Since Anjali keeps tab on all the important events in the world, I told her she is talented enough to lead the country. ‘What about articles and novels?’, the answer was ‘yes’ again. I called her outside the studio and asked her, ‘Do you read newspapers?’, to which she answered ‘Yes’. “On our first day at the studio, she gave me specific details on the sounds and instruments she wants on the background track.

“(Director) Anjali Menon is a tough task-master and would not give up until she gets exactly what she wants,” he says. He recounts an incident that happened during the re-recording on Bangalore Days. But Gopi has his own ways of working around those, too. But some are particular about their choices and have strong preferences. “I have closely studied the reactions of people to scenes and to the music played to an image.” Most directors, he says, respect his experience and talent, and do not usually interfere with his work.

“A movie calls for a certain kind of music and the score flows from the theme,” he says. Has politics got anything to do with it? He smiled and quipped, “It is like asking whether human beings have hunger.” With over 22 years of experience to ride on, Gopi has scored for films that are classified as ‘mass and ‘class’. “It’s curious how the state jury overlooked my contributions and the ones in Delhi, with many more candidates to choose from, found it commendable”.

The award was a welcome surprise as the state award had given him the slip. The success is a second helping of sweetness for Gopi, who is on cloud nine after his unexpected National Award win for the background score for 1983. “Moideen is one movie where I immersed myself passionately and it is one of my best works to date,” says the music director. But, by interesting turns of fate, the work on the background score came to Gopi. The director, R S Vimal, approached Gopi with the project first, but since he was busy with the work on Bangalore Days, he had to forego the chance. ‘Mukkathe Penne’ was not a song that was initially on the soundtrack, and was born while the background music was being scored, that too in ten minutes.” I have not been inundated with such praise since Ustad Hotel. “The movie had three music directors and, initially, the public failed to see my contribution. Gopi Sunder, who scored the most popular song in the movie, Ennu Ninte Moideen, and its background music, is a happy man with all the adulation coming his way. Last week, Malayali romance took a trip to Mukkam, stretched itself on the banks of the river Iruvazhinji, and drenched in the undying love of Kanchana Mala and Moideen, with the song ‘Mukkathe Penne’ presiding over the rendezvous.

Ennu ninte moideen mukkathe penne