Porayathu Leela better known as P. Leela (1934–2005) was a popular Indian playback singer.[ She was awarded Padma Bhushan posthumously in 2006.
| P. Leela |
|---|
| Birth name | Porayathu Leela |
| Born | February 21, 1934, Chittur, Palakkad, British India |
| Died | October 31, 2005(Aged 71), Chennai, India |
| Genres | Indian classical music and playback singing |
| Occupations | Singer |
| Instruments | Vocalist |
| Years active | 1949-2005 |
Early life
Starting at the age of 13, she has sung about 5000 film songs in all the South Indian languages Tamil, Telugu, Malayalam and Kannada. She also sang in one Bengali film and in Sinhala movies. Her songs are known for their emotional touch and classical discipline. She made a name for herself by singing in her mellifluous voice both for the film industry and in carnatic music She considered it an honour to have sung in the same period as M S Subbulakshmi, M L Vasanthakumari and D K Pattammal - three giants of Carnatic music. She has worked under all great music directors and has sung with all the major singers of the South Indian film industry.
Porayathu Leela was born in 1934, in Chittur, Palakkad, Kerala to V.K. Kunjanmenon and Porayath Meenakshi Amma. She was the youngest of the three daughters- Sharadha, Bhanumathi and Leela. V K Kunjanmenon was working as a teacher in Ramavarma Higher Secondary School at Ernakulam. V.K.Menon was passionate about music “We were three girls in our family and I was the youngest. He was devoted to Carnatic music even encouraging my mother Meenakshi Kutti to learn Carnatic after marriage. My father wanted us to learn Carnatic music and all three of us used to sing well, My father was solely responsible for making me a singer." said Leela.
Career
Leela had a gifted voice. The father recognized the musical ability and voice range of his daughter at a very early age. Thiribuvana Manibhagavadhar the uncle of musician T. V. Gopalakrishnan was her first guru. Leela as a child was made to practice alone between 4 - 6 am daily. Later she learnt from Paththamadai Krishna Ayyar and Maruthuvakudi Rajagopala Iyer.
Later she trained under Vadakkancheri Rama Bhagavathar. Leela was trained in Carnatic music by doyens such as Chembai Vaidyanatha Bhagavathar and Dakshinamoorthy Swami. Vadakkancheri Ramabhagavadhar was a very close friend of Menon. Vadakkancheri Rama Bhagavathar moved to Madras. Chennai or Madras was the South Indian capital during the Madras Presidency days of the British Raj. It was the cultural Mecca for those of Dravidian heritage. Whenever he used to visit Ernakulam, he would invite Menon and Leela to come to Madras to learn music. The headmistress of the school in which Leela was studying advised her father to take Leela to Madras for further training in music.
Realising his daughters potential needed a change of place, Kunchan Menon resigned his job in 1944 and migrated to Madras. Both of them stayed with Vadakkancheri Ramabagavathar in Mylapore and the 10 year old Leela started learning in gurukula style. Her father was very particular that Leela should do sadhaka early in the morning. Leela continued her music tutelage under Vadakkancheri Rama Bhagavathar along with Pathamadai Krishna Aiyar and Maruthuvakkudi Rajagopal Aiyer in Madras. He saw to it that her sole interest was music. The father and daughter were also present for all kacheris by the masters like Ariyakkudi Ramanujam, Semmangudi, S Ramanathan, Chembai G. N. Balasubramaniam, M. S. Subbulakshmi, D.K. Pattammal and others. Leela said this 'kelvi gnanam' helped her in a long way in finetuning her music.and moulding her as a singer.
Leela made her mark when she came first at the “Ragam - Thalam - Pallavi” competition organized by the Madras Viswath Sabha in 1944.The judges were G. N. Balasubramaniam and Palghat Mani Aiyer. This gave her a break when the Andhra Mahila Samithi arranged for regular performances. She began making a name as an up and coming carnatic musician. Neither the father nor daughter ever wanted to sing in films. Their focus was the stage. Leela sang at many music competitions in the city winning prizes In 1946, Durgabai Deshmukh gave her the first concert in Andra mahila sabha. Leela was giving concerts in various places.
Entry into the Film industry
The forties however saw a new phenomenon known as playback singing in Indian cinema. Instead of actors singing their songs they were merely lip - synching the words on screen. Regular singers were singing the songs. The final sound track was made after combining both through re - recording. Many professional singers were earning money and fame by singing in films.
Columbia Recording Company was looking out for a female voice and the manager Ganapathirama Iyer, recommended Leela. She was appointed as their artiste. This paved the way for her entry into the films.
In Tamil, Nandakumar was the first movie to introduce playback singing. A. V. Meiyappa Chettiar came up with the innovative idea of replacing the soundtrack with another voice and the playback system was introduced in Tamil cinema in 1938. It was gradually accepted and many singers entered the movie world. “I was introduced at a time when the actresses were singing for themselves,” reminisces Leela.
