
Our father gave unforgettable music to the industry; It's a privilege to enter kannada with Ayyana Mane; L.V. Vaidyanathan's sons Muthu and Ganesh on continuing their legacy
The hauntingly beautiful theme of Malgudi Days continues to live rent-free in the hearts of millions, and behind that timeless melody was the genius of the late music maestro L. Vaidyanathan. Decades later, his sons, L.V. Muthu and Ganesh, are not just preserving their father's musical legacy but are also giving it a fresh lease of life in the digital era.
In a fitting tribute, the duo has composed the music for Ayyana Mane, the first original Kannada web series by a major OTT platform. For Ganesh, this debut is emotional and momentous. 'It's a privilege to enter the Kannada industry with Ayyana Mane. Our father gave some unforgettable music to the industry in his time, and we're deeply humbled to be walking the path he laid for us,' Ganesh told ETimes.
Talking about the composition style, Ganesh shared that the score of Ayyana Mane draws from a 'golden period' of Indian music, live instruments and rich traditional sounds dominate the soundtrack. 'We've used a blend of violin, flute, and nadaswaram to create an authentic atmosphere. There's a certain eeriness we wanted to capture in the story, and we've balanced it with deep emotional layers using the veena and violin. The makers have shot the visuals so brilliantly, it was inspiring to match that storytelling through music,' he added.
The climax, in particular, was a creatively demanding space for the brothers.
'We love the climax a lot. It was one of the most challenging parts to compose because of the intense emotional graph. Every note had to echo the depth of the scene. We had to ensure the musical theme flowed seamlessly and enhanced the emotions. It's one of those moments where music truly speaks louder than words,' Ganesh reflected.
For the sons of L. Vaidyanathan, Ayyana Mane is more than just a project, it's a bridge between eras. 'We want to honor our father's legacy and also carve our niche in the Kannada industry. This is just the beginning, and we're excited for the journey ahead,' Ganesh signed off.
With such passion and pedigree, Ayyana Mane promises not just gripping storytelling but a soul-stirring musical experience.

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Mint
18 minutes ago
- Mint
Who will inherit Amitabh and Jaya Bachchan's wealth, Abhishek or Shweta? The star couple says...
Amitabh and Jaya Bachchan, the iconic star couple, have reportedly made a major decision about who will inherit their wealth – son Abhishek Bachchan or daughter Shweta Bachchan Nanda. Amitabh and Jaya tied the knot on 3 June 1973 and have recently celebrated their 52nd wedding anniversary. The power couple, who have long been icons of Indian cinema, are believed to have outlined a clear succession plan for their family wealth to ensure a smooth transition for future generations. In an old interview with Rediff, Amitabh Bachchan revealed that he and Jaya have a clear stance on how their assets will be divided among their children. BigB shared that the couple wants to divide their assets'equally' between their son and daughter. 'When I die, whatever little I have will be divided equally between my son and daughter. There will be no difference,' the veteran actor said, adding that they had decided this years ago Addressing daughter Shweta's share in his property, Amitabh Bachchan said that he believes that she has equal rights as Abhishek, despite the norms of Indian society. 'Everyone says that a girl is someone else's wealth. She goes to her husband's house, but in my eyes, she is my daughter, who has equal rights as Abhishek,' he said. In 2023, the veteran actors gifted Shweta their lavish Juhu bungalow, Prateeksha, worth at least ₹ 50 crore. According to the election affidavit Jaya Bachchan filed in February 2024, the Rajya Sabha MP's net worth was ₹ 1.63 crore for 2022-23. The affidavit also mentioned that her husband, Amitabh Bachchan's net worth was ₹ 273.74 crore for the same year. The Bachchan couple's combined movable property has been valued at ₹ 849.11 crore, while the immovable property amounts to ₹ 729.77 crore. This means their combined assets are over ₹ 1,578 crore. Meanwhile, according to the Hurun India Rich List 2024, Amitabh Bachchan and his family's assets are valued at ₹ 1,600 crore.


