In an exclusive conversation with TNIE, not more than four months ago, legendary composer and singer, Deva, while promoting his film with director Suresh Krissna, Charukesi, said, “Even if Suresh Krissna sir calls me again for a new film tomorrow, and even if it is 2 AM, I would sit down to compose.” Such was his passion for the craft. The veteran breathed his last on October 17, at the age of 75, due to age-related issues.
Born Devanesan Chokkalingam on November 20, 1950, Deva’s reign in the film industry lasted more than 36 years, with his work spanning across 400 films and winning him the Tamil Nadu State Film Award for Best Music Director and Kalaimamani Awards. After entering the film industry in 1986 with Maattukara Mannaru, Deva reached his zenith during the 90s and early 2000s. He worked with every top star of the era, including Rajinikanth, Kamal Haasan, Vijayakanth, Prabhu Deva, Karthik, Sarathkumar, Vijay, Ajith, and more. And he didn’t just work with them; Deva gave them all some of the biggest hits of their careers. Baashha, Annamalai, Arunachalam, Pammal K Sambandam, Avvai Shanmugi, Panchatanthiram, Suriyan, Gokulathil Seethai, En Aasai Machan, Deva, Eazhaiyin Sirippil, Aasai, Kalloori Vaasal, Kadhal Kottai, Once More, Nerukku Ner, Vaalee, Minsara Kanna, Mugavaree, Kushi, and Citizen are but a few titles in a long line of celebrated soundtracks.
The incredible thing about Deva is that the awe-inspiring body of work mentioned above is still just a small part of his legacy. Exhibit A: the affectionate title for the composer, Thenisai Thendral, was earned even before he entered the film industry. The legendary composer MS Viswanathan conferred the title upon Deva in 1985 at a felicitation event. And that happened because Deva had composed over 300 album songs before he even set foot inside cinema, which brings us to the most famous aspect of the composer. The force with which Deva infused gaana into Tamil cinema and popularised it as a mainstream genre is a case study on its own. Once relegated to the streets of North Chennai as simple working-class music, gaana became the rhythm and soul of Tamil cinema. Perhaps no other music composer in Tamil cinema is so inextricably tied to one single genre as Deva is to gaana. From ‘Kathadikkuthu Kathadikkuthu’, ‘Udhayam Theatre La’, to ‘Vaadi Potta Pulla Veliya’, ‘Thirupathi Elumalai’, and ‘Kathadikudhu Kathadikudhu’, Deva’s gaana playlist alone has carved out a legacy on its own. The prevalence of gaana songs in contemporary Tamil cinema music and the now-thriving independent Tamil music can be directly attributed to Deva’s groundbreaking work in the genre, without the slightest embellishment. And yet, even as he is happy with the accolades and the association with gaana music, Deva has confessed to having a soft corner for melodies. With tracks like ‘Mudhan Mudhalil Parthen’, ‘Kaathala Kaathala’, ‘Mottu Ondru’, ‘Oodha Oodha’, and more, Deva time and again proved that he is more than just a master of one single genre. In sharp contrast to his soft melodies are his numerous background scores, which set the screens on fire. Deva’s theme music for Annamalai, which was inspired by the James Bond theme music, has become incredibly iconic to the point where it has become a mandatory ritual to be played before every single Rajinikanth film, no matter who has composed the music for it. The legendary theme music reverberates in the hallowed halls of Tamil cinema at this moment as Rajinikanth’s Jailer 2 abides by the three-decade ritual and opens with Deva’s music.
Speaking of inspirations, Deva became the first casualty of the age of the internet, with people figuring out how some of his songs were “inspired” by several international tracks. While the internet would go on to reveal other such creators as well, from composers to directors, Deva became the centre of that topic because he did not shy away from that question, and he never ignored it by hiding behind a facade of outrage, nor did he disrespect anyone in the process. Several composers and creators would later come to his defence, explaining how the pressures of the industry would sometimes push you to take up the ‘references’ the directors or a producer might come to you with. Perhaps it was this understanding or Deva’s well-known friendly personality, or just good old camaraderie; several next-gen composers clearly loved the man and worked with him at every turn they could. From AR Rahman to Anirudh, GV Prakash Kumar, Sean Roldan, Santhosh Narayanan, and Sam CS, the number of composers who wanted Deva to grace their tunes with his vocals is its own iconic line-up.
Even his last film as a composer, Charukesi, was a project he leapt at like a child towards a toy because he admitted to having long wanted to do an out-and-out carnatic soundtrack. Inspired by the rise in live concerts, Deva went on a whirlwind tour of concerts just this year, travelling from Chennai to Coimbatore, Johor Bahru, and then to London. Beyond the image of being the godfather of gaana, the king of melodies, the breaker of several conventions and stereotypes, Deva, at the core of his being, always identified himself as the lover of music. His unfading will to plunge himself into work, even up until his final years, should not be viewed through a simplistic term like ‘workaholic’. The spirit with which he moved and let the tunes move through him could only be described by his own words. And these were also his words to the next generation. He passed on his wisdom and explained his central philosophy, all in one single line. “Every job has its own complexities and requires hard work, but the secret ingredient to doing a good job is love. Whatever you do, do it with love. Ishta pattu kashta padanum.”
