaiyittal (1966) and Arasa Kattalai (1967), among others, Saroja Devi also held immense respect for MGR. According to The Hindu, although the two actors had a falling-out in 1967 due to a misunderstanding and never worked together again, their respect for each other remained unchanged. In fact, Saroja Devi once referred to MGR as her 'anbu daivam', underscoring the deep admiration she had for MGR. 'When he introduced me in Nadodi Mannan, I was so naïve. He took care of me so well and used to give advice and tips while acting. After that, we have acted together in several films. Without MGR, there's no Saroja Devi!' she shared during a 2016 conversation with Deccan Chronicle. Recalling her visits to MGR's famous house, Ramavaram Thottam, Saroja said: 'I have gone to his house several times and had food there. The house used to be always cool with its red oxide flooring. There won't be a separate dining table, and there will be a long bench instead. I consider it a temple and believe that MGR still lives there'. During the same conversation, B Saroja Devi also revealed why she did not remarry after the sudden demise of her husband, Shri Harsha, an engineer by profession. They tied the knot in 1967 in an arranged marriage ceremony and were together until Harsha passed away in 1986. 'After my husband's demise at a young age, a lot of people told me to remarry. I said 'no' and I couldn't think of anyone else in his place. I was confident that I could manage my life without a male companion,' she added. Saroja Devi passed away at the age of 87 on Monday following an age-related illness. She breathed her last at her residence in Malleswaram, a neighbourhood in Bengaluru, Karnataka.
