Leela: Exquisite songbird with a mellifluous voice

Porayathu Leela known to millions of rasikas as P. Leela passed away around midnight on Sunday October 30th in Chennai. The 71 year old South Indian songbird was lying in a hospital bed of Sri Ramachandra Medical Centre for nearly a month . She had fallen in the bathroom at her house in Nandambakkam Defence colony , shared for decades , with her sister and family. Diagnosis after admission revealed a blood clot in her brain.Surgery was performed. Complications set in when she got pneumonia.Being an asthma patient her condition deteriorated. She was in a coma at the time of death and so passed away peacefully and painlessly.

The present generation of Thamizh filmsong fans may have never heard her or heard of her. She was the uncrowned queen of song in the realm of Thamizh films during the fifties. P. Leela has sung about 5000 film songs in languages such as Thamizh, Malayalam, Telungu , Kannadam and even Sinhala.. Her Thamizh renditions may number around thousand. She was a household name in the fifties and early sixties.

My mother was her ardent fan. Her favourite Thamizh filmsong “jodi” was the Ghantasala - Leela duo. She would often say that both voices were made for each other. When I was growing up on a diet of films and filmsongs singers like Ghantasala, Leela, AM Rajah, Jikki, Chidambaram Jeyaraman, ML Vasanthakumari, Tiruchi Loganathan etc were on the decline in Thamizh films. This was not due to any shortcoming on their part. In fact they were at their peak then. Unfortunately they were not given opportunities to sing in Thamizh movies.

This was due to four reasons. One was that film music composers and film directors began avoiding them for various reasons. Another was that the old custom of having a variety of singers render playback was giving way to a practice of having two or three only per film. Thirdly the number of songs in a film too was being progressively reduced .Finally leading actors and actresses began insisting that only TM Soundararajan and P. Susheela should sing for them.

As a result singers like Leela got few chances in Thamizh after the early sixties. So the new Thamizh films that I saw in those years did not have her songs. But there was always Radio Ceylon. Also I became a film afficianado and sought out old Thamizh movies. Leela was featured in many of those.

Though my childhood and early teens was the era of TMS, Susheela, PB Sreenivas,Seergali Govindarajan, S. Janaki and LR Eeswari etc it was etched in my consciousness that Leela was the best of them all.. This was due to a rather funny reason. The early sixties saw the Leela stores cum press owner Sinnathurai bringing out an illustrated Leela calendar in Ceylon as Sri Lanka was known then..Radio advertisements were used greatly to market the new product. They used the similarity of the Leela name for that.

Most ads would have a line from a popular song by Leela like “Engume Aanandham” or “Konchum Salangai Oli Kettu”. Thereafter a voice would say that just like Leela’s songs the Leela calendar too was the best or that like a song by Leela the namesake calendar too gave pleasure. This made an indelible impression that Leela was the best singer at that impressionable age. Of course in later years one listened to more and more old songs and realised that all those nightingales of yesteryear were unique in their own way.

As for Leela her voice and singing style to me is inimitable. It was a sweet amalgam of at least five of her contemporaries. ML Vasanthakumari, Jikki, (Radha) Jeyalakshmi, TS Bhagavathy and AP Komala. It was like a veritable “Panchamirtham”. Her resonant voice rang out loud and clear in a solo, duet or chorus singing(Koshti Ganam)

Former filmstar and present Tamil Nadu chief minister Jayalalitha Jayaram summed Leela up aptly in her condolence message.Jayalalitha described Leela as “one of the greatest vocal musicians of India, who made a name for herself by singing exquisite songs in her mellifluous voice in Malayalam, Tamil and Telugu both for the film industry, as well as in Carnatic music.”

The Chief minister who sang herself in some films was a Leela fan. Jayalalitha was CM when Leela got the Tamil Nadu Government’s “Kalaimaamani” award in 1992. When Leela went on stage Jayalalitha observed “Ithu eppavo ungalukku kuduthirukkanum. Enga Amma unga rasikai. Naanum unga rasikai”. (This award should have been given you a long time ago. My mother (actress Sandhya) was your fan. I am also your fan) It speaks volumes about the pitiable plight of Tamil Nadu awards that Leela was bestowed “Kalaimaamani” only in 1992 whereas many lightweights were honoured years before.

