THE MAGIC OF ASKA LASKA

One of the toughest decisions a commercial director faces is to decide where to place his songs in the structured screenplay. They have to be positioned at correct intervals to give the much needed break and also ensure that they do not hamper the narration of the movie. There are umpteen examples where during the audio launch the song is a super hit but when we get to see the actual picturization, the enthusiasm dampens. Or where the song itself is an average melody but the visuals are so stunning that it is set on repeat in our playlists.

The mania for a song that clinches the audience’s interest and delays their decision to step outside for a smoke started with Manmadha Rasa and Appadi Podu. Manmadha Rasa had a pencil framed Dhanush and Chaya Singh gyrating aggressively to suit the beats of the number. The song was so catchy that many stayed through the otherwise slow narration to watch them thump their feet in the big screen. It worked wonders for the movie’s collections.

Illayathalapathy has been a dancer’s delight. His grace and seemingly casual dance performance has caused quite a stir in many a movie. From Allthota Boopathy to Appadi Podu, from Nee Illai Naan Illai to Chillax, from Kumbida Ponna Theivam to Aska Laska, he has mesmerized theater goers with his dance prowess.

Shankar is famous for erecting larger than life sets for his songs. His trademark structures and graffiti keeps us spell bound. With KV Anand’s Midas touch Sahana Saral Thoovutho was a visual extravaganza. Rendakka in Anniyan was an artist’s delight. So when this task master had just a couple of songs to weave his magic in Nanban, his creativity went to work overtime.

The beauty of Aska Laska lies in the ingenuity with which it is picturized. Although he tries to stuff a single song with his signature style, he doesn’t compromise on the quality. The lyrics support the change in background. From beds of tulips to our village vayal velli, he transports us effortlessly. If the song itself is a good melody, the visuals lift it further and make it a slogan your murmur when you step out of the halls.

Shankar is not a man who is reluctant to experiment. So he takes a step further and adds another song towards the end of the movie. Although this was missing in the original (3 Idiots), he comes out with flying colors. The song is fast, beat rhythmic, Illena’s belly dancing becomes a treat to watch and the audiences don’t complain.

This year is yet to see another high in terms of audio but the magic of Kolaveri di will not be put to rest until we see the visuals on screen. It can make or break another record.

If the music director has to sweat to string together a tune, the choreographers swelter to get the actors to gracefully tap their feet. The art directors come up with appropriate sets and the cinematographer has to capture all of this tastefully. Although the song itself is the brain child of the director, there is scope for creative enhancement in each of their hands. The team has to work synchronously for the audience can tell whether it would be a visual treat or a chance to get out and get some fresh air.

If they can make them vacillate in this decision even for a second, then the magicians have been triumphant.