When she landed in Madras she did not know Tamil or Telugu. She used to write the keerthanais in Malayalam and practice them to perfection. Once she started her career as playback singer she arranged for tutors and learnt other languages.
The music composer C.H. Padmanabhasastry heard Leela sing and was impressed. She was offered to sing for a Tamil movie in 1948. Her father was initially reluctant as they were sceptical about the new medium but later he was persuaded to accept. Leela made her entry into playback singing for cinema in 1948. It was the Thamizh film “Kankanam”. She sang her first song, ‘Sree Varalakshmi’, when she was just 13 years old. C.H. Padmanabhasastry was the music director of the film. Leela sat on the floor and sang into the mike. She sang all the songs for the heroine in that film. 'Kankanam' was produced by G.B. Narayanan company. It was released on 10-6-1948. Story was by A.T.Krishnasamy. Lyrics by Kambadasan. K.R. Ramasamy, M.R. Saminathan, Menaka and P.R. Mangalam acted in that movie. A singing star was born. She never looked back after that.
In 1948 she sang 'Paaduka Poonkuyile' for the Malayalam movie Nirmala. Balan, made in 1938, was the first Malayalam "talkie" with a sound track. Mr. T. R. Sundaram produced this film for Modern theatres, Salem, with S. Nottani as the director. The film starred Mr.K. K. Aroor, Mr. Alleppy Vincent, Smt. M. K. Kamalam. Mr. Muthukulam Raghavan Pillai wrote the screen play. The film ‘Balan’ produced by T. R.Sundaram was a melodrama with more Tamil influence than Malayalam.
In 1948, 'Nirmala was produced by P.J. Cherian and directed by P.V.Krishna Iyer. ‘Nirmala’ (1948) was the first film to explore the possibility of music and songs in Malayalam cinema. The lyrics penned by Malayalam poet G.. Shankara Kurup set to Music by P.S. Diwakar became popular. From then on, the songs became an essential ingredient of Malayalam cinema.
1949 was the turning point year in her career. She sang in “Bilhanan” for which C.H. Padmanabhasastry composed music. She also began music lessons under musical prodigy C. R. Subburaman (CRS) who was also scoring music for films. CRS gave chances to his pupil. Leela sang first for CRS in the Kannada film “Bhaktha Kabeer” in 1949. CRS also gave opportunities to Leela in the Thamizh movies “Mohini” and “Velaikkari”. “Aahaa Ivar Yaaradi” sung for “Mohini” with K.V. Janaki and “Oridanthanile” for “Velaikkari” were hits. Both were featured on dances by the Travancore sisters Lalitha and Padmini.
Tamil Movies
It was also C. R. Subburaman who enabled Leela to impress connoisseur and commoner alike with a classic number. It was for the film “Manamagal” and again a duet for a dance by Lalitha and Padmini. CRS wanted Leela to sing with the legendary M. L. Vasanthakumari. Leela was nervous to sing along but was persuaded by her mentor. It was the ragamalika “Ellam Inba Mayam”. MLV and Leela moved effortlessly from raga to raga off - screen even as Lalitha and Padmini danced in rhythmic movement on - screen. Leela held her own with MLV and established her name as a singer par excellence of classical melody. Incidentally M. L. Vasanthakumari and Leela were the only two singers of that generation with formal training in carnatic music.
As far as Thamizh was concerned Leela’s voice harmonised perfectly with Ghantasala’s bass voice as well as AM Raja’s tenor. She also sang with TMS, Seergali, Chidambaram, Tiruchi and VN Sundaram. The film and music critic Ranga Rao observed that Ghantasala always held a torch out for her. The duo hit it off perfectly in films like “Bhathala Bhairavi” “Maya bhajaar” and “Prema Pasam” with evergreen numbers like ” Amaithi Illathen Maname” , “Ennathan un Premaiyo” , “Kathale Deiveega”, “Neethanaa Ennai”, “Aahaa Inba Nilavinile” and “Veesum Thendralile” etc.
Among her many duets with A. M. Rajah were ” Vaarayo Vennilaave ” in ” Missiamma”, “Odameethirunthe” in “Assai Magan” and “Naan seitha Poojapalam” in “Gunasundari”. Some of her memorable numbers with T. M. Soundararajan were “Mugathinil Mugam Parkalam ” (Thangappadumai), ” Nenjil kudiyirukkum” (Irumbuthirai), “Thendral urangidakkoodumadi” (Sangili Thevan), “Thalaiyam Poomudichu” (Bhagapirivinai) , “Sundari Soundari” (Thookku thookki), “Igalogame” (Thangamalai Rahasyam) “Poovindri Manamethu” (Utthami Petra Rathinam) and “Nilave Nee Intha ” (Pattinathar).
