| 4 | | Prolific 60s and 70s Malayalam film composer. Established reputation with songs for plays of the left Kerala Peoples’ Arts Club (see [[IPTA]]), esp. the [[http://en.wikipedia.org/wiki/O.N.V._Kurup|O.N.V. Kurup]] lyric sung by K.S. George and Sulochana invoking the graves of the Communist rebels of Punnapra-Vyalar (1946), set to a militant rendition of the raga Hamsadhwani. Extensively associated with [[Vyalar Rama Varma]]’s lyrics. Like [[Dakshinamurthy |
| | 4 | Prolific 60s and 70s Malayalam film composer. Established reputation with songs for plays of the left Kerala Peoples’ Arts Club (see [[IPTA]]), esp. the [[http://en.wikipedia.org/wiki/O.N.V._Kurup|O.N.V. Kurup]] lyric sung by K.S. George and Sulochana invoking the graves of the Communist rebels of Punnapra-Vyalar (1946), set to a militant rendition of the raga Hamsadhwani. Extensively associated with [[Vyalar Rama Varma]]’s lyrics. Like [[Dakshinamurthy V|Dakshinamurthy]], was trained in classical Carnatic music but, unlike him, often borrowed extensively from folk influences. Early scores in [[Puttanna Kanagal]]’s Malayalam films (School Master, Kalanjukuttiya Thangam); broke through with [[Sethumadhavan]]’s 60s films, remaining his regular composer for several years (e.g. [[Odeyil Ninnu]], [[Daham]], [[Adimagal]], [[Aranazhikaneram]]). Worked on several major [[Vincent]] films including [[Ashwamedham]], [[Thulabharam]] and [[Nadhi]]. In the 70s, was associated with independent breakthroughs including [[Menon]]’s [[Kabani Nadi Chuvannappol]] and [[Backer]]’s work (e.g. Charam), while simultaneously working on [[I.V. Sasi]]’s mainstream productions. Composed [[G. Aravindan]]’s [[Chidambaram]] as well. Reputedly the first composer in Malayalam film to make sense of the non-verbal background score, with a bias for violin effects. |