Mint
24 minutes ago
- Mint
How Dilip Kumar let it all out on the screen
By the time Indian cinema entered its classical phase in the late 1940s, Dilip Kumar had completed his self-discovery as an actor to a large extent. The basic features of his hero were earmarked: an introvert who had been wronged, takes it to his heart and generates a complete catharsis of a whole range of emotions. He portrayed the search for an ideal self—one proclaiming true emancipation through love but desires it to be materialized only in a just society; and as that is not possible in actual reality, the self has to perish to validate this idealized conviction. The actor, in fact, represented the popular novelist Sarat Chandra Chattopadhyay's model of a vulnerable, self-destructing hero in Bengali literature. Several of his films depicted Dilip Kumar as an unrequited lover seeking a kind of liberation from the unjust world through a prolonged internalized suffering (often ending in death) as seen in S.U. Sunny's Mela, S.K. Ojha's Hulchul (1951), Nitin Bose's Deedar and Gunga Jumna (1961), Ram Daryani's Tarana (1951), Bimal Roy's Devdas, S.U. Sunny's Uran Khatola (1955), Hrishikesh Mukherjee's Musafir (1957) and K. Asif's Mughal-e-Azam (1960). In contrast, he, during this phase, was also seen in somewhat morbid anti-hero characters such as in Shaheed Latif's Arzoo (1950), S.U. Sunny's Babul, Mehboob Khan's Andaz and Amar, and R.C. Talwar's Sangdil (1952). Explaining the roles Dilip Kumar played in most of his films right through the 1950s, Nikhat Kazmi says: '[He] always opted for internal emigration as a course of action. This was a great escape. A voyage into the unknown, which is undertaken not because one is enticed, but because one is disgusted by something. In his iconoclasm, he represented a rebellion that was akin to that of the Bohemians of Baudelaire's age. He was like the group of desperadoes who tried to break away from the nice and easy positivism of bourgeois society. Charles Baudelaire, Verlaine, Arthur Rimbaud, Paul Gauguin, Van Gogh were the tramps, the heavy drinkers and the unrivalled artists who chose to destroy everything in themselves that may be of no use to society, who raged against themselves too. For them and for the hero as immortalized by Dilip Kumar, happiness itself was something that is banal and vulgar. In a letter of 1845, addressed to a friend, Baudelaire writes: 'You are a happy man, I feel sorry for you, Sir, for being happy so easily. A man must have sunk low to consider himself happy.' However, Dilip Kumar never wanted to sink so low. On the contrary, he doggedly sought nobility in sorrow and imbued it with a romanticism that lingers even today." Remember his famous dialogue from Devdas: Kaun kambakat hai jo bardasht karne ke liye peeta hai, main to peeta hun ki bas saans ley sakun (Which wretched person drinks to tolerate, I drink so that I can at least take a breath.) No wonder, the world of acting often ushers performers into the limelight, where performance anxiety can run high. The stakes are elevated, and heart rate may surge. Surprisingly, sometimes this stress can become a catalyst for improved performance, embracing the concept of positive stress in challenging situations. However, a more complex challenge arises when method actors choose to inhabit their characters beyond the stage or camera's lens. As they tap into past emotional experiences, whether joyful or traumatic, unresolved emotions can linger. This emotional baggage may manifest as heightened emotional instability, intensified anxiety, fear or even a sense of falsehood, accompanied by bouts of acute sleep deprivation. Such emotional turbulence can pave the way for psychological distress, leading to emotional fatigue. According to experts, this emotional fatigue often arises when actors create dissonance between their actions and authentic feelings. Research indicates that when method acting is employed judiciously and with proper emotional regulation, it need not lead to excessive fatigue. The key lies in striking a balance between immersion in the character and the ability to resurface, ensuring a harmonious coexistence of art and emotional well-being. Dilip Kumar's profound commitment to his roles and his deep involvement with the