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There's no rhyme without reason

With her poetic lyrics, Thamarai has a new generation of listeners hooked to Tamil songs, writes Subha J Rao

PHOTO: K. ANANTHAN

MAKING A MARK On her terms

After three years of struggle to create a niche for herself as a lyricist, Thamarai put pen to paper in a single-room apartment in Chennai.

The result — sheer poetry that touched a chord in every listener's heart — Vaseegara in Gautham Menon's Minnale.

At a time when love in film songs had degenerated to mere lust, she came up with a sparkler of a number that brought to the fore a woman's feelings. Till then, male lyricists ruled and wrote love songs from their perspective.

A new genre

Vaseegara grew on people and made sensuousness acceptable.

Thamarai, its lyricist, is now basking in the popularity of her words in Gautham's latest, Vettaiyaadu Vilayaadu, especially the racy title song, Karka Karka, and the immensely moving Paartha Mudhal Naale.

For someone who worked with three straight disadvantages — Thamarai has a policy to write only in Tamil, never use vulgar words and not allow double entendre to creep into her lyrics — she rose up the popularity chart quite fast.

Did it vindicate her stand? "Yes. But, when you write only in Tamil and when the thought is pure, a song will be good. It cannot be otherwise," she smiles.

For an outsider (Thamarai hails from Coimbatore), how has her journey in tinseldom been?

"Barring star progeny, every other person has to struggle in this industry. Till you find a foothold, you have to keep knocking on doors. For a woman, it is doubly difficult. The thought process of male lyricists and directors would be the same. And, here I was, writing something completely contrary. Only now have I achieved a position where I can have my way."

How does she go about writing?

"I sit with the director and work out what precedes and follows a song. The initial discussions are vital. I almost have the script with me before I work on a song. For Karka Karka, Gautham wanted a song with `heroism' and a hip-hop feel to it. Harris' tune was catchy and only allowed for crisp words. So, I worked around that. It was a wonderful experience because people have always expected me to write romantic numbers."

Has writing only in Tamil given her an opportunity to explore the language better?

"Oh yes! It makes me delve deeper to find beautiful, but uncommon words. Like `mudivili' (infinity) in Vaseegara (Kathalenum mudiviliyil gadikara naeram kidaiyathae) or `pathagai' (flag) in Paartha Mudhal Naale (En pathagai thangiya un mugam un mugam endrum maraiyathe)," says the lyricist.

Does she feel she is doing her bit for the Tamil cause by writing only in the language?

"I firmly believe it is vital to learn through the mother tongue. Now, I see software engineers who live abroad discussing the lyrics of songs online and posting queries about their meaning and I am gratified. They are making an attempt to understand what we write," says this engineer-turned-poet, who also dabbled as a student journalist.

Successful trio

Over the years, Gautham Menon, Harris Jayaraj and Thamarai have formed a formidable team (Minnale, Kaakha Kaakha, Vettaiyaadu Vilayaadu). How do the trio work?

"Gautham gives me freedom. Whatever discussions take place happen before I start writing. He okays my thoughts 95 per cent of the time. As for Harris, he lets me work with the singer. I see if the pronunciation and the expressions are right. We gel well as a team."

Working association matters, feels this poet.

"I am inherently comfortable with some people. Like Priya (Kanda Naal Mudhal) and Bala (Nandha)."

Director Seeman gave her a break with Thendral Enthan in Iniyavale. And, also lent her a Walkman.

"I had nothing with me. I would hesitate to even spend Rs. 10."

Thamarai's first hit was her very second song, Malligai poove malligai poove from Vikraman's Unnidathil Ennai Koduthen.

Departure from tradition

And, then, Vaseegara happened. She explains why it clicked.

"That was the first time a woman spoke about her desires and expectations of her man. It threw light on a woman's emotions and was a departure from tradition."

"We must understand that men and women think differently," she says.

That being the case, how did she make the men in her songs surrender to the woman?

"That is my touch. I want him to surrender and enjoy that moment of love. Enjoy its sweetness and not think beyond it. For instance, in Oru maalai ila veyil naeram from Ghajini, the man talks about how he lost himself after just catching a glimpse of the girl from a distance. That is what love is about."

Thamarai says the popularity of these songs shows that there is an inherent decency and softness in people that is still alive.

Engineering change

When did she decide to shift to writing full-time?

"I was a voracious reader and there was this natural inquisitiveness as a woman. I would observe people's reactions. My first love is writing. But, it took a backseat in the seven years I worked in the engineering line. At one point, I decided I did not want to be on the welding floor anymore and listen to the sound of machinery."

Now, Thamarai is writing the lyrics for films like Bheema, Gautham's Pachaikili Muthucharam and Kaadhalil vizhunthaen.

Her pick among her songs are Kalli Adi Kalli (Nandha - for concept) and Oru Maadu thedi (Maayan - for lyrics).

Thamarai's biggest disappointment? That none of her favourites, TMS, Suseela, MSV or L. R. Easwari are performing now.

"In the present crop of directors, I would love to work with Selvaraghavan and Mysskin," she says.

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