Porayathu Leela was born in Chithoor near Palghat, Kerala in 1934.. Her early years were in Kochi where her father Kunchan Menon was a school master. He was devoted to Carnatic music even encouraging Leela’s mother Meenakshi Kutti to learn Carnatic after marriage. The father recognized the musical ability and voice range of his daughter at a very early age. He arranged for music lessons with Mani Bhagavathar the uncle of Carnatic vidwan TV Gopalakrishnan and later Vadakkancheri Rama Bhagavathar . Leela as a child was made to practice alone between 4 - 6 am daily.

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. Rama Bhagavathar moved to Madras. Realising his daughters potential needed a change of place, Kunchan Menon resigned his job in 1944 and migrated to Madras. Leela continued her music tutelage under Rama Bhagavathar along with Pathamadai Krishna Aiyar and Maruthuvakkudi Rajagopal Aiyer in Madras. The father and daughter were also present for all kacheris by the masters like Ariyakkudi, Semmangudi, GNB, MS, DK Pattammal etc.

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 GN 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.

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.

The music composer Pathmanabha Shastri heard Leela sing and was impressed. An offer was made. Menon and Leela were reluctant first. They were sceptical about the new medium. Finally they agreed. Leela made her entry into playback singing for cinema in 1948. It was the Thamizh film “Kankanam” starring KR Ramasamy and Menaka. Leela sat on the floor and sang into the mike. Four of her songs were recorded for the film. She never looked back after that.

1949 was the turning point year in her career. She sang in “Pilhanan” for which Padmanabha composed music. She also began music lessons under musical prodigy CR Subbaraman 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 KV Janaki and “Oridanthanile” for “Velaikkari” were hits. Both were featured on dances by the Travancore sisters Lalitha and Padmini. A singing star was born.

1949 proved to be a milestone for Leela’s playback singing career in Telugu Cinema also.Her debut in Telugu was in `Mana Desam’ The second film Mirzapuram Raja’s `Keelu Gurram’ was a super hit and then came the movie which catapulted her to fame, K. V. Reddi’s `Gunasundari Katha,’ in which Leela sang all the songs for the heroine Sriranjani Junior in the company of Ghantashala who composed the music and also sang a few of the songs. Most of the songs rendered by Leela in this film and the Tamil remake “Gunasundhari” (1955) became hits and are remembered to this day. In the 1950s Leela began to sing in all South Indian films.

It was also Subbaraman 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 ML 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. Incidently MLV 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 VS 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 AM Raja were ” Vaarayo Vennilaave ” in ” Missiamma”, “odameethirunthe” in “Assai Magan” and “Naan seitha Poojapalam” in “Gunasundari”. Some of her memorable numbers with 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” )Thangappathumai) and “Nilave Nee Intha ” (Pattinathar).

Seergali 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 Seergali 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. Like Dushyanthan in Kalidas’s epic forgetting Sakunthalai the Tamil film world too had forgotten Leela.

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 similiar 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 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 SM Subbaia Naidu who also appreciated Leela’s work greatly.

It was Subbia 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 Bharats 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 death bed. 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 Ganesh 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 - 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 Viswanathan - 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 “inbamayam” duet with MLV in “Manamagal” that made Leela’s name. There have been other duets with others too like “vetkamaga irukkuthadi” - Soolamangalam Rajalakshmi in “Paar Magakey 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 Ganesans affection. There is this magnificient dance competition between both in the presence of the hero and villain 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 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 NT Rama Rao and Anjali Devi. The duet was a marathon 12 minute number “Jegam Pugalum Punniya Kathai Ramanin Kasthaiye, 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, TR Rajakumari, Rajasulosana, Vijayakumari and even Saroja Devi. It is felt that her voice suited Padmini and Savithri best. She has also sung for composers like CR Subbaraman, Ghantasala, KV Mahadevan, SM Subbiah Naidu, Rajeswara Rao, C, Ramachandra , G. Ramanathan and Viswanathan -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 MK Thiyagaraja 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 Bhagavather. Incidently Leela is one of the few songstresses to sing with music composer KV Mahadevan. It happened accidently 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 ML 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”.

Apart from Thamizh cinema even the orthodox music societies of Tamil Nadu ignored Leela. 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 .

Her marriage to a lawyer was a failure. She lived with her sister and family in a 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 Kuruvayoorappan and others on Mookambiga and the recital of Narayaneeyam were well received. The LP records and audio cassettes on Kuruvayoor 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.

The Thamizh tinsel world and snobbish sabhas may have rejected Leela but thousands of her fans never forgot her. 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”.

Songs by P.Leela