Sirkazhi Govindarajan and Leela also hit it off well with items like “ellaiyillatha Inbathile” (Chakkaravarthi Thirumagal) , “Kuttrala Aruviyile” (Nallavan Valvan) and “Kalathai Matrinan” (Manithan Maravillai). It was also with Sirkazhi Govindarajan that Leela sang in a Thamizh film after a gap of many years. It was “Engirundho Vanthal” in 1970 where a skit on Sakunthalai was performed on screen. The song by Seergali and Leela begins as “Kalithasa Maha Kavi Kaviyam, Kanni Sakunthalai Endroru Oviyam”. It was poignantly appropriate that Leela voiced for Sakunthala.
Then there are her innumerable film solos. The one that I like most is the song “Then Suvai Mevum Senthamil Geetham” in “Dr. Savithri. The musical score is by maestro G. Ramanathan who usually gave ample scope to Leela in the movies he worked in. The song is based on eastern and western classical. Leela sings in sopranic tones to piano accompaniment. The piano interludes are variations of a Beethoven symphony. Leela begins with an “Aaahaara bhirugha” of incredible sweetness and follows up with similar interspersals. The words too extol the virtues of music and song. “Aanandha Geetham ” (A song of happiness) is an “Amudha Saagaram (Ocean of Ambrosia ) How true! The song is almost like a mission statement signed by Leela.
Among other popular and well - appreciated solos are “Kathiruppan Kamalakkannan” in “Uthama Puthiran” where Leela sings a ragamalika set by G. Ramanathan for a Bharatham sequence by Padmini and her younger sibling Ragini. Leela moves from one raga to another smoothly. So remarkable is the singing that many mistake the singer for MLV. Another of Leelas clasical gems is “Neeye Kathi Eeswari” set to Sarukesi raga in “Annayin Aanai”. The composer is S. M. Subbaiah Naidu who also appreciated Leela’s work greatly. It was Subbiah Naidu who composed music for “Konchum Salangai” for which Leela sings the theme song “konchum Salangai Oli Kettu, Nenjil Ponguthamma Puthiya Paattu”. The hit song of the film however was “Singara Velane Deva”. It was this song - accompanied by Karukurichi Arunasalams nathaswaram - that launched S. Janaki’s career. What is interesting is that Subbiah Naidu wanted Leela to sing it initially. Leela however declined saying she could not do full justice to the song and recommended the relatively unknown Janaki as most suitable to sing it. A rare act of frankness and magnanimity!. When Janaki performed in Toronto last month she recollected this incident and expressed her gratitude to” Leelaamma.”
A Leela solo lingering in memory is the lilting “Kaanagame Engal Thayagame” in “Merriland” Subramaniam’s “Yaanai Valartha Vaanambadi”. It was a story about a feminine “tarzan” reared by animals in the forest. The song was played on the not so well - known Kumari as she rode on the back of an elephant.
Another Leela solo etched in memory is the song in “Kappalottiya Thamizhan” about Indian freedom fighter V. O. Chithamparapillai . The title role is played by Sivaji Ganesan . He is on his deathbed and wants wife Kumari Rukmani (Mother of Lakshmi and grandmother of Aishwarya) to sing Subramania Bharathi’s immortal “Endru Thaniyum Engal Suthanthira Thagam?” (When will our thirst for freedom be quenched?). Leela sings it just as an old woman about to lose her husband would have sung it by his deathbed. At the same time her song expresses the yearning for freedom in the dying man. The full import of the song’s meaning and emotion comes out clearly.
There are other notable songs like “Engume Aanantham”, “Kannaalan Varuvara”, “Paartheera Ivar sarasam”, “bhagyavathi Naan” “Nithirai Illaiady” etc . In my opinion the finest four of her best solos were in “Missiamma” , “Vanchikottai Vaaliban and “Thangappathumai”. Missiamma starred Gemini Ganesan and real life wife Savithri. The two remarkable Leela solos were “Mayame Naan Ariven” and “Enaiyalum Mary Matha”. The latter an appeal to the Virgin Mary was sung on an emotional high though Leela is a hindu. It is on par with the Jikki - P. A. Periyanayaki number on Mary in” Gnanasoundari” - “Arul Tharum Theva Mathave”.
The solo from “Vanchikottai Valiban “is “Vennilave thanmathiye ennudane Va Va”. It is a soothing melody set on screen for Padmini in a nocturnal boat scene. The melody is evocative of the gentle breeze, moonlight glow, ripples in the water and above all the slow , rhythmic movement of the boat. It transports one to an ethereal atmosphere.
