Vidyasagar arrived in Malayalam cinema like a breath of recent air. The songs he composed have been pure melody and plenty of of them had a haunting high quality about them. Few music administrators made as glowing a debut as he did, with Azhakiya Ravanan.
Songs like Vennila chandanakkinnam…., O dilrubaa... and Pranayamani thooval…, grew to become on the spot hits. That was in 1996. Over the following 20 years he would tune a number of the most interesting melodies of Malayalam cinema of all time.
The final movie he did in Malayalam was in 2017: Jomonte Suvisheshangal. After a spot of two years, he’s set for a powerful comeback, and is composing songs for 3 Malayalam songs.
“My subsequent launch in Malayalam will probably be My Santa, directed by Sugeeth,” says Vidyasagar. “After that I am doing a film with Lal Jose. Then there is also a film with Johny Antony.”
He concedes that Malayalam cinema has modified from the time when he used to provide you with one melody after one other. In movies lately, you received’t discover songs like Varamanjalaadiya... and Aaro viral neettee…. (Pranayavarnangal), Oru raathri koodi…(Summer season in Bethlehem), Oru Kunju poovinte… (Chandarnudikkunna Dikkil), Kaathirippoo kanmanee… and Pinneyum pinneyum… (Krishnagudiyil Oru Pranayakalathu). Songs like these endeared Vidyasagar to the Malayali viewers, who all the time cherished melodious music.
“It is disappointing to note that you no longer find enough of melodious music in Malayalam films,” he says. “It is alright to ape Western music, but we have to ask ourselves if that is what we need in our films. Remember, the West’s rock or pop was created for their languages, not ours.”
He says it’s not simply in Malayalam cinema that music is quick shedding sheen. “It is happening in Tamil films as well,” he says. “It’s unlucky that you simply don’t have as a lot scope for poetry in Tamil cinema lately. My standard songs like Nee kaatru naan maram… (Nilaave Vaa) and Malare mounamaa… (Karna) had very good poetry. And it’s such significant lyrics that improve a tune.”
He says the administrators even have an necessary position to play in the case of getting high quality music for a movie. “I was lucky that I could work with directors like Kamal, Lal Jose and Sibi Malayil,” he says. “They understood music and gave me a free hand.”
Vidyasagar says that he would like to work with the youthful technology of administrators in Malayalam cinema as properly. “There are many talented young directors,” he says. “I would be happy to do music for them. I believe people would still welcome quality music.”