Film music

Film music, which refers to playback singing in the context of Indian music, forms the most important canon of popular music in India. The film music of Kerala in particular is the most popular form of music in the state. Before Malayalam cinema and Malayalam film music developed, the Keralites eagerly followed Tamil and Hindi film songs, and that habit has stayed with them till now. The history of Malayalam film songs begins with the 1948 film Nirmala. The film's music director was P. S. Divakar, and the songs were sung by P. Leela, T. K. Govinda Rao, Vasudeva Kurup, C. K. Raghavan, Sarojini Menon and Vimala B. Varma, who is credited as the first playback singer of Malayalam cinema.

The main trend in the early years was to use the tune of hit Hindi or Tamil songs in Malayalam songs. This trend changed in the early 1950s with the arrival of a number of poets and musicians to the Malayalam music scene. People who stormed into the Malayalam film music industry in the 1950s include musicians like V. Dakshinamurthy (1950), K. Raghavan (1954), Brother Laxmanan, G. Devarajan (1955) and M.S. Babu Raj (1957) and lyricists like P. Bhaskaran (1950), Tirunainarkurichy Madhavan Nair, O. N. V. Kurup (1955) and Vayalar Rama Varma (1956). They are attributed with shaping Malayalam film music stream and giving it its own identity. Major playback singers of that time were Kamukara Purushothaman, K. P. Udayabhanu, A. M. Raja, P. Leela, Santha P. Nair, P. Susheela, P. Madhuri and S. Janaki. Many of these singers like A. M. Raja, P. Susheela, Madhuri and Janaki were not Malayalis and their pronunciation was not perfect. Despite that, these singers got high popularity throughout Kerala. In the later years many non-Malayalis like Manna Dey, Talat Mahmood, Lata Mangeshkar, Asha Bhosle and S. P. Balasubrahmanyam sang for Malayalam films. This trend was also found among music directors to an extent, with outside musicians like Naushad Ali, Usha Khanna, M. B. Sreenivasan, Bombay Ravi, Shyam, Bappi Lahiri, Laxmikant-Pyarelal, Salil Chowdhury, Ilaiyaraaja, Vishal Bharadwaj and A. R. Rahman scoring music for Malayalam films. This can be attributed to the fact that film music in South India had a parallel growth pattern with so many instances of cross-industry contributions.

K. J. Yesudas, who debuted in 1961, virtually revolutionized the Malayalam film music industry and became the most popular Malayalam singer ever. Vayalar, G. Devarajan and Yesudas trio also made unforgettable songs like the earlier trio of Kamukara, Tirunainaarkurichy & Brother Laxmanan. Yesudas became equally popular with classical music audience and people who patronized film music. He along with P. Jayachandran gave a major facelift to Malayalam playback singing in the 1960s and 1970s. K. S. Chithra, who debuted in 1979.By the mid-eighties, she became the most sought after female singer in South India. Malayalam film music also received heavy contributions from composers and musicians like Johnson, M. B. Sreenivasan, Pukezhenty Vellappan Nair, MS Vishwanathan, Kannur rajan, Shyam, M. G. Radhakrishnan, Raveendran, S. P. Venkatesh, Mohan Sithara, Ouseppachan and Vidyasagar, lyricists like Sreekumaran Thampi, Yusuf Ali Kechery, Bichu T, Rameshan Nair, Papanamcode Laxmanan, Chyrinkil M Nair, Baharanikavu Shivakumar and Kaithapram Damodaran Namboodiri, and singers like M. G. Sreekumar, G. Venugopal and Sujatha Mohan. A notable aspect in the later years was the extensive of classical carnatic music in many film songs of the later 1980s and early 1990s. Interestingly, that particular period is also considered as the peak time for Malayalam cinema itself and is quite widely known as the Golden Age of Malayalam cinema, a period in which the difference between art films and popular films was least felt. Similarly, classical carnatic music was heavily used in several popular film songs, most notably those in films like Chithram (1988), His Highness Abdullah (1990), Bharatham (1991), Sargam (1992) and Sopanam (1993).

At present, the major players in the scene are young musicians like Rahul Raj, Prashant Pillai, Gopi Sundar, Bijibal, Alphonse, lyricists Rafeeq Ahmed, Vayalar Sarath and Anil Panachooran, and singers Madhu Balakrishnan, Afsal, Shewtha, Manjari and Jyotsna Radhakrishnan, along with stalwarts in the field.

Young composers like Rahul Raj and Prashant Pillai are not only known for their catchy tunes, but also known for bringing in a lot of electronics, digital sound and a variety of genres in Malayalam film scores and songs.