character he portrayed, in film after film, at that stage of his career, led to serious psychological issues, so much so that he had to consult a psychiatrist in England. The advice given was simple: switch to comic roles, which he did with aplomb and poise! His consummate performances in S.M.S. Naidu's Azaad (1959) and S.U. Sunny's Kohinoor (1960) in a carefree, jovial and jaunty manner revealed how he could move from one genre to another with remarkable ease and finesse. However, later in A. Bhim Singh's Gopi (1970) and Tapan Sinha's Bengali film Sagina Mahato (1970), Sagina in Hindi (1974) and Asit Sen's Bairaag (1976), Dilip Kumar attempted to introduce some new elements in his acting style, though not always with much success. He designed his comedy through an over-talkative, one-track mind and as an obsessed simpleton who was a victim of the circumstances, but unlike his earlier roles, he did not internalize his suffering; he responded to it with a sense of simplicity, quite the same way Raj Kapoor did in film after film. He also improvised his mannerisms spontaneously to depict the character he was portraying on the screen such as repeatedly jerking his head and clinking his eyes. However, the audience did not take to it... Dilip Kumar's second innings began with the 1981 multi-starrer Kranti by Manoj Kumar followed by Ramesh Sippy's Shakti. Eight films followed through the 1980s and another three in the 1990s, in which Dilip Kumar made his presence felt with his individualistic stamp and authority. These films included Subhash Ghai's Vidhaata (1982), Karma (1986) and Saudagar (1991), Ravi Chopra's Mazdoor (1983), and Yash Chopra's Mashaal (1984), not of course counting the 1998 Qila by Umesh Mehra, which was a complete dud... Excerpted with permission from The Man Who Became Cinema: Dilip Kumar, published by Penguin Random House India. Also read: 'Jungle Nama': A thrilling play for children reimagines the myth of Bonbibi


India Today
37 minutes ago
- India Today
Kajol praises Ajay Devgn's involvement in Maa: He's been a hands-on producer
Actor-producer Ajay Devgn has teamed up with wife Kajol for her upcoming film 'Maa', a mythological horror drama releasing in theatres on June 27. While Kajol headlines the film as a fierce mother fighting demonic forces, Ajay plays a key role behind the scenes as co-producer. In a recent interview, Kajol praised her husband and called him a 'very hands-on producer.'advertisementWhile talking to ANI, Kajol said, 'He (Ajay) is a very hands-on producer. From script to music and VFX, he has given a lot of attention to every part of this film. I think VFX is a huge part of the film. And, as they say, shooting VFX is a different he has given a lot of detail. He has been a very hands-on producer.'Directed by Vishal Furia, 'Maa' marks Kajol's first entry into the horror genre and her return to theatres after three years since her last film, 'Salaam Venky'. 'My film is releasing in theatres after a long time and I am extremely happy about actor has to reinvent himself/herself with time. I had never thought I would do a horror film, but here we are. I am extremely proud of this film. The script is quite good. I am a big mythological buff. I love our Indian mythology. We have so many stories. So, I think it was one of my favourite stories. I think we have made a very good film. Now audience will tell,' Kajol added, calling herself a fan of Indian mythology and praising the script. advertisementThe film also stars Indraneil Sengupta, Ronit Roy, Jitin Gulati, and Kherin Sharma, and showcases Kajol in a powerful role as a protective mother's journey in the dark world of mythology and the began her acting career with the 1992 film 'Bekhudi' and went on to become one of Bollywood's most beloved stars with iconic films like 'Dilwale Dulhania Le Jayenge', 'Kuch Kuch Hota Hai', and 'Kabhi Khushi Kabhie Gham'. Known for her versatility, Kajol continues to take on a range of roles across genres, including horror, action, drama, and with 'Maa', she will also be seen in 'Maharagni - Queen of Queens', an action film directed by Charan Tej Uppalapati, which reunites her with Prabhu Deva after 27 years. Most recently, she impressed audiences with her role as a police officer in Netflix's 'Do Patti'.Must Watch