However, with the demise of Vayalar, there was no compelling standards or parameters to which film songs could remain loyal to. Standards deteriorated. There were attempts to cover the defects with loud music, and boisterous sounds.
Now, what is so great about these songs? They convey a most elevated feel to the human psyche. In feudal Malayalam, everything has to remain in various social and mental levels. Starting from that of extreme lowliness to the heights of divine attainments. These songs generally lend a very ennobled aura to the human beings. There is the chakravartinis, salabanjigagas, rajashilpis, ajantha shilpams, anthapurams, agraharams, rathisukasares, mayalokams, manoharinis, anuraghapaurnamis and much else. Then there are the thenivarikkakaad, and such other exotic sounding places.
However, the reality of Kerala life is much more mundane. It has no connection with the sweet dreamlike world depicted in the songs, which more or less make use of Sanskrit words and usages with gay abandon. The reality of communication in Kerala is rough, and tough, and possibly uncouth to those one does not respect or revere. Here everything comes with a string of respect versus pejorative codes connected to financial and social status; and also to age (currently).
About the author
Vayalar RamaVarma, G Devarajan, P Bhaskaran, Sreekumaran Thampi, Yousuf Ali Kechery &c.