RIFLE RANGE BOY: A love song for a serial killer?

Moodu Pani (Tamil, மூடு பனி; 1980)
Screenplay & Direction: Balu Mahendra

The only time this movie is remembered is when the superhit song from its original soundtrack is played. And, mind you, this song is played at many functions. That super-duper hit song I am referring to is 'En Iniya Pon Nillave' (என் இனிய பொன் நிலாவே). It does not take much to recognise that song. A few seconds into its opening guitar sequence, it clicks. The song was composed by Illayaraja, also known as 'The Maestro' these days, as more music connoisseurs are realising that his compositions are complex and deserving of orchestral performances.

Like many of his compositions, this song can be regarded as another masterpiece. Although it might seem, at first glance, to be a Western piece featuring prominent guitar sounds and rhythm, it actually blends elements of Carnatic and Hindustani ragas. Naturally, flutes are a universal instrument. Indian musical experts state that this particular song is performed in Natabhairavi, a Carnatic raga. Apparently, two talas were employed in this song, one after the other, to express the discordant emotions conveyed in the scene.

In the scene, the protagonist, a mentally disturbed man who grew up witnessing his mother repeatedly being abused by his father while keeping a mistress, develops an intense aversion to women, especially sex workers. A psychiatrist suggests that he should get married. When a girl he proposes to declines his advances, he turns into a kidnapper. He confines the woman in a bungalow to coerce her into submission. Realising that resistance is futile, she tries to put up a front in front of him. She pretends to show genuine interest in him while the kidnapper pours out his heart. Reflecting these emotions, the tune is designed to oscillate between creating an uneasy feeling and an outpouring of emotions; between anxiety and love.

The song is played in the minor chord (Aeolian scale) of melancholy, often associated with sadness and break-ups. There is inherent loneliness and despair in both parties. The girl had her intentions to escape her captor, and the man had his tumultuous emotions and bottled-up rage. This is not a happy love song. There is no jubilation. It is a glimpse into the mind of a madman. The melody and lyrics are not mere fillers to complement the film score but serve to reinforce the story and reveal what is not explicitly stated in the lines.

This is Illayaraja's 100th film, in which he composed the songs. It belongs to one of the rare genres of Tamil cinema—a psychological thriller written in the vein of Alfred Hitchcock's 'Psycho'. Like Norman Bates, the protagonist kills women and keeps the remains of his dead mother under the sheet.

Here's a little trivia. The initial tune he submitted for this scene was 'Iniya Nila Pozhikirathu' (இனிய நிலா பொழிகிறது). However, it was rejected by the director because it sounded too cheerful and optimistic. This song was later utilised in another film, Payanangal Mudivatharvillai, which also became a hit song. Gangai Amaran, Illayaraja's brother, composed the lyrics, and KJ Yesudas lent his melodic voice to the final version.

Reference: Youtube: Oru Naal Pothuma Ep 186