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A pen for his thoughts

Photo S. Siva Saravanan

Lyricist Na. Muthukumar

Born in the temple town of Kancheepuram, he wrote his first poem when he was in Class I. He published his first book Thoosigal (Dust) while in Class IX. Small wonder, for, he grew up among over one lakh books in various languages, collected by his teacher-father. And, after a Ph.D in film songs, the entry into film industry was only waiting to happen.

What is interesting though is that Kollywood’s most happening lyricist Na. Muthukumar’s foray into tinseldom was as an assistant director to Balu Mahendra. However, a few of the directors who read his works requested him to pen the lyrics, and ever since his first song for Veera Nadai in 2000, there has been no looking back.

In the last eight years he has penned over 1,000 songs that have made us smile, cry or sit back and think. He gave us the buoyant Veyilodu Vilayaadi (Veyil), love-dripping Suttum Vizhi Sudare (Gajini), heart-breaking Ninaithu Ninaithu (7 G Rainbow Colony) and the entertaining Kokku Para Para (Chandramuki).

We caught up with the lyricist, who was recently in Coimbatore for an interactive session with readers, organised by bookstore Readers Park.

Ask him if getting into the industry as a lyricist was tough, and he says that he had it easy because of two reasons: one, he was already in the industry (as an assistant director) and two, he was ‘offered’ to pen the lyrics.

Is it difficult being a lyricist, considering he has to work in tandem with both the film director and the music director? “Not at all. In fact, these days we have a young crop of directors and musicians. It is wonderful working with them, for, the chemistry is good, and we are more like friends,” says Muthukumar who has worked with the likes of Ilaiyaraaja, AR Rahman, Yuvan Shankar Raja, Harris Jayaraj, Vidyasagar, GV Prasad and Devi Sri Prasad. On the common complaint that these days music eats up the lyrics, he says that it is just generation gap, and the current generation gets every word right. “They live with the words and the tune.”

But what about the grouse that a few singers do not get even the pronunciation in Tamil right? He agrees that it has to be checked, and that can only happen “when music directors use more Tamil singers.” However, he adds that Tamil should not be made an option. “At home, parents should cultivate in children, the habit of reading Tamil literature, and create awareness about culture.” He asserts that of late the trend in lyrics has changed, and most directors ask for pure Tamil words, and even those used during the Sangam period!

Does that mean English words will not find a place in Tamil film songs anymore? “No. It is unavoidable because we have come to accepting English words in our everyday life. For instance, coffee cannot be written as kulambi. When the situation does demand, we use English words (I used a few English words for the song Remo in Anniyan.) However, I make a conscious effort to avoid such words, and any lyricist can do that.”

Can the same be said of vulgarity? “Yes. A lyricist, even a beginner, can put his foot down, and refuse to pen raunchy lyrics. I have done that, and so can anyone else. That trend too is changing, and such numbers are far and few between. Perhaps just one or two in a year.”

The writer, who admires the works of Kannadasan, says that “a lyricist must be ready to lose the time with friends and family”. For wannabe lyricists, he says that though an ear for music is not mandatory, they must remember four words: simplicity, sound, style and standard.

“The profession involves a lot of hard work, reading a lot, keeping abreast of happenings, travelling, profound knowledge of the language, and most importantly, the experience called life,” he says.

W. SREELALITHA

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