Till now there are no dialogues, but now let’s see what Rama thinks of Sita as Sita hides herself. Bapu inserts this scene to confirm and attest that without Sita there is no Rama. Maestro pauses the music as Rama arrives (4:00-4:08). Just when he utters the word ‘Sita’ and ‘PraanEshwari’ Maestro starts playing a stream of violins accentuated by cellos as the melody picks up with oboe (what a beauty!). You can also hear another set of wind instruments feebly in your right ear (from 4:21-4:40) as a counter-melody to the main oboe melody. The main melody of oboe stands as a symbol of Rama’s emotions, and the feeble flute is for Sita (as Sita is standing little far) as Rama is pouring out his guilt. I can definitely say no one could have added that second layer of feeble oboe and symbolically address that Sita is listening but she is little far away. If you closely hear the melody of the the main oboe and the feeble one, we can hear that it was played in a question-answer mode as Sita silently accepts his situation. This is what we call narrative integrity and finest attention to details. This melody if extrapolated will blossom into a beautiful new song. No one has such a calibre of Maestro when it comes to score like this. He has scored all this knowing 100% that no one will even hear these details, they why? I will leave it to you to answer, if we are really doing any justice to this living legend and genius.
Melody takes different route from 4:44-5:14 as Rama pours his heart out to Sita that even though he abandoned her, she never left him (now in the form of statue). Maestro plunges himself in western classical music ocean but brings out the indian classical idioms as pearls out in the form of a serene melody starting with sarangi backed up by violins (4:44). After he says ‘neevE’ (I always remember you and you are the only one I see all the time) hear the amount of layering starting with sarangi followed by violins, oboe, flute all join together to give a symphony, but the melody and the heart is purely Indian. Maestro creates a bright melody (4:59-5:07) to support Rama’s bright eyes and his true love towards Sita. When Rama describes her beauty and the aroma (5:08-5:13), he underlines with a solo violin, one reason to show Rama’s loneliness without her, second reason is this is purely personal which is know only to them which Maestro symbolically describes using a solo violin.
Just when Rama kindly recalls her beauty and aroma, he also immediately feels that exact smell of her and was so surprised by that smell (5:14). Sita was there a moment ago which Rama didn’t know. Maestro uses a tremolo of violins to indicate his suspicion. You can also hear pizzicato strings and bell sounds along with violins to increase the tension and anxiety in Rama to see Sita. He questions himself if Sita had really come there and takes a closer look at the statue and sees the ‘chandravanka’ (moon dot on her forehead which only he used to decorate her). His suspicion grew large as he sees ‘chandravanka’. Since that decoration is a symbol of auspiciousness Maestro punches in a divine veena (5:26-5:41) with a fresh melody. Rama questions himself and confirms that none other than Sita knows about this and he was almost sure that Sita was here and starts searching her, but he could not believe if it’s true. Maestro again brings back the violin tremolo (5:42) to substantiate his suspicion and gradually adds groups of violins and cellos as the camera pans down and Rama goes all over the room searching for her and Sita hides from him. What started as a simple violin tremolo expands into a symphony and peaks up into a WCM string orchestra and finally finishes up in a crescendo and falls down(5:14-6:18) as Rama breaks down this time. One minute of breath-taking music. Oh my God I could not believe what I heard just now, did you? I am completely lost with words on how to describe the awe-inspiring stuff like this. The last 2 1/2 minutes was a breath-taking musical shower bestowed upon us by Maestro, but how many of us were lucky to drench in that?
It’s not over yet. Hear the music from 6:22-7:30. Third melody of the night. As Rama falls down, Sita comes to solace him by gently caressing his forehead (6:22). Maestro starts a tremolo for the third time, but we can hear the difference in the tone compared to the earlier tremolos. Tremolo denotes Rama having a ‘butterfly-in-stomach’ effect as Rama is now completely feels at home by Sita’s pleasant touch. I also hear female choir, but is it that violins sound like female choir? So beautiful to hear. Even when Rama is unable to regain full consciousness, he dreams that Sita is still with him and she is pleasantly caressing his forehead. He again starts describing her touch and the aroma. Maestro develops the melody by keeping the tremolo as the base and adds flute, oboe and even guitar chords as we are treated by some celestial melody. Long flute passes followed by short flute phrases in staccato with cellos giving the chords all form chamber music in the palace of Ayodhya. What a harmony of instruments and how it expands beautifully one after another, one over another, just like an endless music. I could even feel the holy angels playing the melody under the direction of musical God, as Rama soar and sore. We are into a musical world where there is no limit and there is no comeback.
As Rama tries to hold her hand Sita gasps away. Rama again searches her and thinks (really) that he is being teased by Sita deservingly and asks her to forgive him for all his mistakes.Just when Rama asks Sita to forgive him (@7:22), Maestro soars high with some exquisite violins which easily melts our hearts, like Sita’s. All the doubts of Sita are cleared now. Music slowly fades (diminuendo) and we again hear a whirlwind sound (7:31-755) as Sita’s soul goes back to her ashram with the help of Valmiki to regain her bodily consciousness. What a beautiful scene and music we have witnessed! Only once in a lifetime such music is gifted to hear. Please go back once more to 4:09 and try to play the scene again by muting the music (in your head) and feel the difference without the music, correct music that is.
For next 1 and a 1/2 minutes there is no music (7:56-9:18), except we hear the sounds of water fall and waves of the ocean at the background. We can feel the silence after the musical storm. Maestro intends to keep silence because both for the scene and the audience there is nothing to underline or project, as both are clear now. This is when Vaalmiki starts by asking Sita if all her doubts were cleared for which Sita acknowledges. Valmiki narrates another incident in Lanka after the war was over. Rama was sitting on the shore and realized that someone is approaching him. Having realized it as a woman he lifts his legs so that her shadow does not fall on him. Vaalmiki explains him that he is that pure. It was Mandodhari who was approaching Rama to see who conquered her husband who was a staunch Shiva devotee. After seeing that Rama does not want other woman’s shadow to fall on him, she was thoroughly impressed and praises Rama that her husband has been defeated by a deserving person and a human.
After hearing this, Sita felt more guilty as she was suspicious about her own husband Rama who is well known for truth and purity. That’s when Maestro again starts playing a meloncholy using sarangi (9:19-10:28) as Sita expresses her guilt to Vaalmiki. The melody will drive you to deep tears. Vaalmiki consoles her that since she realized her fault, there is nothing to worry and recommends her to perform a Lalitha Sahasranaamam as a token of relief (parigaaram).
For this epic 10:30 minute scene Maestro would have scanned it only once to note the details and intricacies and would have wrote the score in a flash. Writing is not a big thing, writing correctly is the biggest thing. He never rewrites or corrects his score like Rama’s arrow; it does not come back, once it flies out of the bow it reaches its target. For this kind of film on Rama, who else other than Maestro can be called to score and who else could have done the justice the first time, every time. Maestro’s music what we hear is scored only once straight from his brain directly to our hearts, which is synonymous with Rama’s characteristic as below.
With this I conclude this epic episode of two parts with this powerful one-liner which denotes the characteristic of Lord Rama.
‘okE maata okE baanam okE pathni ithE sri rama vEdham‘
*All timings are accurate to the audio clip posted yesterday