The fourth solo is the tragic number “sollamma Vai thiranthu” in “Thangappathumai”. It is played out on Padmini on screen. The music is by M. S. Viswanathan - T. K. Ramamoorthy . Leela has gone on record saying that it was the most difficult song she has ever sung for Thamizh films. The recording took place from 9am to 9 pm at a 12 hour stretch. Since it was full of pathos Leela was emotionally high - strung. Viswanathan was not easily satisfied and made Leela labour ceaselessly. At the end of it all Leela wept uncontrollably. Leela’s singing plus Padminis acting made the song sequence a great success.
Leela has also sung several duets with singers of her own sex. The songstress combinations have been successes very often. It was the “Ellam inbamayam” duet with M. L. Vasanthakumari in “Manamagal” that made Leela’s name. There have been other duets with others too like “vetkamaga irukkuthadi” - Soolamangalam Rajalakshmi in “Paar Magaley Paar” and “Vaaliya Needooli” - Radha Jayalakshmi in “Arivaali”. Both were bharatanatyam numbers. Leela however clicked marvellously with Jikki and P. Susheela . The crowning achievement with Jikki was in “Vanchikottai Vaaliban” by Gemini Studios. Music was by C. Ramachandra of “Anarkali” fame. Two great danseuse actresses Padmini and Vyjayanthimala were the heroines vying for hero Gemini Ganesan's affection. There is this magnificient dance competition between both in the presence of the hero and villain P. S. Veerappa . Jikki sings for Vyjayanthi and Leela for Padmini in the classic number “Kannum Kannum Kalanthu”. The song written by Kothamangalam Subbu is a verbal duel. The words, melody, dancing and singing prove to be an excellent combination. At one point P. S. Veerappa exclaims “Sabash! Sariyana Potti” (wow! Great competition). It was not only apt for the on screen dancing but also applicable for the off - screen singing by Jikki and Leela.
Leela’s much praised duet with Susheela was in “Lavakusha” starring N. T. Rama Rao and Anjali Devi . The duet was a marathon 12 minute number “Jegam Pugalum Punniya Kathai Ramanin Kathaiye, Athai Sevi kulira Padiduvom Kelungal Ithaiye”. The words of Maruthakasi encapsule the story of Ramayana in that song. The music is by Ghantasala. Leela and Susheela sing it in Telungu also in the Telugu version of the film.. Sri Sathya Sai Baba was greatly enamoured of that song. He referred to Leela and Susheela as Lava and Kusha because it was Lava and Kusa who sing it on screen.
Leela has sung for many actresses like Padmini , Savithri , Jamuna , Anjali Devi , T. R. Rajakumari , Rajasulosana , Vijayakumari and even B. Saroja Devi . It is felt that her voice suited Padmini and Savithri best. She has also sung for composers like C.R. Subburaman , Ghantasala , K. V. Mahadevan, S. M. Subbaiah Naidu , Saluri Rajeswara Rao , C. Ramachandra , G. Ramanathan and M. S. Viswanathan - T. K. Ramamoorthy. Almost every composer elicited the best from her though CRS, Ghantasala, KVM and G Ramanathan excelled in utilising her talent. Leela was a simple and humble person without any airs or tantrums. She cooperated with all her music diectors and co - singers well.
In spite of her ability and popularity Leela was unassuming. She also had strong principles. Once she lost a great opportunity to sing with M. K. Thyagaraja Bhagavathar for one of his films because she had a prior commitment for a Kacheri. She refused to cancel it in order to sing with MKT. Incidently Leela is one of the few songstresses to sing with music composer K.V. Mahadevan . It happened accidentally because the male playback singer did not turn up and KVM had to finish the recording on that day itself. The film was “Mathanamohini”. The KVM - Leela song “Kannalanai” was a hit.
Leela was a singer who could sing almost any type of song at any pace. Classical, semi. classical, light and folk songs were all her forte. Devotional, dancing, gypsy, folk, romantic songs were all part of her repertoire. She could grasp the melody easily and sing with all intonations. She kept the “shruthi” low and sang out lustily giving full range to her mellifluous voice.
It is indeed a pity that a songstress of Leela’s calibre was slowly sent into oblivion by Tamil cinema. After “Engiruntho Vandhal” in 1970 there was a long lull till Ilaiyarajah got her to sing in “Katpoora Mullai” in 1984. It was for a classical song by Sri Vidya on screen. The actress was the daughter of M. L. Vasanthakumari with whom Leela has sung together in many films. Leela was not one to canvass for songs and allowed herself to fade away gracefully. Though Thamizh cinema spurned her Leela was not a spent force. Thelungu and Malayalam cinema embraced her. She was not top of the pops but retained a respected place till her sixties. The Malayalam classic “Chemmeen” for which Saleel Chaudhary composed music has Leela singing for Sheela. She also composed music for the Telungu film” Chinnari Papulu”.
Telugu Movies
In 1949 Leela made her debut in Telugu Cinema singing in 3 films Manadesam, Keelu Gurram and Gunasundarikatha.
