MUSIC: THE LANGUAGE OF DIVINITY AND DEVOTION

“Music gives a soul to the universe, wings to the mind, flight to the imagination, and life to everything,” Plato, the Athenian philosopher mused.

“ಮಲಯ ಮಾರುತ” (‘Malaya Marutha’, which translates to, ‘Wind in the Hills’) is a 1986 Kannada film that is a masterpiece focused on the rich musical and cultural traditions of South India. Based on Tamil scholar, Valampuri Somanathan’s story and armed with Chi. Udayashankar’s script, the drama is a musical extravaganza.

The core plot of the film is a “love triangle”. The male protagonist in the romantic drama is Vishwanatha (Vishnuvardhan), Vishwa for short, a sincere, soft-spoken, soft-hearted student of Carnatic music. Short on talent, the vocalist is tireless in his efforts at mastering the art though. His music teacher’s daughter, Sharada (Saritha) is romantically attracted to him.

One day, Vishwa’s teacher dies in a road accident. In an attempt to realise dreams and aspirations, the artistic soul of the teacher enters Vishwa, who becomes an instant virtuoso and an overnight sensation. A Bharatanatyam exponent, Girija (Madhavi) too falls in love with him. Vishwa too harbors romantic feelings for her. The dancer’s father, Krishna (Dinesh) exploits Vishwa’s newfound faculties.

So how does the romantic drama pan out?

The scientifically inclined may view the quirky theme of the flick cynically. Nonetheless, the film blends seamlessly the physical and the metaphysical; it bridges the earthly with the supernatural in a natural, uncontrived way.

KSL Swamy’s direction is soft, sensitive― befittingly so, for the revivalist plot of the romantic drama. Some of the holiest Hindu shrines have been used as locales, which lends a somber look to the camerawork and solemn mood to the sequences.

The highlight of the film though is Vijaya Bhaskar’s HEADY, RHAPSODIC background score. Set to literary compositions of legendary poets, saints and philosophers of the Bhakti Movement, Purandara Dasa, Kanaka Dasa, Vallabhacharya and Akka Mahadevi, not to mention the doyens of classical Carnatic music, Muthuswami Dikshitar and Thyagaraja, the film score is a veritable delight!

On top, works of modern lyricists, Vijaya Narasimha, RN Jayagopal, Kanagal Prabhakar Shastry and Chi. Udayashankar, are featured too. KJ Yesudas, S Janaki, Vani Jayaram and SP Balasubrahmanyam, have lent their rich, melodious voices to the numbers.

Editing perhaps could have reduced the drag a bit; but, an artistic work soaked in so much culture, heritage and tradition must surely be experienced slowly and deliberately.

Vishnuvardhan in the lead role is IMPRESSIVE; genius is evident in all its resplendent glory in his portrayal, which is diametrically opposite to his memorable ‘angry young man’ persona in ‘Nagarahavu’.

Saritha and Madhavi are AMAZING. The latter’s angelic ‘Belur-shilabalika-like’ beauty is mesmerizing. The former has a traditional, girl-next-door allure about her. Dinesh, Shivaram and others have rendered good support.

I rate this romantic drama, in no small measure for its music: 8.0 on 10!