The Enduring Legacy of SP Venkatesh in Malayalam Cinema
For an entire generation of Malayalis who grew up during the 1980s and 1990s, the name SP Venkatesh evokes profound nostalgia and longing. His signature musical compositions possess a unique power to instantly transport listeners back to cherished memories of childhood and youth. This emotional connection is perfectly encapsulated in the iconic hit 'Ormakal, Ormakal, Odakuzhaloothi' from the film Spadikam (1995), which saw a nostalgic 4K re-release in 2023, reintroducing his genius to new audiences.
A Tamilian Conquering Malayali Hearts
To those unfamiliar with his story, Venkatesh's deep bond with Malayalam cinema might seem surprising. He was, in every outward appearance, a true-blue Tamilian, often seen with his forehead smeared with sacred ash. His music was not inherently coded with traditional Malayali elements. Yet, much like legendary composers Salil Chowdhury and Shyam before him, Venkatesh masterfully conquered Malayali sensibilities through his sublime and universally appealing melodies.
A Meteoric Rise in Malayalam Film Industry
Venkatesh's ascent in Malayalam cinema was remarkably swift. While he reached his creative peak approximately five years after his debut, initial success arrived almost immediately. His big break came with scenarist Dennis Joseph, who recognized Venkatesh's potential while he was working as an assistant to composer Shyam. This led to Venkatesh seamlessly completing the re-recording for Nirakkoottu (1985) and later substituting for Shyam in Shyama (1986).
The major commercial breakthrough occurred with Thampi Kannanthanam's blockbuster Rajavinte Makan in 1986. This film, which catapulted actor Mohanlal to superstardom and later achieved cult status, featured three unforgettable Venkatesh compositions: 'Devangane Devasundari,' 'Padam Njan Aa Ganam,' and 'Vinnile Gandharva Veenakal.' Remarkably, according to composer Berny who assisted with arrangements, these songs were recorded in a matter of hours. Despite his growing fame, Venkatesh maintained a humble demeanor, continuing to assist his mentor Shyam without any sense of professional rivalry.
Navigating Peaks and Valleys
Following successful collaborations on films like Vazhiyorakkazhchakal and Bhoomiyile Rajakkanmar in 1987, Venkatesh found himself somewhat confined to a familiar circle of filmmakers. Apart from notable background scores and the standout Nair Saab (1989) for director Joshy, consistent major hits eluded him until Kannanthanam once again provided a crucial opportunity with Indrajalam in 1990.
This middling phase concluded decisively with Priyadarshan's classic comedy Kilukkam in 1991. Alongside Thudarkkadha, whose songs 'Sararanthal Ponnum Poovum' and 'Manikyakuyile Nee' became massive chartbusters, Kilukkam transformed Venkatesh's fortunes overnight. He emerged as the busiest and most sought-after music composer in Malayalam cinema for the next five years. The film's background score was equally celebrated, and playback singer M G Sreekumar won a Kerala State Film Award for his magnificent rendition.
The Prolific Golden Years
The year 1992 marked the beginning of an exceptionally prolific period. Venkatesh delivered a rapid succession of hits including 'Doore Doore' (Nadodi), 'Shanthamee Rathriyil' (Johnnie Walker), 'Kilukilukkam Cheppe' (Priyapetta Kukku), and 'Konjum Kuyile' (Cheppadividya). His creative peak arrived in 1993, with memorable compositions for a diverse array of films such as Valsalyam, Dhruvam (featuring 'Thumbi Penne'), Journalist, Gandharvam, and Pravachakan.
Recognition followed with Kerala State Film Awards for his work on Janam (featuring the revolutionary yet underrated gem 'Rakthapushpam') and Paithrukam. The momentum continued powerfully into 1994 and 1995 with landmark films like Spadikam, Minnaram, and Sopanam, the latter earning singer K S Chithra a state award. Films like Manthrikam, Highway, and Mannar Mathayi Speaking further consolidated his position at the pinnacle of the industry.
A Mysterious Decline and Enduring Magic
Although Venkatesh scored significant hits in 1996 and 1997 with films like Hitler and Superman, his standing in Malayalam cinema began to decline by 1998. While he remained in demand for his exceptional background scores, his last widely acknowledged classic composition was 'Mizhiyithalil' from Onnaman in 2002, which effectively marked the end of his Malayalam journey.
The reason for Venkatesh's disappearance from the Malayalam film scene for over two decades remains an intriguing mystery. Despite technological and stylistic shifts in the industry, he was still under 50 years old at the time. While some critics accused him of musical repetition and a reluctance to reinvent, his concurrent success in Bengali and other regional languages during this period suggests a different narrative, even if he never quite replicated his phenomenal Malayalam run.
The Hallmarks of a Musical Genius
Venkatesh was renowned for his incredible speed and efficiency, often composing complex tunes in a jiffy, much to the astonishment of legendary lyricists like ONV Kurup and P Bhaskaran. Directors like Priyadarshan repeatedly entrusted him with critical background scores for films such as Thenmavin Kombath, Midhunam (1993), and Chandralekha (1997), where his re-recording work significantly elevated the final cinematic product.
His score for the Hindi blockbuster Virasat (1997), a remake of Thevar Magan, not only matched the brilliance of Illayaraja's original score but is considered by many connoisseurs to be perhaps even superior. Similarly, his masterful re-recording made a monumental difference to director IV Sasi's epic Devasuram (1993).
The intricate orchestrations of Venkatesh, with exquisite musical pieces often hidden between the pallavi and anupallavi in songs like 'Poomariyil' (Johnnie Walker), 'Kannadi Puzhayude' (Bharya), or 'Thamarakannanurangenam,' continue to amaze music lovers and scholars. SP Venkatesh may have left the Malayalam cinema landscape sooner than fans hoped, but his vast musical legacy endures powerfully, continuing to cast its magical and timeless spell across multiple generations of listeners.