Singer and music director Ghantasala (with whom Leela has sung the most number of songs) introduced Leela in Manadesam. Manadesam is remembered as Telugu megastar Nandamuri Taraka Rama Rao's debut as a police inspector. He was paid 250 rupees as advance for remuneration.
The film was based on Vipradas, a Bengali novel. It was the first film made in Telugu, based on a Bengali novel. The film was produced by MRA films.(named after Meka Rajyalakshmi Anuradha, daughter of the Telugu actress, singer and producer of yester years Mrs.C. Krishnaveni and Mirzapuram Raja). Ghantasala Venkateswararao who was making strides as a singer was introduced to Krishnaveni; she was very much pleased with his voice and saw the potentials in him as a composer. Ghantasala was booked as the Music director for three of their productions – Manadesam, Keelu Gurram and Lakshmamma.
In Manadesam, Krishnaveni wanted to introduce all types of traditional songs of Andhra Pradesh, "Dhampudu paatalu, veedhi naatakaalu, bommalaatalu, jaanapada geethalu, burra kathalu etc", patriotic songs, devotional songs, etc. Ghantasala scored music very well. M.S.Ramarao sang for the hero C.H.Narayanarao.
Keelu Gurram [1949] starring Nageswara Rao Akkineni, Anjali Devi and directed by Raja of Mirzapur was a superhit.
Vauhini pictures Gunasundarikatha was produced by B.N.Reddy and directed by K.V.Reddy.The film was released on 29 Dec 1949. The film was an adaptation of Shakespere’s drama King Lear.Screenplay was by K.V.Reddy and Kamalaakara KameswaraRao. The film starred Sriranjani as Gunasundari, Vallabhajosyula SivaRam as Prince, the comedian Kasturi SivaRao, as cursed Prince, K. Malati and P. Santa Kumari as Gunasundari's wicked sisters. Dialogues and Lyrics by Pingali Nagendra Rao. Leela sang the songs for the heroine Sriranjani.
Songs of the film include Kalakala Aa Lokilemo, Challani, Doravele, Chandamama, Sree tulasi Jaya tulasi, Ammaa mahalaxmi dayasEyavamma became hits .
The Fifties: Golden Age of Telugu Cinema
In the 1950s Leela was busy singing in all the South Indian languages. Her songs in films like Patala Bhairavi, Missamma, Pelli Chesi Choodu, Appu Chesi Pappu Koodu, Gundamma Katha are the greatest melodies and remembered even today after many decades.
Vijaya productions was one of the major production companies in the 1950’s. Most of their films were bilingual made both in Telugu and Tamil. Some of the films were later made in Hindi. B.Nagireddy was looking after his family business in Madras. His brother B.N.Reddy was a pioneer in Telugu cinema who has directed landmark films like Gruhalakshmi (starring Nagaiah and Kannamba) under Rohini pictures. He started Vauhini pictures and produced Vandemataram with Nagaiah and Kanchanamala, Sumangali (Nagaiah and Kumari), Devata ,Bakta potana ,Yogi vemana, Gunasuntharikatha and so on. Nagireddy was naturally drawn to the world of movie making. He met Chakrapani, the dialogue writer of Swargaseema. (They also started the Chandamama magazine in 1947 in Telugu and Tamil. Now it comes out in 13 languages). Nagireddy and Chakrapani started the Vijaya banner. Their first production was Shaukaru with N.T. Ramarao, Janaki (later known as Sowcar Janaki) and S.V.Rangarao. Shaukaru did not fare well at the box office. It was a revolutionary social drama touching upon the feudal system of rags and riches. The newcomers NTR and Sowcar Janaki did well. The film had great melodies by Ghantasala and Leela. But the film failed commercially.
Vijaya banner now decided to do a film for the masses. They chose a mythological subject for their second venture Pathala Bhairavi which was released on March 1951. The film was a huge success celebrating 100 days in 28 centers in Andra Pradesh. It was one of the four films selected from India for the International Film Festival in 1952.The film was directed by K.V.Reddy. Ghantasala composed evergreen melodies for the film. N.T.R as Thota ramu, wants to marry the princess Indumathi (Malathi). S.V.Rangarao gave a sterling performance as Nepali manthiravathi who wants to sacrifice Ramu to the Goddess Patala bhairavi. The rest of the film tells the adventures of Ramu. A great mythological film by K.V.Reddy. Savithri appears in one of the dance sequences.
