Vinnaithaandi Varuvaaya

Music: A.R.Rahman

Omana penne (Benny Dayal, Kalyani Menon)

A tremolo through vocal followed by a vibrato which kicks starts the same note through nadaswaram in the background, as Benny travels through complicated variations to declare that this MJ style pop song “Omana penne” is here to stay. This status is then cemented well through the breezy enchanting Malayalam lines that follow it. The continuum that captivated us in “Rehna tu” combines with nadaswaram to amuse us once again.

Anbil avan (Devan, Chinmayi)

The nadaswaram starts the ceremonial song, fusing with the organ, as the couple takes the wedding oath, akin to a wedding gospel, declaring the bond through “Anbil avan” in andante mode, with few strains here and there. As the wedding march music play, which is fast forwarded to play the “anandam anandam” song in nadaswaram, they jump to celebration mode. Interspersed with the tabla and the hazardous electronic feel running to loop throughout, “Anbil avan” is purely an energetic situational; turn into dream; turn into celebration number, sung faithfully but the vocalists.

Vinnaithandi Varuvaya (Karthick)

Karthick renders a melancholic blue number which pretends to be a calando, mainly due to the adagio movement of strings played around the vocal; the pretension suites the lyrics amicably, in that it raises questions. But as it steps into the casual pace, the rendering becomes dream-like setting the mood for a fitting theme music.

Hosanna (Vijay Prakash, Blaaze, Suzanne)

As people shouted in excitement, praising God on his entry to Jerusalem, the guy here in adoration of the angel, who entered his world (as the lyrics indicate), sings Hosanna when she takes his heart as she walks past him. From the heavenly state it shifts to brisk pace as Blaaze enters with the pop/rap unleashing the now cult “heloo” at the coda. Suzaane adds grace to the song with her cappella.

Kannukul Kannai (Naresh)

Bass violin initiates an allegro of sorts staccato, with a bellicose like electronic sound as filler to the belligerent tune, is used here to corner the girl that its love and not friendship in typical MJ style which ends in a pleading mode after becoming a legato. The bass violin phase in the middle of the track takes this pop song to a whole new level.

Mannipaya (A.R.Rahman, Shreya Ghoshal)

“Mannipaaya” starts off as girl’s plea to condone her decision in the voice of the nightingale backed by strained notes of flute, keyboard and guitar, surfacing one at a time to complement Shreya. The lover who unable to take it, breaks into a hurried cry reaching farther distance as the lyric goes “tholai thoorathil” and acclimates to greater height of desperation, as the line goes “melum melum”, in turn melting our heart. From what was elaborated above, it would be evident that, it’s a lyric based song and yet the way Shreya brings out different forms of “mannipaaya” all beseeching & the chant of the cherubic choir sanctifying love through thirukural make “mannipaaya” special, even when the overused tune threatens to bore you.

Aaromale (Alphonse)

Pink Floyd lands in God’s own place to enthrall us with this uber cool country rock song, as Alphonse squalls “Aaromale” in different tempos and pitch making us wonder if he will get award for best Tamil song or Malayalam song. The direness of rock concatenated with the intense pain required for a sad song, is backed beautifully by the violin; beautiful not for playing trivial notes that we have been accustomed to sadness, but for making it sound so trendy. And as the song breaks into blue feel with the Malayalam lyrics, “Aaromale” followed soberly by electric violin, intersperse with the enhanced “summangali bhava” line to create an aura that wants to be heard again and again.