*It is the first night of Sharath Babu and Kamal and Jayapradha are on the terrace. The background score in such moments by the Maestro Illayaraja simply takes you out of the world into that living room. Viswanath at his best with his lovely subtle emotions and surprises just like in the scenes where Kamal receives the photos and the national level performance invitation. As she opens the invitation, it is of Kamal’s friend Raghupathy’s(Sharath Babu) as she sighs in relief. As she moves across with the invitation, the thorny plant is caught struck to her saree. She is in a state of perplex(being married already and left in the alter). He goes to her house and when she opens the door, he plucks a beautiful rose at the door step and hands it over to her.(masterly body language by Kamal) He hands over the marriage invitation and asks her whether it is wrong to express love and to get married when two minds unite. Kamal appreciates it and as they drive back, he gets down the car midway and lets his mind out on a rock. Roses:- Jayapradha sings the first lines of Mouna mela noyi at the Sea shore.
#Sagara sangamam bgm movie#
This is the culmination of a classic by Director K Viswanath who is the epitome of showing Indian classical art via Commercial Movie with such vibrancy and emotion that the movie should end in the beautiful words of Vetturi Sundaram murthy “Art is immortal and will never die” It fills your heart as much as the subtle Human relation between Kamal Haasan and Jayaprada which is in the background of the art as it comes to the fore in its purity and tranquillity. You will see on the corner of the frame-END and it follows with THERE IS NO END TO ART.
It starts pouring and Sharath Babu tries to cover Kamal haasan with his Kurta. The wheelchair turns and Sarath Babu takes him out of the auditorium.
The legs which were dancing to the beauty and balance of laya and tala becomes numb. *"jayanti te sukRtino rasa siddha kaveeswarAh, naasti taesham yasah kaale, jara maranajam bhayam", Kamalhaasan sitting on the wheelchair sees Jayaprada and sighs to her that he has achieved it and slowly rests his head on Raghupathy’s(Sarathbabu) hands. Guru paavu kaburaina natyam, guru dakshi naipOyE jeevaM NaTaraju guru vaina daivam, naTaraju nadivya nadam She worships in dance form her mother, her acharya and the athiti(guests).Shailaja dances on with aplomb and her mother Madhavi sees Balakrishna in him. aarcharya devo bhavva.aarcharya devo bhavva. Shailaja who conceives her widow mother to be having relationship with him realises when Balakrishna in his coarse voice and melting heart describes her as an unadulterated mother. The background song continues with the reluctant Shailaja waiting to perform at the stage marked for Madhavi(Jayapradha) to donate for the Hospital and to pass the baton of classical dance from Balakrishna to Shailaja.
The sadhana starts in the Hospital with the song. Balakrishna who is battling for life wants shailaja to become a great dancer, which he could not with so much talent that got buried in his trials and tribulations and that transformed him into a cynical drunkard columnist. It is her widowed mother’s desire to cherish her dream of seeing an art(Classical Indian Dance) not die with the prodigal Balakrishna(Kamal Haasan). *It is the stage for Kumari Shailaja(S.P.Balasubramniam’s sister) to perform. Twenty four years down the lane, the movie lingers as one of the finest Indian movies that I have ever watched. *It is the year 1983 and we celebrated the great Victory of India in the Cricket world Cup and went for this movie that weekend. *Diamonds from the Jewel of acting called Kamalhaasan
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