Vijaya productions third venture in 1952 Pelli chesi choodu was the first in the line of their comedy films.The film directed by L.V. Prasad is a satire about dowry and the traditions of the marriage system. The film starred N.T. Ramarao, G. Varalakshmi, Savithri,S.V. Rangarao, Sooryakantham. This was Savithri’s third film. Savithri was the second heroine. Dialogues and Lyrics by Thanjai Ramaiyadas. The film has melodious songs composed by Ghantasala. Missamma
Next came the 1955 classic comedy by Vijaya productions Missamma. Screenplay and direction by L.V. Prasad. Prasad adapted this from Jyotish Banerjee's classic Bengali comedy Manmoyee Girls School (1935). Prasad remade his own version in Hindi as Miss Mary (1957) starring Meena Kumari. Ananth Mane did a Marathi version of the story, Jhalki Mooth (1957). Recently the same film was recycled and released as 'Brindavanam' (Rajendra Prasad and Ramya ).Such is the magical power of this comedy!
Manmoyee Girls School was a hit comedy play staged by Star Theatres in 1932. The play deals with the problem of unemployment. Imagine the comic consequences that may arise when a man and a woman, who are all but strangers, pretend to be a married couple. Two young people are looking for employment as teachers in a school. However, the condition for employment is that only married couple will be taken. Desperate to get jobs, both of them decide to pretend to be married and succeed in getting jobs. Fate brings them together. Humorous circumstances inevitably follow as they are compelled to live as husband and wife for the sake of saving their jobs .This stage play is still popular in Calcutta.
This play was made into a film Manmoyee Girls School in 1935 by Jyotish Bannerjee. The film starred Tulsi Chakraborty, Radharani, Jahar Ganguly, Kanan Devi and Jyotsna Gupta. Kanan Devi gave a superb performance in the Bengali original much before Savithri and Meenakumari.
Savithri played the title role of Missiyamma to perfection. This film established her as a great actress and catapulted her to fame and she never looked back. Chakrapani initially selected P.Bhanumathi for the role of Mary. But when Bhanumathi reported late to the shooting , Chakrapani made a dynamic decision to replace her with Savitri. And the rest is history. " May be it's the God's decision that Savitri should become the most popular star.I lost that film to Savitri" says Bhanumathi.
A. Nageswararao gave a superb performance in the role of the future son-inlaw, the detective Raju (Thangavelu in Tamil and Kishorekumar in Hindi). The film Missamma brought the two greatest stars of Telugu cinema NTR and ANR together early in their careers. Gemini ganesan was as charming as ever in Tamil Missiyamma. The songs by S. Rajeswara rao combined with voices of A.M. Raja, P. Leela and P. Susheela have become immortal, casting a magical spell over the listeners. The classic comedy Missiyamma never loses its charm. Maya Bazaar
Vijaya productions sixth film made in the 1957, Maya Bazaar (directed by K.V.Reddy) is a true classic.It still stands the test of time. S.V. Rangarao as Ghatothkaja was lovable. He earned unprecedented name and fame, particularly for the song "kalyana samaiyal satham (vivaha bhojanammu)" in the film.
The story revolves around the characters in The Mahabharata. Balarama promises his sister Subhadra that her son Abhimanyu (son of Arjuna)will be married to his daughter Sasi rekha . This is endorsed by Sri Krishna. Abhimanyu and Sasi rekha are just kids when this promise is made and they eventually grow up separately in Indra prasta and Dwaraka.
Pandavas lose their kingdom in the game of dice and are condemned to a 13 year exile by the Kauravas. Subhadra along with Abhimanyu seeks asylum with her brothers, Balarama and Sri Krishna. As the final conflict between the Pandavas and Kauravas draws near, Lord Balarama breaks his vow to marry his daughter to Abhimanyu and instead offers her to Laxmanakumaran, the cowardly son of Duryodhana. Subhadra takes her son to Gatotkacha, son of Bhima and Hidimbi.
As usual, Krishna is the Supreme Arranger. Gatotkacha with the help of Sri Krishna kidnaps Sasi rekha and transports her to his ashram where she is united with Abhimanyu. Gatotkacha, with his maya disguises himself as Sasirekha and replaces her in Dwaraka after asking his henchmen Chinnamaya to build a welcome palace for the Kauravas who are set to arrive with the wedding procession. Chinnamaya along with Lambu and Jambu designs and builds a welcome palace with his maya and that is the MAYA BAZAAR- The market of Illusion! The various events that take place in the MAYA BAZAAR are remarkable.
Full of special effects, camera tricks by the famous camera man Marcus Bartley, this movie produced 50 years ago is a visual feast!
In one of the interviews Leela recalled that while recording the songs of `Maya Bazar, the composer took 28 takes of a song and they used the fifth take.
She worked as a music director for a film called Chinnari Papalu (Telugu) in 1968. The film was produced exclusively by women.
The Sixties: Lavakusa
This list of Leela’s achievements as singer will not be complete without mentioning the film Lava Kusha (1963).
In 1963 Lalitha Sivajothi films (A. Sankarreddy) produced the film Lavakusa in Telugu.The movie created records by running for more than a year. Music was by K. V. Mahadevan and Ghantasala Venkateswara Rao. The film was directed by C. Pulliah and his son C. S. Rao. Pullaiah directed an earlier version of Lavakusa in 1938.
