Exploring the physical attraction towards a manРІР‚в„ўs body in this song as against РІР‚Вdinamum nee kuLitthadhum ennai thEdi, en sElai nuNiyAl undhan thalai thudaippAye.РІР‚в„ў is fresh.Р’В But aNal mElE panitthuLi is far more intriguing in exploring physical desire. The imagery created by РІР‚ВNathigaLilE neerAdum sooriyanРІР‚в„ў and РІР‚ВVErvaigaLin thuLi vazhiya nee varuvAyРІР‚в„ў is miraculously interesting. Maghizhchi meeruthE, vaanathai thAnduthey saaga thOnruthey VErvaigaLin thuLi vazhiya nee varuvAy ena nindrEn NathigaLilE neerAdum sooriyanai nAn kaNdEn She meanders into explaining why she loves him (which was already well established earlier in the film). What begins as РІР‚ВondrA rendA AsaigaL ellAm sollavE Or nAl pOdhumAРІР‚в„ў does not discuss anything about desire/ Asai/ want/ wish. So, during the celebratory first night after their wedding where the song ondrA rendA AsaigaL festures, youРІР‚в„ўd expect passion/ desire. In the scene where she proposes to him (or responds to his question about what she wants), she speaks about making love (ok, most GVM heroines do, but thatРІР‚в„ўs besides the point here) to him and having children with him. In contrast, Maya of Kaakka Kaakka is sure. In fact, she isnРІР‚в„ўt convinced until the far end of the film. The use of the metaphors (Adai, pOrvai etc.) must be a way to circumvent her inability to convince herself that he is the right guy for her.

KAdhalenum mudiviliyil gadigAra nEram kidaiyAdhae (edit on : Thanks becomes highly arguable if these lines are indeed about desire. Merely playfulness, friendship and longing. For now, the next part thatРІР‚в„ўs interesting here is that there is no talk of pleasure or destination in this song. While I would have gone the stretch to interpret РІР‚Вmadiyil thoonginAl pOdhumРІР‚в„ў as making love, the metaphor recurs in several other songs of ThamaraiРІР‚в„ўs and it definitely does not mean the same in the others РІР‚вЂњ but IРІР‚в„ўll get to that later. She subtly implies desire wrapped cleverly in РІР‚ВnEsippadhum svAsippadhumРІР‚в„ў. Naan nEsippadhum svAsippadhum un dhayavAl thAnEР”В®ngugiRaen EngugiRaen un ninaivAl nAnE nAn VaseegarA en nenjinikka un pon madiyil thoonginAl pOdhumР”Р„dhae kaNam en kaNNuRanga mun jenmangaLin EkkangaL theerum There is a sense of helplessness in the lines, a boundary she is desperate to cross. SheРІР‚в„ўs perhaps unsure because she hasnРІР‚в„ўt known him long enough (though she believes she is going to be married to him) but desires him nonetheless. They are in her kitchen, desire each other and almost act on it when they break into this song. She sings to Rajesh РІР‚вЂњ sheРІР‚в„ўs attracted to him. Given that, itРІР‚в„ўs interesting how Thamarai perceives desire for each (of course given the circumstances). Largely, the profiles of the three women are similar РІР‚вЂњ they are employed, intelligent, self-dependent and this isnРІР‚в„ўt puppy love. She went on to write aNal melE panitthuLi and ondrA rendA AsaigaL for Gautham Vasudev MenonРІР‚в„ўs female leads. Thamarai is said to haveРІР‚в„ўarrivedРІР‚в„ў in the Tamil film lyrics scene with VaseegarA from MinnalE. IРІР‚в„ўd like to explore how women write about their own desire before I look into how men think women desire. I choose Thamarai merely for reasons of popularity, success and gender. I want to begin with a short one on how Thamarai treats female desire and then IРІР‚в„ўll aim to look into other song writers as well. The conversation led me into thinking about expression of a womanРІР‚в„ўs desire and especially (because my interest is always in the meanings than sounds) in lyrics. He referred to mudhal murai from Neethaane En Pon Vasantham and asked me to notice how Ilaiyaraja uses sounds to express female desire and want for s3xual companionship in that song (He writes about it in details here). While talking to Raaga_Suresh the other day, the near-perfect understanding of female desire in iLaiyaraajaРІР‚в„ўs music came up.

Kannathil muthamittal raaga