There is this soul-stirring piece of background music in the second half of 'Premam'. As soon as George learns that Malar has met with an accident and will no longer be able to continue at the college, he sets off on his bike, along with his friends, to meet her. That's when this music appears for the first time in the movie. It starts with the strumming of the guitar chords while the violin takes the lead as the camera zooms in on a distraught-looking George as he rides up the hills through the mist and the rains along with his friends. The music grows to a crescendo, when a disconsolate George walks out of Malar's home unable to wrap his mind around the new and totally unexpected reality of Malar not being able to recognise him because of her post-traumatic amnesia. As George remembers for the both of them, we are shown fleeting but vivid images of their shared reality and dreams. At that point, sitting in the darkness of the theatre, mesmerised by the music and the accompanying visuals, I had this fleeting recognition of myself as an entity with none of the burdens of my dreams, goals and aspirations and none of the shackles of my doubts, fears and insecurities.. It is indescribable beyond this... The music makes a final return towards the end of the movie. It's George's and Celine's wedding reception. It's bon homie/camaraderie music playing in the background. Until Malar enters the scene to George's (and our) surprise! Suddenly, it's The Music again! Again, it starts with the guitar (which plays right through) but instead of violin, harmonica takes the lead. The music works itself up while we watch a surprised George and a pleasant but detached Malar, who seems to be just accompanying her husband, a mutual friend. As they return from the reception, the husband asks Malar, "Solliyirukkalaame?", to which she replies, "Ethukku?!? Avan santhoshamaa thaan irukkaam" - indicating she now remembers everything between her and George - all the stolen glances, the sweet nothings and all the could-have-beens.. And as Malar exits, fittingly, The Music too dies down. Later, I was wondering how could music director Rajesh Murugesan come up with such an enchanting tune - was it this sweet but tragic love story which enabled him to conjure up this music? - or was this tune always already there, fully formed, waiting for Malar's and George's story to be told onscreen? All I know is that this piece of heavenly music, all by itself, added a further thousand pages to this very short (but sweet) love story.