Lava and Kusa are born in the ashram of Valmik Maharishi and are brought up there. Valmiki Maharishi tells them the story of Srirama and Sitha. Lava and Kusa do not know about the true identity of their parents. In the ashram in front of Valmiki , Seetha and other rishis Lava and Kusa start singing the first part of the Raamakatha, "raamakathanu vinarayya"
Now to spread the message of Rama, Lava and Kusa get Sitha’s blessings and go to Ayodhya and sing the second part in the streets of Ayodhya in front of the people "vinudu vinudu raamaayana gaadha"
A maid who works in Kauslyamatha’s palace takes Lava and Kusa to the palace where they sing the final part of the raamakatha "Sreeraamuni charitamunu telipedammamma". Sri Ramachandramurthy is inside with the golden statue of Sitha (made for the Aswametha yagnjam). Hearing the song Rama comes to the hall . Lava and Kusa complete the song reciting the Sanskrit sloka.
Devotional Songs
Srimad Narayaneeyam is an immortal sublime hymn on Lord Guruvayoorappan, composed by Melpathur Narayana Bhattathiri (1560-1666 A.D.) one of the celebrated Sanskrit poets in Kerala Even though the Narayaneeyam was completed as early as 1586 A.D., it appeared in print only after more than 250 years.
Narayaneeyam is the story of Lord Narayana. It is a work consisting of 1036 slokas or verses, divided into 100 dasakams or chapters, each dasakam consisting of approximately 10 slokas. , It is a condensed version of Bhagavata Purana, which consists of 18,000 slokas authored by Veda Vyasa. It is said that the work has the blessings of Lord Krishna or Guruvayoorappan, the presiding Deity of Guruvayoor.
Narayaneeyam narrates a series of episodes from the Bhagavata Purana, choosing the most pious of the lot. The incarnations of Vishnu are traced with piety, Bhattathiri transforms the episodes into solemn prayers, pouring out his soul in total supplication before the Lord. The final dasaka, Kesadipaada Varnanam, embodies top-to-toe picture of little Krishna in all grace and glory .
Both as a poem and as a devotional hymn, Narayaneeyam occupies a very high place in Sanskrit literature.
Narayaneeyam is the master piece of Melpathur and is the most widely read of all his works.The poet depicts the image of Lord Guruvayurappan, in exemplary terms - "Sammohanam Mohanal Kantham Kanthinidhanathopi, Madhuram Madhurya Dhuryadapi, Soundaryotharathopi Sundaratharam"
The ‘Parayana' of Narayaneeyam is believed to possess the wonderful power of healing afflictions, both mental and physical, of the devotees. The "Nithyaparayana” of Narayaneeyam will enable the devotees to attain " Ayurarogyasoukhyam”.
When Guruvayoor Dewaswom decided to bring out the album Narayaneeyam, names of several musicians like MS, MLV were considered and finally the Dewaswom approved Leela to sing Narayaneeyam. “I got the chance to sing Guruvayarappan Narayaneeyam which I consider as an honour...”said Leela.
Narayaneeya Sapthaham ( the recitation of Narayaneeyam and explaining the meaning to the public) is conducted in Guruvayur temple by Devaswom on the Narayaneeya Dinam and by others as offerings. It is done for seven consecutive days from early morning till 6.10 pm in the evening. Narayaneeya Sapthaham has started in Guruvayur in the early 50's. It takes about 5 hours to read the slokas and about 45 hours for explaining the slokas.
The day on which Narayaneeyam was completed, 28th Vrichikam, is celebrated by the Devaswom as Narayaneeyam day. Discourses and debates on Narayaneeyam written by Melpathur take place. Special functions are held at Melpathur Illapparambu also. Awards and recognition
Leela has been conferred many titles like, ‘Ganamani’, ‘Ganakokila’, ‘Kalarathnam’, ‘Ganavarshini’, etc. , She was conferred with the ‘Kalaimamani’ title in 1994 by Chief Minister J Jayalalithaa who in her speech said that though the award had come late, she was proud to be the one to bestow it on her. Leela received the first best playback singer award of the Kerala government in 1969.
In 2003, Leela was presented the Janmashtami Puraskaram instituted by Balasamskara Kendram for her efforts in spreading ‘Narayaneeyam’, ‘Jnanappana’ and ‘Harinamakeerthanam’ .
In her later years, Leela was busy rendering classical concerts and light music programs. Leela was staying with her sister’s children in Defence colony, Parangimalai. Her world consisted of her music, her pooja room and memories of her father. V.K.Menon was the man behind the singer Leela. In many of the interviews Leela emotionally recalled “If I am standing in front of you and talking, it is because of my father; he was everything to me. The fame, wealth was all given to me by him. Without him,I am not what I am.”
