I think all the songs from Triveni were of fabulous beauty and splendour. Since I have not seen the film, nothing can be said about the background to these resounding song scenes.

There are so many items in this song that can be taken up for discreet appreciation. Both Prem Nazir as well as Sharada has some kind of poetic beauty in their face, expression, form and merriment. It is effeminate charm that exudes from them both. One can't say for sure as to who is more lovely to behold. Is it Prem Nazir? Or could it be Sharada?

What is being portrayed is wayward romance pasted all over the visual space, with the same luscious sweetness of viscous honey that trickle down from wildbee-hive-spouts of the dense woodlands.

Even though there is nothing sensual, licentious or erotic, or even words with naughty undertones in the lines, Sharada's playful bounciness is teeming with an erotic bustle brimming with supernatural overtones. As if mind has met mind, and mind alone, bereft of all physical encasements.

Prem Nazir, though obviously enjoying the attention, acts difficult to entice. However, Sharada can break through the fleeting facade of his fake nonchalance and brittle unconcern.

Houseboats of yore, pushed along with bamboo poles, have become, over the years, a rare sight in many lakes and rivers. Yet, the feel of the swaying waters and the feeble waves in the lakes and rivers, certainly does inject an intoxication of an enticing kind in those who love placid lakes and charming waterways.

Music is by G. Devarajan. Maybe he could enter at will into the ethereal world of the celestial muses, and come out with exquisite tunes and instrumental music of an unearthly pitch and timbre. He has been able to twine out the rustic words into a soft and sweet stream of extremely pleasing melody. The way he has done it, these common pastoral words do curve in and out with a gushing flow, as if they have their own entwining physical form and urges, it does seem.

Vayalar has been able to pull out extremely appealing words from Malayalam itself I think, without having to mine out words from his fabled scholarship in Sanskrit. These words, clothed in splendorous chiming tunes, does add a delicious wrapping upon Sharada's slender features and upon her sharp stunning gestures- so sweet and appealing are they, that the awesome love and affection she postures in her streaming swinging body movements, could simply resound in the viewer’s mind for a long time. Everything in the song does cast a bewitching spell. Even in the way Sharada joins Prem Nazir in his efforts to move the boat! The joyous ring of artless fondness beyond care can be seen, heard and felt.

Words like കണ്ണൻകുളങ്ങരേ, കളഭക്കുളങ്ങരേ, ഏഴാംകടൽക്കരേ, യക്ഷിക്കടൽക്കരേ and such, do attain stupendous deliciousness in the way they have been tuned.

And what are her admissions? That she has loaded the boat with feverish yearnings, for her gorgeous lover, from the sides of the afore-mentioned icy ponds. Placing her kalamudu (കളമുണ്ട്) upon her shoulders and charging her dreamy eyes with her cravings and thirsts, has she taken aboard her beloved.

On to the shores of the Seven Seas, where the winged Sirens await through the ages to lure unwary sailors, has she unloaded tender coconuts and fragrant roses. And then garlanding her beloved with the beaded pearls scooped from the eerie depths of the high seas, has she spread him on her lap. For her to feel and delight in his sweet loveliness.

The way Sharada acts out her affection and her brimming physical urges in brief, and yet stirring movements is both electrifying as well as breathtaking. The way she swings and sways in tuneful oscillations can seduce the eager viewer. She is lovely to the core!