The National Award-winning music directors of Malayalam cinema are Johnson (1994, 1995), Bombay Ravi (1995), Ouseppachan (2008), Ilaiyaraaja (2010) and Issak Thomas Kottakapally (2011). Till 2009, the 1995 National Award that Johnson received for the film score of Sukrutham (1994) was the only instance in the history of the award in which the awardees composed the film soundtrack rather than its songs. He shared that award with Bombay Ravi, who received the award for composing songs for the same film. In 2010 and 2011, awards were given to film score and both were bagged by Malayalam films: Pazhassi Raja (2010; Score: Ilaiyaraaja) and Adaminte Makan Abu (2011; Score: Issak Thomas Kottakapally). Ravindran also received a Special Jury Award in 1992 for composing songs for the film Bharatham. The lyricists who have won the National Award are Vayalar Ramavarma (1973), O. N. V. Kurup (1989) and Yusuf Ali Kechery (2001). The male singers who have received the National Award are K. J. Yesudas (1973, 1974, 1988, 1992, 1994), P. Jayachandran (1986) and M. G. Sreekumar (1991, 2000). Yesudas has won two more National Awards for singing in Hindi (1977) and Telugu (1983) films, which makes him the person who has won the most National Film Awards for Best Male Playback Singer with seven awards, closely followed by S. P. Balasubrahmanyam with six awards. The female singers who have won the award are S. Janaki (1981) and K. S. Chithra (1987, 1989). Chithra had also won the award for Tamil (1986, 1997, 2005) and Hindi (1998) film songs, which makes her the person with the most National Film Awards for Best Female Playback Singer with six awards, closely followed by P. Susheela with five awards.

Notable personalities - Directors

Malayalam cinema's directors have included J. C. Daniel, the director and producer of the first Malayalam film, Vigathakumaran (1928). Unlike other Indian films at that time, most of which were films based on the puranas, he chose to base his film on a social theme. Though the film failed commercially, he paved way for the Malayalam film industry and is widely considered the father of Malayalam cinema. Till the 1950s, Malayalam film didn't see many talented film directors. The milestone film Neelakkuyil (1954), directed by Ramu Karyat and P. Bhaskaran, shed a lot of limelight over its directors.Ramu Karyat went on to become a celebrated director in the 1960s and 1970s. P. Bhaskaran also directed a few acclaimed films in the 1960s. The cameraman of Neelakkuyil, A. Vincent, also became a noted director of the 1960s and 1970s. Another noted director of the 1950s was P. Ramadas, the director of the neorealistic film Newspaper Boy (1955).

In the 1970s, the Malayalam film industry saw the rise of film societies. It triggered a new genre of films known as "parallel cinema". The main driving forces of the movement, who gave priority to serious cinema, were Adoor Gopalakrishnan and G. Aravindan. People like John Abraham and P. A. Backer gave a new dimension to Malayalam cinema through their political themes. The later 1970s witnessed the emergence of another stream of Malayalam films, known as "middle-stream cinema", which seamlessly integrated the seriousness of the parallel cinema and the popularity of the mainstream cinema. Most of the films belonging to this stream were directed by PN Menon, I. V. Sasi, P. G. Viswambharan, K. G. George, Bharathan and Padmarajan.

In the late 1980s and early 1990s, a period widely regarded as the Golden Age of Malayalam cinema, a new array of directors joined the stalwarts who had already made a mark in the industry. The Golden Age saw the narrowing of the gap between the different streams of the industry. Directors like K. G. George, Priyadarshan, I. V. Sasi, John Abraham, Fazil, Joshy, Bhadran, P. G. Viswambharan, Kamal, Sibi Malayil, Hariharan, Sathyan Anthikkad, K. Madhu and Siddique-Lal contributed heavily in the Golden Age. Then there were extraordinary screenwriters like M. T. Vasudevan Nair, T. Damodaran, A. K. Lohithadas and Sreenivasan who contributed their part as well.

The 2000s witnessed the decline of quality of Malayalam films. Many directors who excelled in the Golden Age struggled as many of their films continuously failed critically and commercially. As a result the gap between parallel cinema (now known as art cinema) and mainstream cinema (now known as commercial cinema) widened. The 2000s also saw a commercial film formula being created in line with Tamil and Bollywood films. Directors like Shaji Kailas, Rafi Mecartin and Anwar Rasheed directed blockbusters which had few artistic merits to boast of. Despite the overall decline, some directors stood apart and made quality cinema. Shaji N. Karun, Lenin Rajendran, Shyama Prasad and Jayaraj made films that won laurels. Notable directors who debuted in this time include Blessy, Lal Jose, R. Sharath, Renjith, Roshan Andrews, Amal Neerad, Aashiq Abu, Vineeth Sreenivasan and Lijo Jose Pellissery.

Out of the 40 National Film Awards for Best Director given away till 2007, Malayalam directors have received 12. The directors who have won include Adoor Gopalakrishnan (1973, 1985, 1988, 1990, 2007), G. Aravindan (1978, 1979, 1987), Shaji N. Karun (1989), T. V. Chandran (1994), Jayaraj (1998) and Rajivnath (1999). There are several recipients of the Special Jury Award as well: Mankada Ravi Varma (1984), John Abraham (1987), Shaji N. Karun (1995) and Pradeep Nair (2005).https://affiliate.iqoption.com/redir/?aff=129945