Vaanga makka serves as a spirited introduction to the film’s theater troupe backdrop and is fabulously sung by Haricharan and Dr.Narayanan. Aye Mr.Minor‘s retro orchestration is as significant as its beautifully flowing Maand tune (evoking Sangamam’s Sowkiyama!), particularly the backgrounds Rahman adopts for the 4-phrase title hook after the first one. Shasha Tirupati (despite ‘Iravulakalai’, instead of ‘IravukaLai’) and Haricharan’s vocals are pitch perfect. Pa.Vijay’s lyrics, written from the perspective of a person’s heart, and Shweta Mohan jostle for top honors in Yaarumilla, though the vestiges of Paarthaale Paravasam peeping into the sound is a tad disappointing. Sandi kuthirai sees Rahman doffing his hat to Viswanathan-Ramamurthy in wonderful style, while Haricharan delivers it with panache! Mukesh’s spirited rendition elevates Sollividu, complete with a touching, Charukesi-based Karna motcham ending, while Vani Jayaram, expectedly, breathes life into the short Thiruppugazh. The 10+ minute Alli Arjuna sees Vaali take generous liberties (‘Arjunan mugathula joLLU’, ‘Bhaamavukku thaanda maama’!) even as Rahman’s musical story-telling is consistently enjoyable. It ends with an incongruous Nenju porukkudhillaye, offering the first – and only – hint about the film’s link to India’s independence struggle as well! Kaaviyathalaivan is less adventurous retro than Iruvar, but is still vibrant and enjoyable.
Keywords: Kaaviya Thalaivan, Kaaviyathalaivan, A R Rahman, 200, #200