Leela fulfilled her father’s dreams, enthralling her fans with her mellifluous voice. Her melodies will be remembered and heard forever.
Leela sang at many music competitions in the city winning prizes and was noticed by film music composers such as Ghantasala Venkateswara Rao. P. Leela, since her debut in 1948 in the Tamil movie `Kanganam', for two decades and more she was the most sought after `playback singer' in South Indian Cinema.[2]
She was a formally trained carnatic singer but the “Sabhas” of Chennai did not give her many assignments treating her as a second class playback singer. Kerala and Andhra gave her many stage programs. She was however given continuous prominence by Malayalam radio and television .
Personal life
Her marriage to a lawyer was a failure. She lived with her sister and family in Defence colony, Parangimalai, Chennai suburb. Her solace in life was her sangeetham and bhakthi. Leela turned more and more to devotional songs in later years. Her songs on her family deity Guruvayoorappan and others on Mookambika and the recital of Narayaneeyam were well received. The LP records and audio cassettes on Guruvayoor and Narayaneeyam recitals were best sellers for decades.The devotional hymn, Vakacharthu as recited by Leela, is played every morning in Kuruvayur temple, coinciding with the Nirmalya darshan at dawn.
P. Leela died on 31 October 2005, Monday,at 3:40 AM at Sri Ramachandra Medical Centre in Chennai. Whenever a program featuring her was staged in Tamil Nadu or abroad many flocked to see and hear her. Unfortunately such occasions were few. Technology however enables her fans to listen again and again to the melodious voice at a mere click. Her memory will remain evergreen for ever and ever. The name P. Leela can never be erased from the sphere of Thamizh film songs. "Then Suvai Mevum Senthamizh Geetham Endrum Eluvathu Leelavin Kuralale”.
[edit] Filmography
This is partial list of her songs. Please help expanding it.
1949 Gunasundari Katha Sri Tulasi Jaya Tulasi
1953 Bratuku Theruvu Andame Anandam Anandame Jeevita Makarandam
1955 Jayasimha Eenaati Eehaayi Kalakadoyi Nijamoyi
1955 Missamma Karuninchu Mary Matha
Telusukonave Chelli
Yemito Ee Maaya Challani Raja
1956 Chiranjeevulu Thellavaaraga Vachhe Theliyaka Naasaami Malliparundevu Lera
1956 Tenali Ramakrishna Jagamula Dayanele Janani Sadashivuni Manoharini
1957 Maya Bazaar Chinnari Sasirekha Vardhillavamma
Vinnava Yashodamma
1957 Suvarna Sundari Bangaaru Vannela Rangaaru Sanjala Rangeli Yetenchene
1958 Appu Chesi Pappu Koodu Joharu Gaikonara Deva
Rama Rama Saranam Bhadradri Rama Saranam
1958 Pelli Naati Pramanalu Sreemanturalivai Cheluvondu Maata Mammu Deevimpuma Maa Andhramata
1960 Shanti Nivasam Kalanaina Nee Valape Kalavaramandaina Nee Talape
1961 Jagadeka Veeruni Katha Nanu Dayaganave Naa Moravinava
1963 Lava Kusha Ramakathanu Vinarayyaa Ihapara Sukhamulanosage
Voorake Kanneeru Nimpa Karanamemamma
Vinudu Vinudu Ramayana Gaatha Vinudee Manasara
Sriraamuni Charithamunu Telipedamamma
1965 Pandava Vanavasam Devaa Deena Baandhavaa
1967 Rahasyam Shrilalitha Shivajyothi Sarvakaamadaa
1. Sampoorna Ramayanam (1971)
2. Paramanandayya Shishyula Katha (1966)
3. Babruvahana (1964)
4. Tirupathamma Katha (1963)
5. Mahamantri Timmarasu (1962)
6. Gundamma Katha (1962)
7. Dakshayagnam (1962)
8. Sri Seetha Rama Kalyanam (1961)
9. Deepavali (1960)
10. Sahasra Siracheda Apoorva Chinthamani (1960)
11. Sri Venkateswara Mahatyam (1960)
12. Krishna Leelalu (1959)
13. Pelli Sandadi (1959)
14. Mangalya Balam (1958)
15. Dongallo Dora (1957)
16. Panduranga Mahatyam (1957)
17. Preme Daivam (1957)
18. Sarangadhara (1957)
19. Bhakta Markandeya (1956)
20. Bhale Ramudu (1956)
21. Jayam Manade (1956)
22. Anarkali (1955)
23. Vadina Gari Gajulu (1955)
24. Vaddante Dabbu (1954)
25. Oka Talli Pillalu (1953)
26. Palletooru (1952)
27. Pelli Chesi Choodu (1952)
28. Patala Bhairavi (1951)
29. Navvite Navaratnalu (1951)
30. Paramanandayya Shishyula Katha (1950)
