![]() ![]() ![]() His ability to parse the ubiquitous and almost hackneyed used of romance in Tamil films with interesting colours and shades was one of the reasons for his success. In ‘Po Po Vaazhve Kaakka Muttaithaan’ of ‘Kaakaa Muttai’ (2015) Muthukumar’s lines for G V Prakash’s chirpy number paints the triumph of the human spirit in the squalor of a Chennai slum. His nostalgic celebration of a rustic childhood spent playing in the sun, in Vasanthabalan’s Veyil, (‘Veyilodu Vilaiyaadi’, 2006) is a marvellous montage brilliantly marshalled. This is a facet we see in his collections of poetry too. Muthukumar would categorise songs and poetry as either emotional or intellectual saying that he always aimed at the former. And in keeping with the art of his role model Kannadasan, he sought to express himself vulnerably in the most childlike words he could dredge into his consciousness. How Muthukumar longed to spread his lyrical wings like Kannadasan, whose ‘Ninaikkadherindha Maname’ and ‘Kanne Kalaimane’ brought tears of joy in his crystalline moments of inebriation! But though as a lyricist, Muthukumar, had the sensitivity, both to ideas and music to write memorably, he was functioning at a time when the lyric was only one more element in the musical ensemble, not the queen as in earlier musical dispensations. But despite that, he managed to leave his individual stamp.
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